Pike Place Market and Gum Wall - Seattle Washington 4K
Pike Place Market and Gum Wall - Seattle Washington 4K
Seattle is a city on Puget Sound in the Pacific Northwest, is surrounded by water, mountains and evergreen forests, and contains thousands of acres of parkland. Washington State’s largest city, it’s home to a large tech industry, with Microsoft and Amazon headquartered in its metropolitan area. The futuristic Space Needle, a 1962 World’s Fair legacy, is its most iconic landmark.
Among Seattle's prominent annual fairs and festivals are the 24-day Seattle International Film Festival, Northwest Folklife over the Memorial Day weekend, numerous Seafair events throughout July and August (ranging from a Bon Odori celebration to the Seafair Cup hydroplane races), the Bite of Seattle, one of the largest Gay Pride festivals in the United States, and the art and music festival Bumbershoot, which programs music as well as other art and entertainment over the Labor Day weekend. All are typically attended by 100,000 people annually, as are the Seattle Hempfest and two separate Independence Day celebrations.
Other significant events include numerous Native American pow-wows, a Greek Festival hosted by St. Demetrios Greek Orthodox Church in Montlake, and numerous ethnic festivals (many associated with Festál at Seattle Center).
There are other annual events, ranging from the Seattle Antiquarian Book Fair & Book Arts Show; an anime convention, Sakura-Con, Penny Arcade Expo, a gaming convention; a two-day, 9,000-rider Seattle to Portland Bicycle Classic; and specialized film festivals, such as the Maelstrom International Fantastic Film Festival, the Seattle Asian American Film Festival (formerly known as the Northwest Asian American Film Festival), Children's Film Festival Seattle, Translation: the Seattle Transgender Film Festival, the Seattle Gay and Lesbian Film Festival, Seattle Latino Film Festival, and the Seattle Polish Film Festival.
The Henry Art Gallery opened in 1927, the first public art museum in Washington. The Seattle Art Museum (SAM) opened in 1933; SAM opened a museum downtown in 1991 (expanded and reopened 2007); since 1991, the 1933 building has been SAM's Seattle Asian Art Museum (SAAM). SAM also operates the Olympic Sculpture Park (opened 2007) on the waterfront north of the downtown piers. The Frye Art Museum is a free museum on First Hill.
Regional history collections are at the Log House Museum in Alki, Klondike Gold Rush National Historical Park, the Museum of History and Industry, and the Burke Museum of Natural History and Culture. Industry collections are at the Center for Wooden Boats and the adjacent Northwest Seaport, the Seattle Metropolitan Police Museum, and the Museum of Flight. Regional ethnic collections include the Nordic Heritage Museum, the Wing Luke Asian Museum, and the Northwest African American Museum. Seattle has artist-run galleries,[205] including ten-year veteran Soil Art Gallery, and the newer Crawl Space Gallery.
The Seattle Great Wheel, one of the largest Ferris wheels in the US, opened in June 2012 as a new, permanent attraction on the city's waterfront, at Pier 57, next to Downtown Seattle. The city also has many community centers for recreation, including Rainier Beach, Van Asselt, Rainier, and Jefferson south of the Ship Canal and Green Lake, Laurelhurst, Loyal Heights north of the Canal, and Meadowbrook.
Woodland Park Zoo opened as a private menagerie in 1889 but was sold to the city in 1899. The Seattle Aquarium has been open on the downtown waterfront since 1977 (undergoing a renovation in 2006). The Seattle Underground Tour is an exhibit of places that existed before the Great Fire.
Since the middle 1990s, Seattle has experienced significant growth in the cruise industry, especially as a departure point for Alaska cruises. In 2008, a record total of 886,039 cruise passengers passed through the city, surpassing the number for Vancouver, BC, the other major departure point for Alaska cruises.
