Art museum – Balazo Gallery Mon, 21 Nov 2022 01:56:31 +0000 en-US hourly 1 Art museum – Balazo Gallery 32 32 Seattle Museum Month 2023: Perfect for Budget Travel Mon, 21 Nov 2022 01:56:31 +0000

Bargain-seekers will want to start planning their trip to Seattle for February 2023, when Seattle Museum Month 2023 returns to deliver some of the best savings of the entire year.

Seattle Museum Month makes February the best time to visit for budget travelers

From February 1-28, guests staying at one of nearly 70 downtown Seattle hotels will receive a Seattle Museums Month Pass for up to four people, offering 50% off admission to all participating museums.

This includes major attractions such as the Seattle Art Museum, Chihuly Garden and Glass, Seattle Aquarium, Woodland Park Zoo, Museum of Pop Culture, Museum of Flight, Wing Luke Museum, Museum of Glass, the Pacific Science Center and many more.

Seattle Museum Month makes February the best time to visit for budget travelers

To see the full list of participating museums and hotels, visit

Several new displays and exhibits will open in February, including the Seattle Art Museum‘s spectacular reinstallation of its American art galleries — the first in 15 years — titled “American Art: The Stories We Carry.” The exhibit reflects America’s complicated history and explores the multiplicity of American identities.

Seattle Museum Month makes February the best time to visit for budget travelers

Chihuly Garden and Glass has also just launched a new light and music show, “Winter Brilliance”.

Using innovative video projection technology, this immersive installation was created to project onto the stunning pieces of glass, inspired by fire, ice and the dramatic use of light.

Seattle Museum Month makes February the best time to visit for budget travelers

And music fans won’t want to miss the last chance to experience “Contact High” at the Museum of Pop Culture, exploring the evolution of hip-hop and how it connects listeners with the experiences, identities and places that shaped the world the most. popular genre of music.

Seattle Museum Month makes February the best time to visit for budget travelers

With savings in half at these sites, visitors who make the most of Seattle’s Museums of the Month Deal can essentially recoup the cost of their hotel stay, making for a very affordable and budget-friendly vacation.

They simply stay at a participating hotel and request an official Seattle Museum Month Pass to use at any of the museums below to receive the discounts.

Participating area museums for Seattle Museum Month 2023:

* = free admission

  1. Bainbridge Island Art Museum*
  2. Bill & Melinda Gates Foundation Discovery Center*
  3. Wooden Boat Center*
  4. Chihuly Garden and Glass
  5. Frye Art Museum*
  6. Henry Art Gallery*
  7. Children’s Discovery Museum (KIDIMU)
  8. LeMay – Automotive Museum of America
  9. The Aviation Museum
  10. Glass Museum
  11. Museum of History and Industry (MOHAI)
  12. Museum of Pop Culture (MoPOP)
  13. Nordic National Museum
  14. Olympic Sculpture Park*
  15. Pacific Bonsai Museum*
  16. Pacific Science Center
  17. Seattle Aquarium
  18. Seattle Art Museum
  19. Seattle Asian Art Museum
  20. Seattle Children’s Museum
  21. Seattle Pinball Museum
  22. Museum ship USS Turner Joy
  23. Wing Luke Museum
  24. Forest Park Zoo

Sharing is caring!

Drake Helps Save Classic Art Museum – HotNewHipHop Fri, 18 Nov 2022 05:53:04 +0000

Drake puts his money where the art is. The famous rapper has been revealed to be the surprise investor responsible for reviving a classical art museum. Drake’s arts and entertainment company, DreamCrew, acquired all the remnants of Luna Luna, an “artistic amusement park.” The company’s “global investment” in the art carnival is said to be $100 million.

Drake and Adel “Future the Prince” Nur founded DreamCrew in 2017. The new deal makes their company the majority owner of the eclectic art exhibit. Due to the purchase, André Heller’s Art Carnival Experience was originally held in Germany in 1987. After DreamCrew’s purchase, the art exhibit will tour the world.

TORONTO, ON – SEPTEMBER 09: Drake attends ‘The Carter Effect’ premiere during the 2017 Toronto International Film Festival at Princess of Wales Theater on September 9, 2017 in Toronto, Canada. (Photo by Joe Scarnici/Getty Images)
Read more: Drake could make $2 million if these NFL teams win

Drake himself posted a note following the big investment. “It’s such a unique and special way to experience art. It’s a great idea and an opportunity that revolves around what we love the most: bringing people together. Drake’s new investment follows more good news for the rap star.

His joint album with 21 Savage, His loss recently debuted at number one on the charts this weekend. It became the third highest total of any album in 2022. As for the album’s chart-topping singles, they currently hold the No. 2 through No. 9 spots on the Billboard Hot 100.

