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National World War I monument made in Englewood is unveiled in Washington D.C.

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National World War I monument made in Englewood is unveiled in Washington D.C.



‘A Soldier’s Journey,’ the centerpiece of the nation’s World War I monument, was five years in the making in New Jersey by artist Sabin Howard

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With candles glowing and trumpets blowing, in a ceremony that combined stirring music and somber reflection, America’s World War I memorial was officially dedicated Friday night in Washington, D.C.

“The greats of the Italian Renaissance and their lineage played forward to create excellence in this memorial, and I know they are watching tonight,” said Sabin Howard, who assembled the mammoth bronze frieze over a four-year period in a 5,000-square-foot studio in Englewood.

He was speaking to the crowd of about 1,000 military veterans, politicians and the lay public, gathered at the recently created National World War I Memorial Urban Park — formerly Pershing Park — abutting the Federal Triangle in downtown Washington.

“This memorial is like a wedding ring,” said Joseph Weishaar, the architect of the project. “It is a symbol honor and fidelity and commitment that has remained vibrant for nearly a century between the nation and the men who served in the first world war.”

“A Soldier’s Journey,” the centerpiece of the nation’s World War I monument is a sculpture that tells a story.

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So it was fitting that sculptor himself should be on hand, to narrate.

“This is a story of what happens to one family and one soldier when he enters into service for his country.” Howard said in a recorded narration during the presentation. “The soldier is an allegory for the United States. It explains the hero’s journey through World War I.”

In the presentation, called “First Light,” the crowd was taken, panel by panel, left to right, through the 58-foot long, 10-foot high bronze frieze.

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As first one section and then another lit up, Howard — his recorded voice — told the story. The father, being handed a helmet by his little daughter, going off to war. The soldier, now one among many, in an agonizing tableau of bayonets and bombs, with fellow doughboys screaming and nurses caring for the wounded. And finally — in the last panel — the returning civilian handing the helmet back to his little daughter.

Then, after the crowd had a good look, sequentially, at the 38 figures, all the lights went up. And there it was, all complete: “A Soldier’s Journey,” dedicated on General John J. “Black Jack” Pershing’s 164th birthday, and the new main attraction in what used to be called Pershing Park on 11th Street.

It is now the National World War I Memorial Urban Park — the $40 million project of the World War I Centennial Commission (the war ended Nov. 11, 1918) and paid for largely through donations.

An appropriate setting

The sculpture itself, the largest freestanding bronze relief in the western hemisphere according to Howard, is just part of the project.

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The whole square has been re-landscaped, with fountains, a reflecting pool, and berms on three sides to dampen the traffic noise and create a quiet atmosphere for contemplation. An existing statue of General Pershing by Robert White (grandson of architect Stanford White), on site since 1983, has been worked into the new scheme.

“It’s a very serene place,” said Joseph Weishaar, the architect of the park. “Especially with the fountains going. You have the roar of the water, evocative of the sounds of war.”

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It was Weishaar, winner of a design contest by the Centennial Commission for his submission “The Weight of Sacrifice,” who brought Howard on board as his sculptor of choice.

“His accomplishment is one of amazing craft,” Weishaar said. “I don’t think it’s rivalled anywhere. My role is like a jeweler making a ring. I made the ring. But Sabin is the diamond. The sculpture is the diamond. That’s the piece that everybody is going to be wowed about.”

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On the reverse side of the tableau is inscribed part of a poem by Archibald MacLeish:

“Whether our lives and our deaths were for peace and a new hope

or for nothing we cannot say; it is you who must say this.

They say: We leave you our deaths. Give them their meaning.

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We were young, they say. We died. Remember us.”

Howard’s sculpture, like this verse, is not jingoistic. But neither is it cynical. It invites viewers to ponder the first modern war, the “war to end all wars” that killed 116,516 Americans (40 million worldwide) in a global cataclysm that was viewed by many afterwards as a tragic, senseless waste.

“As an artist, I’m very anti-war,” Howard said. “I didn’t make a sculpture about the glorification of war. I made a sculpture about human beings that are there in a very noble and heroic act of being in service to one’s country. This is their story. It’s to honor them. And I’ve had hundreds of letters from military families saying thank you, finally, for acknowledging us. The cool part is, they’re saying thank you for your service.”

That was, in its way, heroic too.

A long term project

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For five years, Howard, his assistant Charlie Mostow, and a handful of others put in long days in the Englewood studio. For hours on end, models posed, Howard sculpted, and his wife, filmmaker Traci Slatton Howard, documented.

One by one, Styrofoam “maquettes” were covered with clay to create the figures, which were then transferred through a silicon mold to wax, which in turn became the ceramic shell. These were sent over to England to be cast in bronze. For the last month, on and off, Howard has been on-site in Washington D.C., supervising as the pieces were put in place with cranes, in the setting that Weishaar created for them.

“The reassembly was incredible,” he said. “Four panels, 38 figures, and everything has to fit. If it doesn’t, what are you going to do — chop away the stone or something?”

“A Soldier’s Journey” is a monument, in more than one sense.

