> AUCTION BENEFIT FOR CHIORI SANTIAGO
Chiori is a wondertful person, someone whom I personally and professionally respect and honor in every possible sense. Donate to their auction, or attend the event and spend money to help her, please.
-----------------------------
A Celebration & BENEFIT for Writer Chiori Santiago
An Evening of Music, Art and Silent Auction to help defray medical expenses related to kidney cancer October 22nd at La Peña Cultural Center in Berkeley, CALIFORNIA.
MORE INFORMATION: Contact Isidra Mencos at isidram@sbcglobal.net or 510-530-7542.
Friday, October 20, 2006
October 2006 Page 7
> AUCTION BENEFIT FOR CHIORI SANTIAGO
Chiori is a wondertful person, someone I respect and honorn in every possible sense. Donate to their auction, or attend the event and spend money to help her, please.
-----------------------------
A Celebration & BENEFIT for Writer Chiori Santiago
An Evening of Music, Art and Silent Auction to help defray medical expenses related to kidney cancer October 22nd at La Peña Cultural Center in Berkeley, CALIFORNIA.
MORE INFORMATION: Contact Isidra Mencos at isidram@sbcglobal.net or 510-530-7542.
Chiori is a wondertful person, someone I respect and honorn in every possible sense. Donate to their auction, or attend the event and spend money to help her, please.
-----------------------------
A Celebration & BENEFIT for Writer Chiori Santiago
An Evening of Music, Art and Silent Auction to help defray medical expenses related to kidney cancer October 22nd at La Peña Cultural Center in Berkeley, CALIFORNIA.
MORE INFORMATION: Contact Isidra Mencos at isidram@sbcglobal.net or 510-530-7542.
Thursday, October 19, 2006
October 2006 Page 6
> RUDYARD KIPLING
An excerpt from his important poem, TOMMY:
"... I went into a theatre as sober as could be,
They gave a drunk civilian room, but 'adn't none for me;
They sent me to the gallery or round the music-'alls,
But when it comes to fightin', Lord! they'll shove me in the stalls!
For it's Tommy this, an' Tommy that, an' "Tommy, wait outside";
But it's "Special train for Atkins" when the trooper's on the tide,
The troopship's on the tide, my boys, the troopship's on the tide,
O it's "Special train for Atkins" when the trooper's on the tide."
An excerpt from his important poem, TOMMY:
"... I went into a theatre as sober as could be,
They gave a drunk civilian room, but 'adn't none for me;
They sent me to the gallery or round the music-'alls,
But when it comes to fightin', Lord! they'll shove me in the stalls!
For it's Tommy this, an' Tommy that, an' "Tommy, wait outside";
But it's "Special train for Atkins" when the trooper's on the tide,
The troopship's on the tide, my boys, the troopship's on the tide,
O it's "Special train for Atkins" when the trooper's on the tide."
Wednesday, October 18, 2006
October 2006 Page 5
> BODE MUSEUM - BERLIN
This seemed worth publishing in its entirety:
By Tony Paterson in Berlin
Published: 18 October 2006
"Berlin's ambition to host a permanent exhibition of priceless artefacts rivalling the Louvre has taken a major step forward with the reopening of the city's neo-Baroque Bode museum which houses a dazzling collections of antique and Byzantine sculptures.
The imposing domed building, which straddles an island in the city's river Spree like the bow of a ship, was formally opened after a €152m (£102m) renovation which has restored the museum to its original, immaculate condition. It had been slowly decaying for 67 years.
Shattered by Allied bombs during the Second World War and neglected during East Berlin's communist era, the museum has not only been structurally revamped.
Hundreds of works that were removed during the war and stored on opposite sides of the city's infamous Wall during the Cold War were finally reunited under one roof.
"Visitors will see that the Bode museum contains one of the most beautiful, largest and most significant collections of sculptures dating from late antiquity [Greek and Roman culture] until around 1800," Arne Effenberger, the museum director, said.
The 1,700 sculptures were brought together originally by Wilhelm von Bode, the museum's turn-of-the-century founding director and were intended as a triumphant demonstration of Prussian cultural enlightenment and prowess. Yet it fell to Kaiser Wilhelm II, who would plunge Germany into the maelstrom of the First World War, to inaugurate the museum in 1904. After 1918, and for much of the Cold War, the building was, as a result, dismissed as a vestige of despised Prussian imperialism.
