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Hear audio of the piano and see more images of John's piano's visit to Blacksburg
Read the CT article on the visit.
Read the www.roanoke.com/news/roanoke/wb/118512
9/11, The Oklahoma City bombing, Virginia Tech, the Watts Riots, the assassinations of Dr. Martin Luther King, Jr., Presidents Abraham Lincoln and John F Kennedy, all horrific acts of violence, all catastrophic, all senseless.
Imagine a world without violence, a world of peace. This sentiment echoes the lyrics to John Lennon’s 1971 song, “Imagine”.
The concept of the tour was conceived after the piano was showcased at the IMAGINE exhibition at Goss Gallery in Dallas, Texas, 2006
The photographs will feature in a book which will spread a worldwide message of peace, transcending time, cultures and boundaries.
The piano has been photographed at:
Dealy Plaza in Dallas, Texas where President John F Kennedy was assassinated on November 22nd,1963
Memphis, Tennessee. at the National Civil Rights Museum (previously the Lorraine Motel) where Martin Luther King Jr. was assassinated on April 4th, 1968
The Ford Theatre in Washington D.C., the site of President Lincoln’s assassination 142 years ago.
The Walls at Texas State Penitentiary in Huntsville, Texas, on the day of a prisoner’s execution.
The Oklahoma City National Memorial on the 12th anniversary of the bombing tragedy.
The site of the former Branch Davidian Compound where over 80 people died 13 years ago.
The home of Bill Clayton who committed suicide 12 years ago after being beaten by a gay hate gang.
www.youtube.com/watch?v=2pjKXc_gmx4
In Texarkana at the site where the Phantom Murderer killed his 1st two victims in 1946
Outside the Courthouse in Marion, West Memphis where the West Memphis Three were convicted.
Blacksburg, Virginia. The location of the Virginia Tech tragedy.
Future planned photographs to be taken in the US and UK, include the site of the World Trade Center attacks and London bombings.
“Kenny and George’s deepest wish is to imagine a world of peace, a world without violence,” said Caroline True, creative director. "The selection of these sites evokes a deep sense of emotion for everyone. Capturing these images of this special piano on which a song of peace was composed is the heart of this project."
Background
George Michael bought the Lennon piano at an auction in October 2000. Considered the most expensive piece of pop memorabilia, experts have estimated its value at US$8 million to $12 million. Michael and his partner, Kenny Goss, owner of Goss Gallery in Dallas, want to further strengthen the project’s peaceful message, by having “Imagine” performed on the piano at each stop. A video documentary and a published volume of the images are under development, with plans to donate proceeds to charity.
The song, “Imagine,” was first released in 1971 and was already John Lennon’s most famous post-Beatles song, but it took on a whole new life of its own following Lennon’s murder in December 1980. When first released, “Imagine” reached No. 3 in America and No. 6 in Britain but after Lennon’s death in December 1980, the song gave him a posthumous No. 1.
Lennon bought the piano in December 1970, had it delivered to studios at his home in Tittenhurst Park in Berkshire, composed and recorded “Imagine” on it. The piano is a simple upright style instrument, not the white piano which graced the cover of the album. In 1992, it was bought by a private British collector who put it up for auction in October 2000.
From www.lennonpiano.com/
More photo's of Auschwitz here
Auschwitz-Birkenau was the largest of Nazi Germany's concentration camps. Located in German-occupied southern Poland, it took its name from the nearby town of Oświęcim (Auschwitz in German), situated about 50 kilometers west of Kraków and 286 kilometers from Warsaw. Following the German occupation of Poland in September 1939, Oświęcim was incorporated into Germany and renamed Auschwitz. The word Birkenau means 'Birch tree' of which there are many surrounding the Birkenau area of the complex.
The complex consisted of three main camps: Auschwitz I, the administrative center; Auschwitz II (Birkenau), an extermination camp or Vernichtungslager; and Auschwitz III (Monowitz), a work camp.
