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The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as reported in Foreign Press (1904-2002). Prof. A. de Franciscis (SAP), Pompeii Ruins Threatened, The N.Y. Times, Jan 19, 1969, XX51. [2/3].
Healing from love failure is a journey that requires strength and self-compassion. Discover a collection of love failure images and helpful tips to overcome heartbreak and embrace resilience. You are not alone, and brighter days lie ahead.
Visit our collection: www.betterlyf.com/articles/inspirational-quotes/love-fail...
March 19, 2014. Boston, MA.
Kick Butts Day 2014. Representatives from the Department of Public Health (DPH) today joined more than 250 young people from across the Commonwealth at the State House for the national observance of Kick Butts Day, recognizing the contributions of teenagers in smoking cessation and prevention efforts.
The young people participating in today’s event are part of DPH’s youth movement, The 84, which represents the 84 percent of young people in Massachusetts who don’t smoke.
High school students involved in The 84 have been educating their communities and their local lawmakers about issues relating to tobacco and, working with local health boards and other programs; have promoted effective tobacco prevention strategies in their communities. Members of The 84 Movement have been vital in fighting the way tobacco industry markets its products to youth.
© 2014 Marilyn Humphries
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
Image taken from:
Title: "Memoirs relating to European and Asiatic Turkey; edited from manuscript journals, by R. Walpole. (Travels in various countries of the East; being a continuation of Memoirs relating to European and Asiatic Turkey, &c.)"
Author: WALPOLE, Robert - Rev
Shelfmark: "British Library HMNTS 1786.d.13.", "British Library HMNTS 982.i.7."
Volume: 02
Page: 575
Place of Publishing: London
Date of Publishing: 1817
Publisher: Longman & Co.
Issuance: monographic
Identifier: 003842704
Explore:
Find this item in the British Library catalogue, 'Explore'.
Open the page in the British Library's itemViewer (page image 575)
Download the PDF for this book Image found on book scan 575 (NB not a pagenumber)Download the OCR-derived text for this volume: (plain text) or (json)
Click here to see all the illustrations in this book and click here to browse other illustrations published in books in the same year.
Stuff relating to installing/using a trailer hitch, cargo carriers, trailers, on a Saturn Sky Redline.
Monk Bar
Four storeyed town gate with circular bartizans at the north and east angles, and dates from the early 14th century, the uppermost storey being added in the late 15th century. It was built to a sophisticated design with each floor defensible. From 1577 it was used as a prison. The barbican was removed in 1815-25. It retains a portcullis which is in working order. No trace has been found of the earlier medieval gate, which was probably situated on the site of the Roman porta decumana, somewhere in the region of the demolished Tower 29 to the north west. Therefore all references prior to the early 14th century relate to this previous gate.
Monk Bar consists of a four-storey gatehouse with circular bartizans at the N. and E. angles and a low-pitched leaded roof. The passageway and two lower storeys above have ribbed vaults. A lofty arch on the outer face between the bartizans supports a narrow crenellated gallery at third-floor level. The Bar, which lies 100 yds. S.E. of the porta decumana of the legionary fortress, is built almost entirely of magnesian limestone and dates from the early 14th century; the uppermost storey was added in the late 15th century and windows were renewed in the 16th century. The gatehouse was built to a sophisticated design, making it a self-contained fortress with each floor defensible, even when the others had been captured. Variations in stone sizes and irregular coursing indicate several stages during the construction, with the front wall apparently preceding the vaulting. There is no trace of an earlier gate on this site.
The earlier medieval gate probably lay on the site of the Roman porta decumana, where signs of extensive rebuilding and of a former tower may be seen. This position for the gate is indicated both by the alignment of the S. Part of Goodramgate and by the name of the destroyed church of St. John del Pyke (of the gate). Tolls collected in 1280 at Monk Gate must refer to this earlier gate. The name derives from the street of Monkgate, mentioned as early as c. 1075. The monks were the community of the pre-Conquest minster, a designation which would have been obsolete in the 12th century. The original Monkgate was a street on the Roman line running from Monk Bridge to the porta decumana and so called because it led directly to the Minster precincts. It is suggested that when the stone defences were built the old gate was replaced by one on the present site and the street name was also transferred. The question has recently been discussed by Mr. H. G. Ramm. The present form of the name first occurs in 1370. In 1435/6 the house above the Bar was rented for 4s. A year to Thomas Pak, the master mason of the Minster, in 1440/1 to William Croft, gentleman, in c. 1450 to John, Lord Scrope, and in 1476, when described as the stone tower situated above the Monk Bar, to Miles Metcalf, Recorder from 1477 to 1486, for 5s. Hand-guns were delivered to William Wode, officer of the ward, presumably for this bar, in 1511. In 1541 the Bar was cleaned in preparation for Henry VIII's visit. In 1563 it was used as a temporary prison, and in 1577 this use became permanent. In 1583 the rooms there were inspected to see if they were suitable for imprisoning recusants. They were presumably found so, because in 1594 'Alice Bowman was sent to a place called Little Ease, which is in Monk Bar'. A recalcitrant apprentice was also confined in Little Ease in 1598. This prison was probably one of the tiny rooms in the bartizans.
