MillerCoors donates art to Wisconsin museum

WEST BEND, Wis. (AP) – The Museum of Wisconsin Art in West Bend will soon be showing off new art donated by MillerCoors.

The more than 20 pieces are by all Wisconsin artists but cover a variety of subjects, like the Guggenheim, New York City, Japan, Toulouse-Lautrec, abstractions and animals.

The exhibit, called “A Case of Wisconsin’s Finest: New Acquisitions from the MillerCoors Collection,” features paintings in oil, watercolor and graphite and serigraphs in mixed-media, silk-screen, aqua-tint and lithographs.

The artists include Robert Burkert, Warrington Colescott, John Colt, Peggy Thurston Farrell, Earl Kittleson, Robert von Neumann, Frances Myers, Francisco Mora, Marko Spalatin, Helmut Summ, Evelyn Patricia Terry, Arthur Thrall and Tom Uttech.

The exhibit opens Wednesday, Aug. 4, 2010, and runs through December.

Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-CS-08-01-10 1101EDT

Artifacts from Forbidden City to be exhibited in United States

One of the Forbidden City thrones in the exhibiton is this highly carved example of the rare tropical hardwood zitan, cedar and lacquer. The throne is 50 inches wide. Copyright the Palace Museum, Beijing.

One of the Forbidden City thrones in the exhibiton is this highly carved example of the rare tropical hardwood zitan, cedar and lacquer. The throne is 50 inches wide. Copyright the Palace Museum, Beijing.
One of the Forbidden City thrones in the exhibiton is this highly carved example of the rare tropical hardwood zitan, cedar and lacquer. The throne is 50 inches wide. Copyright the Palace Museum, Beijing.
BEIJING (AP) – Deep in a long-forgotten corner of the Forbidden City and up a twisting stairway are four sets of twin doors, shut for more than eight decades. They reveal rare sweeping views to the north, south, east and west above the golden-tiled rooftops of the imperial palace.

The surrounding walls silence the passing tour groups. On the horizon, modern high-rises are softened by the Beijing smog. The view from this private corner has hardly changed since the Chinese emperor Qianlong designed this courtyard for his retirement more than 200 years ago.

“In my 80s, exhausted from diligent service, I will cultivate myself, rejecting worldly noise,” Qianlong wrote of the pavilion, where the floors have been stripped to packed earth and straw as part of a major restoration.

Few people have entered Qianlong’s courtyards since China’s last emperor was forced out of the Forbidden City in 1924, and it will take more years of work until the public can come inside. The restoration of the pavilion where Qianlong enjoyed the view over the Forbidden City rooftops is set to be finished by sometime in 2012. Bringing the entire complex back to life will take until at least 2019.

But now a collection of thrones, large-scale paintings and decor of one of China’s most powerful leaders is leaving the country for the first time. In September, the $1.5 million exhibition arrives in the U.S. for a tour that will show a more intimate side of a country often defined by vastness and control.

“This garden is completely different from the rest of the Forbidden City. The rest is formal, rigid, symbolic. This flows like walking up a mountain flows,” said Nancy Berliner, curator of Chinese art at the Peabody Essex Museum in Salem, Mass., where the exhibit of items from the pavilion and courtyards will begin. “You’re always finding surprises.”

The exhibit will also travel to the Metropolitan Museum of Art in New York and the Milwaukee Art Museum.

The man who expanded China’s borders and brought its wealth to new heights was just as ambitious with the art and design of his surroundings. Qianlong, one of the longest-serving Chinese emperors, stepped aside only after six decades.

He is famous for his encounter with the visiting Lord George Macartney, the British emissary who came seeking better trade relations but was refused. “We have never valued ingenious articles, nor do we have the slightest need of your country’s manufactures,” Qianlong wrote in a smackdown well-known to foreign executives even today.

Yet, “The exhibit reflects Qianlong’s fascination with things in the West,” said Henry Ng, executive vice president of the World Monuments Fund, a partner in the restoration with China’s Palace Museum.

Ng’s favorite example is the glass throne, its panes sandwiched between carvings of blossoms and branches. The emperor had the new and fashionable plate glass imported for decoration, but it was mistaken for other materials, such as gray slate, under layers of dust for years during the restoration.

“Then one day I took a tissue and finally wiped it,” Berliner said. “It was a wonderful feeling.”

