#sumi — gallery.

[luvf4ngz]

DEXTOR SOY IS ILLUSTRATING A NEW RED HOOD/RED RONIN COMIC AHHHHHHHHHHHH

JASON LOOKS SO DAMN FINE. I EAT UP DEXTORS ART EVERY TIMEEEEEE !!!! THIS OUTFIT ON HIM HELLO ???? IM ON THE GROUND !!!!

from what ive seen its a spin off for his cyperpunk jason design and has nothing to do with the batfamily (you can even see how jasons outfit doesnt have his usual red batish looking symbol)

[anzuhan]

i stood up to 3am to finish work and by 12am i was a bit demotivated and sad so i had crafted this collage that kept me going (it worked)

[timmurleyart]

Sumi-E robins and flowers. 🐦🌸🌼🌷

[tailschannel]

Take a look at these limited edition #Sonic and #Shadow sumi-e art prints by Sonic Team artist Yui Karasuno! It features the two hedgehogs in a traditional Japanese sumi-e (black ink) style, and Moor-Art Gallery will release these prints on Friday 13 Sep 2024 at 1:00 pm ET. Two formats will be available: 1️⃣ Archival pigment prints: 18"x24", limited to 150 hand-numbered copies. Priced at £39.99 GBP (or $52 USD) each. A matching number set of both Sonic and Shadow variants will be available for £69.99 GBP ($90 USD). 2️⃣ PRIMO edition: Museum-quality ink nozzle sprayed prints on swirled fibre paper, limited to 15 hand-numbered copies per character, priced at £99.99 GBP ($130 USD). The prints follow Karasuno’s 2022 collection, which became one of the gallery’s fastest sellers. 🔗 Available on https://moorartgallery.com/, link on our Threads page. #SonicNews

(from @TailsChannel on Instagram)

[themintsimmer]

a fresh start | mint condition s2ep1 | a growing together let's play | all mods and lots mentioned (w/links)

Watch Here

lots

family home shell by daniellebuilds (EA gallery)

whole foods market by simkoos

aqua world water park by mr.olkan

mods

stirring the pot cookbook by qmbibi

the grill master set by qmbibi

education overhaul (preschool) by adeepindigo

insimnia grocery register by insimnia

functional pool slides by waronkcc

misc

their new pitbull cosmo, was made by pugowned on the EA gallery and so is sumi, their mini dalmatian!

[yoshizawaviolet]

hello sumi, I’ve heard that Akira has a cat in his bag at school?? I don’t know if you’ve ever been able to get a picture of them, but if you have I would like to see the baby!

In exchange, here’s my cat, Keiko, in her favorite spots- my bed and on top of her scratching post in the living room :]

he does!!! his name is "morgana", but most call him mona!

it um .... seems that .... my phone gallery won't open, so ... this is the only picture i have of him right now ... (sorry mona-senpai, if you're seeing this ...)

and waaah keiko is so pretty!!! what a cute cat ;o; please give her lots of cuddles for me .....!!!!!!

[geekynerfherder]

'Sumi-E Sonic & Shadow' by Yui Karasuno.

Officially licensed 18" x 24" fine art pigment print on 300gsm Archival Fedrigoni art stock paper, in numbered limited editions of 150 for £39.99 each; a matching numbered 2 print set in a limited edition of 50 for £69.99; and PRIMO Gicleé prints on Awagami Unryu Thin 'swirling fibres' Japanese washi paper, in numbered limited editions of for £99.99 each. Each print comes with a signed COA.

On sale Friday September 13 at 6pm UK through Moor-Art Gallery.

[jujumin-translates]

Misumi Ikaruga | [SSR] MANKAI Feature | Today’s Star: Akari Shinonome - Part 1

*Phone notification*

Misumi: !

Misumi: Waah, I got a LIME from Madoka!

· • —– ٠ ✤ ٠ —– • ·

*LIME Start*

Madoka: I’m at Grandpa’s villa right now.

Madoka: I found some paper airplanes.

△△△: I probably forgot them there when I last visited!

Madoka: Makes sense.

Madoka: It seems like the cleaning person found them and saved them.

Madoka: If you want them, I can bring them whenever I see you next.

*LIME end*

· • —– ٠ ✤ ٠ —– • ·

Misumi: Hmm…

Tenma: Hey, what are you staring at so intensely? Walking while on your phone isn’t safe, you know.