Although it was used for a sally during the siege of 1644, the Bar escaped damage since this side of the city was not closely invested. The gates were renewed in 1671 and 1707. In 1815 part of the barbican was removed, and in 1825, when a foot-way was made to the S.E., the watch house and the rest of the barbican were demolished. The gates were removed and together with the old hay weighing machine from Mint Yard sold for £18. They appear to have resembled those of Walmgate Bar, with heavy moulded muntins, curved in the upper part. In 1845 another side passage was made through the city wall to the N.W. And the Bar was restored at a cost of £429 for use as a house for a police inspector. The existing large arch to the S.E. Was made in 1861. In 1913–14 further restoration took place and use as a house was discontinued. The portcullis was put in working order and periodically lowered for public inspection. There was more extensive restoration in 1952–3 at a cost of £6,000 and in 1966 voussoirs of the inner arch and of the vaults to the passage were replaced after damage by a vehicle. The upper floors are now used by the Scouts.
Architectural Description. The N.E. Front to Monkgate has a round-headed archway of two orders opening to the passage; some of the smaller voussoirs are of gritstone. Behind a portcullis slot is an inner arch of the same size but of a single order and with larger voussoirs. The archway is flanked by projecting buttresses with moulded and weathered plinths. On the N.E. Buttress is a rectangular stone plaque carved in relief and painted with the words MONK BAR RENOVATED 1953 and with a shield of arms of the City of York below a cap of maintenance and upon a sword and mace in saltire. At first-floor level both buttresses are pierced by shoulder-headed doorways, formerly leading to the wall walk of the barbican. Over the passage archway are two cruciform arrow slits terminating in round oillets, and there is a second pair set closer together at second-floor level. Above again and 3¼ ft. In front of the main wall is a pointed arch of two chamfered orders supporting a gallery. A coffered effect on the underside of the gallery may be due to a series of 'murder-holes', now paved over. Below a string course at the floor level of the gallery and in the spandrels of the supporting arch are two shields of arms of the City of York under low canopies with crocketted pinnacles. Above the crown of the arch, on the central merlon of the parapet of the gallery, are the royal arms of England as used after c. 1405, but formerly with Old France in the first and fourth quarters. (fn. 95) The shield is depicted as hanging by a guige below a crowned helm bearing the crest of a crowned demi-lion rampant, the whole under a canopy. The flanking merlons have blocks projecting from their coping, apparently as bases for pinnacles or small statues. The face of the Bar behind the gallery is pierced by two square gunports, each with an equal-armed cruciform sighting slit above. A deep weathered band separates these from a plain parapet.
The bartizans spring, as at Micklegate Bar, from three rounded corbel courses broken at the outer angles by the corners of the buttresses below. At third-floor and roof levels they are surrounded by steeply weathered string courses and have two cruciform arrow slits at each level. On each bartizan three of the merlons support a demi-figure of a wild man holding a boulder as if to hurl it. These are perhaps 17th-century, replacing earlier figures.
The façade to Goodramgate is ancient; it is the only rear façade of any of the major Bars to have been built originally wholly in masonry. The archway to the passage, round-headed, and of three orders on the face, is inset some 7 ft. And flanked by projecting blocks of masonry. Spanning between the blocks is a segmental arch above which a platform projects, supported on seven corbels of various forms. There is another segmental arch above the platform which is filled by a wall set back to give the platform a width of 2½ ft.; the wall is pierced by a central three-light window with mullions and high-set transom of c. 1580 which is flanked by a doorway 4 ft. High and a small rectangular window. A corbel-course marks the level of the second floor. Above this a central three-light window with trefoil heads to the lights is flanked by two empty niches; the cusped head of the right niche has been restored. The third floor is lit by two windows, each of two shoulder-headed lights, flanking a shallow trefoil-headed niche. The narrow pointedarched doorway gives access to the stairway in the thickness of the N.W. Wall.