Franknleen
National Gallery Of Art | Thing to do in Washington | Seattle
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The National Gallery of Art and its Sculpture Garden are a national art museum in Washington, D.C., located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was privately established in 1937 for the people of the United States of America by a joint resolution of the United States Congress. Andrew W. Mellon donated a substantial art collection and funds for construction. The core collection also includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Brown Widener, Joseph E. Widener, and Chester Dale. More info:
Seattle (Listeni/siˈætl/ see-at-əl) is a coastal seaport city and the seat of King County, in the U.S. state of Washington. With an estimated 652,405 residents as of 2013, Seattle is the largest city in both the State of Washington and the Pacific Northwest region of North America and the fastest-growing major city in the United States.[5] The Seattle metropolitan area of around 3.6 million inhabitants is the 15th largest metropolitan area in the United States.[6] The city is situated on a narrow isthmus between Puget Sound (an inlet of the Pacific Ocean) and Lake Washington, about 100 miles (160 km) south of the Canada–United States border. A major gateway for trade with Asia, Seattle is the 8th largest port in the United States and 9th largest in North America in terms of container handling.[7]More info:
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Native American Artist Series: Andy Wilbur Peterson
Andy is a member of the Skokomish (Twana) Nation. He was born in Shelton, Washington in 1955. He has lived in the Skokomish community all of his life.
At the age of twelve, he became aware of his culture. It was then that he learned to make baskets and to gather basket materials with Skokomish elders Louisa Pulsifer and Emily Miller. After some experimentation in different mediums he became inspired to try carving after a tour he took at the Capital Museum in Olympia, Washington.
At the age of eighteen he taught himself how to carve, paint and make bentwood boxes. His early work was mostly in the Northern style because that was most available and visible in order to learn from. Andy has carved and created many different types of art such as bent wood boxes, drums, rattles, masks, paddles, speaker staffs, bowls and totem poles.
In 1987, Andy graduated from the Evergreen State College with a B.A. While attending Evergreen, he assisted Makah artist Greg Colfax in carving a 12' Woman Welcoming Figure for the campus. Through this experience he became inspired and started researching Salish style art. His research began in the archives of both the University and Capital Museums. Later visits to the University of British Columbia broadened Wilbur's knowledge. Another educational influence was the work of Andy's great grandfather, Henry Allen, an artist talented at both carving and storytelling. Allen was also the major informant of an ethnographic study of the Twana People.
Andy has contracted to do art work for many different organizations and private collectors. In 1987 he was nominated for the Heritage Award through the National Endowment for the Arts. Some of Wilbur's shows include the following :
2008 Seattle Art Museum Seattle, WA
1996 Burke Museum Seattle, WA
1994 King County Arts Commission Seattle, WA
1992 Capital Museum Olympia, WA
1992 Northwest Native Expressions Jamestown S'Kallam, WA
1991 Quintana Galleries Portland, OR
1990 Legacy Seattle, WA
1984 Evergreen State College Olympia, WA
1984 Portland Art Institute Portland, OR
1984 Snow Goose Seattle, WA
1984 WA State Art Commission Olympia, WA
1983 Skokomish Tribal Center Shelton, WA
In 1994 -95, Andy worked with Steve Brown on a 10' tall Salish style pole for King County Arts Commission in Seattle. Later in 1995, along with Greg Colfax, he completed a Westcoast style Thunderbird pole that is 9' tall with a wingspan of 16' that is installed at the Washington State Arts Commission in Olympia, WA.
Andy Wilbur continues to contribute to the revival of Salish art in many ways. Over the years he has taught carving, graphics and painting classes to people of all ages at many schools and to many Tribes. His goals are to continue carving and teaching and to learn all he can about his traditional life style and art forms.
Isaac Witkin
Isaac Witkin, internationally renowned modern sculptor, was born in Johannesburg, South Africa on 10 May 1936, and he died 23 April 2006. Witkin entered Saint Martin's School of Art in London in 1957. Studying under Sir Anthony Caro and alongside other luminaries in training such as Phillip King, William G. Tucker, David Annesley and Michael Bolus, Witkin learned and helped create a new style of sculpture that led to their being called the New Generation of sculptors when their innovating abstract forms of modern sculpture reached and changed the art world. Witkin's work, abstract works of usually brightly coloured fibreglass or wood, in particular was noted for its witty, Pop-Art look.
