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    Trump will not stop until every American relic reflects his imaginary world view | Kellie Carter Jackson

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    Last week, Donald Trump issued another executive order, this one aimed directly at the Smithsonian Institution, and called for “Restoring Truth and Sanity to American History”. He contended that the Smithsonian had “come under the influence of a divisive, race-centered ideology” and that it advocates “narratives that portray American and Western values as inherently harmful and oppressive”. Specifically, the order targeted American history and art that focused on stories of race and racism.Being responsible for the distillation of the nation’s narrative is no small thing. The Smithsonian oversees 21 museums, libraries, research centers and the National zoo. Every year millions of people visit various sites that are free to the public. The collection of museums represents the pinnacle of public history and the story America tells the world about itself.But Trump’s executive order is not about restoring the truth. Quite the opposite. It creates false narratives and myths that promote the supremacy of whiteness. This executive order has the potential for harm because erasure is violence; it robs the public of the truth. Because there is no way to explain slavery and segregation as not “inherently harmful and oppressive”, Trump would rather not explain it at all.One of the most popular Smithsonian sites is the National Museum of African American History and Culture (NMAAHC), affectionately known by Black people as the “Blacksonian”. The museum was conceived of as early as 1915 by Black veterans who fought during the civil war and wanted recognition for their service and valor. These soldiers were not only left out of national memorials and ceremonies, but also faced tremendous discrimination often culminating in deadly violence when they returned home. They wanted a space and memorial that would honor their achievements and pivotal contributions.It was impossible to separate the story of Black military service and valor from racial discrimination and violence. Similarly, one cannot separate out the “good” from the “bad” in creating an honest narrative about the United States. Accordingly, the NMAAHC holds a special place in America, one where the complexity of George Washington and Thomas Jefferson are recognized as founding fathers and slaveholders. There is no abolitionist movement without slavery. There is no suffrage movement without women’s denial. There is no civil rights movement without racism and oppression. These are the facts. Museums exist to collect, preserve and exhibit the past as it happened. Archivists and curators care deeply about their mission to be accurate and authentic.An America that will re-erect statues and rename military bases after Confederate generals, while simultaneously stripping the evidence of race and racism from the Smithsonian history museums isn’t correcting the historical record. That nation is whitewashing the political record to legitimize the actions of those in power. Slavery is a fact. Jim Crow is a fact. Racist and exclusionary immigration laws are a fact. Japanese internment is a fact. Native American removal and extermination is a fact. Mexican and Mexican American expulsion is a fact. Removing them from the sight of the public doesn’t change the facts, it only changes one’s perspective on and relation to them politically.Museums offer cautionary tales, hard lessons about where the country has been and where we hope to never be again. They hold a great deal of public trust, perhaps more than schools, media, newspapers or even films. Patrons get to experience first hand documents, letters, original photographs and artefacts. Museums are public time capsules of where we have been. I will never forget seeing Emmett Till’s casket, Harriet Tubman’s shawl, Nat Turner’s Bible or an early flag of the First Republic of Haiti. These artefacts do more than defy the odds by still existing; they tell a powerful story about who people were during the times that they lived. Museums should not be party to culture wars. Our history is a collective memory whether Trump likes it or not.A nation that cannot reckon with its past, triumph and tragedy, is ultimately a weaker one; puffed up with its own delusions of grandeur. There is more power in the truth than there is in a lie. The efforts in the last 50 years to give the powerless a place politically, academically and legally is not from a revisionist view of American history, but rather a move to make all of America the democratic nation it claims to be.Moreover, key features of the NMAAHC reflect optimism, spirituality and joy because anti-Blackness is not the totality of the Black experience. The museum showcases Black food pathways, artistry, music, sports, film, ingenuity and technological advancements. It is a celebration of achievement despite the barriers and challenges racism presents. But even if museums solely focused on slavery, they still deserve a right to exist. America has been a land with enslaved people longer than it has been a county without slavery.Are museums contested spaces? Absolutely. No one space can include everything and offer an exhaustive history of a country, person or movement. But what is included or not included is painstakingly considered. Museums are bipartisan sites where everyone can grapple with the good, bad and the ugliness of nation making. But Trump will not stop until every American relic reflects his imaginary world view, a place where few can see their lived experiences on full display. More

