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Uncharted: Legacy of Thieves Collection and the Art of Remastering with the Experts at Naughty Dog


It turns out there’s so much more to bringing Nathan Drake to PlayStation 5 than just making him look even better. We spoke to Naughty Dog’s Kurt Margenau (Co-Lead Designer on Uncharted 4 and Game Director on Uncharted: The Lost Legacy), and Shaun Escayg, (Creative Director on Uncharted: The Lost Legacy and Lead Cinematic Animator on Uncharted 4 ) to find out why and how the new and improved Uncharted: Legacy of Thieves collection for PS5 and PC was created five years after we fell in love with the original.

“It’s about how do we leverage this awesome technology to really, you know, fully immerse our fans and our new players. The PS5 is the best way – literally the best way – to live those stories and live with those characters,” explains Escayg. “You experience things differently now, playing it on PS5. The market in the opening sequence [of The Lost Legacy] with Chloe and Meenu and they barter, I didn’t care. When I was playing it, I was like ‘oh my god, this stuff is amazing’. For example, you can smell all the clothes and almost touch them. You can see the temples in the background. The places become more alive.”

Once again with feeling

The Unexplored Legacy of Thieves

(Image credit: PlayStation)

Uncharted: Legacy of Thieves Collection has been scaled up – 4K resolution, up to 120fps in Performance+ mode – but the PS5 has other tricks up its sleeve, too. There’s 3D spatial audio technology, and the DualSense’s nuanced haptic feedback and adaptive triggers. Even what we might see as a simple scene – remember Uncharted 4’s opening on the boat? – becomes a totally new experience when you can really feel it.

“The boat in the opener was the very first thing people experienced, so we were like, ‘OK, that’s a big deal, we want to make sure it feels good’,” he said. Margenau said.

“We know where the body of the boat is rubbing against the water, so we model that in stereo. When the boat turns right, you won’t just feel it on the right side of the controller, but also through two other layers of feedback. There’s a g-force meter, so any impact on the boat is reflected in an impulse, which is based on the physics of what’s happening.And there’s a “prop hash value” in the boat simulation, it’s like the propeller is coming out of the water and bouncing; we have special haptics just for that. All of these layers of these things are all working at the same time.”

And when you’re in action-packed hero mode, feeling Nathan Drake’s heart beating while he’s in danger, driving off-road, or taking down bad guys in a shootout, the haptics will also be effective. Escayg says you’ll want to keep browsing through the game’s arsenal just to try it all out.

The Unexplored Legacy of Thieves

(Image credit: PlayStation)

“These things stand out in a big way, even when you switch guns. The 12 gauge or the P90, you feel it in combat. It’s a very unique experience, just a subtle way the gun vibrates through the controller, right I literally go through all the guns I can play with just to see what the differences are – what they feel does me feel more powerful and in control. It’s really interesting how the subtle changes change the experience.”

And adding those haptic effects was no small feat, so spare a thought for the developers when enjoying the feel of this Condor semi-automatic rifle. “We had to build a new pipeline to create them, because it’s such a more faithful haptic experience than the old controller rumble, so we had to think about it in a different way and involve audio programmers, because the fidelity of the haptics is so high that it is an audio signal that we send to the controller,” says Margenau, with the holy patience of a man explaining a highly technical system to a layman. , when you get shot, you can only feel it on the side of the controller where you got shot.

“It’s a subtle effect, but it’s something you couldn’t do on the old controller because you had asymmetric motors, you had a big motor and a small motor. Every time these things run, the whole controller feels like it’s vibrating, which is nice by hardware design, but on PS5 you have the same motors on both sides, vibrating a bit like speakers, so you can actually do very specific effects such as stereo panning and others.

Uncharted futures

The Unexplored Legacy of Thieves

(Image credit: PlayStation)

While Uncharted 4 came out in 2016 and the amazing standalone follow-up starring Chloe Frazier as the hero – Lost Legacy – came out in 2017, the adventures are still fresh, aging like an ancient golden relic. A lot of it is the writing, Chloe, Nathan and their allies and foes all have heart. OK, some enemies have less heart, but they still feel real.

“Uncharted is about hearts, struggles, complex characters and seeing them persevere, and I think that struggle is in all of us,” Escayg says. “Being light-hearted and being able to laugh at things during those epic adventures when you’re trapped and enemies are shooting at you, and you always have witty banter. That’s Uncharted’s special sauce, that just makes you want to go back there for more. You appreciate the world so much.”

But with Uncharted: Legacy of Thieves Collection reminding us why the series is so special, fans will want to know if we’ll ever get an Uncharted 5. Maybe even one where a new character, like Chloe, takes on the role of hero treasure from the hunt ? Of course, none of the Naughty Dog guys would divulge studio secrets, but there was a silver lining.

“I think we can say with certainty that we can never say never. Yeah. Uncharted is a franchise that we love – that the studio loves. I love and Kurt loves. It’s a world we want to see more of. So I can definitely say that,” Escayg said.

At least fans have the movie, Uncharted, which will be released on February 18. Sadly, despite their roles as dads from the original, neither got a chance to get a glimpse.

“The two of us aren’t directly involved in that. And, you know, I’m excited to see the Tom Holland character. I don’t know anything other than the trailers that we’ve seen,” Margenau says. “I’m just excited. It’s like it’s finally here! We’ve got Uncharted on the big screen, and it’s not going to change directors, and it’s not going to be in development much longer. And I think Tom Holland is a good choice.”

“And they’re inspired by the games, so it’s really satisfying to see this coming to the big screen.”

Uncharted: Legacy of Thieves Collection will be released on PS5 on January 28 and will come to PC later this year. Read our thoughts on the remaster here.

New Artifact Set and Dainsleif Appearance Expected


Genshin Impact 2.6 leaks revealed more information about the new update, and it detailed some interesting additions to come. Fans of the mysterious character Dainsleif will certainly be delighted to hear that he will be making a reappearance. There’s also a new artifact set teased in these leaks that looks to improve elemental skills, which should come in handy for Yae Miko.

Players will definitely want to take a close look at these leaks as they reveal a ton about the game’s future updates. Here’s what’s known so far about Dainsleif and these new artifacts.

Tons of Additions Revealed by Genshin Impact 2.6 Leaks

These leaks are courtesy of a new leaker who has already gotten the better of some information months in advance. This lends some credence to their leaks, though players should be sure to take them with a grain of salt.

According to this source, Update 2.6 will bring a ton of content, including a possible surprise appearance from Dainsleif. Dainsleif holds many of the game’s secrets in his backstory, and he’s an intriguing character to much of the community.

It’s likely that he’ll be key to unraveling Genshin Impact’s story, and could even play a part in the game’s ending. in 2.6. It is likely that his arrival will coincide with an important world quest that will reveal more truths about the history of Teyvat and the Traveler.

New Artifact Set

[Unverified] Tagged Sussy by

2.6 – New artifacts; Peculiar Wonderland (Windblume event) replay; old datamined version of Sword
2.7 – Release of Yelan
2.8 – Recapture of the archipelago; Collei Appearance
Pre-3.0 – Undisclosed standard banner changes

(Source: u/No-Lifeguard4399) twitter.com/SaveYourPrimos…

We can’t speak to the validity of the other claims made by OP in the comments section other than that Zhongli is closely tied to the Chasm lore, so Zhongli making an appearance in 2.7 is expected.

The leak also indicates that a new set of Artifacts will arrive alongside this update, focusing on improving elemental skills. It’s probably both for Kamisato Ayato, who should arrive in 2.6, and Yae Miko, who uses her elemental skill for damage. Fans who have been waiting for a set of powerful artifacts for these two will definitely want to spend their resin grind for this unique gear.

Genshin Impact 2.6 looks like a big update, and fans will definitely want to keep a close eye out for leaks, though they should remember to take them with a pinch of salt.

Edited by Siddharth Satish

TSChin’s painting becomes a certain European president’s favorite art collection


Malaysian artist takes vintage painting to the next level in Europe

Malaysian artist, TSChin, has just taken his vintage fine art painting to the highest level thanks to the recognition it gained from a certain European President at the Europe Sales Gallery. His vintage painting was one of the paintings displayed and sold in the showroom. During the exhibition, a large number of speculators were stunned by the sheer brilliance pronounced in his artwork. For the most part, they were surprised to see that the shipping address and the name of the painting belonged to one of the European presidents. However, due to the customer’s privacy and data protection policy, the exhibition sales gallery refused to release an image of the painting.

TSChin fully understands how expensive vintage paintings are; hence he leveraged this form of painting to create massive value for those who love art. With TSChin’s vintage paintings, home and office owners can be assured of an environment with a natural aesthetic ambiance. Vintage paintings go beyond common forms of paintings in that they exude an aura of class, warmth and safety. Interestingly, TSChin has great skill in creating this museum quality of unique paintings in vintage style for any purpose. To highlight his strength and dexterity in vintage painting, one of his vintage paintings was sold in Europe for 15,000 euros ($17,117.25) recently.

Painting is an expression of ideas and emotions with the creation of certain aesthetic qualities. To bring a painting to life, shapes, lines, colors, tones and textures can be used. These different elements can be used in different forms to best express the intentions of the painter and communicate effectively in the right pictorial language. Paintings can be applied or expressed through different mediums and forms; choosing the best medium is anchored on the sensual qualities and expressive tendencies of the choices available to achieve realistic expression.

“Painting, as an art form, is recognized as a global art in the art market and frequented by a large majority of art lovers. As a globally recognized form of painting, vintage painting has become the fastest growing art on the market. Very expensive for those who appreciate the natural values ​​of art, vintage painting has recently been in high demand. I added that painting is all the more enjoyable for us because we can easily capture current and new things with a camera, but we can only paint the past with a brush,” the sales manager said. of the gallery that represents the artist, “TSChin”.

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Robert F Kennedy Jr ‘exploited tragedy’ of Nazism in anti-vax speech, says Auschwitz memorial | American News

The official memorial at Auschwitz, the largest Nazi concentration camp in which more than a million people were murdered, has accused prominent anti-vaxxer Robert F Kennedy Jr of “moral and intellectual decay”, after comparing vaccination mandates to the laws of Hitler’s Germany. and invoked the name of Anne Frank.

The Auschwitz Memorial and Museum responded quickly to remarks made at a rally against the anti-vaccine mandate in Washington DC on Sunday.

In one Tweeterthe institution blamed Kennedy for “exploiting the tragedy of people who suffered, were humiliated, tortured and murdered by the totalitarian regime of Nazi Germany – including children like Anne Frank”.

To do so during a debate about vaccines and how to deal with the coronavirus pandemic was a “sad symptom of moral and intellectual decay”, the memorial said.

Kennedy has made a public name for himself as an environmentalist, but in recent years has used his legendary surname to support conspiracy theories and oppose vaccines.

At Sunday’s Defeat the Warrants march, organized by his organization, Children’s Health Defense Fund, he assimilated government efforts to contain Covid-19 to the Holocaust.

“Even in Hitler’s Germany you could cross the Alps into Switzerland, you could hide in an attic like Anne Frank did,” he said.

Frank, who wrote a diary of how she hid from the Nazis for two years before being arrested by the Gestapo in 1944 and sent to Auschwitz, was actually apprehended not in Germany but in Amsterdam. She died in the Bergen-Belsen concentration camp in 1945.

Kennedy also dwelt on conspiracy theories about Microsoft founder and vaccine advocate Bill Gates and 5G, the mobile technology that Kennedy said was designed to “control our behavior.”

He also invoked his father, New York Attorney General and Senator Robert Kennedy, who was assassinated in 1968 as he was trying to run for the US presidency.

“I visited 1962 East Germany with my dad,” Kennedy Jr told the anti-vaxxer crowd, “and met people who had climbed the [Berlin] Wall and escaped. It was possible. Today, the mechanisms are put in place where none of us can run and none of us can hide.

Holocaust survivors also lamented Kennedy’s words. Lucy Lipiner, 88, who fled the Nazis from Poland aged six, noted: “Robert Kennedy Jr is so ignorant. I am speechless.”

She added: “Running/hiding in the Holocaust was rare, almost impossible. I’m lucky to have survived. Anne Frank did not.

Participate in an art grant

Galleries, museums and other art attractions can apply for funding from the federal government.

The Regional Culture, Heritage and Arts Tourism Program provides community museums, galleries and historical societies with grants of up to $3,000 to help them develop cultural tourism and preserve Australia’s heritage – and the MP for Wide Bay, Llew O’Brien, encourages local galleries to apply. for some funding.

“The arts play an important role in our communities, socially, culturally and economically. I therefore encourage all arts, culture and heritage organizations run by the community of Wide Bay to apply for a Cultural, Heritage and Arts Regional Tourism (CHART) grant today.

“The program helps museums, galleries and historical societies organize events, develop new exhibitions, digitize historical collections and improve their facilities, which will provide additional attraction to encourage tourists to visit regional areas. “, Mr. O’Brien said.

Mr O’Brien said the Noosa Regional Gallery will receive a $3,000 grant to showcase local artists through the staging of PAINT, an exhibition which highlights the practices of six emerging artists based on the Sunshine Coast, showcasing both their work and their contemporary artistic practices. In the region.

“Noosa is home to a thriving and very talented arts community, and this funding will give the Noosa Regional Gallery and local artists a boost as we emerge from the pandemic,” Mr O’Brien said.

The Australian Museums and Galleries Association (AMaGA) runs the program on behalf of the government.

Applications will close on April 29, 2022 or once all funding has been expended, whichever comes first.

For more details, visit the AMaGA website at www.amaga.org.au/chart.

The Morrison government is investing over $1 billion in the arts and creative sector in 2021-22.

Stardew Valley: Ginger Island Fossil Locations


Oh Professor Snail, what a mess you got yourself into. The first players have to get him out of a cave, then they have to complete his entire collection of fossils for him. A field researcher, huh? Stardew Valley received a huge 1.5 update, bringing a whole new area with it: Ginger Island. This new paradise also has its own quests, such as the aforementioned professor’s quest for fossils to complete his study of the flora and fauna of the islands. Fossils should be taken to his tent – the island’s field office.


RELATED: Things You Should Do Immediately After Starting Stardew Valley

By donating these, players will receive rewards, such as Golden Nuts and Saplings. Once the collection is complete, players receive a recipe from Professor Snail: the Ostrich Incubator. This will, amazingly, incubate ostrich eggs. They can be found on adult ostriches and in chests inside the volcano. Cared for!

The Great Animal Fossil

Island Research Station in Stardew Valley

The largest fossil the cast must complete for Professor Snail’s collection is the ‘Big Animal’ fossil. It is not specified which animal it is, but it has six parts: a skull, a spine, ribs, a tail and legs. These coins are found separately on Ginger Island. Note that parts do not have to be found or donated in any specific order.

RELATED: How to Get to Ginger Island

  • fossilized skull – Obtaining the Fossilized Skull for the Great Animal involves golden coconuts. These can be obtained randomly next to coconuts from trees around the island – the trade shack has these as well, costing ten normal coconuts for one golden. The most annoying thing is that you can’t open them on Ginger Island and you have to take them to Clint. One of them will contain a fossilized skull.
  • Fossilized spine – Next comes a fossilized spine. This piece will be in a Artifact location, specifically on the south island beach. South Beach is where the boat will first arrive at Ginger Island, by the way. Use the hoe to dig up any artifact points that appear in this area, and soon the spine will be found.
  • Fossilized ribs – The Fossilized Shores will also be found in Artifact Spots, but this time it’s in a different place: the Dig site area. Only this specific area will contain the ribs, so keep checking the site for those pesky worms.
  • Fossilized Tail – This piece of the bone puzzle can be a bit tricky, as it involves the river and copper saucepan. In order to use a Pan item, players must complete the Fish Tank pack at the Pelican Town Community Center. This can be tricky to do, but once unlocked players can see “scenic spots” in the river, where the tool can be used. Go back to Ginger Island and sweep all the sparkling spots in the river, and the Fossilized Tail will make itself known.
  • Fossilized leg – This fossil is also found in the Excavation site, but requires a different method. Make sure your pickaxe is in your pockets, then head to town to smash some rocks at the site. The fossil will most likely be to be in a rock that has a spiral on it, and bones protruding from the top. There is, however, a small spawn rate for each type of rock.

The snake fossil

West shore of Ginger Island

The next fossil in the display is the least intimidating snake fossil. This only has three different sections, instead of six: a skull and two pieces of snake vertebrae. All of these sections are on the west side of the island. The western part of Ginger Island must be unlocked by the player, which costs ten Golden Walnuts.

RELATED: Stardew Valley: Ginger Island Farming Guide

  • snake skull – The first part of the snake fossil is in the water on the west side of the island. Whether in the ocean, river or ponds. Those bubbling spots in water – Fishing spots – are more likely to net you the fossil faster, so head to those first.
  • Snake vertebrae – Players need two of these fossils to complete the Serpent. They are both found in Artifact Spots on the west side of the island – they won’t spawn anywhere else. Keep the hoe equipped and go dig up some worms!

The frog fossil

Ginger Island Forest in Stardew Valley

This next fossil takes a little less prep work. It has only one piece: a mummified frog. It also has a very different method of discovery than the other fossils Professor Snail needs.

To obtain a mummified frog, players must cut the weeds on Ginger Island – just like those growing on your farm. More specifically in the Eastern forest areas. Even more specifically, the wooded area the bottom of Leo’s hut will be the best place to collect the piece of fossil. Keep hacking those weeds with a sword or scythe tool, and the frog will come out.

The bat fossil

Volcano Dungeon in Stardew Valley

Last, but not least, the fossil Professor Snail needs is the Bat Fossil. Like the frog, this one is made of a single piece, this time a mummified bat. Finding this piece takes the player to a place unlike any other: the volcano.

Go to the volcano dungeon and start break open rocks. The mummified bat can be found at any floor inside the volcano – but there is a higher sink rate the higher the floor.

Stardew Valley is now available for PC, Mobile, Nintendo Switch, PlayStation 4 and Xbox One.

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District Art Gallery is on a mission to make art more accessible | visual arts


QUINCY — Kevin Hoing led a class of a dozen students Friday night at the Kroc Center in Quincy, teaching the basics of creating a poured acrylic painting.

Hoing is the founder of the District Art Gallery, with the aim of helping not only those who want to learn how to make art, but also those who want to share and teach their own style.

“It’s important to find a way to help artists grow,” Hoing said. “It can be scary for an artist trying to figure out how to grow as a creator and get into the art community. If you think about it, a bad art teacher telling someone they’re doing Wrong art can ruin a person’s passion.”

Hoing said he started painting while recovering from a traumatic brain injury about three years ago. After picking up his kids’ art supplies, he just found the colors coming out of him on the page and the canvas. When he showed one of his pieces to a stranger, he took his words to heart.

“She told me ‘if you can do stuff like that, you should paint every day.’ So that’s what I’ve been doing for the last three years,” he said. Although Hoing said he lost count, he created over 1,300 pieces during this time, selling them to customers nationwide.

Hoing opened his own gallery in downtown Quincy, where he said he would ask other artists to come see him and not just ask him about a specific painting, but about how he opened up space and advice on their own work. This inspired him to open the District Art Gallery and Learning Center at 901 Maine St. in Quincy.

“That was the goal to open up that space,” he said. “to give artists a place to display their work, but also to give them a place where they can teach others. The arts community in Quincy, sometimes it’s hard to get into. There’s the Art Center , and Arts Quincy of course, and they’re great organizations, but just getting your foot in the door can be a challenge.”

Hoing has partnered with various groups around Quincy to offer classes like acrylic casting at the Salvation Army’s Kroc Center. The Friday class was the first of two painting classes scheduled. It is also planning two more traditional-style acrylic painting courses.

In addition to painting projects, the District Art Gallery also offers courses in creating mosaic art, making steampunk objects, and metalwork. Hoing said he hopes this is just the start of the classes he can hold at the center.

“All art forms should be embraced,” he said. “Nothing is more annoying than hearing someone say ‘that’s not art’.”

For more information on available classes or for those interested in teaching classes at the Gallery, visit thedistrictartgallery.net.

San Francisco’s famed Pier 24 photography museum promotes Allie Haeusslein to director

Allie Haeusslein Photography Museum Pier 24

The Pier 24 Photography Museum in SF announces the promotion of Allie Haeusslein to Director. She will now work in tandem with director Christopher McCall.

I am grateful to Andy and Mary Pilara and Christopher McCall for their support and recognition. I look forward to making the voice of photographers heard through our future exhibitions and publications.

— Allie Haeusslein

SAN FRANCISCO, CA, USA, January 22, 2022 /EINPresswire.com/ — Pier 24 The Museum of Photography announces the promotion of Allie Haeusslein to the Director. She will now work in tandem with the director Christopher McCall. Haeusslein has been Associate Director since 2012.

During her ten-year tenure, Haeusslein oversaw the museum’s in-house publishing program, producing more than ten books, including Photographers Looking at Photographs: 75 Pictures from the Pilara Foundation (2019), in which she invited artists from the Pilara Foundation Collection to write about the works they have selected from the collection.

After co-curating previous exhibitions, she served as lead curator for Looking Back (2019-22), the first of the institution’s tenth anniversary exhibitions; she is also responsible for the second of these anniversary exhibitions, Looking Forward, which is scheduled to open in spring 2022.

“She is an integral part of every aspect of our operations, from day-to-day management to exhibition planning. Pier 24 Photography would not be what it is today without her. McCall said.

“I am honored to have played a role in the development and trajectory of Pier 24 during its formative years,” said Haeusslein. “I am grateful to Andy and Mary Pilara and Christopher McCall for their support and this recognition. I look forward to continuing to advance the voice of photographers through our future exhibitions and publications.

Haeusslein holds a BA in International Studies from Johns Hopkins University, Baltimore, Maryland, and an MA in Contemporary Art from Sotheby’s Institute of Art, London. She was born and raised in San Francisco.

Located on San Francisco’s Embarcadero, Pier 24 Photography is one of the largest spaces in the world dedicated to exhibiting photography. Since its opening to the public in 2010, Pier 24 Photography has offered a place to discover and quietly contemplate photography. Pier 24 Photography is home to the Pilara Foundation’s permanent photography collection, which includes more than five thousand works by more than 350 photographers.

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Pullman plans to remove Thomas Jefferson portrait from library after complaints


The Pullman Library Board is considering a request to remove a portrait of Thomas Jefferson, America’s third president, from the Pullman Neill Library.

Considered one of America’s Founding Fathers, Jefferson was the primary author of the Declaration of Independence and is known to be a strong advocate for democracy. But his own opinions were very contradictory. He publicly called slavery a “hideous stain” and “moral and political depravity”, but he owned about 600 enslaved Africans during his lifetime.

As president, he signed legislation banning the transatlantic slave trade in the United States, but he fathered at least six children with an enslaved woman on his plantation, Sally Hemmings.

Since racial and social unrest erupted in 2020, many activists have worked to see all the conflicting truths about the figures America routinely elevates as the country’s heroes.

In Spokane, activists led a local charge to right historic wrongs. In August, native leaders such as Margo Hill of the Spokane Tribe came together for land recognition as Whistalks Way replaced George Wright Drive at Spokane Falls Community College. Wright, an army colonel general in the 1850s, carried out acts of genocide against several native tribes in the Pacific Northwest. In late August, the U.S. campus of Mukogawa, part of Mukogawa Women’s University in Nishinomiya, Japan, also removed Wright’s name from entrance signs to their campus.

Joanna Bailey, director of the Neill Public Library since 2011, explained that Jefferson’s portrait is among submissions the library’s art committee began in 1980.

“The criteria by which the acquisitions were made, was that the work was by professional artists, who made a living in art or art that was judged appropriately by the committee. They had to use the Palouse community in their subject matter. They did a lot of work with WSU and the faculty of fine arts,” Bailey said.

The art committee received Jefferson’s portrait from GTE Telephone in 1980, and it was painted by the late portrait painter Dan Piel, a faculty member of Washington State University’s fine arts program in the time. Last December, public records show four local residents emailed Bailey asking to remove or move the painting, the Moscow-Pullman Daily News reported. This spurred a special meeting for January 4th.

Public comments have come from both sides of the argument, with some stating that requests to remove Jefferson’s portrait are unhelpful, others supporting removal as a step in the right direction.

Pamela Awana Lee attended this January 4 meeting, speaking her mind not only as a woman of Scandinavian and Chinese descent, but also as an art teacher. Lee worked for 32 years in the Fine Arts and Honor College program at Washington State University and has spoken of the qualities of painting itself. According to Bailey, Piel’s portrait of Jefferson measures approximately “6 feet by 4 feet”, and this wall space was a “big defining and logistical decision”.

Four patrons have requested that this painting of Thomas Jefferson by Dan Piel be moved or removed from where it is displayed at the Neill Public Library in Pullman due to Jefferson's views on slavery.  The library board will meet Feb. 9 to review policies that affect the library's art collection.  (Geoff Crimmins/For Spokesman-Review)

Four patrons have requested that this painting of Thomas Jefferson by Dan Piel be moved or removed from where it is displayed at the Neill Public Library in Pullman due to Jefferson’s views on slavery. The library board will meet Feb. 9 to review policies that affect the library’s art collection. (Geoff Crimmins/For Spokesman-Review)

“There are these rays that seem to enter and

{img style=”position: absolute; top: 0px; left: 0px; width: 99px; height: 127px; » src=””../content/tncms/assets/v3/editorial/a/de/ade8ea50- 7ade-11ec-a15c-3b23b5a810df/61eaebc81300d.image.jpg” /} focuses on Jefferson’s face, and it created a visual message like he’s the Egyptian sun god or something,” Lee said. “The visual message I get is that this man is a revered and adored person. What interests me is that every person who walks into this library is how people of color could send the message that this is not their place. And I want our library to be our whole place.

In her public statement, she highlighted the implications of Jefferson’s portrait as the first and last thing customers will see, and said it seemed “exclusive”.

“When I get up and check out the library materials, I’m standing right next to this painting,” Lee said. “And as most have recognized, although Jefferson was the third president, he is a symbol of one of the founding fathers who did not abandon his slaves. He treated them as chattels and, yes , he wrote about his apprehension of owning slaves, but he never changed that. And I find that to be a very bad experience as a woman of color in the state of Washington on the east side or not. anywhere. This is the wrong symbol.

Carey Edwards moved to Pullman in 1999 and is now the father of three children who were students in the Pullman Public School District. He doesn’t personally take offense to the portrait and doesn’t think it should be taken down.

“The library should be the last place where everything is censored,” Edwards said. “It’s the library, and that’s where you go for all the credible information. I think the people who want to remove Jefferson’s painting from the collection are censoring the library collection. I don’t think that’s fair.

However, Edwards recommended using controversy as a way to educate.

“Jefferson was a founding father, he was a great man, but he certainly had personal flaws. Who doesn’t? Because he was a prominent person, his flaws were more significant,” Edwards said. as an example questions us more.This certainly can and should be a learning point for people unfamiliar with Thomas Jefferson…being a library, this should be an educational type situation.

Although some call for complete removal of the portrait, according to the library’s art acquisition policies, obtained artwork cannot be removed, only rotated in and out of display. The conversation will shift to the board and its ability to change policy.

“The art we have needs to be on permanent display unless there isn’t a lot of space in the library to do so. The only option is to rotate the pieces in and out like a spinning display…we don’t have enough space to continuously display all 70 pieces at once,” Bailey said. “The other point being that if it’s not displayed you also have to rotate it to display it. You can’t just rotate it and it never comes back. So the board needs to spend time reviewing so are his policies.”

At the January 4 meeting, the Pullman Library board did not make a decision on the removal, opting to deliberate at its next meeting on February 9.

Veta Schlimgen, a professor of American history at Gonzaga University, finds conversations about the Founding Fathers and other complex architects of American history an important and difficult step for current American citizens to come to terms with the past. . She calls the way Americans idolize historical figures the “mythology of United States history.”

“Complexity and history, rather than Jeffersonian mythology, means we have to be careful that when Jefferson spoke of equality, he was talking about white male owners like himself, and some of the property they claim to have been people,” Schlimgen said. “So we have to weigh that with Jefferson’s other contributions to the founding of the United States. And that humanizes him. There are few heroes who are perfect people. We have to allow Jefferson, I think, to be human by talking about his story, not just his mythology.

On a larger scale, Schlimgen described the Jefferson portrait controversy as one piece of the puzzle. Similar to the removal of George Wright’s name from local Spokane entities or discussions of critical race theory, Jefferson’s portrayal

is a common thread into a larger conversation about how Americans can discuss the wrongs of American history, something Schlimgen calls “impossible” if censorship and sentiments aren’t discussed. She believes the nation’s concerns about the re-evaluation of history began in 2019 with the release of Nikole Hannah-Jones and The New York Times Magazine’s 1619 Project.

“The argument made by the 1619 Project (is) that slavery is fundamental to the United States, that we cannot talk about the history of the United States from 1776, we have to go back to 1619,” said Schlimgen said. “That was followed by efforts by, I would say, mostly white Americans, but also Americans of different color, to try to better understand the past and understand how they might be helping to perpetuate inequality. So (the Jefferson portrait controversy) is a manifestation of censorship that we can only have a comfortable story of United States history, and anything that makes us feel uncomfortable is too controversial and can’t talk about it. So I think it’s really not the right method. It’s not history, it’s more of a mythology about the American past that is very patriotic and unique.

The next meeting is scheduled for February 9 at 3 p.m. in a hybrid virtual and in-person format. Public comments will again be collected and an update on the Library Board will also be given.

“When we have our meeting on February 9, we will have a public comment and we will go into the policy further,” Bailey said. “We devote so much attention and time to policy, because policy should govern the actions of your staff. But, just to emphasize, we really listen. This is the appropriate action in this phase of the process. To listen to our community, to hear their voices.

Discover prehistoric artifacts as a youngster along the Brazos River | Columnists



Cody Martin grew up in Granbury, graduated from Tarleton State University and lived and worked in the DFW Metroplex for over 20 years. He moved back to Hood County about 23 years ago and currently resides in DeCordova Bend Estates with his wife Mary Martin. They have two adult children and three step-grandchildren..

As a youngster growing up on a cliff overlooking the Brazos River in Granbury (Doyle Springs Road in particular), my friends and I would sometimes look down and see an ‘arrowhead’ which we would casually pick up, put in our pocket and then carry on. to explore, build a fort, or conduct other important business.

This was the mid-1960s before video games, the pre-lake era, so pretty much every time we weren’t in school or doing chores, we were playing outside and running along the river. We decided at some point that finding arrowheads was cool, so we started looking for them, biking to remote places like the mouth of Rough Creek (near where Stumpy is now ) or even sneaking over Comanche Peak multiple times.

As we got older, school sports, girls, and cars became more important than finding sharp rocks, so we moved on – but the curiosity about who left them behind never went away and it grew. turns out that a few of these sharp rocks were made by some of the first humans to visit North America.

Archeology is an ever-evolving field and new discoveries present new theories about who the first inhabitants of North and South America were, and when and how they got here, but some theories are well accepted by the most experts.

The people known as the Clovis culture were among the earliest humans in North America around 11,000 – 13,000 BP (before present) and evidence of their presence known as the distinctive Clovis point has been found along the Brazos River from its source on the plains of western Texas to the Gulf Coast. The Horn Shelter (Google for more information), a rocky overhang located on the Brazos about a mile below the Lake Whitney Dam is the site of one of the oldest known burials in North America and there are a major Horn Shelter exhibit at the Bosque County Museum in Clifton created with the help of the Smithsonian.

One plausible theory is that the Brazos River was a highway for Paleoindians migrating from the Lower Rockies region to the Gulf Coast of Texas, providing game and water on their journey. Much of the water in the Brazos River becomes undrinkable due to the heavy salt deposits it picks up from its headwaters source in West Texas (which is why Granbury has a desalination plant and branch s called The Salt Fork of The Brazos). Most of the old campsites along the Brazos are located near a junction with freshwater creeks and/or streams originating from the cliffs along its course, such as the relics we found around streams that will become more later known as Doyle Springs which provided a reliable source of drinking water. .

Over time the style of stone tools changed as different cultures evolved and migrated to this area, some of the Paleoindian relics that have been found within the current city limits of Granbury are of types known as Plainview, Scottsbluff, Wilson, San Patrice and others. , so if you ever find yourself along a creek or creek near the Brazos River or present-day Granbury Lake, look occasionally and if you see a sharp piece of chert (aka flint), you’ve come maybe to find something left behind by one of the first ancient humans to explore this part of North America.

Workshops for young artists will be organized at the Banning Art Gallery | Entertainment


Patti Schwelo-Lopez will lead a painting workshop using alcohol inks on yupo paper to launch the Banning Art Gallery’s Young Artists Workshop 2022 program, which begins this Saturday, January 22.

The Atelier des Jeunes Artistes, intended for budding artists aged 7 to 12, has been in existence for 12 years.

The next program on January 29 will feature Diane Franklin’s workshop where participants will build a wire sculpture mobile based on Alexander Calder’s “Finny Fish” from 1948.

An article, “The Importance of Creative Arts for Children and Teens,” published on the Child Development Institute website, art provides “a wonderful way to record growth and development of your child”.

Just as reading and writing develop with age, so do artistic skills. Art is a great way to learn about making choices and solving problems.

With each decision, a child’s work becomes more and more of its own expression.

Through art, children learn to create something that was once only imagined, creating something visual that was once just an abstract idea.

Children who face challenges in other aspects of schoolwork may find an outlet through art-making, an opportunity to express ideas, concepts, and feelings in ways other than written or verbal means.

The Young Artists Workshop meets Saturdays from 10 a.m. to noon at the Banning Art Gallery, 42 West Ramsey St., Suite C, next to the new Jitterz Coffee Shop.

All COVID-19 precautions will be observed, including social distancing and wiping down all surfaces with disinfectant. All adults present must wear masks.

The cost of each lesson is $10, or participants can pay $40 in advance for six workshops.

For more information about the Young Artists’ Studio, adult classes, and general information about exhibitions and volunteer opportunities, call the Banning Art Gallery at (951) 849-3993.

Gallery hours are 11 a.m. to 3 p.m. Wednesday through Saturday or by appointment.

The museum context – American Alliance of Museums

2020 and 2021 have seen major climatic events directly and indirectly affecting museums. Following calls for decarbonization at COP 26 last fall, museums are putting resources in place to chart a new course towards their long-term planning and strategic plans. The need for a sustainability agent or agents has arisen in other sectors, both public and private. Can museums be catalysts for community planning for a better future? How to borrow best business practices? Is it time for museums to lead by example?

Discussions will focus on how this position could support the mission, integrate climate action areas through departmental collaborations, and possible measures for museums of different sizes. We are joined by sustainability leaders from the Smithsonian Institution in Washington DC and the Museum of Modern Art in New York to hear their views.

Nancy Bechtol, Smithsonian Facilities Director and Director of Sustainability, Smithsonian Institution


Jean Savitsky, Director of Real Estate and Sustainability, Museum of Modern Art New York

Moderator, Joyce Lee, President, AAM Environment Climate Network and President of IndigoJLD Green + Health

Statements and opinions expressed by panelists, hosts, attendees, or other participants in this event are their own and do not necessarily reflect the views of, or are endorsed by, the American Alliance of Museums.

An Up Close Look at Robert E. Lee’s ‘Time Capsule’ Cornerstone Box: New Artifacts Found Inside


RICHMOND, Va. (WRIC) – More than 130 years after the artifacts were placed in a copper box and sealed in the pedestal believed to sit beneath the Robert E. Lee statue on Monument Avenue in Richmond, the Department of Historic Resources (DHR) compiled a detailed inventory of what was found inside when this box was unearthed in December 2021.

8News visited DHR on Wednesday for an in-depth examination of the artifacts, including some not previously known to be inside the copper box.

“We had the original 1887 inventory from the Richmond Dispatch with us when we looked at these artifacts, both while we were taking them out of the box and afterward,” said Katherine Ridgway, state archaeological curator. “We discovered that there were a lot of business cards, letters and things not specifically mentioned in the inventory.”

Published in October 1887, the Richmond Dispatch article detailed 60 objects in the time capsule. Although some of these objects have not been identified, conservators have worked to compare items similar to what was described in the publication, as well as to preserve and document new artifacts that have been found.

This artifact was not previously mentioned in the 1887 inventory. (Photo: Sam Hooper)

One such artifact was a Confederate $10 bill with a letter from George A. Notting, regarding his son’s contribution to the box.

“There’s a letter from a gentleman about his 10-year-old son wanting to donate to the cornerstone box, and this idea that everyone can relate,” Ridgway said.

Ridgway called what was called the Lee time capsule a cornerstone box, noting that the mindset that when placed inside the Lee pedestal in 1887 the box was not never meant to be opened.

“When this was put in the Lee monument, time capsules weren’t a thing yet. So really, it’s a cornerstone box,” she said. fundamental in the construction of this monument to Robert E. Lee. So much of what it contains is not about portraying Richmond as a whole. It is about representing this idea of ​​Robert E. Lee and commemorate it, as well as the Masonic tradition of laying a cornerstone.

Before locating the copper cornerstone box, another type of time capsule was found in the Lee pedestal. But this did not match the description of what had been published in the 1887 article in the Richmond Dispatch.

“The unexpected lead box, which was much taller and more central in the pedestal, what we’ve found so far is that it appears to be things that have to do with the people who built the monument Lee,” Ridgway said. “It was a very different kind of box. It was not about the ceremony of the masons. It was about them and the people they were and what they wanted people to remember them.

Since the cornerstone’s copper box was opened in December, conservators have continued their preservation work, including freezing some of the more fragile artifacts to prevent deterioration. This included an unknown manual, as well as the annual convocation of the Grand Chapter of the State of Virginia, dated 1886, which was not listed in the Richmond Dispatch article.

Other previously unlisted items include a letter from Blair Meanley, dated October 22, 1887; a letter from WH Sands to WB Isaacs; the program of the ancient order of nobles of the mystical sanctuary on the occasion of the laying of the cornerstone, which was found with the letter Meanley; an unidentified Masonic booklet; and several journal articles from various publications.

Several unexpected newspaper articles from the 1800s were found inside the cornerstone’s copper box. (Photo: Sam Hooper)

Conservators have also worked to preserve the packaging in which some of the artifacts were found, such as paper, string, and even a rubber band that still stretches.

“We treat the whole thing as part of the story,” Ridgway said. “We don’t want to presume what historians will find valuable.”

Along with finding unexpected artifacts inside the copper cornerstone box, Ridgway said conservators gathered new information about some of the most sought-after pieces of history during the preservation and documentation processes. . One such artifact was a photo of President Abraham Lincoln in his coffin, which turned out to be a printed image rather than an actual photograph.

“It had been fixed, that is, as a curator, that’s what I do for a living, and so someone fixed it and cherished it for a long time, and then the put in there,” Ridgway said. “It was a much-loved image that they fixed and then put in. So I just thought it was really, really nice to see.

Ridgway said this photo of Lincoln in his coffin was repaired before it was placed inside the cornerstone box. (Photo: Sam Hooper)

Ridgway said DHR’s goal is to preserve the artifacts until the next owner is identified.

“Who is this owner, we’re not sure,” she said. “We want to make sure that whoever ends up being will have as much information as we could give them, and then we can hopefully work with them in the future.”

This information-gathering process includes working with historians and researchers across the state to review and release documentation for the public on each artifact.

“We’ve already posted the first blog post on our website, which is about Angular Boxes and Time Capsules, and the inventory we’ve found so far,” Ridgway said. “Going forward, you’re going to see experts from all over the state. So we’re hoping to bring in people from The Valentine and Mount Vernon and the American Civil War Museum, and bring those people in and write good articles, so that we can get that information out to the public.

In total, there are three time capsules involved: the lead box first found in the Lee pedestal, the copper box detailed in the Richmond Dispatch article from 1887, and the new time capsule, which was sealed in September 2021.

Even Ridgway wonders what will happen to the 2021 time capsule, which was temporarily housed at DHR before being placed at the former site of Lee’s statue. But now that the pedestal has also been leveled, questions remain about what will happen to the new capsule. A spokesperson for the mayor’s office told 8News his future was not yet determined.

After the experience of first opening the lead box and then the live-streamed copper cornerstone box, Ridgway reflected on the impact of this search for history following the removal of Lee’s statue from Monument. Ave.

“What I found most gratifying was that this story about history went around the world, and I was sent pictures and stories of students and small children who were allowed to stay. up late at night and watching this in another country, or whose story class was showing them the live stream,” she said. “Even though being live on TV is really nerve-wracking, the idea that we could inspire people to go into history and think about history in a different way, I thought that was fantastic. “

CCAI Art Exhibit at WNC’s Bristlecone Gallery Features ‘Figure Studies’ by Phyllis Shafer | Carson City Nevada News


Event date:

Repeats every week until Wed Apr 20 2022 .

January 14, 2022 – 9:00 a.m.

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Decades of demonstrations created while teaching classical life drawing classes include CCAI’s exhibit, “Phyllis Shafer: Figure Studies (Yes, that Phyllis Shafer)”, at Western Nevada College’s Bristlecone Gallery.

A reception for the artist will be held on Friday, February 4 from 5 to 6:30 p.m. The free exhibit is open to the public until April 20, 2022, Monday through Friday, 9 a.m. to 7 p.m., in the college’s Bristlecone building. 2201 West College Parkway, Carson City. The drawings will be on sale as part of a fundraiser for the Capital City Arts Initiative.

Although Shafer is known for her landscape paintings, this exhibit includes studies made while teaching. None of these works is considered, by the artist, as a finished work of art. Rather, they are studies that were made in the form of educational demonstrations in his classes. The careful study of the human form is a rigorous discipline and one that can enhance the observation skills of all artists.

What Shafer realized while exploring the realm of figure drawing and painting is that the landscape is truly one giant figure. Seeing the relationships between the gestures and shades of the figure relate very easily to the earth. There is also something very fresh and inviting about seeing an artist’s unfinished studies. It allows us to glimpse the working process of the artist. We hope this exhibition will provide a behind-the-scenes glimpse into a realm of creative expression not normally seen in Shafer’s work.

American painter Phyllis Shafer lives and works in the Sierra Nevada and Great Basin region. Although Shafer’s formative years as an artist were spent in New York and the San Francisco Bay Area, over the past two decades she has worked primarily in the American West developing her own landscape painting style.

Shafer received his Bachelor of Arts degree from the State University of New York (SUNY) Potsdam, NY in 1980; she spent the 1978–79 academic year living and studying in New York City through a program offered to SUNY students by Empire State College. From 1981 to 1985, Shafer lived and worked as an artist in New York’s East Village before moving to the West Coast in the mid-1980s. She earned her MFA at the University of California, Berkeley in 1988.

Shafer moved to the small coastal community of Bolinas in northern California in 1991 and became active in the San Francisco Bay Area arts community. She worked as an adjunct teacher at the Academy of Art College (now University), San Francisco; San Francisco State University; and Diablo Valley College, Pleasant Hill, before accepting a full-time teaching position at Lake Tahoe Community College in South Lake Tahoe in 1994. She served as department co-chair and gallery director at Lake Tahoe Community College for 27 years and has recently retired from this position. Shafer is currently represented by Stremmel Gallery in Reno, NV.

Chris Lanier, professor of digital art at the University of Sierra Nevada, wrote the exhibition essay for Phyllis Shafer: Figure Studies, which CCAI has released as a gallery document and online archive. Working in digital animation, web production and comics, Lanier said he enjoys producing hybrid forms. His animations screened at the Sundance Film Festival and won the Internet Animation Grand Prize at the Ottawa International Animation Festival. His art criticism essays have appeared in numerous online and print publications, including The Believer, Comics Journal, HiLobrow, Furtherfield, Rhizome, and the San Francisco Chronicle.

Carlos Ramirez, a student at Western Nevada College Latino Leadership Academy, provided a Spanish translation of the show’s wall text.

