National Museum of the American Indian’s Post

What Could Possibly Go Wrong? Actually, Dr. Abraham Bredius' wishes held up for quite awhile. He passed in 1946 leaving 25 invaluable paintings (including Rembrandts) to be on "permanent display" at the Mauritshuis Museum in The Hague, Netherlands. Some 78 years later, the heirs of his sole heir, are suing for the paintings as a result of non-compliance. Not all of the paintings are on permanent display. But it's complicated. Despite the fact that Dr. Bredius was an art historian, he did fall prey to one well-known forgery. The museum questions the authenticity of several of the pieces and hesitates to display those in doubt. Enter the lawsuit by the great-grandniece and great-grandnephew of his life partner. (Interesting that they are not suing for compliance but for possession of priceless art.) A trust may have been a better alternative --especially with language allowing the trustees to adapt with the times and circumstances. It seems that Dr. Bredius wanted the public to be able to view his invaluable art collection forever. A court will decide. It's doubtful that he ever considered this "could possibly go wrong". For the full New York Times article, see: https://lnkd.in/etr4ye35 #estate #estateplanning #lifeandlegacy #heirs #heirsatlaw #nextofkin #relatives #trusts #wills #lastwishes

The legions are marching north again! Drop in for free to Edinburgh's Museum on the Mound on Sat June 1st from 13:00 - 17:00 where Romans from Trimontium Museum will set up camp. You'll get to fire a replica ballista(!), strike your own coinage, handle authentic Roman objects, dress up, get your face painted, and much more. The Museum on the Mound has plenty of totally free events inside, too - a historic 2-for-1. I'll be stationed at the Trimontium Museum info table, so come say salve! Now, some history: Monty Python famously asked, ‘what have the Romans ever done for us?’ Well, the Romans introduced the first standard coinage to Britain when they invaded in the late 1st century AD. Scotland did not produce its own coinage until the reign of King David I in the 12th century AD. However, the discovery of fraudulent coin forgers among the ruins of Trimontium fort after the Romans withdrew shows that coins did not stop circulating in Britain once the legions left. Unlike at other major hillfort sites such as Traprain Law, there is very little evidence of Roman interactions with the Votadini who held Edinburgh's Castle Rock. Did Rome have an agreement in place to give them a wide berth? The Romans did have forts nearby, notably at Cramond and Inveresk, and a network of roads ran to the south of Edinburgh connecting Trimontium and Dere Street to the Antonine Wall and beyond. #Edinburgh #museums #Romans #FreeEvent

In The Monument’s End, Marisa Anne Bass reveals how today’s questions surrounding monuments and the ways we commemorate our past first arose in #Rembrandt’s time. Monuments occupy a controversial place in nations founded on principles of freedom and self-governance. It is no accident that when we think of monuments, we think of statues modeled on legacies of conquest, domination, and violence. The Monument’s End reveals how the artists, architects, poets, and scholars of the early modern Netherlands contended with the profound disconnect between the public monument and the ideals of republican government. Their experiences offer vital lessons about the making, reception, and destruction of monuments in the present. In the seventeenth century, the newly formed Dutch Republic dominated world trade and colonized vast overseas territories even as it sought to shed the trappings of its imperial past. Marisa Anne Bass describes the frustrated attempts by figures such as Rembrandt van Rijn and playwright and poet Joost van den Vondel to reimagine public memory for their emergent nation. She shows how the most celebrated age of Dutch art was more an age of bronze than of gold, one in which the pursuit of freedom from domination was constantly challenged by the commercial ambitions of empire. Exploring how the artists and intellectuals of this vibrant century asked questions that still resonate today, this beautifully illustrated book discusses works by contemporary artists such as Spencer Finch and Thomas Hirschhorn and offers new perspectives on monuments like the 9/11 Memorial and Museum and events such as the Unite the Right rally in Charlottesville. Now available. Learn more about this original study: https://hubs.ly/Q02Tw_K10

My take on this: 📸 In an era when society seems to be in a bizarre competition of "wokeness," the recent debacle over the iconic "VJ Day in Times Square" photograph serves as a perfect case study. The image, captured by Alfred Eisenstaedt, depicts an American sailor passionately kissing a nurse in the jubilant aftermath of World War II. For decades, it has symbolized the exuberance marking the end of a global conflict. 🌍🕊️ Yet, in a bewildering turn of events, the Department of Veteran Affairs (VA) considered banning it from its facilities, citing concerns about its non-consensual nature. Is this a joke? Sadly, no. 😳 Fortunately, common sense has prevailed, and the VA has walked back its decision. 🙌 A Symbol of Victory or a Sin of the Past? 🤔 This photograph, celebrated for decades, is now under scrutiny for its depiction of a spontaneous kiss. George Mendonsa, the sailor, had never met Greta Friedman, the nurse, before that moment. Critics argue the kiss was non-consensual, overshadowing a woman’s autonomy—a valid concern today. But applying modern sensibilities to historical events is a slippery slope. 🛤️ The Gravitas of Historical Art 🎨 Art reflects its era, encapsulating emotions, values, and ethos. The "VJ Day in Times Square" photo is a historical artifact, representing the collective joy at the war’s end. Erasing it would be like whitewashing history itself. 🗿🕰️ The Irony of Modern Censorship 🚫 Imagine a future where all artworks are purged of anything offensive. The richness of human experience is filtered and sanitized into oblivion. It's ironic that in our quest to be inclusive and respectful, we risk being dismissive of the past. 🤦♂️ A Call for Balance ⚖️ While addressing contemporary issues is crucial, striking a balance is essential. Acknowledging historical complexities without erasing them allows us to learn and grow. The "VJ Day in Times Square" photograph should remain, not as an endorsement of non-consensual acts, but as a testament to a moment in history. 📚 Full article: https://lnkd.in/dNgxDtjQ Let’s continue to respect our history while learning from it. Share your thoughts! 💬👇

