Monument in Palisades Park, N.J., Irritates Japanese Officials

Posted on 18th May 2012 in The monuments of world
By KIRK SEMPLE
Published: May 18, 2012

Two delegations of Japanese officials visited Palisades Park, N.J., this month with a request that took local administrators by surprise: the Japanese wanted a small monument removed from a public park.

The monument, a brass plaque on a block of stone, was dedicated in 2010 to the memory of so-called comfort women, tens of thousands of women and girls, many Korean, who were forced into sexual slavery by Japanese soldiers during World War II.

But the Japanese lobbying to remove the monument seems to have backfired — and deepened animosity between Japan and South Korea over the issue of comfort women, a longstanding irritant in their relations.

Authorities in Palisades Park, a borough across the Hudson River from Manhattan, rejected the demand, and now the Japanese effort is spurring Korean groups in the New York region and across the country to plan more such monuments.

“They’re helping us, actually,” said Chejin Park, staff lawyer at the Korean American Voters’ Council, a civic group that championed the memorial in Palisades Park, where more than half of the population of about 20,000 is of Korean descent, according to the Census Bureau. “We can increase the awareness of this issue.”

Korean groups have been further motivated by a letter-writing campaign in Japan in opposition to a proposal by Peter Koo, a New York city councilman and Chinese immigrant, to rename a street in Flushing, Queens, in honor of comfort women.

Mr. Park said that in the past week or so, his organization had received calls from at least five Korean community organizers around the country — in Michigan, Georgia, Texas and New Jersey — expressing interest in building their own memorials. These would be in addition to at least four memorials in the works in California and Georgia, he added.

“Starting from Flushing, N.Y., we will continue the construction in the areas of major Korean-American communities,” vowed Paul Park, executive director of the Korean-American Association of Greater New York, one of the oldest Korean community organizations in the region. “We Korean-Americans observe the issue on the level of a global violation of human rights.”

Tensions between Japan and South Korea over the legacy of comfort women were reignited in December when a bronze statue in honor of victims was installed across the street from the Japanese Embassy in Seoul, the South Korean capital. Japanese officials have asked the Korean authorities to remove that statue.

Japanese leaders have said that their formal apologies, expressions of remorse and admissions of responsibility regarding the treatment of comfort women are sufficient, including an offer to set up a $1 billion fund for victims. But many Koreans contend that those actions are inadequate. Surviving victims have rejected the fund because it would be financed by private money. The victims are seeking government reparations.

James Rotundo, mayor of Palisades Park, said the lobbying began obliquely late last month. Officials at the Japanese consulate in New York sent e-mails requesting a meeting with borough administrators. “I called the secretary and said, ‘What is this about?’ ” the mayor recalled in an interview, “and she said, ‘It’s about Japanese-U.S. relations,’ and I said, ‘Oh. Well, O.K.’ ”

The first meeting, on May 1, began pleasantly enough, he said. The delegation was led by the consul general, Shigeyuki Hiroki, who talked about his career, including his work in Afghanistan — “niceties,” Mr. Rotundo said.

Then the conversation took a sudden turn, Mr. Rotundo said. The consul general pulled out two documents and read them aloud.

One was a copy of a 1993 statement from Yohei Kono, then the chief cabinet secretary, in which the Japanese government acknowledged the involvement of military authorities in the coercion and suffering of comfort women.

The other was a 2001 letter to surviving comfort women from Junichiro Koizumi, then the prime minister, apologizing for their treatment.

Mr. Hiroki then said the Japanese authorities “wanted our memorial removed,” Mr. Rotundo recalled.

The consul general also said the Japanese government was willing to plant cherry trees in the borough, donate books to the public library “and do some things to show that we’re united in this world and not divided,” Mr. Rotundo said. But the offer was contingent on the memorial’s removal.

“I couldn’t believe my ears,” said Jason Kim, deputy mayor of Palisades Park and a Korean-American, who attended the meeting. “My blood shot up like crazy.”

Borough officials rejected the request, and the delegation left.

