Discovery museum – Southeastern Quilt Museum http://southeasternquiltmuseum.com/ Wed, 28 Sep 2022 23:01:52 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://southeasternquiltmuseum.com/wp-content/uploads/2021/10/cropped-icon-32x32.png Discovery museum – Southeastern Quilt Museum http://southeasternquiltmuseum.com/ 32 32 Delegation from the Museum of the Bible received by Ecumenical Patriarch Bartholomew – Ecumenical Patriarchate https://southeasternquiltmuseum.com/delegation-from-the-museum-of-the-bible-received-by-ecumenical-patriarch-bartholomew-ecumenical-patriarchate/ Wed, 28 Sep 2022 23:01:52 +0000 https://southeasternquiltmuseum.com/delegation-from-the-museum-of-the-bible-received-by-ecumenical-patriarch-bartholomew-ecumenical-patriarchate/ © Photo credits: N. Papachristou / Ecumenical Patriarchate

Delegation from the Museum of the Bible received by the Ecumenical Patriarch Bartholomew

PHANAR – After almost a year of preparation, “Kosinitza Manuscript 220” will return to the Patriarchal and Stavropegial Monastery of Theotokos Eikosiphoinissa in Drama, Greece. The manuscript, which was most recently purchased from Christie’s in 2011 and entered the collection of the Museum of the Bible in Washington DC in 2014, was among hundreds of priceless items looted from the monastery by Bulgarian troops in 1917. Upon discovery of its origins by curator Brian Hyland, the Museum of the Bible began working with His All Holiness Ecumenical Patriarch Bartholomew to repatriate the manuscript to the monastery from which it was stolen.

While final preparations are underway for the official event marking the occasion of the repatriation of the manuscript, His All Holiness Ecumenical Patriarch Bartholomew received the official Museum delegation at the Phanar on Tuesday, September 27, 2022. The Founder and President of the Board of Directors represented the Museum. Directors Mr. Steve Green, Chief Curator Dr. Jeffrey Kloha, Dr. Brian Hyland, Assistant Curator of the Museum’s Medieval Manuscripts Collection, and Dr. Elizabeth Prodromou, Member of the Museum’s Advisory Board. Also joining the meeting were His Eminence Metropolitan Emmanuel of Chalcedon, His Eminence Archbishop Elpidophoros of America – who will be the official representative of the Ecumenical Patriarch at the official repatriation event – and the Very Reverend Archimandrite Agathangelos Siskos, Chief Archivist of the Ecumenical Patriarchate. Archimandrite Agathangelos and Dr. Prodromou have been appointed by His All Holiness as Patriarchal Liaison Officers to coordinate collaboration between the Ecumenical Patriarchate and the Museum of the Bible.

During the meeting, His All Holiness thanked the management of the Museum of the Bible for their productive cooperation with the Ecumenical Patriarchate, congratulating them, once again, for the return of the manuscript, noting that their act is a worthy example. imitation and contributes to the repatriation of other “orphan” manuscripts and ecclesiastical relics to their “natural mother, that is to say the Monastery”.

The official event marking the occasion of the return of the manuscript to the monastery will take place on Thursday, September 29, 2022 and will be dedicated to the memory of the late Metropolitan Pavlos of Drama.

The history of the repatriation of the manuscript

The Ecumenical Patriarchate and the Museum of the Bible signed a cooperation protocol on January 31, 2020, which provides for the creation of a permanent exhibition of the Ecumenical Patriarchate on the fourth floor of the Museum. As part of this cooperation, the provenance of “Kosinitza Manuscript 220” was attributed to the looting of the monastery in 1917. After the identification, Dr. Jeffrey Kloha sent a letter to Ecumenical Patriarch Bartholomew on June 20, 2020, in which he informed him of the Bible Museum’s decision to return the manuscript to the Monastery.

