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Contemporary Fashion Design Crosses With Art From The Gibbes Collection

The Gibbes Museum of Art presents the world premiere of Statement Pieces: Contemporary Fashion Design and the Gibbes Collection (January 31‒April 27), featuring designer treasures from Barrett Barrera Projects’ acclaimed fashion collection alongside works of art from the Museum’s permanent collection.

Exquisitely designed garments are curated with select artworks spanning from the 1770s to the 2020s. The exhibition is the centerpiece of this year’s Art Charleston, the city’s annual visual arts festival (April 23‒27). Statement Pieces shines a light on extraordinary fashions by
Alexander McQueen, Charlie le Mindu, Comme des Garcons, Dapper Dan, Gucci, Molly Goddard, Pam Hogg, Richard Quinn, and Serena Gili.

Their designer looks are paired with artworks by Joan Mitchell, Romare Bearden, Jasper Johns, Barkley Hendricks, Gilbert Stuart, Sir Martin Archer Shee, and Utagawa Hiroshige, plus nationally renowned Southern artists Merton Daniel Simpson, Donté K. Hayes, and Edward Rice, among other artists in the museum show.


Pictured above is Molly Goddard’s green tulle dress with embroidered flowers, from the Autumn/Winter 2017 Collection. The garment is paired with Joan Mitchell’s 1966 painting, titled Series: July 25 I, oil on canvas. In celebration of the artist’s centennial year, the Gibbes Museum is one of eleven American institutions awarded a grant by the Joan Mitchell Foundation. (Fashion photo by Jonas Gustavsson)

S t a t e m e n t P i e c e s

The exhibition is co-curated by Sara Arnold (Director of Curatorial Affairs at the Gibbes Museum of Art), and Kelly Peck (Chief Curator/Vice President of Barrett Barrera Projects). The gallery settings and staging for these one-of-a-kind pairings were designed by Nic Cherry (Director/Barrett Barrera Projects). Portraits by American and European masters from the eighteenth and nineteenth centuries showcase historical figures who were so confidently fashion-forward, they boldly hold their own when positioned next to the high glamour of current fashions.

Their sense of style continues to influence present day fashion designers, centuries later. Abstract mid-twentieth century paintings, and contemporary artworks of today, signal how art and fashion always influenced each other ‒ a theme clearly evident when viewed through this fashion lens.

Pictured above is the 1804 portrait by Gilbert Stuart of Charleston-born General John R. Fenwick (1780-1842), oil on canvas, exhibited alongside Alexander McQueen’s blue velvet embroidered coat with tulle replica dress, from the Autumn/Winter 2008 Collection. (Fashion photo above by Giovanni Giannoni) Pictured below is the red dress from the Comme des Garcons Spring/Summer 2015 Collection, paired with Sanctuary, the stoneware sculpture created by Donté K. Hayes in 2020.

(Fashion photos below by Jonas Gustavsson)


Above: the Museum exhibition pairs Harlem-inspired streetwear by Dapper Dan (pictured left) from his wildly successful 2018 collaboration with Gucci, and the 1972 painting on the right by the late artist Barkley Hendricks, titled Ms. Johnson (Estelle), oil and acrylic on linen canvas.

The Museum purchased this painting with funds provided by the National Endowment for the Arts. During his career, Hendricks influenced Black portraiture and conceptualism, and was known for his life-sized portraits of Black Americans. “The Gibbes Museum of Art is
thrilled to kick off the new season by celebrating the many ways art and fashion are forever intertwined in our culture,” says Angela Mack, the President and CEO of the Gibbes Museum. “The dialogues between each
artwork and garment create a striking visual courtship between the two art forms.

By pairing these works from our Museum’s permanent collection with the fashions from Barrett Barrera Projects, together we are taking
the phrase Statement Pieces to a whole new level,” adds Angela Mack. Pictured below: the 1823 portrait by Thomas Sully of Sarah Reeve Ladson, oil on canvas, with Alexander McQueen’s two-piece floral ensemble with brown leather corset, Spring/Summer 2009 Collection.

(Fashion photos below by Jonas Gustavsson)
The curators emphasize a dramatic focus on form, line, shape, texture, and color, creating fresh explorations of the Gibbes Museum’s collection through fashion. Traditional portraits by prominent American and European painters are re-contextualized with modern takes on power-dressing. The longstanding interplay between fine art and contemporary fashion design is showcased by combinations that examine technique, materiality, memory, identity, and style between each of the coupled fashions and artworks.

Pictured below: The 1770 painting by Benjamin West depicts Charleston-born Thomas Middleton, oil on canvas, presented with Gucci’s gold dress with feather embellishments from the
Spring/Summer 2011 Collection.

The style of sumptuous costume was often used in 18th Century paintings to create an air of pageantry and elegance ‒ a nod to the garment’s assertive provocation of glamour.

(Fashion photo by Jonas Gustavsson)

Fashion designer Richard Quinn’s sequin embellished floral dress, from
his Autumn/Winter 2019 Collection, is shown with Childe Hassam’s
1920 painting, April (The Green Gown), oil on canvas. This painting is
unique among the American artist’s work because of its personal subject
matter, recreating a moment from the artist’s past ‒ the artwork is believed to be a portrayal of Hassam’s mother in 1859 while she was pregnant with her son. Quinn describes his fashions as being “designed with the most meaningful moments of our lives in mind, inextricably linked with time, place and memory.”


(Fashion photo by Jonas Gustavsson)
Several of the artists in this exhibition use their depictions of dress and fashion to emphasize the personal style of their subjects. The artists also used this emphasis as an expression of their own aesthetic sensibilities.
This creativity and flair are comparable to the way modern day stylists and art directors work at fashion shoots today.


Above: The red tartan plaid pleated dress from the Comme des Garcons Spring/Summer 2017 collection is presented alongside the 1820 portrait titled Mrs. George Hall (Jane Ross), by Sir Martin Archer Shee, oil on
canvas. Fashion designer Rei Kawakubo’s clothing designs are known for exploring volume and shape, with amplified proportions. In the painting, the artist Martin Archer Shee likely included tartan to denote his subject’s Scottish heritage.

(Fashion photo by Giovanni Giannoni)


Above: The winged figure rising in the center of the 2015 mixed media work They Combined Beauty, by Stephen L. Hayes Jr, calls out to the gold embroidered wings on the black sheath dress by Alexander McQueen,
Spring/Summer 2008 collection.

The many layers of found objects in Hayes’ artwork convey the resilience and strength of the African American community, despite centuries of adversity ‒ from symbols referencing the transatlantic slave passage, to the fight for legal civil rights.

(Fashion photo by Jonas Gustavsson)


Pictured above: a rare 1800s Japanese color woodblock print by Katsushika Hokusai titled South Wind, Clear Dawn (Gaifu kaisei), with Alexander McQueen’s silk ombre kimono dress, Spring/Summer 2008 Collection. McQueen was fascinated with Japanese culture and dress.
The visually pronounced gradations in McQueen’s fabric marry well with the color technique effects in Hokusai’s artwork.

