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[tektronixtechnology]

Why Biometric & Time Attendance Systems Matter

Time is money, and effective time management is essential for businesses to thrive. Traditional punch cards and paper registers have become obsolete and ineffective in modern workplaces. Biometric and time attendance systems have emerged as game-changers for businesses by offering the following benefits:

Accuracy: Biometric systems use unique human characteristics such as fingerprints, facial recognition, or iris scans, ensuring that employees cannot clock in or out for each other. This accuracy reduces payroll errors and saves money.

Elimination of Buddy Punching: With biometric systems, employees cannot clock in or out for their absent colleagues, preventing fraudulent practices and ensuring fair work hours.

Real-time Monitoring: Employers can monitor attendance in real time, providing instant insights into employee attendance patterns and helping with workforce planning.

Security: Biometric data is highly secure, reducing the risk of unauthorized access to sensitive areas within the organization.

Convenience: Employees can clock in and out quickly and conveniently, without the hassle of remembering passwords or carrying physical cards.

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Tektronix Technologies has established itself as a trusted name in the field of biometric and time attendance systems in Dubai and Abu Dhabi. Here's why they are a preferred choice:

Cutting-Edge Technology: Tektronix Technologies stays at the forefront of technological advancements. Their systems utilize the latest biometric recognition methods, ensuring the highest level of accuracy and security.

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Local Support: With a strong presence in Dubai and Abu Dhabi, Tektronix Technologies provides local support and maintenance, ensuring that your system runs smoothly at all times.

In a competitive business environment like Dubai and Abu Dhabi, efficient time and attendance management is critical for success. Tektronix Technologies offers cutting-edge biometric and time attendance systems that not only streamline attendance tracking but also enhance security and accuracy. Investing in these advanced systems is a strategic move that can lead to significant cost savings, improved productivity, and greater peace of mind for business owners and managers. With Tektronix Technologies, businesses in these dynamic cities are empowered to manage their workforce efficiently and effectively, paving the way for growth and success in the modern business landscape.

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[tilbageidanmark]

Movies I watched this week - 30

Joseph Losey’s brilliant 1963 ‘The Servant’, with dashing Dirk Bogarde and Bowie-lookalike Edward Fox in his first major role.

Chilly, ambiguous sexuality, stylish power dynamics and a creepy attack on Britain's class system. Written by Harold Pinter, with a cool jazz score, and crisp black and white cinematography. A game where the master becomes a slave - A true masterpiece.

✴️

After seeing ‘Pig’ last week, I knew I had to find the documentary The Truffle Hunters. It’s about a group of old mushroom foragers, all in their seventies and eighties, and their dogs, living in the mountains of Piedmont, Italy, and I’m glad I did.

Simple, delicate and rich - a rare find, like the truffles themselves - Best film of the week.

The trailer sums it up.

✴️  

A straightforward Finnish biopic of ‘Tom of Finland’, the influential creator of homoerotic art and fashion. Fascinating subject told in a by-the-number style.

✴️  

Thomas Vinterberg’s 2016 The Commune - a timid drama about a couple trying communal living in 1970s Copenhagen. It would be better if it was just about Trine Dyrholm's and her asshole husband’s (The always unpleasant Ulrich Thomsen) disintegrating marriage. 4/10

✴️

Borgman, a strange Dutch thriller about a charismatic hobo and his manipulative Manson Family posse who take control of a wealthy family and convert them too into his possessed followers. Some biblical and existentialist undertones, maybe diabolical, Christian horror, surrealistic symbolism and disturbing visuals. A mixed fair.

✴️  

Harold and Maude, a love story between two people who like to attend funerals, a young man and 80 year old free spirit Ruth Gordon. With (unrelated to the plot) score by Cat Stevens.

Edgy? Eclectic? “With it”? Not so much after 50 years.

✴️

Benoît Delaunay’s very sad short animation Three Small Cats, about a cute cat family that dies one by one.

✴️

3 more with Willem Dafoe:

✳️✳️✳️ At eternity’s Gate, painter Julian Schnabel‘s hagiographic biopic of Vincent Van Gogh's last two years in Arles.

Beautiful! 9/10.

I remember having a precious edition of ‘Letters to Theo’, which decades later I just gave away with the rest of all my books... Sad!

✳️✳️✳️  Paris, je t'aime, a 2006 anthology of 18 vignettes, each set in different arrondissement (2 are missing). Most are romantic, enjoyable and sentimental “City-Porn”.

The last Alexander Payne short, where lonely letter carrier tourist Margo Martindale has an epiphany on why she loves the city, was perhaps the loveliest.

Also, Maggie Gyllenhaal as a hashish smoking actress was absolutely cute.

✳️✳️✳️ I didn’t know that Paul Schrader directed Adam, Resurrected, a 2008 Israeli film based on Yoram Kanyuk’s book  ( אדם בן כלב‎ ). A horrible and cringy holocaust drama taking place at mental institute in the Negev in 1961.

Unfortunately it is headed by Human Ham Sandwich Jeff Goldblum in a three piece suit and with a fake German accent trying to hamm-out Jerry Lewis in his Auschwitz comedy ‘The Day the Clown Cried’.

One of the worst film I’ve seen during this project!

✴️

Le Samouraï, Jean-Pierre Melville’s tribute to American gangster genre of the 30′s and 40′s. With taciturn Gun-for-hire Alain Delon at his peak handsomeness. Solitary, coolly detached, deadly stylish.

✴️ Discovering Max Tohline:

✳️✳️✳️ Media scholar Max Tohline’s fascinating investigative video essay A Supercut of Supercuts. The 2 hour long academic discussion extends to before the beginning of the cinema to postulates that Supercuts are not a form of aesthetic, but a new mode of knowledge - the database episteme.

Compelling! I’m going to watch the rest of his output!

✳️✳️✳️ ‘The Conversation’ is the Confessional - ‘We’ve heard it all before’.

✳️✳️✳️ Editing as Punctuation in Film - "The whole eloquence of cinema is achieved in the editing room"

✳️✳️✳️ From ^ there ^: György Pálfi’s Final Cut, Ladies and Gentlemen, a romantic experimental mash-up, made up of 450 clips from the most famous films in history. It seems that I’ve seen 90% of all of them here in recent years.

10/10

✳️✳️✳️ More from ^ there ^ : Chuck Workman’s 1986 Precious Images. 470 half-second-long splices of movie moments through the history of American film. Commissioned by the Directors Guild for its 50th anniversary.

✴️

I dislike most “action” movies, but I love Tony Gilroy’s Bourne trilogy, and watch them regularly.  I just binged again on The Bourne Identity, ‘Supremacy and 'Ultimatum, the films he wrote just before directing ‘Michael Clayton’.

All three of them follow the same story patterns. I don’t want to see the last two.

Here is Tony Gilroy Delivers a 2013 BAFTA Screenwriters' Lecture.

Link: About The Bourne trilogy’s shaky-cam action.

✴️

I finally finished Your honor, Bryan Cranston’s 10 episode series, which was unfairly compared to Breaking Bad. Yes, both are dealing with a respectable member of society going ‘Bad’, in this case a New Orleans judge whose son accidentally kills a motorcyclist, and who decides to cover it up.

But this is no ‘Breaking Bad’, because the ridiculous drama here is lazy, full of holes and clichéd throughout.

Based on an Israeli series ‘Kvodo’.

✴️

The princess Bride - First watch: Yes, it’s very quotable. If I was 12 seeing it for the first time, I might find it enchanting, but since I’ve waited 56 years, nah...

✴️

The Hater, another despicable Polish film about a young social media sociopath, online stalker and manipulator who works at troll farm and foments hatred, violence and destruction.

(I’m glad I quit Netflix).

- - - - -

(My complete movie list is here)

[servicesouthmorang]

Business Name

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[dzeikobb]

20.01.2021

Leo Bersani - Homos

Monique Witting

Judith Butler

Michael Warner

Andre Gide, Jean Genet, Proust

desire for the same and desire for the lack

anticommunitarian impulses they discover in homosexual desire

The Immoralist, Sodome et Gomorrhe, Funeral Rites

how desire for the same can free us from oppresive psychology of desire as lack (a psychology that grounds sociality in trauma and castration)

a salutary devalorizing of difference

difference not as a trauma to overcome (it nourishes antagonistic relations between the sexes), but rather as a nonthreatening supplement to sameness

"Once we agreed to be seen, we also agreed to be policed"

a traditional sanctification of state authority

The Archaeology of Late Antique 'Paganism' edited by Luke Lavan, Michael Mulryan

Constructing Postmodernism By Brian McHale

reading modernistically - paranoiacally

New Criticism, New Critical institutionalization of modernism

paranoid reading is assumed to be the appropriate norm of reading

then postmodernist texts appear which assume and anticipate paranoid reading-habits

they incorporate representations of (fictional) paranoid interpretations (conspiracy theories) or paranoid reading practices, or they thematise paranoia itself, reflecting, anticipating, perhaps pre-empting actual readers' paranoid readings.

La Jalousie, Pale Fire, The Crying of Lot 49, De Lillo Running Dog/The Names/Libra, The Name of the Rose and Foucault's Pendulum

"the idea is not to discover the secret, but to construct it"

no longer an epistemological quest, but an enterprise unconstrained by criteria of truth and evidence (world-building?)

an experiment in self-conscious world-making, a cosmological matter (novel-writing enterprise is one as well)

one projects (calls into being) an entity, anticipating a response

Masons, Illuminati, Rosicrucians, Gender-LGBT

"he declares that the league exists so that people will then create it"

St Anselm ontological proof of God's existence

confusing existence in thought with existence in reality

but: they project into reality the non-existent entities

inventing nonsenses, but the public will want to pursue them if they hear of them

"we've shown the necessity of the impossible"

"we invented a non-existent Plan, and they not only believed it was real but convicted themselves that they had been part of it for ages, or rather they identified fragments of their muddled mythology as moments of our Plan"

ontological side effects of world-making: the projected world has begun to contaminate the real world

there might come a time when the projected world will supplant the real world

Frederick Jameson: Postmodernism, or The Cultural Logic of Late Capitalism

symptomatic works and diagnostic works

reflections or expressions of late-capitalist social and economic relations

diagnostic works aspire to produce some image/figure/representation of the unrepresentably complex multinational world-system in which we live

Kevin Andrew Lynch was an American urban planner and author. He is known for his work on the perceptual form of urban environments and was an early proponent of mental mapping.

cognitive mapping

Conspiracy paranoia is a recurrent cultural phenomenon especially in American political life, with successive waves of anti-Masonism, anti-Catholicism, anti-Communism etc

Hypothesis: Whenever the complexity of the social-economic system outstrips our capacity to represent it to ourselves, conspiracy theory arises to fill the gap as the "poor person's cognitive mapping"

The recurrence of crises of cognitive mapping

responses to successive crises of society's self-imagining

"fossilized" attempts at the cognitive mapping (reminds me of Deleuze and geology - paranoic geology of the psyche?)

late-capitalist high-tech versions of conspiracy and the postmodernist resurgence of traditional conspiracy theories

Constructivism's basic epistemological principle is that all our cognitive operations, including (or especially) perception itself, are theory-dependent. This means, first of all, that data do not exist independently of a theory that constitutes them as data.