In response, His All Holiness sent an official Patriarchal letter on August 31, 2020, expressing his thanks for this action, stating that it is an act of restoration of the legal and cultural heritage of the Patriarchal and Stavropegial Monastery of Panagia Eikosiphoinissa . Among other things, he pointed out that “it is a real blessing for the monastic fraternity and the Christian world, to see the religious treasures, which have been removed from the monastery, officially return to their natural space and be used for spirituality l edification of the faithful, as well as by scholars of history and art.

Subsequently, on October 16, 2020, the Museum of the Bible officially announced the decision to return the manuscript. Prior to its repatriation, the important manuscript was exhibited as part of a temporary exhibition on the Ecumenical Patriarchate, which opened on October 25, 2021.

On May 14, 2022, the Ecumenical Patriarch signed the deed issued by the Museum of the Bible which officially transferred the ownership of the manuscript to the Holy Patriarchal and Stavropegial Monastery, to which it was returned on August 31, 2022 and where it is currently located. . kept.

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Latin American exhibition a first for the Shenandoah Valley Museum | Winchester Star https://southeasternquiltmuseum.com/latin-american-exhibition-a-first-for-the-shenandoah-valley-museum-winchester-star/ Mon, 26 Sep 2022 04:00:00 +0000 https://southeasternquiltmuseum.com/latin-american-exhibition-a-first-for-the-shenandoah-valley-museum-winchester-star/

WINCHESTER – There’s a great depth of discovery in the artwork featured in a new exhibit at the Shenandoah Valley Museum.

“Destination: Latin America,” which has been touring nationally for more than six years, celebrates 29 Latin American artists with pieces from the 1930s to present. The exhibit launched Sept. 3 and will run through Jan. 8 at the museum at 901 Amherst St. in Winchester.

“This is the first exhibition we’ve had that is solely focused on Latin American art,” said Julie Armel, deputy director of marketing and communications at the museum.

New to the DC, Maryland, Virginia area, the exhibit has received “very, very positive” feedback so far from museum visitors, Armel said.

Customer services “got a lot of thanks,” she said.

The exhibition is organized chronologically into five sections so that the oldest works, from 1933 to the end of the 1950s, are in the first two rooms, while more contemporary works illuminate the last three areas of the exhibition. .

The artists, in addition to their extensive Latin American heritage, have diverse experiences living or working in the United States, Europe and elsewhere in the world and learning from other artists of their time, said Nancy Huth, director Museum Arts and Education Assistant. .

“It shows, in some ways, how small the world is,” Huth said.

A large piece by Venezuelan artist Jesus Rafael Soto who also spent a lot of time in France, ‘Bleu sur le rectangle’, from 1965, shows a series of squares placed in front of a screen of tightly arranged white lines, providing an illusion of optics that give the impression that the work of art is vibrating.

Another work, “Once Was I,” a 2016 piece by Engels the Artist, born in Port-au-Prince, Haiti, but living in Brooklyn for more than 30 years, shows a gold frame attempting to contain a snow-white 3D oil. on canvas as it seems to extend from the wall and overflow its space.

Artists of the early 20th century and later began to reject previous standards of what works of art should be, Huth said. Color, shape, line, texture and space, she said, were all up to interpretation.

It’s about “breaking that picture plane”.

Another striking piece features the image of a young man on a bicycle dressed in a Superman costume. “Superman,” from Mexican photographer Dulce Pinzon’s “A True Story of Superheroes” series from 2005 to 2010, combines the real and the fantastic to illustrate the everyday superheroes who work in America to send money to their loved ones, improving the lives of countless others while slipping under the radar of society’s expectations of greatness.

Other notable pieces in the exhibition include “An Aztec Indian Scene” painted circa 1947 by Mexican artist José Clemente Orozco (1883-1949), one of the most influential muralists of the 20th century, and four lithographs by 1969 portfolio “Mujeres (Women)” by Rufino Tamayo (1899–1991) – a famous Mexican artist known for combining modern European painting styles, such as Cubism and Surrealism, with Mexican folk themes.