(Fashion photo by Jonas Gustavsson)


Pictured above: visitors to the museum will be able to view one of Romare Bearden’s rarely seen mid-century abstract paintings. Untitled (Green), ca. 1950s, (oil, casein, and colored pencil on canvas, that has been cut and mounted on painted board), is juxtaposed with fashion designer Serena Gili’s golden fiberglass skirt and cashmere beaded top.

Gili’s acclaimed 2012 Collection earned rave reviews. Bearden’s abstract
paintings are not usually exhibited to the public, and are heralded as some of his best work by the art critic Roberta Smith.

(Fashion photo by Saga Sig, courtesy of Serena Gili)


Pictured above: Pam Hogg’s “Black Dress #4” from the Spring/Summer 2013 Collection, paired with the 1919 painting Mrs. Asher D. Cohen, by Martha Simkins, oil on canvas. Hogg’s collection was titled “Save Our
Souls” when it debuted at London Fashion Week, emphasizing the punk aesthetic and London club scene looks that Hogg is known for.
During the historical period when this painting was made, it was common for women to have their portraits painted while in mourning.
(Fashion photo courtesy of Pam Hogg)


Above: Merton Daniel Simpson’s 1991 painting titled Grand Dance, oil and Mali hunting cloth, paired with the Alexander McQueen moth print silk dress from the fashion house’s Spring/Summer 2010 Collection. The decade-defining collection was one of the first to feature 3-D printing techniques.

Simpson was born in Charleston in 1928, and was influential in bringing African art into mainstream culture when he opened his art gallery in New York in the 1950s, introducing tribal and African art to museums and collectors. He worked for social justice, incorporating political themes into his art.
(Fashion photo by Jonas Gustavsson) For the Silo, Jarrod Barker. @jarrod_barker_

Exhibition Events and Programming


The exhibition comes to life through a series of events and programming from January 31 through April 27.
Visit gibbesmuseum.org/programs-events for updated events information.

About Art Charleston 2025


Art Charleston (April 23-27) is the city’s annual visual arts festival, presented by the Gibbes Museum of Art. The five-day celebration features signature events, exhibition tours led by experts, artist lectures,
panel discussions, gallery walks, professional workshops, and more. Read the full festival event guide at the link above. The centerpiece of
this year’s festival is the Museum’s exhibition Statement Pieces: Contemporary Fashion Design and the Gibbes Collection.


About Barrett Barrera Projects


Barrett Barrera Projects is a cross-disciplinary group of originators who redefine art experiences and push boundaries to explore the continuously expanding spectrum of art forms. We see art where others see separate disciplines. At Barrett Barrera Projects we focus on the intersections, because that’s where new ideas and experiences emerge. Our team produces, manages, consults and advises on emerging contemporary art and non-traditional media. Barrett Barrera Projects offers complex, multi-disciplinary exhibition experiences that
challenge the traditional boundaries separating art, fashion, design and performance.


About the Gibbes Museum of Art


The Gibbes Museum of Art, a beacon in the American South for arts and culture since 1858 when the Museum’s art collection was founded as the Carolina Art Association, is heralded as one of the earliest and most longstanding arts institutions in the United States. The Museum’s collection spans 350 years, and features some of America’s most celebrated artists ‒ including contemporary, modern and historical works.
With world-class rotating exhibitions and a dynamic visiting artist residency program, the Gibbes is a southern museum with a global
perspective. The Museum’s mission is to enhance lives through art by engaging people of every background and experience with art and artists of enduring quality, providing opportunities to learn and discover, to enjoy and be inspired by the creative process.
Museum hours and visitor info at: www.gibbesmuseum.org/visit

What Happens To Cars That Sit For Long Periods Of Time

The trouble is that automobiles, like everything else, are subject to the law of entropy. “Preservation” is about more than just keeping the odometer reading low. “Like-new” means something different after one, two, or three decades, even if the car still has plastic wrap on the steering wheel. The paint, upholstery, and trim may look flawless—but what about the bits you can’t see, like the complex systems and different materials that make up the driveline? Just because a car is like-new doesn’t mean it actually is new, or that you can just hop in and drive it home. We decided to call up some experts across the industry to answer a big question: What exactly is happening to a car when it sits?

1967 le mans winner ford mark iv at the henry ford gurney foyt
The Henry Ford Museum/Wes Duenkel

First off, what’s happening to it while it sits depends on where it sits. Imagine a car in a museum—perhaps the Le Mans–winning Ford Mark IV at the Henry Ford Museum in Dearborn, Michigan. Now, think of that old pickup you once saw sitting in a field. Technically, they’re both decaying. One is just decaying far more slowly than the other. 

The race car lives in a perfectly curated world. The temperature in the museum is consistent and the humidity is just so: Low enough to deter moisture-loving insects and mold, high enough to prevent the tires and other rubber seals from drying out. A museum car’s tires may barely touch the ground, because the chassis sits on jack stands. The fluids in the car—fuel, coolant, oil—have either been drained or supplemented with stabilizing agents. The upholstery is regularly vacuumed to eliminate pests. Dust barely gathers on the body before someone gently sweeps it off.

1967 Ford Mark IV Race Car wheel detail
The wheel of The Henry Ford’s 1967 Ford Mark IV race car, with its original tire. The Henry Ford Museum

The pickup, meanwhile, has been at the mercy of the weather for who knows how long. The tires have cracked and rotted. Salty air might be corroding metal. Insects and/or rodents might be living inside the cabin and engine bay. The engine’s cylinders may be dry, the gas in its rusty fuel tank a kind of goo, the oil gray instead of honey-colored. Its paint may be bubbling, its carpets mildewing. 

Those are two extreme examples, of course, but when it comes to the condition of a car, the storage (or display) environment makes all the difference, whether the car is Henry Ford’s original Quadricycle from 1896 or a brain scientist’s sporty Sentra from 1992. To keep a “like-new” car living up to its descriptor, the temperature must be consistent; otherwise, even the most immaculate car will bake, sweat, and/or freeze. The moisture in the air needs to be high enough to slow the decay of organic materials like tires but low enough to protect from rust. The room itself needs to be well-sealed to deter pests. The vehicle also needs a barrier (or two) between the paint and the dust, dirt, and grime that will accumulate. And that’s only the parts of the car you can see …

The Odometer Doesn’t Tell the Whole Story

tom cotter 930 turbo barn find hunter
Tom’s 16,000-mile/ 25,750-kilometer Porsche, where he found it. Youtube / Hagerty

No one is more familiar with finding automotive diamonds in rough storage situations than Tom Cotter, known as The Barn Find Hunter. When I called him to discuss this story, the consequences of bad storage were especially fresh on his mind: He had just bought a barn-find car (a 1986 Porsche 930 Turbo) with 16,000 miles. “That’s the good news,” he said. “The bad news is that it has not been driven since 1996, so nearly 30 years. And even though it had a plastic sheet on it, somehow it got filthy. Filthy. My heart breaks.” Even worse, the windows were open, and the car was infested with mice. It needs a thorough recommissioning: brakes, gas tank, fuel lines, fuel injection unit, fuel injector, fuel pump—and those are just the major areas, says Tom. He’s still in the process of figuring out how much the car needs, but if everything needs to be replaced, the work could cost as much as $40,000 usd/ $58,000 cad. Oh, and he’ll need a new set of tires—the car was parked on its original set from 1986. 