After graduating from Saint Martin's in 1960, Witkin was an apprentice of Henry Moore until 1963. Witkin's work was well received in his first solo show at Rowan Gallery, London and in an important 1964 show at Whitechapel Gallery, also in London, where Witkin and his fellow Saint Martin's New Generation sculptors made their big entry into the English art world. In 1965 his work received a first prize in the Paris Biennale. His piece, Nagas, was included in the seminal 1966 exhibit, Primary Structures at the Jewish Museum in New York representing the British influence on the New Art anchored by Anthony Caro.
Witkin then moved from pupil to teacher, teaching at Saint Martin's for two years. He then moved to the United States. At Bennington College, Bennington, Vermont, Witkin worked with a community of artists known as the Green Mountain boys who either taught at the school or were part of the local arts community, including notables such as painter Kenneth Noland, Helen Frankenthaler, Larry Poons, Paul Feeley and Jules Olitski and art critic Clement Greenberg.
Witkin's works at this time were in the style of formalist abstractions, moving from the fiberglass and wood of his earlier works to heavy welded steel industrial structures with complex Cubist compositions. These were well received in America, notably during a 1966 show at the Jewish Museum, in New York City, and various other showings in that city thereafter. In 1978 Witkin moved to New Jersey, becoming associated with the Johnson Atelier, Princeton, New Jersey, where he was an artist in residence.
During this time Witkin developed the style which would form the remainder of his works. Here he discovered a process of pouring molten bronze into wet sand on the ground to create organic appearing forms. By assembling these forms he engaged in ...creating language out of the behavioural flow of metal, wresting order from chaos as he is quoted as describing the process in his obituary at The Times Online website. The remainder of his works were primarily in bronze, both poured and then cast, coloured by chemicals to have a variety of patinas. However some later work was done also done in stone though in the same style as the poured bronzes.
Witkin subsequently taught at the Parsons School of Design, New York, New York, and the Philadelphia College of Art, Philadelphia, Pennsylvania and Burlington County College, Pemberton, New Jersey. He also was honoured as a Member of the National Academy, New York, NY and as a Member, Royal Society of British Sculptors. During his career Witkin also received the following awards: State of New Jersey Art Achievement Award, Burlington County College Foundation; Adolph and Esther Gottlieb Foundation Grant; New Jersey State Council on the Arts Grant and in 1981 a Guggenheim Fellowship.
Through his work Witkin became an acquaintance of fellow sculptor and patron of the arts J. Seward Johnson, Jr., of the Johnson and Johnsons. This friendship allowed Witkin to persuade Johnson to buy and transform the abandoned New Jersey Fairgrounds into what became the Grounds for Sculpture Park, a 35-acre (140,000 m2) open air display of sculptures in Hamilton Township, New Jersey. Several of Witkin's works are among the Grounds permanent collections. Witkins work is also included in the permanent collections of the Smithsonian American Art Museum, Washington DC, the Centre for Modern Art, Calouste Gulbenkian Foundation, Lisbon, Portugal; Fine Arts Museum, University of Sydney, Australia; the Hirshhorn Museum and Sculpture Garden, Washington, DC; Laumier Sculpture Park, St. Louis, MO; Tate Gallery, London; and The Israel Museum, Jerusalem. His work is also displayed on his family's website, isaacwitkin.com.
Isaac Witkin died 23 April 2006 of a heart attack at his home in Pemberton, New Jersey. He is survived by his two daughters, his sizeable body of work, and the artists it has inspired.
Music: Bud Powell - A Night in Tunisia
Artist in Residence Rodrigo Valenzuela | Clark College Vancouver WA
Clark College Artist in Residence discusses his influences, his collaboration with Clark students, and his exhibition Help Wanted.