Through their work, many artists were responding to social, political and economic issues from the 1950s to the late 2010s, but Huth also noted in the statement “that the exhibition demonstrates the role of Latin American artists in the development Geometry International. and abstract art and their continued contribution to figurative styles.

The gallery’s first room features works created after the Mexican Revolution (1910-1920) by artists who rejected copying European styles and instead focused on local landscapes, everyday scenes and Mexican history, according to a recent press release from the museum.

Then, paintings and sculptures created in the second half of the 20th century bear witness to Latin America’s interest in the abstract.

The other three sections feature works by Caribbean and South American artists inspired by African art, surrealism and magical realism; art created in response to military rule in several South American countries when artists faced censorship; and works by contemporary artists that address global themes of identity, political struggle, consumerism, violence and repression, the statement said.

“Destination: Latin America” is organized by the Neuberger Museum of Art at Purchase College, part of the State University of New York. His Winchester screen is sponsored by Shenandoah Oncology and iHeartMedia.

The exhibition includes more than 60 paintings, photographs, prints, books, drawings and sculptures.

As part of the exhibition, the museum will offer various webinars and other programs:

At 6:30 p.m. Tuesday, Huth will lead the Art @ Happy Hour virtual webinar which showcases modern and contemporary art alongside a beer from south of the border. Tickets are free, but donations are accepted. Register for the event at themsv.org/events/art-happy-hour-destination-latin-america.

From 6:30-7:30 p.m. on October 4, Pinzon will host a Meet the Artist webinar. Tickets are free but donations are encouraged. Register before October 3 on themsv.org/events/15383.

Other programs are the free music program, Mexilachian Music, at themsv.org/events/mexilachian-music and the Atelier Calaveras youth programs at themsv.org/events/youth-workshop-calaveras and the Cuban Collaborations at themsv.org/events/teen-workshop-cuban-collaborations.

“It’s always nice for us to present something new,” Armel said.

For more information about the exhibition or the museum, call 540-662-1473 or visit leMSV.org.

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BeBe Winans to headline National Civil Rights Museum’s Freedom Award | New https://southeasternquiltmuseum.com/bebe-winans-to-headline-national-civil-rights-museums-freedom-award-new/ Thu, 22 Sep 2022 19:03:25 +0000 https://southeasternquiltmuseum.com/bebe-winans-to-headline-national-civil-rights-museums-freedom-award-new/

Memphis, TN, Sept. 22, 2022 (GLOBE NEWSWIRE) — Six-time Grammy Award-winning gospel and R&B artist BEBE WINANS headlines the National Civil Rights Museum Freedom Award on October 20 as the Museum honors TAYLOR BRANCH, ISABEL WILKERSON and FREDERIC W. SMITH.

Each year, the Museum’s Freedom Award honors individuals who have made significant contributions to civil and human rights. The winners have blazed unique paths for the betterment of society, and the evening’s entertainment is a meaningful complement to their work for justice and equity.

“We are thrilled to have gospel legend, BeBe Winans headline the Freedom Award,” said Faith Morris, Freedom Award Executive Director/Producer and NCRM Director of Marketing and External Affairs. “BeBe’s message in her music resonates with what is happening in our communities, the nation and the world. Her performance will further amplify the importance and need for love to bring about change.

Benjamin, “BeBe” Winans, is the seventh child and youngest man in the Detroit-based First Gospel Music Family. He is best known as an inspirational, R&B, and popular singer and songwriter who, along with his musical partner and sister CeCe Winans, were the first true Christian crossover artists to reach mainstream audiences. In 2019, he released his first solo album in nearly 10 years, “Need You”, which reached No. 1 on the Billboard Gospel charts for the first time in his solo career.