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      As Trump rewrites even America’s history, institutions have two choices – submit or find ways to resist | Charlotte Higgins

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      It has come to this: we are now in Ministry of Truth territory. In Washington DC, the Smithsonian Institution, the US’s ensemble of 21 great national museums, last week became the subject of an executive order by President Donald Trump. “Distorted narratives” are to be rooted out. There will be no more of the “corrosive ideology” that has fostered a “sense of national shame”. The institution has, reads the order, “come under the influence of a divisive, race-centered ideology” that portrays “American and Western values as inherently harmful and oppressive”. The vice-president, JD Vance, is, by virtue of his office, on the museum’s board. He is charged by Trump to “prohibit expenditure” on programmes that “divide Americans based on race”. He is to remove “improper ideology”. The order is titled “Restoring Truth and Sanity to American History”. George Orwell lived too soon.The move is deeply shocking, but predictable. After Trump’s insertion of himself as chair of the John F Kennedy Center and his railing against the supposed wokeness of the national performing arts venue, the federally funded Smithsonian was bound to be next in line. Those who imagined the Kennedy Center was a one-off, attracting the president’s ire for personal reasons, were deluding themselves about the scale of Trump’s ideological ambition. Picked out for opprobrium in the executive order are the Smithsonian American Women’s History Museum for celebrating transgender women (the museum, it should be pointed out, has yet to be built); the National Museum of African American History and Culture; and an exhibition titled The Shape of Power: Stories of Race and American Sculpture at the American Art Museum.I visited the Museum of African American History for the first time a couple of weeks ago. It is a vast book of a museum, heavy with text. It was full, when I visited, of mostly Black families seeking out an encounter with a narrative that has long been a footnote to, or erased completely from, the main national story. You could spend days absorbing the web of stories that the museum offers, beginning in its basements with the transatlantic slave trade, where one of the most moving objects is, unexpectedly and profoundly, a piece of iron ballast that took the place of a human body after a ship’s cargo of enslaved people had been disgorged on the triangular route between Africa, the Americas and Europe. The whole strikes a fascinating balance between an unflinching gaze on systems of oppression, and a sense of Black achievement and cultural richness that has nevertheless effloresced.Lonnie Bunch, the founding director of the museum, gave a talk at the House of Lords in 2011 about the institution, which was still in the planning, and would open five years later. I can still recall how moving it was to hear about the difficulties of making a museum – a place where a story is told through objects – from communities traditionally poor in material things. The institution had put out a call for loans and donations. Precious, carefully treasured objects – a bonnet embroidered by someone’s enslaved grandmother, for example – were arriving into the new collection.Fast forward to the present, and Bunch is in charge of the entire Smithsonian Institution. This is a man who believes, as he told Queen’s University Belfast last year, that history can be used to “understand the tensions that have divided us. And those tensions are really where the learning is where the growth is, where the opportunities to transform are.” That compassionate vision of the past, as a means through which the citizens of the present can better understand each other, is completely opposed to the monolithically triumphalist spirit of Trump’s executive order, in which history is reduced to “our Nation’s unparalleled legacy of advancing liberty, individual rights, and human happiness”. How much easier it is, to sink into this pillowy, comforting notion of glorious progress than to grapple with the kind of knotty, often upsetting and confronting history that the Museum of African American History offers its visitors. But it makes me wonder: can the museum survive this government?I visited, too, the American Art Museum, whose show The Shape of Power is targeted in the executive order as emblematic of the Smithsonian’s decline into “divisive, race-centered ideology”. The exhibition, which was years in the careful making, points out what is surely obvious, once it has been given a moment’s thought: that race is not an inherent and prepolitical category, but rather a constructed set of ideologies that served (and still serve) a set of economic and political interests. (One way to tell that race is a socially constructed category, in fact, is by looking to the Greeks and the Romans – the people who established, in the minds of many on the US right, “western civilisation”. They were xenophobic in their own way, and enslavement was a fact of their societies. But as is obvious from their literature, whiteness and Blackness were for them simply not operative categories.) The exhibition is an eye- and mind-opening look at how race ideology has translated into and been reinforced, or deconstructed, by sculpture – that peculiarly lifelike and thus “truthful”-seeming artform.The catalogue quotes Toni Morrison, who once wrote that “I want to draw a map, so to speak, of a critical geography and use that map to open as much space for discovery, intellectual adventure, and close exploration as did the original charting of the New World.” Such intellectual adventuring is not what is wanted by the White House now. Trump’s world is more like Viktor Orbán’s, under whose government the school history curriculum has been rewritten to glorify Hungary, or Recep Tayyip Erdoğan’s Turkey, where the novelist Elif Shafak, as she recalled in a Guardian Live event last week, was prosecuted for “insulting Turkishness”, her lawyer obliged to defend in court the views of her fictional characters. The Smithsonian and all who work there have an unenviable choice, one that has already been put before other great or formerly great institutions such as Columbia University: to comply with Trump’s dark demands; or to find ways to defy them.