Yesterday, the museum's complete collection, which includes lavishly ornate door-frames from Venetian palaces, 15th-century Dutch, Flemish and German masterpieces and Baroque and Byzantine sculptures and murals, was open to view for the first time since 1939.
In 60 vast, wood-ceilinged halls floored with terracotta tiles, the amount of space allocated to each exhibit allowed visitors to view each breathtaking artefact in extraordinary close up.
One of the highlights of the exhibition is a 15th-century Madonna and child by the Dutch master Niclaus Gerhaert von Leyden. After The Second World War and throughout the Cold War, the Madonna stood alone in the Bode Museum while the child remained on display in a museum in capitalist West Berlin. Yesterday the two figures were finally to be seen reunited.
The Bode museum's lavish restoration is part of Berlin's plans to re-establish the city as one of Europe's most significant cultural centres with a choice of museums to rival Paris.
The process began shortly after German reunification in 1990, when Unesco awarded world cultural heritage status to the city's "museum island", the site of the Bode, National Gallery and Pergamon museum. The century-old National Gallery has been restored and there are plans to start rebuilding the Pergamon by the end of the decade.
But the costs of restoring museums, many of which have remained almost untouched since 1945, have been grossly underestimated. Months ago, Germany's Federal Accounts Bureau admitted that the €500m originally earmarked for the rebuilding programme, would have to be trebled if the project were to be completed by the target date of 2015. David Chipperfield, the architect masterminding the museum island project, said: "It may take till 2050 until the project is finished."
Berlin's ambition to host a permanent exhibition of priceless artefacts rivalling the Louvre has taken a major step forward with the reopening of the city's neo-Baroque Bode museum which houses a dazzling collections of antique and Byzantine sculptures.
The imposing domed building, which straddles an island in the city's river Spree like the bow of a ship, was formally opened after a €152m (£102m) renovation which has restored the museum to its original, immaculate condition. It had been slowly decaying for 67 years.
Shattered by Allied bombs during the Second World War and neglected during East Berlin's communist era, the museum has not only been structurally revamped.
Hundreds of works that were removed during the war and stored on opposite sides of the city's infamous Wall during the Cold War were finally reunited under one roof.
"Visitors will see that the Bode museum contains one of the most beautiful, largest and most significant collections of sculptures dating from late antiquity [Greek and Roman culture] until around 1800," Arne Effenberger, the museum director, said.
The 1,700 sculptures were brought together originally by Wilhelm von Bode, the museum's turn-of-the-century founding director and were intended as a triumphant demonstration of Prussian cultural enlightenment and prowess. Yet it fell to Kaiser Wilhelm II, who would plunge Germany into the maelstrom of the First World War, to inaugurate the museum in 1904. After 1918, and for much of the Cold War, the building was, as a result, dismissed as a vestige of despised Prussian imperialism.
Yesterday, the museum's complete collection, which includes lavishly ornate door-frames from Venetian palaces, 15th-century Dutch, Flemish and German masterpieces and Baroque and Byzantine sculptures and murals, was open to view for the first time since 1939.
In 60 vast, wood-ceilinged halls floored with terracotta tiles, the amount of space allocated to each exhibit allowed visitors to view each breathtaking artefact in extraordinary close up.
One of the highlights of the exhibition is a 15th-century Madonna and child by the Dutch master Niclaus Gerhaert von Leyden. After The Second World War and throughout the Cold War, the Madonna stood alone in the Bode Museum while the child remained on display in a museum in capitalist West Berlin. Yesterday the two figures were finally to be seen reunited.
The Bode museum's lavish restoration is part of Berlin's plans to re-establish the city as one of Europe's most significant cultural centres with a choice of museums to rival Paris.
The process began shortly after German reunification in 1990, when Unesco awarded world cultural heritage status to the city's "museum island", the site of the Bode, National Gallery and Pergamon museum. The century-old National Gallery has been restored and there are plans to start rebuilding the Pergamon by the end of the decade.
But the costs of restoring museums, many of which have remained almost untouched since 1945, have been grossly underestimated. Months ago, Germany's Federal Accounts Bureau admitted that the €500m originally earmarked for the rebuilding programme, would have to be trebled if the project were to be completed by the target date of 2015. David Chipperfield, the architect masterminding the museum island project, said: "It may take till 2050 until the project is finished."
This seemed worth publishing in its entirety:
By Tony Paterson in Berlin
Published: 18 October 2006
"Berlin's ambition to host a permanent exhibition of priceless artefacts rivalling the Louvre has taken a major step forward with the reopening of the city's neo-Baroque Bode museum which houses a dazzling collections of antique and Byzantine sculptures.
