In a recent article for the Atlantic, Holocaust expert Deborah Lipstadt says there are two types of Holocaust denial: “softcore” and “hardcore."
According to Lipstadt, softcore Holocaust denial is more concerned with minimizing the facts, "arguing that Jews use the Holocaust to draw attention away from criticism of Israel."
It also calls for the "de-Judaization” of the Holocaust.
In 2014, the Anti-Defamation League surveyed more than 53,000 people in over 100 countries and found staggering results.
At the time, 54% of respondents had heard of the Holocaust, and 32% of them said that the number of people who died had been exaggerated.
Of the 74% who had never met a Jewish person, 25% harbored anti-Semitic attitudes. A
2015 update of this survey estimated that 24 million Americans still hold anti-Semitic sentiments, and 20% of those surveyed believe that Jews “still talk too much about what happened to them in the Holocaust.”
According to the Holocaust Museum website, the movement has gained a boost from the internet “because of the ease and speed with which such misinformation can be disseminated."
Unlike Germany or France, the U.S. does not criminalize the denial of the Holocaust or the propagation of Nazi and anti-Semitic speech, the website reports. Read more
These photos appear to show evidence of creatures such as vampires, faeries and other fantastical creatures. They are all exhibits of the Merrilyn Museum in East London, run by a mysterious Alex CF.
Alex asserts that the items were all found in a London basement in 2006, prior to the building’s demolition. They were sealed behind two brick walls in hundreds of wooden crates. They belonged to a crypto-naturalist, Thomas Merrylin, who was born in 1782. He travelled throughout the world collecting specimens, fuelled by a love of esoteric natural history. His specimens challenge our laws of biology, chemistry and physics, and call our definition of many myths into question.
I’m 100% sure this is an art project and there is no truth to any of these claims, but the artefacts are truly beautiful to behold and absolutely fascinating.
You can even purchase them at the Merrylin Museum’s website.
really need some advice about writing a research paper for my art history major i have no idea where to start it can be on pretty much anything
When you have an open-ended assignment like this, it can be difficult not to panic, especially if you aren’t necessarily familiar with art history or how to write an art history essay. You might feel like Michael Scott:
I’m not sure what your experience is with this field, but my first tip regardless would be, don’tpanic. Every expert had to start at the beginning before they became experts. (Fun gifs included to reduce urge to be stressed about what will be your super awesome paper!)
Identify a topic: Think about what you’ve learned so far in your art history course(s). What artist, period, or type of art interests you the most? When you’re writing a research paper, try to pick a topic/theme that you genuinely find interesting. What type of topic would be most relevant to the class you’re in?For example, would something broad like “feminist art history,” where you can examine lots of different paintings and artists, be more fitting to your course? Or something more specific like “the paintings of Artemisia Gentileschi,” where you could focus on a feminist interpretation of her art)? Look through your textbook, the Google Art Project, the Heilbrunn Timeline of Art History, Smarthistory, and/or major museum websites if you aren’t sure what artists, type of art, subjects, or time periods you’re interested in; find something that speaks to you, and write about that (assuming it fits in with the course theme and requirements).
Come up with an argument: Once you know what you’re writing about, come up with an argument - a thesis - that will drive your research and your paper. One way to come up with an argument is to simply look at what you see: Is there anything unusual in the work(s) of art you’re writing about that you want to get to the bottom of? Are you curious about why the work(s) you’re writing about were depicted the way that they were? Do you take issue with what other authors (your textbook?) have to say about your topic?
Do your research: Doing research on the artist(s), artwork(s) and historical circumstances will (obviously) help you develop your paper and refine your argument. Your argument might even change in the course of your research. I’ve listed resources for online art historical research here. The Metropolitan Museum of Art’s publications division, MetPublications, and the Getty Research Institute’s Digital Books initiative are two free, open access online initiatives that may also provide you with more bibliographic sources. As you research, you may want to check your sources’ own bibliographies for potential new sources. Don’t forget to cite as you write (going back and citing your references at the end of the writing process is a pain).