Western Nevada College is a component of the Nevada System of Higher Education with campuses in Carson City, Douglas County, and Fallon. CCAI is an artist-centered non-profit organization committed to community engagement in contemporary visual arts through exhibitions, illustrated lectures, arts education programs, artist residencies and online activities .

The initiative is funded by Nevada Humanities and the National Endowment for the Humanities, John and Grace Nauman Foundation, Nevada Arts Council and National Endowment for the Arts, Kaplan Family Charitable Fund, US Bank Foundation, Southwest Gas Corporation Foundation, Steele & Associates LLC, and CCAI Sponsors and Members.

For more information, please visit the CCAI website at www.ccainv.org.

Culture sector defies mayor, opening hair salons and gyms in protest against lockdown

Several theaters and museums in the Netherlands will demonstrate on Wednesday against the coronavirus measures which have always closed the cultural sector. Around 70 Dutch theaters and concert halls will be turned into hair salons, massage studios or beauty salons, where performances are also staged for the Hair Salon Theater campaign. Several mayors announced that they were not allowing the protest and would enforce coronavirus rules.

In the Hair Salon Thater, an initiative of Diederik Ebbinge and Sanne Wallis de Vries, customers are entertained by entertainers such as Jochem Myjer, Claudia de Breij and Youp van ‘t Hek while they get their haircuts or the like processing. Indeed, hairdressers were allowed to reopen last weekend while the cultural sector remains closed. Participating theaters include the Parktheater in Eindhoven, the Orpheus Theater in Apeldoorn and the Concertgebouw in Amsterdam.

The capital’s mayor, Femke Halsema, has warned participating cultural institutions that they can expect a visit from law enforcement if they open their doors on Wednesday. The mayor of Nijmegen, Hubert Bruls, also president of the Security Council of Mayors who chair the 25 security regions, made the same call. Utrecht, The Hague and Eindhoven, among others, have also said they will apply the rules if necessary.

About twenty museums offer a one-off sports course or other initiatives. For example, a hair salon opens at the Van Gogh Museum and the Groninger Museum organizes a graffiti workshop as a gym lesson for the brain. The Fries Museum will serve as a yoga studio, as will the Tot Zover Funeral Museum. In addition to yoga, the Limburgs Museum also offers Zumba.

The Museums Association, which is behind the actions, thinks it makes no sense that museums are yet to be closed while shos are allowed to receive patrons again. “In terms of movements, 450 museums bear no relation to the movements of a total of 85,000 physical stores in the Netherlands,” according to the museum club.

The De Balie debate center in Amsterdam has created the Philosophical Society, the Community of Reason, to circumvent the rules of the coronavirus and open on Wednesday as a religious institution. Director Yoeri Albrecht visited the Chamber of Commerce on Tuesday to set up the association that will hold its gatherings in De Balie.

“The Community of Reason is accessible, pragmatic and inclusive; access is free for all,” De Balie said in a statement. “This way we can also get performers and freelancers who are currently without help back to work.” Artists are called upon to manifest themselves. “Obviously, we offer them compensation.”

Wednesday’s first guest is Mohamedou Ould Slahi. The Mauritanian was imprisoned for 14 years without being formally charged in the American prison in Cuba, where he was tortured and humiliated. He was supposed to give a talk at De Balie at the end of October but had to cancel because his application for a work and residence permit was unsuccessful. This was organized in November by the Immigration and Naturalization Service (IND).

Albrecht announced his plans last weekend. “I don’t understand why you can meet in the Veluwe to discuss a 2000 year old book but not meet in the heart of Amsterdam to discuss a book from a month ago,” he said. he said on the WNL Op. Zondag TV show.

Visitors’ coronavirus passes will be checked on arrival and social distancing will be enforced.

The municipality of Amsterdam is investigating whether this construction is legally permitted, a spokesman for Mayor Halsema said when asked.

Deutsche Börse Photography Foundation Prize 2022 • The exhibition in London


Originally established in 1996, the long-running and influential annual Deutsche Börse Photography Foundation Prize identifies and rewards artists and projects considered to have made the most significant contribution to photography over the past 12 months.

The four artists shortlisted for the Deutsche Börse Photography Foundation Prize 2022 are Deana Lawson, Gilles Peress, Jo Ractliffe and Anastasia Samoylova. They were selected by a specially appointed jury for 2022 including Yto Barrada, artist, Jessica Dimson, Deputy Director of Photography at The New York Times, Yasufumi Nakamori, Senior Curator of International Art (Photography) at Tate Modern, Anne- Marie Beckmann, Director, Deutsche Börse Photography Foundation, and Brett Rogers, OBE, Director, The Photographers’ Gallery, as Voting Chairman.

Each artist offers very distinct approaches to visual storytelling, while collectively tackling some of the most pressing issues facing us today. Despite the difference in perspectives (generational, geographical, racial, cultural) and artistic strategies, each of the shortlisted artists shows an acute awareness of their current context, the weight of history, the issues of heritage and language (visual or no) and the responsibility to express their own position in relation to their subject.

The Photographers’ Gallery in London will host the exhibition of the shortlisted projects from March 25 to June 12, 2022, with the winner announced on May 12, 2022. The exhibition will then travel to the Deutsche Börse headquarters in Eschborn/Frankfurt and will be on view from June 30, 2022.

The winner of the £30,000 prize will be announced at an awards ceremony to be held at the Photographers’ Gallery on May 12, 2022, with the other finalists each receiving £5,000 – an increase on previous years where the reward fund was £3,000 each.

The artists and projects of the 2022 shortlist are:

Deana Lawson, chef, 2019. Courtesy of Sikkema Jenkins & Co., New York; David Kordansky Gallery, Los Angeles.

Darren Rovell Owns ‘More Than Nine Signed MLK Items’ Which He Flatly Refuses To Give The Smithsonian


The internet is a door, and with advances in cell phone technology over the past 15 years, we now have all the buttons to that door in our hands at all hours of the day. But the problem with this door is that it is an ever-evolving mystery. You are addicted to opening that door even though you never know what will happen on the other side. Sometimes it’s a highlight of a team you don’t even follow, other times it’s a video of a dog and a turtle becoming friends, and then sometimes there’s this guy who bought Hugh Hefner’s viagra bottle boasting he had “over nine” Martin Luther King, Jr. documents ON Martin Luther King, Jr. Day.

Much like my qualms with how many airships exist in the world today (somewhere between 15 and 25, no one knows for sure), NINE just isn’t a big enough number to stop the count. Especially when it comes to something as important, in his own words, as the historical artifacts of one of the most upright Americans of all time. It’s not “here’s a picture of my dad walking arm in arm next to MLK”. It’s, literally, “I bought it from the prison warden’s family and no one else can touch it.” You know the villains in this story? They always profit in one way or another. Thanks Darren!

The stunned silence of this Twitter space really tells the whole story. The “I’m SORRY I’m white” immediately met with an extremely pissed off “Okay” is almost as funny as talking about owning a signed Rosa Parks rookie card. This shit is not about race, please stop yelling at everyone. It’s about pretending to be a student and a fan of history while simultaneously refusing to part with such records because of their monetary value. If he really cared about historical significance, he wouldn’t hesitate to send him to a museum, any museum, so that future generations could get a glimpse of such an important figure in history. of our country. I think that’s what’s counterintuitive here, not people calling you an asshole for being an asshole. I also think I won’t be able to sleep a wink tonight until I find out what else he has in this British museum of a house he built. “See that shovel? This is the shovel they dug the Underground Railroad with.

Everything I’ve learned about Darren Rovell has been against my will, and that doesn’t seem to be changing any time soon. He will never log out, he will never do what a real living human would do in whatever scenario he finds himself in, he will burn all the historical artifacts he owns when he dies and wipe out an era of the human history similar to the flames of the Great Library of Alexandria. And we just can’t do anything to stop it.

Smithsonian slashes museum hours due to staffing shortages due to COVID – NBC4 Washington

Select Smithsonian museums in the DC area and the National Zoo will operate on modified hours beginning Tuesday and until further notice due to the effect of the pandemic on staff, the institution announced Monday.

The Steven F. Udvar-Hazy Center in Chantilly, Va., and the Smithsonian Institution Building, known as “The Castle,” will remain open seven days a week, while the National Museum of Natural History, the National Museum of American History and the National Museum of African American History and Culture will be open to the public five days a week, the Smithsonian said.

The National Zoo and other area museums, including the American Art Museum and National Portrait Gallery, the Renwick Gallery, the Hirshhorn and the Museum of the American Indian, will operate Thursday through Sunday.

The National Air and Space Museum, the National Postal Museum and the Anacostia Community Museum will remain closed.

You can find the full museum hours here.

“This newly modified schedule reflects the continued need to scale back operations due to ongoing staffing shortages while meeting the needs of the public by opening more museums on weekends,” the Smithsonian said in a statement.

Some museum entrances and exhibition spaces may also be closed during this time.

The Smithsonian originally announced a modified schedule of Jan. 5-17, but after evaluating operations and staffing needs over those two weeks, management decided to extend the changes, the institution said.

The use of masks is required in all interior areas Smithsonian sites for visitors 2 years and older, regardless of their vaccination status.

Opelika’s Abby Snelling makes a point in time to embroider history in art


History can be made one moment at a time, but Abby Snelling captures it one point at a time.

Snelling, who grew up in Montgomery and Birmingham but now calls Opelika home, is the founder of Gray House Embroidery, a fiber art company that uses needles and thread to record architectural history. It’s an idea that grew out of Snelling’s shared passions for history and embroidery, and began to take shape in 2018 after Snelling and her new husband, Garrison, moved into a charming gray house in the Historic Opelika.

At the time, Snelling was on a year-long hiatus from his classes at Auburn University and had plenty of free time. Garrison, who was working from home, suggested she needed a hobby, so she took up embroidery. Although she had tried her hand at crafting with her grandmother, Snelling had a lot to learn, so she started learning on her own using YouTube videos and other resources.

“It was so relaxing and I fell in love with it,” she said. Soon, Snelling and a friend were meeting at home to have craft nights together. As they worked, their conversations often turned to discussions about how they could weave their beloved hobbies into a business; but what that venture might look like was unclear.

An idea began to take shape, however, after Snelling returned to school in 2019 to complete her history degree and took on a senior project focusing on Opelika’s history as a textile city. Already well established as a cotton shipping town, its history of textile manufacturing began in the early 1900s when local investors pooled their money to build the Opelika cotton mill. In the mid-1920s, after city leaders convinced the textile giant Pepperell Manufacturing Company (later known as WestPoint Home) to come to town, Opelika became a center of textile manufacturing and the east remained for more than half a century.

“I learned a lot about the history of Opelika through this project,” says Snelling. She was also intrigued by the vestiges of its textile history, such as a beautiful old mill chimney and a water tower still standing. She also found photographs of many long-gone buildings depicting this history, some of which were featured in the 1978 film “Norma Rae.”

Abby Snelling embroiders an image of the Pepperell Mill building in Opelika which was closed in 2000 and burned down in 2013. (Tessa Battles/Alabama Living)

One structure that particularly intrigued Snelling was the massive Pepperell Mill building, which had been closed since the early 2000s. Although the abandoned structure burned down in 2013, looking at its photo, Snelling could imagine its former presence on what was then a vacant lot. She wanted to capture it and other parts of Opelika’s textile history with her own needle and thread, which was a bit of a challenge.

“Most traditional embroidery is very delicate and free-form with lots of curved, flowing lines,” she says. Embroidering buildings, however, involved using straighter lines and finding ways to bring out the textures, colors, and fine detail of these ancient structures. “Finding out how to add these details using thread, which is pretty much two-dimensional, was like solving a puzzle.”

Snelling had the solutions to this puzzle at his fingertips. Embroidery uses several basic stitches – warp, feather, back, run and French knot among them – but also a range of other more complex stitches, all of which can be used to create different effects. Additionally, embroidery floss, often referred to as floss, comes in hundreds of colors that can help replicate the nuanced colors of each structure.

Through trial and error, Snelling began creating historic artwork, beginning with the iconic image of the chimney and the water tower. She then began creating pieces featuring other buildings, including the former Clements Hotel, a newly constructed Art Haus non-profit building and the storefront of Griff Goods, a sustainable clothing store in the city center. history of Opelika where Snelling works part-time.

Eventually, Snelling wants to create enough pieces for a show that highlights the past of this vibrant little town she’s come to love.

Through Gray House Embroidery, Snelling creates commissioned pieces, most recently capturing images of buildings on the campuses of Auburn, Florida State University, and the University of Southern California. She also teaches embroidery in private lessons and workshops. For more, follow her on Facebook and Instagram @greyhouse_embroidery.

This story originally appeared in Alabama Living magazine.

A private collection of paintings by Nicholas Roerich provides insight into his life


I was seven when I first visited the Himalayas. I vividly remember the feel of the frigid mountain air, as the aquamarine peaks morphed into a stunning shade of fuchsia as the sky touched dawn. Safe to say my younger self had never witnessed such a breathtaking sight before.

Over the past two years, while navigating the many confinements from the confines of my home, I have found myself revisiting the mountains, but this time through the paintings by the late Nicholas Roerich that adorn our New Delhi home. My family’s connection to Roerich dates back to the early 20and century, when my great-great-grandfather, Dewan Dinanath, was Prime Minister of Mandi and Holkar States. He forms a close bond with the artist, who ends up spending several Christmases in Mandi.

Born a decade apart (Roerich in 1874 and Dinanath in 1884), the two men lived through the world wars and often discussed politics, philosophy, spirituality and, above all, art. Many idyllic evenings were spent exploring the bazaars, often returning home with “pothas” of Indian miniatures. Their friendship encouraged my grandfather, Surendra Daulet-Singh, to begin collecting Roerich’s paintings in 1963, a defining moment for him as a collector.

Svetoslav and Devika Rani by Nicholas Roerich

Nicholas Roerich was born in Saint Petersburg, Russia on October 9, 1874. A trained lawyer, artist, philosopher, author and archaeologist, he was a central figure in Russian politics and culture. However, he sought greater power, power that lay beyond the upper echelons of Russian society. Roerich first landed on the shores of Bombay in 1923 with his wife Helena and their two children George and Svetoslav. But they never aspired to settle by the sea; by the end of the year, they had arrived at Kanchenjunga in Darjeeling.

It was in the depths of the mountains that he hoped to immerse himself in “Shambhala,” a Buddhist idea of ​​a heavenly abode on earth. His paintings from this period are full of shades of azure and magenta, exuding serenity and divinity – a calming image for times riddled with anxiety and despair. He believed that mankind was connected to the natural world by hidden threads, symbolizing their inherent relatedness.

The Day – East Lyme Historical Society considering new home


East Lyme – The East Lyme Historical Society plans to open a museum and research space in the building which began in 1946 as the first fire station in the Flemish section of the town.

More recently, the two-story brick structure on Boston Post Road across from Flanders Elementary School housed the city’s dispatch system and fire marshal’s office. But firefighters have already moved to the new public safety building across town and dispatchers are expected to follow next week.

Historical society president Norman B. Peck III said the group has long viewed the building as a showcase for a growing collection of documents and artifacts. The sign when it goes up will identify the space as the center of East Lyme history, with a museum on the first floor and a research space on the second.

“The building is the best we could dream of,” Peck said. “It’s all masonry construction, watered down, air-conditioned, built like a fort.”

Archival experts point out that controlling temperature and humidity is one of the most important factors in preserving collections.

The building will need to remain heated and air-conditioned regardless of occupancy status, officials said. This is because there will be communications equipment left on site in an enclosed space at the front of the building.

Early selectors Kevin Seery described the building as “the perfect setup” for the historical society. The accessible first floor works well for the exhibit space, while the location near several public schools aligns well with the educational aspect of the organization’s mission. And no other groups have expressed interest in taking over the space, according to Seery.

The Board of Selectmen in October authorized the first selectman to negotiate with the historical society for use of the building. Seery said the plan is to offer a renewable long-term lease for $1 a year that could have signings by the middle of next month.

The group is partnering with the East Lyme Public Library to create the museum, which includes archives currently housed in wooden and glass cabinets in the library’s East Lyme Room.

Lisa Timothy, the library’s executive director, said she received a $10,000 grant from Connecticut Humanities to hire an archival consultant to help guide the creation of the museum. The historical society received a $6,000 grant from the same branch of the National Endowment for the Humanities to cover its operating expenses.

Peck estimated start-up costs could be between $20,000 and $25,000. He said the historical society will hire an architect who will provide firmer estimates.

The costs are related to bringing it up to federal accessibility standards through upgrades such as larger doors and an expanded bathroom, he said.

“So much to show”

City historian and historical society treasurer Liz Kuchta said large fires at the Colonial Inn in 1935, and then at Comstock Hall 11 years later, led to the establishment of the Flanders in 1946. Before that, trucks had to come from Niantic.

The Flanders department overran the space in 1972. It was used by local groups until it became the communications hub, officials said.

Now members of the historical society and library consider the place a showcase of unique local history that begins with the Nehantic tribe and includes Revolutionary War skirmishes, granite production, ice harvesting and a man who served three tours in the Civil War. before returning home and drowning at sea.

“We have his gun,” Peck said. It is part of an extensive Civil War collection donated to the historical society in the near future that members plan to display prominently in the new museum.

Peck said the historical society also hopes to be able to obtain — or at least borrow — some of the Nehantic-related Norris L. Bull Native American artifact collection.

According to the University of Connecticut, the collection of more than 8,000 pieces dates back 12,000 years and is one of the largest in the state. It was given to the school in 1963 and stimulated the development of its archeology curriculum.

Meanwhile, there are many other documents and artifacts scattered around the town at members’ homes and at City Hall, in addition to the library. Peck described it as “a whole bunch of other things that belong in the public eye instead of being hidden”.

Kuchta noted that the historical society has various artifacts at the Thomas Lee House and Museum, which has been in operation since 1915. But she said the house and its barn are unheated, which means they are not particularly welcoming to visitors during the colder months.

“It will make more artifacts from our city available for people, and especially school kids, to come and see,” Kuchta said.

Timothy put it this way: “There’s so much to show in this town.”

[email protected]

Richard Leakey: pioneer fossil hunter and champion of animal conservation

Richard Leakey often said that the things he liked best were the things people said were impossible to do. He also said he had no interest in being popular; he was rather interested in doing what was his passion at the time. As his passion changed throughout his life, Leakey impacted more areas of human endeavor than most people do in a lifetime.

It must also be said that while Leakey’s pragmatic, action-oriented style has earned him the admiration of his friends, it has also earned him more than a few haters. This has had no significant consequences in the field of human origins research, for which he is best known internationally, but rather in the field of Kenyan politics. It is widely suspected, for example, that the 1993 crash of a single-engine plane he was piloting was not an accident.

At the time of the accident, Leakey was making life uncomfortable for people in high places who were interested in the exploitation of wildlife, including elephant ivory. He lost both legs below the knees in the accident. Typical of Leakey’s humor, he often liked to joke, “I’ve got two feet in grace, but I’m still alive”, while giving his characteristic broad smile and choppy, snorting laugh.

I first met Leakey in 1975, in his sparse office at the National Museums of Kenya, of which he had been director since 1968. He was dressed in a blue blazer with brass buttons, a white shirt and a red striped tie and khaki pants. I was not. He later told me that my jeans and denim shirt kinda alarmed him as “a bit of a hippie”, but since I was a writer, he let it go. Leakey’s need to dress “properly” captures a major beast he struggled with in his previous professional life.

By 1975, Leakey had already accomplished two things that “couldn’t be done.” The first was to begin the transformation of the Nairobi Museum from a parochial institution into a world-class center for the study of human prehistory. The second was to discover a rich site of ancient human fossils on the eastern side of Lake Rudolph (later Turkana), an area thought to be barren volcanic rock but turned out to be sandstone sediments . And yet here is a man without a college degree. He left school aged 16, briefly flirted with the idea of ​​going to university in England five years later, but quickly abandoned that idea in favor of action on the pitch. in Kenya.

In 1969 Leakey found a complete specimen of an early member of the human family, ‘Australopithecus’


Leakey had been politically shrewd enough to maneuver himself into being the head of the museum when he was just 24, in 1968. But he felt snubbed because of his lack of scholarship. He undertook to remedy this by writing articles in the journal Nature on the remarkable finds of human fossils at Lake Turkana in northern Kenya. But even here he was plagued by the idea that the “real scientific analysis” should be done by the “experts”. However, Leakey was determined as always and pushed forward, his dress code forming part of his defensive shield.

Michael Day, British anatomist and human fossil expert, said that “nine-tenths of your importance in [human prehistory] comes from your findings”. Here Leakey proved unrivaled (although challenged by friend and sometimes rival Donald Johanson, discoverer of the famous “Lucy” skeleton, in southern Ethiopia). In 1969, Leakey (and his new wife, Meave) launched the first large-scale expedition to the eastern shore of Lake Turkana. Within days, Leakey found a complete specimen of an early member of the human family, Australopithecus. It was the kind of discovery his famous parents, Louis and Mary, had waited almost three decades for. (Louis Leakey used to joke that the secret to his talent for finding fossils was “Leakey’s luck.” Obviously, Richard had inherited it in spades.)

The skull, commonly known as 1470, that Leakey’s team discovered had an unusually large brain, leading many to suspect it was a species of Homo, the lineage who led us. It was thought at the time (wrongly, it turned out) that he was at least 2.5 million years old, making him the oldest Homo discovered so far, and the tools associated with him , the oldest tools.

One of Leakey’s first acts as director of the Kenya Wildlife Services was to burn 12 tonnes of elephant ivory, a successful publicity stunt.


The trove of early human-related fossils discovered during the first two decades of prospecting on the eastern (and, later, western) shore of Lake Turkana shifted the focus of human-made activities from southern Africa , where it started, to East Africa. With these discoveries came a much more nuanced view of human prehistory. Leakey’s skills as an international organizer and fundraiser made this possible. He never aspired to master the mysteries of metric analysis, cladistics, etc., but he knew fossils as well as any anatomist, probably better.

In 1989 Leakey left his post as director of the National Museums of Kenya, announced the end of his involvement in human prehistory and moved on to his next life, in wildlife conservation. Leakey had a lifelong passion for nature, fueled, he would say, by the otherwise miserable times he and his younger brothers endured in remote parts of East Africa on fossil-hunting expeditions from their parents.

When Leakey was appointed head of what became the Kenya Wildlife Services (KWS) in 1989, it was another opportunity to do something that could not be done. In other words, take a corrupt and dysfunctional organization and turn it into an efficient institution with high morale and ethics. And save the elephants at the same time.

In 1993, the paleoanthropologist lost both his legs in a plane crash suspected of having been planned by people in high places that he had provoked.


One of Leakey’s first actions was to burn 12 tons of elephant ivory, a spectacular international public relations stunt that was key to the eventual banning of the ivory trade. He also fired 1,500 department employees suspected of corruption, hired new employees, dressed them in military-style uniforms, armed them and ordered them to shoot poachers on sight. Some wondered what Leakey was “really” doing with what looked like a private army. Nevertheless, within three years, 100 poachers had died and Kenya’s elephant population was increasing for the first time in two decades, literally lifting it from extinction. International donors have rewarded these achievements by giving the country $140 million for wildlife conservation projects.

Rooting out corruption, as Leakey had done, inevitably irritated some corrupt people in high places. Many saw the 1993 plane crash as the inevitable pushback, basically. So did the subsequent government “secret investigation” which claimed to have uncovered “corruption and mismanagement” at the KWS. Leakey resigned in disgust in 1994. Making a lasting impact in a quasi-political arena was not as easy as in paleoanthropology, even for the now more seasoned Leakey.

A dedicated Kenyan national, Leakey was fearless and immersed in real politics in an effort to root out the government corruption he saw his beloved country bleed. Frustrated by President Moi’s refusal to change course, Leakey co-founded the opposition Safina party in 1995, another achievement people said was impossible. It was a rough patch, literally: Leakey found himself verbally excoriated by the president, and physically beaten by his thugs. He became an MP, briefly, in 1998.

Later in life, Leakey founded a website aimed at saving endangered animals and chaired the anti-corruption organization, Transparency International.


Moi had to relent in 1999 when international funding institutions cut off further aid unless government corruption could be curbed. Because of Leakey’s international reputation for high ethical standards, Moi appointed him secretary to his cabinet and head of the civil service, the nation’s second most powerful post, to do just that. Leakey approached this work the way he tackled each of these challenges: uncompromising and with a lot of promise.

The result was twofold: first, Leakey and his team began to get corruption under control enough within two years for the IMF and World Bank to reinstate $250 million in aid; second, embedded interests in the administration began to back down, once again, with Leakey’s proposed changes facing growing resistance and previous successes overruled by the courts. Leakey felt pressured to resign in early 2001, without commenting on his reason. He announced he just wanted to hang out at his “farm” on the edge of the Rift Valley nearly an hour from Nairobi, where he said he would grow grapes and relax.

Some have argued that if Leakey had not taken on the task of fighting corruption, Moi could have been expelled by international and domestic pressure. In fact, Moi had to give up the presidency in 2002 anyway. His chosen successor, Uhuru Kenyatta, son of Kenya’s first president, was defeated by opposition candidate Mwai Kibaki. This unprecedented success of an opposition party in Kenyan politics can in part be attributed to Leakey’s earlier efforts with Safina and her brief foray into the Moi arena.

Leakey had long been a foodie, enjoyed cooking and drinking good wine. The idea of ​​him tending the vines and producing decent wine was part of his supposed plan after leaving politics, as well as achieving another feat that would have been impossible due to a terrain and a allegedly unfavorable climate. It produced some decent chardonnay and pinot noir. But, relax? Barely.

In 2004, he founded WildlifeDirect, a web-based organization whose goal was to save endangered species, especially great apes. He also became chairman of the Kenyan charter of Transparency International, a non-governmental organization that fights political corruption. None of this surprised his friends.

What surprised them, however, was that Leakey had returned to researching human prehistory. In 2005, he became a full professor at Stony Brook University, New York, as part of its Turkana Basin Institute. The aim of the institute was to expand research efforts in this region of Kenya to a scale and scope far exceeding all previous efforts. Leakey had finally set foot in academia with this project, even though he had no feet. And in 2007 he was made a Fellow of the Royal Society of London, a great honor his father coveted but never offered himself. Not bad for a high school dropout.

He is survived by Meave and their daughters, Louise and Samira, and Anna, his daughter from his first marriage.

Richard Leakey, paleoanthropologist and ecologist, born December 19, 1944, died January 2, 2022

History has always “clicked” with him


HASTINGS, Neb. (AP) – Dan Brosz’s interest in history, nature and museums began early in life.

Brosz, 44, began working as the new collections curator at Hastings Museum in December 2021.

“Our family vacations were either national parks or museums as a destination, or usually both,” he said. “If I wasn’t dragged into a national park visitor center, I was into Chicago’s big museums. They were always stops for us. Until I got tired, it was still a pleasant experience.

He grew up in a family whose parents both loved history.

“Just hearing stories of family history and background—growing up in the Cold War and all the Cold War movies that came out in the 80s and popular culture—sparked my interest in ‘Why the United States Doesn’t don’t they like the Soviet Union? he told the Hastings Tribune. “History has always clicked with me. What kid doesn’t love going to the dinosaur museum? It also opens the door to other museums and has led to an appreciation for art and art museums and art history.

Looking back, he doesn’t know which came first, the love of museums or the love of history.

“They probably both fed each other and made me the history buff I am today,” Brosz said.

This interest led Brosz to pursue a degree in history at Northern State University in his hometown of Aberdeen, South Dakota.

“I had very good teachers who took me under their wing and gave me direction,” he said. “I was involved in the history club there.”

The club visited the South Dakota State Historical Society, which allowed them to learn about some of the careers available at museums.

Brosz received a master’s degree in museum studies from the University of Nebraska-Lincoln. He also completed the Executive Certificate in Nonprofit Leadership and Management from the University of Notre Dame.

His professional experience includes working as a registrar at the National Model Aviation Museum in Muncie, Indiana; curator of collections at the South Dakota State Historical Society; and Director of Arts in Communities with the North Carolina Arts Council.

He was recently joined in Hastings by his wife, Jennifer, and daughter, Hannah.

Jennifer has a background in historic preservation. The couple worked at the same State Historical Society building in South Dakota and again in North Carolina.

Hannah is a kindergarten student at Adams Central Elementary.

Brosz served as president of the South Dakota Museum Association and served on numerous regional and national committees. His primary interests are the history of the Northern Great Plains, the history of the United States of the 20th century, and the cultures and histories of the Indigenous peoples of the Northern Plains.

As Curator of Collections, Brosz will help plan the museum’s upcoming permanent exhibits, as well as expand storage of the museum’s collections.

“It’s both exciting and intimidating,” he said.

It is still acclimatizing to the museum’s storage collection.

“Teresa (museum director Teresa Kreutzer-Hodson) and Jess Noyd (museum registrar) have done a great job over the years identifying and cataloging everything,” he said.

Brosz knew the Hastings Museum and several staff members before applying for the job.

He has known many of the Hastings Museum staff for nearly 10 years through their mutual involvement in the Mountain-Plains Museum Association.

“I knew them and had been here on tour in 2012 or 2013 when the conference was in Lincoln,” he said. “I was really impressed with the museum. It was a place when it came time to look and see what was going on there and this work opened up, I saw myself working there. People are great. The museum is great. I was looking to get back into the museum realm, and (when) this opened up, it was like, ‘This could be fun.’ ”

Brosz was one of two out of three candidates already known to museum officials.

Brosz’s qualifications stood out from Kreutzer-Hodson.

“Dan’s experiences and talents in his previous jobs really shined through,” she said. “We just thought he would fit very well into our team and fill niches that we don’t currently have, especially with grant writing.”

She said another aspect that helped Brosz rise to the top of the nominees was her knowledge of the legal issues museums face, such as the Native American Graves Protection and Repatriation Act, loan agreements , copyright and title transfer. Along with the grant experience, this was an important factor in her selection.

“He has a very solid background in managing and caring for collections,” she said. “He has worked with education departments and exhibition departments before. He really had that baggage, but he also had the cultural baggage. He is strong in cultural history. This is another key element that we looked at and helped us decide it would be a better fit. We don’t have to practice a lot with him.

Brosz will succeed Kreutzer-Hodson as curator of the collections.

Kreutzer-Hodson, a long-time museum employee, was appointed director of the museum by Hastings City Council on July 12, 2021. She served as interim director following the departure of former director Becky Matticks.

“So far so great and I can’t imagine it not being great because of the type of person Teresa is and coming in knowing that my predecessor was doing it right and she built the foundations, it will make my job easier,” Brosz said. .

Kreutzer-Hodson is confident in Brosz’s abilities.

“I’ve been at the museum for 25 years, and 24 and a half worked exclusively in his position,” Kreutzer-Hodson said. “It’s a bit difficult to let go of your baby, but I think Dan will do just fine. I try to be the resource for him but not to hinder him. He has his own ideas about how he wants to adopt some of the management practices, all of which are consistent with professional development standards in our field. »

The startup will send valuable artifacts to the ISS


It won’t be long before a museum of Earth artifacts is rocketed into space to find a permanent home on the International Space Station.

Plans for a space exhibit: A startup called Uplift Aerospace recently struck a deal with NASA to transport all kinds of valuables to the ISS and house them in Uplift’s Constellation Vault starting this year.

The safe is only the size of a gym locker, but it could include artifacts like rare artwork and jewelry. These objects, usually kept in museums, will ultimately only be visible in space.

“The idea is that we can present the objects while they are on the space station.”

Josh Hanes

Initially, the vault will serve as an exhibition platform. Unlike the time capsule that NASA sends to the Trojan asteroids, over time some objects in the Constellation Vault could be sold. The startup hopes it will “establish commerce in the space”.

“We want the Vault to be a place that showcases the value of humanity and the Earth when it comes to what we create,” said Josh Hanes, President and CEO of Uplift Aerospace. , to collectSpace – adding that some of the items that will be transported and returned will be destined for museums rather than being sold.

The details: The startup may have big ideas, but it has yet to define exactly how it will send the objects into space.

“The idea is that we’ll be able to showcase the objects while they’re on the space station,” Hanes told the website, “but we’re still developing the exact process of how that will be done.”

The team creates memberships for Uplift’s “Space+” community in the blockchain. The NFTs will allow owners access to “real space experiences, including the Constellation Vault”. People who purchase NFTs from Uplift Space will have access to freebies and opportunities like flying items to the ISS, winning a trip to space, or even keeping an item from the vault.

“We’ll have a payload where we bring back something from the space station that every member can have, whether it’s a mission patch or whatever,” Hanes said. He says the ultimate goal is to facilitate commerce between space and Earth – what better currency to do that than with NFTs, something that already seems a bit out of this world.

We would love to hear from you! If you have a comment about this article or have a tip for a future Freethink story, please email us at [email protected]

The Met will pay museum guards more due to Covid-related shortages

As the Omicron variant has spread in recent weeks, other museums have experienced staff shortages due to illness. For example, the Smithsonian’s National Air and Space Museum in Washington is closed until the end of the month, and its National Museum of Natural History was briefly closed due to a staff shortage in visitor services, but has now reopened.

In New York, where a record number of Covid-19 cases have been reported, the Met has reduced its reception capacity. Anne Canty, spokeswoman for the American Museum of Natural History, said its galleries remained open with the exception of the museum’s Butterfly Conservatory, which has been closed for several weeks due to a shortage of specialist staff and volunteers.

Amanda Hicks, spokeswoman for the Museum of Modern Art, said while some staff were absent due to the impact of Covid, no galleries had closed.

Until recent weeks, the number of galleries closed at the Met on Fifth Avenue was more modest, although closing one section might disappoint a visitor. Dan Nazzaro, for example, drove to the museum from Parsippany, NJ, on the Saturday after Thanksgiving, when two European sculpture and decorative arts galleries were closed, as well as several in the American wing.

Nazzaro said he went specifically to see a gallery in the American Wing displaying an 18th-century cabriole-legged Massachusetts couch and other furniture. But that day it was cordoned off with a rope and a sign that said ‘temporarily closed’. Looking at the items inside, Nazzaro said he wishes the museum had used its website to list gallery closings in real time.

Museum officials said they were confident Met staff, visitors and the Met collection remained safe, even as staff shortages deepened in early January. Regina Lombardo, the Met’s security chief, said in an interview that the museum determined it was more efficient to assign guards to patrol and move them from place to place, sometimes on base. information from cameras, than always keeping them in fixed positions. posts.

But a larger staff was still in order, museum officials said, although fewer guards appeared to be calling in sick recently. The Met said it had just hired seven new guards and planned to hire more. Lombardo said she thinks the pay raise will help accomplish that, adding, “We’re fishing in a bigger pond.”

News from the region: January 13, 2022 | Community news


In-person virtual exhibitors wanted

NORWICH – The Chenango Arts Council at 27 W. Main St. in Norwich is seeking exhibitors for its 2022-2023 gallery season.

According to a press release, the CCA will support an in-person gallery exhibit with an opening reception, postcards, posters and social media marketing.

Interested artists are requested to send their curriculum vitae, artist statement and at least eight digital images, including titles and media to [email protected] for review by the gallery committee.

For those who wish to exhibit virtually, the CCA is also looking for online exhibitions as well as member artists to feature in its Guide to the Arts.

A list of guides can include images, videos, web links, and the possibility of being hired for workshops and virtual events.

Artists can email [email protected] or call 607-336-2787 for more information.

Society awards college scholarship

NORWICH – The Chenango County Historical Society is accepting applications for the Elinor Robb Troicke Memorial Fellowship.

According to a press release, the annual scholarship is traditionally awarded in June to a high school graduate from Chenango County.

The scholarship has been awarded annually since 2013.

It honors the memory of Troicke, described as a McDonough community volunteer and supporter of high school students.

Troicke was for many years a volunteer museum educator at CCHS.

She taught art at Oxford Academy and Central School for over 20 years before retiring in 1989.

She was an active member of McDonough United Methodist Church, where she taught Sunday School and Holiday Bible School. She was also a member of United Methodist Women and involved in all functions of the church.

Troicke has also served as a Cub Scout and Girl Scout leader, was a member of the Chenango Piecemakers Quilt Club, co-founded the McDonough Improvement Committee, is credited with leading the McDonough Library and Calvary Community Center, and was the historian from the town of McDonough. .

Applicants must intend to enroll in a two or four year college in the semester following high school graduation, have completed volunteer service with one or more county nonprofit organizations de Chenango and intend to major or specialize in museum studies, history, studio art, librarianship. , education or a related field.

All nomination papers must be submitted by 4:00 p.m. on May 1 to the Chenango County Historical Society at 45 Rexford St. in Norwich.

Visit www.chenangohistorical.org/education for more information.

Historical essays presented in the book

FLY CREEK – The Fly Creek Area Historical Society’s publication, “Fly Creek Area History” is available for purchase at the Fly Creek General Store.

According to a press release, the book contains historical essays collected from members, guest speakers and historians over a period of 30 years. A limited number of books have been printed and are priced at $ 25 each.

Society memberships are available at $ 15 per year per family and $ 10 per year per individual. Members receive a quarterly newsletter. Membership fees can be mailed to PO Box 87, Fly Creek, NY 13337.

National Gallery to Reconnect Britain with American Art Giant Winslow Homer | national gallery


He’s a superstar artist in the United States, revered for his powerful Civil War scenes and dramatic coastal storms, but Winslow Homer is hardly known in the UK. Even less well known is the importance of an English seaside village in making him the true great painter he has become.

The National Gallery will aim to correct that this year with the first in-depth exhibition of Homer’s art held in the UK.

He announced details of a major show telling the story of a famous person in the United States. “Every American is raised knowing their Winslow Homer imagery,” said Christopher Riopelle, curator of paintings at the National Gallery after 1800.

The exhibit will tell the story of his two years in Cullercoats, a fishing village on the coast between Whitley Bay and Tynemouth.

Homer made a name for himself as an integrated artist-reporter in the Union Army during the American Civil War, providing images for the monthly press.

He used these images in powerful paintings which, Riopelle said, “established him as someone who really spoke about America in the modern world. He was sort of telling Americans the truth about America.

It will never be known exactly why Homer decided in 1881, in his mid-forties, to move to Cullercoats.

One story goes that he met someone on the ship from the United States to Liverpool who told him that there was this place on the North Sea that had become a sort of artists’ colony and that he should take a look.

“I’m not sure it’s entirely believable,” Riopelle said. “He was looking for images of heroism in modern life and I think someone told him there were these rescue crews out there on the North Sea.”

He followed his nose and found the heroism he was looking for. If there was an emergency at sea overnight, Homer would watch the rescue teams come out, watching the women on the beach battered by wind and rain.

Homer made many small sketches of what he saw, mostly in watercolors.

“What’s fascinating about Cullercoats,” said Riopelle, “is that he doesn’t die when he leaves. Once back in America, it’s imagery that he keeps coming back to.

Critics quickly noticed that Homer’s style had changed. Riopelle said you can see Cullercoats in a great photo, The lifeline from 1884.

“Cullercoats showed him how he could find allegory in modern life,” said Riopelle.

The exhibition will include important images that Homer took in Cullercoats, or those that emerge directly from his time there. They include The Gale (1883), showing a woman alone on the shore wrapped in shawls as the wind blows around her.

When it was originally shown at the Royal Academy, it contained much more detail, including a ship. Later, “he took out all those anecdotal details and just narrowed them down to the woman on the shore in the storm who, you know … was getting out of it. He wanted to get to the point.

Gulf Stream detail. Photograph: Winslow Homer

Another work of Cullercoats is Inside the bar, an 1883 watercolor on loan from the Metropolitan Museum in New York, co-organizer of the exhibition.

Highlights of the London show will include Sniper (1863), from the Portland Museum in Maine and painted during the Civil War, and the likely star of the show, The Gulf Stream, on loan from the Met.

Today, no work by Homer exists in any British collection. The National Gallery attempted to acquire a sketch of Cullercoats a few years ago, but was outbid. “We got beaten up because of course Homer is a giant in America,” Riopelle said.

Homer, who liked to be seen as a silent Yankee, wrote a lot about him, including a lot of speculation. “When you write about him it’s absolutely impossible because he never said anything,” Riopelle said. “There is no trace of paper, no letters, nothing.”

Winslow Homer: Force of Nature is at the National Gallery from September 10 to January 8.

Yad Vashem makes Holocaust archives available on JewishGen

The archives of the Yad Vashem Memorial in Jerusalem are now accessible to the public via the JewishGen site, the largest online Jewish genealogy resource.

The deal announced Tuesday by Israel’s Official Memorial to the Victims of the Holocaust and the Museum of Jewish Heritage in New York City provides easy access to millions of names recorded in Yad Vashem’s database through JewishGen, an affiliate of the Holocaust Memorial located in Battery Park in Manhattan. piece.

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The “Pages of Testimony” – documents collected by the Israeli institution since the 1950s – include the names, biographies and, if possible, photographs of some 2.7 million men, women and children. killed in the Holocaust.

Yad Vashem’s database of names lists more than 4.8 million Jewish victims in total. Anyone will now be able to access this information through direct search on the JewishGen site.

“Yad Vashem’s testimonial pages may contain the only existing information about a Holocaust victim, but people may not know how to use their website,” said Avraham Groll, executive director of JewishGen. Jewish week.

Under the new agreement, Yad Vashem’s search results will automatically appear in JewishGen.

JewishGen announced a similar partnership in 2020 with the USC Shoah Foundation to integrate data from nearly 50,000 Jewish testimonies from Holocaust survivors.

“By making these valuable documents available through JewishGen, the wider Jewish community can more easily locate the names of family members and friends who were murdered during the Holocaust,” said Jack Kliger, chief executive officer from the Museum of Jewish Heritage.

City questions management of Riley collection – The Daily Reporter


The Riley Boyhood Museum, next to the poet Hoosier’s childhood home on Main Street in Greenfield, is the repository for the collection of Riley-era artifacts.

Tom Russo | Daily reporter

GREENFIELD – The city government and one of the community’s oldest nonprofits are in dispute over artifacts linked to its most famous citizen, James Whitcomb Riley.

This is a large collection of historical items related to Riley and his contemporaries. The artefacts are in the possession of the Riley Old Home Society, a non-profit organization dedicated to preserving the legacy of the poet Hoosier that has existed in one form or another since the 1930s.

While the nonprofit organization controls the collection, the Greenfield Parks Department owns and operates the James Whitcomb Riley Boyhood Home and Museum, where the artifacts are stored.

City officials say they want to work together to help preserve the artifacts, educate people about Riley’s legacy and support one of Greenfield’s biggest tourist attractions. But they claim the Old Home Society won’t let them handle or even see the historical artifacts.

The conflict escalated to the point that the Old Home Society placed a padlock on its storage door and threatened to remove the items on display. And on Wednesday, Jan.5, the city notified the company that it is expected to vacate the building within six months. Until then, they will only be able to access them by giving notice to the Parks Superintendent, and they have been told not to remove the artifacts unless they can document their ownership.

In an agreement with the city, the Old Home Society was given the option of renting the second floor of the Riley Museum for $ 1 per year to store its collections.

City attorney Gregg Morelock and Parks Superintendent Ellen Kuker, who oversees the Riley Home and its museum next door, said all the city wants is to know what items are included in the collection. from the Old Home Society so that they can potentially be used in programming and display. . But, they say, the organization will not give them that.

“There’s no point in all that stuff sitting upstairs and picking up dust when it could be used,” Morelock said.

According to meeting minutes and other documents provided by the city, the Old Home Society has come into conflict with the city over the access Riley Home coordinator Stacey Poe should have to the society’s collection. . Poe is a Parks Department employee who became a full-time employee in 2020. Morelock said the city has been working on a solution to the problem for more than two years.

Morelock said that when issues began to arise between the town and the Old Home Society board of directors, the town requested the creation of a subcommittee consisting of two members appointed by each entity to resolve the issues. disputes. He said this committee was created, but the solutions he proposed were vetoed by the chair of the Old Home Society collections committee. The two sides asked an Indiana Historical Society official to help mediate the dispute, but that did not result in a resolution.