      Charlotte Higgins is the Guardian’s chief culture writer More

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      ‘It reminds you of a fascist state’: Smithsonian Institution braces for Trump rewrite of US history

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      In a brightly lit gallery, they see the 66m-year-old skeleton of a Tyrannosaurus rex. In a darkened room, they study the flag that inspired Francis Scott Key to write the national anthem. In a vast aviation hanger, they behold a space shuttle. And in a discreet corner, they file solemnly past the casket of Emmett Till, a 14-year-old Black boy lynched for allegedly whistling at a white woman in the US south.Visitors have come in their millions to the Smithsonian Institution, the world’s biggest museum, education and research complex, in Washington for the past 178 years. On Thursday, Donald Trump arrived with his cultural wrecking ball.The US president, who has sought to root out “wokeness” since returning to power in January, accused the Smithsonian of trying to rewrite history on issues of race and gender. In an executive order entitled “Restoring Truth and Sanity to American History”, he directed the removal of “improper, divisive or anti-American ideology” from its storied museums.The move was met with dismay from historians who saw it as an attempt to whitewash the past and suppress discussions of systemic racism and social justice. With Trump having also taken over the John F Kennedy Center for the Performing Arts, there are fears that, in authoritarian fashion, he is aiming to control the future by controlling the past.“It is a five-alarm fire for public history, science and education in America,” said Samuel Redman, a history professor at the University of Massachusetts Amherst. “While the Smithsonian has faced crisis moments in the past, it has not been directly attacked in quite this way by the executive branch in its long history. It’s troubling and quite scary.”View image in fullscreenThe Smithsonian was conceived in the 19th century by the British scientist James Smithson, who, despite never setting foot in the US, bequeathed his estate for the purpose of a Washington-based establishment that would help with “the increase and diffusion of knowledge”. In 1846, 17 years after Smithson’s death, then president James Polk signed legislation calling for the institution’s formation.The Smithsonian now spans 21 museums, most of them in the nation’s capital lining the national mall from the US Capitol to the Washington monument, including the National Air and Space Museum, the National Museum of American History, and the Hirshhorn Museum and Sculpture Garden. The National Portrait Gallery, which displays a photo of Trump in its presidents gallery, is in downtown Washington.The Smithsonian also encompasses the National Zoo, famed for its giant pandas, and 14 education and research centres employing thousands of scientists and scholars and offering various programmes for schools.Visitors to the National Museum of Natural History’s FossiLab can see paleobiologists chipping away at rock to uncover bones buried for hundreds of millions of years. The Smithsonian Astrophysical Observatory played a key role in the Event Horizon Telescope project, which produced the first-ever image of a black hole in 2019.View image in fullscreenAbout 60% of the Smithsonian’s funding comes from the federal government, but trust funds and private sources also provide money.The institution has known its share of controversies. In 1995, the air and space museum planned to display the Enola Gay, the B-29 Superfortress that dropped the first atomic bomb on Hiroshima, with accompanying text that critics complained was more sympathetic to Japan than the US. The exhibition was cancelled and the plane put on display with no interpretation.Trump visited the National Museum of African American History and Culture a month after taking office in 2017. His reaction to the Dutch role in the global slave trade was: “You know, they love me in the Netherlands,” according to the museum’s founding director, Lonnie Bunch, who subsequently became the first Black person to lead the Smithsonian.Trump paid little attention to the institution during the rest of his first term, although in 2019 his vice-president, Mike Pence, took part in the unveiling of Neil Armstrong’s spacesuit at the air and space museum, marking the 50th anniversary of the Apollo 11 launch.View image in fullscreenAs in so many other ways, however, Trump’s second term is a whole different beast. The president believes there has been a “concerted and widespread effort to rewrite our nation’s history, replacing objective facts with a distorted narrative driven by ideology rather than truth”, according to the White House executive order.He argues this “revisionist movement seeks to undermine the remarkable achievements of the United States by casting its founding principles and historical milestones in a negative light”. The order also asserts: “Once widely respected as a symbol of American excellence and a global icon of cultural achievement, the Smithsonian Institution has, in recent years, come under the influence of a divisive, race-centered ideology.”It cherrypicks examples, arguing that the African American museum “has proclaimed that ‘hard work,’ ‘individualism’ and ‘the nuclear family’ are aspects of ‘white culture’”. This refers to content that was on the museum’s website in 2020 and later removed after criticism.The order points to the exhibition The Shape of Power: Stories of Race and American Sculpture, currently on display at the Smithsonian American Art Museum, which states that societies including the US have used race to establish systems of power and that “race is a human invention”.It criticises a planned women’s museum