Академик архитектуры Е. И. Кириченко: Опыт биографического исследования

The paper deals with the development of a design concept for a museum of Inca culture in Ecuador. The current trends in the organization of historical museums in Latin America are presented. An overview of the graphic support of the Latin American museums of culture, archeology, and history is made. The historical foundations of the Museum of Inca culture are presented, the iconography of the Inca civilization of various periods is analyzed. The current state of the museum, the history of its foundation, prerequisites for creating a new brand are described. Associative graphic images for creating a new logo for the museum were considered, corporate colors were substantiated, and components of the brand were developed. This will strengthen the museum's brand and increase its social significance for the popularization of the Inca culture.

The electoral processes in the Komi Republic, their dynamics and territorial dimension are of serious research interest both historically and predictively. In the structure of Russia’s political landscape, the republic is one of the few regions with distinct elements of electoral nonconformism. Moreover, the degree of prevalence of such forms of electoral behavior on its territory is unequal, which indicates the variation of factors that cause them and the possibility of forming different political cultures within one region. The article shows that from 2011 to 2021 the electoral landscape in the Komi Republic has undergone a significant transformation, but remains unstable. The dynamics of election results and turnout levels indicate the electorate’s demand for political renewal and a revision of approaches to regional governance. Drawing on discourse analysis of the 2016 and 2021 Duma campaign participants’ electoral programs, the author identifies the candidate, whose ideological positions were most aligned with regionalism. Using the results of this candidate and his affiliated party, he implements electoral-geographical mapping and designates sub-regional clusters of their support. Disproportions between clusters confirm the influence of geographical voting effects on election outcomes and the applicability of the model of spatial diffusion of innovations to predicting ideological and political trends. The article reveals that the Communist Party of the Russian Federation owes its improved performance in 2021 to the strong results of the candidate from single-member district, and the regionalist party statements in combination with party campaigning resonate with the people in the republic more than the party’s overall platform. The candidate's electoral support map largely coincides with the geography of social tension and highlights the boundaries of regional protest. The author concludes that 2021 election results can be interpreted as a cleavage between the government and opposition in the political and economic spheres, and the concept of regionalism allows us to examine this cleavage through the prism of center-periphery model, focusing on the “centralism-particularism” polarization.

Manifest Wendel A. White (bio) Manifest is an ongoing project, a portfolio of nearly one hundred photographs of African American material culture held in public and private collections throughout the United States. These repositories have accumulated diaries, receipts for the purchase of humans, hair, a drum, a door, photographs, figurines, and other artifacts—some with great historical significance, some the commonplace, quotidian material of black life. This project is concerned with the physical remnants of the American concept and representation of race. The histories of slavery, abolition, the U.S. Civil War, segregation, oppression, accomplishment, and agency are among the narratives that emerge in these photographs. I am increasingly interested in the residual power of the past to inhabit material remains. The ability of objects to transcend lives, centuries, and millennia suggests a remarkable mechanism for folding time, bringing the past and the present into a shared space that is uniquely suited to artistic exploration. While the artifacts are remarkable as visual evidence of lives and events, I also intend the viewer to consider this informal reliquary as a survey of the impulse and motivation to preserve history and memory. Various projects have occupied my attention during the past two decades; in retrospect, each has been part of a singular effort to seek out the ghosts and resonant memories of the material world. I am drawn to the stories "dwelling within" a spoon, a cowbell, a book, a postcard, or a partially burned document. The photographs are made with a 4 × 5 view camera, using film or digital capture. The prints are pigment-based inkjet. [End Page 14] Click for larger view View full resolution Lunch Box, Larkin Franklin Sr., Eatonville Historic Preservation, Eatonville, Florida, 2012. [End Page 15] Click for larger view View full resolution Slave Bill of Sale, Division of Rare and Manuscript Collections, Cornell University Library, Ithaca, New York, 2009. [End Page 16] Click for larger view View full resolution Door Knob, Maye St. Julien, Eatonville Historic Preservation, Eatonville, Florida, 2012. [End Page 17] Click for larger view View full resolution Spoon, Harriet Tubman House, Auburn, New York, 2009. [End Page 18] Click for larger view View full resolution Iron, Great Plain Black History Museum, Omaha, Nebraska, 2011. [End Page 19] Click for larger view View full resolution Tintype, Fenton History Center, Jamestown, New York, 2009. [End Page 20] Click for larger view View full resolution Zora Neale Hurston Sketch Book, Smathers Library Special Collections, University of Florida, Gainesville, Florida, 2012. [End Page 21] Click for larger view View full resolution James Baldwin Inkwell, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 22] Click for larger view View full resolution FBI Files on Malcolm X, Nebraska State Historical Society, Lincoln, Nebraska, 2011. [End Page 23] Click for larger view View full resolution Poster of Angela Davis, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 24] Click for larger view View full resolution Drum, Dan Desdunes Band, Great Plains Black History Museum, Omaha, Nebraska, 2011. [End Page 25] Click for larger view View full resolution Cab Calloway Home Movies: Haiti, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 26] Click for larger view View full resolution Radio Raheem's boombox from the movie Do the Right Thing, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 27] Click for larger view View full resolution New Orleans Door, Hurricane Katrina, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 28] Click for larger view View full resolution Quilt (W. Black), Great Plains Black History Museum, Omaha, Nebraska, 2011. [End Page 29] Wendel A. White Wendel A. White was born in Newark, New Jersey and grew up in New York, Pennsylvania, and New Jersey. He earned a BFA in photography from the School of Visual Arts in New York and an MFA in photography from the University of Texas at Austin. His work has received various awards, including fellowships and grants from the John Simon Guggenheim Foundation, the New Jersey State Council for the Arts, the Graham Foundation for Advanced Studies in...

