A Look at UNESCO and Its Work as the US Decides Again to Leave the Cultural Agency

This photograph shows the logo of the United Nations Educational, Scientific and Cultural Organization (UNESCO) headquarters in Paris on January 17, 2025. (AFP)
This photograph shows the logo of the United Nations Educational, Scientific and Cultural Organization (UNESCO) headquarters in Paris on January 17, 2025. (AFP)
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A Look at UNESCO and Its Work as the US Decides Again to Leave the Cultural Agency

This photograph shows the logo of the United Nations Educational, Scientific and Cultural Organization (UNESCO) headquarters in Paris on January 17, 2025. (AFP)
This photograph shows the logo of the United Nations Educational, Scientific and Cultural Organization (UNESCO) headquarters in Paris on January 17, 2025. (AFP)

With the support of international partners and $115 million in funding, the UN cultural agency UNESCO recently helped rebuild the Iraqi city of Mosul after it was devastated by the ISIS group.

The restoration of the historic city's iconic Al-Nouri Mosque and Al-Hadba Minaret was just one of many programs run by the UN Educational, Scientific and Cultural Organization, which is in the spotlight because the United States is leaving it once again, reported the Associated Press.

The decision to pull US funding and participation from UNESCO will deal a blow to its work preserving cultural heritage around the world. US President Donald Trump exited the agency during his first term, accusing it of promoting anti-Israel speech. The administration of US President Joe Biden had rejoined UNESCO in 2023 after citing concerns that China was filling the gap left by the US in UNESCO policymaking.

Here’s a look at the work UNESCO does:

World Heritage Sites UNESCO names World Heritage sites, including landmarks like the Great Wall of China, the Egyptian pyramids, the Taj Mahal and the Statue of Liberty, and gives them special protection under its World Heritage Sites program.

Its World Heritage Committee each year designates sites considered “of outstanding value to humanity” and intervenes when sites are in danger of destruction or damage. The program provides countries with technical assistance and professional training to preserve the sites.

A World Heritage site designation is coveted and seen as a boost to tourism.

Another UNESCO convention created in 2003 protects “intangible” heritage such as folk songs and traditional dances, crafts and cooking in its lists.

Holocaust Education: Like the rest of the UN, UNESCO was created in response to the horrors of World War II, and particularly Nazi crimes. Amid concerns that the agency’s Arab members have used UNESCO to pass anti-Israel resolutions, UNESCO has worked in recent years on Holocaust awareness projects. That includes educational materials and organizing visits to former Nazi concentration camps.

Empowering Girls: UNESCO works to improve literacy, with a special focus on girls in countries hit by war or disasters who get little or no schooling though programs such as the Malala Fund for Girls’ Right to Education. In Tanzania, for instance, over 2,500 girls benefited from the creation of safe spaces in 40 secondary schools. The agency provides teacher training and materials and encourages programs for girls to pursue careers in science.

Climate Change: One of the agency's goals is coordinating climate knowledge and improving international education about how global warming occurs and affects people around the world. Over 30 UNESCO programs are designed to help its members adapt to climate change and favor sustainable development.

Ethics of Artificial Intelligence: UNESCO adopted in 2021 what it calls “the first and only global standard-setting instrument on the ethics of artificial intelligence.” Applying to all 194 member states, the recommendation emphasizes the protection of human rights and dignity, grounded in principles like transparency, fairness, and human oversight of AI systems.

Operating without the US: UNESCO director general Audrey Azoulay said the US decision to leave was expected and that the agency has prepared for it. While the US had previously provided a notable share of the agency’s budget, UNESCO has diversified its funding sources.

“Thanks to the efforts made by the organization since 2018, the decreasing trend in the financial contribution of the US has been offset, so that it now represents 8% of the organization’s total budget compared with 40% for some United Nations entities,” Azoulay said.

She added that the agency's overall budget has increased and that it has the steady support of "a large number of member states and private contributors.”



