museum of space history – Jam Space http://www.jamspace.net/ Fri, 11 Jun 2021 18:43:07 +0000 en-US hourly 1 https://wordpress.org/?v=5.7.2 This new national game show museum is a sanctuary of television nostalgia http://www.jamspace.net/this-new-national-game-show-museum-is-a-sanctuary-of-television-nostalgia/ Fri, 11 Jun 2021 18:35:28 +0000 http://www.jamspace.net/this-new-national-game-show-museum-is-a-sanctuary-of-television-nostalgia/

In one of those times when you don’t know you’ve always wanted something until you find out it’s happening, the game shows that millions of us who grew up watching will join a museum to the first time. The Strong National Museum of Play in Rochester, NY recently ad plans to house the very first National Archives in Game Show History (NAGSH) to preserve what remains of classic game shows like The Gong Show and Wheel Of Fortune.

As the museum targets old tickets for live recordings, posters and other fan memorabilia, NAGSH will be built from the game show industry, inside out. Curators will initially focus on acquiring materials and documents from professionals involved “in all facets of game show development, production, marketing and distribution,” the statement said, in order to tell a story complements both the game shows that have entertained us and the industry that has. The Strong National Museum is already home to both the National Toy Hall of Fame and the World Video Game Hall of Fame, which house Shirley Temple dolls from the 1930s and arguably the first arcade video game of the 1970s. IT space. And they plan to be just as meticulous with the NAGSH collection.

The archives will provide everything from the set pieces and props that made each show legendary to the marketing plans and scripts needed behind the scenes. This means that everything is up for grabs. “The wheel of ‘Wheel of Fortune’ would be iconic,” Chris Bensch, vice president of collections at the Strong Museum, said in a statement. recent interview.

Game shows have never left our TVs, but there has been a thirst for old-fashioned game shows in recent months. The CW commissioned a cover of the Nickelodeon Jewel from the 1990s, Legends of the Hidden Temple (LOTHT) in May, with adults fighting instead of children. Just two months earlier, ViacomCBS was flooding its new Paramount Plus with nostalgia with the addition of old episodes of A LOT, in addition to other favorite Nickelodeon game shows Bowels and Doubly dare. A few months later, Netflix decided to randomly release 15 episodes of the classic. Supermarket sweep, the only game show from the 90s where people still play secretly in their heads while shopping.

That should be all the motivation NAGSH Conservatives need to get their hands on a bucket of Nickelodeon slime. Slime live time and Olec, the rock talking about Hidden temple. There certainly shouldn’t be a dearth of materials that would instantly conjure up memories of lazy Sundays watching people arguing over money. The beautifully bold figures of the The price is right wheel, Alex Trebek’s perpetually immaculate costumes on Peril, and the 3×3 square alignment on Hollywood Squares instantly come to mind. The mere fact of seeing a chair next to a curtain hiding three other chairs would evoke memories of The dating game.

For people like 1970s game show host Wink Martindale Gambit, High Rollers and Tic Tac Paste, NAGSH is more than a new attraction in a museum. It is perhaps the primary means by which a distinct part of the American pop culture lineage continues to live on. “Without this initiative, many of the primary resources relating to these shows, as well as the oral histories of their creators and talents, were in danger of being lost forever,” Martindale said in a press release announcing NAGSH.

The museum has yet to announce when NAGSH will be completed and available to the public. The museum expects to add 90,000 square feet to its location by 2023, which could be the perfect time to unveil what may be the most comprehensive archive in game show history that anyone has ever been able to. bring together. And there are sure to be plenty of people who grew up on these shows, waiting to wade through a story that shaped them.

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Local artist Jacob A. Meders creates immersive installation at the Scottsdale Museum of Contemporary Art http://www.jamspace.net/local-artist-jacob-a-meders-creates-immersive-installation-at-the-scottsdale-museum-of-contemporary-art/ Fri, 11 Jun 2021 02:31:34 +0000 http://www.jamspace.net/local-artist-jacob-a-meders-creates-immersive-installation-at-the-scottsdale-museum-of-contemporary-art/

Amid the COVID-19 pandemic, the Scottsdale Museum of Contemporary Art (SMoCA) transformed the SMoCA Lounge into a gallery with the exhibition “And It’s Built on the Sacred”, an indoor installation by local artist Jacob A. Meders (Mechoopda / Maidu), visible until October 17, 2021.

Jennifer mccabe, director and chief curator of SMoCA, said running a museum during the pandemic required original thinking, but one of the ways SMoCA rose to the challenge is to change the way it uses its spaces .

“While we continue to adapt to the changing environment, we remain committed to working with the community of extremely talented artists based in Arizona,” said McCabe. “We have transformed our temporarily underutilized multipurpose space into a gallery and in doing so we cultivate new and deep connections. Currently, SMoCA is showcasing the work of four Arizona-based artists, alongside two nationally and internationally renowned artists. “

“And It’s Built on the Sacred”, a multimedia installation, is a reflection on what is sacred and holy and facilitates an open dialogue about the novelties and the manipulation of unwanted Euro-American religious objects.

For this installation, Meders took found objects and painted on them traditional marks of indigenous peoples. In doing so, he reconsiders how meaning can be superimposed and retrieved in these commodities. By superimposing images and meaning on these found objects, Meders raises the question of whether what is considered sacred can also be considered sacred and how easily the sacred can be sacrificed.

It dates back to the long history of Western European civilizations who took sacred sites from indigenous peoples and built their own religious structures there. Temples, missions and churches were all built on sacred sites during the expansion of Western colonialism, which forced indigenous peoples to leave the land of their ancestors.

It wasn’t until 1978 – a year after the birth of Meders – that the American Indian Religious Freedom Act was passed to remove prohibitions on Indigenous peoples in the United States from practicing their religion or traditional cultural practices. This suppression and the trauma it caused had a lasting effect on Indigenous peoples, many of whom used the Christian religion to mask or hide their traditional ways of believing.

“Building, replacing and destroying what is sacred has been the gentrification of indigenous lands,” Meders wrote. “To know what is sacred and to understand what is sacred would be to respect and honor what is sacred. Clearing the land with appropriation and commodification are the handcrafted tools of cultural rejection and destruction. “

At the center of the installation is a circular floor created from earth that Meders carved by hand. Hidden underground is a triangular pattern created using willow – the primary material used for basket weaving by the residents of Mechoopda in Chico, California, where Meders originated. This earthen floor brings the sacred earth into the gallery and represents a space for healing, gathering and reflection. Hanging around the dirt floor are Mexican blankets that Meders uses as a canvas to paint traditional indigenous motifs important to the Mechoopda people.

In all of the elements superimposed throughout the exhibition, Meders asks visitors to reflect on important questions around the sacred and the saint and to recognize the problematic history behind these objects. Combined, all of the installation’s components “re-indigenize” or claim the gallery as a sacred space – layering old and new stories together.