Make an outline: Once you feel like you have a strong grasp of your topic and your argument, make an outline for your paper. Research papers tend to be longer and have a wider scope than can be answered in a basic five-paragraph-format essay, so an outline is crucial. The bookends of your paper are the introduction and conclusion: the outline’s job is to fill in the details. It might be helpful to think of your paper as a mystery you’re trying to solve; structure the body of your paper using the evidence you’ve found in your bibliographic sources. Depending on the topic, scope, and length of your paper you might want to do this matter-of-factly, or you might want to build your paper up to a dramatic denouement, where your strongest and most surprising piece of evidence (or twist) comes at the end.
Write!: Finally, start writing. Some details of my writing process can be found here, which might be helpful.
Remember to relax & keep it simple. Don’t try to reinvent the wheel; build on what others have already said and discovered and if you can, try to contribute something to the existing discourse.
so I really like fashion history and your time travel au is making me think of all the things sid would have worn--boy's dresses until ~5 years old (1790s)! trouser suits with v ruffly collars (1790-1800s)! breeches (1800-10s)! cravats and sideburns (1810-20s)! frock coats with tails (1810-20s)! probable /corsets/ (1810-20s)!!!!! (ofc some of these lasted longer/started earlier + there's more stuff but this is p much when he'd have worn these) (but the corset thing. just. oh my god. pLEASE.)
OMFG imagine Geno going on the museum website for the Crosby Manor and there’s all these paintings of family members and one of them is Sidney as a baby.
Geno: Who this? I didn’t know you have sister. Not in the reports? Sidney: Zhenya that’s me. Geno: Oh.
Hi, do you have anything about the clothing in ancient egypt?
I don’t know any resources off the top of my head, but I’d recommend looking into information on history museum websites as a starting point. Because cloth deteriorates over time and the culture existed so long ago, most of the references existing today for Ancient Egyptian clothing are from either descriptions or statues and other art, rather than having physical examples, so a research institution like a museum would probably be your best bet for finding these first-hand sources and historically accurate recreations.
With a body reaching about 20 feet in length, Centrosaurus, which belongs to a group of horned dinosaurs called centrosaurines, was smaller than its more famous cousin Triceratops, which belonged to the other major group of horned dinosaurs called chasmosaurines.
This specimen was uncovered by famed fossil-hunter Barnum Brown in 1914. He considered it to be the most complete specimen he had ever found, “in all details from the tip of the tail to the end of the nose.” Centrosaurus lived in the Late Cretaceous, about 75 million years ago. Brown and his crew discovered the skeleton in the spectacular badlands along the Red Deer River in Canada.
Q u Q Eee the rest of my family just arrived! LOOK AT THAT INTENSE BLUSH. Dang man, chill~ I’m so damn happy. I’ll be posting pics of the other things I got from Jelly and on Buyee once they’re all here, but I wanted to post a picture of these since they’re all together now (+ a little cameo of my purples).
Neat thing I noticed while looking them over, the blue-apron’s text is in English, and her cloth tag actually says “Baby Alpacasso” while the others say “Kid Alpacasso”. Fortunately I know their legitimate since I bought them directly from the museum’s website. <3 (Bought them through ZenMarket, A+ service ya’ll)
If anyone wants detailed pictures of any of them, I’ll be happy to provide them!
I know that this is not a History blog, but I recently read Born a Crime by Trevor Noah and I have a sudden urge to learn as much as possible about apartheid and racial discrimination in South Africa (and the rest of Africa really). I basically learnt nothing about non european. So yeah, maybe you or some followers can point me in a good direction. Thanks so much in advance.
Honestly I’m not the best resource for this but I’ll try. I always start with the wikipedia page for a quick overview of the subject so - Apartheid wikipedia page. Then I’d suggest looking at the sources used and going from there.
Here are some resources I found that you might find useful. Disclaimer, I haven’t read any of these.
South Africa: A Modern History -
This book is a comprehensive survey of the whole of South African history from pre-colonial times to 1999. It handles all major topics in some depth, with special focus on the dramatic changes in that country since 1990. It includes an important chapter on the Truth and Reconciliation Commission and information on the recent South African elections. Both authors have long experience of university teaching in South Africa and have published widely in the field. - Description from GoodReads
In 1938, coelacanths, long thought extinct, splashed into the modern era. A specimen pulled from the trawling nets of a South African fishing boat was discovered by Marjorie Courtenay-Latimer, the curator of the East London Museum in South Africa.
