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oodlenoodleroodle · 8 months
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Tagged by @blueherin
Song I last listened to: Zhong Guo Ren by Andy Lau
Books I'm reading: Savonarola: The Rise And Fall Of A Renaissance Prophet, by Donald Weinstein. As well as various D&D source books.
Currently watching: The ICOM-IMREC Seminar "Museums, Decolonisations And Restitution: A Global Conversation"
Movie watch list: New Women
Tagging: @aristoteliancomplacency @nora-scotia @battleteacake @physicist-pi
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footballconfessions · 2 years
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not just women, maybe also men and yes, it’s awful…that’s why I’m careful whom I trust. But racism is a complicated topic, but racism is everywhere. // agreed. Racism is a very complicated matter and runs more deep than we could ever imagine. I think most of the time it’s affiliated with social status too. I think there’s a lot of discrimination and xenophobia within the communities too, im not black but poc and there’s lots of classism, lots of poc people who are wealthy will look down on other average icome/low income poc families and their opinions are the same of those white racist. Some of these people really think they sre better and will go on and on feeding the stereotypes even tho they are black themselves.
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fahiletokem · 1 year
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Man manual
 MAN MANUAL >> DOWNLOAD vk.cc/c7jKeU
  MAN MANUAL >> READ ONLINE bit.do/fSmfG
            man is the system's manual pager. Each page argument given to man is normally the name of a program, utility or function. The manual page associated with each of these arguments is then found and displayed. A section, if provided, will direct man to look only in that section of the manual. The default action is to search in all of the available gpg -se -r Bob file sign and encrypt for user Bob gpg --clearsign file make a clear text signature gpg -sb file make a detached signature gpg --list-keys user_ID show keys Other ManualMan Products NIFTY! ACCESSORIES Large selection of laminated quick reference guides and mini-manuals for many models of Icom, Kenwood, Yaesu, Elecraft, and other manufacturers. E-Z Guides, DX Field, Radio Reference, HF/VHF/UHF Band Guides, and various Stands are also available. FLEX RADIO SYSTEMS® man formats and displays the on-line manual pages. If you specify section, man only looks in that section of the manual. name is normally the name of the manual page, which is typically the name of a command, function, or file. Iron Man Manual is an official artbook that covers Iron Man from the films Iron Man, Iron Man 2, Iron Man 3 and The Avengers . Contents 1 Synopsis 2 Contents 3 Appearances 3.1 Characters/Actors 3.2 Locations 3.3 Events 3.4 Items 3.5 Organizations 4 Gallery 5 References Synopsis Iron Man Manual Hardcover - December 3, 2013 by Daniel Wallace (Author) 189 ratings Hardcover $37.15 9 Used from $33.16 Go inside Tony Stark's amazing high-tech world with this stunning exploration of Marvel's Iron Man universe. The electronic catalog Man Eltis 3 contains a detailed catalog of original spare parts and accessories, spare parts manuals, books, spare parts for trucks, marine vehicles MAN. Man engines D2066, D0834, D2876, ZF transmission zf03-40, ZF6S-850, ZF9S109, ZF16S109, ZF16S151_181_221-1, ZFS5-42 service manual, maintenance. manual: [adjective] of, relating to, or involving the hands. worked or done by hand and not by machine. Download. NTS-MAN Burmeister & Wain 6G60ME-C HPSCR MK9.5 Project Guide Data.pdf. 9.5Mb. Download. MAN is a world leader in the production of marine and industrial diesel engines. MAN engines drive cars and locomotives, yachts and commercial vessels, generators and thermal power plants, construction and agricultural machinery. MAN MANUAL - CHALLENGES & CHOICES 5 Men's Health Forum in Ireland: mhi.org ight or an accident) in the previous 12 months as a result of their drinking. Men were almost twice as likely as women to report such harm. However, these problems don't only affect individuals. There is an economic cost to alcohol use as well Perry used Hit Man manual to carry out murder. In 1993 James Perry murdered Mildred Horn; her eight-year-old son, Trevor, who was a quadriplegic; and Janice Saunders, Trevor's nurse. Lawrence Horn, Mildred Horn's ex-husband and Trevor's father, had hired Perry to commit the murders with the expectation of inheriting the $2 million that Perry used Hit Man manual to carry out murder. In 1993 James Perry murdered Mildred Horn; her eight-year-old son, Trevor, who was a quadriplegic; and Janice Saunders, Trevor's nurse. Lawrence Horn, Mildred Horn's ex-husband and Trevor's father, had hired Perry to commit the murders with the expectation of inheriting the $2 million that The man stands for manual. The man command displays the user manual of any command that we run on the terminal. In this topic, we are going to learn about Linux man Command. It displays the command details such as NAME, SYNOPSIS, OPTIONS, DESCRIPTION, EXIT STATUS, RETURN VALUES, FIL, ERRORS VERSIONS, AUTHORS, EXAMPLES.
