Ranjit Hoskoté, who was on the jury charged with selecting Documenta's next artistic director, steps down amid furore over him signing a statement from BDS, a movement that German parliament describes as “antisemitic”
Category Archives: Exhibitions
Japanese markers of gratitude, along with Indigenous symbols of welcome from Australia and New Zealand, will be shown alongside mud-stained footwear, kit and balls in a new exhibition
Japanese markers of gratitude, along with Indigenous symbols of welcome from Australia and New Zealand, will be shown alongside mud-stained footwear, kit and balls in a new exhibition
The Artistic Freedom Initiative (AFI) urgently called for the safety of Afghan artists who are categorically persecuted by the Taliban as demonstrated in a new report launched today: Artistic Exodus: Afghan Artists Fleeing Taliban Rule. The report, produced in partnership with UC Berkeley Law Pro Bono Program, brings to light the abuse of people working in music, visual arts, performing arts, film and television, literature, museums, cultural heritage sites and arts education since the regime regained control of Afghanistan two years ago.
Artistic expression is now criminalized in the country, with punishments including extrajudicial killings, arrests, arbitrary detention and public humiliation; women and girls have been banned from pursuing arts education and careers; art and cultural sites have been destroyed and removed from public spaces; and arts and cultural institutions, including museums and archives, have been either nearly or completely shut down.
“Kabul did not fall once for us, it fell three times: the first when the Taliban took it, the second when they destroyed our paintings, and the third when they banned girls from going to school,” says Yama Farhad, visual artist and muralist with ArtLords. Farhad has had the laser of a sniper rifle aimed at his head while painting a mural, forcing him to abandon the project for his safety and that of his crew. Other members of the ArtLords group have been wrongfully imprisoned, physically attacked and received death threats.
Many artists in Afghanistan are in hiding, have destroyed, hidden or left behind their artworks and tools, live in dire economic situations due to being unable to practise their craft and earn a living, and are in constant fear of Taliban persecution. Despite the circumstances, international immigration and resettlement assistance has been extremely limited.
“The horrific conditions that Afghan artists face in their home country and the overt targeting of these groups by the Taliban should logically infer a well-founded fear of persecution for Afghan artists openly practising their craft,” says Sanjay Sethi, AFI Co-Executive Director. “That’s why we’re calling for the prima facie recognition of Afghan artists as refugees, meaning that they are automatically considered a refugee and therefore entitled to lawful, permanent residency in a safe host country, unless there is evidence to the contrary.”
2021 Kabul airlift | Courtesy of Fatimah Hossaini
Thus far, states have not prioritised Afghan artists for resettlement, with the exception of Germany, which has created a special pathway for artists and creative workers to seek humanitarian admission into the country. Germany approved humanitarian visa applications for more than 37,000 Afghans from August 2021 to October 2022, and it continues to offer a pathway for artists to enter the country though the Bundesaufnahmeprogramm. On the other hand, the United States – partly responsible for the destabilisation of Afghanistan after their precipitous withdrawal from the country in August 2021 – has not offered similar assistance and has even denied entry to Afghan artists with approved visa petitions.
AFI has provided legal and resettlement assistance to more than 1,100 Afghan artists and their family members since the beginning of the Taliban takeover and has communicated with hundreds of others in distress as they struggle for personal and professional survival. The new report tells the stories of some of these visual artists, musicians, filmmakers, archeologists and curators to highlight the real life impacts of the political crisis in Afghanistan and subsequent forced migration.
“Leaving the country is a painful feeling, but [figuring out] how to leave was a big challenge for me and I was alone,” says Shaista Langari, visual artist and women’s rights activist, who faced additional dangers both living in Afghanistan and while fleeing as a female artist.
Given the hostile environment for creatives at home and the lack of institutional support for the artists abroad, the rich artistic tradition of Afghanistan that stretches back millennia and is fundamental to Afghan cultural identity is facing obliteration. Afghan artists who have relocated to other countries need help in resettlement, such as access to basic services including housing and healthcare, as well as support to rebuild their creative careers in their host communities. The provision of such services can help to ensure that host countries fulfil their international legal obligation to protect Afghans’ cultural rights and safeguard the intangible cultural heritage of the Afghan people.
