Jerry Peart (b. 1948, American), Wildflower, Sinnissippi Gardens, Rockford, Illinois, in July 2017. The 20-foot painted aluminum sculpture in a fountain setting stands near the entrance of the Nicholas Conservatory & Gardens along the Rock River. The Conservatory, which opened in October 2011, offers a main exhibition house, greenhouses, classrooms, a roof garden, a lagoon, walking trails, outdoor gardens, and more. Peart, a Chicago-based artist who has created over 35 large-scale public sculptures according to his website https://www.sedgwickstudiochicago.com/jerry-peart, created Wildflower in part because he was inspired by this place in the Midwest dedicated to all things clean and green.
Bob Mangold (b. 1930, American), Anemotive Kinetic, Sinnissippi Gardens, Rockford, Illinois, in July 2017. As a kinetic (movement) artist, Mangold’s sculptures explore concepts of space and motion. In 1962, Mangold began his Anemotive series of spherical, wind-propelled kinetic sculptures. As with this work, the anemotives are characterized by cup-like shapes mounted on arms which allow for motion.
Chicago Harbor Lighthouse (1893), Chicago, Illinois, 2017.
Known as the “Chicago Light,” the Chicago Harbor Lighthouse is an active automated lighthouse dating from 1893.
About one-half mile beyond Navy Pier, the lighthouse stands at the north of the main entrance of the Chicago Harbor in Lake Michigan. The lighthouse has had a significant role in the development of Chicago and the American Midwest and remains an active aid to nautical navigation today.
For more than a century, the U.S. Coast Guard has staffed this lighthouse at the breakwater outside the Chicago Harbor Lock. The lock separates Lake Michigan from the mouth of the Chicago River.
The lock was built in the mid-1930’s and is operated by the U.S. Army Corps of Engineers. The lock is one of the entrances into the Illinois Waterway system at the Great Lakes. The waterway system is a commercial and recreational shipping connection to the Gulf of Mexico by way of the Illinois and Mississippi rivers.
The “Chicago Light” is at that waterway system’s headwaters as it stands in the outer harbor constructed in 1880. The Chicago Light’s conical tower dates from 1893. Twenty-five years later, in 1918, the tower was reconstructed and the base building which contains a fog-signal room and boathouse was added. The architects are not identified.
Through its breakwaters, the main entrance into Chicago Harbor is 580 feet wide. The Chicago Harbor Lighthouse was designated a Chicago Landmark on April 9, 2003. It is the only surviving lighthouse in Chicago and one of two remaining examples in the state of Illinois.
The mouth of the Chicago River at Lake Michigan in Chicago, Illinois, U.S.A. About one mile ahead, the Chicago Harbor Lock, built in the 1930’s, provides the entrance/exit of the Illinois Waterway system at the Great Lakes. The waterway system is a commercial and recreational shipping connection from the Great Lakes to the Gulf of Mexico by way of the Illinois and Mississippi rivers.
The Logan Theatre, Chicago, illinois, February 2013.
Lakefront, East Chicago, Indiana, July 2016.
Chicago (The Loop), November 2017.
Downers Grove, Illinois, July 2018.
Chicago (Michigan Avenue), August 2015.
Chicago (Michigan Avenue), May 2014.
Chicago, July 2016.
Chicago, July 2016.
Chicago, July 2016.
Chicago, September 2015.
Chicago (Navy Pier), September 2016.
Chicago, August 2015.
Chicago (West Loop/East Garfield Park), October 2016.
Chicago (Millennium Monument), September 2016.
Chicago, Mount Pisgah Missionary Baptist Church, 4600 S. King Drive, October 2016. Originally a synagogue founded in 1861 by German Jewish immigrants, the neo-Classical building was home to Chicago Sinai Congregation from 1912 until the 1940s. In 1961, Mount Pisgah Missionary Baptist Church moved into the building. The church community brought a strong commitment to social justice and played an instrumental role in bringing Dr. Martin Luther King Jr.’s Southern Christian Leadership Conference to Chicago. Since the late 1960’s the church has provided a neighborhood food bank.
Chicago (Navy Pier), September 2015.
Milwaukee, Wisconsin, June 2018.
Chicago (Edgewater), 2014.
Oakbrook, Illinois, summer 2019.
Metropolitan Correctional Center, Chicago (1975) in late 2017. The 28-story building is a right triangle shape. Architect Harry Weese (1915-1998) designed each cell with a floor-to-ceiling slit window, 7 feet (2.1 m) long by 5 inches (130 mm) wide. The windows were narrow enough that they did not require bars and beveled out to allow natural light to pass inside.
Chicago, August 2017.
Magnificent Mile, Chicago, May 2016.
skyline (artist), September 2015.
Crown Fountain (Millennium Park), Chicago, September 2016.
Chicago, August 2017.
Concert, October 2014.
Chicago, (Wabash Avenue near Adams Street), August 2017.
The Wilmette Theatre, 1122 Central Ave., in downtown Wilmette, Illinois, 2016. The theater was built in 1914, and originally called the Central Theatre. Owned by Encyclopedia Britannica Films since 1950, the vintage movie house had been shuttered when Richard S. Stern bought and re-opened it in 1966. Stern came from a family of movie theater owners. His father, Henry Stern, opened what is credited as the first art film theater house in Chicago–the Cinema Theater at Michigan and Chicago Avenues opened in 1929. After it was demolished in 1981, a skyscraper and high-end retail store were built on the site. In 1966, Richard Stern asked his father for a loan, and bought the property. Decades later, after renovating the Wilmette Theater into a two-screen operation, Richard Stern decided to sell it. In 2006, Stern sold the Wilmette Theatre to a small group of community investors interested in the movie theatre’s unique history and continuing to operate it showing top-quality first run and art films. The lobby portion of the building retains much of its vintage charm.