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nvsrworld · 2 years
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18th.May: International Museum Day.
18th.May: International Museum Day.
MUSEUM AND ZOO are very much sought after by all- young or old, learned or unlearned, men or women! In a lighter vein though a fact- International Museum Day is observed on 18 May every year to raise awareness about the museum and its role in society. The International Council of Museums (ICOM) created International Museum Day in 1977. The organization suggested a proper theme every year which…
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silavarun · 2 years
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segledepericles · 2 years
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Did you know?
60% of museum staff is female, yet only 5 out of the 33 most prominent museums have female directors, and only between 3% and 5% of major permanent collections in the U.S. and Europe are works of women artists.
Women are the majority of workers in the museum sector, but the power to take decisions still lies predominantly in men.
ICOM
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ummaannex · 4 years
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Let’s Get Label-Conscious: Making a Museum Vice a Museum Virtue
By: Kathryn Holihan
On November 3, 2018 artist Michelle Hartney secretly hung her own labels next to prominent works by Picasso and Gauguin at the Metropolitan Museum of Art New York. Her self-titled “Hang and Run” performance calls for museums to “separate the art from the artist,” for both Picasso and Gauguin share exploitative and chauvinistic pasts, yet continue to be venerated by museums across the world. Quoting feminist scholar Roxanne Gay and comedian Hannah Gadsby, Hartney’s labels prompt the question: “what is the responsibility of the art institution to educate viewers and turn the presentation of an artist’s work into a teaching moment?”
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Michelle Hartney’s “Hang and Run” performance: https://www.michellehartney.com/correct-art-history
Though Hartney’s website has little to say about her decision to craft guerilla museum labels, this act undoubtedly hits the museum where it hurts. Museums are label-conscious. Nearly every object on display comes paired with a label (sometimes lovingly referred to as a “tombstone”), listing basic information, including the title, artist, date, medium, and inventory number of a work. Some labels offer additional content, be it a visual description of the work, an explanation of the artistic process, or other information to assist the viewer in the act of observation. In just a few lines (because who wants to read a long museum label?), they pack a lot of punch. They should address a target audience, use accessible language, engage with the object, and, perhaps, even raise a provocative question. And though you won’t find this listed among the International Council of Museums (ICOM) standards or the V&A’s ten points to writing a gallery text, I suspect museum professionals (as museum-goers themselves) also know that in the galleries—perhaps more than we’d like to admit—our eyes dart right for the label, after only a passing glance at the artwork itself. The label is our collective museum vice, but museum professionals might make it a virtue.
Egon Schiele, UMMA, and #MeToo
A recent exhibit at UMMA’s State Street entrance showcased a new acquisition of works by the Austrian expressionist and controversial figure, Egon Schiele. In preparation for the show, Associate Curator Laura De Becker studied Schiele’s career, including the allegations lodged against him for sexual misconduct in the early twentieth century. The vagaries surrounding the circumstances of the charges, however, far exceeded what De Becker would be able to recapitulate in a mere tombstone caption. Whereas the exhibit’s digital announcement cited Schiele’s problematic status, a conventional label listing the title, artist, date, and medium, was all that accompanied the featured works in the museum gallery. “We received a complaint about this,” De Becker reported, “and we decided to write that label,” referring to an additional text she penned in response to visitor feedback, titled “Curator Laura De Becker reflects upon Egon Schiele in the #MeToo era.”