Granted the theory-dependency of "facts", it follows that faithfulness to objective "truth" cannot be a criterion for evaluating versions of reality (since the truth will have been produced by the version that is being evaluated by its faithfulness to the truth, and so on, circularly). The appropriate criteria for evaluation now are, for instance, the explicitness of the version, its intersubjective accessibility, its "empirical-mindedness", i.e. its aspiration to be as empirical as possible, where empiricism is not a method but a horizon to be approached only asymptotically; and above all, the adequacy of the version to its intended purpose. In other words, constructions, or what I have been calling versions of reality, are strategic in nature, that is, designed with particular purposes in view.

cities constructed, not given or found

or are they?

Parisian structuralist narratology - Barthes, Bremond, Genette, Greimas, Todorov

21.20.2020

I have been watching protest of the Women's Strike. On my phone, at my desk, at home, later from bed. I have been unable to attend due to my deteriorating mental health condition. How to describe the feeling and the atmosphere of this protest? I will juxtapose the following:

Hierarchy - Presence - Genital - Narrative - Metaphysics - Determinacy - Construction of a world-model - Ontological certainty [modernism]

Anarchy - Absence - Polymorphous - Anti-narrative - Irony - Indeterminacy - Deconstruction of a world-model - Ontological uncertainty [postmodernism]

What I saw leads me to believe that I should associate my perception of protests with the latter column.

A plot: events arranged in temporal sequence, a causal motivation for the sequence

modernism and postmodernism not as period styles, one of them current and the other outdated, more like alternative stylistic options between which contemporary writers are free to choose without that choice necessarily identifying them as either avant-garde or arriere-garde.

The dissolution of the library and the world

And then collecting the fragments (relics) of the burned library

What if the library does not burn, but is flooded?

What if it dissolves into a flood of meaningless text

An overflow of meanings leading to the ultimate loss of all meaning

An overabundance of points and places in the map causing the map to become illegible

Alain Robbe-Grillet: Instead of having to deal with a series of scenes which are connected by causal links, one has the impression that the same scene is constantly repeating itself, but with variations"

"narrative as a systematic application of the logical fallacy denounced by scholasticism under the formula post hoc, ergo propter hoc"

"a complex web of responses to and repetitions of earlier works, visual and textual, creative and critical" (isn't any text/work such a web?)

Gradiva - Novel by Wilhelm Jensen

Topologie d'un cite phantome Robber-Grillet

"a narrative which has abandoned any sense of progress and explores the past as a set of variations on a split and dispersed present"

Vigo-Atlantis on the connecting point of three continents-islands

it is inundated in never-stopping rain

Ruins of Warsaw after World War 2 turned into a closed-off monument and after the fall of communism, into a "tragedy-amusement park", somewhat like Westerplatte

a participant of the Warsaw Uprising and a young Jew-Robinson (a descendant of other Robinsons) who survived hiding in ruins until present time both emerge and react differently: the insurgent tries to kill tourists thinking they are Germans and is killed by security himself and the Robinson goes back to hiding, understanding that the world has experienced an apocalypse and a new world has emerged, in which there is no place for him.

22.01.2020

Właśnie przechodzę przez kolejny nawrót depresji, nie stać mnie na terapię, nie jestem w stanie z kimkolwiek rozmawiać, nienawidzę stanu, w którym jest moja skóra i ciało, za bardzo się wstydzę, by naprzykrzać się komukolwiek opowiadaniem o moich problemach, mam za mało pieniędzy, prawie nie mam pracy, nie mam dokąd uciec, nie mogę nawet wyjechać za granicę, rzuciłem studia po raz piąty w życiu i ignoruję te kilka osób, którym jeszcze choć trochę na mnie zależy.

[blackkudos]

Elizabeth Catlett

Elizabeth Catlett (April 15, 1915 – April 2, 2012) was an American and Mexican graphic artist and sculptor best known for her depictions of the African-American experience in the 20th century, which often focused on the female experience. She was born and raised in Washington, D.C. to parents working in education, and was the grandchild of freed slaves. It was difficult for a black woman in this time to pursue a career as a working artist. Catlett devoted much of her career to teaching. However, a fellowship awarded to her in 1946 allowed her to travel to Mexico City, where she worked with the Taller de Gráfica Popular for twenty years and became head of the sculpture department for the Escuela Nacional de Artes Plásticas. In the 1950s, her main means of artistic expression shifted from print to sculpture, though she never gave up the former.

Her work is a mixture of abstract and figurative in the Modernist tradition, with influence from African and Mexican art traditions. According to the artist, the main purpose of her work is to convey social messages rather than pure aesthetics. Her work is heavily studied by art students looking to depict race, gender and class issues. During her lifetime, Catlett received many awards and recognitions, including membership in the Salón de la Plástica Mexicana, the Art Institute of Chicago Legends and Legacy Award, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture.

Early life

Catlett was born and raised in Washington, D.C. Both her mother and father were the children of freed slaves, and her grandmother told her stories about the capture of their people in Africa and the hardships of plantation life. Catlett was the youngest of three children. Both of her parents worked in education; her mother was a truant officer and her father taught at Tuskegee University, the then D.C. public school system. Her father died before she was born, leaving her mother to hold several jobs to support the household.

Catlett's interest in art began early. As a child she became fascinated by a wood carving of a bird that her father made. In high school, she studied art with a descendant of Frederick Douglass.

Education

Catlett completed her undergraduate studies at Howard University, graduating cum laude, although it was not her first choice. She was also admitted into the Carnegie Institute of Technology but was refused admission when the school discovered she was black. However, in 2007, as Cathy Shannon of E&S Gallery was giving a talk to a youth group at the August Wilson Center for African American Culture in Pittsburgh, PA, she recounted Catlett's tie to Pittsburgh because of this injustice. An administrator with Carnegie Mellon University was in the audience and heard the story for the first time. She immediately told the story to the school's president, Jared Leigh Cohon, who was also unaware and deeply appalled that such a thing had happened. In 2008, President Cohon presented Catlett with an honorary Doctorate degree and a one-woman show of her art was presented by E&S Gallery at The Regina Gouger Miller Gallery on the campus of Carnegie Mellon University.

At Howard University, Catlett's professors included artist Lois Mailou Jones and philosopher Alain Locke. She also came to know artists James Herring, James Wells, and future art historian James A. Porter. Her tuition was paid for by her mother's savings and scholarships that the artist earned, and she graduated with honors in 1937. At the time, the idea of a career as an artist was far-fetched for a black woman, so she completed her undergraduate studies with the aim of being a teacher. After graduation, she moved to her mother's hometown of Durham, NC to teach high school.

Catlett became interested in the work of landscape artist Grant Wood, so she entered the graduate program of the University of Iowa where he taught. There, she studied drawing and painting with Wood, as well as sculpture with Harry Edward Stinson. Wood advised her to depict images of what she knew best, so Catlett began sculpting images of African-American women and children. However, despite being accepted to the school, she was not permitted to stay in the dormitories, therefore she rented a room off-campus. One of her roommates was future novelist and poet Margaret Walker. Catlett graduated in 1940, one of three to earn the first masters in fine arts from the university, and the first African-American woman to receive the degree.

After Iowa, Catlett moved to New Orleans to work at Dillard University, spending the summer breaks in Chicago. During her summers, she studied ceramics at the Art Institute of Chicago and lithography at the South Side Community Art Center. In Chicago, she also met her first husband, artist Charles Wilbert White. The couple married in 1941. In 1942, the couple moved to New York, where Catlett taught adult education classes at the George Washington Carver School in Harlem. She also studied lithography at the Art Students League of New York, and received private instruction from Russian sculptor Ossip Zadkine, who urged her to add abstract elements to her figurative work. During her time in New York, she met intellectuals and artists such as Gwendolyn Bennett, W. E. B. Dubois, Ralph Ellison, Langston Hughes, Jacob Lawrence, Aaron Douglas, and Paul Robeson.

In 1946, Catlett received a Rosenwald Fund Fellowship to travel with her husband to Mexico and study. She accepted the grant in part because at the time American art was trending toward the abstract while she was interested in art related to social themes. Shortly after moving to Mexico that same year, Catlett divorced White. In 1947, she entered the Taller de Gráfica Popular, a workshop dedicated to prints promoting leftist social causes and education. There she met printmaker and muralist Francisco Mora, whom she married later that same year. The couple had three children, all of whom developed careers in the arts: Francisco in jazz music, Juan Mora Catlett in filmmaking, and David in the visual arts. The last worked as his mother's assistant, performing the more labor intensive aspects of sculpting when she was no longer able. In 1948, she entered the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" to study wood sculpture with José L. Ruíz and ceramic sculpture with Francisco Zúñiga. During this time in Mexico, she became more serious about her art and more dedicated to the work it demanded. She also met Diego Rivera, Frida Kahlo, and David Alfaro Siqueiros.

In 2006, Kathleen Edwards, the curator of European and American art, visited Catlett in Cuernavaca, Mexico and purchased a group of 27 prints for the University of Iowa Museum of Art (UIMA). Catlett donated this money to the University of Iowa Foundation in order to fund the Elizabeth Catlett Mora Scholarship Fund, which supports African-American and Latino students studying printmaking. Elizabeth Catlett Residence Hall on the University of Iowa campus is named in her honor.

Activism

Catlett worked with the Taller de Gráfica Popular (TGP) from 1946 until 1966. However, because some of the members were also Communist Party members, and because of her own activism regarding a railroad strike in Mexico City had led to an arrest in 1949, Catlett came under surveillance by the United States Embassy. Eventually, she was barred from entering the United States and declared an "undesirable alien." She was unable to return home to visit her ill mother before she died. In 1962, she renounced her American citizenship and became a Mexican citizen.

In 1971, after a letter-writing campaign to the State Department by colleagues and friends, she was issued a special permit to attend an exhibition of her work at the Studio Museum in Harlem.

Later years

After retiring from her teaching position at the Escuela Nacional de Artes Plásticas, Catlett moved to the city of Cuernavaca, Morelos in 1975. In 1983, she and Mora purchased an apartment in Battery Park City, NY. The couple spent part of the year there together from 1983 until Mora's death in 2002. Catlett regained her American citizenship in 2002.

Catlett remained an active artist until her death. The artist died peacefully in her sleep at her studio home in Cuernavaca on April 2, 2012, at the age of 96. She is survived by her 3 sons, 10 grandchildren, and 6 great-grandchildren.

Career

Very early in her career, Catlett accepted a Public Works of Art Project assignment with the federal government for unemployed artists during the 1930s. However, she was fired for lack of initiative, very likely due to immaturity. The experience gave her exposure to the socially-themed work of Diego Rivera and Miguel Covarrubias.

Much of her career was spent teaching, as her original intention was to be an art teacher. After receiving her undergraduate degree, her first teaching position was in the Durham, NC school system. However, she became very dissatisfied with the position because black teachers were paid less. Along with Thurgood Marshall, she participated in an unsuccessful campaign to gain equal pay. After graduate school, she accepted a position at Dillard University in New Orleans in the 1940s. There, she arranged a special trip to the Delgado Museum of Art to see the Picasso exhibit. As the museum was closed to black people at the time, the group went on a day it was closed to the public. She eventually went on to chair the art department at Dillard. Her next teaching position was with the George Washington Carver School, a community alternative school in Harlem, where she taught art and other cultural subjects to workers enrolled in night classes. Her last major teaching position was with the Escuela Nacional de Artes Plásticas at the National Autonomous University of Mexico (UNAM), starting in 1958, where she was the first female professor of sculpture. One year later, she was appointed the head of the sculpture department despite protests that she was a woman and a foreigner. She remained with the school until her retirement in 1975.