The Tivoli Theatre (1928), Downers Grove, Illinois, 2016. 1,000+-seat movie theater designed by Van Gurten & Van Gurten architects. Opened Christmas Day, 1928. It is the second in the U.S. fitted for sound movies. The first was the 1200-seat Brooklyn Paramount Theater in New York City that opened in November 1928 and closed in the early 1960’s.
Macy’s on State Street, Chicago, 2018.
Chicago Loop Synagogue (1958), 2015.
The Nutcracker by Peter Ilyich Tchaikovsky, December 2017. The 3,900-seat Auditorium Theatre (1889) in Chicago was designed by Dankmar Adler and Louis Sullivan.
The Braddock Road, PA, March 2010.
The Braddock Road was a military road built in 1755 in what was then British America and is now the United States. It was the first improved road to cross the barrier of the ridge lines of the Appalachians. It was constructed by about 2,500 troops of the Virginia militia and British regulars commanded by General Edward Braddock (1695-1755), part of the expedition to conquer the Ohio Country from the French at the beginning of the French and Indian War (1756-63). George Washington, who was aide-de-camp to Braddock, had pioneered this route a year earlier when he traveled into the Ohio Country and met Native American leader, Tanacharison (1700-1754). The expedition gave Washington his first field military experience as well as other American military officers whose numbers profited from this military outing later during the American Revolutionary War (1775-1783).
Braddock’s men had to cut a road wide enough to accommodate the wagons and draft animals that accompanied them, as well as the siege artillery that they brought along to use against the new Fort Duquesne established by the French in 1754 at the confluence of the Allegheny and Monongahela rivers. Progress was painstakingly slow until Braddock split the force into a lead column of about 1,500 men and the rest as a support column to drag artillery and supplies. The flying column made rapid progress, and with each day, the distance between it and the support column increased. This marker is on the (later) National Pike (Route 40) between Elk Park and Farmington, Pennsylvania.
April 2020. Postponed to 2021.
CTA stop, Oak Park, Illinois, January 2018.
Forest Park, Illinois. July 2016.
Chicago, September 2015.
Chicago, July 2015.
Chicago, August 2015.
Chicago, September 2015.
Chicago, June 2018.
Fried Green Tomato Fest, Aug 26, Watseka, Illinois, August 2017.
Michael Bloomberg (born February 14, 1942) is an American businessman, politician, and author. He is the CEO and majority owner of Bloomberg L.P, which he co-founded. Bloomberg was the mayor of New York City from 2002 to 2013 where he presided over a period of relative prosperity as well as controversial city-wide policies and practices such as “stop and frisk.” By having the city’s term limits law extended in 2008, Bloomberg served three consecutive four-year terms as mayor. In 2020 he became a candidate for President of the United States running in the Democratic Party primaries. According to Forbes business magazine, Bloomberg is worth about $64 billion. He is divorced and has two grown daughters.
My favorite childhood book was called Johnny Tremain, about a Boston boy who joins the Sons of Liberty at the dawn of the American Revolution. At the end of the book, Johnny stands on Lexington Commons and sees a nation that is “green with spring dreaming of the future”. That’s the America I know and love. Michael Bloomberg, 2020 Democratic National Convention speech, August 20, 2020.
Growing up, I was taught to believe that America is the greatest country in the world. Not because we won the Second World War, but because of why we fought it; for freedom, democracy and equality. Michael Bloomberg, 2020 Democratic National Convention speech, August 20, 2020.
I’ve supported Democrats, Republicans and independents. Hell, I’ve actually been a Democrat, Republican, and independent. Michael Bloomberg, 2020 Democratic National Convention speech, August 20, 2020.
I believe we need a leader who is ready to be Commander in Chief, not college debater in chief. Michael Bloomberg, Super Tuesday speech, March 3, 2020.
I follow facts, respect data, and tell the truth. My whole career I have been a doer. And I believe we need less talk, less partisanship, less division, less tweeting. Michael Bloomberg, Super Tuesday speech, March 3, 2020.