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Female Nude in Black Stockings, Egon Schiele
In this additional caption, De Becker contextualized the controversy surrounding Schiele, the moral panic prompted by his “pornographic” nudes, and his exhibition of work to a minor, for which he served a short prison sentence. De Becker further embedded Schiele’s polemical past within contemporary debates regarding consent and the treatment of women, invoking conversations reenergized by the #MeToo movement. “Museums are reevaluating their practice in displaying and discussing works by artists such as Schiele,” the new caption explained, reflexively gesturing to the ways in which artists are being “scrutinized anew” not only at UMMA, but in many other museums. In the 2018 exhibition Klimt and Schiele at the Museum of Fine Arts (MFA) Boston, for example, curators revised wall texts to bring Schiele’s transgressions to light. The text, however, confined to a small series of Schiele’s early works, minimized the artist’s culpability to a specific period of his artistic career. In so doing, the MFA passed up the opportunity to, as Becker puts it, “review historical practices through the lens of evolved thinking,” be it in an ethical, moral, or legal sense.  
In writing the additional caption for the Schiele exhibit at UMMA, De Becker reported, “I did not offer up any truths. This is a complicated issue, which museums are still dealing with.” Above all, she explained, “this prompted the centuries-long question: Can we disconnect art from its maker?” Using the label to prompt critical questions, De Becker embraced the politics of the label. Responding to visitorship, she mobilized the caption, not as an “objective” museal tool, but as a means to engage the public and perhaps prompt a different reading of the artwork in light of its historical past. Among a set of challenging questions contained in the new label, De Becker asked, “How do such issues affect how we look at these images now and what role does the viewer play when seeing and admiring them?”
“Race-ing through the Archive”
Shortly upon assuming her role as deputy director of curatorial affairs and curator of modern and contemporary art at the University of Michigan Museum of Art (UMMA), Vera Grant and her colleagues began a concerted “deep drive” through UMMA’s holdings. Grant calls this ongoing venture “race-ing through the archive,” for the “elusive task of digging through the [museum] archives” is at its core an assessment of the many dimensions of race, gender, and sexuality manifest in UMMA’s encyclopedic collection. Grant’s use of the word “archive” here is deliberate, as the UMMA staff considers issues of representation—who, how, and what is being represented and to whom—from level of the artwork’s subject matter down to the language of its accompanying label. The ultimate goal, Grant attests, is to “share our own dilemmas and thoughtfulness in how we address these matters.”
Though denoted as a standard museum protocol, the act of labeling is far from simple or standardized. The label is at once liberating and limiting. “It is part of a spatial grid within which we move and interact in this world,” Grant explains. As a form of categorization, the label provides a certain sense of comfort in a complex world. “It’s almost like a form of conquering and then we can move on” she adds. But by the same hand, a label is severely limiting, as Grant notes, “that’s how labels work—they don’t tell many stories, they tell one.” A strong statement on the wall might create a miscommunication or prevent engagement across cultures. Despite the serious advantages and disadvantages of the object label, one thing is clear: it is powerful. It can elicit an array of reactions, as Grant speaks from experience about the “abundance of responses to a bit of square footage on the wall.”
One initiative stemming from “race-ing through the archive” was to address “the charged and unexamined nature of lingering object captions,” Grant reports. Take, for instance UMMA’s re-examination of the uncritical, original caption paired with the charged work J. Marion Sims: Gynecological Surgeon. Both the label and illustration lionize Sims, who stands with his arms folded at the head of the hospital scene. The illustration reproduces a racist, medical gaze, as it prompts the observer to join the ranks of other visiting surgeons who ogle the patient—an Alabama slave known only by her first name, Lucy. The caption centers less on Lucy, and more on the heroic and mythical biography of James Marion Sims, the so-called “father of gynecology.” A portion of the troubling description (below) served as the illustration’s official caption since the illustration’s accession to the University collection:
Little did James Marion Sims, M.D., (1813-1883) dream, that summer day in 1845, as he prepared to examine the slave girl, Lucy, that he was launching on an international career as a gynecologic surgeon; or that he was to raise gynecology from virtually an unknown to respected medical specialty. Nor did he realize that his crude back-yard hospital in Montgomery, Alabama, would be the forerunner of the nation's first Woman's Hospital, which Sims helped to establish in New York in 1855. Dr. Sims, who became a leader in gynecology in Europe as well as in the United States, served as president of The American Medical Association, 1875-1876; and was honored by many nations.