To all the soldiers and civilians who served and died in World War I, certainly. More, to all soldiers, in all wars (veterans of the Iraq and Afghanistan wars served as models).

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But additionally, it’s a monument to an idea: Sabin Howard’s fervent belief that modern America needs a public, neo-classical art. An art that unifies rather than divides. An art that can ennoble our squares and promenades, the way Michelangelo’s and Donatello’s sculptures adorned the piazzas of Florence.

“In the Renaissance, they used to make sculptures like the David, and they would put it in the square,” said Howard, who trained in Italy and at the Philadelphia College of Art (now the University of the Arts).

Such art, he said, uplifted. “It was a symbol of rising to the occasion, as a nation, and on a citizen level,” he said. “This is the exact same damn thing. I made a sculpture with 38 figures that shows a tapestry of the United States and its variety, with women, children, Democrats, Republicans, all under one flag as Americans. We are one unified country. That’s what the sculpture is.”

African Americans, Asians and Native Americans are included among the figures (though Howard takes the liberty of showing Black soldiers fighting alongside whites; the U.S. army was then segregated).

“This is something that brings us together,” Howard said. “Most modern art brings us apart.”

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Aftermath of war

Ironically, it was World War I itself, and the ensuing cynicism about war and sacrifice, that gave rise to the iconoclastic modern art movements that dominated Western culture for the last 100 years. With “A Soldier’s Journey,” Howard wants to use that same war as a jumping off place, to bring the heroic back to art. “This is an American cultural renaissance,” he said.

His next project is also in that vein: an “American Exceptionalism Arch” project in Dallas, which will probably be completed 10 years from now. It too, will uplift and ennoble. “It’s another epic sculpture, which this many figures and this amount of story,” he said.

One thing he says he learned from working with veterans during the World War I project: the notion of being “in service of.”

“I feel that my work is in service to something greater than myself,” he said. “That’s what I’m so excited about.”



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‘It’s a twilight zone’: Iran war casts deep shadows over IMF gathering in Washington

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‘It’s a twilight zone’: Iran war casts deep shadows over IMF gathering in Washington


The most severe energy shock since the 1970s, the risk of a global recession and households everywhere stomaching a renewed surge in the cost of living – hitting the most vulnerable hardest.

In a sweltering hot Washington DC this week, the message at the International Monetary Fund meetings was chilling: things had been looking up for living standards around the world. But then came the Iran war.

“Some countries are in panic,” said the fund’s managing director, Kristalina Georgieva, addressing the finance ministers and central bank bosses in town for the IMF and World Bank spring meetings. “The sooner it [the Iran war] ends, the better for everybody.”

Such gatherings are not typically used to fight geopolitical battles. “You don’t get people shouting at one another at these things,” one senior figure remarked. But, as a record-breaking April heatwave swept the US capital, no one could ignore the mounting damage from the Iran war.

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Those familiar with the mood over breakfast at a meeting of the G20’s representatives on Thursday, which included Donald Trump’s treasury secretary, Scott Bessent, and the outgoing US Federal Reserve chair, Jerome Powell – said the atmosphere in the room was sombre amid an open exchange of serious views.

“It is such a twilight-zone meeting,” said Mohamed El-Erian, a former IMF deputy managing director who is now chief economic adviser at the Allianz insurance group. “There are several shadows hanging over it: one is the shadow that comes from concern about the global economy as a whole.

“The second is that some countries are going to be particularly hard hit, and it’s mostly countries that very few people are talking about. But the third concern is the adding of insult to injury: the fact that the US, which started a war of choice, is going to be hit, but by a lot less than elsewhere in relative terms.”

Before Thursday’s breakfast, Rachel Reeves had started her day with an early-morning jog. Joined by her counterparts from Spain, Australia and New Zealand for a run down the iconic National Mall, she posted an Instagram selfie with a not-so-subtle dig: “Friends that run together – work together.”

A day earlier, the chancellor had told a CNBC conference that she thought “friends are allowed to disagree on things” as she criticised Trump’s Iran war as a “mistake” and a “folly” that had not made the world safer.

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Rachel Reeves posted this image on Instagram from Washington DC on Thursday with the message: ‘Friends that run together – work together.’ Photograph: Rachel Reeves/Instagram

Speaking at a venue just steps away from the White House, before a one-on-one meeting with Bessent, she said this “fair message” was needed because UK families and businesses were feeling the pain from higher energy prices triggered by the conflict.

Those close to Reeves insist her meeting remained cordial. Britain and the US have significant shared interests in AI, financial services and trade. The chancellor also said the UK government had little time for the Iranian regime.

But with the IMF having warned on Tuesday that the Iran war could risk a global recession – in which Britain would be the biggest G7 casualty – it was clear Reeves had travelled to Washington ready to pick a fight.

“I’m struck by how vocal she has been and the words she used,” said one global financier. “We know the disagreement between Bessent and [European Central Bank president] Christine Lagarde earlier in the year. But that was in private.”