Misumi: Ehehe, sorry~.

Misumi: Umm, I was just replying to Madoka…

Misumi: …Alright! Sent!

Tenma: Okay, let’s go then.

Misumi: Yeah! Practice time, practice time~.

· • —– ٠ ✤ ٠ —– • ·

*Door opens*

Kumon: Ah, they’re here, they’re here!

Tenma: Hm? What are you reading?

Kazunari: This month’s online survey results!

Misumi: Waah, I wanna look too~!

Muku: “Shiro from Sardine Search is so cute! I love him so much!” Fufu, I think so too.

Yuki: “Thanks to the streams of the performances, I’m able to see all the subtle changes in the performances that I otherwise would’ve missed out on.” …That’s a good point actually.

Kumon: It’s so great to get all this feedback~. I get super hyped just reading them!

Kazunari: Totally! Tenten and Sumi got a lotta feedback too.

Yuki: Here’s one that says, “I really liked all of the paintings Shinonome-kun from Sky Gallery did and I’d love to see more of them.”

Misumi: Ehehe, I’m glad~.

Kumon: This one here says, “After watching the stream again, Rio became my favorite Tenma-kun role!”

Tenma: Huh, Rio.

Muku: There’s a lot of feedback we got about roles other than the leads and co-leads.

Kazunari: All the characters are just that interesting thanks to Tsuzurun’s scripts.

Tenma: That’s true. Nice to see that fans seem to understand that too.

*Door opens*

Kumon: Ah, it’s like we summoned them here with our talking! It’s Director and Tsuzuru-san!

Tsuzuru: Hey, good work, you guys.

Izumi: Since you’re all here, can we quickly borrow you before you start practicing?

Izumi: You guys were just looking at the online survey results, right?

Yuki: Yeah.

Izumi: Perfect timing.

Izumi: As you can probably tell from the survey responses, we’ve started putting out streams of past performances…

Izumi: Since we’ve been getting more and more feedback on past performances, it seems like it’s become a topic of conversation among the company.

Kazunari: Definitely.

Tsuzuru: When I was reading through the feedback, I got the sense that a lot of it was related to the supporting characters too.

Muku: That is true.

Yuki: That’s what we were just talking about too.

Izumi: So we were thinking of something interesting for what we could do with that information.

Tsuzuru: And we thought it’d be interesting if we did spin-offs that focused on the supporting characters as the main characters instead…

Izumi: Exactly what Tsuzuru-kun said.

Misumi: That sounds like a lotta fun!

Kumon: Yeah, and super interesting too!

Izumi: I’m glad you think so. I already went ahead and discussed it with Sakyo-san and we came up with a plan.

Izumi: And we wanted to ask you guys to be the ones to kick the whole thing off.

Tenma: Us?

Izumi: Here’s the proposal--.

[ Next Part ⇢ ]

[hcavysoulss]

rachael mcadams, 45, cis woman, she/her 𐫱 › hey, isn’t that lorelai sumi? i’ve heard that they’ve lived in bearhold for her whole life, and that they do know about bearhold’s supernatural presence. rumor has it that they can be rather spontaneous and disorganized, but hey, that’s just in their nature as a raconteur. they totally make up for it by being a social butterfly and creative. if you’re looking for them, you can probably find them at their work as a high school english teacher at bearhold community schools.

NAME.         lorelai faith (hill) sumi.         NICKNAMES.        lorie faith, lorie.         AGE  +  DOB.         forty-five,  may 27th.         HOMETOWN.         bearhold,  washington.         GENDER  +  PRONOUNS.         cis  woman  +  she / her.         ORIENTATION.         bisexual.         OCCUPATION.         high school english teacher @  the  bearhold  community schools .         SPECIES.         human.         ABILITIES.         the ability to make friends everywhere she goes.        