The side elevations have been much altered by the removal of the rampart for foot passages and on the S.E. By the demolition of the watch house. Variations in sizes and coursing of the masonry indicate numerous repairs. On the S.E. Side prominent features are the projecting garderobe, resting originally on two chamfered corbels, and a row of small square patches of stone at the third-floor level inserted in recent years after the removal of the 19th-century iron tiebars.Inside, the through passage between the main archways is covered with an octopartite ribbed vault springing from brackets. In the S.E. Wall of the passage a pointed-arched doorway, now blocked, led to the demolished watch house. There are masons' marks on this wall and on the N.W. Wall. The rear main archway retains the hooks for the wooden gates on the city side. The through passage continuing beyond the rear archway but within the Bar has a segmental vault supported by three ribs. The staircase passage in the thickness of the N.W. Wall, with a stone roof on a corbel course stepped parallel to the steps, is lit by two slits. At the head of the stairs is a square lobby with archways in all four directions; each archway could be closed by a door.
The first-floor room is lit only by the two arrow slits in the front wall and by two windows in the rear wall. It has two bays of octopartite ribbed vaulting, allowance being made for the portcullis to rise behind an arch set inwards from the front wall. When raised, the portcullis partly blocks the arrow slits. There is a wide fireplace in the N.W. Wall below a straight lintel, which has cracked and is supported by a later pier. The floor is stone-flagged. In the S.E. Wall a pointedarched doorway leads to a short passage to the barbican and to a straight staircase ascending in the thickness of the wall to the second floor. A garderobe recess opening off the passage retains its stone seat. The staircase is lit by two slits and roofed with stepped slabs.
The second-floor room also has a ribbed vault in two bays, a stone-flagged floor and a fireplace in the N.W. Wall. In addition to the arrow slits in the front wall and the three-light window in the rear wall, there is a rectangular window in the S.E. Side wall. A pointedarched doorway, at one time blocked, leads by three steps down to the wall walk on the S.E., and two other doorways, one shoulder-headed, lead to the bartizans. In front of the arrow slits is the wooden windlass with bars and sockets for raising and lowering the portcullis and, at one end, an iron ratchet and pawl to prevent slipping. There was a similar ratchet and pawl at the other end in 1834. The windlass itself is a beam 8 ins. In diameter, cut to an octagonal shape and mounted 3½ ft. Above the floor. The supports now rest on a board set in the floor, but holes in the wall 9 ins. Square may have held beams to support the weight. The portcullis is still in working order and after restoration in 1914 was lowered on Sundays and Bank Holidays. A pointed-arched doorway in the N.W. Wall leads to an ascending staircase. Initials and the date 1617 are incised on the S.E. Wall.The E. Bartizan room has a domed vault with two intersecting ribs springing from a corbel course. A cross is deeply cut in the wall near the floor just inside the door, perhaps by a recusant prisoner if this cramped room may be identified as 'Little Ease'. The other bartizan has a modern timber ceiling resting on a corbel course; in the W. Angle is a small garderobe, again retaining its stone seat and also a ledge behind it. The floor level in the main room has probably been altered in relation to those of these turret rooms.
The third-floor room is lit by the gunports and their sighting slits in the front wall and by two-light shoulderheaded windows in the other walls. Shoulder-headed doorways in the front wall lead to the bartizans, of which the E. Is occupied by a stone spiral staircase, probably a later insertion, ascending to the roof. From the bartizans similar doorways lead to the outer gallery. The 16th-century timber roof is supported on two main trusses, but corbels built into the walls suggest a different earlier arrangement. On and near a corbel in the N.W. Wall are several 17th-century graffiti.The roof is of low pitch and leaded. The doorways to it from the bartizans have flat lintels. The plain parapet rises in two steps to shelter these doorways, and the chimney stops at the parapet level.