“Just because a car has low miles doesn’t mean it was well cared for,” says Cotter. “Cars go bad when they sit.” A perfect storage environment and a sedentary life don’t guarantee stasis, either: “There are things that happen inside the systems of a car that break down, like the rubber in a brake system or the rubber in our fuel system. It doesn’t matter if the car is hot or cold or clean or dirty, those things are going to break down.” One interesting system that is especially prone to degrading when a car sits is the exhaust, he says. “For every gallon (3.785 liters) of fuel that’s burned in a car, a gallon of water comes out the tailpipe. It’s just part of the combustion process. And so if you run the car and then turn it off and park it for 20 years, you’ve got at least a gallon of water (3.785 liters) sitting in the exhaust system—most of it, in the muffler. Unless it’s made of stainless steel or something, it’s going to just rot right out. There’s really nothing you can do about that.” 

The fluids and the metals in a car are often conspiring against each other. “One of the biggest challenges you have managing large collections—and with cars that sit, too—is coolant system corrosion,” says Scott George, curator of collections at the Revs Institute in Naples, Florida, who knows a thing or two about keeping old cars in peak health. “You’ve got brass, copper, aluminum, iron, steel, all coming in contact with water, and it can create a battery of sorts. It can almost create its own internal energy, which can attack certain metals that are most vulnerable,” like the vanes in a water pump, which are often made of a different metal than the pump itself. Using antifreeze doesn’t eliminate the problem: Those systems can corrode, too, damaging hose connections and water chambers in cylinder heads. “Corrosion in radiators, and things that attack solder and solder seams, are also a big challenge for anybody with large collections.”

Proper storage requires understanding of the car’s construction, because certain materials require special attention and/or precautions. Wool and horsehair, materials that are especially common in the upholstery of cars built before World War II, can attract cloth moths and carpet beetles. Cuong Nguyen, a senior conservator at The Henry Ford, who is heavily involved in the care of the museum’s 300-car collection, suggests vacuuming such cars each season. He also warns that some more modern wiring harnesses are made with soy-based materials that, while eco-friendly, attract mice. Sticky traps, he says, especially those without pheromones, can be good preventive measures for furry pests. 

Understanding how a car is built also helps set expectations for how it ages, even in the best conditions. For instance, different sorts of paints wear differently: Lacquer-based paint, used on most cars built before the late 1980s or early ‘90s, doesn’t hold up as well as the more modern, urethane-based version. Another notoriously finicky modern material covers the soft-touch buttons found in some Italian exotics from the 1990s or early 2000s. The black material gets sticky over time.

Best-Case Storage Scenario

Cotter, who owns a storage facility called Auto Barn in North Carolina, encourages enthusiasts to store their vehicles thoughtfully because they’re protecting their financial investment. “It might take you a half-day to get a car ready to lock up, but put a little bit of effort into it. You are maintaining your investment. It’s a mechanical portfolio. A car that’s parked haphazardly will more than likely go down in value.”

The best place to store a car—with any odometer reading—is in a clean, dry place with temperature and humidity control. To avoid flat spots on the tires, which can develop within a year, the car should be elevated, just slightly, on jack stands (as mentioned above, a trick used by museums) or lowered onto a set of tire cradles. If the fuel isn’t drained, it should be ethanol-free; the regular stuff turns into a gummy, gooey mess when it sits. If the fuel in the tank does contain ethanol, it should be supplemented with a fuel stabilizer. If the car was driven regularly before storage, the carpets in the driver’s side footwell should either be completely dry or propped up, away from the floorboards. Cotter explains why: moisture from the driver’s shoes may get onto and under the carpets, and it may mold the carpets or, worse, become trapped between the rubber backing and the sheet metal underneath, which may begin to rust.

Some sort of rodent protection, even a Bounce sheet, should be taken. (This nifty device, called Mouse Blocker, uses sonic pulses to keep the critters at bay.) One moisture-absorbing trick that Cotter recommends is cheap, and readily found at your local hardware store: charcoal, which absorbs moisture and odors. Ideally, the paint should be waxed and the car put under a cover. Feeling fancy? Look into a Car Capsule, the “bubbles” that the Detroit Historical Society uses to store its cars.

detroit historical society storage bubble car capsule
YouTube / Hagerty

While in Storage

Of course, not all low-mile cars are barn finds like Tom’s Porsche. Many of them present amazingly well. Scott George weighs in. There’s an excitement, he says, about buying a car that appears locked in time and cosmetically perfect—free of nicks, scrapes, bumps, wrinkles. But some people, he says, may not think about what they’re getting into at a mechanical level: “Every time I see a later-model car sell with low mileage, what often goes through my mind is ‘cha-ching, cha-ching, cha-ching.’” He’s seen what can happen when cars sit for 25 or 30 years: “Everything functioning part of the automobile, maybe except for a total engine rebuild, has to be redone.”

Not all buyers may want to drive their pristine, low-mile prize, he admits—some may simply want to be the next owner, to park the car in their climate-controlled showroom as a trophy. There is nothing wrong with that, of course, but down the road, it may be a very costly one—if not for them, for the next person who buys it and wants to drive it. “Cars are operating machines,” George says. “They like to drive.”

At the very least, a car should be started once in a while, and run for more than 5 or 10 minutes—half an hour or so, at least, so that the engine and oil can come up to temperature and cooling fluids can fully circulate. Starting a car and quickly turning it off, says Cotter, “does more damage than if you just leave it alone because the cylinders are dry—there’s not enough oil in the system.”

Acids and moisture can build up, warns George, if a car doesn’t run long enough, “and exhaust systems can corrode from the inside out, and so forth.” He practices what he preaches: The Revs Institute has an unusually high commitment to keeping most of its 120-something collection running, and that means driving the cars—on a circuit loop, for the road cars, or on track, for the race cars, whether that’s at a historic racing event or during a test day where Revs rents out a facility.

Where a car is stored may make the most difference in preserving its condition, but how it is maintained during that period is a close second. “I have witnessed actually cars that 25 or 30 years old that literally sat,” says George, “and I’ve seen it firsthand: every functioning part of the automobile, maybe except for a total engine rebuild, has to be redone. The fuel systems, the fuel injectors, all of that stuff.” Maintaining a low-mile car in driving condition requires a balance of commitment and restraint: “There are some people that have just had these wonderful low-mileage cars,” says George, “and they have done annual maintenance and they have cared for the mechanical systems. They’ve just been cautious about how many mile miles they’ve put on.”

In short, the best way to keep a car in driving condition is to, well, drive it.