As the title Help Wanted implies this exhibit is about labor -- the menial work done by migrant workers and the jobs that Clark College students take to support themselves. The gallery itself is divided between videos and photographs by Valenzuela and work (a video, wall murals, and 3-D objects) done in collaboration with Clark College students.
Rodrigo Valenzuela left Chile in 2005 to look for a place where he could grow personally and artistically, initiating his transition from being an emerging award-winning artist and teaching assistant at the University of Chile to being an illegal concrete laborer in Boston which, not surprisingly, changed his art-making process completely.
True Story. I lived three years without documentation in the United States. I searched for work standing on the street and at labor agencies. I hired out as general labor on various construction sites. During this time, I never felt that my job defined me. Not because I thought that I was better than the other workers. Honest hard labor always makes me feel more skillful than editing videos or taking a photo.
Valenzuela chooses the singular figure of the goalkeeper as metaphor for the persisting existence of social stereotypes of migrant workers in America. The idea of the goalkeeper is powerful because there is an opportunity to relate, pass judgment, empathize, or sympathize. The goalkeeper can be seen as an underdog of society; a person, who invisibly takes all the risks, but reaps little to none of the reward when the majority succeeds. (Brian Ohno)
Location and dislocation are central themes for Valenzela's work.
In the series Auriatic Workers, Rodrigo hired day laborers to play soccer in his studio. He took photographs and videos and then rearranged the figures and erased the ball. These altered scenarios have a poetry and pathos that transcends reality, the images and videos exist in a strangely other cinematic zone. The dislocation of the workers is the only truth that remains.
In other works Valenzuela shows the viewer every detail of photographic set or mise-en-scène. He asks you to consider how the arrangement of photographic set or location effects your perception of spatial relationships and alters the mood a photographic studio. His Goalkeeper series captures information that exists both within and outside the pictorial frame.
Valenzuela's work has been shown at: MOCA Miami; National Academy Museum in New York; North Dakota Museum of Art; Henry Art Gallery, Seattle: El Museo Cultural de Santa Fe, NM; COCA, Seattle; Longwood Gallery in the Bronx, NY; and Perspective Gallery in Chicago. He is represented by the Bryan Ohno Gallery in Seattle
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Native American Artist Series: David Boxley
David Boxley is Tsimshian Indian from Metlakatla, Alaska. Born in 1952, he was raised by his grandparents. From them, he learned many Tsimshian traditions including the language. His grandfather was a canoe carver. After high school he attended Seattle Pacific University where he received a bachelor of science degree in 1974. He became a teacher and basketball coach to Junior and Senior high students in Alaska and Washington.
While teaching in Metlakatla in 1979, he began devoting considerable time to the study of traditional Tsimshian carving. Through researching ethnographic material and carvings from museum collections, Boxley has learned the traditional carving methods of his grandfathers' people. In 1986 he made a major career decision to leave the security of teaching and to devote all of his energies toward carving and researching the legacy of Northwest Coast Indian art. By using these skills, David Boxley has become a nationally recognized Indian artist holding one-man shows in Washington D.C. and throughout the Pacific Northwest, Alaska, Hawaii and Europe.
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President Kennedy and His Legacy
Presidential scholars and historians discuss both the accomplishments and disappointments of the Kennedy presidency and its impact on following administrations. The conversation is moderated by Steven M. Rothstein, executive director of the John F. Kennedy Library Foundation.
U.S. Senate: Impeachment Trial (Day 9)
The Senate impeachment trial of President Trump continues as Senators ask House impeachment managers and the President’s defense team questions.