Other| June 01 2021 Accreditation Requirements and the Global History of Architecture Kathleen James-Chakraborty Kathleen James-Chakraborty University College Dublin Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2021) 80 (2): 136–139. https://doi.org/10.1525/jsah.2021.80.2.136 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Kathleen James-Chakraborty; Accreditation Requirements and the Global History of Architecture. Journal of the Society of Architectural Historians 1 June 2021; 80 (2): 136–139. doi: https://doi.org/10.1525/jsah.2021.80.2.136 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the Society of Architectural Historians Search Much has changed in our discipline in the last quarter century. In 1995, when the Society of Architectural Historians last held its annual conference in Seattle, a much higher proportion of its members had been trained and subsequently taught in art history departments than is the case today, when more have backgrounds in architecture and teach in schools of architecture. Another obvious shift can be seen in the locations of the architecture we study. Of the 183 papers originally scheduled to be presented at the SAH 2020 conference in Seattle, roughly a quarter focused on the architecture of the Caribbean, Latin America, Africa, Asia, and even Antarctica. That count does not include any of the papers that addressed the architecture of ethnic minorities both in Europe and in the English-speaking world, or that focused on the teaching of architectural history. Of the 111 papers listed in the program for the... You do not currently have access to this content.

В статье проводится ретроспективный анализ жизни и творчества кубанского художника-графика Александра Романовича Мазина, работы которого отличаются высоким уровнем мастерства и отражают основные этапы хозяйственного и экономического развития Юга России. Основой исследования послужили материалы его личного фонда, хранящегося в Славянском историко-краеведческом музее, опубликованные источники, исследования российских ученых. Применены историко-системный, историко-биографический и диахронный методы. Автором прослежена судьба художника и установлена его связь с такими признанными мастерами графики ХХ в., как А. П. Остроумова-Лебедева и А. П. Эйснер. Отражены факты личной жизни и подробности творческой биографии А. Р. Мазина, относящиеся к 1950–1960-м гг., описаны судьбы его приемных детей, приведены события, связанные с уходом художника из жизни. Значительная часть выявленных и использованных материалов вводится в научный оборот впервые. The aim of the study is to reconstruct the biography of the Kuban graphic artist Alexander Romanovich Mazin (1909–1973), who created most of his works in the middle of the 20th century, through a retrospective analysis of his life and work. Based on the artist’s personal fund in the Slavyansk Museum of Local History, consisting of materials (linocuts, photographs, samples of printed materials, and personal belongings) donated by private individuals from 1985 to 2011, as well as relying on materials from private collections, published sources, and studies of Russian researchers, the author reconstructs the main stages of Mazin’s creative biography. Historical-systematic, historical-biographical and diachronic methods were used in the study. Brochures with the inscription of Anna Ostroumova-Lebedeva, a Soviet graphic artist of the twentieth century, and photos of the Russian scientist Aleksey Eisner found in the artist’s personal fund allowed reconstructing the facts related to the period of Mazin’s study at the Institute of Proletarian Fine Arts (Leningrad) in the early 1930s. Particular attention is paid to Eisner, who renderedpersonal assistance to the young artist. The author discovered and first introduced into scientific discourse Eisner’s portrait photograph—the only known image of him in adulthood today. The author presents the previously unknown events of Mazin’s life after training in Leningrad in the pre-war period, those during the years of war and Nazi occupation and during the restoration of the country’s economy after the victory. He also describes facts from Mazin’s private life, his personal qualities, the fates of his adopted children, the details of his creative biography in the 1950s–1960s, and events related to his death. The author concludes that Mazin’s fate is similar to fates of many provincial artists of the Soviet Union, who, for various reasons, were unable to fully use their potential and earn the lifetime recognition of their talent. Mazin’s works demonstrate his high skill; they areal so significant as they reflect the main stages of the economic development of the South of Russia. Alexander Mazin can stand on a par with the brightest representatives of the artistic environment of Kuban in the middle of the twentieth century. His works are of undoubted importance for the local community, serving as an inspiring example to new generations of artists.

