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World’s top 10 food museums that are seriously strange

<p><strong>Le Musée Art du Chocolat de Lisle sur Tarn, Lisle-sur-Tarn, France</strong></p> <p>A weird and wonderful tribute to the sweet stuff, the Le Musée Art du Chocolat de Lisle sur Tarn is dedicated to the world of chocolate art. Chocolate elephants? Check. Chocolate candle holders? Check. There’s even a chocolate fountain – and by that, we mean one made entirely from chocolate.</p> <p>The sculptures, some of which weigh around 100 kilograms, are displayed in three halls. Must-sees include the life-sized chocolate woman and the huge white chocolate of the main character of the comic series The Adventures of Tintin. We’re getting a sugar rush just thinking about it.</p> <p><strong>Dutch Cheese Museum, Alkmaar, Netherlands</strong></p> <p>Thought tulips were the Netherlands’ biggest export? Think again, it’s cheese, more specifically, Edam and Gouda. Learn more at this brilliant Dutch Cheese Museum, which explores the history of the cheeses and how they’re made.</p> <p>It’s tucked inside one of Alkmaar’s oldest buildings, the 16th century Cheese Weigh House in Waagplein Square. Our favourite bit? The bright yellow, cheese-inspired decor and the super-sized model cow, designed to provide visitors with an insight into the milking process.</p> <p><strong>Cup Noodle Museum, Yokohama, Japan</strong></p> <p>Amazingly, the Cup Noodle Museum is one of several museums in Japan dedicated to instant noodles, otherwise known as ramen. The sheer size of this museum is a reminder of the nation’s love of the foodstuff – there are several enormous halls, including one containing a replica of the shed in which the first type of ramen was invented (it was chicken-based if you were wondering).</p> <p>There’s plenty for younger visitors, who can whiz down slides in a noodle-themed playground and swim through a ball pool resembling a cup of ramen soup. Don’t forget to check the noodle-themed marble run, either, it features 4,000 marbles and represents the various stages of ramen production.</p> <p><strong>Friet Museum, Bruges, Belgium</strong></p> <p>The Friet Museum is, perhaps unsurprisingly, the world’s only museum dedicated to what is widely known as French fries, but which are known as Belgian friet in this part of the world.</p> <p>Visit this Bruges attraction and you’ll learn all about the humble potato (first grown in Peru 10,000 years ago) and can admire various friet-related masterpieces, including drawings of the city’s famous Frituur chip stalls. The strangest exhibit? The enormous – but weirdly beautiful – display of friet fryers.</p> <p><strong>Carpigiani Gelato Museum, Carpigiani, Italy</strong></p> <p>The Italians are serious about how they make their ice cream, proof of which is the Carpigiani Gelato Museum in Bologna. You’ll find it inside what was once a factory owned by Carpigiani, the manufacturer of the world’s first ice cream-making machine.</p> <p>Exhibits include the ornate tin-plated boxes used by Italy’s first gelato sellers, along with a huge selection of gelato-related gadgets. There’s also a large workshop where you can sign up for lessons in gelatology, possibly the world’s coolest subject.</p> <p><strong>The Herring Era Museum, Siglufjörður, Iceland</strong></p> <p>Herrings might not sound like a very exciting item of food, but visitors to The Herring Era Museum will certainly leave with a new appreciation of the small, oily fish. The museum, inside a former salting station, looks at how, in the 20th century, the herring industry transformed this tiny village into a thriving town, with 23 herring salting stations and five herring processing plants.</p> <p>Sadly, over-exploitation of stocks meant the industry ground to a halt, but the tiny museum is a reminder of a period of time referred to by locals as the Atlantic Klondike.</p> <p><strong>Pizza Hut Museum, Kansas, USA</strong></p> <p>The Pizza Hut Museum opened in Wichita, Kansas in 2017, on the very same site of the first Pizza Hut restaurant. It’s packed full of pizza-related memorabilia, including the first Pizza Hut pizza pan used in 1958, when the restaurant opened.</p> <p>Other rare items include Pizza Hut Barbie dolls, menus, staff lists from the 1950s, and signage from the first restaurant. You’ll also be able to admire the original recipe for the brand’s famous sauce, scrawled on a napkin by the employee who perfected it.</p> <p><strong>Poli Grappa Museum, Bassano del Grappa, Italy</strong></p> <p>It’s probably a good idea to leave the car at home before a visit to the Poli Grappa Museum because samples of Italy’s famous liquor certainly aren’t in short supply. The museum is small but well laid out, with three rooms filled with exhibits relating to the famous Italian grape-based brandy.</p> <p>One notable highlight is the beautiful collection of antique stills, although many visitors make a beeline for the third room in order to sample some of the varieties produced by the nearby Poli Distillery.</p> <p><strong>The Idaho Potato Museum, Idaho, USA</strong></p> <p>America’s favourite tuber is the star of the show at The Idaho Potato Museum, which is home to both the world’s largest potato and the world’s largest potato chip, along with a wealth of potato-related facts.</p> <p>There are entire sections dedicated to tools used to harvest potatoes in the early 1900s, along with the world’s largest collection of mashers. And don’t forget to visit the café, where you can indulge in a chocolate-dipped potato.</p> <p><strong>The Spam Museum, Minnesota, USA</strong></p> <p>Learn about the world’s most divisive processed meat with a visit to The Spam Museum, a huge attraction examining the food’s rise to global domination. Not convinced? Check out the exhibit relating to its role in WWII, when Spam became a staple for servicemen and women.</p> <p>Then there’s the display of 15 varieties of Spam sold around the world. There are plenty of opportunities for taste tests, just look for one of the museum’s guides known as Spambassadors.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://www.readersdigest.com.au/culture/10-of-the-worlds-strangest-food-museums" target="_blank" rel="noopener">Reader's Digest</a>. </em></p>

International Travel

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"Willfully clueless": Tourists slammed for disrespectful Auschwitz selfies

<p>In a move that has been slammed as disgusting and disrespectful, a tourist has used her time visiting Auschwitz as an opportunity to pad out her social media feeds. </p> <p>In a picture shared by GB News producer Maria Murphy, a man and a woman can be seen on the railway tracks outside of the main Auschwitz structure. He is crouched with a camera angled towards her, while she is posing on the tracks, hand in her hair with her face turned to the sky. </p> <p>“Today I had one of the most harrowing experiences of my life,” Maria wrote on Twitter alongside the image. “Regrettably it didn’t seem [like] everyone there found it quite so poignant.”</p> <p>She went on to explain that the tour had been going for a couple of hours by that point, so the tourists had no excuse for their ignorance and disrespect - especially as they were all “asked repeatedly to be mindful and respectful.” </p> <p>And as Maria pointed out, “you would think this sort of thing wouldn’t need to be specified as a no-go for that criteria.”</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">Today I had one of the most harrowing experiences of my life. Regrettably it didn’t seem everyone there found it quite so poignant. <a href="https://t.co/3OdWavqC4P">pic.twitter.com/3OdWavqC4P</a></p> <p>— Maria 🇬🇧 (@MariaRMGBNews) <a href="https://twitter.com/MariaRMGBNews/status/1647325872720949249?ref_src=twsrc%5Etfw">April 15, 2023</a></p></blockquote> <p>Unfortunately, it seems that Maria was far from the first to witness such an act at the historic site, with thousands of irate commenters flocking to her post to share their experiences with disrespectful souls, and even more stopping by to condemn the thoughtless act. </p> <p>“We saw the same when we were there just a few months ago. Total disregard,” wrote one.</p> <p>“I visited in 2005 and every single person in my tour group had cried over the course of the tour,” one shared. </p> <p>“Absolutely disgusting,” another declared. “When I went, people were taking selfies. So disrespectful.” </p> <p>“Some people are really just willfully clueless and beyond ignorant,” came one hard truth.</p> <p>And when one tried to suggest that everyone shouldn’t be so quick to judge, that they weren’t sure “we should police people’s facial expressions in reaction to almost incomprehensible experiences”, the rest were quick to disagree.</p> <p>“This woman is posing on a railroad track that brought hundreds of thousands to their murders,” someone responded, to over 23,000 likes. “There is no nuance here.”</p> <p>Another simply wanted to point out that “@AuschwitzMuseum asks people not to do this. It's so horrifying that it continues to happen.”</p> <p>But the Auschwitz Museum’s official Twitter account perhaps put it best when they said, “Pictures can hold immense emotional &amp; documentation value for visitors. Images help us remember. </p> <p>“When coming to @AuschwitzMuseum visitors should bear in mind that they enter the authentic site of the former camp where over 1 million people were murdered. </p> <p>“Respect their memory.”</p> <p><em>Images: Twitter</em></p>

Travel Trouble

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Eco-activist attacks on museum artwork ask us to figure out what we value