› aesthetics: big framed glasses perched on her nose while she grades papers, a classroom that has art and plants all in it because she thinks their needs to be color and life everywhere she goes, hair tied up in a messy bun secured with a pencil, a stack of books on her night stand that she's going to get to once she finds the time (she never finds the time and always is reading another book instead), dancing around the kitchen with her wife to distract her from a stressful day, watching reruns of the munsters with a tub of ice cream on a saturday night, the smell of paint lingering around her at all times.

inspired by princess anna (frozen), anne shirly-cuthbert (anne with an e), jo march (little women), lorelai gilmore (gilmore girls), clementine (eternal sunshine for the spotless mind), tinkerbell (peter pan), pheobe buffay (f.r.i.e.n.d.s)

i. lorelai grew up in a large family, a stay at home mother and a father who worked as the town doctor for many years before his retirement.. along with her seven siblings. so, yes it's safe to say that her family was very lively. a family of ten living happily in bearhold, washington. the hill family was one of the wealthier families in the city. her father's family has a long standing history in the town. and her mother's parents were in a similar position. even in their wealth her parents were far from snooty. her parents always encouraged their children to be themselves and live their dreams... they clearly loved them all. but, lorelai was in the middle of eight kids... so sometimes it felt as though she got swept up in the storm. not to say it happened often they all still came to her poetry readings, art galleries, and even supported her through her vegan phase in middle school. there was never a moment when she didn't feel seen by her parents.

ii. after high school lorelai traveled across the country to new york for college. but, admittedly she was hardly in school. she was trying to become an artist.. express herself freely in a new city... but, things didn't pan out and her parents weren't paying for her to roll around in paint with other women.. they were paying her for her schooling... while they wanted her to freely make art they wanted her to have an education more. which... finding out she was flunked out of school after two years living in the city they made her come home. she wasn't mad really.. she just wanted to be something more. but, returning home she found something more than what she was expecting.

iii. she found love. she met her wife when she was twenty-two back in school to become a teacher. while she wanted to be an artist she knew that would be left on the backburner for now... so, teaching her favorite subject may be the next best thing. eden was a breath of fresh air for lorelai. someone who made her feel truly seen in all her mess. because let's be real lorelai is a little bit of a tornado. but, she couldn't help but fall in love. within a year they were starting their family. it was really like an angel fell in her lap.

iiii. that was almost twenty-three years ago. and now they've been happily married with multiple kids and her wife became mayor. lorelai is blissfully unaware of the supernatural beings around her... and even in her own home. did i mention that their child is a banshee? yeah, she doesn't know that yet but lorelai's life is going to get a little bit more chaotic. oh-- and her wife is hiding the fact she's a psychic medium... well we aren't sure she's even embraced that part yet.

WIFE.         eden sumi.         CHILDREN.        to be applied for. (0/?)         PARENTS.         mary sue and gabriel hill.        SIBLINGS.         to be applied for. (0/7)

[luvf4ngz]

GUYS ROY IS BACK AND HE LOOKS SO GOOD WAHHHHHHHHHH

MY PRETTY BOY IS OFFICIALLY BACK FROM THE DEAD SOBS

(this is from green lantern 2023, issue 10.)

(i know hes been back for a while im behind on the comics. i know he died in heros in crises and got revived in infinite frontiers but hes just been like - hiding for a while right?)

[arthistoryanimalia]

#MonochromeMonday:

Chiura Obata (Japanese-American, 1885 – 1975)

Untitled (Ostrich), c. 1930s

sumi-e; ink on paper

Private collection; photographed on display at Smithsonian American Art Museum and the Renwick Gallery “Chiura Obata: American Modern” exhibition in 2019

[pix4japan]

Sogabo Art Gallery and Cafe

Location: Sogabo, Perry Road, Shimoda, Shizuoka Prefecture, Japan Timestamp: 15:25 June 6, 2023

Nestled alongside the Perry Road canal, the Sogabo Art Gallery stands as one of the most charming and beloved cafes in the area. This traditional Japanese coffee house offers authentic whisked matcha lattes. Step inside to find a blend of Japanese tradition with tatami mats adorning the floors reminiscent of a traditional Japanese teahouse. With both indoor and outdoor spaces, Sogabo invites visitors to revel in the warmth and seasonal aromas of summer, spring, and autumn.

What sets this café apart is its location within an old wooden Japanese home, which now serves as a gallery, art studio, and workshop. The owner, Hisao Takezawa, collaborates with local potters to craft exquisite bowls and plates, each adorned with her elegant Japanese brushstrokes. Takezawa's creative journey began in 1984 at Shimoda City's Kusugabo. From 1997 to 1999, she honed her skills in Japanese calligraphy at the Kanazawa College of Art. Since 2000, she has operated her own atelier at the house and opens the house to the public on weekends as an art gallery where her sumi ink and painted works find a permanent home.