“We have had no way, firstly, to identify what artifacts may be available for a given exhibit or exhibit, and second, to be able to access them,” Morelock said.

Morelock added that the Old Home Society also offered to provide a photographic inventory of the items, but ultimately only shared photographs of what was already on display at the museum.

Ownership of the artifacts is also disputed. Under the city’s agreement with the Old Home Society, the city owns and maintains the building while the association owns and maintains the collection.

Morelock said that when the deal was created, the Old Home Society said it had documentation of its ownership of the artifacts in its collection, and the city accepted it.

However, the company later published a newspaper ad listing artifacts that it could not verify ownership of. The ad asked people to come forward if they thought they owned any of them. Published in the Daily Reporter in March 2021, the ad lists dozens of articles and article categories, ranging from furniture and rugs to books, lithographs and even a sword.

Morelock said the city responded to this request to claim ownership of the objects. He said the city was insuring both the house and the museum and their contents, and would not be able to insure these items if they did not have a proprietary right to them.

“They literally have, and I think they would recognize it, that they literally have hundreds, if not thousands of artifacts of which they have no idea what these collections are made of,” Morelock said. “And I don’t blame them for that; it is a voluntary organization… They certainly did not have the time to catalog and inventory them.

Morelock said he and other city officials were only allowed to see some of the artifacts once.

The Old Home Society bought software called Past Perfect, which is used to take inventory of historical artifacts. On its website, the organization says the system “will allow us to locate artifacts accurately and quickly, whether on display or in storage.”

Morelock said the inventory is incomplete and does not give the city all the information it needs.

Old Home Society president David Crider said the organization is not commenting on the dispute at this time and plans to hire a lawyer. He said the company owns all of the artifacts in its collection.

The city provided the Daily Reporter with the minutes of a December 2020 company board meeting. In the minutes, board members said they did not believe the museum coordinator needed or should have full access to the artifacts and as a voluntary organization they are not. always able to provide information as soon as it is requested. They also said they had restricted access to their space due to its small size.

Poe, the museum’s coordinator, declined to comment.

Dennis Hendricks inspired by art in a unisex collection


FORMER award-winning model and the man behind Katutura Fashion Week (KFW), Dennis Hendricks, says he drew inspiration from the visual arts to create his new unisex collection “Dh vintage wear”.

“The collection consists of vintage and streetwear clothing. Funky, sassy, ​​sexy and the strangest colors and paints, ”he says.

“I used the paint on cropped jeans and jackets. The idea behind the canvas paintings the models wore at the launch was to help promote social interaction, elicit an emotional response, and facilitate personal connection.

In the collection, Hendricks plays with color and draws inspiration from its surroundings.

“I’m a very unpredictable, but super creative individual,” he says.

Hendricks is passionate about bringing fashion to people and is no stranger to the fashion world, having released his first collection, “team me sport wear”, in 2017. Other collections include “cycle looks “And” color my skin “.

He says he went for vintage clothes because they tend to be more durable than most modern clothes.

“Vintage clothing was made at a time when the longevity of clothes was more important than changing the look from month to month,” he says.

He loves being a fashion designer because it gives him the platform to be super creative.

“It really helps me do something totally different. Art can usefully function as a landmark, helping people traveling through a space remember where they have been. I use my talent to tell my story, on the models in the show.

While working on the collection, he had the chance to step out of his comfort zone, be unpredictable and surprise people, he says.

“It is true that design is one of the youngest professions, but one of the oldest human acts. My love for designing quality fashion is due to the fact that it is one of the most exciting and demanding professions. The world of design has always fascinated me.

Although he is happy with the growth rate of the local fashion industry, he believes that much more needs to be done to improve it.

“For many reasons, changes are needed in our industry. Most modern clothing is not designed for durability, due to the fleeting nature of trends.

“There is also a huge need for support systems made up of family and friends. Locally, people need to engage and use homemade designs in their businesses. It is an industry that opens up valuable opportunities for businesses. Its importance is often underestimated, but good design can bring significant business benefits, ”he says.

“The research and prototype stages of the design process can generate new product ideas and allow you to discover the needs and preferences of your customers. Design can then help you turn those ideas into innovative and competitive products and services tailored to your market. You can also use design to make your business processes more efficient and to strengthen your marketing approach, ”says Hendricks.

How the Venetian school flourished during the Italian Renaissance


The Italian Renaissance ushered in a new era of art and culture across Italy, which spanned hundreds of years. While Raphael, Leonardo da Vinci, and Michelangelo ruled the art of the High Renaissance, another school of painting was forming in northern Italy, based on its own set of creative values. the Venetian school produced exquisite works of art that emphasized color rather than line art.

Beginning with the Bellini brothers, this ideology adopted the relatively new medium of oil painting to create spontaneous images with little or no drawing done beforehand. Instead, the artists at this school used many layers of pigment to build their paintings. This approach has led to expressive and lavishly colored works of art. Giorgione, Tintoretto and Titian were among the most influential figures of this school, whose art strongly influenced the course of Western art history.

Here we will learn more about the Venetian school and its role in the Italian Renaissance.

Italian Renaissance

Madonna of the Meadow by Raphaël

Raphael, “Madonna in the Meadow,” c. 1505 – 6. (Photo via Wikimedia Commons, Public domain)

the Italian Renaissance between the 14th and 17th centuries in Italy. Derived from the word Rinascimento, or “renaissance,” the Renaissance is generally considered to be an enlightened era of art and architecture due to a renewed cultural interest in classical antiquity. It is divided into three periods: the first Renaissance, the High Renaissance and the late Renaissance.

Most of the well-known Renaissance artists, including Leonardo da Vinci, Raphael, and Michelangelo, were from the Upper and Late Renaissance, both based in Florence and Rome.

The Venetian school

Painting of Sleeping Beauty by Giorgione

Giorgione, “Sleeping Venus”, 1508 (Photo via Wikimedia Commons, Public Domain)

The Venetian school did not flourish until the end of the 15th century. Its growth is due to several factors. One of the most important was the introduction of northern Renaissance oil painting techniques by the artist Antonello of Messina. This had a big impact on the careers of Giovanni and Gentile Bellini, two brothers and artists who adopted the medium later in their careers.

Giovanni Bellini, in particular, pioneered many techniques that would become emblematic of the Venetian Renaissance, such as sculpting and atmospheric color. Later, his students Giorgione and Titian will explore more possibilities of this medium in increasingly colorful compositions.

Venetian style

The Feast of the Gods by Bellini and Titian

Giovanni Bellini and Titian, “The feast of the gods”, begun by Bellini c. 1514 and completed by Titian in 1529. (Photo via Wikimedia Commons, public domain)

Both the Venetian school and the Florentine school sought the best way to imitate nature in their art. However, while the Florentine school believed in the enlightened powers of drawing, the Venetian school color focused and its emotional qualities. As a result, many Venetian artists made little or no preparatory drawings for their paintings. Instead, they used the luminescent qualities of oil paint to model their subjects, creating many layers. The choice of appropriate colors for the compositions and the mixing of tints were other crucial characteristics of Venetian painting.

While foreigners were largely fond of the Venetian style and its artists, the rest of Italy was more critical. Art historian Giorgio Vasari eventually included a section on the Venetian Renaissance in its text The lives of the finest painters, sculptors and architects, but he ultimately rejected their color-based aesthetic in favor of the Florentine school, which favored drawing first.

The Abduction of Europe by Titian

Titian, “Abduction of Europe”, c. 1560-2. (Photo via Wikimedia Commons, public domain)

Lucretia Painting of Veronese

Paolo Veronese, “Lucretia”, c. 1580-3. (Photo via Wikimedia Commons, public domain)

Famous artists of the Venetian school

Giovanni Bellini (c. 1435 – 1516)

Self-portrait of Bellini

Giovanni Bellini, “Self-portrait”, c. 1500 (Photo: Wikimedia Commons, public domain)

Born in the 1400s, Giovanni bellini is credited as the artist who inspired the Venetian school. After working in the old tempera method for decades, he adopted the oil medium in the 1470s (when he was already in his forties) and quickly changed his style to suit the qualities. paint. His later works were richly colored and exhibited many characteristics that future Venetian artists would emulate, such as tonal gradation and modeling. He and his brother Gentile taught Giorgione and Titian in their workshop. Giovanni’s last play, The Feast of the Gods, was completed after his death by Titian.

Altarpiece of San Zaccaria by Giovanni Bellini

Giovanni Bellini, “Altarpiece of San Zaccaria”, 1505 (Photo: Wikimedia Commons, public domain)

Giorgione (c. 1477 – 1510)

Self-portrait in David by Giorgione

Giorgione, “Self-portrait in David”, 1508 (Photo: Wikimedia Commons, public domain)

Although Giorgione only lived until he was 30, he had a major impact on the Venetian school. A pupil of the Bellini brothers and a contemporary of Titian, he was surrounded by creative inspirations. His six surviving paintings exhibit atmospheric coloring, poetic qualities, and mysterious narratives. In addition, Giorgione’s most famous work, Storm, has been described as the first landscape in history due to the unprecedented importance of the Italian countryside.

Giorgione's storm

Giorgione, “The Tempest,” c. 1506 8. (Photo: Wikimedia Commons, public domain)

Titian (c. 1488 – 1576)

Self-portrait of Titian

Titian, “Self-portrait”, c. 1562 (Photo: Wikimedia Commons, public domain)

After the death of Giorgione in 1510 and Giovanni Bellini in 1516, Titian was the main defender of the Venetian style. Slowly, however, Titian began to abandon the styles of his guardians and realize his own artistic vision. Likewise, Titian’s fame and popularity as a painter grew, and among the list of star clients were doges, kings, princes, duchesses, popes, cardinals and other artists. Titian achieved equal success with Michelangelo and even obtained the freedom of the city when he visited Rome in 1546.

Bacchus and Ariadne by Titian

Titian, “Bacchus and Ariadne”, c. 1520 – 1523. (Photo: Wikimedia Commons, public domain)

Tintoretto (c. 1518 –1594)

Self-portrait of Tintoretto

Tintoretto, “Self-portrait”, c. 1588. (Photo: Wikimedia Commons, CC0 1.0 Universal Public Domain Dedication)

Artist born in Venice Tintoretto was known as Il Furioso, or “The Furious”, because of his fast and daring painting style. His works showcase muscular bodies amid bold and dramatic movements, dynamic compositions and expressive brushstrokes. Besides being a major figure in the Venetian school, Tintoretto also painted in the Mannerist style.

Tintoretto Miracle of the Slave Painting

Tintoretto, “The Miracle of the Slave,” 1547. (Photo: Wikimedia Commons, CC BY-SA 4.0)

Paul V̩ron̬se (1528 Р1588)

Self-portrait of Paolo Veronese

Paolo Veronese, “Self-portrait”, c. 1558 –1563. (Photo: Wikimedia Commons, public domain)

Alongside Titian and Tintoretto, Veronese was one of the three figures who led the Venetian school in the 1500s. He is best known for producing massive paintings with crowds of figures placed in his compositions. These works were often based on historical, mythological and biblical events. Additionally, Veronese’s coloring was noted for its subtlety, often creating harmony within the painting rather than enhancing a drama.

A feast in the house of Levi by Paolo Veronese

Paolo Veronese, “Party in Levi’s House”, 1573. (Photo: Wikimedia Commons, public domain)

Legacy of the Venetian school

Las Hilanderas de Vélasquez

Velazquez, “Las Hilanderas”, c. 1656 (Photo via Wikimedia Commons, Public domain)

Not only was the Venetian school a major component of the Italian Renaissance period, it also had lasting effects on the course of art history. In particular, artists like Rubens and Diego Velazquez were strongly influenced by the expressive qualities of painters from northern Italy like Titian and Veronese. This led to a growing preference among painters to favor the emotional traits of color.

Related Articles:

20 famous paintings of the Italian Renaissance that have marked history

Sandro Botticelli: the Renaissance artist who became the master of mythological scenes

5 examples of Renaissance architecture that showcase the elegance of the iconic style

Who was Michelangelo? Get to know the Renaissance sculptor and painter

How Twitch’s Artifact section turned into a disturbing NSFW page


Artefact, a digital collectible card game developed by Valve that died shortly after its initial release in November 2018, gained worldwide attention for all the wrong reasons when its Twitch section filled with NSFW content. disturbing which was irrelevant to the game at all.

In 2019, some famous Twitch personalities pointed out that the title had died out to such an extent that it had no streams or viewers on the platform. Soon after that, members unexpectedly started enjoying it and started streaming irrelevant content to the Artifact section on Twitch.

This content ranged from a few simple League of Legends streams to full screenings of popular movies like Avengers: Endgame that have drawn hundreds of viewers.

In just a few weeks, the Artefact section’s feeds have shifted to extreme NSFW content, including hardcore porn and Christchurch Mosque shooting, which aired for a full 20 minutes before being finally deleted by Twitch.

These streamers would often try to dodge bans by putting up titles that seemed relevant to the game at first glance. However, once users clicked on the feeds, the content would not be game-related in any way.

To this day, the Artifact section of Twitch rarely sees anyone playing the game themselves, but much more often members attempt to post irrelevant content in the section including movies, NSFW content, etc.

SEQ CHAPTER Imani Vision Board Party at MC Arts Gallery |


By Godfrey Lee

Oshalla Diana Marcus hosted the Imani Vision Board Party at the MC Arts Gallery in Marin City on Saturday New Years Day, starting the New Year by celebrating the principles of Kwanzaa.

Vision boarding is a fun activity of extracting pictures and words from magazines to visually represent the life you want to see for yourself. Marcus wrote in his ad that “many see vision boarding as an artistic creation, while others see it as therapy. However, everyone agrees that it is fun, especially when combined with healthy and traditional New Year’s Eve food: rice, greens, black-eyed peas, chicken, cornbread and a little sweet wine. “

A small group of women came to the board party including Brittney Burton and Ayana Morgan-Woodard who helped Marcus organize the event. Mz. Ebony Divine McKinley said it didn’t matter how many people came. “It’s not your loss; it is their loss.

They are missing a great event. Don’t take it as a failure. Look at it as I give it to you, ”she said.

Marcus said the event is an opportunity for us to model, create and imagine something in new ways, especially in our work and our world. Kwanzaa was a holiday that reminds us that we can be sustainable and self-sufficient. “It’s important to really understand this about our culture. So let’s own it. Oshalla said.

Marcus also honored the ancestors who came before us and brought us to where we are now.

Kwanzaa was created by Dr. Maulana Karenga, professor and president of Black Studies at California State University, Long Beach, in 1966. After the Watts riots in Los Angeles, Dr. Karenga sought ways to bring African Americans together as a community.

Karenga combined aspects of several African harvest celebrations, such as Ashanti and Zulu celebrations, to form the basis of the week-long vacation.

The Swahili term “umoja” means “unity” to be sought and maintained in family, community, nation and race.

“Kujichagulia” means “self-determination”, to define, name, create and speak for oneself.

“Ujima” means “collective work and responsibility”, to build, uplift your community together and help each other in your community.

“Ujama” means “cooperative economy”. Similar to Ujima, this principle refers to improving the economy of your community, building and maintaining our own stores, stores and other businesses and profiting together.

‘Nia’ means ‘goal’ or collectively build and develop the community in order to restore it to its traditional grandeur.

“Kuumba” meaning “creativity”, to use our creativity and imagination to make our community more beautiful and beneficial than we have inherited it.

“Imani”, the last principle, translates to “faith” in the community and “believe with all our heart in our people, our parents, our teachers, our leaders and the righteousness and victory of our struggle,” says Karenga .

Asbury’s short film concert returns to MOAS on February 5

by: Jenelle Codianne
Director of Marketing and Public Relations, MOAS

Asbury Shorts, continuing its 40th anniversary as New York City’s longest-running short film exhibition and touring show, returns to the Daytona Beach Museum of Arts and Science on Saturday, February 5 to present its “Short Film Concert” nationally recognized. – twice a day. These specially selected and internationally honored films will be screened in the Root Family auditorium at MOAS at 2 p.m. The show will be repeated at 7 p.m. the same evening. Screenings are strongly recommended for ages 16 and over. Doug LeClaire will once again be master of ceremonies for both shows.

An Asbury Short Film Concert offers attendees the opportunity to view award-winning films from current and past years in one sitting. The winners of the “Best of Show” American Film Festival are combined with international winners in an eclectic and highly entertaining, fast-paced line-up featuring the best of comedy, drama and short film animation. Due to the pandemic, Asbury Shorts USA continues to celebrate its 40th anniversary in 2022, and the two-hour program will feature past audience favorites over the years.

The Asbury Shorts “concerts” were presented at Dante Hall in Atlantic City, NJ; The Vero Beach Museum of Art in Florida, Summer Stage in Central Park, New York City; Director’s Guild in Manhattan, The AERO Theater in Santa Monica, California; Guild Hall in East Hampton, New York; Royal Festival Hall in London; Osprey Arts Center in Nova Scotia, Canada and the Leminske Theater in Berlin to name just a few of the prestigious venues where audiences have enjoyed these amazing films.

The Museum of Arts and Science is Central Florida’s premier art, science, and history museum. The largest museum in the region, MOAS, is nationally accredited by the American Alliance of Museums and is an affiliate of the Smithsonian Institution.

Social distancing at the 2021 Asbury Short Film Concert. Courtesy Photo

MOAS is located at 352 S. Nova Road in Daytona Beach, Florida. For all information on the show and pre-sale tickets, please visit:https://www.moas.org and click on “What’s going on? Or you can call: (386) 255-0285. Admission costs $ 20.00 for members, $ 25 for future members. Auditorium doors open 15 minutes before show time for open, socially distant seating.

Register on www.MOAS.org or by calling the Museum at 386-255-0285. For more information on specific films in the January 30 program, please email: [email protected].

Looted Greek billionaire stele still on display in Israel museum


The looted Greek stele known as The Heliodorus Stele, owned by hedge fund billionaire Michael Steinhardt, is still on display at the Israel Museum in Jerusalem. Credit: Unknown / CC BY-SA 3.0

The looted Greek stele known as the Heliodorus Stele is still on display at the Israel Museum in Jerusalem despite being one of many items that were part of a plea deal in the infamous smuggling case of Michael Steinhardt artifacts.

The 81-year-old New York billionaire, who was a well-known hedge fund manager, agreed to a late 2021 plea deal with the Manhattan district attorney in one of the world’s biggest looting and smuggling cases art of history.

Steinhardt returned $ 70 million in antiques and art, or 179 different items, which had been smuggled out of Europe and Asia to be collected as part of his vast collection. Over time, he had even loaned certain pieces to institutions, including the august Metropolitan Museum of Art.

Grecian Delight supports Greece

The Met even has an entire gallery – the Judy and Michael Steinhardt Gallery – named after the couple.

The antiques in Steinhardt’s collection which will be returned to Greece come from the Cyclades islands, Crete, central Greece, Samos and Rhodes. They include a number of bronze swords, figurines, a Minoan shrine, a bronze griffin bust, and a kouros statue.

The titan’s hedge fund and philanthropist collection of nearly 200 priceless antiques from at least 11 countries, including Greece, Egypt, Iraq, Turkey and Syria, was one of the largest assemblages in art plundered from the world.

The hedge fund manager escaped legal action thanks to the plea deal, hosted by Manhattan DA Cy Vance.

The Associated Press reports that eight Neolithic-era masks that were on loan from Steinhardt to the Israel Museum in 2014 were also seized as part of the billionaire’s deal with the DA – and two of them are also exhibited at the Jerusalem Museum.

Stele of Heliodorus Jerusalem
The Heliodorus stele is still on display at the Israel Museum in Jerusalem although it was legally handed over as part of a plea deal involving a large number of looted and smuggled antiques. Credit: Unknown /

The Israel Museum declares in its catalog that the stele is “unique”, adding that it “offers new insight into the dramatic history of Heliodorus and the Temple in Jerusalem, as recounted in the Second Book of the Maccabees. The newly deciphered stele presents new information about Heliodorus, who according to the Second Book of the Maccabees was ordered to seize the treasure from the temple in Jerusalem.

“The stele documents a correspondence in ancient Greek between Heliodorus and King Seleucus IV, ruler of the Seleucid Empire from 187 to 175 BC.

Steinhardt handed over ownership of The Heliodorus Stele last month, but it’s still on display this week – along with his name as the owner – at the museum.

As one of the museum’s main patrons, Steinhardt approached the institution’s officials in 2007, asking if they would borrow the stele, telling them he had bought it recently.

However, museum experts quickly noticed that pieces of text carved into two stones that had been unearthed a year earlier during an excavation near Jerusalem matched the limestone slab like pieces of a puzzle.

Obviously, the Steinhardt tablet must have come from the same cave where the other fragments were found.

The revelation that the stele and other artifacts handed over by Steinhardt are still on display in the museum as if nothing has changed as to their provenance is troubling at a time when museums around the world face increased calls for the repatriation of works from stolen and looted art. .

As has happened so often throughout human history, objects of immense artistic and historical significance have often been uprooted from their place of origin, with some collectors claiming to be of service to countries. whose art was stolen by “saving” protecting them from possible destruction during wars and other conflicts.

But growing calls for the repatriation of these objects worry curators and museum directors around the world.

Donna Yates, an artefact smuggler criminologist at Maastricht University, told The Associated Press that several recent scandals involving looted artefacts “are leading museums to reconsider the ownership history of some of the artefacts that have been looted. ‘they own.

“They can’t really afford the embarrassment of the public to be constantly tied to this stuff, because museums are not rich and a lot of them occupy a place of public trust,” she said. .

The Israel Museum denied any wrongdoing in a statement, saying it “consistently follows applicable regulations when works are on loan”, adding that all of its policies are carried out “in full cooperation” with the Israel Authority. antiques.

Related: Steinhardt’s Looted Antiques Will Return To Greece

For his part, James Snyder, director of the Israel Museum from 1997 to 2016, told reporters that all artifacts acquired or loaned to the Museum are subject to a provenance investigation by the IAA before being exposed. He further stated that Steinhardt’s other looted works of art “were also accompanied by documents of legal ownership.

“We have received legal purchase documents, it has been approved for loan and it has been approved for return” by the authority, Snyder told the AP.

However, Israel has an unusual configuration in that all 55 licensed antique dealers in the country are licensed to sell artefacts discovered prior to 1978, when all such artefacts became state property.

Unfortunately, this loophole provided an outlet for the “laundering” of smuggled and looted antiques from all over the Middle East, with false documents provided by Israeli merchants. It is not known how many of these objects may have fallen victim to this practice before the country began to close the loophole in 2016.

It was only then that Israel began to force the creation of a digital database of merchant artifacts.

The thousands of priceless cuneiform tablets originating in what is now Iraq and Syria that were part of the infamous Hobby Lobby case had been smuggled to Israeli dealers before being sold to collectors with such false documentation. .

It’s all about the money, and there is no shortage of wealthy people who feel the need to own these priceless artifacts. Morag Kersel, professor of archeology at DePaul University in Illinois, explains that the unreasonable looting of archaeological sites, ultimately, “is entirely driven by demand.”

Related: The Greek Archaeologist Who Helped To Expose Michael Steinhardt

“The looters do this because there is someone like Steinhardt who is willing to pay money and buy things straight out of the earth,” she says.

Steinhardt is a major patron of the Israel Museum as well as many other institutions across the country, including a natural history museum at Tel Aviv University named after him.

Partial information on U.S. tax returns shows that Steinhardt’s family foundation has donated more than $ 6.6 million to the Israel Museum since 2001.

It was only after Steinhardt loaned a sculpture of a bull’s head that had been looted from an archaeological site in Lebanon to the Metropolitan Museum of Art that the Manhattan DA launched its investigation into the huge collection of antiques. from the hedge fund manager.

Legally, Vance’s office says the three items on display at the Israel Museum are “effectively seized on the spot.” The DA has entered into talks with Israel in the hope that 28 more items may one day be returned to their rightful owners, but its statement indicates that Steinhardt “has not been able to locate” the last nine items whose provenance is can be attributed to Israel.

For its part, the Israel Museum said it was examining the matter after recently learning of the settlement’s existence. The prosecutor’s office accused in the settlement that Steinhardt “knew, or should have ascertained by reasonable investigation” that his antiques had been looted and smuggled.

Billionaire’s looted art still on display at Israel Museum


JERUSALEM – One of the Israel Museum’s greatest patrons, American billionaire Michael Steinhardt, approached Israel’s flagship arts institution in 2007 with an artifact he had recently purchased: a 2,200-year-old Greek text etched in limestone.

But soon after its exposure, an expert noticed something strange – two pieces of text found a year earlier during an excavation near Jerusalem matched the limestone slab like a puzzle. It soon became clear that Steinhardt’s tablet came from the same cave where the other fragments were excavated.

Last month, Steinhardt turned over the piece, known as the Heliodorus Stela, and 179 other artifacts valued at around $ 70 million as part of a landmark deal with the Manhattan District Attorney’s Office to avoid prosecution. . Eight Neolithic masks on loan from Steinhardt to the Israel Museum for a large exhibit in 2014 were also seized as part of the deal, two of which remain on display at the museum.

Museums around the world face a closer examination of the provenance – or chain of ownership – of their works of art, especially those looted in conflict zones or illegally looted from archaeological sites. There are more and more calls for these items to be returned to their country of origin.

Donna Yates, an artefact smuggler criminologist at Maastricht University, said several recent scandals involving looted artefacts – such as the return of Cambodian antiques by the Denver Art Museum – “are causing museums to reconsider history of the ownership of some of the items they own. “

“They can’t really afford the embarrassment of the public to be constantly tied to this stuff, because museums are not rich and many of them occupy a place of public trust,” he said. she declared.

In addition to the Heliodorus stele and two of the ancient masks, at least one other artifact belonging to Steinhardt in the Israel Museum is of uncertain provenance: a 2,800-year-old inscription on a black volcanic stone. The museum exhibit indicates that the origin is Moab, an ancient kingdom in present-day Jordan.

How he got to Jerusalem remains unclear.

Steinhardt lent the royal Moabite inscription to the museum in 2002, shortly after purchasing it from an authorized Israeli dealer in Jerusalem, said Amir Ganor, who heads the theft prevention unit of the Antiquities Authority in ‘Israel.

The dealer, who confirmed the deal but spoke on condition of anonymity due to the legal questions surrounding the article, told The Associated Press that he had obtained the registration of a Palestinian colleague in Bethlehem, in the occupied West Bank by Israel, which did not specify its origin.

“I don’t know how it happened to the dealer in Jerusalem,” Ganor said. He said it could have come from the West Bank, neighboring Jordan or Dubai, a long-standing antiques hub.

The Israel Museum declined interview requests and refused to show documentation of the artifact.

But in a statement, he denied any wrongdoing, saying he “consistently follows applicable regulations when works are on loan.” He said all exhibits are “in full cooperation” with the Antiquities Authority.

The Manhattan District Attorney’s Office said the Moabite listing was not part of the Steinhardt investigation and declined to discuss the article.

James Snyder, who was the director of the Israel Museum from 1997 to 2016, said all artefacts coming to the museum have their provenance verified by the IAA before being on display, and other looted works of art from Steinhardt “came with legal property documents.”

“We have received legal purchase documents, it has been approved for loan and it has been approved for return,” Snyder said.

Israel has a legal antiques market managed by some 55 authorized dealers. They are allowed to sell artefacts discovered before 1978, when a law came into effect making all artifacts the property of the state.

This market has provided an outlet for laundering smuggled and looted antiques from all over the Middle East that receive materials produced by merchants in Israel. Israel began to fill this gap in 2016, when it commissioned a digital database of merchant artifacts.

Israel recently returned smuggled antiques found in merchant stores in Egypt and Libya. Other antiques stolen from Iraq and Syria – including thousands of cuneiform tablets purchased by Hobby Lobby owner Steve Green in 2010 – were smuggled to Israeli dealers before being sold to collectors with documents fraudulent.

Morag Kersel, professor of archeology at DePaul University in Illinois, said the indiscriminate looting of archaeological sites across the Middle East “is ultimately driven entirely by demand.”

“The looters are doing this because there is someone like Steinhardt who is willing to pay money and buy things straight out of the earth,” she said.

Under the deal, the Manhattan District Attorney has seized 180 Steinhardt artifacts and will repatriate them to their respective countries. Steinhardt also agreed to a lifetime ban on acquiring antiques – although it’s not clear how that ban will be enforced.

Steinhardt, 81, is a long-time patron of the Israel Museum and many other Israeli institutions, including a natural history museum at Tel Aviv University that bears his name. Since 2001, his family foundation has donated more than $ 6.6 million to the Israel Museum, according to partial US tax returns.

Steinhardt was not charged with looting items himself and said he had committed no crime. But the prosecutor’s office said it “knew, or should have ascertained by reasonable investigation” that the antiques had been stolen.

Steinhardt declined an interview request. His office issued a brief statement saying that the Manhattan DA “did not dispute Mr. Steinhardt’s right, title or interest in any of the artifacts” other than those in the colony.

The DA began investigating Steinhardt’s huge collection of antiques in 2017 after loaning a bull’s head sculpture to the Metropolitan Museum of Art that had been looted from a site in Lebanon.

The DA says the three objects at the Israel Museum are “indeed seized there,” and has opened talks with Israel to coordinate the return of 28 additional objects. He said Steinhardt “was unable to locate” the last nine items located in Israel.

Of those 40 artifacts, more than half were allegedly looted from sites in the West Bank, according to court documents. Nine other artifacts from Jordan, many of which were sold to Steinhardt via Israel’s licensed antiques market, are also being repatriated.

Neither the Jordanian government nor the Palestinian Ministry of Tourism and Antiquities responded to requests for comment. Under interim peace accords in the mid-1990s, the fate of items taken from the occupied West Bank must be part of a still elusive peace deal.

The Israel Museum said it only recently learned of the colony’s existence and is currently investigating the matter.

For now, the objects looted in the museum still bear Steinhardt’s name.


Follow Ilan Ben Zion on Twitter at www.twitter.com/ilanbenzion

Just say no | Richmond Free Press

Just because someone gives you something doesn’t mean it’s worth having.

Latest examples: the 12-ton, 21-foot bronze statue of Confederate Robert E. Lee from Monument Avenue and several other rebel monuments belonging to the city that were shot down last year, including those of Confederate President Jefferson Davis, Gen JEB Stuart and General Stonewall Jackson and Matthew Fontaine Maury, also from Monument Avenue.

Governor Ralph S. Northam and Richmond Mayor Levar M. Stoney announced plans to donate this collection of Confederate wrecks and jetsam to the Black History Museum and Cultural Center in Virginia last week. Jackson Ward’s Small Private Museum will be working with The Valentine, another small private downtown museum that focuses on Richmond history, to find out what to do with these behemoths.

Under the proposed arrangement, which must be approved by Richmond City Council, the public will have a voice in what happens to the statues.

Some people have praised the move on social media. They called it ‘poetic justice’ in making the museum and the descendants of those enslaved for centuries by white oppressors – and later by the traitors who led the Southern rebellion against the States -United to keep blacks in slavery – to monitor the fate of the statues erected by white supremacists and their descendants to honor the lost cause and remind blacks of their continued inferior status in the social order of the South.

“Symbols matter, and for too long, Virginia’s most important symbols have celebrated the tragic division of our country and the side that fought to keep the institution of slavery alive by any means possible.” Governor Northam said in a press release announcing the giveaway. “Now it will be up to our thoughtful museums, informed by the people of Virginia, to determine the future of these artifacts, including the base of the Lee Monument which has taken on special significance as an art of protest.”

The big question: why would the Black History Museum – and black people in general – want to have anything to do with these monuments?

For centuries we have had to deal with white people and all their “stuff” – their houses, their kitchens, their laundry, their children, their crops, their cattle, their businesses – first on the plantations and later on. as “engaged” workers. . Why do we now want to have the burden of taking care of their statues?

Why should the Black History Museum divert its time, attention and resources to dealing with these remnants of hate?

Until now, the state and the city were responsible for the storage, maintenance and security of the statues. What will happen when the statues suddenly belong to the Black History Museum? Will the museum – not quite aware of the money – have to pay these bills?

How many of the museum’s current loyal donors would be willing to continue giving knowing that their money will be spent to properly protect this new Confederate cache which the city estimates to be worth $ 12 million?

We believe many will turn to directed giving, stipulating that their donations will be targeted to specific areas and not to the support or maintenance of Confederate statues.

For years, we at the Free Press have called for the symbols of white supremacy and racial oppression on Monument Avenue to be erased from the city’s landscape. And we are glad that they have now been withdrawn. We have recommended in the past that they be donated or sold to the National Park Service Civil War battlefields or other related historical sites, such as birthplaces or Civil War museums or cemeteries, as contextual artifacts.

Since their removal in mid-2020, the statues have become something of an albatross around the neck of the city of Richmond, who have wondered what to do with them. At the end of 2020, the city received nearly twenty offers from 17 organizations and five individuals who expressed their interest in acquiring the statues. The Black History Museum and Cultural Center in Virginia was not one of them. Most of the submissions, which came from as far away as California, requested the statues for free.

An Los Angeles museum wanted them for up to two years for an exhibition, the Free Press reported in November 2020, while a Connecticut art studio proposed that the statues be smashed and the pieces sold as a collection. fund for Richmond public schools and charitable groups in the city.

Dealing with COVID-19 and other pressing issues right now, the statues have not been a priority for the city and the Stoney administration, which has spent $ 1.8 million to bring them down. And the matter of Lee’s statue and pedestal has been a political hot potato for Gov. Northam’s administration, which doesn’t want to leave the question of what to do with it to Gov.-elect Glenn A. Youngkin’s next Republican administration, who could very well decide to put the statue of Lee back in place.

However, we believe that the donation of the statues is a burden that should not fall on the Black History Museum, despite comments from Marland Buckner, the museum’s acting executive director.

“Our institution takes very seriously the responsibility of managing these objects in such a way as to ensure that their origins and purpose are never forgotten…”, said Mr. Buckner. “We believe that with this responsibility comes also opportunities – opportunities to deepen our understanding of a vital part of American history: the expansion of freedom.

“We hope this process will elevate public dialogue about our common history …”

While the museum is a venerable institution representing black history in Richmond and across the Commonwealth, the museum would certainly want to weigh in on what should happen to Confederate artifacts. But owning them and being the responsible entity for them is like giving a poisoned apple to a hungry man. This story does not end well.

At the risk of an about-face, we suggest that the Black History Museum organize a charity sale or auction to get rid of these statues once and for all – to make the resettlement sites their own – then use the benefits to pursue its own mission of telling the story of Black people, their lives, their stories and their accomplishments, even in the face of centuries of oppression.

Or the museum could just say no and refuse these “gifts”.

Indie’s Choice – The Provincetown Independent


Fast reader (Friday, January 7)

The first meeting of the “2022 Reading Challenge” will take place face-to-face at Provincetown Public Library, 356 Commercial St., or via Zoom, Friday, Jan. 7, 10 a.m. to noon. The following meetings are held on the first Friday of the month. Visit provincetownlibrary.org for the link.

Tap Into It (Friday January 7)

Join hosts Mackenzie Miller and Austin Tyler for an evening of viewing the 14th season of RuPaul’s Drag Race in the Provincetown Brewing Co. taproom, 141 Bradford St., Friday, Jan. 7, 7 to 9 p.m. The event is free, masks compulsory.

Cooking with soul (Saturday January 8)

The “Showy Decimal Cooking Show” at Eastham Public Library, 190 Samoset Road, Saturday January 8, from noon to 12:30 p.m., Elaine Lipton will share her family recipe for chicken soup. Masks required. For more information, visit easthamlibrary.org.

Andy Cohen is giving a Zoom concert via Nauset Fellowship on Sunday January 9. (Photo courtesy of Andy Cohen)

Holy Sunday (Sunday January 9)

Nauset scholarship presents a virtual program of “Sacred Songs and Country Blues” with Andy Cohen on Sunday January 9 at 10 am. Originally from Massachusetts and now a resident of Memphis, Cohen plays southern blues, rags, ballads, spirituals and original songs. Sign up for the Zoom link on nfuu.org.

The grass is greener (Sunday January 9)

Bluegrass CrabGrass Strip will perform at the Cape Cod Museum of Art, 60 Hope Lane in Dennis on Sunday, Jan. 9, from 3 p.m. to 4 p.m. The band includes Les Beavan on banjo, Chris Miner on mandolin, Dan Fortier on guitar, Billy Hardy on violin, and Ted Mello on bass. Tickets, in person or through Zoom, cost $ 18 on ccmoa.org.

See Through (Sunday January 9 – Monday January 10)

Registrations are still open for the Cape Cod Museum of Art’s Exhibition with jury of members. The theme: “Transparent / Translucent / Opaque: Layered meanings. Members may submit up to three works no larger than 40 inches by 40 inches. Registration is $ 10 per work on ccmoa.org. The deposit days are Sunday January 9 from 10 a.m. to noon and Monday January 10 from 1 to 3 p.m. The show kicks off Thursday, January 13 at 60 Hope Lane in Dennis.

Pots and poetry (Monday January 10 – Thursday January 13)

Candice Methe teaches a virtual ‘manual construction demo series’ via Truro Arts Center in Castle Hill over four sessions: from Monday January 10 to Thursday January 13, from 3 p.m. to 5 p.m. Students will learn how to make a large pitcher, stem cups and a pot of Kurinuki tea. Registration is $ 180. For budding poets, Kate Wallace Rogers teaches a “Midwinter Dive into Poetry Writing” during five Zoom sessions on Mondays and Thursdays starting January 10, 1 pm to 3 pm. Registration is $ 285 at castlehill.org.

Creative Kiddos (Tuesdays January 11 – February 15)

the Provincetown Museum and Art Association offers its Little Artists program, for children aged four to eight, Tuesdays, January 11 to February 15, from 3:30 to 4:30 p.m. The free program takes place inside 460 Commercial Street. Masks required for participants. Visit paam.org to register.

Catch the Buzz (Tuesday, January 11)

Audubon’s mass The Misunderstood Wildlife series continues with a wasp program on Tuesday, Jan. 11, from 7 p.m. to 8 p.m. Martha Gach, education manager and conservation coordinator at Broad Meadow Brook in Worcester, will discuss the role of wasps in pest control and pollination. Registration is $ 20 on massaudubon.org.

Smart Food (Tuesday January 11 – Wednesday January 12)

Coastal connections, a free program run by the Councils on Aging around Cape Cod, begins this week with “In the Kitchen With Kelli” on Tuesday, Jan. 11, at 11 am. Learn how to make a hot winter treat via Facebook Live with the Dennis Council for Active Living. Call 508-385-5067 for more information. Then, on Wednesday, January 12, from 10 am to 11 am, experts from Kindred Health will discuss “Nutrition for a Healthy Winter” via Zoom. E-mail [email protected] record.

Susan Kurtzman presents “The Story of Jobi Pottery” via Zoom on Wednesday January 12th. (Photo courtesy of Jobi Pottery)

Arts and Crafts (Wednesday January 12)

“Winter Craft Kits for Kids” are available at Wellfleet Public Library, 55 Main Street West, Wednesday, January 12, from noon to 6 p.m. The kits contain all the materials needed to make a stuffed turkey or bear. Visit wellfleetlibrary.org or call 508-349-0310 for more information.

Jobi Journey (Wednesday January 12)

the Truro Historical Society presents “The Story of Jobi’s Pottery”, a Zoom Lecture by Susan Kurtzman, on Wednesday, January 12, from 5 pm to 6 pm. Kurtzman will discuss techniques and designs and provide a historical overview of Jobi, which opened in 1953 on a warm roadside doghouse next to Highland Light. Registration is free at trurohistoricalsociety.org.



NEW ORLEANS – Lieutenant Governor Billy Nungesser and the Louisiana State Museum announce the opening of a new exhibition, Rex: The 150th Anniversary of the School of Design, at the Presbytery on February 1, 2022. Just in time for Mardi Gras, this new exhibit celebrates the history and contributions of the Rex organization to the carnival season and commemorates the organization’s 150th anniversary. Since its founding in 1872, Rex, also known by its official name, the School of Design, has assumed an unprecedented leadership role in Carnival, setting the standard of excellence for the dozens of brotherhoods formed since then. The Rex Parade was the first daytime parade in modern carnival, and the man and woman chosen as monarchs have always been the king and queen of all the New Orleans carnival.

“Rex has become synonymous with Mardi Gras and the carnival season in New Orleans, reigning over the city as the Carnival King. While there are many traditions in the city that form the backbone of the annual celebration, the image of Rex parading through the streets of New Orleans is known around the world, ”said the Lieutenant Governor. Billy Nungesser. “We are delighted to add this exhibit to our collection just in time for the upcoming carnival season, adding to the series of exhibits in our New Orleans museums that showcased the extraordinary traditions that are so dear to us. . ”

Working closely with Dr. Stephen Hales, Rex Organization historian and archivist and author of the new book Rex: 150 Years of the School of Design, the Louisiana State Museum will tell the story of Rex using the unrivaled collection of artifacts of the museum, focusing on the sophisticated costumes of the kings, queens and courtiers of the brotherhood. The museum made a dedicated effort starting in the 1920s to collect costumes directly from members of the brotherhood. This collection now totals more than 60 royalty and brotherhood costumes and dresses as well as dozens of sets of rare crown jewels. The exhibition will also feature newly discovered treasures from the Brotherhood’s early years, recently acquired from as far away as Germany and Italy, as well as rarely seen artifacts borrowed from private and institutional collections.

An interesting feature of the exhibit will be a specially constructed tank set up in one of the exhibition galleries by the krewe’s tank builder, Royal Artists, demonstrating the techniques and materials used to build the elaborate tanks inspired by the Rex story.

“We can always count on Rex for a beautiful parade which is a world famous Mardi Gras event,” said Lt. Gov. Nungesser. “And the rest of the year, the organization supports public education.”

A wide range of educational programs planned throughout the exhibition will build on the krewe’s incorporated name, the School of Design, with the aim of helping students and families create works of art inspired by the artistic heritage of the krewe. The museum will also offer enriching sensory programs for children with autism and other developmental disabilities.

The exhibit will also explore the vital civic function the community has played since its founding, largely to boost the city’s economic development after the Civil War. After Hurricane Katrina, Rex took on an expanded philanthropic mission through his Pro Bono Publico Foundation, donating more than $ 10 million to the New Orleans public school system. Throughout its history, municipal and humanitarian organizations have honored many kings and queens of the brotherhood for their broad support for vital community causes.

This exhibition is made possible by IBERIABANK | First Horizon and other generous donors to the Louisiana Museum Foundation.

Rex: The 150th anniversary of the School of Design will be on display to the public in the Presbytery, located at 751, rue Chartres on Jackson Square, from February 1, 2022 until December 11, 2022. The Presbytery is open from Tuesday to Sunday, 9 a.m. to 4 p.m. Admission to the museum is $ 10 for adults, $ 8 for students, seniors and serving military personnel, and free for children 6 and under. Visit LouisianaStateMuseum.org for more information.

New Art… A Great Start exhibition at Rowe Fine Art Gallery


Red Alert by Julie T. Chapman

Hope, renewed intentions, anticipation of new adventures, and the desire to refresh your surroundings fills the start of a new year. Are you ready for 2022? Rowe Fine Art Gallery est.

On January 7 from 4 pm to 7 pm, the gallery presents “New Art… A Great Start! », A special exhibition to inaugurate the new year. Now that the gifting season is over and the holiday decorations are safely stored away, now is the perfect time to refresh your surroundings with a new piece of art. Or maybe you’ve recently bought a second home and turning the pages of the calendar has inspired you to decorate your blank canvas. Stop by the gallery to see new works from its esteemed painters, sculptors and jewelers.


Jen Farnsworth of Sedona recently released “In the Cathedral,” an oil on canvas featuring iconic Cathedral Rock from Red Rock Country. While Farnsworth is known for her colorful portraits of wildlife, she also enjoys capturing the geological splendor of northern Arizona.

