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How did we get halfway through May already? It’s time to mention I’ll be taking my first break in six years between May 26 and June 6. We’ll be in Sweden. I’ll try to blog, but you never know.

It sure will feel strange not to post. I have put something up on this site every day since May 2011!

But before I leave, I have other things to share, including today’s photos. The first two are from the giant mural in Dewey Square, Boston — the latest in the Greenway’s ongoing series. The featured artist this time is Mehdi Ghadyanloo from Iran, where he is known for upbeat murals.

The next photo shows a WPA mural in the Arlington, Mass., post office. John pointed me to it after he saw my recent post “Hunting Down WPA Art.”

Then comes another of my shadow photos. Can’t resist shadows. That one is followed by tree-stump mushrooms and dogwood. Can’t resist mushrooms either.

The four Providence photos that follow attest to the fact that the city finally experienced a sunny Tuesday morning (the first since February). Blackstone Park is the location of the Indian shelter and the fallen birch tree with the mysterious yellow plastic strips (art?). Nearby was a wondrous carpet of pink petals and an early rower on the Seekonk River.

Finally, I wanted to show you my lilac progression. With muse.

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Photo: SWG3/Facebook
Y
ardworks takes place May 6 and 7
, 2017, in Glasgow, Scotland.

Melita knows I like artistic graffiti. In fact, we are both such fans of Lata_65 (graffiti for old folks) that we intend to try our hand at spray painting if the organization ever comes to the Boston area.

Today Melita shared a link on Facebook about graffiti in Glasgow.

Gregor Kyle wrote at GlasgowLive, “Scotland’s first dedicated graffiti festival will take street art into the heart of the community in Glasgow and open up new opportunities for young people across the city.

“Next weekend (May 6 and 7) in Finnieston, SWG3 will host over 30 of the world’s finest graffiti artists and 50 of Scotland’s street artists at the Yardworks Festival. …

“One of its main aims is to strengthen SWG3’s bond with the local community and the city of Glasgow as a whole.

“School and youth groups have been invited, with the days featuring specialist graffiti workshops and a ‘Creation Station’ for children which will allow everyone the chance to try their hand at painting. …

“ ‘It’s Scotland’s first graffiti festival and the scale of it now, the way it has grown, it’s massive now,’ explained Gaz, who is himself a graffiti artist and part of the management team at SWG3. …

“Most Glaswegians will know SWG3 as a club and concert space but by day it is a thriving hub for artists, filled with studio spaces and workshops. Slowly but steadily it has progressed over the years with the scale and ambitions of its projects growing bigger and bigger.

” ‘The yard is now basically a massive canvas for the artists,’ continued Gaz. ‘We have rendered the walls, wrapped containers in sheet metal – at no small expense – and every surface will be perfect for the artists to paint on. …

” ‘We are trying to build a sense of community in the area, which can be hard sometimes when you have a transient population with some of the students maybe only staying in the flats here for a term and then moving on.

“ ‘Finnieston has this reputation as this hipster area; what people forget is that there is this core population here and in the likes of Partick and Anderston who have lived here a long time. …

“ ‘The Commonwealth Games in Glasgow were fantastic for the city. They drew people together and, through a number of projects, connected me with a lot of other artists and graffiti writers that I didn’t know in the city.

“ ‘We will be looking to run workshops in the summer for young people and will try to play our part in improving the area and bringing the community together.’ ”

More at GlasgowLive, here.

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As everyone knows, there was serious unemployment when Franklin D. Roosevelt was president, so, in collaboration with Congress, he had the government hire people to create work that continues to benefit us —  roads and parks, for example, and fine art.

Unfortunately, some murals and sculptures from the 1930s and 1940s have been lost, so the search is on to reclaim it.

Matthew Blitz at Atlas Obscura has the story. “The United States government wants its art back. Special Agent Eric Radwick, who works in the Office of Investigations for the General Service Administration’s Office of the Inspector General, is working to do just that — to locate and recover government-owned long-lost artwork of the New Deal-era federal arts programs. It could be hidden in plain sight.

“It could be in grandma’s attic. It could be in the possession of art collectors. No matter if it was found in the trash or cost a few grand, the art is federal property. … Most people, upon realizing they are in possession of federal property, are cooperative. …

“On May 9th, 1933, President Franklin Delano Roosevelt received a rather curious letter from an old classmate and professional artist George Biddle. Since his March inauguration, President Roosevelt had implemented the most aggressive 100 days agenda in the country’s history in hopes of solving the Great Depression.