Read more: Drake & 21 Savage’s ‘Her Loss’ Album Review

Despite the album’s success, it did not come without controversy. Drake was accused of shooting Megan Thee Stallion, Serena Williams and Kanye West during his loss. Megan took to Twitter to respond to the alleged diss. “I know I’m very popular but y’all need to stop attaching weak conspiracy theories in bars to my name lol.”

Drake has yet to respond to the diss allegations. However, he has responded to Vogue’s recent lawsuit against him and 21 Savage for using their image for promotional purposes. The Canadian star has removed the fake album cover from her Instagram page.

Check HNHH for more updates.

Elizabeth Johns, art history Tue, 15 Nov 2022 05:00:05 +0000

Elizabeth Johns, art history

Elizabeth Bennett Johns, Emeritus Professor of Art History at the School of Arts & Sciences, died peacefully on September 12.

Born in Dallas, Texas, Dr. Johns received her BA from Birmingham-Southern College, where she received her Phi Beta Kappa degree. She went on to earn a master’s degree from the University of California at Berkeley and her doctorate from Emory University. Before and during her doctoral studies, she held positions in English and humanities at Albany State College, Clayton Community College, and Savannah State College, all in Georgia. In 1975, she accepted an appointment to the Department of Art History at the University of Maryland, College Park. Twelve years later she became the Andrew Mellon Professor of Fine Art and History at the University of Pittsburgh and in 1989 joined the Penn faculty as the Silfen Term Professor of Art History. She remained in this position until 2001, when she retired from teaching and achieved emeritus status; during the 1990s she also held the undergraduate chair in art history.

Dr. Johns has contributed much to artistic scholarship. His first book, Eakins: the heroism of modern life (1983), won the Mitchell Prize for the most promising first book in the history of art. Dr John then wrote American Genre Painting: The Politics of Everyday Life (1991), supported by grants from the Guggenheim Foundation and the Woodrow Wilson Center. Winslow Homer: The Nature of Observation (2002) received the Charles Eldredge Prize from the Smithsonian American Art Museum. She has also written catalogs for exhibitions From New Worlds to Old: 19th-Century Australian and American Landscapes and Paths to Impressionism: French and American Landscape Paintings at the Worcester Art Museum. In 1996, Dr. Johns received a Lindback Award for Distinguished Teaching from Penn (Almanac April 23, 1996). The award citation noted that Dr. Johns not only “has a knack for asking questions that encourage students to find the answers for themselves,” but also “frequently raises educational issues in his graduate seminars and discusses regular teaching strategies with his teaching assistants…the teaching experience becomes a learning experience.

After retiring from Penn, Dr. Johns served for three years as a Lilly Vocation Fellow at the Center for Religion, Ethics and Culture at the College of the Holy Cross and as a museum scholar at the Washington County Museum of Fine Arts. in Hagerstown, Maryland. . She was a devout member of the Haven Lutheran Church in Hagerstown and served as chaplain at the Washington County Hospice in Maryland.

Dr. Johns is survived by his brother, Sam Bennett; sister-in-law, Elizabeth Dreyer Bennett; children Alan Butsch (Melissa), Nancy Wersick and Tatiana Johns (Branden Defriece); her late husband Don Evason’s children, David and Cathy Evason; and by his grandchildren, Morgan and Emily Butsch, Dallas and Korben Defriece, Adam and Ethan Caulk and Madalyn Evason.

A celebration of life was held on October 30. In lieu of flowers, the family requests that donations be made to the Michael J. Fox Foundation, or a charity of the donor’s choice. Dr. John was a strong supporter of the Southern Poverty Law Center, Habitat for Humanity, MercyCorps, Doctors Without Borders and Evangelical Lutheran Church in America aid programs.

To report a death

Almanac appreciates being informed of the passing of current and former faculty and staff members, students, and other members of the University community. Call (215) 898-5274 or email

NIC Interviews Candidates for Executive Director at ‘Critical Moment’ in Museum’s Evolution Sat, 12 Nov 2022 05:03:30 +0000

CASPER, Wyo.– Community stakeholders and museum board members were formally introduced to two shortlisted candidates for the position of executive director of the Nicolaysen Art Museum on Wednesday evening.

The two candidates shared their experiences in managing art museum budgets, organizing exhibitions and thinking about the practical value of art in communities.

Bay Area native Anthony Pinata served as a project manager for the Oakland Museum of Art for four years before leaving to pursue his own projects, including working with sculptor Brian Wall and completing two artist residencies. in Wyoming, where he said he felt at home.

Hailey Perry, a native of Pine Bluffs, has a master’s degree in arts administration and most recently served as acting assistant director of visitor services at the Museum of the Rockies in Bozeman. She was previously executive director of the Ennis, Montana Chamber of Commerce.

Former director Andy Couch left to pursue doctoral work earlier this fall. Current board member Andrew Schneider credits Couch with carrying the museum through the financial turmoil of the COVID-19 pandemic, as well as articulating a pursuit of community engagement and programming “of, by and for all audiences”.

