November 25, 2013
It’s not the place you would expect to find the world’s third-oldest manuscript of the gospels. The jade-like walls of the Freer Gallery’s Peacock Room are beautifully rendered in rich detail work. Delicate spirals rim the panels and gold-painted shelves line the walls, housing dozens of works of Asian ceramics. On one end, a woman immortalized in portrait, robe falling from her shoulders, watches over the room. To her left, a row of closed shutters block the room’s access to the sunlight. Golden peacocks, their feathers and tails painted in intricate detail, cover the shutters. On the far wall, two more peacocks are poised in an angry standoff. One is dripping with golden coins. The creature is a caricature of the Peacock Room’s original owner, the wealthy Englishman Frederick R. Leyland. The other peacock represents the struggling, underpaid artist—James McNeill Whistler. Whistler, who fought with Leyland, his patron, dubbed the piece “Art and Money; or, the Story of the Room.”
The parchment pages of the late 4th to 6th century biblical manuscripts, recently placed on view in the middle of the room, were originally intended to be handled and turned gently, most likely, as a part of the liturgy, by the monks that owned and read them. In the seventh century, wooden covers painted with the figures of the four Evangelists were added, binding the manuscript tightly and making the pages much harder to turn. At that time, the bound books probably made the transition to a venerated object—but yet not a work of art.
The man who saw them as works of art was Charles Lang Freer, who purchased the manuscripts from an Egyptian antiques dealer in 1906 for the princely sum of 1,800 pounds, about $7,500 in today’s dollars. In 1912, after having purchased the Peacock Room in London and shipping it to his Detroit home, Freer set out the manuscripts in the room, displaying them for his guests, along with his collection of pottery and various Buddhist statues.
“Freer had this idea that even though all of the objects in his collection were quite diverse from all different times and places, they were linked together in a common narrative of beauty that reached back in time and came forward all the way to the present,” says curator Lee Glazer. “By putting the bibles in this setting which is a work of art in its own right, with all of these diverse ceramics, it was kind of a demonstration of this idea that all works of art go together, that there’s this kind of harmony that links past and present and East and West.”
The Freer Gallery chose to exhibit the manuscripts—their first public showing since 2006—much as the museum’s founder first did in 1912, focusing on their value as aesthetic objects and their juxtaposition against the opulence of the Peacock Room.
“This display of the bibles is less about the bibles as bibles than the surprising fact that he chose to exhibit them in the Peacock Room as aesthetic objects among other aesthetic objects,” explains Glazer.
The bibles are the first antique manuscripts that Freer bought, and while he purchased a few other rare texts in his lifetime, he never really threw himself into collecting them with the same fervor that he applied to his pottery collection. To Freer, the manuscripts were an important chapter to include in his collection at the Smithsonian—another chapter in the history of beauty throughout the ages.
Not everyone agreed with Freer’s presentation of the rare texts, however. “In one of the newspaper clippings, they accuse Freer of being too fastidious in the way that he’s treating the bibles,” Glazer says. “They suggested that they shouldn’t be considered works of art as objects, but as holy scripture.”
To Freer, the manuscripts represented an ancient chapter in the history of beauty, but he also understood their historical significance for biblical study. Upon his return to America, Freer underwrote $30,000 to support research conducted by the University of Michigan. In translating and studying the texts, the scholars found that one of the gospels contains a passage not found in any other biblical text. The segment, located at the end of the Gospel of Mark, includes a post-resurrection appearance of Christ before his disciples where he proclaims the reign of Satan to be over. For some, this revelation was more scandalous than Freer’s decision to showcase the manuscripts as aesthetic objects.
“It’s not found in any other known version of the gospels,” explains Glazer. “The fact that it said that the reign of Satan was over seemed really potentially outrageous. People were in a tizzy over it.”
The manuscripts, normally kept in the Freer Gallery archives due to their sensitivity to light, are some of the most sought after pieces in the gallery’s collection. The manuscripts will remain on display in the Peacock Room through February 2014.
November 19, 2013
A portrait of Winston Churchill photographed by Yousuf Karsh during the darkest days of World War II reveals a leader resolute in the face of crisis. The year was 1941; Churchill was visiting Canada, and the Nazi puppet government in France had just sworn to wring the neck of Britain like a chicken. Staring straight into Karsh’s camera, Churchill’s eyes are steely, almost obstinate. Moments prior, he had stood in the Canadian parliament, hands on hips, and announced passionately: “Some chicken! Some neck!”
