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Posts Tagged ‘restoration’

Photo: AllAboutBirds.
The northern bobwhite quail has a hopeful story.

This is a comeback story. When habitat is lost through ignorance, knowledge can restore that habitat — and the wildlife that used to live there. Humans can learn.

At the Washington Post, Dana Hedgpeth reports on a charming bird that says its name.

‘I don’t want to shoot them anymore — I just like to see them around and hear them whistle,’ said a landowner

“In his teen years, when Joe Graves heard the unique call of quail on his family’s 800-acre farm in rural Virginia, he and his brother Clark would often go out with their dogs and hunt them.

“But due to development and a shift in agricultural practices, the birds that once flourished on their farm in Halifax County and in the state have become harder to find. Now Virginia wildlife experts, hunters and landowners, including the Graves brothers — who are now in their 70s — are working to restore quail habitats in an effort to increase their population.

“ ‘We want to see quail be a part of the Virginia landscape, so we’re trying to create habitats that are critical for their survival,’ said Graves.

“Northern bobwhite quail, which are roughly the size of a softball, have short legs, short wings and don’t fly much. From afar they look like small, plump chickens that walk with their chests puffed out. Male quail typically have a white coloring on their neck area. Quail are best known for their unique sound — similar to a sharp whistle, which they make to communicate with each other and as a way to attract a mate.

“Because they spend most of their life on the ground — much like pheasants and turkeys — quail need a mix of habitat: Honeysuckle and briers provide protection from predators, and they walk among shrubby patches, between weeds and grasses, pecking at seeds. In the fall and winter, quail typically live in flocks, or coveys, with about a dozen birds. They roost in a circle, shoulder-to-shoulder to stay warm, and face outward to watch for predators.

“When a snake, hawk or raccoon approaches, a quail’s defense mechanism is to escape by leaping into the air, flying fast for a few seconds, though they don’t go far — about half the length of a football field. The longer they’re in the air, the more exposed they are to a predator. …

“Quail habitats have been ruined by several factors, including encroaching development and farming practices that have changed because many landowners want neat, well-kept fields between planting seasons. Justin Folks, a wildlife biologist for the Virginia Department of Wildlife Resources, said simply, ‘Quail like weeds and brush, and farmers don’t.’

“Hudson Reese, 84, who owns 1,000 acres in Halifax County, said as a teen, he could regularly find eight coveys of quail on his farm, and now that’s down to one or two. ‘People have tractors, bush hogs and mowers now,’ Reese said. ‘They want to keep their property looking like a golf course. You don’t have quail on a golf course.’ …

“With the destruction of their habitats, the quail population in Virginia has plunged nearly 80 percent since the 1960s, and so too has interest in hunting them. …

“Nationally, experts said quail were once in the mid-Atlantic region, Southeast and Midwest but are now considered one of the top birds suffering a major population decline.

“ ‘It’s amazing we have any because our environment of modern, manicured land doesn’t suit them,’ [John Morgan, director of the National Bobwhite & Grassland Initiative at Clemson University] said. ‘They’re just hanging on and slowly slipping away.’

“While northern bobwhite quail are not considered an endangered species, they are a ‘species of concern,’ according to Jay Howell, a wildlife biologist and small-game project leader who works on the quail recovery team for the Virginia Department of Wildlife Resources. He is worried that continued population declines could make them even more rare.

“Over the past 13 years, Virginia wildlife officials have made a concerted effort with hunters and more than 3,300 landowners to revive their population, and there are signs of success. Howell said the state’s quail population, though still low, is starting to reach equilibrium, and the rate of decline is slowing.

“Landowners are trying to improve quail habitat through controlled burns of forest areas. That process gets rid of pine needles, leaf debris and dead vegetation, leaving more easily walkable areas for quail. The more open ground encourages the growth of new plants and seeds and attracts insects — all of which in turn appeal to quail.

“There are similar efforts in neighboring Maryland. Officials have conducted timber harvests and controlled burns in Pocomoke State Forest since 2013, and last year quail were heard for the first time in decades, according to a 2022 report by the National Bobwhite and Grasslands Initiative, a group that promotes quail conservation.

“Overton McGehee, who owns 150 acres in Virginia’s Fluvanna County, is also working with state wildlife experts to bring quail back.

“ ‘Quail are one more of the species in Virginia that we don’t want to see disappear,’ he said. ‘They’re like a canary in a coal mine,’ he said. ‘If we don’t have the right habitat for quail, then we probably don’t have the right habitat for a variety of birds and pollinators — from whippoorwills and goldfinches to monarch butterflies and bumble bees.’ ”

When I was a kid, I was surprised that organizations of people who fish and hunt were great supporters of conservation, but it stands to reason they need places to hunt. Today I’m grateful for this example of how very different ideologies can work together for common goals.

More at the Post, here.

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Photo: Felipe Werneck/Ibama via Wikimedia.
Wildfires in Brazil’s indigenous territory, 2017. Conservationists believe that restoration of the rainforest works best if a variety of seedlings are used, not just one kind.

I think humans are like ants in this regard: as soon as our anthill is destroyed, we start rebuilding. And as soon as greed destroys another swath of rainforest, conversationists, indigenous people, and fundraisers move in to rebuild. It may be hopeless, but that’s how we roll.

Bruno Vander Velde, managing director of content at Conservation International, writes at the Conversation about one rebuilding program.

“A bold initiative to regrow 73 million trees in the Brazilian Amazon has made substantial progress despite some unexpected hurdles, according to an upcoming report. While the global pandemic and an increase in Amazon fires presented setbacks, the initiative, launched in 2017, has delivered almost 20 percent of its forest restoration target, according to Conservation International in Brazil, one of several partners involved in implementation. 

“The partners point to surprising progress taking root, as the COVID pandemic shows signs of leveling off and a new incoming presidential administration publicly commits to stem the tide of deforestation. …

Launched at a Brazilian music festival, the initiative targeted areas along the southern edges of the Amazon forest, known as Brazil’s ‘arc of deforestation,’ as well as in the heart of the forest, where natural regeneration is still possible.

“By restoring these carbon-absorbing forests, the initiative is intended to help the South American country achieve its climate commitments under the Paris Agreement, as well as its target of reforesting 12 million hectares (nearly 30 million acres) of land by 2030. 

“The initiative comprises two efforts: Amazonia Live, an effort led by the Rock in Rio music festival in collaboration with Conservation International and Brazilian nonprofit Instituto Socioambiental; and the Amazon Sustainable Landscape project, a collaboration among Conservation International, the Brazilian Ministry of Environment, the Global Environment Facility, the World Bank and the Brazilian Biodiversity Fund. 

“In sum, the initiative is an experiment to ‘figure out how to do tropical restoration at scale, so that people can replicate it and we can drive the costs down dramatically,’ Conservation International CEO M. Sanjayan told Fast Company in 2017. …

“One of the initiative’s most noteworthy features was the use of a seed-planting method called ‘muvuca,’ widely advocated by the Instituto Socioambiental as a way to reduce restoration costs. Unlike typical reforestation efforts, in which tree saplings are planted one at a time, the muvuca method relies on spreading a large and varied mixture of native seeds across the targeted areas, to assure a higher diversity of trees. The technique’s results have exceeded expectations, experts say. 

