None( MENAFN - EIN Presswire) Clinical Communication And Collaboration Software Global market Report 2024 - Market Size, Trends, And Global Forecast 2024-2033 The Business Research Company's Early Year-End Sale! Get up to 30% off detailed market research reports-for a limited time only! LONDON, GREATER LONDON, UNITED KINGDOM, December 13, 2024 /EINPresswire / -- The Business Research Company's Early Year-End Sale! Get up to 30% off detailed market research reports-limited time only! How Has The Clinical Communication And Collaboration Software Market Grown Recently? The clinical communication and collaboration software market size has grown rapidly in recent years. It has increased from $1.64 billion in 2023 to $1.94 billion in 2024 at a compound annual growth rate CAGR of 18.5%. The growth during this historical period can be attributed to growing investments in healthcare IT, the adoption of mobile health mHealth solutions, the rise of telemedicine and virtual care, the growing focus on patient-centric care, and the demand for secure and compliant solutions. Discover Key Insights and Market Trends with a Free Sample Report of the Global Clinical Communication And Collaboration Software Market: What is the Forecasted Growth and Size of the Clinical Communication And Collaboration Software Market? The clinical communication and collaboration software market size is expected to see rapid growth in the next few years. This market will surge to $3.84 billion in 2028 at a compound annual growth rate CAGR of 18.6%. The growth during the forecast period can be attributed to increasing adoption of smart technologies in the healthcare sector, rising demand for cloud-based storage, growing instances of diseases like cancer, cardiovascular ailments, and diabetes, increasing focus on patient-centric care, and rising healthcare spending. What are the Key Drivers Leading to the Rise of the Clinical Communication And Collaboration Software Market? The rising adoption of digital technologies is expected to propel the growth of the clinical communication and collaboration software markets going forward. Digital technologies encompass electronic tools and systems that manage, store, or process data, such as computers, mobile devices or applications, cloud computing, and artificial intelligence AI. The increase in digital technology adoption is largely driven by businesses' need to boost efficiency and maintain competitiveness. These technologies allow businesses to streamline operations and make more effective decisions. Digital technologies enhance clinical communication and collaboration software by enabling instant data sharing, integrating multiple digital platforms, and improving patient information management, thereby benefiting healthcare professionals in better coordination and patient care enhancement. Pre-book the report for a swift delivery: Who are the Major Players in the Clinical Communication And Collaboration Software Market? Key companies operating in the clinical communication and collaboration software market include Microsoft Corporation, Oracle Corporation, Hill-Rom Holdings Inc., Everbridge Inc., Ascom Holding AG, Vocera Communications Inc., Spok Holdings Inc., Imprivata Inc., Symplr, PerfectServe Inc., QliqSOFT Inc., Voalte Inc., Agnity Inc., Telmediq Inc., AMTELCO, PatientSafe Solutions Inc., OnPage Corporation, TigerConnect Inc., NHSmail, Pulsara Inc., Mobile Heartbeat Inc. What Emerging Trends are Impacting the Clinical Communication And Collaboration Software Market? Major companies operating in the clinical communication and collaboration software market are focusing on developing platforms for patient monitoring, community care, and augmented reality. These advancements aim to enhance real-time care delivery and improve healthcare outcomes. How is the Clinical Communication And Collaboration Software Market Segmented? The clinical communication and collaboration software market covered in this report is segmented as follows: 1 By Type: Cloud Based, Web Based 2 By Functionality: Secure Messaging, Medical Alerts And Alarms, Mobile Health Integration 3 By Application: Clinical Workflows, Administrative Workflows 4 By End User: Hospitals, Clinics And Ambulatory Settings, Long-Term Care Facilities What are the Regional Insights of the Clinical Communication And Collaboration Software Market? North America was the largest region in the clinical communication and collaboration software market in 2023. On the other hand, Asia-Pacific is expected to be the fastest-growing region during the forecast period. The regions covered in the clinical communication and collaboration software market report are Asia-Pacific, Western Europe, Eastern Europe, North America, South America, Middle East, and Africa. Browse more similar reports- Clinical Oncology Next Generation Sequencing Global Market Report 2024 Cancer Clinical Decision Tools Global Market Report 2024 Clinical Nutrition Global Market Report 