“We believe art is what makes us human,” Schneider said Wednesday. “We believe contemporary art inspires meaningful discussion about ourselves and the world we all live in.”

Nicolaysen Art Museum Executive Director candidate Anthony Pinata and Linda Ryan (Gregory Hirst, Oil City News)

Both candidates have demonstrated an understanding of that mission and experience pursuing it in their previous positions, Schneider told Oil City News on Friday.

Perry spoke about her college experience connecting athletes with autistic students at an expo and said she would like to see more programs that facilitate interactions of otherwise disparate groups.

Nicolaysen Art Museum Executive Director candidate Anthony Pinata and Linda Ryan (Gregory Hirst, Oil City News)

She also spoke about the role of art and wellness, citing work with occupational therapists and people in addiction programs in producing galleries dealing with mental health.

“It’s something I’m really proud of and will always remember,” Perry said. “And that’s a lot of work.”

Pinata said he has partnered with a Bay Area society to work with artists who struggle with autism and other mental and physical disabilities. The exhibition showcased their work alongside mainstream artists without such barriers.

“The point of the show was you couldn’t tell the difference,” Pinata said.

Pinata added that her brother was a prolific artist who thrived in arts centers but took his own life aged 21.

“It was one of the few places he felt comfortable and at home, and I would be happy to provide it for any community and anyone in difficulty,” Pinata said. “Art can help, but it’s a very complicated question.”

Candidates also shared stories of managing budgets and coping with setbacks.

Hailey Perry, candidate for CEO of the Nicolaysen Art Museum (Gregory Hirst, Oil City News)

Perry said she was responsible for half of the Museum of the Rockies’ roughly $7 million budget and the museum had already exceeded the admissions revenue target for the year. During the pandemic, she said she also worked on securing grants for a digital learning lab and renovating the Native American History Hall.

“One of my earliest experiences was having no money at all,” Pinata said of that time at the Richmond Art Center.

An exhibition had required large areas of the gallery walls to be painted, and Pinata said he found a professional contract painter among the museum’s volunteers who completed the majority of the job in one day.

“You don’t know who is sitting at home and who is ready to participate,” he said.

Pinata said that just months after hiring him, some Berkley Arts Center administrators resigned themselves to selling out due to a budget shortfall. Pinata said he and others avoided that by hiring a pro bono lawyer and city council members to secure low rent and launching enough fundraisers to engage donors.

“You need everyone you can get,” Pinata said.

Staff at the Nicolaysen say the search for an executive director comes at a “critical time” in the museum’s history, as it appears to remain sustainable and serve the community beyond hosting galleries.

“Although the NIC survived the pandemic, it did so with reduced staff, and it does not have the luxury of surviving solely on long-term donors,” Schneider said Friday.

(Gregory Hirst, Oil City News)

The NIC Board of Directors asks the same questions of applicants that it asks of itself and the community.

“If the community wants to have this space, we need them to tell us what they want us to do with it,” Schneider said. “I would like it to tell a story that is relevant to our whole community.”

Art industry news: Copycat climate protesters cling to Andy Warhol’s Campbell’s Soup paintings in Australia + other stories Wed, 09 Nov 2022 18:12:48 +0000

Art Industry News is a daily summary of the most important developments in the art world and the art market. Here’s what you need to know this Wednesday, November 9.


More Just Stop Oil Arrests and Actions – Two members of the press, a photographer and a filmmaker, have been detained for 13 hours after they were arrested while reporting on a Just Stop Oil protest in the UK on Monday. In Australia, climate protesters tried to glue themselves to Andy Warhol’s Campbell’s Soup paintings at the National Gallery of Australia in Canberra. They weren’t arrested and the room didn’t appear to be damaged. (evening standard, evening standard)

British Museum president pushes back on restitution – George Osborne, chairman of the British Museum, told trustees at an annual dinner last week that the artefacts will not leave the museum for good, although it is open to loans and partnerships. “We hear the voices calling for restitution. But creating this global British Museum has been the dedicated work of many generations,” he said. “Its dismantling must not become the reckless act of a single generation. (TANNING)

Getty pledges $1 million to preserve Ukrainian culture – The Getty Trust is awarding a million dollar grant to Ukraine to help fund the safe storage of works of art in the war-torn country, the conservation and protection of monuments and the salaries of Ukrainian professionals in the inheritance. (Hyperallergic)

Critic Brian O’Doherty dies at 94 The artist and critic died of natural causes in New York at the age of 94. He was best known for his era-defining book Inside the White Cube: The Ideology of Gallery Space from 1986. (ART news)


Anna Weyant’s new show, commented – The painter has come under a lot of scrutiny – for her age, her partner Larry Gagosian and the exorbitant prices of his art. But what about the work itself? Her first Gagosian show features a number of duplicate paintings of women. But double vision is not provocative, writes Alex Greenberger. (ART news)