for “celebrating the exploits of male athletes participating in women’s sports” and aims to ensure the museum does not “recognize men as women in any respect”.The order stipulates that the vice-president, JD Vance, a member of the Smithsonian’s board of regents, work with Congress and the office of management and budget to block programmes that “degrade shared American values, divide Americans based on race, or promote programs or ideologies inconsistent with federal law and policy”. It calls for new citizen members “committed to advancing the policy of this order”.skip past newsletter promotionafter newsletter promotionAll of this is in line with his administration’s efforts to do away with diversity, equity and inclusion (DEI) programmes in government, universities and corporations. The Smithsonian shut its diversity office soon after the president signed a January executive order banning DEI programmes at organisations that receive federal money.It is also of a piece with Trump’s longstanding demand for “patriotic” education. In February, he issued an executive order re-establishing his 1776 Commission, which was a riposte to the New York Times newspaper’s 1619 Project – and he has been a strident critic of renaming or removing Confederate statues and monuments.The order bears the hallmark of the conservative Heritage Foundation, which created the influential Project 2025. The thinktank’s website has an article that describes the 1619 project as “yet another attempt to brainwash you into believing your country is racist, evil and needs revolutionary transformation”. Another warns that the Smithsonian’s proposed Latino museum would be “a woke indoctrination factory”.But progressives say the cultural clampdown will only sow further discord. Tope Folarin, a Nigerian American writer and executive director of the Institute for Policy Studies in Washington, said in an email: “You cannot ‘foster unity’ by refusing to tell the truth about our history. Ignorance of the truth is what actually deepens societal divides.“These museums are important because they tell the full American story in an unvarnished way. We will only achieve unity when we are able to reckon with the truth about how this country was founded, and acknowledge the heroes who worked continuously to bring us together.”On Friday, the mood at the Smithsonian, which has long enjoyed positive relations with both Democratic and Republican administrations, was rife with uncertainty. Many had been bracing for this moment, but it remained unclear what impact the order will have on staffing levels or current and future exhibitions, including plans to celebrate next year’s 250th anniversary of US independence.David Blight, a historian and close friend of Bunch, the Smithsonian’s secretary, said: “I haven’t talked to him yet. I’m sure he’s trying to decide what to do. I hope he doesn’t resign but that’s probably what they want. They want the leadership of the Smithsonian, the directors of these museums, to resign so they can replace them.”Blight, who is the current president of the Organization of American Historians, was “appalled, angry, frustrated but not fully surprised”, when he read the executive order. “There have been plenty of other executive orders but this is a frontal assault,” he said. “I read it as basically a declaration of war on American historians and curators and on the Smithsonian.”The professor of history and African American studies at Yale University in New Haven, Connecticut, continued: “What’s most appalling about this is the arrogance, or worse, the audacity to assume that the executive branch of government, the presidency, can simply dictate to American historians writ large the nature of doing history and its content.“I take it as an insult, an affront and an attempt to control what we do as historians. On the one hand this kind of executive order is so absurd that a lot of people in my field laugh at it. It’s a laughable thing until you realise what their intent actually is and what they’re doing is trying to first erode and then obliterate what we’ve been writing for a century.”Trump’s previous cultural targets have included the Kennedy Center and Institute of Museum and Library Services. This week he urged congressional Republicans to defund National Public Radio (NPR) and the Public Broadcasting Service (PBS). He has also threatened to cut funding to universities refusing to bend the knee.Blight regards the moves as drawn from the authoritarian playbook: “It’s what the Nazis did. It’s what Spain did. It’s what Mussolini tried. This is like the Soviets: they revised the Soviet encyclopedia every year to update the official history. Americans don’t have an official history; at least we’ve tried never to have.”The sentiment was echoed by Raymond Arsenault, a professor of southern history at the University of South Florida, St Petersburg. He said: “What is written in that order sounds almost Orwellian in the way Trump thinks he can mandate a mythic conception of American history that’s almost Disney-esque with only happy endings, only heroic figures, no attention at all to the complexity of American history and the struggles to have a more perfect union.He added: “It’s so chilling. Everything I’ve worked on in my career is simply ruled out by this one executive order. It’s like the barbarian sack of Rome in the level of ignorance and ill-will and anti-intellectualism.”Arsenault, a biographer of John Lewis, who was instrumental in creating the African American museum, said the late congressmen would be “shocked” by Trump’s order: “It’s totalitarian. It does remind you of a fascist state and makes us a laughingstock around the western world. I have to confess in my worst nightmares I didn’t think it would proceed this far in terms of willful megalomania.” More