Let me also say, since I have the floor for a second, that I really am surprised that all of these, my fellow contestants up here, I guess would be the right word for it, given nobody pays attention to the clock, I’m surprised they show up, because I would have thought after I did such a good job in beating them last week, that they’d be a little bit afraid to do that. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
Well, I think what’s right for New York City isn’t necessarily right for all the other cities, otherwise you would have a naked cowboy in every city. So let’s get serious here. But I do think it’s the government’s job to have good science, and to explain to people what science says, or how to take care of themselves and extend their lives. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
We shouldn’t be fighting wars that we can’t win. We should go to war only as a last resort. Nobody argues with that. But this is a dangerous world, and if we haven’t learned that after 9/11, I don’t know what’s going to teach us what to do. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
We have to be able to stop terrorism. And there’s no guarantees that you’re going to be able to do it, but we have to have some troops in places where terrorists congregate, and to not do so is just irresponsible. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
You can’t move the embassy back. We should not have done it without getting something from the Israeli government, but it was done, and you’re going to have to leave it there. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
Only solution here is a two-state solution. The Palestinians have to be accommodated. The real problem here is you have two groups of people, both of whom think God gave them the same piece of land. And the answer is to obviously split it up. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
Misconception? That I’m six feet tall. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
This election is just too important, and we cannot afford to get it wrong. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
Vladimir Putin thinks Donald Trump should be president of the United States. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
I’ve apologized and asked for forgiveness. I’ve met with black leaders to try to get an understanding of how I can better position myself and what I should have done and what I should do next time. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
Let me tell you, I have been working very hard. We’ve improved the school system for Black and Brown students in New York City. We’ve increased the jobs that are available to them. We’ve increased the housing that’s available to them. We have programs– Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
But if you talk to the people in New York City, I have over 100 Black elected officials that have endorsed me. A lot of them are in the audience tonight. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
I was the mayor of the largest, most populous city in the United States for 12 years, and people will tell you it’s a lot better city today. It is safer for everybody. The school system is better. The budget is under control. We’ve done the things that people need in New York City for all ethnicities. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
I know that if I were Black, my success would have been a lot harder to achieve. And I know a lot of Black people that if they were white it would have been a lot easier for them. That’s just a fact, and we’ve got to do something about it than rather just demagogue about it. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
I have been training for this job since I stepped on the pile that was still smoldering on 9/11. I know what to do. I’ve shown I know how to run a country. I’ve run the city which is almost the same size, is bigger, than most countries in the world. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
I’m the one choice that makes some sense. I have the experience. I have the resources. And I have the record. When people hired me to run New York City three times, in an overwhelmingly Democratic, progressive city, they elected me again and again. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
Let’s just go on the record. They talk about 40 Democrats. 21 of those were people that I spent $100 million to help elect. All of the new Democrats that came in and put Nancy Pelosi in charge and gave the Congress the ability to control this president–I—I got them. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
If you keep on going, we will elect Bernie. Bernie will lose to Donald Trump. And Donald Trump and the House and the Senate and some of the statehouses will all go red. And then between gerrymandering and appointing judges, for the next 20 or 30 years, we’re going to live with this catastrophe. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
The polls aren’t the election. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
Can anybody in the room imagine moderate Republicans going over and voting for him? And you have to do that, or you can’t win. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
We have put background checks — we have got background checks in 20 states. So you can do it. It’s Congress that can’t seem to do it. And I don’t know why we think they’re going to do it. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
I saw a statistic the other day, when I came into office, zero New York City schools were in the top 25 of the state. When I left, 23 out of 25 were from New York City. We’ve cut the gap between the rich and the poor. We’ve made an enormous difference in all of the options that parents have. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
I raised teacher salaries by 43 percent. I put an extra $5 billion into our school system. I value education. It is the only way to solve the poverty problem is to get people a good education. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
I think the Chinese government has not been open. Their press — the freedom of press does not exist there. They — their human rights record is abominable, and we should make a fuss, which we have been doing, I suppose. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
We have to deal with China if we’re ever going to solve the climate crisis. We have to deal with them because our economies are inextricably linked. We would not be able to sell or buy the products that we need. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
In terms of whether he’s a dictator, he does serve at the behest of the Politboro, their group of people. But there’s no question he has an enormous amount of power. But he does play to his constituency. You can negotiate with him. That’s exactly what we have to do, make it seem that it’s in his interest and in his people’s interest to do what we want to do. Follow the rules, particularly no stealing of intellectual property, Follow the rules in terms of the trade agreements that we have are reciprocal and go equally in both directions. Michael Bloomberg, Democratic Presidential debate, Charleston, South Carolina, February 25, 2020.
I do agree with her that the rich aren’t paying their fair share. We should raise taxes on the rich. I did that as mayor in New York City. I raised taxes. Michael Bloomberg, Democratic Presidential debate, February 19, 2020.
What a wonderful country we have. The best known socialist in the country happens to be a millionaire with three houses. What did I miss here? Michael Bloomberg, Democratic Presidential debate, February 19, 2020.
I can’t speak for all billionaires. All I know is I’ve been very lucky, made a lot of money, and I’m giving it all away to make this country better. And a good chunk of it goes to the Democratic Party, as well. Michael Bloomberg, Democratic Presidential debate, February 19, 2020.
What am I, chicken liver? Michael Bloomberg, Democratic Presidential debate, February 19, 2020.
I can’t think of a ways that would make it easier for Donald Trump to get re-elected than listening to this conversation. It’s ridiculous. We’re not going to throw out capitalism. We tried. Other countries tried that. It was called communism, and it just didn’t work. Michael Bloomberg, Democratic Presidential debate, February 19, 2020.
I don’t think there’s any chance of the senator beating President Trump. You don’t start out by saying I’ve got 160 million people I’m going to take away the insurance plan that they love. That’s just not a way that you go and start building the coalition that the Sanders camp thinks that they can do. I don’t think there’s any chance whatsoever. Michael Bloomberg, Democratic Presidential debate, February 19, 2020.
Look, this is a management job, and Donald Trump’s not a manager. This is a job where you have to build teams. He doesn’t have a team so he goes and makes decisions without knowing what’s going on or the implications of what he does. We cannot run the railroad this way. Michael Bloomberg, Democratic Presidential debate, February 19, 2020.
This country has to pull together and understand that the people that we elect — and it’s not just the president of the United States — they should have experience, they should have credentials, they should understand what they’re doing and the implications thereof. Michael Bloomberg, Democratic Presidential debate, February 19, 2020.
Fortunately, I make a lot of money, and we do business all around the world. And we are preparing it. The number of pages will probably be in the thousands of pages. I can’t go to TurboTax. Michael Bloomberg, Democratic Presidential debate, February 19, 2020.
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Flames engulf Notre Dame de Paris in an historic early evening blaze on Monday, April 15, 2019. The fire left the 850-year-old Gothic cathedral standing, but suffering serious damage.