“While absurdly busy — he had just delivered his second Fireside Chat and was about to sign both the Farm Relief and Unemployment Relief bills — this note gave him pause. In it, Biddle wrote that he had long admired the Mexican government for paying artists ‘plumbers’ wages’ to paint murals on government buildings expressing Mexican ideals. Perhaps the President should consider something similar in the United States? …

“The letter got the President’s attention. A month later, Biddle met with members of FDR’s administration in Washington about his proposal. By the end of 1933, the first national art relief program — the Public Works of Art Project — was established.

“Over the next decade, the American art scene flourished thanks to the financial encouragement of the government. According to Smithsonian Magazine, in the first four months of 1934 alone, nearly 4,000 artists were hired to produce over 15,000 paintings, murals, sculptures and other works of art for federal buildings across the country. In 1935, the Works Progress Administration’s Federal Art Project was established, the largest of these programs both in scope and number of artists employed. …

“At a time of crisis in America, these programs not only provided an enormous collection of artwork for public consumption, but gave the creators a sense that they were needed. ‘It made them feel like they counted,’ says Virginia M. Mecklenburg, Chief Curator at the Smithsonian American Art Museum.”

Oh, my, what an enlightened federal government! Sometimes one hopes for history to repeat itself.

Read about the challenges of tracking down missing federal artwork at Atlas Obscura, here.

Once upon a time, when the federal government was concerned about unemployment, it paid people to work, artists included. That’s why many murals appeared in post offices and other government buildings in the 1930s and 1940s. This post office mural by Charles Anton Kaeselau depicts the shot heard ’round the world at Concord’s North Bridge.

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Art: Caleb Cole
“The Teacher,” exhibited at a Montserrat College of Art show, is a portrait of unnoticed dedication.

Cate McQuaid’s recent Boston Globe review of an art exhibit really spoke to me. I liked the idea of portraits that have meaning beneath the surface, and I especially liked the portrait of a teacher devoting extra time to his job. Anyway, that’s what I saw here. McQuaid saw woe.

McQuaid wrote, “With portraits, the subject tries on one face, the artist may capture another, and the viewer may see something else. Your projection, my projection. It’s all dreadfully nebulous, but if it weren’t, it would be pat and dull.

“ ‘Observance: As I See You, You See Me,’ an exhibition of photographic portraits at Montserrat College of Art’s Montserrat Gallery, examines what these shifting valences tell us about identity and societal assumptions. Many of the artists and subjects, people of color or queer, have experienced the walls strangers throw up based on appearance alone. …

“Woe is a keynote in Caleb Cole’s series ‘Other People Clothes,’ elaborately staged scenes in which the artist creates fictional personae. Cole is small and balding, with a peak of red hair, like Tintin. In ‘February Is Dental Month,’ the artist, surrounded by file folders, looks down at us from behind a large desk. We can find a story here, but the expression tells more: alienation, tenderness, perhaps disdain.” More here.

As much as I like abstract art, representational art that stirs the depths can be fascinating.

My Struggle, by Karl Ove Knausgaard, does something like that. The seemingly endless minutiae of the author’s life and thoughts flow along the surface, but something compelling emerges that is hard to describe. The writing is cinematic. The author sees everything, and observing him observe everything creates a powerful connection.

Interestingly, in the part of My Struggle that I’m reading now, Book 5, Knausgaard gets a tip from a successful novelist about having the “hinterland,” or backstory, of all your characters in mind when you write fiction. As with the Cole portrait of the teacher, the observer will sense things that are not spelled out.

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Photo: Rachel Sussman
Rachel Sussman’s “Study for Sidewalk Kintsukuroi #02 (MASS MoCA),” photograph with enamel paint and metallic dust.

What a lovely art idea! Mending cracks with gold resonates with me on so many different levels. You start with sidewalks and then …

Allison Meier writes at Hyperallergic, “Artist Rachel Sussman had traveled for years photographing the most ancient organisms on Earth when a photograph on social media of a shattered bowl reassembled with gold introduced her to the tradition of kintsukuroi, also called kintsugi. In this Japanese practice, broken pottery is repaired with gold dust and glue. …

“This sense of time and its visibly healed scars, and the beauty of imperfections, helped inspire her current Sidewalk Kintsukuroi series, of which the newest edition is in ‘Alchemy: Transformations in Gold,’ currently at the Des Moines Art Center in Iowa. As part of the exhibition, which considers the cultural and historical connotations of gold, Sussman repaired a fissure in the museum’s marble floor, an embedded installation now in their permanent collection.

