national museum – Southeastern Quilt Museum Sat, 26 Mar 2022 10:46:25 +0000 en-US hourly 1 national museum – Southeastern Quilt Museum 32 32 The Museum of Science and History (MOSH) Selects Balfour Beatty and Stellar as Co-Director of Construction for the MOSH Genesis Project Fri, 28 Jan 2022 22:26:00 +0000

JACKSONVILLE, Fla.–(BUSINESS WIRE)–The Museum of Science and History (MOSH) today announced the selection of Balfour Beatty and Stellar as a joint venture to lead the construction management of the MOSH Genesis project.

Balfour Beatty and Stellar will oversee all vertical construction of the $85 million project, which will bring a new museum to the Shipyards East area on the North Shore of downtown Jacksonville. Plans for the new museum include 130,000 square feet for exhibits, programs and events as well as new and improved space for the planetarium.

Balfour Beatty has successfully completed several museum projects, including the Perot Museum of Nature & Science and the Perot Family Turtle Creek Legacy Hall Museum in Dallas, Texas; the National Museum of the Marine Corps in Triangle, Virginia; and the expansion of the North Carolina Museum of Art in Raleigh, North Carolina. Additionally, the company has experience leading complex new construction projects in northeast Florida, such as the Jacksonville Regional Transportation Center; the Jacksonville International Airport terminal expansion project; and the new Jacksonville University Basketball Performance Center.

Stellar, a Jacksonville-based design-build company, has over 35 years of experience in design, engineering, construction and mechanical services. The company brings to the joint venture its experience with local and national recreational facilities; past projects include Hale Koa Ilima Pool Renovation, Shades of Green at Disney World Renovation, Jacksonville Zoo and Gardens, and Jacksonville Bestbet Gaming Center.

“Our Genesis Board of Directors and Oversight Committee have been extremely impressed with the depth of Balfour Beatty and Stellar’s experience in Northeast Florida. After reviewing proposals from numerous teams as part of of our competitive process, we were particularly interested in the complementary nature of Balfour Beatty’s national experience and Stellar’s local roots,” said Bruce Fafard, President and CEO of MOSH. “Their combined approach demonstrated a holistic understanding of our visitor experience plan, both within our building and throughout the Sports and Entertainment District.”

The DIA Board of Directors gave unanimous approval to the MOSH to proceed with the land disposition process for a four-acre parcel at East Shipyards at its January 19 meeting. The new Museum building will be constructed on a 2.5 acre section of this property. Estimating and budgeting will begin in February 2022, with construction beginning in 2023 after all necessary site approvals by the DIA and City Council.

“Jacksonville is a vibrant city and MOSH is an established leader within its cultural community,” said Dave Campbell, Balfour Beatty Project Director. “We are honored to have the opportunity to partner with MOSH on this iconic development and have the unique opportunity to shape the future of downtown.”

“MOSH is a community pillar that has inspired dozens of designers, engineers and innovators in our region,” said Richard Lovelace, Senior Vice President, Commercial at Stellar. “Through our participation in this joint venture with Balfour Beatty, we hope to create a building where the next generation of creative thinkers can find inspiration to become pioneers and leaders.”

MOSH has operated at its current location on the South Shore of downtown Jacksonville since 1969. Museum operations have exceeded the 77,000 square foot facility; building a new museum will greatly increase the organization’s ability to serve more students and visitors. Early projections estimate that by building a new facility at Jacksonville Shipyards, MOSH will be able to accommodate 58,000 students (a 50% increase from pre-pandemic numbers) and 469,000 visitors (a 168% increase ) every year.

For more information about the MOSH Genesis vision, or to support the campaign through a contribution, visit or email

About MOSH:

The Museum of Science and History (MOSH) is located at 1025 Museum Circle near Friendship Park. MOSH, first established in 1941, inspires the joy of lifelong learning by bringing science and regional history to life. Admission is $15.95 for adults; $12.95 for youth, students, serving and retired military, and seniors. There is no admission charge for children two and under or Museum members. Learn more about

Funding for the museum is provided in part by the City of Jacksonville and the Cultural Council of Greater Jacksonville, Inc.; the State of Florida, Department of State, Division of Arts and Culture and the Florida Council of Arts and Culture; and the National Endowment for the Arts; Historic Museums Grant Program assistance provided by the Bureau of Historic Museums, Division of Historic Resources, Florida Department of State, Secretary of State.

About Balfour Beatty:

Balfour Beatty is a leading provider of general contracting, construction-at-risk and design-build services to public and private sector clients across the United States. Carrying out heavy civil and vertical construction work, the company is part of Balfour Beatty plc (LSE: BBY), a leading international infrastructure group that provides innovative and efficient infrastructure that underpins our daily lives, supports communities and promote economic growth. Balfour Beatty is rated one of the top national construction contractors in the United States by News-Record Engineering. To learn more, visit

About Stellar:

Stellar is a fully integrated design, engineering, construction and mechanical services company that provides the most comprehensive range of self-executed services in the industry, including planning, design, pre-construction, construction, refrigeration, mechanical and utilities, building envelope and overall operations. and maintenance services. More than 800 Stellar employees around the world create award-winning food processing plants, cold stores, distribution centers, commercial buildings and military installations. In addition to its headquarters in Jacksonville, Florida, Stellar operates nearly 50 locations and support offices in the United States, China, and the Middle East and North Africa (MENA) region. The company also serves Central and South America, Europe and India. For more information, visit

