Shopping on Shein and Temu for holiday gifts? You're not the only oneVikings thrive under coach of year favorite O'Connell, a relatable state for Packers with LaFleurVanuatu Establishes Department of Communication and Digital Transformation
The grumbles about Christmas arriving ridiculously early with TV adverts for big High Street names being screened and cards, tinsle, baubles and trees being on sale almost two months before December 25th are getting louder. Comedian Dawn French launched the first of a six-part M&S Xmas food campaign on November 4th. The company's festive fashion and home advert first went out on November 7th. A week later the John Lewis Christmas advert, titled The Gifting Hour - a two-minute story about a woman searching for the perfect Christmas gift for her sister was aired. Now, in the middle of Twixmas the country's supermarket giants have eclipsed that - by stocking their shelves with Easter eggs. With Easter Sunday falling on April 20 next year, customers have shared their confusion on social media after finding chocolate eggs and hot cross buns already for sale in shops including Morrisons, Tesco and Asda . One user, @Jingle1991, shared an image of Malteser Bunnies in Sainsbury’s on Christmas Eve and pointed out: “Jesus hasn’t even been born yet.” Easter Eggs on the shelves in Morrisons this weekend in Chippenham (Image: Mike Chalmers PA) Meanwhile, Gary Evans from Margate shared a shot of Creme Eggs on display in Morrisons in Margate on Boxing Day. “I just think its crazy that everything is so superficial and meaninglessly commercial... (there’s) something quite frantic about it,” the 66-year-old told the PA news agency. Joseph Robinson found Easter confectionary including Cadbury Mini Eggs, and themed Kit-Kat and Kinder Surprise products at his local Morrisons in Stoke-on-Trent on Friday evening. “It’s funny, as they’ve not even managed to shift the Christmas chocolates off the shelves yet and they’re already stocking for Easter,” the 35-year-old admin support worker told PA. “I wish that Supermarkets weren’t so blatantly consumerist-driven and would actually allow customers and staff a time to decompress during the Christmas period.” Asked if he was tempted to make a purchase, Mr Robinson added: “As a vegan it holds no appeal to me!” Mike Chalmers, a devout Christian from Chippenham, Wiltshire, was slightly less critical after spotting a display entitled: “Celebrate this Easter with Cadbury.” “Christmas and Easter are the two centrepoints of the Christian good news story so it’s no bad thing to see the connections,” the 44-year-old said. "It’s about more than shapes of chocolate though!” One person's reaction to Easter eggs appearing on supermarket shelves. Marketing consultant Andrew Wallis admitted he was surprised to see Easter eggs in the Co-op in Kilgetty, Pembrokeshire, but added it also illustrates “forward-thinking” from big businesses. “It made me reflect on how big brands are always thinking ahead and planning early,” the 54-year-old from the Isle of Man, who provides marketing advice to the fitness industry, told PA. "My message to retailers would be: while planning ahead is important, it’s also essential to be mindful of consumer sentiment. “Some might feel it’s too early for seasonal products like this but others might see it as a sign of forward-thinking. Striking the right balance is key to keeping customers happy.”
US House approves bill to avert midnight shutdown, sends to SenateRattled by China, West scrambles to rejig critical minerals supply chainsVideo Interview Platform Market 2024: A Decade of Phenomenal Growth Ahead 12-20-2024 07:15 PM CET | Business, Economy, Finances, Banking & Insurance Press release from: Prudent Markets Video Interview Platform Market The Video Interview Platform Market 2024-2023 report provides a comprehensive analysis of Types (Personality Assessment, Talent Management), Application (Financial Services, Healthcare, IT Software and Technology, Manufacturing, Retail, Other), Analysis of Industry Trends, Growth, and Opportunities, R&D landscape, Data security and privacy concerns Risk Analysis, Pipeline Products, Assumptions, Research Timelines, Secondary Research and Primary Research, Key Insights from Industry Experts, Regional Outlook and Forecast, 2024-2032. Major Players of Video Interview Platform Market are: SHL, HireVue, Interviewer.AI, LaunchPad Recruits, Talview, CronJ, Retorio, EasyHire, Montage, mroads, FaceCruit, Recrumatic, Hiya, Kira Talent, RecRight, GreenJobInterview, Beisen, Beijing Avocado Technology Get PDF Sample Report Now! @ https://www.prudentmarkets.com/sample-request/9167621/ This report provides a deep insight into the global Video Interview Platform market covering all its essential aspects. This ranges from a macro overview of the market to micro details of the market size, competitive landscape, development trend, niche market, key market drivers and challenges, SWOT analysis, value chain analysis, etc. The analysis helps the reader to shape the competition within the industries and strategies for the competitive environment to enhance the potential profit. Furthermore, it provides a simple framework for evaluating and accessing the position of the business organization. The report structure also focuses on the competitive landscape of the Global Video Interview Platform Market, this report introduces in detail the market share, market performance, product situation, operation situation, etc. of the main players, which helps the readers in the industry to identify the main competitors and deeply understand the competition pattern of the market. Segmentation of Video Interview Platform Market- By Type Personality Assessment, Talent Management By Application Financial Services, Healthcare, IT Software and Technology, Manufacturing, Retail, Other Geographic Segmentation -North America (USA, Canada, Mexico) -Europe (Germany, UK, France, Russia, Italy, Rest of Europe) -Asia-Pacific (China, Japan, South Korea, India, Southeast Asia, Rest of Asia-Pacific) -South America (Brazil, Argentina, Columbia, Rest of South America) -The Middle East and Africa (Saudi Arabia, UAE, Egypt, Nigeria, South Africa, Rest of MEA) Prudent Markets provides attractive discounts that fit your needs. Customization of the reports as per your requirement is also offered. Get in touch with our sales team, who will guarantee you a report that suits your needs. Speak To Our Analyst For A Discussion On The Above Findings, And Ask For A Discount On The Report @ https://www.prudentmarkets.com/discount-request/9167621/ Key Benefits of the Report: This study presents the analytical depiction of the Video Interview Platform Industry along with the current trends and future estimations to determine the imminent investment pockets. The report presents information related to key drivers, restraints, and opportunities along with detailed analysis of the Video Interview Platform Market share. The current market is quantitatively analyzed from to highlight the Global Gardening Pots Market growth scenario. Porter's five forces analysis illustrates the potency of buyers & suppliers in the market. The report provides a detailed Video Interview Platform Market analysis based on competitive intensity and how the competition will take shape in coming years. Key poles of the TOC: Chapter 1 Video Interview Platform Market Business Overview Chapter 2 Major Breakdown by Type Chapter 3 Major Application Wise Breakdown (Revenue & Volume) Chapter 4 Manufacture Market Breakdown Chapter 5 Sales & Estimates Market Study Chapter 6 Key Manufacturers Production and Sales Market Comparison Breakdown Chapter 8 Manufacturers, Deals and Closings Market Evaluation & Aggressiveness Chapter 9 Key Companies Breakdown by Overall Market Size & Revenue by Type Chapter 11 Business / Industry Chain (Value & Supply Chain Analysis) Chapter 12 Conclusions & Appendix The report covers the competitive analysis of the market. As the demand is driven by a buyer's paying capacity and the rate of item development, the report shows the important regions that will direct growth. This section exclusively shares insight into the budget reports of big-league members of the market helping key players and new entrants understand the potential of investments in the Global Video Interview Platform Market. It can be better employed by both traditional and new players in the industry for complete know-how of the market. For In-Depth Competitive Analysis - Purchase this Report now at a Complete Table of Contents (Single User License) @ https://www.prudentmarkets.com/checkout/?id=9167621&license_type=su Free Customization on the basis of client requirements on Immediate purchase: 1- Free country-level breakdown of any 5 countries of your interest. 2- Competitive breakdown of segment revenue by market players. Customization of the Report: This report can be customized to meet the client's requirements. Please connect with our sales team (sales@prudentmarkets.com), who will ensure that you get a report that suits your needs. You can also get in touch with our executives on +91 83560 50278 || USA/Canada(Toll Free): 1800-601-6071 to share your research requirements. In conclusion, the Video Interview Platform Market report is a genuine source for accessing the research data which is projected to exponentially grow your business. The report provides information such as economic scenarios, benefits, limits, trends, market growth rates, and figures. SWOT analysis and PESTLE analysis is also incorporated in the report. Contact Us: Allan Carter Andheri, Maharashtra, 400102 USA/Canada(Toll Free): 1800-601-6071 Direct Line: +91 83560 50278 Mail: sales@prudentmarkets.com Web: www.prudentmarkets.com About Us: We are leaders in market analytics, business research, and consulting services for Fortune 500 companies, start-ups, financial & government institutions. 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Shopping on Temu can feel like playing an arcade game. Instead of using a joystick-controlled claw to grab a toy, visitors to the online marketplace maneuver their computer mouses or cellphone screens to browse colorful gadgets, accessories and trinkets with prices that look too good to refuse. A pop-up spinning wheel offers the chance to win a coupon. Rotating captions warn that a less than $2 camouflage print balaclava and a $1.23 skeleton hand back scratcher are “Almost sold out.” A flame symbol indicates a $9.69 plush cat print hoodie is selling fast. A timed-down selection of discounted items adds to the sense of urgency. Pages from the Shein website, left, and from the Temu site, right. Welcome to the new online world of impulse buying, a place of guilty pleasures where the selection is vast, every day is Cyber Monday, and an instant dopamine hit is always just a click away. By all accounts, we’re living in an accelerating age for consumerism, one that Temu, which is owned by the Chinese e-commerce company PDD Holdings, and Shein, its fierce rival , supercharged with social media savvy and an interminable assortment of cheap goods, most shipped directly from merchants in China based on real-time demand. The business models of the two platforms, coupled with avalanches of digital or influencer advertising, have enabled them to give Western retailers a run for their money this holiday shopping season. A Christmas tree ornament purchased on Temu. Software company Salesforce said it expects roughly one in five online purchases in the U.S., the United Kingdom, Australia and Canada to be made through four online marketplaces based or founded in Asia: Shein, Temu, TikTok Shop — the e-commerce arm of video-sharing platform TikTok — and AliExpress. Analysts with Salesforce said they are expected to pull in roughly $160 billion in global sales outside of China. Most of the sales will go to Temu and Shein, a privately held company which is thought to lead the worldwide fast fashion market in revenue. Lisa Xiaoli Neville, a nonprofit manager who lives in Los Angeles, is sold on Shein. The bedroom of her home is stocked with jeans, shoes, press-on nails and other items from the ultra-fast fashion retailer, all of which she amassed after getting on the platform to buy a $2 pair of earrings she saw in a Facebook ad. Neville, 46, estimates she spends at least $75 a month on products from Shein. A $2 eggshell opener, a portable apple peeler and an apple corer, both costing less than $5, are among the quirky, single-use kitchen tools taking up