<p>In the last few weeks <a href="https://www.nytimes.com/2022/10/23/arts/claude-monet-mashed-potatoes-climate-activists.html">climate change activists have perpetrated various acts</a> of reversible vandalism <a href="https://twitter.com/artnews/status/1585745905512169473">against famous works of art in public galleries</a>. </p> <p>In the latest incident on Oct. 27, two men entered <a href="https://www.theguardian.com/environment/2022/oct/27/girl-with-a-pearl-earring-vermeer-just-stop-oil-protest-mauritshuis-the-hague">the Mauritshuis gallery in the Hague</a>. After taking off their jackets to reveal t-shirts printed with anti-oil slogans, one proceeded to glue his head to <a href="https://www.reuters.com/business/environment/famed-girl-with-pearl-earring-painting-targeted-by-climate-activists-nos-2022-10-27/">glass overtop</a> <a href="https://www.mauritshuis.nl/en/our-collection/artworks/670-girl-with-a-pearl-earring/">Johannes Vermeer’s Girl with a Pearl Earring</a>, while the other bathed the head of his partner-in-crime with what appeared to be tinned tomatoes before gluing his own hand to the wall adjacent to the painting.</p> <p>This was just the latest in a series of similar art attacks that have peppered the news. </p> <p>The motivation of the eco-activists involved is to draw attention to the crisis of climate change, the role of big oil in hastening the deterioration of the environment and the necessity to save our planet.</p> <p>By attacking a famous and high-value cultural target like Vermeer’s Girl with a Pearl Earring — it <a href="https://www.imdb.com/title/tt0335119/">even starred in its own movie</a> — the protesters are asking us to examine our values.</p> <h2>Big oil protests</h2> <p>The first Vermeer painting to come to auction for almost 80 years <a href="https://www.cbc.ca/news/world/vermeer-fetches-record-price-1.506190">sold for almost $40 million in 2004</a>. Today a Vermeer (<a href="http://www.essentialvermeer.com/how_many_vermeers.html">there are not that many)</a> could easily be valued at twice that. Whether you like Vermeer or not, the monetary value of the targets under attack enhances the sheer audacity and shock value of the current art attacks.</p> <p>The eco-activists want to appear to desecrate something that people associate with value and with culture. Their point is that if we don’t have a planet, we’ll lose all the things in it that we seem to value more. </p> <p>As activist Phoebe Plummer of Just Stop Oil <a href="https://www.artnews.com/art-news/news/just-stop-oil-protestor-van-gogh-sunflowers-why-video-1234643678">told NPR after being involved in the attack on Van Gogh’s Sunflowers at London’s National Gallery</a>: “Since October, we have been engaging in disruptive acts all around London because right now what is missing to make this change is political will. So our action in particular <a href="https://www.npr.org/2022/11/01/1133041550/the-activist-who-threw-soup-on-a-van-gogh-explains-why-they-did-it">was a media-grabbing action to get people talking, not just about what we did, but why we did it</a>.”</p> <p>Note, the idea is disruption, not destruction. As acts designed for shock value, the activists did draw immediate public attention.</p> <h2>Attacking art</h2> <p>By staging their attacks in public galleries, where the majority of visitors carry cell phones, activists could be assured film and photos of the incidents would draw immediate attention. By sticking to non-corrosive substances and mitigating damage to the works under attack, they don’t draw the kind of public ire that wilful destruction would evoke. </p> <p>In recent news, attacking art as a form of public protest has largely been limited to public monuments outside the gallery space, like the <a href="https://www.cnn.com/2022/02/02/us/confederate-monuments-removed-2021-whose-heritage/index.html">destruction and removal of Confederate</a> or colonial statues. </p> <p>But it’s also true that works of museum art have come under attack before. Over the course of its history, <a href="https://www.theartnewspaper.com/2019/02/19/trimmed-splashed-and-slashed-the-anatomy-of-rembrandts-the-night-watch">Rembrandt’s Night Watch in the Rijksmuseum</a> in Amsterdam was stabbed in two separate incidents in 1911 and 1975; in 1990, it was sprayed with acid; but all of those attacks were ascribed to individuals with unclear and less clearly rational motives.</p> <p>I see a few issues at stake with assessing what these recent art attacks could mean.</p> <h2>1. How effective is the messaging?</h2> <p>The activists have been articulate about their objectives, but those objectives haven’t been <a href="https://twitter.com/BrydonRobert/status/1587587106997960705">obvious to everyone who sees</a> via social media, but doesn’t stick around to hear the explanation. When a broad <a href="https://www.smithsonianmag.com/smart-news/why-are-climate-activists-throwing-food-at-million-dollar-paintings-180981024/">range of media</a> <a href="https://time.com/6224760/climate-activists-throw-food-at-art/">outlets all</a> perceive <a href="https://www.forbes.com/sites/rebeccahughes/2022/08/05/why-are-climate-activists-gluing-themselves-to-art-in-italy/?sh=1e2e8a6a246a">the need to publish</a> editorials on why eco activists are targeting art, something is getting lost in translation.</p> <p>People see the endangerment of the works of art, but may ascribe that to the activists, not to the planetary erosion wrought by climate change. I don’t think everyone is getting the message.</p> <h2>2. Possible misplaced outrage</h2> <p>The incidents up until now have been pretty effective and harmless acts. But what if something is irreparably damaged? People will be outraged, but they’ll still be outraged about the art, not about the planet. </p> <p>And while there will be a call for stiff prison sentences, precedent suggests that’s an unlikely outcome. </p> <p>A man who damaged a Picasso valued at $26 million USD at the Tate Modern <a href="https://www.artnews.com/art-news/news/tate-modern-picasso-damaged-man-sentenced-1234569349">in London in 2020 was sentenced to 18 months in jail</a>.</p> <h2>3. Violation of public trust</h2> <p>The third effect is what I consider a violation of the public trust, and this gives me pause. Works of art, even the most famous ones, lead precarious lives of constant endangerment; war, weather, fire, floods. The protesters are destabilizing the idea that public galleries are “safe” spaces for works of art, held in public trust. </p> <p>As fari nzinga, inaugural curator of academic engagement and special projects at the <a href="https://www.speedmuseum.org/">Speed Art Museum</a> in Louisville, KY, pointed out in a 2016 paper: “The museum doesn’t serve the public trust simply by displaying art for its members, <a href="https://incluseum.com/2016/11/29/public-trust-and-art-museums">it does so by keeping and caring for the art on behalf of a greater community of members and non¬members alike</a>, preserving it for future generations to study and enjoy.” </p> <p>Right now these acts, no matter how well-intentioned, could lead to increased security and more limited access, making galleries prisons for art rather than places for people. </p> <p>At the same time, part of the activsts’ point is that economy that sustains <a href="https://grist.org/climate/can-art-museums-survive-without-oil-money/">big oil is entwined with arts infrastructure</a> and the art market.</p> <h2>The thing that saves us?</h2> <p>The pandemic taught us, I think, that art could be the thing we share that saves us; think of <a href="https://www.youtube.com/watch?v=Q734VN0N7hw">people during quarantine in Italy singing opera together from their balconies</a>. </p> <p>Eco-activists engaged in performance protests ask us to question our public institutions and make us accountable for what they, and we, value. Their climate activism is dedicated to our shared fate.</p> <p>If you’re willing to fight for the protection of art, maybe you’re willing to fight to protect the planet.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/eco-activist-attacks-on-museum-artwork-ask-us-to-figure-out-what-we-value-193575" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

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10 of the world’s strangest food museums