“ ‘We’re not talking the millions of years it took for the Grand Canyon to form, but by noticing the crack in the marble floor of the Des Moines Art Center that formed over the course of several decades, it serves as a reminder that natural processes are happening all around us, but at a pace that is far too slow for us to observe with the naked eye,’ Sussman explained.

“The Alchemy exhibition includes images of her Sidewalk Kintsukuroi gold dust alterations on photographs of cracks on the streets of Soho and Williamsburg in New York City. Each patching, whether a physical surface or photograph, can take weeks of physically straining work. …

“ ‘Over time, even the repairs will be destroyed,’ Sussman stated. … “Such is the transient nature of everything in the universe. All the more reason to value the time we have.”

” ‘Alchemy: Transformations in Gold’ continues at the Des Moines Art Center (4700 Grand Avenue, Des Moines, Iowa) through May 5.”

Love this concept! Let’s mend everything in ways that go beyond the need.

More at Hyperallergic, here.

Hat tip: Gwarlingo on twitter.

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Photo: Southwest Minnesota Housing Partnership
Hmong dance festival in southwest Minnesota. A Community Development Investments grant from ArtsPlace aims to give newcomers a voice.

Never underestimate the power of art and cultural events to improve lives.

As Amy Evans reports in the magazine Shelterforce (published by the National Housing Institute), the community development field has come to recognize that the arts are key to integrating diverse populations.

Evans discusses the issue with the McKnight Foundation’s Vickie Benson.

“More and more, it seems that arts and culture are being perceived as essential to the core fabric of what builds and nourishes communities — and that gives Benson enormous hope. ArtPlace America, a decade-old collaboration of foundations, federal agencies, and financial institutions, has been one of the driving forces for that shift, Benson says, by insisting that the arts must be in conversation with other sectors, whether community development, housing, or health.

“In Minnesota, the Southwest Minnesota Housing Partnership (SWMHP) has joined that conversation. With the support of a community development investment [CDI] grant from ArtPlace America, which will provide $3 million in funding over three years, SWMHP is exploring ways of building arts and culture into its operations.

“It’s a bold step for the organization, and one that Benson wholeheartedly applauds.

” ‘Music, dance, or visual art are forms of expression within many cultures. And just the weaving together of these many, many varied cultural traditions is a natural path for people to communicate with each other,’ says Benson. ‘That is what I hope to see, that communities will understand the importance of arts and culture not as an add-on but as a core piece of community development.’ …

“A couple of decades ago, [the future of the southwest Minnesota town of Worthington] future looked bleak. The farm crisis had taken its toll; the town’s population dropped from 10,243 in 1980 to 9,980 in 1990 as people left the area in search of better opportunities.

“The expansion of the meat processing industry in Worthington turned this trend around. JBS Swift and Co., a subsidiary of ConAgra Foods Inc., established what would become its principal plant in Worthington. The impact was far-reaching in the area, propping up small businesses like Smith Trucking Inc. and local hog producers.

“In 1989, increases in productivity led to an additional shift at the plant, attracting workers from literally around the world. … The so-called foreign-born population of Worthington jumped in parallel from 3.7 percent of the total population in 1990 to more than 15 percent in 2000.

“Mike Woll remembers when that shift took place. ‘Worthington’s history of immigration dates back to when I was in high school, when we had some early Lao immigrants,’ Woll recalls. ‘The community became incredibly diverse.’

“Walk into Woll’s high school today and some 50 dialects can be heard, from Central American to Southeast Asian to East African. Downtown on 10th Street, Woll says, ‘you’ll see people from all over the world. Myanmar, Ethiopia, Laos, all sorts of Latin American influence. It’s a remarkable place.’ …

“Woll hopes that one outcome of Worthington’s participation in the CDI Initiative will be preservation of one of the community’s strongest assets.

“ ‘Diversity brings challenges, but it’s put Worthington ahead of the curve. It gives us a broader scope of the world,’ Woll says. He is proud to know that his college-aged son, who grew up in Worthington, can take living in a multicultural environment for granted, even more so than his peers from places like Minneapolis and Chicago. But making space for multiculturalism to truly thrive means giving voice to communities that often haven’t had a seat at the table. Woll hopes that the CDI Initiative will help expand leadership roles to segments of the population who have so much to say, but haven’t had the platform to say it.

