The Government of Punjab prioritizes the welfare of the society and their primary focus is on the upliftment of the female population. Towards the fulfillment of this purpose - free bicycles have been distributed under the ‘Mai Bhago Vidya’ Scheme to underprivileged girls. The Punjab Government has so far provided 4,07,713 free bicycles under Mai Bhago Vidya Scheme to girl students studying in Government schools. Mai Bhago Vidya Scheme was launched in the year 2011-12 with an ambitious aim to encourage the girl child to complete the school education. The scheme gets its inspiration from the legendry woman from the Sikh history who became an inspiring figure for the great ‘40 Muktas’. She is known as a symbol of power and faith.

May 10, 2024 Record-breaking expansion of mental health services

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

What would we these fishermen do without the tube? Oh wait, I know, not fish and sell souvenirs to tourists.

Portland State University (PSU) undergraduate Jill Rosenberger presents her research titled, "Prioritizing Constant Communication over Safety While Driving," at the Undergraduate Scholars Research Conference (USRC) at the Western States Communication Association (WSCA) 2008 Annual Convention in Denver/Boulder, CO., at the Omni Interlocken Resort. Rosenberger's empirical research on public opinion about cell phone use restrictions for drivers was completed in Wynde Dyer's SP399 Cell Phones and Society course at PSU. Respondent Dr. Bill Eadie of San Diego State University said Rosenberger's mixed-methods research design was "state of the art" and encouraged her to continue to look into the communicative and sociological implications of cell phones.

  

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

Congressman Max Rose, who has prioritized increasing mail security, announced that following his efforts, the United States Postal Service (USPS) has upgraded all postal boxes with anti-fishing technologies in his South Brooklyn and Staten Island Congressional District. The announcement follows a roundtable Rose held earlier this year with USPS officials and Brooklyn community leaders to discuss the postal issues residents of Gravesend and Dyker Heights routinely face, including theft of mail and packages.

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

2013 ReSAKSS Annual Conference on “Achieving the Maputo Declaration Target and Prioritizing Public Agricultural Expenditures”, Dakar, Senegal, Nov 12-13 2013

The Community Archiving Workshop prioritized collections centering Native Hawaiian culture and history, as well as prioritizing workshop volunteers with Native Hawaiian or other Indigenous ancestry. We partnered with the Lāna'i Culture & Heritage Center and the Ka Ipu Makani Cultural Heritage Center, with support from the ʻUluʻulu: The Henry Kuʻualoha Giugni Moving Image Archive.

Beauford Delaney

1901-1979

 

Portrait of a Man (Walter Anderson) - c. 1971

 

From the museum label:

 

Beauford Delaney was known for his portraits of famous friends, including the celebrated musician Walter Anderson, depicted here. In 1946, Anderson became the head of the music department at Antioch College in Ohio. He was the first African American to lead an academic department at a non-Black institution. From 1969 to 1983, he served as director of music programs at the National Endowment for the Arts here in Washington, DC.

 

Delaney depicts Anderson as a simplified figure with a textured surface framed by bold, irregular fields of color. This approach exemplifies the artist's belief that "there are no precise limits... between 'abstract' and 'figurative' paintings." Often working from memory, Delaney prioritized his emotional and psychic relationship with his subjects over their physical likeness.

 

www.youtube.com/watch?v=3Jnwhy5q_dU

________________________________

With Passion and Purpose

Gifts from the Collection of Larry D. and Brenda A. Thompson

 

June 7 - October 5, 2025

Locations East Building, Mezzanine — Gallery 214

 

See standout works by Black artists from the past century, newly gifted to the Nation.

 

For over four decades, Larry D. and Brenda A. Thompson have championed the work of Black artists. They have supported exhibitions and scholarship as they built a remarkable collection that spans 100 years of Black creativity in America.

 

This exhibition celebrates the recent and promised gifts of 175 works from the Thompsons to the National Gallery—the largest group of objects by Black artists to enter our collection at one time. Explore more than 60 paintings, sculpture, drawings, and prints organized in sections around themes of music and abstraction, figuration and portraiture, civil rights and social politics, as well as landscape and transcultural connections and influences.

 

Works range from a captivating portrait by Beauford Delaney and lyrical abstractions by Mildred Thompson to a towering allegorical woodcut by Alison Saar and an intricate sculpture of found objects by vanessa german. Enjoy works by renowned artists—Jacob Lawrence, Archibald Motley, and Kara Walker—and discover artists you may not yet know, such as Camille Billops, Vivian Browne, Moe Brooker, and Alonzo Davis.

 

www.nga.gov/exhibitions/passion-and-purpose

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"In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.

 

The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.

 

The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.

 

Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.

 

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With Passion and Purpose: Black Collectors Complicate Western Art Culture

on artessay

Shantay Robinson

 

Alison Saar

Sweeping Beauty,1997

3-color woodcut on Okawara Natural Paper

overall: 193.04 × 83.82 cm (76 × 33 in.)

National Gallery of Art, Promised Gift of Larry D. and Brenda A. Thompson

© Alison Saar. Courtesy of L.A. Louver, Venice, CA

 

In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.

 

The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.

 

The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.

 

Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.

 

Radcliffe Bailey

NY Rail (Transportation), 1993

cut-and-pasted offset printed paper and painted paper, acrylic paint, and blue crayon on wove paper

sheet: 45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)

National Gallery of Art, Gift of Larry D. and Brenda A. Thompson

2023.145.14

 

Radcliffe Bailey, who passed away in 2023 and is known for telling Black American narratives through his artwork, is represented here by the six separate paintings that make up his NY Rail. Like Jacob Lawrence’s Migration Series, this artwork depicts the migration of Black people from the south and the Caribbean to parts of the United States. For NY Rail (Transportation), Bailey uses an archival photograph of Black people boarding a train, overlayed with a grid of colorful acrylic paint and a depiction of tree limbs with leaves. In NY Rail (Boats Arriving), he paints three and a half row boats, with the word “Mississippi,” “Jamaica,” and “Cuba” written on the sides of them, telling where and how Black people migrated. The background is in coordination with the other paintings in the series, as they incorporate the orange, blue, yellow, and green painted horizontal stripes depicting water and the landscape. In other artworks, NY Rail (Bird of Death) and NY Rail (Death of Infant), the artist illustrates the unfortunate trials faced during the migration. Though optimism drove the migrants, they still faced challenges that led to death in Northern cities, from mob violence to unhealthy environments in ghettos.