<p> </p> <p><strong>Le Musée Art du Chocolat de Lisle sur Tarn, Lisle-sur-Tarn, France</strong></p> <p>A weird and wonderful tribute to the sweet stuff, the Le Musée Art du Chocolat de Lisle sur Tarn is dedicated to the world of chocolate art. Chocolate elephants? Check. Chocolate candle holders? Check. There’s even a chocolate fountain – and by that, we mean one made entirely from chocolate. The sculptures, some of which weigh around 100 kilograms, are displayed in three halls. Must-sees include the life-sized chocolate woman and the huge white chocolate of the main character of the comic series The Adventures of Tintin. We’re getting a sugar rush just thinking about it.</p> <p><strong>Dutch Cheese Museum, Alkmaar, Netherlands</strong></p> <p>Thought tulips were the Netherlands’ biggest export? Think again, it’s cheese, more specifically, Edam and Gouda. Learn more at this brilliant Dutch Cheese Museum, which explores the history of the cheeses and how they’re made. It’s tucked inside one of Alkmaar’s oldest buildings, the 16th century Cheese Weigh House in Waagplein Square. Our favourite bit? The bright yellow, cheese-inspired decor and the super-sized model cow, designed to provide visitors with an insight into the milking process.</p> <p><strong>Cup Noodle Museum, Yokohama, Japan</strong></p> <p>Amazingly, the Cup Noodle Museum is one of several museums in Japan dedicated to instant noodles, otherwise known as ramen. The sheer size of this museum is a reminder of the nation’s love of the foodstuff – there are several enormous halls, including one containing a replica of the shed in which the first type of ramen was invented (it was chicken-based if you were wondering). There’s plenty for younger visitors, who can whiz down slides in a noodle-themed playground and swim through a ball pool resembling a cup of ramen soup. Don’t forget to check the noodle-themed marble run, either, it features 4,000 marbles and represents the various stages of ramen production.</p> <p><strong>Friet Museum, Bruges, Belgium</strong></p> <p>The Friet Museum is, perhaps unsurprisingly, the world’s only museum dedicated to what is widely known as French fries, but which are known as Belgian friet in this part of the world. Visit this Bruges attraction and you’ll learn all about the humble potato (first grown in Peru 10,000 years ago) and can admire various friet-related masterpieces, including drawings of the city’s famous Frituur chip stalls. The strangest exhibit? The enormous – but weirdly beautiful – display of friet fryers.</p> <p><strong>Carpigiani Gelato Museum, Carpigiani, Italy</strong></p> <p>The Italians are serious about how they make their ice cream, proof of which is the Carpigiani Gelato Museum in Bologna. You’ll find it inside what was once a factory owned by Carpigiani, the manufacturer of the world’s first ice cream-making machine. Exhibits include the ornate tin-plated boxes used by Italy’s first gelato sellers, along with a huge selection of gelato-related gadgets. There’s also a large workshop where you can sign up for lessons in gelatology, possibly the world’s coolest subject.</p> <p><strong>The Herring Era Museum, Siglufjörður, Iceland</strong></p> <p>Herrings might not sound like a very exciting item of food, but visitors to The Herring Era Museum will certainly leave with a new appreciation of the small, oily fish. The museum, inside a former salting station, looks at how, in the 20th century, the herring industry transformed this tiny village into a thriving town, with 23 herring salting stations and five herring processing plants. Sadly, over-exploitation of stocks meant the industry ground to a halt, but the tiny museum is a reminder of a period of time referred to by locals as the Atlantic <em>Klondike</em>.</p> <p><strong>Pizza Hut Museum, Kansas, USA</strong></p> <p>The Pizza Hut Museum opened in Wichita, Kansas in 2017, on the very same site of the first Pizza Hut restaurant. It’s packed full of pizza-related memorabilia, including the first Pizza Hut pizza pan used in 1958, when the restaurant opened. Other rare items include Pizza Hut Barbie dolls, menus, staff lists from the 1950s, and signage from the first restaurant. You’ll also be able to admire the original recipe for the brand’s famous sauce, scrawled on a napkin by the employee who perfected it.</p> <p><strong>Poli Grappa Museum, Bassano del Grappa, Italy</strong></p> <p>It’s probably a good idea to leave the car at home before a visit to the Poli Grappa Museum because samples of Italy’s famous liquor certainly aren’t in short supply. The museum is small but well laid out, with three rooms filled with exhibits relating to the famous Italian grape-based brandy. One notable highlight is the beautiful collection of antique stills, although many visitors make a beeline for the third room in order to sample some of the varieties produced by the nearby Poli Distillery.</p> <p><strong>The Idaho Potato Museum, Idaho, USA</strong></p> <p>America’s favourite tuber is the star of the show at The Idaho Potato Museum, which is home to both the world’s largest potato and the world’s largest potato chip, along with a wealth of potato-related facts. There are entire sections dedicated to tools used to harvest potatoes in the early 1900s, along with the world’s largest collection of mashers. And don’t forget to visit the café, where you can indulge in a chocolate-dipped potato.</p> <p><strong>The Spam Museum, Minnesota, USA</strong></p> <p>Learn about the world’s most divisive processed meat with a visit to The Spam Museum, a huge attraction examining the food’s rise to global domination. Not convinced? Check out the exhibit relating to its role in WWII, when Spam became a staple for servicemen and women. Then there’s the display of 15 varieties of Spam sold around the world. There are plenty of opportunities for taste tests, just look for one of the museum’s guides known as Spambassadors.</p> <p><em><span id="docs-internal-guid-665b11ed-7fff-7b7e-ab71-5c7bc9f7bd68">Written by Tamara Hinson. This article first appeared in <a href="https://www.readersdigest.com.au/culture/10-of-the-worlds-strangest-food-museums" target="_blank" rel="noopener">Reader’s Digest</a>. For more of what you love from the world’s best-loved magazine, <a href="http://readersdigest.innovations.com.au/c/readersdigestemailsubscribe?utm_source=over60&amp;utm_medium=articles&amp;utm_campaign=RDSUB&amp;keycode=WRA87V" target="_blank" rel="noopener">here’s our best subscription offer.</a></span></em></p> <p><em>Image: Courtesy </em><em>Friet Museum</em></p>

International Travel

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"Truly unique" piece of Australian history acquired by National Museum

<p>Intricate carvings depicting Australia’s early history including colonial bush life, the gold rush and representations of conflict occurring between settlers and First Nations peoples, feature on a unique ‘Australian Colonial Billiard Table’, have been acquired by the National Museum of Australia in Canberra.</p> <p>The table substantially adds to the Museum’s National Historical Collection and supports its mission to tell remarkable stories from Australian history.</p> <p>It was acquired by the National Museum of Australia for $1.1 million, with the support of the Australian Government through the National Cultural Heritage Account, which contributed $550,000.</p> <p>The National Cultural Heritage Account is a grant program that assists Australian cultural organisations to acquire significant cultural heritage objects.</p> <p>The acquisition was also supported by the Pratt Foundation and donors to the National Museum’s 2022 Annual Appeal.</p> <p>The ‘Australian Colonial Billiard Table’ and matching scoreboard is an unrivalled piece of craftsmanship that through the depictions of colonial life and native flora and fauna contributes to an understanding of our national identity and design history.</p> <p>It was built in 1885 by Sydney-based billiard table manufacturer Ben Hulbert and features ornate carvings by skilled cabinet maker George Billyeald.</p> <p dir="ltr">The table has a rich history and was displayed at the 1886 Colonial and Indian Exhibition in London, at Adelaide’s Jubilee Exhibition in 1887 and at Melbourne’s Centennial Exhibition in 1888.</p> <p>It was also reportedly displayed at Buckingham Palace, where it is suggested that it was admired by Queen Victoria and played upon by billiards enthusiast Prince Albert, the Prince of Wales, who was later crowned King Edward VII.</p> <p>National Museum director Dr Mathew Trinca thanked the Australian Government for its financial assistance with the purchase of the billiard table, which he said is a one-of-a-kind example of Australian colonial furniture-making.</p> <p>“The craftmanship and design of this piece is extraordinary. This truly unique acquisition, carefully carved from Tasmanian blackwood, perfectly showcases our colonial history, and we are delighted to be able to share it with the nation,” said Dr Trinca.</p> <p>Museum Curator Dr Ian Coates, who coordinated the acquisition said the decorative panels show how European settlers understood their world, and the vision of Australia they wanted to promote internationally.</p> <p>“Perhaps most significant are the scenes of conflict between First Nations peoples and colonists included as part of life on the frontier. Such representations of conflict are rare. They are an important part of our national history – subject matter that was ignored for much of the twentieth century, and which now forms part of the truth-telling about what happened in the history of our nation.”</p> <p>“The table and scoreboard are magnificent examples of nineteenth century decorative arts. They are also highly significant for the prominent role they played in the global dissemination of Australian iconography and themes during the late-nineteenth century,” said Dr Coates.</p> <p>It will be on display at the National Museum of Australia from 17 November.</p> <p><em>Image credits: Supplied by National Museum of Australia</em></p>

Art

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Soup on Van Gogh and graffiti on Warhol: climate activists follow the long history of museums as a site of protest