drawer space. She acknowledges she doesn’t need them because she “doesn’t even cook like that.” Plus, she’s allergic to apples. “I won’t eat apples. It will kill me,” Neville said, laughing. “But I still want the coring thing.” Shein, now based in Singapore, uses some of the same web design features as Temu’s, such as pop-up coupons and ads, to persuade shoppers to keep clicking, but it appears a bit more restrained in its approach. Shein primarily targets young women through partnerships with social media influencers. Searching the company's name on video platforms turns up creators promoting Shein's Black Friday sales event and displaying the dozens of of trendy clothes and accessories they got for comparatively little money. But the Shein-focused content also includes videos of TikTokers saying they're embarrassed to admit they shopped there and critics lashing out at fans for not taking into account the environmental harms or potential labor abuses associated with products that are churned out and shipped worldwide at a speedy pace. Neville has already picked out holiday gifts for family and friends from the site. Most of the products in her online cart cost under $10, including graphic T-shirts she intends to buy for her son and jeans and loafers for her daughter. All told, she plans to spend about $200 on gifts, significantly less than $500 she used to shell out at other stores in prior years. “The visuals just make you want to spend more money,” she said, referring to the clothes on Shein's site. “They're very cheap and everything is just so cute.” Unlike Shein, Temu's appeal cuts across age groups and gender. The platform is the world’s second most-visited online shopping site, software company Similarweb reported in September. Customers go there looking for practical items like doormats and silly products like a whiskey flask shaped like a vintage cellphone from the 1990s. Temu advertised Black Friday bargains for some items at upwards of 70% off the recommended retail price. Making a purchase can quickly result in receiving dozens of emails offering free giveaways. The caveat: customers have to buy more products. Despite their rise, Temu and Shein have proven particularly ripe for pushback. Last year, a coalition of unnamed brands and organizations launched a campaign to oppose Shein in Washington. U.S. lawmakers also have raised the possibility that Temu is allowing goods made with forced labor to enter the country. More recently, the Biden administration put forward rules that would crack down on a trade rule known as the de minimis exception, which has allowed a lot of cheap products to come into the U.S. duty-free. President-elect Donald Trump is expected to slap high tariffs on goods from China, a move that would likely raise prices across the retail world. Both Shein and Temu have set up warehouses in the U.S. to speed up delivery times and help them better compete with Amazon, which is trying to erode their price advantage through a new storefront that also ships products directly from China. 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Trying to fit in routines around work can be tricky, especially for women. New research from Vitality’s ‘Active women, healthy lives’ report finds that eight in 10 women under 50 say their demanding work schedules are holding them back from being active. As a result, a quarter of women exercise less than once a week (25%), and over half of women exercise less than they used to (52%). Dame Jessica Ennis-Hill, in partnership with Vitality, is launching Walk Out to Work Out, a new initiative encouraging women to reclaim time during their busy working days to stay active. Jessica Ennis-Hill has shared a few tips to help women fit in exercise around their working day (Image: Vitality) Additionally, she has shared some top tips on how to fit some exercise in during the working day. The full ‘Active women, healthy lives’ report can be found on the website here . 5 top tips to fit in exercise around the workday 1. Incorporate Exercise ‘Snacks’ Jessica shared: "As a busy mum and business owner, I know how challenging it can be to fit in long workouts. That’s why I swear by short bursts of activity—what I call "exercise snacks." "Whether it’s a 5-minute stretch between meetings or a quick walk to clear your mind, these small moments can really add up and keep you feeling active without disrupting your day. 2. Walk and Talk Jessica explained: "When I need to take calls or brainstorm ideas, I often head out for a walk with my dog while doing it – ticking off two things I have to do. I find it not only helps me stay active but also boosts my creativity and focus. "Turn phone calls or virtual meetings into walking meetings where possible. It’s a simple way to add movement while staying productive." (function (d, s, n) { var js, fjs = d.getElementsByTagName(s)[0]; js = d.createElement(s); js.className = n; js.src = "//player.ex.co/player/be9c772c-16dd-4f29-8524-a05d13ea67f6"; fjs.parentNode.insertBefore(js, fjs); js.setAttribute('programmatic', 'true'); js.onload = function () { const playerApi233613 = ExCoPlayer.connect('be9c772c-16dd-4f29-8524-a05d13ea67f6'); playerApi233613.init({ "autoPlay": false, "mute": true, "showAds": true, "playbackMode": "play-in-view", "content": { "playFirst": [ { "title": "How much water should you drink daily?", "src": "https://large-cdn.ex.co/transformations/production/41f11a67-8a1f-4249-8ae7-12b95862b6e3/720p.mp4" } ], "playlistId": "649b12ab2e5cf6001251de51" }, "sticky": { "mode": "persistent", "closeButton": true, "pauseOnClose": true, "desktop": { "enabled": false, "position": "bottom-right" }, "mobile": { "enabled": false, "position": "upper-small" } }}); }; }(document, 'script', 'exco-player')); 3. Reclaim Your Lunch Break "As someone who’s juggled intense schedules, I’ve learned the importance of protecting my lunch break," Jessica said. "I use part of it for physical activity, whether it’s a quick workout, a jog, or a calming walk. "If you feel like your lunch break has disappeared into your workday, speak to your employer about how you can reclaim that time — it’s yours to use for your well-being. I suggest putting it in the diary as a meeting – this will ring-fence the time for you." 4. Advocate for Active Policies Jessica explained: "I have worked with a lot of different sponsors and their teams and I’ve seen the difference it makes when workplaces support physical activity. "If you’re struggling to stay active, don’t hesitate to share your thoughts with your employer. Suggest ideas like walking meetings, group exercise activities, or even flexible working hours to make staying active more achievable. "Remember, these changes benefit everyone, from employees to the company itself. Recommended reading: 5. Set Active Reminders Jessica said: "I rely on technology to keep me on track. Fitness trackers or simple alarms can remind you to stand, stretch, or take a short walk every hour. "Even small movements like this can make a huge difference to your energy levels and focus throughout the day."
Walmart Inc. stock underperforms Monday when compared to competitorsPHILADELPHIA – Eagles quarterback Kenny Pickett has seen limited action this season, mostly appearing in mop-up duty when games were already decided. Those moments allowed him to stay sharp. With starting quarterback Jalen Hurts ruled out for Sunday’s game against the Dallas Cowboys, Pickett finally got his chance to start, marking his first start since Dec. 3, 2023, when he played for the Pittsburgh Steelers. Pickett’s backup, Tanner McKee, had also never played in a regular-season game. Together, the two quarterbacks formed an unlikely duo to lead the Eagles to an NFC East title. On Sunday, they combined for 197 net passing yards in the Eagles’ 41-7 win , clinching the division and ensuring the team will finish no lower than the No. 2 seed in the NFC. Pickett completed 10 of 15 passes for 143 yards, including a touchdown to wide receiver DeVonta Smith , and added a rushing touchdown. However, his day ended in the third quarter when Cowboys linebacker Micah Parsons re-injured Pickett’s ribs with a hard hit. “I just wanted to come in and do my part,” Pickett said. “I told the quarterbacks in the tunnel before warm-ups, ‘Just win at all costs. That’s it. That’s all I care about.’ All I wanted to accomplish today was to get the win for the team and for the city. I also wanted to keep the momentum we’ve had going this season.” Pickett, who wore extra padding in his flak jacket to protect his injured ribs, admitted the “Brotherly Shove” play and earlier hits during the game aggravated the injury. The Parsons hit ultimately forced him out of the game. Despite the discomfort, Pickett expressed optimism about his recovery. “I’ll undergo more tests, but I don’t believe they’ll show anything significant,” he said. “Of course, you want to finish the game, but I left it all out there. I did everything I could to play today and stayed as long as I could. I have no regrets. We got the win, and that’s all that matters.” Smith saw Pickett gut it out on the field after taking the shots he did with his banged-up ribs and said he and his teammates respected Pickett for the toughness that he showed. “It did not go unnoticed,” Smith said. “To see him fight through the things he was fighting through, he’s a very tough guy.” BUY EAGLES TICKETS: STUBHUB , VIVID SEATS , TICKETMASTER After serving as the emergency quarterback this season, McKee was elevated to the backup role and made the most of it replacing the injured Pickett, although he did not know how long he was going to play. “They were saying to just stay ready,” McKee said. “They’re great. They’re very positive with things like that. During that moment, we didn’t really know if I was going to go in or if Kenny was going to come back. so Nuss (quarterbacks coach Doug Nussmeier) asked me if I was prepared and ready for this. He also told me to stay warm, so I was excited.” In very limited work, McKee completed three of his four passes for 54 yards and two touchdown passes, becoming the first player to throw for multiple touchdowns with fewer than five attempts in their first career game. “It was great. Before the game, I was thinking that this could be my shot. Then going out there and just being on the field, it’s great because you’re just playing football. You realize you’ve been here before and had reps multiple times in practice. I was running through it in my bedroom last night. Once you finally get in the field, all you’re doing is playing football.” Head coach Nick Sirianni said he was happy that they both came in and played “clean” football and limited their mistakes, helping the Eagles come away with the win. “They deserve all that credit. You can’t go out there and play that position without the greatness of other people, and they had some greatness from other guys out there. Starting with their coaches...who really did a good job of getting them ready. Then the plays that they got from Smitty (Smith), Saquon (Barkley), Grant Calcaterra, A.J. [Brown] and the offensive line. That’s what a team is. A team steps up in adversity and steps up and has each other’s backs.” Having two quarterbacks who are capable of coming in and playing in a short-term capacity is important for a team with much higher aspirations than winning the division title. Either Pickett or McKee will likely play a lot in next week’s regular-season finale against Giants if the Eagles are eliminated from the race for the top seed if either the Minnesota Vikings or Detroit Lions win their games this weekend. It could also help them this offseason if the team wanted to recoup a few draft picks from teams that is desperate to add a quarterback because of an injury. For now, the Eagles will make sure that they are prepared to step in if anything else were to happen to Hurts this season. MORE EAGLES COVERAGE Why Eagles’ offensive lineman is ‘all in’ if Saquon Barkley wants to chase record against Giants Eagles secure NFC East title behind Kenny Pickett as Saquon Barkley eclipses major milestone Eagles’ Saquon Barkley becomes 9th player in NFLto rush for 2,000 yards: Will he set record vs. Giants or get rested? Eagles down to 3rd-string QB who has never played in a regular-season game after Kenny Pickett injury Thank you for relying on us to provide the journalism you can trust. Please consider supporting us with a subscription. Chris Franklin may be reached at cfranklin@njadvancemedia.com .