Contextualizing and reframing this object and text pairing, UMMA hopes to wield the power of the label to address contemporary issues, in this instance, the entanglement of violence, slavery, and medicine. Performing an academic “hang and run” of their own, Grant and her colleagues are getting label-conscious. While “race-ing through the archive,” UMMA hopes to leverage the label as a tool for grappling with artistic limitations and interrogating the museum’s own authority. Welcoming visitors into the fold, labels solicit a public response to the same questions facing museum curators: how might we use tensions manifest in the collection to reflect on the past and present and the evolution of cultural understanding? In the galleries, the visitor’s eye might still dart right to the label, but now it talks back.
Kathryn Holihan is a doctoral candidate in German Studies at the University of Michigan, where she is also a graduate of the Museum Studies Program and a participant in the Science, Technology, and Society Program. Her dissertation project Staging the Somatic: The Popular Hygiene Exhibition in Germany, 1882 1931 examines a series of hygiene exhibitions staged in twentieth-century Germany. She investigates how a group of curators, politicians, medical officials, and artists wielded public display to produce and popularize knowledge about the body. Kathryn has taught German and History courses including the original course Unsolved Mysteries: Crime, Criminology, and the Detective in Modern Germany. Kathryn is a member of a Think Tank Act conducting research on museums and public efficacy. She is also the education and curatorial assistant at the University of Michigan Museum of Art.
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artsbylyssa · 4 years
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MUSEUM DIRECTORS
"I put my heart and my soul into my work, and have lost my mind in the process." - Vincent Wilhelm Van Gogh
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The topic about my blog are all about Museum Directors which actually I want to become one someday. Art in my country which is the Philippines was always neglected because people weren't open minded about it and if you are a graduate of "Fine Arts", they say things like "you aren't gonna have a high salary or a consistent job" or "you should've took nursing",etc. But for me it isn't about the money and since growing up I loved History and Art and the way they make me interested in Arts of Pop,Grafiti,Post Modernism, and more.
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—" Pinto Art Museum" by Pinterest.com
A Museum Director does not only facilitate or is the working "manager" of the Museum but this job clearly represents the head curator or preserver and who also explores for more artifacts and artworks to be able to contribute more in our country's museums. They also serve as the Philosophers of Art because they are required to share and make people informed about the concepts and history of Art and why museums aren't entirely boring.
Here is a quote by a chairman of ICOM:
"Each exhibition has social, cultural and aesthetic components. All of these touch on the social role of museums, and all of them, whether directly or by implication, concern women as members of the society represented. The richer the diversity of viewpoints in museums, the more relevant and effective their work will be to their communities.” – Jean L. Druesedow, Chair of the ICOM International Committee for Museums and Collections of Costume and director of the Kent State University Museum in the US
Another thing about being a woman and becoming part of museums or a committee concerning museums and art is that there can be inequality which is also a key factor to why maybe I want to become a museum director is to prove that women have vision and that we can contribute into futhermore developing and for informing society about art. Shaming women and telling them they have no knowledge of art and cannot contribute is basically generalizing that most known artists were all men and that alone can be a statement which I think is quite contradictory because we live in 21st century now wherein their are known women artists and since the field of art has expanded and we could all have our own definition—the importance of gender equality in this situation is that as Jean said "The richer the diversity of viewpoints in museums, the more relevant and effective their work will be to their communities".