<p>Andy Warhol’s Campbell’s Soup Cans at the National Gallery of Australia are just the <a href="https://www.theguardian.com/culture/2022/nov/09/climate-activists-target-andy-warhols-campbells-soup-cans-at-australias-national-gallery">latest artistic target</a> of climate protesters, who have been throwing <a href="https://www.theguardian.com/environment/2022/oct/14/just-stop-oil-activists-throw-soup-at-van-goghs-sunflowers">soup</a>, <a href="https://www.washingtonpost.com/world/climate-protesters-throw-mashed-potatoes-at-monet-painting/2022/10/23/cc39e636-52f0-11ed-ac8b-08bbfab1c5a5_story.html">mashed potatoes</a> and <a href="https://www.washingtonpost.com/world/climate-protesters-throw-mashed-potatoes-at-monet-painting/2022/10/23/cc39e636-52f0-11ed-ac8b-08bbfab1c5a5_story.html">cake</a> at art worth millions of dollars.</p> <p>The actions have received a <a href="https://www.artnews.com/art-news/news/in-doha-four-museum-directors-talk-the-climate-protests-1234644472/">muted response</a> from some museum directors, but the protesters know exactly what they are doing. </p> <p>As the activists who threw soup on Van Gogh’s Sunflowers <a href="https://www.frieze.com/article/interview-just-stop-oil">said, "</a>We know that civil resistance works. History has shown us that."</p> <p>Indeed, there is a long history of museums and art being used for political protest.</p> <h2>For women’s suffrage and women artists</h2> <p>In 1914, suffragette Mary Richardson <a href="https://womensarttours.com/slashing-venus-suffragettes-and-vandalism/">slashed</a> the canvas of Velázquez’s Rokeby Venus at London’s National Gallery. </p> <p>Richardson wanted to attract publicity to Emmeline Pankhurst’s imprisonment for her suffragette actions. Richardson selected this painting in part because of its value, and because of “the way men visitors gaped at it all day long”.</p> <p>Her tactics are credited as <a href="https://www.surfacemag.com/articles/just-stop-oil-protests-museums-environmental-activism/">motivating</a> Extinction Rebellion and Just Stop Oil.</p> <p>Since 1985, the <a href="https://eprints.mdx.ac.uk/25207/1/Camillabrownpaper.pdf">Guerrilla Girls</a> have been exposing sexual and racial discrimination in the art world.</p> <p>Their actions have usually occurred at the outskirts of museums: in museum foyers, on nearby billboards and on New York City buses. Perhaps their most famous work <a href="https://www.tate.org.uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793">asked</a>: “do women have to be naked to get into the Met Museum?”</p> <h2>Against corporate sponsorship and artwashing</h2> <p><a href="https://www.artnews.com/art-news/news/decolonize-this-place-kanders-whitney-nine-weeks-of-art-and-action-12207/">Decolonize this Place</a> brings together campaigns against racial and economic inequality. </p> <p>They organised a campaign beginning in 2018 targeting the then vice-chair of New York’s Whitney Museum, Warren B. Kander, whose company sold tear gas that had reportedly been used against asylum seekers along the US-Mexico border. </p> <p>The campaign’s first event was held in the museum’s foyer. <a href="https://www.artnews.com/art-news/news/no-space-profiteer-state-violence-decolonize-place-protests-whitney-vice-chair-warren-b-kanders-11507/">Protesters burned sage</a> to mimic tear gas, which wafted through the lobby until the fire department arrived. </p> <p>The protesters argued Kander’s business interests meant he was not fit to lead a globally significant cultural heritage institution that sought relevance for a wide and diverse public constituency. Kander <a href="https://www.nytimes.com/2019/07/25/arts/whitney-warren-kanders-resigns.html">resigned</a> from the museum’s board in 2019.</p> <p>Since 2018, artist <a href="https://news.artnet.com/art-world/sackler-nan-goldin-victoria-albert-1704450">Nan Goldin</a> and her “Opioid Activist Group” have been staging “die-ins” at the museum to protest against the galleries named for sponsorship from the Sackler family.</p> <p>The Sackler family business is Purdue Pharma, infamous for OxyContin, a major drug in the US <a href="https://www.npr.org/2022/03/03/1084163626/purdue-sacklers-oxycontin-settlement">opioid crisis</a>. </p> <p>Activists have targeted galleries around the world, and so far the Sackler name has been removed from galleries including the <a href="https://www.nytimes.com/2019/07/18/arts/sackler-family-museums.html">Louvre</a>, the <a href="https://www.theguardian.com/culture/2022/mar/25/british-museum-removes-sackler-family-name-from-galleries">British Museum</a>, the <a href="https://news.artnet.com/art-world/sackler-name-change-guggenheim-museum-2110993">Guggenheim</a> and, as of last month, the <a href="https://www.theguardian.com/artanddesign/2022/oct/01/campaigners-celebrate-as-va-severs-sackler-links-over-opioids-cash">Victoria and Albert Museum</a>.</p> <h2>For the return of cultural artefacts</h2> <p>The highest-profile actions against the British Museum have targeted its rejection of calls to return objects including the <a href="https://www.artnews.com/art-news/news/parthenon-marbles-british-museum-protest-1234632365/">Parthenon Marbles</a> of Greece, the <a href="https://morningstaronline.co.uk/article/b/british-museum-closes-gallery-in-response-to-protesters">Benin Bronzes</a> from modern-day Nigeria, and the <a href="https://morningstaronline.co.uk/article/b/british-museum-closes-gallery-in-response-to-protesters">Gweagal shield</a> from Australia. </p> <p>In 2018, a group of activists performed a “<a href="https://camd.org.au/stolen-goods-tour-of-bm-protest/">Stolen Goods Tour</a>” of the museum. Participants from across the world gave a different story to what visitors read in the museum’s object labels and catalogues, as the activist tour guides explained their continuing connections with objects in the collection.</p> <p>The tour did not convince the museum to return cultural items, but drew extensive global attention to <a href="https://www.theguardian.com/world/2022/oct/11/nigeria-benin-repatriate-bronzes-smithsonian">ongoing campaigns</a>seeking restitution and repatriation.</p> <h2>In the culture wars</h2> <p>Protests using art and museums aren’t just the domain of the left.</p> <p>In 1969, <a href="https://www.routledge.com/Museums-and-Social-Activism-Engaged-Protest/Message/p/book/9780415658539">an arsonist destroyed</a> a display at the National Museum of American History that commemorated Martin Luther King Jr, who had been recently assassinated. The perpetrator was never identified.</p> <p>In 2017, <a href="https://www.theguardian.com/us-news/2017/jun/18/noose-found-hanging-washington-museum">nooses</a> were left at various museums of the Smithsonian, including The National Museum of African American History and Culture. No groups ever came forward to claim responsibility or express a motive, but the noose is a potent and divisive symbol of segregation and racially motivated violence.</p> <p>In December 2021, doors to the Museum of Australian Democracy in Canberra were <a href="https://www.abc.net.au/news/2021-12-30/act-protesters-set-old-parliament-house-on-fire/100731444">set alight</a> twice by protesters with a number of grievances, including opposition to COVID-19 vaccines.</p> <p>The museum’s <a href="https://www.abc.net.au/news/2022-01-20/multimillion-dollar-repair-bill-for-old-parliament-house-fire/100770268">director said</a> the “assault on the building” would force the museum to rethink its commitment to being “as open as possible, representing all that is good about Australian democracy”, and at the same time keeping it protected.</p> <h2>‘Direct action works’</h2> <p>The past two decades have seen a surge of art-focused demonstrations. </p> <p>In 2019, Decolonize this Place and Goldin’s anti-Sackler coalition met with members of 30 other groups in front of Andy Warhol’s “The Last Supper” (1986) at the Whitney. </p> <p>They were there to celebrate the Tate Museum in London and the Guggenheim Museum in New York, who had announced they would stop taking funding from the Sackler family. One participant cried “<a href="https://hyperallergic.com/491418/decolonize-this-place-nine-weeks-launch/">direct action works!</a>” </p> <p>Even when protests at museums and art achieve less concrete outcomes than this, they remain central tools for building public awareness around political and social issues. </p> <p>It is unlikely actions against museums and art will subside anytime soon.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/soup-on-van-gogh-and-graffiti-on-warhol-climate-activists-follow-the-long-history-of-museums-as-a-site-of-protest-193009" target="_blank" rel="noopener">The Conversation</a>. </em></p>

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Archaeologists demand the British Museum return Rosetta Stone to Egypt

<p dir="ltr">More than 2,500 archaeologists have signed a petition for the British Museum to return the Rosetta Stone to Egypt. </p> <p dir="ltr">This effort, which was launched last month, has urged the Egyptian Prime Minister Mostafa Madbouly to officially request the object’s return, along with 16 other artefacts that were illegally and unethically removed from the country.</p> <p dir="ltr">Earlier this year, renowned Egyptian archaeologist Zahi Hawass called for the return of the Rosetta Stone, and announced his plans to form the petition. </p> <p dir="ltr">“Previously it was the government alone asking for Egyptian artefacts,” Monica Hanna, an archaeologist who co-founded the current restitution campaign, told CBS News. “But today this is the people demanding their own culture back.” </p> <p dir="ltr">The Rosetta Stone, a 2,200-year-old granodiorite stele inscribed with hieroglyphs, Ancient Egyptian Demotic script, and Ancient Greek, was discovered in 1799 during a Napoleonic campaign in Egypt, in which Napoleon’s troops apparently stumbled upon the stone while building a fort near the town of Rashid, or Rosetta. </p> <p dir="ltr">It was then acquired by the British Museum in 1802 from France under a treaty signed during the Napoleonic Wars.</p> <p dir="ltr">“The confiscation of the Rosetta stone, among other artefacts, is an act of encroachment on Egyptian cultural property and identity, and is a direct result of cultural colonial violence against Egyptian cultural heritage,” states the petition. “The presence of these artefacts in the British Museum to this day supports past colonial endeavours of cultural violence.”</p> <p dir="ltr">“History cannot be changed,” the document continues, “but it can be corrected, and although the political, military, and governmental rule of the British Empire withdrew from Egypt years ago, cultural colonisation is not yet over.”</p> <p dir="ltr">The British Museum, however, maintains that there has never been a formal request by the Egyptian government for the stone’s return.</p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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See inside the top-secret museum you can’t enter

