Art’s shining future

first_imgMuseums reopen, reimaginedSitting on the third-floor of the Harvard Art Museums’ arcade last spring, as sunshine spilled in from the new giant skylight above, architect Renzo Piano discussed a quality near to his heart: beauty.“The frontier between beauty and civic life … is not strong,” said the Italian “master of light and lightness” during a break from touring the renovated Harvard Art Museums, an inspired reimagining of the University’s home for its imposing collection. Musing further, Piano said that museums can help to bridge that divide. “Beauty,” he proposed, “may save the world.”Architect Renzo Piano (left) tours the museums’ renovation and expansion project with Thomas W. Lentz, the Elizabeth and John Moors Cabot Director of the Harvard Art Museums. Stephanie Mitchell/Harvard Staff PhotographerWith revamped and expanded galleries, conservation labs, art study center and public spaces, the new museums, which open to the public on Nov. 16, aim to provide visitors with closer, more direct, and more sustained engagement to beautiful works of art. The result of six years of work, the 204,000-square-foot building has two entrances, five floors above ground and three below, a café, a museum store, a 300-seat theater, lecture halls, and teaching galleries.Perhaps not surprisingly, the ambitious project wasn’t without early critics. Thomas W. Lentz, the Elizabeth and John Moors Cabot Director of the Harvard Art Museums, pushed back against doubters who feared that Harvard was simply “rebuilding a very beautiful, static treasure house.” Treasures through time Complementing the color In the paintings lab, conservator Teri Hensick adds touches of color to the 19th-century painting “Phaedra and Hippolytus” by Pierre-Narcisse Guérin. Stephanie Mitchell/Harvard Staff Photographer <a href=”” rel=”nofollow” target=”_blank”> <img src=”” alt=”0″ title=”How To Choose The Correct Channel Type For Your Video Content ” /> </a> Working with curators, frame conservator Allison Jackson removed a coating of black paint that covered the original frames surrounding “The Actors,” a triptych of paintings by German artist Max Beckmann. The picture above shows the frames with the black paint (left) and after the treatment (right). Max Beckmann, The Actors, 1941–42. © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Photo: Harvard Art Museums, © President and Fellows of Harvard CollegeAn example is “The Actors,” an evocative triptych from the early 1940s by German painter Max Beckmann. While studying a series of old photos of the work, Lynette Roth, Daimler-Benz Associate Curator of the Busch-Reisinger Museum, realized the shiny black frame she always thought looked “out of place” on the work was actually the original frame that had at some point been painted black. Jackson’s fix was simple. She gently stripped off the dark paint, returning the wood to its original light brown.Roth admitted she was “quite taken” with the refurbished Beckmann work. “The three canvases, designed to stand in a complex and deliberate relationship to one another, now feel more of a piece than when you had this very stark, slightly shiny black frame around each. … It’s gorgeous.”She called the restoration of more than 20 frames in the Busch-Reisinger’s collection (19 of which were either recreated to replicate the artists’ original frame choices or were made from resized historical frames from the appropriate period) “one of the most important parts of the preparation of our new installation.” Knowing that most visitors likely won’t ever notice the frame work means “we did a good job,” she said. A frame should never detract from or overwhelm a painting, Roth added. It should simply “bolster the overall experience.”For Jackson, the job of making a frame look like she “didn’t do anything to it” is challenging ― especially when starting from scratch, as with the 17th-century Italian painting by Paolo Finoglia called “Joseph and Potiphar’s Wife.”Frame conservator Sue Jackson (left) works with her daughter Allison Jackson, also a frame conservator, gilding a recreated frame for the 17th-century Italian painting by Paolo Finoglia called “Joseph and Potiphar’s Wife.” Stephanie Mitchell/Harvard Staff PhotographerAcquired by the museums in the ’60s, the Baroque painting depicting a moment of attempted seduction came edged by a slim black frame more suited to a modern work. After the painting spent years in storage, Wolohojian chose to hang it in the museums’ second-floor arcade. But the odd frame had to go.After studying other works from the same period, Jackson, Wolohojian, and Danielle Carrabino, Cunningham Curatorial Research Associate in the division of European art, determined the painting’s original frame would have been much wider and far more elaborate. They worked with local craftsman Brett Stevens to design a profile for the frame, which he milled off-site. Once art preparator and handler Steve Mikulka assembled the painting’s new poplar molding, Jackson began making it glow.Research indicated that a gilded frame likely would have surrounded Finoglia’s striking, 7½- by 6-foot canvas. Before applying the gleaming strips of precious metal, Jackson treated the surface with layers of gesso, a mixture of glue and calcium carbonate, and a layer of bole, a combination of glue and red clay. After sanding those coatings smooth, she began the painstaking process of laying the small leaves of 23.75-karat gold 1/250,000 of an inch thick onto the new frame. It’s delicate work, often done in a confined space to reduce the chances of a draft or an excited exhale carrying away the prized pieces of paper.Harvard’s frame conservator Allison Jackson gently gilds a new frame with leaves of 23.75-karat gold that are 1/250,000 of an inch thick. Jackson first rubs the brush called a gilders tip against her cheek. The oils from her skin help the gold stick to the brush.“You don’t want to breathe at the wrong time,” joked Jackson’s helper ― her mother, Sue, a longtime frame conservator and veteran of previous projects whom the museums hired to help add the gold leaf and additional layers of paint and shellac to make the frame “look like it’s been around since 1640.”Watching the process unfold before her, Carrabino smiled. The new frame will complement the painting perfectly, she said. “This is going to sing for the first time in our collection’s history.”Shadow paintingsIn addition to allowing conservators time to restore works, the museums’ temporary closing offered staffers an extended chance to study and research the collection in detail. That rare window of opportunity proved particularly revealing for one of its most beloved holdings, the Wertheim Collection.Maurice Wertheim, a 1906 graduate of Harvard College, had a long and varied list of accomplishments: investment banker, philanthropist, amateur chess player, environmentalist, theatergoer and patron. At Harvard, he is perhaps best remembered as a passionate art collector who bequeathed his precious trove of 43 paintings, drawings, and sculptures to the Fogg in 1950. Among the gifts were several French Impressionist, post-Impressionist, and contemporary masterpieces.But Wertheim stipulated that his collective gift always be displayed together. When the works came off view in 2011, said Cunningham Assistant Curator of European Art Elizabeth Rudy, “It was just an amazing chance to learn anything new about them.” A gallery of Buddhist works from the collection of the Arthur M. Sackler Museum includes 6th-century cave temple sculptures from Tianlongshan, China. Stephanie Mitchell/Harvard Staff Photographer “Self-Portrait in Tuxedo,” 1927, by Max Beckmann is part of the Busch-Reisinger Museum’s