Meders, who is a master engraver, has also created an edition of signed and numbered prints that the public can take home to continue ruminating on the exhibition and the questions it asks.

“SMoCA recognizes that the land we are on is the unceded sacred land of Indigenous Peoples and we honor those connected to this land,” said Julie Ganas, Curator of Digital Engagement and Initiatives and Curator of the ‘exposure. “Working with Jacob on this exhibition breathed new energy into the Museum and transformed the gallery into a space for reflection. It was a great pleasure for us to work closely with Jacob to bring this meaningful and profound exhibition to life. to share with the community. “

“And It’s Built on the Sacred” is curated by the Scottsdale Museum of Contemporary Art and curated by Julie Ganas, Curator of Digital Engagement and Initiatives.

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MoMA exhibiting artist withdraws from museum events in solidarity with protesters http://www.jamspace.net/moma-exhibiting-artist-withdraws-from-museum-events-in-solidarity-with-protesters/ Wed, 09 Jun 2021 23:37:56 +0000 http://www.jamspace.net/moma-exhibiting-artist-withdraws-from-museum-events-in-solidarity-with-protesters/


Artist Gabrielle L’Hirondelle Hill, who currently holds a personal exhibition at the Museum of Modern Art in New York, withdrew from two activities at the museum in solidarity with the protesters of Strike MoMA. Hill, a Métis artist and writer who lives and works in Canada, is the first MoMA artist to withdraw from the museum’s programs since the weekly MoMA strike protests began on April 9.

In a letter to MoMA today, June 9, the artist announced her decision to cancel her participation in an educational program called “Family Art Talk” which was scheduled for June 15. She also canceled a scheduled submission to MoMA magazine.

“It does not seem fair to me to participate in programming for families sponsored by an arms manufacturer profiting from the deaths of these children,” the artist wrote in her letter, citing links to administrator Paula Crown and of her husband James Crown with General Dynamics, an arms manufacturer who supplied the IDF with the bombs it used against civilians in Gaza in May.

In an email to Hyperallergic, a MoMA spokesperson confirmed receiving Hill’s letter, adding: “We respect the right of all to have their voices heard and have a long history of making room for many. voice at MoMA. “

Hill’s exhibition is currently on display in the museum’s galleries at street level as part of MoMA’s series of projects. The exhibition features sculptures and drawings made primarily from tobacco, a plant of indigenous significance that was subjected to colonial extraction.

“I realize that I am in an adversarial position,” Hill’s letter continued. “I am currently exhibiting works at MoMA and thus personally benefit from the money provided by the board of directors. At the same time, I wish to align myself with those who are fighting to abolish the prison industry, the prison justice system, the extraction of resources that benefit the richest while costing the lives and lands of indigenous peoples and the poor. around the world, Israel’s apartheid system, arms trafficking, corruption and white supremacy.

“But I also know that I’m not alone, that a lot of people who work or have worked at MoMA as artists or arts professionals also want to put an end to these things,” the artist added, “and he there may be many ways for us to keep hitting. “

Hill said she has decided to honor her pledge to participate in a third program which will be co-hosted by MoMA and the Native American community house (AICH) in New York.

“As a Métis artist who is not from Lepapehoking, it is my responsibility to reach out to the natives of New York, to ask what can be done,” she explained. “By entering into a relationship with AICH, MoMA has long been committed to begin supporting Indigenous artists, Indigenous arts institutions and Indigenous curators, on their own terms.

Read the letter from artist Gabrielle L’Hirondelle Hill, reproduced in full, below:

June 9, 2021

Dear:

I have decided to opt out of two of the public educational programs I had previously committed to in conjunction with my current solo show at MoMA: a Magazine Submission and a Family Art Talk, which was scheduled for June 15. This year, activist group Strike MoMA, made up of artists from New York and around the world, revealed the MoMA board’s financial ties to Jeffrey Epstein, Donald Trump, private prison companies Geo Group and CoreCivic, and the violent extraction of Barrick’s resources. More recently, we learned of the links between the MoMA board of directors and the bombing of Gaza last May. Several board members were involved, including Paula Crown. The Crown family owns General Dynamics, a company that not only works closely with the Israeli occupation forces, but also manufactured the MK-84 bombs that were dropped on Gaza in the 11-day assault that cost the lives of 250 Palestinians, including 66 children. . As I wrote in a previous email, it doesn’t feel right to participate in programming for gunmaker sponsored families profiting from the deaths of these children.

The work I have done to exhibit at MoMA Projects consists of sculptures and works on paper made largely from tobacco, a plant that taught me a lot about capitalist colonial extraction but also about indigenous economic systems. , which survive and thrive despite all attempts to extinguish them. . Sculptural forms refer to rabbits, families, and mothering to recognize reproductive work and other savings that spread out sideways, giving and dispersing wealth rather than accumulating it. The works on paper, in particular the “flags”, also contain many nods to spring, to what comes out of the ground and to what is “in the air”. For me, this particular corpus suggests the possibility of economic forms that offer an alternative to capitalism, reflecting on those we already practice. And while I know that there is a long history of art institutions absorbing critical art to purify their own image, the intent of this work runs counter to the interests of MoMA board members including great wealth comes from the death, dispossession and imprisonment of people and the land.

I realize that I am in a contradictory position. I am currently exhibiting work at MoMA and thus personally benefit from the money provided by the Board of Directors. At the same time, I wish to align myself with those who are fighting to abolish the prison industry, the prison justice system, the extraction of resources that benefits the richest while costing the lives and lands of indigenous peoples and the poor. around the world, Israel’s apartheid system, arms trafficking, corruption and white supremacy. But I also know that I am not alone, that many people who work or have worked in MoMA as artists or arts professionals also want to put an end to these things. And there can be many ways for us to go on strike.

I am also in an adversarial position as I decide to continue participating in a program, which will be co-hosted by MoMA and the American Indian Community House (AICH). The MoMA, which opened in 1929, operated for almost a century before it had a solo exhibition by a Native American artist: Edgar Heap of Birds’ Surviving Active Shooter Custer in 2019. The museum does not have only failed to engage meaningfully with Indigenous artists. and the Arts in the Americas, he also neglected to develop relationships with the vibrant Indigenous artistic communities living in Lenapehoking. AICH has been a hub of the Indigenous community and Indigenous arts in New York City since the 1960s and continues to offer programming despite the fact that they haven’t had a physical venue since 2018. I can only imagine how devastating a blow has been dealt to the Indigenous arts and community. well-being the loss of a space for AICH was. We should all ask ourselves how is it acceptable that such a fundamental space for Indigenous arts in the city can be lost as one of the world’s largest arts institutions, with billions of dollars in resources, continues to expand. and accumulate more and more goods? As a Métis artist who is not from Lepapehoking, it is my responsibility to reach out to
Native New York, to ask what can be done. By entering into a relationship with AICH, MoMA has long been committed to begin supporting Indigenous artists, Indigenous arts
Indigenous institutions and curators, on their own terms.