When Karsh took the iconic photo—the one that would grace the cover of Life magazine and launch his international career—he was a young man, excited but nervous about photographing the historic figure. MacKenzie King, former prime minister of Canada, had first noticed Yousuf when he was photographing a meeting with FDR. King asked Karsh if he would photograph Churchill during the Canadian visit, and Karsh agreed.
To prepare, Karsh practiced with a subject similar in stature to Churchill from the waist down. He set up his equipment in the speaker’s chamber in the Canadian House of Parliament, a huge Tudor apartment that was used for the speaker to entertain guests. Wrangling hundreds of pounds of photography equipment, Karsh next waited patiently for the moment when Churchill would finish his speech and exit the House of Commons and enter the speaker’s chamber.
On the tail of his impassioned speech, Churchill came striding into the chamber, arms outstretch, hands open: in one, somebody placed a glass of brandy, in the other, a Havana cigar. It took a moment, but Churchill soon noticed the small, young photographer standing amid his mass of equipment.
“What’s this? What’s this?” Churchill demanded.
Karsh realized, suddenly, that no one had told Churchill that he was to have his picture taken. “Sir, I hope I will be worthy enough to make a photography equal to this historic moment.”
Churchill, reluctantly, acquiesced—sort of. “You may take one.”
One picture, one chance.
Churchill relinquished his glass to an assistant and began to sit for the photograph, still puffing on his cigar. Karsh readied the equipment but, just before taking the picture, he placed an ashtray in front of Churchill, asking that the prime minister remove the cigar from his mouth.
Churchill obstinately refused, and Karsh was perplexed: the smoke from the cigar would certainly obscure the image. He returned to the camera, ready to take the picture—but then with lightening speed, Karsh leaned over the camera and plucked the cigar from Churchill’s lips.
“He looked so belligerent, he could have devoured me,” Karsh would remember later, and it’s a belligerence that comes across in the famous photograph—a scowl over the pilfered cigar that came to represent, seemingly, a fierce glare as if confronting the enemy.
Karsh’s iconic Churchill portrait, as well as 26 other photographs, are on display at the National Portrait Gallery through April 27, 2014. The installation is made possible thanks to a large gift—more than 100 photographs—to the Portrait Gallery by Yousuf Karsh’s wife Estrellita Karsh.
“Yousuf was so thrilled when he came over as a poor Armenian immigrant boy in 1927 to be in this country. He always called it (Canada, America and the United States) the sunshine of freedom,” says Mrs. Karsh. “He would be thrilled that his photographs of Americans are here—and what better home than the Smithsonian, really, what better home.”
The 27 photographs span Karsh’s long career, from the oldest image (a 1936 black and white of FDR, ) to a color photograph of César Chávez, taken 11 years before Karsh’s death in 2002.
“In selecting the portraits to feature, I wanted to spotlight Karsh’s ability to create distinctive and evocative images of such a wide range of famous Americans—from Eleanor Roosevelt to Colonel Sanders to I.M. Pei,” Ann Shumard, curator of the exhibit, explains. “It is my hope that visitors to the exhibition will come away with a new appreciation for Karsh’s singular artistry as a portraitist.”
Spanning nearly six-decades, Karsh gained a reputation for photographing some of the most iconic and influential men and women in the world, from Fidel Castro to Queen Elizabeth. But behind the iconic faces lies a kind of radiant humanity that Karsh was so skilled at capturing: the person behind the mask of society.
“His honest, open approach, his great ability to have the viewer give the best in himself—that comes through,” Mrs. Karsh explains. “And this is what people see whether they’re going to see it in 1920, 1930, 2015 or 3000. That is the element that remains.”
The Churchill portrait is on view until November 2, 2014. From May 2, 2014 to November 2, 2014, the museum will display an ongoing rotation a selection of portraits from the Karsh collection. To see a selection of the portraits online, visit our photo collection.
