gvpme.com

Tuesday, January 15, 2008

The Bush administration officially notified Congress Monday of its intention to sell sophisticated precision-guided bombs to Saudi Arabia. The action, coinciding with President Bush’s visit to Saudi Arabia, is part of a broader U.S. effort to bolster Gulf allies in the face of a more assertive Iran. VOA’s David Gollust reports from the State Department.

The Bush administration has already briefed Congress on its arms sales plans for Saudi Arabia. Monday’s announcement sets in motion a 30-day period in which the House and Senate can block the plan with a joint resolution – an action that appears highly unlikely.

Under the proposed deal, worth more than $120 million, the United States would provide Saudi Arabia with 900 kits and associated equipment to convert conventional gravity bombs into GPS-guided smart-bombs, known as JDAMs.

The weapons are a mainstay of the U.S. military arsenal and their accuracy would vastly enhance the capability of the Saudi Air Force, which has top-of-the-line U.S.-made fighter-bomber aircraft.

The sale is part of a broader $20-billion arms package for Saudi Arabia and other Gulf states announced by Secretary of State Condoleezza Rice and Defense Secretary Robert Gates last August on a mission to the Gulf, aimed at shoring up U.S. allies concerned about Iranian influence in the region.

Several elements of the broader package including sales of Patriot anti-missile systems to Kuwait and the United Arab Emirates, and upgrades for Saudi Arabia’s AWACS airborne command and control planes, have already gotten congressional assent. Officials here say they also expect the Saudi J-DAMS sale to proceed despite concerns expressed by some congressional supporters of Israel.

At the time the Gulf weapons sales package was announced last year, the Bush administration also committed to a 10-year, $30-billion arms package for Israel, representing a 25 per cent increase in annual U.S. arms aid to that country.

Briefing reporters, State Department Spokesman Sean McCormack said the administration has assured Congress it would do nothing to upset Israel’s military edge over potential enemies in the region.

“We’ve spent a lot of time assuring that we abide by our commitments to a qualitative military edge for Israel,” said Sean McCormack. “This is something that President Reagan first talked about and it’s been reiterated and reconfirmed by each successive president after that. We’re committed to maintaining that qualitative military edge for Israel.”

Israel itself has not protested the pending sale. Israeli officials have said they anticipate being provided with a new-generation U.S. smart bomb more capable than J-DAMS, which have been in service for more than a decade.

A spokesman for House Foreign Affairs Committee Chairman Tom Lantos, a prominent advocate for Israel in Congress, said he does not intend to push a resolution of disapproval.

However one House member, New York Democrat Anthony Weiner, said he would introduce such a measure and already has more than 30 co-sponsors.

Critics of the package have faulted Saudi Arabia’s record in combating terrorism and advancing political reform. Under questioning here, Spokesman McCormack said the Saudi government has made “quantum leaps” in action against terrorist cells and financing in recent years and has begun the process of reform, though not necessarily at a pace that would please some critics.

Two-thirds majorities of the members in both houses would be required to block the sale and officials here say chances for that appear nil.

Wednesday, May 4, 2005

Horia Teodorescu, a student in 10th grade at Costache Negruzzi College in Ia?i, northeastern Romania, won the annual worldwide NASA Space Settlement Design Contest. The contest is sponsored by the Fundamental Space Biology Program of the United States‘ space agency, NASA. The task of the contest is for students to develop designs for a permanent orbital space colony. For his design, Teodorescu was awarded a visit to a NASA base in the USA.

Concerning the contest, Teodorescu said, “I designed a space colony which is called ‘Temis’, a personification of the Greek goddess of wisdom. The project is made up of four parts.” He said that the development of the space colony in his design has two phases – “Firstly, there is the construction period, in which the Moon is used as a base for extracting and processing materials. This would last about one year. After that, there would be a period of 4-5 years, in which the population of the colony would reach 10,000.” In 15 years, Teodorescu projects in his design that the population would reach 100,000, and reach the stage where the colony would be able to sustain itself and to start developing its own economic, social and educational systems.

During the design’s conception, Teodorescu was aided by his teachers, Adrian Koriloff, Margareta Constantinescu, Nicolae Hirtan and Lucia Miron, as well as his father Horia Neculai Teodorescu, who is a professor at the Ia?i University. Teodorescu also participated in the same contest in 2004, where he received second place. The first prize was also obtained by Romanians, more precisely a group of students from Constan?a.

The Costache Negruzzi College, founded in 1895, is, with over 1500 students, the largest secondary education facility in Ia?i, a city of 320,000 people.