TeraWulf Announces Promotion of Sean Farrell to Chief Operating Officer
What's New California's population surged in 2024, growing by almost a quarter of a million residents. From 2023 to 2024, the number of residents increased by 233,000 people, reaching 39.4 million in July, the U.S. Census Bureau reported this week. Why It Matters The population surge has allowed California to inch closer to the record-high population it saw prior to the COVID-19 pandemic, before people fled the state for lower costs of living and remote jobs. In 2020, California had 39.5 million residents. Still, there are indications that the state is not experiencing the population growth that might have been expected after the pandemic ended and some workers were called back to their offices. What To Know California's population growth, while significant, is still far behind that in Florida and Texas in the past five years, according to the Census Bureau's data. Texas was up by 2 million from 2020 to 2024 to 31.3 million, while Florida grew at a similar rate to 23.3 million this year. New York, on the other hand, had 20.2 million residents in 2020 but saw its population decline to 19.8 million by this year. California grew steadily throughout the 2010s before peaking at 39.5 million in 2020. However, a year later, the state lost around 1 percent of its population. Because of its population decline, California lost a congressional representative in 2021, going from 53 to 52 seats in the House of Representatives. What People Are Saying The U.S. Census Bureau in a statement: "As the nation's population surpasses 340 million, this is the fastest annual population growth the nation has seen since 2001. The growth was primarily driven by rising net international migration." Title and escrow expert Alan Chang told Newsweek: "California has been an attractive state to live in for many reasons, including opportunity, mild weather and local amenities and attractions. With the high cost of living, the growing population and traffic congestion, it still remains a prime area of growth." Kevin Thompson, founder and CEO of 9i Capital Group, told Newsweek: "Many companies are enforcing return-to-work policies, particularly in Silicon Valley. During the pandemic, companies adopted remote work, but now they're shifting back and requiring employees to return to the office." He continued: "Those who left for greener pastures quickly discovered that the grass wasn't always greener. For instance, the extreme Texas heat and dry climates don't align with California's outdoor culture, where residents enjoy mild to moderate temperatures year-round." Alex Beene, a financial literacy instructor for the University of Tennessee at Martin, told Newsweek: "The reports of California's 'mass exodus' have been greatly exaggerated. While the state did lose thousands during the pandemic years due to social and economic restrictions, those restrictions have long since been lifted, remote work is increasingly become more limited in its flexibility, and, despite the high cost of living, California does still offer some of the best-paying jobs in the nation. "The state remains an attractive one for many Americans to move to, and that's not going to change because of temporary setbacks the pandemic triggered," Beene said. What's Next In 2025, California's population is likely to keep growing, Thompson said. This is especially true for workers who left during the pandemic from technology hubs like Silicon Valley. "While remote work initially led to population declines, it's now influencing a return as companies adjust their policies," Thompson said. "By 2025, I expect California's population to stabilize or see steady growth, driven by its unique environment, favorable weather and shifting dynamics around work and cost of living."A judge on Monday rejected a request to block a San Jose State women's volleyball team member from playing in a conference tournament on grounds that she is transgender. The ruling by U.S. Magistrate Judge S. Kato Crews in Denver will allow the player, who has played all season, to compete in the Mountain West Conference women's championship opening this week in Las Vegas. The ruling comes in a lawsuit filed by nine current players against the Mountain West Conference challenging the league's policies for allowing transgender players to participate. The players argued that letting her compete was a safety risk and unfair. While some media have reported those and other details, neither San Jose State nor the forfeiting teams have confirmed the school has a trans woman volleyball player. The Associated Press is withholding the player's name because she has not commented publicly on her gender identity. School officials also have declined an interview request with the player. Crews' ruling referred to the athlete as an "alleged transgender" player and noted that no defendant disputed that the San Jose State roster includes a transgender woman player. San Jose State will "continue to support its student-athletes and reject discrimination in all forms," the university said in a statement, confirming that all its student-athletes are eligible to participate under NCAA and conference rules. "We are gratified that the Court rejected an eleventh-hour attempt to change those rules. Our team looks forward to competing in the Mountain West volleyball tournament this week." The conference did not immediately respond to an email seeking comment. The players filed a notice for emergency appeal with the 10th U.S. Circuit Court of Appeals. Crews said the players who filed the complaint could have sought relief much earlier, noting the individual universities had acknowledged that not playing their games against San Jose State this season would result in a loss in league standings. He also refused a request to re-seed the tournament without the forfeited losses. The judge said injunctions are meant to preserve the status quo. The conference policy regarding forfeiting for refusing to play against a team with a transgender player had been in effect since 2022 and the San Jose State player has been on the roster since 2022 -– making that the status quo. The player competed at the college level three previous seasons, including two for San Jose State, drawing little attention. This season's awareness of her reported identity led to an uproar among some players, pundits, parents and politicians in a major election year. Crews' ruling also said injunctions are meant to prevent harm, but in this case, he argued, the harm has already occurred. The games have been forfeited, the tournament has been seeded, the teams have made travel plans and the participants have confirmed they're playing. The tournament starts Wednesday and continues Friday and Saturday. Colorado State is seeded first and San Jose State, second. The teams split their regular-season matches and both get byes into Friday's semifinals. San Jose State will play the winner of Wednesday's match between Utah State and Boise State — teams that both forfeited matches to SJSU during the regular season. Boise State associate athletic director Chris Kutz declined to comment on whether the Broncos would play SJSU if they won their first-round tournament game. Utah State officials did not immediately respond to emails seeking comment. The conference tournament winner gets an automatic bid to the NCAA tournament. San Jose State coach Todd Kress, whose team has not competed in the national tournament since 2001, has said his team has been getting "messages of hate" and that has taken a toll on his players. Several teams refused to play against San Jose State during the season, earning losses in the official conference standings. Boise State and Wyoming each had two forfeits while Utah State and Nevada both had one. Southern Utah, a member of the Western Athletic Conference, was first to cancel against San Jose State this year. Nevada's players stated they "refuse to participate in any match that advances injustice against female athletes," without elaborating. Nevada did not qualify for the conference tournament. The nine current players and others now suing the Mountain West Conference, the California State University Board of Trustees and others include San Jose State senior setter and co-captain Brooke Slusser. The teammate Slusser says is transgender hits the volleyball with more force than others on the team, raising fear during practices of suffering concussions from a head hit, the complaint says. The Independent Council on Women's Sports is funding a separate lawsuit against the NCAA for allowing transgender women to compete in women's sports. Both lawsuits claim the landmark 1972 federal antidiscrimination law known as Title IX prohibits transgender women in women's sports. Title IX prohibits sexual discrimination in federally funded education; Slusser is a plaintiff in both lawsuits. Several circuit courts have used a U.S. Supreme Court ruling to conclude that discriminating against someone based on their transgender status or sexual orientation is sex-based discrimination, Crews wrote. That means case law does not prove the "likelihood of success" needed to grant an injunction. An NCAA policy that subjects transgender participation to the rules of sports governing bodies took effect this academic year. USA Volleyball says a trans woman must suppress testosterone for 12 months before competing. The NCAA has not flagged any issues with San Jose State. The Republican governors of Idaho, Nevada, Utah and Wyoming have made public statements in support of the team cancellations, citing fairness in women's sports. President-elect Donald Trump likewise has spoken out against allowing transgender women to compete in women's sports. Crews was a magistrate judge in Colorado's U.S. District Court for more than five years before President Joe Biden appointed him as a federal judge in January. Get local news delivered to your inbox!
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NoneShopping on Shein and Temu for holiday gifts? You're not the only oneEmboldened by his victory in the U.S. presidential polls, Donald Trump has drummed up his rhetoric of belligerence by announcing plans to annex Canada and Greenland and retake control of the Panama Canal. While the U.S. has not historically shied away from coveting the two northern territories, threatening to renege on a deal that ceded Washington’s control of the canal to Panama has been strictly the brainchild of the President-elect. Panama Canal is an 82-km-long strategic waterway that connects the Pacific and Atlantic Oceans. It helps ships do away with the need to go around the South American tip of Cape Horn, saving 13,000 km and days of journey. Consequently, the canal facilitates the passage of over 14,000 ships a year. The 78-year-old Republican first spelt out his plans for the canal during a speech at a Conservative event in Arizona and subsequently on his social media platform Truth Social. “We’re being ripped off at the Panama Canal like we’re being ripped off everywhere else,” he said, referring to the increased shipping rates, while speaking at AmericaFest on Sunday (December 22). “It was given to Panama and the people of Panama, but it has provisions. If the principles, both moral and legal, of this magnanimous gesture of giving are not followed, then we will demand that the Panama Canal be returned to us, in full, quickly and without question.” Mr. Trump also warned of said while of warning about the growing “Chinese influence” in the region. Later, Mr. Trump posted a photo on Truth Social of the U.S. flag flying over the narrow waterway in the Isthmus of Panama. The caption read “Welcome to the United States Canal”. In its response, the Central American nation said, “Every square meter of the Panama Canal and the surrounding area belongs to Panama and will continue belonging (to Panama).” The country’s President Jose Raul Mulino decried Chinese presence and stated that shipping rates were not set on a whim. Mr. Trump’s remarks also angered the Panamanians who took to the U.S. embassy calling out “Trump, animal, leave the canal alone” and burning his image. Mr. Trump’s grief in the matter is understandable for the U.S., whose ships constitute 74% of the traffic in the canal, is its biggest benefactor, followed by China at 21%. If not for the canal, ships traversing the east and west coasts of the U.S. would have to undertake an additional 22 days of voyage. In historical context, The canal also came to the aid of the Allies during the Second World War. What began as a French project in 1880 under the leadership of Ferdinand de Lesseps, who had built the Suez Canal, soon fell apart due to unforeseen difficulties. Americans stepped in to complete the canal but Colombia, which ruled over Panama, did not favour the idea. By orchestrating independence from Colombia, then U.S. President Theodore Roosevelt secured a deal whereby Panama gave his country control over a 16-km wide strip of land to build the canal in exchange for monetary compensation. Lock technology The canal entered into operation in 1914. By using a technology comprising a series of locks, it revolutionised shipping. However, a dispute over the ownership and administration soon broke out between the U.S. and Panama, which eventually led to a direct clash in 1964 costing the lives of 28 people. In 1977, then President Jimmy Carter (despite opposition from the Senate) and Panama’s military leader Omar Torrijos signed two treaties — the Permanent Neutrality Treaty and the Panama Canal treaty that saw the U.S. hand over the control of the canal to Panama in 1999. The former agreement grants the U.S. the authority to ensure the canal remains free and open without giving it the power to interfere in Panama. The latter ensured that Washington transferred the canal to Panama by December 31, 1999. Since 2000, Panama has overseen the administration of the canal. However, the region, one of the wettest until recently, experienced a rainfall deficit in 2022. Gatun Lake, which provides the 200 million litres of water needed for each ship to transit the canal, experienced a drop in water levels, prompting authorities to increase shipping charges starting in 2025. Mr. Trump has objected to this. His allegation of Chinese influence pertains to the Hong Kong-based company C.K. Hutchison Holdings, which manages two of the five ports in the region — one on each side of the canal. Bolstering his claim further was Panama’s 2017 decision to cut ties with Taiwan. Growing tensions between the U.S. and Panama might not align with Mr. Trump’s top policy priorities such as stopping illegal migration from South America, warn experts. Published - December 29, 2024 01:42 am IST Copy link Email Facebook Twitter Telegram LinkedIn WhatsApp Reddit USA / The Hindu Explains / The Hindu Profiles
Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member . Art can thrive in the most unfathomable times; 2024 was a year filled with global conflict but it was also a year of exceptional exhibitions. From Botticelli’s rarely seen drawings to sculptural revivals of archaic myths, contemporary takes on traditional crafts, and a world of plastic put to good use; from the story of a disability arts movement to artists’ interventions in institutional collections, to a much-needed mash-up of art and sports; and of course, from past artists with a vision to present-day artists with a loud and clear voice, Hyperallergic ’s staff and contributors gathered together a list of our favorites from around the globe. — Natalie Haddad, Reviews Editor Botticelli Drawings Legion of Honor , San Francisco, November 19, 2023–February 11, 2024 Curated by Furio Rinaldi Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities A year later, I can’t stop thinking about last winter’s Botticelli Drawings , a show about an Italian Early Renaissance artist that feels a little too timely. While advertising and fashion have long embraced Botticelli’s sweetness — pretty swaying ladies in diaphanous clothes, flowers, and shells — the Legion show offered a poignant reminder of the darker path of his life’s journey (to sort of quote Dante, whose Divine Comedy Botticelli famously illustrated) under the sway of the dangerous and charismatic zealot Girolamo Savonarola. The drawings bring us tantalizingly close to the artist himself, a man as clouded by intimations of darkness, and seeking some salve of beauty, as we are today. — Bridget Quinn Daido Moriyama The Photographers Gallery , London, October 6, 2023–February 11, 2024 Curated by Thyago Nogueira This exhibition, brilliantly curated by Thyago Nogueira, head of contemporary photography at São Paulo’s Instituto Moreira Salles, where it originated in 2022, traveled to C/O Berlin in 2023. The London iteration was smaller than the previous surveys. And yet, perhaps thanks to its intimacy and the use of wallpaper surrounding visitors with a plethora of images, it felt even more pointed, underscoring Moriyama’s edgy, brooding aesthetics and prodigious output. As Nogueira stressed throughout this traveling show, Moriyama, who first emerged in 1960s Tokyo, bristled at the naïve humanism commonly evidenced in photojournalism, in which the image was to confirm a single coherent truth. From his dark, granular, Xerox-like pictures of car crashes and notorious celebrities to his late, intensely personal road diaries, the artist has favored subjectivity, fragmentation, and mystery. — Ela Bittencourt Celia Álvarez Muñoz: Breaking the Binding New Mexico State University Art Museum , Las Cruces, New Mexico, October 20, 2023–March 2, 2024 Curated by Kate Green and Isabel Casso Celia Álvarez Muñoz can turn just about any material, or any turn of phrase, into an artwork. But the power of her conceptual artwork lies in what she chooses to include and how she uses it. This 40-year career retrospective, which originated at the San Diego Museum of Art and made its final stop at the Philbrook, included a riveting selection of the artist’s multimedia translations of her memories and experiences living on the US/Mexico border, with an emphasis on her installations. A gallery-sized unfurling of several of her books and a video installation that broke free of the binding to present “pages” as images on the walls were showstoppers. — Nancy Zastudil Coexisting with Darkness Mystetskyi Arsenal , Kyiv, Ukraine, November 9, 2023–March 31, 2024 Curated by Anton Usanov and Natasha Chychasova From the fall of 2023 to spring 2024, the Mystetskyi Arsenal in Old Kyiv hosted Coexisting with Darkness , an exhibition that reflected on Russia’s destruction of the power grid. Even as bombs and missiles rained on the capital of Ukraine, it attracted 5,000 visitors in the two months following its opening — yet another demonstration that in wartime art becomes a vital necessity, as we have known ever since the Golden Age of Athens in the 5th century BC, following the Persian Wars. Coexisting with Darkness offered a diversity of sensorial experiences that transcended the visual plane, including humming generators and the smell of gas that evoked the Ukrainian cities targeted by the Russians, but anybody from Gaza, Lebanon, Syria, or any number of other conflict-ridden parts of the world could at once recognize the cues and relate to it. The war also reoriented the flagship cultural institution’s interest toward in contemporary Ukrainian art as part of a broader decolonization project. — Avedis Hadjian She Laughs Back: Feminist Wit in 1970s Bay Area Art University Library Gallery , Sacramento State University, Sacramento, February 6–April 13, 2024 Curated by Elaine O’Brien One of the dumber longstanding accusations against feminism is that it’s humorless. She Laughs Back was a reminder of how effectively feminist art wields humor as a weapon. Comprising nearly 100 artworks by 19 artists, it also situated Northern California as central to the development of feminist art, with work such as one of Dori Atlantis’s iconic photographs of the “C.U.N.T. Cheerleaders ” (1971), done when she and Nancy Youdelman worked alongside Judy Chicago in the Feminist Art Program at California State University, Fresno (the first feminist art program anywhere). Special standouts included feminist comics from Trina Robbins — who died just before the show closed — and Joan Moment’s fabulous “Condom Relief Series No. 1, 1971” (refabricated in 1993), 96 translucent condoms laid out on gauze. The piece riffs on the formalist obsession with the grid with earthy humor and maybe a little shot (pun intended) at the masculine pretensions of much Minimalist art and art criticism. — BQ Entangled Pasts, 1768–now: Art, Colonialism and Change Royal Academy of Arts , London, February 3–April 28, 2024 Curated by Cora Gilroy-Ware With many UK institutions commissioning investigations into their own colonial pasts, the Royal Academy’s Entangled Pasts: 1768–now: Art, Colonialism and Change not only highlighted its academicians who benefited from the slave trade and colonialism, but sought out the lives and stories of Black persons overlooked by history, and paired these findings with emotive and moving responses from contemporary artists. Arranged non-chronologically, the show explored themes including appropriation and displacement, in which archival items from the RA’s story, such as cash books detailing work by sitters for life drawings, were paired with pieces from its collection. This new context invited us to consider the changing perceptions and roles of displaced people over time and, crucially, how we should go forward collectively as a society. — Olivia McEwan Fukuda Heihachiro: A Retrospective Nakanoshima Museum of Art , Osaka, Japan, March 9–May 6, 2024 Organized by the museum Nature is a constant in Fukuda Heihachiro’s subtly stunning work. Born in 1892 in Oita, Japan, the artist was a tireless observer and interpreter of the quiet worlds around him. This expansive exhibition traced Fukuda’s full trajectory, from his earliest Taishō era screens and paintings to his increasingly bold and colorful mature works, where a lively sense of poetry and decoration merge. Crucially, the retrospective (and its excellent catalog) included many of the artist’s sketchbooks, where Fukuda’s graceful studies of plants, birds, children’s drawings, food, and especially water — the artist was an avid fisherman — reveal an ever-curious, ever-evolving master. — Lauren Moya Ford The Time Is Always Now: Artists Reframe the Black Figure National Portrait Gallery , London, February 22–May 19, 2024 Curated by Ekow Eshun With The Time is Always Now: Artists Reframe the Black Figure the National Portrait Gallery was determined to address the historical dominance of White male society figures in its collection, while thrusting itself into the main stage of contemporary art-making, presenting portraits from 22 African diasporic artists working today. Curator Ekow Eshun’s intention was to enable White visitors to “[see] from the viewpoint of Black artists and the figures they depict.” Showcasing these voices emphasizes the importance of Black experience and identity in a predominantly White society as an ongoing and urgent issue. — OM Firelei Báez Louisiana Museum , Humlebæk, Denmark, October 5, 2023–May 20, 2024 Curated by Mathias Ussing Seeberg and Assistant Curator Amalie Laustsen The ciguapa, a folkloric creature from Dominican culture, appears enigmatically in Firelei Báez’s work. It traverses the world with its feet turned backward, making it hard to locate, thus serving as a symbol of survival. Báez brings to life defiance through the sheer variety of color in her work, often in stark contrast to the staid world maps of colonial planners. In “Encyclopedia of gestures (Jeu du monde),” the painting features a bright, plumed figure crouching over the 17th-century board game Le Jeu du Monde (Game of the World) . The purpose of the game was to travel from the outer regions of the world to its center, which in this case was France, then on its way to usurping the Dutch as the world’s superpower. The show’s title evoked the possibility of memory as a form of resistance to written history, which is so often told through the lens of power, and Báez beautifully presented how vibrant cultural resistance can be. Like the ciguapa, she proved in this show that the tools of liberation can be found in coloring outside the lines. — AX Mina Exteriors: Annie Ernaux and Photography MEP – Maison Europeene de la Photographie , Paris, February 28–May 26, 2024 Curated by Lou Stoppard French writer Annie Ernaux, who won the 2022 Nobel Prize for Literature, is known for her acute depictions of fleeting, mundane life, which writer Lou Stoppard took as an inspiration for the immensely gratifying Exteriors . From the edgy instantaneity of Daido Moriyama and Henry Wessel, whose offhand portraits of strangers nevertheless hint at deep distress and physical trauma, to the melancholy of Hiro’s “Shinjuku Station” (1962), depicting dejected riders on a crowded train, and Dolorés Marat’s “Woman with Gloves” (1987), capturing a lone woman’s descent down the metro, Exteriors is an homage to close observation. Accompanied by excerpts from Ernaux’s writings, the exhibition underscored the tension between anonymity and encounters experienced in large cities. — EB Unravel: The Power and Politics of Textiles in Art Barbican Centre , London, February 13–May 26, 2024 Co-organized by the Barbican, London, and the Stedelijk Museum, Amsterdam An eclectic global showcase of artwork made from fabric and fibers, Unravel: The Power and Politics of Textiles in Art features 50 artists from about 30 countries . Exploring a massive web of interconnected human experiences — including political violence, loss and grief, identity and community, ancestry and survival, love and hope — the exhibition casts light on the terrible and beautiful alike. Wending through these works, which are, by turns, wrenching, tender, and galvanizing, textile techniques serve as both medium and metaphor. The show underscores the vast range of what textiles and fiber art can be and reveals powerful possibilities for protest and resistance. — Julie Schneider Frans Hals Rijksmuseum , Amsterdam, February 16–June 9, 2024 Curated by Friso Lammertse and Tamar van Riessen Amid the stoicism and seriousness emerging from the patronal studios of the 17th century Low countries, the Dutch Golden Age titan (and foil to Rembrandt) Frans Hals stood out by delighting in the absurdity of the human condition, and having no qualms about showing it. Between his paintings “The Regents” and “Malle Babbe,” what this exhibition, in fact, revealed was that Hals’s bold brushstrokes actually were upending social mores. Hals unabashedly equated the upper class and (so-called) social outcasts by portraying them all in similar states of debauchery and duress — in the end suggesting that everyone, regardless of status, is deserving of memorialization and respect. A pretty revolutionary, and lasting, gesture, particularly for the time. — Julie Baumgardner Rosana Paulino: Amefricana Fundación Malba , Buenos Aires, March 22–June 10, 2024 Curated by Andrea Giunta and Igor Simões Rosana Paulino’s 80-work survey at MALBA was a formidable reckoning of slavery’s legacy and enduring violence in Brazil. Leading visitors from Paulino’s sown fabric collages to monumental installations like “Parede da memória” (1994–2015), the exhibition centered her strategy of stitching, or suturing, diverse fragments of history. Images from her own family albums and centuries-old photographic records are printed onto various textiles and brought into dialogue with embroidery, botanical drawings, and myriad other vestiges of a fraught past that, Paulino suggests, has been inadequately considered. Though primarily concerned with the experience of Afro-Brazilian individuals — and Black and mixed-race women in the country in particular — the show has an urgent resonance in Argentina, whose acknowledgment of racism has arguably barely scratched the surface. Tellingly, Amefricana was the first solo exhibition of a Black artist at the Buenos Aires institution. — Valentina Di Liscia Paul Pfeiffer: Prologue to the Story of the Birth of Freedom Museum of Contemporary Art Los Angeles , November 12, 2023–June 16, 2024 Curated by Clara Kim and Paula Kroll Critics rightly read this show as a critique of sports, spectacle, and entertainment, but it also transformed the museum into a cathedral. The room-sized diorama of a vertigo-inducing, one-million-seat stadium, “Vitruvian Figure” (2008), was the altar. Photos of athletes defying gravity, stripped of logos and branding, were the tapestries. Disembodied cheers in “The Saints” (2007) were the voices of angels. I saw the people Pfeiffer brought into his projects to reenact sporting milestones as the congregation. Instead of obscuring the volunteers, the artist credits every participant in his didactics. Their names sprawl across the walls like donor plaques in a brand new church. — Renée Reizman Rick Dillingham: To Make, Unmake, and Make Again New Mexico Museum of Art , Santa Fe, October 6, 2023–June 16, 2024 Curated by Katie Doyle Rick Dillingham was a ceramic artist whose name I had never heard and whose work I had never seen until this exhibition. His artistic activities ran the gamut — the museum describes him as a scholar, author, collector, curator, and art dealer. He died from AIDS complications in 1994. He broke the pot down, both literally and figuratively, shattering and reassembling his reductive clay sculptures, then applying pigments; the exhibition showcases a creative approach that some people may see as appropriation, alongside a selection of works that influenced him, such as clay pots from the Indigenous communities and makers he knew. I sincerely wish I would’ve spent more time with this sleeper show because certainly there’s more to uncover. Luckily, the museum holds Dillingham’s archives, including his letters, glaze recipes, photos, and slides, in addition to numerous artworks, for future explorations. — NZ Claudia Joskowicz: Every Building on Avenida Alfonso Ugarte—After Ruscha Herbert F. Johnson Museum of Art , Ithaca, New York, January 27–June 23, 2024 Curated by Kate Addleman-Frankel Inspired by Ed Ruscha’s Every Building on the Sunset Strip (1966), a now-iconic book project that featured a photograph of every building on, you guessed it, the Sunset Strip in Los Angeles, Joskowicz turns that same framework into a two-channel video installation recording a major avenue in the Indigenous-majority city of El Alto, Bolivia. The museum’s immersive display was effective and the artist even managed to capture moments, like soldiers in riot gear in one instance, demonstrating how life has an odd way of creeping into art. A really beautiful project. — Hrag Vartanian I’ll Be Your Mirror: Reflections of the Contemporary Queer Various venues , Detroit, Michigan, May 31–June 30, 2024 Curated by Patrick Burton When I’ll Be Your Mirror , the second edition of the Mighty Real/Queer Detroit biennial, opened this past summer, the fact that it existed was cause to celebrate. When I was going to college in Detroit, many years ago, it was a different, dangerous environment. As it turned out, the biennial was filled with impressive works by local and national artists. In particular, Wayne State University’s Elaine L. Jacob Gallery presented a deftly curated selection in a range of media. Probably one of the country’s more under-sung university galleries, it’s