Latest posts tagged with #SAAM on Bluesky
Save the Date: The Community THRIVES Lab is hosting a FREE symposium on prevention of family & intimate partner violence! Everyone is welcome & CEUs can be earned. We look forward to seeing you on April 10th! #familyviolence #intimatepartnerviolence #prevention #publichealth #SAAM #publichealthterps
Gergina & I took the day off the Wednesday before last for my birthday. We spent the morning at the Seattle Asian Art Museum (SAAM) and then strolled around Volunteer Park and the U-District.
erikpersson.com/2026/03/06/s... #seattle #saam #sam #museum
Come join us April 1st for a day of awareness & Easter fun! April is SA Awareness Month, and we’re inviting our community to come together for a special day dedicated to education, empowerment, & support. Bring your family, invite a friend, & come celebrate with us! #SAAM #StartByBelieving
apple.news/AnP6vhMPzSdu...
#NEH #NEA #IAIA #Nat’lMuseumOfTheAmericanLatino
#Smithsonian
#SAAM #NMAAHC
#Nat’lWomen’sHistoryMuseum
Ending sexual abuse and sexual violence requires all of us.
SARC and custody HCPs, working alongside partners, play a crucial role in support, safeguarding and advocacy.
Together, we can make a difference.
#SAAM #BreakTheSilence #SupportSurvivors #UKAFNP
Support is available.
If you or someone you know has experienced sexual violence, contact your local SARC for confidential care and advice. Help is available regardless of when the incident occurred.
#SAAM #SupportSurvivors #SexualViolenceAwareness
Survivors may not disclose immediately — or at all.
A calm, non-judgemental, trauma-informed approach by HCPs creates safety, trust and opportunities for support.
#SAAM #SupportSurvivors #BreakTheSilence #UKAFNP
Consent must be freely given, informed and reversible.
Understanding consent is essential for HCPs supporting survivors and documenting care accurately in both custody and SARC settings.
#SAAM #ConsentMatters #SexualViolenceAwareness #UKAFNP
Custody HCPs may be the first safe professional a survivor speaks to.
Recognising disclosure, responding with compassion and ensuring safeguarding and referral can change lives.
#SAAM #BreakTheSilence #SupportSurvivors #UKAFNP
Sexual Assault Referral Centres (SARCs) provide specialist, trauma-informed care, forensic exams, and access to ongoing support — with or without police involvement.
Knowing how to refer matters.
#SAAM #SupportSurvivors #SexualViolenceAwareness #UKAFNP
Sexual Abuse & Sexual Violence Awareness Week is about challenging myths, breaking stigma and supporting survivors.
HCPs in SARCs and custody play a vital role in recognising harm, listening and safeguarding.
#SAAM #SexualViolenceAwareness #BreakTheSilence #UKAFNP
It’s a bust-length portrait of an Indigenous woman, shown front-facing and centered, her posture steady and composed. She has long, dark hair that falls over her shoulders, and a direct gaze that meets ours. Her skin appears warm brown in tone, softly modeled with light across the cheeks and forehead. Her hair-part and upper cheeks are painted vermilion red which was a widespread women’s custom American artist George Catlin observed. She wears a light-colored hide garment with feathery edging at the neckline and sleeves. Multiple strands of blue and white beads layer across her chest, adding weight and texture. Her hands rest together near the lower edge of the picture, suggesting a seated pose. The background is spare and atmospheric, a muted, open field of color that keeps attention on her face, hair, and adornment. Painted during Catlin’s 1832 journey along the Missouri River, this work records Kah-béck-a (“The Twin”), identified as the wife of Bloody Hand, a chief of the Arikara (Sahnish) people, and painted at a Mandan village. Catlin’s project was to create a self-styled “Indian Gallery” which was driven by urgency and ambition to document Native lives as the United States intensified expansion, forced removal, and the cascading disruptions of disease, trade, and violence. The portrait therefore holds a tension. It offers a rare named presence of an Arikara woman in early U.S. painting, but it is also shaped by an outsider’s framing and the era’s collecting impulse. Even within that constraint, Kah-béck-a’s stillness reads as self-possessed like an image of personhood rather than spectacle. It invites us to consider what is known, what is omitted, and whose voice gets to define the story.