Schneebaum. Tobias. 1985 Asmat Images from the Collection of the Aamat Museum of Culture and Progress. The Asmat Museum of culture and Progress, Agats, Irian Jaya, Indonesia. 18 black and white photographs, 87 drawings, maps, short bibliography, and appendices on symbols, designs, tools and weapons. Available from Crosier Missions, 3204 East 43rd Street, Minneapolis, Minnesota, 55406 for $15.00Gallagher. Jacki 1983 Companions of the Dead; Ceramic Tomb Structure from Ancient West Mexico. Los Angeles. Museum of Cultural History. 28. 21.5 cm., 125 pp., 10 color plates, 167 black and white illustrations,. map, References cited. No price given. Museum of Cultural History, University of California, Los Angeles, California, 90024.Crotty. Helen K. 1983 Honoring the Dead: Anasazi Ceramics from the Rainbow Bridge Monument Valley expedition. Los AngeLes. Museum of Cultural History. University of California. 28. 21.5. m., 91 pp., 59 black and white illustrations including tables, map and chronology. 4 appendices, and bibliography. No price given. Museum of Cultural History, University of California, Los Angeles. CA, 90024.Sayer. Chloe 1985 Costumes of Mexico. Austin. University of Texas Press. Printed in Great Britain by Jolly & Barber Ltd., Rugby, Warwickshire. 28. 22.5 cm., 240 pp. 36 color plates, 105 black and white illustrations,38 drawings,. maps, chronology,. appendices, glossary, bibliography, and index. ISBN 0‐292‐71099‐2; 292‐71100‐x (pbk.). $29.95 (plus postage), University of Texas Press, PO Box 789, Austin, TX, 78713.Washburn. Dorothy K. 1983 Structure and Cognition in Art. Cambridge, London, New York, New Rochelle, Melbourne, Sydney. Cambridge University press. 28. 22 cm., 170 pp., 119 black and white illustrations, 18 tables, and index. ISBN. 521 23471 9. $39.50. The Cambridge University Press, 510 North Avenue, New Rochelle, NY 1080LDunin. Elsie Ivancich 1984 Dance Occasions and Festive Press in Yugoslavia, Museum of Cultural History, university of California, Los Angeles, Monograph Series, No. 23, Regents of UCLA, 28. 21.5 cm. 72 pp. 15 color plates, 48 black and white. Includes catalogue of exhibition presented at Museum of Cultural History Gallery, UCLA, Jan. 11 to Mar. 4, 1984. No price given.Nancy Sweezy 1984 Raised in Clay: The Southern Pottery Tradition. Smithsonian Institution Press for the Office of Folklife Programs. Washington, DC. 28. 21.5 cm, 320 pp. color plates, 67 line drawings, 201 black and white photographs. Map, bibliography. Price plus postage, Cloth $39.95, paper $19.95. Smithsonian Institution Press, PO Box 1579 Washington, DC 20013.