“ ‘If not for a program like [ArtPlace], those cultures do get lost,’ Woll says. ‘Having a bit of institutional strength and a financial boost from ArtPlace can help take what are challenges and turn them into positives.’ ”

More at Shelterforce, here.

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Photo: Getty
People take part in an installation entitled Sea of Hull, by artist Spencer Tunick.

The notion that the arts and related fields like graphic design can boost local economies has been an article of faith for decades, causing disappointment when it frequently fails to lift whole cities above poverty.

Nevertheless, done right and with other stars in alignment, it can be a piece of the economic puzzle in a changing world.

Here is a recent angle from Kingston upon Hull in the UK.

David Barnett reports at the Independent, “On New Year’s Day, a firework display heralded the beginning of Hull’s tenure as the Britain’s City of Culture. Multimedia stories from the city’s maritime and industrial heritage were projected on local buildings in front of a crowd of thousands.

“Over in the Hull City Museum they like a bit of culture and they know Hull’s had it for a long time; exhibits go back to the Paleolithic era. There’s also a recreation of a Roman bath house, featuring mosaics discovered in the 1940s in the Roman settlement of Petuaria, modern-day Brough in East Yorkshire.

“But never mind the Romans … what, the people of Hull might be asking, in true Monty Python’s Life of Brian style, has culture ever done for us? …

“It regularly tops the deprivation rankings for the UK’s 326 local authorities – according to the Kingston upon Hull Data Observatory’s latest figures, Hull ranks as the third most deprived local authority generally, and tops the lists of deprivation for education, skills and training. ..

“Perhaps a typical, post-industrial Northern city. Its traditional industries of whaling and sea-fishing have declined, as elsewhere; Hull still remains a large port, though, and there has been a successful drive to attract chemical and health companies to the area. …

“ ‘There might well be degrees of scepticism about what culture can mean to a place like Hull,’ says Robert Palmer, the director of the team that won and managed Glasgow’s successful bid to be named European City of Culture (as it was then known) in 1990. ‘But being designated a capital of culture can bring long-term effects in terms of the legacy it can offer.’ …

” ‘We employ a very broad definition of culture,’ says Palmer. ‘It’s not just what people might think of as “fine culture.” It’s not just opera. …’

“Which is why Hull’s City of Culture website lists events for the coming year that range from acrobatics to walking tours, by way of cabaret, jazz, literature, parkour and, yes, opera. Which is all very nice, but is it just a distraction from the problems facing Hull?

“ ‘There are tangible economic benefits,’ says Palmer. ‘We’ve seen it before in all cities that get a culture status, it’s well documented. Visitor numbers, job creation, the social impact through participation from social groups who are not normally involved in culture. The benefits are incontestable.’ ”

Lots more here.

Perhaps one year of intense focus on the arts and culture can energize enough residents to keep the momentum going. It certainly seems to have done so for Liverpool, another struggling postindustrial city that was a UK City of Culture in 2008.

One wonders if a designation as, say, a City of Math and Science might have the same kind of long-term ripples.

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Photo: Andrew Edlin Gallery
Part-time gravedigger John Byam’s carvings of hands, as seen in a New York gallery.

Artists often have to support themselves with non-art jobs. Gone are the wealthy arts patrons of past centuries, and maybe that’s not all bad, considering the Medicis. In any case, it’s interesting to see what kinds of jobs contemporary artists hold down. You may recall this post about Brando’s gardener’s art, for example.

Now at Hypoallergic, Allison Meier describes the recent gallery showing of a self-taught artist who dug graves in his spare time.

“Dusted with sawdust, John Byam’s sculptures appear as if they’ve just been carved, the shavings attached with glue binder giving a rawness to the miniature spacecrafts, airplanes, houses, helicopters, cameras, and coffins. Andrew Edlin Gallery in Manhattan [displayed] an assembly of these pocket-sized pieces by the late Byam in Unearthed. …

“Born in 1929 in Oneonta, New York, Byam mostly lived a local life, working at his family’s trailer court, with a two-year stint in the military taking him to Japan during the Korean War.

“Later, he had odd jobs with the Delaware and Hudson Railway and as a gravedigger at the local cemetery. The wood carvings, arranged by theme at Andrew Edlin with no label text, have traces of this autobiographical narrative, with a platoon of tanks and heavy artillery, or an open coffin, colored black, on a rolling gurney.