 

Without the stewardship of Black art collectors from the beginning of the early twentieth century when Black art burgeoned due to the New Negro Movement, commonly known as the Harlem Renaissance, the preservation of Black art would not have happened, and the art would be lost. During the early twentieth century, instead of exhibiting in downtown New York museums and galleries, Black artists exhibited their work in libraries, churches, and private homes. In 1921, the 135th Street Branch of the New York Public Library in Harlem held its first exhibition by African American artists. The library became a focal point for the Harlem Renaissance. Today, the library is known as the Schomburg Center for Research in Black Culture, after Arturo Alfonso Schomburg, who was fundamental to the movement and in 1926 contributed his collection of more than four thousand books to the library for $10,000 furnished by the Carnegie Corporation. Black American artists were excluded from the art establishment largely until the mid to late twentieth century when postmodern conceptual art started to become popular. Because of this exclusion, museum collections around the country lack art that represents historical Black narratives. But today, museums are beginning to acquire art that fills the historical gaps in their collections through the generosity of collectors like the Thompsons, University of Georgia emeritus trustees, who have been collecting art since 1980. In 2011, they donated one hundred artworks to the Georgia Museum of Art, and in 2008, they gifted thirty nine artworks to the David C. Driskell Center at the University of Maryland, College Park. Collectors Walter O. and Linda Evans, who hold one of the largest collections of Black art, gifted the Telfair Museums thirty artworks; Seteria and Najee Dorsey, founders of Black Art in America, gifted the Columbus Museum fifteen artworks; and Constance E. Clayton, an educator and civic leader who collected Black art over fifty years, gifted the Pennsylvania Academy of Fine Art more than seventy artworks.

 

Without Black art collectors, so much of the artwork by Black artists would be forgotten. With the loss of the physical art, the impalpable sensibilities of Black life throughout varied stages of history would not be preserved. Black collectors have cared for their collections and also contributed to the dissemination of the art and ideas through gifts to institutions that benefit from the inclusion of Black history. These Black collectors who steward Black art are making judgments on what should be preserved in a field that is dominated by western culture’s Eurocentric gaze. And though Black collectors have gifted historically Black institutions, including Clark Atlanta University, Hampton Unviersity, and Howard University, with artworks throughout African American art’s history, it is notable that the Thompsons are Black collectors making a profound contribution to one of the most highly regarded collections in the United States—the National Gallery of Art.

 

Shantay Robinson, educator and art writer, lives in Northern Virginia. Her work has appeared regularly in ARTnews, Smithsonian Magazine, Black Art in America, and other notable publications where she primarily writes about Black Art. She holds a PhD in Writing and Rhetoric from George Mason University."

 

hopkinsreview.com/features/with-passion-and-purpose-shant...

The Community Archiving Workshop prioritized collections centering Native Hawaiian culture and history, as well as prioritizing workshop volunteers with Native Hawaiian or other Indigenous ancestry. We partnered with the Lāna'i Culture & Heritage Center and the Ka Ipu Makani Cultural Heritage Center, with support from the ʻUluʻulu: The Henry Kuʻualoha Giugni Moving Image Archive.

Claude Howell (1915 - 1997)

 

The Checkered Quilt - 1963

 

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

Attendees work to prioritize their best ideas during the closing session/brainstorm at the 2018 Design Matters Conference in Seattle.

Students wait outside the doors of the Shirley Bird Perry Ballroom after the event reached maximum seating capacity. The event prioritized seats for UT students.

In Vietnam's climate-smart village of Ma in Yen Bai province, researchers and farmers discussed what tools they find most useful to tackle climate change. The tools will be whittled down and adapted for farmers to tackle the climate changes within their specific landscape. Vietnam, July 2015.

 

Credit: ©2015CIAT/Georgina Smith

Please credit accordingly and leave a comment when you use a CIAT photo.

For more info: ciat-comunicaciones@cgiar.org

via

 

We’ve written a lot recently about the possibilities unleashed by interconnected technologies (broadly referred to as the Internet of Things or IoT). From smart homes that prioritize comfort and ease-of-use for homeowners to smart buildings (commercial, residential, or industrial) that integrate systems to achieve massive energy savings, the growing combination of IoT technology and solar energy is very promising.

 

There’s an even greater application for this technology, however - one that could help our inefficient, unstable energy infrastructure enter the modern era. Grid modernization, the effort to update an electric grid that hasn’t changed much over the last century, can incorporate IoT technology to create a more resilient, accessible, and efficient power distribution system. Here’s how:

 

Smart Meters are Just the Beginning

 

The initial application of interconnected technology to hit the grid has been the implementation of “smart meters” over the past decade or so. While not everyone is happy with the way utilities have used smart meters, they mark the beginning stages of a modern grid by making two-way communication between utilities and homes possible. This sharing of information benefits utilities, consumers, and the grid that connects them.

 

As Capgemini notes, “Utilities want to profitably manage supply and demand, while customers want uninterrupted service, with lower carbon emissions and greater control over usage and costs. One way of providing that greater degree of control is through information.” Smart meters allow utilities to remotely monitor energy usage to better prepare for peaks and lows and regulate the demand being placed on the grid. For consumers, smart meters provide a more detailed understanding of energy usage, including time of use pricing. For those consumers who produce their own energy through distributed generation systems, smart meters also document the flow of power back onto the grid.

 

But smart meters are just the first step towards building a smarter grid through innovative technology.

