Berlin-stay Tue, 09 Nov 2021 15:12:58 +0000 en-US hourly 1 Berlin-stay 32 32 The National Gallery in London explores its collection’s links to slavery and will then investigate trustees and donors Tue, 09 Nov 2021 15:00:51 +0000

The National Gallery in London has published the first steps of an investigation into its collection’s historical links to slavery.

Covering links to slavery and abolition through family, marriage or their own actions, the report examines the key figures involved in the growth of the collection, including through bequests and donations. investigators of trustees and donors.

The development is part of a growing effort among UK institutions to be more transparent about their nuanced histories; efforts that have garnered both praise and criticism from the public.

The National Gallery and Legacies of British Slave-Ownership’s ongoing research project in collaboration with the Center for the Study of the Legacies of British Slavery (LBS) at University College London (UCL) is gathering information on the relationship of the institution with slavery throughout its history.

“We recognize that our collection has a distinctive and historically rooted character and that we need to tell a larger story,” a National Gallery spokesperson told Artnet News of the project.

You can click on the initial list online, which covers the years 1824 to 1880, to view the works and find out how and by whom they entered the collection. It also includes works “previously owned by, commissioned by, or depicting a slave owner.”

The research project began in 2018 when the institution established an academic partnership with the founder and then director of LBS, Nicholas Draper, to “undertake systematic research on key figures in our history”.

“LBS resources have clarified many links between slave ownership, art collecting, patronage and philanthropy in Britain,” the institution said. According to the website, the first person they looked at was John Julius Angerstein, who sold 38 works to the National Collection in 1824 after making his money by purchasing and negotiating marine insurance partly for the transportation of people. enslaved and products. He also acted as a trustee for areas related to slaves in Granada and Antigua.

The National Gallery was founded in 1824, but the collection of British national art it houses dates back much further. Stage III of the project will cover administrators and donors from 1880 to 1920 and Stage IV will examine owners of images dating back to 1640. To extend this research, the National Gallery is also sponsoring a PhD in collaboration with Birkbeck College, University of London, on “The National Gallery in the ‘Center of Empire’, 1824–1924”, which began in 2021 and is supervised by Susanna Avery-Quash of the National Gallery and Sarah Thomas of Birkbeck.

“We are one of many UK museums and historical collections that strive to make the history and origin of their collections more accessible and transparent,” the institution said.

Some of these projects have sparked public debate. Earlier this year, Britain’s central heritage body, the National Trust, released a controversial brief outlining the links between some of its historic properties and the enslaved trade. The publication sparked a storm among members of the organization and the public, with some members of parliament even weighing in to criticize the institution for its “awakened agenda,” and its chairman Tim Parker subsequently resigned from his post.

There has already been some backlash against the National Gallery’s decision among some more conservative factions of the British media, with the Telegraph calling the list a “room of shame” and Times stating that he has “cast the stigma of slavery on hundreds of paintings” in his collection.

Regarding the possibility of facing backlash for her decision, a National Gallery spokesperson told Artnet News she was prepared to weather the storm. “Dealing with these stories honestly can be difficult, but we are looking for ways to recognize their importance more directly and explicitly, through research, interpretation and debate,” they said.

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Want to stay ahead of the art world? Subscribe to our newsletter to get the latest news, eye-opening interviews and cutting-edge reviews that keep the conversation going. ]]> The art school welcomes visual artist Cassils in a series of lectures Tue, 09 Nov 2021 06:04:13 +0000

Graphic by School of Art, Cassils by Robin Black

SoArt Invited Lecture Series

The School of Art at Fulbright College of Arts and Sciences is delighted to welcome artist Cassils to the guest lecture series. The virtual conference will take place this Thursday, November 11 at 5:30 p.m.

Cassils is a transgender artist who makes his own body the material and the protagonist of his performances. Their art contemplates the history of LGBTQI + violence, representation, struggle and survival.

For Cassils, performance is a form of social sculpture: starting from the idea that bodies are formed in relation to the forces of power and social expectations, their work explores historical contexts to question the present moment.

Referring to conceptualism, feminism and body art, Cassils powerfully trains her body for various performative purposes, engaging in a process of extreme physical and psychological endurance. Positioning their bodies as a battlefield, it is with sweat, blood and sinew that Cassils shares experiences to contemplate stories of violence, representation, struggle and survival.

“There couldn’t be a better time to bring Cassils to art school,” said John Blakinger, director of the art history program and endowed associate professor. “At a time when transgender rights are under threat across the country, their work is incredibly relevant and urgent. Cassils uses the body as a medium to explore what it means to be trans and non-binary today. Their multimedia art questions the way in which society shapes gender politics. “

In a recent CNN article, Cassils describes growing up thinking he was an artist and was supposed to be a painter. Their perception changed and a new path emerged through their studies at the Nova Scotia College of Art and Design.

They received a Bachelor of Fine Arts from the Nova Scotia College of Art and Design and a Master of Fine Arts in Integrated Art and Media from the California Institute of the Arts.

Cassils recently opened his first solo exhibition in the UK, a survey of 10 years of screen and printed works. Organized by Bren O’Callaghan for HOME, Manchester, the exhibition is accompanied by the world premiere of Cassils’ first contemporary dance piece, Human measurement.