For everyone I know, it has been an incredibly isolating, alienating and difficult year and a half. It seems more important than ever to give yourself support, community and community, although sometimes it seems more difficult than ever to do so. I am very grateful to the members of AICH, who listened to me and offered me sound advice and guidance; for the support of those within MoMA who stand by my side as we attack, in different ways, a corrupt institution; and to Strike MoMA for the incredible work they have done to demand better from the art world and a better world for all.

In solidarity,
Gabrielle L’Hirondelle hill

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Young Phoenix Artists opening this fall at the Scottsdale Museum of Contemporary Art http://www.jamspace.net/young-phoenix-artists-opening-this-fall-at-the-scottsdale-museum-of-contemporary-art/ Wed, 09 Jun 2021 00:19:42 +0000 http://www.jamspace.net/young-phoenix-artists-opening-this-fall-at-the-scottsdale-museum-of-contemporary-art/

The Scottsdale Museum of Contemporary Art is showcasing work by emerging Phoenix-based artists in a group exhibition titled “Forever Becoming: Young Phoenix Artists,” on view from September 11, 2021 to January 23, 2022.

“The current moment is marked by many changes in the world and it is a space where museums of contemporary art can thrive. Providing a platform for young local artists who respond to the changing times has become a important goal for SMoCA and we are grateful to have such a talented pool of artists in the valley, ”said Jennifer mccabe, director and chief curator of SMoCA.

The 11 artists presented in this exhibition are less than 30 years old or almost, including Mia B. Adams, Merryn Omotayo Alaka, Vincent Chung, Steffi Faircloth, Sam Frésquez, Estephania González, Lena Klett, Cydnei Mallory, Brianna Noble, Lily Reeves and Papay Solomon. This will be the first museum exhibition for many artists, although several have participated in the past or current Arizona Biennale with jury.

Exhibition curator Lauren O’Connell recalls: “Returning to Arizona in 2017 and reconnecting with the artistic community, I began to meet more and more artists graduating from ASU. I wanted to shine a light on this group of artists who were mostly under 30 and doing incredibly powerful work. The selected artists demonstrate a high level of criticality and professionalism, and, once invited to participate, all jumped at the opportunity to do new work for the exhibition. It has been a privilege to work with these brilliant emerging artists who have a bright future ahead of them. “

Participating artist Brianna Noble, whose paintings will be on display this fall, said it was her first time exhibiting in a museum.

“It means so much to be recognized by my community and to be seen among peers that I admire. It sounds like a huge leap forward for my career,” Noble said. “I look forward to the opportunities that may arise.”

New works created for “Forever Becoming” testify to the resilience and determination of a new generation of artists who expose the complexities of becoming in today’s rapidly evolving ethos. These works address a variety of topics, including marginalized communities, social justice, environmental degradation, exploration of sexuality, and considering personal narratives. Many of the works focus on healing the mind and body from past trauma and repairing environmental degradation caused by human intervention.

“In my new body of work, I use braided hair and pony beads as a symbol of identity and vulnerability. The acts of braiding and beading hair are laborious, meditative, and repetitive; a process that serves to be transformative in nature. I see this new work as a reinterpretation of the historical significance of African hair braiding and beading, and to serve as a metaphor for the passage of time, phases of mourning and an extension of my body. ‘provided a platform to start a conversation around identity, vulnerability and visibility; and I am grateful to have such a space to do so. I am very honored to work with SMoCA and Lauren and to have their support and encouragement throughout this journey, ”said Merryn Alaka, artist.

This group of artists intersect in several ways: each artist obtained a Bachelor of Fine Arts, Bachelor of Science or Master of Fine Arts from Arizona State University between 2016 and 2019; in addition, several artists collaborate with each other on works of art. Despite these cross currents, the diverse group of artists have distinctive styles that allow the viewer to see a wide range of contemporary art, including figurative painting, abstract drawing, sculpture, video and installation, for to name a few.

“Growing up in Phoenix, I always felt like it was a place where things were constantly in motion, for better or for worse. I still think Phoenix is ​​a place of many changes, and well that this can be a destabilizing force many times over, I also think it creates a lot of possibilities as well. I see this positive force especially in my peers here, and I am honored to be included in this exhibition alongside so many. ‘artists that I really admire for, among other things, their intelligence, their skills, their vision and their drive, ”said Lena Klett, artist.

Although the participating artists currently live and work in Phoenix, not all are from the Valley. Estephania González moved to Arizona from the Midwest to settle near the U.S.-Mexico border. González explains: “Living in the border regions as a woman inhabiting a constant state of Nepantla, my colonized body is forced to reckon with this intermediate state. I travel through the arid desert, discovering the history and ecology of this land as my relationship with Madre Tierra continues to unfold. “

Artists who come from different locations have the opportunity to share new perspectives with audiences in the Phoenix metro area. The work of artist Papay Solomon is strongly influenced by his country of origin, Liberia and the West African Diaspora. Steffi Faircloth is also influenced by her hometown of Nogales, Arizona.

“Working in video allowed me to be more performative and made me think about the many different ways of documenting one’s body, language and, ultimately, experiences.
When I moved to Phoenix, I gained the perspective of criticizing my experience in Bordertown. Being a part of this exhibit allows me to continue to challenge the stereotypes associated with Bordertowns, as well as being Mexican-American. “

]]> Former Athens tobacco factory reopens as a vast contemporary art space http://www.jamspace.net/former-athens-tobacco-factory-reopens-as-a-vast-contemporary-art-space/ Tue, 08 Jun 2021 10:15:00 +0000 http://www.jamspace.net/former-athens-tobacco-factory-reopens-as-a-vast-contemporary-art-space/


Exterior view of the public tobacco factory
Courtesy neon

After 11 months of intense restoration and renovation works, Athens’ new cultural space will open its doors on June 11. Located in the 1930s building of the city’s former public tobacco factory – Hellenic Parliament Library and Printing Office, the venue will host a contemporary art program until December 31. His first exhibition, a collective exhibition entitled Portals, was curated by Madeleine Grynsztejn, director of the Pritzker Museum of Contemporary Art in Chicago, and Elina Kountouri, director of NEON, a non-profit cultural organization that fully funded the € 1.2 million renovation of the historic building .

“When we choose iconic interior spaces and historic buildings, such as the former public tobacco factory, which are generally forgotten spaces, we ensure that our interventions highlight their distinct character, their historical authenticity, that they bring them back to life and reintroduce them to the public with a “new contemporary identity”, ”says Kountouri The Greece art journal.


Untitled by Jannis Kounellis (2005)

This is the first time that NEON will be present for a month in an indoor space. Since 2013, when it started its activities, the organization has become widely known for its installations of contemporary art in the archaeological spaces of Athens and its outskirts, as well as in lesser-known buildings, while presenting high level international and Greek exhibitions. artists in the largest museums in the country.