]]> From Dawn to Dusk with 56 Masterpieces from the National Museum of Sweden opens February 19 at the Nordic National Museum Fri, 28 Jan 2022 20:01:40 +0000

In the Garden by Johan Krouthen 1887-1888

Nordic Museum information

At a time when few international art exhibitions travel to America, the National Nordic Museum is presenting one of the largest West Coast European art exhibitions in 2022
On February 19, the National Nordic Museum will premiere a landmark exhibition from one of Northern Europe’s most important art museums with “From Dawn to Dusk: Nordic Art from the Nationalmuseum of Sweden “. The 56 paintings in the exhibition are by leading artists from the Nordic region of the late 19th century, including works by Anders Zorn, August Strindberg, Bruno Liljefors, Carl Larsson, Hanna Hirsch-Pauli, Harriet Backer, Nils Kreuger and Vilhelm Hammershøi, among others.

“This is an in-depth look at one of the most popular periods of Nordic art with works by the greatest Danish, Norwegian and Swedish artists,” said executive director Eric Nelson. “We are very grateful to the Nationalmuseum for generously loaning such extraordinary works.”

The exhibition traces the last decades of the 19th century and the beginning of the 20th century, a period of spectacular development of the art of the Nordic countries, through scenes of daily life, portraits and landscapes. Young artists tired of the conservative art scene in their respective countries travel abroad, mostly to France and Paris. Here they could experience personal freedom and a modern, cosmopolitan art scene. In particular, women artists encountered much better conditions in Paris than at home in the Nordic countries. “Compared to Stockholm, the [late 19th-century] The Parisian art world was an endless field of prosperous opportunities, and at the time, Paris was the undisputed art capital of the world. Young artists became increasingly aware of the more liberal art world in Paris, fueling their frustration with the conservative academies of the North,” said Carl-Johan Olsson, curator of 19th century painting at the Nationalmuseum.

“From Dawn to Dusk: Nordic Art from the Nationalmuseum of Sweden” includes 56 paintings by Danish, Norwegian and Swedish artists housed in the collection of the Nationalmuseum in Stockholm, Sweden. It will be presented exclusively at the Nordic National Museum from February 19, 2022 to July 17, 2022 and accompanied by a full range of lectures, concerts and art classes related to the exhibition.

Organized by the Nationalmuseum in Stockholm, Sweden, and the National Nordic Museum in Seattle, Washington, this exhibition was curated by Nationalmuseum curator Carl-Johan Olsson. The presentation at the National Nordic Museum, the exhibition’s exclusive North American location, is coordinated by Leslie Anne Anderson, director of collections, exhibitions and programs.

Nordic artists synthesized the contemporary ideas, practices and styles they encountered in Paris to represent the motifs of their region of origin. Over the next century, the Nationalmuseum collected these images as exemplars of this story. “These treasured paintings transport visitors to a time when artistic influences from abroad ignited passions, inspired the creation of new avenues for artists to succeed, and ultimately shaped new national schools of art. Above all, From dawn to dusk reflects current scholarship and shares some recent acquisitions from the Nationalmuseum collection that exemplify the profound contributions of Nordic women artists at this groundbreaking moment in art history,” said Anderson.

The presentation of the Nordic National Museum of From dawn to dusk was made possible by Ann-Charlotte Gavel Adams, Peter and Sophia Ku in honor of Mrs. Viola Evelyn Greathouse, Maria Staaf and William Jones, the Barbro Osher Pro Suecia Foundation, the Scan Design Foundation and the Robert Lehman Foundation.

Pokemon Fossil Museum event returns in 2022 Sat, 08 Jan 2022 16:00:07 +0000


The Pokemon Fossil Museum event is coming to several new science museums in Japan from March 2022. The event will feature comparisons of Pokemon fossils with their real-life counterparts. Additionally, the event will also feature a Pikachu dressed as an archaeologist. [Thanks, Famitsu!]

The Pokemon Fossil Museum special event will arrive at three new museums, with more locations planned for a later date. New sites include the National Museum of Nature and Science, the Toyohashi Natural History Museum, and the Oita Prefecture Art Museum. Each event will feature large-scale exhibits of Pokémon fossils, some as large as actual dinosaur fossils. Some of the locations will also offer never-before-seen interpretations of Pokémon fossils.

At the time of writing, only the National Museum of Nature and Science has a confirmed event period. Each museum will subsequently announce concrete event windows.

You can check out the official intro video for the Pokemon Fossil Museum event below.

The Pokemon Fossil Museum event originally started in July 2021, with the Mikasa City Museum in Hokkaido Prefecture as the first location. With the traveling exhibition slated to run through summer 2022, the Oita Prefecture Art Museum is a new addition to the lineup. The event is currently active at the Shimane Prefecture Nature Museum of Mount Sanbe “Sahimel” until January 30, 2022.


ECU Football Has Powerful DC Experience When Visiting National Museum of African American History and Culture Sat, 25 Dec 2021 00:37:00 +0000


WASHINGTON, DC (WITN) – Part of Military Bowl week is exploring the area around which the game will be played. He really hit home with ECU football on Friday.