‘We’re seeing a tree yield that is three times higher than our initial estimates,’ said Miguel Moraes of Conservation International’s Brazil office. 

“ ‘Rather than 3 million trees growing in 1,200 hectares (3,000 acres), as we would have expected, we’re estimating 9.6 million trees in the same area,’ based on monitoring reports, he added. …

“This restoration effort has not escaped some hard, real-world realities in Brazil’s Amazon. Some restored areas were burned by fires and will be monitored to see if they can regenerate on their own, Moraes said. (The area lost was not counted against the overall goal.) 

“Such fires — all of them set by humans, usually to clear forests for agriculture and livestock — are a sign of the times. The Brazilian Amazon has been hit especially hard by wildfires in recent years. By September 2022, more forest fires were recorded in the region than in all of 2021, amid a surge of deforestation. …

“ ‘Our initial expectation [in this effort] was to prioritize the restoration of large contiguous areas within conserved areas,’ Moraes said. Restored forests in those areas should have been more durable; however, in the past two years ‘deforestation within protected areas in Brazil has increased significantly,’ he added. 

“The resilience of the Brazilian Amazon’s many protected areas will be critical to the long-term success of the initiative. 

“As it did around the world, COVID upended life in Brazil. …

“ ‘Like everyone, we were completely unprepared for a global pandemic — not only at the project level, but also at an individual level,’ [Moreas] said. … ‘Twenty percent restored might seem a low figure — and it generates a bit of frustration. But given the context, that we were able to achieve 20 percent of our target is impressive.’

“Even in the tropics, trees take years to grow to maturity. But reforestation projects usually last only a fraction of that time. … ‘Most projects like these are an intervention at a point of time, and then they end,’ Moraes said. ‘But restoration is a long and continuous process. So, ensuring permanence is a huge issue.’

“Practitioners are taking steps to address this, including planning for long-term satellite monitoring to keep a close eye on restored forests. They will also work with communities and local governments to try to bolster on-the-ground protection of these areas. 

“Five years after the restoration initiative was announced, nearly three years into a pandemic and just weeks since a new administration took office in Brazil, project organizers are hopeful. The 2023 deadline for completion has been shifted to 2026, after some administrative challenges in the project’s early years. Organizers have now grown more comfortable managing the complexities inherent in a partnership of this size, Moraes said.

“ ‘I believe we underestimated the complexity of the challenge ahead of us. We are now trying to be more strategic. … Conservation International’s restoration efforts in Brazil go beyond just this effort,’ he said. ‘But if we succeed, we can show that we can make an impact at the scale needed to bring the forest back from the brink.’ ”

More at Conversation, here. No firewall.

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Photo: Philip Brown/Unsplash.
Led by tribes, conservationists are helping bison make a comeback.

Having recently watched an appalling old Annie Get Your Gun film with Betty Hutton (appalling on the subjects of poverty, women, and especially indigenous people), I was relieved to learned from today’s article that attitudes may have evolved into something more promising.

Back in the day, settlers fought natives in underhanded ways. One way was killing bison, a sacred food source. Today European descendants and tribes are actually collaborating to bring the animals back from the edge of extinction.

Jess McHugh reports at the Washington Post, “Miles of prairie stretched out across the Wichita Mountains Wildlife Refuge in southern Oklahoma, acre after acre of brush, grasses and hearty vegetation creeping toward the low-range granite mountains rising in the distance. Like in much of Oklahoma, the road is flat here, but the speed limit remains 30 mph. That’s because of the bison.

“They appeared seemingly out of nowhere: dozens of massive animals lumbering up the shoulder of the road to cross to the fresh vegetation on the other side. The herd moved slowly, their soft, bovine eyes barely registering the stopped cars awaiting their passage. They quickly set to work mowing down the fresh springtime grass.

“The bison’s quiet munching does more than nourish their bodies — it’s one of many things they do to nurture their entire ecosystem, one that is increasingly under threat from climate change. Grazing bison shaving down acres of vegetation leave more than dung behind:

Their aggressive chewing spurs growth of nutritious new plant shoots, and their natural behaviors — the microhabitats they create by rolling in the ground, the many birds that forged symbiotic relationships with them — trickle down the food chain.

“Once bordering on extinction, bison now serve as a great provider for their ecosystems, standing as an example of the ways in which animal conservation and ecological protection can work in tandem.

“ ‘Buffalo is the original climate regulator,’ said Troy Heinert, a member of the Sicangu Lakota (Rosebud Sioux) tribe and executive director of the InterTribal Buffalo Council, a coalition working to restore the animal on tribal lands. ‘Just by how they use the grass, how they graze, how their hoofs are designed, the way they move.’ …

“Tribes are leading the effort to bring back the bison, Heinert says, which in turn allows for the return of other native grasses, animals and insects — all of which will ‘help fight this changing climate.’

“Bison, called buffalo by some Indigenous peoples, are mammoth creatures. Weighing up to 2,000 pounds, they are the largest land mammal in North America. … Two centuries ago, bison dominated much of the continent from Canada to Mexico, when tens of millions roamed North America. They were so numerous that the pounding of their hoofs beating across the land sounded like rolling thunder. For the many tribes of the plains region — the Lakota, the Shoshone, the Arapaho, to name a few — buffalo was a sacred animal that nourished their people and played an important ceremonial role.

“For European colonizers, the bison were both a commodity and a weapon. Americans massacred them by the thousands, selling their pelts and organizing vast sport hunts. As the United States pushed West in the 1800s, bison became a pawn in their quest to wrest Indigenous tribes off their ancestral homes. …

“By the turn-of-the-20th century, millions of bison had been killed. In 1900, fewer than 1,000 — of an estimated 30 to 60 million — remained, many in zoos.

“President Theodore Roosevelt ordered federal bison herds to be put into place (some, such as Custer State Park, were ironically sourced from tribal herds). The bison observed in the Wichita Mountains are descended from 15 animals commandeered from the Bronx Zoo in 1907 and brought to Oklahoma via train car. In the intervening century, federal, tribal and private herds have brought the species back from the brink of extinction. The estimated number of bison nationwide — while far from the millions — now hovers in the low hundreds of thousands.

“Indigenous peoples have been integral to this effort from the start, both by managing herds and by introducing legislation to protect and expand bison territory. In the past few decades, tribal herd numbers have soared: The InterTribal Buffalo Council, which began as a modest coalition of fewer than 10 tribes in the early 1990s, will soon count 76 tribes across 20 states from New York to Hawaii among its members, managing a total of more than 20,000 animals across 32 million acres.

“The return of the bison is a victory not only for the sake of biodiversity but for the entire ecosystem in which they live. As a keystone species, the bison sustain their environment from the top down.

“ ‘They move through, graze everything down. It’s a type of disturbance — like fire would be,’ said Dan McDonald, lead wildlife biologist at the Wichita Mountains Wildlife Refuge. ‘The fresh green [draws] other animals that would feed on it: elk and deer and whatever other type of grazers that would consume some of that new forage.’