One of the pleasures of historical fiction is discovering new ways of understanding the past. My latest blog post talks about two artifacts that I encountered on a recent trip to the Imperial War Museum in London—and why historical fiction can be so powerful. You can find it here: https://lnkd.in/e54cWcx6

In this conversation, Virginia Hansuik, author of INTO THE QUIET AND THE LIGHT, talks about extractive economies, negligence, resilience, and the emotional power of art.

Have you ever stood in a place and felt the whispers of the past calling out to you? That's the sensation you might get when you step into the majestic Hampton Court Palace in London. This extraordinary place is steeped in history and brimming with secrets waiting to be uncovered. Imagine walking the same halls as the notorious King Henry VIII or marveling at the exquisite tapestries that have adorned the walls since the 1500s. Did you know there are hidden gems and little-known facts that many visitors to Hampton Court never get to see? Lucky for us, Daniel Jackson, the head of historic buildings at Historic Royal Palaces, recently provided an insider tour that revealed these fascinating tidbits. One secret you might find intriguing involves a special clock, known as the astronomic clock, which has kept time since 1540. Or consider the famous maze in the palace gardens; it's rumored there are whispers of past courtiers still lingering amongst the hedges. Did you know that Hampton Court Palace also has a grapevine that's over 250 years old and still produces fruit? Imagine the number of generations that vine has seen! And if the walls could talk, they'd tell the tale of the Grey Lady, a ghost said to haunt the premises, her story etched into the very stone. Every corner of Hampton Court Palace resonates with stories from a bygone era, offering an immersive journey into England's royal history. You're not just walking through a museum; you're stepping into the very footsteps of history itself. Now, if these snippets have piqued your interest, imagine what else you could discover about such a historical treasure. The beauty of history is that it is alive, ever-present, and just waiting to be explored. It's about the thrill of the unknown and connecting with the past in a way that textbooks simply cannot convey. And speaking of the joy of discovery, why not join me on this historical adventure? You can follow my journey as I uncover more

In the Natural History Museum in London, there is a 5m wide slice from a giant redwood. Its rings chart the 1,300-year life of this 101m tree till it was felled in 1891. Although its roots do not go down that deep (one to two meters on average) they spread as much as 30 meters in all directions. Why? Well, the giant redwood grows where there's plenty of surface water, it doesn't need to tap into deeper water supplies. It needs to capture as much as it can. The Shepherd’s Tree, found in the Kalahari Desert, has roots that go 𝟳𝟬𝗺 𝗱𝗲𝗲𝗽! And yet it only grows up to 10m tall. So while the expression in the image isn't accurate, it still points to truth. The taller we grow and the tougher the situations we face, the more we need resources and relationships to support us. ----------------------------------------- Enjoyed this? 🔄 Share with your network so they can benefit. 👣 And follow me for more sketchy ideas on creativity and critical thinking.

"I see did not come to this exhibit to relive my past, but I am transported by Hopinka into my own past and into a Washington State of possibility and a lack of hierarchy and a natural beauty that eluded me." Explore Sky Hopinka's photographs with Dr. Amish Dave, founder of the Art + Medicine program, in our latest Frye Favorite post on the blog.

"Dicteedict: To See Past The End of Our Nose" (Part 2) is the telling of "Dicte: A Triptych" back into its origin, the book "Dick: A Vertical Elegy." Sam Truitt and Kimber Truitt (T&T Art/ works) will speak huddled together its words as the sounds and sights of its incarnation (Dicte) whelm them—as though it were one echo, and at its edge find we rhyme. The performance starts with the words: “Civilization as we know it has the scent of a terminal illness.” Concurrent with the Nov./Dec. Green Kill exhibition (TRUITT & TRUITT), or T&T art/ works (Sam Truitt & Kimber Truitt),“Dicteedict: To See Past The End of Our Nose” is an intermedia work based on "Dicte: A Triptych." Please note this is both an in-person as well as a free, youtube-livestream event. The link to both paths, as well as more context for piece, is here: https://lnkd.in/eQnsewCf