<p dir="ltr">While most museums aim to educate the public, there’s one that most of us won’t be allowed to enter that holds artefacts that have shaped key historical moments - and it’s located in the headquarters of the CIA.</p> <p dir="ltr">The US intelligence agency has its very own in-house museum at its headquarters in Langley, Virginia, with a collection recently renovated to mark its 75th anniversary.</p> <p dir="ltr">According to the <em><a href="https://www.bbc.com/news/world-us-canada-63023876" target="_blank" rel="noopener">BBC</a></em>, whose journalists were among a select group given access during a media tour, the 600 artefacts on display include everything from old-school spy gadgets to models of the compound that housed Osama bin Laden.</p> <p><span id="docs-internal-guid-c8978b1b-7fff-2994-e40b-b873b130bcef"></span></p> <p dir="ltr">The Cold War gadgets included the likes of a ‘dead drop rat’, in which messages could be hidden, a covert camera inside a cigarette packet, an exploding martini glass and even a pigeon with its own spy camera.</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/cia-display.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr"><em>A pipe radio receiver is among the hundreds of items on display in the museum. Image: Getty Images</em></p> <p dir="ltr">Some artefacts have never gone on display before, such as a model of the sunken Soviet K-129 submarine created for the expedition the CIA embarked on with billionaire Howard Hughes to recover the ship.</p> <p dir="ltr">That mission was only partially successful since the submarine broke apart while a ship called the Gomar Explorer was trying to bring it up from the ocean’s depths.</p> <p dir="ltr">"Most of what they found aboard that submarine is still classified to this day," Robert Z Byer, the museum’s director, told the BBC.</p> <p dir="ltr"><span id="docs-internal-guid-36956bbb-7fff-426e-b622-1531a77f9952"></span></p> <p dir="ltr">The mission also marked the creation of an iconic phrase the CIA still uses; after news broke of the mission before the rest of the submarine could be extracted, officials were told to say they could “neither confirm nor deny” what had happened.</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/cia-display1.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr"><em>A model of the K-129 submarine was created by the CIA during the mission to recover the sunken Soviet vessel and has never been displayed before. Image: Central Intelligence Agency</em></p> <p dir="ltr">Others have only been declassified recently, including a model of the compound where al-Qaeda leader Ayman al-Zawahiri was killed earlier this year. The model was used to brief President Joe Biden on the proposed mission.</p> <p dir="ltr">Though the museum moves chronologically through the CIA’s successes and failures, including the failed Bay of Pigs mission to overthrow Fidel Castro, some of the agency’s more controversial acts are less visible, such as the 1953 joint operation with Mi6 to overthrow a democratically-elected government in Iran, or recent involvement in the torture of terrorist suspects after 9/11.</p> <p dir="ltr">The museum’s visitors are restricted to CIA staff and official visitors, with Mr Byer saying it serves to educate CIA officers on the agency’s history.</p> <p dir="ltr">"This museum is not just a museum for history's sake. This is an operational museum,” he explained. </p> <p dir="ltr">“We are taking CIA officers [through it], exploring our history, both good and bad," says Mr Byer. </p> <p dir="ltr">"We make sure that our officers understand their history, so that they can do a better job in the future. We have to learn from our successes and our failures in order to be better in the future."</p> <p dir="ltr">While the public isn’t allowed to visit it currently, officials say some exhibits will be available to view online.</p> <p dir="ltr">Images of the museum are also expected to be shared on social media, with the aim being that members of the public are given the chance to unscramble the various coded messages displayed on the museum’s ceilings.</p> <p dir="ltr"><span id="docs-internal-guid-3a1e4815-7fff-5d89-765c-c4112d2ebddb"></span></p> <p dir="ltr"><em>Image: Getty Images</em></p>

International Travel

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State-run German museums disclose works acquired during Nazi era

<p dir="ltr">A Munich-based foundation that oversees the art collections of museums located throughout the titular German state is set to publicly disclose the origins of over 1,000 works acquired during the Nazi rule.</p> <p dir="ltr">The Bavarian State Painting Collections is launching an extensive database that includes information regarding over 1,200 paintings that researchers have found were acquired during the National Socialist period, or had ownership links to Nazi officials.</p> <p dir="ltr">There are a series of artworks that were given to museums and galleries during this time that are often subject to legal claims from descendants of persecuted Jewish families.</p> <p dir="ltr">Operating since 1999, a specialised unit dedicated to origin research has been reviewing all the ownership records of each and every artwork in the Bavarian State Paintings Collections that were created before 1945, and have been acquired since 1933. </p> <p dir="ltr">Throughout the database notes, a statement will accompany each artwork to alert people of its proper origins. </p> <p dir="ltr">This protocol is in keeping with the 1998 Washington Principles and the 1999 Joint Declaration of the Federal Government, both of which mounted calls for greater transparency surrounding the provenances of artworks believed to be subject to restitution claims.</p> <p dir="ltr">Other initiatives have been put into practice around the world, with <a href="https://oversixty.com.au/entertainment/art/new-york-museums-now-required-to-acknowledge-art-stolen-under-nazi-rule">museums and galleries in New York</a> now now legally required to acknowledge art stolen under the Nazi regime. </p> <p dir="ltr">The new state law requires New York museums to display signage alongside works of art from before 1945 that are known to have been stolen or forcibly sold during the Nazi rule.</p> <p dir="ltr">According to legislation and expert testimony, the Germans looted 600,000 works of art during World War II. </p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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New York museums now required to acknowledge art stolen under Nazi rule

<p dir="ltr">Museums and art galleries in New York are now legally required to acknowledge art stolen under the Nazi regime. </p> <p dir="ltr">The new state law requires New York museums to display signage alongside works of art from before 1945 that are known to have been stolen or forcibly sold during the Nazi rule.</p> <p dir="ltr">According to legislation and expert testimony, the Germans looted 600,000 works of art during World War II. </p> <p dir="ltr">As well as the new public recognition law, works that were created before 1945 that changed ownership in Nazi Europe are now required to be registered in the <a href="https://www.artloss.com/about-us/">Art Loss Register</a>, a private database of more than 700,000 works of lost, stolen and looted art. </p> <p dir="ltr">Over the last few decades, museums in New York have been at the centre of discussions of who has rightful ownership of artworks that changed hands during the Nazi era.</p> <p dir="ltr">Both the Guggenheim and the Metropolitan Museum of Art have gone a step further, and returned artworks stolen by the Nazis to surviving members of the families who owned them before they were looted during World War II.</p> <p dir="ltr">Despite this, several New York museums have also successfully fought to keep allegedly looted art from the Nazi era in their halls. </p> <p dir="ltr">In 2021, a federal appeals court ruled that the Metropolitan Museum of Art can keep a $100 million Picasso painting that the family of the previous owner says was sold to fund the owner's escape from Nazi Germany. </p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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How to get the most out of your next art gallery visit