“The herd in Oklahoma is approximately 625 animals, but when large herds move synchronously across the land, they create what scientists have dubbed a ‘green wave.’ The bison’s vigorous grazing stimulates plant growth, creating a flood of new vegetation that follows in the bison’s wake to be ‘surfed’ by animals large and small. Green waves can be so dramatic that some — such as the one created by Yellowstone’s bison herd — can be seen from space.”

Read about the extraordinary side benefits of herd restoration at the Post, here.

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Map: Jacob Turcotte/Christian Science Monitor.
Efforts are afoot in Florida to save the the biodiversity of the Everglades by saving the water.

Last Thanksgiving, when John and family went to Florida, they sent great videos of a ride on one of those Everglades airboats that seem to float above the surface and allow visitors to get up close and personal with Everglades wildlife.

I had read, though, that the Everglades region was in trouble from overdevelopment and water pollution. Today’s article shows people are making a strong effort to protect it.

Richard Mertens has the story at the Christian Science Monitor, “Eight hundred feet up, the helicopter banks hard to the left. The horizon disappears. Mark Cook, an avian biologist, peers out his side window at a small irregular patch of water below. It’s hardly distinguishable from innumerable other patches that lie in every direction, dark and shining amid a ragged expanse of brown marsh grass and green tree islands.

“There’s one small difference: This patch is flecked with tiny specks of white, scattered like scraps of paper around a puddle.

“ ‘This year is pretty quiet,’ Dr. Cook has been saying. ‘It’s not very good for wading birds.’

“Now he looks more closely. The specks resolve into a variety of different birds, not all of them white: great egrets, snowy egrets, wood storks, white ibises, and pale pink roseate spoonbills, all standing in and around the shallow water. …

“For the birds of the Everglades, it’s not really been good for almost a century. First came the plume hunters of the 1800s and early 1900s, who shot birds by the thousands so that their feathers could adorn women’s hats in New York and London. Then came the speculators, developers, and visionaries who did more lasting damage, draining the marshes, logging the cypress swamps, digging canals, and building levees. They turned the Everglades into fields and housing tracts until half of it was gone. What’s more, says Paul Gray, a biologist with Audubon Florida, ‘The half of what’s there is all screwed up.’ 

“Today the state of Florida, the federal government, and many private organizations and individuals are working to bring the Everglades back -– at least the half that’s still left. Everglades restoration became national policy in 2000 when Congress adopted the $7.8 billion Comprehensive Everglades Restoration Plan.

“Since then, lawsuits, political fighting, and dwindled funding have at times slowed progress. But in recent years restoration efforts have gained momentum. Some projects have been completed, and new ones are underway. …

“ ‘The Everglades ball is rolling,’ says Peter Frederick, a retired wildlife ecologist at the University of Florida and an expert on Everglades restoration. 

“But will it work? Everglades restoration is a long-term undertaking. It’s expected to cost $23.2 billion and take until 2050 to finish. People often say it’s the largest ecological restoration project ever. ‘A lot could stop it,’ says Dr. Frederick. …

The Everglades system is unique in the world, an inextricable mix of water and vegetation resting on a shallow bed of porous limestone.

“More than just Everglades National Park, the Everglades once encompassed the whole southern third of the Florida Peninsula. … In those days, water that fell during Florida’s summer rains drained slowly south into Lake Okeechobee, a huge basin that in many places is hardly deeper than a suburban swimming pool. When the water was high, it lapped over the southern rim and flowed a hundred miles south in a broad sheet, through swamps and saw-grass marshes, wet prairies and sloughs, before finally discharging through mangrove swamps and coastal islands into the Gulf of Mexico. It was a rich and biologically diverse ecosystem governed by water. And the land was very flat. …

“Today those Everglades are mostly gone. They’re no longer a single vast interconnected system of flowing water but a collection of divided and diminished parts – large shallow basins separated by levees and tied together by gates and canals, with some devoted to holding water, some to cleaning it, and others to conserving wildlife.

“Lake Okeechobee is diked and polluted, and the swamps and saw-grass marshes that once received its overflowing waters are a checkerboard of sugar cane fields. The flow of water from north to south is much reduced, where it survives at all. For all its natural abundance, the Everglades today is an artificial landscape, a creature of engineering as much as topography and nature. 

“The main challenge of restoration is hydrological. It’s to re-create the old pre-drainage conditions by delivering more clean water to the Everglades. It’s to bring back the old cycle of rising water in summer followed by a long drying out through the winter. It’s to restore, at least in part, the slow flow south.

“The easiest way to accomplish this would be simply to pull the plug: tear down the dikes and levees, fill the canals, and send the engineers home. But restoration is also political, and it has always involved more than the Everglades. Its aim is also to provide clean water to coastal cities and estuaries and protect them from flooding. It’s to preserve and irrigate an agricultural district the size of Rhode Island that sits in the middle. …

“ ‘They all say the best engineer is no engineer at all,’ says Dr. Frederick. ‘Let nature do the work. The problem is that we now want to do more things with that water than we used to.’

“Dr. Cook enjoys a stork’s-eye view of the Everglades. His weekly flights take him over both the good and the bad, the degraded and the only partly degraded. [Some] areas are thick with cattails, a sign of nutrient pollution. Passing over one of these, Dr. Cook says, ‘We can’t get it back to what it once was, for maybe 100 to 200 years. But we can improve it for wildlife.’ …

“Sometimes there are surprises. In 2017, Hurricane Irma inundated the Everglades. The next spring, birds nested in numbers no one living had ever seen. To biologists, it seemed a vision of the old Everglades – and of what might still be.

“ ‘As an ecologist, you think, you get the water right and maybe they’ll come back,’ Dr. Cook says.”

Lots more on what’s being done at the Monitor, here. No firewall.

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Photo: Remko de Waal/ANP/AFP via Getty Images.
Rembrandt’s restored ‘Night Watch’ at the Rijksmuseum in Amsterdam.

A project to restore a Rembrandt called “Night Watch” has received a lot of attention recently, but at the risk of repeating what you already know, I’d just like to point out that trimming a work of art can seriously affect its greatness.

How many times have building renovations cut paintings to fit or squashed them into too small a space to be properly appreciated. I think, for example, of the many special WPA paintings in US post offices that have been significantly altered over the years. I understand competing needs, but it’s a loss.

What was lost in Rembrandt’s ‘Night Watch,’ the New York Times says, was a sense of movement. The original was “asymmetrical: The large arch that stands behind the crowd was in the middle, and the group’s leaders were on the right. Rembrandt painted them this way to create a sense of movement through the canvas.

“Once the new pieces were restored, so was the balance, [said Rijksmuseum’s director, Taco Dibbits.] ‘You really get the physical feeling that Banninck Cocq and his colleagues really walk towards you.’ “

The main focus of the recent news coverage, however, was on how experts used artificial intelligence (AI) — along with an early copy of the original painting — to reimagine Rembrandt’s intentions.

Nina Siegal reported at the Times, “Rembrandt’s “The Night Watch” has been a national icon in the Netherlands ever since it was painted in 1642, but even that didn’t protect it.

“In 1715, the monumental canvas was cut down on all four sides to fit onto a wall between two doors in Amsterdam’s Town Hall. The snipped pieces were lost. Since the 19th century, the trimmed painting has been housed in the Rijksmuseum, where it is displayed as the museum’s centerpiece, at the focal point of its Gallery of Honor.