2024 About The Business Research Company Learn More About The Business Research Company. With over 15000+ reports from 27 industries covering 60+ geographies, The Business Research Company has built a reputation for offering comprehensive, data-rich research and insights. Armed with 1,500,000 datasets, the optimistic contribution of in-depth secondary research, and unique insights from industry leaders, you can get the information you need to stay ahead in the game. Contact us at: The Business Research Company: Americas +1 3156230293 Asia +44 2071930708 Europe +44 2071930708 Email us at ... Follow us on: LinkedIn: YouTube: Global Market Model: global-market-model Oliver Guirdham The Business Research Company +44 20 7193 0708 email us here Visit us on social media: Facebook X LinkedIn Legal Disclaimer: EIN Presswire provides this news content "as is" without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the author above. MENAFN12122024003118003196ID1108988705 Legal Disclaimer: MENAFN provides the information “as is” without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the provider above.STORY: :: Atlanta, Georgia :: December 29, 2024 :: Atlantans pay respect to 'Georgia's own' Jimmy Carter, who died Sunday aged 100 "He's Georgia's own President, in the community they highly respect him, and he has done so much not for just like democratic politics, but also just like helping his community, like I have never been to Plains, Georgia, I haven't had the pleasure of going into his church services, but like I really respect him as a person." :: Craig Withers, Vice president of Overseas Operations, The Carter Center "He was pretty direct. He was soft-spoken, very intelligent, synthesized information very quickly and had very clear ideas of what he wanted to do. He did solicit input, but he usually had a pretty good idea of what is going on and what he wanted to do. He was very demanding. He was very data-driven. If you didn't have the facts, he probably did, and it was a situation where he would then he would view the information that he was soliciting, so you always had to be on your game when you were with President Carter." Some of those paying tribute worked for Carter, others had never met him but admired him and learned from him. "He's Georgia's own President, in the community they highly respect him, and he has done so much not for just like democratic politics, but also just like helping his community," said 22-year-old student James Stevens. "You always had to be on your game when you were with President Carter," Craig Withers, Vice President of Overseas Operations for the Carter Center. Jimmy Carter, a Democrat, served as president from January 1977 to January 1981 after defeating incumbent Republican President Gerald Ford in the 1976 U.S. election. Carter was swept from office four years later in an electoral landslide as voters embraced Republican challenger Ronald Reagan, the former actor and California governor.Chinese spy claims add to Prince Andrew's woes
Open Text Corporation ( NASDAQ: OTEX ) Barclays 22nd Annual Global Technology Conference December 12, 2024 4:20 PM ET Company Participants Greg Secord - Vice President, Investor Relations Madhu Ranganathan - President and CFO Conference Call Participants Raimo Lenschow - Barclays Raimo Lenschow Welcome to our next session. I know as a speaker we have like Madhu, and Madhu will join us in a minute, but Greg is -- because she's stuck on traffic. So, Greg is going to start with me. So, we can ask all the questions you always wanted to ask. But Greg, thanks for joining us for a start. First thing I wanted to go, and it's also good to have you here, like you just had your big customer conference their kind of Analyst Day. Can you talk a little bit about what were the highlights? What was the message you wanted to convey and what were the highlights from there? Greg Secord So, I think the -- it was a product conference, and we did have some investors there, but it really was about the upgrade to Titanium X, which is a product cycle that we have. It's a 2-year product cycle. Very focused on the SaaS functionality coming into some of the traditional OpenText Cloud products and overall cloud functionality coming into the Micro Focus products that we acquired. So, it's that April is comes to the -- kind of that high water point as far as delivering on the Titanium X. So, we were outlining what some of those enhanced functionalities would be. In the cloud we were highlighting some more of the AI-oriented integration pieces and what we were coming to market with and just a broader discussion there with customers. So, we were quite excited by the feedback and customers got engaged as far as their structure and their needs were.
