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August 4, 1996 The front page of the Arts section of the San Diego Union-Tribune features the Mingai Museum in Balboa Park.
1996 Was How Many Years Ago
As the Mingei International Museum was preparing to open at the newly rebuilt House of Charm in Balboa Park 25 years ago, former Union-Tribune art critic Robert Pincus spoke with founder and director Martha Longenecker. This year, after three years of closure and a $55 million renovation, the museum dedicated to “People’s Art” will reopen on September 3rd.
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“I love this place,” says Martha Longenecker, director of the Mingei International Museum of Folk Art. And you never doubt her for a second.
She’s talking about her new home in Balboa Park, not the museum’s former space at University Towne Center. But that love certainly extends to Minye in all dimensions, past and present.
A debut exhibition in a new area is likely to attract a crowd. “America’s Expression of Freedom: People’s Art, By People, For People” (until December 29).
Many objects borrowed from New York’s historic Museum of American Folk Art range from early folk art to contemporary creations, from flags, eagles, the Statue of Liberty and Uncle Sam to less familiar homage to democracy and republic. They range from icons to icons.
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As part of this spectacular show of America’s premiere, the museum is presenting a lineup of revered creatures from “The Denzel Carousel Menagerie: A Five-Generation, Living Tradition.”
Perhaps the best-known creditor of “American Expressions” is Jasper Johns. Jasper Johns has recently occupied a lasting place in art history because of his painting of the American flag. These paintings made people send him things with a flag, one of which (to be published in “American Expressions of Liberty”) is a round linen fan from the turn of the century. stars and stripes. .
When Longenecker talks about the museum and her first exhibition, it’s hard not to be swept away by his good humor.
“For the first time, we can make what we do easier,” Longenecker said. “We have a real foundation on which to fulfill our mission.”
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As the only director in Mingei history since 1978, Longenecker has had to create a compact space for the University Towne Centre. But with the new facility, the museum has dramatically risen to a high profile, and has become part of an increasingly impressive exhibition complex that includes the San Diego Art Museum, the Timken Art Museum, the Human Museum and the Museum of Photographic Arts.
Longenecker dismisses these terms as high and low culture when it comes to the American folk art she will showcase. She tells her that her art is for everyone, regardless of class, creed, or skin color.
This is a perspective that is consistent with his overall philosophy of art and is reflected in the name of the museum itself. The Japanese scholar Soetsu Yanagi coined the term mingei by combining the two words min (person) and gei (art). (She met Yanagi here in the United States in 1952.) And Longenecker, who studied pottery in Japan with two famous potters Shoji Hamada and Tatsuzo Shimaoka, became acquainted with Yanagi’s ideas while traveling in Japan. (Her trip in 1962 was her first of her many trips to her.)
Mingei’s passion for folk art had a decisive influence on Longenecker. In 1974 she founded Mingei International, a public non-profit foundation, with her late husband, psychologist Sydney Martin Roth. Two years later, her couple and about 200 supporters established the Wallless Museum. Then, in 1978, Mingei opened its doors at the University Towne Centre.
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Since then, the show has broadly expressed the Mingei philosophy (a vision of art by people, by people and for people). UTC’s debut was “Folk Toys of the World”. Over the years, “Early American Quilts and Weathervanes” (1980), “Romanian Folk Art” (1981), Ethiopian Textiles, Baskets and Icons (1983), “China” (1987) and “Masks of the World” (1995). Solo exhibition focusing on potter Laura Andreson, weaver Eva Golik and self-taught painter Earl Cunningham.
One of the most memorable and innovative recent efforts was “The Kind Spirit: The Eloquence of American Shakers and the Function of Japanese Living Art”. Recently, it won first prize in the exhibition catalog design competition of the American Association of Museums of Museum and was featured in a documentary aired on KPBS-TV.
The 18-year project list gives us a clear conception of what the World Folklore Museum is. But Longenecker says she’s not drawn to her long-term plans.
“I didn’t know we would be there in five years,” she said. “It was a journey into the unknown. It would have been boring if we knew where we were going in 10 years.
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“We didn’t start a museum to have a museum. We wanted to deepen our knowledge and understanding of the arts.”
“I think this facility allows us to reach an explosive level of creativity, the true flowering of the museum,” she says.
The 76-year-old Longenecker doesn’t seem ready to give up her leadership role yet. Having such a space is too exciting a prospect not to continue working as a director.
And for Mingei, who has more than 8,500 collections, the realization of her dream doesn’t come too soon. They represent cross-sections of popular arts and crafts, such as terracotta sculptures in India, period costumes in China, and modern ceramics.
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Longenecker was also a potter. She taught this subject for 35 years at San Diego State University after receiving her master’s degree from Claremont Graduate School in 1955. She (she is currently a professor emeritus at SDSU).
The transition from her teacher to her curator/director was logical for her. “Everything (museum) is an educational project,” she said.
But she tells her that her education cannot be reduced to lectures, bulletin board catalogs, videos, but she thinks all of this is important. Longenecker says the most important thing a museum can offer is great stuff.
She said, “When you enter the gallery, you can feel the energy of the objects. I hope none of this puts a psychological burden on you. It’s like watching music, enjoying it and being here.
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This was a huge project for a rustic run museum. And if opening a new space isn’t enough, Mingei will keep its current space in UTC until the end of 1997. (Currently on display in Old Town until December 29: “The Color of the Rainbow Snake: Panama Art by the Kelton Foundation and Selected Collections”)
Still, Longenecker doesn’t seem to care. She said, “I’ve always believed that if you do the right thing, something will happen if what you’re trying to do is right. The public will react.”
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What do Shadowless Charizard, Master’s Key, and Prerelease Raichu cards have in common? They are some of the rarest and most expensive Pokemon cards in existence today. The cards have been depreciating recently, but TCG hasn’t gone away, the gaming team has recently released a Pokémon Go set, and it looks like they’re now working on a reality TV show.
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In this list, we will focus on the most valuable Pokemon cards. Since very few of the cards have been released or have been part of special events and promotions, you can usually find them in this elite category. You may be surprised to see what cards are on this list, so without further ado, let’s take a look at the top 15 cards.
Although this card is made of 24 carat gold, it is a reproduction of the game’s original Pikachu.
Although many of the rarest Pokemon cards were released early in the game, this one is an exception as it first appeared just a few years ago in 2016 to commemorate the 20th anniversary of the Pokémon TCG.
What makes Pikachu’s 20th birthday card even more special is the fact that it’s made of pure gold. In fact, 11 grams of 24K gold. Japanese jewelry store Ginza Tanaka originally produced a limited number of pure gold cards based on the Japanese Pikachu cards. It was nicknamed “Fat Pikachu” because of the electric mouse’s distinctive chubby cheeks in the original design.
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The only way to get a golden copy of Pikachu was to participate in the lottery held in 2016. If you win, you will have the opportunity to buy a copy of the limited edition card for JPY 216,000 (or approximately $2,081/£1,700). . Im here
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