The second delegation arrived May 6 and was led by four members of the Japanese Parliament. Their approach was less diplomatic, Mr. Rotundo said. The visiting politicians, members of the opposition Liberal Democratic Party, not only asked that the monument be removed but also sought to convince the Palisades Park authorities that comfort women had never been forcibly conscripted as sex slaves.

“They said the comfort women were a lie, that they were set up by an outside agency, that they were women who were paid to come and take care of the troops,” the mayor related. “I said, ‘We’re not going to take it down, but thanks for coming.’ ”

The Japanese consulate in New York has been reluctant to discuss its lobbying.

In interviews this week, Fumio Iwai, the deputy consul general, would not say whether the consul general had requested that the monument be removed.

But he denied that the consul general had offered to help the borough in return for the monument’s removal. “Ambassador Hiroki did not offer any such condition,” he said.

Mr. Iwai said the issue of comfort women, if not Palisades Park specifically, was the subject of continuing discussions “at a very high level” between the governments of South Korea and Japan.

“So,” he said, pausing as if to choose his words carefully, “things are quite complicated.”

North-East heritage bid withdrawn

Posted on 16th May 2012 in The monuments of world

16 May 2012 Last updated at 10:12 ET

St Peter's ChurchSt Peter’s, Monkwearmouth was founded around 674AD

The Wearmouth-Jarrow bid for World Heritage status is “shelved” after an evaluation by the International Council on Monuments and Sites (ICOMOS).

The bid centred on the monastery of St Peter’s Church in Monkwearmouth and St Paul’s Church in Jarrow.

The Bishop of Jarrow, the Right Reverend Mark Bryant, chair of the partnership behind the bid, said he was “disappointed” about the evaluation.

However, he adds that that the plan could be resubmitted at a later date.

‘Strong local support’

The decision to withdraw was made jointly by the Department for Culture, Media and Sport (DCMS), English Heritage and the Wearmouth-Jarrow Partnership.

Bishop Bryant said: “It’s important to say that it is shelved.

“The reason it was withdrawn is that if it had gone right through to the committee and they had said no, then we would not have been able to put it in again.

“So we have withdrawn it to give us the option to put it forward again.”

In a statement a DCMS spokesperson said: “Clearly, everyone involved is disappointed with the recent ICOMOS evaluation.

“There is strong local support for the world heritage bid and the team there have done some great work, which ICOMOS have acknowledged.

“We will study the report further to look at what still needs to be done, building on the work so far.”

Concerns see North East World Heritage bid stopped

Posted on 16th May 2012 in The monuments of world
Rt Rev Mark Bryant, Professor Rosemary Cramp and Adriano Boschetti at the twin monastery of Wearmouth-Jarrow

Rt Rev Mark Bryant, Professor Rosemary Cramp and Adriano Boschetti at the twin monastery of Wearmouth-Jarrow

THE bid for a third World Heritage site for the North East has been dramatically withdrawn, it emerged last night.

It was announced in 2006 that the twin monastery site of Wearmouth-Jarrow would be the Government’s World Heritage site candidate in 2009.

Although the bid was delayed to this year, confidence was high the UK Government’s only submission would be successful and deliver an economic and cultural boost for the region.

It would have seen the Seventh Century monastery sites and churches of St Paul’s at Jarrow in South Tyneside and St Peter’s at Sunderland join Durham Cathedral and Castle and Hadrian’s Wall as World Heritage sites.

Last September the sites were visited by Professor Adriano Boschetti, a technical evaluator from the International Council on Monuments and Sites (ICOMOS), which advises the United Nations Educational, Scientific and Cultural organisation (UNESCO) on World Heritage sites. But last night the Rt Rev Mark Bryant, Bishop of Jarrow and Chair of Wearmouth-Jarrow Partnership, said the bid had been withdrawn after a disappointing evaluation by ICOMOS.

He said there were a “number of concerns” about the report.

Prof Boschetti spent three days exploring the churches and partner venues, including the National Glass Centre in Sunderland and Bede’s World in Jarrow.