<p dir="ltr">Art galleries and museums are places of splendour and inspiration that can open doors to other worlds, cultures and historic secrets. </p> <p dir="ltr">Despite the joy many experience within the walls of an exhibition, others can find it dull, exhausting and even in some cases, boring. </p> <p dir="ltr">With all this in mind, there are a few ways you can capitalise on your next gallery experience to get the most out of it without being left feeling exhausted by the end of the day. </p> <p dir="ltr"><strong>Don’t try to see everything in one visit</strong></p> <p dir="ltr">When you step inside a gallery, the first impulse many feel is to soak in as much art and culture as you can. </p> <p dir="ltr">Justin Paton, the head curator of international art at the Art Gallery of New South Wales, says there's no shame in only looking at the things that really grab your attention. </p> <p dir="ltr">"I think you walk through openly, you walk through curiously, you walk through with your antennae up," he <a href="https://www.abc.net.au/radionational/programs/the-art-show/how-to-look-at-a-painting/10826778">told ABC RN's The Art Show</a>.</p> <p dir="ltr">"Look for that physical response — it might be adoration, it might be arousal, it might be revulsion.”</p> <p dir="ltr">"Those bodily cues, those ungovernable responses, are exactly what should make us look twice, make us look a third time.”</p> <p dir="ltr">"See what the wall label says about it, and if that doesn't correspond with the way you're feeling about it, look again, go and find out more."</p> <p dir="ltr"><strong>Slow down</strong></p> <p dir="ltr">Studies have shown that many people tend to zoom their way through galleries, with research finding many people move on after <a href="https://psycnet.apa.org/record/2016-10247-001">less than 30 seconds</a>.</p> <p dir="ltr">When you're not rushing through trying to see everything, you can afford to slow down and appreciate the things that speak to you. </p> <p dir="ltr">"If you spend good time with one work it is infinitely more valuable than doing a grainy tour of a museum and coming out exhausted," Paton says.</p> <p dir="ltr">"A great painting will flip switches and unlatch thoughts."</p> <p dir="ltr">This helps when you’re looking at what you’re connecting with, rather than what art or exhibitions you feel like you should be seeing. </p> <p dir="ltr"><strong>Get to know the art</strong></p> <p dir="ltr">When first observing art, we all have the instinct to judge a piece on its immediate appearance, prompting comments such as “I love it” or “I hate it” or “Surely a child could’ve done this”.</p> <p dir="ltr">Resisting this urge will let you connect with the artist and their intentions on a deeper level, and reading more about a certain work will give you a more elaborate insight into an artists’ inspiration. </p> <p dir="ltr">"It's nice to think about artworks as you would think about people: not rushing into a judgement too fast," says Paton.</p> <p dir="ltr"><strong>Lighten up! Don’t take it too seriously </strong></p> <p dir="ltr">Alongside the reverence and reflection that comes into art, there is also plenty of room for humour and silliness. </p> <p dir="ltr">"People in the past, they had a sense of humour, they liked to have a joke. They weren't a stuffy, serious culture," says Art historian Mary McGillivray.</p> <p dir="ltr">"When you're looking at a painting and you think, 'That's a bit suspect,' it almost certainly will be.”</p> <p dir="ltr">"There's a lot of penis jokes in art history, let me tell you."</p> <p dir="ltr"><strong>Do your homework</strong></p> <p dir="ltr">A little planning can go a long way when it comes to your next art gallery visit. </p> <p dir="ltr">Looking at what exhibitions are currently on, utilising digital maps, or even booking in a guided tour will help you get the most out of any museum. </p> <p dir="ltr">"Those tours will give you so much more insight into what you're looking at, and it's way more engaging to hear someone talk about art in a collection that they're interested in," says McGillivray.</p> <p dir="ltr">Public programming can also include art and dementia programs, tactile tours for kids, student learning initiatives, and programs created for, and facilitated by, First Nations people.</p> <p dir="ltr"><strong>Don’t feel like you don’t belong</strong></p> <p dir="ltr">You absolutely do!</p> <p dir="ltr">Public art galleries and museums are open to everyone for a reason: to share a love and appreciation of art, history and culture with as many people as possible. </p> <p dir="ltr">"Galleries are not meant to be elitist, they're not meant to be just for some people to understand and everyone else to stay away from. Everyone deserves to have a go at enjoying those collections," McGillivray says.</p> <p dir="ltr">"You're allowed to talk, you're allowed to laugh, you're allowed to joke, you can walk through really quickly or you can slow down or sit down. There's no right or wrong way."</p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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A list of must-see museums in Florence

<p dir="ltr">If there’s one thing that Italy has in abundance, it is art, culture and a rich history. </p> <p dir="ltr">While the capital of Rome is home to a lot of incredible galleries and museums, the city of Florence is full of galleries that house some of the most important artworks in the world. </p> <p dir="ltr">With museums showcasing original works from Da Vinci, Botticelli and Michelangelo, as well as the iconic Statue of David, these are the galleries that are not to be missed in Florence.  </p> <p dir="ltr"><strong>Uffizi Gallery</strong></p> <p dir="ltr">This three-storey museum is home to one of the largest collections of both Middle Age and Renaissance art in the world. </p> <p dir="ltr">The U-shaped building is filled with paintings, sculptures, drawings, and archives, as well as boasting extraordinary architecture. </p> <p dir="ltr">You can see some early works from Da Vinci and Michelangelo, as well as Botticelli’s iconic The Birth of Venus.</p> <p dir="ltr">Uffizi also boasts an impressive rooftop cafe which showcases stunning views of Florence. </p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CVfnsqdNgnD/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CVfnsqdNgnD/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Gallerie degli Uffizi (@uffizigalleries)</a></p> </div> </blockquote> <p dir="ltr"><strong>Accademia Gallery</strong></p> <p dir="ltr">Located on a quiet street near the city centre, the Accademia Gallery, or Galleria dell'Accademia di Firenze, is where you will find the incredible Statue of David by Michelangelo.</p> <p dir="ltr">Known for its stunning collection of Renaissance art, the Accademia Gallery is a must visit gallery to discover the wonders of Italian art history. </p> <p dir="ltr">Thousands flock to the gallery everyday to observe the sheer wonder and beauty of the Statue of David, along with other lesser known (but still as extraordinary) marble works by the same artist. </p> <p dir="ltr">This understated gallery is definitely one to make time for.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CdbEEsGqosu/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CdbEEsGqosu/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Galleria Accademia Firenze (@galleriaaccademiafirenze)</a></p> </div> </blockquote> <p dir="ltr"><strong>Palazzo Vecchio</strong></p> <p dir="ltr">The Palazzo Vecchio is the town hall of Florence, which holds a replica of the Statue of David in the city centre. </p> <p dir="ltr">The gallery offers Roman ruins, a Mediaeval fortress and amazing Renaissance chambers and paintings for visitors to travel through time via the astonishing works on offer. </p> <p dir="ltr">As well as boasting an impressive art collection, the Palazzo Vecchio also showcases a series of secret routes and tunnels underneath the building that have huge archeological importance to the history of Italy. </p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CeLXDYNjk5i/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CeLXDYNjk5i/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Loris Fiasconi 📷 (@lorismaker)</a></p> </div> </blockquote> <p dir="ltr"><strong>Palazzo Medici Riccardi</strong></p> <p dir="ltr">The Palazzo Medici Riccardi showcases the impressive history of the Medici family, who were a political dynasty in Florence during the first half of the 15th century. </p> <p dir="ltr">All the artworks on show were once collected by the family, before being donated to the public. </p> <p dir="ltr">As well as the permanent collection of Renaissance works, the gallery also often showcases a series of temporary exhibits to help expand the knowledge of art history in Italy. </p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CaVEDQULm9-/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CaVEDQULm9-/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by italia_in_art (@italia_in_art)</a></p> </div> </blockquote> <p><em>Image credits: Getty Images</em></p>

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Meet the experts working to preserve Ukraine’s cultural history

<p dir="ltr">As the war in Ukraine wages on, officials are growing increasingly concerned about the preservation of the country’s art history and cultural heritage. </p> <p dir="ltr">As historic museums and buildings are being bombed by the Russian offensive, while precious artefacts are being stolen and looted. </p> <p dir="ltr">"We have museum buildings destroyed, with all collections turned into ashes — it's quite a barbaric situation," curator and art historian Konstantin Akinsha tells <a href="https://www.abc.net.au/radionational/programs/the-roundtable/13821526">ABC RN's Sunday Extra.</a></p> <p dir="ltr">"[The] other side of the problem is that in little towns which are occupied by Russians, we have the first cases of random looting of museums."</p> <p dir="ltr">Recently, Scythian gold artefacts dating back to the fourth century BC were stolen from a museum in the southern Ukraine town of Melitopol.</p> <p dir="ltr">Officials in Ukraine said Russian soldiers were accompanied by an unknown expert "in a white coat", who carefully extracted the ancient gold artefacts from cardboard boxes hidden in the museum's cellar.</p> <p dir="ltr">"This is one of the largest and most expensive collections in Ukraine, and today we don't know where they took it," Melitopol mayor Ivan Fedorov said at the time.</p> <p dir="ltr">Mr Akinsha, who is an expert on the cultural destruction of World War II, says he is now “reliving” what he learned during his studies “in real time”. </p> <p dir="ltr">He has been in contact with many curators and artists throughout the conflict, and reports that many museums have been unable to evacuate their collections in time. </p> <p dir="ltr">Moving them outside of Ukraine would be highly political and would require permission from national authorities. This has meant some of those looking after art have been forced to pack up the collections and live in the museums' cellars.</p> <p dir="ltr">According to Ukraine officials, more than 250 cultural institutions have been damaged or destroyed since the conflict began in February. </p> <p dir="ltr">Since the start of the war, members of the ALIPH Foundation, an international alliance that works to protect cultural heritage both during and post conflict, has been helping cultural heritage professionals and museum directors in the Ukraine.</p> <p dir="ltr"> They have sent crates, packing material and fireproof blankets to institutions to help protect collections and respond to their needs.</p> <p dir="ltr">"The storage facilities themselves need to be up to standard … [they] need to have proper humidity control, be away from the elements and the packing boxes need to be of a certain calibre in order to protect the artefacts because these artefacts are, of course, precious and fragile," said Sandra Bialystok, the communications and partnerships officer for ALIPH Foundation.</p> <p dir="ltr">Despite the huge challenge of protecting these cultural works, Konstantin Akinsha said their preservation is uniting the people of Ukraine. </p> <p dir="ltr">"In individual towns and villages attacked by Russians and occupied by Russians, people are trying to save objects from the local museums, hiding them in their houses," he says.</p> <p dir="ltr">"Because for them, this heritage is extremely important – it's part of their life.”</p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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Woman steals artwork then WEARS it back to the museum