“Yet others, like spaceships and rockets, one with ‘”Moon or Bust’ scrawled in red, herald dreams of exploration. Recognizable pop culture forms, including the U.S.S. Enterprise from Star Trek, suggest these ambitions were limited to vicarious experiences through television, magazines, and movies.

“While that gives the toy-like objects a melancholy edge, they have a lot of joy in their detailed shapes. Byam seemed to delight in making even a simple chair on such a small-scale, with annotations in pencil indicating details like ‘door front’ on a tiny house. An array of human hands chiseled into various poses, one holding a coin, another with the words ‘2 close hands’ folded in prayer, shows a similar enchantment with the shape of things. …

“Byam was a deft craftsman in the tradition of American vernacular woodcarving, and his roughly hewn art is haunted by 20th-century culture, both its wars and fantasies.”

Hyperallergic has some great pictures of Byam’s art here.

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Art: Tomihiro Hoshino

For more than 30 years, a woman from Hokkaido, Japan, who stayed at our house while studying the local PTA has been sending me magnificent calendars.

The calendars are from a talented artist and former athlete whose paralysis led him to master holding a brush in his mouth. His name is Tomihiro Hoshino.

An article at AccessibleJapan reports, “Tomihiro Hoshino was an experienced 24-year-old gymnastics teacher with a real passion for the sport. An active mountain climber and gymnastics instructor, his life changed completely as he was demonstrating a double somersault technique to a group of junior high school students. Hoshino unfortunately injured his neck during the maneuver and since that day he has been completely paralyzed from the neck down.

“The accident was a serious blow to this extremely active person who was forced to lay motionless for nine years in a Gunma orthopedic Hospital where he was kept under heavy surveillance for respiratory problems and complications as a result of the injury. He and his family never gave up hope that his physical condition would stabilize and improve. Although it took nine years, and he came close to death many times, there was always hope for the future.

“Many say that this hope came two years after his accident. In 1972 one of the patients that had stayed in the same room as Tomihiro Hoshino was being transferred into a different hospital. He asked that the staff, as well as all of the people that stayed with him, to sign a card as a memento of his time in the hospital. Tomihiro couldn’t come up with a solution as to how he would be able to sign his name for the man but with the help of his mother he was able to hold a pen in his mouth and eventually sign Tomo. This would be the beginning of how Tomihiro would begin his career in writing and painting.

“The second event that produced real inspiration for Tomihiro Hoshino was a time that a friend brought him flowers and left them in the window. …

“He was moved to start expressing what they meant to him. He began to gradually draw flowers and eventually became an adept painter with his mouth. …

“Tomihiro Hoshino has successfully produced hundreds of pieces of artwork, many of his essays and poems have been published and his work is displayed in permanent exhibitions at the Tomihiro Hoshino Museum. …

“If you are interested in Tomihiro Hoshino’s works, you can purchase them on Amazon or visit his art gallery in Gunma, Japan.”

More at AccessibleJapan, here. Read about his museum here. Those who read Japanese may click here.

I feel lucky to have had this decades-long friendship with a woman in Hokkaido. Although we haven’t seen each other since the 1980s, her daughter, Mika, came to visit while living in New York. Mika helped decorate our Christmas tree that year. Nowadays, I never do the tree without thinking of her.

Image: Tomihiro Art Museum

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Photo: Imgur
Juuso makes art by rolling in paint. Sales of his paintings help animals who, like him, have been orphaned.

This orphaned brown bear is helping to raise money for the Finnish center that rescued him. And he’s not riding a unicycle like a circus bear. He’s doing something he apparently really likes: Art.

Jussi Rosendahl and Attila Cser report at Reuters, “The artist behind the exhibition entitled ‘Strong and soft touches’ is a 423-kilogram (930 pound) brown bear named Juuso who uses his body, especially his paws, as paintbrushes.

” ‘We just leave paint for him, some plywood and paper … If we ask him to do it, he doesn’t do anything. He does all the work in his own time, when he’s alone, sitting and moving his legs on the paper,’ said Pasi Jantti, one of his keepers.

“Juuso, who is 17 years old, favors blue and red, the keeper said, adding that the paints used posed no health risk to the bear.

“His keepers discovered Juuso’s artistic bent one day while painting some facilities at Kuusamo animal center in northern Finland where he has been living since being orphaned as a cub.