 

IoT Technologies Make the Grid Smarter

 

In addition to more advanced metering, the interconnected web of devices we call the Internet of Things offers greater grid stability and accessibility for renewable energy generation systems. These technologies include smart inverters for solar panels, which automatically adjust the power supply to the correct voltage, and smart thermostats, which learn usage patterns to anticipate demand (or skirt high demand periods entirely).

 

In terms of updating the energy transmission infrastructure to create greater stability and efficiency, many IoT technologies are being implemented. The U.S. Department of Energy writes that “Through the IoT, advanced sensors can gather new data from grid assets to give grid operators better insight into infrastructure performance; controls can work across the transmission and distribution systems that are responsive to changing grid conditions, based on shifting generation mixes, physical conditions, or security threats.” These include smart sensors that can detect areas where power is being lost, intelligent distribution transformers that can help prevent outages, and line fault indicators that can predict weaknesses and suggest areas that are in need of repair.

 

These technologies also enhance distributed generation system’s relationship to the grid, giving consumers who generate some (or all) of their own power more seamlessly access, whether they are drawing power or adding it. Distributed generation is a vital component of any grid modernization effort, as incorporating renewable energy reduces demand from less sustainable sources while decreasing the burden on our vulnerable infrastructure.

 

Growing the Smart Grid

 

Last year, the Department of Energy announced a $50 million award “to begin research and development of tools that can enable the next-generation of grid infrastructure,” as StateTech reports. This initiative is a response to the escalating challenges facing the grid, including increasingly unpredictable and damaging storms as well as cyber-threats that make our energy infrastructure vulnerable.

 

As consumers, we can contribute to grid modernization efforts through implementing our own smart home or building systems to reduce power use and save money. Solar-connected IoT devices are making the generation and storage of solar power more efficient and cost-effective than ever.

 

If you’re ready to learn more about the solar IoT solutions that can enhance your comfort and your bottom line, contact us today!

   

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Facilitation Workshop 2014: Professionals from around the State learn valuable facilitation skill from NOAA's Office for Coastal Management Trainers.

 

Photo Credit: N.C. Coastal Reserve

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

In any long-term relationship, the intensity of intimacy can ebb and flow. This is a natural progression, as life's demands and routines tend to prioritize over passion. However, reigniting that spark isn't an insurmountable task. Here are eight proven ways to breathe new life into your intimate moments:

 

Delve into Erotic Literature or Films

 

Sometimes, all it takes to reignite passion is a bit of inspiration. Exploring erotic literature or watching tasteful adult films together can stimulate both conversation and desire. These mediums open up a world of fantasies, scenarios, and techniques you can experiment with, making intimacy both thrilling and novel.

 

Use Sex Toys During Intimacy

 

For many couples, adding an online sex toys store in UAE to the bedroom may completely shift the dynamic. They can bring a new level of enjoyment to your private moments, whether you use them to experiment with new sensations or to help you feel more content.

 

From vibrating rings designed for couples to dildos and beyond, there's a vast array of toys tailored to every preference and need. Communicate with your partner about boundaries and ensure both parties are comfortable.

 

Together, discovering and choosing toys can promote deeper knowledge and connection, enhancing enthusiasm and anticipation. A great aid in this trip can be a toy just keep in mind that the goal is shared enjoyment and discovery.

 

Redesign Your Bedroom

 

Your environment significantly influences your mood. Is your bedroom more of a utility space or a romantic getaway? Consider investing in sultry bed linens, mood lighting, or scented candles. Play soft, romantic tunes in the background. You encourage romance by making your bedroom a haven for lovers.

 

Join a Couple's Workshop

 

Workshops for couples are a great resource. They provide methods, ideas, and methods to improve intimacy. Your emotional and physical connection will be strengthened as you explore each other's bodies and desires in novel, profound ways under the guidance of an expert.

 

Introduce Playful Challenges

 

Achieving intimacy involves both the deed and the build-up. Introduce naughty incentives, such as a sensual massage or a striptease, with humorous challenges or bets. These difficulties may keep you both on your toes because anticipation is a potent aphrodisiac.

 

Adventurous Getaways

 

Sometimes all it takes to shift your perspective is a change of location. Plan impromptu weekend excursions to remote locations or reserve a room at a five-star hotel. The novelty of the setting may bring back the thrill of early dating, which may result in intense encounters.

 

Sensual Massage Nights

 

Set aside a night each week to massage one another. Invest in calming music, scented oils, and time spent concentrating on one another. This not only helps you unwind, but it also forges a strong physical bond that frequently results in more private exchanges.

 

Communicate and Experiment

 

Open communication is the bedrock of any fulfilling intimate relationship. Discuss your fantasies, what excites you, and what you'd like to try. Whether it's experimenting with new positions, role-playing, or introducing sensual foods into foreplay – always keep the channels of communication open. This ensures both partners are comfortable and excited about trying something new.

 

Rekindling passion is essentially about bucking habits and making an effort to rediscover one another. It involves embracing openness, novelty, and respect for one another. Whether you and your partner have been together for a year or ten, keep in mind that intimacy is a joint exploration of the self. Your likes and wants will alter as your life does. You may maintain a vibrant, satisfying, and ever-evolving romantic life by remaining curious and putting each other's needs first.

Officials from the 66 MDS continue to vaccinate personnel deemed eligible by the Department of Defense prioritization schema while vaccine supplies last.

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

Are you in search of exceptional winter camps in Milton and Oakville that offer a perfect blend of fun and learning for your kids? Look no further! Dragon Taekwondo presents an outstanding winter camp program, designed to provide children with an unforgettable experience during their winter break. In this article, we'll delve into what sets our winter camps apart and why opting for Taekwondo Winter Break Camps for Kids is a smart choice for both fun-loving kids and parents who prioritize their child's growth and development.

 

1. Rock Climbing Adventures

At Dragon Taekwondo's winter camps, we believe in offering diverse experiences. Your child will have the opportunity to explore the thrilling world of rock climbing, developing not only physical strength but also courage and determination.