Immerse yourself in the rich ambiance of this traditional Japanese house turned gallery, studio, and workshop, brimming with captivating local art, pottery, and a genuine sense of traditional Japan. To enhance the experience further, Sogabo also serves seasonal local dishes, making it the perfect spot to rejuvenate yourself while exploring the streets of Shimoda.

Checkout the Pix4Japan blog for historical references, further details, and geotagged locations (link in Bio).

Fujifilm X100V (23 mm) with 5% diffusion filter ISO 2500 for 1/250 sec. at ƒ/11 Astia Soft film simulation

[thatonegaybastard]

I drew what sumi and ant rewuedted but its not showing in my gallery. sigh

[cyberbenb]

Vandalism and Looting: Russia’s War against Ukraine’s Cultural Heritage

During the Russian aggression against Ukraine, not only Ukrainian citizens and infrastructure, but also cultural heritage was targeted by the enemy. Destruction of monuments, strikes on educational and cultural institutions, plundering of museums — this is not a complete list of crimes. Their number and the testimonies of employees of the affected institutions prove that we are not talking about individual cases, but about a systematic and purposeful policy. 

Cultural heritage was at gunpoint of the occupiers not by chance, but because of their desire to destroy the Ukrainian identity. The actions of the aggressor can be considered as a component of the crime of genocide against the Ukrainian people.

READ ALSO: “Hopeless Times”: How Empire Prevented us from Being Ukrainians

In the year of the full-scale war, 1,332 objects of cultural infrastructure were damaged: theatres, philharmonics, museums, galleries, libraries, clubs. More than a third of them were destroyed. As of mid-May 2023, the list of destroyed cultural monuments and cultural heritage sites numbered more than 620 objects. Donetsk, Luhansk, Kharkiv, Sumy, Chernihiv, Kyiv, Mykolaiv, Kherson, and Zaporizhzhia oblasts suffered the most. As a result of the blowing-up of the Kakhovka HPP by the Russian invaders, almost one and a half hundred monuments of architecture and archaeology, museums of the South of Ukraine were flooded. The Centre for Strategic Communication and Information Security looks back on the most high-profile and terrible crimes of Russians against Ukrainian culture.

Kherson Oblast: flooded and plundered museums

In Oleshky, water from the blown-up Kakhovka HPP flooded the house of the artist Polina Raiko, a representative of naive art, whose work is put on a par with the art of Kateryna Bilokur and Maria Prymachenko. The water destroyed the inner walls with paintings, damaged the outer walls and the ceiling. According to preliminary estimates, only 30-40% of the frescoes have survived. While Oleshky is under occupation, the destruction of the house will continue. Ukrainian specialists do not have the opportunity to work in Oleshky, and Russians have no intention of saving the monument.

In addition to the Raiko Museum, the house-museum of the writer Ostap Vyshnia, the Korsun monastery of the 18th century, the excavation site of the medieval Tiahyn fortress, and the port city of Oleshia suffered from flooding.

READ ALSO: Who Blew up Kakhovka HPP

During the occupation, the Russians robbed the funds of the Oleksii Shovkunenko Kherson Art Museum, the Kherson Regional Local Lore Museum, and the Albert Havdzynskyi Art Gallery in Nova Kakhovka. Collections of iconography of the 17-20th centuries, Ukrainian painting of the 19-20th centuries, in particular, 297 works of art and graphics by Havdzynskyi, works of modern artists were taken to the occupied Crimea. Some stolen paintings ended up in the exposition of the Central Museum of Tavrida.

The chronology of one of the acts of looting, according to the testimonies of the employees of the Oleksii Shovkunenko Kherson Art Museum: three trucks and a school bus with loot left the territory of the museum in just one day, on November 1, 2022. The next day, two more trucks left. On November 3, leftovers were picked up by bus. According to preliminary estimates, we are talking about 15,000 units of the collection. 

From the Kherson Regional Local Lore Museum, the occupiers stole collections of coins, weapons, Sarmatian jewellery from the excavations of the Soviet era and the Russian Empire, antique furniture of the 18th-19th centuries, a collection of icons, paintings, and the whole part of the exposition of archaeology. It was the core of the museum’s collection.