When she moved to Mexico, Catlett's first work as an artist was with the Taller de Gráfica Popular (TGP), a famous workshop in Mexico City dedicated to graphic arts promoting leftist political causes, social issues, and education. At the TGP, she and other artists created a series of linoleum cuts featuring prominent black figures, as well as posters, leaflets, illustrations for textbooks, and materials to promote literacy in Mexico. Catlett’s immersion into the TGP was crucial for her appreciation and comprehension of the signification of “mestizaje”, a blending of Indigenous, Spanish and African antecedents in Mexico, which was a parallel reality to the African American experiences. She remained with the workshop for twenty years, leaving in 1966. Her posters of Harriet Tubman, Angela Davis, Malcolm X and other figures were widely distributed.

Although she had an individual exhibition of her work in 1948 in Washington, D.C., her work did not begin to be shown regularly until the 1960s and 1970s, almost entirely in the United States, where it drew interest because of social movements such as the Black Arts Movement and feminism. While many of these exhibitions were collective, Catlett had over fifty individual exhibitions of her work during her lifetime. Other important individual exhibitions include Escuela Nacional de Arte Pláticas of UNAM in 1962, Museo de Arte Moderno in 1970, Los Angeles in 1971, the Studio Museum in Harlem in New York in 1971, Washington, D.C. in 1972, Howard University in 1972, Los Angeles County Museum of Art in 1976, Miller Gallery at Carnegie Mellon University in 2008, and the 2011 individual show at the Bronx Museum. From 1993 to 2009, her work was regularly on display at the June Kelly Gallery.

Catlett's work can be found in major collections such as those of the Museum of Modern Art, Metropolitan Museum of Art, Library of Congress, Minneapolis Institute of Arts, National Museum in Prague, the Toledo Museum of Art, the Clark Atlanta University Art Galleries, the Palacio de Bellas Artes in Mexico, the Instituto Politécnico Nacional, Carnegie Mellon University, the University of Iowa, the June Kelly Gallery and the Schomburg Center for Research in Black Culture in New York.

The Legacy Museum, which opened on April 26, 2018, displays and dramatizes the history of slavery and racism in America, and features artwork by Catlett and others.

Awards and recognition

During Catlett's lifetime she received numerous awards and recognitions. These include First Prize at the 1940 American Negro Exposition in Chicago, induction into the Salón de la Plástica Mexicana in 1956, the Distinguished Alumni Award from the University of Iowa in 1996, a 1998 50-year traveling retrospective of her work sponsored by the Newberger Museum of Art at Purchase College, a NAACP Image Award in 2009, and a joint tribute after her death held by the Salón de la Plástica Mexicana and the Instituto Politécnico Nacional in 2013. Others include an award from the Women's Caucus for Art, the Art Institute of Chicago Legends and Legacy Award, Elizabeth Catlett Week in Berkeley, Elizabeth Catlett Day in Cleveland, honorary citizenship of New Orleans, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture. The Taller de Gráfica Popular won an international peace prize in part because of her achievements . She received a Candace Award from the National Coalition of 100 Black Women in 1991.

Art historian Melanie Herzog has called Catlett "the foremost African American woman artist of her generation." By the end of her career, her works, especially her sculptures, sold for tens of thousands of dollars.

In 2017, Catlett's alma mater, the University of Iowa, opened a new residence hall that bears her name.

Catlett was the subject of an episode of the BBC Radio 4 series An Alternative History of Art, presented by Naomi Beckwith and broadcast on March 6, 2018.

Artistry

Catlett is recognized primarily for sculpting and print work. Her sculptures are known for being provocative, but her prints are more widely recognized, mostly because of her work with the Taller de Gráfica Popular. Although she never left printmaking, starting in the 1950s, she shifted primarily to sculpture. Her print work consisted mainly of woodcuts and linocuts, while her sculptures were composed of a variety of materials, such as clay, cedar, mahogany, eucalyptus, marble, limestone, onyx, bronze, and Mexican stone (cantera). She often recreated the same piece in several different media. Sculptures ranged in size and scope from small wood figures inches high to others several feet tall to monumental works for public squares and gardens. This latter category includes a 10.5-foot sculpture of Louis Armstrong in New Orleans and a 7.5-foot work depicting Sojourner Truth in Sacramento.

Much of her work is realistic and highly stylized two- or three-dimensional figures, applying the Modernist principles (such as organic abstraction to create a simplified iconography to display human emotions) of Henry Moore, Constantin Brancusi and Ossip Zadkine to popular and easily recognized imagery. Other major influences include African and pre-Hispanic Mexican art traditions. Her works do not explore individual personalities, not even those of historical figures; instead, they convey abstracted and generalized ideas and feelings. Her imagery arises from a scrupulously honest dialogue with herself on her life and perceptions, and between herself and "the other", that is, contemporary society's beliefs and practices of racism, classism and sexism. Many young artists study her work as a model for themes relating to gender, race and class, but she is relatively unknown to the general public.

Her work revolved around themes such as social injustice, the human condition, historical figures, women and the relationship between mother and child. These themes were specifically related to the African-American experience in the 20th century with some influence from Mexican reality. This focus began while she was at the University of Iowa, where she was encouraged to depict what she knew best. Her thesis was the sculpture Mother and Child (1939), which won first prize at the American Negro Exposition in Chicago in 1940.

Her subjects range from sensitive maternal images to confrontational symbols of Black Power, and portraits of Martin Luther King, Jr., Malcolm X, Harriet Tubman, Rosa Parks, and writer Phyllis Wheatley, as she believed that art can play a role in the construction of transnational and ethnic identity. Her best-known works depict black women as strong and maternal. The women are voluptuous, with broad hips and shoulders, in positions of power and confidence, often with torsos thrust forward to show attitude. Faces tend to be mask-like, generally upturned. Mother and Child (1939) shows a young woman with very short hair and features similar to that of a Gabon mask. A late work Bather (2009) has a similar subject flexing her triceps. Her linocut series The Black Woman Speaks, is among the first graphic series in Western art to depict the image of the American black woman as a heroic and complex human being. Her work was influenced by the Harlem Renaissance movement and the Chicago Black Renaissance in the 1940s and reinforced in the 1960s and 1970s with the influence of the Black Power, Black Arts Movement and feminism. With artists like Lois Jones, she helped to create what critic Freida High Tesfagiorgis called an "Afrofemcentrist" analytic.

The Taller de Gráfica Popular pushed her to adapt her work to reach the broadest possible audience, which generally meant balancing abstraction with figurative images. She stated of her time at the TGP, "I learned how you use your art for the service of people, struggling people, to whom only realism is meaningful."

Critic Michasel Brenson noted the "fluid, sensual surfaces" of her sculptures, which he said "seem to welcome not just the embrace of light but also the caress of the viewer's hand." Ken Johnson said that Ms. Catlett "gives wood and stone a melting, almost erotic luminosity." But he also criticized the iconography as "generic and clichéd."

However, Catlett was more concerned in the social messages of her work than in pure aesthetics. "I have always wanted my art to service my people – to reflect us, to relate to us, to stimulate us, to make us aware of our potential." She was a feminist and an activist before these movements took shape, pursuing a career in art despite segregation and the lack of female role models. "I don't think art can change things," Catlett said: "I think writing can do more. But art can prepare people for change, it can be educational and persuasive in people's thinking."

Catlett also acknowledged her artistic contributions as influencing younger black women. She relayed that being a black woman sculptor "before was unthinkable. ... There were very few black women sculptors – maybe five or six – and they all have very tough circumstances to overcome. You can be black, a woman, a sculptor, a print-maker, a teacher, a mother, a grandmother, and keep a house. It takes a lot of doing, but you can do it. All you have to do is decide to do it."

Artist statements

No other field is closed to those who are not white and male as is the visual arts. After I decided to be an artist, the first thing I had to believe was that I, a black woman, could penetrate the art scene, and that, further, I could do so without sacrificing one iota of my blackness or my femaleness or my humanity.

"Art for me must develop from a necessity within my people. It must answer a question, or wake somebody up, or give a shove in the right direction — our liberation."

Selected works

Students Aspire

"For My People" portfolio, published 1992 by Limited Editions Club, New York

"Ralph Ellison Memorial", Manhattan

"Torso", created in 1985, is a carving in mahogany modeled after another of Catlett's pieces, Pensive (b. 1946) a bronze sculpture. The mahogany carving is in the York College, CUNY Fine Art Collection (dimensions: 35' H x 19' W x 16' D). The exaggerated arms and breasts are prominent features of this piece. The crossed arms are broad, with simple geometric shapes and ripples to indicate a shirt with rolled-up sleeves, along with a gentle ridge along the neck. The hands are carved larger than what would be in proportion to the torso. The figure's eyes are painted with a calm, yet steady gaze that signifies confidence. Catlett evokes a strong, working-class black woman similar to her other pieces that she created to portray women's empowerment through expressive poses. Catlett favored materials such as cedar and mahogany because these materials naturally depict brown skin.

Selected collections

Miami-Dade Public Library System, Miami-Dade County, FL

Minneapolis Institute of Art, Minneapolis, MN

Detroit Institute of Arts, Detroit, MI

[hennyjolzen]

In 1974, the literary magazine El Urogallo dedicated its first issue of the year to a collective reflection on “The Contemporary Human Dwelling.” Under that ambiguous framework emerged about twenty contributions with very diverse considerations. In “The City and the Conception of the World,” Enrique Tierno Galván defends the need to develop the city as utopia, understood as a rational solution. Alain Arias-Misson, in “The Public Poem,” describes the city as a focus of signifiers turned into a “language machine” that would serve to construct its concrete poetry. This diversity mirrored the complexity and multiplicity of ideas that the political, cultural, and global context favored in defining concepts related to architecture and the city.

Among the most thought-provoking contributions to this issue was “The Perishable Architecture of Soap Bubbles,” by José Miguel de Prada Poole. [1] In the essay, the architect promotes an architecture in which its material would reflect the temporal nature of its own existence. Therefore, in a significant nuance, he avoids, as early as in the title, the term ephemeral—commonly used in architecture to define a short-term construction—and uses instead the word perishable: the ephemeral is short-lived; the perishable lasts as long as the material that defines it.

The text by Prada Poole sets forth the reasons that he believed the urban configuration to be too rigid in the traditional city. For him, the economic and social structures in an urban context make the city “last too long.” For that reason, the city is incapable of adapting to new and ever-changing demands. By this premise, which takes into account the factors that shape the city and its architecture, Prada Poole conceives the city of the future through what he calls “the three stages of a nonexistent architecture.” In this conception, the traditional city would, in successive transformations, morph into an immaterial city, without inertia, in which the solid buildings would be replaced by the accumulation of foam that would “appear and disappear, converge and disperse according to the different needs.” Each building would become a “bubble” defined according to the physical and atmospheric conditions best suited to its intended use. The city, as it was known, would be replaced with an “intangible reality permeated by stimulatory waves.” That city, vanishing and shapeless, might seem a chimera, but it is ultimately a clear declaration of principles.