The imposing domed building, which straddles an island in the city's river Spree like the bow of a ship, was formally opened after a €152m (£102m) renovation which has restored the museum to its original, immaculate condition. It had been slowly decaying for 67 years.
Shattered by Allied bombs during the Second World War and neglected during East Berlin's communist era, the museum has not only been structurally revamped.
Hundreds of works that were removed during the war and stored on opposite sides of the city's infamous Wall during the Cold War were finally reunited under one roof.
"Visitors will see that the Bode museum contains one of the most beautiful, largest and most significant collections of sculptures dating from late antiquity [Greek and Roman culture] until around 1800," Arne Effenberger, the museum director, said.
The 1,700 sculptures were brought together originally by Wilhelm von Bode, the museum's turn-of-the-century founding director and were intended as a triumphant demonstration of Prussian cultural enlightenment and prowess. Yet it fell to Kaiser Wilhelm II, who would plunge Germany into the maelstrom of the First World War, to inaugurate the museum in 1904. After 1918, and for much of the Cold War, the building was, as a result, dismissed as a vestige of despised Prussian imperialism.
Yesterday, the museum's complete collection, which includes lavishly ornate door-frames from Venetian palaces, 15th-century Dutch, Flemish and German masterpieces and Baroque and Byzantine sculptures and murals, was open to view for the first time since 1939.
In 60 vast, wood-ceilinged halls floored with terracotta tiles, the amount of space allocated to each exhibit allowed visitors to view each breathtaking artefact in extraordinary close up.
One of the highlights of the exhibition is a 15th-century Madonna and child by the Dutch master Niclaus Gerhaert von Leyden. After The Second World War and throughout the Cold War, the Madonna stood alone in the Bode Museum while the child remained on display in a museum in capitalist West Berlin. Yesterday the two figures were finally to be seen reunited.
The Bode museum's lavish restoration is part of Berlin's plans to re-establish the city as one of Europe's most significant cultural centres with a choice of museums to rival Paris.
The process began shortly after German reunification in 1990, when Unesco awarded world cultural heritage status to the city's "museum island", the site of the Bode, National Gallery and Pergamon museum. The century-old National Gallery has been restored and there are plans to start rebuilding the Pergamon by the end of the decade.
But the costs of restoring museums, many of which have remained almost untouched since 1945, have been grossly underestimated. Months ago, Germany's Federal Accounts Bureau admitted that the €500m originally earmarked for the rebuilding programme, would have to be trebled if the project were to be completed by the target date of 2015. David Chipperfield, the architect masterminding the museum island project, said: "It may take till 2050 until the project is finished."
Berlin's ambition to host a permanent exhibition of priceless artefacts rivalling the Louvre has taken a major step forward with the reopening of the city's neo-Baroque Bode museum which houses a dazzling collections of antique and Byzantine sculptures.
The imposing domed building, which straddles an island in the city's river Spree like the bow of a ship, was formally opened after a €152m (£102m) renovation which has restored the museum to its original, immaculate condition. It had been slowly decaying for 67 years.
Shattered by Allied bombs during the Second World War and neglected during East Berlin's communist era, the museum has not only been structurally revamped.
Hundreds of works that were removed during the war and stored on opposite sides of the city's infamous Wall during the Cold War were finally reunited under one roof.
"Visitors will see that the Bode museum contains one of the most beautiful, largest and most significant collections of sculptures dating from late antiquity [Greek and Roman culture] until around 1800," Arne Effenberger, the museum director, said.
The 1,700 sculptures were brought together originally by Wilhelm von Bode, the museum's turn-of-the-century founding director and were intended as a triumphant demonstration of Prussian cultural enlightenment and prowess. Yet it fell to Kaiser Wilhelm II, who would plunge Germany into the maelstrom of the First World War, to inaugurate the museum in 1904. After 1918, and for much of the Cold War, the building was, as a result, dismissed as a vestige of despised Prussian imperialism.
Yesterday, the museum's complete collection, which includes lavishly ornate door-frames from Venetian palaces, 15th-century Dutch, Flemish and German masterpieces and Baroque and Byzantine sculptures and murals, was open to view for the first time since 1939.
In 60 vast, wood-ceilinged halls floored with terracotta tiles, the amount of space allocated to each exhibit allowed visitors to view each breathtaking artefact in extraordinary close up.