collection. Stephanie Mitchell/Harvard Staff Photographer Careful conservation Tony Sigel, conservator of objects and sculptures, examines delicate, unfired clay sherds from an Asian sculpture. Stephanie Mitchell/Harvard Staff Photographer A sketch of the Harvard Art Museums’ renovation and expansion project by architect Renzo Piano, superimposed on a blueprint of the design. Photos: Courtesy Renzo Piano Building Workshop. Animation: Joe Sherman/Harvard University“My message is this is going to be a very different kind of art museum,” said Lentz. “The experience for viewers is going to be much more dynamic.”Indeed, dynamism flows from the new design itself, which unites the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum under Piano’s stunning roof. This “glass lantern” showers the Calderwood Courtyard with light, dispersing sunshine into the adjacent arcades and galleries. When the doors open, visitors will enjoy more than 50 new public spaces and galleries containing artworks that have been arranged chronologically, starting with modern and contemporary works on the ground floor and working back through time on the upper floors. About 2,000 works will be on display, many for the first time.In planning the renovation, Lentz and his team members were determined to maintain each museum’s identity, while ensuring lively dialogue among them. Early planning took into account the institution’s place in the greater Boston museum landscape, its role as an integral component of one of the world’s leading universities, and its commitment to the constituencies it serves, including faculty, students, and the larger community. The art of conservation View of “Griffin Protome from a Cauldron,” c. 620-590 BCE, in front of “Hydria (water jar) with Siren Attachment,” c. 430-400 BCE, from the collection of the Arthur M. Sackler Museum. Stephanie Mitchell/Harvard Staff Photographer The sculptures in a Busch-Reisinger Museum gallery include “Kneeling Youth with a Shell,” 1923, by George Minne (foreground/right). Works by Renée Sintenis, Ernst Barlach, Max Beckmann, and Käthe Kollwitz are also on view. Stephanie Mitchell/Harvard Staff Photographercenter_img “Summer Scene,” 1869, by Jean Frédéric Bazille is part of the Fogg Museum’s collection. Stephanie Mitchell/Harvard Staff Photographer A delicate touch Paintings conservator Kate Smith gently restores a work in the center’s paintings lab. Photos by Stephanie Mitchell/Harvard Staff Photographer How it works The Straus Center’s director, Henry Lie, discusses the delicate work that takes place in the four labs on the museums’ top floors. Stephanie Mitchell/Harvard Staff Photographer A series of prints titled “The Bath,” created between 1890 and 1891 by Mary Cassatt, are in the Fogg Museum. Stephanie Mitchell/Harvard Staff Photographer Paper precision Conservation technician Barbara Owens meticulously mats works on paper. Stephanie Mitchell/Harvard Staff Photographer Nearby at another table, Chang gently dusted cobwebs from a large black plastic train engine, one of a series of quirky items from the studio of Nam June Paik, the Korean-American artist considered the founder of video art, which will be displayed in the museums alongside his artwork. Across the room, objects conservator Tony Sigel clicked through the detailed digital documentation of his restoration of an ancient, cracked Greek terracotta kylix, or drinking cup.Across the hall, paper conservator Penley Knipe readied another delicate work for a bath. Over the years, a non-museum-grade mat had gradually yellowed the recently acquired 1944 black-and-white print “Encounter” by Dutch graphic artist M.C. Escher. Surprisingly, one effective way to clean prints, explained Knipe, is to gently wash them in specially conditioned water.People don’t believe it, she said, but “you really can float paper, or even immerse paper into water.” Such a bath will rinse out the acidic material that discolored the Escher print, returning some “health and lightness to the paper,” and making the image “pop a lot more,” she said.Paper conservator Penley Knipe prepares a work on paper for a bath in the Straus Center’s paper lab. Stephanie Mitchell/Harvard Staff PhotographerAround the corner in the paintings lab, paintings conservator Teri Hensick gently added touches of color to the 19th-century work “Phaedra and Hippolytus” by Pierre-Narcisse Guérin. As with any restoration, making sure the new changes are reversible is critical, said Hensick, who covered a series of fine scratches on the surface with an easily removable paint.During construction, many of the museums’ paintings were treated to some kind of aesthetic facelift. Some works required nothing more than a good cleaning with hand-made, oversized cotton swabs covered in one of the best fine-art cleaning fluids available: human saliva. Its slightly viscous consistency, pH-neutral balance, and natural enzymes make it “a really effective, very gentle way of releasing grime from the surface of some paintings,” said paintings conservator Kate Smith. Other, more involved treatments included the removal of non-original varnishes that darkened over time and altered some paintings’ original appearances.“Each treatment was revealing in a different way. Sometimes taking off an amazing yellow varnish just revealed a whole new poetry in a painting,” said Landon and Lavinia Clay Curator Stephan Wolohojian. Like all of the museums’ curators, Wolohojian worked closely with conservators to develop an individualized plan for each painting in his domain. But much of the restoration work didn’t involve the actual paintings at all.Framing the issueSince 2012, Allison Jackson, the museums’ first frame conservator, has repaired and refurbished more than 100 frames, ranging from medieval to modern. Jackson’s treatments, from basic cleanings and simple touch-ups to total reconstructions, were completed with a careful eye toward historical accuracy. Conservation cleaning The Straus Center’s assistant director, Angela Chang, carefully dusts off bits of cobweb and insect casings from an item in the artist Nam June Paik’s collection. Stephanie Mitchell/Harvard Staff Photographer Canopy of lightThat kind of beauty can often be found in the details. Anyone familiar with Piano’s renowned portfolio knows that his go-to building ingredients include glass, steel, and light. In 2013, the architect told an interviewer that he likes to use “the same material to tell a different story.”At the Harvard Art Museums, that story unfolds under his massive, six-hipped glass rooftop that pulls light down through the central circulation corridor’s arcades and galleries and splashes it onto the bluestone tiles of the courtyard five floors below.