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Tag: Exhibit

  • Commentary: This is not normal: Why a fake arrest photo from the White House matters

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    How do you know what you know?

    Did you learn it in school, read it in a newspaper? Did you get your information on social media or though chatter with friends?

    Even in an age of misinformation and disinformation — which we really need to start clearly calling propaganda — we continue to rely on old ways of knowing. We take it for granted that if we really need to get to the truth, there’s a way to do it, even if it means cracking the pages of one of those ancient conveyors of wisdom, a book.

    But we are entering an era in America when knowledge is about to be hard to come by. It would be easy to shrug off this escalation of the war on truth as just more Trump nonsense, but it is much more than that. Authoritarians take power in the short term by fear and maybe force. In the long term, they rely on ignorance — an erasure of knowledge to leave people believing that there was ever anything different than what is.

    This is how our kids, future generations, come to be controlled. They simply don’t know what was, and therefore are at a great disadvantage in imagining what could be.

    This week, the White House altered a photo of Nekima Levy Armstrong, the civil rights lawyer arrested in Minneapolis for protesting inside a church.

    The original photo shows Armstrong in handcuffs being led away by a federal officer with his face blurred out. Armstrong is composed and steady in this image. A veteran of social justice movements and a trained attorney, she appears as one might expect, her expression troubled but calm.

    In the photo released by the White House, Armstrong is sobbing, her mouth hanging open in despair. In what is clearly nothing more than overt racism, it appears her skin has been darkened. Her braided hair, neatly styled in the original picture, is disheveled in the Trump image.

    On the left, a photograph from the X (formerly Twitter) account of U.S. Secretary Kristi Noem, showing Nekima Levy Armstrong being arrested. On the right, the photo has been altered before being posted to the White House’s X (formerly Twitter) account.

    (@Sec_Noem via X/@WhiteHouse via X)

    A strong, composed resister is turned into a weeping, weak failure.

    “YET AGAIN to the people who feel the need to reflexively defend perpetrators of heinous crimes in our country I share with you this message: Enforcement of the law will continue. The memes will continue. Thank you for your attention to this matter,”

    That was the official White House response to inquiries about the photo, posted on social media.

    The same week, the Trump administration began ripping down exhibits at the President’s House in Philadelphia that told the story of the nine Black people held in bondage there by George Washington. I’ve been to that exhibit and had planned to take my kids this summer to learn about Joe Richardson, Christopher Sheels, Austin, Hercules, Giles, Moll, Oney Judge, Paris and Richmond.

    They are names that barely made it into American history. Many have never heard of them. Now, this administration is attempting to erase them.

    How do you know what you know? I learned most of what I knew about these folks from that signage, which is probably in a dump somewhere by now.

    The information we once took for granted on government websites such as the Centers for Disease Control and Prevention is gone. Climate change information; LGBTQ+ information; even agricultural information. Gone (though courts have ordered some restored).

    The National Law Enforcement Accountability Database, which tracked federal police misconduct, has been shut down.

    The Smithsonian is undergoing an ideological review.

    And now, our government is telling us it will alter in real time images of dissenters to create its own narrative, demand we believe not our own eyes, our own knowledge, but the narrative they create.

    “I’ll end with this, we’re being told one story which is totally different than what’s occurring,” said Cumberland County, Me., Sheriff Kevin Joyce.

    He was speaking specifically about an incident in his town in which a corrections officer recruit was detained by ICE this week. In video taken by a bystander, about five agents pull the man from his car as he drives home after work. They then leave the car running in the street as they take him away.

    Joyce told reporters the man had a clean background check before being hired, had no criminal record, and was working legally in the country. The sheriff has no idea where the man is being held.

    Joyce’s sentiment, that what we are being told isn’t what’s happening, applies to nearly everything we are seeing with our own eyes.

    A woman shot through her temple, through the side window of her car? You don’t understand what you are seeing. It was justified, our vice president has told us, without even the need for an investigation.

    Goodbye Renee Good. They are attempting in real time to erase her reality and instead morph her into a domestic terrorist committing “heinous” crimes, and maybe even worse.

    “You have a small band of very far left people who are doing everything they can … to try to make ICE out to be the ultimate enemy, and engage in this weird, small-scale civil war,” Vice President JD Vance said this week.

    Protesting turned into civil war.