One of the highlights of the exhibition is a 15th-century Madonna and child by the Dutch master Niclaus Gerhaert von Leyden. After The Second World War and throughout the Cold War, the Madonna stood alone in the Bode Museum while the child remained on display in a museum in capitalist West Berlin. Yesterday the two figures were finally to be seen reunited.
The Bode museum's lavish restoration is part of Berlin's plans to re-establish the city as one of Europe's most significant cultural centres with a choice of museums to rival Paris.
The process began shortly after German reunification in 1990, when Unesco awarded world cultural heritage status to the city's "museum island", the site of the Bode, National Gallery and Pergamon museum. The century-old National Gallery has been restored and there are plans to start rebuilding the Pergamon by the end of the decade.
But the costs of restoring museums, many of which have remained almost untouched since 1945, have been grossly underestimated. Months ago, Germany's Federal Accounts Bureau admitted that the €500m originally earmarked for the rebuilding programme, would have to be trebled if the project were to be completed by the target date of 2015. David Chipperfield, the architect masterminding the museum island project, said: "It may take till 2050 until the project is finished."
Monday, October 16, 2006
October 2006 Page 4
> PRIORITIES
At the moment, and of late, I am not much inclined to wax "eloquent" on matters of art and culture...
The world as we knew it is in precarious balance politically, militarily, economically, religiously and... morally. We have gotten ourselves or have been lead into, on purpose and by negligence on ALL sides, a situation the outcome of which is far from being as certain as ANYONE is suggesting.
Jihadist Islamic Fascism has become, and been allowed to remain for not less than 50 years, the dominant threat to world peace... a threat hitherto unknown in the history of civilization; by far surpassing anything Nazis ever dreamt possible in their most extreme sadistic delusional reveries of greed and brutality.
Few artists will, if our collective society survives, visually record and comment upon current events.
However, at the present place in time, world survival of the human species now depends mainly upon (in my opinion) doing all possible things, in word and deed, to perform NO action which in any way discourages, minimizes or harms the effectiveness or morale of American and allied fighting forces who have been sent to do battle against a suicidal fanatic enemy.
To state that one "supports the troops"... and then immediately add the word, "But..." will not cut the mustard anymore.
As we learned from some of those who were sent to Death Camps during WW II, the spirit of art prevails... drawings were made in the worst of conditions.
I sincerely believe that, if we fail now, right NOW, to stand up against religious and political tyranny, all will be lost. The chaos into which the world seems doomed to descend will not match anything any of us has ever imagined possible.
If our museums survive, then there will be the hope that humanity will have a chance, one day, to recollect what life once meant.
> MUSEUM ACCREDITATION
There are roughly 9000 museums in the USA. Of that total number, 775 are accredited by the American Association of Museums. Of the 775, 40% are art museums.
At the moment, and of late, I am not much inclined to wax "eloquent" on matters of art and culture...
The world as we knew it is in precarious balance politically, militarily, economically, religiously and... morally. We have gotten ourselves or have been lead into, on purpose and by negligence on ALL sides, a situation the outcome of which is far from being as certain as ANYONE is suggesting.
Jihadist Islamic Fascism has become, and been allowed to remain for not less than 50 years, the dominant threat to world peace... a threat hitherto unknown in the history of civilization; by far surpassing anything Nazis ever dreamt possible in their most extreme sadistic delusional reveries of greed and brutality.
Few artists will, if our collective society survives, visually record and comment upon current events.
However, at the present place in time, world survival of the human species now depends mainly upon (in my opinion) doing all possible things, in word and deed, to perform NO action which in any way discourages, minimizes or harms the effectiveness or morale of American and allied fighting forces who have been sent to do battle against a suicidal fanatic enemy.
To state that one "supports the troops"... and then immediately add the word, "But..." will not cut the mustard anymore.
As we learned from some of those who were sent to Death Camps during WW II, the spirit of art prevails... drawings were made in the worst of conditions.
I sincerely believe that, if we fail now, right NOW, to stand up against religious and political tyranny, all will be lost. The chaos into which the world seems doomed to descend will not match anything any of us has ever imagined possible.
If our museums survive, then there will be the hope that humanity will have a chance, one day, to recollect what life once meant.
> MUSEUM ACCREDITATION
There are roughly 9000 museums in the USA. Of that total number, 775 are accredited by the American Association of Museums. Of the 775, 40% are art museums.
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