Series: Photographs of Information Center Service Activities in Foreign Countries, 1948 - 1954
Record Group 306: Records of the U.S. Information Agency, 1900 - 2003
Image description: A table display in a library, with posters that say “MAKE FRIENDS WITH BOOKS” and sections for “FURRY FRIENDS” “SERIOUS FRIENDS” and “MYSTERIOUS FRIENDS”.
Image 2: A closeup of the poster, which features an animal (could be a fox, could be an anteater?) wearing a fancy tailcoat, cravat, and fur cape. The animal is holding a book titled “CHILDREN STORIES”. At the bottom of the poster is “BOOK WEEK / NOVEMBER 12-18, 1950”.
Everyday life in Tokyo
SOFI TUKKER - Batshit (Official Video) [Ultra Music]
Mystical Woodland Animal Art Prints by RivuletPaperShop
x / x / x / x / x x / x / x / x / x
(via “It Largely Comes Down to Central Bank Policies,” Economist on UK Inflation)
NEWLY DISCOVERED: Suspects and Witnesses, NARA ID 653047. By Miriam Kleiman, Public Affairs
Mary Tyler Moore's Mary Richards shattered TV gender norms. Unapologetically strong, bright, capable, and funny, she was a role model to me and others.
The heart of the show is her often-challenging relationship with grumpy-but-kindhearted boss Lou Grant, played by Ed Asner who died yesterday (whom she called "Mr. Grant" for all 7 seasons).
Asner is well-remembered as an incredible character actor but lesser known as an Army veteran and activist. Searching through our always-interesting holdings, I found this CIA training film of 27 year-old Ed Asner as a brilliantly hostile witness. Recognize these expressions of anger, disgust, and scorn?
See also:
Asked by a reporter about a standout "brush-with-greatness,” Asner recalled this meeting and his longtime regret:
I carry guilt because I didn’t vote for Jimmy Carter in the 2nd election. I voted for John Anderson. I thought it would be a nice break from supporting a Democrat automatically. But I had met Jimmy Carter. I liked what I saw... What he’s done since leaving the office of the presidency has been ideal. He’s acted like a great man. I thought he was a good president. I don’t know why I decided to vote for John Anderson, other than as a way to break my habit. I realized later that the votes Anderson got might have been enough bring Carter on par with Ronald Reagan. I regretted that. That’s why I never went for another 3rd party candidate after that. Ed Asner, Kansas City Star, 2016.
From Romancing the Vanpool: Energy Conservation on Film, Unwritten Record blog by Heidi Holstrom. NARA ID 38539.
Step into one of the nation’s top art museums, and most of the works you’ll see were made by men.
The Baltimore Museum of Art has decided to make a bold step to correct that imbalance: next year, the museum will only purchase works made by female-identifying artists.
“This how you raise awareness and shift the identity of an institution,” museum director Christopher Bedford told The Baltimore Sun. “You don’t just purchase one painting by a female artist of color and hang it on the wall next to a painting by Mark Rothko. To rectify centuries of imbalance, you have to do something radical.”
The policy will only apply to works purchased by the museum, not gifts. The number of works purchased by the museum each year varies, and works are bought on a rolling basis.
The move is part of a larger initiative launched in October called 2020 Vision, a series of 22 exhibits at the museum celebrating female-identifying artists. The initiative includes 13 solo exhibitions and seven thematic shows, with more being planned. Next year marks a century since women were guaranteed the right to vote in the United States, with the ratification of the 19th Amendment.
The Baltimore Museum of Art has 95,000 works, including the world’s largest collection of works by Henri Matisse.
Its collections include 3,800 works by women artists and designers – just 4% of its holdings.
Image: The Baltimore Museum of Art Caption: The Baltimore Museum of Art will only buy works by women next year, as part of a yearlong series exhibiting art by women. Amy Sherald’s Planes, rockets, and the spaces in between (2018) is among the 3,800 works by women in the museum’s collection