Saturday, October 6, 2007

Few artists ever penetrate the subconscious level of American culture the way RuPaul Andre Charles did with the 1993 album Supermodel of the World. It was groundbreaking not only because in the midst of the Grunge phenomenon did Charles have a dance hit on MTV, but because he did it as RuPaul, formerly known as Starbooty, a supermodel drag queen with a message: love everyone. A duet with Elton John, an endorsement deal with MAC cosmetics, an eponymous talk show on VH-1 and roles in film propelled RuPaul into the new millennium.

In July, RuPaul’s movie Starrbooty began playing at film festivals and it is set to be released on DVD October 31st. Wikinews reporter David Shankbone recently spoke with RuPaul by telephone in Los Angeles, where she is to appear on stage for DIVAS Simply Singing!, a benefit for HIV-AIDS.

DS: How are you doing?

RP: Everything is great. I just settled into my new hotel room in downtown Los Angeles. I have never stayed downtown, so I wanted to try it out. L.A. is one of those traditional big cities where nobody goes downtown, but they are trying to change that.

DS: How do you like Los Angeles?

RP: I love L.A. I’m from San Diego, and I lived here for six years. It took me four years to fall in love with it and then those last two years I had fallen head over heels in love with it. Where are you from?

DS: Me? I’m from all over. I have lived in 17 cities, six states and three countries.

RP: Where were you when you were 15?

DS: Georgia, in a small town at the bottom of Fulton County called Palmetto.

RP: When I was in Georgia I went to South Fulton Technical School. The last high school I ever went to was…actually, I don’t remember the name of it.

DS: Do you miss Atlanta?

RP: I miss the Atlanta that I lived in. That Atlanta is long gone. It’s like a childhood friend who underwent head to toe plastic surgery and who I don’t recognize anymore. It’s not that I don’t like it; I do like it. It’s just not the Atlanta that I grew up with. It looks different because it went through that boomtown phase and so it has been transient. What made Georgia Georgia to me is gone. The last time I stayed in a hotel there my room was overlooking a construction site, and I realized the building that was torn down was a building that I had seen get built. And it had been torn down to build a new building. It was something you don’t expect to see in your lifetime.

DS: What did that signify to you?

RP: What it showed me is that the mentality in Atlanta is that much of their history means nothing. For so many years they did a good job preserving. Don’t get me wrong, I’m not a preservationist. It’s just an interesting observation.

DS: In 2004 when you released your third album, Red Hot, it received a good deal of play in the clubs and on dance radio, but very little press coverage. On your blog you discussed how you felt betrayed by the entertainment industry and, in particular, the gay press. What happened?

RP: Well, betrayed might be the wrong word. ‘Betrayed’ alludes to an idea that there was some kind of a promise made to me, and there never was. More so, I was disappointed. I don’t feel like it was a betrayal. Nobody promises anything in show business and you understand that from day one.

But, I don’t know what happened. It seemed I couldn’t get press on my album unless I was willing to play into the role that the mainstream press has assigned to gay people, which is as servants of straight ideals.

DS: Do you mean as court jesters?

RP: Not court jesters, because that also plays into that mentality. We as humans find it easy to categorize people so that we know how to feel comfortable with them; so that we don’t feel threatened. If someone falls outside of that categorization, we feel threatened and we search our psyche to put them into a category that we feel comfortable with. The mainstream media and the gay press find it hard to accept me as…just…

DS: Everything you are?

RP: Everything that I am.

DS: It seems like years ago, and my recollection might be fuzzy, but it seems like I read a mainstream media piece that talked about how you wanted to break out of the RuPaul ‘character’ and be seen as more than just RuPaul.

RP: Well, RuPaul is my real name and that’s who I am and who I have always been. There’s the product RuPaul that I have sold in business. Does the product feel like it’s been put into a box? Could you be more clear? It’s a hard question to answer.

DS: That you wanted to be seen as more than just RuPaul the drag queen, but also for the man and versatile artist that you are.

RP: That’s not on target. What other people think of me is not my business. What I do is what I do. How people see me doesn’t change what I decide to do. I don’t choose projects so people don’t see me as one thing or another. I choose projects that excite me. I think the problem is that people refuse to understand what drag is outside of their own belief system. A friend of mine recently did the Oprah show about transgendered youth. It was obvious that we, as a culture, have a hard time trying to understand the difference between a drag queen, transsexual, and a transgender, yet we find it very easy to know the difference between the American baseball league and the National baseball league, when they are both so similar. We’ll learn the difference to that. One of my hobbies is to research and go underneath ideas to discover why certain ones stay in place while others do not. Like Adam and Eve, which is a flimsy fairytale story, yet it is something that people believe; what, exactly, keeps it in place?