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— pictures of women curators by artnet.com
(Kelly Baum and Johanna Burton are two example in the picture)
And lastly, I wanted to discuss last what made me interested into wanting to become a Museum Director like "what is my driving force?" well it had to be Van Gogh because his artwork is more than what meets the eye and through the years especially times where I myself faced depression I had always found comfort in his art so I studied everything about him and started to study other artists like Claude Monet and Pablo Picasso (just to name a few) but it would have been more honourable if I studied local and focused into famous painters like Juan Luna who is known for his work of Spolarium which is a huge painting of Christ being dragged by soldiers and is frequent visited in The National Museum of The Philippines (where I one day would like to be the head of) but for now I will continue to work hard and become a deserving museum director.
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—"Spolarium" by Juan Luna
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robertomastroianni · 2 years
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In the middle of the travel of our exhibition ... we met again for a change of the works exhibited ... - Fabio Viale, Le Tre Grazie, white marble, desert sand, painted metal and paper, 2021. News coming soon to the @museirealitorino ! Taking advantage of the weekly closure of the museum, today we have set up a new work by Fabio Viale in the Salone delle Guardie Svizzere: "Le Tre Grazie". In the exhibition "In Between", in fact, this new sculptural group will take the place of "Amore e Psiche" which will leave, together with "Venere Italica", for the Mart in Rovereto. The work, composed of three female figures, is an explicit reference both to the Greek myth and to Canova's masterpiece, and has as its subject a scene that the sculptor saw some years ago during one of his frequent trips to the Maghreb, immortalized in a shot of his traveling companion Battista Fasano: three women, sitting at a bus shelter in Ghardaia, an Algerian city of Islamic religion where the woman wears the traditional haik, a white, wide and long robe that wraps around the entire body, leaving only one eye uncovered. Femininity and the presence of the body, concealed, are rendered plastically by movement and volume, through a technical virtuosity capable of creating a game between full and empty, giving power and lightness to the sculptures. _ #inbetween #fabioviale @mic_italia @museitaliani @fmnext @robertomastroianni1179 @turismotorino @galleriapoggiali @abbonamentomuseiemonte @icom. italia @cittaditorino #iren #museirealitorino #contemporaryart #contemporarysculpture #sculpture #art #artexhibition #artcurator #art #artecontemporary #artistsoninstagram #artinstallation #exhibition #artexhibition #museum #fabio#robertomastroianni (presso Musei Reali Torino) https://www.instagram.com/p/CXdo4A9t8KP/?utm_medium=tumblr
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clownhag · 6 years
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👥💖
QUEEN OF LOVINF WOMEN AN ART GOD AND YR CUTE N FUNNY? LEAVE SOMETHING 4 THE REST OF US MOON! also ur icom still wont change from the gru one on mobile for me so perish!!!
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lomimores · 2 years
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Detroit city fc owner’s manual
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bluelove001 · 3 years
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Celebration Universal Women 19s Week March 2021
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For those who love to support women 19s rights, having just one day to celebrate it may not seem like enough time. For those looking for a solution, Universal Women 19s Week is the holiday for all advocates for women 19s rights. Universal Women 19s Week celebrates the accomplishments of women and encourages the further progression of this cause.
History of Universal Women 19s Week
Similar to International Women 19s Day, Universal Women 19s Week provides an extended period for those advocating for women 19s rights to celebrate the accomplishments women have made in history and the further progress needed to continue the battle for equal rights.
During this week, it is a time commemorate the achievements of women in all fields, including film, business, science, and art. It is also a time to discuss politically the impact that women have been making in society and what aspects of culture need improvement.
It 19s a time to do research, learn about prominent figures and events in history, and is also a time to make impactful changes for the better consequentially.
During this holiday, women all over the world share resources, run seminars, and help women think about the world around them and how solutions can be made for the ever presiding problems that women face.
Holidays such as Universal Women 19s Week help expand the education needed for women to understand how important women 19s rights are so it can be explored and discussed on a global scale.
On a world-wide scale, many women still do not have the reasons that they deserve to be able to thrive in the world, and as a result, this holiday advocates women to strive for long-lasting solutions to benefit everyone as a whole.
How to Celebrate Universal Women 19s Week
Want to celebrate Universal Women 19s Week? Join a women 19s march in your local area. Promote gender diversity in your workplace by speaking with your managers and executives about the subject.