Portals is NEON’s magnum opus, and the exhibition will occupy 6500 m² and involve 59 artists from 27 countries, including Do Ho Suh, Cornelia Parker and Shilpa Gupta. 15 of these works were commissioned by NEON for the public tobacco factory.


Duro Olowu Bound, Lost, Found, Heaven Sent: A Trail of Objects (2021)
© Natalia Tsoukala. Courtesy neon

This year’s exhibition and its side events will take place in the north-northwest section of the building, in the atrium and in the former customs office building.

According to Kountori, the reopening of the building marks the beginning of a new era: “We perceive the city as a living organism, and the main recipient of our actions is the citizen or the visitor”, she says, “Each of our projects is a continuation of our previous project, as one more link in the chain of our actions.

The show takes its central theme from an article written by Indian novelist and essayist Arundhati Roy in Financial Times, in which she explains how the pandemic has irreversibly changed the world as we know it. Looking at how our reality has changed over the past year, Portals is divided into four different themes that “create a uniform narrative that is not fragmented,” according to its curators.


El Anatsui, Rising Sea (2019)
Courtesy of the artist and Jack Shainman Gallery, New York Photography © Natalia Tsoukala Courtesy NEON

The first section is titled Movement and “literally refers to the influence of the pandemic, but also, in a broader sense, to the impact of social movements”. The Communal then appears as a form of survival in the face of a disaster. “The only means to fight the enemy are communal and interdependent pacts, mass actions like vaccination, the use of masks and maintaining a safe distance in social life. At the same time, in this section, a new type of ‘trust’, or the abolition of trust, appears which examines the distinct conditions of the social life of different groups, ”explains Grynsztejn.

The third section deals with social distancing. “In terms of a pandemic, this is exactly the reason that created a deep emotional and mental need for connection. Or disconnection from institutions, from ourselves, from our environment. Here, the use of language, the word, plays an important role in re-examining this condition, ”say Grynsztejn and Kountouri.


A Monumental Lightness by Maria Loizidou (2021)
Courtesy of the artist and Kalfayan Galleries, Athens — Thessaloniki. Commissioned by NEON

On the other hand, special emphasis is placed in the last section on the concept of Home or privacy. “The more we lock ourselves into the limits of the place where we live, the more this place – physical or imaginary – accords with its individual functions. This section highlights the intimate or detached relationships that develop in the private sphere, projecting our need to preserve our stories, to develop a mutually beneficial relationship with what surrounds us, contrary to the existence of limits or to the tendency. to escape. , they conclude.

In addition to being an anatomy of the current psychosocial condition of humanity, Portals will give the art-loving public the opportunity to get acquainted with the construction of the public tobacco factory and its history, through programs that will develop in cooperation with the Hellenic Parliament, which still occupies part of the space. Due to ongoing social distancing measures in Greece, an online “portal” containing images and information about the works and their creators will also be available.

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François Pinault opens an art museum on the Paris Commodity Exchange redesigned by Japanese architect Tadao Ando http://www.jamspace.net/francois-pinault-opens-an-art-museum-on-the-paris-commodity-exchange-redesigned-by-japanese-architect-tadao-ando/ Mon, 07 Jun 2021 20:44:34 +0000 http://www.jamspace.net/francois-pinault-opens-an-art-museum-on-the-paris-commodity-exchange-redesigned-by-japanese-architect-tadao-ando/

After 20 years of waiting, the dream of French billionaire François Pinault of sharing his collection of contemporary art – among the most important in the world – with a Parisian public has finally come true with the opening of his new art museum. private in the heart of the French capital. In the early 2000s, the owner of Kering and Christie’s attempted to build a gallery to display his collection on the outskirts of Paris on an island in the Seine where a Renault car factory once stood, but failed, which prompted to turn to Venice. The inauguration of Stock Exchange – Pinault Collection today completes the trilogy of art spaces for leading collectors, started 15 years ago with Grassi Palace, followed by Punta della Dogana. Accumulated over a period of more than 40 years, its collection includes more than 10,000 paintings, sculptures, videos, photographs, sound pieces, installations and performances from the 1960s to the present day by nearly 380 modern and contemporary international artists such as Piet Mondrian. , Louise Bourgeois, Agnes Martin, Cy Twombly, Damien Hirst, Jeff Koons, Cindy Sherman and Albert Oehlen. Pinault specifies: “Not only will it enrich the European landscape of institutions dedicated to the dissemination of contemporary art, but after the difficult year experienced by France and the world in 2020, it will contribute to the rebirth of the Parisian cultural sphere.

A circular monument in the shape of a glass and iron dome originally used as a wheat market in the 18e century and transformed in 1889 to become a commodity exchange, the new museum includes 6,800 m² of cultural programming space, three floors of exhibition galleries, an auditorium with 284 seats, a black box theater, reception rooms and mediation and La Restaurant Halle aux Grains. Architecture is a dialogue between heritage and contemporary creation. Pierre-Antoine Gatier, chief architect of French historic sites and project manager, declares: “The Bourse de Commerce is a manifesto for Parisian architecture of the 16the, 18e and 19e centuries. In the different historical layers that it presents, the building is presented as an iconoclastic work. There will be a permanent program and temporary thematic and solo exhibitions, commissions, carte blanche and in-situ projects. Entitled Opening (Opening), the first season of exhibitions and events, which remained a surprise for visitors until the launch, presents 200 works by 32 artists such as Martial Raysse, Maurizio Cattelan, Urs Fischer, Ryan Gander, Peter Doig, Luc Tuymans, Thomas Schütte, Claire Tabouret, Tatiana Found and Kerry James Marshall, resonate and address questions of identity, territory and culture. Presented throughout the building, some artistic proposals will last only one evening, others several months.

Started in 2017, the renovation was entrusted to Tadao Ando – the essential architect of Pinault – with the NeM agency based in Paris. The Bourse de Commerce is the fourth project of the Japanese architect winner of the Pritzker Prize for Pinault, after the three Venetian cultural buildings, and is to date his largest company in France. “Tadao Ando has designed a radical project, while closely following the architectural and historical landmarks of the building”, notes Pinault. “Once again, he has shown his ability to reconcile respect for tradition and the demands of modernity. While paying homage to the four centuries of history of the building, Ando transformed the interiors into a space of contemporary art, building a circle within a circle. In the monumental rotunda of the heritage-listed building, he inserted a minimalist open cylinder nine meters high and 29 meters in diameter into his signature concrete for circulation and exhibition of art, which is topped by a footbridge .

“The idea was to regenerate a historic site, honoring the memory of the city inscribed in its walls and its interior, while bringing in another structure, on the model of the Russian nesting dolls: a composition establishing a living dialogue between the new and the old one. , creating a space full of life, as should be the case for a place devoted to contemporary art, ”explains Ando. “The vocation of this architecture was to weave the web of time, past, present and future. Period elements such as the majestic 360-degree frescoes depicting scenes from world trade painted by five different artists at the end of the 19e century at the base of the dome, the ironwork, the glass roof, the interior facades and the double helix staircase have been preserved and restored. Unlike a square white cube space, one of the major challenges of this museum was to find a way to display the works in curved galleries with many openings.