Hundreds of Paris firefighters battled the blaze for hours at Notre Dame de Paris on April 15, 2019. They saved the cathedral though its expansive timber roof, frame and spire burned crashed into the nave.
Fire broke out at Mass with 1,000 people inside the building
Notre Dame de Paris suffered a devastating fire on April 15, 2019 causing most of its roof and a 300-foot oak spire to collapse. The fire broke out during an early evening Mass when more than 1,000 people were in the cathedral which is the most touristic site in the center of the most touristic city in the world. The priest had been in the middle of reading that day’s Gospel of John. It was Holy Monday, the first day of Holy Week where the gospel tells the story of Mary pouring oil over the feet of Jesus which will anoint him for burial. Judas complains the perfume could have been sold and the money given to the poor.1
Pledges to rebuild
Notre Dame de Paris (“Our Lady of Paris” named in honor of the Virgin Mary) will take years, even decades, to rebuild and at great expense. This will be the case whether the edifice is simply restored or, as some have argued for, more creatively re-imagined for modern times. Whichever rebuilding vision or visions are followed – and there will be voices from many quarters involved in the restoration process ahead – French president Emmanuel Macron promised to complete its rebuilding by around 2024. Within 48 hours of the fire, donations poured in from around the world to rebuild the cathedral amounting to more than one billion dollars whose substantial amount may prove inadequate to fully cover rebuilding costs.2
Maintenace holes in an 850-year-old stone and wood building in the middle of a major European city
While the fire’s precise ultimate cause is yet to be fully determined, the conditions surrounding the blaze are recognizably available:
its spotty maintenance record over 10 centuries;
the anachronistic methods and complexity of its 21st century renovation going on when the fire broke out;
the twelfth and thirteenth century flammable oak “forest’” that constitutes the building’s roof and frame;
and the challenges encountered by hundreds of firefighters owing to the cathedral’s size and the fire’s location and breadth.
Almost ironically, the Cathedral roof that burned—a major attic fire— was one of the larger parts of the original 12th century cathedral builder’s monied investment.3
Architectural History of a World Icon
Notre Dame de Paris is one of Paris’s famous icons–an historical and religious treasure–and one of France’s great cathedrals along with Reims (which was nearly destroyed by fire during World War I) and Chartres (reconstructed after a fire in 1194). Others on any short list of great French cathedrals would include Amiens and Bourges, among others.
Above: Notre Dame de Paris before the April 15, 2019 blaze. The Roman Catholic cathedral is the tourist mecca in the most touristed city in the world.
Below: The Cathedral’s great nave in the immediate aftermath of the April 15, 2020 fire.
Reims Cathedral on fire in World War 1. The site of the coronation of French kings, the Gothic cathedral was virtually destroyed by bombing. After the war, the massive cathedral was completely rebuilt.
In 1163 when it became time to roof the superstructure of Notre Dame de Paris’s choir which was the first part of the church to be constructed, Paris bishop Maurice de Sully (1120-1196) provided 5000 French livres so that it could be richly and securely layered with lead. That and other of the Cathedral roof’s protective lead covering was stolen during the French Revolution in the eighteenth century. The roof’s space and design provided a large part of the church’s riddle of secret passages – including spiral staircases in the nave’s columns – that served mainly for the needs of the religious complex’s maintenance. Obviously twelfth and thirteenth century engineering proved resilient but not impregnable over ten centuries. The 2019 blaze caused serious damage leaving questions to be answered about the medieval stone and timber building’s ultimate stability. This is highly symbolic as Notre Dame de Paris is Paris Point Zero – the very center not only of the Île-de la-Cité and Paris, but the place from which all distances in France and, by extension, the world are to be judged.4
The Paris bishop Maurice de Sully (1120-1196) who with his chapter of cathedral canons started the building of Notre Dame de Paris in 1163. The structure was completed in 1250.
Episodes from the life of a bishop, c.1500, oil on panel, 61.5 x 47 cm, National Gallery of Art, Washington, D.C. Though about 300 years after the death of Bishop de Sully, this artwork captures some of the grandeur and long history of the archbishop at his cathedral of Notre Dame de Paris.
The story of the Gothic cathedral, such as Notre Dame de Paris, is essentially a French story. By the end of the Gothic Movement in the late 14th century, all corners of France -– and points between — possessed a Gothic church that displayed pointed arch, stained glass, and buttresses, some of them magnificently flying. The style and power of Gothic art reflected not only a new theological thinking in the Renaissance of the 12th century but also an assertion of royal power.5
Notre Dame de Paris viewed from the south side of the Seine. Its magnificent flying buttresses can be seen supporting the nave and apse as well as its oak spire erected in 1860 that burned and crashed into the nave during the April 15, 2019 fire.
Collégiale Notre-Dame-et-Saint-Laurent d’Eu in far northeastern France is a Gothic church constructed between 1186 and 1240, roughly contemporaneous to Notre Dame de Paris. The subterranean crypt contains the tomb (excepting his heart which is at Christ Church Cathedral in Dublin) of Irish St. Laurence O’Toole (1128-1180). The main impetus for the building of the new Gothic Collégiale Notre-Dame-et-Saint-Laurent d’Eu was to accommodate the pilgrims who came to venerate at the saint’s tomb. French Gothic building efforts stretched from a Collégiale Notre-Dame-et-Saint-Laurent d’Eu (1186) in northeastern France to Toulouse Cathedral (13th century) in the south in France’s historic Languedoc.