Barn Find Hunter Episode 172 Porsche 930 911 Turbo covered in dust in barn

“Just because a car has low miles doesn’t mean it was well cared for,” says Cotter. “Cars go bad when they sit.” A perfect storage environment and a sedentary life don’t guarantee stasis, either: “There are things that happen inside the systems of a car that break down, like the rubber in a brake system or the rubber in our fuel system. It doesn’t matter if the car is hot or cold or clean or dirty, those things are going to break down.” One interesting system that is especially prone to degrading when a car sits is the exhaust, he says. “For every gallon of fuel that’s burned in a car, a gallon of water comes out the tailpipe. It’s just part of the combustion process. And so if you run the car and then turn it off and park it for 20 years, you’ve got at least a gallon of water sitting in the exhaust system—most of it, in the muffler. Unless it’s made of stainless steel or something, it’s going to just rot right out. There’s really nothing you can do about that.” 

The fluids and the metals in a car are often conspiring against each other. “One of the biggest challenges you have managing large collections—and with cars that sit, too—is coolant system corrosion,” says Scott George, curator of collections at the Revs Institute in Naples, Florida, who knows a thing or two about keeping old cars in peak health. “You’ve got brass, copper, aluminum, iron, steel, all coming in contact with water, and it can create a battery of sorts. It can almost create its own internal energy, which can attack certain metals that are most vulnerable,” like the vanes in a water pump, which are often made of a different metal than the pump itself. Using antifreeze doesn’t eliminate the problem: Those systems can corrode, too, damaging hose connections and water chambers in cylinder heads. “Corrosion in radiators, and things that attack solder and solder seams, are also a big challenge for anybody with large collections.”

Proper storage requires understanding of the car’s construction, because certain materials require special attention and/or precautions. Wool and horsehair, materials that are especially common in the upholstery of cars built before World War II, can attract cloth moths and carpet beetles. Cuong Nguyen, a senior conservator at The Henry Ford, who is heavily involved in the care of the museum’s 300-car collection, suggests vacuuming such cars each season. He also warns that some more modern wiring harnesses are made with soy-based materials that, while eco-friendly, attract mice. Sticky traps, he says, especially those without pheromones, can be good preventive measures for furry pests. 

Understanding how a car is built also helps set expectations for how it ages, even in the best conditions. For instance, different sorts of paints wear differently: Lacquer-based paint, used on most cars built before the late 1980s or early ‘90s, doesn’t hold up as well as the more modern, urethane-based version. Another notoriously finicky modern material covers the soft-touch buttons found in some Italian exotics from the 1990s or early 2000s. The black material gets sticky over time.

Best-Case Storage Scenario

Cotter, who owns a storage facility called Auto Barn in North Carolina, encourages enthusiasts to store their vehicles thoughtfully because they’re protecting their financial investment. “It might take you a half-day to get a car ready to lock up, but put a little bit of effort into it. You are maintaining your investment. It’s a mechanical portfolio. A car that’s parked haphazardly will more than likely go down in value.”

The best place to store a car—with any odometer reading—is in a clean, dry place with temperature and humidity control. To avoid flat spots on the tires, which can develop within a year, the car should be elevated, just slightly, on jack stands (as mentioned above, a trick used by museums) or lowered onto a set of tire cradles. If the fuel isn’t drained, it should be ethanol-free; the regular stuff turns into a gummy, gooey mess when it sits. If the fuel in the tank does contain ethanol, it should be supplemented with a fuel stabilizer. If the car was driven regularly before storage, the carpets in the driver’s side footwell should either be completely dry or propped up, away from the floorboards. Cotter explains why: moisture from the driver’s shoes may get onto and under the carpets, and it may mold the carpets or, worse, become trapped between the rubber backing and the sheet metal underneath, which may begin to rust.

Some sort of rodent protection, even a Bounce sheet, should be taken. (This nifty device, called Mouse Blocker, uses sonic pulses to keep the critters at bay.) One moisture-absorbing trick that Cotter recommends is cheap, and readily found at your local hardware store: charcoal, which absorbs moisture and odors. Ideally, the paint should be waxed and the car put under a cover. Feeling fancy? Look into a Car Capsule, the “bubbles” that the Detroit Historical Society uses to store its cars.

detroit historical society storage bubble car capsule
YouTube / Hagerty

While in Storage

Of course, not all low-mile cars are barn finds like Tom’s Porsche. Many of them present amazingly well. Scott George weighs in. There’s an excitement, he says, about buying a car that appears locked in time and cosmetically perfect—free of nicks, scrapes, bumps, wrinkles. But some people, he says, may not think about what they’re getting into at a mechanical level: “Every time I see a later-model car sell with low mileage, what often goes through my mind is ‘cha-ching, cha-ching, cha-ching.’” He’s seen what can happen when cars sit for 25 or 30 years: “Everything functioning part of the automobile, maybe except for a total engine rebuild, has to be redone.”

Not all buyers may want to drive their pristine, low-mile prize, he admits—some may simply want to be the next owner, to park the car in their climate-controlled showroom as a trophy. There is nothing wrong with that, of course, but down the road, it may be a very costly one—if not for them, for the next person who buys it and wants to drive it. “Cars are operating machines,” George says. “They like to drive.”

At the very least, a car should be started once in a while, and run for more than 5 or 10 minutes—half an hour or so, at least, so that the engine and oil can come up to temperature and cooling fluids can fully circulate. Starting a car and quickly turning it off, says Cotter, “does more damage than if you just leave it alone because the cylinders are dry—there’s not enough oil in the system.”

Acids and moisture can build up, warns George, if a car doesn’t run long enough, “and exhaust systems can corrode from the inside out, and so forth.” He practices what he preaches: The Revs Institute has an unusually high commitment to keeping most of its 120-something collection running, and that means driving the cars—on a 40-, 50-, or 60-mile (approx. 64-, 70-, 97 kilometer) loop, for the road cars, or on track, for the race cars, whether that’s at a historic racing event or during a test day where Revs rents out a facility.

Where a car is stored may make the most difference in preserving its condition, but how it is maintained during that period is a close second. “I have witnessed actually cars that 25 or 30 years old that literally sat,” says George, “and I’ve seen it firsthand: every functioning part of the automobile, maybe except for a total engine rebuild, has to be redone. The fuel systems, the fuel injectors, all of that stuff.” Maintaining a low-mile car in driving condition requires a balance of commitment and restraint: “There are some people that have just had these wonderful low-mileage cars,” says George, “and they have done annual maintenance and they have cared for the mechanical systems. They’ve just been cautious about how many mile miles they’ve put on.”

In short, the best way to keep a car in driving condition is to, well, drive it. For the Silo, Grace Houghton.

Moon Landing Included Lunaprise Museum First Beyond Earth

New York City – February, 2024 – In a historic moment that marks a significant milestone in the intersection of art, music, and space exploration, the Lunaprise Museum proudly announced the successful lunar landing of artworks as part of SpaceBlue’s’ curated and managed archive on the recent Lunar Lander as part of the historic space mission. Though not the first art project to involve the Moon (reported here by us July 2019), it is the first art project to remain on the Moon.

