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Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para tratar sobre "Proposta de implementação da contribuição brasileira: o papel fundamental do Congresso Nacional."
Em pronunciamento, à mesa, diretora substituta do Departamento de Políticas em Mudança do Clima do Ministério do Meio Ambiente, Alexandra Albuquerque Maciel.
Foto: Pedro França/Agência Senado
Carmen Lomellin, Ambassador, Permanent Representative of the United States to the OAS
Date: June 12, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Ecuador, 02 de Octubre del 2024.- Asambleísta Rosa Belén Mayorga, presenta el proyecto de Reforma a la Ley Orgánica de la Función Legislativa, para la Conformación de la Comisión Permanente de Derechos de las Mujeres y Género.
Foto David Vela / Asamblea Nacional
Mickalene Thomas, born Camden, NJ 1971
Portrait of Mnonja, 2010, rhinestones, acrylic, and enamel on wood panel, 96 x 120 in.
Mickalene Thomas covered the surface of Portrait of Mnonja with sparkling rhinestones that adorn the reclining figure's clothing, makeup, and high-heeled shoes. The colorful plastic gems are not usually found on paintings or in museums, but they are at the heart of Thomas's art.
Although she first started working with rhinestones because they were inexpensive, Thomas finds them to be the ideal material to represent the Black women who are her subjects. She loves to use an element of women's crafts that is often dismissed as unimportant.
In Mnonja, the straightforward appeal of the stones emphasizes the sitter's powerful presence and sensuality. "Beauty has always been an element of discussion for Black women," Thomas explains, "whether or not we were the ones having the conversation."
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"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."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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Permanent Mission of Italy to the United Nations - Visit of the Minister of Foreign Affairs, Mr. Angelino Alfano to the headquarters of the United Nations
Edward Hopper - American, 1882 - 1967
Ground Swell, 1939
West Building, Ground Floor — Gallery G6
A buoy and a sailboat with three men and a woman tip at an angle on rolling aquamarine and azure-blue waves in this horizontal painting. The white wooden boat sails away from us toward the right side of the composition. Its unfurled sail is tinged with taupe and pale blue and attached to a pale wooden mast. The boat has a low cabin with round portholes on the side we can see. Two of the men are shirtless, tanned, and have their backs to us. One sits in the cockpit wearing a white hat with a short brim as he holds the tiller. The other man stands on the deck with his arms crossed. Beyond the standing man, the woman lies along the roof of the cabin, her head at about the height of the man’s chest. She is barefoot and lies on her stomach wearing long, blue pants and a watermelon-pink halter top and matching kerchief covering her hair. The third man stands to her right, his slender body angled toward us while holding onto the mast with one hand and rigging with the other. The woman and third man have noticeably pale skin. A buoy near the boat is battleship-gray with streaks of rust along its base and a copper-green bell inside. It floats just to the left of and tips toward the boat on a rising swell. The scene is lit by bright sunlight coming from the left side of the baby-blue sky with bands of feathery clouds, which takes up the top two-thirds of the composition. The artist signed the lower right, “EDWARD HOPPER.”
Edward Hopper’s lifelong enthusiasm for the sea developed when he was a boy in Nyack, New York, then a prosperous Hudson River port with an active shipyard. Years later, in 1934, he and his wife built a house and studio in South Truro, Massachusetts, where he produced a number of oil paintings and watercolors manifesting his avid interest in nautical subjects.
Despite its bright palette and seemingly serene subject, Ground Swell echoes the themes of loneliness and escape typical of Hopper's oeuvre. The blue sky, sun-kissed figures, and vast rolling water strike a calm note in the picture; however, the visible disengagement of the figures from each other and their noticeable preoccupation with the bell buoy placed at the center of the canvas call into question this initial sense of serenity. The lone dark element in a sea of blues and whites, the buoy confronts the small catboat in the middle of an otherwise empty seascape. Its purpose, to emit a warning sound in advance of unseen or imminent danger, renders its presence in the picture ominous. The cirrus clouds in the blue sky—often harbingers of approaching storms—reinforce this sense of disturbance in the otherwise peaceful setting. Although Hopper resisted offering explanations of his paintings, the signs of impending danger here may also reference a more severe disturbance: during the time that Hopper worked on Ground Swell, from August to September 15, 1939, World War II broke out in Europe.
Edward Hopper was born in Nyack, New York, in 1882 to a middle-class family. After he graduated high school in 1899, his parents, though supportive of his artistic ambitions, encouraged him to pursue commercial illustration. He studied at the Correspondence School of Illustrating in New York City for a year before enrolling in classes at the New York School of Art in 1900, where he switched his focus to fine art. There, Hopper studied under William Merritt Chase (American, 1849 - 1916) and Robert Henri (American, 1865 - 1929), who encouraged their students to paint the everyday realities of the world around them. In 1906 he briefly worked part-time as an illustrator and then, over the next four years, made three extended trips to Paris and other European cities, where he was particularly influenced by the works of Edgar Degas (French, 1834 - 1917) and Edouard Manet (French, 1832 - 1883).