“[Now] for the first time in more than three centuries, it will be possible for the public to see the painting ‘nearly as it was intended,’ said the museum’s director, Taco Dibbits. …

“Rather than hiring a painter to reconstruct the missing pieces, the museum’s senior scientist, Robert Erdmann, trained a computer to recreate them pixel by pixel in Rembrandt’s style. A project of this complexity was possible thanks to a relatively new technology known as convolutional neural networks, a class of artificial-intelligence algorithms designed to help computers make sense of images, Erdmann said.”

As amazing as AI is, the work would not have been possible if a less renowned painter hadn’t made an early copy of Rembrandt’s work.

“Indications already existed of how the original ‘Night Watch’ likely looked,” Siegal continues, “thanks to a copy made by Gerrit Lundens, another 17th-century Dutch painter. He made his replica within 12 years of the original, before it was trimmed.

“Lundens’s copy is less than one-fifth the size of Rembrandt’s monumental canvas, but it is thought to be mostly faithful to the original. It was useful as a model for the missing pieces, even if Lundens’s style was nowhere near as detailed as Rembrandt’s. Lundens’s composition is also much looser, with the figures spread out more haphazardly across the canvas, so it could not be used to make a one-to-one reconstruction.

“The Rijksmuseum recently made high-resolution scans of Rembrandt’s ‘Night Watch,’ as part of a multimillion-dollar, multiyear restoration project, initiated in 2019. Those scans provided Erdmann with precise information about the details and colors in Rembrandt’s original, which the algorithms used to recreate the missing sections using Lundens’s copy as a guide. The images were then printed on canvas, attached to metal plates for stability and varnished to look like a painting.” More at the Times, here.

The Guardian also covered the story, quoting the Dibbits as saying, “With the addition especially on the left and the bottom, an empty space is created in the painting where they march towards. When the painting was cut [the lieutenants] were in the centre, but Rembrandt intended them to be off-centre marching towards that empty space, and that is the genius that Rembrandt understands: you create movement, a dynamic of the troops marching towards the left of the painting. …

“I am always hoping that somebody will call up one day to say that they have the missing pieces. I can understand that the bottom part and top might not be saved but on the left hand you have three figures, so it is surprising that they didn’t surface because at the time in 1715 Rembrandt was already much appreciated and an expensive artist.”

Update 8/11/21 — Michiel of Cook & Drink went to the exhibit, sending a picture and comment: “The AI-part adds a lot of value to the overall painting, but obviously it’s a reconstruction. This is clearly visible (the painting lies a bit deeper than the reconstruction) and that helps to appreciate both the original and the extended version. We’ve seen the painting many times, always in its original frame. To see it without a frame was also special. Very nice to see so many people interested in this project. It’s special to see the combination of very advanced IT, AI, art and history.”

Nice to see a line for art!

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Photo: Angelika Porst.
New examinations of John the Baptist wall paintings in Augsburg cathedral date them to more than 1,000 years ago
. Above, a decorative detail of the frescoes in the southern transept, which were only revealed in the 1930s.

A word to the wise for artists who hope their work will still be enjoyed in 1,000 years: try frescoes. The Oxford dictionary describes a fresco as “a painting done rapidly in watercolor on wet plaster on a wall or ceiling, so that the colors penetrate the plaster and become fixed as it dries.”

So even though watercolor is transient, plaster holds it.

Catherine Hickley reports at the Art Newspaper, “A series of frescoes showing the life and death of John the Baptist in the cathedral of the Bavarian city of Augsburg have been recently dated to the first decade of the 11th century, ranking them among the oldest wall paintings in a medieval church north of the Alps.

“The frescoes, located high in the southern transept of the church, were whitewashed over and forgotten until the 1930s, when they were uncovered. But it was not until conservation work began on the roof structure in 2009 that they could be proven to date back to the construction of the cathedral more than 1,000 years ago.

Dendrochronological tests revealed that wood in the masonry dated from AD1000, contradicting the previously held dating of the cathedral to around AD1065. The new dating ‘fits with what we know about a massive destruction in 994,’ says Birgit Neuhäuser, a spokeswoman for the Bavarian State Office for Heritage Protection.

“ ‘The oldest frescoes are the first layer above the masonry, and are therefore part of the original decor of the church,’ Neuhäuser says. ‘We can assume that in the case of an important Episcopal church, the frescoes would have been painted soon after the construction, so soon after AD1000.’

“In artistic style, the frescoes bear a strong resemblance to the tenth-century wall paintings at the Church of St George on the island of Reichenau on Lake Constance, near Germany’s border with Switzerland. The island owes its Unesco World Heritage status [read about a World Heritage site I visited, here] in part to the frescoes. Apart from the Reichenau church frescoes, the Augsburg paintings are the biggest preserved frescoes of their era in the German-speaking countries, says Mathias Pfeil, the head of the Bavarian State Office for Heritage Protection. …

“Given the height of the frescoes in the church, there is no need for special conservation measures in the long term, according to Neuhäuser. ‘They are not under any particular stress’ from the humidity or heat generated by visitors’ traffic, she says. ‘After cleaning and conservation, they are in a stable and sustainable condition.’

“The team plans to examine the roof area and the northern transept of the church for further fresco remnants. The research and conservation work is financed by the Beate and Hans Peter Autenrieth Foundation, the Siegfried and Elfriede Denzel Foundation and the Augsburg diocese.” More at the Art Newspaper, here.

Have you ever seen any frescoes? I saw Leonardo da Vinci’s frequently restored Last Supper in Milan when I was a teen. I really liked doing a research project about the frescoes of Giotto in high school although I’m pretty sure I’ve never seen any Giottos except in pictures. Below, I’ve added a nice dragon fresco from the Cloisters. (I wrote about my 2019 visit there in this post.)

Twelfth Century Spanish fresco at the Met Cloisters in New York City.

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Photo: Ottaviano Caruso/AWA.
Restoration experts are working on Violante Ferroni’s painting Saint John of God Feeds the Poor.

An arts foundation in Italy asks, Where are the female Renaissance artists? Although many women who might have pursued some kind of art were probably bent over a tub of suds, there are others who created but are forgotten.

Sylvia Poggioli reported at National Public Radio’s “Weekend Edition” about new efforts to right centuries of wrong.

“Florence is one of the main stops on any art lover’s European itinerary. At the Uffizi Galleries, visitors can have their fill of works by Renaissance masters Leonardo da Vinci, Michelangelo and Raphael. Of course, none of these artists are women.

“In 2009, a new nonprofit foundation in Florence started to investigate why.

” ‘I started going into museum storages and attics and checking what was actually there, what works by women,’ says Linda Falcone, the director of Advancing Women Artists.

‘It was something that had never been done before because no one had ever before asked the question, “Where are the women?” ‘

“In the years since, AWA has shed light on a forgotten part of the art world, identifying some 2,000 works by women artists that had been gathering dust in Italy’s public museums and in damp churches. It has also financed the restoration of 70 works spanning the 16th to the 20th centuries.