Winan’s portfolio has extended beyond music into the entertainment industry. He is the former Executive Music Producer for OWN Network’s Greenleaf and hosts his own radio show on Heart & Soul Channel on Sirius/XM Radio Networks on Sunday mornings. Winans is also the author of two books: The Whitney I Knew, based on her personal relationship with the late singer Whitney Houston, and her autobiography, Born for This: My Story in Music.

The Freedom Award will bring another star for the inspiring evening. Featured in BET+’s “The Black Hamptons” and OWN Network’s “Queen Sugar,” LAMMAN RUCKER returns as host of the Freedom Award. Rucker’s work includes many beloved projects, including Own Network’s “Greenleaf,” the sequel to Tyler Perry’s “Why Did I Get Married,” and the hit sitcom “Meet the Browns.” Rucker is known for his on-screen work and is committed to meaningful off-screen work. The actor is a spokesperson for several charitable efforts and is the co-founder of The Black Gents, a non-profit organization designed to invoke positive change through high-quality, thought-provoking entertainment, youth empowerment initiatives and community services.

ED MABREY will pay an eloquently poetic tribute to the winners and to the occasion. He is currently the only four-time world slam poetry champion and Emmy winner. Mabrey has performed internationally and on several seasons of TV One’s “Verses and Flow.” Mabrey appeared on HBO’s All Def Digital. He is a two-time finalist in The World Series of Comedy and has been the voice of several company commercials.

The Freedom Award House Band led by award-winning composer/musician GARRY GOIN is always a highlight of the ceremony. As Music Director of the Freedom Award, Goin is an accomplished guitarist, songwriter, producer, National Artist, and entertainer. He has 40 years of experience in the music business.

Sponsors presenting the Freedom Award are International Paper, FedEx, Nike, Ford Motor Company, Valero Energy Foundation and Hyde Family Foundation.

Since 1991, the National Civil Rights Museum has awarded the Freedom Prize to some of the world’s most beloved civil and human rights leaders and history makers, including Coretta Scott King, President Nelson Mandela, the Dalai Lama , President Bill Clinton, President Jimmy Carter, Archbishop Desmond Tutu, Rosa Parks, Bono, Secretary of State Colin Powell, President Oscar Arias, President Mary Robinson, Paul Rusesabagina, President Ellen Johnson-Sirleaf, Prime Minister Yitzhak Rabin, Tom Brokaw, Frank Robinson, Earvin “Magic” Johnson, Bernard Lafayette, Marlo Thomas, Usher Raymond, Bill Frist, Dolores Huerta, Reverend James Lawson, Cicely Tyson, Reverend Bernice A. King, Hugh Masekela , President Joe Biden, Reverend Jesse Jackson, John Legend, Hafsat Abiola, Gloria Steinem, the Poor People’s Campaign and Michelle Obama.

Tickets and sponsorships are available at prixliberte.org.

About the National Civil Rights Museum

The NATIONAL CIVIL RIGHTS MUSEUM, located in the historic Lorraine Motel where civil rights leader Dr. Martin Luther King, Jr. was assassinated, provides a comprehensive overview of the American civil rights movement, from slavery to our days. Since the Museum opened in 1991, millions of visitors from all over the world have come, including more than 90,000 students each year. Serving as a new public square, the museum is committed to its mission to honor and preserve the site of the assassination of Dr. Martin Luther King, Jr.. It chronicles the American civil rights movement and tells the story of the struggle ongoing for human rights, serving as a catalyst to inspire action to create positive social change. Affiliated with the Smithsonian and an internationally renowned cultural institution, the museum is recognized as a 2019 National Medal recipient by the Institute of Museums and Library Services (IMLS), the highest national honor for museums and libraries. These are TripAdvisor Travelers’ Choice Top 5% American Museums, Top 10 Iconic American Attractions in the United States Today; Top 10 Best Historic Sites in the United States by TLC’s Family Travel; To see before the age of 15 by Budget Travel and Kids; Top 10, US Treasures by USA Today; and Top Memphis Attraction by The Commercial Appeal and Memphis Business Journal.