The Ring of Honor representative for the Wrestle Dynasty International Women’s Cup qualifier will be decided on tonight’s ROH on HonorClub. ROH Women’s Champion Athena, Women’s TV Champion Red Velvet, Billie Starkz and Leyla Hirsch will battle in a four-way with the winner advancing to a four-way on January 5th in the Tokyo Dome against representatives from AEW, CMLL and Stardom. The show will feature a contract signing between ROH World Champion Chris Jericho and Matt Cardona for their impending Final Battle match. Ahead of their Tag Team title defense against The Righteous at Final Battle, the Sons of Texas (Dustin Rhodes & Sammy Guevara) will be in non-title action. The show will see title defenses by ROH Pure Champion Lee Moriarty against Matt Taven, and NJPW Strong Tag Team Champions Grizzled Young Veterans against MxM Collection. The lineup also features the return of Madison Rayne, Toa Liona vs. Lee Johnson, and The Outrunners vs. Tony Nese & Ariya Daivari. ********** It’s the penultimate show before Final Battle 2024 on December 20th! That said, there’s still an awful lot of room on the card (only three matches announced so far), so let’s see if tonights ROH on HonorClub can fill in some blanks. So it made total sense that the show started with a Qualifying match for a non-ROH Tournament! Wrestle Dynasty International Women’s Cup qualifier: Athena defeated Red Velvet, Billie Starkz and Leyla Hirsch It started with a promo from Billie Starkz that was quickly interrupted by the ROH Women’s Champion, Athena who turned it into a MeM. She asked Starkz for an apology for her behaviour the last few weeks, oh, and also to lay down for Athena so she can win their 4-way International Women’s Cup qualifier. Starkz protested, but Athena reminded her that she owed her and danced away. Hirsch and Velvet, slated to meet at Final Battle for Velvet’s ROH Women’s TV Title, glared at each other. Starkz didn’t offer up a Code of Honor to Athena off the top and Athena (after telling the other women they suck) left the ring and did jumping jacks to let the other three fight. In said fight, Starkz sent Velvet to the outside and kicked the much shorter Hirsch in the face. Velvet returned with a high crossbody onto Starkz and Hirsh. Athena then threw Velvet into the barricades. From there, the match went back and forth until everyone put everyone else into a submission lock. They all got tired at the same time and let go though. Starkz began cleaning house, executing a triple swan dive and got back-to-back two counts. She stared at a prone Athena, but did not try and pin her. Athena then used Hirsch as a spingboard to hit a hurricanrana on Starkz. Velvet and Hirsch tried to hit a suplex off the top rope on Athena, but Starkz ran in and TRIPLE superplexed them. Starkz had Hirsch pinned, but Athena broke up the count. The two argued and Athena commanded Starkz to lie down. Before she could though, Velvet knocked both to the outside where Hirsch double clotheslined them. Hirsch and Velvet gave us a Final Battle preview, going one-on-one while Starkz and Athena recovered. Hirsch seemed to get the better of Velvet, but before a pin could be made, Starkz jumped in and tossed Hirsch out. Athena then shoved Starkz out of the ring and pinned a stunned Velvet to win the match and advance in the tournament. The Outrunners (Turbo Floyd & Truth Magnum) defeated Premier Atheletes Tony Nese & Ariya Daivari (W/Josh Woods and Mark Sterling) The Outrunners are everyone’s favourite throwback tag team and have quickly moved into prime positions in the AEW Tag Hierarchy. The Premier Athletes want everyone to say they “rule” instead of “suck” when cued. This match marks the return of Tony Nese who’s been off TV relentlessly celebrating the birth of his twins. The Athletes entered to Sterling’s usual rap and the Outrunners entered to a huge pop from the audience. Nese and Magnum started things off with a quick posedown (Magnum won) and Nese cheap shotted him to get him isolated in the corner. Magnum fought out and tagged in Floyd who Atomic Dropped Nese. Diavari jumped in and got a double atomic drop for his trouble. Later, Daivari and Nese double teamed Magnum and tossed him to the outside for Sterling and Woods to stomp on. Nese pulled them back into the ring and then missed corner shots, allowing Magnum to fight his way to a hot tag to Floyd. Floyd exploded into the ring, slamming Daivari and Nese in quick succession. At this point, Magnum fell with Daivari on his shoulder, causing a brief pause in the action while his knee was checked. Nese hit a pumphandle driver on Floyd that got a two count. A few pie-faces later and Floyd was Turbo-Charged and fought off both Daivari and Nese and Magnum joined him to deliver a double elbow and Total Recall to get the win. -Dustin Rhodes joined us from the back to speak about the Righteous. Rhodes says there’s no quit in him or his family, so they can play their little mind games, but it wont get them the ROH Tag Titles. He called out Dutch specifically and the Bull Rope that Dusty gave him. Rhodes said that even though Dutch knew his father, he never understood him. Dutch has crossed the line and at Final