The camp commandant, Rudolf Höss, testified at the Nuremberg Trials that up to 2.5 million people had died at Auschwitz. The Auschwitz-Birkenau State Museum revised this figure in 1990, and new calculations now place the figure at 1.1–1.6 million, about 90 percent of them Jews from almost every country in Europe. Most of the dead were killed in gas chambers using Zyklon B; other deaths were caused by systematic starvation, forced labor, lack of disease control, individual executions, and so-called medical experiments.
www.auschwitz.org.pl/new/index.php?language=EN&tryb=s...
en.wikipedia.org/wiki/Auschwitz_concentration_camp
A lightly dressed girl hangs on the wooden beam. Nobody seems to be bothered of it. Macabre protest action of a nightclub owner in a dispute with the authorities because of the opening times. Rorschach, Switzerland, March 12, 2012.
execution of Kurdish activist Ehsan Fattahian and urges End to death penalty for political prisoners in Iran
According to several reports, Kurdish activist, Ehsan Fattahian, was executed today, November 11th 2009, in Iran. Ehsan was transferred to a solitary ward in Sanandaj prison late yesterday before being executed. Family members, friends and activists gathered outside the prison in protest of his execution. Despite numerous calls from human rights organizations and activists across the world, Ehsan’s sentence was carried out and he was executed.
Ehsan Fattahian was arrested in July 2008 and sentenced to 10 years in prison for his membership in a banned opposition group in Iran. During the appeals process, his sentence was changed by the provincial appeals court to execution for being an "enemy of God" for his activities. None of the activities that Ehsan was engaged in were proven to be violent or connected to any violence and despite reports of Ehsan’s undergoing brutal torture while in the custody of Iranian authorities, he refused to confess to the allegations against him that he helped carry arms or that he participated in an armed struggle. Furthermore, Ehsan’s new sentence was never subject to appeal as required by international law.
Since Sunday, Ehsan Fattahian and a reported 40 other political prisoners began a hunger strike in protest against the death sentence. Despite these actions and the calls for a halt to the execution by activists and human rights organizations all over the world, Iranian authorities carried out the execution on 11 Nov 2009.
Ehsan Fattahian is one of at least 12 other Kurdish political prisoners in Iran who have been sentenced to death after suffering torture treatments and being put through quick show trials. The names of 12 other Kurdish political prisoners that are currently facing death sentences are listed below. The exact dates of the executions are not known but they could happen at any time.
The Alliance for Kurdish Rights calls on Iranian authorities for an immediate moratorium on all executions in Iran. The Alliance for Kurdish Rights also urges Iranian authorities to release all political prisoners in Iran.
1. Ms. Zeynab Jalaliyan
2. Habib Latifi
3. Shirkuh Moarefi
4. Ramezan Ahmad
5. Farha Chalesh
6. Rostam Arkiya
7. Fazih Yasamini
8. Rashid Akhkandi
9. Ali Heydariyan
10. Farhad Vakili
11. Hossein Khazari
12. Farzad Kamangar
In a final letter released just before his execution, Ehsan Fattahian wrote:
"I don’t want to talk about death; I want to question the reasons behind it. Today, when punishment is the answer for those who seek freedom and justice, how can one fear his fate? Those of "us" who have been sentenced to death by "them" are only guilty of seeking an opening to a better and fair world. Are "they" also aware of their deeds?"
…
"If the rulers and oppressors think that, with my death, the Kurdish question will go away, they are wrong. My death and the deaths of thousands of others like me will not cure the pain; they will only add to the flames of this fire. There is no doubt that every death is the beginning of a new life."
The Kurdish people in Iran live mostly in the northwestern region in the province of Kordestan and other neighboring provinces along the borders of Turkey and Iraq. Kurds in Iran experience political, religious, economic and cultural discrimination.
رێكخراوی جیهانی داكۆكیكار لهمافی مرۆڤ لهوانه رێكخراوی لێبووردنی
About twentyfour United States Navy SEALs approached the === INTERRUPT === THIS CAKE HAS BEEN OCCUPIED.
Taken at Swatch FIVB 11 in Stavanger in July.
All copyrights are reserved, if you are interested in using any of the photos please contact me via flickr mail or at arild.barka@gmail.com
Henri Regnault (1849-1871)
Summary Execution under the Moorish Kings of Grenada
1870
Oil on canvas
H. 305; W. 146 cm
_______________________________________
Henri Regnault was born in Paris in 1843 and killed in 1871 in one of the last battles of the Franco-Prussian war. Yet the young man had already made a name for himself in the Paris art scene. After winning the Prix de Rome in 1868, he was the first not to spend the three compulsory years in the Italian capital that went with the prize but obtained permission to discover other cultures. He went to Spain, whence he sent to the Salon of 1869 the gigantic painting General Juan Prim, also in the Musee d'Orsay, then briefly to North Africa, bringing back a number of astonishing canvases, flooded with light.