The discovery was international news, and for the next 14 years, scientists searched for another specimen. Thousands of the above leaflet were printed, distributed, and posted up and down the coast of East Africa. They offered a reward for an intact fish. “Look carefully at this fish,” the poster proclaimed in English and Portuguese. “It may bring you good fortune. Note the peculiar double tail, and the fins….every one is valuable for scientific purposes and you will be well paid.”
Trilobite Tuesday returns! Gabriceraurus mifflinensis is about 465 million years old, found in the fossil-rich Ordovician rocks of Wisconsin. Note the pronounced genal and pygidial spines that emanate, respectively, from the trilobite’s head and tail. Scientists are divided as to the role these spines may have played in the trilobite’s life. Some believe they were used to help in maneuvering through primordial seas, while others say they may have been used as an aid in feeding or even mating.
Today’s Fossil Friday is one of the most famous non-bird dinosaurs in the world. Recognize it? It’s Velociraptor, best known for its star turn in the movie Jurassic Park. The look and behavior of the movie-version Velociraptor was actually based on Deinonychus, a much larger and more terrifying creature. But the name Velociraptor was more dramatic and easier to say, and a star was born.
This Hollywood star has many features that mark it as a close relative of modern birds. The bird-like traits of Velociraptor included hinged ankles, swivel-jointed wrists, and a furcula, or wishbone. The animal’s feet are bird-like, too, with three forward-facing toes—though a horny sheath would have covered the toe and finger bones you see, doubling their size.
Hi Justin! First of all I'm a HUGE fan, and I've been following you for a long time. However I would REALLY like to ask if you have any tips for drawing diverse chars without offending/appropriating. I loved your 'desert nomad' paint vid, but I'm so afraid to even touch subject matter like that. How can I reference without being insensitive or worse? especially if making a 'fantasy' interpretation (YIKES)? I've seen so many people discuss how it is being done wrong - but not how to do it right.
I am such the wrong person to ask about this X) I’m about as privileged as you can get, finances not withstanding, so right off the bat I’m going to defer. This is an excellent article about things in general (it says writing, but just substitute drawing\design.) I would also suggest looking up artists\writers of color and what they’ve written about representation.
That said, here’s the baseline: -You will fuck it up. I have definitely fucked it up. When you mess up, apologize with humility and sincerity.It seems like that won’t be a problem since you are used to it, but the absolute best thing to do in a worst case is to apologize and then FIX IT. This stuff is really hard! It takes lots of time to get over the fear of being complicity in a harmful system. If anyone reading this notices I fucked up, let me know. I’m still pretty fresh at this myself u_u
-Approach all subjects with sincerity, respect, and deferment. There is a line between the nuances of caricature and stereotypes. Respect is usually that line. Research is respect. Stereotypes are generally flat, thoughtless representations of a deep population- your goal is to make any representation as deep as possible.
-As far as cultures go, if you’re referring to an extant culture, do thorough research. Don’t just google image search, as often you will get mislabeled or otherwise generalized and incorrect info- do wikipedia\museum\cultural website dives to make sure your information is authentic. In some ways, I think of it as fan-art of the culture. Have the same dedication to canon in real life as you might for fictional things :)
-As far as race goes, learn to draw diverse features by drawing diverse faces. Seriously. I think the hardest thing for most people is to not just draw Anglo\European features and put dark skin on it and call it a PoC. Just like drawing old\young people, you need to learn to draw diverse people if you want to draw diverse people :p This will go a long way towards helping deepen your sense of “caricature” (over flat, stereotyped features). In case it’s not abundantly clear, when I say “Learn to draw”, I mean study it from life and reference.
Again, I’m such a bad person to ask about this. I know this sounds cliche, but when drawing or painting those things, I really just think about the person’s day. Who are they? Where do they live? What are their values? These things manifest themselves in the art- soft vs. craggly hands, light vs. heavy features, body type, gait, stance, accouterments. Referring specifically the nomad painting, I am fairly certain there’s an amount of appropriation in it that I won’t defend- but overall, the cultural forms used don’t carry the character (I hope), I like to think the character through expression\mannerism is carrying himself, with the cultural forms describing something about his background. That probably still qualifies as appropriation though :p
Tl;dr: Be able to name the people and cultural forms you’re drawing, and have respect for them. Are you drawing a member of the Lakota people? Apache? Blackfoot? Know. If you mess up, apologize and FIX IT.