    Next up, artificial intelligence is getting into the erasure game. Scientists are warning that those who wish to destroy truth will soon unleash AI-run operations in which thousands if not millions of social media posts will offer up whatever alternative reality those in control of it wish. Under the pressure of that avalanche of lies, many will believe.

    The message the White House is sending with Armstrong’s photo is that they control the truth, they decide what it is.

    Our job is to fight for truth, know it when we see it, and demand it not be erased.

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    Anita Chabria

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  • America’s ‘divorce papers’ from Britain to tour the United States – WTOP News

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    Ten documents from the nation’s founding era are leaving their home at the National Archives in D.C. and hitting the skies for America’s 250th birthday.

    Ten documents from the nation’s founding era are leaving their home at the National Archives in D.C. and hitting the skies for America’s 250th birthday this summer.

    Reflecting on the “Bicentennial Freedom Train,” eight American cities will receive the “Freedom Plane National Tour: Documents That Forged a Nation” exhibit.

    “These documents are either precursors to the declaration and reflect mounting frustration with British rule, or they document the declaration’s immediate result, how subjects of King George III became citizens of the United States and formed a new nation,” said Jim Byron, senior adviser to the acting archivist of the United States.

    From March through August, the tour will go through the following cities:

    A special Boeing 737 will carry these pieces of history.

    Some of the documents that will be on display include a copy of the Treaty of Paris, which ended the Revolutionary War. It is signed by John Adams, John Jay and Benjamin Franklin

    “I always think of the Declaration of Independence as like the breakup letter,” said Jessie Kratz, a historian with the National Archives. “But this is the final divorce papers that acknowledged the United States as a country and also gave the borders so we could actually expand westward. So this was the first time that Britain actually recognized our independence.”

    The oaths of allegiance by George Washington, Alexander Hamilton and Aaron Burr will also be a part of the display.

    “The Continental Congress decided that they needed to have all army officers sign oaths of allegiance to the United States,” Kratz said. “They sent all these preprinted forms to Valley Forge to have George Washington get all the officers to sign.”

    Other documents going on tour include a secret printing of the Constitution in draft form and an original engraving of the Declaration of Independence.

    “The Freedom Plane National Tour underscores that the rich history of our nation belongs to all of us, not just those Americans living in or visiting Washington, D.C.,” said Rodney Slater, chair and president of the National Archives Foundation Board of Directors.

    The exhibition will be free at all eight venues.

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    © 2026 WTOP. All Rights Reserved. This website is not intended for users located within the European Economic Area.

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    Luke Lukert

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  • Hiding in plain sight is the focus of a new exhibit coming to DC’s Spy Museum – WTOP News

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    Whether it is the traditional green, black and brown patterns seen on military uniforms or the more flamboyant “Dazzle Ships” of World War I, a new exhibit coming to the District’s International Spy Museum will cover it.

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    New exhibit on camouflage coming to DC’s Spy Museum

    Whether it is the traditional green, black and brown patterns seen on military uniforms or the more flamboyant “Dazzle Ships” of World War I, a new exhibit coming to D.C.’s International Spy Museum will cover it.

    The history and dedicated science will be on display beginning in March in “Camouflage: Designed to Deceive.”

    “This is a phenomenon that has its origins in nature,” said Kathryn Keane, vice president of exhibitions at the Spy Museum. “Anybody that studied evolution or adaptation has studied camouflage, and it’s been adapted by humans in all these super interesting ways.”

    Opening March 1, the exhibit will explore the history of camouflage as both the noun, which is the designs of camouflage often seen in military uniforms and the global industry that has developed around it, and the verb, the ability to camouflage and disguise yourself in the real world, and how they’ve been adapted by various military and spy organizations.

    The exhibit will also give visitors an overview of the scientific principles of camouflage, to disappear, to distort, to disguise and to deceive.

    Keane said the real history of modern camouflage can be traced back over a century ago to World War I and later World War II. Entire “camouflage corps” were created that were made up of largely artists working on deception campaigns.

    “Camouflage really was not a thing until World War I,” Keane said. “A group of artists who were really interested in camouflage and the effect of camouflage in nature were able to influence some of the military strategists in the lead up to World War I. They said we should be applying some of these principles that we study in nature to evasion techniques in warfare and on the battlefield.”

    The greatest example of art-inspired World War I camouflage, Keane said, were highly colorful “Dazzle Ships.”