played host to several shows over the years that would have garnered more attention in a higher-profile city. This was one such show. Among a number of standout works, a small, understated painting by Hugh Steers still lingers in my mind. — NH Jonathan Baldock: Touch Wood Yorkshire Sculpture Park , West Bretton, England, September 23, 2023–June 30, 2024 Organized by the institution “Touch grass” has become part of the internet’s lingo du jour, a reminder to get out and experience nature. Baldock’s Touch Wood brought to life some of the ways of nature that many modern societies have lost touch with, reviving myths like the Green Man, a symbol of birth and resurrection, here infused with contemporary queerness. In “They tried to bury me, They didn’t realise I was a seed,” Baldock sculpted a vase with the Green Man’s face, his tongue sticking out as a ceramic flower emerges into the sunlight. Four textiles placed in the center of the gallery represented the four seasons but also, importantly, symbols that were found scratched in church surfaces around the UK. It’s touching (wood) to look back on these textiles in particular, because they contain the phrase “You Enrich This World,” referencing a line from Shon Faye’s book The Transgender Issue: Trans Justice Is Justice for All (2022): “your existence enriches this world.” — AXM Imagined Fronts: The Great War and Global Media Los Angeles County Museum of Art , December 3, 2023–July 7, 2024 Curated by Timothy O. Benson, curator, Robert Gore Rifkind Center for German Expressionist Studies A single exhibition can never capture the whole visual history of World War I, but Imagined Fronts offered a broad overview of various national and cultural perspectives without neglecting the visual dynamism of the era’s art (thanks, in large part, to the holdings of LACMA’s Rifkind Center for German Expressionist Studies). Bringing archival materials together with artworks in multiple media — painting, drawing, documentary photography, propaganda posters, film, theater design, and more — LACMA had the means to go in depth, and did in a big enough way that some college-age gallery attendants seemed to be taking their first interest in the war that ushered the world into modernity. Although the usual artists and objects, like the Berlin Dadaists, German Expressionist filmmakers, and oft-seen posters, were on view (fair enough, for relevance), attention to the contributions of Indigenous, Arab, and other under-recognized combatants was refreshing. And, as I wrote in my review in July, it was a rare chance to see a haunting Otto Dix drawing in LACMA’s collection that speaks to nothing if not the trauma of war. — NH Paris 1874: Inventing Impressionism Musée d’Orsay , Paris, March 26 – July 14, 2024 Curated by Sylvie Patry and Anne Robbins Musée d’Orsay’s robust exhibition, organized on the 150th anniversary of the birth of Impressionism, conveyed the movement’s contentious spirit and diverse aims by zeroing in on its early days, when artists such as Édouard Manet and Auguste Renoir were still as likely to vie for a spot in the official Salon as to rebel against it. From taboo subjects, such as prostitution, to voyeurism and spectacle, the Impressionists in the d’Orsay show, including Renoir, Degas, and Monet, and non-Impressionist artists exhibiting alongside them, such as Cezanne, scandalized the public with their first independent show (a commercial flop) in April 1874. The critics rejected even the more understated portraits, for instance, Renoir’s “La Parisienne” (1874) and Berthe Morisot’s “The Cradle” (1872), also in this exhibition. Paris 1874 traced the varying fortunes of subsequent Impressionist salons and its artists, while bearing out the newcomers’ boldness, by contrasting them with a number of official Salon paintings, which hewed to stricter naturalism and to mythical, pastoral themes. — EB Woven Histories: Textiles and Modern Abstraction National Gallery of Art , Washington, DC, March 17–July 28, 2024 Organized by the National Gallery of Art, Washington, DC; the Los Angeles County Museum of Art; and the National Gallery of Canada, Ottawa. This iteration of the exhibition was curated by Lynne Cooke. This touring exhibition is sure to become one that scholars, artists, activists, and art lovers return to over and over, not only for its exploration of “the centrality of cloth and fiber in the history of modern art” but for its deep dive into abstraction’s powerful presence across cultures in an increasingly globalized, technology-obsessed world. Whether I was looking at pieces by Ruth Asawa, Shan Goshorn, Harmony Hammond, Ellen Lesperance, Neri Oxman/The Mediated Matter Group, Lyubov Popova, or any others of the nearly 160 works on view, I was filled with an overwhelming sense of awe at how artists have embraced textiles as tools for social and cultural expression and resistance. The show is currently on view at the National Gallery of Canada in Ottawa and then travels to MoMA. — NZ Selva Aparicio: In Memory Of DePaul Art Museum , Chicago, March 14–August 4, 2024 Organized by DePaul Art Museum, curated by Ionit Behar Selva Aparicio’s first museum solo exhibition confirmed the Barcelona native, now Chicago resident, as an emerging master of the memorial, on par with Doris Salcedo and Maya Lin. Her sculptures, graceful elevations of discarded and collected materials, often arduously worked, can be transcendently beautiful, as in a faithful reproduction of Catalonia’s largest rose window, with old lettuce leaves in place of stained glass. An upright piano filled with dozens of wasp nests combined the homey and the hellish, as did a white crochet blanket woven with hundreds of honey locust thorns. The therapeutic potential of great labor infused a mourning veil fashioned from 1,365 magicicada wings stitched together with hair, likewise the area rug from her childhood home, chiseled directly into the gallery floorboards throughout the duration of the show. Aparicio, coming by her commitment to death and trauma with unfortunate personal honesty, provided a merciful focal point for the grief of all. — Lori Waxman Christina Ramberg: A Retrospective Art Institute of Chicago , April 20–August 11, 2024 Curated by Thea Liberty Nichols and Mark Pascale The first comprehensive survey in nearly three decades of Christina Ramberg’s fetishistically fantastic paintings should clarify that one of the lesser-known Chicago Imagists has always been the most exciting. First she pictured women squeezed into the lacy undergarments of yesteryear, every sheen and thread individually rendered, every bulge of flesh impossibly smoothed, every torso contorted to fit the frame. Next, she turned gleaming brown hair into bonbons, urns, carved chairbacks, and bondage wraps for headless torsos. On to clothing, which she made of flesh, and flesh, of clothing. Echoes of S&M, comics, medical illustrations, decorative patterns, and mannequins reverberate in her personal archive of thrift-store dolls, scrapbooks, and diaries, generously revealed in an exhibition and catalog spanning her art student days in the 1960s through her too-early end, in 1995, from a neurodegenerative disease. — LW Loie Hollowell: Space Between, A Survey of Ten Years The Aldrich Contemporary Art Museum , Ridgefield, Connecticut, January 21–August 11, 2024 Curated by Amy Smith-Stewart Brooklyn-based Loie Hollowell’s first survey included three groups of paintings and that drawings that demonstrate her taste for time-based abstractions that cohere the world around her into attractive forms. Building on the legacy of early 20th-century modernist painting, she freely quotes everything from Tantric imagery to the Light and Space movement, and all with a sense of hopefulness that endows her art with a visual splendor. A wonderful survey exhibition by an artist we are sure to see a lot from in the years ahead. — HV Surrealism: Other Myths National Museum , Warsaw, May 10–August 11, 2024 Curated by Hanna Doroszuk Against the common wisdom that Surrealism took hold primarily in Western Europe, the ambitious Surrealism: Other Myths presented over 60 Polish artists working across painting, drawing, photography, and film who, while not officially part of the movement, nevertheless placed an emphasis on the subconscious and dreams, and experimented with its pioneering techniques, such as montage and automatism, to uncanny effect. Particularly impactful was the section dedicated to the readymade, which included a wide range of surrealist boxes and art objects, from Marek Piasiecki’s 1950s and ’60s dismembered dolls and Wladyslaw Hasior’s ’70s sculptural insects to the eerie ’80s sculptures alluding to anatomy like breasts and vaginas by Erna Rosenstein, to, finally, Dominika Olszowy’s “Nocturne” (2024), a dreamy domestic environment inhabited by twig-sprouting teacups and headless statues. — EB Tamuna Sirbiladze: Not Cool but Compelling Belvedere 21 , Vienna, March 22–August 11, 2024 Curated by Sergey Harutoonian and Vasilena Stoyanova Had Tamuna Sirbiladze lived longer, Not Cool but Compelling might have been a retrospective of an established artist rather than an introduction for many to a formidable talent. When Sirbiladze died of cancer-related causes in 2016, she left behind a body of searing paintings, in many cases reflecting the most intimate parts of the psyche. This incredible, thoughtfully curated exhibition offered a chronological tour through her artistic evolution. For me, and likely others who were unfamiliar with the artist, it was a revelation. It’s unfortunate that Sirbiladze is not here to see her art appreciated, but the more it’s exposed, the more her deeply expressive paintings will forge connections with those who encounter them. — NH Four Chicago Artists: Theodore Halkin, Evelyn Statsinger, Barbara Rossi, and Christina Ramberg Art Institute of Chicago , May 11–August 26, 2024 Curated by Mark Pascale, Stephanie Strother, and Kathryn Cua This tightly curated exhibition overlapped with museum’s Christina Ramberg: A Retrospective. The pairing was revelatory because it focused on a major, under-recognized artist and explored the communal spirit that characterizes Chicago’s art history and its artists’ determination to pursue visions that had nothing to do with trends in the New York art world, and that scene’s emphasis on lineage, progress, and the universality of geometry. By rejecting hierarchies and the artistic standards established by critics Clement Greenberg and Harold Rosenberg, the Chicago art world offered an alternate vision of how artists from various generations can interact. Educated at the School of the Art Institute of Chicago during different eras, all four artists were committed to drawing and creating meticulous work on a modest scale in a wide range of mediums and technique, including paint on Plexiglas, photograms, prints, and quilting. The exhibition — thoughtfully curated by Mark Pascale, Stephanie Strother, and Kathryn Cua — also included “untitled” (c. 1970), an exquisite corpse drawing by Philip Hanson, Christina Ramberg, and Evelyn Statsinger. That forgoing of the artist’s ego for a joint effort was a welcome reminder of what is possible. — John Yau Suzanne Valadon: A Modern Epic Museu Nacional d’Art de Catalunya , Barcelona, Spain, April 19–September 1, 2024 Organized by the Museu Nacional d’Art de Catalunya in collaboration with the Centre Pompidou-Metz and the Musée d’Art de Nantes. Curated by Eduard Vallès and Philip-Dennis Cate. During my visit to this monumental show, one museum-goer sat on the floor with colored pencils and a sketchbook in front of “The Blue Room,” a 1923 painting of a woman in repose, smoking a cigarette. It wouldn’t be the first time an artist took inspiration from Suzanne Valadon , the unflappable self-taught French painter who rendered herself and other women with bold brushstrokes and aplomb. Though her role as a model for Henri de Toulouse-Lautrec, Edgar Degas, and other men overshadowed some of her oeuvre after her death, A Modern Epic laid bare the staggering range of her artistic skill while situating her within the bohemian landscape of early 20th-century Paris. (Case in point: She and composer Erik Satie briefly dated, and their side-by-side portraits of one another confirmed that they chose their respective pursuits wisely.) Valadon’s tender portraits of women thinking, resting, and spending time together subvert that ubiquitous pattern across art history of men painting their projections onto women. Her 1924 “Woman in White Stockings” is unbothered and assured; her 1927 self-portrait doesn’t feel the need to put on a smile. When I reached the reading room at the end of the exhibition, I found that I wanted to pick up a pencil, too. — Lakshmi Rivera Amin George Grosz: The Stick Men Heckscher Museum of Art , Huntington, New York, May 11–September 1, 2024 Curated by Karli Wurzelbacher, Pay Matthis Karstens, and Alice Delage George Grosz: The Stick Men was a really good small exhibition that explored the German Expressionist’s life in Long Island, weaving some of his politics with the post-World War II amnesia of the era. Organized with the Das Kleine Grosz Museum in Berlin, The Stick Men drawings were the focus and the curators used them to explore Grosz’s complicated political ideas and how these artworks of hollow men sought to portray the contradictions of life in the West. — HV Matisse: The Red Studio Fondation Louis Vuitton , Paris, May 4–September 9, 2024 Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, The Museum of Modern Art, and Dorthe Aagesen, Chief Curator and Senior Researcher, SMK – National Gallery of Denmark; with the assistance of Charlotte Barat, Madeleine Haddon, and Dana Liljegren; and with the collaboration of Georges Matisse and Anne Théry, Archives Henri Matisse, Issy-les-Moulineaux, France This exceptional exhibition reunited Henri Matisse’s 1911 painting of his studio with the actual artworks depicted in it. A massive undertaking, the show was originally organized by and displayed at New York’s Museum of Modern Art in 2022. There was, however, an added magic to seeing it in Paris, not too far from Matisse’s atelier in Issy-les-Moulineaux. Positioned at the center of the gallery, “The Red Studio” (acquired by MoMA in 1949) served as a pictorial index of the surviving works flanking it. The second half of the show contextualized the painting with tidbits about how it was rejected by the Russian patron who originally commissioned it and belonged at some point to a British nightclub owner. Hats off to the curators and researchers involved in assembling this enchanted time capsule and feat of curatorial work. — Hakim Bishara Mickalene Thomas: All About Love The Broad , Los Angeles, May 25–September 29, 2024 Co-organized by the Hayward Gallery, London, United Kingdom and the Broad, Los Angeles, in partnership with the Barnes Foundation, Philadelphia. This iteration of the exhibition was curated by Ed Schad. In Eartha Kitt’s throaty rendition of Antonio Machín’s song “Angelitos Negros,” the late performer implores, “Painter / If you paint with love / Paint me some black angels now.” In one room of her retrospective at The Broad, Mickalene Thomas displayed an eight-channel video work named after the song that mixes found archival footage of Kitt with contemporary footage Thomas captured of herself and some of the women she regularly paints. Looking back on the exhibition now, as so many of us are wondering how to weather the fickle and violently changing winds of this world, that piece especially stands out in the way that it echoes across time and Thomas takes up Kitt’s charge. The show, now at the Barnes Foundation in Philadelphia and traveling to London and France in 2025, offers a glimpse into the artist’s body