“The organization was founded by Jane Fortune, an American philanthropist who died in 2018. Fortune was an intrepid art detective whom Florentines nicknamed ‘Indiana Jane’ in homage to her native state and her Renaissance treasure hunting skills. …

“During the Renaissance, Falcone says, ‘Women didn’t have citizenship. They couldn’t produce art as a profession. They couldn’t issue invoices. They couldn’t study anatomy.’ …

“A few Italian women were able to study painting in their fathers’ studios — most notably Artemisia Gentileschi, daughter of the 17th century painter Orazio Gentileschi. AWA is responsible for restoring David and Bathsheba, one of her paintings that was found after being hidden in a Florentine palazzo’s attic for 3-1/2 centuries.

“The group also rediscovered a 21-ft.-long canvas depicting 13 life-size males — the only known Last Supper painted by a woman. It is by the 16th century Dominican nun Plautilla Nelli — whose workshop was inside a convent in Florence. …

“Says [Falcone], ‘Nelli actually chooses sort of the key moment in which Christ announces his betrayal. And you have all of the apostles feeling the emotion of that very serious news. And so she is able to do a study of their responses, of their psychological responses.’ And, unlike most Last Suppers by male artists, Nelli puts food on the table, says Falcone.

‘She has lettuce, she has salt cellars, a lot of wine, bread for every apostle and knives and forks and beans and lamb — she did a Last Supper were people were meant to eat, first of all.’

“[Unlike] male artists of the time, Nelli signed her canvas — adding the words ‘pray for the paintress.’

“The nun’s works were prized by Florentines during the 16th century because they were believed to be imbued with spirituality. Her contemporary, the art historian Giorgio Vasari, wrote that she ‘would have done marvelous things if, like men, she had been able to study and to devote herself to drawing and copying living and natural things.’ …

“With backing from Advancing Women Artists, [art restorer Elizabeth Wicks] is currently restoring two large works by Violante Ferroni, an 18th century child prodigy of whom little is known today. …

“At the time, female artists were usually limited to painting still-lifes and small portraits. But while still in her 20s, Ferroni was awarded a prestigious commission by Florence’s San Giovanni di Dio hospital to paint two ovals — each of them 8-by-11 1/2 feet — with spiritual scenes to help heal the ill. The subject was usually reserved for men. …

“Falcone says that through restoration work, documentation and exhibits, AWA has contributed to a growing worldwide interest in and awareness of art by women. Yet the organization recently announced it is shutting down next June because it does not have sufficient funds to expand.”

More at NPR, here.

Photo: Francesco Cacchiani/AWA
Restoration expert Elizabeth Wicks and the nonprofit Advancing Women Artists have recently been restoring works by Violante Ferroni, a forgotten 18th century woman.

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Photo: John Sturrock
“A modern mania for canal developments is reshaping cities by offering oases of calm in fast-moving town centres,” says the
Guardian.

When our kids were small, the Barge Canal (otherwise known as the Erie Canal) was as familiar to them as their friends’ backyard, as the elementary school, as the Hicks and McCarthy luncheonette. It ran right through town. I remember taking a canal-boat ride up and down (vertically) through the locks with a visiting grandmother and a picnic lunch.

In today’s story, John Vidal writes at the Guardian about a new focus on canals in England.

“Every second Monday of the month, a small group of volunteers meets in the training room of a Birmingham supermarket. They discuss what has long seemed to many of their friends a crazy and probably doomed idea: how to excavate a contaminated 40-year-old waste dump, create an urban marina, restore three miles of derelict canal and build several new bridges and locks.

“Last month, however, the meeting of the 18-strong Lapal Canal Trust committee was joyous. After 20 years of trying to restore this short stretch of the 200-year-old Dudley No 2 canal, permission had finally been granted, they were told.

“What’s more, a feasibility study showed that the plan – which would link the suburbs of California and Selly Oak by water – could be a catalyst for nothing short of the economic and ecological renaissance of a large area of south Birmingham.

“The new canal will generate jobs but also provide space for new houses, as well as pollution-free walking, boating and cycling routes. The marina for 60-100 boats will stimulate businesses and bring in tourists. The wildlife corridor created along the canal will attract herons, otters, fish and waterfowl. And although the whole project will cost about £5m, the study said it would pay for itself in six years.

“ ‘It will improve life in the city. It will complete an old canal loop around the city – we owe it to the future to restore it. … No one is objecting and we have nearly raised the first £250,000 – enough to start work,’ says the Lapal trust CEO, Hugh Humphreys.The Lapal plan is one of at least 80 canal renaissance projects currently making British towns and cities suitable for populations seeking tranquility, leisure space and new ways to move around. …

“It’s not just happening in Britain. … But few countries have as many urban canals as the UK, a legacy of British industrial might – and now a golden opportunity for transformation. Some, such as the Aldcliffe yard development in Lancaster, will see just a few expensive houses built on old industrial canal works; but many seek to create large new ‘liveable’ urban communities in what were some of the Britain’s polluted places, such as Wolverhampton, Leeds, Manchester, Lancaster, Glasgow, Liverpool and Birmingham. …

“Three things unexpectedly changed everything. A postwar infant canal leisure industry emerged; dozens of passionate heritage charities like the Lapal trust voluntarily restored many of the old waterways; and water proved to be the vital ingredient to kickstart a new, property-based canal mania.

“ ‘The restoration of the canals in the 1950s and 60s was thanks to a remarkable act of defiance by unpaid volunteers against the authorities,’ says canal historian Mike Clarke.

“ ‘Volunteers were vital. It’s unlikely there would be many canals today without them. The government, many influential people, and the British Waterways board, were all happy to see the majority filled in. … They told the government, “if you want to complain, take us to court.” …

” ‘They formed isolated stretches of peaceful country within the urban environment. Planners eventually saw them as an asset, and government at last understood their potential for leisure.’ …

” ‘The job is only half done in Britain,’ says Alison Smedley, policy officer of the Inland Waterways Association. ‘The restoration of Britain’s canal system is in full flow but there is so much left to do. … There are still about 1,800 miles left to be restored, although many [canals] have been filled in and are unlikely ever to be reclaimed,’ she says. …

“Canal and River Trust (CRT), the government-part-funded charity set up in 2012 to take over and manage the 2,000 miles of state-owned canal formerly run by British Waterways, [calculates] that about 10 million people a year visit the canals to fish, walk, cycle, observe wildlife or go boating. …

“In addition, canals have become a real alternative for people unable or unwilling to buy city property. .. Ten years ago 10% of the boats on British waterways were used as primary residences. It is now 26%, says the CRT. …

“ ‘Almost unnoticed, the canals have become important sanctuaries for urban and rural wildlife,’ says Simon Atkinson, head of conservation at the Birmingham and Black Country Wildlife Trust. … Otters, water voles, kingfishers, ducks, herons, fish, dragon- and damsel flies, even rabbits, are seen on the 100-odd miles of Birmingham canals, some of which are classed as local nature reserves. …

“ ‘If development is done well, it can enhance nature. The canals have never been more important, but it could go the other way. There is a real opportunity for high quality inner-city development and nature to flourish together.’ ”

For me as a lover of Dickens (the novels, not the man), I can’t think of English canals without thinking of the dark spirit of Bradley Headstone in Our Mutual Friend. In fact, maybe I’m ready to read that one again.