Presentation of the Jane Lombard Prize for Art and Social Justice Australian Aboriginal collective proppaNOW, based in Meanjin/Brisbane, is the recipient of the 2022-2024 award and accompanying $25,000 grant. Their winning exhibition, “OCCURRENT AFFAIR”, took place in 2021 at the University of Queensland Art Museum. (art forum)

The Bally Foundation appoints its director Vittoria Matarrese will take over the reins of the Swiss foundation, leaving her position as Director of Performing Arts at the Palais de Tokyo in Paris. The Bally Foundation, the non-profit arm of the fashion brand, will open an outpost in Lugano, an Italian enclave in Switzerland. (The world)

Béatrice Salmon reappointed as head of the CNAP Salmon was reappointed for a second term of three years at the head of the National Center for Plastic Arts in Paris. (The Journal of the Arts)


Artists unveil 21-foot sculpture at Cop27 – A giant sculpture, Bodies joined by an air molecule, by art studio Invisible Flock and Jon Bausor is on display at the World Health Organization pavilion on the sidelines of the COP27 climate conference, held this week in the Egyptian resort town of Sharm el-Sheikh . (Getty Pictures)

Bodies joined by an air molecule by Invisible Flock art studio and Jon Bausor. Photo by Fayez Nureldine/AFP via Getty Images.

Follow Artnet News on Facebook:

Want to stay one step ahead of the art world? Subscribe to our newsletter to receive breaking news, revealing interviews and incisive reviews that move the conversation forward. ]]> Old Town North’s first chalk walk is a great success Mon, 07 Nov 2022 11:11:56 +0000

Architect Anila Angjeli creating her “TuliPop” (Photo: Laura Plaia)

Alexandria, VA – On Saturday, October 15, from 10 a.m. to 4 p.m., the streets of Old Town North Alexandria were transformed into a unique art museum. Artists transformed sidewalks and parking lots throughout the area to bring the first annual chalk walk to OTN.

“We are so happy to have such great artists join us in Old Town North, where they can showcase their incredible work,” said Agnes Artemelpresident of the Old Town North Alliance. “The locations given by many Alliance members will present the arts and culture district in the old town north.

The morning started at Channel Center, where artists picked up their chalk supplies and assigned sidewalk designations. The weather was perfect, with just enough warmth and sunshine to inspire the artists. Some artists have even chalked hopscotch into their spaces to get the imaginative juices flowing.

Soon after, they started creating their masterpieces. Several artists had never worked with chalk before, having mainly used watercolours, acrylics, pastels and clay. Creating artistic expressions on cement was a new experience for many.

“The joy of art” and “giving back to the community” were the two common themes that most artists mentioned when talking about the “why” behind their works. Several artists shared that they create art part-time or in their spare time while juggling day jobs ranging from accountant, architect, teacher, recent VCU graduate, game artist, to fundraising, among others.

Patrick Kirwin creates a multi-dimensional King Tut. (Photo: Laura Plaia)

“It’s my favorite part of the year,” said Remy Lavelle, who created a chalk pumpkin patch as a tribute to his dog above the rainbow bridge, Pluto. “If I’ve learned anything as a (former) teacher, it’s being part of the community.”

“I missed being covered in pigment,” Mairi Thorne said with a laugh. She graduated in Game Art in 2016 but wanted to get her hands on the art elements again.

Beside her was her friend sculptor Michael Price, a recent VCU graduate who primarily creates wire art. He works at the Torpedo Factory and hopes one day to be a juror in an art exhibition.

Scientist Nicole Flag finds the time to create works of art like this witch’s brew and recently ranked “Best in Show” in one of her many contests. (Photo: Laura Plaia)

Chalk artists included Anila Angjeli, Glenn Christianson, Nicole Flag, Adrienne Iannazzo, Patrick Kirwin, Remy Lavelle, Michael Price, Kristin Neubauer, Will Shanklin, Mairi Thorne, Brad Ulery, Vanessa Vale, Joyce Wagner, Julia Wagner and Margaret Wohler .

A “Kids Fun” area with chalk available for children was in the car park at the corner of North Royal and Montgomery Street.

The community and artists appreciated the chance to take a break and enjoy the beauty of art in the fresh air. Walkers frequented Old Town North cafes, such as St. Elmo’s, and surrounding restaurants and establishments as they strolled, enjoying the Saturday weather. The day ended with food trucks and live music at the Canal Center after 4 p.m.