Impact of the Crusades on Notre Dame de Paris
It was the age of international crusades of Western conquest to the Holy Land where a French king, King Louis IX, or St. Louis (1214-1270) led its seventh manifestation from 1248 to 1254 and died while on its Eighth. Here the king purchased relics to bring back to France, including the highly prized Crown of Thorns reputedly worn by Jesus Christ at his crucifixion. During the April 2019 fire, scores of ordinary people and cathedral personnel formed a human chain to save the cathedral’s many irreplaceable artifacts and preventing them from being consumed forever into the hellish blaze.
Louis IX (St. Louis) with his counselors and mother Blanche de Castile (1188-1252) in a miniature of the 15th century.
King Louis IX, or St. Louis (1214-1270) led the Seventh Crusade from 1248 to 1254.
As one of the first cathedrals built Notre Dame de Paris is of enduring architectural significance. Monday, April 15, 2019 was a tragic day in history as fire broke out in the 850-year old edifice while the world watched. Thousands of people gathered in the streets of Paris, and transmitted pictures of the dramatic blaze from smartphones and other devices onto the internet and television. It caused many to shed tears as well as express consternation and questions about what lies ahead for one of the most famous and beloved symbols of Paris.
Notre Dame de Paris is on fire, April 15, 2019. Countless pictures were taken and transmitted instantaneously around the world on the internet.
Extent of the fire damage (in red) at Notre Dame de Paris on April 15, 2019.
The fire’s immediate aftermath.
In the immediate aftermath of the 2019 fire, workers
aimed to secure and protect the edifice which will take several months to
finalize. By May 2019, the north tower was stabilized and secured while the
transept’s beams were declared in good condition. Although the interior was not
damaged, the structural integrity of the high vaults that protected it remains
precariously uncertain and requires further close study to determine its ultimate
fate. The cathedral is undergoing a major effort to remove fire debris
including the oak spire (or flèche)
dating from 1860 and the arch that fell into the nave.
To the highest degree possible, each bit of fallen debris will be deciphered, cataloged and saved for potential reuse in a restoration. Just one month after the fire, it would be premature to determine if the building is completely stable and it could still suffer some sort of collapse. Working on the cathedral in the 21st century are virtually the same type of skilled laborers who built it in the first place in the 12th and 13th centuries – namely, masons, stonecutters, carpenters, roofers, iron workers, and master glassmakers.6 The work associated with the Notre Dame de Paris in the aftermath of the 2019 fire promises to concentrate long centuries of history into one place looking to sustain its continued thriving existence for future generations.
1. “Vows to Restore Notre Dame Following a Harrowing
Rescue,” by Sam Schechner and Stacy Meichtry, The Wall Street Journal, April 17, 2019; see Gospel of John, Chapter 12.
English singer and songwriter Flo Morrissey (b. 1994) and Richmond, Virginia-based producer and musician Matthew E. White (b. 1982) teamed up for a collaborative full duet album of ten cover songs called Gentlewoman, Ruby Man. It was released in January 2017 by Glassnote Records. Following months of preparation, the cover songs were selected from a wide range of musical artists and recorded in 10 days at White’s Spacebomb Studios in downtown Richmond. The album’s first track is their cover version of Little Wings’ Look At What The Light Did Now (3:21 minutes). Little Wings is a band founded in the late 1990’s in San Luis Obispo, California, by Alabama-born indie rocker Kyle Field (b. 1972). The original Little Wings version of the song is a vocal duet with acoustic guitar released in 2002.
Matthew E. White.
Meeting at a music event in London in October 2015—Matthew White had first learned about Flo Morrissey from an article about her on The Guardian website— the busy English and American artist each signed to two different record labels found out they worked well together. Both of them liked recording cover versions of great but also personally resonating songs as it allowed them to reach a new generation of listeners as well as to focus on their vocal performances and the songs’ production values. After the duo compiled a list on Spotify of around 500 songs they chose their own list of ten songs based not so much on what they went into the project expecting to do but newer material and even R&B resulting in a diverse group of musical artists, such as Leonard Cohen, Frank Ocean, the Bee Gees, and James Blake.
Gentlewoman, Ruby Man tracklist: 1. Look At What The Light Did Now (Little Wings Cover) 2. Thinking ‘Bout You (Frank Ocean Cover) 3. Looking For You (Nino Ferrer Cover) 4. Color Of Anything (James Blake Cover) 5. Everybody Loves The Sunshine (Roy Ayers Cover) 6. Grease (Bee Gees Cover) 7. Suzanne (Leonard Cohen Cover) 8. Sunday Morning (Velvet Underground Cover) 9. Heaven Can Wait (Charlotte Gainsbourg Cover) 10. Govindam (George Harrison Cover)
Like JFK in the Cuban Missile Crisis in 1962, Trump in 2017 must use the military and moral strength of the U.S. to seek and find a conclusion so that North Korea changes course on their nuclear weapons peacefully.
By John P. Walsh, dated August 9, 2017
In addition to Twitter, the media tells us that U.S. President Donald J. Trump loves to watch a lot of TV. I hope he has seen this film: Virtual JFK (2008). “Does it matter,” the film’s narrator states, “who is president on issues of war and peace? Can a president make a decisive difference in matters of war and peace? Can a president decisively lead his country into war or keep his country out of war? Or are the forces that drive nations into conflict far more impersonal (and) out of the control of any human being, even a president?”
In 2014 nine nations around the world—including North Korea—have around 16,300 nuclear weapons. Estimates are that North Korea’s arsenal today may be about 20 warheads or higher. In descending order of warhead amounts, the other nuclear states are Russia (8,000 warheads), the U.S.A. (7,300), France (300), China (250), the UK (225), India and Pakistan (about 100 each) and Israel (80). According to the National Security Archive, the last tactical nuclear weapons left Cuba in December 1962. For a rogue state such as North Korea to possess nuclear weapons is dangerous and unpredictable to the region and world.