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He also met key figures from the bid, including Professor Rosemary Cramp – who was involved in the excavations of the site in the 1970s – and Bishop Bryant.

Last night a statement from the Bishop said: “Following feedback from ICOMOS, the Department for Culture, Media and Sport (DCMS), English Heritage and the Wearmouth-Jarrow Partnership have decided to withdraw the World Heritage site nomination for Wearmouth-Jarrow from this year’s world heritage committee.

“We are very disappointed by the ICOMOS evaluation of the Wearmouth- Jarrow nomination and have a number of concerns about the report which we will be raising with ICOMOS and UNESCO.

“We will examine the report further to identify what the key areas of concern are and consider carefully next steps. We feel that Wearmouth-Jarrow has a strong case for World Heritage site status and deserves international recognition.

“There has been a huge amount of public support for the bid, locally, nationally and internationally. The organisations which make up the Wearmouth-Jarrow Partnership have worked together extremely well to conserve, promote and improve the twin monastery.

“ICOMOS commented on the quality of the management plan, and recognised the effort and commitment of the Partnership in producing it. We will continue to work together to ensure this special site is preserved for future generations.”

The DCMS said: “Clearly, everyone involved is disappointed with the recent ICOMOS evaluation. There is strong local support for the World Heritage bid and the team there have done some great work, which ICOMOS have acknowledged. We will study the report further to look at what still needs to be done, building on the work so far.”

The twin monastery site was the home of the Venerable Bede, one of Europe’s greatest scholars. In 2009 the bid was put back so that work could take place to strengthen submission.

At the time the Bishop said: “We were given the opportunity to delay on the basis that what is already a strong bid could be even better.”

Heritage Education at the MIE

Posted on 14th May 2012 in The monuments of world

Heritage is any attribute, material or immaterial, that has been transmitted from the past or handed down from one generation to another. These attributes are inherited from past generations, maintained in the present and bestowed for the benefit of future generations. It includes
(i) natural heritage- biodiversity (flora and fauna) and geodiversity (geology, landscape and other natural resources etc.)
(ii) cultural heritage- customs and traditions ( language, food, clothing, songs and dances, arts and crafts, spiritual beliefs etc.)
(iii) historical heritage- historic buildings and places, monuments, books, documents, works of art, machines, clothing and other artefacts, that are considered worthy of preservation for the future.
An understanding and appreciation of the legacy of the past is important in order to create a successful future. The greatness of a Nation is shown by the commitment it upholds with regards to its heritage. Heritage Education in the school curriculum may be instrumental in triggering the national awareness needed for the preservation of our common heritage.
The MIE has since 2010 introduced an elective module on heritage education in its Teacher’s Diploma Primary Programme for general purpose and oriental language educators. The aim of the programme is to develop in the trainee educators the appropriate knowledge, attitude and skills to promote Heritage Education at the primary school level. On completing the module, trainees are expected to demonstrate an understanding of the concepts of heritage including world heritage. They should show an awareness of and appreciation for our natural, cultural and historical heritage. Finally, they should develop innovative teaching strategies to infuse heritage education in their regular teaching.
Apart from the traditional lectures, the trainees are involved in brainstorming and discussion sessions based on film viewing, cooperative research work, field work, visits to museums/heritage sites, collaborative project work and public exhibitions. Resource persons and NGOs involved in heritage preservation are invited for talks and workshops on the major relevant issues. In this context, the input from Nelly Ardill of the NGO “Patrimoine en Danger” and Philippe La Hausse de  Lalouvière were highly appreciated. It is rather unfortunate that the trainees are still waiting for a response from the National Heritage Trust Fund following an official request made for a talk earlier during the year.
The presence of a few students from Rodrigues, has considerably helped in uplifting the quality of the programme. These Rodriguan trainees have impressed the group by their initiative, dynamism and their pronounced sense of patriotism.
The general feeling of the trainees after the presentation of their projects is that while a few heritage sites are pampered (for obvious reasons), many others are not receiving the attention that they deserve and some are even in a deplorable state. There is unanimity among them of the urgent need for the authorities to pay greater attention to protect and preserve our national heritage sites.
With a view to vulgarising their work, the trainees are putting up a one-day public poster exhibition at the Mauritius Institute of Education, in front of the lecture theatre, on Tuesday 15 May 2012 from 9.00 to 16.00 hours.