The barbican, demolished in 1825, projected 44 ft. In front of the Bar, and was 27 ft. Wide and 17 ft. High with walls 5 ft. To 6 ft. Thick. The round-headed archway of two orders resembled that of the outer archway of the Bar and was set in a plain wall below a low parapet with moulded cornice. By 1807 this had no merlons and the bartizans may have been lowered; the latter, set at the outer angles, were polygonal, supported on three corbel courses. Four slits in the parapet over the arch and two in the front walls of the bartizans appear to have been too low down for use as loopholes. There was a rear arch internally and in the centre of the N.W. Wall was a narrow doorway which could be used as a sally-port. Views of c. 1820 show wooden gates in the outer archway. In demolishing part of the barbican a reused 13th-century coffin lid of Milicia, wife of Jeremy de Lue, was discovered. The watch house adjoining the Bar on the S.E. Was a single-storeyed rectangular building, measuring 10 ft. By 15 ft., presumably added because the gatehouse was used as a dwelling or later as a prison.From Monk Bar to Layerthorpe Postern the city wall is known to have been repaired in 1579, and 1666. It was thoroughly restored in 1871 and 1877–8, when a wall walk was added where missing. The line of the mediaeval wall near Monk Bar is slightly sinuous with numerous buttresses, indicating instability; part collapsed in 1957. When in 1858 the Board of Health Committee in order to make a new road proposed removing 158 ft. Of the wall and rampart adjoining the Bar, the wall was described as ruinous. The outer face is in places battered for the whole height and there are signs that at least one length has been taken down and rebuilt. An irregularity E. Of the Bar may mark the site of a small tower. Internally the inner face of the Roman fortress wall within and below the mediaeval wall was cleared and exposed in 1875 and 1928, the rampart having already been removed. Some of the internal arches supporting the wall walk here already existed in 1827 when George Nicholson sketched them.
The parapet adjoining Monk Bar is pierced by a series of thirteen musket loops, most of which are modern rebuilds. At a point 32 ft. N.W. Of Tower 31 is an unusual feature comprising, externally, a solid buttress 7½ ft. Wide and projecting 3¼–4¼ ft., but internally two arched recesses, apparently garderobes, opening off the wall walk. The latter are 2¼ ft. And 2½ ft. Wide, 4¼ ft. High, and 1¾ ft. Deep; the N.W. One has a round hole in the floor and is railed off.
[York Historic Environment Record]
Walking the York City Walls
The city or ‘bar’ walls of York are the most complete example of medieval city walls still standing in England today. Beneath the medieval stonework lie the remains of earlier walls dating as far back as the Roman period.
The Roman walls survived into the 9th century when, in AD 866, York was invaded by the Danish Vikings. The Vikings buried the existing Roman wall under an earth bank and topped with a palisade – a tall fence of pointed wooden stakes.
The wooden palisade was replaced in the 13th and 14th centuries with the stone wall we see today.
The medieval city walls originally included 4 main gates or ‘bars’ (Bootham Bar, Monk Bar, Walmgate Bar and Micklegate Bar), 6 postern or secondary gates and 44 intermediate towers. The defensive perimeter stretched over 2 miles encompassing the medieval city and castle.
By the late 18th century, however, the walls were no longer required as defences for the city and had fallen into disrepair. In 1800, the Corporation of York applied for an Act of Parliament to demolish them. In addition to the poor condition of the walls at the time, the narrow gateways of the bars were inconvenient and the walls themselves hindered the city’s expansion.
Many other cities, including London, were removing their outdated, medieval city walls at this time. In York, however, the city officials met with fierce and influential opposition and by the mid-nineteenth century the Corporation had been forced to back down.
Unfortunately, the call for preservation came too late for some parts of the walls – the barbicans at all but one of the gateways (Walmgate Bar) had been torn down along with 3 postern gates, 5 towers and 300 yards of the wall itself.
Since the mid-nineteenth century the walls have been restored and maintained for public access, including the planting of spring flowers on the old Viking embankment. Today the walls are a Scheduled Ancient Monument and a Grade 1 listed building.
[History of York]
Taken in York
Image from 'Papers relating to the Island of Nantucket, with documents relating to the original settlement of that island, Martha's Vineyard, and other islands adjacent, known as Dukes County, while under the Colony of New York. Compiled from official records, etc. F.P', 001742300
Author: HOUGH, Franklin Benjamin.
Page: 15
Year: 1856
Place: Albany
Publisher:
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Image from 'Rambles in Europe ... With historical facts relating to Scotch-American families, gathered in Scotland and the North of Ireland ... Illustrated', 002557311
Author: MORRISON, Leonard Allison.
Page: 279
Year: 1888
Place: Boston, Mass
Publisher: Cupples, Upham & Co.
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000279)
Ministro de Justicia y Derechos Humanos, Luis Cordero se reúne con el Relator Especial de Medio Ambiente ONU
Fotos: Francisco León Puga
#Donniedarko #donnie #darko #cant #watch #or #relate #to #this #movie #without #thinking #of @d0nnyanderson
22 Likes on Instagram
3 Comments on Instagram:
martinacorleonee: You can suck my fuck anytime lmfao sounds like a Darko valentine card
nickvernoski: @martinacorleonee exactly
d0nnyanderson: Hahaha god damn it. I knew it was coming before I even read the comments. Love you dude.