ECU football trained on Friday morning and it went rather well according to the team. The pirates boarded the bus and traveled to the National Museum of African American History and Culture in the afternoon in Washington DC

“A great experience. It was very powerful to see everything. Find out more about our African-American compatriots. For those who aren’t, to learn some of the things our people have been through, “says ECU Ford Safety DJ,” To see a part of the story that isn’t talked about as much as everything else in the world. story. Like it’s really cool when you start from the bottom and there is all the slavery stuff, then it progresses to civil rights, then it spreads more to sports and visual arts and culture. musical and things like that. He touches everything about African Americans and our history here in this country. It’s awesome.

“I’m just glad people came and got to experience it,” says ECU running back Rahjai Harris, “Because you know we see it on Twitter all the time, and we can search it on google, but just coming here can really change your life, change your outlook on life. What your grandparents, or a family you’ve never met before, had to go through is crazy. But you know it’s good that we can get the knowledge from museums like this.

Some of the players had been to the museum before, but for many it was the first time.

“I feel like they were a little caught off guard by the sheer details of all of the exhibits,” says Ford, The Verbiage That Was Used In Some Of The Slavery Stuff. “

“There were a lot of things wrong in the past,” says Harris, “The world has entered the world today, you know we have equality, you know we have white people with black people, it’s so much better. “

These pirates say it says a lot for their football team to embrace this museum experience.

“It just shows that we are like inclusive, tight-knit, we are a family,” says Ford.

“I don’t see color,” says Harris, “Just being with my brothers, we don’t see color, we’re just a unit. “

We do not have Saturday news on WITN. We’ll have something on Saturday’s team activities on social media and on our website tomorrow night.

Copyright 2021 WITN. All rights reserved.


Five things you didn’t know about mistletoe | Smithsonian Voices Tue, 21 Dec 2021 11:00:00 +0000


Smithsonian botanist Marcos A. Caraballo-Ortiz collected these specimens of mistletoe in Mexico.
Marcos A. Caraballo-Ortiz

This holiday season, you might be hoping to catch someone under the mistletoe – or it just might be an prospect you’d like to avoid. The association of mistletoe with kisses and Christmas in the Western world dates back to the 19th century, but it has been linked to romance and fertility since ancient times.

“Mistletoe is actually an evergreen plant,” said Marcos A. Caraballo-Ortiz, an associate botany researcher at the Smithsonian National Museum of Natural History who studies Caribbean island mistletoe. This persistent status, combined with the fact that it retains its fruit in winter, has made mistletoe a symbol of fertility and vitality.

To celebrate the holidays, Caraballo-Ortiz shared some other fun facts you might not know about the plant behind the tradition.

Mistletoes are parasites

You read that right – all mistletoe species are pests. But it’s a bit more complicated than Hollywood’s portrayal of parasitism. Mistletoes are specifically known as hemiparasites, a term for a plant that gets some or all of the nutrients it needs from another living plant, Caraballo-Ortiz explained. In the case of a mistletoe, it attaches to the branches of a woody tree or shrub and siphons water and food from the host.

But guises are not incapable of fending for themselves. “They can photosynthesize” early in their life cycle when they first attach themselves to their host tree, he explained. And mistletoes generally do not kill their host. Sometimes the host plant will experience growth retardation as a result of the uninvited guest. “I’ve seen trees that have branches with so much mistletoe on them, the branch can die,” Caraballo-Ortiz said. “But some of them are not noticed on the host at all.”


A dwarf juniper mistletoe (Arceuthobium oxycedri) growing on a juniper in the Ziarat forest in Pakistan.

William M. Ciesla, Forest Health Management International,

They don’t grow out of the ground

Due to their parasitic nature, mistletoes never touch the ground. “They are not touching the ground,” Caraballo-Ortiz said. Instead, when a mistletoe seed lands on a potential host plant, it “hooks up” and begins to germinate. “Their fruit is coated with a sticky substance called viscin,” Caraballo-Ortiz explained. “It’s like a fiber that allows the seed to attach itself to the branches of trees.” The seed uses its own photosynthetic powers to produce a hypocotyl, or stem, which comes out and triggers the growth of mistletoe. It then forms a structure called a haustorium, which acts like a root by burrowing into the host branch and carrying water and nutrients from the host to the parasite.

Some mistletoe spread their seeds by exploding, while others depend on birds

So how do mistletoes manage to deposit their seeds on distant tree branches? Some species take seeds from their fruits by increasing the water pressure in their berries and exploding. “It’s really cool – they can go really long distances,” Caraballo-Ortiz said, in some cases up to 20 feet and at speeds of up to 30 miles per hour.


Some mistletoes, like the dwarf mistletoe pictured here, spread their seeds by increasing the water pressure in their berries and causing their seeds to explode in the air.

United States Forest Service, USDA

But many mistletoes, including most of the tropical species studied by Caraballo-Ortiz, are greatly helped by birds. Many birds choose to feed on mistletoe berries, which contain the seeds of the plant. “Birds really love them because they have special sugars and different colors and textures,” Caraballo-Ortiz said of the fruit. “And it is often the only fruit available in winter in many cases.” As the birds fly from branch to branch, they deposit the seeds in their poo. The sticky viscin fixes the seeds to the branch, leaving them ready to start germinating and burrow into a new host tree.