    German U-boats had been regularly destroying U.S. and British supply and transport ships in the Atlantic. Artists tried to find a way to help these ships with very distinct and flamboyant patterns.

    “You can’t hide a ship, but maybe if you paint it in these bright, distorting colors that were inspired by the study of disruptive camouflage that you find in nature, we could distract the captains of these U-boats long enough that they might miss and all it takes is a split second,” Keane said.

    The dazzle ships will be heavily featured in the exhibit as one of the most audacious attempts at camouflage. While it may not have worked quite as effectively as intended, the dazzle ships improved morale and even entered the design zeitgeist of the 1920s.

    “People started wearing these black and white bathing suits and outfits. They had a dazzle ball at the Chelsea Arts Club in New York. And just really interestingly, sort of coincided with a period in art history where you saw the avant garde art style start to come about as well,” Keane said.

    In World War II, Gen. George Patton created a camouflage Ghost Army, with inflatable tanks, jeeps made of cloth and wood, and faux barracks and mess halls in order to deceive Nazi Germany on troop locations in the U.K., and disguise at which point would they invade Northern Europe.

    The exhibit will also include information on literally thousands of camo patterns from over 160 countries that the Spy Museum was able to discover in its research.

    “A lot of them really don’t have anything to do with actually camouflaging yourself. Camouflage has become such a fashion statement,” Keane said.

    The exhibit will also have interactive displays where you can design your own camouflage.

    The Spy Museum will also explore more modern takes on camouflage developed by intelligence agencies. Spies have to blend into their environment, and rarely does that mean putting on fatigues with camo print.

    “We have some masters of disguise that we profile in the exhibit, including a couple who are involved here at the museum that have worked for the intelligence agencies on how to make somebody look different or adapt to a culture that they don’t belong in,” Keane said.

    Going beyond disguising yourself, the exhibit will examine the psychological and behavioral aspects of deception and camouflage, such as how to disappear in a crowd while still surveilling targets.

    “It’s all part of the same theme, right? This idea that deception is at the core of effective intelligence, and camouflage is just the best example of that,” Keane said.

    With the rise of infrared and heat signature cameras, there are even camouflages that have been designed to deceive beyond the visible spectrum of light.

    “For every tool that is developed to try to detect someone, there’s an equally interesting technology that’s developed to evade that detection,” Keane said.

    Like many of the exhibits at the Spy Museum, there will be plenty of interaction for kids and adults, including giant LED screens of landscapes where you try to spot camouflaged people. They will even have a display that shows how facial recognition software works.

    “It will map your face and show you, in real time, how the how the camera does that, and then it will compare your face to a database of 200 random images of sort of famous, important people that we’ve chosen,” Keane said. “We also talk a little bit about how people are going to extraordinary lengths to avoid facial recognition technology and things that you can do to protect yourself from it.”

    The exhibit will open March 1, and will be open through 2029. Tickets for the exhibit are on sale now.

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    © 2026 WTOP. All Rights Reserved. This website is not intended for users located within the European Economic Area.

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    Luke Lukert

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  • Queens College exhibit displays quinceañera dresses inspired by student essay

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    QUEENS, New York (WABC) — An exhibition of quinceañera dresses, all worn by girls in or near the Tri-State area, is on display through Dec. 18 at the Godwin-Ternbach Museum at Queens College.

    Inspired by an essay fashion design student Stephanie Giraldo-Deabreu wrote for class, the exhibition features dresses created by Emily Ripley’s students at Queens College.

    “I was so thrilled when I read it,” said Ripley, the director of the fashion and design program at the school. “I thought, ‘I have to celebrate this!’ … I conceptualized the whole exhibition out of it.”

    A quinceañera is a coming-of-age celebration for Latina girls on their 15th birthdays, and the dress is often a major highlight.

    “Obviously there is a princess vibe, but it’s also about tradition and family” said Giraldo-Deabreu, who designed her own dress.

    Her mother, Eddy Deabreu, explained the family and tradition element further.

    “I share my tradition from my country, Venezuela,” she said. “I was a princess too… it was a beautiful moment, special for me, for her, for my entire family.”

    The dress is one of the first important garments a Hispanic girl might feel embodies her hopes and dreams, as well as the future she imagines for herself.

    “It’s very transformative to wear one of these dresses,” said Ripley.