Learn more about the benefits and challenges of canal popularity here.

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Photo: Los Angeles Coliseum
Until a teenager decided to solve the mystery, the story of the coliseum mural was lost in the mists of time.

I’m pretty sure young people are going to save the planet, and after hearing speakers from one youth organization yesterday, This Is Zero Hour, I know I need to follow where they lead. Never underestimate the power of a teen who gets motivated to solve a problem.

On a lesser scale than saving the planet — but illustrating the point nevertheless — a Los Angeles teenage sleuth managed to solve the mystery of a beautiful, neglected mural and ended up providing critical information to the restoration team. Colleen Shalby has the story at the Los Angles Times.

“For decades, the curving mural depicting a golden sun has greeted visitors to the Los Angeles Memorial Coliseum. Faded by the elements, its once-vibrant blue lost some luster over the years. The gold-leaf paint had chipped away. Still, the image drew eyes upward.

“No one seemed to know who had painted the scene adorning the Coliseum’s main archway — or when. Guides referred to it as a ‘mystery mural,’ the story of its origins as shrouded by time as the artwork itself.

“But after taking a tour of the historic stadium a few years ago, one local teenager became engrossed with its history.

“Dean Gordon estimates he’s been to the Coliseum more than 100 times. But before that day, he’d never given much thought to the mural high above the peristyle entrance. Two golden Olympic torches flanking a flaming sun, its center a depiction of the planet Earth and the 12 signs of the Zodiac. Solving its mystery soon became his mission.

“Two summers ago, at age 17, Gordon began his quest — poring through library books and searching archives, hoping to find a clue that would lead him to the artist.

“ ‘I basically contacted every single person who might have an idea,’ he said, ‘every archivist, historian or professor who might have some connection to the mural,’ rumored to have been painted before the Coliseum hosted the 1932 Olympics.

“After a series of dead ends, Gordon found a clue in the form of a Los Angeles Central Library notecard that read ‘H. Rosien Coliseum.’ Further online digging produced nothing — until he came across a single tweet: ‘Please don’t touch the mural inside the arch that my FIL Heinz Rosien painted prior to the Olympics!!’

“The plea, posted in 2016, was from Mary Lou Rosien in response to the Coliseum’s announcement that parts of the stadium were being overhauled. The mural would be part of renovations, which eventually totaled $315 million, by USC. The university operates and manages the Coliseum. …

“Rosien’s husband, Igor, [and] his father, Heinz Rosien, had worked on the mural together. The Los Angeles Coliseum Commission tasked the elder Rosien with the job in 1969, in hopes of helping the city win a bid for the 1976 Olympics. …

“The archway of the Coliseum proved to be a precarious canvas. The underside of the curved portico stood more than 70 feet off the ground. To reach it, father and son scaled scaffolding without the aid of safety belts, which now are commonplace. They painted upside down. …

“The origins of the mural were all but lost — until Gordon started his detective work. The teen tracked Rosien shortly after spotting his wife’s tweet, shocked to learn that someone directly connected with the artwork was still alive.

‘The entire time I was trying to figure out who painted it, I thought it was from 1932,’ said Gordon, now 19 and a student at Amherst College in Massachusetts. ‘All my research was in that time period.’ …

“The end of Gordon’s search two years ago led to a series of hours-long discussions about the mural — and the start of a friendship between the younger Rosien and the student detective.

“ ‘Thankfully, Dean didn’t take “mystery mural” as an answer,’ Igor Rosien said. …

“Before the mural’s restoration got underway, Gordon and Rosien met outside the Coliseum. There, the artist presented the young detective with one of his dad’s paintings.”

More.

 

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Photo: Virginia Arts Festival
The original fire curtain of the Attucks Theatre in Norfolk, Virginia, depicts the Boston Massacre and the death of Crispus Attucks, the first to die in the Revolutionary War. Attucks was part African American and part Native American.

Don’t you love seeing old things restored and given new purpose? It’s not just the sight of a lovingly renewed object or building that’s inspiring, but the sense that anything that once had value can be brought back after years of abandonment.

Nicholas Som writes at CityLab, “Behind the modern walls of the Attucks Theatre in Norfolk, Virginia, century-old murals hide in darkness. Three pastoral scenes, created on the theater’s original 1919 walls, were uncovered in 2004 during the restoration that brought the theater back to life. But because of their age, exposing them to light and air could ruin them.

“ ‘Trying to find ways to create access to them without damaging them has been challenging,’ says Anthony Stockard, artistic director at Norfolk State University. So they’ll remain out of sight, sealed and preserved until a plan to display them safely can be established.

“Much like the murals, the history behind the Attucks itself is not immediately apparent from the brick and white terracotta that form the theater’s facade. But ask around Norfolk, and it won’t be too long before you find a city native with some kind of connection to the building. The place the Attucks holds in the collective memory of Norfolk’s African American community has not disappeared, even after years of vacancy, name changes, and collapsing ceilings.

“Appreciation for the Attucks is especially perceptible this year, the centennial of the theater’s construction. A steady stream of stars — from Leslie Jones of Saturday Night Live to basketball legend Kareem Abdul-Jabbar — is lined up to speak or perform, complementing the typical artists the Attucks welcomes every year. Ticket sales have accordingly skyrocketed. …

“ ‘The Apollo of the South.’ That was the nickname the Attucks garnered, referencing the famed Big Apple music hall. With national sensations like Duke Ellington, Louis Armstrong, Cab Calloway, and Ella Fitzgerald frequenting the stage, the Attucks was more than worthy of the designation. …

“Perhaps the Apollo Theater should be known as ‘The Attucks of the North.’ Because unlike the Apollo, the Attucks was funded and designed exclusively by African Americans, an extremely rare occurrence at the time. Twin City Amusement Corporation, the original developer, was formed by a group of black business owners. They approached local architect Harvey Johnson, who went on to help found what became Norfolk State University, to draw up the plans.

“Johnson always intended for the Attucks to be more than just a performance venue; in addition, it doubled as a silent movie house and contained 21 upstairs offices for African American businesses (Johnson himself set up shop there after its completion). They named the theater in honor of Crispus Attucks, a man of African and Native American descent who was the first person to die in the Revolutionary War, and depicted his death on its fire curtain. …

“The end of World War II brought changes that even the Attucks could not survive—at least, not in the same way. Young soldiers with money to spend returned to the city, and as Norfolk began to desegregate, the once-vibrant Church Street declined.

“Eventually, the curtain fell on the building’s time as a theater in 1953. … Denise Christian, project manager for the Attucks’ restoration, helped devise a three-phase approach. The first stage addressed the most pressing concerns: the blighted roof and the preservation of the historic curtain.

“Once pieces of the ceiling were no longer falling and the curtain had been cleaned and stored, the team moved on to the reconstruction of the auditorium seats, which had all been removed during the room’s years as a storage space. They decided to build around 700 new seats for comfort’s sake, though the theater originally squeezed in many more. Significant repairs also had to be made to the balcony and box seats.