Ann Hamilton
Ann Hamilton presented a lecture on her nearly 30-year career as part of the Diamonstein-Spielvogel Lecture Series at the National Gallery of Art on September 16, 2011. Hamilton has made multimedia installations with stunning qualities and quantities of materials: a room lined with small canvas dummies, a table spread with human and animal teeth, the artist herself wearing a man's suit covered in a layer of thousands of toothpicks. Along the way, she has constantly set and reset the course of contemporary art. Often using sound, found objects, and the spoken and written word, as well as photography and video, her objects and environments invite us to embark on sensory and metaphorical explorations of time, language, and memory. Textiles and fabric have consistently played an important role in her performances and installations—whether she is considering clothing as a membrane or (more recently) treating architecture itself as a kind of skin. The Gallery owns 15 works by the artist, including photographs, prints, sculptures, and a video installation.
Presidents of the United States on U.S. postage stamps | Wikipedia audio article
This is an audio version of the Wikipedia Article:
Presidents of the United States on U.S. postage stamps
Listening is a more natural way of learning, when compared to reading. Written language only began at around 3200 BC, but spoken language has existed long ago.
Learning by listening is a great way to:
- increases imagination and understanding
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Now learn the vast amount of general knowledge available on Wikipedia through audio (audio article). You could even learn subconsciously by playing the audio while you are sleeping! If you are planning to listen a lot, you could try using a bone conduction headphone, or a standard speaker instead of an earphone.
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- Socrates
SUMMARY
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Presidents of the United States have frequently appeared on U.S. postage stamps since the mid–1800s. The United States Post Office released its first two postage stamps in 1847, featuring George Washington on one, and Benjamin Franklin on the other . The advent of presidents on postage stamps has been definitive to U.S. postage stamp design since the first issues were released and set the precedent that U.S. stamp designs would follow for many generations.
The paper postage stamp itself was born of utility (in England, 1840), as something simple and easy to use was needed to confirm that postage had been paid for an item of mail. People could purchase several stamps at one time and no longer had to make a special trip to pay for postage each time an item was mailed. The postage stamp design was usually printed from a fine engraving and were almost impossible to forge adequately. This is where the appearance of presidents on stamps was introduced. Moreover, the subject theme of a president, along with the honors associated with it, is what began to define the stamp issues in ways that took it beyond the physical postage stamp itself and is why people began to collect them. There exist entire series of stamp issues whose printing was inspired by the subject alone.
The portrayals of Washington and Franklin on U.S. postage are among the most definitive of examples and have appeared on numerous postage stamps. The presidential theme in stamp designs would continue as the decades passed, each period issuing stamps with variations of the same basic presidential-portrait design theme. The portrayals of U.S. presidents on U.S. postage has remained a significant subject and design theme on definitive postage throughout most of U.S. stamp issuance history.Engraved portrayals of U.S. presidents were the only designs found on U.S. postage from 1847 until 1869, with the one exception of Benjamin Franklin, whose historical stature was comparable to that of a president, although his appearance was also an acknowledgement of his role as the first U. S. Postmaster General. During this period, the U.S. Post Office issued various postage stamps bearing the depictions of George Washington foremost, Benjamin Franklin, Thomas Jefferson, Andrew Jackson, and Abraham Lincoln, the last of whom first appeared in 1866, one year after his death. After twenty-two years of issuing stamps with only presidents and Franklin, the Post Office in 1869 issued a series of eleven postage stamps that were generally regarded by the American public as being abruptly different from the previous issues and whose designs were considered at the time to be a break from the tradition of honoring American forefathers on the nation's postage stamps. These new issues had other nonpresidential subjects and a design style that was also different, one issue bearing a horse, another a locomotive, while others were depicted with nonpresidential themes. Washington and Lincoln were to be found only once in this series of eleven stamps, which some considered to be below par in design and image quality. As a result, this pictographic series was met with general disdain and proved so unpopular that the issues were consequently sold for only one year where remaining stocks were pulled from post offices across the United States.In 1870 the Post Office resumed its tradition of printing postage stamps with the portraits of American Presidents and Franklin but now added several other famous Americans, including Henry Clay, Daniel Webster, Alexander Hamilton and General Winfield Scott among other notable Americans. Indeed, the balance had now shifted somewhat; of the ten stamps issued in 1870, only four offered presidential images. Moreover, presidents also appeared on less than half of the denominations in the definitive sets of 1890, 1917, 1954 and 1965, while occupying only a slight major ...