DS: What keeps people from knowing the difference between what is real and important, and what is not?

RP: Our belief systems. If you are a Christian then your belief system doesn’t allow for transgender or any of those things, and you then are going to have a vested interest in not understanding that. Why? Because if one peg in your belief system doesn’t work or doesn’t fit, the whole thing will crumble. So some people won’t understand the difference between a transvestite and transsexual. They will not understand that no matter how hard you force them to because it will mean deconstructing their whole belief system. If they understand Adam and Eve is a parable or fairytale, they then have to rethink their entire belief system.

As to me being seen as whatever, I was more likely commenting on the phenomenon of our culture. I am creative, and I am all of those things you mention, and doing one thing out there and people seeing it, it doesn’t matter if people know all that about me or not.

DS: Recently I interviewed Natasha Khan of the band Bat for Lashes, and she is considered by many to be one of the real up-and-coming artists in music today. Her band was up for the Mercury Prize in England. When I asked her where she drew inspiration from, she mentioned what really got her recently was the 1960’s and 70’s psychedelic drag queen performance art, such as seen in Jack Smith and the Destruction of Atlantis, The Cockettes and Paris Is Burning. What do you think when you hear an artist in her twenties looking to that era of drag performance art for inspiration?

RP: The first thing I think of when I hear that is that young kids are always looking for the ‘rock and roll’ answer to give. It’s very clever to give that answer. She’s asked that a lot: “Where do you get your inspiration?” And what she gave you is the best sound bite she could; it’s a really a good sound bite. I don’t know about Jack Smith and the Destruction of Atlantis, but I know about The Cockettes and Paris Is Burning. What I think about when I hear that is there are all these art school kids and when they get an understanding of how the press works, and how your sound bite will affect the interview, they go for the best.

DS: You think her answer was contrived?

RP: I think all answers are really contrived. Everything is contrived; the whole world is an illusion. Coming up and seeing kids dressed in Goth or hip hop clothes, when you go beneath all that, you have to ask: what is that really? You understand they are affected, pretentious. There’s nothing wrong with that, but it’s how we see things. I love Paris Is Burning.

DS: Has the Iraq War affected you at all?

RP: Absolutely. It’s not good, I don’t like it, and it makes me want to enjoy this moment a lot more and be very appreciative. Like when I’m on a hike in a canyon and it smells good and there aren’t bombs dropping.

DS: Do you think there is a lot of apathy in the culture?

RP: There’s apathy, and there’s a lot of anti-depressants and that probably lends a big contribution to the apathy. We have iPods and GPS systems and all these things to distract us.

DS: Do you ever work the current political culture into your art?

RP: No, I don’t. Every time I bat my eyelashes it’s a political statement. The drag I come from has always been a critique of our society, so the act is defiant in and of itself in a patriarchal society such as ours. It’s an act of treason.

DS: What do you think of young performance artists working in drag today?

RP: I don’t know of any. I don’t know of any. Because the gay culture is obsessed with everything straight and femininity has been under attack for so many years, there aren’t any up and coming drag artists. Gay culture isn’t paying attention to it, and straight people don’t either. There aren’t any drag clubs to go to in New York. I see more drag clubs in Los Angeles than in New York, which is so odd because L.A. has never been about club culture.

DS: Michael Musto told me something that was opposite of what you said. He said he felt that the younger gays, the ones who are up-and-coming, are over the body fascism and more willing to embrace their feminine sides.

RP: I think they are redefining what femininity is, but I still think there is a lot of negativity associated with true femininity. Do boys wear eyeliner and dress in skinny jeans now? Yes, they do. But it’s still a heavily patriarchal culture and you never see two men in Star magazine, or the Queer Eye guys at a premiere, the way you see Ellen and her girlfriend—where they are all, ‘Oh, look how cute’—without a negative connotation to it. There is a definite prejudice towards men who use femininity as part of their palette; their emotional palette, their physical palette. Is that changing? It’s changing in ways that don’t advance the cause of femininity. I’m not talking frilly-laced pink things or Hello Kitty stuff. I’m talking about goddess energy, intuition and feelings. That is still under attack, and it has gotten worse. That’s why you wouldn’t get someone covering the RuPaul album, or why they say people aren’t tuning into the Katie Couric show. Sure, they can say ‘Oh, RuPaul’s album sucks’ and ‘Katie Couric is awful’; but that’s not really true. It’s about what our culture finds important, and what’s important are things that support patriarchal power. The only feminine thing supported in this struggle is Pamela Anderson and Jessica Simpson, things that support our patriarchal culture.