“Kah-béck-a, The Twin, Wife of Bloody Hand” by George Catlin (American) - Oil on canvas / 1832 - Smithsonian American Art Museum (Washington, DC) #WomenInArt #GeorgeCatlin #Catlin #SmithsonianAmericanArtMuseum #SAAM #Smithsonian #NativeAmericanArt #art #arte #artText #AmericanArt #PortraitofaWoman
Paris Hilton spoke to Congress about institutional child abuse and she explicitly mentions adopted people yet,
UK child protection reform is happening, adoption is still treated as the silent exception.
#AdopteeRights #SAAM #ChildProtection
Read + share on FB 👉
www.facebook.com/share/16kmE5...
Ignoring that isn’t healing.
It’s a human rights violation.
#adopteerightsarehumanrights #SAAM
sencanada.ca/en/info-page...
#Russia #LNG on the move to #FloatingStorageUnits #FSU off #Murmansk #Arctic
#Tanker #FSU
#Buran IMO 9953509 #IMO9953509
#Saam #SaamFSU IMO 9915090 #IMO9915090
#TradeWindsNews
www.tradewindsnews.com/gas/russian-...
A young woman’s head fills the frame as a crisp swath of opaque white paint crosses her eyes like a ritual mask, softening her gaze and signaling transition. Her features are stylized yet tender with full lips, a calm brow, and tightly rendered contours that read as both portrait and emblem. At the left edge, faint, receding profiles echo her silhouette, suggesting elders, ancestors, or fellow initiates. The palette leans into warm earths with saturated black and red accents; patterned passages hint at textile and beadwork without naming a specific motif. A flat, luminous background heightens her stillness, while the white band and layered heads create a quiet rhythm of concealment and emergence. A near-architectural clarity of edge, learned in Paris by the artist and refined over decades, lends the face a sign-like dignity even as the sitter’s poise feels ceremonial, her individuality veiled yet affirmed. American artist Loïs Mailou Jones engages the Sande (women’s) initiation practiced in Liberia and neighboring regions, where white kaolin markings can signify a liminal status and protected learning before public reentry. The band of white, placed over the eyes, speaks to knowledge withheld and about to be revealed. It is a screen the community recognizes and a mirror the initiate carries until she returns transformed. The echoed profiles propose continuity like knowledge moving from elder to novice, generation to generation while the frontal scale insists on the centrality of Black womanhood as bearer of memory. Jones’s color orchestration with earth, ember, and night summons the forest space of seclusion and the warm public of return; her crisp contouring keeps the image modern, resisting ethnographic fixation. Painted in 1983, the work distills two decades of research and travel across eleven African countries into a graphic, humane language that refuses stereotype: not an illustration of ritual but an homage to women’s agency, secrecy, and solidarity.
"Initiation, Liberia" by Loïs Mailou Jones (American) - Acrylic on canvas / 1983 - Smithsonian American Art Museum (Washington, DC) #WomenInArt #art #artText #WomanArtist #LoïsMailouJones ##LoisMailouJones #SAAM #SmithsonianAmericanArtMuseum #WomensArt #AfricanDiasporaArt #BlackArt #WomenArtists
American artist Miner Kilbourne Kellogg painted this idealized head after extensive travels in Egypt, Palestine, and Constantinople in the 1840s. Back in Florence, he promoted works like this as “national representative portraits,” distilling features and dress he sketched abroad into studio images meant to signify a type rather than record a specific person. A small, bust-length portrait shows a young woman turned slightly to her right with her gaze downward as if lost in thought. Her light beige-olive skin is softly modeled with rose at the cheeks that warms a contemplative expression beneath dark brows. A gray-green headscarf frames her face, and three pale coin-like discs rest along the hairline. At the center of her lower lip and chin, fine vertical tattoo marks draw the eye to her closed rouge mouth. She wears a brown robe over a pale chemise with edges roughly brushed. The background is a warm tan field of visible strokes, leaving the woman suspended in shallow space, intimate and quiet. The sitter here remains unnamed. Her costume with the coin ornaments at the brow and the delicate chin tattoos once found in several Middle Eastern and North African communities signal cultural identity while also revealing the 19th-century fascination with the “Orient.” Painted in oil on paperboard and modest in scale, the study invites close viewing with its soft tonal modeling and spare background that heighten the young woman’s inward mood, even as the title’s language reminds us that such pictures framed living people through an ethnographic and touristic lens. These days, the work opens conversation about how American artists absorbed global encounters, what they chose to emphasize, and how viewers can honor the sitter’s presence beyond the period terms that named her.