ICYMI: Alexandria Sheriff’s Office, Inmates Participate in Domestic Violence Awareness Month Project

Post views: 1

Matthew Wong’s Melancholy Art Continues to Captivate at First American Museum Exhibit in Dallas Tue, 01 Nov 2022 10:00:52 +0000

Only one of Matthew Wong’s paintings entered a museum collection during his all-too-short life. He had sent his 2017 painting west at the Karma Gallery booth at that year’s Dallas Art Fair. It depicts a figure dressed in white seated on a hill beside a pair of flowers thrown aside and looking back, away from the foreground, towards a wide flat land marked only by a pair of trees and a road leading inexorably far away. – perhaps Wong’s cinematic image of the Texas landscape.

Arrived the day before the opening of the fair, he realized that he was not satisfied with the work. He furiously reworked the paint, adding the impossibly dense star field that now populates his night sky – a multitude of tiny luminous marks echoing the somewhat less dense dabs of black paint that dot the landscape of red earth below. And it is this stupendously starry sky that Wong has added, towering over the solitary witness of the landscape, that gives the painting its intensity – its visionary quality, if that is the word for an effect that is as much tactile as it is visual.

In any case, when the curators of the Dallas Museum of Art visited the fair the next day, they must have been just as struck by this strange and fervent painting – somehow both ecstatic and melancholy – as I am today. . The museum has a fund specifically for purchases from the fair, and they used it to acquire this painting by a mostly unknown Canadian artist, whose solo exhibitions to date, of very different works, had been held. in Hong Kong (where he had spent part of his childhood) and Zhongshan, China.

Matthew Wang, west (2017), oil on canvas, Dallas Museum of Art, Dallas Art Fair Foundation Acquisition Fund. Photo: © 2022 Matthew Wong Foundation/Artists Rights Society (ARS), New York.

Her closest connection to the American gallery scene had come from her participation the previous summer in a pop-up group exhibition curated by Matthew Higgs, director of New York’s venerable alternative space White Columns, in the Hamptons. The exhibition was organized under the auspices of Karma, the gallery that was now trying it out at the Dallas Art Fair. In any case, the painting on the upper part of west was still wet when it entered the DMA collection.

It is therefore fitting that the first American museum exhibition of Wong’s work (and the second, following a previous exhibition at the Art Gallery of Ontario, since the artist’s death by suicide in 2019) takes place at the Dallas Museum of Art, where it is on view through February 19, 2023. The show, hosted by Vivian Le and titled “The Realm of Appearances,” traces Wong’s frantic development.

After earning a master’s degree in photography in 2012, he quickly became dissatisfied with the camera and began to learn drawing and painting on his own. The first works in this exhibition – drawings from 2014, paintings from 2015 – show the artist finding his way, experimenting (sometimes awkwardly) with materials. But Wong was already fixated on the subject that would occupy him for the rest of his life: the landscape and the very small role an individual human plays in the cosmos.

In the rare cases where Wong concentrates, like a portrait, on the human head, as in the diptych banishment from the garden, 2015, the face is practically obliterated. In an untitled ink drawing from 2015, for example, a head is obscured by a dull brushstroke glyph. In the distant background of another work depicting what appears to be a forest of birches – wonderfully, the spaces between the trunks are also trunks – a tiny figure observes another in the foreground; I believe it represents the same person observing themselves as if from afar.

Matthew Wong, Once Upon a Time in the West (2018), gouache on paper. Martin and Rebecca Eisenberg. Photo: © 2022 Matthew Wong Foundation/Artists Rights Society (ARS), New York.

By 2017, Wong had mastered his personal art style, which could be described as a synthesis of fauvism, folk art, and (as a Western viewer like me gleans from the excellent catalog) the “outdoor” painting movement. new ink” which took root in Hong Kong in the 1960s. He took his propensity for the “contradictory spaces” he admired in the work of Willem de Kooning, or what Lesley Ma , in the catalog, calls “constructions bordering on embarrassing”, with inharmonious juxtapositions of patterns and shapes. and strange manipulations of scale.

One of his favorite motifs – you could even say it’s archetypal – is the road or path that stretches out into the distance. Its purpose is always invisible. But the road never just crosses the landscape; he divides the land, divides it into parts. At the end of Path to the sea (2019), for example, the greyish-blue road appears to float entirely detached from the forest to its left and right; it’s not from the same world.

In a book like The kingdom (2017) – another birch forest image – Wong seems to try to include as many different types of marks as possible; it is the overall distribution of their disharmony that gives the painting its paradoxical unity, a unity that presents a nervous, even agitated surface, but which maintains an inner balance. The ruler of this realm is a tiny crowned figure ensconced in a free-standing vaulted niche, almost imperceptible but at the center of it all. I couldn’t help but wonder if Wong, a lover of poetry, hadn’t thought of the melancholy speaker in Charles Baudelaire’s “Spleen III”: “I am like the king of a rainy country, Rich but helpless, young and yet very old.”

Matthew Wang, river at night (2018), oil on canvas. Collection of Shio Kusaka and Jonas Wood. Photo: © 2022 Matthew Wong Foundation / Artists Rights Society (ARS), New York.