Tuesday, September 26, 2006

Safia Ahmed-jan, the director of the Afghan Ministry of Women’s Affairs for the Khandahar province and an advocate of women’s rights and a strong critic of the Taliban‘s repression of those rights, was shot dead by unidentified gunmen outside her home in Khandahar city in southern Afghanistan on Monday.

Safia Ama-jan, as she was known locally, is the first woman official to be targeted by the Taliban-led insurgency since it was deposed in 2001.

Safia Ahmed-jan taught at a girls’ school and was a high-school principal in Khandahar prior to the Taliban’s 1996 rise to power in Afghanistan. When the Taliban regime banned education for girls and forbade women from working outside the home, she ran an underground school for girls at her home, said her son Naqibullah, speaking to the Associated Press.

After the Taliban government was overthrown in 2001, Ahmed-jan became the provincial chief for women’s affairs in 2002, when the ministry was established and has since then held that position, worked for women’s rights and particularly, championed the cause of educating girls. Her secretary, Abdullah Khan told Associated Press that among her most successful projects were the vocational training schools she opened in Khandahar, where almost 1000 women were taught baking, tailoring and other skills.

Ahmed-jan has also been fiercely critical of the repression of women during the Taliban rule, in a region that has remained conservative and emerged as a hotbed of the Taliban’s insurgent activity. Her requests for personal security guards and transport went unheeded by the government, according to local media reports, though her nephew, Muhammad Asif told the New York Times that Ahmed-jan preferred to keep a low profile and used a taxi or public transport even though her office maintained cars and drivers.

Ahmed-jan was shot dead outside her house at about 7:30 a.m. local time (UTC+4:30) on Monday, as she left for work in a taxi. The gunmen are believed to have left scene on a motorcycle, and tyre marks have been found by the police, said the provincial governor Asadullah Khaled, who visited the scene of the attack.

Ahmed-jan was shot four times with a pistol, Muhammad Haidar, who worked in her office told the New York Times. Mohammad Nader, the head nurse at Khandahar’s main hospital where Ahmed-jan was taken to, confirmed to the Chicago Tribune that she was shot four times, including once in the head.

She was about 65 years old.

Accounts of the shooting are sketchy, several reports suggesting no one witnessed it. However, one man, identified as Allaudin told Al Jazeera that he saw two men on motorcycles waiting on the road, who attacked Ahmed-jan as she left her house.

A spokesman for the Khandahar governor, Daud Ahmadi confirmed the death and said that Ahmed-jan had died on the spot. An investigation into the attack has begun, and local officials have blamed the Taliban.

Hundreds of men and women, including the Governor Asadullah Khaled were present at Ahmed-jan’s funeral on Monday evening, which took place in Khandahar’s main Shia mosque.

The killing has been strongly condemned by the Afghan President Hamid Karzai as well as aid and human rights organisations in Afghanistan.

Aleem Siddique, a spokesman for the United Nations Assistance Mission in Afghanistan (UNAMA), said that UNAMA was “appalled at the senseless murder” of a woman who was working to ensure a full and equal part in the future of Afghanistan for its women. He added, “We share the sentiment of the majority of Afghan people who are appalled at this killing.”

Abdul Quadar Noorzai, head of the Afghan Independent Human Rights Commission (AIHRC) for the Khandahar region told IRIN News that Ahmed-jan’s death will have a “serious impact on women’s activities in the south where women are already suffering from … the deteriorating security and conservative traditions,”.

Fariba Ahmedi, a woman MP from Khandahar who was present at Ahmed-jan’s funeral told the Associated Press, “The enemy of Afghanistan killed her, but they should know it will not derail women from the path we are on. We will continue on our way,”.

Sonja Bachmann, a U.N. political officer who knew Ahmed-jan well told the New York Times that Ahmed-jan “did a good job, she worked in a very low-key way and worked hard to raise awareness about women’s issues.”

Reuters and Associated Press received phone calls, claiming responsibility for the attacks on behalf of Mullah Sadullah, a regional Taliban commander, but no confirmation of the claim has been possible.

Another caller, who identified himself as Taliban commander Mullah Hayat Khan told Al Jazeera that Ahmed-jan was killed because she worked for the government.