The cataclysm of World War I reverberated outward from the struggle among Europe's empires into many other regions of the world. Countries far from the military fronts experienced political, economic, social, and environmental entanglements and consequences. The centennial years of the conflagration are an appropriate time for studying the ways in which events in Europe and North America penetrated the ongoing flow of Latin American history. Jane Rausch's study of Colombia, a somewhat precariously neutral Latin American country, is an important contribution to that subject.Rausch is an acknowledged authority on Colombia and the frontier regions of the capitalist era around Latin America. In this book she describes the political, economic, and social life of Colombia on three concentric scales: the transatlantic turmoil, Colombia's decisive turn toward the United States, and the domestic imperatives of the war and immediate postwar years through 1921. The timing of events depended on both military operations in Europe and diplomatic trends in the Americas. Great Britain's naval blockade of Germany in 1915 and German submarine warfare in response in 1916 effectively cut off Latin America's export markets to Europe. The United States stepped opportunistically into the economic and political breach, diverting a large portion of those exports to American markets.This brought Latin America into the orbit of the military powers' strategic plans for long-term control of natural resources critical for military security. Around Latin America and the Caribbean, the war years intensified the export economies' dependence on industrialized countries' capital and markets. Brazilian and Argentine beef exports to Britain rose, Mexican oil flowed northward, Chilean nitrates and copper went to meet the war's needs, and even Cuban grain and sugar exports spiked upward. Compounding this development, beginning in 1914 the war shook the global financial system to its foundations. In Colombia the conflict brought intense economic distress and persistent budget crises. This set the stage for President Marco Fidel Suárez's controversial welcoming of foreign capital and northern markets in the immediate aftermath of the armistice, dubbed the Dance of the Millions.This study shows in new detail the Colombian elite's perspective on the process by which the United States took the opportunity of wartime conditions across the Atlantic and on its waters to consolidate its hegemony around the hemisphere, and Colombia's initiative in this opportunity to expand its exports to the United States. Immediately before the war, 40 percent of the country's exports went to Europe and 50 percent to the United States; afterward, only 15 percent went to Europe and almost three-quarters went to the United States. The extraction of platinum expanded suddenly; by the end of the war Colombia became the world's largest producer of this critical metal. Rising banana exports gave the United Fruit Company increased power to coerce events in the banana belt. North America's craving for caffeine guaranteed Colombia second place in the world's coffee production. And major petroleum companies accelerated their pursuit of Colombia's oil reserves. (Rausch's other studies show the huge impact of large oil discoveries in the Llanos—but only beginning in the 1980s.)Rausch's conclusions about the postwar legacies of those years begin with a reminder that though there was no military conflict in Colombia, the global situation did reach across its borders in the form of 30,000 deaths from influenza. More broadly, the diplomatic front brought Colombia an increase of hemispheric solidarity, including the potential of the Pan-American Union as an arena for pursuing national interests. This was a complementary route to dealing with the politically controversial American hegemony. American interest in Colombia's natural resources, especially its petroleum potential, brought a belated congressional ratification of the Thomson-Urrutia Treaty in 1921, which finally resolved Colombia's loss of Panama and stabilized its relations with the northern colossus.Domestically, the national elite's collaboration with North American corporate interests brought sudden riches for the few, but rising consumer prices in wartime intensified the polarization between rich and poor in years of untrammeled capitalist development. This led to a new surge of social, ethnic, and regional violence, culminating in the bloody United Fruit Company strike in 1928. Social tensions thus remained unresolved throughout the country's later years.Rausch's account is fluently written, and it includes several apt cartoons from the war years. It adds an important national dimension to the growing literature on Latin America in those years in the setting of global events.