“There was always going to be light in some way, shape, or form because that’s what Renzo does,” said Peter Atkinson, the museums’ director of facilities planning and management, on a sunny rooftop tour.The bird’s-eye view from five floors up offers a unique look at Piano’s glass crown and his meticulous attention to detail, such as a row of steel grommets rising up the louvered glass in a perfect line, and a functional yet elegant network of ladders and catwalks erected so workers can regularly clean the panes.Peter Atkinson, director of facilities planning and management for the Harvard Art Museums, examines the new rooftop designed by architect Renzo Piano. Jon Chase/Harvard Staff PhotographerUnderstanding the roof at the Harvard Art MuseumsPeter Atkinson, director of facilities planning and management for the Harvard Art Museums, discusses the ‘fly-bys,’ angular points of glass that extend the rooftop’s design skyward. Edited by John McCarthy/Harvard UniversityThe panorama of Harvard’s myriad rooftops also reminds visitors that Piano’s creation is a dramatic addition to the University’s eclectic skyline, “something he spent a long time thinking about,” said Atkinson, who recalled the hours that the 77-year-old architect spent circling the building during construction. “When he would come here, he’d spend more time outside the building than in it. He would walk around; he’d walk all over. He would look down the streets, because he wanted to make sure his building fit the scale of the neighborhood.”To figure out how to piece the complex roof together, Piano turned to a team of German engineers. The final design was the product of various modifications and alterations because often what looked good on a model “just wasn’t workable” in real life, said Atkinson. “Form” he added, quoting design’s enduring maxim, “follows function.”Any roof’s most critical function, of course, is to keep the outside outside. In Germany, engineers blasted a small mockup of the roof with wind and water, using an aircraft propeller engine to test its durability. Happily, it passed.German engineers used an aircraft propeller engine to test the durability of a model section of the roof. Rob Mulligan/SkanskaPiano’s roof is also central to the climate in the building. Exterior panes of louvered glass protect an outside layer of shades that help to control the interior temperature and relative humidity. Six pyranometers, small saucer-shaped machines that measure sunlight levels, indicate whether the shades should be raised or lowered to help keep the temperature steady. The roof design is also key to important conservation work. A series of interior shades beneath a second layer of glass can be lowered or raised with a tap on a tablet computer by conservators eager to examine their work in natural light.This elegant, efficient system, said Atkinson, “was not conceived or designed or built on the fly. It took a long, long time.”Restore, repeatThrough the years of building restoration and construction, conservators and curators have been carefully examining, repairing, and restoring much of the museums’ extensive collection.This detailed, delicate work unfolded in the Straus Center, an 80-year-old institution that was the first in the nation to use scientific methods to study artists’ materials and techniques. Piano’s design returns the labs to the building’s uppermost floors, where they can take advantage of the natural light offered by the “glass lantern.” On the museums’ fifth and top level, a suite of sun-drenched, open rooms contains areas for the study and conservation of objects, works on paper, and paintings. One floor down in the Straus Center’s analytical lab, experts determine the chemical compositions of works of art. (The lab includes a vast collection of vivid pigments started by Edward W. Forbes, the center’s founder and former Fogg Museum director.)In keeping with the museums’ drive for greater transparency, work that once took place behind closed doors is now partially visible through the giant glass windows that look out onto the museums’ new circulation corridor. “We think people will like having a glimpse of our space as much as we like being able to see the galleries and the rest of the museum,” said Angela Chang, the center’s assistant director and conservator of objects and sculpture.Curious members of the public who knocked on the Straus Center’s door in the past were politely turned away. Now visitors will be able to observe the work from a distance without disturbing those inside. “We have a long history of teaching and presentation, and it makes sense for us to be visible,” said Henry Lie, the center’s director and conservator of objects and sculpture.On a recent afternoon, Lie carefully looked over a 20th century copy of an item in the museums’ collection, a first-century statuette of the Greek orator Demosthenes. While it isn’t an original and isn’t part of the museums’ collection, a close examination of the convincing replica, bought earlier this year by a museum staff member out of sheer curiosity, revealed important information, said Lie. “It establishes that the copy was made from the work in our collection, which helps to authenticate the museums’ statuette. It’s didactic for the types of technical questions that we have.” “We asked Renzo to design a new kind of laboratory for the fine arts that would support our mission of teaching across disciplines, conducting research, and training museum professionals, and strengthen our role in Cambridge and Boston’s cultural ecosystem,” said Lentz.The single glass roof symbolizes the coming together of these potent concepts. Lentz said that to accomplish this grand transformation, “We had to take everything apart and put it back together again.”Directly below the roof sits the Straus Center for Conservation and Technical Studies, where the public can glimpse conservators preserving masterworks and making discoveries for future generations. Floor to ceiling glass panes offer visitors insights into how experts gently piece back together a work of ancient Greek pottery, return a 16th century Ottoman dish to its original splendor, or carefully reframe a vivid painting by Georgia O’Keeffe.Light from the “glass lantern” fills the iconic Calderwood Courtyard. Stephanie Mitchell/Harvard Staff PhotographerThere’s a dynamic beauty too in the gallery configurations, and in the imaginative juxtaposition of the artworks within them. Paper, prints, and drawings are now displayed side-by-side with paintings, sculptures, and decorative art. American pieces stand alongside European and Native American material, and ancient classical sculptures depicting the human form recline or stride alongside their 20th century counterparts, creating connections and crosscurrents between collections.On the third floor, Harvard faculty will engage with art objects, arranging their own visual arguments to support their courses in the museums’ University galleries, which are open to the public. Nearby, in art study centers for each of the three museums, visitors can make appointments to inspect myriad items, including Greek bronzes, Japanese prints, Persian illustrated manuscripts, Rembrandt etchings, and photographs by Diane Arbus. The museums’ renovation and restoration gave conservators and curators the chance to study many of the works in the collections in even greater detail, including a number of paintings in the Maurice Wertheim Collection that have earlier paintings hidden beneath the existing works. Museum officials have long known that Pablo Picasso’s “Mother and Child” covers a portrait of a friend, French poet Max Jacob.Left: Pablo Ruiz Picasso “Mother and Child,” c. 1901. © Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo: Harvard Art Museums/Straus Center for Conservation and Technical Studies, © President and Fellows of Harvard College. Right: “Mother and Child” (X-radiograph). © Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo: Harvard Art Museums, © President and Fellows of Harvard CollegeTaking advantage of the latest scientific advances, conservators updated and augmented earlier technical analyses. They scanned Xradiographs of some of the collection’s paintings into a computer, creating a detailed digital roadmap. Other paintings were X-rayed for the first time, including the late 19th-century painting “Poèmes Barbares” by Paul Gauguin. The investigation revealed that the mythological portrait of a winged female figure standing next to a small animal had been keeping a secret: another work painted underneath.