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INTERNATIONAL DAY of COMMEMORATION IN MEMORY OF HOLOCAUST VICTIMS

INTERNATIONAL DAY of COMMEMORATION IN MEMORY OF HOLOCAUST VICTIMS
INTERNATIONAL DAY of COMMEMORATION IN MEMORY OF HOLOCAUST VICTIMS

Every year around 27 January, UNESCO pays tribute to the memory of the victims of the Holocaust and reaffirms its unwavering commitment to counter antisemitism, racism, and other forms of intolerance that may lead to group-targeted violence. The date marks the anniversary of the liberation of the Nazi Concentration and Extermination Camp of Auschwitz-Birkenau by Soviet troops on 27 January 1945. It was officially proclaimed, in November 2005, International Day of Commemoration in Memory of the Victims of the Holocaust by the United Nations General Assembly

 

The Holocaust profoundly affected countries in which Nazi crimes were perpetrated, with universal implications and consequences in many other parts of the world. The Holocaust was the attempt by Nazi Germany and its collaborators to murder the Jews of Europe.

Member States of the United Nations share a collective responsibility for addressing the residual trauma, maintaining effective remembrance policies, caring for historic sites, and promoting education, documentation and research, more than seven decades after the genocide.

This responsibility entails educating about the causes, consequences and dynamics of such crimes so as to strengthen the resilience of young people against ideologies of hatred. As genocide and atrocity crimes keep occurring across several regions, and as we are witnessing a global rise of antisemitism and hate speech, this has never been so relevant.

Now may be a good time to expand your knowledge of the Holocaust and/or persuade others to do the same.  Go to  Holocaust This is a site established by the World Jewish Congress together with UNESCO “to provide the world with the basic facts about the Holocaust”.  “Understanding the past is critical to building a better and safer future for all.”

SOURCE:  UNESCO  

For more information:  Hollocaust Remembrance

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Carmen Lomas Garza (1948 - )

Carmen Lomas Garza (1948 - )
Carmen Lomas Garza  (1948 - )

Carmen Lomas Garza was born in Kingsville, Texas, in 1948. Inspired by her parent’s activism with the American G.I. Forum, Garza joined the Chicano Movement of the 1960s and 1970s. Although she had decided at the age of thirteen to become a visual artist, she states, "It was the Chicano Movement that inspired the dedication of my creativity to the depiction of special and everyday events in the lives of Mexican Americans based on my memories and experiences in South Texas."   Adding, "I saw the need to create images that would elicit recognition and appreciation among Mexican Americans, both adults and children, while at the same time serve as a source of education for others not familiar with our culture."   

According to the Texan Cultures website, Carmen Lomas Garza taught herself how to draw and learned about the basics of art by checking out books from her local library. She also practiced drawing every day and drew pictures of people she saw at school, at home, and in her neighborhood. During her undergraduate studies at Texas Arts and Industry University (now Texas A&M University, Kingsville), Garza decided that it was important for her to create art that would be understood by people of all ages.  She learned to be proud of her culture and wanted to educate others using her art.  She says that her artistic creations helped her “heal the wounds inflicted by discrimination and racism.”  Garza also feels that by creating positive images of Mexican-American families, her work can help combat racism

 Garza is the recipient of numerous awards and has exhibited her work in galleries and museums across the United States.  She has had several major one-person exhibitions in the United States including the Hirshhorn Museum and Sculpture Garden/Smithsonian Institution in Washington, D.C., and the Whitney Museum of American Art at Philip Morris in New York City in 1995, the Smith College Museum in Northampton, Massachusetts in 1992, and The Mexican Museum in San Francisco in 1987.

Garza’s artwork was the subject of an interactive exhibition for children organized by the Austin Children’s Museum in 2003 in Austin, Texas. The exhibition traveled for 5 years to children’s museums in the United States. In 2019 the John E. Conner Museum at Texas A&M University in Kingsville, Texas, acquired the exhibition “In My Family” and installed it permanently in the museum.

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Do Grandmothers Hold the Key to Understanding Human Evolution?

Do Grandmothers Hold the Key to Understanding Human Evolution?
Do Grandmothers Hold the Key to Understanding Human Evolution?