Qianlong never moved into the two-acre courtyard complex tucked into the northeastern corner of the Forbidden City. But he used its tiny, winding spaces and gardens for relaxation, and settled on a throne in the high pavilion to practice calligraphy. He’d write bits of poetry and paste them to the walls.

The courtyard’s location protected the space from war and upheaval as China struggled to find its political and economic place in recent decades.

When the doors opened again, the Qianlong courtyards were being used as storerooms, with everything covered in 2-inch drifts of dust. As work began, the dust was sifted for bits of treasure.

“They’d pick up every single piece and try to fit it back into the original,” said Berliner. “One man said they put each piece into little plastic bags. In the end, they had about 35,000 plastic bags.”

Officials have searched the country for craftsmen who remember the old arts and techniques to restore the courtyard complex and the exhibit pieces.

In another part of the Forbidden City, woodworker Zhang Shicun smiled over his glasses as he sat low on a bench over a Qianlong panel with a large gold-plated inlay.

“Before him, the emperors’ style of the time was rather plain,” Zhang said. “This decor, even this groove along the edge of the panel, there was nothing like it. Qianlong loved the details.”

___

Online:

Peabody Essex Museum: http://www.pem.org/

Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-ES-07-30-10 0614EDT

 

Milwaukee museum to host mummies exhibit

From the Mummies of the World exhibit, the head of an Egyptian mummy from the Archives of Merck KGaA, Darmstadt, Germany.

From the Mummies of the World exhibit, the head of an Egyptian mummy from the Archives of Merck KGaA, Darmstadt, Germany.
From the Mummies of the World exhibit, the head of an Egyptian mummy from the Archives of Merck KGaA, Darmstadt, Germany.
MILWAUKEE (AP) – The largest traveling exhibition of mummies ever assembled is coming to Milwaukee later this year.

“Mummies of the World” will be at the Milwaukee Public Museum from Dec. 17 through May 30.

It features a collection of 150 real human and animal mummies and objects from South America, Europe, Asia, Oceania and Egypt.

The items include one of the oldest mummy infants ever discovered, a mummified family, a German nobleman discovered in a family crypt and Egyptian animal mummies. It will also explain how mummification occurs.

The show opened earlier this month at the California Science Center and will be touring the country for three years.

Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-CS-07-28-10 0602EDT

 

Space debris found on Carolina coast goes on display

This NASA satellite image taken during the World Wind project, Jan. 31, 2007, provides an excellent view of Hilton Head Island, S.C., where the space debris was discovered after washing ashore.
This NASA satellite image taken during the World Wind project, Jan. 31, 2007, provides an excellent view of Hilton Head Island, S.C., where the space debris was discovered after washing ashore.
This NASA satellite image taken during the World Wind project, Jan. 31, 2007, provides an excellent view of Hilton Head Island, S.C., where the space debris was discovered after washing ashore.

HILTON HEAD ISLAND, S.C. (AP) – A piece of space debris that washed up on a South Carolina beach is going on display in a museum.

The Island Packet newspaper of Hilton Head reports the exhibit featuring the object opens on Tuesday at the Coastal Discovery Museum.

A 12-foot by 20-foot metallic object that washed up on the island proved to be a rocket fairing, a structure used to reduce drag.

It was given to the museum after officials talked with the United Launch Alliance, a joint venture of Lockheed Martin and Boeing that built the rocket.

The museum explains the natural and cultural heritage of the area. Museum CEO Michael Marks said finding the object is an event in the island’s modern history.

Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-ES-07-27-10 0404EDT

Virginia state museum braces for big budget hit

Interior view at Virginia Museum of Natural History
Interior view at Virginia Museum of Natural History
Interior view at Virginia Museum of Natural History

MARTINSVILLE, Va. (AP) – An official says the Virginia Museum of Natural History is going to see the price of state support for its computer systems go up nearly 66 percent.

Executive Director Joe Keiper says the Virginia Information Technologies Agency has told the museum it has to pay the full cost of services.

Museum spokesman Ryan Barber says that’s expected to be nearly $295,000 in fiscal year 2011. In fiscal 2010, the museum paid almost $178,000.

Keiper says full technology costs have never been included in the museum’s budget.

Sam Nixon, chief information officer in the Office of the Secretary of Technology, says the state is realigning rates to make them consistent. That’s expected to up costs about 15 percent for state agencies.

Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-ES-07-26-10 0401EDT

Field Artillery Museum in Oklahoma gains new exhibits

LAWTON, Okla. (AP) – The Field Artillery Museum continues to gain new exhibits thanks to the hard work of its staff and volunteers and some outside help from the Walton Foundation and Arvest Bank.

Part of the Berlin Wall and three mannequins portraying the uniform currently worn by soldiers in Iraq and Afghanistan, an African-American Union soldier during the Civil War and a Confederate artilleryman are the newest reasons to revisit the museum, according to Museum Director Gordon Blaker.

The Walton Foundation and Arvest Bank provided funds for four mannequins, but the uniform for the fourth isn’t quite ready yet, he said.

Staff Sgt. Dustin Roderigas, a wounded warrior assigned to Fort Sill’s Warrior Transition Unit, made a leather sword knot for the Confederate mannequin and assembled the entire outfit for the modern soldier, which comes in response to museum visitors who asked to see what the soldiers of today are wearing.

Roderigas, who previously worked on the Battle of the Bulge diorama inside the north gallery, describes himself as “a leatherworker in training.”

The current operations outfit can be seen at the south end of the central gallery. Rodrigeras said an artilleryman overseas today wears an Advanced Combat Helmet (ACH) and Interceptor Body Armor containing small-arms ballistic plates, or “sappy plates,” to protect the soldier from shrapnel and 9mm rounds. Worn front and back, the plates are designed to protect the warrior from at least three pointblank shots of 7.62 NATO rounds.

In addition, the soldier has a load-carrying vest with pouches for all his ammo, a first-aid kit, grenade and personal items he needs for his mission. The vest allows them to take their combat gear off to focus on the job as an artilleryman, or put it on to go into offensive mode as an infantryman. One side is kept clear for carrying either an M-16 rifle or M-4 carbine, and the shoulder on that side has to be clear for the butt-stock of the weapon.

The slot on the front of the helmet is for the rhino mount of the night vision monocle. The optic swings down so that one eye has night vision and the other has normal vision.

On the soldier’s back is a 3-quart Camelbak connected by a tube to a mouthpiece, so the soldier can stay hydrated in hot weather.

The knee and elbow pads are to ward off injuries when soldiers get in close combat. Soldiers often discard the pad on the side they shoot from. This particular soldier will be equipped with an M-4 for urban operations, Roderigas said.

On his right shoulder the soldier wears an infrared tape American flag worn only in country. When aircraft look through thermal optics in their sights, the flag patch registers as a cool spot. The helmet has black infrared reflective tapes that also appear as cool spots, so that the airmen know they’re looking at friendly forces.

Three sections of the Berlin Wall, each approximately a yard wide and 12 feet tall, can be seen at the opposite end of the central gallery. Blaker said they came out of Snow Hall earlier this year. Museum volunteer Harry Shappell, a metalworker, built a frame for the base, and exhibits specialist Zane Mohler put the wood and decking on it.

Following the end of World War II, Germany and its capital city, Berlin, were divided into four occupation zones. Each zone was controlled by one of the four Allies: the U.S., Great Britain, France and the Soviet Union. The plan was that following a period of occupation, the zones would be reunited into a new Germany. Soviet leader Josef Stalin soon decided to try to seize control of Berlin and eventually all of Germany.

The growing conflict between the communists and the Western allies became known as the Cold War. In 1949 the Soviet Union sealed off all the land and water routes to Berlin in an attempt to drive the American, British and French allies out of Berlin. The Allies responded by beginning the Berlin airlift to supply the city with food, fuel and necessities entirely by aircraft. Over the next year the U.S. and British air forces flew 200,000 flights carrying 13,000 tons of supplies into the city. The Soviets were humiliated and reacted by creating the German Democratic Republic, or East Germany. Through the 1950s an ever-increasing number of East Germans fled the oppression and poverty of the East, Blaker said.

In August 1961 East Germany closed the border between the East and West sectors of Berlin. Construction of a concrete wall began to seal off the 124-milelong border around West Berlin.

From 1961 to 1989 approximately 5,000 people successfully defected to the West. An estimated 150 people were shot to death trying to cross the Wall, the last less than one year before the wall came down.

The museums’ three sections of reinforced concrete are from the fourth and final generation of the Berlin Wall built between 1975 and 1980. The new wall was topped by a large pipe to make scaling extremely difficult, Blaker noted.