“I must have seen that painting thousands of times over the years, looked at it, conditioned it,” said Hensick of the work completed during Gauguin’s sojourn in the South Pacific. “And while we’d always thought it does have a really odd, textured surface, we’d always chalked that up to it having been folded or rolled, possibly by him to send back from Tahiti.”At first, the images were almost impossible to decipher — “a kind of a scramble of different brushwork,” said Hensick. But gradually the ghost-like X-rays revealed the faint rise of a mountain, the outline of a horse, and the profile of a person. Ultimately, the staffers determined that the painting underneath was a landscape with a dark and a light horse, each carrying a rider on its back.,“Our systematic technical examination of the Wertheim paintings revealed that Gauguin re-used another painting for ‘Poèmes Barbares.’ Using X-radiography, we discovered a landscape with two riders on horseback, oriented at a 90-degree rotation from the portrait underneath the female portrait. Seeing them is a bit like solving a ‘Where’s Waldo’ game,” said paintings conservator Teri Hensick. “New digital imaging techniques (layering, rotating in Photoshop) helped us see the covered image more clearly.” Above, Gauguin’s “Poèmes Barbares,” is pictured (left) next to the X-radiograph image taken by Harvard conservators (center) and a similar Gauguin painting, “Flight,” (right) painted in 1901 and in the collection of the Pushkin State Museum of Fine Arts in Moscow. (left) Paul Gauguin, “Poèmes Barbares,” 1896. Photo: Harvard Art Museums, © President and Fellows of Harvard College. (middle) “Poèmes Barbares” (X-radiograph). Photo: Harvard Art Museums/Straus Center for Conservation and Technical Studies, © President and Fellows of Harvard College (right) Wikimeida CommonsThe team tracked down a series of similar paintings that Gauguin had made around the same time, depicting riders on horseback. They also read letters from his island oasis in which he pleaded for more materials, which suggests that a simple shortage of blank canvases may have led him to cover the first work.“To find another firmly attributed painting to Gauguin is just tremendous,” said Rudy. “You also get more insight into his working method.”Echoes of RothkoIt seems fitting that the restored museums’ inaugural special exhibition features a series of sprawling, carefully restored murals by the abstract expressionist painter Mark Rothko. It also seems fitting that light, so central to the museums’ vision, is key to the murals’ recent restoration.But the light that revives the original rich hues of Rothko’s giant swatches of color doesn’t come from the sun. When visitors enter the Special Exhibitions Gallery on the third floor for “Mark Rothko’s Harvard Murals,” they will see his works as they would have looked more than 50 years ago, color corrected with the help of tinted light cast from five overhead projectors.In a demonstration of the digital camera-projection system earlier this year, a camera shoots pictures of one of the murals in the gallery. The image is then compared to the restored photograph of the original painting. The information is fed into a computer that uses custom-made software to generate a “compensation image,” which is sent to a projector that then illuminates the mural and restores the color, so it looks as it would have more than 50 years ago. Stephanie Mitchell/Harvard Staff PhotographerOver several years, a team of conservators, scientists, and curators allied sophisticated computer software with determined detective work to restore the appearance of the murals. The Harvard team first analyzed Rothko’s paints and pigments and studied restored Ektachrome photos of the murals to assess their original color. Next, the team enlisted scientists at the Massachusetts Institute of Technology to help develop custom-made software that could isolate the paintings’ affected areas and tell the projectors which colored light to emit, pixel by pixel, to augment the missing color.“This exhibition is fundamentally propositional in nature; it’s really intended to inspire discussion and debate on this new conservation and approach,” Lentz told the Gazette earlier this year during a preview of the new show.Rothko, known for creating immersive environments for his art, crafted the murals for a special events room on the 10th floor of Harvard’s Smith Campus Center. (The Center was designed by Jose Lluís Sert, then dean of the Harvard Graduate School of Design.) Installed in 1964, the giant panels were soon overwhelmed by Sert’s floor-to-ceiling windows, and the colors faded in the sunlight. Officials removed the murals in the late ’70s. They were displayed only a few times in the ensuing decades, and were returned to storage.John Coolidge, former director of the Fogg Museum, and Mark Rothko (right) in front of “Panel Two” and “Panel Three” of the Harvard murals on the tenth floor of Harvard’s Holyoke Center, 1963. © 2009 Kate Rothko Prizel and Christopher Rothko / Artists Rights Society (ARS), New York. Elizabeth H. Jones, ©President and Fellows of Harvard CollegeIncluded in the new exhibition will be a series of studies on paper and canvas for the mural series, as well as a sixth mural painted for the commission — brought to Cambridge for installation by Rothko but ultimately not included — on view for the first time.As with any fine-art restoration, preventing further damage to the work and ensuring that any changes are easily reversible are paramount. The soft light won’t further fade the paintings, said museums’ officials, and the virtual restoration can be undone with the flip of a switch.The projectors shining light on each of the paintings will be turned off periodically during the exhibition, allowing visitors to see the murals without augmented color. “I think that it’s important to make this distinction,” said Lentz. “We are not restoring the paintings; we are restoring the appearance of the paintings.”Classics in clayPiano’s giant jewel box core floods light into the museums. So do two glass galleries on either side of the building’s new Prescott Street facade. In Piano’s winter gardens, windows double as walls. Sun shines in on evocative works, not sensitive to light, that include a collection of terra cotta “sketches,” or bozzetti, by Gian Lorenzo Bernini, the great Baroque architect and artist largely responsible for defining the look of 17th-century Rome.In the small glass box adjacent to Le Corbusier’s Carpenter Center for the Visual Arts are a series of delicate small clay statues by the celebrated Italian sculptor. The 13 intricate bozzetti include those made to depict the massive marble angels adorning the Ponte Sant’Angelo, the bridge that spans the Tiber River near the Vatican, and the bronze statues kneeling at the Altar of the Blessed Sacrament in St. Peter’s Basilica.Gian Lorenzo Bernini’s “sculptural handwritingObjects conservator Tony Sigel discusses Bernini’s “sculptural handwriting.” Edited by John McCarthy/Harvard UniversityA treasure of the Fogg and the largest collection of Bernini’s terra cottas in the world, the sketches were included in a larger Bernini exhibition, co-curated by Sigel, that traveled to New York’s Metropolitan Museum of Art in 2012 and to the Kimbell Art Museum in Fort Worth, Texas, last year. At the Kimbell, where Piano last year added a wing, he was struck by the bozzettis’ display. They were bathed in natural light and surrounded by the vaulted concrete that architect Louis Kahn — Piano’s mentor — so revered.Sculptor Gian Lorenzo Bernini’s “Head of Saint Jerome,” c. 1661, part of the Fogg Museum’s collection, is one of 13 terra cotta models on view in one of the museums’ two winter garden galleries. Photo: Harvard Art Museums, © President and Fellows of Harvard CollegeSeeing the exhibition, Piano apparently told the museum’s director: “I am building a building at Harvard for these.” That comment got Harvard’s curators thinking.Back in Cambridge, the sketches fit perfectly in Piano’s winter garden facing the Carpenter Center, where light and Le Corbusier’s concrete architecture reign. Look down and you see a master at work four centuries ago. Look up and across at the Carpenter Center studios and you see new creations coming to life.In the Art Museums’ intimate glass gallery, cases containing the sketches are arranged at various levels, as they might have appeared in Bernini’s workshop 400 years ago. The sunshine helps to illuminate the sculptor’s prominent hand.For scholars and art lovers alike, the bozzetti are not simply beautiful works, they are lasting teaching tools that shed important light on Bernini’s motives and methods.