By Brenna R. Hassett

Of the innumerable species on the planet, just a bare handful have evolved to have one of the most counterintuitive adaptations possible. In a small number of animals, all big-brained mammals, we see something that should not, at first glance, be of adaptive value: animals that have lived past the ability to reproduce. This is so clearly contra the main aim of any living species, which is to survive and reproduce, that evolutionary biology has been forced into entirely new theoretical directions in order to explain one of the most baffling phenomena in science: grandmothers.

Why should grandmothers cause such a stir? As humans, we tend to think of them as a natural part of life—and women who are past reproductive age are in fact a critical part of our societies. Most of the women who hold positions of power and respect around the world, be it in politics, culture, family life, or other aspects of society, are at a point in life where they are not involved in the time-consuming business of physically reproducing. But however common we might think women of a certain age are, there is no getting around the fact that they are virtually unknown in the rest of the animal kingdom. One of the hallmarks of evolutionary theory is that success for a species is measured by offspring. Offspring are how genetic material passes itself through time, and any species that reproduces through combining genetic material is going to have to focus on offspring if it wants to continue. The idea that we deliberately turn off our potential to have children flies in the face of a basic tenet of evolutionary success—that doing well is measured by having children. Yet, even though reproduction is the absolute key to the survival of a species, in humans we give up on reproduction well before the individual itself is done.

It is worth noting that this odd adaptation to living beyond reproduction is really only seen in females. We talk about the oddity of grandmothers but not of grandfathers, because, technically, grandfathers do not outlive their reproductive potential. Despite reduced reproductive success with age, males do not have the same vertiginous shift in hormonal production that females do, and they do not stop producing male gametes (sperm) in the same way that females stop releasing eggs. We know from a vast amount of scientific research on human female fertility that our species really does call time on releasing eggs that can turn into embryos sometime in our fifth decade. Producing those eggs is something that actually happens before we are even born; 7 million potential egg-forming cells (oocytes) in utero become 2 million by the time we are born and are down to about 400,000 before puberty and the hormonal mechanisms even start that would let oocytes become pregnancies. About a thousand oocytes self-destruct each menstrual cycle, but we start with such high numbers that we could in theory keep producing them for 70-odd years after puberty—but we don’t. Something intervenes in our species—and only in biological females—to turn off the entire process. The million-dollar evolutionary question is: why?

Up until this year, only humans and a few whale species had ever been shown to have post-reproductive individuals alive and well in their societies—and all of them female. This has led to a flurry of theorizing about what elements of whale and human evolution might have conspired to create such an extraordinary adaptation as a grandmother. Much of the theoretical background on why these few species, and only these few species, have individuals that happily live on after reproduction is no longer possible has centered on the role those individuals play in promoting group fitness. The aspect of evolutionary biology that has come in for considerable attention in the issue is the role of alloparental care. An alloparent is any animal that does a bit of substitute parenting, be they a biological relative or just another group member. Alloparenting is thought to be evolutionarily advantageous as it allows for a wider support base for group offspring. This support can come in many forms: from providing protection and resources to offering more teachers and playfellows. In social species—like whales and humans—having extra hands is part and parcel of growing up. And for humans, the most well-known explanation of the utterly unlikely existence of grandmothers was first laid out in exactly those terms.

In 1978, researcher Kristen Hawkes and her collaborators proposed “The Grandmother Hypothesis.” Based on Hawkes’s own research with the Hadza people, who are mobile within Tanzania and largely forage food rather than farm, she noted that grandmothers had a very special role in Hadza society because they are expert foragers and carers with years of experience. What’s more, they don’t have children of their own who eat up all those resources. Hawkes’s contribution was to note that in families where grandmothers were around to help their own children provide for their children—particularly their daughters—those grandkids grew better. Even more important from an evolutionary standpoint was that not only did grandmothers enhance the ‘fitness’ of their grandchildren, but their support also meant even more grandkids. Here was a proposal that made sense: the adaptive value that allowed for the evolution of post-reproductive individuals is the contribution of those individuals not only to the next generation but also to the generation after that.

The discovery of post-reproductive whales seemed to add weight to the idea that post-reproductive females are a way to get the benefit of older females without the drain on resources that having children entails. Female orcas, false killer whales, and pilot whales all have been observed to have long periods of life after ceasing reproduction, and all species are highly social, with survival depending on the success of each social unit, thought to be mostly led by females. But in whales, the benefit appears immediately, to the whales’ own children: adult whales with living mothers do better than those without. For both humans and whales, it seems that post-reproductive females are valuable assets who contribute significantly to the survival of their families. This led to two different ways of theorizing the evolutionary role of grandmothers: that they are adaptive because of the contribution of alloparental care (as in humans), or simply because their knowledge and experience make them better resource-gatherers (as in whales).