“My biggest hope is that, through color, emotion and a little bit of the unexpected, my art connects with people,” Farnsworth said. “With my animal paintings, this link begins with the subject’s eyes, which tell his story. For my landscapes, it is the colorful expression of the extraordinary essence of Sedona, an essence that is beyond words and cannot be truly experienced. With this painting I tried to capture the feeling of reverence you get when you walk into a cathedral. This same reverence is also felt when we stand before the majesty of our red rocks. “

Speaking of red, Montana painter Julie T. Chapman continues her fascinating foray into mixed media with Red Alert, which depicts a highly concentrated fox. You can see the work in person at the January show.

“For Red Alert, I was watching this particular wild fox hunt in a remote Wyoming campground, and it would stop ‘on point’ while trying to locate prey,” Chapman said.

“The incised lines could be interpreted in a number of ways – such as the texture of the fur or the sound waves of small creatures – and the yellow around his face highlights his intensity in the hunt.


“Sometimes I hesitate to say too much about my own thoughts and motivations in the painting because viewers often have their own interpretations – some quite different from what I thought – and I prefer to let people create their own stories on one. piece. Art is not only what the artist wanted, but also what the viewer brings to it. My multimedia work, in particular, seems to invite people to see all kinds of things that I don’t explicitly have. put in and interpret them in a way that always surprises me.

Let your imagination run wild at Rowe Fine Art Gallery in January and refresh your home with new works of art.

The Rowe Fine Art Gallery represents traditional and contemporary artists from the Southwest. The gallery, located under the bell tower of the Patio de las Campanas at the Tlaquepaque Arts & Shopping Village, is open Monday to Thursday, 10 a.m. to 5 p.m., and Friday to Sunday, 10 a.m. to 6 p.m. For more information, call 928-282-8877, visit rowegallery.com, or find us on Facebook, Instagram and Twitter.

Kidspace’s Ice-Nice ‘Winter Frolic’ Has Been Extended – NBC Los Angeles

What there is to know

  • Pasadena
  • The special event has been extended until January 17, 2022
  • $ 14.95 (babies 1 year and under admitted free); $ 5 fee for sock skating

January is often a time full of changes, adjustments and changes that come up to face the new year.

But sometimes? We weren’t quite done with the old year and its delicious December pleasures, pleasures that often happen when you find yourself busy with a dozen other must-haves.

So when a December event runs into January, even with a few changes and adjustments, it can feel like a move that is both joyful (as befits a holiday) and filled with hope, which is what then we want the new schedule to begin.

Kidspace Children’s Museum extended one of her happy activities, with one or two adjustments. It’s the winter frolics we’re talking about this outdoor lark that invites kids to build with blocks of ice or go ice fishing.

But wait: the blocks of ice, uh, the blocks of “ice” are totally meant to be pretended, and, no, there is no ice on the water at the Pasadena-based educational institution.

These are good activities for young people with a big imagination, especially small children in Southern California who don’t have access to some of the winter activities that kids elsewhere often do.

And Kidspace gives a cold-weather pastime another “spin” with its sock rink.

The chance to “skate” in your socks is an additional $ 5, note that, and capacity is limited.

Keep in mind that the indoor galleries are temporarily closed at the museum, so you’ll want to dress for some fun outdoors.

For all Winter Frolic safety policies and procedures, which ends January 17, 2022, skate until Children’s site now.

How Bali’s ARTCanggu supports artists and art entrepreneurs – arts & culture


Richard Horstman (The Jakarta Post)

Denpasar ●
Tue, January 4, 2022

Art & Culture
bali, bali-art-scene, indonesian-artists, painting
To free

Indonesian fine and functional arts are growing markets in the 21st century global creative economy. Functional art, where new design ideas combine with the artist’s technical expertise, is an underutilized economic sector offering a huge advantage that until recently lacked supporting infrastructure.

ARTCanggu, a platform to empower artists through entrepreneurial start-ups, was held from October 28 to November 11 at the Tugu Hotel, Bali, Canggu. It merged Balinese cultural influences with contemporary art ideas and showcased unique works of art and unique craftsmanship, the first in a series of events designed to support Balinese artists during the economic downturn caused by the pandemic.

The collaboration between Yayasan TiTian Bali (YTB), Tugu Hotel, Bali and the arts collectives Sanggar Bares and Kelompok Seni Gotong Royong showcased a range of arts and crafts made by children and adults. Tugu Hotel, Bali, Canggu’s first five-star boutique hotel and Indonesia’s leading artistic and cultural resort brand, showcased the cultural riches of the past with contemporary creativity.

Showcasing a range of arts and crafts in two and three dimensions, some of the items on display at ARTCanggu included fashion pieces such as sneakers, clothing and luggage hand painted by children. The adult artists presented decorative artwork inspired by Balinese cultural icons with dynamic contemporary reinterpretations. The coir depictions of Made Wahyu Senayadi’s Barong and Balinese warrior performance costumes and painted objects by Made “Bijal” Suartama were the highlights. Bijal adopts colorful and flowing organic patterns for women’s handbags and crafts, transforming each into very attractive pieces.

Organic Art: Wahyu Senayadi’s life-size barong is made entirely from coconut fiber. (JP / Richard Horstman) (JP / Richard Horstman)

ARTCanggu was the first chapter of the cooperation between YTB and Tugu Hotel, Bali for the ARTCanggu series, alongside the Ministry of Tourism and Creative Economy for the development of micro, small and medium enterprises (MSME). The opening of ARTCanggu was marked by a special YTB presentation featuring start-ups Kick-Start Artpreneur and representatives from the Ministry of Tourism and Creative Economy. Recently prioritized by President Joko “Jokowi” Widodo, one of the ministry’s initiatives is to empower new entrepreneurial start-ups within the national creative economy.

“Although not all Balinese artists have access to the sale of their works in national and international markets, the artists I call second-rate, they nevertheless have extraordinary ideas and solid skills, and these are the – here we want to capitalize and create. new markets, ”said YTB Advisory Board Chairman Soemantri Widagdo. Inaugurated in 2016, the first arts foundation of its kind in Indonesia, YTB is an artist incubator creating Balinese artistic entrepreneurs for the global creative economy of the 21st century.

“Our vision, starting with ARTCanggu, is to build a naturally sustainable and self-regenerating ecosystem based on Balinese cultural values ​​and the philosophy of abundance. The concept is a creative vehicle where artists from many fields, designers, art entrepreneurs and art enthusiasts come together to support each other, ”said Soemantri.

At the opening of ARTCanggu, the founding members of YTB presented awards and signed memoranda of understanding with the first recipients of the TiTian Artpreuneur Award. This unique YTB initiative is a start-up program to create start-ups for MSMEs or other entrepreneurial platforms. These projects enable artistic ideas to turn into salable products for Indonesian and global creative economies.

“The TiTian Artpreuneur Award promotes product innovations that show innovative artistic design and the spirit of entrepreneurial collaboration. The award supports communities of artists and craftspeople with an initial angel investment or seed money, ”said Soemantri. “Funding starts at $ 200 and monthly operational support to cover material expenses for six years, for a total of $ 2,700 per community. “

“In addition, each community benefits from mentoring in all aspects of building a start-up business. This includes finance, accounting, legal, logistics, manufacturing and packaging, ”said Soemantri. “Access to markets through awareness raising and brand building will also be provided. The aim is to provide each company with the know-how and skills necessary to become successful entrepreneurs. We are confident, with all of this, that the sustainability of each start-up is guaranteed. “

Children are the future: objects presented by Sanggar Bares, painted by children, exhibited at ARTCanggu.  (JP / Richard Horstman)Children are the future: objects presented by Sanggar Bares, painted by children, exhibited at ARTCanggu. (JP / Richard Horstman) (JP / Richard Horstman)

The recipient of the TiTian Artpreuneur Award for the children category was Sanggar Bares, founded in 2018 in Lodtunduh, Gianyar. Kelompok Seni Gotong Royong established during pandemic in 2020 in Mambal, Gianyar won the adult category. Throughout the ARTCanggu, members of the two collectives led creative exhibitions and workshops open to public participation. “As the concept of ARTCanggu spreads, the clusters evolve according to the skills and value proposition in the creative fields of fine and functional arts, based on materials. [textile, wood, paper, etc.], the performing arts, music and the culinary arts. We then develop geographic clusters that support each other as networks of resilient entrepreneurs and start-ups, ”explained Soemantri.

“Many people come to Canggu, but there are few places to be exposed to Balinese culture. Therefore, we are delighted to collaborate with Yayasan TiTian Bali,” said Lucienne Anhar, General Manager of Tugu Hotel, Bali .

“The mission of our hotel is to preserve and tell the stories through the art and culture of forgotten Indonesia to the global public. As one of the most culturally diverse nations in the world, its stories are dynamic and ever-changing. We wish to become the vessel of the Canggu community to discover and learn more about Balinese culture, history and new contemporary artistic expressions. The pandemic underscores the importance and value of the culture to enrich our lives.

Scientists digitally “unwrap” Pharaoh Amenhotep’s mummy, leaving 3,000-year-old artifact intact


Saleem and Z. Hawass, CC license

All the royal mummies found in the 19th and 20th centuries have long been open to study. With one exception: Egyptologists were never daring enough to open the mummy of Pharaoh Amenhotep I. Not because of a mythical curse, but because it is perfectly enveloped, beautifully decorated with garlands of flowers, and with face and neck covered with an exquisite realistic mask. encrusted with colored stones. But now, for the first time, Egyptian scientists have used three-dimensional computed tomography (computed tomography) scans to “digitally unwrap” this royal mummy and study its contents.

It was the first time in three millennia that Amenhotep’s mummy had been opened. The previous time was in the 11th century BCE, more than four centuries after its original mummification and burial.

Hieroglyphics have described how, at the end of the 21st Dynasty, priests restored and re-buried royal mummies from older dynasties, to repair damage caused by tomb robbers.

“The fact that the mummy of Amenhotep I was never unboxed in modern times gave us a unique opportunity: not only to study how he was originally mummified and buried, but also High Priests of ‘Amon,’ said Dr Sahar Saleem, professor of radiology at Cairo University’s Faculty of Medicine and radiologist of the Egyptian Mummy Project, the study’s first author.

“By digitally unwrapping the mummy and ‘peeling off’ its virtual layers – the face mask, the bandages and the mummy itself – we could study this well-preserved pharaoh in unprecedented detail,” Saleem said.

“We show that Amenhotep I was around 35 when he died. He was about 169 cm tall, was circumcised and had good teeth. In his packaging he wore 30 amulets and a unique golden belt with gold beads.

SEE: Surviving Nazis and fire, 2,000-year-old Caligula mosaic finally returns to the museum

“Amenhotep I seems to have physically resembled his father: he had a narrow chin, a small narrow nose, curly hair, and slightly protruding upper teeth. “

Saleem and Z. Hawass, CC license

Saleem continued: “We have not found any injury or disfigurement due to disease to justify the cause of death, except for numerous mutilations. post mortem, presumably by grave robbers after his first burial. His entrails had been taken by the first mummifiers, but not his brain or his heart. “

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The mummy of Amenhotep I (whose name means “Amon is satisfied”) was discovered in 1881, among other reburied royal mummies, at the archaeological site of Deir el Bahari, in southern Egypt.

The second pharaoh of Egypt’s 18th Dynasty (after his father Ahmose I, who expelled the Hyksos invaders and reunified Egypt), Amenhotep ruled from around 1525 to 1504 BCE. It was a kind of golden age: Egypt was prosperous and secure, while the pharaoh ordered a series of religious constructions and successfully led military expeditions to Libya and northern Sudan. After his death, he and his mother Ahmose-Nefertari were worshiped like gods.

Sahar Saleem and his Egyptologist co-author Dr Zahi Hawass previously hypothesized that the main intention of 11th-century restorers was to reuse royal funerary material for subsequent pharaohs. But here they refute their own theory, as their study, published in Frontiers in medicine.

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“We show that at least for Amenhotep I, the priests of the 21st The dynasty lovingly mended the wounds inflicted by the grave robbers, restored her mummy to its former glory, and kept the magnificent jewelry and amulets in place, ”Saleem said.

Saleem and Z. Hawass, CC license

Hawass and Saleem studied more than 40 royal mummies from the New Kingdom as part of the Egyptian Antiquity Ministry project launched since 2005. Twenty-two royal mummies, including that of Amenhotep I, were transferred in April 2021 to a new museum in Cairo. The face of the mummy of Amenhotep I with his mask was the icon of the spectacular “Royal Golden Mummy Parade” on March 3, 2021 in Cairo.

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“We show that CT imagery can be used beneficially in anthropological and archaeological studies of mummies, including those of other civilizations, for example Peru,” concluded Saleem and Hawass.

Source: Cairo University

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Meet Rachel Jones, an ascendant painter whose consuming paintings have captivated viewers in London and collectors around the world


Standing in front of a Rachel Jones painting is like letting her take you on a journey through her emotional landscape, with her skillful use of color and composition as a guide.

One of the artist’s goals is black interiority, accessible somewhat literally through the frequent inclusion of mouths and teeth. Sometimes these elements are visible and sometimes they are immersed: In works like lick your teeth to catch them (2021) – currently featured in the Hayward Gallery’s Survey of Contemporary Painting, “To mix together“—The teeth and the mouth turn into hills, rocks, valleys and mountains. Circles and flowers can represent grids, but they can also be trees and waterfalls, such is the” magic eye “effect of the work. Jones’ unique and seductive abstractions succeed in conveying the infinite psychological landscape that exists within oneself.

“I like the idea that you can create works of art from a place of feeling, and that’s reason enough to do something, because I think it’s the truth,” a she explained. “Everything that is produced comes from some kind of desire or need, and all of these things are emotional and physical reactions in our body.”

Jones appeared in a fall 2020 collective exhibition to Thaddaeus Ropac alongside Alvaro Barrington, Mandy El-Sayegh and Dona Nelson. Ropac signed it soon after, and the attention of institutions and collectors followed, resulting in intense demand for his work over the past two years. Another 30-year-old artist might be overwhelmed by such a rapid rise, but the Jones remained focused on creating a life best suited to doing work.

Rachel jones SMIIIILLLEEE (2021). Photo Eva Herzog Courtesy of Thaddeaus Ropac

Its evolving practice is set out in “SMIIIILLLEEE», On display at the Ropac gallery in London until February 5, occupying most of the large space. The exhibition is a combination of paintings of all sizes, some on stretched canvas and others hanging directly on the wall, ranging from a few inches to several feet.

The large-scale works for which Jones is known are present, as are a few riffs on her practice to break the formality of the gallery space. Upstairs, there is an intervention on a wall, with the words “Son Shine” written on either side. One work is a sticker on the floor and others are placed at different heights, some very low on the wall, attracting viewers, encouraging them to immerse themselves in the work. You are encouraged to lean forward, lean back and move closer to the paintings, creating a conversation between the work and the viewer.

“I am very interested in placing my story and my relationship to painting within the work,” she told Artnet News. “It’s really meaningful to have people to question and reflect on these ideas. There have been so many black intellectual writers and poets who have talked about these things for so long, and it’s great to be able to feel like you’re contributing to this conversation.

Rachel Jones <i>SMIIIILLLLEEEE</i> (2021).  Photo Eva Herzog Courtesy of Thaddeaus Ropac

Rachel jones SMIIIILLLEEE (2021). Photo Eva Herzog Courtesy of Thaddeaus Ropac

Jones graduated from the internationally renowned Glasgow School of Art in 2013 and went on to complete her Masters at the Royal Academy of Arts in London. There she caught the attention of, among others, Chisenhale director Zoe Whitley, who called on Jones for the next solo show, “Say Cheese”, in March 2022.

“I first saw Rachel working in a different register when she was still a student at RA schools and pondering what her own language might be,” Whitley told Artnet News. “It’s so exciting to see how sure she is to find a visual language that allows her to express so many very nuanced themes that interest her. She has this very urgent feeling to find herself in the radiance of this. what it means to be a painter today.

This evolution is an artist is key for Jones, who begins each new work with the body of the painting that came before it. “I’m really excited to see how the work develops over the years, as I see the practice as having longevity,” Jones told Artnet News on Zoom. “And to become clearer over the years, because each work is in relation to each other. “

Rachel Jones SMIIIILLLEEE (2021).  Photo Eva Herzog Courtesy of Thaddeaus Ropac

Rachel jones SMIIIILLLEEE (2021). Photo Eva Herzog Courtesy of Thaddeaus Ropac

Jones works with oil sticks, and his process is both physical and emotional, related to an intuitive sense of composition and balance. “Every painting involves pretty much every color on the spectrum,” Jones explained. “It is very important that there is a sense of balance and that there are times when the eye can rest. There must be times in the painting where the movement allows it to linger or stop, so that it is not constantly like an assault.

Its marking, although layered and complex, has a sense of immediacy that makes it very readable. In some places the strokes are frantic and in others they are layered and blended, there is a sense of experimentation; Jones is getting to know his palette and seeing the progression is exciting.

“Colors can be energetic, or they can be toned down, they can ask questions, or they can be flirty, violent or harsh,” Jones said. “Using color becomes like a form of communication. In such moments, Jones communicates not only with the viewer, but also with herself: “All of these things that work together are something that happens by creating the work with the feeling of following my nose and listen to my intuition, then wait for a point to feel that the painting has had enough and that it is holding.

Rachel Jones SMIIIILLLEEE (2021).  Photo Eva Herzog Courtesy of Thaddeaus Ropac

Rachel jones SMIIIILLLEEE (2021). Photo Eva Herzog Courtesy of Thaddeaus Ropac

“People are drawn to the way she communicates through color and a visual lexicon that oscillates between the concrete and the enigmatic,” her gallery owner, Thaddaeus Ropac, told Artnet News. “There is an intensity of joy and complexity in his works that instantly captivates you and holds you in their grip long afterward.” He has placed his paintings in institutions such as ICA Miami; the Houston Museum of Fine Arts; Tate; Hepworth Wakefield, The Towner Art Gallery; and the UK Arts Council collection – “and that was before she painted the works which are now on display in her current exhibition at our London gallery,” he added.

The waiting list for works on view is long, according to Diane Abela, director of the Gurr Johns board, due to the quality of Jones’ work, but also Ropac’s clever management.

“Personally, I was just thinking, wow, this is something completely different, something that you haven’t seen in the art world,” Abela told Artnet News. She cited the institutional interest in her work, coupled with its affordability – prices are high but not inflated, figures around € 30,000 have been mentioned.

Jones herself is focused on the long game. An avid gardener, she also makes music and has “painted in silence only once when my batteries ran out”. She plays CDs and walks away from the grid while listening to entire albums, enjoying making the art a full body of work, as opposed to streaming online. She wants a quiet, but art-centered life, and is currently completing a teaching degree, which she sees as a practice to accompany a life as a designer. This uncluttered approach is what allows him to channel himself so completely into these complicated and consuming works.

“I’m excited to see the narrative develop and the form it takes visually, how it changes,” she said, “but I also look forward to being able to work with people collaboratively, because the painting is a very lonely practice, I really look forward to having the opportunity to build relationships while doing work.

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Has Avatar Aang had another (secret) son?


Avatar fans have come up with a theory about Aang’s secret child, which completely changes what is known about the last airbender.

Many major events occurred in the time that elapsed between the end of Avatar: The Last Airbender and the beginning of The legend of Korra. Technology has advanced a lot, the political landscape has changed, and the characters have grown up, had children and died. Many of these changes were directly stated, while others were only subtly implicit. This subtlety leaves a lot of room for the development of interesting theories that completely turn the world of Avatar upside down.

After Harmonic Convergence, the spiritual energy of the world changed, causing many random people to acquire airbending abilities. These random people had virtually no control over their airbending powers and no skill with their abilities. However, Zaheer, someone who was meant to be a nonbender his entire life, immediately demonstrated advanced skills with his airbending. He was competent enough to easily take down the White Lotus agents and take on an airbender like Tenzin.

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The series explains this level of power by revealing that Zaheer has a deep interest in the culture and spiritual knowledge of Air Nomad. This would explain how Zaheer knew about airbending techniques, but it doesn’t explain his skill level or why he would have advanced knowledge of a culture that was nearly destroyed. Even Aang’s son, Bumi, had to be trained before he became proficient in airbending. Some fans believe that Zaheer’s airbending talent has an even deeper meaning than that presented by the series.

Zaheer is the forgotten son

Some fans have developed a theory claiming that Zaheer is Aang’s first son and an airbender. It was established by Tenzin that Aang was very focused on transmitting the culture and history of the Air Nomads to a child airbender. This would explain how Zaheer has such a deep knowledge of historical figures like Guru Laghima. Aang’s teachings on the culture and history of Air Nomad are said to be the foundation of Zaheer’s radical philosophy.

AvatarZaheer14 suggests that Zaheer misinterpreted Aang’s teachings. Zaheer developed a style of airbending that was more aggressive and violent than the original defensive martial art. Zaheer’s misunderstanding of the Air Nomad’s ideas about freedom and the loss of his earthly attachments caused him to do something horrible – something so bad that Aang was forced to withdraw bending by Zaheer. Maybe Zaheer tried to kill a world leader or even attacked his own father because he felt the world didn’t need an Avatar anymore.

Regardless of what Zaheer did, AvatarZaheer14 believes Aang’s actions motivated him to join the Red Lotus and later attempt to kidnap Korra. When harmonic convergence occurred, Zaheer’s natural airbending abilities were returned to him. This theory makes Zaheer’s conflict with the Avatar much more personal, and Aang’s character much more complex.

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Zaheer is a stray air sidekick

Another theory from Reddit proposes that Zaheer was not Aang’s son but that the two still had a close relationship. Reddit user u / lukario claims that Zaheer was an Air sidekick who was personally trained by Aang. Legend of Korra shows that an order of monks lived in the Air Temples and practiced Air Nomad culture. These monks greatly admire the Air Nomad culture and traditions. They study the surviving stories of the Air Nomads just like Zaheer. It would make sense if Zaheer was one of those air sidekicks.

If Zaheer were personally flanked by Aang, it would make sense for him to be such a strong airbender after Harmonic Convergence. As Air Acolyte, Zaheer is said to have had access to Air Nomad’s history and information about Guru Lighama that fueled his ideology. This theory is taken even further by u / lukario’s suggestion that Aang could have tried to give Zaheer airbending with his energybending. If Aang failed to bend Zaheer, he may have grown grudge against the Avatar and decided to join the Red Lotus.

Whether or not Zaheer is Aang’s secret child or his lost student, these theories do a great job of filling in the gaps left by the series. Zaheer’s interest in Air Nomad culture becomes more than just a character quirk; it becomes an integral aspect of its identity and its past. These theories also add depth to Aang’s character as an adult. How would Aang have reacted knowing he had a son or a student he was unable to stop going to the dark side?

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Adventure Thru the Walt Disney Archives director John Gleim in the documentary


If you are a Disney fan and looking for something cool to watch, the documentary Adventure through the Walt Disney Archives (which was previously only available for a one-time screening for D23 members) provides a glimpse behind the magical curtain of The Walt Disney Company. As you explore the Studio lot, a warehouse of iconic treasures and theme parks, all with producer and host Don Hahn (The beauty and the Beast, The Lion King, Maleficent) as a guide, viewers will hear Disney’s Executive Chairman Bob igger, Marvel Studios’ Kevin feige, Pixar Pete Doctor, film historian Leonard Maltin and others, as they gain a better understanding of the detailed history that has helped shape every aspect of the business.


During this individual telephone interview with Collider, director John gleim spoke about how this hour-long documentary came together, clarifying what to present, how vast the archival collection truly is, the vast knowledge of archivists and researchers, the magic of ‘being in Walt Disney’s office and compiling all the interviews together.

Collider: It’s such a delicious documentary. I enjoyed it immensely and feel like I could have watched a 10 hour version of it.

JOHN GLEIM: I would love to do a 10 hour version.

How do you take all this material and edit it in what we see?

GLEIM: Yeah, that was really the hardest part. We also shot tons of interviews. This is truly a love letter to the archives and it was originally made to celebrate the 15th anniversary of the archives. And I didn’t want to do a simple documentary like “The Archives Were Created in 1970”, because you can read an article about it. I wanted people to see the places, meet some of the archivists, and really experience what it’s like to be in the archives and see some of these awesome things that are there. It was really about working with Becky Cline, the director of archives, and figuring out what the big topics were. It’s documents, dimensional objects, all these different costumes and all these different categories. And then, it was about the various locations of the archives. There’s the Reading Room, which is the main office of the archives and where Becky’s office is located. And then there are the various warehouses and other places. We also wanted to show that archives also work outside their buildings.

Then I put together what I thought was cool. I am a big fan of Bed buttons and brooms. I’m a huge fan of visual effects, like matte paintings and stuff like that. And then I said, “Now I want to hear from you. I’ve given you examples of what I think is cool, but I’m just guessing, in some cases, which sounds good. I want to hear from the activists. What is important to you? What are the iconic things? And what are also some obscure things that people might not consider important to preserve and why are they important to preserve? So we took all this mishmash of ideas, places, people, and artifacts, and tried to build a story around it. What inspired me was the 1941 film The reluctant dragon, where Robert Benchley visits the studio, trying to see Walt Disney. We had Don Hahn on board really early and thought he would be a great host, so we put Don Hahn in that role of Robert Benchley, trying to reach the Walt Disney office which is also a location. important for the archives because they are the ones who were responsible for restoring it.

Image via Disney +

Thanks for including Bed buttons and brooms.

GLEIM: Yes, it has a reputation for being a worse movie than Mary poppins, and there are so many cool things in it. It follows a similar structure, but it’s still a different movie. Just putting it in that WWII era is really interesting, and there’s some great animation in there as well. Obviously, Angela Lansbury and David Tomlinson are fantastic. I could go on about this. The archives contain some very good stuff from there. They have a bed handle, which makes a fun little cameo appearance, there’s the matte paint that’s in there, and they’ve got the Naboombu Island children’s book. They’ve got a bunch of props from there and they’ve got a bunch of really fun behind-the-scenes photos too. It was a pretty well-documented movie, which makes it fun.

How did you experience this trip yourself and take all the steps that helped make Disney what it is today and the history that has been preserved?

GLEIM: It was amazing. I’m already doing quite a bit with the archives and that’s part of why I wanted to show off all the good things I got to experience there, but then take it a step further and see how big the collection is, the whole thing. care that the archives take to preserve these artefacts, and all the archivists and being able to talk with them about the stories behind all of these artefacts, the story just rolls on from there. One of my favorite things to talk to them about is chance that happens, with outside researchers and historians coming to work with the archives. They will find a random interview in a magazine that contains this information and they can bring that information to the archives and the archives can say, “We have another interview with this person.” Being able to make all of these connections is so exciting. When we go to Walt’s house on the Walking Way, which has been an amazing experience, all discovering that famous photo of Walt that has been used all the time, for years and years, everyone has assumed that it was at Hyperion Studio. Through some research and different people looking at different things, they were able to find out that this was taken from him, and I love stories like that. It’s so much fun. There is always more to discover. Archivists are always making new discoveries, all the time.

Image via Disney +

What do you think would surprise people most about the archives and what is in them?

GLEIM: Yes, Disney is the biggest entertainment company in the world, but you would always think that there is a finite amount of stuff to preserve, and there isn’t. There are four million photographs. I’m a big movie nerd and love all the behind the scenes photos. I was in there one day when they were scanning backstage photos of 20000 Leagues Under the Sea and that was the coolest thing ever, just being able to see that stuff. I am always impressed with, when I speak with the archivists and researchers out there, their vast knowledge of everything. It’s not just about names and dates, but also about contextual things and being able to tell stories about things. I love this part. That is why it could be 10 a.m. or 8 p.m. It could go on forever. We’re only scratching the surface of how Disney archives things. There’s the Walt Disney Archives, but there’s also the Animation Research Library, and Pixar has its own archives, and Lucasfilm has its own archives. I would also like to branch out into these places and do more because it’s awesome.

I really liked the format we ended up on. He was very inspired by The reluctant dragon, but it was also inspired by the Disney TV shows of the ’60s, where Walt would just walk around the studio and meet a fantasy and say, “Oh, what are you working on?” There’s just that fun spirit that I really liked, and I tried to inject some of that into this movie to make it light and fun, but you will still be able to see all this cool stuff and learn what the the archives do. Another secondary goal was to teach some of the history of Walt Disney himself. It’s easy to forget the person who started the business. With Walt, there is always more to learn about him. One of the things I tried to do is if you’re a Disney fan and know most of Walt’s story, there are still some really cool artifacts that you might not have. never be seen before. But if you’re not so familiar with Walt and his history, you can learn some of it as well. I think it’s really cool. This is also the great part of ending up at the Walt Disney office. This is another place where I never tire of it. You just soak up Walt’s energy, and I love it.

Image via Disney +

You also get a real feel for the collection of people connected to Disney, from Bob Iger and Kevin Feige to Mark Hamill. What was it like putting the interviews together with people encompassing Disney?

GLEIM: It was a blast and it was very difficult to choose clips among them. I love to hear how Bob is a fan and Kevin is a fan. There is a story Mark Hamill told where he saw Walt Disney when he was at Disneyland that blew me away. I loved doing it. Everyone is so excited to talk about the archives and what they do, which made these interviews so great.

Adventure through the Walt Disney Archives is available to stream on Disney +.


Jacob Bertrand shares his reaction to Hawk’s Hawk in season 4 of “Cobra Kai”

Insert the sound effect of the hawk cry here.

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2021 News Presenter: Darrianne Christian, Chairman of the Board of Directors of Newfields

(IBJ file photo)

Darrianne Christian was ‘on vacation and completely off the hook’ in February when a word in an otherwise innocuous job offer at Newfields for a new art director set the stage for a massive staff backlash and the resignation of a president -General manager.

That word was “white,” as in a job description asking leadership contestants to “attract a larger and more diverse audience while retaining the Museum’s traditional white art audience.”

Christian was a member of the board of directors of Newfields, home of the Indianapolis Museum of Art. And as her family’s cruise drew closer to dry land at the end of her vacation, “my cell phone reception went off and my phone started ringing with tons and tons of texts and messages. missed calls, ”she told IBJ.

Newfields and its CEO, Charles Venable, were under fire. The museum changed its wording and apologized, but the damage was done.

Venable resigned, and over the following weeks Christian became a key leader in the museum’s campus response and strategy moving forward.

In March, Newfields released an action plan based on the engagement of staff, volunteers, donors and community members, including local artists.

Then, in May, the board elected Christian its new president, making her the first black woman chosen for the post.

“I saw Darrianne devote her heart and soul to making Newfields a truly diverse and inclusive institution,” said outgoing President Katie Betley after Christian’s selection. “She has had my support every step of the way, and I look forward to standing up for and celebrating this work in any way I can.”

Christian, who was born and raised in Gary, now leads the organization’s efforts to rebuild trust with staff and community members.

“We knew the job posting had caused damage and we wanted to understand that damage,” she said. “We also wanted to understand what we could do to improve it. “

This is not Christian’s first foray into diversity issues. She and her husband, CEO and founder of BCforward Corp., donated $ 1 million to establish the Justin and Darrianne Christian Center for Diversity and Inclusion at DePauw University, which opened in 2017. The center is home to the school’s African American Student Association and the Dorothy Brown Cultural Resource Center.

She also sits on the boards of the Central Indiana Community Foundation and the Lake City Bank.

At Newfields, a six-month progress report released in September detailed some of the organization’s progress: provide anti-racism training for all implement diversity, equity, inclusion and access training for directors, board members and senior management creating an intercultural development inventory reorganizing its team of project champions working on a formal affinity network for non-white staff.

The organization also created a Community Advisory Committee as a direct link between its audience and its directors, expanded its admissions and membership policies, and brought in an external team for a leadership culture review and of Newfields more broadly, according to the report.

And Newfields said he was increasing the representation of black, Indigenous or under-represented artists using a $ 20 million endowment; lobby for more diverse leadership; and intensify engagement, with “listening hours” and a new lecture series.

“I believe we are heading in the right direction, and the community has responded well to this,” Christian said in May. “But we’re never going to rest on our laurels or take the position that we’re doing everything we should be doing. We are an institution that in the future will always challenge itself to ensure that we do all that we can. “•

Find out more News 2021.

Spotlight on Local Entertainment Lists | Calendar



Brewers Festival: February 17-20, ilani, 1 Cowlitz Way, Ridgefield, Washington. Participants can “indulge their senses while choosing from hundreds of beers, seltzer, ciders and spirits. Celebrate the Pacific Northwest with food, celebrity chef demonstrations, games, shows and more. Event-packed weekend including beer pairing dinners, three days of great tasting events, beer brunches and a special Burgers, Beer, Bourbon and Bacon lunch at Michael Jordan’s Steak House. Limited number of tickets. For a full list of event details and ticket prices, visit ilanibrewfest.com.

Dancing with the Stars – Live Tour 2022: 7 p.m. March 20, ilani, 1 Cowlitz Way, Ridgefield, Washington. Feature routines form the TV broadcast alongside new numbers choreographed specifically for live presentation, ranging from age-old dancers like the quickstep and foxtrot to Latin styles like cha-cha, salsa and tango. Tickets available at ilaniresort.com or ticketmaster.com. Cost: $ 39 and $ 59 per person. VIP packages available on dwtstour.com where fans can purchase premium tickets, pre-show Q&A passes, exclusive merchandise, and photo opportunities.

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Antidote Home Faucet: 5:30 p.m. to 7:30 p.m. every Wednesday, Wine Wednesday with CloudShine; $ 4 for nine ounces of wine; beer, cider, cocktails, food available. 1335 14th avenue, Longview. 360-232-8283.

Cowlitz Valley Early Music Association: Country and bluegrass music, open mic program and dance. 6-8 p.m. December 31, Catlin Grange, 205 Shawnee, N. Kelso. Information: 360-423-3138.

Scooter bar and grill: 6 pm-9pm Sunday, music. 1107 N. Pacific Ave., Kelso. 425-2223. Search for Scooter’s Bar and Grill on Facebook.


The Columbia Theater Association for the Performing Arts 2021-2022 Classic Film Series takes place one Thursday a month at 2 p.m. and 7 p.m. through May 5 at the Theater, 1231 Vandercook Way, Longview. The cost is $ 8 per person. Tickets are available on the theater’s website at columbiatheatre.com/classic-film-series.

The scheduleJanuary 13: “Dr. Strange Love.” A 1964 black comedy starring Peter Sellers and George C. Scott.

February 10: “A raisin in the sun.” A 1961 drama starring Sidney Poitier and Ruby Dee.

March 24: “Cool main Luke.” A 1967 drama starring Paul Newman, Glenn Beck, and Dennis Hopper.

April 14: “Inheriting the wind. A 1960 drama starring Spencer Tracy, Gene Kelly and Dick York.

May 5: “The Russians are coming.” A 1966 comedy starring Alan Arkin, Carl Reiner and Brian Keith.


Holiday show: 4 pm December 31 and 7 pm January 1 on KLTV 11. Kelly Fitch and his company Spotlight Singers present a holiday show.

“Postcards from Ireland”: 8 p.m. May 19, Celtic Woman performance, Cowlitz Ballroom, Ilani, 1 Cowlitz Way, Ridgefield. An all-female Irish group perform Irish classics, contemporary songs, classic classics and original compositions. They are accompanied by an ensemble that includes Irish dancers, a bagpiper, and a full orchestra playing an array of traditional Celtic instruments, including the bodhran, tin whistle bouzouki, and Uilleann pipes. Tickets: $ 39 and $ 59, available at CelticWoman.com, ticketmaster.com and ilaniresort.com.


“Calendar girls”: 7:30 p.m. Friday-Saturday, 2 p.m. Sunday 22 Jan-Feb. 2, Stageworks Northwest Theater, 1433 Commerce Ave., Longview. When Annie’s husband dies of leukemia, she and her best friend decide to raise money for new furniture in the waiting room of the local hospital and persuade four other women to join them in posing nude. for an “alternative” schedule. Based on a true story. Includes suggested nudity moments. Tickets: $ 18 general, $ 14 students / seniors / veterans, $ 8 children, ages 3 to 12. Group rates available. Season tickets now on sale. www.stageworksnorthwest.com.


Appelo Archives Center: Historical exhibits from the Naselle-Grays River area. Hours from 10 a.m. to 4 p.m. Tuesday to Friday, 10 a.m. to 2 p.m. Saturday or by appointment. 1056 Route nationale 4, Naselle. 360-484-7103; Appeloarchives.org

Broadway Gallery: The gallery is calling on artists for new memberships. Artisan cards, masks, jewelry, books by local authors, pottery, sculpture, glass, metal, photography, wearable art and more. Buy on the fourth local Saturday of each month to receive a free gift. The “Jump Start for Art” sale will take place from January 18 to 29. Regular hours: 11 am to 4 pm Tuesdays, Wednesdays, Fridays and Saturdays; 11 am-6pm Thursdays. 1418, avenue du Commerce, Longview. 577-0544. http://the-broadway-gallery.com, www.facebook.com/TheBroadwayGallery.

Columbia-Pacific Heritage Museum: The Fires Through March exhibit features photos, artifacts and stories surrounding many of the fires that have shaped and changed communities on the North Beach Peninsula. The exhibit includes the 1915 fire at Nahcotta, the 1936 fire at Ilwaco High School, the Keystone Cannery fire, the Sid’s Market fire in the 1960s and the 2006 fire that swept through the Ilwaco fire station. Throughout all of the disasters, members of the fire service, mostly volunteers, responded quickly and successfully, according to a press release from the museum. Permanent exhibits on Lewis and Clark and the Columbia River, an 1890 railroad car and a model of the old train that ascended the Long Beach Peninsula. Hours: 10 am-4pm Wednesday to Saturday. Free entry. 115 SE Lake, Ilwaco. 360-642-3446; columbiapacificheritagemuseum.org.

Cowlitz County Historical Museum: Hours: 10 am-4pm Tuesday to Saturday. Donations accepted. 405 Allen Street, Kelso. 577-3119. www.co.cowlitz.wa.us/museum.

Koth Memorial Gallery: Hours: 10 a.m. to 8 p.m. Monday to Wednesday, 10 a.m. to 5 p.m. Thursday to Saturday, closed on Sunday. Longview Public Library, 1600 Louisiana St., Longview. Daniel: 360-442-5307.

Lelooska Foundation and Cultural Center: From 11 a.m. to 3 p.m. on Thursdays, museum and assembly room open. To register for an in-person tour, go online at lelooska.org/visit-reservation/. Scheduled reservations are required to comply with COVID-19 regulations. No more than 40 people allowed in the museum at a time and no more than 10 people allowed in the assembly hall at a time. Due to several high-risk people in the community, masks and social distancing are needed, according to the foundation’s website. Those interested in having access to virtual school trips can register at lelooska.org/virtual-visit-registration.

Lower Columbia College Forsberg Art Gallery: Hours: 3 p.m. to 6 p.m. Tuesdays and Thursdays, 10 a.m. to 1 p.m. Wednesdays. In the college’s Rose Center for the Arts art gallery, 1600 Maple St., Longview. 360-442-2510; www.lowercolumbia.edu/gallery.

Oregon Rainier Historical Museum: Hours: noon to 4 p.m. Saturdays (except holidays), third floor of Town Hall, 106, rue W. B, Rainier. Old photos or items that people would like to share or donate to the museum are welcome. Old photos can be scanned and originals returned to owners. 503-556-4089, 360-751-7039, [email protected]

River Life Interpretive Center at Redmen Hall / Central School: Hours: 2 p.m. to 4 p.m. Saturdays and Sundays. Mandatory masks and social distancing rules will be respected. 1394 State Route 4 (Ocean Beach Highway). 360-795-3007, leave a message; or [email protected]

Tsuga Gallery: Showcases more than 30 works by local artists, including paintings, photographs, sculptures and jewelry. 70 Main Street, Cathlamet. Hours: 11 am-5pm Thursday to Saturday.

Wahkiakum County Historical Society Museum: Extensive logging, fishing and cultural exhibitions. 1923 locomotive outside. Hours: 1 p.m. to 4 p.m. from Saturday to Sunday until September or by appointment. 65 River Street, Cathlamet. 360-849-4353.

The deadline for Spotlight is 5:00 p.m. on the Monday of the publication week. Email the information to [email protected] No information will be taken over the phone.

The Lakeland voice actor’s passion for art started young


George Lowe looks like any other guy who could walk around Lakeland until he opens his mouth. You never know which of his cartoon characters will fall. It could be “Space Ghost”, the father of “Brak” or the unicorn of “Robot Chicken”.

Lowe brings all of these characters to life with his dramatic voice. He says when he hears someone who has an interesting voice, he notices it.

“If I’m somewhere like New York and hear a great voice, I find myself later in the day trying to do it, especially in New York, because New York is such a set of Pu Pu sound. “Lowe explained.

In addition to being endlessly on the hunt for new and interesting voices, he tirelessly searches for something else, the next piece of art to add to his already vast collection.

“It’s a real illness. I should be in a program,” Lowe said wryly.

His passion for art started young.

“Mom grabbed me at graduation and said, ‘Do you want a car? ” I said no ! I want a Picasso. So we went to the bank, and it was just an engraving, and she had to get a loan for the engraving.

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His collection, which covers almost every square inch of his home, now numbers 700 pieces. Lowe is also a well-known artist himself.

“I use watercolors, but the majority of them are colored pencils on rotten brown paper,” he said.

The humble choice of paper didn’t seem to deter two recent buyers from starting a bidding war over one of his works at a New York auction house. It cost $ 2,000 at the door.


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The Eau Claire Children’s Museum is planning pop-ups …

New playgrounds courtesy of the Eau Claire Children’s Museum will bring fun to neighboring towns next year. Photo by Andrea Paulseth.

The Eau Claire Children’s Museum may be busy building a new home in downtown Eau Claire, but it’s not the only project on the horizon for the family institution.

The museum announced in December that it was opening two new temporary play spaces – one in Chippewa Falls and one in Menomonie – allowing children in these communities to have fun and education closer to home. Each new play space will be open for at least a year, museum officials said.

Play spaces will open in February at 312 N. Bridge St. in Chippewa Falls (a former fitness center) and 503 Broadway in Menomonie (inside a commercial building and multi-unit apartments) . According to a press release, “Children and their adults will have a space that will have open rooms and free parts in tthree exhibition galleries. The new locations will be made possible by a $ 50,000 grant from the Institute for Museum and Library Services.

The play spaces will offer daily STEAM-related activities and will be available for private rentals for birthdays and other gatherings. Admission will be $ 5 per person for all children 1 year and over.

Meanwhile, work continues on the new two-story, 26,000-square-foot museum in downtown Eau Claire. The new $ 12.5 million facility will feature the types of hands-on educational exhibits the museum was known for in its original location, at 220 S. Barstow St.

Learn more about the museum and find out how to visit the play spaces at childrensmuseumec.com.

Crusader Kings 3 artifact weapons teased in new CK3 dev diary teaser


Last update:

The hype is growing more and more towards the imminent release of the Crusader Kings 3 Royal Court DLC. The DLC is the game’s first major expansion since its launch in September 2020, and it will add so many new features that will massively change the game.

One of the new features in the game is the Royal Court, a 3D room presenting your characters in a whole new light. Courtiers, gentry, title holders and the royal family are present in these rooms, as well as other facets of medieval life. The recent CK3 Dev Diary focuses on Crusader Kings iii artifact weapons, greatly improving the myth of medieval age legendary weapons used in CK3 when it launched.

Crusader Kings 3 Artifact Weapons Teaser

In the CK3 Mini Dev Diary, Paradox Interactive gave us a better snippet of Crusader Kings 3 artifact weapons. When players enter the Royal Court, players will find a character’s artifact weapons decorated in the corridors. Players who get their hands on a legendary weapon can display it to all visitors.