Some mistletoe eat other mistletoe

Most mistletoes are adapted to use trees as a parasitic host. But some mistletoe go further and parasitize other mistletoes. It is not uncommon for birds to scatter the seeds of one mistletoe while they feed on the fruits of another mistletoe. Because mistletoes are susceptible to clinging to any plant, some species have adapted to using these secondary mistletoes as a host. “The birds have constantly thrown seeds at other mistletoes,” Caraballo-Ortiz explained, “so they took advantage of it.”

In these cases, you may find a mistletoe hanging from a mistletoe hanging from a tree, stacked in a sort of parasitic plant chain. These mistletoes have become what is called a hyperparasite: a parasite that parasitizes another parasite. The hyperparasite draws food from the first mistletoe, which in turn siphons nutrients from the tree.


Tufts of evergreen European mistletoe (Viscum album) grow on a pear tree in Romania.

Haruta Ovidiu, University of Oradea,

Mistletoe grows almost everywhere on Earth

While mistletoe is associated with the holiday season and the cold in America, there are over a thousand known mistletoe species that grow all over the world. “You can find them almost anywhere except in extreme environments,” Caraballo-Ortiz said. “But even some of them are suitable for very cold places like Siberia or northern Canada.” These mistletoes have special adaptations that help them tolerate cold weather, while other species are adapted to survive in dry conditions. “As long as they have a host, they can find a way,” he said.

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Douglas SBD-2P Dauntless arrives at Pearl Harbor Aviation Museum Fri, 17 Dec 2021 05:55:47 +0000


Last October, we reported that after some 40,000 hours of volunteer work, the catering team at the Aerospace and Air Science Museum Zoo in Kalamazoo, Michigan had completed the restoration of the Douglas SBD-2P Dauntless BuNo. 2173. This article also stated that the dive bomber was to leave Kalamazoo for a new home in Pearl Harbor Aviation Museum on Ford Island in Honolulu, Hawaii. We can now report that this Dauntless veteran has completed his oceanic journey to Hawaii and is safely housed in historic Hangar 79 at the Pearl Harbor Aviation Museum, which still bears the scars of that fateful day of the Japanese attack in December. 1941. BuNo The .2173 is currently being reassembled for the move to the nearby Hangar 37, where it will replace the SBD-5 BuNo.36177. The latter aircraft will soon return to the United States to become a static display within the The Collings Foundation American Heritage Museum in Hudson, Massachusetts.

The SBD-2P BuNo.2173 has a fascinating history, as illustrated below in the (softly edited) description of the Pearl Harbor Aviation Museum…

Of the 5,936 Douglas Dauntless dive bombers built between 1940 and 1944, only a fraction of them survived the next eight decades. Even fewer have been kept in an essentially “time capsule” state. The valuable addition of a Douglas Dauntless SBD-2P to the collection of the Pearl Harbor Aviation Museum would have been much less likely had it not been for a carburetor icing incident on Lake Michigan on February 18, 1944. Forced to give up, our SBD-2P stood nose-to-the-lake for nearly 65 years before a rescue team lifted it from the depths June 19, 2009.

The museum’s Douglas Dauntless was pulled from Lake Michigan in Chicago on June 19, 2009. (Image via PHAM)
James D. “Jig Dog” Ramages in a Douglas SBD Dauntless aboard the USS Enterprise (CV 6) during World War II. (image via wikipedia)

Former McDonald’s President Fred Turner sponsored this payback effort as a tribute to his friend Rear Admiral James “Jig Dog” Ramage. Since it would take many years to restore our aircraft, the National Museum of Naval Aviation in Pensacola, Fla. loaned us SBD-5 BuNo.36711 to take his place in the interim. This aircraft is currently on display in our Battle of Midway exhibit. The museum’s SBD-2P, a Pacific WWII veteran, was sent to our friends at the Air Zoo Aerospace & Science Museum in Kalamazoo, Michigan, where they worked hard for five years to restore the aircraft to its former glory.

SBD-2P BuNo. 2173 seen in the Air Zoo catering hangar in October ahead of its expedition to Hawaii. It was finished by this point, except for the installation of its wheels, following a massive 40,000-hour renovation effort by Air Zoo volunteers. (photo via Air Zoo)

The design of the SBD evolved over six iterations during the war, adding self-sealing fuel tanks, an armor plate, and an increased number of machine guns. Along with the design changes, sub-categories designate the multi-purpose aircraft warfare applications.

For example, the P in the type designation of our Dauntless indicates that the Navy ordered it as a photo reconnaissance variant; of the 87 SBD-2s built by Douglas Aircraft, only 14 were modified for such a role. The SBD-5 was the most numerous Dauntless variant, with 2,965 produced. The SBD-5 had a slightly more powerful Wright R-1820-60 Cyclone engine (1200 hp) and increased ammunition capacity.

All Navy aircraft records are individually ordered and identified by their assigned office numbers. The records of our Douglas Dauntless SBD-2P, office number 2173, trace the aircraft from its delivery to the Navy in early 1941, as a photo reconnaissance aircraft, to its posting with the Reconnaissance Squadron VS-6 aboard the aircraft carrier USS Business (CV 6).