The performance is a collaboration with choreographer Jasmine Albuquerque and draws on personal safety, vulnerability and problematizes visibility in a time of heightened violence against the GNC / trans community.

“I consider being an artist to be a service provider,” Cassils said, “and I will do whatever it takes to create something that makes sense and that can make the world a safer and better place to stay. the people.”

The Art School is delighted to welcome Cassils and invites everyone to learn more about their work Thursday, November 11 at 5:30 p.m.

9ft Video Game Joystick Now Holds Guinness World Record Mon, 08 Nov 2021 22:07:00 +0000 The giant controller is nearly 14 times the original size of a typical Atari CX40 controller, according to Flanagan. Commissioned for the House of Technologically Termed Praxis in London, the joystick was made from wood, steel and rubber. It is currently held at the ZKM Center for Art and Media in Karlsruhe, Germany, and has toured Spain, UK and USA.

“The idea was to really take something that is meant for solitary play and make it so big that it requires collaboration and brings people together,” said Flanagan, chair of the film and media studies department at Dartmouth College. and Sherman Fairchild Distinguished Professor of Digital Humanities.

She worked with a team of expert builders at New York’s Brooklyn Navy Yard to create her “engineering marvel,” which breaks down into two giant crates.

“It’s a little complicated even getting around,” she told CNN. “Between shows it was always awkward because sometimes I had to store it in a storage unit, sometimes it was stored in another country between shows. At one point it was in my friend’s barn in upstate New York. “

At least two people must use the joystick, which can play classic Atari games, including “Breakout” and “Centipede”. Although as a unit the joystick contains a bit of Atari inside, Flanagan said the joystick can technically be connected to anything.

“When you climb on it, a really high score in something like ‘Breakout’ or ‘Pong’ is like 11 because people don’t move that fast when they have to move their whole body,” she said.

“Then trying to coordinate with different people… it slows down everyone and kind of changes our relationship with this familiar play practice and gives us a bit of critical distance.”

Flanagan entered the video game space as a CD-ROM game designer in the 1990s. She also created what some consider to be the first autobiographical video game called “[domestic]As the author of several books on video games, Flanagan has pursued more creative interpretations of digital culture, such as making games for social change or that address social issues – which she believes to be. exactly what the joystick does.
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Being billed as a Guinness World Recorder came as a shock to Flanagan, who hoped to “produce a childish scale” and “generate group discussions and games,” according to Guinness. Her goal, she said, beyond bringing people together, was to get people to defamiliarize parts of their daily lives and make them “a little weird.”

“There is just something that we can all benefit from artists’ perspectives on pop culture, fun things around us and open our eyes to new ways of looking at something really familiar,” he said. she declared.

Flanagan noted that the joystick isn’t tied to any particular generation, especially considering how niche and fashionable some old video games have become. She linked this phenomenon to classic cars, which entered the mainstream although few people drive them anymore.

People using the giant controller in 2007 at the LABoral Center for Art and Industrial Creation in Spain.

Everyone though, she admitted, yearns for the moment they played their first video game.

“It doesn’t matter if it’s ‘World of Warcraft’ or ‘Fortnite’ or ‘Candy Crush’ or whatever their relationship to their game is. It opens them up to a new way of being in the world, and people remember those times when they bond with their game, and it’s kind of romantic, ”Flanagan said.

Flanagan is currently working on a “feminist artificial intelligence” project that is trained solely on the work of female artists to explore biases in algorithms. She hopes that through her joystick and her current projects, video games and their modifications can be crucial tools to encourage meaningful interaction.

“The games themselves are almost like little universes, and we can invent possible futures in them,” she said. “I hope we can maybe feel some optimism about the game and maybe break some barriers and be together.”

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Loki and the Joker played the same trick on Hulk Mon, 08 Nov 2021 13:00:00 +0000

Marvel’s Loki and DC’s Joker are two of the toughest villains in all of comics and prove it by playing the same trick on the Incredible Hulk!

Marvel Comics are two of the toughest villains to ever see on the page of a comic book. Loki and DC Comics’ Joker, and the two characters played the same trick on the Pontoon. Hulk is one of Marvel’s strongest characters and even one of the most brutal fighters in all of comics. So when the opportunity arose, the Joker and Loki didn’t hesitate to use the Hulk for their own nefarious ends, respectively.

In Avengers # 1 by Stan Lee and Jack Kirby, Loki decides it’s time for him to take control of Earth, but with the planet protected by Iron Man and Ant-Man not to mention his own brother Thor, Loki was going to need some help. a powerful ally, whether they knowingly helped him or not. Loki used his magical abilities to cause the Hulk to wreak havoc, and Loki used this as a distraction for his plan to take over the world. When the Hulk came with the help of the rest of Earth’s Mightiest Heroes, they all joined forces against the God of Mischief and in doing so became the Avengers.