Among the historic pioneers is a pioneering trio: designer/artist Kelly Max, artist Samy Halim, and music producer/artist Brayden Pierce. This momentous event sees these creative visionaries become among the first artists in history to archive their works in the form of digital twins on the moon for over a billion years in a nano fiche disk, establishing a lasting legacy that transcends the boundaries of Earth.

A New Horizon for Art and Music

With the successful landing of the Lunar Lander on February 22, 2024 at 6:23PM EST the Lunar Landing has achieved a groundbreaking feat by hosting the first museum on the moon called Lunaprise. Among its prized collections are the collaborative efforts of Kelly Max and Samy Halim on the Modernist Art project, and Brayden Pierce’s musical compositions that have resonated with themes of space exploration and innovation.

The Modernist Art collection, highlighted by the “MoonRider” piece carrying 180 names pivotal to the artists’ journey, alongside a comprehensive collection of 420 Modernist Originals and 9,724 generative Modernist Genesis Artworks, represents a significant contribution to this lunar museum. Selected by Curator SpaceBlue and launched on February 15, 2024, these artworks not only celebrate the creative spirit but also symbolize human achievement and aspiration.

This nickel disc containing compressed files of the artwork is now curated on the Moon.

Kelly Max’s contributions to the Lunaprise Museum mission extend far beyond his collaboration with Samy Halim on the Modernist Art project. Together, Kelly and Samy designed the Lunaprise Mission Patch, a symbol of human creativity and resilience in the face of the vast unknown. Kelly’s visionary approach didn’t stop there; his role expanded as he became the lead designer for all key brand communications for the mission, showcasing his leadership and creative expertise in shaping the mission’s identity.

Brayden Pierce: Echoing Through Space

Introduced to the Lunaprise Museum mission by Kelly, Brayden Pierce’s artistic contributions have carved a unique niche in the halls of space history. As the first-ever EDM artist to have his music on the moon, Brayden Pierce’s “Capture The Moon” is immortalized on the moon in two versions: The Modernist Edition and the MOOON.PARTY Mix. This collaboration with Kelly underscores a synergy between the two creatives which exploded into the founding of MOOON.PARTY: a visionary venture that aims to blend art, music, space, and space content recording into a pioneering festival brand. This initiative, co-founded by Kelly and Brayden, is set to redefine immersive entertainment experiences, leveraging the backdrop of space to inspire and captivate audiences worldwide.

“Bringing art and music to the lunar surface goes beyond exploration; it signifies embedding humanity’s creative essence into the fabric of the cosmos. This endeavor isn’t merely a step forward for us as individual artists but represents a monumental leap for global art and culture. Collaborating with Samy, Brayden, and the Lunaprise Museum on this mission has unfolded as a profound journey of discovery, unity, and limitless creativity. Together, we’ve ignited a beacon of human expression on the moon, casting light across the cosmos to inspire future generations to dream beyond the confines of our known world. This project mirrors the moon’s impartial gaze upon Earth, reminding us that in its light, we are all seen equally. Our ultimate aim is to embody this universal perspective, fostering a tangible sense of unity on Earth, now enriched by the presence of art and music in the lunar realm.” adds Kelly Max.

Legacy Beyond the Stars

The Lunaprise Museum landing not only signifies the establishment of the first museum beyond Earth but also serves as a beacon of human creativity and ingenuity. Lunaprise is leading a historic disruption in space tech, leveraging patented technologies to archive and authenticate digital assets using blockchain, heralding the convergence of space exploration and digital technology. Collectors of music and art will delight in rare, verified assets that are one-of-a-kind, linked to identical twin digital files stored in the Lunaprise museum on the moon.  The artworks of Kelly Max, Samy Halim and Brayden Pierce, now permanently archived on the lunar surface, stand as a testament to the boundless potential of artistic expression. Their achievements herald a new era where art and music extend their reach into the cosmos, inspiring future generations to dream big and reach beyond the known limits.

For The Silo, Gabriela Gutiérrez.

The Met Acquires Monumental Tiffany Window

(New York, December, 2023)—The Metropolitan Museum of Art has announced the acquisition of a monumental Tiffany three-part window, Garden Landscape. The window—over ten feet wide and nearly seven feet tall—was designed by Agnes Northrop in the studios of Louis Comfort Tiffany, the attribution of which is based on a signed design drawing for the center panel that resides in The Met collection.

As part of the Museum’s American Wing 100th anniversary, the window will be installed in the Charles Engelhard Court in November 2024. The window will be dramatically framed by the columns from Laurelton Hall, Tiffany’s Long Island country estate.

The acquisition is made possible by Alan Gerry Gift; 2023 Benefit Fund; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; funds and gifts from various donors, by exchange; Ronald S. Kane Bequest, in memory of Berry B. Tracy; Lila Acheson Wallace, several members of The Chairman’s Council, The Erving and Joyce Wolf Foundation, Martha J. Fleischman, Elizabeth J. and Paul De Rosa, Women and the Critical Eye, Mr. and Mrs. Richard Lockwood Chilton Jr., Cheryl and Blair Effron, The Felicia Fund, Julie and James Alexandre, Elizabeth and Richard Miller, Anonymous, John and Margaret Ruttenberg, and The Gerald H. Ruttenberg Foundation Gifts.

Max Hollein, The Met’s Marina Kellen French Director and CEO, said: “This stunning work of art is an extraordinary example of the transformational creativity of Agnes Northrop and Tiffany Studios. Magnificent in concept and execution and more than grand in size, it deepens the American Wing’s Tiffany holdings and will enhance the already stunning Engelhard Court with a powerful, immersive viewing experience.”

Sylvia Yount, Lawrence A. Fleischman Curator in Charge of the American Wing at The Met, said: “Northrop’s remarkable environmental work further strengthens our representation of women artists in the American Wing and allows us to share broader stories of early-20th-century culture with our visitors.”

The window was originally commissioned by Sarah Cochran, Pittsburgh businesswoman and philanthropist, for Linden Hall, the grand Tudor-Revival estate she had built in 1912 in Dawson, Pennsylvania. She personally requested the subject of the window, which represents a lush landscape and garden suggestive of her own at the estate. Placed on the stair landing of the house, the window enticed the viewer up marble steps and offered a long vista through tall, majestic pines flanking a central fountain amidst profuse flowers—pink and blue hydrangeas, poppies, and nasturtiums. The two side panels depict, on the left, foxglove and peonies, and on the right, hollyhocks, exquisitely rendered in glass. These were subjects favored by Northrop and American Impressionist painters.

Northrop was one of the most important designers in Tiffany’s employ and his preeminent woman designer. In a field dominated by men, Northrop established herself as one of the leading designers of windows, and was recognized for her work by winning a prestigious award at the Exposition Universelle in Paris in 1900. She helps shed light on the critical and often unrecognized role played by women in the art of Louis Comfort Tiffany. Northrop and Tiffany pioneered new landscape and garden subject matter for stained glass, and the window reveals Northrop’s careful observations of nature and her gift for translating it into glass.