Egyptian Mummy Portraits Show Antiquity's Piercing Gaze in New Rome Show

Some of the masterpieces in the Rome exhibition were allowed to leave Egypt for the first time.  Andreas SOLARO / AFP
Some of the masterpieces in the Rome exhibition were allowed to leave Egypt for the first time. Andreas SOLARO / AFP
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Egyptian Mummy Portraits Show Antiquity's Piercing Gaze in New Rome Show

Some of the masterpieces in the Rome exhibition were allowed to leave Egypt for the first time.  Andreas SOLARO / AFP
Some of the masterpieces in the Rome exhibition were allowed to leave Egypt for the first time. Andreas SOLARO / AFP

An elegant woman gazes out from her portrait with expressive eyes, a gilded wreath worn in her hair and a gentle, questioning look on her face.

She is one of the 2,000-year-old "Faces of Fayum", startlingly realistic funerary -- or mummy -- portraits painted after Egypt became part of the Roman empire.

The fragile portraits dating from the first to third centuries AD -- painted on thin wooden panels and designed to be placed over the face of mummies -- will go on display in Rome in what organizers hail as a "milestone" collaboration between Italy and Egypt, AFP reported.

"Egypt and Rome, the Faces of Fayum", opening Wednesday at Rome's Ara Pacis museum, also includes mummies, masks, shrouds, jewelry, marble busts and statuary.

The majority of the artefacts come from Egypt, with some allowed to leave the country for the first time.

Such is the case of the "Tondo of the Two Brothers" from Cairo's Egyptian Museum, a freshly restored double portrait from the time of Emperor Hadrian that depicts two curly-haired young men, possibly brothers, with soulful eyes.

Rome's top official for cultural heritage, Claudio Parisi Presicce, called the work an "absolute masterpiece, perhaps the most important pictorial work to have survived from antiquity".

"These are simple wooden panels, often just a few millimeters thick, made of wood... and they were used to depict, through extremely naturalistic painting, the faces of the individuals who were being buried," Parisi Presicce told a press conference Monday.

Rooted in the tradition of Hellenistic painting, the portraits placed over the head of the mummy and secured into its wrappings come from a relatively brief period between the first and third centuries AD, after Egypt became a province of Rome.

In a fusion of two great civilizations -- Egyptian and Roman -- the men, women and children portrayed often bear Egyptian features, but wear Roman dress.

Their faces are vivid, and haunting, whether bearing signs of greying hair and wrinkles, or the long eyelashes and chubby cheeks of a child.

"These people are not dead," Italian figurative painter Amedeo Modigliani once said of the Fayum portraits.

"They are more alive than those who gaze upon them."

- Ushering the dead -

Works from the Louvre, the Metropolitan Museum of Art, the J. Paul Getty Museum, the Landesmuseum Württemberg and other international museums round out the exhibit.

A fertile area of Egypt on the edge of the desert, Fayum's arid climate helped preserve the delicate painted wood, textiles and papyrus on display in the exhibition.

One work, on loan from the Louvre, is a spectacular, near-pristine linen shroud depicting a man standing between the mummy he will become and Anubis, who helped usher the dead into the Afterlife.

Some of the female portraits are adorned in sumptuous jewelry, such as that of the woman "Isidora" from the first century AD, whose three-tiered gold necklace adorned with precious stones, pearl earrings and elaborately curled hairdo project her status.

Parisi Presicce said that "countless questions" remain about the compelling portraits.

"Were they made earlier and kept until the moment of death? Were they painted at the time the deceased was buried? Were they panels that were hung in homes, in residences?" he asked.

A nail found at the top of one of the portraits makes this theory plausible, he said.

Hisham El-Leithy, secretary-general of Egypt's Supreme Council of Antiquities, said the images from so long ago have an uncanny power to move us.

"They are people like us, we look at them, they look back at you across 2,000 years," he said.

"That is the power of the portrait."

The exhibition runs until May 2.