Celebrating a Milestone: 75 Years of the National Gallery of Art and the Samuel H. Kress Foundation,
Celebrating a Milestone: 75 Years of the National Gallery of Art and the Samuel H. Kress Foundation, V: History Revealed: The Kress Collection of Historic Images
Arts in the City: May 2017
On this month's episode of Arts in the City:
We find out why books are appearing all around the NYC subways.
Tinabeth Piña meets renowned dance photographer -- Jordan Matter
Barry Mitchell escapes an Escape Room in Manhattan.
Donna Hanover discovers the art behind the famed handbags designed by Judith Leiber.
Pat Collins stops by the Curtain Up exhibit at the New York Public Library for the Performing Arts.
Andrew Falzon takes us to this month's hidden gem:The Museum of American Finance.
Taped: 04/21/17
Arts in the City is a monthly look at the lively arts scene -- film, theatre, art, dance, music and events -- in the New York metropolitan area. This fast-moving half hour explores all aspects of the arts....from conception to completion. It looks at the most sophisticated of presentations to the most singular street musician toiling at his/her art. Art in all its forms is introduced and examined throughout the tri-state area.
Watch more Arts in the City at
2016 University of Washington Commencement Ceremony
On June 11, 2016, the University of Washington honored the graduating class of 2016 at the University’s 141st Annual Commencement Exercises. Over 5,500 graduates took the field at the magnificent Husky Stadium to the cheers and applause of 40,000 family members and friends.
All graduates walked across the 4,000 square foot purple and gold commencement stage, adorned with life-sized replicas of the University columns, and had their photographs taken as they received their diploma mementos (a purple leather diploma cover bearing the official seal of the University of Washington).
Featuring commencement speaker, US Secretary of the Interior and UW alumnus ('78), Sally Jewell.
Purchase the DVD -
6/11/2016
Spinosaurus fishes for prey | Planet Dinosaur | BBC
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John Hurts tells the stories of the biggest, deadliest and weirdest Dinosaurs ever to walk the Earth. Massive carnivorous hunter Spinosaurus hunts the giant fresh water fish Onchopristis.
Planet Dinosaur tells the stories of the biggest, deadliest and weirdest creatures ever to walk the Earth, using the latest fossil evidence and immersive computer graphics. Narrated by John Hurt.
Visit for all the latest animal news and wildlife videos
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LECTURE: Jeannie Kenmotsu, Ph.D. - September 5, 2019
Japanese Prints Abroad in Portland: The Mary Andrews Ladd Collection
Jeannie Kenmotsu, Ph.D., Japan Foundation Assistant Curator of Japanese Art, Portland Art Museum
Japanese woodblock prints were met with an enthusiastic audience abroad in the late-19th and early-20th centuries. In Europe and the United States, tens of thousands of prints were bought and sold, exhibitions and record-breaking auctions staged, and a new passion kindled for private collectors. Most of what we know about early American print collecting has been focused on the East Coast—donations that were the basis for the world-class museum collections in Boston, New York, and Chicago. Lesser-known but just as significant was the donation of the Mary Andrews Ladd collection of Japanese prints to the Portland Art Museum in 1932. Drawing on the Museum’s archives, period records, and the collection itself, this lecture explores this transformational gift of nearly 750 Edo-period (1603–1868) woodblock prints, and expand the story of early Japanese print collecting in the United States.
Co-sponsored by the Asian Art Council.