    The quinceañera’s roots can be traced back to Mesoamerica, shaped by Spanish colonial, Latin American, and Catholic cultures. It is one of many rituals that symbolize transitioning out of childhood.

    “This is the age where you are starting to be mature,” Giraldo-Deabreu said. “You are showing your family, ‘I am mature now. This is how I am becoming.’”

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    Tanya Rivero

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  • OMSI Brings In Monsters of The Abyss – KXL

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    PORTLAND, Ore. — OMSI has a whole new set of deep sea cratures for humans young and old to examine.  Their new Monsters of the Abyss: Aquatic Predators Past + Present brings in a variety of creatures that lived under the sea 66 million years ago.  But they also have their decendants who may still be patrolling waters today.

    They describe their exhibit as one that allows witnesses to to travel millions of years into the past to go face to face with real-life monsters who defy imagination and have inspired myths and legends.

    It began on October 4th and runs through February 16th, 2026.

    More about:


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    Brett Reckamp

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  • Step into the Oval Office: New DC exhibit offers life-sized presidential experience

    Step into the Oval Office: New DC exhibit offers life-sized presidential experience

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    “The People’s House” opens Monday to the public in Washington D.C., offering visitors an immersive experience to a life-sized replica of the Oval Office. Curators say the exhibit gives people a chance to act as a sitting president or as a cabinet member.The experience also allows visitors to attend a cabinet meeting and vote on a course of action for the president. There are virtual recreations of other parts of the West Wing, such as the Cabinet Room where leaders advise the president. Innovative technology provides experiences of the State Floor, including the East, Green, Blue, and Red Rooms.The centerpiece of the experience is The Oval Office replica, complete with exact copies of President Joe Biden’s desk and armchairs, even down to the family Bible. The White House Historical Association says the decor will change with each sitting president.”When a family comes to Washington D.C. and they have a limited amount of time, we hope they have the opportunity to get a White House tour, but most won’t have that,” White House Historical Association President Stewart McLaurin said. “So, to learn about the presidency and the White House, you simply come across the street of the White House to 1700 Pennsylvania Avenue and we give you that experience to learn.”The White House Historical Association raised $60 million for the project and is trying to raise $50 million to keep it going. Timed tickets to “The People’s House” are free.

    “The People’s House” opens Monday to the public in Washington D.C., offering visitors an immersive experience to a life-sized replica of the Oval Office. Curators say the exhibit gives people a chance to act as a sitting president or as a cabinet member.

    The experience also allows visitors to attend a cabinet meeting and vote on a course of action for the president. There are virtual recreations of other parts of the West Wing, such as the Cabinet Room where leaders advise the president. Innovative technology provides experiences of the State Floor, including the East, Green, Blue, and Red Rooms.

    The centerpiece of the experience is The Oval Office replica, complete with exact copies of President Joe Biden’s desk and armchairs, even down to the family Bible. The White House Historical Association says the decor will change with each sitting president.

    “When a family comes to Washington D.C. and they have a limited amount of time, we hope they have the opportunity to get a White House tour, but most won’t have that,” White House Historical Association President Stewart McLaurin said. “So, to learn about the presidency and the White House, you simply come across the street of the White House to 1700 Pennsylvania Avenue and we give you that experience to learn.”

    The White House Historical Association raised $60 million for the project and is trying to raise $50 million to keep it going.

    Timed tickets to “The People’s House” are free.

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  • Smithsonian Exhibit on Voting in America to Launch Statewide Tour in Sarasota

    Smithsonian Exhibit on Voting in America to Launch Statewide Tour in Sarasota

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    Voices and Votes: Democracy in America, a traveling exhibit from the Smithsonian Institution, will be on display from August 15 to October 10 at the Betty J. Johnson North Sarasota Library

    Press Release



    updated: Aug 12, 2020

    ​Florida Humanities is coordinating a statewide tour of a Smithsonian Institution traveling exhibit on voting in America. The statewide tour launches this week at the Betty J. Johnson North Sarasota Public Library.

    Voices and Votes: Democracy in America is based on a major exhibition currently on display at the Smithsonian’s National Museum of American History in Washington, D.C., and tells the story of America’s democratic form of government. This Museum on Main Street adaptation includes many of the same dynamic features: historical and contemporary photos; educational and archival video; engaging multimedia interactives with short games and additional footage, photos, and information; and objects like campaign souvenirs, voter memorabilia, and protest material.