In 2023, a group of particularly long-lived chimpanzees waded into the debate. In the group of chimpanzees living at Ngogo in Uganda, many of the females survived for quite some time beyond the age of 50, which is the usual point at which chimpanzees stop giving birth. A lack of births in these older individuals combined with hormonal evidence from urine samples that shows the same hormonal changes associated with menopause allowed researchers to suggest that these individuals really are post-reproductive. However, in chimpanzee society, grandmothers do not live in the same group as their daughters and so could not help out the same way Hadza grandmothers do. The adaptive benefit to the chimps is less clear, but the researchers have argued that it is the grandmothers themselves who benefit by not having to compete to reproduce. Their work suggests maybe the reason we haven’t seen grandmother chimps before is that in most chimpanzee groups, life expectancy doesn’t go beyond 50, but at Ngogo, the group has been very successful, with abundant fruit and meat available and most predators (particularly leopards and humans) no longer a threat. This gives us a fascinating insight into the conditions that could have driven our own evolutionary process. Perhaps grandmothers, with their additional resources and valuable experience, are the result of species success—and their success becomes the success of their children, their grandchildren, and their species.

Author Bio: Brenna R. Hassett, PhD, is a biological anthropologist and archaeologist at the University of Central Lancashire and a scientific associate at the Natural History Museum, London. In addition to researching the effects of changing human lifestyles on the human skeleton and teeth in the past, she writes for a more general audience about evolution and archaeology, including the Times (UK) top 10 science book of 2016 Built on Bones: 15,000 Years of Urban Life and Death, and her most recent book, Growing Up Human: The Evolution of Childhood. She is also a co-founder of TrowelBlazers, an activist archive celebrating the achievements of women in the “digging” sciences.

 This article was produced by Human Bridges, a project of the Independent Media Institute.

 

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BARBARA KRUGER (1945 -)

BARBARA KRUGER (1945 -)
BARBARA  KRUGER (1945 -)

Barbara Kruger was born in 1945 in Newark, New Jersey. Kruger briefly attended Syracuse University, then Parsons School of Design in New York City, where she studied with artists and photographers Marvin Israel and Diane Arbus. Kruger worked in graphic design for Condé Nast Publications at Mademoiselle magazine, and was promoted to head designer within a year, at the age of twenty-two. Kruger has described her time in graphic design as “the biggest influence on my work…[it] became, with a few adjustments, my ‘work’ as an artist.” In the early 1970s, Kruger started showing artwork in galleries in New York. At the time, she was mainly working in weaving and painting. However, she felt that her artwork lacked meaning, and in 1976, she quit creating art entirely for a year.

She took a series of teaching positions, including at University of California, Berkeley. When she began making art again in 1977, she had moved away from her earlier style into photo and text collages. In 1979, Kruger developed her signature style using large-scale black-and-white images overlaid with text. She repurposed found images, juxtaposing them with short, pithy phrases printed in Futura Bold or Helvetica Extra Bold typeface in black, white, or red text bars. In addition to creating text and photographic works, Kruger has produced video and audio works, written criticism, taught classes, curated exhibitions, designed products, such as T-shirts and mugs, and developed public projects, such as billboards, bus wraps, and architectural interventions.

Kruger addresses media and politics in their native tongue: sensational, authoritative, and direct. Personal pronouns like “you” and “I” are staples of Kruger’s practice, bringing the viewer into each piece. “Direct address has motored my work from the very beginning,” Kruger said. “I like it because it cuts through the grease.” Kruger’s work prompts us to interrogate our own positions; in the artist’s words, “to question and change the systems that contain us.” She demands that we consider how our identities are formed within culture, through representation in language and image.

 

For more stories of remarkable women, see HERSTORY on womensvoicesmedia.org

 

 

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MICKALENE THOMAS: PAINTER, PHOTOGRAPHER, FILMAKER, EDUCATOR

MICKALENE THOMAS: PAINTER, PHOTOGRAPHER, FILMAKER, EDUCATOR
MICKALENE THOMAS: PAINTER, PHOTOGRAPHER, FILMAKER, EDUCATOR

New York-based artist Mickalene Thomas is best known for her elaborate paintings composed of rhinestones, acrylic and enamel.