Related: Hulk Hero Reveals Epic New Eye Beam Gamma Power To Compete With Superman

Even though Loki failed in his plot to use the Hulk to defeat his heroic foes, the Joker decided to use the same method to defeat his longtime nemesis, Batman. In the one-shot of the Marvel / DC crossover Batman vs. The Incredible Hulk of Len Wein and Jose Luis Garcia Lopez, Batman and Hulk inexplicably exist in the same universe without further explanation, much to the Joker’s delight. As Batman pursues the Clown Prince of Crime, the Joker stumbles upon Hulk and convinces the Avenger that he is his friend and that Batman is the real villain. Since the Hulk is notoriously childish in his thinking process, he believes the clown and attacks Batman before the Caped Crusader can reach the Hulk and the two heroes team up to take down the Joker.

Loki made the Hulk fight Marvel’s Earth Heroes for him just as the Joker convinced the Hulk to fight Batman for him. Both villains use the same method and both receive the same result, one that is initially satisfactory but quickly becomes unfavorable. Batman is able to educate the Hulk on the truth of who’s good and who’s bad in the DC Universe and the Avengers get to the Hulk during his rampage and make him a permanent member of their team to move forward.

As Loki and the Joker fail in their attempts to use the Hulk to satisfy their own villainous needs, they each get points for choosing their target. The Hulk is relatively easy to fool and an absolute powerhouse. The Joker and Loki are incredibly intelligent, but neither of the characters are physically imposing, especially when compared to the Hulk. Choosing the Hulk to do the dirty work for them is really evil and very smart. Where both villains failed was in underestimating their heroes because in both cases the Avengers and Batman did what they needed to defend against the Hulk, but in the end showed him some empathy and understanding until he saw who the real bad guys were. both scenarios. Loki and the Joker played the same trick on the Pontoon, and they both paid the same price as a result.

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Italian art meets Indian craftsmanship – The New Indian Express Sat, 06 Nov 2021 23:30:00 +0000

Express news service

Indian women have a long and complex relationship with jewelry, dating back to Mohenjo Daro. Traditionally, jewelry has been part of the stree-dhan concept, but its appeal is more than just legal jargon. India excels in jewelry craftsmanship, but craftsmanship has traditionally been a male domain. Mumbai-based Shachee Shah turned that upside down by working her own hands on the bench. Not only that. She brought the ancient tradition of micro mosaic to India, which originated in Italy as souvenirs that travelers brought back, but which is now almost lost in Europe.

Shah started his journey wanting to study fashion, but discovered the micro mosaic during a trip to Italy. She realized that it would be unique in India and decided to train in an Italian institute, learn to work with tools in a traditional way and do research on design and history in museums and Vatican workshops in Ravenna.

His intense study led to his brand of micro mosaic jewelry, of Italian design but with an Indian heart and Indian motifs. She calls it the Garden of Happiness, with nature as the main inspiration. Shah believes that nature has a silent voice that speaks volumes for those who want to listen and that her jewels are the little beauties that speak that voice. Art, history, wildlife and vintage objects are his other inspirations.

The raw material of mosaic jewelry consists of tiny rods of gold and Venetian glass enamel, which are formed by mixing different colors (called Smalto). These are pulled into threads at a temperature of 1200 degrees and then left to cool. The process is highly skilled and takes time. Each of these strands of glass (tessera) is cut into microns and arranged together to create a pattern. Shah creates the pattern with the naked eye. Because each piece is entirely handcrafted, it is unique and irreplaceable. All the gold used is 18k and the glow comes from natural diamonds and gemstones.

Shah’s other line of jewelry looks so much like lace you’d forgive you for trying to tie it to your handkerchief. It’s his invention: 18k gold threads woven into intricate lace-like patterns, an ethereal piece of jewelry worn on the ear or on the wrist. She called it the Venetian collection.

When Shah started her line, she worked on every piece herself, from the block of gold to the finished piece. Now, with high demand, it has added helping hands to its production process, but every part still carries
its manual labor in its manufacturing process.

Shah’s muse is the woman who believes in herself and merges her style with history, emotion and character. This woman knows she can. So is Shah herself, who broke into the male-dominated field of metallurgy, which is seen as physical punishment.

Because the jewelry is completely handcrafted and takes time to produce, Shah prefers to work through personal appointments in his studio and through exhibitions in shops and galleries. She also has an overseas market, with women in the United Arab Emirates, United Kingdom, and the United States eager to wear her jewelry. All of this is expected to expand over the next few years. The most exciting? She will introduce a new jewelry technique by the end of 2021. We can’t wait.

The raw material of mosaic jewelry consists of tiny rods of gold and Venetian glass enamel, which are formed by mixing different colors

Travis Scott issues statement regarding event involving multiple victims Sat, 06 Nov 2021 16:33:17 +0000

Travis Scott has released a statement following the tragic events of the Astroworld 2021 festival at NRG Park in Houston.

As previously reported, there were eight confirmed deaths and many more injured during the first day of the huge festival, Harris County Judge Lina Hidalgo has confirmed Friday night. The deaths and injuries appear to have been caused when a huge mass of people began to pour into the limelight around 9:15 p.m., crushing dozens of people. Shortly after noticing that the attendees were injured and worse, officials asked Travis to end the show and he complied. But not before some people at the show say the Texas native continued to perform amidst the chaos for several minutes.