Maybe we shouldn’t interpret the essay by Prada Poole as a naïve description of architecture but rather as a poetic manifesto of his own work projected into the future, which is the standpoint from which we consider it today. Not coincidentally, the text was written while he was developing one of his most unique projects: the ice-skating rink in Seville. According to his own words, architecture must be the “adaptation of the natural order to the human order in some cases and, in others, the adaptation of the human order to the natural order,” and to achieve that delicate balance it “must meet, in both cases, the same goal: life.” [2] With its organic shape that is the result of the construction system used—pneumatic structures akin to soap bubbles—alongside the functional scheme of its plan, the ice-skating rink was considered the first vitally satisfactory “sensorially sensitive architecture.” Immersed in American counterculture, nomadism, and body art, Prada Poole in this moment understood architecture as a wellspring of stimulus, built of a technology rooted in lightness, capable of altering both psychological and environmental conditions. In his city of soap bubbles, “information would travel through information channels accessible to every citizen, creating a tight network more important than the networks of transportation.” Those channels—which today exist and are known as the internet—would allow “the networks of information, accessible to all, to facilitate the construction of a global city and society.” Perhaps that magic city, built of stimulus, information, and pure energy, has more in common with the global city of the twenty-first century than we might imagine, and the propositions put forth by Prada Poole then, as like a visionary, form in part the reality in which we live today.

Technological Optimism

As technical advancements played an increasingly larger role in everyday life, optimism for technology, too, advanced within the new consumer society. The moon landing on July 20, 1969, could be considered the highlight of this technological apogee: one giant step for mankind saw its hopes for a better world renewed, thanks, paradoxically, to that old, nostalgic feeling of conquering new territories. The event took place in a present with grand visions for the future—a future that was the obsession of at least some part of society and more than a few of its architects as well.

Within this atmosphere of technological optimism, the Calculus Center of the University of Madrid (CCUM) was born at the beginning of 1966. The CCUM was the result of an agreement between the university and the US company International Business Machines (IBM), which donated, among other equipment, an IBM 7090 computer. This powerful machine, which years earlier was used for the calculations that allowed the arrival of the Saturn rocket to the moon, was one of the first to include transistors, which multiplied sixfold the computational speed of its predecessor. The conditions stipulated by IBM for installing the computer at the university was that it would not be used solely for technical or administrative tasks; it had to be put at the service of faculty and students as a tool for research. To encourage this goal, IBM allocated a budget each year to provide scholarships to explore new possibilities for academic research that could be advanced by the use of the computer.

Proposals by the artists José Luis Alexanco and Manuel Barbadillo to initiate computer-aided research spurred the creation of the Seminar on the Automatic Generation of Plastic Shapes (SGAFP) at the end of 1968. [3] At that time, seminars on “Composition of Architectural Spaces” and “Linguistics” were already on their way at the CCUM, and their initial success explains in large part the support that was extended the new seminar.

The SGAFP officially opened with a meeting on December 18, 1968. Among a considerable group of artists and architects, the meeting was attended by Prada Poole and his then-wife, artist Soledad Sevilla. The meeting minutes reflect the initial intent of the seminar to explore the “application of computers to sculptural composition and perception,” for which “the generalization of the models of a generative grammar for the description of the formal structure of a painting” was deemed possible; it considered particularly useful the initial study of the work of Piet Mondrian, Wassily Kandinsky, Josef Albers, and Kazimir Malévich.

[cinenthusiast]

WARNING: The following contains heavy semantics. This is the equivalent of letterboxd users breaking down their dumb rating systems. OK, not as bad, but still! You have been warned!

I’m starting a new (and final) iteration of something I’ve done my whole life. A single list of my 50 Favorite Actors, covering the full scope of era and gender. I’ll make a new one from scratch each year as a kind of record. 50 doesn’t leave too much room for sudden or drastic evolution, but the long game is what I’m playing at.

All of my old lists (of any kind) used to be ranked. Frankly, fuck that. I’m all for ranking within narrow frameworks (Top Ten By Year, etc) but general lists like favorite actors and movies? Why do it? Numbers make the whole thing an arbitrary assessment, isolating the actors and films into a misguided hierarchy that doesn’t add any insight or clarity. Lists and rankings are such an oversaturated aspect of culture content as it is, and I’d like to avoid this feeling like just another ranking. The collective group is the thing, the totality of taste, interest, and meaning. Keeping this a singular entity (with one or two caveats) preserves this as a personal journal entry of sorts, a snapshot and not the end-all be-all. It’s a way of capturing my taste in film and the people in it. I’ve put a star next to my ten favorites, and I’ve got a separate long list of people I considered but ultimately didn’t add, and that’s the extent of it.

Growing up, I made favorite actor lists obsessively. When I was around six or seven I would play ‘School’. I was the teacher. My students? The likes of Tony Danza, Christopher Lloyd, Danny DeVito, and John Travolta. I had pages and pages of any actor whose name I knew (the entire casts of Angels in the Outfield and Addams Family Values were represented). I took very careful attendance to make sure everyone was present, calling out each name and imagining that yes, they were there. Each actor received a little check in their row of squares (I made sure I had the checkered graph paper to keep everything orderly and precise).

age 11

all of these were made at age 11

Then there were the dark days, the days when tween Katie made lists like Top Ten ‘Cutie-Patootie’ Actors (a reference to the Rosie O’Donnell Show, yes, the Rosie O’Donnell Show, seen above). As you can see, the kid from Dennis the Menace topped that one. I also had my constantly revised Top Ten Favorite Actors & Actresses. Five actors from the lists pictured above are also on this current one: Nicole Kidman, Jim Carrey, Winona Ryder, John Travolta, and Michelle Pfeiffer. They were major icons for me then, and they remain so now, 20 years after the fact. They are forever favorites.

the four quadrants, from 2006 (age 18)

What followed were continuously updated versions of this, covering half my lifetime: Top Blank (at varying points it was 20, 30, and 50) Modern Actors, Modern Actresses, Classic Actors, and Classic Actresses (‘Classic’ accounted for the Hollywood studio era). They were always divided into those four quadrants. I can timestamp the years by who was on them. Simon Pegg at the top? Must be 2008. Katee Sackhoff near the top? I must have been watching “Battlestar Galactica” then. You can find the 2012 versions on this site: here and here.

These categories created considerable grey area, swaths of actors that never really fit comfortably in their group. Those who either featured in films from both eras (Jack Lemmon) or were technically of the ‘Modern’ era but with careers that didn’t really transition into the current (Faye Dunaway). And those ‘Modern’ lists were always much more about the now. I never made room for these actors who qualified as ‘Modern’ but who could be pinpointed to the past. I wanted to feature the up-and-coming, people whose careers I was excited about now! Filmographies I could follow along with as they progressed.

This factor, which meant so much to me then, means nothing re: this new list. For one, I don’t follow current stuff to the degree I used to. 21st century film is less interesting to me (current TV far less so). But I’m really fond of a lot of actors working today, from relative newcomers to tried-and-true character actors to cemented A-listers. The group there was no room for, not by a long shot, were the relative newcomers. I’m an easy lay when it comes to loving actors. But with over a century of performers to choose from, it doesn’t leave much room for the young “oooh I love him/her/them, I can’t wait to see what they do next” ones.

But for the record, the fresher (2010 to present) faces that I’m most invested in are Adam Driver, Elizabeth Debicki, Tom Hardy, Lakeith Stanfield, Kristen Stewart, Jesse Plemons, Nicholas Hoult, and Jonah Hill (whose career trajectory I’m endlessly intrigued by, a man funnier than most of his peers, with the unstable depths of a Chris Penn, whose hyper-sensitivity about being taken seriously and joining the ranks of the prestigious show up on the screen).

The old lists, especially the 50-each ones that totaled to 200 actors, were actually more challenging than this list. Because with so much room, you’re fooled into thinking everyone can be represented. But they can’t; even those lists fill up quick. And now, with just 50 total, it gets down to essentials. There are the favorites, and then the ones who matter most. Oh, I love them? Cool, next! Oh, I love them a lot? Cool, next! Omgtheyaresoamazing? Cool. Next!

There are so many actors whose performances I consistently love or enjoy, that I always look forward to seeing and am often moved by. But there’s a difference between actors who frequently deliver great work, and actors who make something inherently more just by being there, that make me sit up in my seat because what they give either draws out extra engagement from me or they are so distinctive a presence that the fabric of the film/show is thereby altered. But none of this exists without the secret ingredient: that chemical thing that just draws you to one person’s talent and onscreen life more than another.

The factors are endless. Above is my next tier of favorites, the ones that I didn’t go with but thought about and in some cases agonized (yes, agonized) over whether to include or not.

What do you do when a specific stretch of someone’s work means more to you than most people’s entire careers? Most don’t make it (Patty Duke, Diane Lane, Juliette Lewis, Marlon Brando, etc) But a few do: pre-Dick Tracy Warren Beatty, Eric Roberts in the 1980’s, and Sandy Dennis in the late 1960’s and early 1970’s.

What do you do with the actors who are still alive but not working regularly, at all, or at the same caliber they used to? Most don’t make it (Nancy Allen, Tim Curry, Kathleen Turner, Fairuza Balk, Sheryl Lee, etc). But a few do: Jim Carrey, Shelley Duvall, Theresa Russell (a spot that could have been occupied by many that mean just as much to me, but I went with Theresa this time because it felt right), Eric Roberts, and John Travolta.

What do you do with the actors who mean a lot to you but whose careers were so brief that it’s hard to justify adding them over others? Unfortunately, almost all of those actors didn’t make it (Linda Manz, Paula Sheppard, Laird Cregar, Zoe Lund, James Dean, Pamela Franklin, etc). One does: Louise Brooks.

What do you do about the actors you love watching more than most but whose work you aren’t familiar enough with yet? None of them make it (Natasha Lyonne, Yaphet Kotto, Silvana Mangano, Helmut Berger, Dagmar Lassander, Tuesday Weld, etc). There are plenty of films from the 50 I’ve yet to see, but I’ve at least seen enough.

Then there are all the others, the really tough ones. I think about James Gandolfini more and more as the years go by. Harvey Keitel’s performances resonate a lot more as I get older (those defiant eyes, I can often feel him). I can’t believe I didn’t make room for Christina Ricci. Julia Louis-Dreyfus is the defining comedienne of my lifetime. There is only one Carol Kane, Donald Sutherland, Nicolas Cage, Joan Cusack, Parker Posey, Lily Tomlin, Crispin Glover. I get distinct pleasures from watching each of them. Some of my favorite immortals are Marlene Dietrich, Alain Delon, Judy Garland, Bette Davis, Buster Keaton, Cate Blanchett. I’m pretty sure I talk about Jude Law all the time. I will, and have, watched Jean-Claude Van Damme in anything I can find. In recent months I’ve rewatched a lot of key Samuel L. Jackson performances (Jackie Brown, Pulp Fiction, Black Snake Moan, Django Unchained), and was newly reminded that he is one of our most compelling living actors. His pervasive and phoned-in presence in every imaginable franchise had led me to forget that. I’ve been hooked on Gene Wilder, Charles Laughton, Eva Green, Cillian Murphy, and still am. It goes on and on and on.

But this is the challenge of it, and the fun of it. My 50 favorites capture my fascination with stardom and long-range careers with eras & reinventions (ex. Crawford, Cruise, Fonda, Monroe, DiCaprio, Farrell, Taylor), physicality (ex. Chan, Ball, Phoenix, Reeves, Olyphant) & commanding physical presence (ex. Reed, Kidman, De Niro, Mitchum), blue moon charisma (ex. Pfeiffer, Russell, Walbrook, Cagney, Reed, Nicholson), the ones I feel a deep connection to (all of them but especially Carrey, Brooks, & Hoffman) & offbeat god-tier character actors (Dennis, Dourif, Roberts, Black, Duvall) I would take a bullet for.