“They chart Bernini’s use of these models to develop his ideas from the earliest conception through to perhaps the final version,” said Sigel, who was part of an extensive research project in the late ’90s to examine the bozzetti in detail.Look closely, and you can see the artist’s “sculptural handwriting,” preserved in the clay, said Sigel, pointing to a small crescent-shaped mark on the back of the neck of a kneeling angel. The fingernail impression was left when Bernini gave the clay “a pinch between his thumb and forefinger.”At the base of another sketch, a series of tiny pin marks are trapped in the terra cotta. A compass-like tool, used to gather measurements that would help Bernini and his assistants enlarge the sketches into full-sized sculptures, left the markings behind.“Kneeling Angel,” 1672, by Gian Lorenzo Bernini is one of several terra cotta sketches in the Harvard Art Museums’ winter garden gallery that reveal the artist’s “sculptural handwriting.” Photo: Harvard Art Museums, © President and Fellows of Harvard CollegeElsewhere, the sculptor’s fingerprints are clearly visible.“As you push your finger through the clay, when you pick it up, that’s where the fingerprint is deposited,” said Sigel, who studied clay sculpture at the Art Institute of Chicago. “That signals the end of the stroke rather than the beginning.”In keeping with the museums’ mission of teaching and research, two of Bernini’s precious sculptures have been left out of the display. “It’s critical that we keep some in reserve for the classroom and other projects,” said Wolohojian.Sigel called the chance to work with and study Bernini’s models so closely “life changing.”“In some sense,” he said, “I feel as if I’ve been able to look over Bernini’s shoulders as he’s gone about his work.”Now, visitors can observe the master at work, too.Art for everyonePiano’s inviting design allows art lovers and passersby to wander freely through the building’s ground-floor public piazza — which now runs from Prescott to Quincy Street — without an admission ticket. Museum officials are confident that many people will stop along the way. A series of evocative works beckons strollers to explore further.“One of the things we are hoping will happen, almost just by the contagion of curiosity, is that people will be led to follow different pathways as they experience the art in public spaces,” said Debi Kao, the museums’ chief curator. “They can just have that singular experience, and that will be quite powerful and important. But if it’s really doing its work, the art on view in public spaces will lead visitors into the galleries as well as to other means of gaining expertise about great original works.”After encountering a work in the Calderwood Courtyard, a visitor might head up a few flights to investigate a corresponding exhibition, find out more about the materials used in a particular installation in the materials lab on the lower level, or examine an artwork up close in the fourth-floor art study center, said Kao.The great artworks positioned just footsteps away from any entryway also showcase the knitting together of the three component museums. An eclectic selection of art greets visitors who pass through the Quincy Street entrance, including the newly remounted series of intricately carved medieval Romanesque capitals long associated with the Fogg Museum. Nearby, an imposing, sixth-century Chinese stone leonine sculpture invites visitors to take in the Sackler Museum’s rich collection of Asian art in the gallery directly behind. In another corner, “The Crippled Beggar,” German artist Ernst Barlach’s haunting ceramic statue of a frail figure gazing skyward, is an example of the vivid modern and contemporary works on view in the adjacent Busch-Reisinger Museum.An imposing, 6th-century Chinese stone leonine sculpture invites visitors to delve into the Arthur M. Sackler Museum’s rich collection of Asian art in the gallery directly behind it. Stephanie Mitchell/Harvard Staff PhotographerVisitors entering the building from Prescott Street will encounter a group of recent acquisitions that highlight the museums’ increased commitment to collecting time-based and new-media works. “That’s a real focus of our move forward with collection building,” said Roth, “to collect more heavily in those areas and feature artists who are working in a range of media.”A site-specific work by German artist Rebecca Horn animates one of two double-story walls flanking a pedestrian bridge that leads into the museums. Commissioned for the Busch-Reisinger, Horn’s “Flying Books Under Black Rain Painting” activates the space with a blend of performance and kinetic sculpture. Harvard students soon will watch Horn’s quirky “painting machine” splash black ink on a blank wall as well as on three opening-and-closing books: Fernando Pessoa’s “The Book of Disquiet,” Franz Kafka’s “Amerika,” and James Joyce’s “Ulysses.” Those paint-splattered books will continue to flutter periodically when viewers pass by, activated by motion detectors.Roth hopes Horn’s work will invite visitors to venture into the University Research Gallery to explore “Rebecca Horn: Work in Progress,” an exhibition of her early performances on film and in photographs, as well as a number of her editioned artworks.On the adjacent wall, social media takes center stage. In “258 Fake,” 12 video monitors display more than 7,000 rotating images compiled by Ai Weiwei, the contemporary Chinese artist and activist. The photos were originally featured on his popular blog from the 2000s that included his commentary on everything from restaurants to art to architecture to Chinese politics. Eventually, the site proved too provocative for the Chinese government, which shut it down. The intrepid artist quickly found another life for the blog’s visual content with this meditative montage.But walls and galleries aren’t the only places suited for public art in the new Art Museums. Officials are also considering using the vaulted space above the courtyard to showcase installations that could hang from the intricate interior system of king posts anchoring Piano’s steel and glass roof.“The courtyard is such a stunning space,” said Kao. “At its center, people can look up and see works of art in the arcade galleries, and the idea of extending that experience into the space above is really exciting.”Above all, the museums’ driving goal is aligned with Piano’s notion of creating a civic space that acts as a vital bridge connecting the University, the community, and beautiful works of art.Officials envision the museums becoming a place “of gathering and discourse and discussion and wonder,” said Kao. “We do have this fervent belief in the power of art to be a driver of great ideas of cultural history and cultural memory. And in the end, that’s what it’s really all about.”last_img read more