October 18, 2013
Last night, the Smithsonian’s Cooper-Hewitt, National Design Museum, celebrated innovators of design both large and small with an awards gala, held in New York City. The gala kicks off National Design Week, an educational initiative that recognizes achievement and innovation in American design and honors the impact of design in everyday life. The honorees—winners of the National Design Awards and the People’s Design Award—were presented with a trophy as unique as the celebration itself, handcrafted by the Corning Museum of Glass.
The honorees represent multiple aspects of the industry from architecture to commercial media ventures:
- The lifetime achievement award was presented to James Wine, founder and president of SITE, a New York-based architecture firm founded in the 1970s.
- Michael Sorkin, architect and urbanist, was awarded the Design Mind award. The award for architecture design was presented to Studio Gang Architects, a collective of architects based in Chicago.
- Graphic designer Paula Scher was awarded the National Design Award for Communication Design. Behnaz Sarafpour took home the award for fashion design.
- And Local Projects, a media design firm specializing in museums and public spaces, won the award for interaction design.
- In the realm of interior design, Aidlin Darling Design, a firm based out of San Francisco, was honored, while Margie Ruddick took home the award for landscape architecture.
- NewDealDesign was honored for product design, while the non-profit organization TED (of TED Talks fame) won the Corporate & Institutional Achievement award.
Winners of the National Design award were chosen through a submission process which began this fall, and included suggestions from leading designers, educators, journalists and design enthusiasts. The winners were selected from this pool via a jury, which chose the top nominees over a two-day period.
Here on Smithsonian.com, we invited the public to vote for a design of their choice—chosen from 20 nominees—to receive the People’s Design Award. Past winners of the People’s Design Award have included Marianne Cusato, designer of the Katrina Cottage, Toms Shoes, the Zōn Hearing Aid, the Trek Lime Bicycle, the Braille Alphabet Bracelet and Design Matters, a show about design and culture.
This year, the People’s Design Award was given to the PackH2O Water Backpack, a backpack that allows water to be easily transported from a source to wherever it may be needed. The backpack, easier to carry than jerry cans or buckets is often used in places with little access to clean water, and includes a removable liner that can be sanitized with sunlight.
“Cooper-Hewitt has long been a champion of socially responsible design, most notably for our ‘Design with the Other 90%’ exhibition series,” said Caroline Baumann, director of the museum. “I am truly delighted that the American public has chosen to recognize this design solution for the developing world. Millions of people around the world lack access to a reliable source of clean water, and the PackH2O demonstrates the power of design to address this critical problem.”
October 17, 2013
For 16 days, the doors to the Smithsonian museums and National Zoo were closed to the public—and with them, the animal cameras that provided a video stream of the Zoo animal’s activities for curious viewers. As news of the animal cameras demise went viral, bereaved watchers took to the internet to express their frustrations, with universal lamentions. “This just got REAL,” tweeted the Daily Beast, while Ed Henry, Fox News’ White House correspondent, proclaimed that the panda cam shutdown “is where we draw the line.” Time even created its own panda cam to keep panda enthusiast calm while waiting out the shutdown.
Good news for panda enthusiasts. Beginning Thursday morning, the Zoo’s technical staff began the process of bringing the cameras back online, beginning with the overwhelmingly popular panda cam. While the Zoo grounds won’t reopen to the public until Friday morning, Zoo lovers can rest assured knowing that their favorite animals are now only a click away.
In the days since the panda cam went dark, the Zoo’s new panda cub has gone through some significant milestones. The most apparent is her size: since her last veterinary appointment on September 26, she’s grown from 3.07 pounds to a whopping 5 pounds. The cub has also begun to open her eyes, opening the right one three days after the panda cam went down, on October 4. Both of the cub’s ears are also fully open, and she now responds to sounds she hears inside the panda house.
Mei Xiang, the cub’s mother, has also been active while the panda cam has been down. Mei is leaving the cub for longer periods of time, to eat and venture outside. Her appetite has increased, as keepers note that she is now eating all of the leaf-eater biscuits and produce she is offered, as well as 60 percent of her bamboo. On October 12, Mei even chose to participate in a training session with keepers in the outdoor area. While mom is away, the cub keeps herself busy by scooting around the indoor area, though keepers note that the cub doesn’t manage to get very far—yet. Keepers estimate that by the time the cub is four months old, she will be strong enough to walk on her own. For now, she can push herself up on her front two legs, or right herself if she is stuck on her back.
