Musei Capitolini, Rome
Cosimo Galluzzi

izzy's playlists!

⁂
Sade Olutola
almost home

@theartofmadeline
Aqua Utopia|海の底で記憶を紡ぐ
h
trying on a metaphor
Peter Solarz
No title available

shark vs the universe

PR's Tumblrdome
wallacepolsom
todays bird
No title available
Cosmic Funnies

ellievsbear

roma★

No title available

seen from Spain

seen from Netherlands
seen from India
seen from United States

seen from Netherlands
seen from Italy

seen from Spain

seen from Germany
seen from Switzerland
seen from United States

seen from Türkiye
seen from United States
seen from United States
seen from United States

seen from South Korea

seen from Spain

seen from United States

seen from Türkiye

seen from Netherlands
seen from United States
@museum-geek
Musei Capitolini, Rome
Exercising my democratic right
by Roz Currie, Curator of Blackguards in Bonnets
Today, as I voted for my candidate to lead the country, I had to thank those suffragettes who threw themselves into the fight for votes for women. Imagine being Dora Montefiore who in 1900 found her tax paying for a war that she had no say in and couldn’t do a thing about. Or Leonora Cohen whose widowed mother took on all the responsibilities of a householder without the right for her voice to be heard.
Through the 19th century, as different representation acts were passed and more and more groups, including Jewish men, were enfranchised, still women and working class men had no vote. By the time the Women’s Social and Political Union was formed in 1903 it’s understandable that they had become frustrated with the politicians of the day.
Israel Zangwill (above, at a suffragettes rally) probably expressed the question with the right level of anger, “How do they justify their monstrous proposition that one half of the human race shall have no political rights?” (From ‘One and One Are Two’ a speech given in 1907).
Within the Jewish community there were others who felt equally strongly. Nina Salaman (below) and Lily Montagu, two of the great women of British Jewry, were clear that including women and giving them a voice could only make the community stronger.
Our exhibition, Blackguards in Bonnets, explores just a few of the stories of the women and men who fought for enfranchisement. Rebuffed time and again, they were remarkable in keeping their eye on the final prize. This was despite the horrors of alleged police brutality, imprisonment, force feeding and hunger strikes (see Gertrude Lowy’s hunger strike medal below).
Only with full adult suffrage can each of us be truly considered citizens and take on the responsibility that entails. And so I’m very glad that I have the power to vote and make a difference today.
Find out more about the incredible individuals who fought for votes for women in our suffragettes exhibition, Blackguards in Bonnets, running until Friday 22 May 2015.
“People venturing out with small children should choose Mr. Hein’s three-part show.” Read more of NYTimes’ review of Please Touch the Art.
and whether you have kids or not - we hope you visit Brooklyn Bridge Park to see the exhibition!
What do you want to do when you grow up? That’s a question I still ask myself and I’m nearly… Read More »
Do Women have to be Naked to get into the Met. Museum?
Guerilla Girls. 1989, 2005, 2012.
Hôtel National des Invalides
The only building Louis XIV constructed from the ground up was the Invalides, and the golden dome of its church still glitters with the kind of splendor that would have made the Sun King shine with pride. The complex of the Invalides, literally invalids, was built to house wounded soldiers who fought the king’s endless battles. Louis being Louis, he insisted that the church serve as something more than just a place of worship for his soldiers. It was to be an example of French glory, magnificence, and engineering.
Made during the design of the dome, this fold-out engraving is nearly 5 feet tall.
—Louis XIV’s Golden Dome Engraving: Facade of the Church of the Invalides, 1687, Pierre Lepautre after Jules Hardouin-Mansart. The Getty Research Institute Photo: Adam Polselli on Flickr, CC BY-NC-ND 2.0
Hands: Getty Research Institute curators Louis Marchesano and Christina Aube
Charles Cromwell Ingham, The Flower Girl (details), 1846
In the past few weeks, birdwatchers, cyclists and dog-walkers in London’s East End have been finding themselves face to face with the Roman god of fire. “Vulcan” (1999), a 30ft-high bronze figure by the late Scottish artist Eduardo Paolozzi, towers
Works by artists including Eduardo Paolozzi and Damien Hirst are on show along public paths
1260 Nicola Pisano L’Enfer, The Hell