Blaker said that by the time the Civil War ended, one out of every 10 Union soldiers was African American. The units were designated United States Colored Troops (U.S.C.T.) and included infantry, cavalry and light and heavy artillery units. More than 178,000 freed slaves and free blacks served in 175 U.S.C.T. regiments. Typically these were all-black regiments commanded by white officers, but a handful of them were commanded by black officers.

Blaker worked with volunteer Carrie Starsnic on the Confederate soldier. The museum director said she was the museum’s seamstress and did a lot of the work in padding up the mannequins and making them look good. She also sewed flags on backgrounds of exhibits. She and her husband just relocated to South Carolina, and Blaker said he doesn’t have anybody to replace her.

___

Information from: The Lawton Constitution, http://www.swoknews.com

Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WS-07-25-10 0103EDT

Dartmouth art museum gets $1.25 million grant

Hood Museum of Art on the campus of Dartmouth College in Hanover, New Hampshire.

Hood Museum of Art on the campus of Dartmouth College in Hanover, New Hampshire.
Hood Museum of Art on the campus of Dartmouth College in Hanover, New Hampshire.
HANOVER, N.H. (AP) – The Hood Museum of Art at Dartmouth College is getting $1.25 million to help faculty use the museum’s collections as a teaching resource.

The grant from the Andrew W. Mellon Foundation will create an endowment for two new staff positions to help faculty integrate the museum and its collections into the college’s curriculum.

Brian Kennedy, the museum’s director, says faculty members from a variety of departments from philosophy to environmental studies have requested items for classroom use. Museum staff members typically pull between 3,500 and 5,000 works of art from storage for classroom use each year.

Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-ES-07-23-10 0616EDT

 

Smithsonian holdings may show oil’s impact on Gulf wildlife

Jellyfish (Chrysaora fuscescens) are among the marine invertebrates found in the Gulf of Mexico. Photo taken Oct. 6, 2008 by Anastasia Shesterinina. Creative Commons Attibution-Share Alike 3.0 Unported License.

Jellyfish (Chrysaora fuscescens) are among the marine invertebrates found in the Gulf of Mexico. Photo taken Oct. 6, 2008 by Anastasia Shesterinina. Creative Commons Attibution-Share Alike 3.0 Unported License.
Jellyfish (Chrysaora fuscescens) are among the marine invertebrates found in the Gulf of Mexico. Photo taken Oct. 6, 2008 by Anastasia Shesterinina. Creative Commons Attibution-Share Alike 3.0 Unported License.
SUITLAND, Md. (AP) – The Smithsonian’s vast collection of 137 million objects can come in handy at a time like this.

Scientists are beginning to determine the full impact of the oil spill in the Gulf of Mexico and help guide its recovery. And they will need to know about all the creatures that lived in the water before the oil began gushing – from the commercial shrimp to rarely seen giant squid and microorganisms.

That’s where the Smithsonian comes in. The museum and research complex in Washington holds the most complete set of invertebrate species that live in the Gulf of Mexico.

The collection will serve as the scientific starting point for what lived there before the spill to measure the unseen impact, said Jonathan Coddington, head of research and collections at the National Museum of Natural History.

“Everybody and their brother is going to be going out to the Gulf and measuring stuff,” Coddington said. “A lot of the controversy is going to be about what the impact of the spill was.”

This collection will be the baseline to determine that, he said, surrounded by thousands of jars containing worms and other Gulf creatures preserved in alcohol in a suburban Maryland warehouse.

The collection includes more than 333,000 containers of invertebrates collected in the Gulf by the U.S. Minerals Management Service over the past 30 years. Another 39,000 jars are partially inventoried, though as many as 120,000 more haven’t been inventoried.

The spill, unleashed after a drilling rig leased by BP PLC exploded April 20, has made the backlog an urgent priority, Coddington said. It could cost $9 million to catch up all of the Smithsonian’s uncatalogued objects, he recently told a House panel.

The MMS conducted environmental surveys of the waters for years, specifically to help predict the impact of future gas and oil explorations. They began turning over the extensive collection to the Smithsonian for cataloging and safekeeping in 1979.

Overall, the collection documents at least 4,000 marine invertebrate species. Recent studies have shown the Gulf contains roughly 15,000 species overall and perhaps another 3,000 species still undiscovered.