There would have been 50,000 people present. According to Houston Police Chief Troy Finner, 367 police officers and 241 security guards were in charge of monitoring the event. More than 300 people were treated for injuries on the spot. More people were transported to local hospitals. Many of these people suffered from cardiac arrest. One of the deceased is said to be a 10-year-old child. The cause of death for the eight victims has not been determined. There are also rumors that some spectators have been injected with drugs. The Houston Police Department is currently investigating a tragic incident.

“My job as police chief is to make sure we find out what happened,” Finner told reporters on Friday night. “We’re going to treat this as an investigation because we don’t know. I have investigators here at the scene. I’m sending investigators to hospitals because we just don’t know, and we will. So pray. for these families. I think it’s very important. Everybody in our town is praying for these families and, and we’re going to be fine, but we’re going to investigate and find out because it’s not fair to them. producers, for no one else involved until we figure out what happened, what caused the surge. We don’t know, but we’ll find out, and is there something criminal?

After the show, some in attendance took to Twitter to relay their heartbreaking experiences. Many spoke of being trapped in the mass of people and fighting for their lives to be free. Others spoke of seeing dozens of people passed out and bloodied, and even of seeing corpses on the ground.

The second day of the festival has been canceled. On Saturday morning (November 6), the official Astroworld Fest Instagram account made a statement about the incident. “Our hearts are with the AstroWorld Festival tonigt family,” he begins. “Especially those we have lost and their loved ones. We are focusing on supporting local officials as much as we can. With that in mind, the festival will no longer take place on Saturday. As the authorities mentioned earlier during at their press conference, they review the series of cardiac arrests that have taken place. If you have any relevant information on this, please contact @HoustonPolice. Thank you to our partners at the Houston Police Department, Fire Department and of NRG Park for their response and support. “

XXL has contacted Travis Scott’s team for comment.

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10 Perfect Marvel Comics To Read In November Sat, 06 Nov 2021 00:38:09 +0000

Marvel is the biggest name in pop culture and has long dominated sales in the comic book industry. They’ve been in this position for a long time, publishing more books than anyone else, flooding the market with their iconic heroes. They’re releasing some awesome comics right now, with some of the top comic book creators working their magic on the real mountain of books that Marvel releases every month.

RELATED: 10 Comics ‘Important’ To Marvel History (But Not Very Good)

November seems like a good month for Marvel fans as the publisher publishes so many books that would be great to read. From the continuations to the miniseries, Marvel is setting fire this fall.

ten Venom # 1 redefines the fan favorite

After The king in Black, Venom is huge again at Marvel. On November 10, the next chapter in the life of the symbiotic superhero drops with Venom # 1, by the all-star creative team of writers Al Ewing and Ram V and artist Bryan Hitch. With Eddie Brock’s son Dylan as Venom, things look very different.

Ewing has just come out of his historic race The Immortal Hulk and V has proven his horror chops in DC and on independent books. The issue also marks Hitch’s first Marvel interior work in years. This one has it all and should be a wild ride.

9 Hawkeye: Kate Bishop # 1 brings Hawkeye back to the east coast for new adventures

Hawkeye Kate Bishop 1 Cropped

Marvel loves its MCU synergy, though it’s often futile, and Hawkeye: Kate Bishop # 1, by writer Marieke Nijkamp and artist Enid Balam, is the latest example. Seeing Kate return to the East Coast after years of adventuring in Cali and picking up a simple case along the way, this issue brings back the fan favorite. Nothing is ever easy for a superhero, however, and this one illustrates it.

Kate has always been an entertaining character and any excuse for her having more solo adventures is one readers will take. Nijkamp is a New York Times bestselling author, so this one should be interesting, to say the least.

8 Thor # 19 starts a new story arc, “God of Hammers”

Thor 19 cropped

Writer Donny Cates and artist Nic Klein’s Thor has shot every cylinder since it started and number 19 doesn’t look any different. Mjolnir is missing and no one can find it, leading Thor and his Asgardian friends on a hunt to find it. Who has it and what does he plan to do with it? It’s a race against time to get it back before disaster strikes.

RELATED: Marvel: 5 AXIS Reversals That Lasted Too Long (& 5 That Should Have Stayed)

Cates has been one of Marvel’s MVPs for years and his Thor has been immensely impressive, getting better and better with each issue. Klein has proven to be quite capable of bringing Cates’ ideas to life and this new story arc looks like another hit, which will be released on November 24.

7 Hellions # 17 puts things to the test

Hellions 17 cropped

Hellions is one of the little-known gems of the X-Men line and number 17 appears to be another banger. Written by Zeb Well with art by Stephen Segovia, this one sees the team violently implode after heavy revelations and actions in the final story arc. Orphan-Maker, trying to get back into Nanny’s good graces, does something ill-advised, but that’s the name of the game for a Hellion.

Wells kind of invested that title with the kind of humor and pathos that balance out perfectly, with a healthy dose of old-fashioned ultra violence for that entertainment factor. Combined with Segovia’s dexterous pencils, this book is a hidden gem and this issue seems to continue on November 10.

6 Black Panther # 1 promises new direction for Wakanda’s greatest hero

Black Panther has undergone many changes over the years and since the release of his film, Marvel has secured some of the best writing skills outside of comics to work on his book. Oscar-winning writer John Ridley takes over with the new Black Panther # 1 November 24, joined by artist Juann Cabal.