 

2. Gymnastics Mastery

Our winter camp isn't just about martial arts; it's a holistic experience. Kids will have the chance to master gymnastics, improving their balance, flexibility, and overall physical fitness.

 

3. Ninja Course Challenge

What's an adventure without a ninja course? Your child can channel their inner ninja as they tackle obstacle courses, enhancing their agility, problem-solving skills, and creativity.

 

4. Arts and Crafts Creativity

Unleash your child's creativity with our arts and crafts sessions. They'll have the opportunity to express themselves through art, building fine motor skills and fostering imagination.

 

5. Outdoor Games Galore

Winter doesn't mean staying indoors! We encourage outdoor play with various exciting games that promote teamwork, sportsmanship, and a love for the great outdoors.

 

6. Epic Nerf Wars

Let the battles begin! Our Nerf Wars sessions are a hit among kids, offering adrenaline-pumping action while teaching strategy and cooperation.

 

7. Weapons Training - Safely

Safety is our top priority. Children will learn weapons training in a controlled and supervised environment, instilling discipline and respect for martial arts.

 

8. Interactive Virtual Games

We embrace technology for educational purposes. Kids can enjoy interactive virtual games that challenge their minds and encourage strategic thinking.

 

9. And Much More!

Our winter camp isn't just a list of activities; it's a comprehensive program that caters to your child's physical, mental, and emotional development.

 

Why Choose Taekwondo Winter Break Camps for Kids?

1. Balance

Taekwondo is an art that emphasizes balance, not just physically but also in life. Your child will learn the value of equilibrium and how to apply it in everyday situations.

 

2. Coordination

The precise movements of Taekwondo promote coordination, helping children improve their motor skills and body awareness.

 

3. Strength

Through martial arts training, kids will build strength, not just in their bodies but also in their character.

 

4. Discipline

Discipline is a core tenet of Taekwondo, and our camp instills it in a fun and engaging way, fostering good behavior and self-control.

 

5. Teamwork

Taekwondo isn't just an individual sport. Kids will learn the importance of teamwork and cooperation through partner exercises.

 

6. Compassion

We teach respect and compassion for others, helping kids become kind and empathetic individuals.

 

7. Honorable Competition

Competition is healthy when it's honorable. Our camps teach kids how to compete with integrity and sportsmanship.

 

8. Self-confidence

As kids master new skills and face challenges, their self-confidence will soar, preparing them for future success.

 

9. Dedication

Taekwondo requires dedication and perseverance. These qualities will stay with your child throughout their life.

 

Conclusion

Dragon Taekwondo's winter camps in Milton and Oakville offer a unique blend of fun, learning, and character development. Our program goes beyond typical winter break activities, ensuring that your child returns home not only with unforgettable memories but also with enhanced skills and qualities that will benefit them for a lifetime.

 

If you're looking for an enriching winter camp experience for your child, look no further. Join us at Dragon Taekwondo, and let your child embark on an exciting journey of growth and discovery.

 

FAQs

1. How can I enroll my child in Dragon Taekwondo's winter camps?

Enrolling your child is easy! Simply visit our website and follow the enrollment instructions provided.

 

2. What age group is the winter camp suitable for?

Our winter camp is designed for children aged 5 to 15, ensuring age-appropriate activities and challenges.

 

3. Are the martial arts sessions safe for beginners?

Absolutely! Our martial arts instructors are highly trained and prioritize safety, making it a perfect place for beginners to start their journey.

 

4. Do I need to provide any equipment for the camp?

We provide all the necessary equipment for our activities, so you don't need to worry about bringing anything extra.

 

5. Can I schedule a tour of your facilities before enrolling my child?

Of course! We encourage parents and children to visit our facilities to get a feel for the environment and meet our friendly staff before making a decision.

 

Don't miss out on this fantastic opportunity for your child to have an amazing winter break experience while gaining valuable life skills. Join Dragon Taekwondo's winter camps today! dragontkd.ca/winter-break-camps/

The Tree -- 1992,

 

Herbert Gentry,

 

Interlocking faces, masks, and bird-like creatures populate this fiery red background. Images like these recur throughout Herbert Gentry's work. They suggest a powerful connection between nature and the spiritual realm.

 

Stationed in Paris during World War II, Gentry saw the French city as a gateway for his creative expression. He was closely aligned with CoBrA, an artist group that prioritized spontaneity over rigid forms of abstraction. Gentry's expressive use of color, active brushwork, and distortion of forms marked a fresh approach to abstract painting.

________________________________

With Passion and Purpose

Gifts from the Collection of Larry D. and Brenda A. Thompson

 

June 7 - October 5, 2025

Locations East Building, Mezzanine — Gallery 214

 

See standout works by Black artists from the past century, newly gifted to the Nation.

 

For over four decades, Larry D. and Brenda A. Thompson have championed the work of Black artists. They have supported exhibitions and scholarship as they built a remarkable collection that spans 100 years of Black creativity in America.

 

This exhibition celebrates the recent and promised gifts of 175 works from the Thompsons to the National Gallery—the largest group of objects by Black artists to enter our collection at one time. Explore more than 60 paintings, sculpture, drawings, and prints organized in sections around themes of music and abstraction, figuration and portraiture, civil rights and social politics, as well as landscape and transcultural connections and influences.

 

Works range from a captivating portrait by Beauford Delaney and lyrical abstractions by Mildred Thompson to a towering allegorical woodcut by Alison Saar and an intricate sculpture of found objects by vanessa german. Enjoy works by renowned artists—Jacob Lawrence, Archibald Motley, and Kara Walker—and discover artists you may not yet know, such as Camille Billops, Vivian Browne, Moe Brooker, and Alonzo Davis.

 

www.nga.gov/exhibitions/passion-and-purpose

.

"In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.

 

The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.

 

The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.

 

Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.

 

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With Passion and Purpose: Black Collectors Complicate Western Art Culture

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Shantay Robinson

 

Alison Saar

Sweeping Beauty,1997

3-color woodcut on Okawara Natural Paper

overall: 193.04 × 83.82 cm (76 × 33 in.)