At a cocktail party held at the British ambassador’s residence for hundreds of diplomats and financiers – including the Bank of England’s governor, Andrew Bailey, the chief executive of Barclays, CS Venkatakrishnan, and dozens of senior figures – this transatlantic tension, weeks before King Charles’s US state visit, was a major topic of conversation.

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The other, in the balmy residence gardens, was one of its former occupants, Peter Mandelson, as revelations about the former ambassador’s appointment threatened to further rock the UK government.

Before the war, the agenda for the IMF had been about global cooperation; the adoption of AI, jobs and work to eradicate poverty. Each of those tasks had now been complicated, but not least the task of countries working together.

For many at the meetings, the focus was on forging closer global cooperation without the world’s pre-eminent superpower.

“Everybody is talking about how you hedge against American decisions,” said David Miliband, the former UK foreign secretary, who now runs the International Rescue Committee. “You can’t do without them, because they’re 25% of the global economy. But, in a lot of fora, they’ve pulled out.

“So everyone has to think, how does one structure international cooperation? The old west is not coming back. And so everyone has to figure out how to position themselves for that world.”

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For those gathering in Washington, there was irony in the fact that they were meeting in the halls of institutions founded, under US leadership, to promote global cooperation after the second world war. The whole idea of the Bretton Woods institutions was to avoid the dire economic conditions and warfare of the 1930s and 1940s. Yet this year’s meeting was taking place amid these intertwining problems.

In their conversations about the best economic policy response to the shock of conflict, the economists also knew the real power to make a difference lay two blocks across town from the IMF and the World Bank – behind the security cordons and construction equipment blocking the White House from public view. “It is not clear they can do anything about it,” said El-Erian.

Still, with a booming economy driven by AI – including Anthropic’s powerful Mythos model, the topic of much conversation – most countries cannot afford to completely break off US ties.

“People want to find ways to insulate themselves from the mess. But, on the other hand, they admire the US private sector,” El-Erian said. “The best way I’ve heard it put, is: they want to go long the private sector and short the mess. But it’s almost impossible to do.”





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Rosselli opens in DC, serving classic Italian flavors from chef Carlos

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Rosselli opens in DC, serving classic Italian flavors from chef Carlos


Rosselli is the newest restaurant to open in DC.

Bringing in classic Italian flavors, Chef Carlos explained how he hopes his food is a unique addition to the Italian food scene in the DMV.

Chef also demoed a signature dish with Brian and Megan.

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You can learn more and book your table here.



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DC Navy Yard shooting: What happened in Washington? ‘Targeted attack’ feared as scary visuals emerge

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DC Navy Yard shooting: What happened in Washington? ‘Targeted attack’ feared as scary visuals emerge


A shooting reportedly took place in Washington DC’s Navy Yard on Thursday, and visuals from the scene were shared online. Independent journalist Nick Sortor shared a clip saying “Heavily armed US Capitol Police officers are RACING to a reported shooting in the vicinity of a high-ranking US government official in Washington, DC’s Navy Yard.”

Heavy police presence was reported in DC’s Navy Yard after a shooting. Image for representational purposes. (Unsplash)

Sortor noted that US Capitol Police were rushing to the scene. He noted that the black SUV seen in the clip was an armored Chevrolet Suburban which was used by members of the Congress and members of the President’s cabinet. Sortor further reported that it was ‘unclear’ if the attack was targeted.

The alleged shooter is reportedly not in custody yet and police are searching the area. “I personally witnessed that official be EXTRACTED via undercover Capitol Police officers, protected by uniformed officers carrying long rifles. I will not name the official without their express permission, as I don’t want to dox their home. Other officers can be seen sweeping the area for evidence like shell casings,” Sortor further said.

Also Read | Towson University: Shooting reports on campus in Maryland spark fears; first details

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The DC Police Department and the US Capitol Police are yet to comment on the matter.

Navy Yard shooting: Reactions and fears

Several people wondered about the politicians who live in the Navy Yard neighborhood. Grok, the AI chatbot, helped out, saying “Publicly reported ones include Rep. Alexandria Ocasio-Cortez—she’s been living in a Navy Yard apartment for years. The area’s also drawn younger congressional staffers and some Trump admin folks in the past for the modern housing near the river. Can’t list “all” though—most officials’ exact homes aren’t public for obvious security reasons.”

It added “No, no current Trump cabinet members are publicly reported as living in DC’s Navy Yard neighborhood. Several senior officials (SecState Marco Rubio, SecDef Pete Hegseth, AG Pam Bondi, ex-DHS Sec Kristi Noem) have moved into secure military housing at Fort McNair or Joint Base Anacostia-Bolling for safety. Noem previously rented in Navy Yard but relocated. Exact private residences aren’t public record.”

To be sure, the name of the official has not been released yet, so Grok’s answers are only guesses based on public record or past information. One wild claim was made on X that the shooting ‘targeted Donald Trump’. However, this came from an unverified profile and no corroboration was provided. President Trump is not publicly known to be in the Navy Yard area, rather remaining in the White House when he is in Washington.

The news of the DC Navy Yard shooting comes days after a takeover by a teen mob. The unruly incident saw four teenagers charged with disorderly conduct, reports on April 12 noted.

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