Mickalene Thomas was born and raised in New Jersey and lives and works in New York. One of the most influential artists today, her innovative practice has yielded instantly recognizable and widely celebrated aesthetic languages within contemporary visual culture. Not only do her masterful mixed-media paintings, photographs, films and installations command space, they occupy eloquently while dissecting the intersecting complexities of black and female identity within the Western canon. Outside of her core practice, Thomas is a Tony Awards nominated co-producer, curator, educator and mentor to many emerging artists. While embarking on her own monumental solo shows, she simultaneously curates exhibitions at galleries and museums. Thomas’s work has become an undeniable force within the contemporary art world and an indispensable inspiration to younger generations of artists.

Thomas received a B.F.A. from the Pratt Institute, Brooklyn, NY in 2000 and an M.F.A. from Yale University School of Art, New Haven, CT in 2002. Solo exhibitions of her work have been organized at Musée de l'Orangerie, Paris (2022); Levy Gorvy, New York, London, Pairs and Hong Kong (2021); Galerie Nathalie Obadia, Paris (2021); the Baldwin Gallery, Aspen, CO (2019); The Bass Museum of Art, Miami Beach, FL (2019); The Baltimore Museum of Art, Baltimore, MD (2019); Contemporary Arts Center, New Orleans, LA (2019); Galerie Nathalie Obadia, Paris, France (2019); Art Gallery of Ontario, Toronto, ON (2018); The Dayton Art Institute, OH (2018); Wexner Center for the Arts, Columbus, OH (2018); Henry Art Gallery, Seattle, WA (2018); Pomona College Museum of Art (2018), Claremont, CA (2017); Georgia Museum of Art, Athens, GA (2017); Newcomb Art Museum, Tulane University, New Orleans, LA (2017); Spelman College Museum of Fine Arts, Atlanta, GA (2017); Museum of Contemporary Art, Los Angeles (2016); Aspen Art Museum, CO (2016); Aperture Foundation, New York (2016); George Eastman House, Rochester, NY (2014); Brooklyn Museum, New York (2012-13); Santa Monica Museum of Art (2012); Institute of Contemporary Art, Boston (2012); Hara Museum of Contemporary Art, Tokyo (2011); and La Conservera Contemporary Art Centre, Ceuti, Spain (2009). Select group exhibitions featuring her work include Orlando, Aperture, New York, NY (2019);You Are Here: Light, Color, and Sound Experience, North Carolina Museum of Art, Raleigh, NC (2018); Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, Seattle Art Museum, Seattle, WA (2018); The Color Line: African American Artists and the Civil Rights in the United States, Musée du quai Branly, Paris, France (2016); SHE: International Women Artists, Long Museum, Shanghai (2016); No Man’s Land: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami, traveled to the National Museum of Women in the Arts, Washington D.C. (2015); 30 Americans, Corcoran Gallery, Washington, D.C. (2011), which has traveled extensively around the United States (2011-2017, ongoing); and Americans Now, National Portrait Gallery, Washington, D.C. (2010). Thomas’s work is in numerous international public and private collections including The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Fine Arts, Boston; Art Institute of Chicago; MoMA PS1, New York; Brooklyn Museum of Art, New York; Studio Museum in Harlem, New York; Yale University Art Collection, New Haven, CT; and Hara Museum of Contemporary Art, Tokyo.

Thomas has been awarded multiple prizes and grants, including the Pratt Institute Legends Award (2022); Rema Hort Mann Foundation 25th Anniversary Honoree (2022); Artistic Impact Award, Newark Museum (2022); Glass House 15th Anniversary Artist of the Year (2022); Yale School of Art Presidential Visiting Fellow in Fine Arts (2020); Legend in Residence Award, Bronx Museum (2020); Pauli Murray College Associate Fellow at Yale University (2020); Meyerhoff-Becker Biennial Commission at Baltimore Museum of Art (2019); Visionary Award, Pioneer Works (2019); USA Francie Bishop Good & David Horvitz Fellow (2015); Anonymous Was A Woman Award (2013); Brooklyn Museum Asher B. Durand Award (2012); and the Timerhi Award for Leadership in the Arts (2010). She is the cofounder of the Pratt>FORWARD ‘Artist in the Market’ incubator for post-graduate students, and serves on the Board of the Trustees for the Brooklyn Museum and MoMA PS1.

 

 

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