“Head of an Arab Girl” by Miner Kilbourne Kellogg (American) - Oil on paperboard / c. 1844–1846 - Smithsonian American Art Museum (Washington, DC) #WomenInArt #MinerKilbourneKellogg #Kellogg #SAAM #SmithsonianAmericanArtMuseum #Smithsonian #art #artText #artwork #BlueskyArt #arte #Orientalism
DC friends, if you haven’t made it to The Shape of Power exhibit at the #SAAM, get over there before it closes on 9/14. Great artwork and the visitor comments in the reflection book were very heartening.
November: Vote for Trump, heʻll release the Epstein files on Day 1 and put all the Democrats in Jail! February: Pam Bondi has the Epstein client list on his desk right now and will be releasing them shortly! July: Actually, there are no Epstein files. Move on! Today: The Epstein files is a Democratic hoax and also Trump was an FBI informant working to take down Epstein.
Thirty-plus years of sexual abuse. The known victims (21 names ranging from the 1960s to 2013).
#SAAgainstMenandBoys
#SAAgainstBoysandMen
#SAAgainstMen
#SAAgainstBoys
#SAAMB
#SAABM
#SAAM
#SAAB
#MaleSexualAbuseVictimRights
#MaleSexualAbuseVictimsRights
#MaleSexualAbuseSurvivorRights
#MaleSexualAbuseSurvivorsRights
In 1832, American artist George Catlin painted Chin-cha-pee, wife of the Assiniboine warrior Pigeon’s Egg Head, at Fort Union (in North Dakota, near the Montana border, at the confluence of the Missouri and Yellowstone Rivers). Catlin described the woman as “fine looking . . . in a handsome dress of the mountain-sheep skin, holding in her hand a stick curiously carved, with which every woman in this country is supplied; for the purpose of digging up the . . . prairie turnip (also known as Indian breadroot or Indian turnip, a perennial plant native to the Great Plains of North America characterized by an edible, starchy, tuberous root that has historically been an important food source for Native Americans).” The painting is a close-up portrait of Chin-cha-pee, her gaze direct and serious, meeting our eyes with a steady, almost defiant look. Her face is a striking, deep bronze, with a darker vertical line extending down from her forehead, indicating ceremonial or spiritual significance. Her dark hair is neatly pulled back into two long, thick braids that cascade down her shoulders. She wears a light beige garment made of leather for a loose, flowing fit. It is adorned with a fur trim along the shoulders and sleeves, suggesting warmth and practicality. Around her neck, she wears a necklace composed of dark beads interspersed with light-colored stones. From her ears dangle long earrings, also made of small beads. A dark feather or plume is visible on her chest, near the neckline of her dress. Chin-cha-pee holds a long, slender staff close to her body. The staff is dark brown with intricate carvings along its length. The background of the painting is a muted, greyish-green, which is somewhat indistinct, placing complete emphasis on the woman herself. The overall atmosphere is one of quiet dignity and strength. Catlin’s style seems to capture realism, focusing on Chin-cha-pee and her cultural identity with a sense of gravitas and respect.
“Chin-cha-pee, Fire Bug That Creeps, Wife of Pigeon's Egg Head” by George Catlin (American) - Oil on canvas / 1832 - Smithsonian American Art Museum (Washington DC) #WomenInArt #art #NativeAmerican #artText #Assiniboine #poc #GeorgeCatlin #Catlin #Smithsonian #SAAM #SmithsonianAmericanArtMuseum
These things need to be taken more seriously.