I start to realize some of the people that aren’t even on this second list: Tilda Swinton, Kate Winslet, Robin Williams, Ingrid Bergman, Cary Grant, Humphrey Bogart, Gloria Grahame, Katharine Hepburn, Michael Shannon, Al Pacino, Meryl Streep, Jeanne Moreau, Saorsie Ronan, Brad Pitt, Gena Rowlands, Dirk Bogarde, James Mason, Jeff Bridges, Ethan Hawke, Jeff Goldblum, Steve Buscemi, Julianne Moore, Catherine O’Hara, Catherine Deneuve, Juliette Binoche, Charlize Theron, Robert Redford, Julie Christie, Michael C. Hall, Michael Caine, Malcolm McDowell, John Hurt, Paul Newman, Anjelica Huston, Sigourney Weaver (every time I watch her in something I think about how much I love her. Her work in Alien 3 means a lot to me), Elliot Gould, etc etc etc. Hell, Peter Mullan is the only person on either list who appears in any Harry Potter film, and that franchise employed basically every British actor you can think of. Most of these actors have been on other lists in the past. Some you’d always be guaranteed to find there (Binoche, Deneuve, etc). As I type this I am realize I forgot Michael Stuhlbarg and John Hawkes in that second group. At the end of the day it just becomes about knowing who there was never any question about, and going with your gut on the rest.

But these 50 (ok, 52, I cheated, the truth is out!), the ones I ultimately chose, are the actors whose work collectively means more than the rest, my ultimate favorites: the ones I can lose myself in, and then find myself in. Who are yours?

1st Annual 50 Favorite Actors list WARNING: The following contains heavy semantics. This is the equivalent of letterboxd users breaking down their dumb rating systems.

[karingudino]

The Acclaimed Eleven Madison Park Restaurant Is Going Vegan. But $335 Is A Lot Of Lettuce—For Lettuce.

NEW YORK, NY – FEBRUARY 27: Blancpain honors three star Michelin Chef and Blancpain fanatic … [+] Daniel Humm at Eleven Madison Park Restaurant on February 27, 2013 in New York Metropolis. (Picture by Neilson Barnard/Getty Photographs for Blancpain)

getty

Just a few years in the past Daniel Humm, chef-owner of the much-praised New York restaurant Eleven Madison Park had his waitstaff carry out card tips on the desk, a frivolity that was quickly deserted after criticism that it was a bit twee, if not downright foolish. Now, upon re-opening the restaurant, Humm has introduced that the menu will likely be 99.99% vegan—the exception being honey and milk for tea and occasional. Bees, you see, make honey. 

        One factor that gained’t change? The worth.  A prix fixe meal will nonetheless value $335 (together with tip however with out drinks or wine), which previously,  bought you an 11-course meal that included dishes like dry-aged veal with bone marrow; a delicate egg with farro, corn and frogs’ legs; suckling pig with blackberries; and a New England clambake dumped on a brown paper mat. 

Now, although Humm has not launched his new vegan menu for Eleven MadisonPark, all these dishes will likely be banished. “The present meals system is just not sustainable, in so some ways,” Humm told the New York Times, an excessive generalization for a chef who all his working life had beforehand bought the best meats, seafood and dairy merchandise out there from sustainable farms.  “I needed everybody who comes into contact with Eleven Madison Park to change into part of doing good,” Humm mentioned, which is an actual slap within the face of anybody who may dare eat a burger or butter their bread. 

  NEW YORK, NY – APRIL 06: The principle eating room is ready for dinner at Eleven Madison Park at 11 Madison … [+] Avenue within the Flatiron District on April 6, 2017 in New York Metropolis. The esteemed restaurant has not too long ago been named because the world’s No. 1 restaurant within the World’s 50 Finest Eating places awards, the primary U.S. institution to win the highest spot since 2004. (Picture by Spencer Platt/Getty Photographs)

Getty Photographs

    Eleven Madison Park has shape-shifted typically because it was initially opened by restaurateur Danny Meyer in 1998 and offered to Humm and a accomplice (with whom he later cut up) in 2006. And, owing to his super expertise and creativity, Humm managed constantly to wowed the critics—the restaurant has three Michelin stars and 4 from the Occasions—and a public keen to pay high greenback for a four-hour meal of probably the most luxurious luxurious backed by a unprecedented wine listing. So the chances are being taken on whether or not going complete vegan—not simply vegetarian—will truly draw sufficient individuals who as soon as would have fortunately forked over  $335 for foie gras and caviar, however who may wince at that value for peas and carrots.

      NEW YORK, NY – OCTOBER 14: Alain Ducasse attends A Dinner with Alain Ducasse a part of the Financial institution of … [+] America Dinner collection curated by Cooks Membership at Benoit Bistro on October 14, 2016 in New York Metropolis. (Picture by Lars Niki/Getty Photographs for NYCWFF)

getty

 Humm, nevertheless, is betting on a development many cooks have picked up on by providing various vegetarian menus alongside their meat and seafood menu, which makes capital sense, whether or not it’s Alain Ducasse on the Plaza-Athenée and Alain Passard at L’Arpège in Paris or Massimo Bottura at Osteria Francescana in Modena, Italy. However few have tried to go complete vegan. 

       On the very least, Humm’s dedication relies on some difficult dynamics. For starters, why serve honey and milk for tea and occasional when there are completely respectable non-animal substitutes? Additionally, many vehement vegans imagine that wine is anathema as a result of many wines are filtered by skins containing animal merchandise and others with egg white, which sink impurities to the underside of the barrels. How will Humm justify a wine listing of such dimensions as he has when it’s not possible to know which wines have been thus handled? 

Staff treading grapes to supply Domaine de la Romanée Conti, thought-about as among the best wines … [+] of Burgundy. The winery, overlaying an space of 1.8 hectares is present in Vosne-Romanée. The wine is offered solely each three years, in a case of 12 bottles which accommodates a novel flask of “La Romanée Conti”. Solely 6000 bottles are produced annually. (Picture by James Andanson/Sygma through Getty Photographs)

Sygma through Getty Photographs

And since so many greens like asparagus and artichokes are notoriously troublesome to match with wines, it turns into an enormous query whether or not anybody goes to pop for $5,000 for a purple Burgundy that may not go together with something on the menu. Is any wine lover actually going to order a $500 oak-rich, excessive tannin California Cabernet with a dish of arugula and rutabagas? And, since it is vitally a lot a vegan prohibition to put on leather-based sneakers and equipment, will Humm and his workers observe go well with? Will he workers even be pressured to vegan, too?

     Enterprise-wise, one has to marvel if an organization government goes to ask an enormous out-of-town shopper to a vegan restaurant until everybody on the desk is vegan. I’m certain there are numerous who would fortunately benefit from the journey of such a meal, however the variety of keen vegans is just not near the variety of vegetarians and pescatarians who could eat some seafood or haven’t any drawback with cheese-rich lasagna. 

LONDON, UNITED KINGDOM – 2020/08/01: The doorway to Claridge’s one of the vital prestigious of … [+] London’s luxurious motels. Lots of London’s 5 star Luxurious Accommodations that are world famend are nonetheless closed, regardless of the federal government’s loosening of the hospitality sector’s restrictions. With journey from the USA nonetheless minimal and weddings, society gatherings and company occasions at massively lowered ranges, these excessive finish locations are both closed or operating on skeleton staffing. (Picture by Keith Mayhew/SOPA Photographs/LightRocket through Getty Photographs)

SOPA Photographs/LightRocket through Getty Photographs

       Humm is just not being so sanctimonious as to accuse those that proceed to eat hamburgers of getting ethical failings; However he’s being remarkably ingenuous, as a result of, at his London restaurant Davies and Brook in Claridge’s Resort, he continues to serve a hen burger with truffled mayo and cheddar cheese, a seafood plateau of shellfish, and a dry-aged ribeye steak. I don’t doubt his dedication however I ponder if he has hopped on an extremist bandwagon, and, as bandwagons like la nouvelle delicacies, the Mediterranean Food plan and molecular delicacies have handed on by, I ponder if Eleven Madison Park will change into a big beacon of our culinary future or a snapshot of the present period when Individuals are being made to really feel responsible about taking pleasure in every kind of meals. Or as Chris Rock as soon as put it, “Individuals are ravenous all around the world. What do you imply, ‘purple meat will kill you?’ Do not eat no purple meat? No, do not eat no inexperienced meat. In the event you fortunate sufficient to get your fingers on a steak, chew the shit out of it!”

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source https://fikiss.net/the-acclaimed-eleven-madison-park-restaurant-is-going-vegan-but-335-is-a-lot-of-lettuce-for-lettuce/ The Acclaimed Eleven Madison Park Restaurant Is Going Vegan. But $335 Is A Lot Of Lettuce—For Lettuce. published first on https://fikiss.net/ from Karin Gudino https://karingudino.blogspot.com/2021/05/the-acclaimed-eleven-madison-park.html

[tektronixtechnology]

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Tektronix Technology presents facial recognition software in Dubai Abu Dhabi

[furiousstarfishphilosopher]

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Access control systems  and  come in different shapes and various sizes. Be it the old school RFID cards, or the new age face recognition panels, be it time attendance systems or gate barriers, be it just integrating new-age software which streamlines your hardware, or our meeting room management device and software, Tektronix Technologies does it all.  access control systems  

[armeniaitn]

Armenian girl's image wins World Press Photo portrait award

New Post has been published on https://armenia.in-the.news/culture/armenian-girls-image-wins-world-press-photo-portrait-award-34291-17-04-2020/

Armenian girl's image wins World Press Photo portrait award

April 17, 2020 – 13:37 AMT

PanARMENIAN.Net – The captivating portrait of an Armenian girl with Resignation Syndrome by Polish photographer Tomek Kaczor has won the World Press Photo award in the Portrait category.

Resignation Syndrome is a disorder in which children overwhelmed by trauma slip into a coma-like state.

Ewa, the girl in the picture, succumbed to RS while her family were trying for asylum in Sweden and threatened with deportation to Poland, which had been their country of first arrival as refugees. They feared being sent back to Armenia. The family was deported to Poland, despite Ewa’s illness, but she recovered eight months after they arrived.

Kaczor revealed the story behind the picture, how he learned about the 15-year-old girl and went on to receive such recognition for his work in a conversation with PanARMENIAN.Net

A photo from last year’s popular uprising in Sudan, titled “Straight Voice” and taken by AFP photographer Yasuyoshi Chiba, has won the prestigious World Press Photo of the Year Award. The photo has also won in the General News category.

Judges said Chiba’s “poetic” photo showed the power of youth and art.

Longtime ruler Omar al-Bashir was overthrown last April, leading to a violent struggle between the military and the pro-democracy movement.

Discussing the image, Chiba said: “This moment was the only peaceful group protest I encountered during my stay. I felt their undefeated solidarity like burning embers that remain to flare up again.”

Winners in each individual category were also announced.

First prize in Environment category; photographer – Esther Horvath

A polar bear and her cub come close to equipment placed by scientists from Polarstern, a ship that is part of a scientific expedition investigating the consequences of Arctic climate change, in the central Arctic Ocean.