The Taliban-led insurgency has stepped up attacks in recent months, killing hundreds of people this year.

Last week, 19 Afghans working for reconstruction projects in the region were killed after their bus was ambushed.The Governor of Paktia province, a close associate of President Karzai, was killed in a suicide bombing on September 10.

Attacks on schools have also been stepped up. According to the Afghan education ministry, there have been 158 attacks on schools this year, compared to 146 last year. The attacks on schools are believed to be due partly to the Taliban’s opposition to educating girls, as well as a way to undermine the Afghan government and it’s reconstruction efforts.

Twelve suspected militants and two Afghan police officers were reported killed on Monday in separate incidents which also left eight others and a U.S. soldier wounded.

“People are scared, of course,” Ahmad-jan’s co-worker Haidar said, “How can we feel secure when the head of our department is killed in front of her house?”

Sunday, July 22, 2007

United Arab Emirates (UAE) developer Emaar Properties has claimed that their Burj Dubai commercial and residential tower, currently under construction, has become the world’s tallest building, reaching a height of 512.1 metres (or 1,680 feet) and 141 storeys.

The current official record holder, Taipei 101 of Taiwan, has a height of 508 metres and 101 storeys, and will retain the “tallest building” title for some time to come. The Council on Tall Buildings and Urban Habitat sets the criteria for achieving height records for buildings, and will not evaluate the Burj Dubai until construction is complete in late 2008. Although final height details have been kept secret by the developer, the Burj Dubai is expected to reach nearly 700 metres in height, with approximately 160 storeys.

The current record holder for the world’s tallest free-standing structure is the CN Tower in Toronto, Canada. It has a height of 553 metres. The Burj Dubai, therefore, would claim both records when it is completed.

Once the Burj Dubai is completed, it will have required 330,000 cubic metres of concrete, 39,000 tonnes of steel and 142,000 square metres of glass, according to Emaar Properties. The building will have 56 lifts (elevators) that can move at a rate of speed of 1.75 to 10 metres per second.

Dubai is undergoing a construction boom currently with the Burj Dubai as the planned centrepiece of a $US20 billion project, which will eventually realize some 30,000 apartments and boast the world’s largest shopping mall.

There have been criticisms of the working conditions for construction workers in the UAE. A majority of the estimated 500,000 construction workers in the UAE are foreign workers from India, Pakistan and Bangladesh.

In a 2006 report on the UAE’s treatment of migrant workers, entitled Building Towers, Cheating Workers, Human Rights Watch documented abuses in UAE such as, “extremely low wages, several years of indebtedness to recruitment agencies for fees that UAE law says only employers should pay, the withholding of employees’ passports, and hazardous working conditions that result in apparently high rates of death and injury.”

In October of last year, Human Rights Watch delivered specific recommendations to the UAE government for improvement of working conditions. The UAE government acted swiftly on the report and put in place several improvements, which were applauded by Human Rights Watch.

However, the salaries of migrant construction workers remain in the range from $106 to $250 per month, while the national average wage is over $2,000 per month. Trade unions remain illegal in the UAE.

A compilation of brief news reports for Monday, July 8, 2013.

Tuesday, April 30, 2019

Wikinews attended the sixth annual Mini Maker Faire in Tyler, Texas, United States on Saturday. Similar to a giant science fair, the event featured a variety of science, engineering and technology projects and items.

An array of technologies were on hand including 3D printers, drones, and various other physics devices. The owner of the Make Crate subscription service stated her company’s products place a strong emphasis on teaching young people about technology and coding. A traditional blacksmith was also on hand displaying metal working techniques.

Numerous Maker Clubs from an array of local schools were on hand, displaying a broad swathe of tech projects. A group of amateur hobbyists diplayed a model of the deck of the aircraft carrier, the USS Ronald Reagan with a solenoid device hooked up to launch paper airplanes.

• A volunteer hangs signage in preparation for the Mini Maker Faire in Tyler, Texas (April 2019) Image: Paul Budd.

• A parking sign showing the Discover Science Place logo. Image: Paul Budd.

• A banner for the event. Image: Paul Budd.

• A large 3D printer, installed in a portable trailer from LaTorneau College. Image: Paul Budd.

• 3D printed objects on display. Image: Paul Budd.

• The Make Crate company’s banner. Image: Paul Budd.

• Maker Club for All Saints, a local school in Tyler. Image: Paul Budd.

• Disclaimer poster. Image: Paul Budd.