On Wednesday, Smithsonian Secretary Wayne Clough will testify before a House science panel about the Smithsonian’s resources and research agenda. He has said the Gulf Coast invertebrates are a prime example of how useful the collections are.

The most recent addition from the Gulf arrived last year, and it’s a research project in itself.

A 26-foot-long giant squid housed in a large metal coffin and floating in alcohol was caught alive last year, which is rare. Usually such squid are found floating dead on the ocean surface and already rotting, said collections manager Cheryl Bright. So the recent catch gave scientists a glimpse at the squid’s body chemistry, stomach contents and other data.

All that information can be compared to creatures found after the oil spill.

Smithsonian scientists began putting the collection to use just days after the oil spill, creating a digital map showing where each specimen was collected from more than 5,700 sites in the Gulf. It turns out some animals had been collected near the spill site.

One spot within 20 miles of the Deepwater Horizon well, for example, is home to a deepwater coral that is a key reef-building species, making it fundamental to other marine life. If that base of the ecosystem is harmed, the domino effect on other species could be devastating.

Other Gulf invertebrates and organisms serve as food for shrimp and birds that humans see more often. So information from the collection could help settle conflicts about what the BP spill is responsible for.

“Shrimpers are going to say, ‘We’re just not seeing any big shrimp any longer.’ Then we’ll go back to these collections and say the average size of shrimp prior to the spill was this,” Coddington said. “It will come out which ever way it comes out. Facts help everybody.”

___

Online: National Museum of Natural History: http://www.mnh.si.edu/

Smithsonian Gulf Collection Map: http://invertebrates.si.edu/mms/files.htm

Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WS-07-21-10 1111EDT

 

Stanley Marcus ‘Mexico’ collection on view at SMU’s Hawn Gallery

Taxco is Festive, from Mexico in Color, Elma Pratt, limited edition, number 183, silk screened by Adrian Duran, Mexico: 1947. From the collection Stanley Marcus. Gift of Linda Marcus, 2003 Portfolio, Folio-3 ND237.P825 A45 1947.
Taxco is Festive, from Mexico in Color, Elma Pratt, limited edition, number 183, silk screened by Adrian Duran, Mexico: 1947. From the collection Stanley Marcus. Gift of Linda Marcus, 2003 Portfolio, Folio-3 ND237.P825 A45 1947.
Taxco is Festive, from Mexico in Color, Elma Pratt, limited edition, number 183, silk screened by Adrian Duran, Mexico: 1947. From the collection Stanley Marcus. Gift of Linda Marcus, 2003 Portfolio, Folio-3 ND237.P825 A45 1947.

DALLAS – In celebration of the centennial of the Mexican Revolution in 2010, the Mildred Hawn Gallery in SMU’s Hamon Arts Library is featuring an exhibit of historic books and portfolios from Mexico, on view through Aug. 29. The items are part of the Stanley Marcus Collection at SMU’s DeGolyer Library. Marcus, from the family of the founders of the exclusive Neiman Marcus store, was a passionate book collector who assembled a truly remarkable private library, numbering about 8,000 volumes and ranging across the centuries.

The exhibit includes a portfolio of drawings and color prints from prominent Mexican artist Rufino Tamayo, dated 1949-1950 and depicting animals and abstractions. They’re accompanied by photos and letters between Marcus and Tamayo. “The Fight for Liberty,” a 1944 lithograph of a mural by Jose Clemente Orozco, is also highlighted, along with a book featuring Diego Rivera’s mural of the Mexican Revolution. Portraits of the artists themselves – Tamayo, Rivera and Orozco – are displayed in the portfolio “Drawings of 13 Mexican Painters” by Carlos Orozco Romero (1939). Also featured is a portfolio of black and white woodcut-style prints by Jose Guadalupe Posada depicting revolutionary leader Emiliano Zapata, calaveras and more.

Other cases in the exhibit include depictions of historical monuments and daily life. Vibrant silkscreened prints from the 1947 portfolio “Mexico in Color” by Elma Pratt show a man carrying flowers on a bamboo pole, women with baskets of corn balanced on their heads, and a colorful altar scene. Ancient monuments from Central America, Chiapas and Yucatan are the subject of a book by Frederick Catherwood, dated 1965. Also featured are black and white photographs taken by Marcus himself during visits to Mexico in the 1930s, in an album titled “This Is Mexico.”