The regional archive and the scientific library named after Oles Honchar also had a sad fate. The occupiers stole archival documents and collections of pre-revolutionary publications.

Zaporizhzhia: plundered Kamiana Mohyla and theft of Scythian gold

At the end of April 2022, the Russian military mined the territory near Kamiana Mohyla — a unique monument of geology and archaeology of global importance, the only place in Eastern Europe where rock art from the Late Palaeolithic to the Middle Ages has been preserved. The monument is located on the territory of the eponymous reserve near Melitopol.

The Russians robbed the reserve and took the artefacts to the occupied Crimea. In January 2023, employees of the Tauric Chersonese Museum, controlled by the invaders, went to Zaporizhzhia Oblast to “study the funds” of the Kamiana Mohyla Reserve. 

Around May 20, 2023, the Russian propaganda agency Ria Novosti presented a report on the “new exhibition” in the museum-reserve Tauric Chersonese, where the artefacts of the historical and archaeological reserve Kamiana Mohyla, stolen and taken to Sevastopol, were displayed. In particular, the tooth of a mammoth of the late Palaeolithic era, sandstone with imprints of algae, a copper figure made by the Huns, as well as petroglyphs with hunting scenes, household items, ceramics, tools of the Stone Age. According to preliminary unverified information, 120 museum objects were stolen from the territory of Kamiana Mohyla.

From the local history museum in Melitopol, the Russians stole a collection of Scythian, Hun, and Sarmatian gold, silver coins from the Doukhobor treasure and historical weapons. The museum staff tried to save the artefacts. However, the local collaborator, who was appointed “director” of the institution, reported about the treasures to the occupiers. The fate of the exhibits is currently unknown.

It’s not only washing machines. 🇷🇺 soldiers also snatched artifacts from almost 40🇺🇦 museums. On this photo is a golden diadem of the Huns, a piece of a historical jewellery set from 90 items the ruscists stole from a Melitopol museum. Once a war criminal, always a war criminal pic.twitter.com/GhIVRai2Hf

— Defense of Ukraine (@DefenceU) October 9, 2022

Kharkiv Oblast: destroyed museum of Hryhorii Skovoroda

On the night of May 7, Russian artillery struck the museum in the village of Skovorodynivka in the Zolochiv hromada of Kharkiv Oblast. The house of Andrii Kovalivskyi, where the philosopher was staying, was seriously affected by the fire. The destroyed building is not only a museum, but also a monument of architecture of the 18th century. 

With a strike on Skovorodynivka, Russians “congratulated” Ukrainians on the 300-th birthday of the philosopher in their manner. It was this museum, on the territory of which the grave of Skovoroda with the legendary inscription “The world tried to catch me but could not” is located, that was given a central role in the celebration of the anniversary. But because of the Russian invasion, the activities had to be significantly adjusted.    

The enemy failed to destroy everything. According to the Minister of Culture, Oleksandr Tkachenko, the most valuable exhibits were not damaged: they had been taken to a safer place in advance.

The miraculous surviving of the monument to the philosopher became a real symbol of the invincibility of Ukrainians. It was one of the central exhibits of the World of Skovoroda exhibition, dedicated to the 300th anniversary of the Ukrainian genius, held at the Ukrainian House in Kyiv. 

Kyiv Oblast: Maria Prymachenko Museum

During the offensive of the Russians on Kyiv in February, a museum in Ivankiv was under the fire of enemy artillery, where more than two dozen works of the world-famous artist, representative of naive art, Maria Prymachenko, were kept. A part of the collection was already in Kyiv, a part was saved from the burning museum by locals.

Mariupol: an airstrike on the theatre and a robbed cathedral

During the defence of Mariupol, which lasted almost three months, the besieged city suffered some of the greatest destruction in Ukraine. Russian invaders methodically destroyed objects of life support, housing stock, social and cultural infrastructure.

The building of the Donetsk Drama Theatre, destroyed by an air strike, next to which a huge inscription “Children” was made in Russian, became one of the symbols of Russian war crimes. Children with their parents were hiding in the basement of the theatre, most of whom died. 

In May, the Russians dismantled the rubble and buried hundreds of people (the exact number of victims has not been established) in unnamed graves in Manhush.