The French duo Ronan and Erwan Bouroullec designed and purchased indoor and outdoor furniture for the Bourse de Commerce. Creating an inviting space for passers-by to relax, urban elements surrounding the building include elongated cupro-aluminum benches with poles to float banners, flags and weathervanes and bronze boulders to climb, s’ lean and sit. For the passage separating the modern cylinder from the old facade, Artec Palissade chairs in steel tubes and rope have been introduced; in the exhibition spaces and on the landings, Cassina benches in anodized aluminum in black and gray fabric have been added to disappear in front of the works. Accompaniment of the imposing 19estairs of the century, the Bouroullec brothers have developed with 15-meter-high Flos luminaires composed of mounted lanterns and blown glass encased in metal especially for the museum, while the rustic fabric of the carpets and benches in the reception room was designed for the space by a manufacturer who works on old Jacquard looms in the north of France.

“The new Bourse de Commerce is a game of contrasts, jumps between eras, or between the most anchored objects, the most anchored in time, almost a” taste “- like the moldings, the decorations, the paving and the woodwork from 19e century – and more timeless abstract elements – such as stone, concrete, glass, light, circles, abstraction ”, remarks Ronan Bouroullec. “It was vital not to“ decorate ”these spaces, nor to disturb this union of contrasts, just to accompany them. Comfort is often associated with ornamentation, depth, opulence and sometimes ostentatious signs. But, for us, it is in a delicious materiality, a robustness, a quality, a clarity, sometimes even being purified, that this comfort of the mind and the body is found.

Pinault’s Bourse de Commerce pits him against his great rival, the other billionaire French art collector of luxury goods, Bernard Arnault, whose Louis Vuitton Foundation designed by Frank Gehry in Paris was inaugurated in 2014 and attracted valuable loans from major institutions like MoMA in New York, Tate in London and the Pushkin Museum in Moscow for exhibitions beyond the reach of most public museums. With the opening of the Bourse de Commerce – considered this year as the cultural meeting place of Paris – Pinault has achieved its objective of sharing his passion for contemporary art with the widest possible audience, not just an elite, and strengthened the place of the City of Light on the international art map.

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Room Service Press: Coventry’s New Newspaper Themed Hotel | City breaks http://www.jamspace.net/room-service-press-coventrys-new-newspaper-themed-hotel-city-breaks/ Mon, 07 Jun 2021 06:00:00 +0000 http://www.jamspace.net/room-service-press-coventrys-new-newspaper-themed-hotel-city-breaks/

From the large picture window in my room at the new Telegraph Hotel in Coventry, I can see the Grade II listed Belgrade Theater. There are stylish retro floor tiles in a mint green bathroom. A fake tabloid newspaper in a wire bin makes a nice difference to the usual plastic folder of customer service information, and the front page offers a bit of history: the hotel is the former home of the local newspaper from the city, the Coventry Telegraph. Originally built in 1958, this classic example of mid-century flat-roof modernism has been reimagined to offer 88 rooms and a restaurant and bar. It opened after the lockdown on May 17 – just in time for the start of Coventry’s stay as a UK city of culture.

On the last page of the fake diary, co-owner Ian Harrabin describes the hotel’s ambition to “recapture the glamor of the 1950s and celebrate the unique style of post-war Coventry”. The specification, I read, was to recreate a media vibe of Mad Men (the American television series was set in New York in the early 1960s). So, is this the kind of place Don Draper could hang out – if he was in Coventry? I know what you are thinking. Aside from Lady Godiva and the famous cathedral, the West Midlands town is best known for bomb damage and concrete reconstruction; in the decline of its once thriving auto industry, it was more Detroit than Manhattan – a ghost town, according to Promotions. But I like mid-century modernism a bit, and I come with an open mind.

The Telegraph Hotel is in the former offices of the local newspaper

I meet Ian Harrabin in the lobby of the Telegraph (teal velvet sofas on an original terrazzo floor, marble pillars, varnished wood, and metal zigzag railings). Ian and his co-owner brother Brian were born and raised in Coventrians (that’s a word). He describes himself as an ‘urban regeneration specialist’, based in London, but still involved in all things ‘Cov’. He participated in the candidacy of the Cité de la Culture and is one of the driving forces behind the Coventry Historic Trust (which is restoring the town’s two medieval guard houses for use as holiday accommodation). I wonder how he found the time to spend hours on eBay searching for the hotel’s mid-century furniture collection. A flock of brass-winged geese flies through a wall and a vintage radiogram can be found near the reception. Other finds include teak and glass coffee tables from the 60s, Danish classics with flared legs, and a bit of jazzy Formica.

“I’m not interested in money,” Ian told me over dinner in Form and pursuit (the restaurant’s name is a fusion of compositional terms), but he admits the Telegraph’s millionaire budget was exceeded by a mile. This shows. We are seated under the new glass roof of the restaurant atrium. Custom-made fabric cushions on the sofas in the lobby are inspired by the geometry of the cathedral baptistery window. Almost everything from slim phones in rooms to black masks worn by staff carry the Telegraph logo.

The hotel restaurant
The hotel restaurant, Forme & Chase

We order cod cheek scampi and smoked salmon entrees, and for entrees we both go for the slow-braised prime rib with a 72 hour sauce. The menu consists mostly of posh pub fare (fish and chips, bangers and mash, lemon thyme bass, vegan stackburger with grilled harissa eggplant) with a hot Coventry ‘godcake’ for afters (think puff pastry). and minced meat).

There must have been a time when the Harrabins wondered if they were the fools. Everything was slated to open in November 2020, when the lockdown left the place dormant for more than six months. It’s early, Ian tells me, but reservations are quick. City of Culture status helped (bestowed every four years on cities deemed deserving of an economic boost, it seems to have worked for Derry and Hull). Fed up with the jokes ‘sent to Coventry’, the city hopes that the celebration of music, art, film and theater throughout the year will encourage visitors to come here of their own accord. The Commonwealth Games follow in 2022.

Coventry is small. From the hotel it is a seven minute walk to the cathedral and three minutes to the Transport museum (one of the first British cars to roll out of the Daimler factory in Coventry in 1897). Starting with the Belgrade Theater (a mini version of London’s Festival Hall), I explore most of the city center on foot in a matter of hours. First impressions? Enclosures, brutalism and low-rise post-war brickwork. On the horizon, slender spiers rival Ikea and a huge Primark. A four-lane ring road roughly follows the route of the old medieval city walls. It is not, immediately, an easy place to like. But it is alive, diverse, mainly pedestrian. Chain stores rub shoulders with Turkish barbers and the China Mini Market. The city is passionate about rainbow street lighting. There are a lot of students.