National Gallery of Art, Promised Gift of Larry D. and Brenda A. Thompson

© Alison Saar. Courtesy of L.A. Louver, Venice, CA

 

In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.

 

The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.

 

The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.

 

Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.

 

Radcliffe Bailey

NY Rail (Transportation), 1993

cut-and-pasted offset printed paper and painted paper, acrylic paint, and blue crayon on wove paper

sheet: 45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)

National Gallery of Art, Gift of Larry D. and Brenda A. Thompson

2023.145.14

 

Radcliffe Bailey, who passed away in 2023 and is known for telling Black American narratives through his artwork, is represented here by the six separate paintings that make up his NY Rail. Like Jacob Lawrence’s Migration Series, this artwork depicts the migration of Black people from the south and the Caribbean to parts of the United States. For NY Rail (Transportation), Bailey uses an archival photograph of Black people boarding a train, overlayed with a grid of colorful acrylic paint and a depiction of tree limbs with leaves. In NY Rail (Boats Arriving), he paints three and a half row boats, with the word “Mississippi,” “Jamaica,” and “Cuba” written on the sides of them, telling where and how Black people migrated. The background is in coordination with the other paintings in the series, as they incorporate the orange, blue, yellow, and green painted horizontal stripes depicting water and the landscape. In other artworks, NY Rail (Bird of Death) and NY Rail (Death of Infant), the artist illustrates the unfortunate trials faced during the migration. Though optimism drove the migrants, they still faced challenges that led to death in Northern cities, from mob violence to unhealthy environments in ghettos.

 

Without the stewardship of Black art collectors from the beginning of the early twentieth century when Black art burgeoned due to the New Negro Movement, commonly known as the Harlem Renaissance, the preservation of Black art would not have happened, and the art would be lost. During the early twentieth century, instead of exhibiting in downtown New York museums and galleries, Black artists exhibited their work in libraries, churches, and private homes. In 1921, the 135th Street Branch of the New York Public Library in Harlem held its first exhibition by African American artists. The library became a focal point for the Harlem Renaissance. Today, the library is known as the Schomburg Center for Research in Black Culture, after Arturo Alfonso Schomburg, who was fundamental to the movement and in 1926 contributed his collection of more than four thousand books to the library for $10,000 furnished by the Carnegie Corporation. Black American artists were excluded from the art establishment largely until the mid to late twentieth century when postmodern conceptual art started to become popular. Because of this exclusion, museum collections around the country lack art that represents historical Black narratives. But today, museums are beginning to acquire art that fills the historical gaps in their collections through the generosity of collectors like the Thompsons, University of Georgia emeritus trustees, who have been collecting art since 1980. In 2011, they donated one hundred artworks to the Georgia Museum of Art, and in 2008, they gifted thirty nine artworks to the David C. Driskell Center at the University of Maryland, College Park. Collectors Walter O. and Linda Evans, who hold one of the largest collections of Black art, gifted the Telfair Museums thirty artworks; Seteria and Najee Dorsey, founders of Black Art in America, gifted the Columbus Museum fifteen artworks; and Constance E. Clayton, an educator and civic leader who collected Black art over fifty years, gifted the Pennsylvania Academy of Fine Art more than seventy artworks.

 

Without Black art collectors, so much of the artwork by Black artists would be forgotten. With the loss of the physical art, the impalpable sensibilities of Black life throughout varied stages of history would not be preserved. Black collectors have cared for their collections and also contributed to the dissemination of the art and ideas through gifts to institutions that benefit from the inclusion of Black history. These Black collectors who steward Black art are making judgments on what should be preserved in a field that is dominated by western culture’s Eurocentric gaze. And though Black collectors have gifted historically Black institutions, including Clark Atlanta University, Hampton Unviersity, and Howard University, with artworks throughout African American art’s history, it is notable that the Thompsons are Black collectors making a profound contribution to one of the most highly regarded collections in the United States—the National Gallery of Art.

 

Shantay Robinson, educator and art writer, lives in Northern Virginia. Her work has appeared regularly in ARTnews, Smithsonian Magazine, Black Art in America, and other notable publications where she primarily writes about Black Art. She holds a PhD in Writing and Rhetoric from George Mason University."

 

hopkinsreview.com/features/with-passion-and-purpose-shant...

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

HE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

www.ci.vallejo.ca.us/city_hall/departments___divisions/ci...

In Vietnam's climate-smart village of Ma in Yen Bai province, researchers and farmers discussed what tools they find most useful to tackle climate change. The tools will be whittled down and adapted for farmers to tackle the climate changes within their specific landscape. Vietnam, July 2015.

 

Credit: ©2015CIAT/Georgina Smith

Please credit accordingly and leave a comment when you use a CIAT photo.

For more info: ciat-comunicaciones@cgiar.org

2013 ReSAKSS Annual Conference on “Achieving the Maputo Declaration Target and Prioritizing Public Agricultural Expenditures”, Dakar, Senegal, Nov 12-13 2013

via

 

Judo vs Brazilan Jiu Jitsu

 

What’s the diffrence?

 

In the realm of martial arts, two ancient disciplines reign supreme: Judo and Jiu Jitsu.

 

Both embody centuries of tradition and offer a wealth of physical and mental benefits. But when it comes to pitting these two powerhouses against each other, who will come out on top? On the other hand, Brazilian Jiu Jitsu, an offshoot of Judo, places greater emphasis on ground fighting and submissions.

 

Its techniques prioritize controlling an opponent through locks and chokes, making it a formidable form of self-defense.

 

In the vast realm of martial arts, two captivating combat forms have carved a unique niche for themselves - Judo and Brazilian Jiu Jitsu.

 

Originating from the same root of ancient Japanese martial arts, these two disciplines have evolved into distinct entities with their unique philosophies, techniques, and competitive formats.

 

So Lets breakdown the 2.