<p dir="ltr">A 72-year-old French woman has been arrested after stealing an art installation from a museum. </p> <p dir="ltr">Catalan artist Oriol Vilanova exhibited a blue jacket filled with postcards visitors could remove and examine at the Musée Picasso in Paris.</p> <p dir="ltr">However, the elderly woman took the interactive exhibit one step further by taking the entire jacket and walking out with the garment. </p> <p dir="ltr">The woman returned to the museum a few days later wearing the jacket, which she had tailored to fit her properly. </p> <p dir="ltr">She was arrested by the police upon her return, who happened to be at the museum collecting evidence at the time. </p> <p dir="ltr">While in custody, the retiree – who was reportedly “passionate” about art – confessed immediately to taking the jacket, according to local news outlet Le Parisien, but claimed she did not know it was an artwork.</p> <p dir="ltr">After hours of interrogation, the public prosecutor’s office let the woman off with a warning and dropped the case. According to Le Parisien, the woman had been placed under guardianship.</p> <p dir="ltr">The artwork, titled Old Masters, involved filling the pockets of a blue jacket with postcards depicting artworks by major figures in art history. </p> <p dir="ltr">At the Musée Picasso, the jacket was filled with postcards purchased at flea markets and museum shops, all with images of Picasso’s work.</p> <p dir="ltr">“When the museum told me the work had been stolen, I was surprised, but it was impossible to envisage the story that followed,” Vilanova told Artnet News.</p> <p dir="ltr"><em>Image credits: Le Parisien</em></p>

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Ukraine launches online “museum” to preserve the nation’s art

<p dir="ltr">Ukraine has launched a unique NFT museum to preserve the “statehood and history of Ukraine” while supporting artists struggling from the Russian invasion. </p> <p dir="ltr">Ukraine’s Deputy Minister of Digital Transformation Alex Bornyakov announced plans for the website, titled “<a href="https://metahistory.gallery/">Meta History: Museum of War</a>,” on <a href="https://twitter.com/abornyakov/status/1507341599394746410?s=20&amp;t=935nfhKtmG8B1WABTQJA5w">Twitter</a>. </p> <p dir="ltr">The site also includes a “<a href="https://metahistory.gallery/warline">warline</a>,” a timeline of events, each of them accompanied by a corresponding NFT.</p> <p dir="ltr">Each NFT features a tweet from a significant moment in the war, with a corresponding illustration by various Ukrainian artists. </p> <p dir="ltr">For example, one NFT features a tweet from NATO calling on Russia to halt the invasion on Day 3 of the war at 4:40pm Ukrainian time. The accompanying graphic depicts a compass with a bullhorn attached illustrated by artist Alina Kropachova.</p> <p dir="ltr">The NFTs are now on sale, with all proceeds going directly to the Ministry of Digital Transformation. </p> <p dir="ltr">The Meta History twitter describes the project as one that fights against Russian dissemination of fake news and propaganda using the permanent ledger that is the blockchain.</p> <p dir="ltr">“Disinformation is used by Russia on a par with deadly military weapons in Ukraine. The NFT-museum is based on a deep intention to keep the memory of real wartime events via blockchain and raise charitable donations to support Ukraine,” reads one <a href="https://twitter.com/Meta_History_UA/status/1508150728572952586?s=20&amp;t=ICoQhq8aZtNSu_VUtAHStQ">tweet</a>.</p> <p dir="ltr">The unique project follows a number of successful fundraising campaigns in the war-torn country through the use of NFTs, or non-fungible tokens. </p> <p dir="ltr">The <a href="https://www.ukrainedao.love/">UkraineDAO</a> NFT project has raised over $5 million, which is just one of the many ways people are raising money for the people of Ukraine. </p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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British Museum unveils female spiritual beings exhibit

<p dir="ltr">A unique exhibition is set to open at the British Museum later this year that celebrates how femininity has been perceived across the globe through history. </p> <p dir="ltr">The exhibit, titled <em>Feminine power: the divine to the demonic</em>, is the first of its kind to be showcased in the British museum. </p> <p dir="ltr">The figures on display range from a Hindu goddess considered the master of death, to a magical Greek enchantress, as the exhibit explores women in both world belief and mythological traditions. </p> <p dir="ltr">The exhibition includes representations of Lilieth, a character from Jewish mythology thought to be the first wife of Adam and later the consort of Satan, as well as Guanyin, the Chinese goddess of mercy.  </p> <p dir="ltr">The idea behind the exhibit is to bring together ancient sculptures, sacred artefacts and contemporary art from six continents to explore how femininity has been portrayed, and how it influenced the way we view women and their power today. </p> <p dir="ltr">For the first time, the British Museum has invited special guest contributors to respond to the themes in the exhibition, sharing their personal and professional viewpoints.</p> <p dir="ltr">The special guests include doctors, professors, activists, authors, lawyers and former members of the British Army, who will share their own stories of feminism, and how they have fought for the rights of women. </p> <p dir="ltr">Muriel Gray, Deputy Chair of Trustees of the British Museum, said, “The Citi exhibition <em>Feminine power: the divine to the demonic</em> is brimming with magic, wisdom, fury and passion.”</p> <p dir="ltr">“I am very proud that through the breadth and depth of the British Museum's collection, alongside special loans, we can tell such powerful and universal stories of faith and femininity from the most ancient cultures to living traditions around the world.</p> <p dir="ltr">Following the display at the British Museum, the exhibition will be seen internationally, starting at the National Museum of Australia in Canberra.</p> <p dir="ltr"><em>Image credits: The Trustees of the British Museum</em></p>

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Ukraine museums scramble to save Russian art

<p dir="ltr">As Russia continues its invasion of Ukraine, museums and art galleries are taking extraordinary measures to secure valuable artworks. </p> <p dir="ltr">Staff at the main museum in Kharkiv have been racing to get priceless artworks to safety, many of them by Russian artists.</p> <p dir="ltr">The ornate building remains standing in Kharkiv, unlike many others that have fallen victim to Russian air strikes, although the windows have all been blown in with the surrounding streets being covered in debris. </p> <p dir="ltr">"There are over 25,000 items in our collection," said Maryna Filatova, head of the foreign art department at the Kharkiv Art Museum, adding that it was one of the biggest and most valuable in the country.</p> <p dir="ltr">"It is simply irony of fate that we should be saving Russian artists, paintings by Russian artists from their own nation. This is simply barbarism," she told Reuters last week.</p> <p dir="ltr">While many Ukrainians have fled their war-torn country, many have stayed to defend their home, which has included many of the irreplaceable culture hubs. </p> <p dir="ltr">In the town of Odessa on the southern coast, a monument to Duc de Richelieu, a governor of the city in the early 19th century, has been protected by sandbags piled around the plinth and statue up to its shoulders.</p> <p dir="ltr">One of the most prized works at the Kharkiv museum is a version of the imposing work by renowned Russian painter Ilya Repin called Reply of the Zaporozhian Cossacks, which has been removed from the wall and safely stored away.</p> <p dir="ltr">"Basically, it should not be moved," said Filatova of the painting. "Any movement should be avoided. We treat it with great care."</p> <p dir="ltr">While the museum curators are working tirelessly to protect the historical works, they say the extent of the damage won’t be known for some time. </p> <p dir="ltr">"The real damage we will only be able to assess in peaceful times, when it is calm.</p> <p dir="ltr">"Workers, women that are still in town, we will work and do our best to save it all. We are taking the paintings down and will hide them," Filatova said, without specifying where. "We are doing our best to preserve them."</p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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How an unsolved murder could shed light on an infamous art heist