About Smithsonian Affiliations

Established in 1996, Smithsonian Affiliations is a national outreach program that develops long-term collaborative partnerships with museums and educational and cultural organizations to enrich communities with Smithsonian resources. The long-term goal of Smithsonian Affiliations is to facilitate a two-way relationship between affiliate organizations and the Smithsonian Institution to increase discovery and inspire lifelong learning in communities across America. . More information about the Smithsonian Affiliations program and affiliate activity is available at www.affiliations.si.edu.

Connie Dyson National Civil Rights Museum 901-331-5460 cdyson@civilrightsmuseum.org

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ARM Delivers New Exhibit Gallery and Play Spaces for the National Museum of Australia https://southeasternquiltmuseum.com/arm-delivers-new-exhibit-gallery-and-play-spaces-for-the-national-museum-of-australia/ Mon, 19 Sep 2022 21:52:22 +0000 https://southeasternquiltmuseum.com/arm-delivers-new-exhibit-gallery-and-play-spaces-for-the-national-museum-of-australia/

ARM Architecture has delivered a new gallery exhibition space and children’s play space as part of the National Museum of Australia’s (NMA) $250 million master plan for 2019. At $34 million, the gallery exhibit and revitalized play spaces represent the largest redevelopment of the museum since it opened its doors in 2001.

Spread over 2,500m², the latest redevelopment of the famous social history museum follows ARM’s initial building design in 1997 and subsequent extensions over the past 20 years, including the addition of a café and a workplace in 2013 and a forecourt in 2017. It’s also the final milestone delivered in ARM’s renewed 2017 master plan, which is expected to double the size of the museum grounds by 2030.

Designed by US firm Local Projects, the group responsible for delivering the 9/11 Memorial and Museum in New York, NMA’s main exhibition space is based on the ARM master plan, with the design dramatically opening up the volumes interiors to improve layout and orientation.

The latest redevelopment offers NMA’s largest gallery space to date, The Great Southern Land, as well as the Tim and Gina Fairfax Discovery Center, an immersive play space for children. Integrating innovation and technology, these two interactive spaces give way to 2000 traditional and digital objects to exhibit.

“The new design of the exhibition now realizes the original intention of the Museum, the layout leaving room for the form of the building to be seen and experienced. The design now allows for spectacular views of Canberra, while the Discovery Center opens up a part of the museum that was not previously accessible,” says ARM founding director and original NMA architect Howard Raggatt .

“The redevelopment is a key step in the master plan’s overall vision and we look forward to the unveiling of the remaining steps over the coming years.”

NMA Director Mathew Trinca said: “The way the museum has changed and developed over time has kept pace with the changes we have seen in Australian life. We are a different Australia today than we were 20 years ago, and we are a different museum now than we were when we opened in 2001.”

Observing that the NMA represented the many untold past, current and emerging stories of Australia as a nation, ARM project architect Jessica Heald said it was nearly impossible to represent the country’s identity in its together.

“However, the design of the NMA actively engages with this idea of ​​complex and tangled stories.”

The Great Southern Land and the Tim and Gina Fairfax Discovery Center are now open to the public.

Images: Anne Stroud Photography

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The end of the museum https://southeasternquiltmuseum.com/the-end-of-the-museum/ Sun, 18 Sep 2022 09:00:09 +0000 https://southeasternquiltmuseum.com/the-end-of-the-museum/

For a few days at the end of August, Prague, the capital of the Czech Republic, became a focal point of the global culture war.

At the International Council of Museums (ICOM) meeting, delegates from around the world debated whether museums should stay reasonable, stay slightly awake, or fully awake.

The question at stake was how ICOM should define the meaning and purpose of a museum. For many delegates, particularly from the Anglo-American world, the old definition, agreed in 1972, was far too old-fashioned and ‘white’. Apparently, it places far too much emphasis on things like curating a museum’s collection, educating, and entertaining the public. According to these delegates, a truly modern museum should focus on its “decolonization”.