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      What is the Smithsonian Institution and why is it important?

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      On Thursday, President Donald Trump signed an executive order targeting the Smithsonian Institution, a behemoth of a research and museum organization that operates more than 20 museum and research centers and is visited by millions of people each year, mainly in Washington DC and New York City. The museums include the National Museum of African Art, the National Portrait Gallery, the National Museum of the American Indian and the National Museum of African American History and Culture (NMAAHC), which Trump name-checked in his executive order. Trump’s executive order instructs Vice-President JD Vance to “eliminate improper, divisive or anti-American ideology” from the Smithsonian’s museums.The Smithsonian has already come under scrutiny by Trump and his allies. Earlier this year, the institution was forced to close its diversity office and froze all federal hiring.But what is the Smithsonian Institute, and why is it important?What is the Smithsonian Institution? Envisioned in the 19th century by James Smithson, a British scientist who bequeathed his estate in hopes of establishing an institution to “the increase and diffusion of knowledge”, the Smithsonian Institution had a budget last year that exceeded $1bn. Per its website, it is the “world’s largest museum, education, and research complex”. The Smithsonian Institution’s collection holds more than 150m items, including historical artefacts, scientific specimens, fossil flora and fauna, art and other objects and materials.The institution is not a government agency, but a “trust instrumentality” of the United States, which means that it was created by Congress. It is overseen by a board of regents that includes the chief justice of the supreme court, the vice-president, three members of each house of Congress and nine appointed citizens. The order seeks to appoint new “citizen members” to the board, who are “committed to advancing the policy of this order”.What is included in the Smithsonian collection?The Smithsonian Institution’s collection is vast – less than 1% of the collection is on display at any given time, and some parts of it are available online. The Smithsonian Institution’s total collection includes works of art spanning 6,000 years and across different cultures; an oral history collection; sculptures; historical artefacts; full-size planes, missiles and spacecraft; algae, flowering plants and microscopic plants; marine animals; mammals; fossils and much more. Many of the collections are utilized solely for research purposes.Are specific Smithsonian museums under attack?Trump’s executive order specifically targets the American Women’s History Museum, which currently exists only as an online exhibition, with plans for a physical museum in the future. The order criticized the Smithsonian American Art Museum (SAAM), for its exhibit The Shape of Power: Stories of Race and American Sculpture, which “examines for the first time the ways in which sculpture has shaped and reflected attitudes and understandings about race in the United States”. The order also targets the NMAAHC, which opened in 2016 under the leadership of the historian Lonnie G Bunch III, the Smithsonian’s first Black American secretary.In 2017, Trump toured the NMAAHC and celebrated its existence.“I’m deeply proud that we now have a museum that honors the millions of African American men and women who built our national heritage, especially when it comes to faith, culture and the unbreakable American spirit,” he said. “I know President [Barack] Obama was here for the museum’s opening last fall. And I’m honored to be the second sitting president to visit this great museum.”Earlier this year, Bunch spoke about America’s upcoming 250th anniversary, and the then-upcoming Trump administration.“It’s really clear that the Smithsonian, by its very nature … is always driven by the best scholarship. But it’s important to recognize that if you explore art, history, culture, science – by definition, you’re going to deal with controversy. By definition, you’re going to deal with multiple points of view. The goal here is never, ever to create a sense of self-censorship in the Smithsonian, but to recognize that the Smithsonian has to educate a whole lot of people, some who believe exactly in the interpretations you do, others who are diametrically opposed, and you’ve got to be able to serve both.”Has the Smithsonian Institution faced censorship attempts before?In 2010, the Smithsonian’s National Portrait Gallery pulled a video called A Fire in My Belly, which was produced at the height of the Aids epidemic, after the Catholic League and some members of the House of Representatives, including John Boehner and Eric Cantor, spoke out against its inclusion.Last year, LGBTQ+ employees at the Smithsonian Institution said that the organization had canceled multiple previously planned drag shows, following a House of Representatives oversight hearing. More

