MINNEAPOLIS (ANP) - De Amerikaanse FBI doet onderzoek naar de schietpartij in Minneapolis als "binnenlands terrorisme en haatmisdrijf gericht op katholieken". De schutter doodde twee kinderen bij een kerk van een katholieke school en verwondde nog zeventien anderen. Daarna schoot hij zichzelf dood.
FBI-directeur Kash Patel bevestigt op X dat de verdachte Robin Westman is. Amerikaanse media schreven al dat hij een 23-jarige man was uit Minneapolis en dat zijn huis werd doorzocht. Zijn moeder zou hebben gewerkt bij de kerk waar de schietpartij plaatsvond. Het motief is nog niet bekend.
De gewonden zijn naar twee ziekenhuizen in Minneapolis gebracht. Veertien van hen zijn kinderen. Een van de gewonden heeft het ziekenhuis inmiddels mogen verlaten. Zeven anderen verkeren nog in kritieke toestand.
President Donald Trump sprak van een "tragische schietpartij". Hij heeft bevolen alle vlaggen van overheidsgebouwen halfstok te hangen voor de slachtoffers.
Between 1935 and 1944, the Farm Security Administration (FSA) spurred a unique documentary project. The government outfit, organized as part of Franklin D. Roosevelt’s New Deal, provided aid to rural families during the Great Depression. The global economic crisis spanned 1929 to 1939 and was compounded in North America by the Dust Bowl, a severe drought exacerbated by poor agricultural practices and strong winds. Many farmers and their families were forced to migrate as, in some cases, their livelihoods essentially blew away.
Roy E. Striker, head of the Information Division of the FSA, had the foresight to hire a group of renowned photographers to chronicle the realities of the living conditions in rural parts of the U.S. Throughout its 9-year run, the FSA tapped the likes of Walker Evans, Dorothea Lange, Russell Lee, Arthur Rothstein, Ben Shahn, Jack Delano, Marion Post Wolcott, Gordon Parks, John Vachon, and Carl Mydans, among other luminaries.
Marion Post Wolcott, “Knowlton Plantation. Perthshire, Mississippi Delta, Mississippi”
Initially, the project focused on documenting cash loans made to individual farmers as a visual record of the good money could do, along with suburban development initiatives. The second phase took a more ambitious approach by dispatching photographers to the rural South to focus on the lived experiences of sharecroppers, along with migratory laborers in the West and Midwest. Later, the project expanded to include rural and urban documentation and World War II.
Arguably, the most iconic image captured by a FSA photographer during this time is Dorothea Lange’s 1936 portrait, often referred to as “Migrant Mother,” which depicts a destitute pea-picking family in California. But the images that Stryker chose to eventually publish, selected from tens of thousands of negatives overall, focus on a relatively narrow view of life during this time, presenting the period as a predominantly white struggle.
For Art Bridges Foundation curatorial associate Tamir Williams, Ph.D., this omission presents a unique opportunity to highlight “how Black Southerners created spaces of resilience, refuge, and identity amid widespread economic hardship and systemic oppression.” Stunning black-and-white images transport us back to an era almost beyond imagining—if it weren’t for the extraordinary record of daily life captured through the eyes of Rothstein, Evans, Lee, and more.
In a collaboration between Art Bridges and Museum of Art + Light,a new exhibition titled Crafting Sanctuaries: Black Spaces of the Black Great Depression South revolves around more than three dozen rarely seen images from the FSA archive that shed light on Black spaces during the Great Depression. Photos of homes, churches, schools, and barbershops demonstrate how “interior and public gathering spaces became canvases for self-determination and cultural preservation.”
Russell Lee, “Negroes talking on porch of small store near Jeanerette, Louisiana”
The images in this exhibition focus on the American South, particularly the lives of sharecroppers. Tenant farmers who worked land belonging to someone else—to whom they paid rent in the form of crops instead of cash—were often bound up in a cycle of indebtedness, thanks to high interest rates and unfair contract terms that made it difficult to break even, let alone get ahead. Beholden to landowners, many sharecroppers experienced a system that essentially prolonged certain conditions of slavery.
From the shade of a Mississippi Delta porch to an Atlanta barber shop to hearths in plantation tenant homes, FSA photographers captured candid, tender, everyday scenes that highlight the living and working conditions of Black laborers in the 1930s and early 1940s.
The titles, often written in the form of descriptions, employ obsolete terminology yet afford glimpses of specific locations like Gees Bend, Atlanta, and elsewhere throughout the Deep South. Still forced to endure the practices of the Jim Crow era, Black people attended segregated churches, barber shops, and other businesses. Crafting Sanctuaries shines a light on these historically underrepresented places.
Ben Shahn, “Scene in Natchez, Mississippi”
“The spaces captured in these photographs were not just shelters—they were sanctuaries,” Williams says. “They speak to how Black Southerners created places of refuge, affirmation, and self-determination, even in the harshest of circumstances. This exhibition seeks to change how we imagine the Great Depression as a largely white tragedy and expand it to see that it impacted everyone across America.”
Crafting Sanctuaries is on view at the Museum of Art + Light in Manhattan, Kansas, through March 9, 2026, when it may tour. Plan your visit on the museum’s website. You also might enjoy the FSA photographers’ “killed negatives” or a deep dive into more than 170,000 FSA images in the archive of the Library of Congress.
Marion Post Wolcott, “Interior of Negro tenants’ home who have lived on Good Hope Plantation for eight years. Mileston, Mississippi Delta. They have seven children. Mississippi”Russell Lee, “Southeast Missouri Farms Project. House erection. Roofing over shingle lath with wood shingles”Walker Evans, “Vicksburg Negroes and shop fronts. Mississippi”Walker Evans, “Negro barber shop. Atlanta, Georgia”Arthur Rothstein, “Interior of the old Pettway home, now inhabited by John Miller, foreman of the Gees Bend Negroes. Alabama”Jack Delano, “Negro church service in Heard County, Georgia”Arthur Rothstein, “Home of Negro family. Birmingham, Alabama”Marion Post Wolcott, “Kitchen in Negro tenant home on Marcella Plantation. Mileston, Mississippi Delta, Mississippi”
Explore Zandvoort on foot or by bike during the Dutch Grand Prix weekend. Find running and cycling routes for all abilities, from beach runs and dune trails to longer rides to nearby towns, with tips for fans visiting over the race weekend from August 29-31.
Fijne Internationale Dag van de Cosplay voor iedereen (?) die het viert, alsook een meewarige blik voor hetzelfde cohort. Dat brengt ons bij Cosplayer des Vaderlands Dick Schoof, die toch al meer dan een jaar verkleed als minister-president door het leven gaat. Gevolg: het percentage alcohol in een pilsje is hoger dan het percentage Nederlanders dat nog vertrouwen heeft in de politiek. Dat heeft mogelijk het een en ander te maken met het uitblijven van beleid, maar ongetwijfeld ook iets met het aanblijven van dhr Schoof. Ook niet per se handig: een kabinet dat al ruziënd en kibbelend voor het oog van de natie uiteenvalt. Maar, beweert de meneer die dat allemaal had moeten voorkomen nu, achter de schermen was de sfeer juist goed en verliepen de gesprekken in welhaast gemoedelijke sfeer. Tuurlijk, rare snijboon, als jij het zegt.
Eerder vandaag: hoe vinden de betrokkenen eigenlijk zelf dat het gaat?