In 1910, Hopper moved to 3 Washington Square North in Greenwich Village, where he would live and work for the rest of his life (although from 1930 on he spent nearly every summer on Cape Cod and built a house in South Truro in 1934). For the next decade, as Hopper sought recognition from the art world, he continued to earn his living as an illustrator—work he disliked and would later attempt to conceal. During this period Hopper exhibited his paintings in a number of group shows in New York City, including the Exhibition of Independent Artists in 1910 and the 1913 Armory Show.
Hopper took up printmaking in 1915, and although he continued to paint in oil, it was the artist’s etchings that first achieved both critical and commercial success. It was also in this medium that Hopper developed a recognizable style in which ordinary places—motels, gas stations, restaurants—while realistically rendered, are pervaded with a sense of estrangement or loneliness. His human figures, if they appear at all, are solitary and pensive. In these etchings, and later paintings, mysterious moods are often reinforced through dramatic lighting, both natural and artificial. Both as a painter and a printmaker, Hopper used realism’s contemporary subject matter and structured compositions to explore the alienation and anxieties of modern life.
In 1923 six of Hopper’s watercolors were accepted to the Brooklyn Museum’s International Watercolor Exhibition, from which the museum purchased Mansard Roof (1923) for $100. The following year he gave up commercial work to paint full time and married Josephine “Jo” Verstille Nivison, a fellow pupil from Robert Henri’s class and herself an accomplished painter. Jo would prove indispensible to Hopper’s artistic success: not only did she pose for many of his female figures and encourage his work in watercolor, but she took over from her husband the task of keeping detailed records of his artistic production, including where works were shown and to whom they were sold, ultimately producing an impressive archive of Hopper’s long career.
Hopper’s success in both exhibiting and selling his work continued to grow. In 1927 his solo show of watercolors at the Frank K. Rehn Gallery in New York attracted favorable reviews and every work exhibited was sold (including one work to fellow artist George Bellows). During the '20s the artist also sold works to the Art Institute of Chicago, the Metropolitan Museum of Art, the Pennsylvania Academy of the Fine Arts, and to the collector Duncan Phillips. In 1930 his painting House by the Railroad (1925) was the first painting by any artist to enter the collection of the Museum of Modern Art (MoMA) in New York. Three years later, MoMA’s founding director, Alfred H. Barr Jr., organized a retrospective of the artist’s work at that museum, though some critics did not find Hopper’s realist style modern enough.
Throughout his career, Hopper was the subject of several more retrospective exhibitions and was chosen to represent the United States at the 1952 Venice Biennale. Though some critics at midcentury failed to see the abstract structures underlying Hopper’s realism and dismissed his work as “illustrative,” by the 1960s a new generation of artists working in pop art and photorealism claimed him as an important influence on their work. The artist and his wife both died in New York, only ten months apart.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Reunião do Grupo Permanente de Estudos Jurídicos do Sistema Sebrae - GEJUR. O encontro ocorreu na sede do Sebrae-SP. Data: 14/10/2013. Local: São Paulo, SP. foto: Patrícia Cruz / A2FOTOGRAFIA.
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião para análise de requerimentos.
A comissão mista foi criada em 2019 para acompanhar movimentos migratórios nas fronteiras do Brasil e a situação dos refugiados internacionais dentro do País. O colegiado precisa ser reinstalado todos os anos. A composição é de 12 senadores e 12 deputados como membros titulares e mesmo número de suplentes, escolhidos pelo critério da proporcionalidade partidária.
Mesa:
presidente da CMMIR, senadora Mara Gabrilli (PSD-SP);
relator da CMMIR, deputado Túlio Gadêlha (Rede-PE).
Foto: Roque de Sá/Agência Senado
The Annunciation
c. 1434/1436
Jan van Eyck
Netherlandish, c. 1390 - 1441
A play and a painting appear to have merged in Jan van Eyck’s dramatic Annunciation, which is rich with Christian symbolism. The rainbow-winged archangel Gabriel tells the Virgin Mary that God has chosen her to bear his son. This message is revealed in gold letters near the angel’s mouth. Mary throws up her hands in surprise but accepts her fate. Her reply is noted in a golden phrase, written in reverse for God to see from above. This divine scene is set in a church, with every arch, window, and column finely rendered in detail.