Alice Cooney Frelinghuysen, Anthony W. and Lulu C. Wang Curator of American Decorative Arts, said: “This extraordinary evocation of a garden landscape is Northrop’s masterpiece. Made during the height of Louis Tiffany’s career, it was conceived, commissioned, and crafted by women. Featuring flowers in bloom from spring through summer, seen in the enigmatic light of approaching twilight, the window presents a luxuriant garden perennially in bloom.”

Tiffany’s opalescent glass shares a zeitgeist with American Impressionism, merging imagery with chromatic light. Northrop exploited the varied textures, lush colors, and light effects that were only possible with Tiffany’s special Favrile glass made at his furnaces in Corona, Queens, utilizing especially innovative and unusual techniques, some unique in a stained-glass window. The ingenious selection of the glass as well as the cutting of the glass into often thousands of pieces of almost impossible shapes was done by Tiffany’s skilled artisans, who were also largely women. Tiffany deemed the Linden Hall window of such note that he put it on public view in his New York showroom before shipping it to Cochran’s Pennsylvania home.
Featured image: Image: Three-part Garden Landscape window for Linden Hall, Designed by Agnes F. Northrop (1857–1953), Tiffany Studios (1902–32), New York, 1912. Leaded Favrile glass. 124 × 82 inches; 88 3/4 × 81 5/8 inches; 88 3/4 × 81 5/8 inches; center panel: 124 × 82 in. (315 × 208.3 cm); side panels: 88 3/4 × 81 5/8 in. (225.4 × 207.3 cm)

The World’s Weirdest Museums You Must Visit

More often than not, all our museum experiences are quite similar. We see some art or historical artifacts, learn about a subject, and sometimes listen to a lesson during a tour. 

And while every museum is invaluable, sometimes the heart wants something quirkier and unusual.  Evidently, many people had the same sentiment because if you really look, you’ll find some incredible gems in the world of museums. 

Here are the world’s weirdest museums you must visit. 

Momofuku Ando Instant Ramen Museum, Osaka, Japan 

Ramen is synonymous with Japan, so no wonder there is a museum dedicated to it! Momofuko Ando, the Taiwanese-Japanese inventor, invented Chicken ramen noodles in his backyard shed in 1958.  

The Momofuku Ando Instant Ramen Museum shows this Japan’s cult food that went global by displaying ramen noodle packages from around the world and giving the opportunity to taste limited-edition ramen from Hokkaido island and Tohoku region.  Visitors can also design their personal soup packet at the “My Cupnoodles” Factory.  

Spy Museum, Washington DC, USA  

Love spy movies or novels? Then this museum is for you! International Spy Museum in Washington DC has the largest public collection of espionage artifacts that includes various gadgets, cameras, secret weapons, cipher machines, and counterfeit money. 

It’s a rare chance to take a look at this secret profession and see how it’s developed over the years. 

Museum visitors can participate in interactive spy adventures, watch never-seen-before videos of spies and revel in the impressive photo collection.  And who wouldn’t wish for a super-gadget that would help make life easier, to help you in high-stakes situations like basketball betting on BetAmerica.com?  

Sulabh International Museum of Toilets, New Delhi, India 

Roughguides.com names the Sulabh International Museum of Toilets, New Delhi, India, which shows the history of hygiene and sanitation from 2500 B.C. to today, as one of the weirdest museums a person can visit. 

The visitors can see the toilet evolution over the ages – from Roman emperors’ gold-plated toilets to medieval toilets of peasants.  A fun fact – you can find a collection of rare toilet poems in the museum as well.  

British Lawnmower Museum, Merseyside, England 

Can there be something more British than a Lawnmower museum?  If you’re a garden enthusiast or simply like quirky things, you must visit the museum, which details this garden tool’s history. 

Lawnmowers - Picture of British Lawnmower Museum, Southport - Tripadvisor

You’ll find such items as the lawnmowers of Prince Charles and Princess Diana or the world’s first solar-powered robot grass-chopper in the collection.  Probably the cutest lawnmower at the museum is less than five centimeters high and is fully functional!  

Siriraj Medical Museum (Museum of Death), Bangkok, Thailand 

If it sounds scary, that’s because it is. Even though officially named a Medical museum, most people call it simply the museum of death.  If you’re squeamish or find the subject distressing, it’s probably best to skip this one.  

You’ll find severed and mutilated legs and arms, brains, skulls pierced with bullets, lungs that have been stabbed, and other similar things in the collection.  They all illustrate the dark and gruesome ways to transition to death and leave no one indifferent.  

If that’s not enough, you can also see the mummified body of a notorious cannibal Si Quey and the museum’s founder’s skeleton.  

The Museum of Broken Relationships, Zagreb, Croatia 

It is just as sad and beautiful as it sounds. It started as a joke by two Croatian artists who broke up after a long relationship and said they wanted to create a museum to honor it. Well, they did, and it blew up all over the world. 

You can see various mementos from people’s relationships in different countries that include an ax used to destroy a cheating partner’s furniture, jewelry, postcards, and more.  

Paris Sewer Museum, France 

Nobody likes to talk about it, but sewer systems are the basis for a civilized society! However, it’s not the first or even the fifth thing people want to see when visiting the city of love.  

Still, it’s so fascinating and complex.  Lifehack.org explains that it’s an entire network of tunnels as large as the city itself, and also a museum that tourists can visit and explored, complete with tour guides.   Don’t worry, it doesn’t smell that bad, and you’ll see a part of Paris you never thought you would. For the Silo, Milda Urbonaite.

Pornhub launches guide to famous museum erotic art

Unbeknownst to many, some of the world’s best pornography doesn’t exist on Pornhub. Rather, it exists in famous museums around the world: The Louvre (France), The MET (New York City), The Prado (Spain), The Uffizi Gallery (Italy), The National Gallery (UK) and Musee d’Orsay (France), to name a few.

And with museums finally reopening around the world as pandemic restrictions are being lifted, Pornhub wanted to do its part to encourage people to enjoy every stroke of erotic art.

Pornhub is launching “Classic Nudes” to provide museum-goers with an interactive oral history of some of the most renowned erotic art in some of the world’s most famous museums. Pornhub is encouraging people to ditch those boring self-tour recordings and enjoy every single brushstroke of these erotic masterpieces with Pornhub Brand Ambassador Asa Akira.

New York – July, 2021 – Pornhub, the premier online destination for adult entertainment, today announced the launch of “Classic Nudes,” an interactive guide to discover and learn more about erotic art in some of the world’s most famous fine art museums – The Louvre (France), The MET (New York City), The Prado (Spain), The Uffizi Gallery (Italy), The National Gallery (UK) and the Musee d’Orsay (France). With museums finally reopening around the world as pandemic restrictions are being lifted, Pornhub wanted to do its part in stimulating the public to visit, explore and fall back in love (or lust) with these cultural institutions.