Battle, it will be a double Bull Rope match! Madison Rayne defeated Allysin Kay Rayne, best known for her run in TNA as a 3-time Knockouts Champion, had her last ROH match way, way back on ROH on HonorClub episode 25, in which she picked up a win over Dani Mo. Since then, she’s been working behind the scenes as a producer and this match would be her big return to action. Kay, the definition of “journeywoman” has wrestled for over SEVENTY different promotions in her career. Her most recent ROH match was a Proving Ground match against ROH Women’s TV Champion Red Velvet a few weeks back. These two veterans were pretty much guaranteed to have an awesome match, and it absolutely was. Kay had the strength advantage on Rayne, but there was no ring rust there. Both women traded shots and holds, looking for the other one to make a mistake somewhere. Rayne hit a hurricanrana from the top rope, and then a crucifix driver on Kay to get the pin and win the match. Super fun! -Next, The Dark Order joined us in the back. Last week, the Grizzled Young Veterans (GYV) harassed an extra they felt shouldn’t have gotten lunch before they did. The Dark Order’s John Silver saw this and wasn’t impressed, so he stole their scarves, which he and Evil Uno and Alex Reynolds had a good laugh about. So this week, Silver and Raynolds did a hilarious(?) impression of of GYV. The Veterans saw what was going down and stormed over. Reynolds and Silver fought back, but Uno stepped in the middle and glared at his Dark Order buddies, as if disappointed in their antics. Toa Liona defeated Lee Johnson Last week, Liona and his Gates of Agony partner, Bishop Kaun picked up a win over Griff Garrison and Preston Vance. This week, Liona looks to go at it alone against Ring of Honor super-worker, Lee Johnson. Johnson (who has a gigantic tag partner of his own in EJ Nduka) has fared pretty well in singles matches in 2024 (11 wins, 4 losses) but has failed to put any kind of gold around his waist. This match had a fast start with Liona’s strength and Johnson’s speed keeping them even as they ran through a bunch of quick moves and holds. Johnson made the fatal mistake of trying to chop Liona, which as you can imagine only made him madder. Johnson tried kicks and knees, but Liona took them all. Johnson went high for a frog splash, but Liona kicked out at two. Johnson popped up looking for the Big Shot Drop, but Liona powered out of it, smashing Johnson with a top rope sit-down drop for the pin. After the match, Liona tried to pick up Johnson, but the two started fighting. Liona hit a big kick on Johnson and that brought out the very large EJ Nduka. The two big men stared each other down until Lion left and Nduka helped Johnson to his feet. NJPW Strong Tag Team Champions Grizzled Young Veterans (James Drake & Zack Gibson) defeated MxM Collection (Mansoor & Madden) So as mentioned above the Veterans have been beefing with the Dark Order (specifically Reynolds and Silver, after Silver stole their scarves) and had an altercation with them earlier in the evening. Which led directly to this NJPW Strong Tag Team Championship match against... (checks notes) MxM Collective for some reason. Also John Morrison was there. With all that out of the way, tips were touched and Gibson started off against Mansoor. Drake jumped in, but Mansoor reversed it into a double neckbreaker. That brought the tag to Madden who dominated the legal man, Drake. Madden tried to forcibly make Drake touch tips (I do not like that sentence) and Drake caught a flurry of offense. Mansoor found himself isolated in the GYV corner with Gibson and Drake wailing on him. He tried a long-distance tip-touch to bring in Madden, but no dice as Drake and Gibson started a brawl. They eliminated Madden and then hit a high splash on Mansoor for a two-count. Madden hit the ring and took out both Drake and Gibson with side kicks and slams. Mansoor tagged in and Gibson tossed Madden into the stairs on the outside. That left Mansoor alone against Drake and to be choked with a scarf by Gibson behind the ref’s back. GYV finished Mansoor off and retained their titles. Also, John Morrison was there. -Backstage, Board of Director Member Paul Wight joined us from the back to announce that Jay Lethal will be coming back to ROH at Final Battle! Lethal, anxious to get into the title picture, asked who his opponent would be, but before Wight could answer, QT Marshall arrived. He lamented the idea that Lethal might get a title shot before he does. The two fought and Wight made the match for Final Battle: Jay Lethal vs QT Marshall! ROH Classic Match: Shane Taylor vs Kenny King in a Fight Without Honor (Final Battle 2021, Baltimore, Maryland) What can I say about this match? It’s two very violent men doing violence to each other and doing it very well. Ladders, tables, trash cans, Kendo sticks, all used and destroyed in the first FEW MINUTES of this match. Super fun and worth a watch! ROH Tag Team Champions Dustin