Fundraiser aims to give Chubby from 'Our Gang' a headstone in Baltimore

Posted on 11th May 2012 in The monuments of world

Only people who know where to look would be able to pay respects to Norman Chaney, who is buried in an unmarked grave in Baltimore. But if fans of the chubby “Our Gang” star have their way, he’ll soon have the headstone he’s done so long without.

Chaney, the son of a Baltimore electrical worker, won a national contest in 1929 to become “Chubby,” the new “fat kid” in the popular film series, replacing the original Chubby, who had grown out of the role.

But with his impossibly round face and impish charm, Chaney eclipsed his predecessor — becoming the fat kid people remembered.

Yet after only two seasons with “Our Gang,” Chaney left the show and returned to Baltimore, where he went to school, eventually became sickly and died just as most young people’s careers are taking off.

“To die at only 21 and to be in an unmarked grave when people are still watching the show and laughing and getting all this enjoyment from his work,” says a Michigan musician who goes by the name Mikal C.G. who has started the collection to buy Chaney a headstone. “I thought to myself, that’s kind of a tragedy.”

Producer Hal Roach created the “Our Gang” films, which became known as “The Little Rascals” on television. The comedies showcased a bunch of children who were supposed to be pals in a poor neighborhood. It’s credited for being among the first to have black and white children acting together.

Chaney appeared on “Our Gang” from 1929 to 1931. In one famous episode, he has a crush on his teacher, Miss Crabtree, and while attempting to woo her, asks that she call him “Chubsy-Ubsy.”

“He’s one of the characters that most people remember,” says Mikal C.G.

When Chaney left the program, apparently getting bigger and losing his cuteness in the eyes of show executives, he moved home, where he struggled with his health. His weight fluctuated wildly over the years, ballooning to a high of 300 pounds and, near his death, plummeting to less than half that.

Doctors treating him at Johns Hopkins Hospital chalked his ailment up to a “glandular disorder.” He died at age 21, on May 29, 1936, after surgery.

The New York Times covered the one-time actor’s death with the headline, “Norman Chaney Dies; Fat Boy of ‘Our Gang.’” He died at the West Lombard Street home of his grandparents, the article said.

Chaney beat nearly 2,000 other boys in a national contest for the role of the fat one in the film shorts, replacing Joe Cobb. When he heard the news that he’d gotten the job, Chaney reportedly told Roach, “Mister, are you just kidding me because I’m fat?”

He was just a fifth-grader then, his obituary said, with good grades in everything but “deportment,” which he famously said ranked “low,” because he shined in other ways, namely making “the other kids laugh so easily.”

Visitors enter Baltimore Cemetery, where Chaney has been buried for nearly 76 years, through a castle-like gate at North Avenue’s eastern terminus. Despite the showy threshold, and despite a handful of grand monuments inside, the cemetery is a final resting place for the working class.

Chaney’s grave can be found a short walk from the entrance, beside that of his grandparents, Mildred and William Myers, who share a stone etched with a cross and flowers. He’s there somewhere to the left, near his mother, under the grass and buttercups.

Bob Satterfield, a high school activities director from California and a member of a society devoted to the comedy duo Laurel & Hardy, another Hal Roach creation, is helping with the fundraising drive. He has already helped get headstones made for four other “Our Gang” members.

He visited Baltimore Cemetery years ago to pay respects to Chaney, and he knows there are plenty more fans who would do so, too, if only the grave were easier to find.

“There’s people out there, lots of them all over the world, who remember him very well,” Satterfield says. “We’re just trying to make this correct, so people can pay homage and leave flowers and gifts.”

Satterfield and the others collecting money don’t want just any marker. They want something grand to make up for the years of anonymity. But the cemetery will only allow so much — in this case, a modest slab, about the size of a breadbox. So the plan is to set up Chaney with the nicest breadbox-size stone that money can buy — a piece of black granite carved with an etching of his round, expressive face.