Part of a set / album of images relating to an Apple Maps Look Around Street View pedestrian photographer with image harvesting backpack tech. I photographed him a few years ago. The Apple Look Around (Google Street View equivalent) images were exclusive to their iPhone Map App, but are now available on the web, indirectly via duckduckgo.com/ maps for example. And so now I can see myself! My camera phone was a distinctive yellow Poco phone back at 12:09 p.m. on 12th May 2022. My blue tobacco tin is just visible. The park is at a mere 10 metres above sea level, first to go when global warming arrives..!
Art Toronto's Opening Night Gala, Metro Convention Centre, Toronto, October 2013 (photo by Cheryl Rondeau)
Although this photo relates to World War Two the story of the V2 is mentioned on a World War One guided walk.
I went on a fascinating but also a very sad guided walk around Tooting to hear more about the 182 names on the local war memorial of the men killed in World War One. Here's the website that will give you a lot more info if you want to go on the walk too or just read more about the men. summerstown182.wordpress.com/
I noticed this today. Perhaps we as aspired sustainable designers can relate.
This image is of a Pine tree that is planted directly under the canopy of two trees. We know as this tree matures, there will be significant overcrowding.
Is that how many solutions in this world are 'solved'? Do many 'solutions' come into fruition by not looking at the full picture? Are many design decisions made haphazardly?
When I think of sustainable design as a practice, I believe the professionals working in the field are required to look at the full picture of environmental, economic and social sustainability.
Too bad for this poor tree, I don't think the full picture was evaluated. Specifically, I don't think the planner, or lack there of, did the simple task of looking up!
Definition: Technical:
1. Of, relating to, or derived from technique.
2.
a. Having special skill or practical knowledge especially in a mechanical or scientific field: a technical adviser.
b. Used in or peculiar to a specific field or profession; specialized: technical terminology.
3.
a. Belonging or relating to a particular subject: technical expertise.
b. Of, relating to, or involving the practical, mechanical, or industrial arts or the applied sciences: a technical school.
4.
a. Abstract or theoretical: a technical analysis.
b. Of, relating to, or employing the methodology of science; scientific.
5. According to principle; formal rather than practical: a technical advantage.
6. Industrial and mechanical; technological.
7. Relating to or based on analysis of market indicators, such as trading volume and fluctuations in securities prices, rather than underlying economic conditions such as corporate earnings, inflation, and unemployment: a technical correction in the stock market.
Idea: This is my third Technical Tree. I based the design of this tree on the design of an eclipse viewer or an old brown box camera, but instead of using a small hole I used a tree shape. I am hoping I will be able to capture the sunrise through it tomorrow. I had hoped to capture the sunset through it this afternoon, but sadly it was so overcast that we didn't have one.
Process: I made this tree by cutting the shape of a palm tree into the bottom of the box Optus sent me my new modem in and then painting the whole thing green. This is the view from the outside.
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
On Mnet‘s ‘Beatles Code 3D,’ Woohyun related an interesting story about how his behavior converted an anti-fan into just a simple fan.
MC Shin Dong Yup brought this up by saying, “There’s a story going around that after a few words from Woohyun, an anti-fan...
360kpop.info/kpop-news-korean/woohyun-relates-a-story-of-...
Gretchen Bender, Born Seaford, DE 1951-
died New York City 2004
TV Text & Image (DREAM NATION), 1989, live television broadcast on a monitor with vinyl lettering, dimensions variable,
How does today's news relate--or not--to your idea of a "dream nation"?
Unlike most screens in an art gallery, this monitor is not showing prerecorded, artist-made imagery. Instead, the artist intervenes in regular broadcast television by printing DREAM NATION on the surface of the screen. Gretchen Bender's work invites you to contrast your current take on these words with what is on TV at this very moment. When displayed in the nation's capital of Washington, DC, it can also feel site-specific, invoking this country's dreams and dreamers.
Bender was part of a generation of artists, including Barbara Kruger (whose work is on view nearby), who responded to the rising power of mass media. Using what she described as "guerilla tactics . . . to make some kind of break or glitch in the media," Bender took on television to make the "underlying patterns of social control" visible.
____________________________________
"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
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"relating to the motion of material bodies and the forces and energy associated therewith"
A creative outing with my photo club - Inland Empire Photo Club - where we played with light and motion and long exposures to create kinetic art. It was a wonderful, creative evening.