• An interactive display, featuring bird songs, built by students from All Saints school in Tyler. Image: Paul Budd.

• A remote controlled police and medical drone on display. Image: Paul Budd.

Tuesday, January 29, 2008

Mauritanian refugees stuck in Senegal for nearly two decades after fleeing ethnic clashes in their home country have begun returning to Mauritania under a U.N.-sponsored program. But many do not want to return.

There were goodbye ceremonies and welcoming ceremonies attended by officials on both sides of the Senegal River as more than 100 former refugees were ferried on motorized pirogues.

A spokesman for the United Nations refugee agency, Alphonse Munyaneza, explained international funding will help pay for resettlement.

“Each refugee returning back to Mauritania will receive a piece of land equivalent to 140 square meters for establishing a house. UNHCR and the government of Mauritania will provide construction material so that they can build a house,” explained Munyaneza. “We will provide three months of food ration. We will provide a tent also.”

Mauritanian refugee children broke out in song and laughter when officials arrived at their camps close to the border to get the process going.

There are more than 20,000 Mauritanian refugees in Senegal. Officials say the return program will extend over 18 months.

One of those happy to go is Haddy Sy. She says she left Mauritania after she was beaten up. This took place during a wave of ethnic violence that began in Arab Moor-dominated Mauritania in 1989 and escalated into border clashes, forcing tens of thousands of black, mostly ethnic Fula, Mauritanians into exile.

In the late 1990s, more than 30,000 refugees returned by their own means and some U.N. assistance.

Sy says she is leaving behind many good things in Senegal, including a peaceful setting, but that she is still happy to return to her home country.

Since taking office last year, the government of the elected, post-coup President Sidi Ould Cheikh Abdallahi has been making efforts to bring home the refugees, including several thousand more in Mali.

But many in Senegal do not want to return home, like Yaraah Sow, who lives in the Dagana refugee camp about 400 kilometers northwest of Dakar.

He says he is still very bitter about what happened nearly 20 years ago. He said his father, who was a civil servant, was attacked by a mob and died of internal bleeding at the gates of a hospital after doctors refused to treat him.

Sow accuses the military of seizing all his family’s property. He says that two of his younger brothers died on the trip to Senegal. He says his children are now going to school and that they are better off in Senegal.

One of the refugee leaders, Mohamed Ali Sow, who left when he was 10, says he is studying at a university in Senegal to become a lawyer to defend the rights of chased out Mauritanians.

He says the return program has been rushed, because he says people who had their property seized, houses burned, and jobs taken away, should have guarantees these will be restored. He says until then, he does not think it is wise to go back.

Monday, March 26, 2012

The San Francisco Museum of Modern Art (SFMOMA) has purchased the painting Intermission, by American artist Edward Hopper. The piece, created in 1963, is one of the last paintings created by Hopper.

Hopper’s realist style, which visually examined American urban and rural life in the first half of the 20th century, made him one of the most influential and important American artists of the modern era. The painting, which was sold by a private collector, is believed to be valued at over $25 million.

Intermission shows a woman sitting alone in the front row of a theater. The theater is empty, and is described, by San Francisco Chronicle art critic Kenneth Baker as expressing emotion and social isolation, a standard theme in Hopper’s works. The inspiration for the painting came to Hopper while he was watching a film.

Hopper’s wife, Josephine, had scheduled Hopper to create the painting in a theater, however Hopper would complete the painting at his studio in New York City. Original sketches of Intermission show a second person sitting in the third row — a figure that never made it into the final painting. Baker calls Intermission a “prime example of Hopper’s austere realist vision”.

SFMOMA will not disclose how much they paid for Intermission. When the painting Hotel Window, which is of similar size and from the same period, sold at auction in 2006, it sold for $26.9 million. It is believed that “Inspiration” is worth just as much, if not more. Intermission was purchased with the help of donor funds, and acquired through the San Francisco-based Fraenkel Gallery, which sold if on behalf of a private collector.

In exchange for the acquisition of Intermission, SFMOMA is selling another Hopper painting: Bridal Path, from 1939. A lesser known work of Hopper’s, Bridal Path shows a horseback riding path in Central Park. By selling Bridal Path, SFMOMA is able to help fund the acquisition of the more well known Intermission. This practice is slowly gaining popularity within a museum and art market that previously disapproved of the sale of lesser known works for more popular acquisitions. Baker acknowledges the past practices, but believes that this is “a necessary practice in an art market where prices for historically important art continue to rise steeply.”

Intermission goes on display for the public on Friday, at SFMOMA.