Boston University-led expedition reveals oldest Mayan calendar

Posted on 10th May 2012 in The monuments of world

By Carolyn Y. Johnson, Globe Staff

In the rainforest-covered ruins of a Mayan city dating back more than 1,100 years, a Boston University-led excavation has turned up the oldest evidence of that civilization’s mastery of astronomy — a precise lunar calendar scrawled on what appears to be an ancient blackboard.

The calendar, consisting of delicately-painted symbols and columns of numbers, was one of a number of texts found on the wall of a room in a residential area of the massive complex of ruins called Xultun in northeast Guatemala, the scientists reported Thursday in the journal Science. It’s four to five centuries older than previous Mayan calendars, and the earliest found on a wall rather than in books.

The small room where it was found may have been a kind of office for Mayan scribes. With numbers and glyphs scrawled along the wall and over sections of a mural, it suggests scribes had sophisticated knowledge of astronomy and mathematics as early as the ninth century.

Scholars who study the Maya said the well-preserved room provides insights into the people’s lives beyond those drawn from the more lasting stone monuments and artifacts that archeologists often depend on to reconstruct ancient civilizations. It’s almost as if the researchers can peer over the shoulders of the scribes who were writing and thinking there. The BU-led team reported sections of the wall had been plastered over to make space for new text.

“For me what’s really amazing is people are erasing and changing it and adapting it,” said Charles Golden, associate professor of anthroplogy at Brandeis University, who was not involved in the research. “You get these works in progress that really humanizes this, it kind of demystifies it.”

Another set of numbers painted on a section of wall undermines an idea that has been embraced in popular culture — including the movie “2012” — that the Maya predicted the world would end in “13 baktuns” or about 5,000 years, which works out to the end of 2012. That idea has long been dismissed by scholars, who explain that the Maya calendar is like a car’s odometer that turns over when it reaches that date, not a doomsday prediction. The new find reinforces that the Maya’s conception of time was not finite, because it contains a calendar that extends 17 baktuns, about 7,000 years.

The Maya lived in Mexico and Central America, and were a dominant force in that area, with a written language and an understanding of astronomy and calendars. Their civilization, known for stepped pyramids, spanned from about 2000 B.C. to the arrival of the Spanish about 3,500 years later.

The room was uncovered by a combination of chance and persistence. A determined BU undergraduate, Maxwell Chamberlain, spotted a faded painting on a patch of wall during his lunch break, while exploring trenches dug by looters. William Saturno, an assistant professor of archeology at BU who led the team, began an excavation, and discovered a magnificent, nearly life-sized portrait of a Maya king, adorned with a brilliant blue feather head-dress. Further excavation, supported by the National Geographic Society, revealed a row of mysterious figures and one badly-damaged wall, which was covered with writing.

Eventually, a Sudoku-like analysis, using information about what numbers were visible in the table to calculate what numbers the rest of the table must have contained, revealed that the incomplete table was a 13-year lunar calendar. Another set of numbers, the scientists report, seem to record other astronomical and planetary events.

“We find inside this city that’s been known about for a century, in this little house on the outskirts of town … all these numbers and writings and calculations that involve both the calendar and astronomy and observations and history and the preparations of texts,” Saturno said.

The modest room has only begun to yield its secrets, with more texts yet to be deciphered. Marc Zender, a visiting assistant professor of anthropology at Tulane University not involved in the research, compared the work to being able to see the notes and scribblings that led to famous mathematical theorems.

“These astronomical tables are written across some figures at interesting angles, only in the part of the room where light falls through the doorway,” Zender said. Most likely scribes were at work in the room, and “they were probably consulting books, but maybe it was getting onerous to flip through the book; they may have simply copied them on to the wall so they didn’t have to keep opening their bark-paper books.”

Zender said he hoped to use the tables to look at monuments left behind by the Maya at other sites, to understand whether mathematical and astronomical understanding and calendars were centralized, or whether they were being derived and calculated in different regions of the Mayan empire.