According to the legitimate local authorities, the Russian invaders completely removed all valuable exhibits from the Mariupol Museum of Local Lore and the Kuindzhi Art Museum. The originals of paintings by Arkhip Kuindzhi and Ivan Aivazovskyi were stolen. 

Later, during the hostilities in Mariupol, a museum of local history, an art museum, and an exhibition hall named after Arkhip Kuindzhi were destroyed. 

The surviving exhibits, although the “rebuilding of Mariupol” became one of the key topics of Russian propaganda, were transported to the occupied Donetsk. Their further fate, in particular, of the paintings by Ivan Aivazovsky, Tetiana Yablonska, Mykola Derehus, is unknown.

The Cathedral of St. Petro Mohyla of the Orthodox Church of Ukraine was robbed by Russian occupiers, and a collection of Ukrainian books was seized and burned in the courtyard of the church. The library contained several unique copies of Ukrainian-language editions, which are now lost forever.

The Church of St. Peter Mohyla and the Church of the Assumption of Mary of the Orthodox Church of Ukraine in Mariupol, painted with traditional Ukrainian paintings. This is the world’s first church of this size (the total area of the painting is 500 linear meters), painted in the style of “Petrykivka.” The church is listed in the Book of Records of Ukraine. 

Chernihiv: Tarnovskyi Museum of Antiquities

In March 2022, Russian soldiers targeted the house of Vasyl Tarnovskyi in Chernihiv — a monument of architecture of the 19th century. This historic building housed the Museum of Ukrainian Antiquities, founded in 1896, later the Chernihiv Historical Museum, and since 1980 — a library for young people. The building and the collection of the historical museum were also affected by Russian shelling.

Donetsk Oblast:  wooden skete of the Sviatohirsk Lavra

The All Saints Skete of the Sviatohirsk Lavra burned down as a result of Russian shelling during an enemy offensive in Donetsk Oblast. The All Saints Skete was built in 1912. This is one of the best examples of preserving wooden church architecture. The church was first destroyed by the Bolsheviks in 1947, and was restored in the early 2000s. It was considered a monument of wooden architecture and was the largest wooden church in Ukraine.

Sumy Oblast: Leopold Koenig Manor

Retreating in April 2022 from Sumy Oblast, the Russians destroyed a monument of architecture of national importance — the house of the estate manager of Koenig in Trostianets. The garden housed a local history museum, a picture gallery, and a chocolate museum. The main house and the most famous part of the garden — the Round Yard — suffered less. The occupiers destroyed a unique library, which numbered more than 15,000 books.

Kharkiv: historical buildings in the city centre

On March 1, during the battle for Kharkiv, the Russians fired two Kalibr missiles at the building of the regional state administration and the regional council on the Svoboda Maidan. 29 people died as a result of the attack.

In two weeks, a missile attack destroyed a neighbouring residential building — a local architectural monument. 

The Palace of Labour (the former profitable house of the insurance company “Russia”), one of the architectural sights of Kharkiv, was struck by a hostile missile on March 2. The roof collapsed, the windows were shattered, the walls were damaged. During the shelling, the facades of the city council building and the 18th-century Dormition Cathedral, located nearby, were also damaged.

On March 29, an enemy missile hit an ancient fire station on the Poltava Way. It was built in 1887 and the fire tower — 40 years earlier. It was the tallest building in Kharkiv for a long time, and until recently, towered over the low-rise development of Zalopan.

The highest number of destroyed architectural monuments in Kharkiv is in the central part of the city.

In total, Russian occupiers destroyed and damaged more than a hundred architectural monuments in Kharkiv and the oblast. 

Zhytomyr region: Church of the Nativity of the Blessed Virgin Mary

This is another architectural monument of national importance destroyed by the Russian occupiers. Built in 1862, the wooden church survived two world wars, but was destroyed by the fire of Russian artillery in early March 2022.

Crimea: damaged Khan’s Palace and destroyed archaeological monuments

The history of Russian crimes against cultural heritage in Ukraine began long before February 24, 2022. The occupation of the Autonomous Republic of Crimea and the city of Sevastopol in 2014 had fatal consequences for the monuments of the peninsula.