” ‘Juuso got some paint in his paws and started to make marks with them. We noticed that he liked it,’ Jantti said.”

Read more at Reuters, here.

I have to hand it to keepers who noticed what the bear enjoyed, let him do it, and thought up a way it could help other animals in their care.

Photo: The Independent
Two Juuso originals that have already sold.

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The children’s holiday show at the American Repertory Theater (A.R.T.) this year was a musical version of Roald Dahl’s James and the Giant Peach. My husband and I went to see it with our older grandson and granddaughter.

Last year, invited by our grandson’s friend and her grandmother, we attended A.R.T.’s musical about a pirate princess. Unfortunately, we didn’t have a good view. Somehow or other I had failed to complete my ticket purchase, and we ended up standing in the back much of the time.

This year we were right up front. Our six-year-old grandson was thoroughly engaged with the performance this year. His three-year-old sister, dressed up like a princess, was riveted but felt safest watching the show from my lap.

“What happened to James’s mother and father?” was her first question as the lights went up at the end. I reluctantly reported that they were eaten by a rhinoceros but added that, of course, “That’s pretend. Rhinoceroses don’t eat people.” She took it in stride and later told the theater-going neighbor from down the street that she loved the show.

One thing A.R.T. likes to do with children’s shows is provide some interactivity. For the Pirate Princess, there were actors in costumes before the performance wandering around the lobby and posing for pictures with the children. For Giant Peach, children could make origami fortune tellers (once called “cootie catchers”) that looked either like herring gulls or sharks. When sharks and gulls appeared in the production, children were encouraged to activate their own small versions. Our grandchildren both made sharks.

An adult played James in a childlike way. After James’s parents vanish, he’s sent sent to live with two nasty aunts, played by men. He is rescued when magic beans turn a peach into something big enough to crush the aunts.

As the peach grows, the critters inside the peach become giant-sized themselves (earthworm, spider, ladybug, centipede) and soon join forces with James as they all float skyward in the peach.

Each bug contributes special skills to extricating the team from dangers. I especially liked the blind earthworm, whose special skill turned out to be posing as bait for fearsome gulls so his friends could harness them with Miss Spider’s silk to get the peach away from sharks.

You can read more about the production here. Last chance to see the show is January 8, 2017.

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Chalk up another one for art and culture. According to Lisa Contag at the website Blouin Art Info, a UNESCO study has found evidence that art and culture improve safety in cities, in part by building social cohesion.

She writes, “UNESCO makes a strong case for systematically fostering culture in city planning in its new ‘Global Report, Culture: Urban Future.’ …

“In more than 100 case studies, the survey analyzes the situations, risks, and potentials for cities in a number of regional contexts, with a particular interest also in Africa and Asia, where urbanization is expected to continue increasing rapidly in the next decades.

“ ‘Culture lies at the heart of urban renewal and innovation. This report provides a wealth of insights and concrete evidence showing the power of culture as a strategic asset for creating cities that are more inclusive, creative and sustainable,’ Irina Bokova, Director-General of UNESCO noted in a statement, stressing that ‘culture gives cities social and economic power,’ especially with the help of the creative industries.

“As an example, the report refers to Shanghai, China, which has held the status of a UNESCO Creative City of Design since 2010, and is considered ‘one of the world’s major creative centers, with more than 7.4% of residents employed in the creative industries.’

“Cities in conflict and post-conflict situations, such as Samarra, Iraq, which was confronted with the destruction of a number of invaluable sites such as the Al-Askari Shrine in 2006, are also taken into consideration and seem to benefit similarly. ‘Reconstruction and rehabilitation efforts have demonstrated the ability of culture to restore social cohesion between communities and improve livelihoods, paving the way for dialogue and reconciliation,’ the authors explain.”

The authors observe that culturally diverse, safe, and thriving cities are people-centered and culture-centered and feature policy-making that builds on culture.

More here.

Photo: UNESCO
Screenshot from Reza’s UNESCO video “Culture – the Soul of Cities”

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The Royal Frog Ballet recently staged an outdoor event to welcome fall, but according to the lead players, it wasn’t so much a performance for strangers as a gift to new friends. The effect was surreal and entertaining.

Amelia Mason reports at WBUR, “A masked woman in an apron and kerchief jumps up on a picnic table and addresses a crowd.