But hyperactive compositions like The kingdom were never Wong’s only option. The wish (2016), a deep blue nocturne illuminated only by the thinnest sliver of a yellow moon, shining on a tiny figure crossing a mountain path, shows that he was always ready to leave everything behind rather than pile it all up. his final works of 2018-19 he began to do this more often, notably in the immensely pale, almost monochromatic morning mist (2019)a pure landscape filled with details that only emerge with breathtaking slowness.

Also at this time, interior spaces and still lifes multiplied, but always with a view of the exterior. The single delicate flower in a glass of water which is the ostensible subject of blue night (2018) simply seems to relay a message sent more emphatically by the gloriously blossoming orange tree blazing in the upper right window. This vivid but ambiguous message is the very essence of Wong’s art.

“The Realm of Appearances” is on view at the Dallas Museum of Art, through February 19, 2023.

Follow Artnet News on Facebook:

Want to stay one step ahead of the art world? Subscribe to our newsletter to receive breaking news, revealing interviews and incisive reviews that move the conversation forward. ]]> Better gun messaging could reduce military suicides Fri, 28 Oct 2022 22:41:15 +0000 SAN ANTONIO — Service members who die by suicide are the most likely to use a gun, but a new study shows the right message from the right person — especially in law enforcement — can convince troops to secure their weapons safely and possibly save lives.

“What we found was that when the law enforcement officer was delivering the message, an overwhelming majority of servicemen said, ‘At home, I’m willing to use locking devices and things. like that. I’m much more likely to,” said Craig Bryan, an Ohio State University researcher and professor of psychiatry who led the study.

He noted that doctors frequently raised the issue in their practices.

“It’s not that medical professionals shouldn’t talk about it – it’s just that it’s not the messenger who is most likely to motivate gun owners to do the things we want them to do,” Bryan said.

The study, published this month, is Bryan’s latest research to convince troops to stockpile their firearms. He spoke at the seventh annual San Antonio Combat PTSD at the Briscoe Western Art Museum.

The Department of Defense’s annual report on suicide in the military for calendar year 2021 found that active, reserve, and National Guard suicide rates were similar to those of the U.S. population most years in taking into account age and gender differences.

The report revealed that 70% of suicides among the military were committed with a firearm.

All troop suicides
– 519

Active service component
– 328

Reserve component
– 74

National Guard
– 117

Reserve component
– 4.3 suicides per 100,000 soldiers

Reserve component
– 21.2 suicides per 100,000 soldiers

National Guard
– 26.4 suicides per 100,000 soldiers

– 14 suicides per 100,000 people

The Pentagon has a military crisis line for soldiers, veterans, and families. It includes a confidential hotline, 988, press 1; a website,

and a text messaging number, 838255, for assistance.

Troops in Europe should call 00800 1273 8255 or DSN 118. Those in Korea should call 0808 555 118 or DSN 118.

A military source
provides aid in the mainland
United States at (800) 342-9647 and abroad at this number or at (703) 253-7599.

SOURCES: Department of Defense, Centers for Disease Control and Prevention

Although researchers have yet to find a way to predict or prevent suicides, reducing self-inflicted firearm injuries could have a huge impact because most deaths in the military involve firearms. . In his study, Bryan noted that more than half of the 45,979 people who died by suicide in the United States in 2020 did so with a firearm.


Military suicides in the age of COVID have reached a new high

There have been signs of modest progress, with the Pentagon saying this month that suicides among troops have declined over the past year. The Department of Defense said rate comparisons between military and civilian populations take into account gender and age differences and that the active component rate was similar to that of the nation as a whole – except in 2012 and 2020.

The rate among active duty component troops dropped from 2020 to 2021, but was similar to 2019. It had seen a slight increase over the past 10 years.

When it comes to American suicides involving guns, the numbers are even more pronounced in the armed forces, fostering a gun culture. There, 318 of the 498 suicides reported in 2019 were caused by firearms. The latest Pentagon report found that 7 in 10 service members who committed suicide in 2021 did so with a gun. Spouses and dependents of service members who died by suicide were also the most likely to use a firearm, according to the Department of Defense’s annual report on suicide in the military.

Finding a way to reduce firearm suicides is considered the “third rail” of research in the field and has been the focus of research by Bryan, a former faculty member of the Center for Health Sciences at the University of Texas at San Antonio.

Bryan found that 1 in 3 veterans who owned firearms stored at least one loaded and unlocked.

More worryingly, among military service members in primary care, 86% of those who owned guns and recently had suicidal thoughts stored them charged and unlocked. The finding was replicated within the National Guard, he said in the study, with those with “lifetime” suicidal thoughts 2.5 times more likely to stockpile loaded and unlocked firearms.