In terms of aesthetics, these items are generated based on the weapon type and culture they were forged into. A Germanic EDH sword will look somewhat different from a French sword, which will be radically different from a weapon created in Arabia. For the RPers there, you will no doubt seek to collect weapons during the Jihad or the Crusade, seeking to bring back tales of your exploits, pilgrimages or conquest snacks to your court.

In terms of modding, GoT mod fans are going to be incredibly happy. Imagine sitting in your mansion, with a giant valerian steel sword hanging above your fireplace mantel. Hope Samwell Tarly doesn’t pinch him.

Crusader Kings 3 Royal Court is due out on February 8, 2022, so there’s no longer much to wait for this highly anticipated content.

Kuwaiti gallery Bawa collaborates with Saudi pioneer Ahmed Mater for digital exhibition


When Gallery Bawa launched in October 2020, it entered a rather shaky art market. Despite the many online auctions and virtual viewing rooms around the world, major art fairs always postponed or canceled their events. In March, the Art Basel and UBS Art Market report noted that global sales of art and antiques fell 22% in 2020 and did not expect a very promising year 2021.

Kuwait City Bawa’s digital gallery, however, managed to defy the fall. During his first year, founder Bandar Al-Wazzan says he managed to turn a profit. And that’s not all: for its last exhibition of the year, the gallery is collaborating with one of Saudi Arabia’s greatest artists, Ahmed Mater, to present his first digital art adventure.

Bawa was born during the pandemic, though its beginnings date back to earlier, when Al-Wazzan, 23, was a business student at Northeastern University in Boston. Visiting galleries in the United States, especially New York, he wondered why Gulf artists were so rare. “The question was always, ‘Why can’t I see artists near where I come from on these walls? “, He said. “I started to get excited about the art world, why some pieces sell for millions and others don’t.

In the second half of 2019, Al Wazzan did a six-month internship at Christie’s Dubai, where he became more interested in the art market and worked on his first auction, a fundraising operation for the neighborhood. history of Al Balad in Jeddah.

When he returned to Northeastern University to graduate, he set out to put together a group exhibition of Arab artists at the Lebanese American University, which has a center in New York. The pandemic upset those plans, and Al-Wazzan relocated to Kuwait City when Covid-19 was at its peak last year. Looking back, he says he knew it was an ambitious pitch, especially for a young graduate who didn’t yet have the network to produce a show, but it helped cement his desire to work in art. .

He spent the following months studying the art market, the Gulf art scene, and understanding the gallery model. By the time his digital gallery website went live in 2020, he had lined up the next artists he wanted to showcase, mainly highlighting young, emerging artists whose practices he admired.

So far he has worked with artists such as Alymamah Rashed from Kuwait, presenting his female body series titled Muslim Cyborg, and Athoub Albusaily, artist living in Abu Dhabi, whose work Non-terrestrial examines the landscape of his native Kuwait through engravings and tracing paper.

Bawa’s current show, titled Infinite magnetism, is a generative work of art based on the famous Magnetism from 2009. The original artwork features a solid cubic magnet surrounded by iron shavings, forming an abstract miniature replica of pilgrims circling the Kaaba.

Months before Infinite magnetism, Al-Wazzan and Mater had various discussions and both hoped to do more than just sell new work online.

Al-Wazzan had come across the mechanical map of the drawings of Hind Al Saad, a coder from Doha, who could program a drawing machine to produce illustrations based on a generative system.


In the end, the idea was such – Infinite magnetism would exist forever, creating endless iterations of Mater’s artwork, materialized as ink on mechanical paper drawings.

Al Saad wrote the code so that each drawing generated had an outline similar to the one Magnetism: a black square in the middle with notches, similar to iron filings, radiating from the center and arranging in a random and unique way each time.

There are currently 7,777,777 editions available, and in 10 years the code will automatically increase it to 77,777,777. In 10 years another “7” will be added to the code and so on until perpetuity.

This experimental approach to working with artists is part of Bawa’s style. In April of this year, Al-Wazzan was among the first Gulf galleries to venture into the NFTs with a solo by Saudi artist Ahaad Alamoudi, whose founder admits he only sold one work. out of six (“one more than we expected,” he says), but the sentiment was a milestone in the crypto art space. “It was very early for this kind of exhibition and [it] was more of a statement, ”he explains, saying he expects the work to sell in a few years.

Bawa also operates at a different speed, averaging one show per month. In total, it presented three “seasons” over the year, with four shows per season. Additionally, he has his spontaneous “Mono” platform, where the gallery presents a piece of art for sale with no set schedule, advertised just 24 hours earlier on Bawa’s Instagram before it was uploaded to the website.

Al-Wazzan’s goal, he says, is to speak directly to artists about their practice and to build a base of young collectors in the region. Most of Bawa is self-taught and self-sufficient, with the gallerist building and managing the website himself. For each exhibition, Al-Wazzan films and posts a video interview with the artist, where he discusses his work.

“The gallery exists to let artists do whatever they want to do. My end goal is to fully represent an artist and allow him to do nothing but create the art he wants to create, ”he says.

In addition to facing the challenges of logistics and shipping, Al-Wazzan also faces a bigger task – fostering artistic patronage and support in a fairly nascent market like Kuwait and parts of the Khaleeji scene. “It’s important to create a new culture of collecting, to talk to people in the region who are interested in artists and to get them to identify directly with the work,” he says. When dealing with potential collectors, he often engages personally with them to understand their interest in the artist and the work.

Bawa’s long-term goal dates back to his early days, when Al-Wazzan was still a student – seeing more Khaleeji artists on the international art scene. “I would like Bawa to be known for attracting new audiences from all over the world to these artists,” he says. “When people go to art fairs and see artists from Bahrain, Kuwait or the Gulf, I don’t want them to be shocked. It should just be a normal thing. It should just be part of the global art market.

More information on the Bawa Gallery is at galeriebawa.com

Update: December 29, 2021 6:49 am

‘Ase: Afro Frequencies’ exhibition opens at Bellagio Art Gallery: Travel Weekly


“Ase: Afro Frequencies”, a multisensory digital art exhibition, opened at the Bellagio Gallery of Fine Art on December 23.

The exhibition, a celebration of the historical, social and cultural aspects of the black experience, is presented by Artechouse in collaboration with Afro-surrealist visual artist Vince Fraser and poet Ursula Rucker.

Ase (pronounced “ah-shay”), a Yoruba philosophy of the power to demand change, is the design concept behind the exhibition. It presents installations inspired by West African traditions, presenting them as symbols of black culture and hope.

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“’Ase: Afro Frequencies’ is unlike any of the exhibitions we’ve hosted at the Bellagio Gallery of Fine Art before, and its execution is outstanding,” said Tarissa Tiberti, Executive Director of MGM Resorts Art & Culture. “It is an honor for us to offer visitors an unforgettable experience that communicates messages with such cultural relevance in addition to pushing the boundaries between art and technology.”

“Ase: Afro Frequencies” will be open daily until April 18 at the Bellagio Gallery of Fine Art. Photo credit: Max Rykov

The exhibition will be open from 10 a.m. to 6 p.m. daily until April 18. The last entries are sold 30 minutes before closing.

Tickets cost $ 18 (plus taxes and fees) for adults and $ 15 for people 65 and over, students, teachers, and military personnel. Children 5 and under are free.

For more information, visit the Galerie des Beaux-Arts website.

How Ned Could Use Doctor Strange Artifacts In Spider-Man: No Way Home


Unfortunately, the reason why Ned can use the slingshot in “Spider-Man: No Way Home” is never revealed to the public. It seems like this is something writers and producers are keeping open, as there was a brief comment from Doctor Strange that suggests Ned is more than he looks. The prospective MIT student also mentions that he sometimes has tingling fingers in his fingers and that his grandmother said he might have magic in him.

Based on Ned’s comic book story, we might get a glimpse of where all of this is going and how it relates to magic. In the Hobgoblin storyline of “Symbiote Spider-Man: Alien Reality” # 2-3 (which was long hinted at for “No Way Home” but didn’t happen), Ned is brainwashed and becomes the apprentice. of Baron Mordo. Ned steals the Book of God, which helps him and his mentor reshape reality, making Mordo the Supreme Wizard. Ned certainly touches the magic here, but he never had it in him.

Will Ned get villainous in the MCU? May be. But probably not. Doctor Strange seems somewhat interested in what he has to offer, and we might see an apprenticeship forming between this duo instead of Mordo and Ned. There are too many questions and things have been left too open for us not to get answers on Ned’s magical ability in a future MCU project.

A theater photographer collected the quick moments of a film and again immobilized them | Arts


In this series, Lagniappe presents each week a different work from the collection of the New Orleans Museum of Art, with commentary by a curator.

Hiroshi Sugimoto began making his “Theaters” photography series over 40 years ago, exploring what it would be like to shoot one whole movie at a time.

To capture this image of the Cabot Street Cinema in Beverly, Massachusetts, Sugimoto set up his large-format camera on the balcony of the dark theater and focused it on the screen. When the projectionist started the film, Sugimoto opened his camera shutter and left it open for the duration of the film.

Depending on the length of the film (say 90 minutes to 2 hours), over 170,000 individual photographs that make up that film are printed on the Sugimoto negative. The cumulative light reflected on the screen shines white and strangely illuminates the empty theater.

The photographer noticed that different types of film photograph differently because they emit different amounts of light during a long exposure. A comedy, for example, is brighter in the theater than a sad or dramatic film.

Sugimoto began making these works in great American cinema palaces (the Cabot Cinema was also the site of a long-standing magic show) and expanded to include drive-in screens, abandoned theaters, and Italian operas. Works like this reflect Sugimoto’s interest in the architecture of such spaces, as well as the exploration of the relationship between photography, imagination, memory, and the passage of time.

We often think of photography’s ability to freeze time or “capture” a moment, but the film can be understood as a reboot or reanimation of our world.

Sugimoto’s photographs collect all the fast-moving moments in a movie and hold them still, allowing us to simultaneously look back and forward in time.

Weegee remains one of the few photographers in history to achieve simultaneous success both in the popular news media and in the artistic community.

In this series, Lagniappe presents each week a different work from the collection of the New Orleans Museum of Art, with commentary by a curator.

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Brian Piper is the Assistant Curator of Photographs for the Andrew W. Mellon Foundation at the New Orleans Museum of Art.

Is Disney the fairy godmother of the Met?

Inspiring Walt Disney: French Decorative Arts Animation”, Which opened this month at the Metropolitan Museum of Art, is a classic holiday exhibit: family-friendly, frothy, not asking for much weight. And like the holiday season itself, its promise is a bit overrated.

The exhibition traces, often in granular detail, the disparate elements of European aesthetic movements that Disney animators, around 600 strong in the late 1930s, swept away in his films: French rococo in “La Belle et the Beast ”(1991); Neo-Gothic architecture in “Cinderella” (1950), late Middle Ages and early Dutch art in “Sleeping Beauty” (1959), 19th century Germanic romanticism in “Snow White” ( 1937). All of these stories originate in Europe, so the idea that the Disney machine rooted its visual interpretation in European art isn’t as big a leap as, say, the staging of “Hamlet” in Manhattan in the time of the year 2000.

As the title suggests, there are many 18th century French gilt bronze and whorl candlesticks and molasses biscuit porcelain figurines, but there is also, thanks to the four Disney films included in the thesis, a good part of german, dutch, and british examples as well. And these pieces, 60 in total and largely from the museum’s own collection, are more than two-to-one outnumbered by objects on loan directly from Disney: 150 pieces of concept art, works on paper, and footage from films from the Walt Disney Animation Research Library. , The Walt Disney Archives, The Walt Disney Imagineering Collection, and The Walt Disney Family Museum, which may make an exhibit viewer feel like Alice is falling into the rabbit hole in a sponsored content article. (The Met says the show is not underwritten by Disney, which I’m not sure makes this level of sanctioned corporate capriccio better or worse).

The original “Beauty and the Beast” is a rococo-era fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve, and later popularized by Jeanne-Marie Leprince de Beaumont. (Jean Cocteau also made a popular film version, in 1946). None of these three treatments featured anthropomorphized Boulle clocks and teapots with inexplicably English accents, considered Disney’s triumph. The exhibition credits which flourish, however, to Prosper Jolyot de Crébillon, whose 1742 novel, “The sofa, a moral tale”, tells the story of a man punished for his lack of sincerity by having his soul condemned to inhabit sofas until he witnesses a true declaration of affection.

The exhibit explains that this ancestor was unknown to Disney animators and attributes the company’s invention to serendipity. The Met is trying to found this section with a red velvet sofa (ottoman nightlight) dated around 1760, to show its Rococo roots.

While there is no bad excuse for looking at a magnificent Sèvres sofa or table service, richly adorned and miraculously complete around 1775, as also seen here, its implicit affinity with the back kitchen duo ” Beauty and the Beast ”from Disney’s Ms. Potts (morphed into a teapot) and her son Chip (a cup of tea) feels wan and contradictory. In fact, we learn that Disney animators found it impossible to translate Rococo’s sinuous lines, settling on sterilized stylistic expression instead. This is the most disappointing seen here in the cartoon costumes for its male characters: Rococo’s flamboyance has been toned down so as not to alienate American concepts of masculinity. A historically correct Gaston would have appreciated a richly embroidered waistcoat and ruffled frill, rather than a plain V-neck whose only adornment was its plunging neckline.

Beyond the visuals, there is a closer parallel between Disney’s goal of mass entertainment and the shallow expression of Rococo pleasure that remains unexplored in the show (the exhibit is curated by Wolf Burchard, associate curator at Met). The two schools reflect the myopic optimism of their creators, Rococo, with its excess of ornamentation, its palette of pastel colors and its curved shapes evoking youth and eroticism; Disney with its flattened ideas of good and evil and tidy endings. This optimism paid off better for Disney than Rococo, whose aristocratic decadence helped spark the French Revolution.

The exhibition is content with forced rhymes, such as the suggestion that a restless still life from a sideboard by Alexandre François Desportes (1661-1743) perhaps resembles the dancing-chandelier choir line of “Be our guest, “ and that the satyr who presides over the feast of the painting is related to Lumière.

One of Disney’s clearest and most enduring influences is the Neuschwanstein Castle in Bavaria, a historicist 19th century confectionery built in honor of Richard Wagner. It’s the direct model of Disney theme park centerpieces around the world and multiple iterations of its logo, so it’s surprising that Neuschwanstein only makes a brief appearance towards the end of the exhibit. Although to be fair, “Inspiring Walt Disney, the animation of the Burgenromantik” doesn’t stumble so easily.

You’d think Disney would object to the Met’s analysis of their appropriation techniques, but the exhibit is careful not to use the “A” word (the extensive catalog addresses this idea more fully). Disney films are “influenced” and “inspired” by European art rather than wholesale lifts of it. But the exhibition would be better served by locating Disney’s work in the continuum of the lightly veiled flight that animates the history of art. There is no shame in stealing, as Rubens’ copies of Titian upstairs attest.

Instead, the exhibition provides a fascinating, albeit unintentional, analysis of the particularly American compulsion to take European ideas and make them a little worse (coffee culture, bread, democracy) and of the compulsion of companies to make these ideas a little worse.

The most interesting artefacts provided by Disney are the concept art panels of its famous animators – the brightly colored and almost abstract gouaches of Mary Blair; the deeply layered background paintings by Eyvind Earle; soft pastels evocative of Mel Shaw; and Kay Nielsen’s lavish preparatory sketches, all of which were largely thrown or flattened, depending on the exhibit, in the realism of Disney’s matte finish. They look utterly alien to their final counterparts, and one can’t help but fantasize about the richness of these films had they been true to their artists’ vision.

Is Disney Releasing Art? It’s not really a question that troubles the exhibition, but one that the exhibition insists on printing in large print anyway, presumably to anticipate criticism. In 1938, we learn in the series, when the Met accepted Disney’s gift of an animated film of “Snow White” into its collection, Walt Disney cunningly suggested that many of the old masters that he would join would make good employees, even as the man who was arguably the biggest employer of artists in the country billed as the rube (“Well, take da Vinci. He was a great partner for the experiments. He could have been to tinker as he pleases by working for us… But don’t ask me anything about art. I don’t know. ”).

Today as then, the Met positions its current Disney inclusion in the same bold vision, as if Disney were still a cutting-edge animation studio and not the world’s largest entertainment IP conglomerate.

Self-awareness is not necessary; Disney transcended the high-low debate a long time ago. A better question is whether a large arts institution devoting programming to a multi-billion dollar corporate giant is best serving an audience (the Met allows Conde Nast to do this once a year, of course, with his Costume Institute Gala).

The moment you’re spat in Petrie’s European Sculpture Court, it’s hard to tell who this is all for. Decorative arts enthusiasts are likely to balk at the dilution of form, much of which is visible elsewhere in the museum without commercial interruption; and it’s doubtful that the Disney finalists, who may be enraged in their devotion, have a rococo-shaped hole in their hearts.

“Children believe what you tell them and they don’t question it,” says the preface to “Beauty and the Beast” by Cocteau. Naivety certainly helps here, too. I saw a little girl in a tulle tutu trying to climb a display case of Meissen porcelain statuettes by Johann Joachim Kändler, particularly enchanted by a group, a fox accompanying a singer on the harpsichord. She was having a good time.

Inspiring Walt Disney: French Decorative Arts Animation

Until March 6, Metropolitan Museum of Art, 1000 Fifth Ave., (212) 535-7710, metmuseum.org.

Xiamen City of Art Forum Highlights Urban Renewal in China


People attend the City Forum for Tomorrow in Xiamen, Fujian Province. Photo: Courtesy of Xiao Min

Over 20 cultural experts and scholars gathered in Xiamen, eastern China’s Fujian Province, for a forum exploring the relationship between art and urban renewal.

The City for Tomorrow conference aimed to explore the urban renewal plans being implemented in many Chinese cities and how these are combined with culture and art.

According to these experts and academics, it has become an international consensus that culture is an important driving force for urban development. Building a cultural city with artistic characteristics is an inevitable demand for urbanization in China.

“Art is the most organic part of culture and the most nimble atmosphere in a city,” said Zhao Shaohua, former vice minister of culture.

Art can define the character of a city and reflect the local atmosphere, characteristics and humanistic attention within an urban center.

“Cities are carriers of cultural and emotional memory. Strengthening historical and cultural protection, paying attention to the heritage and continuity of civilization, and retaining the traditional building mechanisms and cultural characteristics of the city should be goals, ”said Fan Di’an, chairman of the city. ‘Central Academy of Fine Arts and advisor to the Forum Ville pour Demain.

Wang Daheng, president of the Chinese Association of Culture and Construction Art, believes that “the development and prosperity of cities cannot be separated from the construction of culture and art. environmental art. “

Besides the forum, the Kulangsu Contemporary Art Center also launched its Young Artists Project, which showcases the new media arts of four young artists.

The upcoming related exhibition will also feature prominent artists such as Xu Bing, Zhan Wang, Song Dong, and Chen Wenling.

Artifact, bosses, and domain drop rate explained


Among the many controversies Genshin Impact has ever encountered, one of them is the low drop rate. Another would be poor transparency, where there has always been a lack of communication between the developer and the player base. Now collect them and players will have: poor transparency on the sink rate.

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For this reason, many players have come together to submit their data in order to get a feel for Genshin Impactfall rate of. With this information, players should have a better idea of ​​what to expect from their resin spending. Hopefully this will also lead to better management of resources. The original resin is the most crucial currency in Genshin Impact, so it should not be wasted without thinking.


Explanation of Genshin’s impact drop rate

genshin impact azhdaha boss battle hydro element mode

Here, players can see the drop rate for the following content:

  1. Normal bosses
  2. Weekly Bosses
  3. Domains of Artifacts
  4. Material areas of weapon ascension
  5. Hardware Talent Upgrade Areas

To read the table, players should pay attention to the Vary and Medium value.

  • Range: how many items can possibly be obtained.
  • Average: The expected quantity of the item.

For example, if an item has 1-2 in range and 1.50 on average, this translates to: Expect an item to drop on every run (guaranteed), with a 50% chance for one. second fall.

To note: The following information will only include the highest domain dropout rate and global level. These are unofficial rates and are obtained at community gatherings.

Normal bosses

Item Vary Medium
5 Star Artifact 1 1
4 star artefact 1-2 1.47
3-star artefact 2-3 2.10
Wick 2-3 2.15
Fragment 1-2 1.60
Section 0-1 0.14
Gem 0-1 0.014
Exclusive Boss Drop 2-3 2.55

Normal bosses are big enemies that can be found in Genshin Impactis an open world. This includes:

  1. Anemo hypostasis
  2. Cryo hypostasis
  3. Cryo Regisvine
  4. Electro hypostasis
  5. Geo hypostasis
  6. Golden Wolf Lord
  7. Hydro hypostasis
  8. Maguu Kenki
  9. Oceanid
  10. Perpetual Mechanical Network
  11. Primo Geovishap
  12. Pyro hypostasis
  13. Pyro Regisvin
  14. Thunder manifestation

Players must farm these monsters if they wish to mount their Genshin Impact characters.

At the highest Global level (WL 8), travelers are guaranteed a 5-star artifact with every ride. So for people who need boss exclusive artifacts like Gladiator’s Final and Troop of vagabonds, then they must wait until they reach WL 8 to mine.

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Another thing to note from this drop rate is how low the gemstone drops are. This item is only used for a character’s final ascension. The chance to get a gemstone from normal bosses in Genshin Impact is as low as 1.4%.

Weekly Bosses

Item Vary Medium
5 Star Artifact 1-2 1.24
4 star artefact 2-3 2.88
3-star artefact 4-5 4.09
Wick 3-4 3.84
Fragment 2-3 2.04
Section 0-1 0.24
Gem 0-1 0.031
Prototype ticket 0-1 0.12
Talent Upgrade Materials 2-3 2.39
Dream Solvent 0-1 0.325

Unlike normal bosses, players can only get one reward from each weekly boss (each week). This includes:

  1. Andrius
  2. Azhdaha
  3. Child
  4. Dvalin
  5. Signora

At its highest level, players can expect one 5-Star Artifact every round, with some chances of getting two. Just like with Normal Boss, the probability of getting a gem through Weekly Boss is also low, with a chance of 3.1%. This means that on average, players can expect to get a gemstone for every 30 weekly bosses.

During this time, for Genshin Impact‘s Prototype / Ticket, the average drop rate is 12%. This translates to one ticket every 8-9 weekly patrons. It looks good on paper, but it’s actually rarer than that for most people. So, in the end, luck plays the biggest role in obtaining this item.

Domain of the artefact

Item Vary Medium
5 Star Artifact 1-2 1.07
4 star artefact 2-3 2.48
3-star artefact 3-4 3.55

The next drop rate is from Artifact Domains. It is recommended that players start farming Artifacts from Adventure Rank 45, as they are guaranteed to have a 5 Star Artifact every run. Travelers can also get two 5 Star Artifacts simultaneously, but the chances are very low.

Weapon Ascension Material Domain

Object Vary Medium
5 Star Material (Gold) 0-2 0.07
4 star material (Purple) 0-4 0.64
3 star material (Blue) 0-4 2.40
Material 2 stars (Green) 2-3 2.20

Weapon Ascension materials consist of four levels: Green, Blue, Purple, and Gold. At the highest level, players would get two greens and two blues on most of their tracks. However, sometimes people will get purple and gold as well. When this happens, they can get 0 blue drops.

However, it is impossible to get 0 blue without purple or gold objects, so travelers shouldn’t worry too much about the range.

Talent level material domain

Item Vary Medium
4 star material (Purple) 0-3 0.23
3 star material (Blue) 0-3 1.97
Material 2 stars (Green) 2-3 2.20

Just like with weapon ascension gear, players will receive an average of two green and two blue items. It is also impossible to get 0 blue drops without getting purple at the same time. However, there is a greater chance of getting the highest level drop, compared to weapon ascension materials.

Genshin Impact is now available on Mobile, PC, PS4 and PS5. A Switch version is under development.

MORE: Genshin Impact: All HoYoLAB Tools, Explained

Source: Genshin impact data collection

Player 067, also known as Camilla Araujo, in the adaptation of MrBeast's Squid Game on YouTube

MrBeast Squid game: who is player 067?

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Sindh Madressatul Islam: the alma mater of Quaid

From producing visionary leaders to promoting education in the subcontinent, Sindh Madressah will always be the place that reminds us of the presence of the Father of the Nation, Quaid-i-Azam Mohammad Ali Jinnah.

Sindh Madressatul Islam (SMI) is one of the oldest historical educational institutions in the country, founded in 1885 by Khan Bahadur Hassanally Effendi on the model of the Aligarh school of Sir Syed Ahmed Khan. The history of SMI begins with the movement for educational reforms in the South Asian subcontinent during the last quarter of the 19th century under the leadership of Sir Syed Ahmed Khan. The main objective of the movement was to provide contemporary education to Indian Muslims while integrating it into their social and religious practices. This movement arose out of the realization among Indian Muslim intellectuals as well as British colonial officials that the widespread lack of knowledge among the Muslim masses was not only detrimental to the development of the Muslim community, but also to Indian politics. In July 1887, less than two years after the establishment of Sindh Madressah, Quaid-i-Azam Mohammad Ali Jinnah was enrolled in the institution and studied there for the longest period of his academic life, from 1887 to 1892. The File available at Sindh Madressatul Islam shows that he was admitted to the secondary school section, in Standard 1 (the fifth year of education … after four years of primary) in the English branch on July 4, 1887. Khoja has been mentioned as his sect and Karachi has been recorded as his birthplace. In the file kept at the SMIU, it was stated that he had completed his four primary education classes in Gujrati in the “previous instructions” column of his previous school certificate at the time of his first admission here. His date of birth has not been communicated, although he would have been 14 years old when he left the institute (SMIU). On January 30, 1892, while enrolled in Standard 5 English (grade 9), he left the institution, noting in the general record that he “was leaving for Cutch to marry.”

SMI left a deep imprint on Quaid’s mind that he enjoyed all his life. As is evident from his last will, he gave a third of his personal property to Sindh Madressah. In paragraph 12 of his will dated May 30, 1939, he wrote and declared: bequeath part to Aligarh University, part to Islamia College, Peshawar and part to Sindh Madressah in Karachi ”.

Although he left this institute at a young age and continued his studies later, he never strayed from his great alma mater. He was part of the ceremony when his alma-mater was raised from school to college level. He personally came to inaugurate the “Sindh Madressah College” on June 21, 1943. On this occasion, he was overwhelmed by his feelings. While recalling his school years, he informed the public that he knew every inch of the magnificent grounds of the institution where he had studied and played in his youth fifty-five years earlier. The account of the event as published in the Daily Morning News and the following day’s Daily Star of India read as follows:

“Karachi June 21: Mr. MA Jinnah, President of the All India Muslim League, today inaugurated the first Muslim college in Sindh.

“The college is located on the premises of Sindh Madressah, a leading Muslim educational institution in Sindh. Mr. Jinnah was born in Karachi and himself died of this school 55 years ago. Recalling this fact, Mr Jinnah said: “I know every inch of the magnificent grounds of this institution and it is no wonder that I am a little sentimental opening a college here although after 55 years.” Mr. Jinnah added that after the death of the founder of the Madressah, there was no one to take care of its creation with the care it deserved. It doesn’t have to happen. There should always be continuity in the work program of any institution. Continuity must be maintained not only in education but in all departments of Muslim life, ”he said. Speaking in an evocative mood, Mr Jinnah said he was overwhelmed by the sense of being present in development at a college his Alma Mater where 55 years ago he had performed and studied as a schoolboy. “Every inch of these beautiful grounds where I have participated in various games, I know it,” said Mr. Jinnah. He especially emphasized the importance of building a strong endowment fund for the college and he hoped that the education bosses would come forward to provide funds not only for the new college but for many other such colleges. . Mr. Jinnah himself led with a donation of Rs 5,000 and a total of Rs 62,000 was pledged locally by other donors ”.

Finally, after about a century and a quarter since its creation at the hands of Khan Bahadur Hassanally Effendi and sixty-nine years after achieving college status at the hands of Quaid-i-Azam, Sindh Madressatul Islam has been elevated to the level of d ‘a university on February 21, 2012.

While highlighting the institute’s significance, historical significance and affiliation with the great leader, Sindh Madressatul Islam University Vice-Chancellor Prof. Dr Mujeebuddin Sahrai Memon shared his thoughts on the importance of .

“Without a doubt, it is one of the historical institutes of Pakistan. During the 1880s the literacy level of Muslims was quite bad, not even a single Muslim student passed the exams at that time. After reviewing this situation, the founder of (SMI) Khan Bahadur Hassanally Effendi informed Sir Syed Ahmed Khan that he and his colleagues were considering setting up a school in Karachi. Sir Syed Ahmed Khan advised him: “Don’t just think of a school. Aim for a college to extend it into a university ”. Just after two years, Quaid-i-Azam joined the institute, further enriching its historical significance. He went straight to higher studies after completing his first studies at this institute.

“As the Vice Chancellor of this institute, I have always emphasized the importance of this institute in producing such great leaders and its affiliation with the Father of the Nation to my students who join this institute,” explained Dr Sahrai.

Speaking of the captivating architecture of the alma mater of Quaid-i-Azam, he highlighted the upkeep and preservation of this historic structure. “This building is declared heritage by the government of Sindh, but it requires a good sum of money, 10 times more than any normal building to preserve and maintain its architecture. We need special funds for that but despite its historical importance, it unfortunately did not give the importance it deserves ”, he affirmed.

Along with the beautiful architecture, Sindh Madressatul Islam has a separate room dedicated to Quaid-i-Azam where all his academic records are kept. IN the same room, a large corner is dedicated to the founder of the Hassanally Effendi institute. While sharing the information relating to the Jinnah Museum and the Archives Room, the Vice Chancellor mentioned some important facts. “All the educational details of Quaid-i-Azam are there, from the attendance register, from school registration to original certificates where every detail of his academic life has been archived. There are two parts of the museum, one is dedicated to Hassanally Effendi and the other to Quaid-i-Azam. Even the classrooms where Quaid-i-Azam used to take lessons are still there and used by our students now ”. It overwhelms a visitor to visit the Quaid Museum and see the General Register of Sindh Madressatul Islam where Quaid admission details are mentioned. One of the greatest gifts Quaid-i-Azam got from his studies at Sindh Madressatul Islam was his fluency in English. In the last year of his studies, Sindh’s educational inspector, Mr. HP Jacob, said: “The Madressah has made satisfactory progress during the year. In the secondary classes, there is an improvement across the board. I was particularly struck by the animated recitation by the boys of English and Persian verse. Obviously, the teachers had taken great care to ensure clear and correct pronunciation ”.

Quaid-i-Azam had countless opportunities to connect with the most senior British officials in colonial India during his time in Sindh Madressah. At least four major programs took place during his time in Sindh Madressah, attended by the Viceroy and Governor General of British India, the Governor of the Bombay Presidency and the Commissioner of Sindh, among others. In addition to his education, his school also helped him hone his skills in the field of sports. By his own admission, “it was on the sands of Karachi that I played marbles in my childhood.” Indeed, it is a sense of pride for everyone associated with this institute that they are a part of this place where Quaid has spent quality time and left his footprints behind to learn great things.

In addition to Quaid-i-Azam, Sindh Madressah produced several other rulers who were educated here. Some of them include: Sir Shahnawaz Bhutto, Sir Abdullah Haroon, Sir Ghulam Hussain Hidayatullah, Khan Bahadur Mohammad Ayub Khuhro, Shaikh Abdul Majid Sindhi and others. It has also produced great educators, jurists, soldiers and men of letters. Syed Ghulam Mustafa Shah, former SMI student and prominent educator, used to call SMI “the child of Sindh and the mother of Pakistan” in this context.

According to its historic motto, “Come in to learn – Go forward to serve”, the alma mater of Quaid-i-Azam Sindh Madressatul Islam aspires to improve society by providing high quality education and conducting research all around. by promoting national integration, inter-cultural harmony and respect for diversity.

WEEKEND QUESTIONS | Butler P. Smallwood’s opening exhibit


A meeting with the painter P. Smallwood is scheduled from 1 p.m. to 3 p.m.  February 6 at the Butler Institute of American Art.

A meeting with the painter P. Smallwood is scheduled from 1 p.m. to 3 p.m. February 6 at the Butler Institute of American Art.

(Photo provided)

Here are some of the events taking place in the Mahoning Valley this weekend. For more events, check out our events calendar and sign up here for our Weekend Matters newsletter.

YOUNGSTOWN – The Butler Institute of American Art, 524 Wick Ave., will open a new exhibition on Sunday, “Dialogues with Reality” by award-winning painter P. Smallwood.

Smallwood is best known for his iconic watercolors, “Lifescapes,” a form of portraiture and visual storytelling.

Smallwood depicts the subject in its natural environment, carefully manipulated to evoke an emotional connection with the viewer, a press release states. Through composition, line, form and finely finished surfaces, he creates portraits that convey a feeling about how subjects live their lives.

The exhibition will run until February 22. A meeting with Smallwood is scheduled from 1 p.m. to 3 p.m. February 6.

More information can be found here.

“Inner Life”, paintings by artist Francie Lyshak are also on display at The Butler. The exhibition runs until February 20 and a meeting with the artists is scheduled from 1 p.m. to 3 p.m. on January 30. More information can be found here.

“Memories of Christmas Past” open until December 31

YOUNGSTOWN – The Mahoning Valley Historical Society’s 13th “Memories of the Past” exhibit is open at the Arms Family Museum, 648 Wick Ave., until December 31st.

The overall theme for this season, “Back to Greystone,” depicts festive decor and traditions from the 1900s to the 1930s, inspired by how Olive FA Arms might have dressed and decorated their home during this era.

MVHS brought its family holiday tradition to each of the seven period rooms on the ground floor of the museum. The exhibit mixes Olive Arms’ love for nature – flowers and birds in particular – with her approach to welcoming guests into her home.

The opening hours for museum vacations are noon to 4 p.m. Tuesday through Sunday. The Holiday exhibit will be open in the evening for its Twilight Thursdays from 4 p.m. to 7 p.m. It will also be open from noon to 4 p.m. on December 27.

The museum will be closed on Christmas Eve, Christmas Day and New Year’s Day.

WYSU-FM broadcasting special holiday programs

YOUNGSTOWN – Radio station 88.5 WYSU-FM, the public radio service of Youngstown State University, broadcasts special programs for the holidays until Sunday.

Today, the Tabernacle Choir will continue its artistic tradition with touching arrangements of familiar Christmas carols and surprises, with lesser-known melodies that are becoming the new classics.

On Sundays, listeners can enjoy a contemporary radio play from Charles Dickens’ “A Christmas Carol”, featuring actor Craig Wallace as Ebenezer Scrooge and public broadcaster Murray Horwitz as the narrator.

The full program is available here.

A few quick hits …

  • Boardman Park has been transformed into a Christmas wonderland of Christmas lights. You can drive through the park and see the signage from 6 p.m. to 10 p.m. until January 8. Tune into 88.9 FM to enjoy music with the light show.
  • Third Class and Heck Vektor will perform at 7 p.m. Saturday at the Westside Bowl, 2617 Mahoning Ave., Youngstown. Tickets cost $ 10 and can be purchased here.

  • Sunday is Art Day at Vintage Estate Wine & Beer, 7317 South Ave., Boardman. You will receive half-price sketches while you paint a masterpiece of your choice using one of Vintage Estate’s ceiling tiles as your canvas.

Music and Performances Bring African Culture to Life at Kwanzaa Celebration | Entertainment


After having to cancel last year due to the pandemic, the annual Kwanzaa celebration returns on Wednesday.

Honoring the celebration of African heritage through performances, art, food, clothing and artifacts remains the goal, according to Bakari Sanyu, director of the Sankofa Collective, a non-profit organization aimed at providing education. on African culture.

“Every year our Kwanzaa programs are always culturally focused. That’s our intention.”

From December 26 to January 1, Kwanzaa is a week-long celebration of African heritage that recognizes nguzo saba, or seven principles of unity, faith, creativity, collective work and responsibility, purpose, self-determination and cooperative economy.

Most celebrations are community driven with family centered activities to allow for the highest level of engagement.

This year’s performances include Eyo, the stilt walker. Waders are known as moko jumbie, a term from the Caribbean islands (“moko” meaning healer and “jumbie” being slang for a ghost or spirit).

“They have used this tradition for years,” Sanyu said. “It’s something unique. You usually see it in many Kwanzaa celebrations in the United States.”

The Teye Sa Thiosanne Drum & Dance Company will also be performing and someone will be reading African tales.

There will also be an exhibition featuring works from Sanyu’s Harambee Art Gallery, which has more than 80 pieces that he has collected across the United States over more than 40 years.

Sanyu is also helping to collect community contributions from those who wish to share pieces from their personal collections for the event.

The celebration will also feature at least 10 local vendors with a variety of items for sale.

Sanyu said, “Every year, we issue an open invitation to our community to come and showcase cultural wares that they own – cultural clothing you can’t find in department stores, African crafts, baskets and bags. jewelry and that sort of thing. “

A returning supplier is Ethnic Boutique, a boutique on Ming Avenue specializing in colorful and trendy African fashion. Sanyu noted that if those planning to attend wish to purchase African clothes to wear for the celebration, which is encouraged, they can visit the store in advance.

“They have time to buy African clothing here locally from a store here in Bakersfield, to help the celebration in their own way,” he said.

Refreshments will also be provided by New Spirit Women’s Group, one of the event’s sponsors and co-partners. While not sure what the group will have this year, Sanyu said that in 2019, black-eyed pea soup was served.

Since last year’s event was canceled, Sanyu expects a good turnout for Wednesday’s event at the Dr. Martin Luther King Jr. Cultural Center, with around 200-300 people attending.

He also encourages people to use what they learned at the event as a starting point for the diversity of African culture.

“Africa is a continent with over 3,000 ethnic groups. … No one should expect someone to showcase all aspects of their culture.”

Stefani Dias can be reached at 661-395-7488. Follow her on Twitter: @realstefanidias.

Town of Vail receives generous donation to public art collection


The Logans in front of Lawrence Weiner’s installation which they donated in 2018.
Art in public places / Courtesy photo

The Town of Vail has just received a generous donation to its public art collection. Kent and Vicki Logan, two longtime locals and leading art collectors, are donating three outdoor sculptures from their personal collection to the town, which will be installed in locations around the village of Vail in 2022.

The Logan Legacy

The Logans have a deep personal connection to the town of Vail that began when they first set foot in the valley in the 1970s. They were married on the mountain in 1985 and moved full time to the valley to retire in 1999.

Kent Logan, a retired investment banker, served on Vail City Council from 2003 to 2007 and is currently a board member of Eagle Valley Behavioral Health. The couple also helped support many local organizations, especially those that increase accessibility and enrich ski programs at Vail, such as the EpicPromise Foundation and Logan Academy scholarship programs for ski instructors.

In addition to their philanthropy, the Logans are also renowned for their extensive collection of contemporary art, part of which they once exhibited in a private gallery that they built near their home in Vail. Totaling nearly 1,500 pieces at its peak, it is considered one of the finest private collections in the United States.

Now in their seventies and having moved to a residence in Edwards, the couple begin donating their coveted works of art to various museums and collections in order to share the love and heritage of contemporary art with the world.

“We’re more into the final chapters of our art collection, so to speak, which is usually about giving back and making a difference,” said Kent Logan. “It has always been important. It’s easy to write a check – anyone will accept a check – but where does it really make a difference? “

The Logans made their first donation to the Town of Vail Public Art Collection in 2018, installing Lawrence Weiner’s textual work, “In the Measure of the Depth of the Valley at One Time,” at the western exterior of the Vail Valley. parking structure.

“It was about the infinite nature of Vail,” Logan said. “Vail Valley will be here a thousand years from now, and it was here a thousand years before us, and we’re just passing by. It became the symbol of the passages of life, so I thought it was the perfect place for it.

The Logans are now identifying additional works that they believe will be a significant addition to Vail’s public art collection, in what they envision as a phased giveaway.

This first donation of three outdoor sculptures – which were officially accepted by the city last month – marks the start of a broader vision for Vail’s art collection going forward.

“These three pieces are the avant-garde,” Logan said. “I have a number of outdoor sculptures that I would love to find a place for, and I think that can make a difference to Vail. It really brings an artistic dimension to what is a very sophisticated and international destination and resort. “

Middlebrook, Mabry and Kahlhamer

The Logans hand-selected each of the three pieces, which were then approved by the board of seven members of the city’s Art in Public Places program.

Susanne Graff is a member of the board of directors and voted to accept the donation for the city.

“The Logans were incredibly thoughtful and intentional about the pieces they came up with,” Graff said. “It is not because we are in the mountains that each piece has to relate to the mountain. This, to me, is boring. We want to broaden this artistic and contemporary dialogue and open it to these very rich conversations.

“We all build nests”

The first piece is a sculpture by Jason Middlebrook titled “We All Build Nests”. The room is approximately 15 feet tall and consists of an elaborate group of birdhouses, each designed after a different iconic architectural structure, such as the Alamo, the Egyptian pyramids, and the Transamerica skyscraper in San Francisco, for n to name a few.

“We All Build Nests” by Jason Middlebrook
Art in public places / Courtesy photo

Middlebrook said the concept for the play was directly inspired by his time in Vail with the Logans.

“Whether we were golfing, hiking, or just sitting on the patio, the birds were always with us,” Middlebrook said. “My goal was to design dwellings for birds and a sculpture that humans could relate to throughout their past travels. “

Each of the nesting boxes is carefully designed to suit the specifications of local bird species, and the sculpture is structured to mimic the shape of an aspen.

Logan said Middlebrook’s piece was a natural fit to donate to the city, as it was inspired and designed for the valley environment.

“We all build nests, we all make homes somewhere,” Logan said. “Obviously we can change it – you can fly to another place, you are free to move – so it talks about freedom, it talks about the importance of home, but in the context of something that is very relevant to the West and to his experience at Vail.

“Two ships (unpacked)”

The second is a bronze sculpture by Nathan Mabry entitled “Two Vessels (Unpacked)”. Hailing from Durango, Mabry’s sculptural figures draw inspiration from a variety of historical sources of art, ranging from ancient civilization to popular culture.

“I have always been fascinated by anthropology and archeology – ritual associations within old and new objects – everything they represent about human culture and human activity, and how it affects the past. , the present and the future, ”writes Mabry.

The figure in “Two Vessels” comes from those used in Jalisco’s fertility rites, placed atop a minimalist box. The positioning of the figure instantly evokes links with Auguste Rodin’s “The Thinker”, but the totem-shaped sculptural style and intense facial expression make it difficult for the viewer to identify the desired effect.

This challenge is precisely the experience Logan hopes the sculpture will elicit in passers-by in Vail.

“Two ships (unpacked)” by Nathan Mabry
Courtesy photo

“It defies the senses,” Logan said. “I like a lot of different decorative arts, but they don’t make you think. You can have a large sculpture of a bear or a mountain, and you can admire the technique and the representation, but all of a sudden someone stumbles upon this piece by Mabry and says, ‘What’s up? does he act? “

Graff agrees that getting viewers to engage more deeply with public art and ask questions is part of the goal of incorporating these new sculptures.

“Being able to present these works of art to the public, you don’t really know the effects they might have, or the conversations they can trigger,” Graff said. “Some people will hate certain pieces, others will love it, and that’s the richness of a work of art. It really does spark conversations, dialogue, emotions, and you can keep coming back to those pieces and each time you’re going to find something new and different.

“Waqui Totem USA (Urban Class Mark V)”

The third and final sculpture is a bronze totem pole by Brad Kahlhamer. Kahlhamer is of Native American descent, but was adopted by German-American parents, and he uses art as an exploration of what he calls “Third Place” – the meeting point of two opposing personal stories.

Logan is one of the main patrons of contemporary Native American art and, for the past five years, has helped the Denver Art Museum grow its collection of these works.