Anxious panda cam viewers should note that a large amount of traffic when the cams first return could overwhelm the stream, causing viewing problems. If this happens to you, don’t panic—simply take a deep breath and refresh the page, which you’ll need to do if you plan on watching the panda cam for more than 15 minutes anyway.
August 28, 2013
Last Friday evening, the world watched in wonder and anticipation as the giant panda Mei Xiang gave birth to a healthy panda cub at the National Zoo. As zoo keepers work to monitor the health of mother and cub, we were able to speak with panda keeper Juan Rodriguez about looking after the pandas, a recent trip to the Panda Base in Bifengxia, China and what the birth of the new cub means for a continued collaboration between the two facilities.
I understand that Mei was very protective of her cub yesterday, and that she didn’t want to surrender her for any check-ups.
She was doing what a mom should be doing; she’s being very protective of her cub. Every once in a while, she’s re-adjusting to make sure the cub was in a good spot to be able to nurse, and slightly moving away from us in the process. We had to be very careful, and finally, since so much time was going by and we didn’t want to push the envelope, we decided to leave her alone to be able to nurse her cub in a nice quiet spot.
If she continues to be unwilling to surrender the cub for checkups, what will you do?
Right now, we’re just going to stay back and let her do her thing, and keep an eye on the cameras and listen in. We’re also going to have the opportunity to offer her a few different food choices in the next few days, so that will give us a better idea. Basically, we’re just playing it by ear on a daily basis.
Tell me about your recent trip to China.
That was an amazing learning experience on all levels. My colleague Marty Dearie and I had the opportunity to work with our panda colleagues at Bifengxia, at the Panda Base in Ya’an, China. They are the group that actually has loaned us our current giant pandas Tian Tian and Mei Xiang. The folks out there have years and years of knowledge working with pandas both in captivity and in their wild habitat. First and foremost, we had an opportunity to see the facility first hand. It’s located high up in the mountains of Ya’an, in a very forested area, so even though they are in a captive setting they do have a lot of natural environment around them. We got a chance to work with our Chinese colleagues who have worked with giant pandas in captivity for many years. We also saw a total of three cub births, one of which was a set of twins. We also had a chance to see how the nursery staff cares for the neonatal cubs, ranging from birth to two weeks of age, and some other cubs who were a month or two months old. We also had a chance to see one cub that was almost a year old, and a set of twins a little older than a year. There were a lot of age groups, pandas at different life stages, and seeing it all at once was an invaluable learning experience.
In addition to that, we had three different places where we worked. One was a birthing station, where there were several females—some that were pregnant, some that had already given birth. [Another] location had been specifically set aside—from what we understand, for the first time ever—for six females that were completely isolated from the public. It’s kind of a prelude to a wildlife setting. They are enclosed, but they have outdoor dens, so they could give birth outdoors and potentially raise their cub outdoors. In fact, there were two of them that had already given birth and were raising their cubs outdoors [rather than in] an indoor enclosure. So that’s going to give them a better feeling for whether or not, when the cubs get older, if they’re going to be different behaviorally, or in terms of their health; it’s real on-the-ground work that they’re doing with the giant pandas. The last place we would see is the nursery, to see how they nursed and cared for the neonatal and one-month-plus old cubs. We actually got a chance to get hands-on, being able to feed and or stimulate the cubs to help them defecate. At that age, they can’t defecate or urinate on their own, so there are several techniques that they showed us to help the baby pandas do that, in order to care for the cubs at that stage of their lives.
I heard you picked up some new techniques for handling the mother and her cub.
Most definitely. The husbandry techniques are slightly different in China, because they do have a different relationship with their pandas: they go into the enclosures with their pandas. So there is no protective contact. For us, our protocols don’t allow that; there must always be some kind of protection. That being said, we did get a chance to see how the Chinese animal caretaker staff behaves around the pandas while they are in such close proximity.
Have you heard from your Chinese colleagues on the birth of the new panda? What do they have to say?
We had a few—through translations—all congratulating us. A few have texted us a sort of congratulatory e-mail in Chinese. They’re certainly all excited for us.
What has been the most exciting part of this process?