14 Palms can survive cold

first_img Volume XXVIII Number 1 Page 14 To most folks, the word palm triggers thoughts of Florida, Hawaii or Georgia’s coastal islands. But you don’t have to live in any of these areas to enjoy palms.A few cold-hardy palms will grow as far north as Tennessee and North Carolina, where the average winter may reach minus 10 degrees Fahrenheit.Palm varietiesWindmill palm (Trachycarpus fortunei) is one of the hardiest. It will grow throughout Georgia and has survived cold as low as minus 10. This January, windmill palms in Athens, Ga., weathered 9 degrees without a scratch.This palm looks particularly nice in groups of three to five at the corner of a building or courtyard entrance. It’s great around swimming pools, too, because it doesn’t litter the water as deciduous trees do. At 20 to 25 feet tall, it has fan-shaped leaves and a brown trunk covered with burlap-like fibers.Needle palm (Rhapidophyllum hystrix) is a clumping, understory palm with deep green, fan-shaped leaves. It’s a Southeastern native and an endangered species, with its native habitat increasingly destroyed by development.Its name stems from the many needle-like spines along its petioles. These aren’t a problem until pruning becomes necessary. Once established, it’s a carefree plant and one of the hardiest palms, surviving winters as low as minus 5.Surprisingly, needle palm does better inland than along the coast (it doesn’t like salt spray). It grows 5 feet tall and wide, so a single specimen will fill a large space. Some beautiful, old needle palms grow at historic estates in Madison, Ga.Dwarf palmetto (Sabal minor) is native to Southeastern river flood plains. It grows 4 to 5 feet high and wide with green to blue-green fronds. It’s not as hardy as needle palm. But it’s been reported to withstand temperatures down to 10 degrees.Each plant bears no more than six fronds, so it looks best when planted in clumps of three to five. It prefers moist, sunny sites.Unlike the saw palmetto (Serenoa repens) that grows rampantly in south Georgia and Florida woodlands, dwarf palmetto isn’t invasive and doesn’t have needle-like spines.Cabbage palm (Sabal palmetto) is also called palmetto palm. The state tree of South Carolina and Florida, it’s native to coastal areas from North Carolina to Florida. It’s found in the wild throughout the Florida panhandle and parts of south Georgia, too.It usually can be grown without cold protection along a line from Columbus to Augusta. But cold protection is best to the north of that line.This means planting it in a sheltered courtyard or on the southeast side of a structure, where it’s sheltered from cold winter winds, and wrapping the fronds and center bud in blankets to protect them from temperatures below 25 degrees. A courtyard planting in Greensboro, Ga., contains some beautiful cabbage palms.Jelly palm (Butia capitata) is native to Uruguay and southern Brazil but is planted widely throughout Florida and coastal Georgia. As the name implies, its fruit is used to make jelly.It grows up to 30 feet tall and bears blue-green, feather-like fronds. Like the cabbage palm, it requires winter protection when temperatures drop below 25 degrees.This involves tying the fronds together in bundles and covering them with burlap or blankets. Protecting the central bud is critical, because that where new growth starts.Palm resourcesThe Southeast Palm and Exotic Plant Society has an excellent reference manual for growing palms in the Southeast. Get it from your county University of Georgia Extension office or at sources of cold-hardy palms include Woodlanders, Inc., in Aiken, S.C.; Nurseries at North Glen in Glen St. Mary, Fla.; Plant Delights Nursery in Raleigh, N.C.; and Gerry’s Jungle in McDonough, Ga. By Gary L. Wade University of Georgialast_img read more

Peanut Crop

first_imgGeorgia’s largest peanut crop in more than 20 years could produce great results come harvest season, says Scott Monfort, University of Georgia Cooperative Extension peanut agronomist.“You never know what might happen from now until harvest season, but at this point in time, I’d say we probably have the best crop we’ve had in several years,” Monfort said. “Now, we don’t know what’s in the ground, but just looking at the plants and what I’ve pulled up so far, the pod load looks wonderful.”Monfort attributes Georgia’s strong crop to timely rainfall in south Georgia throughout the summer. Since about half of Georgia’s peanuts are produced on dry land, or land without access to irrigation, growers rely on rain to produce a good crop.“Where we are today is impressive considering that our growers had a rough start getting this crop up and going. We got a lot of rain early, then we got very dry and then we got spotty. Once we got this crop going and started getting some of these rains, the plants have been improving daily,” Monfort said. “We just need for these rains and this sunshine to continue, not just overcast skies.”Along with timely rainfall, Georgia’s peanut crop needs lower temperatures, which are predicted for August.“Usually in August, temperatures are running anywhere between 95 degrees (Fahrenheit) and 100 degrees. Nighttime temperatures are up. We’re also a little bit drier, so the plant is struggling to produce peanuts,” Monfort said. “Having a little breather in temperature will allow the plants to be more efficient.”Georgia farmers started planting peanuts in late March and finished in early July. There are 828,000 certified peanut acres planted in Georgia this year, the state’s highest amount since the early ’90s, Monfort said. Georgia produced 714,168 acres of peanuts last year.“Hopefully the industry understands what’s coming ahead and they’re getting rid of the peanuts from last year,” he said.An abundant crop means farmers could flood the state’s buying points with excess peanuts. However, Georgia’s long planting season should help alleviate those concerns.“Usually we can get all of the peanuts planted in a four- to five-week window. This results in (having) all of those peanuts harvested and brought to the buying points at one time. At least, this year, we’re spread out over a couple of months. That will help,” Monfort said.last_img read more