A woman and winged angel, both with pale, peach skin, are situated in a church interior in this tall, narrow painting. To our left, the angel has long, blond, curly hair, smooth skin, and is smiling. The wings are outlined in royal blue, and they blend from blue to green to yellow to crimson. The angel holds one hand, closer to us, up at chest height with the index finger subtly pointing upward. Holding a long scepter in the other hand, the angel angles their body toward the woman to our right. The angel wears a gold jewel and pearl-encrusted crown and a jeweled long, voluminous robe in scarlet-red and shimmering gold brocade. The neck and along the opening down the front are lined with pearls and jewels. The angel looks toward the woman, who wears a royal-blue dress tied with a red belt at the high waist. Her long brown hair is tied back but one tendril falls over her left shoulder, to our right. She kneels facing us with her raised hands facing outward. Her head is tipped a bit to our left, and she looks up and into the distance to our right with lips slightly parted. She kneels behind a book lying open on a low table. A vase of white lilies and a red cushion lies on the floor in front of the table, close to us. The floor is decorated with people and scenes outlined in black and set into square panels, as if inlaid with wood. The church behind and above the people has a row of tall, narrow arches with bull’s-eye glass windows. A walkway lined with columns runs above the arches, and sunlight comes in through arched windows under the flat wood ceiling. A white dove flies toward the woman on gold lines from a window at the upper left of the painting. Latin words painted in gold capital letters are exchanged between the people. The angel says, “AVE GRA PLENA.” The letters of the woman’s response are painted upside down and backward: “ECCE ANCILLA DNI.”
The Annunciation described by Saint Luke is interpreted in terms of actuality in this painting, which was probably once the left wing of a triptych. The forms—even that of the archangel—seem to have weight and volume. Light and shadow play over them in a natural way, and with amazing skill, Jan van Eyck has distinguished between the textures of materials ranging from hard, polished stone to the soft, fragile petals of flowers.
Yet religious symbolism speaks from every detail, expounding the significance of the Annunciation, and the relationship of the Old Testament to the New. The structure of the church can be interpreted symbolically; the dark upper story, with its single, stained–glass window of Jehovah, may refer to the former era of the Old Testament, while the lower part of the building, already illuminated by the "Light of the World" and dominated by transparent, triple windows symbolizing the Trinity, may refer to the Era of Grace of the New Testament. The idea of passing from old to new is further manifested in the transition from the Romanesque round–arched windows of the upper story to the early Gothic pointed arches of the lower zone, and also in the depictions on the floor tiles: David beheading Goliath and Samson destroying the Philistine temple are both Old Testament events in the salvation of the Jewish people which prefigure the salvation of humankind through the coming of Christ.
More information on this painting can be found in the Gallery publication _Early Netherlandish Painting_, which is available as a free PDF
https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/early-netherlandish-painting.pdf
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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A Comissão Permanente Mista de Combate à Violência Contra a Mulher realizou audiência pública para debater a violência contra a mulher no campo e na floresta. O objetivo é debater os reflexos do machismo e da misoginia que vitimam as mulheres que vivem e habitam no Brasil Profundo.
Participaram da mesa Ângela Mendes, representante do Conselho Nacional de Seringueiros, Beatriz Cruz da Silva, Assessora da Secretaria Nacional de Segurança Pública do Ministério da Justiça, Carliene dos Santos Oliveira, representante da Confederação Nacional dos Trabalhadores na Agricultura, Socorro Prado, representante do Movimento Articulado de Mulheres da Amazônia e Sonia Maria Coelho Gomes Orellana, representante da Marcha Mundial de Mulheres.
A Comissão também conta com a presença das Deputadas Carmem Zanotto e Maria do Rosário e da Senadora Regina Sousa.
"A gente vive num momento em que ser mulher virou um problema. Eu, filha de seringueiro, da floresta e sendo mulher tenho os mesmos direitos que qualquer um! Hoje trago pra essa Casa o nome de 3 mulheres que estão sendo ameaçadas, sendo uma delas liderança, por serem quem são. Não queremos mais viver assim"
Angela Mendes - Secretaria Nacional do Conselho Nacional de Seringueiros
Fotos: Mídia NINJA (CC-BY-SA 4.0)
Amboy and Roy's Cafe
Amboy, settled as early as 1858, became a water stop when the Southern Pacific Railroad laid its tracks through the Cadiz Valley in 1883-84. Following the course of the railroad and the National Old Trails Highway, Route 66 was opened in 1926. Amboy soon saw heavy traffic along “The Mother Road” as flivvers, Dust Bowl emigrants, soldiers and vacationers made their way through the Mojave Desert. Facilities included a cafe, service station, school, motel and post office. Water was hauled by rail from Newberry Springs, 50 miles to the west.