#SAAgainstMen #SAAgainstBoys #SAAgainstMenandBoys #SAAgainstBoysandMen
#SAAM #SAAB #SAAMB #SAABM
U.S. artist George Catlin described the beautiful Lakota (Teton Sioux) Tchon-su-mons-ka (Sandbar) as “very richly dressed, the upper part of her garment being almost literally covered with brass buttons; and her hair, which was inimitably beautiful and soft, and glossy as silk, fell over her shoulders in great profusion, and in beautiful waves, produced by the condition in which it is generally kept in braids, giving to it, when combed out, a waving form, adding much to its native appearance, which is invariably straight and graceless . . . This woman is at present the wife of a white man by the name of Chardon, a Frenchman, who has been many years in the employment of the American Fur Company, in the character of a Trader and Interpreter.” Francis A. Chardon was born in Philadelphia. After his service in the War of 1812, he entered the fur trade. With Chardon, Tchon-su-mons-ka had two children: Francis Bolivar (1832) and Andrew Jackson (1835). Bolivar was sent to Philadelphia where he was raised by Chardon’s parents. He later attended St. Louis University. Andrew Jackson Chardon died of smallpox in 1837, a few months after his mother, Tchon-su-mons-ka, had passed away. Catlin painted this portrait at Fort Pierre (in present-day South Dakota) in 1832. Tchon-su-mons-ka’s skin is a rich, dark brown tone, and she possesses long, wavy black hair that cascades down to her chest. Her expression is serious, with a slight blend of melancholy and curiosity in her eyes, which are dark and expressive, looking off to the our left. She has a small, dark mark on her forehead, possibly a traditional adornment, and there are faint red markings on her scalp, cheeks, and forearms. Her attire consists of a light-colored tunic, embellished with small, round, brass buttons sewn onto the chest area in irregular lines, adding texture and intricacy to the outfit. The edges of her sleeves have fringe. She wears multiple strands of beaded necklaces and several bracelets and rings.
“Tchón-su-móns-ka, Sand Bar, Wife of the Trader François Chardon by George Catlin (American) - Oil on canvas / 1832 - Smithsonian American Art Museum (Washington DC) #WomenInArt #art #PortraitofaWoman #SAAM #Smithsonian #ArtText #AmericanArt #lakota #GeorgeCatlin #artwork #catlin #NativeAmerican
Excellent tour of #SmithsonianAmericanArtMuseum #SAAM by Melissa Clark!🖼️ My personal fav #artwork was definitely the powerful sculpture by artist #GlennKaino of 200 golden arms representing courageous acts of 1968 Olympic 200 meter gold medalist #TommieSmith 🥇& bronze medalist #JohnCarlos 🥉 #atSAAM!
#JeanShafiroff #SAAM #norahlawlor
JEAN SHAFIROFF CHAIRS SOUTHAMPTON AFRICAN AMERICAN MUSEUM CHAMPAGNE BRUNCH
www.timessquaregossip.com/2025/07/jean...
American artist Kenneth Miller Adams painted his portraits of Pueblo Indians from life. He studied at the Art Institute of Chicago and the Art Students League. He served in the U.S. Army in World War I. In 1924, he moved to Taos, New Mexico. He was a member of the Taos Society of Artists. In 1938, he moved to Albuquerque when he was awarded a Carnegie Corporation grant as the first artist-in-residence at the University of New Mexico. He later taught at the University until he retired in 1963. In “Taos Indian Woman,” a young Native American woman stares off into space, as if her mind wandered far from the studio. She is seated, and her body is mostly turned to the viewer, but her gaze is averted, giving the impression of being lost in thought. Her hands are folded neatly in her lap, with her fingers interwoven. Adams has paid close attention to the rendering of her hands, emphasizing their size and shape. The unidentified woman has dark hair, neatly parted in the middle and pulled back from her face. Her complexion is relatively light with noticeable, softly-painted touches of blush on her cheeks. Her lips are closed, and her eyes are downcast, yet there's a strength and dignity evident in her posture and features. Adams draped her in a Pendleton blanket of rich, bold colors – blues, greens, reds, and browns that many viewers might have mistaken for an authentic Indian textile. These blankets copied Native American designs, and Pendleton Mills shipped them from Oregon to the Southwest to be exchanged for wool, silver jewelry, and other handcrafted items. American Indians wove fewer textiles as they acquired more Pendleton blankets through trading, and unsuspecting East Coast tourists collected the blankets as souvenirs of the Wild West.
“Taos Indian Woman” by Kenneth M. Adams (American) - Oil on canvas / c. 1924-1930 - Smithsonian American Art Museum (Washington DC) #WomenInArt #PortraitofaWoman #Taos #art #KennethAdams #Adams #artwork #SAAM #Smithsonian #AmericanArt #Indigenous #SmithsonianAmericanArtMuseum #NativeAmerican #beauty
The Throne of the Third Heaven of the Nations’ Millennium by James Hampton is a suite of silver and gold altarpieces surrounding a throne, a massive installation made of old furniture, aluminum foil, cigarette packs and other discarded materials.
Today I visited my favorite exhibit in one of my favorite museums. americanart.si.edu/artwork/thro... #SAAM