The Hawn Gallery is on the first floor of the Hamon Arts Library, 6100 Hillcrest Ave. on the campus of SMU. The gallery is open during regular library hours. Summer hours, through Aug. 24, are 8 a.m. to 5 p.m. Mon. – Fri. and 8 a.m. to 10 p.m. Thurs.; the library is closed Sat. and Sun. Regular hours begin Wed., August 25, and are 8 a.m. to midnight Mon. through Thurs.; 8 a.m. to 6 p.m. Fri.; 9 a.m. to 5 p.m. Sat.; and 1 p.m. to midnight Sun. Admission is FREE. For more information, please call 214.768.2661.

The celebration of the Mexican centennial will continue in the fall with the exhibit “Mexico: Porfiriato to Revolution, 1876-1920,” from Sept.7-Dec. 17 at SMU’s DeGolyer Library, 6404 Hyer Lane. It will feature photographs, manuscripts and printed materials from Mexico including pictures of the fighting and carnage of the Mexican Revolution, Porfirio Diaz and other government leaders, native peoples, railroads, mining, agriculture, and the Mexican 1910 Centennial celebration. There will also be loan materials from Elmer Powell’s extensive Mexican Revolution collection.

For online Mexican collections, see: http://digitalcollections.smu.edu/all/cul/mex/index.html. For questions and more information, contact Anne E. Peterson, Curator of Photographs, DeGolyer Library, Southern Methodist University, at apeterso@smu.edu.


ADDITIONAL LOTS OF NOTE


Emilio Zapata, from José Guadalupe Posada, 50 aniversario de su muerte, Paul Westheim; Justino Fernández, México: Instituto Nacional de Bellas Artes, 1963. From the collection Stanley Marcus. Gift of Linda Marcus, 2003 Portfolio NE546.P6M47 1963.
Emilio Zapata, from José Guadalupe Posada, 50 aniversario de su muerte, Paul Westheim; Justino Fernández, México: Instituto Nacional de Bellas Artes, 1963. From the collection Stanley Marcus. Gift of Linda Marcus, 2003 Portfolio NE546.P6M47 1963.

Drawings by Tamayo, Rufino Tamayo, Mexico, D.F.: Ediciones Mexicanas, 1950. From the collection Stanley Marcus. Gift of Linda Marcus, 2003. Portfolio, Folio NC1095.T35 G38 1950.
Drawings by Tamayo, Rufino Tamayo, Mexico, D.F.: Ediciones Mexicanas, 1950. From the collection Stanley Marcus. Gift of Linda Marcus, 2003. Portfolio, Folio NC1095.T35 G38 1950.

Drawings by Tamayo, Rufino Tamayo, Mexico, D.F.: Ediciones Mexicanas, 1950. From the collection Stanley Marcus. Gift of Linda Marcus, 2003. Portfolio, Folio NC1095.T35 G38 1950.
Drawings by Tamayo, Rufino Tamayo, Mexico, D.F.: Ediciones Mexicanas, 1950. From the collection Stanley Marcus. Gift of Linda Marcus, 2003. Portfolio, Folio NC1095.T35 G38 1950.

Chicago museum to return Inuit remains to Canada

Circa-1929 photo of an Inuit man in a kayak, taken by Edward Curtis. Library of Congress photo.

Circa-1929 photo of an Inuit man in a kayak, taken by Edward Curtis. Library of Congress photo.
Circa-1929 photo of an Inuit man in a kayak, taken by Edward Curtis. Library of Congress photo.
CHICAGO (AP) – Officials of Chicago’s Field Museum say the remains of 22 Inuit people an expedition brought to Chicago in 1928 will be returned to Canada.

Field Museum repatriation director Helen Robbins says Inuit leaders in Labrador two years ago learned the museum had the skeletal remains and asked for their return. The museum will pay all costs of the repatriation, which will take place in 2011.

According to Robbins, the bones came to Chicago from a two-year expedition to gather Inuit artifacts. The explorers visited Zoar, an Inuit community abandoned for more than 30 years. She says Field anthropologist William Duncan Strong dug up the skeletons from a cemetery.

Robbins said the Field Museum maintains a sizable collection of human remains from all over the world. When inappropriately collected, the museum works to return the remains.

Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-CS-07-20-10 1757EDT