The Arctic harbors some of the fastest-retreating sea ice on the planet and has twice the average global heating rate. This will strongly affect the global climate in terms of increasing temperatures and sea-level rise, yet Arctic climate system processes are poorly represented in climate models. This is because until now scientific missions have not been able to penetrate the region during the six-month long night of the Arctic winter. The Polarstern is the central ship of an expedition run by the Multidisciplinary drifting Observatory for the Study of Arctic Climate (MOSAiC), especially designed to withstand extremely low temperatures and break through thicker ice, enabling around 100 researchers and crew to work all year round. MOSAiC data on the atmosphere, ocean, sea ice, ecosystem and biogeochemistry will be fed into global climate models.

First prize in Contemporary Issues; photographer – Nikita Teryoshin

A businessman locks away a pair of anti-tank grenade launchers at the end of an exhibition day, at the International Defence Exhibition and Conference (IDEX) in Abu Dhabi, United Arab Emirates.

IDEX is the biggest defense exhibition and conference in the Middle East, and one of the biggest arms trade-fairs in the world. No official attendance figures are released, but according to UAE state media, the event was expected to draw 1,200 global defense specialists, 1,235 exhibitors and more than 105,000 visitors. War is staged in an artificial environment where mannequins and screen images take the place of real people, and with outdoor demonstrations and daily choreographed battle displays on water.

First prize in Nature category; photographer – Alain Schroeder

The body of a month-old orangutan lies on a rescue team’s surgical drape, near the town of Subulussalam, Sumatra, Indonesia. She died soon after being found with her injured mother on a palm oil plantation.

Orangutans live on just two islands in the world, Sumatra and Borneo, and are being forced out of their natural rainforest habitat as palm oil plantations, logging and mining proliferate. According to the World Wildlife Fund, there are only around 14,000 Sumatran orangutans left. As female orangutans dedicate eight to nine years raising each child before having another, populations are easily at risk of decline. The baby orangutan’s mother, named Hope by rescue workers, was found totally blind, with a broken clavicle and 74 air-gun wounds. She had been shot at by villagers after eating fruit from their orchards.

First prize in Spot News category; photographer – Farouk Batiche

Algeria had been embroiled in protests since February. Initially, protests had been aimed at ousting long-time president, Abdelaziz Bouteflika, an 81-year-old veteran of Algeria’s independence struggle who had been in ill-health and not seen in public for some time. Bouteflika resigned in April, handing over to a military-backed caretaker government, but demonstrations continued. Protesters demanded the cancellation of the presidential elections set to take place on 4 July and a return to civilian democracy. They also called for the departure of government officials associated with the Bouteflika administration, including the interim president and prime minister. Protests continued into 2020 without successful resolution.

First prize in Sport category; photographer – Mark Blinch

In the photo, Kawhi Leonard (squatting, center) of the Toronto Raptors watches his game-winning buzzer-beater shot go into the net, while playing against the Philadelphia 76ers in Game 7 of the Eastern Conference Semifinals of the 2019 National Basketball Association (NBA) Playoffs, at the Scotiabank Arena, Toronto, Canada.

A buzzer-beater is a successful shot made just as the buzzer sounds to indicate the end of a game, or period in a game.

Read original article here

[blackkudos]

Elizabeth Catlett

Elizabeth Catlett (April 15, 1915 – April 2, 2012) was an American and Mexican graphic artist and sculptor best known for her depictions of the African-American experience in the 20th century, which often focused on the female experience. She was born and raised in Washington, D.C. to parents working in education, and was the grandchild of freed slaves. It was difficult for a black woman in this time to pursue a career as a working artist. Catlett devoted much of her career to teaching. However, a fellowship awarded to her in 1946 allowed her to travel to Mexico City, where she worked with the Taller de Gráfica Popular for twenty years and became head of the sculpture department for the Escuela Nacional de Artes Plásticas. In the 1950s, her main means of artistic expression shifted from print to sculpture, though she never gave up the former.

Her work is a mixture of abstract and figurative in the Modernist tradition, with influence from African and Mexican art traditions. According to the artist, the main purpose of her work is to convey social messages rather than pure aesthetics. Her work is heavily studied by art students looking to depict race, gender and class issues. During her lifetime, Catlett received many awards and recognitions, including membership in the Salón de la Plástica Mexicana, the Art Institute of Chicago Legends and Legacy Award, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture.

Early life

Catlett was born and raised in Washington, D.C. Both her mother and father were the children of freed slaves, and her grandmother told her stories about the capture of their people in Africa and the hardships of plantation life. Catlett was the youngest of three children. Both of her parents worked in education; her mother was a truant officer and her father taught at Tuskegee University, the then D.C. public school system. Her father died before she was born, leaving her mother to hold several jobs to support the household.

Catlett's interest in art began early. As a child she became fascinated by a wood carving of a bird that her father made. In high school, she studied art with a descendant of Frederick Douglass.

Education

Catlett completed her undergraduate studies at Howard University, graduating cum laude, although it was not her first choice. She was also admitted into the Carnegie Institute of Technology but was refused admission when the school discovered she was black. However, in 2007, as Cathy Shannon of E&S Gallery was giving a talk to a youth group at the August Wilson Center for African American Culture in Pittsburgh, PA, she recounted Catlett's tie to Pittsburgh because of this injustice. An administrator with Carnegie Mellon University was in the audience and heard the story for the first time. She immediately told the story to the school's president, Jared Leigh Cohon, who was also unaware and deeply appalled that such a thing had happened. In 2008, President Cohon presented Catlett with an honorary Doctorate degree and a one-woman show of her art was presented by E&S Gallery at The Regina Gouger Miller Gallery on the campus of Carnegie Mellon University.

At Howard University, Catlett's professors included artist Lois Mailou Jones and philosopher Alain Locke. She also came to know artists James Herring, James Wells, and future art historian James A. Porter. Her tuition was paid for by her mother's savings and scholarships that the artist earned, and she graduated with honors in 1937. At the time, the idea of a career as an artist was far-fetched for a black woman, so she completed her undergraduate studies with the aim of being a teacher. After graduation, she moved to her mother's hometown of Durham, NC to teach high school.

Catlett became interested in the work of landscape artist Grant Wood, so she entered the graduate program of the University of Iowa where he taught. There, she studied drawing and painting with Wood, as well as sculpture with Harry Edward Stinson. Wood advised her to depict images of what she knew best, so Catlett began sculpting images of African-American women and children. However, despite being accepted to the school, she was not permitted to stay in the dormitories, therefore she rented a room off-campus. One of her roommates was future novelist and poet Margaret Walker. Catlett graduated in 1940, one of three to earn the first masters in fine arts from the university, and the first African-American woman to receive the degree.

After Iowa, Catlett moved to New Orleans to work at Dillard University, spending the summer breaks in Chicago. During her summers, she studied ceramics at the Art Institute of Chicago and lithography at the South Side Community Art Center. In Chicago, she also met her first husband, artist Charles Wilbert White. The couple married in 1941. In 1942, the couple moved to New York, where Catlett taught adult education classes at the George Washington Carver School in Harlem. She also studied lithography at the Art Students League of New York, and received private instruction from Russian sculptor Ossip Zadkine, who urged her to add abstract elements to her figurative work. During her time in New York, she met intellectuals and artists such as Gwendolyn Bennett, W. E. B. Dubois, Ralph Ellison, Langston Hughes, Jacob Lawrence, Aaron Douglas, and Paul Robeson.

In 1946, Catlett received a Rosenwald Fund Fellowship to travel with her husband to Mexico and study. She accepted the grant in part because at the time American art was trending toward the abstract while she was interested in art related to social themes. Shortly after moving to Mexico that same year, Catlett divorced White. In 1947, she entered the Taller de Gráfica Popular, a workshop dedicated to prints promoting leftist social causes and education. There she met printmaker and muralist Francisco Mora, whom she married later that same year. The couple had three children, all of whom developed careers in the arts: Francisco in jazz music, Juan Mora Catlett in filmmaking, and David in the visual arts. The last worked as his mother's assistant, performing the more labor intensive aspects of sculpting when she was no longer able. In 1948, she entered the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" to study wood sculpture with José L. Ruíz and ceramic sculpture with Francisco Zúñiga. During this time in Mexico, she became more serious about her art and more dedicated to the work it demanded. She also met Diego Rivera, Frida Kahlo, and David Alfaro Siqueiros.

In 2006, Kathleen Edwards, the curator of European and American art, visited Catlett in Cuernavaca, Mexico and purchased a group of 27 prints for the University of Iowa Museum of Art (UIMA). Catlett donated this money to the University of Iowa Foundation in order to fund the Elizabeth Catlett Mora Scholarship Fund, which supports African-American and Latino students studying printmaking. Elizabeth Catlett Residence Hall on the University of Iowa campus is named in her honor.

Activism

Catlett worked with the Taller de Gráfica Popular (TGP) from 1946 until 1966. However, because some of the members were also Communist Party members, and because of her own activism regarding a railroad strike in Mexico City had led to an arrest in 1949, Catlett came under surveillance by the United States Embassy. Eventually, she was barred from entering the United States and declared an "undesirable alien." She was unable to return home to visit her ill mother before she died. In 1962, she renounced her American citizenship and became a Mexican citizen.

In 1971, after a letter-writing campaign to the State Department by colleagues and friends, she was issued a special permit to attend an exhibition of her work at the Studio Museum in Harlem.

Later years

After retiring from her teaching position at the Escuela Nacional de Artes Plásticas, Catlett moved to the city of Cuernavaca, Morelos in 1975. In 1983, she and Mora purchased an apartment in Battery Park City, NY. The couple spent part of the year there together from 1983 until Mora's death in 2002. Catlett regained her American citizenship in 2002.

Catlett remained an active artist until her death. The artist died peacefully in her sleep at her studio home in Cuernavaca on April 2, 2012, at the age of 96. She is survived by her 3 sons, 10 grandchildren, and 6 great-grandchildren.

Career

Very early in her career, Catlett accepted a Public Works of Art Project assignment with the federal government for unemployed artists during the 1930s. However, she was fired for lack of initiative, very likely due to immaturity. The experience gave her exposure to the socially-themed work of Diego Rivera and Miguel Covarrubias.

Much of her career was spent teaching, as her original intention was to be an art teacher. After receiving her undergraduate degree, her first teaching position was in the Durham, NC school system. However, she became very dissatisfied with the position because black teachers were paid less. Along with Thurgood Marshall, she participated in an unsuccessful campaign to gain equal pay. After graduate school, she accepted a position at Dillard University in New Orleans in the 1940s. There, she arranged a special trip to the Delgado Museum of Art to see the Picasso exhibit. As the museum was closed to black people at the time, the group went on a day it was closed to the public. She eventually went on to chair the art department at Dillard. Her next teaching position was with the George Washington Carver School, a community alternative school in Harlem, where she taught art and other cultural subjects to workers enrolled in night classes. Her last major teaching position was with the Escuela Nacional de Artes Plásticas at the National Autonomous University of Mexico (UNAM), starting in 1958, where she was the first female professor of sculpture. One year later, she was appointed the head of the sculpture department despite protests that she was a woman and a foreigner. She remained with the school until her retirement in 1975.