Roy's has served travelers along Route 66 from the beginning. Opened by Roy Crowl and later operated by Roy's son-in-law Buster Burris, Roy’s has provided hot food, a cold drink, and gasoline to many a weary sojourner. Motorists could spend the night at the motel while vehicles of all types were serviced at the garage. Even after Interstate 40 bypassed the town in 1973, Roy's has served as a welcome oasis in a lonely stretch of desert.
Dedicated March 18, 2006, by the Billy Holcomb Chapter of the Ancient and Honorable Order of E Clampus Vitus
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza audiência pública remota para debater acerca dos deslocamentos humanos forçados e mudanças climáticas.
Na tela, coordenador do Fórum Nacional de Conselhos e Comitês Estaduais para Refugiados Apátridas Migrantes, Thales Egídio Macedo Dantas, em pronunciamento via videoconferência.
Foto: Edilson Rodrigues/Agência Senado
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião semipresencial para apresentação do relatório final de atividades.
À mesa, relator da CMMIR, deputado Túlio Gadêlha (PDT-PE).
Foto: Geraldo Magela/Agência Senado
Rita Claverie Díaz De Sciolli, Ambassador, Permanent Representative of Guatemala to the OAS
Date: September 27, 2018
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
Primera sesión del Seminario que se celebra en el Aula Magna de la Facultad Ciencias de la Salud, presentando al primer ponente la Directora de la Universidad Permanente Millán Santos, Mercedes Rodríguez Pequeño
What a breath of fresh air this festival was, even on a humid summer night. Both Alien Observer and Permanent Destruction blew me away, friday night.
Fase eliminatoria de guitarra del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que se celebra entre el 23 y el 25 de marzo´12 en la ciudad de Ávila, organizado por Juventudes Musicales de Ávila.
La fase eliminatoria tuvo lugar en el Auditorio del Conservatorio de Música de Ávila.
Faith Ringgold talks about her Print Suite Martin Luther King Letter From a Birmingham Jail at John Jay College. Prof. Lisa Farrington responds.
Realizado em Brasília nos dias 19, 20 e 21 de novembro, uma iniciativa do Ministério da Saúde, por meio da Secretaria de Gestão do Trabalho e da Educação na Saúde, do Departamento de Gestão e Regulação do Trabalho (DEGERTS) e da Mesa Nacional de Negociação Permanente do SUS (MNNP-SUS), com o objetivo de contribuir para a consolidação das diretrizes da Política Nacional de Negociação Permanente do SUS e do seu Sistema Nacional de Negociação Permanente – SINNP-SUS.
Fotos: Ana Oliveira/MNNP-SUS
Pierre-Henri Guignard, Ambassador, Permanent Observer of France to the OAS
Date: March 15, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública interativa para debater aspectos civis do sequestro internacional de crianças, com a presença, entre outros, dos ministros da Justiça, Torquato Jardim, e das Relações Exteriores, Aloysio Nunes Ferreira.
à mesa, mãe de criança com processo de repatriação, Valéria Ghisi.
Foto: Waldemir Barreto/Agência Senado
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Frank Romero, Born East Los Angeles, CA 1941
Death of Rubén Salazar, 1986, oil on canvas, 72 1⁄4 x 120 3⁄8 in.
n this painting, Frank Romero interprets the death and legacy of Rubén Salazar, a civil rights activist and writer for the Los Angeles Times in the 1960s. In the aftermath of a major Chicano protest in East LA in 1970 against the Vietnam War, police fired tear-gas canisters into the Silver Dollar Bar and Café, where Salazar and two others were struck and killed.
Romero combined the large scale of Mexican Revolution murals with the bold colors of the barrio (the Spanish-speaking neighborhood). He depicts authoritarian force muscling in on lowrider culture, using symbols and hues that embody its vibrance and resilience.
To the left of the café, the Casa de Cambio, a money exchange, also suggests the idea of change in the community. To the right, a movie theater marquee announces a film based on Salazar's death, envisioning a world in which the event is enshrined in history.
Frank Romero grew up in the culturally mixed, middle-class Los Angeles community of Boyle Heights and was well into his career by the time he developed a consciousness of being a Latino artist. During the height of the Chicano civil rights movement in the early 1970s, as a member of the Chicano artists' group "Los Four," he attained a new, high-profile status in the larger art community. It was not until the mid-1980s, however, that Romero could give visual form to some of the emotionally charged political events he had witnessed. [See Death of Rubén Salazar, SAAM, 1993.19.]
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"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."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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permanent art comissions for Weston super Mare. Opened October 2010. This is Tim Etchells work in a shelter on the promenade. Letters are etched into the glass.
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Sonia Merlyn Johnny, Ambassador, Permanent Representative of Saint Lucia to the OAS
Date: May 28, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
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