Taking his inspiration from local legends, he painted this Summary Execution under the Moorish Kings of Grenada in 1870. Against an architectural background based on the Alhambra in Granada and infused with an orange glow, Regnault has painted a scene of decapitation. The low angle and vigorous rising composition give the main character an imposing presence.
The executioner's detached attitude and commonplace gesture contrast with the foreground in which the blood dripping down the steps joins the severed head to the body. The colours also take part in this opposition because the executioner's caftan, which picks up the orange tones of the background, contrasts with the victim's green and black clothing.
The painting was acclaimed by the critics and bought by the State from Regnault's heirs, in 1872, to honour the artist's memory in the Musée du Luxembourg, Paris.
Sometimes, when I get an idea, I have to try and execute it. Even if that means doing it with no makeup, still in pj's with REALLY bad bed hair.
Here's a repeat of a capture from 2009...I love bringing it, and the story, back again as it brings back the wonderful memory of the visit with some old friends that I seldom see...and came back with this shot!
"Mr. Tom T. Gobble, it is my pleasure to inform you that a last minute phone call from the Governor of the State of Alabama has granted you a permanent stay of execution..."
LOL...actually this guy was never subject to becoming Thanksgiving Dinner...he and several other turkeys are the beloved pets of my friends Gladys and David and they would never let any harm come to them...they are part of their family! Many thanks to them for giving me the opportunity to have this fine fellow added to my photostream for Thanksgiving! : )
13
Worship
One of the characteristics of Icelandic witchcraft is that very few women were accused of witchcraft. Most evidence therefore suggests that in Iceland, witchcraft was primarily practiced by men. Getting away with witchcraft or witchcraft is one of the few examples of specifically female witchcraft.
There is vague evidence of executions for tilbera property in the late 16th century, but in 1635 a major scandal broke out in Kjalarnes due to a rumor that a woman, Álfdís Jónsdóttir, owned tilbera. She was supposed to have inherited it from her mother, who then lived in Suðurnes. The rumor reached the ears of the priests of the mothers and they dared not do anything but refuse the mothers to go to the altar. Finally, the matter was taken up at a meeting of priests and under investigation by the sheriff, but the conclusion was that there was no evidence and the priests were ordered to allow the defendants to go to the altar.
It takes a lot of effort to get the hang of it, as the magic is amazing.
How to prepare the preparation:
A woman who wants to get a tilbera must steal a rib from a cemetery on a white Sunday morning, wrap it in gray wool and keep it between her breasts. Then she must spit mass wine into the vase three times as she goes to the altar, and the tilbera comes to life when she spits on it a third time. When the tilbera grows, the woman must drain the blood from her inner thigh and make a polyp on which the tilbera will suck itself.
Butterflies are very fast in their movements and sometimes roll over or get stuck on their ends. They steal milk from rivers and cows in the pasture, then come to the barn window of the mother butterfly and call: "Full belly, boo," and vomit the milk into the cylinder. The butter that is produced can be recognized by the fact that if a butter lump is pressed on it, it bursts into ice cubes or drofla. A Strandamaður who was born shortly before the turn of the century 1900 said that he had seen such drofla in the mountains up in Árneshreppur.
When a mother pig grows old and pales, the piglet comes so close to her that she can no longer bear to let him suckle her. She then orders him to pick a lamb's spit on three occasions, but he explodes at this because he wants to get back to the inner thigh teat as soon as possible. It is also possible to shoot the piglet with a silver button marked with a butter knot.
FuturPointe Dance – Guy Thorne and N’Jelle Gage
GUY THORNE is the co-founder, artistic director, choreographer and dancer at FuturPointe Dance. As artistic director, he has primary responsibility for the development and execution of the company’s artistic vision. Thorne’s current choreographic work explores the confluence of folklore as well as popular and contemporary dance forms infused with his short film and multi-media creations.
Mr. Thorne recently collaborated with 2013 McArthur Genius Award recipient Carrie Mae Weems on A Story Within A Story, which is a multi- media performance about social identity and visual imagery – with video by Weems, music by Gregory Wanamaker, choreography by Guy Thorne, and additional direction from Kimberley Bouchard. A Story Within a Story was presented at the Lougheed Festival of the Arts at SUNY-Potsdam.