“Finally, the Attucks was equipped with the modern trappings necessary for a multipurpose theater to succeed in the 21st century. A new three-story wing behind the building provides banquet rooms, dressing rooms, a green room, and a loading dock, transforming the Attucks into a place for events and arts classes, not just entertainment. …

“For Stockard, personally, being selected to co-chair Attucks100 by Norfolk mayor Kenny Alexander has felt like the culmination of a career-long dream, a ‘bucket-list moment. …

” ‘There was sort of a sense of nostalgia, of realizing these bricks were laid for and organized by African Americans,’ he says. ‘It was revolutionary for them to invest in the arts and entertainment that way—not just being the act, but being the producer and provider, and being able to control the place they had in the community.’ ”

More here.

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Photos: AFP/THOMAS COEX
Renovated mosaics and columns inside the Church of the Nativity in the occupied West Bank biblical city of Bethlehem.

Do you like mosaics? I relate to arts such as mosaics or collage because I love putting pieces of things together to make something new. As quilters do. And editors. And activists who change the world one by one.

This is a story from Bethlehem, in the Palestinian Territories, where restoration work has tapped the artistry of workers who can envision how small pieces together make a whole.

Clothilde Mraffko writes at Yahoo News, “Masked for centuries by the soot of candles and lately by scaffolding, the mosaics of Bethlehem’s Church of the Nativity have been restored. …

“Over the past 15 months, experts have cleaned and repaired surviving fragments of the 12th century masterworks, preserving 1,345 square feet (125 square metres) of what was once 21,528 square feet (2,000 square metres) of glittering gold and glass. The rest has been eaten away by wear, humidity, wars and earthquakes.

“Now the restored remains shine against the white walls above the heads of visitors to the church in the Israeli-occupied West Bank city of Bethlehem that marks the traditional birthplace of Jesus.

“Overlooking the nave are seven angels framed in gold who appear to have landed on a carpet of vivid green grass. …

” ‘These mosaics are made of gold leaf placed between two glass plates,’ Marcello Piacenti, who supervises the work on behalf of his Italian family restoration firm Piacenti, told AFP [Agence France-Presse]. ‘Only faces and limbs are drawn with small pieces of stone.’

“One of the partially destroyed angel figures was restored using different materials to the original so as not to mislead future archaeologists. [!]

“Ibrahim Abed Rabbo, a Palestinian Authority (PA) engineer said the transformation caused by the restoration is striking. ‘When you entered the church before, you could not even make out that there were mosaics, it was so black,’ he said.

“In a rarity for the period, the works were signed by the craftsmen responsible, Abed Rabbo said. …

“Father Asbed Balian is the senior cleric of the Armenian church at the basilica, where property rights are shared with the Roman Catholic and Greek Orthodox faiths. After seeing the completed restoration, he said, he was ‘stunned. … Spiritually, we feel more exalted.’ …

“When the Palestinian Authority began renovations in 2013, ‘the basilica was in danger,’ PA restoration consultant Afif Tweme said. …

” ‘It’s very special, because of the location,’ said Piacenti. ‘Sometimes I have to force them (workers) to leave’ at the end of the day.” More here.

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Photo: Bobby Bascomb
The Grupo Vidas crew taking a break from their coral restoration work in Puerto Rico.

Perhaps inadvertently, media stories lead one to believe that all Puerto Ricans are passively waiting for the Mounties to rescue them from the destruction of Hurricane Maria. The Mounties surely better get their act together, but residents of the island are not counting on them. They’re taking matters into their own hands. I plan to post soon about the women who are rebuilding the island’s farming industry, but today the topic is restoring damaged coral reefs.

The National Public Radio (NPR) show Living on Earth has the story.

“Roughly 10 percent of Puerto Rico’s corals were broken and damaged by Hurricane Maria in 2017. Corals are a first line of defense against storm surges and a critical habitat for juvenile fish but face an uphill battle against warming seas, ocean acidification and ship groundings. As Host Bobby Bascomb reports, Puerto Ricans are finding ways to give corals a fighting chance by reattaching healthy fragments. …

“BASCOMB: Chunks of coral were broken off by rough seas and ocean swells. But on a recent trip to Puerto Rico, I discovered there’s still hope for thousands of battered bits of coral lying around the sea floor.

“I’m standing on a tall dune near Vega Baja on Puerto Rico’s north coast. The ocean stretches out in shades of dark blue, turquoise, and pale aquamarine. But interspersed among the usual colors of a tropical ocean are patches of brownish orange – elkhorn coral.

“Salvador Loreano is a worker with the environmental NGO Grupo V.I.D.A.S. Their main task is coral restoration.

“S. LOREANO: Our goal right now is to plant coral fragments here because you know that Maria, Hurricane Maria, came here and devastated the island. This caused great damage to the coral reef because the first time we went to there after Maria, the reef was like destroyed, like we see big coral colonies upside down and a lot of dead coral.

“BASCOMB: As long as they remain submerged under water, these coral, which are colonies of tiny invertebrate animals, have a 20 percent chance of survival. But that increases to more than 90 percent if they are attached to a larger structure, not getting banged around by the surf or smothered with sand.

If a piece of coral is at least 2 inches long and 80 percent healthy, it can actually be reattached to an existing reef. …

“MARIOLA LOREANO: [Here’s] a slate where we write our tallies, basically, which is all of the fragments that we’ve successfully planted, a bag for any trash that we find inside the ocean, and a buoy so it floats. …

“BASCOMB: We put on our mask, snorkel, and fins and walk backwards into the bath-warm water, stepping over the sharp black sea urchins. … A rainbow of fish greets us – green fish with florescent blue heads, black fish with yellow stripes, green fish with pink stripes. They’re all juvenile fish, and the reef is a critical habitat for them. …

“A worker named Ernesto is already hard at work. He uses a wire brush to scrape algae off a piece of coral the size of a ping pong paddle and does the same to a suitable spot on the reef. Just like gluing two objects together, you need to start with a clean surface on both sides. Then he pulls a plastic zip tie out of his sleeve and uses it to attach the coral in place.

“He uses pliers with a florescent pink handle to pull the zip tie tight and cut off the excess plastic, which he sticks in his other sleeve. This piece of coral is now one of hundreds just like it pinned to the reef with zip ties. And in two to three weeks, it will grow onto the reef enough to stay put on its own. …

“BASCOMB: If hurricane damage was the only issue, this work wouldn’t be necessary. But much like the world’s coral reefs in general, this reef has a lot of challenges. Grupo V.I.D.A.S. worker Ernesto says one of the biggest problems is algae blooms from sewage runoff. In many places the coral is essentially smothered, leaving it a ghostly gray color. …

“E. VÉLEZ GANDÍA: It’s like Day of the Dead but under the water.

“BASCOMB: There is a very large dead coral at the entrance to the reef in the shallowest, warmest water. Ernesto believes that one died not from algae blooms but from stress of a warming ocean. … Ernesto talks about the death of that coral as one might talk about a member of the family passing away.

“VÉLEZ GANDÍA: And we got a lot of love for him. We saw him alive, very alive. He is one of the oldest in our reef, but he start dying. We saw the process of his death. So, we just admire him and remember him. It’s very sentimental, I don’t know, but it’s deep in the heart.”

More at Living on Earth, here. And you can read another article about ways to save reefs at Earther, here.