“Art is also a powerful tool in creating social and political change and one of the last hopes for resisting violence and oppression in Afghanistan, whether through artists in the country or those abroad and feeding back into it,” says Omaid Sharifi, Artlords Co-founder/President.
AFI calls on the international community to maintain pressure on the Taliban to implement critical recommendations by UN special procedures and bodies and to press governments to provide immigration relief and implement best practices aimed at supporting artists at risk. We call on all state and non-state actors to offer additional support to Afghan artists seeking asylum and for legal aid organizations to increase assistance for Afghans to determine their eligibility and apply for refugee status, humanitarian parole, and temporary or long term visas.
Nasrin Belali speaks with a reporter about her archeological work at the National Museum of Afghanistan | Courtesy of Nasrin Belali
The report also highlights how arts and cultural institutions, universities, and arts-oriented non-profits can assist in Afghan artist relocation and resettlement through sponsored fellowships and work opportunities. Finally, we highlight the need for increased humanitarian aid and other forms of support for the thousands of artists still in Afghanistan that continue to face persecution from the Taliban.
Artistic Freedom Initiative (AFI) is dedicated to safeguarding the right to artistic freedom and facilitates pro bono immigration representation and resettlement assistance for international artists at risk. Led by immigration and human rights attorneys, the organization anchors its work to the shared commitment of protecting and celebrating cultural diversity, human dignity and freedom of artistic expression. Beyond AFI’s work to provide holistic relocation and resettlement opportunities for artists under threat, it is also focused on the advancement of creative cultural exchange and the improvement of conditions for artists in their home countries.
Also Read
Dutch Artist Willem Vos to Exhibit in China with a Message “Art is Freedom”
Story submitted by Artistic Freedom Initiative. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
And a new show opens at the city's William Morris Gallery with a focus on radical landscapes
The French artist will display a tapestry more than 100 metres long inspired by Virginia Woolf
In this insightful interview, we delve into the remarkable journey of Double Olympian Neil Eckersley, a martial artist whose passion for both sports and art has transcended artistic boundaries. Raised in a working-class environment near Manchester, Neil discovered his love for judo at a young age, leading him to become a Double Olympian and secure a Bronze Medal at the 1984 Los Angeles Games. However, it was a profound personal tragedy, the loss of his older brother, that ignited his passion for visual art.
Neil’s artistic expression not only became a form of therapy but also a powerful means to advocate for dementia awareness, a cause close to his heart after witnessing his father’s struggle with the disease. Through his captivating artwork, Neil channels his resilience and Olympian spirit, creating a dialogue around dementia and inspiring change. Join us as we explore the intersection of athleticism, artistry, and advocacy in Neil Eckersley’s extraordinary journey, profoundly shaped by his father’s courage in facing dementia.
Can you tell our readers about your childhood, family, and the environment you grew up in? Were you an artistic child?
I grew up near Manchester in a working-class environment in a city called Bolton. Both my parents were hard-working and provided everything we needed for a happy childhood for both me and my older brother, Paul.
For some reason, I was always drawn to art and sport because I have dyslexia, which was only diagnosed in my adult life. I remember sitting at the back of the classroom doodling New York cityscapes well before I ever visited New York. This type of drawing was a form of escapism from a state education system that, at the time, did not meet my needs.
How did you become a Double Olympian? Could you please share your thoughts and memories about your Olympic career?
I started Judo purely by accident. It was during the long summer holidays when friends explained we needed to do something to fill our time, and that’s when we joined the local Judo club that was providing taster sessions free of charge. I attended one of the taster sessions, and my first coach, Phil Massey, was amazing. His kind and supportive attitude towards me were different from what I had experienced before. Due to my dyslexia, I was a difficult and challenging kid, but Phil gave me a degree of respect and saw my potential. From that first day, I became totally dedicated to the sport of Judo. When I left school, I decided to train full time, competing in major events with great success. I was selected for my first games in 1984 in Los Angeles. I wasn’t really expected to win a medal; I was just there for experience. The LA games were amazing right from the start; it was almost like a party atmosphere from day one. In my opinion, it was probably the best ever Olympics from the competitors’ point of view. We were embraced by the American public and their hospitality. I went on to win an Olympic BRONZE MEDAL, which, at the young age of 19, was an outstanding achievement and a memorable event that has stayed with me forever.