“Brad is one of the first artists in this vein to appear in my collection,” said Logan. “We’re personal friends, we go back a long way, and I said, ‘Why don’t you make a contemporary totem pole? This is the challenge that I launched.

“Waqui Totem USA (Urban Class Mark V)” by Brad Kahlhamer

The resulting sculpture, titled “Waqui Totem USA (Urban Class Mark V),” stands just over 10 feet tall and was originally constructed from cardboard. Now recast to bronze, Logan believes it represents the history of the West and will add another layer of awareness to the path that brought us here.

“To me, it represents that part of history – the good parts and the bad parts – that have really been hidden in American history as we have studied it in schools,” Logan said. “It was truly genocide. It makes you think, and intellectually that’s what engages me. I look at him and my mind will go in different directions.

Elevation of the Vail Public Art Collection

The Art in Public Places board still determines where each artwork will be installed, but Graff said he intends to place all of them in the village of Vail. The installations will likely be completed next summer.

“They leave a legacy, but they also give it to all the local kids here, who may or may not be exposed to a larger art world,” Graff said. “There’s this surface of being this generous gift of art as a commodity, but it’s really about this deeper generosity of experience. Who knows, a child might see the Mabry, and it might really change the trajectory of that child’s life. It can open his eyes to a whole different way of creating art, interpreting art or being moved by art.

The Logans have also expressed their intention to continue donating pieces to the city, while also working to enhance other local art initiatives, such as an artist residency program or the restoration of the art shack building. of Ford Park into a community art space.

“I don’t want this to be a one-time event, but to be part of the start of a larger strategic plan,” Logan said. “It’s a step. If it’s about raising awareness and developing a step-by-step strategic plan, then that creates something much bigger over a ten-year period than just placing three sculptures in downtown Vail.

There is much to look forward to in the development of Vail’s art scene, but these three sculptures alone help elevate public art in the Valley.

“Logan’s gift really uplifted the conversation and uplifted Vail in this contemporary global dialogue, which is so awesome,” Graff said. “I mean, we are a world class ski resort, and now we can say that we also have a world class open air museum. How cool is that? “

Here are the companies with the most wins EVERY TIME


2015: Best dive bar

2015: Best late night food

2016: the best inexpensive dishes

2016: Best late night food

2017: Best late night food

2018: Best Bloody Mary

2018: Best breakfast

2018: the best inexpensive dishes

2018: Best chili

2018: Best dive bar

2018: Best Grilled Cheese

2018: The best late night meals

2019-20: Best Bloody Mary

2019-20: Best breakfast

2019-20: Best Burger

2019-20: the best inexpensive dishes

2019-20: Best chili

2019-20: Best dive bar

2019-20: Best Grilled Cheese

2019-20: the best late-night meals

2021: Best chili

Bunker’s Bar and Grill (16 wins)

2015: Best Bloody Mary

2015: Best selection of craft beers

2015: Best quiz night

2015: Best wings

2015: Friendliest staff / Best customer service

2016: Best Bloody Mary

2016: Best breakfast

2016: Best selection of craft beers

2016: the best place to watch the game

2016: Best wings

2016: Friendliest staff / Best customer service

2017: the best place to watch the game

2017: Best wings

2018: Best quiz night

2019-20: Best quiz night

2021: Best sports bar

Place de Marion (14 victories)

2015: Best Pizza (Local or Chain)

2015: Best restaurant to take an out of town

2016: Best pizza (local or chain)

2016: Best restaurant to take an out of town

2018: Best pizzeria

2018: Best restaurant to take one out of town

2018: Best square pizza

2019-20: Best pizzeria

2019-20: Best restaurant for a large group

2019-20: Best restaurant to take one out of town

2019-20: Best square pizza

2021: Best pizzeria

2021: Best restaurant for a large group

2021: Best square pizza

Dayton Art Institute (13 victories)

2017: Best art gallery

2017: Best museum

2018: Best art gallery

2018: Best wedding venue

2018: Best Gala (Bal des Arts)

2018: Best Festival (Oktoberfest)

2019-20: Best art gallery

2019-20: Best Gala (Bal des Arts)

2019-20: Best Oktoberfest Celebration

2019-20: Best wedding venue

2021: Best art gallery

2021: Best Oktoberfest Celebration

2021: Best Festival (Oktoberfest)

Club des Pins (13 victories)


Pine Club

Credit: Mark Fisher

Pine Club
legend arrowLegend

Pine Club

Credit: Mark Fisher

Credit: Mark Fisher

2017: Best restaurant to take an out of town

2017: Best Steak (chain or local)

2018: Best classic restaurant

2018: Best gastronomy

2018: Best steak

2019-20: Best gastronomy

2019-20: Best old-fashioned restaurant

2019-20: the best onion rings

2019-20: Best steak

2021: Better gastronomy

2021: Best old-fashioned restaurant

2021: the best restaurant to grab one from out of town

2021: Best steak

Other big winners:

2nd Street Market (10 wins)

MJ on Jefferson (10 wins)

Mack’s Tavern (10 wins)

Dublin Pub (9 wins)

Flyboy’s Deli (9 wins)

Zombie Dogz (9 wins)

Club Masque (8 wins)

The Barrel House (8 wins)

Carillon Historical Park (7 victories)

Esther Price (7 wins)

National Museum of the United States Air Force (7 victories)

Ozu852 (7 victories)

Taqueria Mixteca (7 wins)

Four poets write new stories


New and selected poems
By Tracy K. Smith
221 pages. Grey Wolf. $ 26.

“Each poem is the story of itself,” Smith writes. The stories her poems tell share a number of concerns – history and mourning, motherhood and mythology, art and identity, inner life and outer space – that run through her previous four collections, excerpted here with a section, “Riot”, composed of new poems.

A poet of formal breadth and steadfast excellence, Smith has long questioned American individualism, as now in one of the book’s new poems: “Is the world destined for me?” Not just me but / the us that fills me up? Smith offers a multiplicity of voices to fill in the gaps in the historical record, as in “Into the Moonless Night”, which features dramatic monologues of four Ugandan teenagers kidnapped by the Lord’s Resistance Army. “Riot”, the new poems in this volume, are inspired by Gwendolyn Brooks’ volume of the same name and are formidable responses to the current time in America, particularly institutional racist violence. In “Found Poem,” an erasure of Woodrow Wilson’s 1924 essay on Robert E. Lee, Smith writes:

If you love a country
it doesn’t do
does not
was designed not to
i want you i want
to remind you :
We live-
We live-

This collection is a vivid reminder that the former Poet Laureate is one of the most important poets writing today.

By Raymond Antrobus
83 pages. Tin house. Paper, $ 16.95.

Halfway through Antrobus’ second collection is a prose poem in which many of the book’s thematic concerns intersect. “The Royal Opera House (With Stage Captions)” is about an opera set in South Africa, with an “all-black team” of performers who “hide the white man who wrote it”. Antrobus lists what else is hidden in the composition: “We do not see the oil, nor the Coca-Cola company, nor the land rights, nor the coups d’état, nor the arms industry, nor the pharmaceutical companies. Because of these omissions, the public is “urged to have more compassion for the man who makes it out alive than for anyone trapped in poverty”, an observation that sheds light on the legacy of British colonialism on cultures and individual values. Stage captions, inspired by deaf sound artist Christine Sun Kim and coined for the poem, resist the hearing population’s narrow understanding of sound. Throughout the book, Antrobus places such legends between exquisite poems. For example, after a poem about the poet’s white and English grandmother hurling a racial insult at his Jamaican black father, Antrobus provides a page that has only the following written:

[sound of self divided]


[breath on paper]

“Self-divided” most apparently refers to a mixed racial identity. But while reading this collection, one meets an I divided between name and identity, to hear and not to hear, exhaustion and love.

By Tishani Doshi
109 pages. Copper Canyon. Paper, $ 16.

“The shock we bring is that the world / doesn’t need us,” Doshi writes in “Self”. In this collection so concerned with the apocalyptic inertia of climate change and political violence, however, the ego, that is to say the human ego at work, is absolutely necessary. Doshi brings complicated emotions to our geopolitical crises; his poems deviate from humor to plaintive. Humanity, for Doshi, is full of contradictions, of hopelessness coexisting with hope. Take the opening of “After a shooting in a maternity hospital in Kabul”:

No one forgets that there is a war going on,
but there are times when you could be forgiven
to believe that the city is still an orchard,
a place where you could grow something.

Throughout the collection, Doshi emphasizes these contradictions through his skillful use of line breaks. In “Many good and wonderful things”, for example, Doshi writes: “History is always reinventing itself. At about the same time, Doshi suggests that the story is recognizable as a thing and that it also changes forever – two different statements, obtained by the micro-moment in which the reader’s eyes must shift from one to the next. line to another.

Best weapons and artifacts for Kujou Sara in Genshin Impact


Check out the best versions of Kujou Sara in Genshin Impact.


Kujou Sara is a playable four star character in Genshin Impact. He’s a strong electro character who can deal high burst damage and his primary weapon of choice is a bow. She is affiliated with the Tenryou Tengu Commission and is considered the right hand man of Raisden Shogun.

Related: Best Team Members For Kujou Sara At Genshin Impact

Kujou Sara was a featured character in Reign of Serenity banner. Its main construction is that of a Burst Support. His kit allows him to deal AoE Electro damage to all enemies in the area and also increases damage to active party members. If you want to play her as Burst Support, you’ll need to use the best artifacts and weapons to maximize the burst output.


Best weapons for Kujou Sara

Kujou Sara weapons

Kujou Sara was a high-rate character in Raiden Shogun’s banner. As the banner is finished, the only way to acquire it is to go through any standard or event banner at a normal rate.

Below are three weapons that will work perfectly with Kujou Sara:

Weapon name Basic attack Secondary attack Passive ability
Harp to the sky 48 + 4.8% criticism rate Kujou Sara’s critical damage increases by 20%. Additionally, she also has a 60% chance to inflict an AoE attack if her attack hits. The attack deals 125% Physical damage and can occur once every four seconds.
Elegy for the end 46 + 12% energy regeneration This weapon increases Kujou Sara’s mastery by 60%. She can also gain the Seal of Remembrance if your Elemental Skills or Elemental Bursts hit an opponent. This effect occurs once every 0.2 seconds. Even if you are not in the field, you can get the effect as well. After reaching four Seal of Remembrance stacks, the stacks are consumed and all party members gain the “Millennium Move: Farewell Song” effect for 12 seconds. This effect increases Kujou Sara’s elemental mastery by 100 and attack by 20%. This effect does not stack. Once the effect is activated, you will not gain Seals of Remembrance for the next 20 seconds.
Alley hunter 44 + 6% attack While Kujou Sara is in the party but not in the field, his damage increases by 2% every second to a maximum of 20%. When she goes out into the field for more than four seconds, the 20% damage increase decreases by 4% per second until it hits zero.

Skyward Harp is the best choice of weapon for Kujou Sara. You can acquire the five star bow in the Epitome Summon Banner, which will run until the beginning of January 2022. You can get it from the Invocation of the Thirst for Wandering Standard greeting banner at normal rate as well. Elegy for the End, the Five Star Arc, and Alley Hunter, the Four Star Arc, are currently unavailable. You could only pull them from Invocation of the epitome Wish Weapon Banner up to version 2.3.

Best Artifacts for Kujou Sara

Kujou Sara Artifacts

The following sets are best for Kujou Sara:

Artifact name Two-piece set Set of four pieces
Nobility obliges + 20% elemental burst damage If Kujou Sara uses an elemental burst while wearing the set, it will increase the attack of all party members by 20% for 12 seconds.
Thunderous fury + 15% Electrical damage The artifact increases damage from overcharge, electrocharge, and superconductivity by 40%. These effects can also reduce the cooldown of Kujou Sara’s elemental skill by 1%. This can happen once every 0.8 seconds.

Noblesse Oblige is the preferred option for Kujou Sara due to Elemental Burst’s massive damage increase. You can get the artifact set from Clear pool and mountain cave domain and Artifact Safe: Noblesse Oblige at the craft table. Thundering Fury is the second option you can get from Summer solstice courtyard domain.

When it comes to Artifact stats, Sara favors Attack, Electro Damage Bonus, and Critical Damage. You will also benefit from Crit Rate and Attack Percentage.

Next: Best Builds for Arataki Itto in Genshin Impact

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Galleries: a new exhibition explores the intimate relationship between art and anatomy


It’s always good to have a bit of intellectual nourishment among the pies during the holiday season, although I wouldn’t necessarily recommend mixing the two. Notably with this fascinating exhibit at Surgeons’ Hall which would almost certainly allow you to retrace the journey of any fictional pie through the esophagus and beyond – and in somewhat spooky detail. “A Model Education” is a temporary exhibition in the galleries of the Surgeon’s Hall Museum retracing the influence of art on the teaching of anatomy.

It has its roots in the Surgeons’ Hall collections, which date back to its inception around 500 years ago. Illustrated 16th-century anatomical atlases are featured here alongside models made over the following centuries from wax, plaster of Paris, and even papier-mâché, which, despite what his own attempts in the classroom would have could suggest, allows a deeply detailed reproduction.

There is even a somewhat unusual wooden kidney. The exhibit was designed by curator Louise Wilkie, who researched the historical aspect of the art of anatomical illustration, scouring the archives of many institutions for the exhibit. There are works on loan here, sort of a first for the museum, from Hunterian in Glasgow, The Anatomical Museum at the University of Edinburgh, the Gordon Museum of Pathology at Kings College London, the Whipple Museum of the History of Science at University of Cambridge and University of Aberdeen.

Each collection contains specialized materials that tell the story of a practical but often surprisingly beautiful art form that developed, loosely, in 16th-century Italy when the hegemony of ancient Greek theoretical knowledge of the The anatomy, still in use some 1,000 years later, was broken by the likes of Vasalius, an anatomist who dissected as artists drew on “life,” tempering the somewhat brutal effect by artfully placing the figures against a classic landscape.

“They all seem rather thoughtful,” laughs Thomas Elliott, responsible for learning and interpretation. “This was to alleviate the harshness of the dissection room, whereas in Britain from the late 18th to the early 19th centuries there was real movement to achieve anatomical precision, although the illustrations were more horrible. ”

But the anatomical representations of Vaselius had a considerable influence on the evolution towards the observation of the life and the removal of the more theoretical knowledge transmitted since Antiquity, result and nourishment of the thirst to explore all the aspects of human life in Renaissance Italy, from the representation of the human form – and in this they looked back to the artistic refinement of the classical era – to the mysteries of the human body.

Elliott speaks to me through the “Featured Exhibits,” which include the Royal College of Surgeons’ copy of Gray’s Anatomy, annotated with suggestions for amendments by Gray himself prior to publication in 1858. Templates exist waxwork from the late 18th century by anatomist Joseph Towne, who worked for Guys Hospital in London. “The wax models usually came from Italy. We have a dissected head and torso – you see the dissected head bilaterally and see the outer surface on one side and the inside on the other. The torso is open to show the major organs.

It was about showing medical students what to expect. The problem with the historical study of anatomy, which these types of models evolved to overcome, was twofold. “Corpses were rare in the 18th century. There was a moral and legal question mark over the provision of the body, and the public perception was that it was something untoward. Then there was no refrigeration, so even if you could hold an anatomy class, there would be putrefaction issues after the body was dissected. The models had more permanence and they were remarkably precise.

Elliott’s favorites are the papier-mâché models made by French anatomist Thomas Louis Auzoux at the end of the 18th century at a factory in Normandy where he began mass production of models which were sent to medical schools in the whole world. “They are beautiful,” says Elliott. The Surgeons’ Room has an Auzoux mini-figurine that breaks down into 92 pieces, all labeled and designed to be passed on by students, so that they can disassemble and reassemble the figurine, “and familiarize themselves with the anatomy.” .

“About ten years ago, I was in France and I found a museum dedicated to his work. They were full-size papier-mâché human anatomy figurines, made up of hundreds of detachable parts, and other things as well – a massive snail and a spider, botanical models, all very detailed. The workmanship and skill level were astounding.

Anatomical models were designed to be reused, so the fact that we still have so many 130 years later is a testament to the craftsmanship involved.

A Model Education, Surgeons’ Hall Museums, Nicholson Street, Edinburgh, 0131 527 1711/1600, www.rcsed.ac.uk Until June 26, 2022 (closing for Christmas at 3 p.m. on December 24; reopening January 5, 2022) all every day from 10 a.m. to 5 p.m. Entrance included in the price of the entrance ticket to Surgeons’ Hall 8 £ / 8 £ 4.50

Critics’ Choice:

THE HQ of the Scottish Ornithologists Club is located in a charming building just outside Aberlady, and although its excellent shop has everything from bird-related Christmas decorations to binoculars and a fantastic selection of second-hand books on the birds, its exhibition space, overlooking the reeds towards the sea, has an ever-changing list of exhibits, each of which interprets the world of birds through different eyes. This month, and through January 9, it’s the turn of East Lothian-based artist Darren Woodhead, who works with watercolors in the field painting birds as he meets them by all means. time. It has always been Woodhead’s way, painting directly in watercolors, the resulting images both impressionistic and evocative, yet having a precision in bird behavior and plumage that comes from the enthusiasm and knowledge of the birds. ‘a life. Lots of paintings, all of which are for sale, have been completed over the past year as we walked through the blockades – although Woodhead, quite literally, did it on his bike, painting supplies on his back. All the local birds are here, from the glow of an unexpected kingfisher to the tumbling thrushes on a winter hedge. “Although the world has changed, my need to observe, document and record in watercolors has not changed. Even more now, it is my escape, my feeling of serenity and belonging. Most of the paintings come from sightings of birds in the garden or from “one man on his bicycle” trips through the field. Here I was able to immerse myself in the changing seasons and the parallel natural world, and feel the ultimate connection to my subject, close to home.

Close to Home, Scottish Ornithologists’ Club, Waterston House, Aberlady, East Lothian, 01875 871330 www.the-soc.org.uk, until January 9, Wednesday to Sunday, 10 a.m. to 4 p.m., closed December 25 to January 2

Do not miss

As with the rest of the country, An Tobar holds its annual open exhibition in time for the holiday season, a celebration of the region’s artistic work. This year’s theme, open to interpretation and to all, selected, is Hidden. In tandem, a magnificent exhibition of painted bones and bone jewelry from the talented children of Dervaig Primary School, who also created workshop films to illuminate the ensemble.

Hiddden / Bones, An Tobar, Argyll Terrace, Tobermory, Mull, 01688 302211, www.comar.co.uk Until March 11, 2022, Tuesday to Saturday, 10 a.m. to 4 p.m.

FBI: Objects stolen from museums in the 1960s and 1970s are returned


Federal officials say 15 historical artifacts stolen nearly half a century ago from a number of museums in Pennsylvania have been returned to institutions.

The FBI’s artistic crime team and other law enforcement agencies repatriated 18th and 19th century rifles and pistols as well as a Native American silver concho belt in a ceremony Friday at the Museum of the American Revolution.

FBI agents and detectives from the Upper Merion Township Police Department recovered the artifacts as part of an investigation into the 1971 theft and 2018 sale of a rare 1775 rifle made by the master gunsmith of Pennsylvania Christian Oerter, officials said.

The repatriated objects were received by the American Swedish Historical Museum, the Hershey Story Museum (formerly Hershey Museum), the Landis Valley Museum (formerly the Pennsylvania Farm Museum), the Mercer Museum, the Museum of the American Revolution and the York County History Center. .

“We are incredibly grateful,” Valerie Seiber, senior director of historic collections and exhibits at The Hershey Story, told PennLive.com. “It’s quite astonishing that after 50 years, these objects have been collected and returned. We are very happy to find them in our collection. She said the items will be evaluated, cataloged and stored but will not be on display at this time.

The Philadelphia Inquirer reported that Thomas Gavin admitted to taking the artifacts during the 1960s and 1970s and keeping them in a barn for decades. Partly because of the statute of limitations, he could not be charged with any of the thefts, the newspaper reported.

In the end, Gavin, 78, only pleaded guilty to one count of disposing of a stolen cultural heritage object from a museum. He was sentenced to one day in prison and one year of house arrest and ordered to pay $ 23,485 in restitution and $ 25,000 in fines, the judge citing his advanced age and rapidly declining health.

“I’m sorry for all of these problems,” Gavin said during his sentencing last month, the Inquirer reported. “I never really thought about it then, and now it’s all out. I didn’t think it would make a big difference.

“Tom is a collector of all kinds of old stuff,” defense attorney Harvey Sernovitz said in court documents, the newspaper reported. “Every square inch of his barn is chock-full of a lifetime of items he bought at barn sales and flea markets… old typewriters, sewing machines, clocks, steam engines and scales to old cars. … Whether he was seen as a collector or a hoarder, profit was not his motivation.

Historians have described the 1775 5-foot Oerter rifle as a first-rate specimen of the “Kentucky long flintlock rifle,” popularized by pioneers like Daniel Boone. During the War of Independence, they allowed colonial soldiers to shoot more accurately and from farther than their British counterparts, who carried smoothbore muskets.

History of the Royal BC Museum: 1886-2021

• The museum was founded in 1886 in response to a petition signed by 30 prominent citizens. He was housed in a single room adjoining the office of the provincial secretary in the Capitol buildings, nicknamed the Birdcages. John Fannin, an avid outdoorsman and gifted collector and taxidermist, was appointed his first curator.

• The provincial government has been collecting archival documents since 1894, held by the Legislative Library. In 1908, the Provincial Archives was established as a separate institution, mandated to collect records of provincial importance.

• Over the next 12 years, the museum was moved twice, first to the old Supreme Court building and then in 1898 to the east wing of the newly constructed Legislative Buildings. During these years, 3,700 people recorded their visits to the museum each year (actual attendance was probably two to three times higher).

• In 1913, the province proclaimed the Museums Act, giving the museum official operating authority and defining its objectives to secure and preserve specimens illustrating the natural history of the province; collect anthropological material relating to the indigenous peoples of the province; and to obtain information on the natural history of the province, and to disseminate knowledge about it.

• Over the next 30 years, the museum grew. A new space was created for ethnological artifacts when the basement of the east wing was available in 1921; William Newcombe, son of CF Newcombe, and Dr Ian McTaggart Cowan joined the museum as assistant curators of biology; research articles have been published; and visitors arrived from across Canada and across the United States, including US President Theodore Roosevelt.

• In 1941, six vacant lots at the corner of Belleville and Douglas streets in Victoria were transformed into Thunderbird Park, where totem poles from the museum’s collection were displayed. Ten years later, pole deterioration had become a serious problem, and anthropology curator Wilson Duff launched a pole restoration program. The totem poles currently on display in Thunderbird Park are replicas of the originals, which have been moved inside, where they can be properly kept.

• By 1961, the museum’s estimated annual attendance had reached 100,000.

• In 1963, Prime Minister WAC Bennett announced his intention to build a new museum and archives as part of the Canadian Centennial Project.

• In 1966, Queen Elizabeth, the Queen Mother, consecrated the cornerstone of the current museum exhibits building.

• In 1969, the museum’s second building, the Fannin Tower, was completed and museum staff and collections officially moved into the new facilities.

• In 1977, the 12,000-year-old Gap and the First Peoples Galleries opened to the public.

• In 1979 Living Land, Living Sea, the first phase of the permanent natural history galleries, opened.

• The museum celebrated its centenary in 1986 and participated in the second phase of its natural history galleries, Open Oceans.

• In 2003, with the proclamation of a new Museums Act, the Archives of British Columbia, the Helmcken House, the Netherlands Carillon, Thunderbird Park, St. Ann’s School and the Royal BC. The museum came together as the Royal BC Museum Corporation, creating a cultural district.

• In the fall of 2021, the province and the museum board announced the closure of the third floor on December 31 as the museum undergoes a “decolonization” of exhibits. The museum begins consultations with “all voices” in the province to reorganize and redesign the space now occupied by the Becoming BC and First Peoples exhibitions.

– – –

The Royal BC Museum rushes for a final look at the Old Town before it is dismantled

The 31-year-old artist has made over $ 200,000 selling NFTs


Elise Swopes raised over $ 200,000 in about 10 months by selling her art in the form of non-fungible tokens, or NFTs.

After its first sale in March for over $ 17,600, she thought, “‘Oh my god my life is going to change,'” the 32-year-old told CNBC Make It. “And it has been since then. It definitely gave me a lot of opportunities.”

Brooklyn-based photographer and graphic designer lists her art at NFT markets as Super Rare and Clever gateway. Her pieces represent animations of urban landscapes that she photographs. She frequently adds elements of nature that she designs digitally to her photographs.

For example, in his first Clever catwalk collection, Swopes has created several works that combine his photographs of New York, Portland, Los Angeles, Atlanta, Chicago and Denver, with giraffes and other elements of the jungle. To honor the giraffes included in his work, Swopes donated a portion of the collection’s sales to the Somali Giraffe Project.

“Giraffes in Portland”, by Elise Swopes.

Courtesy of Elise Swopes

As his work continues to resell, Swopes earns a 10-15% royalty.

With a large chunk of her income, Swopes pays her managers and other bills, but also donates to organizations and buys NFTs from other artists, she says.

Swopes collected the NFTs created by photographer Brittany Pierre and visual artist Lana Denina, among others. She presents her NFT collection in a digital gallery that she created in the CryptoVoxels metaverse, which costs around $ 10,000, she says. She also expressed her admiration for the Black NFT Art collective, which amplifies black artists in the NFT space, and its creator, Iris Nevins.

“When I make a sale, I make sure I give back to the community who also gives back,” she says, “because there is a cycle [of support]. “

“But I also encountered quite a few difficulties with the [NFT] community when it comes to the representation of people of color and black women in particular, ”she said.

“Perspective”, by Elise Swopes.

Courtesy of Elise Swopes

“There are obviously a ton of upfront opportunities for white men, and we’ve seen them continually get more sales. Women have barely made any sales in the past 21 months“said Swopes. Indeed, Bloomberg reported that female artists made up only 5% of all NFT art sales during that period, citing a November report from research firm ArtTactic.

When Swopes talks about it online and promotes diversity and inclusiveness, it “doesn’t always garner the best support from everyone,” she says.

“They find it uncomfortable to be uncomfortable and hold themselves accountable for the distribution of wealth, especially the money that a lot of these people have made. So I find myself having a lot of money. responsibilities not only as a woman, but as a woman of color in this community, who understands perspective and can put me in different people’s shoes, ”she says.

Many in space lack awareness, she says, making jokes or comments that are “really alarming.”

“I’m hoping people can keep investing in my art and investing in what I’m doing, because I’m actually trying to engage and make a change,” Swopes said.

“Chasing Waterfalls,” by Elise Swopes.

Courtesy of Elise Swopes

Swopes’ brand and artistic career first took off in 2010 after joining Instagram as soon as the platform was launched. She sees similarities in how she felt then on Instagram and now in the NFT space.

“It’s kind of the same as I experienced on Instagram, just like I have to be the voice of the representation in so many ways,” she says. “I found myself in that position, just making sure I supported black women, minorities, in the [NFT] community.”

Next year, Swopes plans to launch a collective called Sunrise Art Club, she says. The club will support women of color through various events and programs, but also fund different NFT projects.

“There are a lot of black women right now in the NFT community, and they are doing a lot of very good things. We are really great community builders, and I hope the money is better distributed where [the community] gives us a place at the table, ”says Swopes.

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Don’t miss: This 24-year-old artist made over $ 300,000 in 10 months selling NFTs

Melania Trump announces new range of NFTs


Former President Donald Trump and his wife Melania perform the tomahawk chop ahead of World Series Baseball Game 4 between the Houston Astros and the Atlanta Braves on Saturday, October 30, 2021 in Atlanta. (AP Photo / David J. Phillip)

(The Hill) – Melania Trump enters the world of NFTs, selling “breathtaking watercolors” featuring an image of her eyes to collectors.

The former first lady made the announcement on Thursday, saying non-fungible tokens, or NFTs, would be released at regular intervals.

The first, titled “Melania’s Vision,” features artist Marc-Antoine Coulon’s painting of Trump’s eyes and an audio message.

“My vision is this: Look to the future with inspiration, strength and courage,” Trump says in the clip.

The NFT auction site, priced at $ 186 Thursday morning, says it will provide the collector with “strength and hope” and “an amulet to inspire.”

A portion of the proceeds from the sale will be “donated to support children in the foster family community,” a statement said. Trump’s office did not respond to ITK’s request for comment on how much of the money will go to charitable efforts. Trump launched his child welfare platform, Be Best, while in the White House in 2018.

“I am proud to announce my new NFT business, which embodies my passion for the arts, and will support my continued commitment to children through my Be Best initiative,” said Trump, who has kept a relatively low profile since its release. from Washington, in a statement. .

“Through this new technology platform, we will provide children with computer skills, including programming and software development, to thrive once they leave the host community,” she added.

In addition to the NFTs, next month Trump will launch a “one-of-a-kind auction of historic significance,” a press release from his office said.

Talk, the controversial social media company, will fuel Trump’s NFT effort, according to his office.

Trump is the latest high profile figure to enter the NFT marketplace, which allows owners of digital art and collectibles to track ownership. Tampa Bay Buccaneers quarterback Tom Brady announced his NFT collection earlier this month. Michael Cohen, former personal attorney for former President Trump, recently said he would sell memorabilia from his time in prison as an NFT.

2,300-year-old apsidal temple from the Buddhist period discovered by archaeologists in Pak: Officials


A joint excavation team of Pakistani and Italian archaeologists have discovered an apsidal temple more than 2,300 years old from the Buddhist period and a few other valuable items in northwest Pakistan, officials said on Saturday.

The find, which was made in the city of Bazira from the Buddhist period in Barikot tehsil of the district of Swat in the province of Khyber Pakhtunkhwa, has been described as the oldest temple in Pakistan from the Buddhist period.

Pakistani and Italian archaeologists during joint excavations at a historic site have uncovered more than 2,300 years of Buddhist period apsidal temple in northwest Pakistan in addition to recovering other valuable artifacts. The temple discovered in Swat is even older than the temples discovered in Taxila, remnants of Pakistan, ” a senior official said.

Besides the temple, archaeologists have recovered over 2,700 other artifacts from the Buddhist period, including coins, rings, jars, and Kharosthi language scriptures from the period of the Greek King Menander.

The head of the Italian archaeological mission in Pakistan, Dr Luca Maria Olivery, said the discovery of the temple from the Buddhist period has proven that Swat is home to the oldest archaeological remains than Taxila.

Italian experts have expressed confidence in the recovery of more archaeological sites during excavations in the historic town of Bazira in the district of Swat.

Dr Abdus Samad, director of the museum and archeology, said the town of Bazira in Barikot Swat is older than Taxila remains.

Doctoral students from the best Italian universities and archaeological departments of Khyber Pakhtunkhwa are engaged in excavations of these sites in the city of Bazira.

The recent discovery of artifacts in the town of Bazira has proven that Swat has been a sacred place for six to seven religions.

Dr Samad revealed that the KP government had purchased fourteen archaeological sites in section four where excavations were underway.

Italian Ambassador to Pakistan Andreas Ferrarese told reporters that archaeological sites in Pakistan are very important to different religions of the world.

The Italian archaeological mission, in collaboration with the archaeological department of Khyber Pakhtunkhwa, has been protecting and excavating archaeological sites for seventy years in Pakistan, he said.

(This story was not edited by Devdiscourse staff and is auto-generated from a syndicated feed.)

Iranian Paralympian to exhibit artwork in Edinburgh


Mohammad Barrangi, from Rasht, Iran, makes prints inspired by Persian storytelling and calligraphy.

For some of his works he uses a poppy roll, a roll of thick cloth similar to ancient versions of papyrus – a material used in ancient Egypt made from the lapidary stalk of an aquatic plant for writing or painting.

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He also prints large-scale murals and works on raw canvases.

Photo published by Mohammad Barrangi of himself lying next to one of his fingerprints. The artist born without the use of his left arm, who competed in the Paralympic Games, is due to exhibit his works to printmakers in Edinburgh from January next year.

With the handicap in his left hand, Mr. Barrangi works on the ground and uses his feet to stabilize his work while he cuts or prints.

When not immersed in his works, the engraver has excelled in the sport, previously representing Iran as a sprinter in the 100m and 200m Paralympic races.

Drawing inspiration from her body, the artist and athlete said her work often shows images of people with lost arms, limbs or other disabilities.

He also draws on images and ideas from a combination of Western and Eastern artwork for his prints and from the women he admires.

Undated photo posted by Mohammad Barrangi of a portrait of himself. The artist born without the use of his left arm, who competed in the Paralympic Games, is due to exhibit his works to printmakers in Edinburgh from January next year.

“In my world, all the heroes are women,” he said.

“I like to portray images of my mother, Iranian queens in exile or just friends who mean a lot to me.

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“I will often combine them with animals or mythical creatures, as my work often focuses on travel, travel and immigration.

“Sometimes I combine elements of classic Western paintings with Eastern stories or images.”

In August 2017 Mr Barrangi, who now lives in Leeds, arrived in the UK to seek asylum from Iran.

Now, with an MA from the Royal Drawing School in London under his belt, he is the first artist involved in the new pan-European art project of Edinburgh printmakers called In From The Margins.

The program, funded by the European Commission’s Creative Europe, which supports the cultural and audiovisual sectors, will provide residency opportunities for refugees and artists seeking asylum and / or artists affected by migration.

Mr Barrangi’s work will be on display as part of the Anything Is Possible exhibition on the site, which runs from January 22 to March 27 next year.

Throughout the residency program, Edinburgh Printmakers will welcome refugee and migrant communities to the studios to engage with resident artists, share their stories and create new work.

Mr Barrangi added, “My work ultimately shapes me, as well as my feelings and my vision of the community around me. So while each exhibit is different, it stems from my own innermost feelings.

“With each exhibition, I like to try new methods and new work. Of course there is a risk, but for me it is a challenge.

Mr. Barrangi’s work is also included in the Royal Family Collection, the British Museum Collection and the San Diego Museum of Art Collection.

Canajoharie Cultural Center recognized for being avant-garde – The Daily Gazette

At the height of the pandemic lockdowns, many community members parked in front of the Canajoharie library to connect to the wireless internet.

That fact alone, shared on Friday by Sue Friedlander, Executive Director and Chief Curator of the Arkell Library and Museum, sums up the seriousness of what the arts and culture installation on Erie Boulevard means to the community.

U.S. Representative Antonio Delgado D-Rhinebeck, who represents New York’s 19th Borough, understands that sentiment. That’s why he named the Canajoharie Library and the Arkell Museum for a 2022 National Medal for Museum and Library Service, the highest national honor bestowed on libraries and museums for their service to their communities.

According to Friedlander, the results will be published this spring.

It’s also why Delgado spent over an hour touring the facility on Friday, listening intently as the historian guided him through everything from the Beech-Nut factory in the 1890s, which engineers patented. the vacuum jar, to an 1869 painting by Winslow Homer which, before hanging in the 1929 gallery space that was Bartlett Arkell’s inspiration, was once part of a larger painting than ‘Homer split into several units as the larger version received severe reviews.

But despite the history so obvious, especially when it is in the original library structure which dates from 1925, it is the look to the future of the establishment that impresses Delgado, especially since libraries strive to involve the younger generations.

“Because sometimes they can see libraries as dated from their perspective,” Delgado said. “So how do you marry this world that was so critical, so essential for so long, with some of the newer models? If we can marry them, we get the best of the two.

The Canajoharie Library and Museum is full of modern ideas and programs already in place. And many of those ideas come from librarian Maria Cancro, 27, who has only been in office since March but will be promoted to library director in January. The library has just three full-time staff, as well as 11 part-time, according to Cancro.

Making the library free was one of its top priorities, a policy that is gaining traction with libraries across the country. The Canajoharie Library went well for free earlier this month, and Cancro, who has a master’s degree in library science from Syracuse University, said the goal is to send a welcome message rather than a message of potential shame.

It does not serve good purpose to bring in good people. You are penalizing them for being human in a way, ”she said. “The free aspect of fines is really important because it allows people to enter the library without reservations that there will be a problem. ”

The spirit of hospitality extends to all that the cultural institution offers. Yes, there are the books on the shelves and the paintings in the galleries. But the library and the museum also provide critical access to technology. This includes weekly tech sessions that Cancro runs where visitors can get help with everything from learning how to set up a new phone to finding out how to send videos to grandchildren. . It includes access to a computer or fax machine, or even a laptop to borrow like a book. It also includes innovative programs such as YouTube videos coinciding with artistic content or the development of a podcast, on which children can hear their favorite books read aloud and learn more about the story and the author.

Delgado was won over by the avant-garde ideals of the library.

“If there’s that kind of revolving door that doesn’t come with a penalty, it’s just one more psychological barrier you’re removing,” he said. “I think it’s about keeping up with the technology. As technology advances, you want to make sure people are more connected, have more access points. And think outside the box too.

Cancro excels at innovative thinking that doesn’t push too far, Friedlander said.

“It’s a bit like coming out of medical school. The best young doctor will have the best and most recent information, and I see a lot and more in [Cancro]”Friedlander said.” But I also see in her the ability to not roll out the best, the new, the freshest idea if it isn’t right for us. ”

This is important in a historic village like Canajoharie which, like a library, must think about its future without losing sight of its past.

The possible future of the former Beech-Nut packaging plant as a site for cannabis grow company E29 Labs involves much the same dynamic.

“I like the progress that has been made,” Delgado said of E29 Labs. “I can’t speak directly about every detail of the project and what goes with it, I just know from what I’ve gathered and the contact I’ve had with the people on the ground, it’s good to see some type of development going on there. We know that for a very long time there has not been one. To be able to see that there is movement in that direction is a good thing.

The same goes for the library, Friedlander said.

“How can you add something, how can you improve it? Friedlander said. “You have to build on what is here and find your way. “

And, even though the doors are closed due to pandemic restrictions, you can still connect to Wi-Fi.

For more information, including information on current exhibitions at the Arkell Museum, visit canajoharielibrary.org.

Andrew Waite can be reached at [email protected] and at 518-417-9338. Follow him on Twitter @UpstateWaite.

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Categories: Fulton Montgomery Schoharie

The rise of cinema in the late 1800s in Paris draws crowds to the City of Lights and the City of Angels> News> USC Dornsife

The rise of cinema in the late 1800s in Paris draws crowds to the City of Lights and the City of Angels> News> USC Dornsife

USC Dornsife art historian Vanessa Schwartz selects photographs, paintings, posters and other media to showcase the origins of primitive cinema in an exhibition at the famous Musée d’Orsay in Paris and more late at the Los Angeles County Museum of Art. [5½ min read]

The big picture:

  • Before Hollywood, Paris dominated the cinema.
  • Early films captured scenes from everyday life, such as workers leaving a factory.
  • The exhibition by history and art history professor Vanessa Schwartz showcases the artistic and technological innovations of 19th-century Paris that fueled the modern film industry.
  • Schwartz will take the students to Paris in a Maymester course focused on the exhibition.

Impressionism and realism. Animated images of the Lumière brothers. Even the Eiffel Tower. At the end of the 19th century, Paris became the center of artistic and technological movements which challenged traditional forms of art and aesthetics. With an audience eager for new visual shows, the city is also quickly becoming the cinema capital of the world.

“Ninety percent of the films that circulated in the world before 1914 were made in France or by French companies in America,” explains Vanessa Schwartz, professor of history and art history at the ‘USC Dornsife College of Letters, Arts and Sciences and Director of Visual Studies at USC. Research Institute. “France played a disproportionate role in film production in the late 19th and early 20th centuries. “

In an exhibition she helped organize for the Musée d’Orsay in Paris and the Los Angeles County Museum of Art (LACMA), Schwartz tells the story of this pre-Hollywood cinematic history through posters, photographs, visual instruments, paintings and sculptures highlighting how cinema was born out of this atmosphere of scientific and aesthetic change.

The exhibition remains in Paris until January 2022 then travels, in another form, to LACMA.

“The exhibition deals with the relationship between the many visual arts and the origins of cinema in the late 19th century, but there is a slight difference in emphasis between French and American exhibitions,” says Schwartz.

In France, she explains, the show examines more formal developments between the arts, but in Los Angeles, it will examine how Paris’s social and cultural history has contributed to the changes that have defined the modern city: a focus on the movement of people and goods, a greater visual orientation of the built environment and the democratization of access to culture, making new forms of culture possible for the masses.

France wants to be a world power, as indicated by this poster entitled “Capital of the civilized world – Expo Paris 1900”.

Schwartz will also be teaching a Maymester based on his exhibit this spring. “Paris, Cinema and the Invention of Modern Life” (AHIS 499) will begin in LA, where students will spend two weeks studying the spectacle at LACMA and its development. From there, they travel to Paris to take a behind-the-scenes look at the creation of the exhibition and pieces from the Musée d’Orsay collection.

Modern arts and sciences

Cinema in Paris did not start with the invention of the moving image, or even of photography. In the 1840s, realist painters like Gustave Courbet depicted ordinary people at work or talking in the open air, a sharp break with the massive canvases of the romantic Eugène Delacroix or the neoclassical Jacques-Louis David, which often depicted dramatized historical moments and scenes from mythology.

A few decades later, Impressionist painters sought to emphasize visual elements that indicated the nature of modern life, experimenting with color and light. During this time, photography was industrializing and commercializing rapidly, with mass production of the necessary chemicals and paper starting in the last third of the 19th century.

The French government encouraged the development of these and other art forms as a means of creating a shared culture among its people, says Schwartz.

“France learned early on that art could not be used only for propaganda purposes, but could also embody the broader will of the people. Culture is one of the key dimensions in which a large audience is created, and as a cultural historian, I am interested in how culture creates national identity while fostering change beyond political borders, ”she explains.

Technologically, France is also positioning itself as a center of engineering and innovation. Emperor Napoleon III invested heavily in the industrialization of the country in the mid-19th century and he wanted to strengthen France’s reputation as a modern world power. Paris hosted five World’s Fairs in the 19th century alone, with the 1889 event delivering the undisputed symbol of the city’s engineering and construction power, the Eiffel Tower.

“For these exhibitions, Paris has worked to make its city more visible, easier to navigate, visually memorable. This too was an aspect of modernization, ”says Schwartz.

More than 50 million people from all over the world visited the Universal Exhibition of 1900, a number higher than the entire French population at that time. Paris imposed itself in the world.

The beginnings of cinema

The first films in motion, a program of 10 films of less than a minute each including mundane scenes such as workers leaving a factory, were released commercially in Paris in December 1895. The films were made by the Lumière brothers who , with Léon Gaumont, Alice Guy, Charles Pathé and Georges Méliès (including the classic A trip to the moonis still considered one of the greatest films in history), dominated the first film productions.

Black and white photo of a column topped with an ornate dome and spire and covered with paper advertisements

The Morris Column was first seen in Paris in 1868 and often featured advertisements for films and other shows.

Lasting just a minute or two, the early films were more technological achievements than anything else, says Schwartz. However, Schwartz notes that there was a desire in these early French films to capture life and its dramas, especially in an environment of dynamic change.

The documentation was not limited to France either, she adds. French filmmakers set out to capture the entire world on film.

“The world was changing rapidly, and the film was also a way to capture what was to be lost. The filmmakers wanted to capture what life was like before people around the world became what they imagined: Western consumers, ”she explains.

But those early Slice of Life films were more of a side novelty than a main event, adds Schwartz. They have been presented at funfairs and in music halls, during carnivals or vaudeville shows.

“There is nothing inevitable about what the film would become,” says Schwartz. “He didn’t kill all other art forms when he was born – at first it’s not clear that cinema could ever be alone.”

It was only when cinemas designed specifically to show films were built, and film editing and technological developments allowed for the creation of longer narrative stories with changes of scene and setting, that the film was. become a recognized art and entertainment form.

As cinema evolved into a longer storytelling, Los Angeles, with its abundant natural light and abundant, cheap land, took over from Paris as the center of the industry. But Schwartz says she hopes students in her Maymester class will understand how “before Hollywood, there was Paris.”