Recovery After DDT

first_imgWithout the 1972 ban on DDT and ensuing protections, the bald eagle (left) and peregrine falcon (right), let alone dozens of other bird species, would likely be gone now in the continental U.S. Photo Cred: iStockPhotoEarthTalk®E – The Environmental MagazineDear EarthTalk: I understand there is good news about the recovery of bird species like the Peregrine Falcon, Bald Eagle and others owed to the 1972 ban on DDT. Can you explain? — Mildred Eastover, Bath, MERachel Carson’s seminal 1962 book, Silent Spring, told the real-life story of how bird populations across the country were suffering as a result of the widespread application of the synthetic pesticide DDT (dichlorodiphenyltrichloroethane), which was being used widely to control mosquitoes and others insects. Carson reported that birds ingesting DDT tended to lay thin-shelled eggs which would in turn break prematurely in the nest, resulting in marked population declines. The problem drove bald eagles, our national symbol, not to mention peregrine falcons and other bird populations, to the brink of extinction, with populations plummeting more than 80 percent.Luckily for the birds, Silent Spring caused a stir, and many credit it with launching the modern environmental movement. Indeed, one of the world’s leading environmental non-profits, the Environmental Defense Fund (EDF), initially formed in 1967 in reaction to the DDT problem. The group’s first order of business included filing lawsuits in New York, Michigan, Wisconsin and Washington DC to force a ban on DDT. EDF enlisted the help of dozens of scientific experts—ornithologists, ecologists, toxicologists, carcinogenesis experts, and insect control specialists—to testify at multi-month hearings to prove its point in regard to the dangers of DDT. In 1972 environmentalists’ prayers were answered—and their hard work vindicated—with the federal government finally banning DDT.But with lots of the pesticide already dispersed through ecosystems far and wide, not to mention myriad other threats to bird habitats and the environment in general, no one could be sure whether populations of eagles, falcons and other predatory and fish-eating birds would come back from the brink. While the federal Endangered Species Act went a long way to protect these at-risk species and some of their habitat, non-profits also played a key role in helping specific species recover. To wit, the Peregrine Fund was founded in 1970 by a leading Cornell ornithologist to help nurse peregrine falcon populations hit hard by DDT back to their once abundant numbers. Researchers with the group pioneered methods of breeding peregrines in captivity and releasing them into the wild; such techniques have since been adopted widely by biologists trying to bring other wildlife species back from the brink of extinction. Thanks to a combination of factors and the hard work of bird lovers and scientists, peregrine falcons are once again common across the U.S., graduating off the national endangered species list as of 1999.The bald eagle’s recovery is perhaps the best known example of how our environmental laws worked to restore not just a resource but our very national symbol. In the mid-1960s fewer than 500 nesting pairs of bald eagles existed in the continental U.S.; today, thanks to the DDT ban and other conservation efforts, some 10,000 pairs of bald eagles inhabit the Lower 48—that’s a 20-fold population increase in just four decades! In 2007 the federal government removed the bald eagle from the Endangered Species List. Without the 1972 ban on DDT and ensuing protections, the bald eagle, let alone dozens of other bird species, would likely be gone now in the continental U.S. And without the song of the birds, the spring would be a very silent time indeed.CONTACTS: EDF,; Peregrine Fund,® is written and edited by Roddy Scheer and Doug Moss and is a registered trademark of E – The Environmental Magazine ( Send questions to: [email protected] Subscribe: Free Trial Issue: read more

Paralyzed Woman Hiking Appalachian Trail

first_img41 year-old Stacey Kozel of Medina, Ohio is not your typical Appalachian Trail thru-hiker.That’s because she is attempting to hike America’s favorite footpath without the full use of her legs.At the age of 19 Kozel was diagnosed with Lupus stemming from a previous car accident. She’s been paralyzed from the chest down ever since.But now, thanks to the wonders of modern technology and some inspiring determination, Stacey is in the midst of fulfilling her longtime dream of hiking the 2,000 plus mile Appalachian Trail.13315735_885440018250838_928202423287594417_nHer hike is being made possible by a set of high tech knee braces that cost $75,000 a piece. The braces contain foot sensors that tell a built in computer how much tension Kozel will need at the knees for each step she takes.She hopes that her hike will raise awareness about the life changing braces and make them more available to paralysis victims like herself.“My goal is to bring awareness to these braces so people know they exist and hopefully it gives more people the ability to get out of their wheelchairs and out exploring the world,” Stacey wrote in an article published on“There are people that qualify for these braces that either do not know they exist or it gets stopped with an insurance denial. I hope WHEN I make it back to Mt. Katahdin on my thru hike, insurance companies will have a much tougher time telling others that the braces are ‘not necessary.’”At the moment Stacey is somewhere in the Blue Ridge Mountains of Virginia approximately three months into her epic journey. Her spirits are said to be high as she attempts to make Appalachian Trail history.Keep up with Stacey’s progress here.Related Content:last_img read more

Argentina Seeks Colombian In 1994 Terror Strike

first_imgBy Dialogo May 21, 2009 An international arrest warrant has been issued for a Colombian accused in the worst terror strike on Argentine soil, the 1994 bombing of a Jewish charities building that killed 85 people and injured 300, prosecutors said. Prosecutor Alberto Nisman said that on Wednesday he sought the arrest of a Colombian who was a resident of Buenos Aires and suspected in the attack, the second major anti-Jewish bombing in Argentina that has gone unsolved for a decade and a half. “I have done the paperwork seeking the arrest and international capture of the ‘local connection’s’ top reponsible party, Colombian Samuel Salman El Reda,” Nisman told a press conference. The suspect has been married to an Argentine national, Silvina Sain, “since 1989 and was part of the most radicalized sector of the local Muslim community,” he added. Argentina previously requested the arrest of former Iranian officials in connection with the deadly bombing of the Argentine Jewish Mutual Association, a Buenos Aires headquarters of Jewish charity groups. Argentina has South America’s largest Jewish community.last_img read more

Island Park Shooting Suspect Nabbed

first_imgSign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York Nassau County police have arrested a man suspected of shooting and wounding a man in Island Park over the weekend.Angel Martinez was charged with assault, criminal use of a firearm and criminal possession of a weapon.Police said the 47-year-old suspect shot the 36-year-old victim in the abdomen after asking to speak to him outside Costa Del Sol Restaurant and Bar on Austin Boulevard near the alleged gunman’s home at 7:30 p.m. Saturday.The suspect fled and the victim walked home to Long Beach, where his friend called 911, authorities have said. The victim was taken to a local hospital where he is listed in stable condition with a non-life threatening injury.Police apprehended Martinez in Wyandanch on Tuesday. He also had an open warrant for disorderly conduct in Hempstead, police said.  He will be arraigned Wednesday at First District Court in Hempstead.last_img read more