Although there is a clear association between guns and suicide, research suggests that it is important to take the perspective of gun owners with a focus on safety and protection. from home.

In his study, Bryan created a large, nationally representative sample of gun-owning service members and randomized them to display different visual messages about safe gun storage for suicide prevention. Each message shared basic components – the same image, messenger’s name, and text regarding the need for safe gun storage.

The messages varied, however, on three components: the messenger’s profession – such as a primary care physician, security forces, or combat controller; the presence of text validating the point of view of gun owners; and the presence of text validating the reader for the protection of the house.

The study created public service health promotion visual advertisements like those seen on billboards and in newspapers. It included various messages from the police, combat arms troops and medical providers in hopes of convincing gun owners to store their guns safely, hand them over to friends or give them away. secure in an armory.

Longtime Pentagon suicide researcher, now at the University of Southern California, retired Col. Carl Castro, welcomed Bryan’s report.

“It looks extremely promising,” he said. “Secure storage is something that resonates with everyone, but it’s not about taking someone’s guns away, and so it makes perfect sense to emphasize secure storage.”

Other researchers at the San Antonio conference, hosted by the STRONG STAR Consortium and UT Health San Antonio, discussed topics such as cognitive behavioral therapy for veterans with post-traumatic headaches and symptoms of post-traumatic stress disorder. Two speakers, James Pennebaker and Brian P. Marx, described what they had learned about the impact of expressive writing and writing exposure therapy for treating PTSD and other issues.


‘Recognize this as a crisis’: SAPD suicide death toll raises concern

The conference came just a week after the Pentagon reported the suicides of 519 service members, 133 spouses and 69 dependents in 2021. One in 6 spouses used a firearm in their deaths, while 55% of dependents did.

“While we are working hard on this issue, we still have a long way to go,” Defense Secretary Lloyd Austin said last year. “I think we have to start by removing the stigma around mental health issues.”

The number of suicides over the decades has been a dismal part of the conversation. The latest mark was higher than the 505 suicides recorded in 2019 for active duty, reserve and National Guard components, but
below previous record
of 582 set in 2020 and yet another high, 541, in 2018.

“I think the data is going in the right direction, meaning fewer suicide deaths,” Castro said. “It’s always a plus, but it’s still far too high, and you have to stay focused because suicide rates can fluctuate. You want to make sure it’s not a one-time event and really represents a downtrend and not just a random data point. »

Defense officials established the Army’s $50 million Study to Assess Military Risk and Resilience – STARRS – and established a Defense Suicide Prevention Office in 2011. A few years earlier , the Pentagon launched UT Health’s STRONG STAR, a multidisciplinary consortium to study PTSD.

The UT Health Consortium is the nation’s largest combat-related research effort dedicated to conditions such as PTSD and suicide prevention.

“There are still many, many gaps, but for the area of ​​suicide, for example, there are two, three or four new approaches that are being explored,” said retired Lt. Col. Air Force Alan Peterson, who in 2008 became UT Health San Antonio Consortium Director and Chief of UT Health’s Behavioral Medicine Division.

“It’s not going to solve the problem for sure, but hopefully we can take some interesting new approaches to maybe do even better at managing this over time.”

Peterson cautioned against overreacting to the latest numbers, likening it to dwelling too much on day-to-day changes in the stock market. He insisted on taking a long-term approach to the issue.

“Rather than focusing on the overall numbers, we’re learning more about the whys and hows, and that’s going to give us the opportunity to maybe target some areas that we haven’t targeted before, so the hope is that we can turn those numbers around. But it’s more important to focus on what knowledge we have, what gaps we have identified, and what needs are coming up in trying to solve this problem,” Peterson said.

Bryan lamented the tendency of media and institutions to focus on annual changes in suicide statistics, echoing Peterson’s belief that this does not help researchers find lasting solutions. But if messages about safe weapons storage take hold, he said, it could have a “huge impact” as reducing access to highly lethal methods of suicide is a crucial step in reducing deaths. .

“I think it’s a breakthrough in the sense that we’re starting to figure out how to do this,” Bryan said. “I think there is an increased focus on the role of firearms. The data has always been there – it’s just that we kind of separated suicide prevention from gun violence.

“We’ve really started to recognize that we need to talk about guns when it comes to suicide prevention…And so the most important aspect of that…I really think it teaches us how to do that. this,” he added.

In response to the energy crisis, the Berlin museum turns off its neon Dan Flavin for the first time in 26 years Tue, 25 Oct 2022 10:03:35 +0000

A site-specific order by Dan Flavin at the Hamburger Bahnhof museum of contemporary art in Berlin has been extinguished for the first time after a 26-year run, as Germany tries to reduce its electricity consumption in response to the crisis European energy.