Saturno said he is investigating whether imaging might be used to reveal what is written beneath areas that have been plastered over. The room has a recessed niche in the back, where the king’s portrait sits, and the archeologists found evidence of a bone rod that would have held a curtain that could cover up the image of the king. On the same wall is a second mysterious figure, a vividly-painted man who holds a stylus in a hand — perhaps a scribe who worked in the room.

“It’s an astonishing discovery,” said Stephen Houston, a professor of anthropology and archeology at Brown University. Such calculations and tables appear in books from about 500 years later, but “here, we see them instead, painted with some care I might add, in what might seem to be an arbitrary arrangement in an elite chamber.” He said the find raises difficult questions about what the scribes were up to, including why they would have written the tables on the wall.

Carolyn Y. Johnson can be reached at cjohnson@globe.com. Follow her on Twitter @carolynyjohnson.

Maps and monuments define Gregor Turk solo show

Posted on 10th May 2012 in The monuments of world

By Felicia Feaster

For the AJC

You could say that artist Gregor Turk has two fixations: monuments and mapping. Over a long career working in the city’s art scene, the Atlanta native has often focused on the kind of historical markers that identify Civil War sites or landmark Atlanta buildings. Other work has focused on the kinds of strange icons that dot maps and provide reference points to roads or water features.

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But in his solo show at the Museum of Contemporary Art of Georgia, “Terminal Velocity,” Turk has brought those two strains of his work together into a far more satisfying whole. Call it the advantage of time, space and an infusion of cash. Turk is the third recipient of this year’s Working Artist Project award, which affords local artists an exhibition at MOCA GA, a studio assistant and a stipend.

Part of the immediate appeal of Turk’s show are his materials of choice: rubber inner tubes and the metal car plaques that identify a car as a Cherokee or Mercury. Those materials conjure up a very specific modern reality, one defined by passive visions of exploration, historical touchstones, cars and the Atlanta highway system that reappears many times as a visual motif in “Terminal Velocity.”

In three works in his “Metronesia Series,” Turk has created maps of the Perimeter and its intersecting roadways. The first map is composed of those metal car plaques arranged to form the Perimeter; the second Perimeter is composed of inner tubes and the third of fall leaves. What remains overwhelming in those pieces is a sense of everything, nature, progress, even the rhythms of life defined by that highway grid. In a driving city like Atlanta, “Terminal Velocity” will hit many of us very close to home.

Turk has boiled down the fast-paced, modern world into something elemental and stark, akin to hieroglyphics or cave drawings.

The strangest, and also the funniest, pieces in the show are the monuments — also constructed of tire rubber — that Turk has placed in the gallery’s four corners. Like the Washington Monument, Turk’s obelisks sport that familiar spire-form but have all been rendered in black rubber. “The Aggrandizer” is a sad, partly deflated rubber obelisk attached to a bicycle pump for a quick infusion of air. The piece offers a funny riposte to the proud, unassailable obelisk form. Turk takes a similarly humorous road in a series of four works on paper formed from rubbings of those metal car plaques. “Cosmos” for instance, forms its perimeter shape from Pioneer, Aries and Mercury car plaques. “Menagerie” is formed from metal signs for Pinto, Lynx, Bronco and Colt.

Turk’s point is that for all that talk of animals, exploration and wild, open vistas in those aspirational car names, we are contained and cosseted explorers, locked within perimeters, stuck on our asphalt tracks.

While all parts of the show don’t always gel perfectly, there is an ambition and a grappling with big ideas that marks this as a significant step in Turk’s career.

Bottom line: A clever, visually appealing expansion of the artist’s fixations.

Art review

“Gregor Turk: Terminal Velocity”

Through July 14. 10 a.m.-5 p.m. Tuesdays-Saturdays. $5 nonmembers; $1 students with ID; free to members. The Museum of Contemporary Art of Georgia, 75 Bennett St., Suite A-2, Atlanta. 404-367-8700, www.mocaga.org.