If you help run a school, then run a school campaign educating students about the importance of equal rights for women. Attend a women 19s networking event and connect with professional women to help empower and support your career.
You can also donate to a women 19s refuge organization to help protect women against domestic violence.
Special deals to celebrate Universal Women 19s Week!
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silavarun · 2 years
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Minneapolis: 100 Days of Resistance May 1 march!
(Español abajo) Workers & Immigrants Rise Up! May 1 International Workers Day March 100 Days of Resistance to Trump's Agenda Join us to march on Monday, May 1st for International Workers Day to mark 100 days of resistance to Trump's agenda. 3:00 pm - Community Gathering at East Phillips Park (24th & Cedar Ave S) [4:00 feeder march at Cedar-Riverside to meet up with main march] 4:30 pm - March starts from East Phillips Park! 6:30 pm - Final rally at Federal Building (4th & 4th, downtown Mpls) DEMANDS No attacks on immigrants, refugees & Muslims No more deportations Legalization for all Workers rights are human rights Pro-Labor, pro-union Living wage for all ‘Right to work' for less is wrong End to police brutality Climate justice Peace RESIST FROM DAY ONE COALITION FB & Twitter: @ResistTrumpMN ____________ Endorsed by | Endosada por: (To endorse | para endosar: email [email protected]) 15 Now - MN 320 Members First AFSCME Local 2822 AFSCME Local 3800 Al Madinah Cultural Center - UMN Anti-War Committee Asamblea de Derechos Civiles Casket Arts resource group Center for Immigrant Justice Centro de Trabajadores Unidos en Lucha (CTUL) Communities United Against Police Brutality DeLeon & Nestor, LLC Feminist Student Activist Collective - UMN Filipinos for Immigrant Rights in MN (FIRM) Freedom Road Socialist Organization Indivisible Resistance Eagan Burnsville (IREb) Interfaith Coalition on Immigration (ICOM) IWW General Defence Committee Local 14 James Dewitt Yancey Foundation MN Chapter Mayday Books Med Students for Choice - UMN Minneapolis Regional Labor Federation Minnesota Immigrant Rights Action Committee (MIRAC) MIRAC-UMN Minnesota Peace Action Coalition Navigate Queer Devil Worshippers for A Better Future Saint Paul Federation of Teachers Saint Paul Regional Labor Federation SEIU Local 26 Sierra Club North Star Chapter Students for a Democratic Society UMN Twin Cities Students for a Democratic Society - UMN Morris Students for Justice in Palestine - UMN TC Coalition for Justice 4 Jamar Twin Cities Peace Campaign Universal Movement for the Advancement of Hip Hop (UMAHH) VoteClimate.org Welfare Rights Committee Women Against Military Madness (WAMM) Young People's Action Coalition (To endorse | para endosar: email [email protected]) ______________ Trabajadores e inmigrantes se alzan 1 DE MAYO Marcha el dia internacional de los trabajadores 100 dias de resistencia a la agenda de trump Únete con nosotros para marchar el lunes 1ro de mayo en el día internacional de los trabajadores para marcar 100 dias de resistencia a la agenda de Trump. 3:00 pm - Mitín comunitario - East Phillips Park (24 y Cedar Avenida Sur) [4:00 marcha adjunta sale de Cedar-Riverside para unirse con la marcha principal] 4:30 Marcha empieza de East Phillips Park 6:30 Mitín final - Edificio Federal (4 calle y 4 avenida, en el centro de Minneapolis) EXIGIMOS No a los ataques contra los inmigrantes, refugiados y musulmanes No más deportaciones Legalización para todos Los derechos de los trabajadores son derechos humanos Pro-labor, pro-unión Salario justo para todos No a las leyes ‘derecho a trabajar' por menos Fin a la brutalidad policiaca Justicia climática Paz COALICIÓN RESISTIR DESDE EL PRIMER DÍA FB & Twitter: @ResistTrumpMN
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punkmuseology-blog · 7 years
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Welcome to #PunkLove2, our monthly round up of the links, people, projects, news items, events, etc that have caught our collective eye this month. And it’s a political bunch indeed this time.