When she moved to Mexico, Catlett's first work as an artist was with the Taller de Gráfica Popular (TGP), a famous workshop in Mexico City dedicated to graphic arts promoting leftist political causes, social issues, and education. At the TGP, she and other artists created a series of linoleum cuts featuring prominent black figures, as well as posters, leaflets, illustrations for textbooks, and materials to promote literacy in Mexico. Catlett’s immersion into the TGP was crucial for her appreciation and comprehension of the signification of “mestizaje”, a blending of Indigenous, Spanish and African antecedents in Mexico, which was a parallel reality to the African American experiences. She remained with the workshop for twenty years, leaving in 1966. Her posters of Harriet Tubman, Angela Davis, Malcolm X and other figures were widely distributed.

Although she had an individual exhibition of her work in 1948 in Washington, D.C., her work did not begin to be shown regularly until the 1960s and 1970s, almost entirely in the United States, where it drew interest because of social movements such as the Black Arts Movement and feminism. While many of these exhibitions were collective, Catlett had over fifty individual exhibitions of her work during her lifetime. Other important individual exhibitions include Escuela Nacional de Arte Pláticas of UNAM in 1962, Museo de Arte Moderno in 1970, Los Angeles in 1971, the Studio Museum in Harlem in New York in 1971, Washington, D.C. in 1972, Howard University in 1972, Los Angeles County Museum of Art in 1976, Miller Gallery at Carnegie Mellon University in 2008, and the 2011 individual show at the Bronx Museum. From 1993 to 2009, her work was regularly on display at the June Kelly Gallery.

Catlett's work can be found in major collections such as those of the Museum of Modern Art, Metropolitan Museum of Art, Library of Congress, Minneapolis Institute of Arts, National Museum in Prague, the Toledo Museum of Art, the Clark Atlanta University Art Galleries, the Palacio de Bellas Artes in Mexico, the Instituto Politécnico Nacional, Carnegie Mellon University, the University of Iowa, the June Kelly Gallery and the Schomburg Center for Research in Black Culture in New York.

The Legacy Museum, which opened on April 26, 2018, displays and dramatizes the history of slavery and racism in America, and features artwork by Catlett and others.

Awards and recognition

During Catlett's lifetime she received numerous awards and recognitions. These include First Prize at the 1940 American Negro Exposition in Chicago, induction into the Salón de la Plástica Mexicana in 1956, the Distinguished Alumni Award from the University of Iowa in 1996, a 1998 50-year traveling retrospective of her work sponsored by the Newberger Museum of Art at Purchase College, a NAACP Image Award in 2009, and a joint tribute after her death held by the Salón de la Plástica Mexicana and the Instituto Politécnico Nacional in 2013. Others include an award from the Women's Caucus for Art, the Art Institute of Chicago Legends and Legacy Award, Elizabeth Catlett Week in Berkeley, Elizabeth Catlett Day in Cleveland, honorary citizenship of New Orleans, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture. The Taller de Gráfica Popular won an international peace prize in part because of her achievements . She received a Candace Award from the National Coalition of 100 Black Women in 1991.

Art historian Melanie Herzog has called Catlett "the foremost African American woman artist of her generation." By the end of her career, her works, especially her sculptures, sold for tens of thousands of dollars.

In 2017, Catlett's alma mater, the University of Iowa, opened a new residence hall that bears her name.

Catlett was the subject of an episode of the BBC Radio 4 series An Alternative History of Art, presented by Naomi Beckwith and broadcast on March 6, 2018.

Artistry

Catlett is recognized primarily for sculpting and print work. Her sculptures are known for being provocative, but her prints are more widely recognized, mostly because of her work with the Taller de Gráfica Popular. Although she never left printmaking, starting in the 1950s, she shifted primarily to sculpture. Her print work consisted mainly of woodcuts and linocuts, while her sculptures were composed of a variety of materials, such as clay, cedar, mahogany, eucalyptus, marble, limestone, onyx, bronze, and Mexican stone (cantera). She often recreated the same piece in several different media. Sculptures ranged in size and scope from small wood figures inches high to others several feet tall to monumental works for public squares and gardens. This latter category includes a 10.5-foot sculpture of Louis Armstrong in New Orleans and a 7.5-foot work depicting Sojourner Truth in Sacramento.

Much of her work is realistic and highly stylized two- or three-dimensional figures, applying the Modernist principles (such as organic abstraction to create a simplified iconography to display human emotions) of Henry Moore, Constantin Brancusi and Ossip Zadkine to popular and easily recognized imagery. Other major influences include African and pre-Hispanic Mexican art traditions. Her works do not explore individual personalities, not even those of historical figures; instead, they convey abstracted and generalized ideas and feelings. Her imagery arises from a scrupulously honest dialogue with herself on her life and perceptions, and between herself and "the other", that is, contemporary society's beliefs and practices of racism, classism and sexism. Many young artists study her work as a model for themes relating to gender, race and class, but she is relatively unknown to the general public.

Her work revolved around themes such as social injustice, the human condition, historical figures, women and the relationship between mother and child. These themes were specifically related to the African-American experience in the 20th century with some influence from Mexican reality. This focus began while she was at the University of Iowa, where she was encouraged to depict what she knew best. Her thesis was the sculpture Mother and Child (1939), which won first prize at the American Negro Exposition in Chicago in 1940.

Her subjects range from sensitive maternal images to confrontational symbols of Black Power, and portraits of Martin Luther King, Jr., Malcolm X, Harriet Tubman, Rosa Parks, and writer Phyllis Wheatley, as she believed that art can play a role in the construction of transnational and ethnic identity. Her best-known works depict black women as strong and maternal. The women are voluptuous, with broad hips and shoulders, in positions of power and confidence, often with torsos thrust forward to show attitude. Faces tend to be mask-like, generally upturned. Mother and Child (1939) shows a young woman with very short hair and features similar to that of a Gabon mask. A late work Bather (2009) has a similar subject flexing her triceps. Her linocut series The Black Woman Speaks, is among the first graphic series in Western art to depict the image of the American black woman as a heroic and complex human being. Her work was influenced by the Harlem Renaissance movement and the Chicago Black Renaissance in the 1940s and reinforced in the 1960s and 1970s with the influence of the Black Power, Black Arts Movement and feminism. With artists like Lois Jones, she helped to create what critic Freida High Tesfagiorgis called an "Afrofemcentrist" analytic.

The Taller de Gráfica Popular pushed her to adapt her work to reach the broadest possible audience, which generally meant balancing abstraction with figurative images. She stated of her time at the TGP, "I learned how you use your art for the service of people, struggling people, to whom only realism is meaningful."

Critic Michasel Brenson noted the "fluid, sensual surfaces" of her sculptures, which he said "seem to welcome not just the embrace of light but also the caress of the viewer's hand." Ken Johnson said that Ms. Catlett "gives wood and stone a melting, almost erotic luminosity." But he also criticized the iconography as "generic and clichéd."

However, Catlett was more concerned in the social messages of her work than in pure aesthetics. "I have always wanted my art to service my people – to reflect us, to relate to us, to stimulate us, to make us aware of our potential." She was a feminist and an activist before these movements took shape, pursuing a career in art despite segregation and the lack of female role models. "I don't think art can change things," Catlett said: "I think writing can do more. But art can prepare people for change, it can be educational and persuasive in people's thinking."

Catlett also acknowledged her artistic contributions as influencing younger black women. She relayed that being a black woman sculptor "before was unthinkable. ... There were very few black women sculptors – maybe five or six – and they all have very tough circumstances to overcome. You can be black, a woman, a sculptor, a print-maker, a teacher, a mother, a grandmother, and keep a house. It takes a lot of doing, but you can do it. All you have to do is decide to do it."

Artist statements

No other field is closed to those who are not white and male as is the visual arts. After I decided to be an artist, the first thing I had to believe was that I, a black woman, could penetrate the art scene, and that, further, I could do so without sacrificing one iota of my blackness or my femaleness or my humanity.

"Art for me must develop from a necessity within my people. It must answer a question, or wake somebody up, or give a shove in the right direction — our liberation."

[vitamininfusiontherapy]

I Tried Vitamin IV Drips for Recovery and Walked Out Feeling Zen AF

H'okay-- let me preface this by stating that I am a total cynic. A major, significant skeptic regarding anything that appears to be a prospective wellness gimmick-- as well as there are plenty. So it was with my regular 'tude that I visited Kollectiv, a city wellness collective of sorts in NYC, to obtain an IV drip indicated to accelerate recovery.

As a long-distance runner who's been filled with injuries for a couple of years after enduring a stress fracture in my sacrum as a result of overuse, child did I require some recovery. Throughout the last 14 months, I ended up being an injury overachiever and also counted 5 even more stress and anxiety cracks in my shins after the "large one" in my back.

Yet after consulting with a variety of physicians, getting even more pricks as well as probes than I like keep in mind, and curating a team of physical therapists and instructors, I've returned to a location where I'm running consistently, albeit much slower and with much more uneasiness and nerves than I had pre-fracture. This experience has actually taught me to double down on remainder as well as regeneration as well as has opened me up to lots of various sorts of therapies to proactively attend to issues that could flare. (Connected: I Tried Dry Needling for Pain Relief-- as well as It Actually Functioned).

As well as while I like acupuncture as well as cupping, the whole IV vitamin drip thing still had me undecided. Like, will I actually feel the difference? Will this be a scene out of Grey's Composition? Just how will I recognize it's working? I had so many questions, yet I'll tell you one thing I learnt not to do prior to an IV drip session: Google it. I did specifically that and was subsequently scared prior to I tipped foot into the building.

That claimed, my clammy hands ran out almost immediately after being greeted by Kollectiv's founder Alain Palinsky, and also chief nursing officer Shoko Karakilic, a nurse practitioner. They walked me through the facility and also gave me a top-line explainer of their strategy to vitamin IV leaks. (Related: I Attempted Cosmetic Acupuncture to See What This All-natural Anti-Aging Procedure Was Everything About).

Vitamin IV drips are specifically what you 'd visualize-- a liquid type of vitamins (often one, usually a combination mixture) carried out intravenously. Initially hailed as a fast hangover buster, they've have grown to address a series of problems like exhaustion, decreased body immune systems, as well as even plain or worn out skin.

" Your body is continually pestered by chemicals and oxidative anxiety, particularly in city atmospheres," Karakilic tells me. "Air air pollution, poor diet regimen, aesthetic harmful absorption, drinking, smoking cigarettes, and also an active hectic lifestyle can overflow your body with hazardous, destructive toxins. Any of these circumstances can swiftly consume your body's storage space of glutathione at a mobile degree." BTW, glutathione is normally discovered in your body as well as has antioxidant-properties thanks to its makeup of amino acids, which aids increase your immune system as well as combat illness.

Prior to hooking me up to the IV drip, Karakilic as well as I spoke about my current activity level, existing clinical conditions, current injuries, and also performance goals, if I'm taking any prescriptions, and also what I was wanting to accomplish by the therapy. Supplied a collection of NutriDrips-- a preferred brand of customized vitamin alcoholic drinks for details requirements-- I was established with a mix to increase my recuperation as well as kickstart my lessening energy levels by combining vitamin C, glutathione, and selenium among other nutrients. Karakilic then put in the IV much like any other, using a needle to place the tube directly into my arm. It fasted as well as painless (method much better than obtaining blood attracted) as well as soon as that was established, she recommended that I exist back and chill. (Don't need to inform me two times!).

