…the Ronald Reagan Presidential Foundation and Institute announced its “Operation Nighthawk Landing” project – a Reagan Foundation & Institute and Lockheed Martin Skunk Works® joint effort that will soon bring an F-117 Nighthawk Stealth Fighter to the Reagan Museum for permanent exhibition. Made possible by loan from the National Museum of the U.S. Air Force, the F-117 placed on display will serve as a visible reminder to the Library’s near half-million annual visitors of President Reagan’s commitment to the rebuilding of the U.S. military through his “Peace through Strength” program. The F-117 Nighthawk, Tail #803, nicknamed “Unexpected Guest,” flew more combat sorties (78) than all other F-117s combined. The aircraft entered service in May 1984, during President Reagan’s administration.
“The Reagan Library will now be one of two places in the nation where the general public can visit an F-117 Stealth Fighter on permanent display,” said John Heubusch, executive director of the Ronald Reagan Presidential Foundation and Institute. “We are deeply grateful to Lockheed Martin for their outstanding assistance in restoring the aircraft for such a meaningful display and to the U.S. Air Force for making it possible for the Reagan Library to exhibit the plane for millions of visitors to enjoy for years to come.”
The F-117 Nighthawk was the world’s first operational stealth aircraft. Between 1981 and 2008, Lockheed Martin produced 59 operational F-117s and five developmental prototypes, but the aircraft weren’t publicly acknowledged until 1988. Known as “stealth fighters,” the F-117’s angular shape was designed to reflect radar waves and was bolstered by the use of a radar-absorbing material. Because the aircraft was only expected to operate at night, it was painted black to make it more difficult to discern against the night sky.
Over 200 of the world’s leading international Modern and contemporary art galleries display artworks by over 4,000 artists, including paintings, sculptures, installations, photography, film, video, and digital art. Visitors can find works ranging from editioned pieces by young artists to museum-caliber masterpieces. 
A key writer of the late 19th century, Joris-Karl Huysmans (1848-1907) was an art critic who is still little known or little understood by the general public. However, his contribution to the artistic press and the aesthetic debate was as decisive as the impact of his novel 
More passionate about Hals and Rembrandt until his discovery of Degas in 1876-1879, Huysmans admitted that this was a defining moment. And yet, his art criticism immediately accepted the possibility of a double modernity. The modernity of the painters of modern life and that of the explorers of dreams were not mutually exclusive. Here, Manet coexists with Rops and Redon. The desire Huysmans showed very early on to escape from the logic of church doctrine no doubt blurred the perception of his aesthetic choices.
How is a drapery put in place? For what reasons does this motive persist until today? How to explain its power of fascination? These are the questions that this exhibition intends to pose, in order to enter the “factory” of the drapery and to get closer to the artistic gesture. By showing the stages of making a drapery, the visitor will discover the singular practices of artists from the Renaissance to the second half of the 20th century.
Albrecht Dürer, Drapery Study, 1508, Brush and Indian Ink, heightened white on dark green paper
In “Unto This Last and Other Essays on Art and Political Economy” (1860), which gives the exhibition its title, Ruskin “sees” interconnected social injustices. He attacks economic inequality. Later, he sets out to establish a utopian community in working-class Sheffield, England. In one gallery we see his influence on “progressive thinkers worldwide.” Gandhi said that reading “Unto This Last” in 1904 transformed his life and ideas.
‘If you can paint one leaf,” John Ruskin once declared, “you can paint the world.” And in “Unto This Last: Two Hundred Years of John Ruskin”—the hypnotically potent (though flawed) exhibition at the Yale Center for British Art marking the bicentennial of his birth—we see how wonderfully he kept trying.
Boomers Daily 