Museum Sold Kandinsky for $62,000. It May Fetch $80 Million At Auction

“Betonte Ecken” is guaranteed to set an auction record for Kandinsky's work when it goes on sale at Christie's later this month. (Christie's) 
“Betonte Ecken” is guaranteed to set an auction record for Kandinsky's work when it goes on sale at Christie's later this month. (Christie's) 
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Museum Sold Kandinsky for $62,000. It May Fetch $80 Million At Auction

“Betonte Ecken” is guaranteed to set an auction record for Kandinsky's work when it goes on sale at Christie's later this month. (Christie's) 
“Betonte Ecken” is guaranteed to set an auction record for Kandinsky's work when it goes on sale at Christie's later this month. (Christie's) 

Some 15 years after Solomon R. Guggenheim died, the foundation managing his extensive art collection concluded that it owned more Wassily Kandinsky paintings than it knew what to do with.

The late American businessman had been among the Russian painter’s most prominent and dedicated patrons.

But in 1964, despite operating its namesake museum in Manhattan, Guggenheim’s foundation placed 50 of its 170 Kandinsky works — characteristically colorful, geometric takes on abstraction — on sale “for want of space,” according to CNN.

Announcing the decision, his nephew, Harry F Guggenheim, said trustees feared the art would otherwise remain hidden away “in our vaults,” according to reports at the time. “We have concluded that this should not be the fate of these paintings,” he added.

It was a noble sentiment but perhaps, in hindsight, a costly one.

At a London auction later that year, the 50 paintings fetched a combined £536,580, then equivalent to around $1.5 million.

Many of them have since reappeared on the market at significantly higher prices.

And now one of the works — “Betonte Ecken,” which in 1964 attracted a winning bid of just £22,000 (then around $62,000, or $540,000 in today’s money) from a New York art dealer — is returning to auction with an estimate of $60 million to $80 million.

“The Guggenheim had such an embarrassment of riches back then,” said Max Carter, global chairman of 20th and 21st century art at Christie’s, the auction house behind this month’s sale.

The foundation “sold tremendous masterpieces, which would be unthinkable to sell today,” he added, speaking over the phone from New York.

“Betonte Ecken” is not just poised to break the auction record for Kandinsky’s work — it is certain to do so. Christie’s said a guarantor has confirmed an offer exceeding the record £37.2 million ($44.55 million) paid for his painting “Murnau mit Kirche II” in 2023.

The dramatic appreciation in the value of Kandinsky’s work is a testament to his status in today’s art market. While his reputation was well-established by the time of the Guggenheim sale (at which point he had already been dead for two decades), “Betonte Ecken” was, then, “still very forward-looking,” Carter said.

“Now it’s become canonical,” he added, calling the painting “quintessential” Kandinsky.

“If you were to go on the street and ask the first 10 people who’d heard of Kandinsky to close their eyes and describe what one of his masterpieces looked like, it would be this.”


Makkah Heritage Returns to Home Designs with Traditional Architectural Details and a Modern Touch

Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes - SPA
Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes - SPA
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Makkah Heritage Returns to Home Designs with Traditional Architectural Details and a Modern Touch

Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes - SPA
Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes - SPA

More Makkah residents are turning to the city’s traditional architectural style for inspiration when designing homes and villas, reflecting the community’s enduring connection to its architectural heritage.

Features of traditional Makkah architecture are becoming increasingly prominent in modern home designs. These include wooden rawashin (ornate bay windows) featuring geometric patterns, architectural arches, ornate wooden doors, mashrabiyas (projected wooden balconies), and internal courtyards, SPA reported.

Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes. It provides an open family space at the center of the house, balancing privacy with natural ventilation.

In this context, some architecture enthusiasts are combining heritage elements with modern technologies by preserving exterior designs inspired by old Makkah houses while incorporating contemporary engineering solutions for space planning, lighting, thermal insulation, and air conditioning systems. This approach meets modern comfort and sustainability requirements without compromising the building’s visual identity.

Architecture and heritage enthusiasts believe reviving the Makkah architectural style is one way to preserve the city’s urban identity, particularly amid rapid urban expansion and the growing diversity of modern construction styles.