What inspired you to become an artist?
I became an artist because of a dramatic event, the sudden death of my older brother, who was my hero and protector. I wasn’t coping well with the loss, and it was suggested that I find something other than sport to occupy my mind. Luckily, someone bought me my first easel and acrylic paints, and that’s when I started to paint. I was and still am a massive fan of Jackson Pollock, so my first-ever piece was a drip painting that I still have today. At first, the act of painting was therapeutic and helped me express my emotions. My brother would be very proud that I have managed to turn a difficult situation into a positive art career. My artwork has been exhibited all over the world, including major commissions by the International Olympic Committee and the International JUDO federation.
How did your background as an Olympian influence your approach to expressing your emotions and experiences through art, particularly in dealing with your father’s dementia?
I still follow the core values of the Olympic movement, which are friendship, respect, and excellence, and transfer these qualities into my art practice. I’m very disciplined and hard-working, with a degree of resilience, which comes in handy when you are an artist. I also seem to be able to capture the essence of movement in an artistic abstract style, and my work is very colorful, vibrant, and engaging.
Could you elaborate on the specific elements of your exhibition, such as “It’s Not A Laughing Matter” and “Memories Are Golden”? How do these pieces capture the essence of your father’s journey with dementia?
My latest body of work entitled ‘I know you’re in there’ is a reflection upon my experience of my father having Dementia for 5 years and who has just passed away. Dementia is a terrible condition that not only affects the patient but also the family and the wider community. To see someone who was your rock and hero slowly disappear right in front of your eyes is truly devastating. My aim for the body of work is to spark a conversation about Dementia. The body of work consists of a piece called ‘It’s Not A Laughing Matter,’ which is a triptych piece. It is a spin on the title because even though my father had his difficulties, we laughed every day when I visited the residential home. He had an infectious laugh that would light up a room.
‘Memories Are Golden’ is a golden sculpture of a head placed in a glass box with written words on paper labels to represent our memories, such as running in the rain, watching the sunrise, walking the dog. These memories become precious and should be protected because when my father’s memories were lost towards the end of his life, what remained was simply a shell of his former self.
Your exhibition title, “I Know You’re In There,” conveys a deep emotional connection. Can you share the story behind this title and its significance in the context of your father’s illness?
What I am trying to do is spark a conversation about dementia. I feel it’s important to have an early diagnosis if you think something is wrong. Don’t ignore it; go and seek help and chat with people. I know it’s difficult, but having an early diagnosis will help everybody because there is support and medication to assist. My father was fantastic; he gave my mum and me the power of attorney, made his will, and paid for his and my mum’s funeral. My dad had a degree of emotional intelligence. During our visits, I shared my life through the iPad, videos of holidays, my artwork, and photos of his life too. He told my mum and me that he loved us and was very proud of our achievements. For me, I was giving him the respect he deserved as a human, a husband, and more importantly, my dad, a dad that took me all over the country to compete in Judo competitions and supported me even when I lost. This is such a powerful legacy.
In “Three Faces of Dementia,” you depict the rapid changes in your father’s emotions. How did you translate such complex and fleeting emotions into visual art, and what message do you hope viewers take away from this portrayal?
This piece represents the first time I visited my dad in the residential home. We were living and working in Norway, and because of COVID, we could not leave the country. So, my first visit was when my father was in isolation, and we could only have a conversation behind a glass screen wearing a face mask. Because my dad was struggling to identify me because I was wearing a mask, his emotions were constantly changing from happy and sad to confused. I had to make the decision to remove my mask to stop this situation. This memory was so vivid that I had to find a creative way to express this situation, and thus I took up the paintbrush. I have had a positive reaction to this piece, especially from those who have experienced dementia. They have acknowledged that they have witnessed this situation of their loved one’s sudden change in moods and have found a way to reconnect through memories to address a positive outcome.
You mentioned that your father saw your work before he passed away. How did he react to the exhibition, and in what ways do you believe it impacted his own experience with dementia?
I used to take my iPad into the residential home to share my life with my dad, and I remember the first time I showed my father this work. At first, he was silent for quite a long period.
Then he finally said, “Have you really done that work?” to which I replied, ‘’Yes.’’
He said, ‘’It’s amazing’’ and it’s just like ME.