7 step mid-year marketing review for your credit union

first_imgLook at your traffic sources and make adjustments. For example, if you are noticing a lot of people are taking action from digital ads and not as much from direct mail, it would be wise to reallocate resources for any current and upcoming promotions to maximize success and budget dollars.Measure progress on annual goals. This one is simple and effective. At the end of June, you should be at least 50% or more of your annual goals. If you aren’t, have a discussion with your team about what factors are causing you to not achieve the growth you forecasted:Did anything happen – planned or unplanned – that affected how members do business with or perceive your credit union? If so, did the marketing plan address those changes? Does it need to address those changes in the second half of the year?Were a majority of the dollars spent going towards one or more of the marketing objectives for the year?What went well, and how can we repeat this success in the future?What didn’t go well, and what did we learn from it for next time? 37SHARESShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr,Amanda Thomas Amanda is founder and president of TwoScore, a firm that channels her passion for the credit union mission and people to help credit unions under $100 million in assets reach … Web: Details Get the over/under on your budget. Just as you measured progress on the goals, make sure you are on track with your annual budget. If one category is higher than budgeted, make adjustments in other areas in order to keep it balanced and stay within your annual budget.Employ best practices. If you have a branch or employee(s) who is outperforming all the rest, talk to them and find out what they are doing to achieve those results.  Share these best practices across the entire credit union to enhance success.And lastly, check your momentum. The credit union could be experiencing success in numbers, but are you taking the time to celebrate those successes with your employees? This is a step a lot of credit unions miss because of time or budget constraints, but engaging all employees in the plan and sharing in the success is the number one way to keep momentum going strong and maximize success.center_img It’s June already!  While that means summer vacations, weddings, and barbecues, it’s also halfway through the year and time to do a performance review…of your marketing plan.Here are seven steps to performing a review of your marketing plan to ensure success for the second half of 2016:Measure the numbers. One of the easiest ways to know if your marketing is successful is to calculate ROI on the results of your campaigns. Don’t stop there – also make sure to compare quarter-over-quarter and year-over-year to make sure you are not only reaching your goals, but also outpacing growth from the previous year.Talk to your coworkers. This step accomplishes a couple of things:It identifies opportunities you have to make their jobs easier, thereby enhancing the member experience.It could uncover roadblocks you didn’t know were there that have caused marketing efforts to be less successful.Are you communicating effectively with your team about all marketing initiatives? You may think you are, but if employees feel un-included or uneducated about what’s going on, they will be more likely to stand in the way of the success of your marketing efforts.Do they have the tools they need to have conversations with members? We are in the business of relationships, and we do this through a consultative role with our members. Ask your employees if they have what they need from you to be the expert on the credit union’s products and services. Ask what you can do to help make that happen.last_img read more

US election 2020: Donald Trump’s speech fact-checked

first_imgUS election 2020 live results Related Topics Trump: “They mailed out tens of millions of unsolicited ballots without any verification measures.” To take another example, Nevada has a Republican secretary of state overseeing its election. Link box banner bottom

The fourth edition of the Poreč Open Air Festival starts tonight

first_imgOn the second day of the festival, July 2, also in the garden of Villa Polesini from 19 pm, all guests can expect gastronomic snacks and interpretations of some of the world’s greatest jazz and pop songs performed by Vanda Winter and accompanied by Igor Geržina who will open the new Beats & festival program. Bites, a romantic picnic for couples in love and all those who feel that way. A day later, on Wednesday, July 3, many jazz fans will also come to their senses because Aleksandar Dujin, a prominent pianist and composer from Vojvodina, known to the general public as Đorđe Balašević’s pianist, will open the 24th Jazz in Lap by festival in Poreč’s Trg slobode with orchestra. POUP, which has been bringing excellent jazz artists from Croatia, the region and Europe to Poreč for years. Thursday is dedicated to the youngest for whom a Princess Ball will be held in the park in front of the castle at the Valamar Collection Isabella Island Resort on the island of Sveti Nikola, which will take them to the world of Alice in Wonderland where they can meet the prince and princess, take pictures with favorite cartoon characters. movies and enjoy various zones such as dress up, hocus pocus, photo and sweet corner, dance workshop, small fencing school, balloon modeling and mini alka competition, while as a souvenir they will bring a surprise gift. This year’s edition of the “Poreč Open Air Festival” will start tonight at 21 pm on the summer stage on the Riva with a new Cabaret Show by the circus group Circus in the City, whose jugglers, stilt walkers and silk dancers will provide entertainment to all visitors. the following Monday throughout the summer. Summer evenings at the Poreč Open Air will be especially enjoyed by film lovers who expect screenings of film hits in the ambience of Villa Polesini and on the meadow near Lungomare every day as part of the Open Air Cinema, and tonight they can watch the film hit “Aquaman”. The festival is organized by the tourist company Valamar Riviera and in cooperation with the host sponsors, the City of Poreč, the Tourist Board of the City of Poreč, the Tourist Board of the Istrian County, the Croatian Tourist Board MPG in charge of organization and logistics and numerous sponsors and partners. Source: Valamar Riviera The program and all other information and news can be found at festival website and on Facebook i Instagram. In addition to the aforementioned Beats & Bites, this year’s festival will be further enriched by new 3D Video Mapping and World Plates programs. In addition to Vanda Winter and Igor Geržina who open Beats & Bites, visitors will be entertained every Tuesday during the summer by Zsa Zsa Acoustic, Matija Cvek Trio, Vesna Pisarović Trio, The A !, Mia Dimšić Acoustic and Iva Smojver Acoustic Trio. A unique visual spectacle of light and color will give a new glow to the City Hall facade, and is part of a new 3D Video Mapping program that visitors will be able to watch from the Riva every Friday evening. During the four days of the festival in September, all lovers of good food on the World Plates will have the opportunity to taste specialties from different parts of the world with special emphasis on American, Italian, Mexican and Istrian cuisine. With a rich gastronomic offer, the program will be accompanied by performances by performers such as Scifidelity Orchestra, The A !, The Janitors and The Blondes, and music legend Bajaga and Instruktori will complete the music program on September 14 with their performance on Poreč’s Riva.last_img read more