“ ‘I’m your grandmother, and I’m here to help you throughout this show …  The first thing to know is that when I ring this bell it means we’re all going to move to the next thing and you’re going to have to follow my directions, OK?’

“It is the opening night of the Royal Frog Ballet’s ninth-annual ‘Surrealist Cabaret.’ Our guide — Shea Witzo, in the role of the Granny — gives us some more instructions: Watch out for holes. Stick close together. But first — wait. We pause for a moment, unsure of where to look.

“Then, 6-year-old Aiden Bairstow catches sight of something.

“ ‘Oh, I know what’s happening,’ he says. ‘I see it right behind you.’ We turn to see a band — fiddle, accordion and drums — approaching from across the field.

“The farm, it turns out, has many secrets in store. No matter where we look, something strange and surprising is bound to appear: a tall, swaying monster on stilts, for instance, or the pair of scientists who inform us that we are part of their experiment. At one point, our guide delights us with a salty parody of Bruce Springsteen’s ‘Dancing in the Dark.’ The pieces are linked loosely around a theme. …

“ ‘A lot of us are trying to make work that is like a gift, rather than a performance for [the audience],’ says Sophie Wood, one of the founders of the ‘Surrealist Cabaret.’ The project started in 2007, when Wood and a group of artist friends decided to perform some of their works-in-progress at a farm in Amherst. They mounted the production in a big barn and served the audience dinner. …

“The collective goes by the name the Royal Frog Ballet, and it has mounted weird and whimsical performances every year since its founding. … This fall, the theme is ‘hope and joy.’ …

“ ‘It feels like an old tradition,’ says Leah Sakala. … ‘It feels like we’re partaking in something, the kind of art that’s been made for a very long time, but at the same time it manages to be very relevant.’ ”

More here.

Photo: Sarah Ledbetter for WBUR
A performance of the “Surrealist Cabaret” in Essex, Mass., in October.

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I tend to follow environmentalists, artists, and community development nonprofits on twitter, sometimes finding ideas I want to share here. Smaller Cities Unite! (@SmallerCitiesU) is a source for all three topics. Recently it linked to this Live Science article by Tia Ghose.

Ghose writes, “Artist Sigalit Landau submerged a 1920s-style long, black dress in Israel’s Dead Sea for two months in 2014. When the dress was lifted from the salty waters, it was a sparkling, crystalline sculpture formed from salt. …

“Landau has been inspired by the Dead Sea’s unique environment for past artwork, including salt-crystal-encrusted lamps, a salty hangman’s noose and a crystalline island made of shoes, according to the artist’s website.

“The current exhibit uses a dress that is a replica of the long, black one worn by a character in the classic Hasidic Jewish ghost-story called ‘The Dybbuk.’ In that story, the bride, Leah, is possessed by the evil spirit of her dead suitor, who died before they could marry. The dress was worn during the 1920s production of the play. …

“The Dead Sea is one of the saltiest bodies of water on Earth. At 34 percent salnity, it is several times saltier than the open ocean. … The hypersalinity is also what’s behind the alchemy that transforms the black dress into a shining white dress. Salt tends to crystallize out of very salty solutions, and it typically nucleates, or seeds, at places that have saltier concentrations than the surrounding water …

“As the dress initially caught bits of extra salt, that led to a locally higher concentration of salt, spurring the salt molecules to line up into crystals that eventually grew and transformed this deathly dress into a sparkly saline jewel.”

Read more.

Photo: Matanya Tausig
Sigalit Landau’s sparkly salt sculpture was originally a black dress that was submerged in the Dead Sea for two months.

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Among the sights I’ve wanted to photograph in the last few weeks is a sculpture outside the Umbrella Community Arts Center. It invites you to look through and focus on an aspect of the view.

Next up, the old house where Ephraim Bull developed the Concord Grape. Another sign there told me that there was a “Sale Pending.”

My friend Meredith is a featured artist at Concord Art’s new juried show. She has done several treatments of her fica plant, but the one in the show is a lovely collage of painted paper.

I recently discovered on a morning walk that the Providence Preservation Society has generously opened its multilevel garden to the public during certain hours of the day. What a peaceful place to just sit and think! Not far away is the What Cheer Garage (I like the name). Across Providence, you can discover a fine-looking hen on the wall of Olga’s Cup and Saucer, and a street art stencil recommending Speak no evil, See no evil, Hear no evil.

I also like the alley alongside the Providence Performing Arts Center and a hilly street that looks more like Europe than New England.

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