Militant curators had tried and failed to get their vision of the museum across before. At ICOM Conference in Kyoto in 2019, they released a statement that sounded more like a manifesto than just a definition. He called museums “democratizing, inclusive and polyphonic spaces for critical dialogue about the past and the future”. He called on museums to safeguard “diverse memories” and to “contribute to human dignity and social justice, global equality and planetary well-being”. The purpose of this definition was to make the museum an institution of political indoctrination.

Fortunately, in Kyoto, this awakened definition of the museum was rejected by the majority of the delegates, who still took their role as guardians of museums seriously. But in the years that followed, the project of politicizing museums gained momentum.

By the time of last month’s meeting, the balance of influence had shifted significantly towards the Awakened activists. In the end, a compromise was reached between these delegates and the more traditionalist faction. The awakened influence on the new agreed definition is evident. The last sentence, for example, states that “museums promote diversity and sustainability”.

“It could have been worse,” a delegate from Eastern Europe told me. “Both parties came away feeling that this compromise served them well for the time being.” However, for many activist delegates, waking up a bit is not enough. Some claim that the new definition “still doesn’t go far enough to recognize the complicated histories of museums centered on white, male, and Western perspectives.”

In reality, despite the compromise reached in Prague, the transformation of the museum is already underway. In the Anglo-American world, administrators and curators tasked with preserving their nation’s heritage have imbibed a cultural script that views the past in a totally negative, even hostile, way. They promote a narrative that attributes negative connotations to objects in their collections, particularly if they symbolize and communicate values ​​associated with Western civilization.

For example, in the summer of 2019, the V&A Museum in London posted signs outside an exhibition on the history of British humor, stating that ‘this exhibition confronts uncomfortable truths about the past’. Indeed, these signs condemned British humor as morally suspect.

The V&A exhibit did not feature any exotic colonial artifacts, nor did it glorify Britain’s past in a chauvinistic way. It was simply devoted to an exploration of British humor. Nevertheless, just in case a visitor decided to treat this exhibit in a light-hearted manner, a sign was there warning them of the “offensive historical materials and language” on display. For these killjoys, nothing is spared from the moralizing sermon.

At least the V&A allowed the public to see its “offensive historical documents”. In 2020, the Pitt Rivers Museum in Oxford retired its popular exhibition of shrunken human heads. The self-righteous fanatics who run the museum have decided that this exhibition reinforces “racist and stereotypical thinking”.

This vast collection of shrunken heads, decorated skulls, scalps and mummies from around the world delighted museum visitors for over 80 years until it was removed from view. Twenty-two years ago when I took a group of six-year-old boys to visit the Pitt Rivers, no one left with racist thoughts. On the contrary, most of the people who have seen this exhibition have probably discovered an interest in other cultures. But we have all now been deprived of the opportunity to embark on our own personal journey of discovery and make up our own minds about what to do with the exhibition.

In recent years, culture warriors have attempted to turn the museum into a hall of shame. Woke curators see their collections only through the one-dimensional narrative of racism and colonial plunder. Ostensibly, the campaign to “decolonize” museums is aimed at combating the perceived racism of certain collections or their links to colonialism. But the goal of the decolonizers is actually much broader than that. The real objective of “decolonization” is to question the entire history and cultural heritage of Western societies.

You can see it in the way activist curators seek to cancel any exhibit with even the faintest connection to colonialism. In September 2020, the Natural History Museum in London announced a “revision” of its Charles Darwin collection to determine if it might be considered offensive to some of its visitors. A curator has warned some may find Darwin’s display of exotic bird specimens, or his statue in the museum’s main hall, “problematic”. Why? According to this curator, Darwin’s trip to the Galápagos Islands on the HMS Beagle was one of many British colonialist scientific expeditions.