This one brings T’Challa back from space and drops him in the middle of a great spy story. It’s a different direction for Black Panther and with Ridley on board, this one should be an undisputed epic.

5 X-Force # 25 sees Wolverine face new threat for Krakoa

X-Force 25 cropped

X-Force is another X-Men title that got lost in the shuffle but it’s better than most of the lineup. Issue 25, by writer Benjamin Percy and artist Robert Gill, is set to continue this momentum on November 17. When a new threat arises on the shores of Krakoa, Wolverine kicks in to end it before it can take hold, while Kid Omega and Phoebe Cuckoo explore a new side of their relationship.

Percy took a different approach with X-Force, focusing on telling short stories that see the team quickly dealing with the island nation’s worst threats. X-Force is one of the most famous franchises of the X-Men and Percy’s X-Force is a worthy successor to this heritage.

4 Wolverine # 18 sees mutant hero protecting friend in the Armed Forces for the two

Wolverine 18 cropped

Wolverine is the best at what he does and writer Benjamin Percy put him to the test. November 24, Wolverine # 18 sees the Savage Mutant trying to save his CIA friend Agent Bannister from enemies who stalk him while trying to find the mole on Krakoa that Bannister warned him about. Joined by artist Paco Diaz, he promises to be action-packed.

Percy did Wolverine the first place for black ops action and this problem is another example. He’s been writing the best Wolverine in years, and that book is still one of the best X-Men books on the shelves.

3 Eternals have a new leader in Eternals # 7

Eternals 7 cropped

The Eternals are one of Jack Kirby’s greatest creations and they’ve been in good hands since writer Kieron Gillen and artist Esad Ribic took over. The final story arc was full of action and reveal, with November 10 Eternals # 7 dropping another huge change on the Immortals: They’ve got a new leader, and that’s Thanos.

RELATED: Marvel: The Most Powerful Characters Ever Seen In The MCU

Gillen and Ribic have done an incredible job of truly capturing the power and greatness of the Eternals, with this issue looking no different. The film may receive mixed reviews, but this book has worked perfectly since its debut.

2 Hulk # 1 begins a new era for the Jade Giant

Ryan Ottley cover for Hulk # 1 written by Donny Cates.

After the horror of The Immortal Hulk, Writer Donny Cates and artist Ryan Ottley take over everyone’s favorite smash specialist on November 24 Hulk # 1. The Hulk’s rage is reaching unprecedented levels and no one can stop it. With the Avengers unable to deal with him, what’s next for the Hulk? This book answers that question.

Cates is Marvel’s not-so-secret weapon and associates him with Ottley, known for his expertise in superhero violence from Invincible, on a Hulk book was an inspired choice. The Hulk has always been a fighter and it will be great to see where these two take him.

1 Dark Ages # 3 continues Marvel’s alternate universe epic

Dark Ages Apocalypse Feature

Writer Tom Taylor made a name for himself in DC with Injustice, an alternate universe epic and he brings that expertise to Marvel. November 17th Dark Ages # 3, With art from Iban Coello, this epic story of a Marvel Universe without electricity continues as Apocalypse strives to awaken the Uncreator and gain his power, with the heroes rallying to stop him.

Dark times has turned out to be an amazing book so far and this issue is no different from what came before it. Coello’s art really made this book shine even brighter than it ever did, an irony for a book set in a world without electric light.

NEXT: 10 Marvel Comics Every MCU Fan Should Read At Least Once

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Outstanding Sargent painting worth over £ 7.5million at risk of leaving UK Thu, 04 Nov 2021 14:01:07 +0000
  • The export bar is to allow time for a British gallery or institution to acquire the work.
  • The Outstanding Painting is considered a candidate for Sargent’s Most Beautiful Portrait of a Seated Man

Worth over £ 7.5million, a remarkable three-quarter-length portrait of Arthur Ramsay, the 14th Earl of Dalhousie is at risk of leaving the country unless a British buyer is found to save the job for the nation.

The Earl of Dalhousie is extremely important for the study of the impressive legacy of John Singer Sargent. Best known for her famous Portrait of Madame X, the international artist – who has spent most of her life in Europe and whose resting place is in the UK – has played an important role in art, the history and culture of the time and this piece set the scene for Sargent’s fame on both sides of the Atlantic.

Dating from 1899, the portrait coincides with the founding of psychoanalysis by Sigmund Freud. As a result, The Earl of Dalhousie is considered outstanding for his portrayal of the character of Arthur Ramsay and offers a fascinating look at aristocratic masculinity, uncertainty, and imperial doubt at the time.

Whitley Bay Arts Minister Lord Parkinson said:

John Singer Sargent was, as the 2015 National Portrait Gallery exhibition rightly pointed out, “the greatest portrait painter of his generation.” He continues to inspire artists, academics and the public to think more deeply about ourselves, our history and the human condition – with The Man in the Red Coat by Julian Barnes is just one example of the creative impulses that ‘he continues to arouse.

There is still so much to learn from this exceptional portrait of the 14th Earl of Dalhousie, painted in the UK on the transition from the 19th to the 20th century. It would be a huge loss if this piece were to leave the country. I sincerely hope that a British buyer can be found to save labor for the nation.