The construction of the Tavrida highway connecting Kerch, Simferopol, and Sevastopol in 2017-2020 was accompanied by the destruction of archaeological sites. At least 90 of them were destroyed. Due to the emergency mode of work, even the norms of the Russian memorial protection legislation were ignored, and archaeologists did not have enough time to account the finds. The settlements of the Bronze Age, Scythian burial mounds, and hillforts suffered because of the construction equipment. 

In 2016, the occupiers began the notorious “restoration” of the Khan’s Palace in Bakhchysarai, which became a real act of vandalism and mistreatment of the dignity and national memory of the Crimean Tatars.  The dismantling of the roof and the ensemble of coloured stained-glass windows of the Golden Cabinet, the replacement of the old roof with modern building materials is an undisguised attempt to destroy history and replace it with a new building of dubious quality. It seems that the palace of Giray irritates the Russians. After all, its very existence destroys the myth of the “eternally Russian Crimea” and is a silent reminder of the times when Moscow tsars paid tribute to Crimean khans.   

***

Russian aggression has shown that the Kremlin is trying to destroy not only Ukrainian statehood, but also Ukrainian identity. The war against cultural heritage is part of this programme. The Russians practise the tactics of the scorched earth, not considering the victims and destruction, as well as carry out terrorist attacks on civilian objects. Among them, especially in the first months of the invasion, there were many cultural monuments. War causes enormous damage to archaeological heritage: entire cultural layers can be destroyed during hostilities. 

Russians treat the cultural heritage of Ukraine as invaders and colonizers. Destroying what they cannot use in their interests, in particular, to promote their vision of history and the myth of “great Russian culture.” 

For Ukrainian monuments, they have a limited list of scenarios:

clearing the cultural field to replace it with their own, and to claim that there was “nothing” before Russia / without Russia;

the appropriation of someone else’s cultural heritage to then impersonate it as their own. To this end, the occupiers loot Ukrainian museums and take away valuables;

appropriation of material values for the purpose of enrichment. 

Such practices for the Russian state are a tradition that is not one hundred years old. The lion’s share of expositions of Russian central museums falls on archaeological finds from Ukraine, samples of Ukrainian iconography, secular painting, and other monuments of Ukrainian culture, with the Cossack hetmans’ regalia inclusive. All this is presented as examples of “Russian” art.

READ ALSO: The Stolen History. 12 Archaeological Treasures that Russia Took out of Ukraine

Ukraine has every right to raise the issue of compensation for the damage caused in the field of culture applying both general and special provisions of international law: UNESCO conventions, UN General Assembly resolutions, the 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, the 1972 Convention Concerning the Protection of the World Cultural and Natural Heritage, etc. The key instrument of reparation is restitution — the return of stolen values and restoration of the integral cultural heritage of the state by replacing the values with similar ones. 

It is the reparations that one state pays to another state and the restitution of stolen values that remain the basic requirement for any aggressor.

International experts unanimously admit that this is the largest theft of art objects of the period after the World War II. Synchronization of all major registers of crimes against Ukrainian culture is quite timely. According to preliminary estimates of the Ministry of Culture and Information Policy of Ukraine, the looting and destruction of cultural objects caused losses amounting to hundreds of millions of euros.The Ministry of Culture and Information Policy documents crimes in order to further work in the legal field and bring Russia to justice. It also created a platform for raising funds for the restoration of cultural monuments that suffered from Russian aggression.

Centre for Strategic Communication and Information Security

The post Vandalism and Looting: Russia’s War against Ukraine’s Cultural Heritage appeared first on Centre for strategic communication.

[longlistshort]

High Noon Gallery is currently showing Les Problémes du Confort, an exhibition of work by Mary Jones.

From the press release-

Jones began this most recent body of work, collectively called simply, “Interior Design,” by painting Sumi ink over the black and white printed pages of a comprehensive French Interior Design publication from the 1960s. “[I chose the series’ title] not only to underscore the attributes of the original images, but to address their psychological component: the topos of dreams, so notably analyzed by Gaston Bachelard and James Hillman, spaces we conjure to discover the elements of our inner lives. Homes and interiors are not only spaces we remember, but also labyrinths of symbolism, familiar to all of us as emotionally charged experiences,” she explains.