    The exhibit kickoff will be celebrated virtually with an online “squeeze,” a modern-day take on the tradition of famous First Lady Dolley Madison, whose social gatherings were so popular that attendees had to squeeze in. Registration for the virtual launch event, which will be held from 2 to 3 p.m. on Saturday, August 15, is available online at https://bit.ly/31HxAki. The new exhibit is brought to Sarasota County by Florida Humanities and made possible by generous funding from Gulf Coast Community Foundation and Andrew W. Mellon Foundation.

    Voices and Votes will be on display at the North Sarasota Library through October 15. Due to the coronavirus pandemic, the library will observe social-distancing practices, limit the number of simultaneous visitors, and regularly sanitize the exhibit. Visitors are encouraged to verify the library’s hours and other information by calling the library at 941.861.1360. A number of online events, in partnership with civic groups The Village Square and Braver Angels, will augment the physical exhibit. These programs include book discussions, documentary screenings, and workshops to recognize and lessen the effects of polarization on political conversations. Learn about virtual events here.

    The exhibit features six thematic sections. Each section explores historic content and poses questions relevant to our contemporary form of government. “The Machinery of Democracy,” for example, covers the myriad ways we participate in our political system, including state and national parties, nominating conventions, and promoting our candidate of choice.

    After leaving the North Sarasota Library, Voices and Votes will make three additional stops in Florida. The Polk County History Center in Bartow will host the exhibition from mid-October to mid-December. The Haitian Heritage Museum in Miami will host the exhibit from mid-December to early February 2021. The tour will conclude at the Florida Historic Capitol Museum in Tallahassee from mid-February until the end of March 2021.

    Media Contact:

    Keith Simmons, Communications Director, ksimmons@flahum.org

    Source: Florida Humanities

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  • NASTY WOMEN and BAD HOMBRES—An Exhibit of Bronze and Wax Sculptures About Our Times

    NASTY WOMEN and BAD HOMBRES—An Exhibit of Bronze and Wax Sculptures About Our Times

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    NASTY WOMEN and BAD HOMBRES—Bronze and Wax Sculptures About Our Times. May 1-6 2017 @ The Phyllis Harriman Mason Gallery, New York, NY.

    ​​From May 1 to May 6, Peruvian-born New York Sculptor, Oscar Garcia, will present “Nasty Women and Bad Hombres,” an exhibit showcasing the Wax and Bronze work of more than 30 New-York–based sculptors, also known as “The ASL Bronze Artists.” Opening reception is May 2, 2017, from 6 to 8 p.m., at The Phyllis Harriman Mason Gallery (second floor of The Art Students League of New York—see details below).

    The title of this exhibit, “Nasty Women and Bad Hombres,” is a commentary on the plight of women and immigrants in today’s changing political climate. Inspiration for this show is derived from the diverse artists who make up The ASL Bronze Artists. Mostly female and/or foreign born, they embody a “cross-fertilization of imagination coming from every corner of the globe.  Some of the work is satirical, of course, but also a celebration of positive energy, joy, even vulnerability,” says Oscar Garcia.  “We left it open so artists could express what they wanted to communicate, what was important to them in this new era.”

    “…a “cross-fertilization of imagination coming from every corner of the globe”

    Oscar Garcia, Exhibit Curator

    This exhibit is dedicated to the past, present and future women and immigrants who have the courage to pursue their dreams against all odds.

    About Oscar Garcia and the ASL Bronze Artists

    Mr. Garcia, a figurative and abstract master sculptor known for his environmental art and his creations out of organic materials, is also an expert in bronze work. Over the years, he has been commissioned to execute a number of public works as well as sculptures and reliefs for several churches.  Mr. Garcia holds a BFA and an MFA from the Escuela de Bellas Artes del Peru and studied Metallurgy and Materiality at the Universidad de Lima.  

    Twice a week, Mr. Garcia meets with the ASL Bronze Artists at the Art Students League of New York where he mentors the group on sculpting in wax and bronze. Mr. Garcia and his group cast their own bronze through the “loss wax process,” a method dating from the 3rd millennium BC.  

    For this group, Bronze is a preferred medium not only because it is corrosion-resistant, resilient, and stronger than stone but also because it is carvable and weldable, allowing artists to bring their vision to life in its finest details. It takes on a delicate and powerful form, as it captures movement and emotions, emanating life-like energy.