The public can tour each of the 6 museums  – either in person or at home – via the Classic Nudes mobile website. The online portal guides visitors past the SFW masterpieces and gets right to the good stuff: representations of the naked body in all its artistic glory. Simply visit the Classic Nudes website on your device, select your museum, follow the map, locate the artwork, and listen, read, or watch along to its curated content.

Hungarian-Italian artist and porn legend Cicciolina stars in the promotional video for Classic Nudes.  Pornhub Brand Ambassador Asa Akira serves as orator for the campaign providing an oral history of 30 erotic art pieces in this curated collection, while Pornhub amateur couple, “MySweetApple” brings 6 iconic artwork to life.

“There’s a treasure trove of erotic art around the world – depicting nudes, orgies, and more – that’s not available on Pornhub. These pre-Internet art pieces are currently sitting in museums, which we are now finally able to start visiting again as covid restrictions are starting to lift ,” said Asa Akira, Pornhub Brand Ambassador. “So as people start to head back to  The Louvre or The MET, they can simply open Classic Nudes, and I’ll be their guide. Time to ditch those boring self-tour recordings and enjoy every single brushstroke of these erotic masterpieces with me.”

Classic Nudes follows previous artistic endeavors from Pornhub including the recently launched “Remastured,” an initiative that used modern A.I technology and machine learning to restore century-old erotic films into titillating technicolor.

Previously, the company commissioned contemporary art gallery Maccarone Los Angeles to present a feminist art show entitled ‘The Pleasure Principle,’ a pan-generational, sexually-charged exhibition of female artists whose work centers the erotic and disrupts the processes of content-cleansing that code certain images as profane, abject, or pornographic. Pornhub also hosted the online premier of SHAKEDOWN, the critically-acclaimed documentary art film centered around the Black lesbian stripper scene in early oughts Los Angeles by filmmaker and vanguard artist Leilah Weinraub. 

Pornhub’s “Classic Nudes” campaign is a collaborative initiative with creative agency Officer & Gentleman.

For more information about Classic Nudes, please visit http://www.phclassicnudes.com/

About Pornhub:

Founded in 2007, Pornhub is the leading free, ad-supported adult video streaming website, offering viewers the opportunity to upload and share their own videos. With over 3 million videos and over 130 million visitors a day, Pornhub truly is the best adult site in the world. Pornhub has built the largest dedicated membership base in the adult community, averaging over 76 million monthly active members, offering viewers a fun and sophisticated social experience directly insite, complete with messaging, photos, achievement badges, and much more.

The Strength Of The Past And Its Great Might

Within the last generation, archaeology has undergone a major transformation, developing from an independent small-scale activity, based upon museums and a few university departments, into a large-scale state organization based upon national legislation.

Dreamer by Thomas Dodd Photography

This has entailed an increase in resources on an unprecedented scale, and has drastically changed the profile of archaeology, which is now firmly fixed within the political and national domains. Moreover, decision making within the discipline has shifted from museums and university departments towards various new national agencies for the conservation and protection of the cultural heritage.

The consequences of this development for the discipline as a whole had remained largely unnoticed until …..click here to read the complete electronic essay by Kristian Kristiansen University of Gothenburg.

Also available via our friends at academia.edu

ALIPH Allocates USD 10 Million For Cultural Heritage Protection In 12 Conflict Countries

Geneva, December 2019 

The International alliance for the protection of heritage in conflict areas (ALIPH) said on Tuesday it has allocated another USD 10 million to support 20 projects that safeguard cultural heritage in 12 countries struggling to recover from conflict, particularly in the Middle East and Africa.

Cultural heritage has been targeted in recent years by armed conflicts; its rehabilitation is now essential for social and cultural reconstruction efforts in affected countries.

ALIPH is the only global fund dedicated to the protection of cultural heritage in conflict areas. To this end, the foundation finances preventive measures, emergency interventions and concrete post-conflict rehabilitation projects all around the world.

Created in response to the massive destruction of cultural heritage in the Middle East and the Sahel region, its offices opened in Geneva in September 2018. These 20 new projects will bring this young organization’s total number of supported projects to 43, for a financing envelope of more than USD 17 million to date.

“Through these interventions, we reaffirm our commitment to help preserve mankind’s collective history and to assist those living in countries affected by conflict in building a renewed sense of hope, community and dignity”, said Dr. Thomas S. Kaplan, Chair of ALIPH Foundation Board. 

This new funding announcement deepens ALIPH’s engagement in three areas of intervention: protecting monuments and sites, safeguarding museums and their collections, and documenting and interconnecting heritage.

The Alliance will also fund, for the first time, an intangible heritage project in Afghanistan to safeguard decorative tile making, carpet weaving and Tambor making. “ALIPH’s support will allow our team to protect, safeguard, and document our priceless heritage which has been gravely weakened by decades of conflict across Afghanistan,” said Hamid Hemat, Cultural Heritage Senior Specialist and Project Manager, at the NGO Turquoise Mountain.

Image result for Hamid Hemat,
Hamid Hemat

This funding cycle will expand ALIPH’s presence from 7 to 12 countries: Afghanistan, Eritrea, Georgia, Iraq, Lebanon, Libya, Palestine, Peru, Somalia, Sudan, Yemen and a project in Denmark to digitize documents on the heritage of Palmyra, Syria. The depth and scope of these projects is possible only because of the strong support of its Member States and private donors.

ALIPH’s ongoing projects have already achieved several milestones, in particular the long-term initiative “Mosul Mosaic” (Iraq) that aims to rehabilitate sites representative of the cultural and religious diversity of the Old City. For instance, the Mosul Museum has now been stabilized, part of its collections safely stored, and its overall rehabilitation action plan finalized. The next step has just been approved by ALIPH, which aims to restore the collections, build capacities and pave the way for the building’s reconstruction.

Two emergency grants in Africa have also concluded: in Mali, staff were trained at the Al-Aqib Library in Timbuktu to restore 3,000 manuscripts, and in Abidjan, the protection of the collection of the Musée des Civilisation de Côte d’Ivoire has been reinforced. “This excellent project is the first of its kind in West Africa. Indeed, thanks to ALIPH’s generous support, the collections of the Museum are now well protected,” said Museum Director, Dr. Silvie Memel-Kassi.

Dr. Silvie Memel-Kassi

Download Factsheet about the projects

About ALIPH

The International alliance for the protection of heritage in conflict areas (ALIPH) provides concrete support for the protection and reconstruction of cultural heritage in conflict zones and post-conflict situations. The Alliance was founded in March 2017 in response to the massive destruction of outstanding, often ancient, cultural heritage in recent years. Operating under Swiss law, this Geneva-based foundation, also has the status of an international organization.

ALIPH financially supports associations, foundations, academic, cultural and heritage institutions, and international organizations working to preserve cultural heritage in the face of imminent conflict or to intervene for its rehabilitation. Its three areas of intervention are: preventive protection to limit the risks of destruction, emergency measures to ensure the security of heritage, and post-conflict actions to enable local populations to once again enjoy their cultural heritage.