This Place Called Home:Curating from an Insider's Perspective Miles R. Miller (bio) As a young boy, accompanied by my family, I joined the Washat religion at an area longhouse. I was nurtured with a traditional education; the elders taught me the Yakama legends and time-honored lessons, and encouraged me to understand everything around me. These early influences continue to inspire me as a beadwork artist. I learned patience, observation, design, and composition, skills that carried over to my collection management work. I learned to care for collections by thoroughly evaluating, completing, and updating accession and catalog records, thus facilitating the process of preservation and attending to exhibition concerns with care. The combined influences of my traditional Yakama upbringing, museology, and contemporary Native American art history studies motivate me as a curator to utilize exhibits as a new pedagogical method of pursuing Native American history, culture, and arts. This essay will introduce the reader to This Place Called Home, an exhibit I curated in 2008 as part of my master's thesis project at the University of Washington's Burke Museum of Natural History and Culture.1 In this essay, I will reflect on my experiences as a Native curator from the Yakama Nation—specifically how, in my opinion, traditional cultural beliefs enhance current museological practices and the relative power of decision making in collaborative projects between museums and tribal communities. Related to this shared management process, I will address two additional issues: (1) the relationship between pan-tribal [End Page 21] advisory committees and tribally specific values, and (2) possible tensions between culture and religion in museological practices. Click for larger view View full resolution Guest curator Miles R. Miller (Yakama) with a 1988 capote (cat. no. 1988-119/1) made by Maynard Lavadour White Owl (Nez Perce/Cayuse), on display in the 2008 Burke Museum of Natural History and Culture exhibit This Place Called Home. Courtesy of the Burke Museum of Natural History and Culture. Photograph by Doug McTavish. In the course of the object-selection process for This Place Called Home (TPCH), an Umatilla cultural adviser brought his concern over ten historical objects that might possibly fall under the Native American Graves Protection and Repatriation Act (NAGPRA) to the attention of [End Page 22] the Plateau exhibit curators. These archaeological objects come from a particular accession in which the archaeologist and collector often acted without the guidance and advice of local Native American consultants. The intended use of these objects—a sinker/maul, sculpture/ effigy, pestle, ground stone tools, and stone mortars—is often misunderstood. My course of action to resolve the issue was to research accession records in search of evidence supporting this claim of a burial connection. Finding no evidence, and acting as a curator familiar with traditional Yakama teachings, I chose to override the recommendation of the Umatilla cultural adviser. This internal decision making is indicative of new understandings of what we mean by indigenous museum curating and the implications of consultation. This Place Called Home In March 2007 I accepted the invitation by Dr. James Nason, curator emeritus at the Burke Museum of Natural History and Culture in Seattle, to cocurate a complementary, object-based exhibit to augment Peoples of the Plateau: The Indian Photographs of Lee Moorhouse, 1898-1915, a traveling photographic exhibition from the National Cowboy & Western Heritage Museum.2 Both TPCH and the Moorhouse exhibit were designed to focus on the arts and culture of middle Columbia Plateau tribes—Yakama, Umatilla, and Nez Perce—and as such, would be the first major exhibits about Plateau culture in the past twenty years at the Burke Museum. The Moorhouse exhibit included fifty-one important historical images of known people, village sites, clothing, and other objects of material culture—all reproductions of Lee Moorhouse's glass plate negatives taken at the turn of the century. The Burke Museum was interested in enhancing the exhibit to highlight and present to western Washington audiences Plateau objects from the Native American permanent collection. TPCH explored the indigenous aesthetic of the Columbia River Plateau region. Carefully selected objects looked at relevant historical and prehistorical objects characteristic of Plateau culture from the Burke Museum, and demonstrated...

The purpose of the article is to bring into scientific circulation and publish hitherto unknown historical sources from Polish archival repositories (Krakow) relating to the events in the Right-Bank Hetmanate on the eve of the Polish-Turkish war of 1672–1676. Methodology. The study uses biographical and historical and logical methods of studying historical sources with the involvement of special methods of archaeology, source studies, documentary studies, archival studies and paleography. The scientific novelty of the article lies in the fact that it is the first to analyze and publish a number of documents of 1671–1672: the so-called letters of news and “news” (avis, information, etc.), which at that time played the role of newspapers. This article examines the letters of news (news, avis, information, relays, etc.) relating to the first year of the Polish-Turkish war of 1672–1676. These documents played the role of a kind of newspaper at the time and outnumbered printed ones in terms of their number and efficiency. They allow us to recreate quite accurately the picture of the first year of the war, the first half of 1672 (before the fall of Kamianets-Podilskyi), and the preparations for it, in which the Ottoman Empire’s vassals – the Crimean Khanate, Moldova, and Wallachia – took part, the difficult situation in the Right-Bank Hetmanate, which was forced to fight the Polish-Lithuanian Commonwealth, the Moscow State, the Ottoman Empire, and the Crimean Khanate, which led to the emergence of various political groups and internecine struggles that deepened the so-called Ruin. The so-called Ruin. Additional light is shed on the military-political situation, especially in Podillia, and unknown facts about Hetmans Petro Doroshenko, Mykhailo Khanenko, and colonels (Ivan Sirko, Lysytsia, Kyiashko, etc.) are presented. It should be noted that, despite the undoubted positive aspects, the letters have certain drawbacks, which affected the degree of their reliability. First of all, this is the use of unreliable rumours, unverified second-hand information, although it was not always possible to verify the information received. Type of article: review and archaeographic.