US Navy Douglas Dauntless SBD-2 of Scouting Squadron 6 (VS-6) in flight with the aircraft carrier USS Business (CV 6) and destroyer below. (image via PHAM)

The aircraft was then assigned to a Battle Force Pool in San Diego in August 1941. It was still in California on December 7, 1941 and assigned to a Battle Force Pool in Pearl Harbor a month later. At this point, our Dauntless appears to have been mistaken for record keeping for SBD-3 BuNo.2179. The latter SBD crashed in an incident while assigned to the aircraft carrier USS hornet (CV12). However, handwritten notes on the history cards of this aircraft recorded BuNo.2173 instead of BuNo.2179 – an easy wartime mistake, but one that has created a conundrum for aviation historians!

USS flight deck crew Yorktown securing the Dauntless SBDs that just hit the Japanese-held islands in 1943. (image via PHAM)

While researching other official Navy documents, historians and researchers identified the error and proceeded to uncover the fascinating history of our SBD-2P. Indeed, searching our SBD’s history reads like a detective investigation. Dates, significant historical events, heroic feats and the stories of the brave crews of BuNo. 2173 emerge as a gripping tale, tracing the plane from San Diego to Pearl Harbor, until it becomes cargo on board. of the USS Yorktown (CV 5), to his frontline squadron posting with the VS-5 during the Battle of the Coral Sea, to its support for training in three continental naval air bases, to its service as part of the Lake Michigan Carrier Qualification Training Unit, and finally to its crash during landing training exercises on aircraft carriers In progress. Fortunately, the pilot, Lt. John Lendo, survived this latest incident. Although our Dauntless had spent more than half a century under the cold waters of Lake Michigan, the muddy bottom was not to be the plane’s last resting place.

With donor support garnered in 2020, we were able to complete the first stage of the exchange – shipping the SBD-2P from Kalamazoo to Hawaii; we have now hosted our SBD-2P home in Pearl Harbor. Once our historic SBD-2P is on display in Hangar 37, it will provide authentic context to tell the challenges naval aviation faced in the aftermath of the December 7, 1941 attack on Pearl Harbor.

The moment the SBD-2P BuNo.2173 arrived at the Pearl Harbor Aviation Museum on Ford Island. (image via PHAM)


Wilderness and Watercolors: A Hidden Museum Pays Homage to the Staggering Artwork of an Adventurer | New Sun, 05 Dec 2021 17:31:16 +0000


As a child, Palo Altan Jane Woodward dreamed of living in a museum. She spent her summers visiting her grandmother in Manhattan and loved to fantasize about what it would be like to live in the Metropolitan Museum, like the characters in her favorite book, “From the Mixed-Up Files of Mrs. Basil E, did. . Frankweiler “. by EL Königsburg.

Woodward grew up studying geology at the University of California, Santa Barbara, and Stanford University, then business at Stanford, but has always retained his love for art and museums alongside his love for the wilderness, especially the American West. She now teaches energy and environment courses at Stanford and is a founder and managing partner of MAP Energy, a renewable energy and natural gas investment company, according to Stanford.

Decades ago, she said, she visited the Smithsonian National Museum of Natural History and was struck by a chance encounter with several watercolors by Tony Foster. They depicted the High Sierras of California on a trip Foster, a British watercolor artist and explorer, took along the John Muir Trail.

Her encounter with these works sparked in her a passion for the work of the painter which, decades later, will lead her to create one of the first museums on the peninsula and one of the only museums dedicated to a living artist in the world. , The Foster.

Despite its 14,000 square foot footprint, it’s easy to miss The Foster if you’re not looking for it. A former ambulance storage facility for Stanford’s Lucile Packard Children’s Hospital, the museum is tucked away in any corner of the warehouse district of Palo Alto in 940 Commercial Street

The exterior of the museum is covered in climbing vines, an exterior suitable for an installation celebrating wild art, while its interior, which has no natural light, is perfect for housing light-sensitive watercolors. Walk inside the space and it’s easy to lose track of time, absorbed by Foster’s bright and engaging outdoor works created during 17 travels around the world.

The Foster houses the permanent collection of the Foster Art & Wilderness Foundation, founded by Woodward, and presents two of these 17 “Voyages” of Foster’s works, from the collections entitled “Sacred Places” and “Exploring Beauty”. Each “Trip” represents the value of a full trip of collected works of art. Free entry.

Tony Foster is a unique artist for a number of reasons, museum co-directors Eileen Howard and Anne Baxter explained during a recent visit to the museum. The Cornish painter carries art supplies with him all over the world, using lightweight materials and a small tin of paint, but always with a full set of brushes and – as an Englishman worthy of the name – adequate supplies for afternoon tea.

Painting in extreme environments, he also pioneered new watercolor techniques, such as mixing gin in water at very high altitudes while painting in the Himalayas, or the use of plastic vellum and of colored pencils to paint underwater coral reefs.

Kristin Poole, artistic director of The Foster, writes that Foster’s work draws on the traditions of artists like JMW Turner who emphasize the ferocity of nature and the insignificance of man, as well as exploratory artists like Thomas Moran, George Catlin and William Henry Jackson.

His process “requires being able to withstand grueling physical conditions as well as considerable patience while waiting for the site, weather and time of day to cooperate, reinforcing messages that none of this – whatever. the act of actually seeing, locating and translating the site, or honoring the humiliating forces of nature – is easy to do, ”she said.

A signature of his work is that next to his paintings are what are called “keepsakes” – small keepsakes, whether taken or returned, which highlight the details of the environment in which they are located. Foster thought. For example, there might be a study of leaf colors with a painting of an autumn forest, or small framed water sample vials next to a river painting.