“The culture in Paris was that of new art forms, as well as the technology that built the tallest world tower in two years,” she says. “This tribute to engineering and technology – this is the Paris I want them to understand.”

Vatican Should Return Indigenous Artifacts and Indian Residential School Records


Sometimes the Vatican can seem so obsessed with the papal bulls and encyclicals, and its frequent damage control rounds, and dealing with people’s wickedness, and calculating the number of angels shaking their loot on pinheads. , that he forgets the gospel according to Robert Fulghum.

“Don’t take things that don’t belong to you. “

“Put things back where you found them. “

As most of those who have fallen for a bestseller know, this was part of Fulghum’s formula for a virtuous life contained in his book Everything I Really Need to Know That I Learned From Home. kindergarten.

It turns out that over the decades, the Popes – especially the apparently avid artifact collector Pius XI – have amassed hundreds of artefacts from the Indigenous peoples of Canada, including an ancient sealskin kayak from western arctic.

When the news broke, Inuvialuit leaders in the area released a statement demanding the return of the kayak and all Indigenous artifacts kept in the Vatican Museum.

While the Vatican says the kayaking was a gift, the statement said “it is not the ‘pope’s kayak’ and rightfully belongs to the Inuvialuit Settlement Region, where its lessons and importance can benefit the culture. and the Inuvialuit communities.

The Canadian Conference of Catholic Bishops has said it would be ready to help “mediate this conversation with the Vatican.”

It shouldn’t take a lot of mediation. Or a lot of conversations.

Grace, good manners, and basic decency – not to mention the United Nations Declaration on the Rights of Indigenous Peoples, which supports the repatriation of such items – suggest that returning the kayak is the right thing to do.

And kayaking is not the most important thing Pope Francis needs to order the return to this country.

For nearly a century, the Catholic Church and representatives of other faiths have operated residential schools in Canada on behalf of the federal government.

These schools have become a source of trauma for indigenous peoples and a constant source of shame for the country.

Even now, anonymous graves of innocent people are being discovered across the country. And just as there is no reconciliation without truth and without confessing, there can be no peace for families and communities if they are denied access to material that could explain what happened to their loved ones. .

According to the findings of researchers at the University of Ottawa, published in November, some of this material is likely to be found in the vast repositories of the Vatican archives.

“These documents belong to Canada,” said Brenda Macdougall, then chair of research in Métis family and community traditions.

“They belong above all to the people. . . They have to come back through a subpoena or church. The Pope himself can suspend canon law and return them.

Not that the Vatican does not know the basic principle contained in the book of Fulghum. After all, he has his own book.

It contains the Ten Commandments, one of which is: “You shall not covet your neighbor’s goods.”

Scholars say that there is nothing inherently wrong with wanting things. Even things belonging to others, provided there is agreement and compensation. This is how the trade began.

What is bad for the soul is to covet what does not belong to us, has not been paid and belongs to another “or is due”.

What is due is obvious. It’s time to return the kayak. And turn over the residential school records.

Anonymous donation adds Latin American art to Eckerd College’s permanent collection – News


The remaining pieces will be stored in the permanent collection, which boasts thousands of works by renowned artists, including that of Eckerd: the late Robert Hodgell, said Nicole Manuel ’98, Creative Arts Collegium coordinator and collection manager. She is currently working with first year research associates and the Eckerd College library to digitize portions of the collection.

“A lot of our Hodgells are our own; while some of our prints appear in the inventories of major museums, ”explains Manuel. “Scanning unique pieces allows them to be searched and extracted for viewing if someone needs them for academic purposes. “

Skinner says the pieces can also be used for lectures and gallery shows where appropriate.

“Unfortunately, we can’t display all the art we have, just not enough walls. I’ve heard people say we should have a museum, ”Skinner comments. “We are very fortunate to have three galleries on campus. When these spaces are reopened to the public, we will be happy to display our collection to the community at large. “

The entire gift of Latin American art will be on display at Helmar’s Elliott Gallery and the Enole Nielsen Center for the Visual Arts during the month of January. The gallery’s opening hours are 10 a.m. to 5 p.m., Monday to Friday.

Chinese President Warns Culture Workers Not to Become Slaves to the Art Market + More Stories


Art Industry News is a daily digest of the most important developments in the art world and the art market. Here is what you need to know on this Wednesday, December 15.


Bristol has not considered removing the Colston statue – Bristol City Council in the UK has not considered removing the statue of slave trader Edward Colston despite concerns from the local community, a local court said during the trial of four young people aged 22 to 33 accused of shooting down the statue and throwing it into the river during a Black Lives Matter protest last year. The four defendants, who won the support of none other than Banksy, denied the criminal charges. (Guardian)

No, this “succession” still doesn’t look like a Renaissance painting – A still shot from the hit HBO series Succession has gone viral on social media. This is the last photograph or even pop culture that made comparisons with a Renaissance painting. There is just one problem with all of these analogies. “None of these things really look like Renaissance paintings,” says Alex Greenberger. “Photographs and film images are meant to be composed in an evocative way… And why not just call the Succession image in question an example of good cinematography? (ARTnews)

Xi Jinping says culture workers must have a good character – Cultural workers, including artists, writers and performers, considered to have “bad behavior” will not be tolerated, the Chinese leader told a crowd of 3,000 on Thursday at a meeting with the Chinese government. arts and culture sector in Beijing. Xi stressed his “five hopes” to cultural workers, reminding them of the role they play in “the rejuvenation of the great Chinese nation” and “say[ing] great Chinese stories. Arts and culture must keep a distance from money and not become slaves to the market, “treating works of art as commodities,” he added. (Ming Pao)

Italy sends treasures to the regions – Works of art stored in 14 state-run museums, including the Uffizi Galleries in Florence and the Pinacoteca di Brera in Milan, are making their way to lesser-known regional museums across the country as part of the new initiative , One hundred works back home (“100 opere tornano une casa”). Paintings, sculptures and artefacts will be sent to local institutions where they have historical ties with the aim of increasing attendance at museums off the beaten track. (The arts journal)


A climate prize for emerging artists The Helen Frankenthaler Foundation and the Asia Society are teaming up to launch the Frankenthaler Climate Art Awards with the aim of engaging emerging artists, who will likely experience impact in their lifetimes. Organizers will start receiving climate change-themed art submissions from US-based artists in January. Three winners will receive a cash prize of $ 15,000 each. (ARTnews)

New art podcast asks the big questions – A new podcast, Hope and Dread, asks bold questions: Who has power in the art world? Who is trying to change this balance? And who resists it? It is created by the team behind the popular In Other Words podcast: artistic advisor Allan Schwartzman and his new editorial platform. Art& with Charlotte Burns of Studio Burns, who produced the series. Hope and Dread: Tectonic Shifts in Power launches today. (Spotify)

The Black Art Museum arrives at Inhotim – The Black Art Museum, founded by the late Abdias Nascimento, will reach a wider audience thanks to a two-year initiative by the Inhotim Institute and the Institute for Afro-Brazilian Research and Studies. Until December 2023, the Black Art Museum will move to Brazil’s most popular sculpture park with a series of exhibitions. (The arts journal)

The curators of the Berlin Biennale – Ana Teixeira Pinto, Đỗ Tường Linh, Marie Helene Pereira, Noam Segal and Rasha Salti have been named members of the curatorial team for next year’s Berlin Biennale. The event previously brought in artist Kader Attia, whose work focuses on colonialism, as artistic director. (ARTnews)


Remember Etel Adnan the Guggenheim – The Solomon R. Guggenheim Museum in New York will host “An Evening of Poetry for Etel Adnan” on January 10, the last day of the artist’s solo exhibition “Light’s New Measure”. An intergenerational group of poets including Ammiel Alcalay, Omar Berrada and Stephen Motika will read selections of their work alongside that of the pioneering painter, writer and poet, who died last month. (Press release)

Untitled, 2010. Karen E. Wagner and David L. Caplan Collection, New York. © Etel Adnan “width =” 1024 “height =” 825 “srcset =” https://news.artnet.com/app/news-upload/2021/12/gen-press-adnan-x.2021.419-1024×825.jpg 1024w, https://news.artnet.com/app/news-upload/2021/12/gen-press-adnan-x.2021.419-300×242.jpg 300w, https://news.artnet.com/app/news -upload / 2021/12 / gen-press-adnan-x.2021.419-50×40.jpg 50w “sizes =” (max-width: 1024px) 100vw, 1024px “/>

Etel Adnan, Untitled, 2010. Collection of Karen E. Wagner and David L. Caplan, New York. © Etel Adnan

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Jamestown Island Against Wall As Rising Waters Endanger Artifacts | Climate change


Jamestown’s history is full of twists and turns. So why not one more?

When experts talk about how climate change is undermining the site of the first permanent English colony in the United States, the first on their list of threats is usually sea level rise. The water has risen by 1 , 5 feet in the lower Chesapeake Bay area over the past 100 years and is expected to increase 3 feet by the end of this century.

Tourists congregate near an archaeological dig, a few feet from the James River in Virginia, where English settlers founded the settlement of Jamestown in 1607. Archaeologists and historians say the threat of flooding was due to the Predicted sea level rise and more abundant rainfall makes their work at the site a race against time.

Virtually all of the 1,500 acres of Jamestown Island are within 3 feet of the current waterline.

But the story behind the weakening of the property’s sea wall, built in 1900 and itself a historic structure, was more complicated than that. Preservation Virginia, the nonprofit that has owned the Jamestown site since 1893, commissioned a technical survey of the seawall this spring and last summer as part of an effort to save it. In October, the results arrived, but not what the organization expected.

The analysis confirmed that, yes, the rising waters are damaging the 120-year-old coating from the outside to the inside. But it also showed that another consequence of climate change – more rainfall – is defeating it from within.

“We were thinking about climate change from rising sea levels and sinking land, and it absolutely is,” said David Givens, director of archeology for Preservation Virginia. “But what we’re seeing lately is heavy rains.”

Over the past two decades, a lawn known as Smith’s Field – so named because it’s the site where Captain John Smith trained his troops – has turned into a mud hole. Givens said the long-held belief among Jamestown wardens was that the swampy area was full of salt water, pushed out of the basement by a swollen James River.

A simple test proved the opposite. “We started testing the salinity of the water,” Givens said, “and the overgrown swamp in the middle of our property has less salinity than tap water. And that’s because of the heavy rains. would never have guessed that.

Photographs from around 1900 show Smith’s Field was then dry enough to be used for growing corn, Givens said. As late as the early 1990s, it was grassy and regularly mowed. Givens recalled playing touch football there with his colleagues during their lunch breaks.

But heavier precipitation, sometimes exceeding 4 inches per day, increasingly causes water to accumulate on the ground. The flood is killing the grass. Left unprotected, bare ground is likely to blow away once the ground dries up, lowering the elevation and making the area more susceptible to flooding again, Givens said.

About seven of the 22 acres owned by Preservation Virginia have become wetlands, the archaeologist said. He attributes much of this loss to precipitation.

Like much of the Chesapeake Bay area, Jamestown in southeast Virginia experiences more precipitation. In James City County, which includes the settlement site, average annual precipitation has increased by about half an inch per decade since 1895, according to the National Oceanic and Atmospheric Administration.

Historic Jamestown Waterfront

The historic site of Jamestown in Virginia, founded by English settlers in 1607, is losing archaeological resources due to rising waters on and along the James River.

Jamestown was founded in 1607 on a pine forested island along the north shore of the James River about 35 miles upstream from Chesapeake. Preservation The Virginia possessions include the site of the original fort and a church steeple dating from the 1600s. The National Park Service owns the remainder of the area, which includes the city ruins which then flowed into the exterior of the fort’s triangular footprint.

The city was abandoned after the seat of government from the Colony of Virginia moved to Williamsburg in 1699.

The National Park Service released a 2019 Climate Change Vulnerability Report that covered Jamestown Island. Of 59 historic structures or archaeological sites listed on the island in 1995, two had already been lost due to erosion and rising seas, he said. 24 others were damaged by the same forces.

By 2065, according to the report, only two archaeological sites will be entirely above water. By 2100, according to projections, much of the 1,500-acre island will be underwater.

“We are the poster child of history and climate change,” Givens said.

The 121-year-old sea wall, a concrete slope built by the US Army Corps of Engineers, continues to provide essential protection against erosion and storm surges, experts say. But this punishment damaged the structure itself. Frequent repairs will likely be needed for years to come, they say.

The new assessment used ground-penetrating radar to reveal groundwater beneath Smith’s Field is pushing the dike from its land side, Givens said. To this, he added, there is no immediate answer. Whatever strategy is, it will likely involve what he called “interesting mitigation”. The final technical report, due soon to be submitted to Preservation Virginia, is expected to include recommendations.

Most of the archaeological digs in recent years have taken place near the old fort. But records from excavations in the 1930s and 1950s suggest Smith’s Field likely contains significant artifacts as well, Givens said. Among them: human remains, buried building foundations, and the remains of a brick kiln dating from the 1600s, which likely provided material for the original church steeple and state house.

Much of this story is already inaccessible to archaeologists due to rising groundwater, Givens said.

Marcy Rockman was the National Park Service’s Climate Change Adaptation Coordinator for Cultural Resources from 2011 to 2018, helping parks across the country cope with climate realities. When asked if the new findings on precipitation in Jamestown surprised her, she replied, “At this point, there isn’t much that surprises me about climate change… expect it to be surprising.

Rockman and Givens have described Jamestown’s current archaeological efforts as a race against time and a changing climate.

“There will be parts of this island that will be inaccessible, and we will lose access to these archaeological sites,” said Rockman, now a climatology consultant. “They will always be there, but our ability to study them will indeed be impossible. “

Milwaukee Art Museum painting says a lot about black life then and now

Noir. Lives. Matter.

Black Lives deserves to be seen. Black Lives deserve to be safe. Black Lives deserves to be powerful. The Black Lives deserve to be defended.

About a month and a half ago, I drove through Kenosha to visit the Milwaukee Art Museum. As I walked through the galleries, I was drawn to the other side of the room by a powerful portrait highlighted in the space. I drank in the beauty before stepping forward with a smile to learn the details of this exquisite painting.

On the wall, a label reproduced the name of the painter and part of the history of the work:

Max Pietschmann

German, 1865-1952

Study of a Model, November 1885

Oil on canvas

Purchase, with funds from Avis Martin Heller in honor of the Fine Arts Society M2020.39

“Max Pietschmann was a young student at the Academy of Fine Arts in Dresden when he painted this sensitive study in 1885 during a particularly busy historical period in Germany. Indeed, the previous year the Germany had established its first colonies in Africa, and visitors to Germany from Africa not only increased, but was also viewed with great curiosity by German citizens. Although we do not know its identity, the model for this painting was probably an African circus artist who passed through Dresden in November, the month Pietschmann completed the painting. The artist’s study provides a window into a complex social moment, creating an image of ‘a black man who puts forward his dignity and his composure at a time when such a representation was far from common in German art.

There was so much to study and consider in this living, life-size window into another life.

How the dull spots on the subject’s skin at the elbows and under the arms evoke speculation that he might have been a circus performer, consistent with the abrasion and chalk marks typical of a skilled acrobat.

How he likely sought prosperity in Germany that he couldn’t find in his country of birth and how the nation discouraged people of African descent from settling, catching him in a fleeting life, which would make it difficult more a century later to learn a clear identity and associate a name with his face. (Work by Robbie Aitken and Eve Rosenhafts, “Black Germany”, is an excellent source for understanding the African presence in Germany during this time.)

How, while some individuals of African descent begin to appear in the photography of the time, the portrayal of individuals of African descent in 19th century Western art (or really any century) is limited, this which makes this remarkable painting so precious to everyone today who needs to know that black people have lived, worked and loved and died alongside those in Europe and the Americas who were born into a privilege they would never expand beyond their own family.

It takes each of us, it takes all of us, to fight against white supremacy, to fight against the erasure of black lives in history, to fight against the erasure of black lives in our communities and places of power.

A great and terrible wrong has been done in Kenosha – a sobering reminder that what is legal is not the same as what is just and moral.

RELATED:Kyle Rittenhouse found not guilty on all counts in Kenosha shooting case

RELATED:One year after Jacob Blake shooting in Kenosha, black residents speak out, but little concrete action has been taken

A single painting hanging in an art museum cannot cure this ailment, but know that a German painter from the 19th century, an accessible public institution dedicated to sharing the beauty and power of art, and, well , me –– we are firm in the knowledge that Black Lives Matter, that they always counted. Through violence and vast injustices, we will continue to amplify this message until these words truly mean something in our cruel world.

Tanya Klowden is a physicist in transition to the technical analysis of art. She is researching works at the Milwaukee Art Museum for a new project. She lives in the Los Angeles area.

Bob’s Art Blog: 3rd at Burg & Issues of Identity


More than two dozen amazing venues are combining their efforts to end the year for the final 3rd of the 2021 Burg event. Barely six blocks on North Front Street separate two of Harrisburg’s oldest civic institutions and, this Friday evening, they offer two distinctly different views on identity.

Rachel O’Connor, curator at the Art Association of Harrisburg, unveiled an exhibit that could well serve as a time capsule for the year 2021 as she showcases a microcosm of global attention on topics that capture attention on national and individual identity. When we look at ourselves in the mirror every day, what do we see beyond the reflection watching us? For a quartet of female artists, the responses present ideas through art mediums to the AAH for this closing show of the year.

“Situation: Confronting Identity” offers artists Bridie Alvarez, Lucy Giboyeaux, Larissa Ramey and Destiny Santana a personal investigation by digging deep into cultural and historical tropes. The exhibit tackles race, nationality and gender in its powerful presentation which at times leaves everything to the surface, taken at face value and, at others, shows subtle, nuanced truths, barely alluding to meanings hidden under layers of paint or in the subject’s gaze. This think tank delves into the very essence of what makes us who and what we are. Beyond the physical lies the contextualization of culture and the duality of the psyche, often intertwining to create complex machinations of external and internal forces.

Art by Bridie Alvarez

Bridie Alvarez, a Mexican American artist, deals with themes of identity filtered through a lens of “memory, loss and isolation”. She finds “religion, family, gender and ethnicity” at the heart of the narrative elements that she incorporates in her paintings. Using the medium of collage drawn from ‘family photos, political displays and beauty advertisements’, she brings to the fore a sense of cultural topicality by capturing interpersonal and psychological moments that reflect the past and present as a alone.

Illustrations by Lucy Giboyeaux

Lucy Giboyeaux is a Puerto Rican artist who works in sculptures that pay homage to her heritage. She keeps customs and rituals – and the language that evokes them – clearly visible and central to her hand-crafted works and paintings. She explores the internal drive of her people, who, although beset by tragedy, continue to move forward. Giboyeaux achieves this by highlighting human resilience through relational bonds (family and friends) as well as the human bond (the community as a whole). She holds a mirror of cultural identity, focusing on “her own Puerto Rican identity in the diaspora”. By referring to “the Taino language for many of its titles, it honors its cultural past and helps keep it alive”.

Art by Larissa Ramey

Larissa Ramey is a biracial artist who uses photography as a medium of choice. His works cover topical themes such as race, heritage and body image. She is often used as a subject in her quest for what it means to be Black to her not only as an artist but as a woman of color. The lens of labels becomes secondary in uncovering true meaning, revealing how parts of heritage and ancestry connect with the present.

Destiny Santana is also a multimedia artist whose work is both figurative and abstract. Her paintings are emotionally charged, depicting hard-wired traits such as facial expression and body language that share the stories from within. An artist born in Harlem, Santana takes inspiration from the streets of New York and uses this backdrop as a canvas to tell current events and how they affect her culture. Her group of paintings is titled “Shadow Work”, which addresses the close introspection of dealing with the dark side of the psyche and learning how to overcome it. By realizing how to accept and understand herself, she concludes that this is achievable through self-love and self-discipline.

The exhibition opened on December 3, but the artists reception is the centerpiece on Friday 3 at the Burg from 5 p.m. to 8 p.m. Hosted by Tracey Meloni, the party will feature master musician Jonathan Diggs Duke on trumpet and piano for a night to remember.

The Art Association of Harrisburg is located at 21 N. Front St., Harrisburg. www.artassocofhbg.com.

Holiday art exhibit at the Civic Club

What started as a revolutionary outpost for diversity through art in February has now grown into a cultural mainstay on the calendar. This seasonal approach to showcasing new talent takes place at the Civic Club of Harrisburg.

Art by Bethany Nicholle

Identity comes here in the way of personal growth. The life cycle of an emerging artist can be compared to that of the caterpillar going through a complete metamorphosis, resulting in a magnificent butterfly. Artists can go through a series of new techniques, explore various mediums, and in so doing, develop a style that becomes their own, a dramatic metamorphosis, so to speak, from chrysalis to evolving identity. Friday’s 3rd at the Burg marks the fourth round of assembly of this special group, “The Maestros of Midtown”, for the closing chapter of 2021.

Art by Nicole Herbert

You’ll see familiar names and faces like Bethany Nicholle, who brings her abstract paintings and a full set of marketable merchandise, including books of poetry she’s authored and will sign for posterity. Carrie Feidt’s paintings of lovable animals and imaginative ways capture an innocence, softly serene. Lily Roque, tattoo artist by day and by night, adds an air of mystery through her manga and her comics. Annie Crow’s paintings deal with the universal theme of death, but, for now, I choose to stay among the rapids, as long as I can. Jeannine-Marie recycles clothes to create unique personalized pieces for her Savagehabitexchange.com, while Douglas Beard amazes with his handmade lamps. Generalist photographer Larry Washington Jr. aka Larry Lenzz returns with her dramatic cityscapes night scenes, while pop art painter Grace Robinson, via Color Your Soul, features commissioned pieces as well as iconic images like Bob Marley.

Art by Mansa Abuchi Mawakili

Nicole Herbert’s work embraces photography, ceramics and found objects. Quincy Yates returns to the scene with his goal of seeing the world dressed in tie-dye as promoted by his Shopkidsinc.com. Recurring artist Mansa Abuchi Mawakili has expanded her collection of artisan Afrocentric jewelry for the holidays. Darius Davis dabbles in acrylic paints when he’s not creating fashion videos. Jemar Sweets, photographer, specializes in architectural prints as well as landscapes by capturing views of the city. Painter Tyler Minnich will participate in a live demonstration of his craft as a special feature of the evening. Group leader Brad Mauer gathered this eclectic entourage for the overnight event from 5 to 9 p.m. The “Cercus” insect cartoons are synonymous with Brad’s fascinating foray into the art world.

Music will be provided by violinist Marie Valigorsky from 6 p.m. to 7 p.m. Who knows, maybe even Santa Claus will show up unless there is a clause (e) in his contract with no public appearances until the big night.

The Harrisburg Civic Club is located at 612 N. Front. St., Harrisburg. www.civicclubofharrisburg.com

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Egypt has repatriated around 30,000 ancient objects in 10 years – official – Société & Culture


CAIRO, December 12. / TASS /. Over the past 10 years, Cairo has succeeded in returning around 30,000 ancient objects, illegally taken out of the country at different times, the head of the repatriation department of the Ministry of Tourism and Antiquities, Shaaban Abdel- told on television on Saturday. Gawad.

According to the official, the department follows “auctions and internet sales around the world.”

“Since 2011, the Egyptian state has managed to repatriate 29,300 artefacts,” he said. “In this year alone, 5,300 artefacts from ancient Egypt have been unearthed at the Museum of the Bible in Washington. “

All contraband artifacts have been recorded in the archives and repatriation work is ongoing, he said.

The official explained that the repatriated artifacts are being restored and will then be exhibited in museums. One of these artefacts is an ancient human skeleton discovered in Belgium, currently on display at the National Museum of Egyptian Civilization in Cairo.

Recently, Egypt embarked on a campaign to repatriate ancient smuggled artifacts. In 1983, the Arab Republic strengthened its legislation on the protection of artefacts: the export of objects of cultural heritage is currently punishable by law. According to authorities, around 95% of the smuggled antiquities were unearthed by illegal archaeologists.

Minnesota Fans and Collectors Maintain Typewriter Legacy | Minnesota News


By RICHARD CHIN, Minneapolis Star Tribune

MINNEAPOLIS (AP) – For a century, the typewriter has been king.

It was the essential tool of any aspiring novelist, intrepid journalist, serious secretary and ambitious student. During his reign, everything worth the paper it was printed on – a historic speech, the great American novel, screenplays, contracts, letters, treaties, declarations of love and war – was probably written on a typewriter.

Its “clackety-clackety-clackety-clackety-clackety, ding! was an essential part of the 20th century soundscape. Once obsolete by word processing and then the personal computer, the syncopated chatter of a typewriter has become as rare as the purring of a rotary telephone.

But a small group of Minnesota typewriter enthusiasts are preserving the legacy of the once revolutionary typewriter, restoring them, collecting them and even writing them down, the Minneapolis Star Tribune reported. And their number is increasing.

Political cartoons

There’s super collector Alan Seaver, who owns over 350 typewriters, possibly the largest collection of typewriters in the state.

Entire rooms of his Zumbrota home are dedicated to the display of typewriters that date back to the late 19th century and include rare pieces like a Smith-Corona with a solid sterling silver body, a typewriter with a clear plastic body for use by inmates and a typewriter made in Nazi Germany that can print SS badges. He owns the first typewriters made by Remington, the forerunner of the gun company, and Triumph typewriters, produced by the motorcycle manufacturer.

Minneapolis typewriter fan Charlie Maguire practices what he calls “extreme typing,” which involves carrying around a vintage portable typewriter to chase the stream of consciousness thoughts while standing in one. trout stream, atop a cliff or bridge or in an outdoor sculpture.

Clarence White wrote poetry on his typewriter for passers-by with whom he interacts at art venues like Northern Spark and the Soap Factory. He also gives typewriter poetry workshops.

“The typewriter is really a percussion instrument and poetry is music,” said White, a resident of St. Paul who is also associate director of the East Side Freedom Library.

No wonder the Wikipedia entry for the typewriter notes that “The 21st century has seen a resurgence of interest in typewriters among certain subcultures, including makers, steampunks, hipsters, and poets. Street.”

“They are the youngest. They love to hit it, ”said Mark Soderbeck, longtime owner of Vale Typewriter Co. in Richfield.

Soderbeck has been repairing typewriters for 46 years. He said that when personal computers became affordable in the 1980s, business fell by 80%. The number of typewriter repair shops in the Twin Cities has dropped from almost 30 to two. (Spectrum Business Systems in St. Paul is the other store besides Vale.) But in recent years, demand for old typewriters – especially non-electric manual typewriters – has increased, according to Soderbeck.

“By Christmas, I won’t have a manual typewriter in my store anymore,” he said.

Renewed interest in typewriters helps Katie Fetterly pay for her education. A few years ago, the 36-year-old St. Catherine’s University student saw a beautiful 1938 Corona Standard typewriter on Craigslist for sale for $ 20.

This set her off on the path of collecting typewriters and becoming an antique typewriter broker, finding and selling desirable typewriters that other collectors are looking for.

“I am connected to every person in the typosphere,” said Fetterly. “I know where to look and how to look. “

For his own collection, Fetterly stalked machines in Wisconsin, Ohio, Iowa, and Wyoming in search of different versions of the 1955 Royal Quiet Deluxe in yellow, green, baby blue, and pink.

“It’s like collecting cars without having a garage,” Fetterly said.

Soderbeck compares today’s interest in manual typewriters to the resurgence of vinyl records and other analog things.

Typewriter fans are rebelling against digital to embrace real, physical text messages, a tactile experience stamped on a decades-old mechanical device preserved on 20-pound cotton paper.

“I think everyone needs digital technology space,” said Richard Polt, professor of philosophy at Xavier University, author of “The Typewriter Revolution: A Typist’s Companion for the 21st Century” and creator of the site Web The Classic Typewriter Page.

Some typewriter fans say they like to use old manual machines because it forces them to write more slowly and deliberately compared to writing on a computer.

“You don’t think about word selection, punctuation, and sentence construction as much as you do when you use a typewriter,” said David Born, retired University of Minnesota professor, writer and user long-standing typewriter.

It’s a bit ironic because typewriters were originally invented and became popular because they allowed people to write faster. And typewriter enthusiasts always rely on digital tools to express their admiration for their typewriters, whether it’s a blog site or an Instagram account.

In some ways, the typewriter is still with us. The QWERTY keyboard layout we use on our laptops and even our cell phones is a legacy of the system that has become standard on typewriters. The shift key, caps lock, and backspace were originally typewriter mechanisms.

It’s hard to deny that typewriters have an aesthetic that you’ll rarely see in a personal computer. Over the years, typewriters have sold in a rainbow of colors: gloss black, Italian race car red, princess telephone pink, metallic green, pop art yellow and even imitation wood grain.

Depending on when they were made, typewriters can have an art deco design or sport the harsh lines of a 1970s muscle car.

“Computers are really boring,” Polt said. “The typewriter, a good one, is an art object in itself. “

Even the names that typewriter makers also gave to their machines conveyed a sense of glamor or personality: the Hermes Baby, the Royal Swinger, the Smith-Corona Enterprise II, the Sears Cutlass, the Blue Bird, the Torpedo. , Everest.

A 1936 machine in Seaver’s collection is called the Imperial Good Companion, illustrating how many people have formed a sentimental attachment to their typewriters in a way that it’s hard to imagine anyone feeling about from their laptop.

Prices have gone up for some desirable vintage machines. Part of this may be due to what collectors call the “Tom Hanks effect”. The actor is a serious collector, which has inspired other people to take an interest in old machines.

“He loves typewriters and people love Tom Hanks,” Seaver said.

But there were millions of typewriters made between the end of the 19th century and the end of the 20th century. There are still many and many examples of centuries-old machines that still work.

“It’s a pretty sustainable technology,” Polt said.

“How many people have a computer, even 10 years old, that still works well?” Born said.

Copyright 2021 Associated press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

‘Art meets history’ in Dagupan’s Anakbanwa exhibition – Manila Bulletin


DAGUPAN CITY – After the two-year renovation of the building where General Douglas MacArthur stayed during the liberation of the island of Luzon in 1945, modern and contemporary masterpieces by various artists are now on display at the historic site of the art exhibition “Anakbanwa”. , which officially opened on Friday, December 10.

The representative of the fourth district of Pangasinan, Christopher de Venecia, launched in October 2021 the Anakbanwa artistic residency project in which three artists from Luzon, namely: Razel Mari, Corinne from San Jose and Marco Ortega were allowed to immerse themselves and to interact with the local community, the environment and to create inspired works. through their meetings.

Deputy Speaker of the House Loren Legarda (left) and former Pangasinan Fourth District MP Gina de Venecia lead the ribbon cutting of the Anakbanwa art exhibition at the historic home of General Douglas MacArthur in Dagupan City on Friday, December 10. The exhibition will run until January 31. , 2022. (Photo courtesy of Alexander James Navarro / Manila Bulletin)

“Culture is our most strategic comparative advantage, and creativity is our supreme renewable resource and our greatest value as Filipinos,” he said.

The Anakbanwa art exhibition will run until January 31, 2022.

It also features artwork from other Pangasinan-based artists and artwork from K-12 learners who attended workshops at the renowned creation center, The SPOT.

The exhibition is open to scheduled visits from Wednesday to Sunday from 10:00 a.m. to 12:00 p.m. and from 1:00 p.m. to 5:00 p.m.

Walk-ins can be accommodated on Saturdays and Sundays from 3:00 p.m. to 5:00 p.m.

Only fully vaccinated visitors are allowed to visit the exhibition.

Entrance is free for Kindergarten to Grade 12 learners, subject to presentation of their valid student ID. Adults can view the exhibit for PHP 50 and disabled and elderly people can view PHP 40.

A portion of the proceeds will go towards capital and maintenance spending at West Central Elementary School.

To book a tour, log on to http://bit.ly/Anakbanwa.



Paul Revere family items found in attic up for auction


Artifacts that belonged to Paul Revere’s family are up for auction

TOWNSHIP, Massachusetts – Artifacts that once belonged to Paul Revere’s family are being auctioned.

The artefacts were found in the attic of a house in Canton, Massachusetts believed to have belonged to the family of the legendary War of Independence figure, reports the Boston Globe.

They include tools such as wrought iron calipers, letters, and other personal items. There is also an account book belonging to the descendants of Paul Revere and a black painted sign bearing the name of Paul Revere’s son, Joseph W. Revere.

John McInnis Auctioneers in Amesbury sells the items as one lot in an auction which runs Friday through Saturday. The auction house estimates the items could sell for between $ 1,000 and $ 2,000.

Owner John McInnis told The Globe that the sign was likely related to the case company the Revere family owned in Canton, a suburb of Boston.

Revere was famous for his Night Ride on April 18, 1775, in which he warned the American Colonial Militia that the British Army was approaching before the Battles of Lexington and Concord. The ride was immortalized in Henry Wadsworth Longfellow’s 1861 poem, “Paul Revere’s Ride”.

Revere was born and lived primarily in Boston. He bought a house in Canton in 1801 and later opened the Revere Copper Company on the land, and his descendants built other farms there.

Sex, gardening and couscous: the artistic colony of Benton End remembers | Art


This was where many of the best things in life gathered: art, food, wine, sex, the natural environment. And he was instrumental in the creation of some of the UK’s most renowned post-war painters, including Lucian Freud and Maggi Hambling.

Benton End was an amazing place where budding artists lived and studied under the tutelage of Cedric Morris and his lover Arthur Lett-Haines. Today it is celebrated in an exhibition that brings together alumni of the East Anglian School of Painting and Drawing for the first time.

Besides Freud and Hambling, the students included Frances Hodgkins, Valerie Thornton, David Carr, Lucy Harwood, and Richard Chopping. They lived and worked on the 16th-century rose farm near Hadleigh, Suffolk, where the emphasis was as much on gardening and cooking as it was on art.

Several works on loan to the Firstsite Gallery in Colchester have never been seen in public before. They include The Woodpeckers, a Morris painting of two red-headed birds riding on branches against a wintry background, which for decades has hung in a private home, slowly cracking and fading with age.

Cedric Morris, as described by his student Frances Hodgkins. Photograph: courtesy of Benton End House & Garden Trust

Morris and Lett, as he was called, “taught in a very hands-on way,” said Ben Coode-Adams, artist from Essex and chairman of the Victor Batte-Lay Foundation, an art collection focused on East Anglia. “It was more about working together and while they were clearly playing a leadership role, they weren’t dictatorial. It was really about getting the job done. They were interested in the people who were harnessing themselves.

Hambling, who began studying at Benton End while still in school, said the farm was “really where life began”. In an interview in 2017, she said: “Part of the appeal to me, the 15-year-old, was that she was called the Artist’s House and was known for all the vices under the sun.”

Benton End was considered very shady, Coode-Adams said. “There were always a lot of people, a lot of drinkers, always very good food. It was a pretty extreme party for the time. The house was “notoriously dirty – no one ever cleaned,” and there was a lot of sexual activity, Lett-Haines bringing a series of lovers alongside his long-standing relationship with Morris.

The East Anglian School of Painting and Drawing was established by the couple in 1937, initially in Dedham, Essex. Sixty students have registered in nine months. After the Dedhams’ house burned down – apparently from a cigarette thrown by Freud – the school was re-established in Benton End, where it operated for 40 years.

There Morris devoted as much time to horticulture as he did to art, although the two often overlapped when painting plants and flowers. Students were also encouraged to paint in the expansive gardens of Benton End.

Photograph of Benton End from another angle, showing it to be an L-shape
There are plans to reopen the house and garden as an art and horticultural center. Photograph: courtesy of Benton End House & Garden Trust

He rose at dawn to weed his beloved flower beds, leaving Lett-Haines in bed until noon. Morris produced at least 90 new varieties of irises, frequently traveling the Mediterranean and North Africa to find species to bring back to Suffolk. He also raised birds.

Lett-Haines was not interested in the garden, but passionate about food and cooking. Hambling remembered that he served couscous, which was almost unheard of in England in the early post-war years.

His dishes, served to the artist community twice a day, included other foods unusual at the time, including garlic, olives, and eggplants grown in the garden. Copious amounts of red wine accompany meals.

Benton End had a certain “vibe,” said Stuart Tulloch, program manager at Firstsite. “It was a cool place. It was liberal and open.

Although she produces well-known artists, there are others who studied at the school who “never had this recognition”. The exhibition “lifted a stone and discovered a teeming life below.”

In keeping with the Benton End philosophy, the exhibition halls are dotted with easels and paintings to encourage visitors to create their own works, which will then hang on the walls alongside the main exhibits. Firstsite also offers wellness, cooking and gardening workshops alongside the exhibit to reflect the character of the school.

Life with Art “brings together a superb selection of paintings, sculptures, prints and drawings showcasing the amazing artists and creative talent that emanates from East Anglia,” said Sally Shaw, Director of Firstsite. The aim was to “evoke a real feeling of Benton End”.

The school’s influence had been far-reaching, she said. “Morris was the only person of his generation to achieve national status as an artist and gardener, and our exhibition explores how these two disciplines intertwined to form one of the most remarkable artistic environments of the 20th century.”

In 2019, Benton End was acquired by the Pinchbeck trust. He plans to reopen the house and gardens as an art and horticultural center administered by the Garden Museum.

Life with Art: Benton End and the East Anglian School of Painting and Drawing is at the Firstsite Gallery in Colchester, Essex, until April 2022.

memory as sentinel | MG Radhakrishnan

“Those who do not remember the past are doomed to repeat it”.

George Santayana | Photo: Samuel Johnson Woolf, Time magazine

These famous words from Spanish philosopher George Santayana greet visitors to Auschwitz-Birkenau, the complex of 40 Nazi concentration camps in Poland that was the site of the most brutal atrocities. This complex of human cruelty is now the largest visited memorial museum in the world and a UNESCO World Heritage Site. Seeing the name Santayana here, the first thoughts that came to this writer’s mind were G Aravindan and his all-time classic -Cheriya Manushyarum Valiya Lokavum- where I first came across the philosopher’s name at the late 1960s.

G. Aravindan
G Aravindan | Photo: Mathrubhumi archives

For most of us, museums are tourist destinations or centers of academic interest for researchers or intellectuals. They are hardly considered political institutions. But there have been many studies of museology in recent times that elucidate the intense political and social significance inherent in museums and how they shape collective values ​​and social understandings. Not only in museums devoted to political subjects but also to art or natural history. Museums are often built with malicious intent, benign or neutral, deliberately or not. Many had ulterior motives to suppress the truth, create alternate facts, privilege narratives, and fabricate the story according to the motivations of the powers of the day. As history is meant to be written by the victors, museums often represent the dominant narratives of the time. But those who survive time are the ones built to hold onto memories of the past and remind society to never repeat the mistakes of the past. In both cases, museums have been places of contestation related to identity, ideology, representation, legitimacy or hegemony and they carry the intersection of politics, culture and of technology.

“Museums and the artefacts they contain are spaces for transitive, entangled and often contested realities. In addition to marking social changes, the objects in our collections can be seen as playing an active role in the evolution of social relations, explains Anita Herle, eminent museologist at the University of Cambridge. Even a recent t-shirt campaign in the United States said “museums are not neutral.”

With the exception of a recent study in the weekly Mathrubhumi by artist / curator Riyas Komu and critic CS Venkiteswaran, few have studied museum politics in Kerala. We have had museums in Kerala since the 19th century, the most important of which is the Napier Museum built in Thiruvananthapuram in 1880 by Ayilyam Thirunal Rama Varma.

Ayilyam Thirunal Rama Varma
Ayilyam Thirunal Rama Varma | Photo: Mathrubhumi archives

The museum was built in the Indo-Saracen style by Robert Chrisholm, the Madras government consultant architect, and is named after Francis Napier, Governor of Madras and Scottish polyglot. Recently, many new museums have sprung up, including a chain linked to the Muziris Heritage project.

I wonder what happened to the brilliant idea put forward by Thomas Isaac when he was Minister of Finance to have a series of museums on the fascinating history of Alappuzha.

It was supposed to celebrate the unique elements of Alappuzha – its ancient maritime trade, agricultural practices below sea level, the first factories (coir) and unions of Kerala, peasant movements, uprisings like Punnapra Vayalar, etc.

Many unique pages of suffering and resistance in Kerala history could be immortalized in modern museums to gain the attention of the world. Imagine museums dedicated to Kerala’s ancient maritime trade, Christian, Muslim and Jewish history, extreme caste discrimination in Kerala, and slavery, as fully documented recently by academics like Sanal Mohan or Vinil Paul, the mathematical tradition of Kerala developed by George Joseph Junior, its communist history etc.

One of the biggest attractions of Western countries is the series of museums devoted to various subjects of the past and present. According to a study, the 7,000 museums in the United States attract more people than sports or movies. The various Holocaust museums set up in many Western countries after WWII have functioned as grim reminders of the darkest chapter of the 20th century and emphasize the need to preserve memories so as not to repeat the mistakes of the past. . Attempts by interest groups to erase or distort public memories or to dismiss them as false are commonplace today in many societies, which are even gradually internalized by the population.

Napier Museum
Napier Museum | Photo: Wikimedia Commons

Shared memory has always been short, and communities without plans to store it are on a slippery slope towards autocracy. All the more so when there is the growing tribe of detractors who deny even recent historical facts like anti-national fabrication or conspiracy. “Holocaust denial” is a powerful anti-Semitic movement in many European countries. He constantly portrays the Nazi genocide as a myth that prompted the launch of commemoration projects.

The long history of exploitation and exclusion of the Dalits, which constitutes the biggest embarrassment of the Hindutva project, risks coming up against such attempts sooner or later. A campaign that “Babri Masjid has never been demolished” is underway with the acquittal of all defendants in this case by a special IWC tribunal in 2020.

A recent visit to Amritsar sparked my thoughts on the museum. Opposites continually inhabited Amritsar. Secularism and spiritualism. Syncretism and sectarianism. Pure youthful chauvinism was on display in Atari-Wagah, where the aggressive drama of soldiers pushed by partisans on both sides of the border reminded me of Kathakali’s actions. In contrast, the solemn, mature and evocative atmosphere of the Amritsar Partition Museum. The Yadgar-e-Taqseem (Memoirs of the Score) was established in 2017 through the collaborative efforts of the government of the Punjab and Kishwar Desai, chairman of the Arts & Heritage Trust of the United Kingdom, with the support of international supporters . It tells countless stories of pain, agony and cruelty over the Indian partition, which saw the world’s largest refugee migration in history. Housed in the 150-year-old Town Hall, the multimedia museum reveals the score record in multiple ways. On display are memories of survivors, photographs of violence, extracts from trains overflowing with refugees on both sides, diaries, household utensils transported or abandoned by fleeing refugees, newspaper extracts, personal letters, documents. officials, etc.

Partition Museum in Amritsar
A visitor looks at an art installation, symbolizing the Partition of India and Pakistan at the Partition Museum in Amritsar | Photo: PTI

The museum, located next to the Golden Temple, is truly global in its standards and noble in the philosophy it espouses. When sectarian enmity becomes the new normal and common sense, the museum carries hope and brotherhood in the air even as it chronicles the violent days of hostility to remind us that these events should never be repeated. It is comparable to the great museums on wars, revolutions, the holocaust, etc., located in many European countries.

However, even this truly international institution has not been exempt from a typical and meaningless Indian convention – the ban on photography. The poor young Sikhs in charge continued like a broken record, mana hai photos, to dozens of visitors all armed with their camera phones. And what most of them wanted was a selfie with a historical relic, the meaning of which they hardly cared. Fortunately, another Indian convention – prohibited shoes – was not applied. I remembered the hundreds of photos we took a few years ago and extended the story to those horrific memories kept at the Holocaust Museum in Auschwitz Birkenau, Poland.

How to beat the Megapithecus (The Island) in Ark: Survival Evolved


The Megapithecus tasks players with diving into more difficult dungeons for this set of artifacts. Caverns of Lost Faith’s underwater dungeon can be a heart-wrenching experience, and it only gets more difficult from there. The good news is that the boss fight is relatively straightforward once you’ve gathered the artifacts.