Like JFK in the Cuban Missile Crisis in 1962, the U.S. must use its military and moral strength to seek and find a conclusion so that North Korea changes course on their nuclear weapons peacefully. Exactly what that change should look like is an important debate not explored here, but the U.S. must NOT and NEVER start or provoke a nuclear war to achieve it. Kennedy prepared for nuclear war during the Cuban Missile Crisis, but always carefully did not pull the trigger. There can be no close analogy between Cuba in 1962 and North Korea in 2017. Cuba is 90 miles off American shores and North Korea about 6,500 miles from the Continental U.S. In the Cuban Missile Crisis, those were clearly Russian nukes. The Cold War by the early 1960’s was a well-worn competitive geopolitical game that hadn’t yet completely played out. The Russians built a wall in Berlin in 1961; Kennedy quarantined Cuba in 1962. In 2017 what is the multiplicity of sources Trump can hold accountable for the North Korean weapons deployment in addition to the rogue regime? China? Russia? Iran? If Pyongyang is today as remote and obscure as the Kremlin was in Kennedy’s time, today’s political and military equations are even more tangled and complicated.
Any calculations for war must include those who may or will get killed – and how many. Is American “hyper” power any good if its allies are casualties on a massive scale? No nuclear exchange must result with a hermit kingdom dictator who is not a friend of the U.S. or its allies in the region – especially if war may incalculably spread. If the U.S. has allies in the true meaning of the word then an attack on them by North Korea (or China or Russia) is equal to an attack on the homeland – otherwise what’s the point of the U.S. having allies at all? We must protect our allies in the region to the highest degree so to defend and preserve our esteemed alliances. In this dangerous politico-military crisis there are ramifications with severe strong risk for the U.S. as a global power and markedly in that part of the world. North Korea must somehow stand down for there to be success from the perspective of the U.S and its allies.
Similar to the Cuban Missile Crisis that endured for 13 straight days—the Korean crisis has gone on arguably for over 60 years — patience and cool-headed leadership joined to a perfect calibration of carrot and stick (preferring the carrot) should serve as worthwhile qualities so to craft a necessarily peaceful and successful outcome. “Because of the ingenuity of science and man’s own inability to control his relations one with another,” said JFK in 1961 in Virtual JFK, “we happen to live in the most dangerous time in the history of the human race.” The film states that experienced military advisers believed that whenever Americans committed military force – they won the conflict. But as frequent and strong pressure by many advisers is put on Kennedy to commit the U.S. to a war, the president time and again chose to avoid both conventional and nuclear war. It may not be remembered today but after the failure of the Bay of Pigs in 1961, there was talk of John Kennedy’s impeachment for incompetence. Many in his own Democratic party wouldn’t support him because they had convinced themselves he wasn’t a serious political leader.
In 2017 the defeat of 33-year-old Kim Jong-un’s nuclear threat short of war will not be simply a victory for the status quo but a step forward in terms of American leadership in that part of the world. An actual war, unless it could be completely nonnuclear, contained, and successful – which is improbable – cannot be in any civilized people’s self-interest. Of course if Kim started a nuclear war, which is hopefully very remote but possible, war will come, as Trump said plainly on August 8, 2017, with “fire and fury.” In October 1962 Kennedy’s speech to the nation on the Cuban Missile Crisis included this “fiery” rhetoric: “Third: It shall be the policy of this nation to regard any nuclear missile launched from Cuba against any nation in the Western Hemisphere as an attack on the United States, requiring a full retaliatory response upon the Soviet Union.” JFK concluded with the overall purpose of his actions: “Our goal is not the victory of might, but the vindication of right – not peace at the expense of freedom, but both peace and freedom, here in this hemisphere, and we hope, around the world. God willing, that goal will be achieved.” In 2017 we may look for a resolution to the North Korea crisis where history repeats itself.
All through the Cold War Kennedy looked into the face of strategic MAD (Mutually Assured Destruction) without blinking and then chose to evoke the better angels of our nature. At the United Nations in his first year as president (September 25, 1961) Kennedy exhorted the world’s representatives: “Together we shall save our planet – or together we shall perish in its flames. Save it we can. Save it we must. Then shall we earn the eternal thanks of mankind and, as peacemakers, the eternal blessing of God.” President Trump would do well to aspire to the same.
Expo Chicago/2016 is the 5th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall. It took place from September 22-25, 2016. Expo Chicago/2016 presents 145 galleries representing 22 countries and 53 cities from around the world. This post’s photographs are of that event.
Jeff Koons, BMW M3 GT2, Expo Chicago/2016.
Alfredo Jaar, Be Afraid of the Enormity of the Possible, 2015, neon, edition 3/3 + 3AP, Galerie Thomas Schulte, Berlin, Germany. Expo Chicago/2016.
At Dittrich & Schlechtriem, Berlin, Germany includes artwork by Klaus Jörres and Julian Charrière. Expo Chicago/2016.
At Cernuda Arte Coral Gables, FL. Manuel Mendive (foreground) Este Lugar Sagrado/This Sacred Place, 2009, acrylic on canvas. Expo Chicago/2016.
Paintings I, Art+Language, Made in Zurich 1965-1972, London. Expo Chicago/2016.