Freedom Comes in a BoxReflections on the National Museum of African American History and Culture Radiclani Clytus (bio) Blacks in one boxBlacks in two boxBlacks onBlacks stacked in boxes stacked on boxesBlacks in boxes stacked on shoresBlacks in boxes stacked on boats in darknessBlacks in boxes do not floatBlacks in boxes count their losses —Terrance Hayes, “The Blue Seuss” In August 2016 the National Museum of African American History and Culture (NMAAHC), which is located on the last available site of Pierre L’Enfant’s 1791 master plan for the US Capital, will open its doors in honor of the black experience in America. Since the museum’s initial proposal in 1915 by black Union Army veterans, African Americans have been relentless in their demands for a parcel of what is often described as our nation’s most symbolic, if not most important, tract of real estate. As early as 1929, the collective efforts of black soldiers and citizens were sufficient enough to compel President Herbert Hoover to establish a commission that was charged with developing a plan for a National Memorial Building where “the Negro’s contribution to the achievements of America” could be duly recognized (Wilkins). This committee included the likes of Mary Church Terrell, Mary McLeod Bethune, Paul Revere Williams, and John R. Hawkins; but hard luck in the form of the Great Depression obstructed their mission to secure comprehensive legislation and private fundraising. As a result, the appeal for a national black history museum subsided for several decades, only to reemerge during the latter half of the twentieth century. So it’s not surprising that when the culture wars of the 1980s and 1990s enlivened discussions about how Americans should view the legacy of slavery, skirmishes over the proposed museum and reparations became the routine fodder of talk shows and nightly news programs. One might even argue that there is a correlation between how such debates persisted within the black public sphere (aka barber and beauty shops) and the tenacity with which Representatives such as the late Mickey Leland and John Lewis held forth as the museum’s sole congressional advocates. But [End Page 742] for all of Leland’s and Lewis’s legislative achievements, beginning with the appointment of Mary Schmidt Campbell as the chair of the Smithsonian advisory board in 1990, the National Museum of African American History and Culture Act (H.R. 3491) would not be ratified until December 16, 2003. Owing to the act’s countless compromises and delays, its realization has now come to feel like so many of our nation’s democratic struggles that turn out to be profoundly reasonable despite embattling a lifetime’s worth of opposition. Fortunately, this century’s long effort is complemented by an architectural structure that reflects the temerity of the museum’s supporters and their bold programmatic intentions. The museum’s design, which is the result of the collaboration between three internationally acclaimed architects, Philip Freelon, David Adjaye, and the late J. Max Bond, Jr. (all of whom are of African descent), marks a radical break from the neoclassical white marble monuments that dot the architectural landscape of the Capital’s centerpiece. The building itself has the appearance of an upside down ziggurat and consists of three bronze decoratively patterned inverted trapezoids that rest atop a massive plinth. According to Adjaye, a Ghanaian-British national with whom the museum’s design is closely associated, the inverted trapezoids directly reference those Yoruban shrines that were contemporaneous with the existence of the Transatlantic slave trade and thus honor the history of African craftsmanship through the visual effect of a shimmering bronze corona. By having the building’s silhouette reflect upon the foundry cultures of Nigeria and Benin, Adjaye hopes to call attention to the unacknowledged black artisans who developed much of the ornamental metal work that can be found in cities such as Savannah, GA; Charleston, SC; and New Orleans, LA. Arguably, there is very little in Adjaye’s structure and the surrounding landscape that brings to mind the agricultural labor that was essential to the accumulation of white wealth within the Americas. However, a case for this...