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      Trump executive order on Smithsonian targets funding for ‘improper ideology’

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      Donald Trump revealed his intentions to reshape the Smithsonian Institution with an executive order on Thursday that targets funding to programs with “divisive narratives” and “improper ideology”.The president said there has been a “concerted and widespread” effort over the past decade to rewrite US history by replacing “objective facts” with a “distorted narrative driven by ideology rather than truth”.He signed an executive order putting JD Vance in charge of an effort to “remove improper ideology” from the Smithsonian Institution, including its museums, education and research centers and the National Zoo.Trump’s order specifically names the National Museum of African American History and Culture and the Women’s history museum, which is in development.“Museums in our Nation’s capital should be places where individuals go to learn – not to be subjected to ideological indoctrination or divisive narratives that distort our shared history,” the order said.Representatives for the Smithsonian did not immediately respond to an emailed request for comment.The Smithsonian Institution is the world’s largest museum, education and research complex. It consists of 21 museums and the National Zoo. Eleven museums are located along the National Mall in Washington.The institution was established with funds from James Smithson, a British scientist who left his estate to the United States to found “at Washington, under the name of the Smithsonian Institution, an establishment for the increase and diffusion of knowledge”.On Thursday, Trump also created the “DC Safe and Beautiful Task Force” by executive order. It will be chaired by Stephen Miller, the US homeland security adviser.According to the order, the task force will coordinate with local officials on such things as enforcing federal immigration law, including deporting people living illegally in the city, boost the law enforcement presence, and increase the speed and lower the cost of processing applications to carry concealed weapons.The order also calls for removing graffiti and taking other steps to beautify the city.Trump has talked often about his desire to make the city safer and prettier. More

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      Jazzed About Abstraction: Jack Whitten’s Show Is a Peak MoMA Moment