The addition of her signature mark making started as an exercise to identify patterns in the tonal pages, separate from the context of the imagery. It seemed to act as a compositional barometer of sorts, deflecting the space in certain areas and illuminating it in others. The painted catalog images were then collaged, blown up, printed on canvas, and painted again, further conflating space and gesture, and inhabiting the vacant interiors with a visible energy. In doing so, Jones satisfies the principles of high design with the paintings’ harmonic beauty, and also the open systems of fine art by positioning the work as cultural critique that challenges the colonialist motifs that permeate the aesthetic sensibility of many of the spaces.

Jones’s work has long gnawed at the malleability of subject matter. She consistently uses legible imagery to anchor her abstractions, prodding at the fickle divide between the two modalities. Her sensitivity to painting’s illusionistic properties is connected to her experience as a faux painter, freelance work she’s done for 25 years. While the object of faux painting is to not let the artist’s hand show, Jones riffs on her craft by skillfully merging gesture and image in ways that are largely indistinguishable. She allows the marks to emulate form and object, playing on the viewer’s expectations of pictorial logic and slyly addressing the disparity between fine art and design, as for many decades— and especially during painting’s theoretical heyday in the second half of the 20th century— they shared a tenuous opposition. Design is associated with expense, and American society is perpetually transfixed by the Romantic notion of the artist as a working class hero.

Ionic Memories (2023), depicts a decadent room steeped in Roman busts and columns, the title a tongue-in-cheek reference to the science of memory and the unstable nature of artistic movements and empires alike. Jones echoes the velvety matte blacks of the printed image in her direct painting gestures, mixing a near perfect replica of the tone and texture for her to set up a meta tromp-l’oeil effect. In the foreground, a collaged brush stroke swipes away at the interior revealing a snowy landscape wherein a bush and modernist cabin are obscured by a swath of pink oil paint. In the context of the whole, the landscape reads as decorative forms within the room, such as fan coral and glass spheres. Other works such as Cocteau and Table (2023) make greater use of a fragmented effect wherein decisively multiversal looking forms cut through the composition like a glimpse into a parallel reality. Through a mix of painterly and faux elements, Jones takes care to merge her augmented realities just enough to allow the viewer to believe the image exists in one picture plane.

Perhaps to be comfortable is to momentarily resist time, to be temporarily impervious to the clamors for change. In Les Problémes du Confort, Jones reminds us that the arrangements we make with ourselves are transitory, constructed illusions to describe and reflect a sense of our place in the world we know, and that improvisational beauty can be found in transitions, in languages we don’t know, and in uncertainty.

This exhibition closes 4/23/23.

[sillyfudgemonkeys]

Megaten wiki update. 

Working on making pages atm, even tho they are just stubs. 

P4MC’s page is (for the most part) formatted how MC’s need to be formatted. FeMC is next.

IT each have their own stubs and gallery stub. Feel free to have at it there. (Galleries I’m trying to format them as Games, Mangas, Animes, Stage Plays/Live Action, Special Events, Other, They aren’t fully labeled how I’d like but that is the rough order they are in atm)

Persona x Detective has a stub created

I’m going to try to expand as much as I can on Souji (and other stubs of P4MC tabs), P4 manga, Femc, and then P3 manga. 

If anyone has any special interest stub they want created so they can expand on it, just comment or shoot me an ask and I’ll get the ball rolling (or if someone knows how to make the stub they can go for it obvie)

Researching on the best way to deal with spoilers. Mostly in concerns with Naoto (gender reveal, cause that is a spoiler), Adachi, Izanami, Goro, Sumi, Maruki, Ikutsuki, Ryoji, Yaldy/Igor, (and Teddie?). I’m trying to figure out what’s the best course of action. A warning? Is there a way to have a spoiler page and then a non spoiler page? (ex: if it’s  non spoiler, Naoto is referred to as male, but then in the spoiler page it changes to female pronouns. Or the best way to deal with the Kasumi/Sumire situation....) However, below is my idea to make it so the wiki is friendly with people who don’t want to be spoiled (see below for my rough) 

Ideas for Spoilers (subjected to change):

So as you can see, there is a non twist spoiler page, you’ll write it as if you believe she’s Kasumi, up until the twist. Then if you click on spoilers, it becomes Sumire, and if you want the real Kasumi, then you click on the other tab (or can return to the fake version). 

I’m not sure if this is the best way to go about it, but I want to try to save people from being spoiled on the first page like people were complaining about with Sumi when P5R first released on the other wiki.