On October 18, the recently appointed co-directors of the Hamburger Bahnhof, the curatorial duo Sam Bardaouil and Till Fellrath, set fire to the powder of the American artist Untitled (1996). Since the museum opened in 1996, the works had illuminated the building’s windows and stone facade in neon green and yellow: a bold proclamation of what to expect inside the former 19th-century train station .

“It is important that we, as an internationally renowned museum, lead by example in the current situation and make our contribution to saving scarce resources,” said an official statement from the museum’s co-directors posted online.

The move comes after Berlin’s environment senator Bettina Jarasch announced in July that architectural lighting at city landmarks would be turned off to save energy, including the Brandenburg Gate and Victory Column.

While Flavin’s work is expected to be reactivated in April 2023, Fellrath said The arts journal that there were other factors that also influenced their decision. “Anyone who has a public voice, whether in a small organization or at the Hamburger Bahnhof as a national gallery for contemporary art, has a responsibility to use it wisely by contributing to the general issues of the society in which it In this sense, we consider it one of our main tasks to lead the discourse on issues of sustainability, diversity and inclusion.

He added: “We are sure that many museums are asking similar questions at the moment, finally also due to soaring energy prices which will have a significant impact on cultural funding in general.

The Hamburger Bahnhof does not plan to stop further electrical work, but is also complying with federal energy-saving measures implemented by the German government this month.

Federal and state rules currently only apply to public buildings, however, members of the private cultural sector, such as Berlin’s video art collection, the Julia Stoschek Foundation, are also voluntarily following suit. “As of November 1, we will turn off the exterior lighting of our building from 10 p.m. to 4 p.m. We want to contribute to a collective effort to save scarce resources,” said Robert Schulte, director of the Julia Stoschek Collection Berlin. The arts journal.

Peter Schjeldahl (1942–2022) – Artforum International Sat, 22 Oct 2022 00:11:21 +0000

Peter Schjeldahl, the American art critic whose scintillating and eloquent reviews have graced the pages of New Yorker for decades and Voice of the village before that, died this afternoon of lung cancer at his home in Bovina, New York, at the age of eighty. Schjeldahl’s thorough assessments of the work of contemporary, modern, and ancient artists combined, as the art historian Robert Storr once wrote, “the feverish curiosity of Baudelaire and the shameless omnivore of Whitman.” Schjeldahl almost always rooted his writing in his own first-person experience, and although his taste earned him his own criticisms, he remained a passionate advocate for the virtues of beauty, pleasure, and passion itself in art and art criticism. “It’s not quite that in judging art I prefer to err on the side of generosity. I’d rather not be wrong.” he wrote in an essay Posted in art forumsummer 1994 issue. “But I am frightened by the self-indulgent or bitter hubris of critics who make an enemy of enthusiasm. I wonder what their appetite or personal use for art is, if any. »

Schjeldahl was born in 1942 in Fargo, North Dakota, and as a child moved with his family to various small towns in North Dakota and Minnesota. Drawn to poetry from an early age, he also enjoyed baseball and was a sports editor for his high school newspaper before enrolling at Carleton College. He dropped out after two years, taking a job across the country at the Jersey Newspaper, in Jersey City, New Jersey, immersing himself in his off hours in the downtown poetic scene. After a brief return to Carleton, he gave up again and moved to Paris, where he developed a passion for art but found the missing scene there. “It occurred to me that I was in the wrong city,” he said. Interviewby Christopher Bollen in 2014. “Lads in the Midwest at that time, we thought Paris was where it was, but our information was 25 years out of date. I remember seeing an exhibition in Paris at the Sonnabend gallery of Andy Warhol’s flower paintings and thinking, “Bad town!” Returning to New York a year later, he found a job at art news solely on the strength of his enthusiasm. Other concerts followed, including a writing for the New York Times under culture editor Seymour Peck, whom he counted as a mentor.

During the 1970s, Schjeldahl viewed his artistic writing as secondary to his career as a poet, as a way to support it. He published several volumes of poetry but eventually, he told Bollen, “I started to feel like my art criticism was second rate. I wanted to see how well I could do it and let the poems take care of themselves. Over the next twenty years his reviews appeared regularly in Art in America, art forumnow gone 7 daysand the Voice of the village, among other publications. In 1998, he became an art critic for the New Yorkerwhere his reviews have appeared until weeks before his death.

In a profession known for his academic and measured style, Schjeldahl stood out for his fluent prose that could fuse written pyrotechnics with outspokenness, his insight, and his willingness to both effusively praise and eviscerate the work. which seemed to him worthy of one or the other reaction. Most evident was an obvious love for art that radiated from every essay and informed even the most vitriolic criticism. “It’s a great privilege to be an artist” he said art forumby Deborah Salomon in 2008. “You discover the outer limits of your talent and your freedom. You get to see the world from a high place. If you fail and end up with a square job in Dubuque, you will already have a wealth of knowledge and experience that 99.9% of humanity can only dream of,” he concluded. “Do not complain.”