Which, at the time, was so moving and powerful it brought tears to my mum and me.
Choosing the Defying Dementia charity shop as the exhibition venue is significant. How did the volunteers’ support and experiences influence your decision, and what role do you think community spaces like this play in raising awareness about dementia?
The ‘Defining Dementia’ shop is amazing. It has been open for 5 years and has raised over £50,000. It is owned by a person whose mum had dementia and decided to use her inheritance to open up a community shop that not only sells clothes but also provides support and is linked to a senior Dementia health professional and community hubs. It was important for me to know that the money raised goes directly to research at Lancaster University.
Your artwork seems to emphasize the importance of preserving memories. Could you discuss the symbolism behind “Memories Are Golden” and how you believe society can better protect and cherish the memories of individuals affected by dementia?
That’s a hard question to answer. What we did with my father was to collect old photos of his past. I scanned these and put a video together which we looked through together every visit with the aim to ‘spark his memories.’ I think it was easy to forget that my father was “still in there,” so it was important to respect that he still had a voice. He was still able to hear us and still able to show emotion; it was just finding the right tools to help him express James the man, the husband, and who was, ‘still my dad.’ So, to answer your question, I think the wider community needs to respect and acknowledge dementia as a whole.
You mentioned the exhibition is not for sale, emphasizing its personal importance. Why was it essential for you to share these pieces publicly, and what impact do you hope it will have on the audience and discussions surrounding dementia?
Two things that have driven this exhibition are awareness and starting to have a conversation about dementia. I would like this exhibition to be hung in the foyer of the House of Commons, so that our MPs can see the work, talk about dementia, and recognize the impact it has on everyone. In the UK, dementia is one of the biggest killers. Without the support of our MPs and additional awareness, it may go unrecognized.
Your statement about encouraging conversations on dementia and early diagnosis is powerful. How do you envision your exhibition contributing to changing perceptions and fostering dialogue about dementia within the broader community?
Hopefully, if we have the right audience and wider community interaction, the body of work will encourage a conversation. At first, conversations will be like a snowball: the more we talk, the bigger the ball will be, and eventually, the ball will be impossible to avoid.
Lastly, you expressed a desire for the exhibition to benefit a dementia charity. Are there specific organizations or initiatives you have in mind, and how do you hope the proceeds from your exhibition will make a difference in the lives of individuals and families affected by dementia?
I have tried to engage the large charities that deal with dementia and Alzheimer’s, but this is a slow process. So, any support to reach them will be more than welcome. To answer your second question, by creatively exhibiting the work, such as in the shop window of Defying Dementia charity clothes shop, will help break down the barriers for the general public that don’t go to galleries or exhibition spaces. The refuse collectors that were collecting the early morning waste stopped the wagon to view my work, which made my day. So, I rest my case.
To connect with Neil Eckersley, visit his official website:
Also Read
The Healing Power of Art: Bridging Mysticism, Science, and Real-Life
The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
In this insightful interview, we delve into the remarkable journey of Double Olympian Neil Eckersley, a martial artist whose passion for both sports and art has transcended artistic boundaries. Raised in a working-class environment near Manchester, Neil discovered his love for judo at a young age, leading him to become a Double Olympian and secure a Bronze Medal at the 1984 Los Angeles Games. However, it was a profound personal tragedy, the loss of his older brother, that ignited his passion for visual art.
Neil’s artistic expression not only became a form of therapy but also a powerful means to advocate for dementia awareness, a cause close to his heart after witnessing his father’s struggle with the disease. Through his captivating artwork, Neil channels his resilience and Olympian spirit, creating a dialogue around dementia and inspiring change. Join us as we explore the intersection of athleticism, artistry, and advocacy in Neil Eckersley’s extraordinary journey, profoundly shaped by his father’s courage in facing dementia.
Can you tell our readers about your childhood, family, and the environment you grew up in? Were you an artistic child?
I grew up near Manchester in a working-class environment in a city called Bolton. Both my parents were hard-working and provided everything we needed for a happy childhood for both me and my older brother, Paul.
For some reason, I was always drawn to art and sport because I have dyslexia, which was only diagnosed in my adult life. I remember sitting at the back of the classroom doodling New York cityscapes well before I ever visited New York. This type of drawing was a form of escapism from a state education system that, at the time, did not meet my needs.