 

Judo: The Gentle Way

 

The Emergence of Judo

 

Judo, known as the "gentle way," sprung from the ancient martial art system of Japan, which was established in 1532, called Takenouchi-ryu. The Samurai warriors of Japan's feudal era extensively practiced this fighting system, which laid the groundwork for Judo and many other martial art forms.

 

The inception of modern Judo traces back to the late 19th century when Jigoro Kano, a young Jiu-Jitsu fighter, envisioned spreading the combat style to the masses. In 1882, Kano opened the first Kodokan Judo school, modifying traditional Jiu-Jitsu to make it more accessible and less brutal. Kano's version of Judo soon gained popularity, securing a place in the training regimes of law enforcement and military organizations in Japan.

 

Judo Joins the Olympics

 

Kano's success in propagating Judo globally led to his invitation to the Olympic Committee in 1909. The 1964 Tokyo Olympic Games marked the official inclusion of Judo, bringing this martial art form to a global platform.

 

The Philosophy and Techniques of Judo

 

Judo imbibes the philosophy of gentleness, despite its dynamic nature. It emphasizes the use of balance, power, and movement to subdue an opponent, focusing predominantly on standing techniques. Judo players specialize in throws, trips, and foot sweeps executed from standing and clinch positions.

 

The techniques of Judo include throws, joint locks, and chokeholds, which are still effective even against armored opponents, reflecting its Samurai roots. It does not involve kicking, punching, or striking of any kind, does not put pressure on joints to throw an opponent, and involves no equipment or weapons.

 

The Belt Ranking of Judo

 

The belt ranking system in Judo plays a vital role in depicting a player's experience and expertise level. The advancement through the belt colors signifies the progression in a Judoka's (a practitioner of Judo) journey, with each color representing a specific level of proficiency.

 

Kyu Grades (Mudansha):

 

These are for students who have not yet attained the level worthy of a black belt.

 

Kyu grades are indicated by colored belts:

 

Sixth Kyu (Rokkyū): Beginners wear a light blue belt.

 

Fifth Kyu (Gokyū): After passing an elementary level, practitioners adopt a white belt.

 

Fourth Kyu (Yonkyū): Still indicated by a white belt.

 

Third Kyu (Sankyū): Brown belt for seniors or purple belt for juniors.

 

Second Kyu (Nikyū): Brown belt for seniors or purple belt for juniors.

 

First Kyu (Ikkyū): The last kyu rank before promotion to the first-degree black belt (shodan).

 

Dan Grades (Yūdansha):

 

These denote expert levels and are ranked in ascending numerical order.

 

Dan grades wear black belts:

 

First Dan (Shodan): The initial black belt.

 

Second Dan (Nidan), Third Dan (Sandan), Fourth Dan (Yondan), and Fifth Dan (Godan) follow.

 

Sixth Dan (Rokudan), Seventh Dan (Nanadan), Eighth Dan (Hachidan), and Ninth Dan (Kudan).

 

Tenth Dan (Jūdan): The highest rank in Judo.

 

This ranking system was introduced by Kanō Jigorō, the founder of Judo, in 1883

 

Jiu Jitsu: The Art of Flexibility

 

The Advent of Jiu Jitsu

 

Jiu Jitsu, or the "art of flexibility," shares its root with Judo in the traditional Japanese martial art forms. However, the modern version of Jiu Jitsu, known as Brazilian Jiu-Jitsu (BJJ), found its origin in South America, thanks to Mitsuyo Maeda, a disciple of Jigoro Kano.

 

Brazilian Jiu Jitsu: The Gracie Legacy

 

Maeda traveled to Brazil in 1914 as part of a Japanese immigration colony. He initiated the first Judo school and started training the Gracie brothers, who eventually shifted their focus to the ground aspect of Judo, known as "newaza." The Gracie family's contribution to modifying Judo ground techniques led to the emergence of a unique fighting style called Brazilian Jiu-Jitsu. They utilized their ground fighting skills to dominate Vale Tudo, the no-holds-barred fights in Brazil.

 

The Philosophy and Techniques of Jiu Jitsu

 

Brazilian Jiu Jitsu emphasizes ground techniques, with some standing techniques incorporated for self-defense. The primary goal of a BJJ match is to force the opponent to submit. The sport instills the philosophy that a smaller and weaker opponent can outmaneuver a stronger one using appropriate techniques and leverage.

 

The Belt Ranking of Jiu Jitsu

 

The belt ranking system in Jiu Jitsu serves as a roadmap for students' progression. The journey from a white belt to a black belt reflects the development of technical skills, tactical strategies, and mental toughness.

 

Adult Belt Ranks (16 years and older):

 

White Belt: The beginning rank for all BJJ students. White belts focus on fundamental techniques and positional control.

 

Blue Belt: After gaining experience, practitioners advance to blue belt. They learn more complex techniques and develop their game.

 

Purple Belt: Purple belts have a solid understanding of BJJ. They refine their techniques, transitions, and submissions.

 

Brown Belt: Brown belts are highly skilled and often considered experts. They focus on mastery and teaching.

 

Black Belt: The pinnacle of achievement in BJJ. Black belts have extensive knowledge, exceptional skills, and often contribute to the art.

 

You can read more about Evolution MMA / Alliance Jiu Jitsu Belt rankning system with the button below:

 

Jiu Jitsu belt ranking

 

The History of Evolution MMA’s Jiu Jitsu Team “Alliance Jiu Jitsu”

 

Alliance Jiu-Jitsu was founded in 1993 by three Brazilian Jiu-Jitsu legends:

 

Romero “Jacaré” Cavalcanti,

 

Fabio Gurgel, and

 

Alexandre Paiva.

 

Their vision was to create a powerhouse team that would not only excel in technical prowess but also uphold the highest standards of professionalism.

 

Here’s a glimpse into the story of Alliance:

 

Origins and Unification:

 

In the 1980s, Jacaré and his two black belt students, Fabio Gurgel (General) and Alexandre Paiva (Gigi), followed separate paths in their own academies.

 

However, whenever they met in championships, they ended up competing against each other due to their origins, creating an unfair rivalry.