Thorne also teaches for FuturPointe Dance educational programs as well as in master classes and residencies at colleges/universities and for youth in k-12 school outreach programs. Thorne was on the dance faculty at SUNY – Potsdam where he taught ballet, modern dance, and Caribbean urban and folkloric dance. In 2012, he was a Jubilation Foundation fellow. Guy used his Jubilation grant to introduce Rochester area children (ages 5 to 13) to Jonkanoo, a West African and Caribbean performing art that combines costume-making, singing, dancing and drumming.
Thorne has over 15 years of professional experience and has toured extensively and taught master classes throughout the world including in Italy, Germany, Hawaii, France, the United Kingdom and Austria. He received critical acclaim on several occasions from critics in the New York Times and from other major publications. Thorne has danced at world-class venues such as the Ted Shawn Theater at Jacob’s Pillow, Joyce Theater, and The Lincoln and Kennedy Centers, among others. Dance Theatre Production from the Edna Manley College of Visual and Performing Arts. He moved to the United States as a scholarship student at Dance Theater of Harlem in New York City before becoming a principal dancer with Garth Fagan Dance for 7 years. Thorne holds a BFA in Dance from SUNY-Brockport.
N’JELLE GAGE-THORNE FuturPointe Dance co-founder, president and choreographer N’Jelle Gage is an international dancer and educator that has worked extensively throughout the United States, Africa, Central America and the Caribbean. Although the directors of FuturPointe Dance run the company as a collaborative team, in addition to dancing and setting work on the company – Gage is specifically responsible for its administrative leadership.
N’Jelle Gage also teaches master classes in Caribbean contemporary dance techniques (Tecnica Cubana, L’Antech TM, Reggae ballet, Jamaican urban jazz) at college residencies, festivals, the Draper Center for Dance Education in New York State, and studios across the country.
In 2001, she directed and choreographed for Caribbean Performing Arts Ensemble in Florida and gained expertise from her work in music video production and ad campaigns with renowned international artists including Sean Paul, Mutabaruka, Damian Marley and Third World. She also worked as a cultural consultant for film in the United Kingdom.
Gage’s training began in classical ballet where she was the protégé of Norma Spence and performed as a soloist with Jamaica’s first amateur ballet company. During her early teens, she studied with acclaimed Polish ballerina Nina Novak at Academia Ballet Clasico in Caracas, Venezuela. She also studied with in Jamaica with Tatjana Sedunova, the artistic director of the Lithuanian Opera and Ballet Theater.
In 1991, N’Jelle was introduced to the work of Dr. L’Antoinette Stines and at 15 years old she became a professional dancer with Stines’ Avant garde modern dance company; performing in 16 international cities as a dancer with L’Acadco.
Her studies continued with the renowned Cuban ballet and contemporary dance faculty at Instituto Superior/Escuela Nacional de Artes in Havana where she studied modern technique and folklore/Orisha dance. She concluded her studies in Havana, Cuba with an internship with Danza Contemporanea de Cuba in 2000 and graduated with a teaching and performance degree.
台南孔子廟 - 忠義國小 / 回味童年的暑假 - 小孩就是從前的自己
Tainan Confucian temple - The loyalty and patriotism elementary school / Recollection of childhood summer holidays - Child is before himself
Templo del confuciano de Tainan - La escuela primaria de la lealtad y del patriotismo / El recuerdo de las vacaciones de verano de la niñez - Niño es ante sí mismo
台南の孔子廟 - 忠義の国民小学校 / 少年時代の夏休みを回想します - 子供は昔の自分です
Tainan-Konfuzianertempel - Die Volksschule der Loyalität und des Patriotismus / Erinnerung an Sommerferien Kindheit - Kinder ist vor sich selbst
Temple de confucien de Tainan - L'école primaire de fidélité et de patriotisme / Souvenir de vacances enfance d'été - enfant est avant de se
Tainan Taiwan / Tainan Taiwán / 台灣台南
管樂小集 2014/07/25 Chihkan Tower performances
{ 喜歡就好 / Happy enough / 良いことが好きです }
{View large size on fluidr / 觀看大圖}
{My Blog / 管樂小集精彩演出-觸動你的心}
{My Blog / Great Music The splendid performance touches your heart}
{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}
{Mi blog / La gran música el funcionamiento espléndido toca su corazón}
{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}
{Mon blog / La grande musique l'exécution splendide touche votre coeur}
家住安南鹽溪邊
The family lives in nearby the Annan salt river
隔壁就是聽雨軒
The next door listens to the rain porch
一旦落日照大員
Once setting sun according to Taiwan
左岸青龍飛九天
The left bank white dragon flying in the sky
This cross marks the place where the executions took place, most notably the executions of the leaders of the Easter Rising
"9956-- Execution by the Garrote in the Yard of the City Prison, Havana, Cuba" copyright 1899 B.L. Singley, Keystone View Company
Stockholm's executioner once lived and worked on this street (says Fredo). It may look charming, but many people died here.