Diving straight in with some of the big questions swirling around the museum world at the moment, beginning with the Museum Association’s Alistair Brown asking Is Diversity dead? and what can museums do in a time of perceptible pushback against “identity politics”, to address the urgent need for workforce diversity and a shift in the ratio of “handwringing to action”.
Chet Orloff asks “Should Museums Change Our Mission and Become Agencies of Social Justice?”, addressing critically the idea gaining pace in the museum world that museum can act as drivers of social justice or be agents for the promotion of the values of equality, democracy and justice. His is a more cautious attitude than the punk museologists, but we also believe that to drive change in the sector these discussions and discomforts should be aired. Museums and punk museology are not about creating an echo chamber.
The ever energetic Museum Hack wrote a twitter round up of the AAM’s Museum Advocacy Day, including the AAM’s efforts to directly connect museum people with their local representatives. The UK-specific #MuseumsDayUK events fall on May 15th, and the MA and will be providing museum leaders with the facts and support they need to communicate the importance of museums to stakeholders and politicians. This year’s international, ICOM led #MuseumDay is May 18th and focuses on how museums can best communicate their role in society and societal development. Whilst encouraging to see museums so confident of their power and importance, it also a symptom of  the fight that many museums see to justify their existence in the face of cuts and ambivalence towards the importance of the arts and cultural sector in many countries.
"Non-profits MUST be loud and active advocates for their mission. If you're not at the table you're on the menu." #museumsadvocacy2017
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Protest doesn’t have to be quick and loud. The Craftivist Collective, driven by Sarah Corbett has developed the School of Gentle Protest, a six-week curriculum that offers introverts and craftistas an insight how protest can be gentle, informed and effective. Mixing video ‘lectures’ with exercises and signposting further resources, many of the lessons and projects are an ideal fit for museum programming that looks at the diverse forms social activism and agitation can take.  
Whilst we think there’s always room for rebellion, it is good to see that Institutions of The Man will incorporate the stories of people considered historically non-conformist. So it’s good to see this upcoming screening of a story of the socially non-conformist Claude Cahun and Marcel Moore at the National Portrait Gallery of all places. 
We love bodies, and we love research which makes itself fun. So, we want to give a shout out to Mummy Stories, a weekly blog from one of the PhD students at UoLMS, a collaborative project that looks at the meanings, interpretations and representations of mummies in the museum world. 
We also wanted to shout out to two cool twitter accounts - @museumhue, who’ve just authored a section in the new edition of Museums in Motion, and seek to represent and promote diversity and people of colour arts, culture, museums & creative economy and @MuseumWorkers who seek to turn the “social justice lens inwards”, championing labour rights and employment practices that represent the core messages of museums.
We want to yell that March 8th was International Women’s Day. But that there still remain problems, as this article shows. And we also want to yell that every day, we shouldn't be any the less focussed on the issues facing and triumphs of, women. And that we should also remember that in an ideal world, it isn’t your gender or orientation or colour you’re judged on, but you’re skill and your kindness. (Kindness is our favourite thing. Even, and especially, if it comes with a big side order of grump). See here, for some more information about how museums are collecting items in relation to the Women’s Marches that took place the world over in January and the continued movement. 
For those of you who are into podcasts (if not not, got onto it! There’s so much great content out there!), this month we want to highlight one about the lives and loves of Museum People. The most recent episode looks at museum reaction to the inauguration of Trump and the collecting of items surrounding the Women’s Marches that were held in response. 
Museums Chart a Response to Political Upheaval. In a tumultuous era, some museums are rushing to embrace the political moment, while others deliberately retreat.
A great article on how Britain at its best is a living, breathing museum of migration and diversity and the role that a museum of migration might play in refreshing and reestablishing the idea of migration not only as an asset, but as an integral element to everything that considered “quintessentially British”.  
A rather lovely video about WONDERLAB at the Science and Media Museum and part of the growing trend for museums to produce glitzy, inviting trailers for exhibitions in a social, multimedia world. 
Book of the Month: Critical Practice: Artists, Museums, Ethics, by Janet Marstine 
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Track of the Month: Funkadelic, Maggot Brain
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