The Art + Language group’s Michael Baldwin and Mel Ramsden in Chicago. Founded in the mid1960s in the United Kingdom by Terry Atkinson (b. 1939), David Bainbridge (b. 1941), Michael Baldwin (b. 1945) and Harold Hurrell (b. 1940), artist Mel Ramsden joined in 1970. Throughout the 1970s Art + Language dealt with questions about art production and attempted a shift from conventional forms of art, such as painting and sculpture, to theoretically linguistic (text)-based artwork. Art + Language remains active today in several collaborative projects.
Jonathan Lasker, The Handicapper’s Faith, 2011, Galerie Thomas Schulte, Berlin, Germany. Expo Chicago/2016.
At Gallery MOMO Cape Town/Johannesburg, South Africa. Artwork by Mary Sibande. Expo Chicago/2016.
Andrew Moore, Mirador, Gibara, Cuba, 2008, 46 x 58 inch archival pigment print, Yancey Richardson Gallery, New York.
Margot Bergman, Agnes, acrylic on canvas, 2016, Corbett vs. Dempsey. Expo Chicago/2016.
Shannon Finley, Googol, 2015, acrylic on linen, 4 panels 95 x 189 in., Carrie Secrist Gallery, Chicago. Expo Chicago/2016.
Euan Uglow, Sue Wearing a Blue Swimming Cap, 1978/80, oil on canvas 19.5 x 27.5 in., Browse & Darby London. Expo Chicago/2016.
Juan Garaizabal, Álvaro Alcázar Gallery, Madrid. Expo Chicago/2016.
April Martin, The Sun had not yet Risen, 2016, copper, thread, glass, vinegar, The School of the Art Institute of Chicago. Expo Chicago/2016.
Hermann Nitsch, Schüttbild (Shaped Image), 2013, Acrylic on Canvas, Marc Straus Gallery, New York City.
Dialogue with Miguel Aguilar and Chris Silva, Conversation Pieces. Expo Chicago/2016.
Louise Bourgeois, Girl with hair, 2007, archival dye on silk, edition of 12, Carolina Nitsch, New York City. Expo Chicago/2016.
Pace Gallery, New York City. Expo Chicago/2016.
Expo Chicago 2016.
Genieve Figgis, Half Gallery, New York City. Genieve Figgis is an artist from Ireland who began her artistic career on social media. Expo Chicago/2016.
Buddha’s tight ringlet curls by Qi Yu. Ceramic cinnabar mineral mounted on canvas. Expo Chicago/2016.
Artist Qi Yu of Redbrick Art Museum, Beijing, China.
North Cafe. Expo Chicago/2016.
Amy Sherald, Listen, you a wonder. you a city of a woman. you got a geography of your own., 54 x 43 in., oil on canvas, 2016, Monique Meloche Gallery, Chicago. Expo Chicago/2016.The artist’s title quotes American poet Lucille Clifton (1936-2010): “listen, you a wonder. you a city of a woman. you got a geography of your own. listen, somebody need a map to understand you. somebody need directions to move around you. listen, woman, you not a noplace anonymous girl; mister with his hands on you he got his hands on some damn body!”
Bernar Venet, Indeterminate Line, 2013, rolled steel, 75 1/2 × 80 × 62 in. Paul Kasmin Gallery, New York City. Expo Chicago/2016.
Richard Norton Gallery. Expos Chicago/2016.
Jannis Varelas, New Flags for a New Country, The Breeder, Athens, Greece. Expo Chicago/2016.
Jenn Smith, Untitled (Snake), oil and acrylic on canvas, 2016, The School of the Art Institute of Chicago. Expo Chicago/2016.
Atelier Van Lieshout, The Beginning of Everything, foam, paint, wood, paverpoll, 2016. Expo Chicago/2016.The molecule represents Glucose (C6H12O6), the primary source of energy for human life. Without glucose, nothing would function: neither the brain, intelligence, thought, muscles, movement or sports. Without energy, our lives would come to a standstill.
Featured Image is Ewerdt Hilgemann’s Habakuk (Homage to Max Ernst), 2014, stainless steel, Borzo Gallery and The Mayor Gallery. In/Situ Outside 2015.
Photographs by John P. Walsh.
Expo Chicago/2015 is the 4th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall on September 17 – 20, 2015. This year’s exhibition featured 140 art galleries representing 16 countries and nearly 50 major international cities including New York City, Shanghai, Tokyo, Beijing, Rome, Berlin, London, Paris, Amsterdam, San Francisco, Los Angeles and Chicago.
This post’s 41 photographs are of that event.
A. George Miller (American, 1905-1984), Untitled (City Nocturne), ca. 1950s, 16 x 24 in. Richard Norton Gallery, Chicago. A. George Miller attended The School of the Art Institute of Chicago starting in 1923. and was one of three official photographers for the 1933-34 Century of Progress Exhibition in Chicago.
Lucian Freud (German-born British painter, 1922-2011), Head & Shoulders of a Girl (detail), 1990 etching, edition of 50, Browse & Darby, London.
Hung Liu (Chinese-born American, b. 1948), Untitled (Dandelion), 2015, mixed media, 60 x 60 in., Nancy Hoffman Gallery, New York. Hung Liu’s paintings are steeped in Chinese culture.
Sergio Carmargo (Brazil, 1930-1990), Untitled #504, 1970 and Anish Kapoor (India, b. 1954), Untitled, 2014, Fiberglass and paint (“Yellow Void”), 160 x 160 x 56 cm. Lisson Gallery London Milan New York.
Hunter Reynolds, Survival AIDS-ACT UP Chicago – A Revolution, 2015. Photo weaving, 8′ x 30′ Courtesy of artist & P.P.O.W. NY and Iceberg Projects Chicago.