 

In 1993, they made a pivotal decision: to form an alliance—ALLIANCE—so they could stand together in all competitions.

 

This alliance allowed them to combine their strengths and create a unified force in the world of Brazilian Jiu-Jitsu.

 

Growth and Association:

 

As their academies expanded and formed affiliates, they realized the need for a unified teaching method and effective management.

 

In 2014, they established an association to achieve these goals, implementing Fabio Gurgel’s successful management practices.

 

In 2016 Evolution MMA joined team Alliance Jiu Jitsu and became Chicago’s Alliance Jiu Jitsu

 

Today, the ALLIANCE Team boasts over 300 affiliates worldwide and holds an impressive 13x WORLD CHAMPION title.

 

Some of the main champions associated with Alliance include Sergio Moraes, Bruno Malfacine, Cobrinha, Bernardo Faria, and many more.

 

Founders:

 

Romero “Jacaré” Cavalcanti:

 

Born in 1952, Jacaré began his BJJ journey at the age of 11.

 

He trained with notable figures such as Carlos Gracie Jr., Rickson Gracie, and others.

 

Fabio Gurgel (“General”):

 

Born in 1970, Fabio started his BJJ career at 13.

 

He received his black belt from Jacaré at 19 and became one of the founders of Alliance.

 

Alexandre Paiva (“Gigi”):

 

Alexandre began training in 1983 with Jacaré.

 

He obtained his black belt in 1991 and played a crucial role in Alliance’s growth.

 

Alliance Jiu-Jitsu continues to shape the world of BJJ, producing champions both on the mats and in life. You too can be part of this remarkable legacy by joining the Alliance family!

 

Judo vs Jiu Jitsu: The Dichotomy

 

While Judo and Jiu Jitsu share a common lineage and philosophy, they exhibit stark differences in their focus, techniques, and competitive formats. Judo accentuates standing techniques and throws, while Jiu Jitsu prioritizes ground control and submissions.

 

In terms of competition rules, Judo matches can be won by executing a perfect throw, pinning the opponent on the mat for 20 seconds, or making the opponent submit.

 

On the other hand, a BJJ match can be won either by points or by forcing the opponent to submit.

 

The belt ranking system also varies between Judo and Jiu Jitsu, reflecting the distinct training and grading methodologies of these martial arts.

 

The Interlinkages: Judo and Jiu Jitsu

 

Despite the differences, Judo and Jiu Jitsu are intertwined in many ways.

 

Both martial arts focus on using an opponent's strength and movements against them, promoting the principle of efficiency. They share several techniques, particularly those related to grappling and submissions.

 

The use of a uniform, or Gi, is common in both Judo and Jiu Jitsu competitions, and gripping an opponent's Gi is an integral part of the techniques in both martial arts.

 

A Tale of Two Martial Arts

 

Judo and Jiu Jitsu, despite their unique trajectories, remain closely connected through their shared roots and principles. Each martial art form offers unique benefits and challenges, contributing to the richness and diversity of the martial arts world. Whether it's the gentle way of Judo or the flexibility of Jiu Jitsu, both martial arts continue to captivate practitioners worldwide, enriching their journey of physical prowess and mental fortitude.

 

Start learning Brazilain Jiu Jitsu (BJJ) today with your 1st week free

 

Learn Brazilian Jiu Jitsu

 

ift.tt/7FhtO0e

2013 ReSAKSS Annual Conference on “Achieving the Maputo Declaration Target and Prioritizing Public Agricultural Expenditures”, Dakar, Senegal, Nov 12-13 2013

The Government of Azerbaijan and United Nations launched the formulation of the joint strategic partnership framework for the next five years.

 

The Ministry of Economy and Industry hosted the launch of the joint consultation process, which brought together senior government officials, development partners, representatives from the private sector and civil society to identify the broad priority areas for the cooperation between the UN system and the Government. The prospective collaboration framework will be aligned with the national priorities that are articulated in ‘Azerbaijan: Vision 2020’ development concept, which builds on the country’s latest socio-economic achievements and provides a framework for its transition from a traditional economy to a knowledge-based, competitive and diversified economy.

 

The new strategy will support the agreed international goals and Post-2015 Development Agenda, a new framework for sustainable development, reaffirming the mutual commitment of the Government of Azerbaijan and United Nations to further deepen partnership and continue working in a concerted and effective manner. It will constitute a robust mechanism to foster coherence, relevance, effectiveness and efficiency within the UN system, and will give a significant attention to achieving results, with a focus on strengthening national Monitoring & Evaluation (M&E) capacity and deepening the integration of M&E into national development planning process.

 

On behalf of the Government of Azerbaijan, the Ministry of Economy and Industry will further co-lead the process of the preparation of the next partnership strategy until the end of August together with the United Nations and in consultation with all government and international partners. The strategic directions and expected results of the next partnership framework will be validated tentatively by end-September and endorsed by the Government by December 2014.

 

Beauford Delaney

1901-1979

 

Portrait of a Man (Walter Anderson) - c. 1971

 

From the museum label:

 

Beauford Delaney was known for his portraits of famous friends, including the celebrated musician Walter Anderson, depicted here. In 1946, Anderson became the head of the music department at Antioch College in Ohio. He was the first African American to lead an academic department at a non-Black institution. From 1969 to 1983, he served as director of music programs at the National Endowment for the Arts here in Washington, DC.

 

Delaney depicts Anderson as a simplified figure with a textured surface framed by bold, irregular fields of color. This approach exemplifies the artist's belief that "there are no precise limits... between 'abstract' and 'figurative' paintings." Often working from memory, Delaney prioritized his emotional and psychic relationship with his subjects over their physical likeness.

 

www.youtube.com/watch?v=3Jnwhy5q_dU

________________________________

With Passion and Purpose

Gifts from the Collection of Larry D. and Brenda A. Thompson

 

June 7 - October 5, 2025

Locations East Building, Mezzanine — Gallery 214

 

See standout works by Black artists from the past century, newly gifted to the Nation.