Staten Islanders notice monuments on the move

Posted on 7th May 2012 in The monuments of world

STATEN ISLAND, N.Y. — Like thousands of Staten Islanders, Joe Sheirer sees it every day, on the way to work, from the express bus as he walks through Battery Park — the towering bronze sphere which used to grace a fountain in the heart of the World Trade Center plaza, and miraculously survived the attacks Sept. 11, 2001.

During lunch hour, the Eltingville 34-year-old sometimes strolls over to the “The Sphere for Plaza Fountain,” watching tourists click photos in the shadow of the 25-foot-tall dome created by German sculptor Fritz Koenig as a symbol of world peace through trade.

Nicked and battered but still intact, it was moved by the Port Authority of New York and New Jersey to Battery Park six months after the towers’ collapse. On the first anniversary of Sept. 11 attacks, an eternal flame was lit at the base of the Sphere as a tribute to those who perished.

But with a $16-million remake of Battery Park about to get under way, the Sphere will be moved again in upcoming weeks. And nobody has said to where.

“It’s a piece of history and it’s a symbol of what happened and it’s an absolute shame that we would hide it away in storage when it should be displayed,” said Sheirer, whose father, the late Richard J. Sheirer, was the city’s director of the Office of Emergency Management at the time of the attacks, and became a very public figure in the aftermath of the tragedy. “It’s got a special meaning.”

Sheirer launched an online petition beseeching the Port Authority, which owns the sculpture, to keep the potent symbol in a public space, rather than hauling it to its covered storage area for 9-11 mementos at John F. Kennedy International Airport.

His effort joins a growing chorus of voices calling for dignity for the sculpture. More than 7,000 have signed a petition launched by Bronx resident Michael Burke, the brother of Capt. William F. Burke Jr. of Engine Company 21, who was killed on Sept. 11, 2001. Save the WTC Sphere calls for the sculpture to be moved to the World Trade Center Memorial plaza, an idea previously nixed by city officials.

According to the Port Authority, there are no definitive plans as yet for the 25-ton sculpture, which must be disassembled and loaded onto a flat-bed truck to be transported anywhere.

“We have to find a temporary home for it while the World Trade Center is under construction and then we have find a permanent home for it,” said P.A. Spokesman Steve Coleman.

He declined to elaborate, or give any indication of sites being discussed as potential temporary or permanent homes for the work of art, including scuttlebutt that an ideal site would be Snug Harbor Cultural Center and Botanical Garden, Livingston.

He would not confirm or deny talk that the eventual home for the Sphere will be a park across from the World Trade Center Memorial.

The time line for the Sphere’s removal — at some point in the next few weeks as Coleman tells it — is not negotiable however, as the reconstruction of Battery Park will begin in the summer.

Planned for the area around where the Sphere now sits, is a perimeter bike way and walkway. The internal path system will also be reconfigured, with landscaping, including a central “Town Green,” upgraded furnishings and paving and lighting.

Nine monuments, including the Sphere, will be restored or relocated as part of the project; construction on Battery Park is expected to last about a year and half. 

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Art of the Merritt: Painter Cindi Mullins captures the parkway’s ‘natural, elegant beauty’

Posted on 6th May 2012 in The monuments of world

Written by Priscilla Whitley
Friday, 04 May 2012 22:59

Growing up in New Haven, artist Cindi Mullins has been driving the Merritt Parkway since she first received her license.

These days, Mullins still finds herself on the Merritt as she visits her parents, her son at college, or drives countless trips to Madison on the Connecticut shoreline during the summer. Within all these travels, she has discovered those miles have turned out to be an inspirational muse.

Twenty paintings, oil and pastel depictions of the Merritt Parkway, are the focus of her newest exhibition “By Way of the Merritt” at the Nylen Gallery at Picture This in Westport running through May 26.

Mullins recently spoke of the Merritt as though it were a close friend. “I love the sights and the old-time comfort it provides,” she said. “It’s unique to Connecticut with a natural, elegant beauty. It’s truly gracious. Now how many times can you say that about a highway?”

