Does wanderlust have you wistfully gazing out the window? Yeah, us too. Hit the virtual road with Times journalists and photographers, as they share never-before-seen video, photos and experiences from captivating spots around the globe, every Saturday. This week, we’re going on safari in search of Zambia’s stunning wildlife.
With special guest Marcus Westberg, photographer. Hosted by Amy Virshup, travel editor.
Filmed and Edited: Bevan Percival
The ‘lock down’ has given me some time to finally put some footage together and share it on line. All these scenes were shot over the last 12 months when I was really trying to work out the best way to shoot full holy grail time lapse scenes, some of these started out that way but ended up as shorter sequences when something in my rig failed or something else got in the way.
Should anyone be able to dig up and sell dinosaur fossils? It’s a question that’s increasingly being asked as the commercial fossil market booms. WSJ met with fossil hunters and scientists to learn more about this niche market and the big bucks at stake.
The inside story of how the first confirmed COVID-19 patient in the U.S. was identified and treated in Washington State.
When a man returning from Wuhan, China in January 2020 exhibited symptoms of the novel coronavirus, public health officials in the Seattle area were already on alert.
“We had a game plan in place already,” says Dr. George Diaz, who treated patient one when he was admitted to Providence Regional Medical Center in Everett. Yet in spite of the state’s preparedness, it would soon become clear that the virus’s spread was already ahead of efforts to contain it.
“Patient One: Saving America’s First Known Coronavirus Patient” was drawn from FRONTLINE’s reporting for “Coronavirus Pandemic” – veteran science reporter Miles O’Brien and his team’s investigation of the U.S. response to COVID-19.
“Coronavirus Pandemic” premieres Tues., April 21. Stream it on the PBS Video App starting at 7/6c, or watch it on PBS or YouTube at 9/8c. Check local PBS listings.
More here: https://to.pbs.org/2ypGUOw
From Christie’s article (April 16, 2020):
Sage is renowned for her empty, enigmatic, eerily lit landscapes. Human figures are markedly absent — their presence felt only by the monolithic, architectural structures and unidentifiable, draped objects they seem to have left behind. In this respect, 1945’s Other Answers is a quintessential Sage painting.
In 1939, with clouds of war hovering over Europe, Kay Sage returned to the United States after more than two decades away. Her lover and fellow Surrealist, Yves Tanguy, soon followed her across the Atlantic, despite the fact that both of them were married to other people. In Sage’s case to an Italian prince — her official title was La principessa di San Faustino.
In the summer of 1940, Sage had her first solo show, at the influential Pierre Matisse Gallery in Manhattan. Then, in early 1943, she was part of the landmark Exhibition by 31 Women, curated and staged by Peggy Guggenheim in her Art of This Century Gallery.
From Classic Driver Magazine (April 18, 2020):
“Astonishing” is the word we are looking to describe this BMW 507. A word we use a lot if it comes to selling classic cars, but only a little few deserve this ‘title’ like this 507 does. When an exceptional model, with an unique story, from what the historical documents are well archieved, it just makes us going crazy. Add matching numbers and -colors tot his list and we are losing it totally. That’s no different with this 507.
Max Hoffman convinced BMW that if they built a competitor to the Mercedes-Benz 300SL, he would sell it profitable in the United States. The BMW was intended to fill the gap between the affordable sports cars like the triumph and MG and the exclusive cars like the Mercedes-Benz 300SL and Ferrari 250 GT California. Though, BMW couldn’t achieve their target price, for what the BMW 507 was even more expensive than the 300SL. BMW found itself in a financial difficult situation and almost went bankrupt. At the end of the day, BMW recovered from this “failure” and the 507 even became a true flagship in the whole history of automotive.
In the ‘50s BMW disposed over all fundamental ingredients which would make the 507 complete. An all-aluminium 3.2-litre V8 engine was placed in a shortened chassis of the 502. This ingenious masterpiece produced no less than 150hp and sounds like a guitar solo in your ears. To save weigt, the body was made of aluminium, which results in a 1280kg’s for a fully finished 507. Besides the phenomenal results, BMW wanted to offer luxury as well. Both aspects are just spot on.
In this episode of “Cocktails with a Curator,” Xavier F. Salomon, Peter Jay Sharp Chief Curator, hosts us again for happy hour at his apartment. The subject of tonight’s presentation is the mysterious “Polish Rider ” by Rembrandt, and the complementary cocktail is the Szarlotka, a Polish drink made with Żubrówka (vodka infused with bison grass).
Syndicated columnist Mark Shields and New York Times columnist David Brooks join Judy Woodruff to discuss the week’s news, including the Trump administration’s guidance to states about when to reopen amid the pandemic, the ongoing struggle to conduct more COVID-19 tests, Trump’s criticism of Democratic governors and what Sen. Bernie Sanders’ endorsement means for former Vice President Joe Biden.
From The Iris (Getty Museum – April 17, 2020):
To work out the details of all the figures in pen and ink would have been extremely labor-intensive, and sharpening quills and mixing inks would’ve added an additional distraction. Drawing in chalk necessitated great skill, but it also allowed Michelangelo a flexibility. He could create subtle tonal variations by applying more or less pressure onto the chalk or by wetting it. The red chalk also provided an immediate mid-tone on the paper and could be easily blended when modeling and shading forms. Being a naturally occurring material that was available to artists in sticks that could be sharpened as desired, it was also convenient and portable.
During his lifetime, Michelangelo likely produced tens of thousands of drawings. But being protective of his ideas, and to give an impression of effortless genius, he destroyed many of them. Today only about 600 drawings by the Renaissance artist survive. A Getty exhibition highlighted 28 of them, giving viewers a window into Michelangelo’s artistic process. “He used drawings to record his observations, to explore certain ideas, to further develop these ideas, to reconsider them entirely,” said Assistant Curator Edina Adam.
The exhibition included a relatively high number of drawings in red chalk, which prompted the question: Why did Michelangelo use this particular drawing material?
Visit some of the West Coast’s most popular National Parks with Google Earth! Travel from the peaks of Washington’s Mount Rainier to Joshua Tree’s cholla cactus gardens in California.
Boomers Daily 