The Sacred Places collection represents Foster’s 15th trip to the four corners of the American Southwest. The Exploring Beauty Collection represents Foster’s 16th journey, in which he asked various luminaries in science, exploration, writing and the environment to nominate what they believed to be the most beautiful places of the world. He then went to these places and painted them from his own perspective.

After this first observation of Tony Foster’s artwork, Woodward worked diligently to find out more. The museum provided few curatorial details on the art, so she kept calling the museum. Eventually, she learned that Foster was represented by the Montgomery Gallery in San Francisco. Over the years, she has become a dedicated buyer of Foster’s work. Many years later, Woodward invited Foster to join a trip she was planning on the San Juan River.

During this trip, Woodward recalls, she began to think that there was some kind of “market failure” that there was no art institution with enough space to show a “trip. “complete or a complete set of works of art from one of Foster’s voyages.

“It was a very organic evolution, to recognize that if I wanted to keep Tony’s travels intact and share them with the public, we needed a space. It’s only in the last few years that we’ve called it a museum, ”she said. The museum, she added, is also used as a sort of staging area for other potentially larger museums to see what one of Foster’s journeys looks like in its entirety from a the conversation. The foundation also works with other museums seeking to showcase Foster’s work and provides curatorial support through the shared expertise of Howard and Baxter.

Since the museum opened in 2016, said Woodward, one of the most gratifying things has been hearing friends and visitors to the museum tell him that the art evoked memories of specific places they were. gone or had inspired them to go out. the desert by themselves.

“I love Tony’s art because it’s just beautiful to see, but I love using it to have these conversations about all of these layers around the place,” she said. “I firmly believe that thinking about where and why it is important to protect is really important.”

Howard and Baxter were quieter than expected while talking about how the pandemic has affected museum operations.

Yes, The Foster has been closed for a long time, and it has been difficult to communicate that it is open again by reservation, but overall there have been some benefits, they said.

For starters, because travel was restricted, Foster himself was actually more available than he might otherwise be for interviews and archival work, they said.

Foster also kept busy during the pandemic with a project called “Lockdown Diaries,” while facing a strict quarantine in England that limited time outdoors to one hour a day. During this hour, he would find new pedestrian routes to walk around his neighborhood and new objects to study in his works. Over time, he’s created some lovely little studies, including a 56-day set of designs that have been turned into a print that the Foster sells to support nature-focused nonprofits, both locally. and internationally.

Dealing with travel restrictions due to the pandemic, he said, “made me study my garden more in depth, and I found great joy in studying small subjects in depth. The more you watch. the closer, the more you see! “

Foster said a lesson he plans to pursue is: “Be patient and find joy where you are, even if you are confined to a small area. “

Returning to the Palo Alto museum, Howard and Baxter said they try to make it known that the museum is not only open again, but that every booking almost guarantees visitors to have the museum to themselves for about one. time.

Foster’s next trip, scheduled for the Green River, has been postponed this year, but a special exhibition of his work is currently on display at the Royal Cornwall Museum titled “Fragile Planet: Watercolor Journeys into Wild Places”.

In recent years, those familiar with Foster’s work also say he has made his voice heard more advocating against climate change. While his work has long espoused the “leave no trace” principle, he expressed shock at the environmental changes he observed on more recent trips, Baxter said.

“For almost 40 years I have made my art in the great wilderness of the world – rainforests, desert mountains, canyons, the Arctic and the tropics. No one can spend long periods in these places without worry about their future, ”he said in an email.

“While painting in the primary rainforest, I heard chainsaws moan and huge trees crash to the ground. I have canoeed down clear rivers where gold dredges poison the water with mercury; I camped in pristine deserts knowing that prehistoric water tables were being sucked up. In the Arctic, as the ice melts, mining companies settle in pristine landscapes. Sitting underwater while diving, I have drawn myriads of fish of unimaginable variety and beauty to discover a year later the bleached corals and the extinct fish.

“I hope that when people find out about my work, they will be prompted to strengthen their desire to protect the planet’s ecosystems. I speak more clearly now whenever I am offered a platform.”

Go to for more information or to book.


Denver Art Museum reflects on plundered African art Sun, 05 Dec 2021 15:17:43 +0000


DENVER (AP) – British troops in 1897 staged a violent retaliatory raid on the kingdom of Benin, in what is now southern Nigeria, looting and torching the royal palace and sending the oba, or king, into exile . The British confiscated all of the royal treasures of their colonial subjects, giving some to the officers but taking most to an auction in London to help pay for the shipment.

These rare ‘Benin bronzes’ over the past century have been scattered in hundreds of institutions around the world, including the Denver Art Museum, where a 16th or 17th century bronze plaque is one of 11 objects from the museum’s collection from the ancient kingdom. from Benin.

Today, amid a global toll of colonial history and a racial justice movement, pressure is mounting for art collections like the one in Denver to return the relics to their rightful owners. European institutions led the charge, pledging to return Benin’s bronzes to help Africa rebuild art collections lost after centuries of looting, but American collections were slower on board.

“It’s not just about taking the artwork that was an act of war,” said Dan Hicks, a British curator and professor whose book, “The Brutish Museums: The Benin Bronzes, Colonial Violence and Cultural Restitution “, argues in favor of the repatriation of artefacts. in Nigeria. “The continued display of these objects in these museums represents for many an enduring act of violence.”