Contrary to what many believe, actually surprisingly few prisoners were executed inside the walls of the Tower of London. Most prisoners sentenced to death were given public executions at various sites across London - including Tower Hill. Private executions inside the walls here were reserved for only the most sensitive, high profile cases involving prominent figures in society such as nobility and royalty. The executions at the Tower of London commemorated by the new Memorial on the Site of Execution are: A) the seven beheaded near the Site of Execution - their remains are still buried in the Chapel Royal of St. Peter ad Vincula located within the Tower; and B) three Black Watch soldiers who were executed in the 18th century.
This notional scaffold site on Tower Green was railed off and the memorial inscription renewed in 1866 under orders from Queen Victoria. As we know that for each execution the scaffold was temporarily erected in a different position within the Tower, it is possible that this site for the memorial was chosen because it is well placed in front of the Chapel.
In 1483 William, Lord Hastings was hurriedly beheaded after his arrest at a meeting of the royal council on the orders of the Protector, Richard, Duke of Gloucester; while Robert Devereux, 2nd Earl of Essex, former favourite of Elizabeth I, died on her orders at first light on a February morning in 1601. The five female victims were the only English women to suffer death by beheading for treason. Queen Anne Boleyn (1536) and Queen Catherine Howard (1542), Henry VIII's second and fifth wives, had both been convicted of adultery. Jane Boleyn, Viscountess Rochford, Catherine's lady-in-waiting, was implicated in her crime and was executed with her. In 1541 Henry ordered the execution of another of his kinswomen, the 70-year-old Margaret Pole, Countess of Salisbury. Lady Jane Grey, a cousin to the Tudors and briefly declarred Queen, was executed by Queen Mary in 1554 for trying to take the throne and secure the Protestant succession on the death of Edward VI. On July 19 1743, three soldiers from the Black Watch regiment were shot at the Tower on charges of mutiny.
democracystreet.blogspot.com/search?q=execution+island
See also: www.flickr.com/photos/sibadd/3748190033/
Jim Potts wrote to me 'I am interested in the suggestion that Theodorakis' brother may have been buried on Lazaretto Island. What is your source for this information? It seems very unlikely to me. I have a book in Greek about all the executions that took place, and I do not recall any mention of this. Jim
Jim. My source went unchecked. See the comment by Kerkira (Jenny Mulder) - on this photo.
(quote) This is a photo of the islet Lazaretto. Lazaretto was the execution area for at least 112 political prisoners of Corfu between 1942-1944 and 1947-1949. A couple of years ago an old man told me terrible stories how people (mostly communists from the Epirus Mainland) were executed there. To make things legal there was even a public prosecutor present during the executions. The brother of Mikis Theodorakis is also buried here. Every year Mr Theodorakis comes to Corfu to visit the grave of his brother (unquote)
On reflection I wonder if 'brother' might mean 'comrade'. The album of songs that Theodorakis composed supplemented this account - To Tragoudi Tou Nekrou Adelfou-Lipotaktes
en.mikis-theodorakis.net/index.php/article/articleview/31...
Message from Jim Potts on 16 July 2012: Simon, Now back in Corfu for a few days. Today will be the hottest day of the year. Anyway, I checked the book by the Lazaretto Association: "Yia sas adelfia: The Corfu and Lazaretto Prisons 1947-1949" (in Greek; Athens 1996). It has a complete list of all those who were executed- ten pages with all relevant details of 112 people. No mention of any Theodorakis. I don't think the book contains any mention of a visit to Lazaretto by Mikis Theodorakis, so if "The Ballad of the Dead Brother" drew any inspiration from Corfu's Lazaretto Prison, I imagine it would have been part of a more general sense of the tragedy of a fratricidal civil war. Jim
See also: somatio-lazareto.gr/el/
Man tied to canon, or "blowing from a gun" execution cover, Dick Norton El Heroe del Far-West No. 66, circa 1930, El Espia Rojo (The Red Spy), anonymous. "The mouth of the canon dug into his back."