<p dir="ltr">In the early hours of March 18th 1990, 13 artworks by renowned artists such as Vermeer and Rembrandt were stolen from Boston’s Isabella Stewart Gardner Museum. </p> <p dir="ltr">Collectively valued at $500 million, the artworks were never recovered as investigators failed to pin down one key suspect after the theft. </p> <p dir="ltr">But now, over 30 years on, an unsolved murder of a man in 1991 has given police a new angle on what happened to the art. </p> <p dir="ltr">Jimmy Marks was shot twice on February 20th, the year after the heist, outside his apartment in Massachusetts: 25 minutes northeast of Boston. </p> <p dir="ltr">Jimmy’s murder remains unsolved, and there has not been an arrest made in connection with the high-profile case. </p> <p dir="ltr">Marks was a convicted bank robber and an associate of Robert Guarente, who has long been a person of interest in the case, and who died in 2004. Guarente had been with Marks earlier in the day of his death and is suspected of having been the one to pull the trigger on Marks.</p> <p dir="ltr">“[Marks] had connections to subjects suspected of being involved in the Gardner museum heist,” deputy police chief Mark O’Toole of the city of Lynn, Massachusetts, <a href="https://www.bostonglobe.com/2022/02/27/metro/investigators-suspect-link-between-gardner-museum-heist-an-execution-style-murder-lynn/">told</a> the Boston Globe. “We don’t know what, if any, role he had. But very likely it was related [to his death].”</p> <p dir="ltr">Investigators believe that Guarente was once in possession of two of the stolen works, which he then handed over to another accomplice named Robert Gentile, who died in 2001.</p> <p dir="ltr">A recent tip to investigators said that prior to his death, Marks “was bragging that he was not only in possession of some of the stolen Gardner artwork, he bragged that he had hidden it,” according to Boston 25. Police recently searched the Lynn apartment where Marks once lived, but did not recover anything.</p> <p dir="ltr">Gardner Museum Security Chief Anthony Amore said that the new evidence “needs to be investigated more thoroughly”, as investigators continue their efforts to recover the paintings. </p> <p dir="ltr">Shortly after Marks’ death, investigators first were able to place Guarente and Gentile in the same place. Amore told Boston 25, “The fact that these people converge here around the time of the Marks homicide certainly makes a person hunting for the Gardner paintings sit up and pay attention.”</p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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Experts dispute Endeavour discovery

<p>Two international groups are at odds over the authenticity of the Australian National Maritime Museum's (ANMM) controversial announcement that it has found the <em>HMB Endeavour</em>.</p><p>The ANMM says the 22-year search for Captain Cook's ship has ended with confirmation its submerged wreckage was found in Newport Harbour in the US state of Rhode Island. </p><p>However, the museum and its research partners the Rhode Island Marine Archaeology Project (RIMAP) who conducted the search have said the announcment came prematurely.</p><p>Author and Captain Cook biographer Rob Mundle has said the disagreement between the two groups means it is too early to definitively say if the famous vessel has been located, even if the signs are promising. </p><p>"I think that if both sides don't come out as one, then we ain't got anything to be too excited about at the moment," Mr Mundle told <a href="https://www.abc.net.au/news/2022-02-04/question-marks-over-endeavour-find-says-captain-cook-expert/100803474" target="_blank" rel="noopener">ABC Radio National</a>.</p><p>"There are certain elements there that would suggest that it's <em>Endeavour</em>, and there's nothing really to say that it's not <em>Endeavour</em>."</p><p>"But until we find something that says, 'Yes there is no doubt whatsoever that this is <em>Endeavour</em>', then I think there is a question mark hanging over it."</p><p>While Mr Mundle said most of the <em>Endeavour's</em> original materials would be lost to time, he believes that finding one of the distinguishing bricks used to keep heat in the ship's kicthen would be a sure sign of its identity. </p><p>"If someone came up with one those bricks, which you'd expect they would be able to, then I think that would be enough, I think, to confirm that it is <em>Endeavour</em>," he said.</p><p>Despite his claims, University of Sydney marine shipwreck expert Dr Natali Pearson has a "high degree of confidence" in the find, after working with the ANMM and its researchers. </p><p> </p><p>Dr Pearson believes that confirming the resting place of the "celebrity shipwreck" is the perfect opportunity to discuss the everlasting impact of the <em>Endeavour's</em> actions on Indigenous Australians. </p><p>"Of more value for historians and archaeologists, however, are wrecks that change how we understand the past, that shed new light on ancient trading networks or ship construction techniques, for example," she said.</p><p><em>The Endeavour </em>was originally launched as the <em>Earl of Pembroke</em> in 1764, before being renamed as the <em>Endeavour</em> by Britain's Royal Navy in 1768. </p><p>Over the next three years, the ship voyaged to the South Pacific, on an astronomical mission to record the transit of Venus in Tahiti, before reaching Australia.</p><p>The vessel lay forgotten for more than two centuries, after it was sold to private owners and later deliberately sunk by British forces in 1778.</p><p><em>Image credits: Australian National Maritime Museum</em></p>

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Can new lighting save the Mona Lisa?

<div class="copy"> <p>Next time you’re in a museum or art gallery, observe each painting a little more closely. You may notice cracks on the surface of the canvas, especially if the painting is very old.</p> <p>The damage you see is caused by radiant energy striking the painting’s surface – and light (visible radiation) causes irreversible damage to artwork.</p> <p>However, all is not lost. <a rel="noopener" href="https://doi.org/10.1080/15502724.2018.1533852" target="_blank">Our new research</a> shows that optimised smart lighting systems can reduce damage to paintings while preserving their colour appearance.</p> <h2>The dilemma</h2> <p>Damage to artwork by infrared, ultraviolet and visible radiation is <a rel="noopener" href="http://www.cie.co.at/publications/control-damage-museum-objects-optical-radiation" target="_blank">well documented</a>. When a photon (an elementary light particle) is absorbed by a pigment in paint, the pigment molecule elevates to a higher energy state. In this excited state, the molecule’s chemical composition changes. This is called a photochemical action.</p> <p>Viewed from the human perspective, the photochemical action manifests itself as cracks, discolouration, or surface hardening.</p> Not surprisingly, daylight, which includes infrared and ultraviolet radiation, is highly damaging to paintings. In museums, it is common practice to use incandescent, and more recently, light emitting diodes (LEDs), to reduce damage. <p>However, a group of researchers <a rel="noopener" href="http://www.vangogh.ua.ac.be/" target="_blank">showed</a> that light can cause colour degradation regardless of the lighting technology. Bright yellow colours in Van Gogh’s famous Sunflowers are turning dark brown due to absorption of blue and green light from LEDs. Research on the conservation of artwork makes it look like this is a losing battle.</p> <p>Of course, you will be right in thinking that the best conservation method would be the complete absence of light. But we need light for visibility and to appreciate the beauty of a painting.</p> <p>This leaves us with a dilemma of two conflicting parameters: visibility and damage.</p> <h2>Light optimisation</h2> <p>Lighting technology in itself may not be enough to tackle this dilemma. However, the way we use technology can make a difference.</p> <p>Our approach to address this problem is based on three key facts:  </p> <ol> <li>light triggers photochemical actions only when it is absorbed by a pigment</li> <li>the reflectance factor of a pigment (its effectiveness in reflecting light) determines the amount of light absorption</li> <li>light output (composition of the light spectrum, and the intensity of the light) of lighting devices, such as LEDs, can be fine-tuned.</li> </ol> <p>It is possible to measure the reflectance factor of a painting and optimise lighting to reduce absorption. Previous research <a rel="noopener" href="https://www.osapublishing.org/oe/abstract.cfm?uri=oe-23-11-A456" target="_blank">shows</a> that optimising light to lessen absorption can reduce energy consumption significantly, and with <a rel="noopener" href="https://www.osapublishing.org/oe/abstract.cfm?uri=oe-25-11-12839" target="_blank">no loss</a> in visual experience. Objects look equally natural and attractive under optimised light sources compared to regular white light sources.{%recommended 8046%}</p> <p>In this new study, we optimised LEDs for five paintings to reduce light absorption. Using a <a rel="noopener" href="https://ieeexplore.ieee.org/abstract/document/996017" target="_blank">genetic algorithm</a> (an artificial intelligence technique), we reduced light absorption between 19% and 47%. Besides the benefits for the painting, this method almost halved the energy consumed by lighting.</p> <p>In addition to increased sustainability and art conservation, the colour quality of the paintings was another parameter in our optimisation process. Colour appearance and brightness of paintings were held constant not to lower the appreciation of the artwork.</p> <p>This is possible due to a quirk in our visual system. Photoreceptor cone cells, the cells in our retinas which enable human colour vision, are not equally sensitive to the whole visible spectrum.</p> <p>Different combinations of wavelength and intensity can result in identical signals in our brain. <a rel="noopener" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1331666/?page=1" target="_blank">This understanding</a> gives us the flexibility of using different light sources to facilitate identical colour appearances.</p> <p>This smart lighting system requires scanning of the artwork to obtain colour information. Then, a <a rel="noopener" href="https://doi.org/10.1117/12.2281482" target="_blank">precise projection system</a> emits optimised lighting to the painting.</p> <p>This method offers a solution to extend the lifetime of works of art, such as the world-famous Mona Lisa, without leaving them in the dark.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: http://theconversation.com/republishing-guidelines --></p> <p><em>Image credits: Getty Images</em></p> </div> <div id="contributors"> <p><em>This article was originally published on <a rel="noopener" href="https://cosmosmagazine.com/technology/can-new-lighting-save-the-mona-lisa/" target="_blank">cosmosmagazine.com</a> and was written by The Conversation. </em></p> </div>

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