The Denver Art Museum has not exhibited any of its Beninese pieces for years, museum officials said in a statement, and last year began working with experts “so that we can better understand their provenance. complete “.

“For the moment, none of these objects are visible and the museum has not been contacted by Nigeria for requests for information or for requests to return the objects”, according to the statement.

The Benin bronzes debate comes as the Denver Art Museum grapples with the history of its own collection. In November, the museum voluntarily gave up four Cambodian antiquities after federal authorities decided to seize the objects. The US Department of Justice has alleged that the relics – sold to the museum by Douglas Latchford, who was indicted in 2019 for trafficking in looted antiques – were looted in the Southeast Asian nation.

– How Denver got its bronze from Benin

Benin bronzes are a bit of an overkill – they are neither uniformly bronze nor from the country of Benin (the ancient kingdom of Benin is in southern Nigeria). Artifacts include everything from carved elephant tusks to ivory statues and wooden heads, in addition to iconic bronze plaques such as the one from the Denver Art Museum.

“The royal palace of the oba or king of Benin was adorned with hundreds of ornate plaques, like this one, telling the story of court life,” reads the plaque’s description on the website from the Denver Art Museum. “Cast in the lost wax technique by a highly skilled craftsman, this plaque has the figure of a court nobleman or perhaps a chief showing the details of his insignia, including his helmet, a necklace of elaborate coral, embroidered skirt, belt and anklets.

The museum acquired the plaque in 1955 from the Carlebach Gallery in New York. The coin was “taken” in 1897 by Sir Ralph Moor – who led the British protectorate of the African region and the Benin City raid – from the Kingdom of Benin and sent to the collection of the British Foreign Service office, according to the section. “Known provenance” of the article’s web page, which traces its history and acquisition.

The plaque is number 60 of 300 taken by Moor and initially exhibited in the British Museum, according to Hicks, the British curator. About 100 of them were variously sold or given away.

The bronze plaque is the only one of 11 objects in the Denver Art Museum that “we can confirm that it was removed from the Kingdom by the British Foreign Service in 1897,” museum officials said.

In addition to taking a closer look at their Benin collection last year, museum staff are also participating in a project called Digital Benin, a German-led initiative that will “bring together photographs, oral histories and rich material from documentation from collections around the world to provide a much-requested insight into royal works of art looted in the 19th century, ”says the project’s website. Its launch is scheduled for 2022.

The Benin bronzes are in collections in England and Germany, New York and California. And they can reach significant prices: One B̩nin Bronze Рa head of oba Рsold in 2007 for 4.74 million dollars.

– The Sarr-Savoie report

The discussion of looted art during colonial times got a boost in 2017 when French President Emmanuel Macron told a group of students in Burkina Faso that the return of African artefacts kept in his home country origin would become a “top priority”.

“I cannot accept that a large part of the cultural heritage of several African countries is in France,” Macron said. “African heritage cannot be limited to private collections and European museums.”

Macron commissioned a report and the authors recommended in 2018 that items removed and sent to mainland France without the consent of their countries of origin be definitively returned – if the country of origin requests it.

The figures behind the looting of colonial art are startling: around 90 to 95% of Africa’s cultural heritage is held outside the continent by major museums, experts said in the French report.

Known as the Sarr-Savoy Report, it triggered a domino effect across Europe and ultimately the United States.

Germany announced in April that it would start returning around 1,100 Beninese bronzes from its museums in Nigeria. A Dutch committee last year recommended the unconditional return of the objects to the former colonies of the Netherlands.

Last month, the Smithsonian National Museum of African Art in Washington, DC, removed 10 Benin bronze pieces from the exhibit and pledged to repatriate them to Nigeria.

“We recognize the trauma, violence and loss that such exhibits of stolen artistic and cultural heritage can inflict on the victims of these crimes, their descendants and communities at large,” the museum said on its website.

Repatriation of items should be done on a “case-by-case basis,” Hicks said. “We’re not talking about emptying museums and sending everything back. It’s about being open to giving back when asked.

But works of art such as the Benin Bronze hosted in Denver are “the anthropology of this era,” he said. “They are used to tell a story of cultural supremacy that has no place in what we think of art museums today.”

In an essay titled ‘Give us back what our ancestors did’, Nigerian artist Victor Ehikhamenor writes about the despondency he felt upon seeing these masterful works – iconic exhibits of his culture – hanging in British museums stilted.

“Generations of Africans have already lost untold history and cultural benchmarks due to the lack of some of the best works of art created on the continent,” Ehikhamenor wrote. “We shouldn’t have to ask, over and over again, to get back what is ours. “

Nigeria plans to open a museum in Benin City in 2023 with at least 300 Bronzes from Benin, populated mostly with pieces from major European collections.

“I want people to be able to understand their past and see who we were,” Godwin Obaseki, governor of Edo State, where Benin City is located, told The New York Times.

– America takes its time

While the European institutions have taken the initiative in repatriating the artifacts, the American collections have “been quite slow to react to this,” said Rashida Bumbray, director of culture and art for the Open Society Foundations, a global grant network, which last year pledged $ 15 million. towards the return of cultural objects to Africa.

The Smithsonian’s announcement “is a game-changer,” Bumbray said, but “the United States is lagging behind.”