How did you become a Double Olympian? Could you please share your thoughts and memories about your Olympic career?
I started Judo purely by accident. It was during the long summer holidays when friends explained we needed to do something to fill our time, and that’s when we joined the local Judo club that was providing taster sessions free of charge. I attended one of the taster sessions, and my first coach, Phil Massey, was amazing. His kind and supportive attitude towards me were different from what I had experienced before. Due to my dyslexia, I was a difficult and challenging kid, but Phil gave me a degree of respect and saw my potential. From that first day, I became totally dedicated to the sport of Judo. When I left school, I decided to train full time, competing in major events with great success. I was selected for my first games in 1984 in Los Angeles. I wasn’t really expected to win a medal; I was just there for experience. The LA games were amazing right from the start; it was almost like a party atmosphere from day one. In my opinion, it was probably the best ever Olympics from the competitors’ point of view. We were embraced by the American public and their hospitality. I went on to win an Olympic BRONZE MEDAL, which, at the young age of 19, was an outstanding achievement and a memorable event that has stayed with me forever.
What inspired you to become an artist?
I became an artist because of a dramatic event, the sudden death of my older brother, who was my hero and protector. I wasn’t coping well with the loss, and it was suggested that I find something other than sport to occupy my mind. Luckily, someone bought me my first easel and acrylic paints, and that’s when I started to paint. I was and still am a massive fan of Jackson Pollock, so my first-ever piece was a drip painting that I still have today. At first, the act of painting was therapeutic and helped me express my emotions. My brother would be very proud that I have managed to turn a difficult situation into a positive art career. My artwork has been exhibited all over the world, including major commissions by the International Olympic Committee and the International JUDO federation.
How did your background as an Olympian influence your approach to expressing your emotions and experiences through art, particularly in dealing with your father’s dementia?
I still follow the core values of the Olympic movement, which are friendship, respect, and excellence, and transfer these qualities into my art practice. I’m very disciplined and hard-working, with a degree of resilience, which comes in handy when you are an artist. I also seem to be able to capture the essence of movement in an artistic abstract style, and my work is very colorful, vibrant, and engaging.
Could you elaborate on the specific elements of your exhibition, such as “It’s Not A Laughing Matter” and “Memories Are Golden”? How do these pieces capture the essence of your father’s journey with dementia?
My latest body of work entitled ‘I know you’re in there’ is a reflection upon my experience of my father having Dementia for 5 years and who has just passed away. Dementia is a terrible condition that not only affects the patient but also the family and the wider community. To see someone who was your rock and hero slowly disappear right in front of your eyes is truly devastating. My aim for the body of work is to spark a conversation about Dementia. The body of work consists of a piece called ‘It’s Not A Laughing Matter,’ which is a triptych piece. It is a spin on the title because even though my father had his difficulties, we laughed every day when I visited the residential home. He had an infectious laugh that would light up a room.
‘Memories Are Golden’ is a golden sculpture of a head placed in a glass box with written words on paper labels to represent our memories, such as running in the rain, watching the sunrise, walking the dog. These memories become precious and should be protected because when my father’s memories were lost towards the end of his life, what remained was simply a shell of his former self.
Your exhibition title, “I Know You’re In There,” conveys a deep emotional connection. Can you share the story behind this title and its significance in the context of your father’s illness?
What I am trying to do is spark a conversation about dementia. I feel it’s important to have an early diagnosis if you think something is wrong. Don’t ignore it; go and seek help and chat with people. I know it’s difficult, but having an early diagnosis will help everybody because there is support and medication to assist. My father was fantastic; he gave my mum and me the power of attorney, made his will, and paid for his and my mum’s funeral. My dad had a degree of emotional intelligence. During our visits, I shared my life through the iPad, videos of holidays, my artwork, and photos of his life too. He told my mum and me that he loved us and was very proud of our achievements. For me, I was giving him the respect he deserved as a human, a husband, and more importantly, my dad, a dad that took me all over the country to compete in Judo competitions and supported me even when I lost. This is such a powerful legacy.
In “Three Faces of Dementia,” you depict the rapid changes in your father’s emotions. How did you translate such complex and fleeting emotions into visual art, and what message do you hope viewers take away from this portrayal?