Hunter Reynolds in collaboration with Elijah Burgher and Steve Reinke in Survival AIDS Mummification Performance presented in partnership with PPOW and ICEBERG Projects for Survival AIDS Chicago Act Up a Revolution.
Macon Reed, Incantation, 2015, Digital Photographic Print, 41 x 61 in.
Kate Werble Gallery, NY.
Chantal Joffe (UK, b. 1969), Green Strapless Dress, 2013, oil on board, 72.5 x 48.5 in., Galerie Forsblom, Finland. In a 2009 interview, Joffe said, “I really love painting women. Their bodies, their clothes – it all interests me.”
Vik Muniz (Brazil, b. 1961), Album: Over There, 2014. digital c-print, edition of 6, 71 x 105 in., Rena Bransten Projects, San Francisco.
Suzanne Martyl (American, 1917-2013), Asclepias, oil on masonite, 14 x 11 in., Richard Norton Gallery, Chicago. Suzanne Martyl or Martyl Langsdorf – or Martyl. The artist said that she “always found it fascinating to look and look and look, and spend all kinds of time until something would just ring a bell, and I would know how to rearrange nature to make a good composition.”
Books include British photographer Darren Almond; Chicago Social Practice installation artist Theaster Gates; English artist Damien Hirst; and German photographer Andreas Gursky.
VMU Gallery 101 / Art Fund curated by Rimas Čiurlionis, and coordinated by photographer Alex Zakletsky, presents a video installation of artists from the conflict zone in Ukraine including the work of Bella Logachova, Andriy Yermolenko and Ivan Semesyuk.
Victoria Gitman (b. 1972, Buenos Aires; lives in Hallandale, FL), Untitled, 2015. Garth Greenan Gallery, New York. Sensuous and conceptually sophisticated oil paintings that are look natural.
Paul Wackers, Look At What I Did Now, 2015, acrylic and spray paint on canvas, 48 x 40 in., Morgan Lehman Gallery, New York. Expo Chicago 2015.
Andy Warhol, Love in the spring, 1955, watercolor and pencil on paper, McCormick Gallery, Chicago and Vallarino Gallery, New York.
Central Academy of Fine Arts School of Design, Beijing, China.
Marc Sijan ( American, b. 1946), Kneeling, resin and oil paint, Gerald Peters Gallery, Santa Fe, New Mexico (detail).
Elizabeth Catlett (American, 1915-2012), Reclining Woman, bronze, 1959. Behind, left to right: Charles Howard (American, 1899–1978), Friedel Dzubas (German-born American, 1915-1944) and Michael Goldberg (American, 1907-2007). McCormick Gallery, Chicago & Vincent Vallarino Fine Art, New York City. Black and white ensemble of abstract and figurative Modernist painting and sculpture.
Chilean artist Carlos Costa with one of his “Wind Studies,” 2015, a conceptual project based on structuring basic natural elements. Local Arte Contempoeáneo, Santiago.
Josh Garber, Ourselves, 2015, welded bronze, detail, complete artwork: 30 x 15 x 14 in., Zolla/Lieberman Gallery, Chicago.
Rimas Čiurlionis, special exhibitions.
Cernuda Arte, Coral Gables, Florida, specializes in Cuban art.
In/Situ Outside. Ewerdt Hilgemann’s “Habakuk (Homage to Max Ernst), 2014, stainless steel, Borzo Gallery and The Mayor Gallery.
Hollis Taggart Galleries, New York.
Marc Sijan ( American, b. 1946), Kneeling, resin and oil paint, Gerald Peters Gallery, Santa Fe, New Mexico. Sijan’s super-realistic sculptures are, by the artist’s own words, “homages to humanity’s fascination with its own forms — a fascination which has compelled artists throughout the millennia to mirror life in virtually every medium.”
At Forum Gallery New York: Gaston Lachaise, Woman Walking, 1919, cast in 1968, polished bronze, 19 1/2 x 10 x 7 1/2 inches, Edition 6/6.
Gregory Scott, Van Gogh’s Bedroom, 2015, pigment print, oil on panel, HD video, Catherine Edelman Gallery, Chicago.
Part of the Expo Chicago/2015 experience is temporary public art installations on the Chicago lakefront and throughout the city. Starting with Expo Chicago/2014, “In/Situ” works showcase large-scale installation art and site-specific works. Giuseppe Penone’s Idee di Pietra-Olmo (“Idea of Stone-Elm), 2008, Marian Goodman Gallery is a 30-foot tall bronze tree incorporating a boulder conveying the effects of human interaction in the natural world.
David Allan Peters, Untitled #24, 2015, acrylic on wood panel, Ameringer McEnery Yohe, New York.
Berthe Morisot (detail), femme et enfant au bois, pencil on paper laid on card stamped ‘B.M’ and numbered, Browse & Darby London.
Camilo Restrepo (1975, Medellín, Colombia). Bowling for Medillin I, 2014, Morgan Lehman Gallery, New York. Since 1999 the artist lives and works in Paris, France.
Dealers, Expo Chicago/2015.
Jan Matulka (American, 1890-1972), Seated Nude with Eyes Closed, oil on canvas, c. 1922, 48 x 34 1/2 in., Richard Norton Gallery, Chicago.
Augustus John, Portrait of a Young Woman, 1923, charcoal on paper, Browse & Darby, London.
Dayron Gonzalez, Momento de Gloria, 2015, oil on canvas, Cernuda Arte, Coral Gables, Florida.
Susanne Vielmetter Los Angeles Projects, a contemporary art gallery in Culver City, California.