The parkway’s beginnings

The Merritt Parkway is one of the oldest parkways in America. Thirty-seven miles in length, the first portion between Greenwich and Norwalk opened in June 1938, while the section from Norwalk to Trumbull was completed in 1940. It was promoted by Congressman Schuyler Merritt to ease congestion on the Boston Post Road as well as offer employment and provide economic relief from the ongoing Great Depression.

The architect George Dunkleberger designed the original 69 bridges, reflecting an eclectic group of styles including art deco, neoclassic and rustic. Sixty-six of those original bridges still exist.

As the gateway from New York into Connecticut, the elegance of the Merritt’s design was to encourage a Sunday drive, with a possible stop along the dogwood-lined roadway for a picnic, a respite from city life as well as the toll of the Depression.

It brought Fairfield County closer to the New York metropolis, aiding in expanding suburban life by acting as a stimulus for real estate development and industry.

Listed in the National Register of Historic Places and on the World Monuments Watch List, the Merritt now is protected from expansion, still available as it was meant to be — an alternative from the broad expanses of the super highway.

‘A moment of something you see very quickly’

“When you’re driving,” Mullins said, “you pass by things thinking how beautiful they are and then the scene disappears. These paintings capture a moment of something you see very quickly. They also portray a feeling as well as a view. But I set the mood and feel of the sight.

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“I’ve had many people who’ve viewed these works tell me they were on the Merritt and now have more awareness and appreciation for it,” she continued. “They experience the old-time feel and look closer at the art of the bridges and the beauty of driving within woody landscapes and the presence of the sky.”

The 20 paintings in the Nylen show vary in size and medium — from canvas and linen to stainless steel hubcaps, paper and Dibond, an aluminum composite material that lends itself to great textural gesture.

“Compositionally, roads are ripe for design as they have an obvious vanishing point,” said Mullins, a Ridgefield resident. “For ideas, I love to put my photos up on the computer and enlarge them to find the designs within. If you blow them up significantly you often get very pixilated, fuzzy images which I can use to make a unique looking painting. It’s all very intriguing to me.”

Depicting movement as well as accurate portrayals

Painting in oils and pastels, this exhibition is an evolution within Mullins’ art. “I’m experimenting right now,” she said. “I expect people will notice a progression through my work. I’ve done some unusual deviations with these paintings. For instance, there’ll be a bridge or two which accurately portrays them.

“But also a few which might not look authentic as the theme of the painting is a depiction of movement or possibly a visual,” she said. “Lately I’ve been into a blue and yellow play of color. It’s all there in this show.”

The paintings of this iconic parkway are soft with rain and lighted with muted headlights. They comprise the whizz of a quick duck under a bridge and posses the icy blue sky on a cold winter night.

The Nylen Gallery at Picture This is at 606 Post Road East, Westport. For information go to cindimullins.com.

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Gazette.Net: Frederick War Memorial gets $14,300 in upkeep

Posted on 3rd May 2012 in The monuments of world

by Tripp Laino, Staff Writer

Frederick’s World War I memorial is one of three war memorials in the county that got a face-lift last week as part of the Governor’s Commission on Maryland Military Monuments.

The maintenance work on the monuments, which costs $14,300, is paid for by the Maryland Department of Veterans Affairs and took place between April 23 and 29 over the western part of the state, according to Nancy Kurtz, national register coordinator for the Maryland Historic Trust.

The program was created in 1989 to inventory and preserve about 400 military memorials throughout the state. The state has been divided in thirds, with each area getting a face-lift every three years, Kurtz said. The monuments are treated with wax to prevent corrosion.

“Every three years a group of monuments gets this maintenance and it maintains the coating that protects this metal,” Kurtz said. “We want to make sure that all the work done in the past is continued and maintained for the future.”

In addition to the WWI Memorial, on Bentz and 2nd streets, the Braddock Monument along old National Road in Braddock Heights and the War Memorial in Woodsboro, at Md. 550 and Md. 194 got attention.

Kurtz said the focus of the program is to continue to maintain the monuments.

“The main thing is we really want to protect everything we started,” she said. “We don’t want to walk away. We want to maintain the statues and plaques.”