When visiting Kommern(open-air museum in Germany, Eifel) we had the chance to see an old-fashioned(or probably better: historic) fair. Typically for those fairs in the past were attractions for the country people which they were not able to see in reality.
These things were also interesting even when it only was a fake. For example the possibility to see an execution on an original french guillotine.
Tony Selmersheim (1840-1916), Petroleum Lamp, Paris, ca. 1900, Execution: Plumet & Selmersheim, gilded bronze
Tony Selmersheim (1840-1916), Petroleumlampe, Paris, um 1900, Ausführung: Plumet & Selmersheim, Bronze vergoldet
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
FuturPointe Dance – Guy Thorne and N’Jelle Gage
GUY THORNE is the co-founder, artistic director, choreographer and dancer at FuturPointe Dance. As artistic director, he has primary responsibility for the development and execution of the company’s artistic vision. Thorne’s current choreographic work explores the confluence of folklore as well as popular and contemporary dance forms infused with his short film and multi-media creations.
Mr. Thorne recently collaborated with 2013 McArthur Genius Award recipient Carrie Mae Weems on A Story Within A Story, which is a multi- media performance about social identity and visual imagery – with video by Weems, music by Gregory Wanamaker, choreography by Guy Thorne, and additional direction from Kimberley Bouchard. A Story Within a Story was presented at the Lougheed Festival of the Arts at SUNY-Potsdam.
Thorne also teaches for FuturPointe Dance educational programs as well as in master classes and residencies at colleges/universities and for youth in k-12 school outreach programs. Thorne was on the dance faculty at SUNY – Potsdam where he taught ballet, modern dance, and Caribbean urban and folkloric dance. In 2012, he was a Jubilation Foundation fellow. Guy used his Jubilation grant to introduce Rochester area children (ages 5 to 13) to Jonkanoo, a West African and Caribbean performing art that combines costume-making, singing, dancing and drumming.
Thorne has over 15 years of professional experience and has toured extensively and taught master classes throughout the world including in Italy, Germany, Hawaii, France, the United Kingdom and Austria. He received critical acclaim on several occasions from critics in the New York Times and from other major publications. Thorne has danced at world-class venues such as the Ted Shawn Theater at Jacob’s Pillow, Joyce Theater, and The Lincoln and Kennedy Centers, among others. Dance Theatre Production from the Edna Manley College of Visual and Performing Arts. He moved to the United States as a scholarship student at Dance Theater of Harlem in New York City before becoming a principal dancer with Garth Fagan Dance for 7 years. Thorne holds a BFA in Dance from SUNY-Brockport.
N’JELLE GAGE-THORNE FuturPointe Dance co-founder, president and choreographer N’Jelle Gage is an international dancer and educator that has worked extensively throughout the United States, Africa, Central America and the Caribbean. Although the directors of FuturPointe Dance run the company as a collaborative team, in addition to dancing and setting work on the company – Gage is specifically responsible for its administrative leadership.
N’Jelle Gage also teaches master classes in Caribbean contemporary dance techniques (Tecnica Cubana, L’Antech TM, Reggae ballet, Jamaican urban jazz) at college residencies, festivals, the Draper Center for Dance Education in New York State, and studios across the country.
In 2001, she directed and choreographed for Caribbean Performing Arts Ensemble in Florida and gained expertise from her work in music video production and ad campaigns with renowned international artists including Sean Paul, Mutabaruka, Damian Marley and Third World. She also worked as a cultural consultant for film in the United Kingdom.
Gage’s training began in classical ballet where she was the protégé of Norma Spence and performed as a soloist with Jamaica’s first amateur ballet company. During her early teens, she studied with acclaimed Polish ballerina Nina Novak at Academia Ballet Clasico in Caracas, Venezuela. She also studied with in Jamaica with Tatjana Sedunova, the artistic director of the Lithuanian Opera and Ballet Theater.
In 1991, N’Jelle was introduced to the work of Dr. L’Antoinette Stines and at 15 years old she became a professional dancer with Stines’ Avant garde modern dance company; performing in 16 international cities as a dancer with L’Acadco.
Her studies continued with the renowned Cuban ballet and contemporary dance faculty at Instituto Superior/Escuela Nacional de Artes in Havana where she studied modern technique and folklore/Orisha dance. She concluded her studies in Havana, Cuba with an internship with Danza Contemporanea de Cuba in 2000 and graduated with a teaching and performance degree.