A Place of Our OwnThe National Museum of African American History and Culture Howard Dodson (bio) Click for larger view View full resolution Gallery Space. Rendering by Adjaye Associates (2011). [End Page 729] The most significant African American artistic statement that will be made in Washington, DC, over the next decade will not be a painting, a sculpture, a dance, a theatrical production, or a monument. It will be the official opening of the National Museum of African American History and Culture (NMAAHC) scheduled to take place in 2016—before the end of Barack Obama’s second term as President of the United States. The NMAAHC will likely be one of the last, if not the last, museum constructed on the National Mall. This first Smithsonian Institution museum on the National Mall dedicated to documenting and interpreting the centrality of the African American experience in the making of America and Americans promises to substantially change the national conversation about America, its history, and its cultural identity. As much a venture into revealing the depth, breadth, and complexity of African American’s cultural and artistic imprint on America as it is into interrogating the relationship of Black people to the economic, political, social, and cultural development of these yet-to-be United States, the National Museum of African American History and Culture will shed new light on both what America has been and what it still has the potential to become. It has been a long time in the making. Almost a hundred years ago, black Civil War veterans and their supporters started black Americans’ quest to establish such an institution to commemorate African Americans’ role in the making of America. These veterans of the United States Colored Troops (USCT) were simply seeking to have the nation acknowledge, recognize, and honor them for the part they had played in the Union victory. Fifty years earlier, they had not been so honored. They were not even invited to march in the Grand Review Parade for the victorious Union armies which took place in Washington, DC, in May of 1865. Veterans of three white Union armies marched down Pennsylvania Ave. to the applause and cheers of President Andrew Johnson and thousands of grateful citizens. But there was, apparently, no place for the regiments of the USCT in the victory parade. No place, no honor for the more than 180,000 African Americans who had served in the Union army. USCT veterans—and African American citizens—were committed to participating fully in the 50th Anniversary of the Grand Review slated to take place in Washington, DC, in May of 1915. To support this effort, they formed a Committee of Colored Citizens of the Grand Army of the Republic. The official organizing committee for the anniversary parade had made no [End Page 730] provisions for black participation. The Committee of Colored Citizens provided such support, raising money to cover housing, food, and logistical costs for USCT Veterans. Significantly, after the parade, they used leftover funds to form the National Memorial Association to create a more permanent memorial to African Americans’ military contributions. Within a year, this germinal idea had evolved into a proposal to create a memorial building to house a comprehensive National African American Museum. The fully articulated vision of the proposed museum included the following: It is the purpose of the National Memorial Association to erect a beautiful building suitable to depict the Negro’s [sic] contribution to America in the military service, in art, literature, invention, science, industry, etc.—a fitting tribute to the negro’s contributions and achievements, and which would serve as an educational center giving inspiration and pride to the present and future generations that they be inspired to follow the example of those who have aided in the advancement of the race and Nation. (qtd. in Wilkins 8)1 Though no specific site was identified for the construction of this memorial building, the unarticulated expectation was that it would be built on the National Mall in Washington, DC. This was because by 1915, the Mall had become generally recognized as the place that most exemplified the nation’s sense of honor and dignity. As home to the...

The study is devoted to identifying the features of the state-confessional policy of the provisional governments that functioned in Siberia in 1917-1919. The source base of the research was made up of archival storage materials from the funds of mainly the Russian State Historical Archive of the Far East (Vladivostok), as well as the Historical Archive of the Omsk Region (Omsk). Previously unexplored materials of the archival storage of the Russian State Historical Archive of the Far East have been introduced into scientific circulation. The research methodology is determined by the specifics of the analyzed array of documentary materials and includes methods of content analysis, comparison, synthesis and generalization. The object of the study was the state-confessional policy of the provisional Siberian governments during the revolutionary transformations of the early twentieth century. The analysis of the historical experience of interaction between secular and religious structures in Russia has a special relevance in the process of implementing the state national policy. Conclusions are drawn about the main directions of state-confessional interactions, the dynamics and continuity of the religious policy of the provisional governments of Siberia are characterized. It is established that the main strategy of the provisional Siberian governments, which dynamically emerged and replaced each other a century ago, in relation to religious ideology and religious institutions was based on the traditions of secular power established in the history of the Russian state and, unlike the policy of the Soviet government, did not imply the abolition of religious institutions; on the contrary, it was planned to use the ideological potential of religious leaders in order to justify the legitimization of their own activities.

This article provides a case study of race and big-gift cultural patronage, a theoretically and empirically understudied phenomenon, by investigating million-dollar donations to the Smithsonian Institution by black patrons. I find that large donations by black supporters are concentrated at one Smithsonian museum – the National Museum of African American History and Culture. To explain this distinctive pattern of cultural consumption, I draw on ethnographic data and archival texts related to patronage at African American museums. Gifts to the National Museum of African American History and Culture can be partly explained by strategic acculturation, or an impulse to articulate and nurture black identity through consuming black culture. However, cultural steering also played a key role. Black donors were identified and cultivated via a robust fundraising infrastructure where market research cast them as key constituents of the National Museum of African American History and Culture and taste-making strategies that constructed the museum as worthy reinforced their attraction to the museum. By conceptually and empirically elaborating cultural steering, this analysis offers a more complete model of black middle- and upper-class consumption of black culture.