 

For over four decades, Larry D. and Brenda A. Thompson have championed the work of Black artists. They have supported exhibitions and scholarship as they built a remarkable collection that spans 100 years of Black creativity in America.

 

This exhibition celebrates the recent and promised gifts of 175 works from the Thompsons to the National Gallery—the largest group of objects by Black artists to enter our collection at one time. Explore more than 60 paintings, sculpture, drawings, and prints organized in sections around themes of music and abstraction, figuration and portraiture, civil rights and social politics, as well as landscape and transcultural connections and influences.

 

Works range from a captivating portrait by Beauford Delaney and lyrical abstractions by Mildred Thompson to a towering allegorical woodcut by Alison Saar and an intricate sculpture of found objects by vanessa german. Enjoy works by renowned artists—Jacob Lawrence, Archibald Motley, and Kara Walker—and discover artists you may not yet know, such as Camille Billops, Vivian Browne, Moe Brooker, and Alonzo Davis.

 

www.nga.gov/exhibitions/passion-and-purpose

.

"In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.

 

The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.

 

The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.

 

Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.

 

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With Passion and Purpose: Black Collectors Complicate Western Art Culture

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Shantay Robinson

 

Alison Saar

Sweeping Beauty,1997

3-color woodcut on Okawara Natural Paper

overall: 193.04 × 83.82 cm (76 × 33 in.)

National Gallery of Art, Promised Gift of Larry D. and Brenda A. Thompson

© Alison Saar. Courtesy of L.A. Louver, Venice, CA

 

In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.

 

The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.

 

The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.

 

Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.

 

Radcliffe Bailey

NY Rail (Transportation), 1993

cut-and-pasted offset printed paper and painted paper, acrylic paint, and blue crayon on wove paper

sheet: 45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)

National Gallery of Art, Gift of Larry D. and Brenda A. Thompson

2023.145.14

 

Radcliffe Bailey, who passed away in 2023 and is known for telling Black American narratives through his artwork, is represented here by the six separate paintings that make up his NY Rail. Like Jacob Lawrence’s Migration Series, this artwork depicts the migration of Black people from the south and the Caribbean to parts of the United States. For NY Rail (Transportation), Bailey uses an archival photograph of Black people boarding a train, overlayed with a grid of colorful acrylic paint and a depiction of tree limbs with leaves. In NY Rail (Boats Arriving), he paints three and a half row boats, with the word “Mississippi,” “Jamaica,” and “Cuba” written on the sides of them, telling where and how Black people migrated. The background is in coordination with the other paintings in the series, as they incorporate the orange, blue, yellow, and green painted horizontal stripes depicting water and the landscape. In other artworks, NY Rail (Bird of Death) and NY Rail (Death of Infant), the artist illustrates the unfortunate trials faced during the migration. Though optimism drove the migrants, they still faced challenges that led to death in Northern cities, from mob violence to unhealthy environments in ghettos.

 

Without the stewardship of Black art collectors from the beginning of the early twentieth century when Black art burgeoned due to the New Negro Movement, commonly known as the Harlem Renaissance, the preservation of Black art would not have happened, and the art would be lost. During the early twentieth century, instead of exhibiting in downtown New York museums and galleries, Black artists exhibited their work in libraries, churches, and private homes. In 1921, the 135th Street Branch of the New York Public Library in Harlem held its first exhibition by African American artists. The library became a focal point for the Harlem Renaissance. Today, the library is known as the Schomburg Center for Research in Black Culture, after Arturo Alfonso Schomburg, who was fundamental to the movement and in 1926 contributed his collection of more than four thousand books to the library for $10,000 furnished by the Carnegie Corporation. Black American artists were excluded from the art establishment largely until the mid to late twentieth century when postmodern conceptual art started to become popular. Because of this exclusion, museum collections around the country lack art that represents historical Black narratives. But today, museums are beginning to acquire art that fills the historical gaps in their collections through the generosity of collectors like the Thompsons, University of Georgia emeritus trustees, who have been collecting art since 1980. In 2011, they donated one hundred artworks to the Georgia Museum of Art, and in 2008, they gifted thirty nine artworks to the David C. Driskell Center at the University of Maryland, College Park. Collectors Walter O. and Linda Evans, who hold one of the largest collections of Black art, gifted the Telfair Museums thirty artworks; Seteria and Najee Dorsey, founders of Black Art in America, gifted the Columbus Museum fifteen artworks; and Constance E. Clayton, an educator and civic leader who collected Black art over fifty years, gifted the Pennsylvania Academy of Fine Art more than seventy artworks.

 

Without Black art collectors, so much of the artwork by Black artists would be forgotten. With the loss of the physical art, the impalpable sensibilities of Black life throughout varied stages of history would not be preserved. Black collectors have cared for their collections and also contributed to the dissemination of the art and ideas through gifts to institutions that benefit from the inclusion of Black history. These Black collectors who steward Black art are making judgments on what should be preserved in a field that is dominated by western culture’s Eurocentric gaze. And though Black collectors have gifted historically Black institutions, including Clark Atlanta University, Hampton Unviersity, and Howard University, with artworks throughout African American art’s history, it is notable that the Thompsons are Black collectors making a profound contribution to one of the most highly regarded collections in the United States—the National Gallery of Art.

 

Shantay Robinson, educator and art writer, lives in Northern Virginia. Her work has appeared regularly in ARTnews, Smithsonian Magazine, Black Art in America, and other notable publications where she primarily writes about Black Art. She holds a PhD in Writing and Rhetoric from George Mason University."

 

hopkinsreview.com/features/with-passion-and-purpose-shant...

In Vietnam's climate-smart village of Ma in Yen Bai province, researchers and farmers discussed what tools they find most useful to tackle climate change. The tools will be whittled down and adapted for farmers to tackle the climate changes within their specific landscape. Vietnam, July 2015.

 

Credit: ©2015CIAT/Georgina Smith

Please credit accordingly and leave a comment when you use a CIAT photo.

For more info: ciat-comunicaciones@cgiar.org