of work, charting a determined and devoted path of love, care, curiosity, and recognition of women, and in particular, Black women. Her steady focus stands in contrast to that of political and corporate leaders, along with the countless sycophants chasing their favor, who constantly recalculate who among us is entitled to our full humanity, rather than insisting that it’s always all of us. — Alexis Clements Saints, Sinners, Lovers and Fools: Three Hundred Years of Flemish Masterworks Montreal Museum of Fine Arts , June 8–October 25, 2024 Curated by Katharina Van Cauteren In 2024, as fools kept rushing in where angels fear to tread, a Flemish painting show in Montreal exploring the many guises of the fool became hauntingly prescient. Antwerp’s bourgeoisie surrounded themselves with painting of folly, perhaps believing that these vivid portrayals might coax them into wiser choices. Standout pictures include Jan Massys’s painting of fools embracing, Jan Sanders van Hemessen’s rare portrait of an aging female jester, and Frans Verbeeck’s magnum opus of a peasant bacchanal. After the bloody massacre and sacking of Antwerp in 1576, euphemized as the Spanish Fury, the Antwerp art market collapsed and this widespread artistic preoccupation with fools essentially died with it. By spotlighting the Flemish fool as a unique moment in art history with several ravishing pictures, the show gave a whole new meaning to suffering fools gladly. — Daniel Larkin 2024 Inaugural Exhibition The Campus , Hudson, New York, June 30–October 27, 2024 Curated by Timo Kappeller in partnership with NXTHVN What do you get when you pack six tenacious New York City galleries into an abandoned high school in Hudson? The result of this unlikely experiment, now officially known as The Campus and unveiled this summer, was surprisingly less cliquey than it sounds ... perhaps even ... wholesome? Beyond the project’s intrinsic spirit of camaraderie, its debut show, nonchalantly titled 2024 Inaugural Exhibition , was notable for its thoughtful juxtapositions: works by Lara Schnitger and Yinka Shonibare across a sprawling gym, sculptures by Francesca DiMattio and photographs by Talia Chetrit sharing an intimate classroom. A section devoted to the Studio Fellows of the Connecticut nonprofit XTHVN felt fresh, breaking up the familiar roll call of mid-career and established names. The exhibition may be a harbinger of more collaborative undertakings in the notoriously ruthless art world. — VD The Plastic Bag Store: a tragicomic ode to the foreverness of plastic MASS MoCA , North Adams, Massachusetts, May 9–November 3, 2024 Organized by the museum with the artist The power of plastic is non-negotiable: Our entire planet is utterly dependent upon it and our society could not function without it. Among the most outstanding art events of my cultural year was a visit to MASS MoCA to experience The Plastic Bag Store by Robin Frohardt. Commissioned by Times Square Arts, this outrageous project premiered in New York City in 2020 and has since traveled to Los Angeles, Chicago, Austin, Adelaide, and North Adams. Consisting of an elaborate sculptural installation, a live site-specific performance, and a video screening in a cavelike room filled with plastic bags, and ending with a visit to a faux museum of plastic, The Plastic Bag Store was an unforgettable Gesamtkunstwerk . The show left me gutted and chuckling at once, both mentally wrecked by the sheer in-your-face reality check of plastic overkill (literally everything is affected by plastic) and giggling at the delightfully inventive orchestration of plastic to make the point (indeed we are screwed). Frodhardt, an award-winning theater and film director, is a magician in her ability to transform common plastic bags into a full-scale art installation while weaving in comical charm and a critical edge to playfully comment on over-consumption and convenience. — Taliesin Thomas John Akomfrah’s Listening All Night to the Rain at the Great Britain Pavilion Giardini at the Venice Biennale , Venice, Italy, April 20–November 24, 2024 Curated by Tarini Malik Out of all the pavilions at this year’s Venice Biennale, Akomfrah’s installation was the most political, and aesthetically sophisticated. It used technology as a way to chart collective memory and soundscapes that sometimes reveal themselves in what can feel like sonic archeology. Each “canto” was a bead in a necklace of insights that floated in my imagination. — HV Sculpting with Light: Contemporary Artists and Holography Getty Center , Los Angeles, August 20–November 24, 2024 Curated by Virginia Heckert In 1975, critic Hilton Kramer called Holography ’75 , a show at the then newly opened International Center for Photography, a “dismal demonstration of the distance ... between advanced technological invention and the serious artistic mind.” Nearly 50 years later, Sculpting with Light demonstrated how modern and contemporary artists instrumentalize the maligned form’s otherworldly kitsch to address the rapid aesthetic shifts of today’s innovation gristmill. Relics of visual culture took on a haunting glow in the exhibition: John Baldessari’s “It’s Alive” (1997–98) shows a shot of Boris Karloff in 1931’s Frankenstein , his face frozen in a reanimated stare, and Ed Ruscha’s “The End #1-#4” (1998/2016) features the serifed text of an outdated credit sequence hovering eerily over a white background. The holograms on view don’t necessarily prove Kramer wrong; instead, they reveal how even the most cutting-edge technologies will eventually become art: historical, self-contained, and a little scary. — Claudia Ross Carrie Mae Weems: Remember to Dream Hessel Museum of Art at Bard College , Annandale-on-Hudson, New York, June 22–December 1, 2024 Curated by Tom Eccles This summer and fall two excellent exhibitions were concurrently on display at the Hessel Museum of Art at Bard College, but the Carrie Mae Weems show in particular was truly spectacular. Made up of Weems’s lesser known pieces, the show took up nine of the museum’s galleries, each focused on one body of work, and it allowed for visitors to immerse themselves in the complexity of the artist’s ideas. The early photo work Family Pictures and Stories (1978–84) charts what may be the earliest influences on her ideas, and it just appears to be another layer in the artist’s interest in reflecting social realities through intimate and mundane objects. With each series, Weems appears to turn personal stories into the stuff of legend. — HV Ho Tzu Nyen: Time & the Tiger Hessel Museum of Art at Bard College , Annandale-on-Hudson, New York, June 22–December 1, 2024 Organized by the Singapore Art Museum and Art Sonje Center, Seoul, South Korea in collaboration with the Hessel Museum of Art and Mudam Luxembourg—Musée d’Art Moderne Grand-Duc Jean. This iteration of the exhibition was curated by Lauren Cornell and Tom Eccles. The exhibition program at the Hessel Museum at Bard College in Upstate NY is among the strongest in the region, and this year was no exception, with several outstanding shows, including Ho Tzu Nyen: Time & the Tiger . Born in Singapore in 1976, Ho is widely regarded as a leading interdisciplinary artist of his generation, working in a diverse range of media, including video, digital animation, writing, and performance. His dynamic installations comment on the realities, histories, and fictions of his native Southeast Asia. Time & the Tiger featured five immersive multimedia stations spread throughout the museum’s gallery spaces, each presenting mixed footage from historical events, documentaries, music videos, and other vehicles for cultural narratives. Ho’s ongoing exploration of identity offers a poignant critical examination of how personal and cultural stories are both imagined and performed. — TT Haegue Yang: Flat Works The Arts Club of Chicago , September 18–December 20, 2024 Curated by Orianna Cacchione This sleeper show was a joyous cultural celebration of paper cutting and how a contemporary artist is transforming the medium, while embracing its long history. Very un-Matisse-like in their layered temperament, Yang’s works mine folk and decorative traditions to create Rorschach-like forms that plumb the depths of what can feel like psychologically charged imagery. — HV Beatriz da Costa: (un)disciplinary tactics Los Angeles Contemporary Exhibitions (LACE) , September 7, 2024–January 5, 2025 Curated by Daniela Lieja Quintanar and Ana Briz Beatriz da Costa saw that every living thing could be creative, including vermin. She turned pigeons, cockroaches, and mice into artistic collaborators. The birds in “PigeonBlog” (2006–8) measured pollution, the cockroaches in “Zapped!” (2004–6) toyed with surveillance, and the mice used in medical research writhing in pain across the series Dying for the Other were choreographed dancers of sorts, dying from the same cancer that ate de Costa from the inside out. Her life was brief, but she was a workhorse, and she produced enough art to earn this small retrospective. The exhibition, a sentimental marriage of art and engineering, demonstrated that she spent every moment tinkering, teaching, and thriving. — RR The Dance of Life: Figure and Imagination in American Art, 1876–1917 Yale University Art Gallery , New Haven, Connecticut, September 6, 2024–January 5, 2025 Curated by Mark D. Mitchell This was an inspirational exhibition that reminded visitors that the United States once fostered populist arts that promoted democracy and its associated institutions. This large show focuses on three public buildings that commissioned major site-specific works in the post-Civil War era (Boston Public Library, Library of Congress, Pennsylvania State Capitol) and we are given a full range of sketches and oil studies by those and other major American artists (Edwin Austin Abbey, Edwin Blashfield, Daniel Chester French, Violet Oakley, Augustus Saint-Gaudens, and John Singer Sargent). The effect is immersive and rich, providing insight into the evolving language of democracy in a country that had just a few decades before surfaced from a deadly national conflict. Experiencing the immense beauty of Edwin Austin Abbey’s large oil on canvas study for “The Hours” at the Pennsylvania State Capitol alone is worth a visit, but there are numerous other incredible works to behold, like Henry Siddons Mowbray’s “Muse of Electricity,” which was commissioned for a New York mansion and evokes the classical style of so much of the democratic imagery emerging during the era. While the US might be in the throes of oligarchs at the moment, it’s a good reminder that democracy is something we all engage with and fight for. — HV Crip Arte Spazio: The DAM in Venice CREA Cantieri del Contemporaneo , Venice, April 16, 2024–January 10, 2025 Curated by David Hevey Running concurrently with the Venice Biennale, whose theme was “Foreigners Everywhere,” this exhibition brought to life the work of a community often othered to the point of foreignness: the UK’s Disability Arts Movement in the 1970s. Jason Wilsher-Mills’s “I Am Argonaut,” a large fiberglass and acrylic sculpture, explored the experience of becoming disabled during puberty, with written statements about his experience etched along the figure’s body. Simon Roy’s graphic novel illustrations featured major figures like Deborah Williams , who pushed for the Disability Discrimination Act 1995 and Equality Act 2010. Prescient but also timeless was Ker Wallwork’s Merg , an animated short story set in London about the bureaucracy of care — and lack thereof — told predominantly through paperwork. As Williams is quoted saying: “It was an inaccessible society that disabled us, not the crip body.” — AXM Van Gogh: Poets and Lovers National Gallery , London, September 14, 2024–January 19, 2025 Curated by Cornelia Homburg and Christopher Riopelle Great artists come round again and again, as if on an ever-revolving carousel. The trick is to present them afresh: new themes and new insights; surprising juxtapositions; works wrested from galleries perhaps reluctant to lend, or from the ferocious grip of private collectors who fear separation from their most treasured possessions. Curator Cornelia Homburg achieved all these ambitions in a show that wowed the most hardened of critics. One of the two key thematic elements was van Gogh’s lifelong fascination with poetry, announced in the exhibition’s very first gallery, which presented his only portrait of the young man van Gogh chose to characterize as The Poet — he was a Belgian painter called Eugène Boch — and a view of the public garden where he imagined great poets from antiquity wandering and conversing. — Michael Glover Jeremy Frey: Woven Art Institute of Chicago , October 26, 2024–February 10, 2025 Organized by the Portland Museum of Art, Maine and curated by Ramey Mize and Jaime DeSimone. This iteration of the exhibition was organized by Andrew Hamilton. With striking silhouettes and hypnotic textures, high-craft sculptures dazzle in Jeremy Frey: Woven. This show marks the sculptor’s first museum exhibition in his two-decade career, and his artistic voice shines through bright and clear, in harmony with those of his ancestors. Some 50 of the seventh-generation Passamaquoddy basket maker’s vessels take the spotlight (several of which have recently joined major institutional collections), alongside a selection of elegant relief prints based on basket designs. A lush, wordless 11-minute video shadows the artist through each stage of making a basket, following in the footsteps of his predecessors: Felling a slim brown ash tree in Maine’s northern forests, splitting and dyeing thin strips of wood, weaving with nimble hands. Embedded with open-ended reflections on the environment and art, legacy and land, the exhibition situates Wabanaki basketry squarely in the realm of the art museum and Frey as a contemporary artist to watch. — Julie Schneider Preoccupied: Indigenizing the Museum Baltimore Museum of Art , April 21, 2024–February 16, 2025 Curated by Dare Turner and Elise Boulanger I’m not sure if calling this an exhibition is correct, considering that there are many aspects to this project, which includes community interventions and conversations that are not visible to most visitors, but the resulting exhibits distributed around the museum and organized by curator Dare Turner add up to an impactful and wide-ranging display of contemporary Native American and First Nations art by some of the leading practitioners today. The project includes a solo presentation by Dana Claxton, which was an absolutely stunning show in itself; as well as one by Dyani White Hawk, perfectly arranged in the Modern galleries; Laura Ortman, located in a quiet corner so you can enjoy the immersive quality of the work; Nicholas Galanin, who shines when allotted the space; and so many others, including the truly superb video program — I can’t remember the last time an hour of viewing flew by in a museum gallery. Even group shows like Illustrated Agency were a delight as the list of artists (Wendy Red Star, Julie Buffalohead, Rose B. Simpson, Alan Michelson, and to name a few) was perfectly chosen. Once you get past the notion that Preoccupied is “one” show, and allow yourself to wander throughout the institution, it is a worthwhile exploration that foregrounds Indigenous North American art as foundational to contemporary art on this continent. —HV Get in the Game: Sports, Art, Culture San Francisco Museum of Modern Art , October 19, 2024–February 18, 2025 Curated by Jennifer Dunlop Fletcher, Seph Rodney, and Katy Siegel Art and sports occupy separate and rarely intersecting spheres in the American imagination (@artbutmakeitsports is a notable exception), but as a lifelong superfan of both, I’ve long thought about