An Interview with Kathryn Gustafson Charles Henry Rowell and Kathryn Gustafson (bio) Click for larger view View full resolution Photograph courtesy of Gustafson Guthrie Nichol [End Page 777] This interview was conducted via email during August 2015. ROWELL: What distinguishes your landscape design for the new structure called the Smithsonian National Museum of African American History and Culture (NMAAHC) from others you have created for other public buildings? GUSTAFSON: All of our landscape designs are distinguished by their specificity. We strive as landscape architects to create designs for each unique place. So I would say that all of our landscapes are different. They look as much as possible, and feel as much as possible, as being of the place where they are located—with each design based on deep research of the site’s history and ecology. When we are designing, we consider what will be happening in each landscape once it’s built, so that we can better represent the program and the people that are to engage with the places we design. ROWELL: As you created a landscape design for NMAAHC, did you give consideration to the general landscaping surrounding other buildings on the National Mall, especially those structures adjacent to or not far from the location of the NMAAHC? If so, what were those considerations? How did you address those concerns? GUSTAFSON: The National Museum of African American History and Culture is set within an extremely historic and defined landscape: It is in Washington, DC, on the National Mall, adjacent to the Washington Monument, the White House, and the Oval Garden. This landscape has origins going back to the 1700s and has been formed over time as our country has grown. The different areas are overseen by the National Planning Commission, the Commission of Fine Arts, the Friends of the Washington Monument, and by other civic groups that are interested in the entire area. Our main goal with the Parks Department, with the architects, and with our client was to integrate this building into its context, while at the same time help to create an identity for this building. If you look at the Context Plan, it clarifies the way that the Museum is sited on the parcel of land. You will see clear connections to both the Mall—extending east from the Museum towards Union Square, the Grant Memorial, and the US Capitol—and the adjacent Washington Monument’s grounds. The Museum’s site is like a junction between these two landscapes, with the third part of that junction being the White House grounds. As a result of the location, you are dealing with three different historical eras of design: [Pierre Charles] L’Enfant designed the entire Mall with a rectilinear design that joins the Capitol; the Art Nouveau design influence introduces a completely different type of geometry to the Washington Monument; and the White House, which is more Palladian and neoclassical. When you walk the site you see that the visual approaches to the Museum are totally different from each of the four corners of the site, which is unlike any other museum site. All of the other museums are [End Page 778] approached from a major road or from the Mall. We are approached from the White House, from Constitution Avenue, from the Mall, and the Washington Monument. So we basically have four different influences that are all culminating into one very powerful site. I think the way in which David Adjaye, lead design architect, has designed this building to rise up from that site, and rise up with these different influences, is very poetic. Click for larger view View full resolution National Museum of African American History and Culture: Context Plan Courtesy of Gustafson Guthrie Nichol Our site also has a nine-foot grade change stepping downhill from the height of the National Mall to Constitution Avenue. The original topography explains why we have a distinct low point on the site, and why we have a distinct high point. There was a stream called Tiber Creek along Constitution Avenue that later became a canal. That canal was an entryway for goods and services into the city, and it is believed that slaves and...

Studying the history of the Great Patriotic War and the problem of the contribution made by the entire multinational Soviet people, including the women of the Mari ASSR, to approaching the Victory has been one of the highly topical issues in Russian historiography for a long time. Coverage of the war years events and the results of the war is of particular importance in modern realities, when aggressive attempts are made to distort the historical truth. The purpose of the study is to analyze the participation of women of the Mari ASSR in the patriotic movement to help the front during the Great Patriotic War based on the materials of the periodical press of the war years. Materials and methods. The research used both general scientific methods (analysis, synthesis, comparison) and special historical methods (historical-comparative, historical-genetic). This research is mainly based on the materials of the periodical press of the Republic of the war years. Materials from published sources and scientific literature on the issues under study were also used. Research results. The article presents the results of the analysis of the materials published in the periodical press of the war years, which contain unique information about the participation of women of the Mari ASSR in the patriotic movement to provide comprehensive assistance to the front. Collecting and processing of articles and excerpts published in newspapers gave the authors the opportunity to identify valuable information about the widespread involvement of women in the movement to collect warm clothes for Red Army soldiers, funds and food for the country’s defense fund, for the construction of military equipment and gifts for soldiers, as well as their involvement in the donor movement in the republic. Conclusions. The information obtained in the course of the study is of valuable importance, since unique data on the involvement of women of the republic in the national movement to help the front were introduced into scientific circulation. The study showed that despite the material and everyday difficulties for the population, women from all regions of the republic, to the best of their abilities, sought to support their brothers and husbands in every possible way, which became one of the main factors in approaching the Victory in the Great Patriotic War.