In addition to the IV drip, they also brought out the big guns and put me in a pair of NormaTec boots, which are these enchanting compression boots that oscillate stress throughout your entire legs to increase healing. These worked wonders on my for life irritable shins while I loosened up. In between the mellow feelings in the room, the mild massaging of the boots, as well as ~ probably ~ the IV vitamin alcoholic drink, I truthfully felt like I had not been in New York City, which for a spot based in among the city's most disorderly areas, is truly an achievement.

When it comes to exactly how I really felt while obtaining the vitamin IV drip (I did have a needle in my arm besides)? I will certainly claim that I was really feeling cleared up in the chair with my compression boots on, however I ultimately obtained very restless (my anxiety and I are very limited) since the whole vitamin IV bag drip takes a bit of time (around 40ish mins for me) to leak via your veins. If you're a fellow runner, though, I would certainly state the combination of the boots and the drip possibly functioned well together to address my issues from both the internal as well as external.

And also, I can entirely attest to really feeling zen AF later. I was in a better state of mind, I seemed like my skin looked fresher, and also I basically floated to the train, where I was suddenly reminded fact after overcoming over rats the dimension of small dogs. However hey, I really did not have my regular anxiety attack throughout claimed jumping, so ... it worked? I occasionally have issues remaining sleeping (hi, anxiety!) however I slept like a newborn that evening.

All things taken into consideration, I'm certainly planning on a return see as I amp up my training for the SHAPE Half Marathon this coming springtime.

That said, there are a lots of types of drips to think about. I 'd definitely suggest taking your time evaluating every one of the selections to select the one that finest fits your demands-- and also obvs contact your physician if you're taking other medicine or supplements or have any kind of conditions that might not react well to a shock of extra vitamins.

The post “ I Tried Vitamin IV Drips for Recovery and Walked Out Feeling Zen AF “ was seen first on Yahoo Lifestyle

If you want to get your own vitamin drip treatment, visit http://www.theivlounge.ca/ located in Toronto, Ontario. Or call them at (647) 549-3484 for inquiries.

[corneliusreignallen]

How a conspiracy theory about the Bosnian genocide infiltrated the Nobel committee

Nobel Prize winner Peter Handke in France, 2019. Handke has been accused of genocide apologism. | ALAIN JOCARD/AFP via Getty Images

And the rest of the week’s best writing on books and related subjects.

Welcome to Vox’s weekly book link roundup, a curated selection of the internet’s best writing on books and related subjects. Here’s the best the web has to offer for the week of November 10, 2019.

At the New Yorker, Nora Caplan-Bricker delves into the way Dorothy Sayers’s Gaudy Nights became a forerunner of the modern feminist crime novel. I have already seen many people opining that, contra the headline, Dorothy Sayers is absolutely not overlooked, and while that is a fair point, I think we should take any and all excuses to celebrate her regardless:

In the best detective stories, the truth that’s uncovered isn’t limited to the name of the culprit. Mysteries, like works of horror, transmute nebulous fears into tangible dangers. The genre lends itself to exploring anxieties about the unknown and unknowable—shadowy territory that, for Harriet and many of the detectives who’ve followed, includes the contents of their own minds, or the substance of their own personalities.

There is apparently a library vigilante who believes that the public library system is anti-Trump and who is retaliating by turning around the spines of books written by Trump opponents so that they are shelved backward. The Spokesman-Review has the story.

The prestigious Bread Loaf writers’ conference is ending a program in which students who attended on scholarship were asked to work as waiters. The New York Times reports:

Rojas Contreras recalled having to perform a song and dance for the other attendees one evening. “At one time it would have been more like a gentle hazing, when the conference was made up mostly of men, mostly of people of means, mostly white,” she said. “When the population changes, when women are waiters, people of color are waiters, queer people are waiters, then it is no longer a light hazing.”

There was a big dustup this week involving a college student who said she wanted to keep books by the YA novelist Sarah Dessen off her college reading list; the student was then roundly decried by many prominent authors, including Dessen, as belittling books for teen girls. At Jezebel, Emily Alford considers whether or not we are using teen girls as straw men:

The idea that the decision not to include a single YA novel on a single booklist is automatically the work of the patriarchy creates a straw man of the teenage girl, oppressed by college coursework that is not interested in her experiences or her feelings. This teenage girl, regularly conjured up in the name of fighting sexism, is failed by an elitist literary world that denies her the only books she cares to read—young adult novels with characters who look and think like her. But what happens when the teenage girl does not enjoy books that authors insist are written for them? Does that girl’s or young woman’s opinion matter less? Dessen’s book did not give Nelson pleasure. Perhaps Nelson was dismissive in saying the book was written for teenage girls, but the book was, in fact, written for teenage girls.

At the Guardian, Emmanuel Carrère heads off in search of the Dice Man, the author of a cult novel who claims to make all his choices in life by rolling the dice:

His choices soon become more audacious. Going somewhere he would never go, getting to know people he would otherwise never meet. He pushes his patients to leave their families and jobs, to change their political and sexual orientations. His reputation suffers, but Rhinehart does not care. What he likes, now, is doing the exact opposite of what he would normally do: putting salt in his coffee, jogging in a tuxedo, going to work in shorts, pissing in the flowerpots, walking backward, sleeping under his bed. His wife finds him strange, but he says it is a psychological experiment, and she lets herself be lulled into believing it. Until the day he gets the idea of initiating his children.

Remember how last month the Nobel Prize for literature went to a genocide apologist? At the Intercept, Peter Maass goes digging to figure out how members of the Nobel committee came to believe in a conspiracy theory about the Serbian genocide of Bosnian Muslims:

Here’s what shocks me most about this Nobel Prize disaster. It’s not that the Nobel jurors fell for conspiracy theories. That’s terrible enough, of course. The worst is that the elevation of Peter Handke has also raised from the nearly dead a discredited rewrite of history and genocide. We are going back in time.

We love a tiny traveling bookstore in these roundups. Bonus: This one’s French.

At Electric Lit, McKayla Coyle has a simple request to make: Please Write More Books About Cryptids.

I am not an expert cryptozoologist and I will not claim to be one. I’m simply a person with a vested, professional interest in mysterious, supernatural creatures that may or may not exist; creatures like Bigfoot, Mothman, the Jersey Devil, etc. These beings are the stuff of legend, but apparently that’s not enough for the literary community. It’s easy to find books about “sexy” supernatural creatures like vampires and witches, but it seems that authors are too good to look down from their ivory towers and into their local woods, where the Flatwoods monster is probably rolling around in its big metal suit, hissing at children and emitting a noxious gas.

This week in books at Vox, we reviewed Carmen Maria Machado’s haunting new memoir In the Dream House. As always, you can keep up with all of Vox’s book coverage by visiting vox.com/books. Happy reading!

from Vox - All https://ift.tt/2CQGxeW

[shanedakotamuir]

How a conspiracy theory about the Bosnian genocide infiltrated the Nobel committee

Nobel Prize winner Peter Handke in France, 2019. Handke has been accused of genocide apologism. | ALAIN JOCARD/AFP via Getty Images

And the rest of the week’s best writing on books and related subjects.

Welcome to Vox’s weekly book link roundup, a curated selection of the internet’s best writing on books and related subjects. Here’s the best the web has to offer for the week of November 10, 2019.

At the New Yorker, Nora Caplan-Bricker delves into the way Dorothy Sayers’s Gaudy Nights became a forerunner of the modern feminist crime novel. I have already seen many people opining that, contra the headline, Dorothy Sayers is absolutely not overlooked, and while that is a fair point, I think we should take any and all excuses to celebrate her regardless:

In the best detective stories, the truth that’s uncovered isn’t limited to the name of the culprit. Mysteries, like works of horror, transmute nebulous fears into tangible dangers. The genre lends itself to exploring anxieties about the unknown and unknowable—shadowy territory that, for Harriet and many of the detectives who’ve followed, includes the contents of their own minds, or the substance of their own personalities.

There is apparently a library vigilante who believes that the public library system is anti-Trump and who is retaliating by turning around the spines of books written by Trump opponents so that they are shelved backward. The Spokesman-Review has the story.

The prestigious Bread Loaf writers’ conference is ending a program in which students who attended on scholarship were asked to work as waiters. The New York Times reports:

Rojas Contreras recalled having to perform a song and dance for the other attendees one evening. “At one time it would have been more like a gentle hazing, when the conference was made up mostly of men, mostly of people of means, mostly white,” she said. “When the population changes, when women are waiters, people of color are waiters, queer people are waiters, then it is no longer a light hazing.”

There was a big dustup this week involving a college student who said she wanted to keep books by the YA novelist Sarah Dessen off her college reading list; the student was then roundly decried by many prominent authors, including Dessen, as belittling books for teen girls. At Jezebel, Emily Alford considers whether or not we are using teen girls as straw men:

The idea that the decision not to include a single YA novel on a single booklist is automatically the work of the patriarchy creates a straw man of the teenage girl, oppressed by college coursework that is not interested in her experiences or her feelings. This teenage girl, regularly conjured up in the name of fighting sexism, is failed by an elitist literary world that denies her the only books she cares to read—young adult novels with characters who look and think like her. But what happens when the teenage girl does not enjoy books that authors insist are written for them? Does that girl’s or young woman’s opinion matter less? Dessen’s book did not give Nelson pleasure. Perhaps Nelson was dismissive in saying the book was written for teenage girls, but the book was, in fact, written for teenage girls.

At the Guardian, Emmanuel Carrère heads off in search of the Dice Man, the author of a cult novel who claims to make all his choices in life by rolling the dice:

His choices soon become more audacious. Going somewhere he would never go, getting to know people he would otherwise never meet. He pushes his patients to leave their families and jobs, to change their political and sexual orientations. His reputation suffers, but Rhinehart does not care. What he likes, now, is doing the exact opposite of what he would normally do: putting salt in his coffee, jogging in a tuxedo, going to work in shorts, pissing in the flowerpots, walking backward, sleeping under his bed. His wife finds him strange, but he says it is a psychological experiment, and she lets herself be lulled into believing it. Until the day he gets the idea of initiating his children.

Remember how last month the Nobel Prize for literature went to a genocide apologist? At the Intercept, Peter Maass goes digging to figure out how members of the Nobel committee came to believe in a conspiracy theory about the Serbian genocide of Bosnian Muslims:

Here’s what shocks me most about this Nobel Prize disaster. It’s not that the Nobel jurors fell for conspiracy theories. That’s terrible enough, of course. The worst is that the elevation of Peter Handke has also raised from the nearly dead a discredited rewrite of history and genocide. We are going back in time.

We love a tiny traveling bookstore in these roundups. Bonus: This one’s French.

At Electric Lit, McKayla Coyle has a simple request to make: Please Write More Books About Cryptids.

I am not an expert cryptozoologist and I will not claim to be one. I’m simply a person with a vested, professional interest in mysterious, supernatural creatures that may or may not exist; creatures like Bigfoot, Mothman, the Jersey Devil, etc. These beings are the stuff of legend, but apparently that’s not enough for the literary community. It’s easy to find books about “sexy” supernatural creatures like vampires and witches, but it seems that authors are too good to look down from their ivory towers and into their local woods, where the Flatwoods monster is probably rolling around in its big metal suit, hissing at children and emitting a noxious gas.

This week in books at Vox, we reviewed Carmen Maria Machado’s haunting new memoir In the Dream House. As always, you can keep up with all of Vox’s book coverage by visiting vox.com/books. Happy reading!

from Vox - All https://ift.tt/2CQGxeW