The Minister’s decision follows the advice of the Exports of Works of Art and Objects of Cultural Interest Committee (RCEWA). The Committee agreed that this was a fascinating image in many ways and was one of Sargent’s finest male portraits.

Committee member Christopher Baker said:

Sargent’s Earl of Dalhousie recalls a brilliant transitional moment in British portraiture, being late Victorian but surprisingly modern in appearance. The artist injected a new dynamism into such paintings; he had a deep knowledge of both the greatest portrait traditions and recent innovations and here combined a nod to Van Dyck’s achievement (in terms of pose and frame) with an energetic and courageous brushstroke and an incisive characterization. Such skills would prove to be irresistible to a generation of British patrons.

Dalhousie was a Scottish aristocrat and his portrait is one of the finest of all of Sargent’s studies of male subjects; picture of height perhaps tinged with uncertainty, this is a coming-of-age painting, created when the subject was twenty-one, and, as recent research has shown, she was paid by its tenants. Exceptional aesthetically and in terms of the study of the art and culture of the time, it would be a profound misfortune if this scintillating work were not insured for a British collection.

The review committee made its recommendation on the grounds that the departure of the painting from the United Kingdom would be a misfortune as it was of exceptional aesthetic importance and of exceptional importance to the study of the work of Sargent and art, history and culture in the broad sense of the time. .

The decision on the export permit application for the painting will be deferred until March 3, 2022. At the end of the first deferral period, owners will have a cooling off period of 15 working days to consider any offer to purchase the painting. at the recommended price. price of £ 7,617,360 (excluding VAT). The second deferral period will begin after signing an option agreement and will last six months.


Notes to Editors:

  1. Organizations or individuals interested in purchasing the paint should contact RCEWA on 0845 300 6200.
  2. The details of the painting are as follows: A painting by John Singer Sargent of Arthur George Maule Ramsay (1878-1929), the 14th Earl of Dalhousie, in front of double pillars and a plinth.
    The painting is in oil paint on canvas and measures 150.7 x 102.2 cm
    The work is in great condition with the unusual advantage that it has not been lined, preserving the surface and texture of Sargent’s distinctive brush.
  3. Provenance: Arthur George Maule Ramsay, 14th Earl of Dalhousie (1878-1928), the keeper. From there by descent until its sale in 2021.
  4. The Examination Commission for the Export of Works of Art and Objects of Cultural Interest is an independent body, assisted by the Arts Council, which advises the Secretary of State for Digital, Culture, media and sports on whether a cultural object, intended for export, is of national importance according to specified criteria.
  5. The Arts Council defends, develops and invests in artistic and cultural experiences that enrich people’s lives. It supports a range of activities in the arts, museums and libraries – from theater to digital art, from reading to dance, from music to literature, and from crafts to collections.
Modern Modifications – The State Press Thu, 04 Nov 2021 02:32:00 +0000 Politics and possibilities for body modification are changing faster than we think

In 2004, The State Press published an image of an exposed nipple with an industrial piercing on the cover of its October magazine.

The cover story was called “Sensual Steel”, but The State Press story would be remembered by a different name: “Nipplegate”.

While the story featured several members of the community with other extreme body modifications, it was the explicit cover image that sparked an administrative scandal. Major ASU donors were upset by the magazine, leading to threats from administrators to withdraw funding from The State Press and kick the newspaper from campus.

Today, the legacy of “Sensual Steel” lives on in the pages of journalism textbooks and on The State Press’s Wikipedia page. But would the question have been so controversial if it had been published today, 17 years later?

As the prevalence and popularity of body modification increases, new industries and technological possibilities are also rapidly emerging. Navigating these new horizons presents a whole new set of challenges and ethical questions for the next generation.

From subculture to pop culture

In modern American culture, where body modification has been historically taboo, tattooing and body piercing often emerge from subcultural, deviant, or marginalized contexts.

Amy Shinabarger, an ASU English teacher who studies body modification in public discourse, had her first piercing at age 15. She pierced her nose at home while her parents were away for the weekend.

“At that point, there really wasn’t another place I could do it,” Shinabarger said. “There weren’t any piercing spots anywhere.”

With her new piercing, there were social stigmas that would follow her for the rest of her life. When she entered college with multiple prominent piercings and tattoos in 1997, she often experienced what she called the “contemptuous grandma look”.

In Shinabarger’s view, body modification is stigmatized in part because it is sometimes intended to be highly visible or shocking. But that doesn’t give others the right to treat changed people differently or harass them, she said.

“It kind of makes your body a public space that people feel like they have at least the right to look at, but also sometimes touch,” she said.

Mark Walters is the owner and founder of Living Canvas, the first tattoo shop to open in downtown Tempe. State Press magazine featured photos of Living Canvas in “Sensual Steel,” so it was only fitting that we returned for a follow-up session and interview to see how the world of body modification has changed.

Walters said when he opened the shop in 1993 that tattoo culture was the domain of punk rockers, bikers and those “on the far left.”

“It definitely allowed me to see all the parts of the tattoo that this generation will never see,” Walters said.

Walters entered the tattoo industry in the late 1980s when he said tattoos were “still a bit frowned upon”. He had sleeves full of tattoos in the 90s and said that every time he went to a restaurant he would sit out of sight.