the connection between the “unnecessary” but ubiquitous existence of art and sports across human history and cultures. Aiming to illuminate that connection, SFMOMA’s expansive show feels as sprawling and teeming as a football stadium — and it’s just as fun and filled with talent. My favorites include Catherine Opie’s 2012 nude portrait of swimmer Diana Nyad’s near abusive tan lines, Hank Willis Thomas’s “Guernica” (2016), composed of famous players’ basketball jerseys, Maurizio Cattelan’s “Stadium” (1991), a working foosball table for 22 players (that you’re allowed to play), and Tabitha Soren’s “Net Impact” (2024), in which piercing portraits of young baseball players, bone fragments, and sport-specific netting strongly imply that sports and religion share their own close connection. — BQ Broken Boxes: A Decade of Art, Action, and Dialogue Albuquerque Museum , September 7, 2024–March 2, 2025 Curated by Ginger Dunnill and Josie Lopez This group exhibition gave me a new appreciation for a curatorial format that, for me at least, can often feel forced or just plain boring. Featuring works by 23 artists who participated in the Broken Boxes Podcast, the show resists thematic homogeneity by highlighting each artist according to relationships rather than aesthetics. Here, the artists’ voices are literally amplified, creating an ambient soundtrack for the show and offering visitors multiple perspectives on art making and meaning. With sculptures, installations, films, and more that embody topics like mental and physical health, Indigenous sovereignty, and migration, I was compelled to visit multiple times, eagerly trying to commit it all to memory. — NZ Sci-Fi, Magick, Queer L.A.: Sexual Science and the Imagi-Nation USC Fisher Museum of Art , Los Angeles, August 22, 2024–March 15, 2025 Curated by Alexis Bard Johnson Science fiction fandom, occult societies, and queer organizing are the three areas that structure this exhibition, but all are rooted in the drama and fantasy endemic to Los Angeles. Spanning the 1930s through the ’60s, the show expertly balances archival materials and fine art to tell interweaving stories without neglecting the extraordinary art that came out of countercultural groups like the LA Science Fantasy Society and Ordo Templi Orientis. Co-organized with USC’s vast LGBTQ+ repository, ONE Archives, the show is a rabbit hole of otherworldly, occult, and extraterrestrial tales that I didn’t want to leave — and that doesn’t even touch on its glam aesthetic. Extended into 2025 (though closed until January 14), anyone with even a passing interest in the subject matter should see it if they can. — NH The Living End: Painting and Other Technologies, 1970–2020 Museum of Contemporary Art (MCA) Chicago , November 9, 2024–March 16, 2025 Curated by Jamillah James and Jack Schneider This ambitious display seems eager to chart how technology has extended painting in new ways. It’s a fascinating show in which archival work contextualizes so much of the art. The more recent artists’ wanderings are just as interesting, albeit incomplete and sometimes soliciting headscratching. Overall it’s a delight to investigate and find connections between art projects that span decades and communities. Even on an entire floor of the museum it feels like this show is just the beginning of a far larger exploration that I hope is expanded. As an added bonus, a must-see display of works by Arthur Jafa in the MCA’s collection is on view. It was one of the finest ways to survey those works I’ve yet to see. Do yourself a favor and check out both. — HV By dawn’s early light Nasher Museum of Art at Duke University , Durham, North CarolinaAugust 1, 2024–May 11, 2025 Organized by Xuxa Rodríguez, Patsy R. and Raymond D. Nasher Curator of Contemporary Art, with support from Julianne Miao, Curatorial Assistant Where are we now, some 60 years after the Civil Rights Act of 1964 and the Voting Rights Act of 1965? That’s the question this exhibition examines through a selection of outstanding works from the Nasher’s collection. Artists include Titus Kaphar, Hank Willis Thomas, Nari Ward, Fred Wilson, Jaune Quick-to-See Smith, Barkley L. Hendricks, Mel Chin, Scherezade García, and many other greats. The answer to this loaded question is elusive and incomplete as it’s still soaked in blood and tears. — HB We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn FacebookA world-renowned Haida artist and avid supporter of the victims of war in Ukraine, is pitching his talents to a Victoria non-profit that provides life-changing prosthetics. Michael Nicoll Yahgulanaas is the only living Indigenous artist whose work is in the permanent collection of the Modern and Contemporary Art Department at New York’s Metropolitan Museum of Art. His works are also in the collections of the British Museum, Denver Art Museum, Peabody Essex Museum, Seattle Art Museum, Glenbow Museum in Calgary, Vancouver Art Gallery and Museum of Anthropology at UBC. Originally scheduled to have an art show at the TSEKH Art Gallery in Kyiv, Ukraine in the fall of 2021, Nicoll Yahgulanaas is instead using his art to raise funds and awareness for the war-torn country. One of the works that would have been displayed is called Kyiv Child, created after visiting Ukraine in 2019. “I made many friends on that trip, and now they are huddling in basements, holding their children close. They worry about food, water, and Putin's indiscriminate bombing of civilians,” Nicoll Yahgulanaas said in a statement. Yahgulanaas has raised $75,000 so far for Ukraine aid through Unicef and MSF, and the latest campaign targets $25,000 for the Victoria Hand Project. From a small lab at the University of Victoria, The Victoria Hand Project harnesses 3D printing technology to create life-altering prosthetics. The charity strives to empower individuals worldwide, particularly where accessing prosthetics is challenging. By offering affordable and sustainable solutions, they restore independence, hope, and dignity to those who have lost mobility due to limb loss. CEO Michael Peirone is grateful that the B.C. artist opted to share his talents with the Saanich-based project. Malaspina Printmakers in Vancouver is covering the costs to create the high-quality prints of Yahgulanaas’s work available for $700 . Other donors and supporters mean the funds are 100 per cent proceeds. Each print sale, $700, would essentially cover the costs associated with a prosthetic in Ukraine, Peirone told the Saanich News. “Unfortunately from what we’ve heard from partners on the ground working in Ukraine there is such a need for prosthetic care and the resources aren’t available,” he said. “The waitlists are growing, with people who have been waiting six months to a year after losing an arm defending their country. “Even if the war ended right this moment – and we wish it would – there’s still a great need for prosthetic care.” Three Victoria Hand Project team members travelled to Ukraine in June 2023 to train locals and set up two clinics for the organization’s usual in-country solution. “That helps with the long-term sustainability and decreases wait times. Also, we found it really fosters a sense of pride in the community,” Peirone said. The non-profit has made several in-person trips there, creating fast and affordable prosthetic limb production. The organization has already provided more than 110 prosthetics for Ukrainians. Prints can be found online at . It's one campaign among several underway at the Victoria Hand Project. A Giving Tuesday event (internationally recognized as Dec. 3) aims to raise $50,000 focused on providing prosthetic arms in Ukraine. An evening of Impact features a silent auction, compelling personal stories and food and beverages. Learn more about the initiative, purchase tickets or donate online at .
nCino to Participate in Upcoming Investor Conferences
Women's Top 25 roundup: No. 23 Michigan fends off NorthwesternBy KENYA HUNTER, Associated Press ATLANTA (AP) — As she checked into a recent flight to Mexico for vacation, Teja Smith chuckled at the idea of joining another Women’s March on Washington . As a Black woman, she just couldn’t see herself helping to replicate the largest act of resistance against then-President Donald Trump’s first term in January 2017. Even in an election this year where Trump questioned his opponent’s race , held rallies featuring racist insults and falsely claimed Black migrants in Ohio were eating residents’ pets , he didn’t just win a second term. He became the first Republican in two decades to clinch the popular vote, although by a small margin. “It’s like the people have spoken and this is what America looks like,” said Smith, the Los Angeles-based founder of the advocacy social media agency, Get Social. “And there’s not too much more fighting that you’re going to be able to do without losing your own sanity.” After Trump was declared the winner over Democratic Vice President Kamala Harris , many politically engaged Black women said they were so dismayed by the outcome that they were reassessing — but not completely abandoning — their enthusiasm for electoral politics and movement organizing. Black women often carry much of the work of getting out the vote in their communities. They had vigorously supported the historic candidacy of Harris, who would have been the first woman of Black and South Asian descent to win the presidency. Harris’ loss spurred a wave of Black women across social media resolving to prioritize themselves, before giving so much to a country that over and over has shown its indifference to their concerns. AP VoteCast , a survey of more than 120,000 voters, found that 6 in 10 Black women said the future of democracy in the United States was the single most important factor for their vote this year, a higher share than for other demographic groups. But now, with Trump set to return to office in two months, some Black women are renewing calls to emphasize rest, focus on mental health and become more selective about what fight they lend their organizing power to. “America is going to have to save herself,” said LaTosha Brown, the co-founder of the national voting rights group Black Voters Matter. She compared Black women’s presence in social justice movements as “core strategists and core organizers” to the North Star, known as the most consistent and dependable star in the galaxy because of its seemingly fixed position in the sky. People can rely on Black women to lead change, Brown said, but the next four years will look different. “That’s not a herculean task that’s for us. We don’t want that title. ... I have no goals to be a martyr for a nation that cares nothing about me,” she said. AP VoteCast paints a clear picture of Black women’s concerns. Black female voters were most likely to say that democracy was the single most important factor for their vote, compared to other motivators such as high prices or abortion. More than 7 in 10 Black female voters said they were “very concerned” that electing Trump would lead the nation toward authoritarianism, while only about 2 in 10 said this about Harris. About 9 in 10 Black female voters supported Harris in 2024, according to AP VoteCast, similar to the share that backed Democrat Joe Biden in 2020. Trump received support from more than half of white voters, who made up the vast majority of his coalition in both years. Like voters overall, Black women were most likely to say the economy and jobs were the most important issues facing the country, with about one-third saying that. But they were more likely than many other groups to say that abortion and racism were the top issues, and much less likely than other groups to say immigration was the top issue. Despite those concerns, which were well-voiced by Black women throughout the campaign, increased support from young men of color and white women helped expand Trump’s lead and secured his victory. Politically engaged Black women said they don’t plan to continue positioning themselves in the vertebrae of the “backbone” of America’s democracy. The growing movement prompting Black women to withdraw is a shift from history, where they are often present and at the forefront of political and social change. One of the earliest examples is the women’s suffrage movement that led to ratification in 1920 of the 19th Amendment to the Constitution , which gave women the right to vote. Black women, however, were prevented from voting for decades afterward because of Jim Crow-era literacy tests, poll taxes and laws that blocked the grandchildren of slaves from voting. Most Black women couldn’t vote until the Voting Rights Act of 1965. Black women were among the organizers and counted among the marchers brutalized on the Edmund Pettus Bridge in Alabama, during the historic march in 1965 from Selma to Montgomery that preceded federal legislation. Decades later, Black women were prominent organizers of the Black Lives Matter movement in response to the deaths of Black Americans at the hands of police and vigilantes. In his 2024 campaign, Trump called for leveraging federal money to eliminate diversity, equity and inclusion programs in government programs and discussions of race, gender or sexual orientation in schools. His rhetoric on immigration, including false claims that Black Haitian immigrants in Springfield, Ohio, were eating cats and dogs, drove support for his plan to deport millions of people . Tenita Taylor, a Black resident of Atlanta who supported Trump this year, said she was initially excited about Harris’ candidacy. But after thinking about how high her grocery bills have been, she feels that voting for Trump in hopes of finally getting lower prices was a form of self-prioritization. “People say, ‘Well, that’s selfish, it was gonna be better for the greater good,”’ she said. “I’m a mother of five kids. ... The things that (Democrats) do either affect the rich or the poor.” Some of Trump’s plans affect people in Olivia Gordon’s immediate community, which is why she struggled to get behind the “Black women rest” wave. Gordon, a New York-based lawyer who supported the Party for Socialism and Liberation’s presidential nominee, Claudia de la Cruz, worries about who may be left behind if the 92% of Black women voters who backed Harris simply stopped advocating. “We’re talking millions of Black women here. If millions of Black women take a step back, it absolutely leaves holes, but for other Black women,” she said. “I think we sometimes are in the bubble of if it’s not in your immediate circle, maybe it doesn’t apply to you. And I truly implore people to understand that it does.” Nicole Lewis, an Alabama-based therapist who specializes in treating Black women’s stress, said she’s aware that Black women withdrawing from social impact movements could have a fallout. But she also hopes that it forces a reckoning for the nation to understand the consequences of not standing in solidarity with Black women. “It could impact things negatively because there isn’t that voice from the most empathetic group,” she said. “I also think it’s going to give other groups an opportunity to step up. ... My hope is that they do show up for themselves and everyone else.” Brown said a reckoning might be exactly what the country needs, but it’s a reckoning for everyone else. Black women, she said, did their job when they supported Harris in droves in hopes they could thwart the massive changes expected under Trump. “This ain’t our reckoning,” she said. “I don’t feel no guilt.” AP polling editor Amelia Thomson DeVeaux and Associated Press writer Linley Sanders in Washington contributed to this report. The Associated Press Health and Science Department receives support from the Robert Wood Johnson Foundation. The AP is solely responsible for all content.