Chaire Baptistère Pise
Paul van Somer, Elizabeth, Countess of Kellie (detail), c.1619
Oh, hi, Bruce. Kunstmuseum Basel collection on view at Reina Sofia. #theartassignment
Bourgeois taste celebrates ‘finished’ art but as this exhibition shows, real poetry lies in a hesitant line, roughly splashed colour and patches of bare canvas
Found under the stairs! 🎨🎭🎤🎸🎶
“What do you want to do when you grow up?
What do you want to do when you grow up? That’s a question I still ask myself and I’m nearly thirty. No one ever tells you that it’s okay to have uncertainty; that you don’t have to have it all figured out. Uncertainty is vulnerability and vulnerability is weakness they say. Well, I don’t buy it. Uncertainty and vulnerability are honesty and honesty is strength. In the absence of certainty we should do the one the one thing that we can be sure about – we should do what we care about.
That is the short version of what I told a group of year 11’s when I was invited to speak to them as they moved out of high school and onto other things. This was the High School that I went to, the High School where I would smoke sneaky cigarettes by the gate, tell teachers to fuck off when I didn’t get what I wanted and where I spent a whole lot of time comparing myself to my wealthier friends.
How did I go from that girl to a woman being sought out by the same school to come and inspire the next generation? Well, in the 11 years I had been away a whole lot had changed. I’ve got a PhD,I’m writing a book and I run an award winning community engagement project.
But in reflecting back on the past 11 years for that speech I felt I had nothing to say to these year 11s. I felt fraudulent. I felt that I’d just kind of fallen into where I am now. ‘I got lucky’ was what I used to say to people. But then when I sat down and actually thought about it I realised that, it wasn’t luck, it was a lot of hard work and a whole load of passion for what I was doing.
I felt that science was interesting but that it didn’t really click with me. For me, it was all about the humanities. I loved learning about the Vietnam war – at the time I’d just discovered Rage Against the Machine and I suspect my Mum was worried I was going to grow into a communist revolutionary (which is really only partly true). People will tell you that studying the humanities will be a waste of time and that you’ll never get a job with them. Well let me let you in on a secret. Those people are lying to you. The humanities opens up the world to you. You start to see the world for what it really is. You can identify problems and enact change. The humanities gives you the skills to keep learning well beyond the time you will be at university. It gives you the skills a whole bunch of employers will appreciate. If you want any proof all you need to do is check out Rose Lock’s blog post about this topic.
It was in studying for a degree in the Humanities (BA in Sociology and Politics of Contemporary Culture to be precise) that I started to realise what I care about. I care about people and their politics, people and their power, and people and their oppression. At university I discovered race studies, and class studies, I discovered the thing that changed my life, feminism. There was finally stuff that I really cared about! Now I have a job where I get to fight for change all day long. I run a community group that fights for girl empowerment, I teach on a degree programme that teaches students like the one I was. I get to tell people that they matter all day everyday.
Writing a PhD is hard. But then so is a whole bunch of stuff you encounter in life. You just can’t do it if you don’t care about it. You can’t do it without friends because they keep you sane. You can’t do it without family because they are the ones that remind you what it important in life. And this might go without saying, but you can’t do it without looking after yourself.
I got to this point because I worked really I hard and I had people around me who kept telling me that I could do stuff. I’m doing well in my career not because I knew what I wanted but because I loved what I was doing. It was easier for me back then, my fees are a fraction of what you will pay now and I was still terrified of them. The system is stacked against you now, which is all the more reason to tell it to do one and make something with the opportunity you’ve got.”
Arts Emergency’s Blog
Pieter Snijers - A Still Life
Detail
Sex, skulls and staircases. Lots of staircases.
How often to get used to Please Touch the Art? Our new exhibition with Jeppe Hein is on view at Brooklyn Bridge Park through April.
photos by James Ewing