“I would never have a good seat,” Walters said. “People everywhere were like, ‘oh, this guy’s a white trash’ or whatever. But now it’s not like that. Now everyone has tattoos.”

Walters said part of the change was due to the presence of popular musicians and athletes with tattoos in the ’90s. Body modifications started to become more acceptable, but it was still “kind of an aggressive crowd.”

Today, however, Walters argues that the tattoo subculture no longer exists – in fact, now the reverse may be true.

“I think people with less tattoo have the subculture,” he said.

Shinabarger said there is still a stigma around body modification, but it looks different. She can’t help but notice that her students are more interested in piercings and tattoos and are more eager to get them.

“If I were their age now, I would probably have a lot more piercings than I do,” she said.

Old traditions and new industries

While many believe that the prevalence of tattoos and piercings is a modern phenomenon, various cultures around the world have practiced both since ancient times. Often spiritual or symbolic in nature, many Aboriginal people today wear traditional tattoos.

For Michael Brogdon, tattoo artist at Living Canvas, his passion for body art began in another context: his time in prison.

“Tattoos that come out of jail aren’t always the things you see here,” Brogdon said. “There is meaning behind it. There is blood behind it.”

For these and other reasons, the popularity and sudden acceptance of body modification is often dishonestly removed from its cultural tradition. Walters and Brogdon both said they had to dissuade clients from inadvertently getting tattoos related to gangs, prison politics or cultural appropriation.

“It’s like, f —, I really don’t want to tattoo you that,” Brogdon said. “How do I say, ‘hey, what you want to get is prison policy?’ “”

However, as body modification has become ubiquitous in fashion and popular culture, the prevalence of tattooing and piercing for purely cosmetic purposes has also increased, in what Walters describes as a rapidly growing ‘trendy’ industry. .

Of course, the growing popularity of body modifications hasn’t been all that bad – it has enabled artists like Walters and Brogdon to work with a wider clientele and grow their businesses. But even in this industry, growth has its challenges.

According to Walters, the tattoo industry is increasingly decentralized, with many aspiring artists moving from the world of reputable brick-and-mortar tattoo shops to private studios.

“This is the biggest problem in the tattoo world,” Walters said. “People start learning, they start learning, they’re like ‘Oh, I can do this!’ and then they leave. But they don’t sterilize properly and they do more damage, and that hurts the industry as a whole. “

His solution? Regulation.

Walters worked with the city of Tempe in the 90s to establish health and safety rules for the integrity of tattoo parlors. However, he said there had been virtually no regulatory changes in Arizona since 2004, when “Sensual Steel” was released.

In fact, Arizona has some of the most relaxed tattoo laws in the country. The state has no mandatory store inspections and no licenses required for tattoo artists.

“There are a lot of guys in this industry who are pissed off at me,” Walters said. “I’m totally the boss of the boat. Let’s get a license, that would get rid of all those fucking idiots.”

Brogdon agrees that more regulation would solve many of the burgeoning problems in the body modification world.

“It’s just messing up an industry,” Brogdon said. “… to let a bunch of scrapers and hacks mess it up and dilute it and take it in a different direction.”

A transhumanist future?

As traditional and extreme body art gains social acceptance in America, new horizons of modification are emerging, including implantable technologies. While many of these devices may seem like sci-fi fantasies, they are increasingly becoming mainstream realities.

Transhumanism is a philosophical movement that advocates the use of human enhancement technologies to intentionally bypass our current biological limits.

Some, like Katina Michael, professor at ASU School for the Future of Innovation in Society and School of Computing and Augmented Intelligence which studies emerging implantable technologies, believe that transhumanist ideas are part of an illusory “technological trajectory” that could be dangerous.

Traditional body modifications have generally served primarily aesthetic or social purposes, while transhumanist modifications are often functional, ameliorating, and amplifying.

Michael believes implants are increasingly socially standardized based on his own survey data. In his opinion, it could be related to the growing popularity of traditional body modifications.

“What was anathema in the 2000s is perhaps now not only common but plausible discourse,” said Michael.

With the advent of implantable technologies, new “socio-ethical dilemmas are starting to arise,” said Michael. Much of his public work reflects on the line between medical correction and improved performance – a line which, under the influence of big tech companies, can become blurred if “anything biomedical can possibly (also) have a capacity for improvement, ”she said.

“It will be very difficult to determine who has what for what,” said Michael. “And so we have to be careful, especially when it comes to legislation.”

Many states have already implemented “anti-chipping laws,” which prevent employers from coercively chipping their employees. Meanwhile, tech pioneers often volunteer to implant devices into their bodies to improve their own lives.

Traditional modifications like tattoos and piercings generally have legal and ethical backing in our society, which generally values ​​bodily autonomy and privacy. Modern modifications could also be protected by privacy rights, but skeptics like Michael wonder how truly self-sufficient implantable devices can be when connected to global online networks and tied to big tech companies. like Google or Apple.

“We are at this point where this ability that exists now is starting to create paranoia in people,” said Michael.

Michael said many developers are strongly opposed to the regulation of implantable biotechnology, arguing that it could be preventative or misinformed. Although she remains hesitant about the legislation, she believes – much like Walters and Brogdon – that the modification industry needs regulation in order to ensure safety and positive results.