From the Grade II listed fruit and veg market (a circle of structural concrete largely unchanged since it was built in 1957), I make my way to Broadgate, a central plaza with a statue of Lady Godiva and the Lady Godiva newsagent. under Lady Godiva’s clock from 1953. the tower. I’m waiting for Lady Godiva. It is worth it. On time, a door opens and the nude Anglo-Saxon nobleman from Coventry slides on a white fairground horse, watched by a pop-out voyeur. I’m warming up in Coventry.

The New 2 Tone: Lives & Legacies UK Musical Sensation 2 Tone Lives & Exhibition Herbert Art Gallery & Museum 2021
The new 2 Tone: Lives & Legacies exhibition at the Herbert Art Gallery & Museum. Photography: Garry Jones

On the second day, the sun is shining. The light shines through the glass roof of the pavilion of the Herbert Art Gallery (a central element of the successful offer for the city of culture), where I walk through a museum space with a permanent collection devoted to local history: from the making of medieval ribbons to a model example of urban planning of post-war factories and an advertisement for a Hillman Minx convertible from the 1960s. The first major exhibition dedicated to 2 Tone, the independent record company and revolutionary music movement that began in Coventry in 1979, runs through September.

In and around the Cathedral Quarter, I am surprised at how well the Old Town survives. Every now and then I stumble upon a row of wobbly half-timbered buildings or a narrow cobbled street wedged between 14th-century sandstone walls. There are pretty gardens around the Priory Church of St. Mary, with remains of the 12th century Coventry Monastery. Nearby, the aforementioned Historic Trust is transforming three half-timbered houses into lodges. And then there is the cathedral.

Architect Sir Basil Spence was chosen to design a new cathedral to sit next to the grim ruins of the old one – devastated by firebombs in November 1940. Completed in 1962 and dedicated to peace and reconciliation, its expansive church features works by some of Britain’s best-known artists, including the astonishing window of the Baptistery by John Piper. The word “awesome” is generally overused, but in this case, I can’t think of a better one.

The Baptistery window of Coventry Cathedral.
The Baptistery window of Coventry Cathedral. Photograph: Alamy

Back at the hotel, I check the Generator bar (on the roof – where the log generator was) and I stuck my head into some rooms. There are Snug Double Rooms (also known as Dark Rooms – they have no windows), Accessible Freedom Rooms, and two-level Studio Rooms with loft beds and doors to a ‘garden’. winter ‘with a glass roof with foliage hedges. I prefer my larger, more standard room (none of them are small), but the most popular, I’m told, is the Lord Iliffe Suite (named after the former owner of the newspaper, it has living room and terrace with whirlpool).

The generator bar is on the roof of the hotel
The generator bar is on the roof of the hotel

The theme of the journal is cohesive and well done. Some rooms feature entire walls of black-and-white photographs from the Telegraph archives. I like the “At the deadline” signs (an original alternative to Do Not Disturb).

The ambition here was to create the best hotel in Coventry, and while there isn’t a lot of competition (mainly from chains such as the dated Premier Inn or the dated Britannia and, according to Tripadvisor, “smelly”), it is a class act in every way. It is rare to find a large city hotel with so much personality. No sign of Don Draper, but the glamor of the 50s has been successfully found – at an affordable price.

]]> Five towns in the Region acquire a modernized museum infrastructure ATHENS 9.84 http://www.jamspace.net/five-towns-in-the-region-acquire-a-modernized-museum-infrastructure-athens-9-84/ Sun, 06 Jun 2021 14:48:45 +0000 http://www.jamspace.net/five-towns-in-the-region-acquire-a-modernized-museum-infrastructure-athens-9-84/

Chios, Trikala, Sparta, Thyrreio and Ermioni acquire new or modernized archaeological museums after the favorable opinion of their construction program by the Museums Council of the Ministry of Culture and Sports.

The Minister of Culture and Sports Lina Mendoni on the occasion of the favorable opinion of the Council said the following:

“Museums are not only places of exhibition of treasures, which emerge from the unique cultural heritage of each region of our country. They are centers of education and creation of Culture, places of study and promotion of our History, but also of self-knowledge. for residents and their visitors. They are both pockets of social cohesion, but also determinants of the development of their larger territory, arousing supra-local interest, with their distinctive physiognomy. I am glad that Chios, Trikala, Sparta, Thyrreio and Ermioni acquire new or modernized archaeological museums that will house valuable finds, which are constantly revealed by archaeological excavations or are in the warehouses of the existing infrastructure, presenting a new concept modern. , open and accessible not only to experts but The objective of the Ministry of Culture and Sports is to advance the museum program, both for the creation of new museums – when necessary after systematic evaluation and study data – and for the updating of those that already exist, so that with each new addition to the large chain of museums in our country to project the particular cultural physiognomy of each place with the gaze always turned to the future of each region “.

Chios Archaeological Museum

The building of the Archaeological Museum of Chios, the work of architects Suzana Antonakaki, Dimitris Antonakakis and Eleni Desylla, emerged after the distinction of their study with the First Prize of the Panhellenic Architecture Competition in 1965. The building was considered as a model and the study has been published several times. at the time of its implementation until today in Greek and foreign books and magazines. The main characteristics of the Museum at the time of its construction were the adaptation to the data of the soil and the environment, the possibility of independent entrances to the Museum, periodical exhibitions and laboratories through controlled open spaces – interior courtyards, the correlation of closed and open spaces in halls. Museum exhibitions.

Over time, the building has undergone various interventions that have changed its original character and design, such as covering the courtyards with makeshift metal roofs and false ceilings, sealing the windows inside and creating an environment closed with recycled air, remove the multiplication room and multiply the room. in fragmented storage space. The objective of the Ministry of Culture and Sports is today to expand the building into exhibition and storage spaces in full respect of its original design, the energy upgrade of the building, the restoration of courses, ensure accessibility of the entire building for disabled people, the restoration of the space for periodic exhibitions and its representation in the entrance square and in the city for events.

The existing building is developed on three levels, to 2,520 m². According to the construction program prepared by the Ephoria of Antiquities of Chios and the Directorate of Studies and Execution of Museums and Cultural Buildings of the Ministry of Culture, the area of ​​the extension, which will house new spaces of exhibition and storage, a multipurpose, multipurpose and additional technical multi-room of 1.960 m². The study of the expansion and the restoration of the Museum is prepared by the first designer, the architect Dimitris Antonakakis. The goal is for all studies to be completed by 2021, so that the project will be included in a funding program in 2022.

Diachronic Museum of Trikala

The Diachronic Museum of Trikala is part of the program to transform the old Poulios camp into a museum nucleus of the city, with the creation outside the specific museum, the interactive museum of technology and the promotion of Profitis Ilias Hill, after the signature December 2020- 99-year contract between the Ministries of National Defense and Culture and Sports and the Municipality of Trikala.

The building that will house the Diachronic Museum is an existing building (former Support Brigade-TAXYP) and consists of an elongated wing with a ground floor and three additional levels of 1,000 m². According to the construction program, prepared by the Ephorate of Antiquities of Trikala and the competent Directorate of the Ministry of Culture in the building of TAXYP, but also in its immediate surroundings, area of ​​4.74 hectares, it is planned to develop the history and archeology of the city since Antiquity. in more recent centuries.