ICOM delegates in Prague may have refused to fully wake up. But the fact is that important museum collections are drawn into the culture wars anyway. Artifacts and collections that have been kept for decades or even centuries have suddenly been deemed “problematic”. Increasingly, Western cultural institutions, especially museums, judge cultural artifacts on the basis of their political relevance, rather than their historical value or their artistic or aesthetic qualities. Worse still, these institutions are now supposed to promote hatred of the past and denigrate any cultural symbol that celebrates the historical heritage of Western nations.

No doubt Western culture has its flaws, but when all is said and done, its achievements continue to enrich our lives. This is why we must defend Western civilization from the barbarians inside the gates.

Unless museum lovers raise their voices, it won’t be long before the museum is nothing more than a house of propaganda.

Frank Furediit is The road to Ukraine: how the West got lost will be published by De Gruyter in September 2022.

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Top image: Pictured are specimens of Xerces blue moths from the collection of the Field Museum. https://southeasternquiltmuseum.com/top-image-pictured-are-specimens-of-xerces-blue-moths-from-the-collection-of-the-field-museum/ Fri, 16 Sep 2022 19:04:21 +0000 https://southeasternquiltmuseum.com/top-image-pictured-are-specimens-of-xerces-blue-moths-from-the-collection-of-the-field-museum/

Kristen Rogers, CNN

When photographer Marc Schlossman held an extinct dead bird in his hand, he had what he called a “moment of conversion.”

Standing in the bird division of the Field Museum in Chicago with his two young sons in 2008, he realized that the specimen drawer from which the bird had been recovered was the only place anyone could see the bird. avian species.

“It was like a punch in the stomach and I was like, ‘We’ve done a lot of damage. What world do we want to live in? Enough is enough,'” said Schlossman, who is based in London.

The experience led Schlossman – who has a background in environmental and travel photography – to wonder why biodiversity loss was happening so quickly, if it was too late to do anything about it and, if not, what could -we do ? What he discovered became part of his new photography book, “Extinction: our fragile relationship with life on Earth.”

Through striking photos of specimens captured nearly 15 years after this transformative visit to the museum, “Extinction” serves as both a warning and a beacon of hope: it features extinct and endangered animals that have suffered losses due to habitat destruction, hunting, legal and illegal activities. wildlife trade, disease and other human-made threats. But Schlossman noted that it’s not too late for some of these at-risk species.

Of the 82 species in the book, 23 are extinct, Schlossman said. “The rest have been brought back from the brink of extinction as conservation successes, or they can be saved through robust conservation work and habitat preservation.”

“We’ve done a lot of damage as a species. But let’s move on to what we need to do, because we are at a critical moment in history.

Schlossman’s call to action comes at a pivotal time as the accelerating loss of global biodiversity threatens the interconnectedness and future of all life forms, including humans.

Worldwide losses

Loss of biodiversity means that even though there are approximately 8.7 million species on Earth, 85% to 90% of which are yet to be discovered, scientists are in a race against time to understand how the dwindling number, variety and genetic variability of species affect ecosystems, according to Thomas Gillespie, a professor in the Department of Environmental Sciences at Emory University in Atlanta.

“We are losing species potentially faster than we discover them,” he said, “and even before we realize what their roles are in the world’s ecosystems.”

Schlossman’s ability to document some of these lost species dates back to the 1970s when, as a teenager, he volunteered in the Field Museum’s mammal division for a few summers, he said. After visiting the museum with his sons, he asked Field Museum curator John Bates what he could do as a photographer to tell the story of some specimens in the museum’s collection and see where it was going.

Over the next decade, he photographed through specimens of birds, amphibians, reptiles, fish, mammals, insects and plants. “In any natural history museum, on average, 1% of the collection is exhibited. I had access to the 99% that you don’t see. … Every collection manager had to sort of agree, so it took a while to pass,” Schlossman said. “I have this relationship with the Field Museum, and the culture of the Field Museum is very progressive.”