Many museums have been slow to respond to demands for greater transparency in their acquisition practices and stricter ethical practices, said Elizabeth Campbell, a professor at the University of Denver who heads the Center for Art Collection Ethics from school.

“Provenance research is very expensive, time consuming, time consuming and has not been prioritized,” Campbell said. “Many museums invest in acquisition and not in research. We hope that will change as they get better scrutiny. “

The challenge in provenance research, according to a list of frequently asked questions at the Denver Art Museum, “is capacity and time, because we have over 70,000 works in our collection.” A multidepartmental provenance committee meets every two weeks to discuss provenance projects, the museum said.

The Denver Art Museum has had to deal with other efforts to repatriate pieces from its collection.

The museum has given up the four Cambodian antiques linked to Latchford and is examining two other pieces from Thailand linked to the now deceased art dealer. In September, the museum also repatriated a Nepalese statue, and in 2016 returned a statue to Cambodia that had been looted during its tumultuous civil war in the 1970s.

There is now a precedent for institutions to return Benin bronzes, Hicks said, naming Germany as a world leader.

“The question now,” he said, “will this also be conducted from Denver? “


Asteroid samples brought back by Hayabusa2 on display at Tokyo museum Sat, 04 Dec 2021 07:05:32 +0000


A black particle collected during the Hayabusa2 space probe’s first landing on the asteroid Ryugu, which is now on display to the public at the National Museum of Emerging Science and Innovation in Tokyo’s Koto district, can be seen in this photo provided by the museum.

TOKYO – Samples from the asteroid Ryugu brought back to Earth by the Japanese space probe Hayabusa2 were on display to the public on December 4 for the first time in a museum in Tokyo.

Two black particles, each measuring around 2 millimeters, are now on display at the National Museum of Emerging Science and Innovation, or Miraikan, in the Koto district of the capital. Masaki Fujimoto, deputy director of the Institute for Space and Astronautical Sciences at the Japan Aerospace Exploration Agency (JAXA), told reporters at a media briefing on December 3: “They look like to ordinary pebbles, but are actually filled with information related to the origin of water and life on Earth. I want visitors to view them with that in mind. ”

The Hayabusa2 space probe returned to Earth in December 2020 with a capsule containing 5.4 grams of rock and sand samples from asteroid Ryugu. Inside the capsule were samples that the probe collected during the landing on the asteroid in February and July 2019. It is believed that Hayabusa2 may have collected samples from the surface of Ryugu during the first landing, and during the second time, he took samples of the material underground when the probe created an artificial crater with a collider.

Ryugu primarily orbits between Earth and Mars and is classified as an asteroid with carbon and water. Scientists believe it is very likely that the asteroid is carrying materials that are the source of life and water from Earth, and are analyzing the samples brought back from the asteroid.

The exposed particles come from samples collected during the first landing and the second landing respectively. The capsule in which the rock samples from Ryugu returned is also on display at the exhibit, which runs until December 13. For more information, contact Miraikan at 03-3570-9151 (in Japanese).

(Japanese original by Etsuko Nagayama, Department of Medical and Lifestyle News)


ExxonMobil Qatar and Qatar Museums announce sponsorship of new Dadu, Qatar Children’s Museum Wed, 01 Dec 2021 16:28:00 +0000

ExxonMobil Qatar and Qatar Museums (QM) have entered into a sponsorship agreement for Dadu, the Children’s Museum of Qatar, with the signing of the company as a founding family member.

QM Chairman HE Sheikha Al Mayassa bint Hamad bin Khalifa al-Thani, and ExxonMobil Qatar Chairman and CEO Dominic Genetti made the announcement during an official ceremony at QM earlier this week.
As part of this partnership, ExxonMobil Qatar will become the exclusive sponsor of the museum’s Sustainability and Valuing the Environment gallery, a space that will focus on the natural environment and biodiversity.
The gallery’s goals are consistent with those of ExxonMobil Qatar’s values ​​to protect Qatar’s natural environment and marine life – including its iconic dugong population – and educate students and the general public about the importance of sustainability for the future of our planet.
In addition, the gallery is linked to ExxonMobil Qatar’s commitment to the development of education – particularly in science, technology, engineering and mathematics (STEM) subjects – to advance the goals. of the Qatar National Vision 2030 and its human development pillar.
In a statement, HE Sheikha al-Mayassa said, “ExxonMobil Qatar supports the ethics of Qatar museums in sustainability and environmental awareness. Once opened, the gallery will educate children and families about Qatar’s natural habitat and how we can all do our part to save the environment.
Genetti said, “The Qatar Children’s Museum will provide endless opportunities for learning and creative discovery, and we are proud to be part of such an important national project. We are also delighted to sponsor a space at the museum that will spark love and curiosity for nature and help children become aware of the environment and motivate them to take action to preserve it. We hope he will be very busy and wish him every success in the future ”.
ExxonMobil Qatar and QM have a common vision of preserving Qatari culture and heritage which is reflected in their collaborations. In June, ExxonMobil Research Qatar (EMRQ) and QM worked closely to present the highly successful Seagrass Tales, Dugong Trails – an exhibit that highlighted the cultural and environmental significance of dugongs – at the Qatar National Museum. ExxonMobil is also the platinum sponsor of Qatar – USA Year of Culture 2021 – a QM initiative.