It is very important that in the case of Trikala, the existing building stock is used. The city is not encumbered with new constructions, on the contrary, in a logic of protection of cultural goods, the real estate park is protected, which is associated with a specific activity and history, which are included in the program of the exhibition. . The studies for the restoration of the building and its transformation into a timeless museum are included in the pool of maturation studies prepared by the competent services of the Ministry of Culture, so that the repair and transformation of the building into a museum space are implemented. implemented during the next fiscal year 2021-2027.

Ancient Archaeological Museum of Sparta

The Archaeological Museum of Sparta is the first museum institution outside of Athens. It was founded in 1875 in the neoclassical building built according to the plans of the architect G. Katsaros. In 1876, he accepted the archaeological collection of 288 ancient objects collected since 1872 by the curator of antiquities Panagiotis Stamatakis, while over the years the collection grew. After the extensions, completed in 1936, the Museum building has a total of seven rooms. The building and the garden which surrounds it have been classified as a historical monument.

The modernization of the museum is included in the donation agreement between the Greek State and the Stavros Niarchos Foundation for the underground expansion and total modernization of the Archaeological Museum of Sparta, in the amount of 4,550,000 euros. In its opinion, the museum council took into account the museological study approved, in September 2020, prepared by the Ephorate of Antiquities of Laconia, with the data of the preliminary study given by the ISN, as well as the study of the construction program prepared by the office of Renzo Piano.

This museum will complement and collaborate with the new Archaeological Museum of Sparta, which will be housed in the HYMOFIX building. The elaboration of the final studies for the restoration of the building is already underway within the framework of the Programmatic Contract for Cultural Development between the Ministry of Culture and Sports and the Peloponnese Region, so that the project itself is included in the next one. CRSN 2021 -2027.

Thyrreio Archaeological Museum

The building of the existing Archaeological Museum of Thyrreio is located at the northern entrance to the community of Thyrreio, at a distance of approximately 12 km northeast of Vonitsa. It is the only museum in the Acarnania region and one of the three museums in Etoloakarnania. It was built between 1961 and 1963, in a concession of TK Thyrreio, with a total area of ​​approximately 1,914 m².

The existing building consists mainly of 8 zones with a net surface area of ​​139.10 m². and gross 200 m². According to the proposal of the competent Ephorate of Antiquities of Etoloakarnania and Lefkada, it is planned to double the building with a gross area of ​​400 m². as well as an underground extension up to 200 m², in order to expose the most important discoveries of the excavations of ancient Thyrreio, among which many inscriptions of which the most important is that of the treaty of the Aetolians and the Romans of 212 BEFORE JC.

Ermioni Archaeological Museum

The building functioned as a primary school from 1932 to 1999. Then it housed the Ermioni town hall from 1999 to 2010. Today, it houses the services of the Ermioni municipal unit, in particular the KEP, the Fund port of Ermionida and the “Help at home” program. It is a building on the raised ground floor near a 4th century early Christian basilica, which is intended to function as a center for the promotion and promotion of the city’s long history, but also as a point departure point for the urban cultural route and the circuit. in the wider area of ​​Ermionida and Argolida.

With the new proposal to change the use of the archaeological museum, maintaining the existing layout inside the building, its operation is organized into three exhibition rooms, a multimedia room, an office space, a vestibule which will also serve as a periodical exhibition space, sanitary spaces, storage and ancillary spaces. The total net area amounts to 383.83 m². according to the construction program of the Ephorate of Antiquities of Argolida.

Ermioni, with a long and uninterrupted historical presence, from antiquity until today, presents important vestiges visible within its urban fabric. Thus, the objective of the creation of the museum is to highlight its important monuments and show them through a didactic museum presentation which will include a selection of ancient objects, which were found during excavations carried out in the region, as well as that rich information using digital applications.

SOURCE: RES-EBA

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Tulsa Race Massacre Exhibit Using Survivor AI Opens at Gilcrease Museum http://www.jamspace.net/tulsa-race-massacre-exhibit-using-survivor-ai-opens-at-gilcrease-museum/ Sat, 05 Jun 2021 21:13:13 +0000 http://www.jamspace.net/tulsa-race-massacre-exhibit-using-survivor-ai-opens-at-gilcrease-museum/

the Black Wall Street Legacy Festival (Legacy Fest) is pleased to announce a state-of-the-art interactive installation

which will preserve the stories and experiences of survivors of the 1921 Tulsa Race Massacre.

In partnership with the Terence Crutcher Foundation, Gilcrease Museum, and HistoryFile, Legacy Fest will feature a “Legacy of Survival” exhibit that uses interactive conversational videos from Viola “Mother” Fletcher and Lessie Benningfield “Mother” Randle, survivors of the 1921 Tulsa Race Massacre, to ensure their stories remain a part of history and continue to inform and inspire current and future generations and in perpetuity.

The exhibition opened for a vernissage for survivors and the press on Thursday, May 27, 2021.

While the survivors will not be available for interviews, the press will have an exclusive view of the exhibit, can watch the initial reactions of survivors to the facility and interview representatives of the host organizations.

The exhibition was open to the public at the Gilcrease Museum on Friday May 28 and runs through Sunday July 4, 2021. Museum opening hours are 11:00 am to 4:00 pm Wednesday, Friday, Saturday and Sunday, and noon at 8:00 p.m. on Thursday. The museum is closed on Mondays and Tuesdays.

StoryFile posters featuring survivors of the Tulsa Race Massacre and using artificial intelligence technology via QR codes will allow people to have conversations with the StoryFiles of Mother Randle and Mother Fletcher at any time, n anywhere.

These posters will also be located on the following pop-up sites across Tulsa:

  • The Black Wall Street Times, 217 E. Archer St.
  • Greenwood Cultural Center, 322 N Greenwood Ave
  • The Gathering Place, 2650 S John Williams Way East
  • The Philbrook Museum, 2727 S Rockford Road
  • The Fulton Street Coffee & Books, 210 W Latimer St

StoryFile uses artificial intelligence technology to create life-size interactive chat videos of Mother Fletcher and Mother Randle, two of the last known living survivors of the Tulsa Race Massacre of 1921. Using their proprietary technology, StoryFile combines cutting-edge video and volumetric features with conversational artificial intelligence in a seamless, interactive, and timeless experience, meaning guests can virtually talk with survivors, ask them questions, and hear directly from them about their personal experiences.

In addition to the StoryFile installation, the Gilcrease Museum exhibit will also include archives and floor collections from “In Remembrance: Lynching in America: The Tulsa Community Remembrance Project ”presented by the Equal justice initiative (EJI) and Tulsa Community Remembrance Coalition.

Between the end of the Civil War and the end of World War II, thousands of African Americans were lynched in the United States in violent and public acts of torture that traumatized black communities locally and across the country. .