The philosophy behind Schlossman’s curation of his book is that every species matters – especially the pollinators involved in the process of bringing food to our tables – but even “uncharismatic” species, he said. declared.

The rusty-patched bumblebee, included in “Extinction,” is one such crucial pollinator. It once thrived in the United States and Canada, but has suffered the most severe decline of any bee species in North America. Scientists have estimated that the critically endangered species has disappeared from 87% of its natural range, and in recent decades the population has declined by 95%, the book notes.

Of some of the extinct species photographed by Schlossman, only one specimen remained – like a small Mexican ray-finned fish, the inclusion of which reflected the book’s most heartbreaking message.

“It was in a tributary that ran through Mexico City, and because of the urban development, it was under too much pressure,” Schlossman said.

Urbanization — the concentration of humans into areas converted for residential, commercial, industrial and transportation purposes – also caused the extinction of the Xerces blue butterfly, last seen in the wild in 1941. It was the first North American butterfly disappear because of human actions.

As Schlossman worked on his book, themes or patterns of human behaviors revealed themselves. “Why do we need to hunt these things to extinction? Why doesn’t our species manage our use of resources sustainably? ” He asked.

“We are poisoning ourselves by acting recklessly in this way of overexploiting natural resources,” Schlossman said. “It’s really important for people to have that. I don’t know how we think we’re going to dodge this bullet we create for ourselves.

A glimmer of hope

Schlossman hopes his images will inspire ideas and optimism for the conservation of remaining species. “Human activities can both nurture and harm,” said Jeremy Kerr, professor and chair of the department of biology at the University of Ottawa in Ontario.

A good example is the success of the California Condor Recovery Program, which Schlossman included in “Extinction” as an example of how human intervention saved a species. Launched in 1975, the initiative is the result of cooperative efforts led by the US Fish and Wildlife Service involving a multitude of federal and state agencies and non-governmental organizations.

“The population went down to 22, and they captured them all and they established this captive breeding program. And they encourage the birds to lay two eggs a year to quickly increase the population,” Schlossman said.

“The chicks from the incubator eggs were handled and raised using condor puppets so they wouldn’t imprint on humans. So basically if the condor chick could see a human face they would think it was its mother,” he added. “They used condor puppets to raise them. … In 2020, there were over 500 condors.

“Rise up and fight harder”

Deforestation for the production of beef, soy (produced in large quantities for livestock) and palm oil harms the biodiversity of tropical rainforests and coral reefs, Emory’s Gillespie said. Much of the burden of tackling biodiversity loss falls on big industries and businesses, such as agriculture, Schlossman said — but there are things you can do to help, including changing your diet to reduce demand for produce. of these systems.

With habitat preservation being the most crucial antidote to biodiversity loss, you could promote habitats for species such as monarch butterflies – the International Union for Conservation of Nature says declared endangered in July — by growing milkweed, a primary food source, Schlossman said.

For bee species, you can reduce use pesticides or plant a variety of flowers and shrubs in your garden to prevent habitat loss and provide bees with shelter from extreme elements.

If you feel helpless or overwhelmed by these environmental issues, know that it’s not too late to start making changes to build a better future, according to Schlossman. “Everything that happened yesterday or the previous days is gone,” he said. “Eco-anxiety does not make things better; we just have to stand up and fight harder.

“Extinction” is available now in the UK and US.

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Top image: Pictured are specimens of Xerces blue moths from the collection of the Field Museum.

]]> Milwaukee Museum of Art Architect Calatrava Sees Lakeside Transformation https://southeasternquiltmuseum.com/milwaukee-museum-of-art-architect-calatrava-sees-lakeside-transformation/ Wed, 14 Sep 2022 17:33:14 +0000 https://southeasternquiltmuseum.com/milwaukee-museum-of-art-architect-calatrava-sees-lakeside-transformation/