Odyssey Marine Stock Rallies After Firm Discloses JV Formation, Funding, Debt Maturity Extension: Retail’s JubilantAs the year comes to an end, it's time to think about my personal smartphone of the year. 2024 has seen the rise of generative AI as a key selling point in the smartphone space, but it has also seen a realignment in form factors. The foldable form factor is maturing, there is a renewed focus on physical size, both going large and going small, and manufacturers are facing smaller gains while still needing to stand out. All these have a bearing on my choice, but there is something else that isn't listed on the spec sheets or the press releases: my own judgment. This is not sitting down with all the contributors and staff to find a combined aggregate answer... this is my choice of the smartphones that speak to 2024 as a whole, the phone that has made an impact and highlights the future. That's as much about emotion as it is about benchmarks. Before we come to my choice, let's review the alternatives and at least one out-of-left-field option. Apple iPhone 16 Pro The new iPhone 16 Pr oduring an Apple special event at Apple headquarters on September 09, 2024 ... [+] (Photo by Justin Sullivan/Getty Images) As always at this time of year, I come up against the closed nature of iOS and the iPhone. How much of an impact does that have on my personal choice? I do believe that a healthy ecosystem requires competition and innovation across the stack. Apple's iPhone has no competition in hardware, no competition on the firmware, and consumers have no option but to embrace both Apple's capriciousness and viewpoint. Case in point, you still can't change the time that snoozing an alarm can be... the nine minutes demanded by clockwork timepieces in the 1950s is a fixed and immutable period on iOS. As Apple upgrades the iPhone, so do countless Android manufacturers. With specifications broadly similar across the board, the emotion and safety a device can create becomes vital to its success. Russian Officers Pulled Over For A Hasty Meeting. That’s When A Ukrainian HIMARS Opened Fire. Apple Cancels iPhone 14 And iPhone SE For Millions Of Users iOS 18.2.1 Release Date: New Apple iPhone Update Confirmed Apple's general approach makes me wary. Yet it's the appraoch to generative AI and the awkwardly backronymed Apple Intelligence that defines the iPhone 16 Pro. And that definition is"'late and lacking." Google announced generative AI for the Pixel series in October 2023 and launched the Pixel 8 family simultaneously. Samsung announced and launched Galaxy AI and the Galaxy S24 in January 2024. Apple announced its plans in June 2024, launched the iPhone 16 Pro in September, and released the first tentative generative AI software in October. It's not expected to match the Google and Samsung offerings until March 2025. Apple CEO Tim Cook delivers remarks at the start of the Apple Worldwide Developers Conference (WWDC) ... [+] on June 10, 2024 (Photo by Justin Sullivan/Getty Images) Late and lacking. Apple is one of the world's biggest companies. The bar is incredibly high... when it makes a misstep that has a huge impact. Apple isn't behind the curve of artificial intelligence in general; iOS places significant emphasis on flavors of AI other than generative AI. Machine Learning can be found in the predictive keyboard to offer options for the next word, in the interactions with Siri, in searching thorough photos, and more. Neural nets boost the ML routines, allowing for faster processing on some camera functions and recognition routines for FaceID. Plus, this is all taking place on-device, allowing Apple to continue its push to maximising user data protection. Yet, with a constantly moving target of what consumers expect in their smartphones, Apple missed the moment to be in control of its own story around software. The iPhone 16 Pro has the cards to match the functionality of other flagships, but Apple played its hand badly and didn't offer the best iPhone 16 Pro it could. When your size demands perfection, missing by an inch is as good as missing by a mile. Samsung Galaxy S24 Ultra This picture taken on January 15, 2024 shows a woman looking at a Samsung Galaxy S24 Ultra (Photo by ... [+] JUNG YEON-JE/AFP via Getty Images) Thanks to a January launch, Samsung has both a year to establish itself as the phone of the year but also has a year to be forgotten. With the Galaxy S25 launch just around the corner, it's worth remembering how much the Galaxy S24 family set the tone for the rest of 2024 with the launch of Galaxy AI. It was undoubtedly the most popular AI-powered handset. Counterpoint Research in May reported Samsung as holding a 58 per cent market share of generative AI-enabled smartphones. It debuted a raft of generative AI tools across the platform, including an exclusive period with Circle To Seach before that expanded to the entire Android platform. Samsung also had an exclusive with Qualcomm, allowing the Galaxy S24 Ultra to ship with an overclocked 8 Gen 3 chipset, which in turn supported faster AI processing. Everything stepped up as you would expect, but stepping up to support the introduction of AI allowed for a handset that felt more focused on new technology and pushing the envelope than most. Samsung's focus on the S24 Ultra to carry all the specced hardware meant it could sell the Ultra as the ultimate phone, with the S24 and S24+ in supporting roles rather than 'the same role but a bit smaller than the top of the portfolio. Yet the Galaxy S24 Ultra's success is an iterative one. Strip away the AI, and you have a smartphone where everything is a bit better than the year before but without any significant changes in the package. Google Pixel 9 Pro The new Google Pixel 9, Pixel 9 Pro and Pixel 9 Pro XL phones (Photo by Justin Sullivan/Getty ... [+] Images) In contrast to Samsung, Google spread the power and potential across several 9 Pro devices. You had the regular Pixel 9 Pro, the larger form factor of the Pixel 9 Pro XL and the innovative design of the Pixel 9 Pro Fold (as well as the vanilla Pixel 9, which just misses out on a few top specs). The 9 Pro XL is a shade too large and is not helped by the move to a more boxy design that maximises internal volume and the perceived bulk, while the Pixel 9 Pro Fold is a touch ungainly in regular use. That is why I’m picking the Pixel 9 Pro here. Much of that comes down to Google's presentation of generative AI through Gemini. While there are many AI-driven features that are more technology demonstrations than day-to-day game changers, the conversational tone of Gemini AI and the different approach to search and research it offers is AI at its most flexible. I'm in no doubt that the Gemini AI capabilities will show up across the broader Android platform during 2025 - allowing Samsung to debut Circle to Search on the Galaxy S24 instead of the Pixel 8 shows that Google is not completely precious with the crown jewels, but for now, the best practical implementation of generative AI is the vocal interface with Gemini, and that means the Pixel family can challenge for the crown. If AI were the only measure, the Pixel 9 Pro could take the crown. But one other phone feels a better choice than the odds-on favorite. Before I get to that, I want to address a semantic consideration Retroid Pocket 4 Pro Retroid Pocket 4 Pro The title is "Smartphone of the Year" not "Mobile Tech Of The Year," Trying to justify the Retroid Pocket 4 Pro as a smartphone is a tough sell. It lacks either a physical or embedded SIM card, does not support 5G connectivity, and demands a Bluetooth headset or earbuds to make a comfortable call. Yet there's a spirited defence that you have audio and video calling through software, running over the internet, and that's a far more prevalent way of making "calls" in 2024. The Pocket 4 Pro is a portable gaming device with the requisite analogue sticks, face buttons, d-pads, shoulder buttons and triggers. Thanks to the use of Android as the operating system, it has the Android gaming ecosystem to call on, from popular titles such as Fortnite and Genshin Impact down to more esoteric titles such as Sky: Children of Light. Except rather than the touchscreen most must rely on, you have a fully integrated controller. The Pocket 4 Pro builds on Retroid's experience in the retro gaming space. Previously, retro consoles required custom OS builds and a solid knowledge in Linux to get up and running. The industry, including Retroid, has been toying with Android as an option for some years, but in 2024, the capabilities of Android and the needs of gamers were met at an attractive price point that balanced cost and specs. Retroid launched the Pocket 5 Pro in time for the holidays, but the Pocket 4 Pro finally proved the retro market was mature and ready for Android. The Retroid Pocket 4 Pro isn't going to be called the Smartphone Of The Year... just remember that it's one good argument away from the trophy. Honor Magic V3 Honor Magic V3 Since the Samsung Galaxy Fold launch in 2019, the idea of a foldable has been more appealing than reality. That has benefitted smartphone designs across the board, not just in the foldables. The upcoming push into "thin phones" during 2025 partially benefits from the technology required to thin out the two sides of a foldable device. Which is where Honor appears. The Honor Magic V3 , its third-generation foldable, was a home run for the form factor. It ships in the open state, so when you lift it out, the insane thickness of just 4.4 mm is evident. Closing it, you get a 9.2 mm smartphone with a 20:9 ratio outer display comparable to Honor's then-flagship Magic6 Pro (which comes in at 8.9 mm). The bevelled edges make it comfortable to get a grip of a single side to help open the phone, and the design allows for an IPX8 protection rating... the Magic V3 is good to a depth of 1.5m. Software-wise magicOS offers both 'side-by-side' apps or 'floating window over a full-screen app' for multitasking on the unfolded Magic V3. Still, it's the option to lock an app to a specific Aspect Ratio if it is not designed for a foldable that I found useful —there's no need for a very wide when you can lock it to a 3:4 view with some bars on the left and right. Is it going to be the best-selling smartphone of 2024? Far from it. Will it be the most influential smartphone? Certainly, it will be in the foldables space, and arguably it demonstrates what 2025's thin smartphones need to aim for. The Honor Magic V3 takes all the potential of the foldable space and brings it to a single smartphone. It sits on the cutting edge of hardware and shines a light for every phone and manufacturer to aim for in 2025. That's why it's my smartphone of the year. Disclaimer : During 2024, various smartphones, including the Pixel 9 Pro and Honor Magic V3, were supplied for review purposes .