“My point of view is that we are moving too fast,” she said. “We didn’t think about the long term implications.”

Contact the columnist at and follow @lexmoul on Twitter.

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University of Phoenix College of Doctoral Studies curriculum changes help increase student retention and satisfaction Wed, 03 Nov 2021 18:31:00 +0000

Changes to the curriculum and faculty structure within the College have yielded positive results

PHÉNIX, November 03, 2021– (BUSINESS WIRE) – University of Phoenix Doctoral Studies College Reports Increase in Student Retention and Satisfaction Following Implementation of Changes to Further Improve the Doctoral Student Experience and their academic background.

The College of Doctoral Studies, formerly known as the School of Advanced Studies, introduced a new faculty model and structure and related dissertation process in 2019, followed by redesigned doctoral programs in January 2020. Since launch Implementing these changes, the College experienced approximately 10% increase in retention rates. As of January 2020, the sentiment scores of students with dissertation experience have exceeded 55% positive and 81% positive, mixed or neutral.

“The College of Doctoral Studies saw opportunities to enhance the faculty and student experience and was successful in identifying the necessary steps and implementing the changes that met those needs,” says John Woods, Ph .D., Rector and director of studies at the University of Phénix. “We have been able to evolve our programs through evidence-based practices to accurately meet the needs and opportunities of students and faculty who are practitioners in their fields.”

The College of Doctoral Studies offers doctoral programs for practitioners in the fields of health, education and business, with the Scholar-Practitioner-Leader℠ learning model. While a doctoral degree program focuses on the development of new primary knowledge, the College’s practicing doctorate focuses on the practical application of that knowledge in one’s career. The Scholar-Practitioner-Leader℠ framework combines classic cognitive conceptions of the doctoral fellowship – including great rigor of inquiry, academic study, and practical applications – with affective domains of learning. This learning model helps working mature students develop a deeper awareness of who they are, how their learning is changing them, and to apply existing knowledge to solving real-world problems in their field and their field. community.

“Practitioner doctoral programs must evolve to adapt to the changing work environment of our practicing academics,” says Hinrich Eylers, Ph.D., PE, vice-president of doctoral studies and academic operations at the ‘University. “We have seen an immediate impact and continue to see positive results from these changes in each of our degree programs.”

New redesigned doctoral programs released in January 2020 aligned with faculty structure and responsibilities. They offer an improved thesis path and faculty support. Some of the changes implemented include:

  • Reduce the number of primary programs from 8 to 4 with elective path options to accommodate changing career paths and student interest.

  • Align post-master’s certificates with elective program tracks to enable students to earn an additional degree on their way to their doctorate.

  • Improve the convenience and predictability of class schedules with measures such as a standard 8 week class length and moving residences previously on campus to an online format to reduce personal expenses for travel and the need for take time off from work.

  • Reduce the minimum program duration from 62 to 54 credits to better support the three-year goal to completion. This is supported by changes such as introductory courses that can be canceled (aligned with accreditation requirements where applicable), reducing the required research courses from 5 to 3, and aligning content with the needs of students. practitioners, reducing content courses from 8 to 7 and adding 4e Thesis coursework required to support writing and reduce the need for extension courses. Additionally, students can now transfer applicable credits from a previous doctoral program.

  • Continue to teach degree-specific content area courses by practicing professors active in the field, but support students in the thesis phase with a newly created team of over 50 professors, selected from over 600 applicants.

  • Further enhance thesis support resources including CDS Central, Thesis Guide, Thesis Criteria Assessment (DCA).

These changes have yielded other positive results, such as program stability and increased faculty satisfaction and focus. Additionally, the college has seen an increase in the number of graduate students as all but thesis (ABD) students have returned to complete their degrees.

Continuing the focus on supporting doctoral students, the College of Doctoral Studies organized the first WE RISE doctoral path success workshops in October 2021. The virtual event took place on a Saturday from 8 a.m. to 4 p.m. MST and was designed to provide support to students, alumni and faculty as COVID-19 cases remain at high levels in Arizona. The workshops included five virtual sessions with up to four tracks each covering a range of critical topics based on the current phase of the students’ doctoral journey or the alumni career path. The sessions were open to all participants, regardless of the current phase of the doctoral journey. Attendance at the five combined sessions was 263 people. Through the event, University of Phoenix students and alumni networked and connected with fellow CDS doctoral students, faculty, and leaders from UOPX and CDS.. An in-person conference is planned for spring 2022.

About the College of Doctoral Studies

The University of Phoenix Doctoral Studies College focuses on today’s challenging business and organizational needs, from solving critical social problems to developing solutions to accelerate community building and the growth of the community. ‘industry. The College’s research program places students at the center of an effective ecosystem of experts, resources and tools to prepare them to become a leader in their organization, industry and community. Through this program, students and researchers work with organizations to conduct research that can be applied in real time in the workplace.

About the University of Phoenix

The University of Phoenix continually innovates to help working adults improve their careers in a rapidly changing world. Flexible hours, relevant classes, interactive learning and Career Services for Life® help students more effectively pursue their professional and personal aspirations while balancing their busy lives. For more information visit

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Sharla hooper
Phoenix University

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