Northwest Native Art: ArtTalk Symposium Session 3
Session 3 of the Burke Museum’s ArtTalk Symposium: Conversations on Northwest Native Art includes a panel discussion on contemporary Northwest Coast art and how artists challenge pre-conceptions. Participants include:
1) Joe Seymour, Squaxin Island/Acoma Pueblo Artist (starts at 3:40)
2) Greg Robinson, Chinook Artist (starts at 15:37)
3) Lou-ann Neel, Kwakwaka'wakw Artist and Promoter (starts at 27:13)
4) Da-ka-xeen Mehner, Tlingit Artist, Assistant Professor of Native Arts at the University of Alaska Fairbanks, and Director of the UAF Native Arts Center (starts at 38:33)
This symposium was made possible by support from the Walter Chapin Simpson Center for the Humanities, University of Washington. Recorded March 28, 2015 at the University of Washington’s Kane Hall.
Impeachment Trial: Watch LIVE Senate Impeachment trial of President Donald Trump day two
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Amy Goodman | Talks at Google
Amy Goodman visits Google's Mountain View office to present her book Breaking the Sound Barrier. This event took place on April 30, 2010, as part of the Authors@Google series.
Amy Goodman breaks through the corporate medias lies, sound-bites, and silence in this wide-ranging new collection of articles. In place of the usual suspects, the experts who, in Goodmans words, know so little about so much, explain the world to us, and get it so wrong, this accessible, lively collection allows the voices the corporate media exclude and ignore to be heard loud and clear. From community organizers in New Orleans, to the courageous American soldiers who've said No to Washington's wars, to the victims of torture and police violence, we are given the extraordinary opportunity to hear ordinary people standing up and speaking out. As Willie Nelson says, There is no one who should be more on the mainstream media, every day reminding us and giving us a glimpse of the power of one.
Written with all of the fierce intelligence and passion for truth that millions have come to expect from Amy Goodmans reportage, Breaking the Sound Barrier is, in Arianna Huffington's words, crusading journalism at its best. and, here's an example:
Albert Einstein, a 1981 etching by artist A.K.Segan ©
New website of artist Akiva K. Segan, Januaryt 2020:
humanrights-holocaust-art.org
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The American Jewish artist and Holocaust / genocide/ tolerance educator talks about his 1981 etching of Albert Einstein.
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1981. Etching. 18 inches H x 24 W.
Collections:
Graphische Sammlung Albertina (Albertina Graphic Arts Collection), Vienna
M.I.T. Museum, Cambridge. Gift of R. Segan
Museum of Modern Art, Haifa. Gift of rabbi Shlomo Cotler
National Museum of American History, Smithsonian Institution, Washington, D.C.
National Museum of American Jewish History, Philadelphia
New Jersey State Museum, Trenton
University of Houston, Dept of Comparative Cultural Studies, Texas
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The edition and printing;
Between 1981 and ’85 when I ceased etching approximately 39 proofs were acquired by individuals/private collections. Some of those people are now gone and the whereabouts of the proofs they owned is not known (to me).
The artist has one extant proof that I hope to see donated by a patron (or patrons) of the arts to an institution such as a university or college art gallery and collection (U.S., Canada, Britain, Europe etc) or to an art museum, history museum or other public gallery.
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Segan is best known as the artistic creator of the Under the Wings (Holocaust) art series; other Holocaust themed art; and the Sight-seeing with Dignity (human rights) art series.
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In addition to guest teaching worldwide with power-point classes on art about the Holocaust and about post-WWII victims of human rights atrocities, Segan facilitates his Drawing for Healing workshops with classes of all ages, e.g. 5-7 years of age; elderly audiences in their 80's-90's and above; and all ages in-between.
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Segan's artworks are in gallery/museum, university, library, corporate and institutional collections in Austria, Canada, France, Hungary, Israel, Scotland and the United States.
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Video by Clarice.
Art © A.K. Segan
Maya Lin: WONDER Artist Talk
Maya Lin discusses the importance of the natural world in her art, architecture, and memorials. Lin’s lifelong concern for the environment is at the core of her projects and site-specific works, including “Folding the Chesapeake,” her installation in the Renwick’s WONDER exhibition.