Photo: Sean Nash
Elk horn coral are part of a vital reef ecosystem that provide habitat for fish. In Puerto Rico, many were damaged after Hurricane Maria.

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When I was last in Manhattan, I took a photo of a putative Banksy stencil. It’s one that the gourmet food emporium Zabar’s helped to preserve in 2013, when the British street artist was said to be tagging all five New York City boroughs.

I have written often about Banksy — here, for instance. I get a real kick out of his ideas and the fact that he works by stealth. (Speaking of that, if you search on the word “stealth” at the blog, you will find all kinds of examples.)

Banksy’s art, like other street art, is not necessarily meant to last for the ages, but he has become such a phenomenon that there are now efforts to restore murals that have been painted over.

The BBC reports from Scotland, “Restoration work is under way on three early works by the artist Banksy which were accidentally painted over with grey emulsion in a Glasgow nightclub.

“The murals, which feature a gun-toting monkey in a tutu and a framed Mona Lisa, were created as part of an exhibition at The Arches in 2001. But they were mistakenly covered in 2007 then left after the club went into administration [bankruptcy] in 2015.

“A team of restorers are expected to take five months to uncover the works. … Banksy created the works, which also feature the words ‘Every time I hear the word culture I release the safety on my 9mm’ when he was beginning his career as a graffiti artist.

“They were shown as part of the ‘Peace is Tough‘ exhibition in March 2001, … but six years later, and long after Banksy had established himself as an international artist, the murals were covered with grey emulsion during refurbishment work at the nightclub.

“When the club went into administration in 2015, the then owners had considered restoring the murals and selling them to clear the club’s debts.

“Chris Bull, technical director at Fine Arts Restoration Co (Farco), which is carrying out the restoration, said the murals were the only known works by Banksy in Scotland with any provenance. …

“The new owners of the venue, Argyle Street Arches, say they now want to save the works for the nation. … Once complete the works will be put on permanent display.”

More at the BBC, here.

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Photo: The Stage
The cast of Brick Up the Mersey Tunnels at Liverpool’s restored Art Deco Royal Court theater has had six runs and has been seen by more than 175,000 people.

Before restoration began on a dilapidated theater in Liverpool, a decision was made to ensure the new venue was truly responsive to everyday Liverpudlians.

Catherine Jones writes at The Stage, “The Scouse Nativity broke attendance records at Liverpool’s Royal Court [in December] after 42,000 people flocked through the doors of the art deco building during the play’s run.

“It’s not a bad way to see in its 80th anniversary year for a venue that has gone from outsider status on the city’s art scene to ‘people’s theatre’ over the course of a decade. There has been a theatre on the site for almost 200 years.

Pablo Fanque, celebrated in Beatles song ‘Being for the Benefit of Mr Kite,’ performed there in the Victorian era when circus acts and variety thrilled the crowds.

“The current [venue] has been through many incarnations since it opened with musical comedy Under Your Hat in 1938. … When the current team took over the city council-owned building in spring 2005 [there was] no heating, no stalls seating, and the floors were sticky.

“Royal Court executive producer Kevin Fearon recalls: ‘The building was horrible. We put a Lycra mesh across the top of the stalls, so you hid the circle. That kept some of the heat in. It was actually the biggest piece of Lycra in Europe at the time.’ …

“In the ensuing decade, Fearon says it was a struggle to be accepted by the local theatre scene. It was also a struggle to keep the business running, where receipts from a production paid for the next to be staged.

“But four key moments helped turn the Court’s fortunes around. It started with the ‘game-changing’ success of ribald Scouse comedy Brick Up the Mersey Tunnels. …

“Setting up the Royal Court Trust, headed by partner Gillian Miller, to drive the theatre’s redevelopment was another key stage, as was securing financial support from the Heritage Lottery Fund.

“Along with Heritage Lottery funding, the work has been paid for by grants from the European Regional Development Fund, a city council loan and, most recently, £2 million Arts Council funding, assisted by £630,000 from a ticket levy that was started in 2011. …

“Lindzi Germain, a regular face at the Royal Court, is also one of the actors given the chance to write their own play — her hospital-set disaster comedy — The Royal already having two successful runs. She says: ‘It was unbelievable, it really was, for them to give me a chance. And now also to be asked, “what else have you got? What else are you going to write?” ‘

“As for the audience, Germain adds: ‘They get so involved and so engrossed. In some shows, it’s like it’s just them watching a play on their own. They feel the need to shout out.’ ”  More.

Refreshing the audience pool is always a challenge for theaters. I hope the Royal Court has some cheap tickets for people who can’t regularly pay for full-price tickets with surcharges. And I always think, the more you can sort of roll out of bed and into the theater, the more likely people will attend. By which I mean — informal. My husband and I also favor 90-minutes and no intermission unless the theater is doing Angels in America or Nicholas Nickleby.

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Photo: Luke Spencer
Inside the main concourse of the abandoned art deco Buffalo, New York, train station. 

It seems everyone loves old art deco buildings, but no one knows how to preserve them. At least that is the feeling I get listening to the endless discussions of the future of Providence’s Superman Building, so-called because it looks like the Daily Planet building from the 1950s television series.

Meanwhile, as Luke Spencer writes at Atlas Obscura, preservationists in Buffalo, New York, are holding out hope for an art deco “train station, lying forlorn and mostly forgotten … the old Buffalo Central Terminal.

“Opened in 1929 for the New York Central Railroad, the Buffalo Central Terminal was every bit as grand and opulent as Manhattan’s Grand Central Terminal, Philadelphia’s 30th Street station and Washington DC’s Union Station.

“These were the days when Buffalo was known as the Queen City, built on the strength of automobiles, livestock, steel, and other heavy industries prospering along the seam of the Erie Canal, connecting New York to the Great Lakes. Buffalo thrived to such an extent it was chosen to host the prestigious 1901 Pan American World’s Fair. At this point, Buffalo was the eighth-largest city in the United States. … In its heyday, Buffalo Central Terminal was servicing 200 trains a day.

“But the decline in Buffalo’s economic fortunes, and the rise of domestic airlines and automobiles, spelled the end of the grand Terminal. In the early hours of the morning of October 28, 1979, the last Lake Shore Limited train service heading west left Buffalo. The grand old Terminal was never used again.

“For decades, the building was left abandoned, silently falling apart, while the surrounding neighborhood similarly declined. But the spirit of the Nickel City is strong. No more so than in the recent efforts of the non-profit, Central Terminal Restoration Corporation (CTRC), which has been fighting to not only preserve the Terminal, but restore it to its original magnificence. …

“The building itself would need extensive repairs. Forty years of neglect have seen much of the original fixtures either stolen or stripped, particularly in the mid 1980s, when the Terminal was sold off in a foreclosure sale. …

“Perhaps the best chance for the Terminal’s rejuvenation lies with Canadian property developer Harry Stinson, who was named as the designated developer of the site by the City of Buffalo and the CTRC in 2016.” More at Atlas Obscura, here.

It’s a treat to see historic buildings saved and turned to new and profitable uses. Let’s keep tabs on this one.

Photo: Luke Spencer
Is this the prison staircase in the opening scene of Little Dorrit, by Charles Dickens? Oh, guess not.

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