This piece represents the first time I visited my dad in the residential home. We were living and working in Norway, and because of COVID, we could not leave the country. So, my first visit was when my father was in isolation, and we could only have a conversation behind a glass screen wearing a face mask. Because my dad was struggling to identify me because I was wearing a mask, his emotions were constantly changing from happy and sad to confused. I had to make the decision to remove my mask to stop this situation. This memory was so vivid that I had to find a creative way to express this situation, and thus I took up the paintbrush. I have had a positive reaction to this piece, especially from those who have experienced dementia. They have acknowledged that they have witnessed this situation of their loved one’s sudden change in moods and have found a way to reconnect through memories to address a positive outcome.
You mentioned that your father saw your work before he passed away. How did he react to the exhibition, and in what ways do you believe it impacted his own experience with dementia?
I used to take my iPad into the residential home to share my life with my dad, and I remember the first time I showed my father this work. At first, he was silent for quite a long period.
Then he finally said, “Have you really done that work?” to which I replied, ‘’Yes.’’
He said, ‘’It’s amazing’’ and it’s just like ME.
Which, at the time, was so moving and powerful it brought tears to my mum and me.
Choosing the Defying Dementia charity shop as the exhibition venue is significant. How did the volunteers’ support and experiences influence your decision, and what role do you think community spaces like this play in raising awareness about dementia?
The ‘Defining Dementia’ shop is amazing. It has been open for 5 years and has raised over £50,000. It is owned by a person whose mum had dementia and decided to use her inheritance to open up a community shop that not only sells clothes but also provides support and is linked to a senior Dementia health professional and community hubs. It was important for me to know that the money raised goes directly to research at Lancaster University.
Your artwork seems to emphasize the importance of preserving memories. Could you discuss the symbolism behind “Memories Are Golden” and how you believe society can better protect and cherish the memories of individuals affected by dementia?
That’s a hard question to answer. What we did with my father was to collect old photos of his past. I scanned these and put a video together which we looked through together every visit with the aim to ‘spark his memories.’ I think it was easy to forget that my father was “still in there,” so it was important to respect that he still had a voice. He was still able to hear us and still able to show emotion; it was just finding the right tools to help him express James the man, the husband, and who was, ‘still my dad.’ So, to answer your question, I think the wider community needs to respect and acknowledge dementia as a whole.
You mentioned the exhibition is not for sale, emphasizing its personal importance. Why was it essential for you to share these pieces publicly, and what impact do you hope it will have on the audience and discussions surrounding dementia?
Two things that have driven this exhibition are awareness and starting to have a conversation about dementia. I would like this exhibition to be hung in the foyer of the House of Commons, so that our MPs can see the work, talk about dementia, and recognize the impact it has on everyone. In the UK, dementia is one of the biggest killers. Without the support of our MPs and additional awareness, it may go unrecognized.
Your statement about encouraging conversations on dementia and early diagnosis is powerful. How do you envision your exhibition contributing to changing perceptions and fostering dialogue about dementia within the broader community?
Hopefully, if we have the right audience and wider community interaction, the body of work will encourage a conversation. At first, conversations will be like a snowball: the more we talk, the bigger the ball will be, and eventually, the ball will be impossible to avoid.
Lastly, you expressed a desire for the exhibition to benefit a dementia charity. Are there specific organizations or initiatives you have in mind, and how do you hope the proceeds from your exhibition will make a difference in the lives of individuals and families affected by dementia?
I have tried to engage the large charities that deal with dementia and Alzheimer’s, but this is a slow process. So, any support to reach them will be more than welcome. To answer your second question, by creatively exhibiting the work, such as in the shop window of Defying Dementia charity clothes shop, will help break down the barriers for the general public that don’t go to galleries or exhibition spaces. The refuse collectors that were collecting the early morning waste stopped the wagon to view my work, which made my day. So, I rest my case.
To connect with Neil Eckersley, visit his official website:
Also Read
The Healing Power of Art: Bridging Mysticism, Science, and Real-Life
The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The newly conserved portrait of Derich Born will star in the Queen's Gallery show on the northern Renaissance artist
The newly conserved portrait of Derich Born will star in the Queen's Gallery show on the northern Renaissance artist