    ASL Bonze Artists (alphabetical order)

    ​Catherine Abrams
    Tina B
    Freddy Borges
    Val Brochard
    Larry D’Arrigo
    Mark Dawson
    Bette Elman
    Ralph Erman
    Richard Fallica
    Zalmen Glauber
    Kate Grandin
    Gaelle Hintzy Marcel
    Markus Holtby
    Muriel Kneeshaw
    Elena Komer
    Brian Lewis
    Jessica Mandrick
    Eileen Munson
    Tony Piscitello
    Sandra Schulz
    Grady Searcy
    Stanley Sheran
    Ella Sherman
    Max Singer
    Michelle Smith
    Sonia Stark
    Maria Stephens
    Nidia Tobaoda
    Toru Tokashiki
    Shoshana Vidra
    Natalie Vie
    Ray Warner
    Paul Yarden​

    Exhibit Details

    TITLE:    NASTY WOMEN AND BAD HOMBRES
    —An Exhibit of Bronze and Wax Sculptures About Our Times

    WHEN:     May 1- May 6, 2017

    WHERE:     The Phyllis Harriman Mason Gallery
    At The Art Students League of New York
    215 W 57th St, 2nd fl., New York, NY 10019

    Gallery Hours
    Mon-Fri: 9:00 a.m. to 8:30 p.m.
    Sat: 9:00 a.m. to 3:00 p.m.
    Sun: Closed

    ADMISSION:    Free

    OPENING RECEPTION:     Tuesday May 2, 2017
    6 p.m. to 8 p.m. 

    The Phyllis Harriman Mason Gallery
    At The Art Students League of New York
    215 W 57th St, 2nd fl., New York, NY 10019

    About the Art of the Loss Wax Process

    The artist covers the wax sculpture with a mix of plaster, silica, sand and water forming a mold that is then baked slowly. If the original sculpture is large, it is divided into sections to be individually cast so that each part better retains its shape. As the temperature rises, the mold hardens and the wax melts away, leaving a hollow cavity 
    in a hard shell. The molten bronze is then poured into the mold and left hardening in an exact replica of the one-of-a-kind wax sculpture. Thirty minutes later, the mold is chipped away to reveal the new bronze sculpture. Once all the casting is completed, 
    the separate parts have to be fitted together, welded, sometimes carved or bent, and smoothed. A patina is usually applied at the very end to alter the color of the surface and prevent further metal oxidation. 

    About The Art Students League of New York

    A legendary community of artists, the Art Students League of New York (ASL) was founded by artists in 1875 and has been instrumental in shaping America’s legacy in the fine arts. Yes, Bourgeois, Hirschfeld, Nevelson, O’Keeffe, Pollock, Rockwell, Rothko, and recently departed Rosenquist have practiced their art here, along with numerous other prominent artists. Today’s artists at the League share the same passions that those greats brought to their art.

    Dedicated to Non-Conformity

    The League was created by artists breaking away from the National Academy of Design. That independent spirit remains at the League today, where artists pursue their work unconstrained by dogma, politics or burdensome tuition. The format of ongoing monthly studio classes allows artists to work and explore their art at their own pace, exchanging ideas and learning from other prominent artists who have a range of artistic philosophies. 

    ​Photos and Media Kits

    ​To view and/or download photos of some of the work presented in “Nasty Women and Bad Hombres,” please go to:
    http://www.bronzeworkshop.com/media/

    ​To view and/or download photos of Oscar Garcia and some of his work, please go to:
    http://www.bronzeworkshop.com/media/

    Media Contact

    ​For more information about this exhibit, please contact:

    Val Brochard
    PR Specialist
    MG&G Advertising, Inc.
    (p) 646-638-1447
    vbrochard@mggadvertising.com

    ​Websites and social media associated with the ASL Bronze Artists:
    http://www.bronzeworkshop.com
    http://aslbronzeartists.com
    https://www.facebook.com/bronzeartists/
    https://twitter.com/bronzeartists 
    #bronzeartists
    https://www.instagram.com/bronzeartists/

    ​For more information about Oscar Garcia, please visit 
    http://www.artistoscargarcia.com

    ​For more information regarding The Art Students League of New York, please visit: http://www.theartstudentsleague.org

    ###

    Source: ASL Bronze Artists

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