This exhibit will feature earthenware pots collected from every lynching site in Tulsa, Oklahoma, as an act of remembrance and a commitment to honor the victims of the horrific era of terror.

EJI’s land collection project is intended to provide tangible opportunities to deepen local understanding of the community’s history of racial injustice and lynching.

The Black Wall Street Legacy Festival is the only community-led series that focuses on the survivors and descendants of the Tulsa Race Massacre and is dedicated to preserving their stories.

The Festival is featured by the last known survivors of the massacre – Lessie Benningfield “Mother” Randle, 106, Viola “Mother” Fletcher, 107, and Hughes Van Ellis, 100 – who will lead a procession and participate in an honoring event. their legacy and their continuing struggle for justice and accountability.

Dr Tiffany Crutcher, Founder and Executive Director of the Terence Crutcher Foundation and lead organizer of the Black Wall Street Legacy Festival said: “Every day that we spend with the survivors of the Tulsa Race Massacre is a precious gift. Mother Fletcher and Mother Randle have so much wisdom, courage and grace to teach us all and I could not be more relieved that we can preserve their voices, their stories and their legacy for future generations.

“We are delighted to welcome this installation to Gilcrease and honored to ensure that the stories of Mother Randle and Mother Fletcher are protected and treasured,” said Susan Neal, Executive Director of the Gilcrease Museum. “They are both beacons of light who continue to inspire us all with their determination and strength. “

Heather Smith, CEO and Co-Founder of StoryFile said: Mother Randle and Mother Fletcher, like all of the other StoryFiles that document our narratives and stories, are part of the fabric of our story. We want and must give these voices platforms to keep these stories alive in perpetuity. That’s StoryFile’s mission – to keep these stories alive forever and to create the opportunity for more human connections across time and space.

Hosted by survivors and descendants of the Tulsa Race Massacre and led by organizations based in the affected community, the Black Wall Street Legacy Festival seeks to uplift and amplify the hard work and voices of the Black Tulsans throughout the 100 years by providing opportunities to reflect, learn and inspire through community-organized experiences.

National partners include Human Rights Watch, Equal Justice Initiative, FWD.us, The Who We Are Project, and more. Please visit blackwallstreetlegacyfest.com for additional information.

StoryFile LLC was founded in 2017 in Los Angeles by Heather Smith, Sam Gustman, Stephen Smith, and Cela Chan. StoryFile uses AI, AR, VR and its proprietary innovative technology to create and inspire human connections across generations to connect the past, present and future.

StoryFile has developed the world’s first interactive conversational video platform that empowers the storyteller to tell their story and experiences in their own words.

The spark of human connection that emanates from this technology is unprecedented, as never before has technology enabled real-time video interactions with pre-recorded interviews. StoryFile has achieved the previously imagined impossible by taking a 2D video and turning it into a 3D experience for all stakeholders.

StoryFile’s technology platform transforms the way we record and tell our stories for generations to come, ensuring that the future can forever interact with the past and learn from the past. What fuels the business is what keeps humanity motivated – by creating connections that span lives and geographies.

Today, the company has more than 20 employees worldwide, supported by a board of directors and an advisory board with experience in various industries spanning technology, genealogy, media and entertainment. StoryFile continues to push the boundaries with the development of its own intellectual property, 3 patents and volumetric capture technologies.

The Terence Crutcher Foundation seeks to involve the community, law enforcement and policy makers in creating and sustaining an approach to prevent, identify and resolve issues of inequity affecting minority communities in Tulsa, by Oklahoma and across the country.

The Terence Crutcher Foundation is committed to empowering, programming and raising awareness of issues that affect at-risk and disenfranchised people of color, with a focus on African American men and youth.

The Thomas Gilcrease Institute of American History and Art, commonly known as Gilcrease Museum, has a collection of American art, archives and anthropology as deep and vast than the American experience, including an unrivaled collection of Native American art and material culture.

The Helmerich Center for American Research on the museum campus houses a rare and important archival collection that Thomas Gilcrease has amassed.

Thanks to his collection, Gilcrease Museum is dedicated to service by bringing art, history and people together to research, discover, appreciate and understand the diverse heritage of the Americas.

Additionally, the museum is embarking on an $ 83 million construction project following the Vision Tulsa 2016 set.

This historic project will result in a new dynamic installation for the museum, making it a premier destination and tourist attraction.

The museum belongs to the City of Tulsa, which has partnered with the University of Tulsa to manage the museum.

AT to learn more and view the current exhibition schedule, please visit gilcrease.org.

Photo credit: Tulsa doc image.

Also: ‘Malcolm X: Liberation Faith Leader’ at the Schomburg in Harlem


]]> Maya Angelou and Sally Ride will both be in American neighborhoods http://www.jamspace.net/maya-angelou-and-sally-ride-will-both-be-in-american-neighborhoods/ Sat, 05 Jun 2021 16:01:07 +0000 http://www.jamspace.net/maya-angelou-and-sally-ride-will-both-be-in-american-neighborhoods/

Aaron RapoportGetty Images

Much like America itself, our country’s currency has long been dominated by white males. Only a handful of women, including Susan B. Anthony, Sacagawea, and Martha Washington, have ever had their image on US currency, but that is starting to change, in part thanks to the US Mint’s new American Women Quarters program. From January 2022, a total of 20 new coin designs will be released, each featuring a different iconic woman.

United States mint announced last month that Maya Angelou, the pioneering poet, author and civil rights activist, and Sally K. Ride, the first American woman in space, will be the first two women whose portraits will appear on the tail side of A quarter.

In its press release, the Mint confirmed that George Washington will continue to be on the tails of the coin, but the image will be “designed to distinguish it from the current image.” Although no other names were listed, the press release also provided more details on the selection criteria. All coin designs will be “emblematic of the accomplishments and contributions of a distinguished American woman … contributions may come from a wide range of fields including, but not limited to, suffrage, civil rights , abolition, government, humanities, science, space and the arts. The women honored will come from ethnically, racially and geographically diverse backgrounds. “The statement also said that by law no living person can be included in the coin designs, so all women must be deceased.

Mayan angelou district design

American currency

neighborhood design sally k ride

American currency

The project was carried out by Senator Deb Fischer and Senator Catherine Cortez Masto, with Representative Barbara Lee from California bringing it to the House. It will see a total of 20 women represented, with their respective coin designs released through 2025. In an April press release, the US Mint said: “Contributions can come from a wide range of fields. , including, but not limited to, suffrage, civil rights, abolition, government, humanities, science, space and the arts. Women honored will be from ethnically, racially and geographically diverse.

The audience also has the opportunity to weigh in on who should be included on the rest of the pieces, by submitting suggestions. via this online form. Final selections will be made by the US Mint and several advisory organizations, including the National Women’s History Museum, the Smithsonian Institution American Women’s History Initiative, and the Bipartisan Women’s Caucus. The rest of the 20 new coin models will be released through 2025.


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