Dungeon 1: Caverns of Lost Faith – Artifact of the Brute

  • Location: (53.6, 10.5)
  • Equipment: wetsuit, crossbow, harpoon gun, grappling hook, Fria curry
  • Taming: Basilosaurus

This is probably your first underwater cave, and it can be brutal if you’re not prepared. Twisted caverns, a multitude of enemies that will try to take you down, and massive spawn rates can make this a frustrating endeavor. Eat your curry, bring your SCUBA, and have a tame Basilosaurus to make this dungeon as trivial as possible.

If you have friends even better – have a player ride the Basilosaurus to deal shock damage to Cnidaria, followed by others riding Megalodons to deal raw damage. If you’re having trouble here, note that this is rated as the easier of the two underwater dungeons.

Dungeon 2: Northeast Cave – Devourer Artifact

  • Location: (14.8, 85.4)
  • Equipment: Parachute (2), grappling hooks (5), assault rifle, bulletproof armor, medical beers, pike
  • Tame: None

This dungeon is either a huge pain or the easiest ever: there is no in-between. After submerging and swimming in a short starting area, you’ll find yourself in a huge cave. Look down, make sure the chute is relatively dinosaur-free, and you can land directly on the artifact using your parachute. If you get attached to something, use another parachute. Once you’ve landed, you’ll need to spray a few spiders, grab the artifact, and go back to the start.

If free fall isn’t your preference, beware: the path spins clockwise around the cave with treacherous jumps and dense enemy spawns. Coming back after collecting the artifact can be just as deadly as the initial descent.

Dungeon 3: Upper South Cave – Artifact of the Pack

  • Location: (68.2, 56.2)
  • Equipment: SCUBA suit, bulletproof suit, Lazarus chowder, grapple, pike, crossbow
  • Tames: Baryonyx

One of the toughest dungeons in the game, bring friends, dinosaurs, and spare gear. Large sections of this cave are underwater, where enemies will attempt to take you down and smash your scuba, leaving a few players stuck between two large sections of water with no way out except drowning. Follow the shiny green moss; it will lead you to the artifact.

Boss: Megapithecus

  • Location: Any Obelisk (for a single player, the Blue Obelisk)
  • Gear: fur suit, assault rifle, medical infusion, grappling hook
  • Taming: Yutyrannus pair (male / female), Daeodon, T-Rex (17)

There are two threats in this fight: obscene cold and cliffs that kill anything that falls off the platform. The Megapithecus loves to throw projectiles that can throw dinosaurs and players off the edge. The fight can turn sour if a few good hits land. Micro the Daeodon to ensure its healing, let the Yuty boosted by his companion to improve your T-Rex and rush the enemy. The Megapithecus has the lowest health of any boss, so you just need to keep the dinosaurs away from the edges and stay out of sight.

Note that the Megapithecus also occasionally brings a slew of Mesopithecus (little monkeys) which will also attempt to wreak havoc. A good tactic is to try to stay mounted on the Daeodon to allow its food management to maintain the healing buff. Just try to sit at the back of the pack. Once the Megapithecus is down, don’t forget to grab its banner to let everyone know you’ve finished taking the tour.

Creative writing teacher to publish award-winning collection of short stories


Cara Blue Adams, Associate Professor at the College of Arts and Sciences, will soon publish her collection of short stories titled You never get it back Thursday, December 15. The collection received the 2021 John Simmons Short Fiction Award earlier this year.

Named one of Beginners9 top books you should read in November and December“, Chicago Review12 essential books for December“and The Millions”The most anticipated books of December“the collection follows Kate Bishop, a young woman who spends her childhood in the Vermont countryside, through thirteen linked stories as she travels the United States in search of a vocation, first as a scholar. scientist and later as a writer.

You never get it back is Adams’ first publication, although she has already published over twenty stories in leading magazines such as Granta, The Kenyon Review, American Fiction Short and Story, who named her one of their “15s under 30”.

“My fiction is both a recording of the world as I have experienced it and how I felt to be alive,” Adams said. She also credits the work of authors Elizabeth Bishop, Robert Hayden, Ernest Hemingway and others as the backbone of her writing, noting “My work is a tribute to the writers I love most.”

In the coming weeks, Adams will tour the Northeast on tour to promote the collection’s release, including a virtual launch event at Greenlight Bookstore in New York, New York, on Monday, December 13.

For more information on the collection, please visit its listing on the University of Iowa Press website and to see upcoming tour dates, please visit Adams website.

Metropolitan Museum of Art Drops Sackler’s Name From Galleries Amid Opioid Crisis

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The Sackler surname, synonymous with many of the opioid crisis, will no longer appear in dedicated galleries at the Metropolitan Museum of Art.

The iconic arts institution and the descendants of the Sackler family announced the name deletion in a statement on Thursday, saying the two sides “have mutually agreed to take this step in order to allow the Met to continue its core mission.”

“Our families have always been a strong supporter of the Met, and we believe it is in the best interest of the Museum and the important mission it serves,” said descendants of Dr. Mortimer and Raymond Sackler. “The first of these donations was made almost 50 years ago, and now we are passing the torch to others who may want to get involved in supporting the Museum.”

One of the wealthiest families in the country, the Sacklers made their fortunes in part thanks to Purdue Pharma, the company that in 1996 launched Oxycontin, an improved version of the pain reliever oxycodone. The proliferation of Oxycontin and other pain relievers has been accused of spurring the national opioid crisis.

Purdue Pharma and the Sackler family have made billions of dollars over the past two and a half decades from sales of Oxycontin, but they have both been the subject of numerous lawsuits alleging that Purdue continued to increase sales of Oxycontin. drug despite its addictive nature. Purdue Pharma has twice been convicted of wrongdoing in connection with its marketing of Oxycontin.

Purdue and the Sacklers both agreed to a multibillion-dollar settlement in civil matters, which was approved by a federal judge in September in the context of bankruptcy proceedings. The agreement granted the Sackler family immunity from opioid prosecution; they have never been charged with a crime related to the opioid crisis and have claimed their innocence.

In many ways, however, the court of public opinion held that the Sackler family guilty by association, and that puts institutions such as the Met – the Sacklers donated enough money to have a wing named in his honor – in an uncomfortable place.

Dan Weiss, president and CEO of The Met, said the name change would help the museum move forward and put the focus back on its artwork.

“The Met was built through the philanthropy of generations of donors – and the Sacklers have been among our most generous supporters,” Weiss said. “This gracious gesture of the Sacklers helps the Museum continue to serve present and future generations. We greatly appreciate it.

Artist Julie Mehretu on Radical Imagination – COOL HUNTING®


As evidenced by this year’s exhibition at the Whitney Museum of American Art (which started at the Los Angeles County Museum of Art), Julie Mehretu has established herself as one of the most accomplished artists in the world and she is just getting started. . Having previously been named one of Time Magazine’s most influential people, in addition to receiving a MacArthur Genius Fellowship, Mehretu is on an inspiring artistic trajectory. Most recently, with internationally renowned artist Kehinde Wiley, she collaborated with American Express on their redesigned platinum card design. This year also marks the beginning of American Express’s multi-year engagement and partnership with the Studio Museum in Harlem, an institution recognized worldwide for advancing the work of visual artists from African and Afro-Latinx communities through its program of artist in residence. , from which Mehretu graduated. We caught up with Mehretu during Miami Art Week 2021 to discuss radical imagination and how art can change the world.

Photo by Bryan Bedder / Getty Images for American Express

Can you tell us a bit about developing your style and artistic voice, and how does that play into the way you produce your work?

It took a long time. It’s really a slow process of developing a language, like a visual language that can really be something that works in the language of the history of abstraction, but also becomes something else and can be. not necessarily brand new, but can deal with new content and language built to support something.

In abstraction, there are a lot of things that I can communicate that are visceral and felt, but for which we have no language for

I think there are a lot of clear events in the world that have informed who I am and who we all are, which really inform how I do my job and how I think about my job. I work in abstraction because I think in abstraction there are a lot of things that I can communicate that are visceral and felt, but for which we have no language, for which we have no words. This is my approach to doing the paintings.

What do you think has been your defining moment so far? When did you know you were an artist? When did you start to call yourself an artist?

I’ve always taken art classes, always done art, all my life, ever since I was very, very young. It’s something I’ve always wanted to do but I didn’t know you could have a life doing art until I was older. I grew up in the Midwest. We did not have contemporary art museums. We didn’t have what you have in the big cities. Now you do. They are all finished. We have an amazing museum in my hometown, but we didn’t have one when I was young, so we didn’t have contemporary artists. We only had historical artists to refer to. And so, I’ve always done art, I’ve always wanted to do it, but I didn’t really consider myself to be a practicing artist… I guess that’s not true. I guess I always thought of myself as an artist, but it wasn’t until later that I thought I could actually make a living.

I came to the end of the 90s. It was after you had that intense, queer and BIPOC push towards a different form of identity politics. My generation was before the beneficiaries of the work that the generation before us had really pushed.

Many guardians of the art world have been and continue to be older white males. Can you tell us about some of the hurdles you faced in getting to where you are at, how you overcame them, and what the art world can do to improve these things for the next generation or the next group of people? emerging artists?

I think things are really different from when I started and when I was working, but I think even when I was starting and working things were very different from previous generations. The previous generations, they finally received their due. When artists were making and starting in the ’60s and’ 50s, when you had the explosion of American modernism, a lot of black artists weren’t necessarily included in the canon or in this historical narrative, although they were making art. I think you are finally seeing their impact. Lots of different artists who have worked, well now you see it changing and how they are viewed in canon.

I think for me I got to the end of the 90s and that was after Act Up. It was after you had this intense, queer and BIPOC push towards a different form of identity politics. My generation came out after that. We were the beneficiaries of the work that the generation before had really pushed us.

Who are the artists who helped you find direction or pushed you forward?

This list is long and complicated, and it dates back 500 years. I think the artists that are really important to me now have always been very important to me – artists like David Hammonds, Adrian Piper were really important to me when I was younger. And then, I was also interested in painters like Cy Twombly. It was a very big mix. Joe Mitchell was someone who interested me. Oddly, Elizabeth Murray was another artist. These are just different examples, and while I found some of this work to be complicated, I was interested in the possibility of what they were pushing as artists.

Julie Mehretu “Haka (and riot)” (2019). Ink and acrylic on canvas, 144 × 180 inches (365.76 × 457.2 cm). Los Angeles County Museum of Art; gift of Andy Song M.2020.65a – b. Photograph by Tom Powel Imaging © Julie Mehretu

You were the recipient of a MacArthur Fellow. How was it ?

Shocking. It was so shocking. I will never forget where I was when I got the phone call. I was in Minneapolis there with my young son and my ex-wife and she was getting ready for an exhibit. While she was getting ready for an exhibition, we were staying with a person who was custodian of where she was showing. I was in their office and I got this call from MacArthur, and they wanted to take a picture over there in Minneapolis.

Did they just send someone to find you?

Take a photo that day. Yes.

Photo by Bryan Bedder / Getty Images for American Express

Can you tell us a bit about what happened next?

I think what he has done is what has been going on continuously throughout my career, which is to get a little bit of support and that support propels the work and propels the ability to being able to really think creatively and push more stuff. I can tell you that I wouldn’t be able to do what I do without having had tremendous support in the past and that’s what MacArthur offered me. Put some breeze in the sails and it allowed me to really push and do, and not have to worry about resources. I had a small family and it happened at a good time.

What is one of the main messages that you try to get across in your work and what do you hope people take away from your art?

Just the possibilities of radical imaginative thinking, and that we can imagine other collective worlds. That we can think differently about the world we live in. And I hope you have a visceral physical reaction or response to the painting that is somewhat transformative. You cannot have a transformation without a radical imagination.

Julie Mehretu, “Conjured Parts (eye), Ferguson” (2016) Ink and acrylic on canvas, 84 × 96 inches (213.4 × 243.8 cm). The Broad Art Foundation, Los Angeles, photography by Cathy Carver © Julie Mehretu

Tell us about your collaboration with AMEX and how it came to fruition. What did you think behind the reinvented platinum card?

I thought about agents who want to do things for artists who are trying to change cultures – I think all artists do, to be honest, but their support for black artists and BIPOC artists, queer artists and to artists who have traditionally been seen as marginalized at the heart of your historic art world. I think you see a big change in what makes up that dynamic and AMEX has really been a champion of it. I am honored that they have come to me. It has become an interesting type of proposal and I must say I am really struck by their support for the Studio Museum and other programs. Their discussion with me also came from there. They provided good support to my non-profit organization, which I co-founded with two other collaborators. It was also very surprising to be able to have some significant support for that. So it became a really interesting collaborative conversation.

Photo by Bryan Bedder / Getty Images for American Express

From MacArthur to one of Time’s most influential people, what’s next?

I work on a bunch of different projects, different ideas, explore different materials, work with different materials. But more than anything, it’s really trying to stay inside the work, evolve the work, do paintings that I can’t imagine at the moment, and marvel at something else. It sounds like a long period of time and a great career, but it’s only been 20 years or so, so there’s a lifetime of work to be done. There are a lot of artists who have lived a lot longer and done a lot more work, so I have a lot of catching up to do.

Image of the hero by Bryan Bedder / Getty Images for American Express

Lapid to return stolen Egyptian artifacts during his visit


Foreign Minister Yair Lapid reportedly returned dozens of stolen Egyptian items during his next visit to Cairo on Thursday.

The artifacts – seized in two separate police raids in 2013 – include a stone tablet engraved with hieroglyphic runes, a stone sarcophagus, ancient writings on papyrus paper, as well as a myriad of ceremonial statues.

The first group of artifacts was seized from an Israeli antique dealer, who allegedly purchased the artifacts in Oxford, before attempting to smuggle them into the country.

The second group was kidnapped months later from a certified trader in Jerusalem, following advice from Egyptian authorities, who claimed the artifacts had been illegally exported from Egypt.

The artifacts will be returned to Egypt at the request of the Egyptian authorities, and as a gesture of goodwill on the part of Israel, intended to further develop the growing relations between the two neighboring countries.

Lapid’s planned talks in Cairo are expected to cover the Israeli-Palestinian conflict and the Egyptian-negotiated interim truce between Israel and the Hamas leadership in Gaza, as well as the issue of the Israelis and the remains of Israeli soldiers held in the strip.

He is also expected to meet his Egyptian counterpart Sameh Shoukry

It is currently unknown whether Lapid will meet Egyptian President Abdel Fattah el-Sisi.

This is the second time that Israel has made such a gesture of goodwill towards Cairo, which in 2016 received two rare lids of ancient Egyptian sarcophagi, looted during the 2011 Arab Spring uprising.

Your art collection can give insight into your personality


Art can be the most revealing form of an individual’s personality. By its nature, art is a reflection of a person’s thoughts, beliefs and state of mind. At its most basic level, a work of art is the result of inspiration from its creator which is triggered by something he feels. Whether it’s in the secretive demeanor Da Vinci portrays in his subjects, the intense melancholy reflected in Amrita Sher-Gil’s self-portrait, or the muted tones used in the whimsical pieces of American artist Mary Blair, the art has a way of putting personality in color and context.

And in most cases, this belief that art represents “the me” is transferable from artist to admirer. The correlation between an individual’s personality and artistic interests has long been studied by psychologists, dating back to the 1930s and examining preferences to determine aspects such as spontaneity, conservatism, openness or tolerance.

Art and psychology

If you think of one of the more common personality tests popularized on television and in the movies, your mind almost immediately switches to the Rorschach Inkblottest. Now, while these inkblots aren’t necessarily works of art, the way you perceive them is very revealing of how you react to life, creating an image of who you are as a person.

This understanding of perception is what has made art such an interesting basis for studying personality in the world of psychology. In fact, countless studies have found that the more conservative a person, the more their preference turned to simple, figurative arts like Impressionism, while the more liberal and open-minded identified more with art. abstract.

The spirit of the collector

So, if we follow the scientific methods of evaluating these personalities, it would be safe to assume that the more outgoing and extroverted you are, the more you would orient yourself towards contemporary, abstract and pop-art. However, if you’re a bit more introverted, your preferences are likely to be more traditional.

The art lover is perhaps the most important of the lot. They are subtle, understated and let the art speak for itself. Their collections could include a combination of legacy masterpieces, contemporary pieces, sculpture, textile art and anything that reflects their refined sensibility. Although their collection is enviable, few would have the privilege of seeing the works that are truly dear to them.

From heart to head, we come to the investor. Although he is savvy in his understanding and knowledge of the art, spotting the potential miles away with pieces by artists old and new – his collection is akin to a trust fund valued at million dollars in texture, shape and canvas. Almost a symbolic power play, her collection is loved, coveted, and to some extent an extension of her net worth.

Making a statement is what most of us try to accomplish in our tastes, behavior, and behavior. But for the satirist, his collection is talking about everything. With an appreciation for artists like Banksy, Veer Munshi or the century-old work of Gaganendranath Tagore, the satirist is drawn to art that questions socio-political issues and holds up a mirror to society.

Over the years, I have been an artist and a collector; it’s these distinctive personalities that jump out at you when you look at someone’s collection. For any art collector, his collection is his most precious possession, his joy of living. And it’s always fascinating to see how these works of art paint a picture of the collector themselves.

And in many cases, it is not necessarily the ones hanging on the walls that paint this image, but the ones neatly put away for preservation. It has been said that – two pairs of eyes cannot see a work of art the same way – and for a collector it certainly is.

(The writer is a professional artist, educator and co-founder of You Lead India Foundation)

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Posted on: Wednesday December 08, 2021, 3:54 PM IST

NMSU Museum Curatorial Program Receives $ 1.2 Million Endowment

A $ 1.2 million endowment from Candis J. Stern will support the efforts of the NMSU Museum Conservation Program to provide an undergraduate degree and hands-on experience in museum conservation to prepare students for careers in museums. museums across the country.

The endowment will provide long-term support for the NMSU program at the College of Arts and Sciences, one of only three undergraduate programs of its kind in the United States. In addition, Stern also provides funds for equipment and supplies and student support.

“This endowment will position our program nationally,” said Julia Barello, head of the arts department at NMSU. “While providing the necessary funding for students, equipment and the lab itself as we seek ways to expand the program to provide conservation services in southern New Mexico.” “

There is a high demand for these conservation jobs across the country. NMSU Museum Conservation Program Director Silvia Marinas-Feliner reports a 95% placement rate of NMSU program students in museum jobs after graduation.

“It’s helpful to keep in mind that museum curation isn’t limited to the United States,” Marinas-Feliner said. “I have had students who have been to England, Rome, Portugal, Italy, Greece, Brazil as well as all over the United States and Canada. I help my students understand that their opportunities are limitless, that curation takes place all over the world.

Stern previously established a scholarship at NMSU that provided for living expenses for students attending internships like the one at the Smithsonian Institution and also allowed them to attend the annual meeting of the American Institute of Conservation.

“I appreciate the arts – music, dance, art – all artistic endeavors are fundamental to human expression,” Stern said. “While I’ve known about the restore process for many years, it got personal when I brought an outdoor bronze here when I moved from Michigan. Unfortunately, I didn’t clean or wax it for three years and it started to lose its patina. Someone told me about the program at NMSU. I then contacted Silvia. She and her students have been a blessing to me personally. NMSU should be very proud, this program is an important contribution to the art world, not just here but across the country.
“Candis collects bronze sculpture so that she understands, in a truly intimate and specific way, the value of conservation,” Marinas-Feliner said. “He is a remarkable person and a great philanthropist.”
Since 2005, more than 100 students have received a Bachelor of Fine Arts degree or a minor in museum conservation or received a graduate certificate in museology. Demand is high for these courses. Marinas-Feliner now has a new, larger lab inside Devasthali Hall, the state-of-the-art facility that houses the NMSU’s art department and the university’s art museum. This new facility allows it to train 16 students, which is more than twice as many students as its old laboratory could accommodate.

“A lot of my students tell me that one of the main reasons they got hired was the combination of conservation theory and the hands-on experience they had in my classes,” Marinas-Feliner said. “It’s important to train students this way and when museums find someone who understands not only conservation knowledge but also the practical application of that knowledge, they hire them. This is one of the reasons why students in our program are very successful in finding employment.

Students gain some of this hands-on experience by helping area museums with curatorial projects as well as internships at prestigious facilities like the Smithsonian Institution. A new partnership with the Smithsonian’s Latino Center will support NMSU museum curatorial students interning in any area of ​​Smithsonian museums over the next several years.

“I’ve always thought that what’s exciting about the museum’s curatorial program is that it really is an interdisciplinary area of ​​study and such a model for the NMSU,” said Barello. “The conservation degree requires courses in chemistry, anthropology, history, studio art, and art history. Conservation provides a place for students with diverse interests and skills to apply both scientific methods and artistic skills to the manipulation and preservation of important collections of art and artefacts. I hope there will be more programs like this in the future that can bridge the traditional disciplines in the training of our students.

Marinas-Feliner is confident that the Candis J. Stern Institute for Museum Conservation will cement the future of the NMSU program. “I am very grateful to Candis for all of their support in the past and for the opportunities this endowment will provide to our students and the program as well as to the many museums that will greatly benefit from the expertise of our graduates.”

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Truro Center for the Arts at Castle Hill, Morgan State University


TRURO – Are we in a moment of voluntary inclusion, of recognition of diversity, with an understanding of the need for equity?

“This emerging generation has something to say, and we need to make it easier for them to say it,” said Jamal Thorne, artist residency mentor and summer professor at the Truro Center for the Arts at Castle Hill.

The arts center announced an artist residency and fellowship program with Morgan State University in Baltimore, Maryland. The program is made possible by a donation of $ 100,000 to the Nancy and Al Osborne Arts Center. The Osborne family approached the arts center with the challenge of partnering with a historically black college or university.

About 80% of Morgan State’s current student body, founded in 1867, identify as Black. The majority of students are residents of Maryland and 61% are women, according to the university’s website.

Commitment to diversity

The Truro Arts Center issued a statement on the need for change.

“George Floyd was assassinated over a year ago and it looks like the world has changed seismically since then,” the centre’s board and staff said in a statement earlier this year.

The arts centre’s board and staff “look forward to this moment of historic change and the opportunity it offers to examine us and make the changes necessary to create an arts community that embraces, serves and nurtures black, Asian, Latin X artists and all native artists, ”the statement said.

In the outermost towns of Cape Cod, other initiatives to improve diversity, equity and inclusion are also advancing. The City of Provincetown is in the process of creating a Diversity, Equity and Inclusion Office with an 11-step roadmap that was discussed with the Board of Directors on November 8.

Edgewood Farm, part of the Truro Center for the Arts in Castle Hill, will host Morgan State University students or recent graduates for two weeks in the spring and fall, as part of a new residency program at artists starting in the spring of 2022. The program is part of the centre's initiative on Diversity, Equity, Inclusion and Access.

The Fine Arts Works Center in Provincetown has also undergone a diversity policy review and training, and a diversity, equity and inclusion committee has been established, according to the executive director. Sharon Polli in July.

“It’s a way to bring more people of color to Castle Hill and enrich what we do,” Executive Artistic Director Cherie Mittenthal said of the new program.

Mittenthal grew up in Connecticut and worked in Hartford for 25 years. “What’s most difficult about being here is the lack of diversity,” Mittenthal said.

Diversity committee formed

In June 2020, board member Sarah Lutz was asked if she would be willing to co-chair a committee on diversity, equity, inclusion and access, she said. Then a consultant was found.

“We organized and facilitated a general training which took place over the course of a few afternoons with an outside consultant,” said Lutz.

The committee started out with just a few members, but quickly grew.

“A surprising number of people were interested,” said Lutz. “I think a lot of people, especially white people, wanted to have conversations and find out about what was going on in the world.”

The committee currently has ten members. The residency and scholarship program with Morgan State is one of the committee’s initiatives.

Thorne lends a hand

Thorne, a Maryland-born artist who lives in Boston, taught large-format drawing classes at the arts center during the summer and was asked to help.

“It is my obligation to guide the next generation of artist graduates from the black-owned institution that shaped me as an artist,” said Thorne, a Morgan State graduate. “It’s my job to provide them with the knowledge and tools they will need to get things done in the larger African American artist community. ”

As a summer instructor, Thorne befriended young black artists.

The new residency and scholarship program offers him the opportunity to continue to share his acquired experiences. “It is a point of pride to offer studio tours, concept advice, personal experiences, stories and honesty during these residency weeks,” said Thorne.

Eric Briscoe, Visual Arts Coordinator at Morgan State University, helps run a new residency program for students or recent graduates of the Truro Center for the Arts in Castle Hill.

The new program is designed and will be jointly managed by Thorne, teaching professor and media arts coordinator at Northeastern University in Boston, and Eric Briscoe, art professor and visual arts coordinator at Morgan State.

What is the program ?

“I would describe this residency as a space for budding artists to reflect through the prism of their personal studio practices,” Thorne said.

The artist residency program will begin next spring with two or three students for the spring session, and the same for the fall. The residency is free for artists and comes with a small stipend and transportation, Mittenthal said. The artists will be college or senior, or just graduated. Residences last two weeks, and at the center’s Edgewood Farm, each resident will receive a private room, studio, and access to all center facilities and supplies.

Dedication of the children’s tree, a living artefact from Theresienstadt



The plaque next to the children’s tree. (Photos and video courtesy of the Museum of Jewish Heritage)

On Thursday, December 2, 2021, the Museum of Jewish Heritage – A Living Memorial to the Holocaust and Battery Park City Authority held a special ceremony to dedicate “The Children’s Tree,” the descendant of one planted by Jewish children to inside the Theresienstadt (Terezín) concentration camp.

The remarkable story of the tree is a moving tribute to resilience and hope. The Nazis allowed the children of Theresienstadt (in what was then known as Czechoslovakia) to be educated as part of a promotional ploy to hide the camp’s genocidal purpose. In January 1943, a teacher named Irma Lauscher bribed a Czech camp warden to smuggle a sapling into the camp. She wanted to plant the sapling in a secret ceremony to celebrate Tu B’Shevat. Along with a group of Jewish children imprisoned in the camp, Lauscher planted the sapling. The group used their water rations to feed him.

Dr Michael Berenbaum.

“The children of Theresienstadt took care of the tree every day, knowing that it would last and live a life they wouldn’t have,” said Michael Berenbaum, world-renowned historian and director of the Sigi Ziering Institute from the American Jewish University.

Most of the children who planted the tree were deported to Auschwitz, Poland’s largest extermination camp, and died there. Of the more than 15,000 Jewish children imprisoned at Theresienstadt during the Holocaust, less than 200 survived.

After the liberation, the survivors placed a sign at the base of the tree proclaiming: “As the branches of this tree, so the branches of our people!” Although the tree was later destroyed in a flood, saplings had been cut and planted in Yerushalayim, San Francisco, Chicago, Philadelphia, but not in New York City, home to the largest community of survivors. of the Holocaust and their descendants from any city outside. Israel.

The Children’s Tree in New Hope, Pa., Before it moved to New York.

A Jewish philanthropist recently bought a historic farm in Pennsylvania where seven trees grow from cuttings from the original tree, and agreed to donate one to the museum. This 15 foot tree was recently transported to Battery Park and replanted – seventy-eight years later – and will be cared for by PS / IS 276 students for generations to come.

The tree bears the name “The Children’s Tree” in memory of the Jewish children of Theresienstadt who planted the tree for the first time, and in honor of the students of the PS / IS 276, located in front of the museum, who will become the guardians of the tree. for generations to come.

The dedication ceremony included remarks by Linda Thomas-Greenfield, US Ambassador to the United Nations; the Czech Consul General Arnošt Kareš; Museum President and CEO Jack Kliger and Paul Radensky, Senior Director of Education at the Jewish Heritage Museum; Dr. Michael Berenbaum, and music from the Advanced Student Chorus at PS / IS 276: The Battery Park City School.

“With roots born from the Holocaust, the tree, now firmly planted in the ground outside our museum, has branches that point us to a better future,” said Jack Kliger, president and chief of the direction of the museum. “We call this silver maple ‘The Children’s Tree’ because of you, the children of today and tomorrow. As you learn about the children who planted and nurtured the original Tree of Life 80 years ago, you become witnesses to Holocaust history and keepers of a piece of history in your own backyard.

Survivor of the Terezín concentration camp Fred Terna.

“We are all moved by different exhibits, different ways of telling the stories of the Holocaust. For me, personally, the story of this tree is one of the most powerful I have ever encountered, ”said Ambassador Linda Thomas-Greenfield.

Several Holocaust survivors, including Theresienstadt survivor Fred Terna and Mara Sonnenschein, a great-granddaughter of Dorette Roos, who died in Theresienstadt, were also present.

After an indoor program, participants moved outside, and Mr. Terna and Ms. Sonnenschein were among those who watered the tree, joined by a number of current and future New York City Council members. York.

“My feeling for the tree can be summed up in one word: memory. It is the occasion to remember. This plantation is a form of remembrance and that is what this tree is: continuity, ”Terna said in his remarks.

CryptoPunk NFT sold for 126 ETH


CryptoPunks is a collection of generative art and one of NFT’s very first apps for digital art. There are only 10,000 Punks in existence, and some of them are considered lost forever.

What happened: CryptoPunk # 9684 was just sold for 126 ETH (CRYPTO: ETH) (528,083 USD). The value of CryptoPunks is usually determined by Punk’s attributes, with the traits of the pilot’s hoodie, beanie, and helmet being the most coveted. Other species of punks (zombies, monkeys, and aliens) are incredibly rare, and they also sell for a higher price.

Here is a list of his attributes and how many other Punks have the same trait:

  • Type: Male (6,039)
  • Accessory: 3D Glasses (286)
  • Accessory: Handlebars (263)
  • Accessory: Front Cap (254)
  • Accessory: Hose (317)

Why is this important: Cryptopunks are the ultimate rookie card for NFT collectors. CryptoPunks gained enormous influence in 2021, with dozens of celebrities proudly showing off their punk property on Twitter. Cryptopunk sales are a leading indicator for the rest of the NFT market and show that some are willing to spend money on blockchain-based art.

Price action: Ethereum is currently trading at $ 4,192.81, up 0.77% in the past 24 hours.

See also: NFT release schedule and Best NFT projects of 2021

Data provided by OpenSea.

Discover the complete collection of cryptopunk

You can read more about this NFT here.

This article was generated by Benzinga’s automated content engine and edited by an editor.

Fossils unearthed a century ago and rediscovered wrapped in an old newspaper

A stash of rediscovered dinosaur bones wrapped in century-old journals should reveal two pasts: one set in the 1920s and the oldest paleontology at the University of Alberta, the other some 70 years ago. million years.

“It’s always a surprise to find these bones that have been lying in the ground for millions of years, but here we have a second surprise when we find them,” said Clive Coy, a paleontology researcher at the Faculty of Science.

Handwriting on the specimens suggests the trait was part of the 1920 and 1921 expeditions to what is now Dinosaur Provincial Park, led by the University of America’s first paleontologist, George Sternberg.

A handwritten label on one of the fossils found wrapped in newspapers suggests it was unearthed during expeditions in the early 1920s. (Photo courtesy of Clive Coy)
The approximately 20 pieces were pulled from a back shelf in a quonset on the south campus of the University of Alberta. About the size of an apple to a melon, they are wrapped in several layers of newspaper and tied with twine. Based on the labeling, Coy estimates that the bones were stored in the quonset in the late ’60s or early’ 70s.

Potentially rare find

Coy is particularly interested in one of them titled “three turtle skulls from the quarry where numbers eight to 18 were collected”.

“Turtle skulls are extremely rare, and given their age and keeping in the journal, they could be quite significant,” he said.

Coy said dating the bones would be a challenge. When these bones were discovered 100 years ago, paleontologists at the time assumed that the Judith River deposit in southern Alberta and Montana was a single large deposit.

We now know that the top layer is a marine deposit that came in at the end of the Cretaceous, when this part of the world was inundated by an ocean, Coy said. Turtles most likely date from an even older time, the so-called Dinosaur Park Formation, which existed between 72 and 76 million years ago.

Unboxing the story

Although he could unwrap the package of turtle skulls to take a look at them, Coy said the rest of the specimens were more valuable as historical artifacts.

“If we unwrap them, like a mummy, we end up with a bone in a box, and I don’t know if that will add much to our knowledge. But as part of the U of A’s historic past, this is where the greatest value lies.

Regardless of any scientific value they may have, the rediscovered specimens offer insight into the U of A’s beginnings in paleontology. (Photo courtesy of Clive Coy)
Sternberg owes his beginnings at the University of Alberta to John Allan, the university’s first geologist, who had the vision of building a collection of fossil flora and fauna for the people of Alberta.

Until the start of World War I, the federal and provincial governments of the day chose not to control the foreign entities that collected fossils from Alberta – which were sent by rail out of the badlands as quickly as ‘they could be unearthed as part of the Great Rush of the Dinosaurs from 1910 to 1918.

“There was a time when, if you wanted to see dinosaurs from Alberta, you had to go to Stuttgart, Paris, New York or London,” Coy said.

Allan was one of the actors who encouraged the government to create a provincial museum in the late 1920s. He also lobbied for the protection of Dead Lodge Canyon or the Steveville Badlands, both located in the eastern region. became Dinosaur Provincial Park in 1952 and was designated a UNESCO World Heritage Site in 1979.

Sternberg, who was part of a famous American family of fossil hunters, was in Canada during the war years to collect fossils for the Geological Survey of Canada.

To help attract Sternberg to college, Allan bought a collection that Sternberg himself had independent and hired him in 1919 to prepare this material.

It was a precursor to the famous expeditions of 1920 and 1921 led by Sternberg with graduate student in geology from the University of America William “Bill” Kelly.

Almost as quickly as the university’s nascent paleontological efforts took off, they were grounded when Sternberg left for the Chicago Field Museum in 1922. Nothing would be done at the university for the Sternberg dinosaurs until ‘in 1934, when Allan accessed money from the Carnegie funds to rehire Sternberg and his son to complete what had started in 1919 – which included founding the university’s Dino Lab.

In 1935, the U of A hosted the first dinosaur exhibit at a public institution west of Toronto, on the third floor of the Fine Arts Building. It remained there for two decades until it was moved to the basement of the Geology Building, headquarters of the Department of Earth and Atmospheric Sciences, where it has since rested.

Today, the Sternberg Museum of Natural History at Fort Hays State University in Hays, Kansas is named after George and his family of fossil hunters. Sternberg’s protégé Kelly would become one of the early pioneers in the development of aerial photography for economic mineral exploration. Allan remained in charge of the geology department at U of A until his retirement in 1949.

Today, the university’s Vertebrate Paleontology Lab is one of 30 museum collections recorded on campus and has approximately 65,000 specimens, the first of which are now in Coy’s lab wrapped in newsprint. .

“Sternberg and Kelly would have been the last people to see the specimens inside this log in the past 100 years,” Coy said.

“There is a historical interest in our legacy here at the university, tied to the earliest story of how we rose up and were the first publicly funded institution in Alberta to do this kind of. thing. “

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Banksy offers to raise £ 10million to buy Reading Prison for art center | Banksy


Banksy has offered to raise millions of pounds to buy Reading Prison, where Oscar Wilde was once held, so that it can be turned into an arts hub.

The street artist pledged to match the jail’s £ 10million asking price by selling the stencil he used to paint on the Grade II listed building in March, a move activists hope to prevent his sale to real estate developers.

Banksy’s contribution, along with that of Reading City Council, would bring the bid for the old prison to around £ 12.6million.

The Bristol-based artist said Wilde was “the patron saint of crushing two contrasting ideas to create magic,” adding: “Converting the place that destroyed it into a haven for art is so perfect that we have to do it. “

Banksy’s mural showed a figure, believed to be the writer, rappelling down from the perimeter wall of the sheets with a typewriter.

The stencil was on display at the Bristol Museum and Art Gallery earlier this month as part of an exhibition by artist Grayson Perry for his Channel 4 series Grayson’s Art Club.

Actors Dame Judi Dench, Sir Kenneth Branagh, Kate Winslet and Natalie Dormer are among the stars who have supported the campaign to convert the prison into a cultural center.

Wilde was held in prison between 1895 and 1897 after being convicted of gross indecency when his affair with Lord Alfred Douglas came to light.

While incarcerated he wrote De Profundis, his letter to his former lover and, after his release, recounted his time there in The Ballad of Reading Gaol.

The prison was built on the site of the medieval Reading Abbey, a monastery founded by Henry I. It is believed that Henry was buried under the altar, which is now believed to be under the parking lot or the walls of the prison.

Matt Rodda, Labor MP for Reading East, said the concept of using the prison to house the arts had been proven by past exhibitions, adding that he planned to raise an urgent matter in Parliament this week to put ministers ” on site “with the offer. .

“There are these incredible layers of history – there is the literary history and the history of the LGBT community, and the connection to Oscar Wilde,” he said. “But there is also a local and national Victorian social history and there is a connection to the royal family in one building and it is so well connected to the rest of the country.

“For so many reasons, it’s only right that this building is preserved and used constructively rather than just being gutted and turned into apartments or whatever.”

Toby Davies, artistic director of the Rabble Theater in Reading, said it would be criminal for the Justice Department to refuse the artist’s offer.

Davies told the BBC: “Banksy is offering an incredible amount of money that will go directly to the Department of Justice for the public good. Banksy’s offer is phenomenal and if the Justice Department turns it down I consider it a criminal act. “

Jason Brock, the head of the council, praised the attention Banksy’s interest in Reading Prison had placed on the sale.

“The board has so far had only informal approaches from Banksy’s representatives, but no detailed discussions,” Brock said. “Our candidacy remains firmly on the table and enjoys broad support – both within the community here in Reading and the arts, heritage and cultural community at large – all of whom recognize the enormous historical and cultural value. from prison. “

Roman soldier’s dagger reveals ancient battlefield


  • Volunteer archaeologist and dental student Lucas Schmid discovered the silver and brass dagger in 2019.
  • The discovery with a metal detector led to the excavation of a Roman battlefield.
  • Further work continues in the Oberhalbstein region of Graubünden, Switzerland.

In Switzerland, a volunteer archaeologist using a metal detector discovered a 2000-year-old dagger. It turned out to be a vital clue in the history of a long forgotten battle between the Roman Empire and the tribal warriors.

Lucas Schmid was a dental student and volunteer archaeologist when he discovered the ancient silver and brass weapon in 2019, the Smithsonian reported.

Schmid unearths the dagger in the mountainous region of Graubünden in Switzerland, an area believed to be the site of a lost battlefield where Imperial Roman soldiers fought the Rhaetian warriors around 15 BC.

Its discovery sparked an excavation of the area which revealed a treasure trove of ancient military artifacts.

A map showing the region of Switzerland where the dagger was discovered

A map showing the region of Switzerland where the dagger was discovered

Google Maps / Insider

The dagger, dated around 15 BC. AD, is a rare find. Only four of its kind have been found in ancient Roman lands, the team behind the discovery said.

Schmid’s discovery led to the discovery of hundreds of other ancient artifacts. A new investigation of the site, carried out by a team from the Archaeological Service of Graubünden, University of Basel (Switzerland), unearthed spearheads, lead slings, parts of shields, coins and nails from Roman soldiers, reports Live Science.

These objects are now on display for the first time by the Archaeological Service of Graubünden (ADG), the Smithsonian reported.

A dagger found from 15 BC in Oberhalbstein (Graubünden, Switzerland)

A dagger found from 15 BC in Oberhalbstein (Graubünden, Switzerland)

Archäologischen Dienst Graubünden

Speaking to LiveScience.com, Schmid said he didn’t think the area had been well searched and began to find buried metal shards. “It was clear to me that more artefacts could be expected,” he said.

Although he said he had a hunch that the area would host some fruitful discoveries, he added: “I did not expect to find such an important object in this rather unlikely location.”

In his conversation with Live Science, Peter-Andrew Schwarz, archaeologist at the University of Basel, said that excavations at the site also recently uncovered a Roman coin minted between 29 BC and 26 BC during the reign of Emperor Augustus.

American Bottle Auctions will offer the first part of the Mel Hammer collection, online only, from December 10 to 19

American Bottle Auctions will offer the first part of the Mel Hammer collection, online only, from December 10 to 19

Dr Renz (San Francisco, ca 1868-1881) Herb Bitters bottle with applied taper top, light lime green in color, 9 ¾ inches high, one of four known (estimate: $ 10,000- $ 15,000).
American bottle auctions

SACRAMENTO, Calif .– The first part of the Mel Hammer Bottle Collection – an incredible treasure collected over a span of 50 years by a man who devoted much of his adult life to the acquisition and study of antique glass – will be sold at online auction # 72 which begins Friday, December 10 and ends Sunday, December 19 at 8 p.m. PT, by American Bottle Auctions.

The full catalog, featuring all 137 lots, will be released on kickoff day, December 10, on the American Bottle Auctions website (www.americanbottle.com), where people can also register and bid. The offerings will feature Mr Hammer’s favorites, including bottles of schnapps and gin, bottles of bitters and inkwells, many of which are 9.5 degrees. Mr. Hammer died on Thanksgiving Day.

“Mel was a true bottle collector,” said Jeff Wichmann of American Bottle Auctions. “I didn’t know him as well as I would have liked, but I saw him when he came down from his home in Redding to our store in 2019. He had bought one of the finest bottles of auction n ° 69. . No surprise, it was an amber red amber square bottle from the Turner Brothers, as pretty as we had seen it.

This same bottle is lot n ° 124 of the auction. It features an applied top with graphite pontil and shows the two Turner Brothers locations (Buffalo, New York and San Francisco). The bottle has all the attributes that a bottle collector looks for; the color, rawness, rarity and condition are all exemplary. Its only minor flaw – a small flake on the lip – gives it a rating of 9.2. He should make $ 4,000.

All other bottles in this report have a rating of 9.5, starting with Lot # 71: Brown’s Celebrated Indian Herb Figurative Bitters Bottle (patented February 11, 1868) with a rolled rim. Each collection of bottles must contain an Indian queen, and for Mel Hammer, he chose this light amber example. He understood the beauty of oriental-made figurative landmarks like this one (estimate: $ 2,000 to $ 3,000).

The Dr. Renz’s Herb Bitters bottle (San Francisco, ca.1868-1881) with an applied taper top, light lime green, 9 ¾ inches high, is said to be one of only four known, with a uniquely styled taper top . They are all in a green tint and present a rawness consistent with the time. One has never been auctioned. This one will be the first, and it has an estimate of $ 10,000 to $ 15,000.

A bottle of Dr. Wonser’s USA Indian Root Bitters with an applied top, medium amber in color and showing a lot of uneven glass and small pieces, is near perfect and could sell for between $ 10,000 and $ 20,000. Amber and aqua Wonser are among the most sought after and coveted Western bitters. For its distinctive design, unique name and general appeal, Dr. Wonser’s is simply hard to beat.

Lot # 64 is a bottle of Wister’s Clubhouse Bright Medium Green Gin having an applied top with the anterior sticky ball pontil. These bottles are very popular with collectors because they come in a multitude of colors. In addition, they are generally very raw, with a lot of character. This one is no exception. The condition is exceptional except for small scratches (estimate: $ 3000 – $ 5000).

This Dr. Wonser’s USA Indian Root Bitters bottle with an applied top, medium amber in color and showing a lot of uneven glass and small pieces, is near perfect and could sell for between $ 10,000 and $ 20,000.
American bottle auctions

A barrel-shaped bottle of Greeley’s Bourbon Whiskey Bitters with applied lid (G102), 9 ½ inches high, will attract bidders because it is a true purple Greeley’s. Although these casks come in purple or flea tones, they are often very dark and difficult to see through or have a different color, similar to the bitters of bourbon whiskey. This is not the case with this example. It should make around $ 8,000.

Catawba Wine Bitters bottles are huge with collectors. Lot # 119 is a prime specime