内容摘要：“We should strip him of his judge robe,” party spokesperson Noh Jongmyun said. “Isn’t it preposterous for him to serve as chief judge for the rebellion trial where the fate of Korea’s democracy lies?”

“We should strip him of his judge robe,” party spokesperson Noh Jongmyun said. “Isn’t it preposterous for him to serve as chief judge for the rebellion trial where the fate of Korea’s democracy lies?”

“The U.S. will always be Nvidia’s largest market and home to the largest installed base of our infrastructure,” Huang said. “Every nation now sees AI as core to the next industrial revolution.”There’s a mountain on Oahu named for the Greek myth of Tantalus, for whom satisfaction was always just out of reach. The road up is winding, filled with switchbacks, hanging vines, and vistas where, on mild nights, couples linger in cars against the backdrop of

Hidden amid wild avocado trees and the heart-shaped leaves of houseplants is a long driveway leading to a crystallized snapshot in time: the Liljestrand House, designed by architect Vladimir Ossipoff in 1948 and built for Betty and Howard Liljestrand in 1952 for $40,000 at the time.Credited with adapting midcentury modern for the tropics, Ossipoff designed homes and buildings in Hawaii with certain shared features: Japanese carpentry and expertise, the strategic use of trade winds for cooling (he abhorred air conditioning), and the merging of outside and inside space.This style, now known as Hawaiian Modern, is on display in the Liljestrand House, one of Oahu’s many

— and one of the few that is open to visitors.Others include the royal residences (Iolani Palace and Queen Emma Summer Palace); Hawaiian Mission Houses (such as Hawaii’s oldest Western-style house, built in 1821); Hawaii’s Plantation Village in Waipahu, which includes restored sugar plantation buildings; and

an ode to Islamic art and culture built by tobacco heiress

The oldest hale — a traditional Native Hawaiian thatched house — is enshrined at“Portrait of Frederick A. Gale” was painted by Ammi Phillips in 1815 and is one museum director Jason Busch’s favorite pieces in the collection. It stands out, he said “because it’s representative of an art genre that, up till then, had been the purview of society’s upper crust.

“But around this time, more middle-class families were financially able to commission portraits.”Frederick wears a big smile and clothes that are less fussy and more childlike than those of kids in more traditional portraits.

Clarence and Grace Woolsey of Reinbeck, Iowa, had fun creating things out of the boxes of bottle caps that everyone had in the 1960s, before recycling programs became widespread. They strung together dozens of caps with baling wire, forming them into animals, objects and structures. The Museum has one of the small houses from the collection; the red-painted, tightly-packed caps with wavy edges resemble shingles, and the homey vibe epitomizes found-object craft art at its best.“Somewhere to Roost” runs until May 25, 2025, at the American Folk Art Museum in New York City.