Being able to see the fact that she gave birth; we’re all very happy, but we’re all also very guarded in our optimism, because of what happened last year. The analogy that I like to give is that it’s like that moment on a roller coaster, where you’re going up that roller coaster and anticipating going over the hill. It’s sort of like that—you’re girding yourself for going over the hill, so that is kind of where we’re at right now. . . I think that we’ll have a slight sigh of relief maybe a month from now, and then I don’t think anyone will be completely, totally, excited until after a year to two years, in terms of being confident that the cub is going to grow into adulthood.
And what has been the most unsettling?
I wouldn’t consider it unsettling, just more of a concern for Mei Xiang’s well being. During the cub’s first check up, I was one of the staff members that stayed behind with Mei Xiang to see how she was behaving, and also [to] console her while the cub was away. So I think at that stage, it was just a mom who was searching for her cub—. . .“Where’s my cub? I hear it but I don’t see it.”
She was actually scrounging in her nest to see if she had misplaced it somewhere in her nesting material. It’s a good example of how good of a mother she is. She wants to care for her young and always be attentive to it, especially when it’s vocalizing. It was mostly about keeping her calm and collected, and we were able to provide her with some fluids. We had a squirt bottle filled with honey water and would squirt it on her tongue, and she was taking that a few times while the cub was away. I think that helped to distract her for a few seconds, just enough to let her settle down. Of course, since this is a new thing we have done with her at this stage, the return of the cub was a crucial moment. She was very excited to have the cub back and we wanted to make sure we could get the cub back safely into her possession. Anticipating what she was going to do at that point was something that was heavily on our minds. And she did everything perfectly. She picked it up very gently with her mouth and put it back on her chest and presumably the cub started nursing again, so within five minutes, or less, she was calm and collected in her corner nursing her cub.
Why does it matter who the father of the cub is?
It matters on a lot of levels. I think first and foremost, because there’s such a small population of giant pandas. It’s important for genetic diversity. Knowing who the father is will determine the level of related-ness that the cub has to the overall population, which has future effects in determining who this cub, potentially when they reach adulthood, can mate with. That’s the primary level. The secondary level is because we know that the second cub that was born was malformed, it would give us a better idea to know if the fathers were the same, or if one was from one father and one from the other. And, again, keeping in mind I’m not a reproductive physiologist, but I think understanding which type of sperm sample was used—one that was fresh versus one that was frozen—would have an effect on which one was able to survive and be healthy.
Do we know how the cub will be named?
The tradition that our Chinese colleagues [follow] and we do too, is to wait until day 100. And at that point the cub can be named.
Apart from the cub’s birth, what other strategies for panda care did you take up with your Chinese colleagues on your visit?
I picked up a little Chinese, so maybe now I can talk to them a little. I’m sure Tian Tian and Mei Xiang remember a little of it, since they were born in China.
In all seriousness, I think that everything from the nursery and just being able to be prepared, if it came to hand rearing the cub. We now have experience with that. Getting our hands on a cub from a few days old to a few months old, knowing how much pressure and how to hold them properly, those are all important things to know. It’s also important knowing what are some of the cues that Mei Xiang might give us if something is not right with the cub. And also to know certain vocalizations from the cub, to know that the cub is doing well.
I understand you’ve been studying different types of bamboo and their effect on a panda’s welfare.
I can’t say much in too much detail, because I’m not a bamboo specialist. But in China, they have other varieties of bamboo, and though they feed them just about the same as we do, they have different varieties. They are fortunate that their bamboo growing season is about 10 months out of the year, whereas our growing season for bamboo shoots is about two, maximum three months, out of the year. So they have greater access to bamboo shoots than we do. We supplement with other foods, offering apples, pears, sweet potatoes and liquids such as honey water and apple juice.
What was the highlight of your China trip?
I think it was great to be able to meet our colleagues in China. Going over to China helps to reaffirm our commitment with our colleagues there and helps to give us a better understanding of the kind of work they do both in captivity and in the wild. They currently have one male that they have reintroduced into the wild, so ultimately those are the kinds of stories we want to be a part of and hear about. It’s not just reproducing cubs, it’s also about making sure that the species can exist in the wild. This is a very serious goal that we’re both committed to, and working together as one group, that synergy is great.