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      “I’m a product of American Apartheid,” the artist Jack Whitten wrote, a blunt fact that led him to project, in his art, a very different reality, one of “infinite diversity in infinite combinations.” It was a vision that propelled and buoyed him through a nearly six-decade career. “This is why I get up in the morning,” he wrote, “and go to work!”And how very lucky we are, at a moment when references to diversity and difference are being scrubbed from accounts of our national history, to have a refreshing tidal wave of a Whitten career retrospective sweeping and scintillating through the special exhibition galleries on the Museum of Modern Art’s sixth floor.Titled “Jack Whitten: The Messenger,” the show encompasses some 180 paintings, sculptures and works on paper, from a 1963 art-school collage to a final painting from just before he died in 2018. Over that span Whitten called every studio he worked in a “laboratory,” and every piece of art he made an “experiment.” And, indeed, much of what’s in the show challenges ready definition.Whitten at his studio in 1974 with a large rake-like tool that he had made to apply a wide layer of paint to a horizontal canvas.Paul Viani, via The Museum of Modern Art, New YorkSuch is the case with a piece called “The Messenger (for Art Blakey)” installed just outside the first gallery. From a distance it could be a photograph of a star-drenched night sky, or of clouds of foam on a dark sea. Or it could a painting with white paint glopped and dripped, Abstract Expressionist-style, on a black ground. Get close and you find that, in fact, it’s a large rough-textured mosaic pieced together from thousands of pixel-like cubes of dried paint.You consult the title for meaning: Art Blakey, Black drummer extraordinaire, leader in the 1950s of the hardbop group called the Jazz Messengers. Suddenly the glops and drips look sonic, like musical bursts and pings.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Frick Collection is Reopening. Here’s a Sneak Peek.

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      Holland Cotter is the co-chief art critic and a senior writer for the Culture section of The Times, where he has been on staff since 1998.Produced by Maridelis Morales Rosado and Josephine Sedgwick. Design and development by Leo Dominguez and Gabriel Gianordoli. Images: The Frick Collection (All Artworks); The Frick Collection/Frick Art Research Library Archives (Adelaide H. C. Frick); The Frick Collection Archives (Helen Clay Frick) More

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      Museum With Renowned Dinosaur Fossils Gets a $25 Million Gift

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      The Carnegie Museum of Natural History in Pittsburgh, home to the Tyrannosaurus rex holotype and a famous Diplodocus, will benefit from Carole and Daniel Kamin’s donation.Carole Kamin first walked through the doors of the Carnegie Museum of Natural History in 1975 after taking a job as a buyer for the Pittsburgh museum’s gift shop. Awe-struck by the fossils on display, she would style herself as a “dinosaur queen” for the next 20 years.She sourced dino-patterned fabric from India for barbecue aprons. She worked with a toy manufacturer to produce models of the museum’s ancient creatures. She persuaded a candy supplier to make caramel-filled “Sweet Beasts.”Now Kamin and her husband, Daniel, are donating $25 million toward renovating the museum, which was founded in 1895 and has one of North America’s largest museum collections of fossils. The gift comes at a time when dinosaurs are as firmly entrenched in the zeitgeist as ever, thanks in part to record-setting fossil auctions and blockbuster films.The Carnegie museum’s holdings include the species-defining fossils — known as holotypes — of the terrifying predator Tyrannosaurus rex and the giant herbivore Apatosaurus louisae.It also displays arguably the most famous dinosaur skeleton on Earth: the remains of Diplodocus carnegii, a long-necked dinosaur found in 1899 during an expedition funded by the steel baron and philanthropist Andrew Carnegie. Replica casts of the dinosaur, known as “Dippy,” reside in museums around the world.The Diplodocus carnegii skeleton at the Carnegie Museum of Natural History is known as “Dippy.” Replica casts of the dinosaur reside in museums around the world.via Carnegie Museum of Natural History; Photo by Joshua Franzos, Treehouse MediaWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Birds of Paradise Glow on Their Mating Parade

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      Elaborate poses, tufts of feathers, flamboyant shuffles along an immaculate forest floor — male birds-of-paradise have many ways to woo a potential mate.But now, by examining prepared specimens at the American Museum of Natural History in New York, scientists have discovered what could be yet another tool in the kit of the tropical birds — a visual effect known as photoluminescence.Sometimes called biofluorescence in living things, this phenomenon occurs when an object absorbs high-energy wavelengths of light and re-emits them as lower energy wavelengths.Biofluorescence has already been found in various species of fishes, amphibians and even mammals, from bats to wombats.Interestingly, birds remain woefully understudied when it comes to the optical extras. Until now, no one had looked for the glowing property in birds-of-paradise, which are native to Australia, Indonesia and New Guinea and are famous for their elaborate mating displays.In a study published on Tuesday in the journal Royal Society Open Science, researchers examined prepared specimens housed at the American Museum of Natural History and found evidence of biofluorescence in 37 of 45 birds-of-paradise species.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More