ALIPH selects projects through regular calls—the next call will be open from 15 January-16 March. Emergency relief funding can also be applied for on a rolling basis. More information available at: www.aliph-foundation.orgFor the Silo, Sandra Bialystok Aliph Communication and Partnerships Officer.

Government Of Belgium Battling Social Media Sites Blocking Nude Artwork

Facebook and other social media sites are blocking masterpieces of “nude” art from Rubens, Bruegel, Van Eyck and others. In an open letter, several top European Museums are asking social networks to reconsider their policy. Facebook has been in the spotlight recently for blocking content including some parts of the United States Constitution and other historical documents and multimedia content.

Artistic censorship continues to pursue Peter Paul Rubens. In the 17th century, the Flemish Baroque painter was asked by the Catholic Church to paint camouflaging ‘loincloths’ over certain body parts of his Venus figures. Nowadays, social media networks, including Facebook, go one step further. All breasts, buttocks and cherubs painted by artists such as Rubens are banned on these platforms. ‘Bots’ on Facebook use artificial intelligence to screen for nudity, but do not make a distinction between pornographic images or nudity in art. Flanders – the perfect place to enjoy the Flemish Masters in all their glory – is denouncing this artistic censorship in a playful manner. At the Rubens House, ‘nudity viewers’ with a Facebook account were blocked from viewing nudity by a group of “social media police agents”.

Peter Paul Rubens Flemish Master Painter

The Flemish Masters are best experienced in Flanders, the number one destination for art lovers. After all, this is where Rubens, Bruegel and Van Eyck lived and worked. Their work can often be found still hanging in the very same places for which they were made. “We want to promote this unique experience,” says Peter De Wilde, CEO of VISITFLANDERS. “Our Flemish Masters attract hundreds of thousands of visitors to Flanders each year and we are proud of this achievement.

Pieter Bruegel Flemish Master Painter

With our multi-year program focusing on Rubens, Bruegel and Van Eyck, which was launched in 2018, we are aiming for three million visitors by the end of 2020. At the moment it is not possible for us to promote our unique cultural heritage via one of the most popular social media networks. Our art is categorized as being indecent and sometimes even pornographic. This is such a shame as it restricts the promotion of our Flemish Masters.”

Eve detail Ghent Altarpiece by Jan van Eyck
Eve detail Ghent Altarpiece by Jan van Eyck

The agency in charge of promoting tourism in Flanders, Belgium explains that they have invested 30 million US dollars in 2018 to improve the experience of cultural travelers visiting that region, especially in cities like Antwerp, Bruges, Ghent and Brussels. Now they can’t promote some of those museums due to restrictive policies applied by some online social networks.

Jan van Eyck Flemish Master Painter

‘We are for it and not against it’ is what the people of Flanders say. Peter De Wilde explains, “Social media and art have a lot in common. Art brings people together. Social media brings people together, and our Flemish Masters too. This is why we want to enter into discussions with Facebook so that we can use this platform as one way in which to make our art visible. Surely it’s not that difficult to differentiate between cultural heritage and gratuitous nudity?”

VISITFLANDERS position is supported by several top museums in Belgium and around Europe. In an open letter, the institutions ask Mark Zuckerberg to revise Facebook’s policy related to art, culture and heritage. Click here to read the open letter.

“We tried various channels to bring this matter to Facebook’s attention. Unfortunately nobody listened,” De Wilde explains. Flanders hopes the comedy video produced in Rubens’s House will facilitate a discussion to solve the issue and allow users to view this content that is present in encyclopedias and elementary school grade text books. “Flanders is a unique art destination. But because we are naturally modest in Flanders, we do not shout out about it often enough. This stunt enables us to make our presence felt and also honor the spirit of Pieter Paul Rubens. He was an artistic rebel who was not afraid of engaging in social debate. There’s no finer tribute to honor our Flemish Master than by taking up the battle against unnecessary artistic censorship.”  For the Silo, Marcos Stupenengo.

About the Flemish Masters.
For over 250 years, from the 15th to long into the 17th century, Flanders was a figurehead for fine arts in Western Europe and the source of inspiration for well-known art movements of the time, such as the Flemish primitives, the Renaissance and the Baroque. Artists were known for their craftsmanship, creativity and technical innovations and they transformed the prosperous and urbanized Flanders into one of the most refined cultural regions with their impressive artistic and architectural creations.

About Peter Paul Rubens, master of female nudity.
Rubens is the best-known Flemish Master. This Baroque painter, illustrator and diplomat was one of the most celebrated artists of the 17th century. He exerted a particularly strong influence. He was a master of color, composition and painting techniques and also an expert in painting female nudity. His nude figures – which often refer to mythical beings – appear extremely lifelike, made from flesh and blood, with a fair amount of cellulite and with all kinds of body shapes visibly on display.

About Antwerp, the home of the Flemish Baroque movement.
Lonely Planet selected the best cities to visit in 2018 and included Antwerp in its top 10. According to the travel guide, Antwerp is one of Europe’s best kept secrets. And there is certainly plenty to see and do there in 2018. The “Antwerp Baroque 2018. Rubens inspires” festival shows you the finest places in Antwerp: www.antwerpbaroque2018.be

New Way Of Experiencing New York Adirondack Mountains

Wild Walk, or the “High Line of the Forest” is changing the way people experience and interact with nature, and is just another reason to travel to the revered Adirondack Mountains this summer.

Adirondack Mountains Hollow Tree Platform

An elevated path that takes visitors up a winding trail of bridges and platforms from ground level to breathtaking treetops, Wild Walk gives visitors a novel and one-of-a-kind perspective on nature from groundbreaking angles such as a four-story twig tree house, swinging bridges, a human-sized spider’s web hovering 24-feet off the ground and a walk through a giant dead tree to see the amazing life thriving within.

Wild Walk Preview Video from The Wild Center on Vimeo.

Demonstrations at vantage points throughout the walk bring everything to life, such as how spiders can 3D print different threads for different uses, that within a dead tree is actually something more like a high rise building filled with life, and more.

Quick Facts:

  • This summer marks the 11th anniversary of The Wild Center, a pioneering “un-museum” that helps people not only explore the Adirondacks but their relationship with nature.  
  • Gas Prices: If gas prices decrease as predicted and with travelers heightened interest in exploring the US – this is the summer for road trips
  • The Power of Awe: Studies show that a sense of awe (often caused by majestic, natural landscapes) can make you happier, less-stressed, and more creative – one more reason to make nature a focus for summer travels this year
  • Adirondacks: The untouched and authentic Upstate New York experience for all ages with additional attractions including camping, glamping, kayaking, local breweries, wineries, farmer’s markets, Lake Placid and more
  • Family Travel: Educational and entertaining trips where kids are safe to run free and explore; the boardwalk is also wheelchair and stroller accessible
  • Accessibility: Wild Walk is accessible to people of all generations and abilities. There will be side paths and options to take, suspension bridges, and stairs down, but the entire main structure, from the trail leading to Feeder Alley all the way to the viewing pod on the final tower platform was built specifically so that it would afford everyone the chance to experience the Walk.

For the Silo, Alexis Chernoff