Rhodes & Sammy Guevara defeated Eric Dillinger & Josh Crane Rhodes and Guevara have been ROH Tag champions since Mid-August, when they took the titles from the Undisputed Kingdom. From there, they’ve had a handful of title defenses, a Bunkhouse Brawl and a bunch of multi-team/person matches. As mentioned earlier, they’ve currently got The Righteous waiting for them at Final Battle and possibly somewhere in the arena tonight. As for their opponents, I couldn’t find anything on Crane, but Dillinger is the Asylum Wrestling Revolution (AWR) Champion and has been since 2022! Crane and Guevara started things off, but Rhodes and Dillinger brawled on the outside. Rhodes left him laying and tagged in and out with Guevara, trading strikes on Crane in the corner. Dillinger tried to help his partner, but was tossed onto his prone partner for a Guevara standing slam. Rhodes tagged in and took a punch each from Dillinger and Crane. Rhodes was sent to the corner and came out with a big boot to Dillinger. Guevara tagged in and met Dillinger and Crane with a high crossbody. A Texas Destroyer and a GTH followed by a CrossRhodes ended things with Guevara getting the pin on Crane. Suddenly, the Righteous’ music hit and they ran down the ramp. Vincent grabbed a mic and called Dutch back, addressing Guevara and Rhodes. Vincent asked the crowd if they wanted to see these two teams fight TONIGHT. They responded in the affirmative, but Vincent decided that they didn’t deserve it. Vincent ran down Dusty with a “polka dots” joke, causing Rhodes to grab a chair as the Righteous beat a hasty exit.HOUSTON, Dec. 12, 2024 (GLOBE NEWSWIRE) -- Freight Technologies, Inc. (Nasdaq: FRGT, “Fr8Tech” or the “Company”), a logistics management innovation company, offering a diverse portfolio of technology-driven solutions that address distinct challenges within the supply chain ecosystem, today announced that the Company has adjourned its 2024 Annual Meeting of Stockholders (the "Annual Meeting"), originally scheduled to be held on December 12, 2024, to Friday, December 13, 2024 at 1pm, Monterrey, Mexico time, in order to provide stockholders additional time within which to vote on all proposals. The Annual Meeting was convened to consider proposals (the “Proposals”) presented in the Notice of 2024 Annual General Meeting of Members dated October 28, 2024, which is also available on the Company’s website at https://fr8technologies.com . At that time, there were not present in person, virtually or by proxy, a sufficient number of shares of the Company's common stock to constitute a quorum, leading to adjournment. At the time the Annual Meeting was adjourned, proxies had been submitted by holders representing 44.67% of the shares of the Company's common stock issued and outstanding on the record date and entitled to vote at the Annual Meeting. During the period of adjournment, the Company and its proxy agent, Broadridge Financial Solutions, will continue to receive votes from the Company's stockholders with respect to the proposals set forth in the Proxy Statement. Proxies which have been received will remain valid for the adjourned Annual Meeting. Holders of the Company’s ordinary shares whose names are on the register of members of the Company at the close of business on October 24, 2024 are entitled to attend the adjourned Annual Meeting. Shareholders who have not yet cast their votes are encouraged to do so by voting online as described in proxy instructions delivered in connection with the Annual Meeting. About Freight Technologies Inc. Freight Technologies (Nasdaq: FRGT) (“Fr8Tech") is a technology company offering a diverse portfolio of proprietary platform solutions powered by AI and machine learning to optimize and automate the supply chain process. Focused on addressing the distinct challenges within the supply chain ecosystem, the Company’s portfolio of solutions includes the Fr8App platform for seamless OTR B2B cross-border shipping across the USMCA region; Fr8Now , a specialized service for less-than-truckload (LTL) shipping; Fr8Fleet , a dedicated capacity service for enterprise clients in Mexico; and Waavely , a digital platform for efficient ocean freight booking and management of container shipments between North America and ports worldwide. Together, each product is interconnected within a unified platform to connect carriers and shippers and significantly improve matching and operation efficiency via innovative technologies such as live pricing and real-time tracking, digital freight marketplace, brokerage support, transportation management, fleet management, and committed capacity solutions. The company is headquartered in Houston, Texas. For more information, please visit fr8technologies.com . Forward-Looking Statements This press release includes “forward-looking statements” within the meaning of the “safe harbor” provisions of the United States Private Securities Litigation Reform Act of 1995. Fr8Tech’s and Fr8App Inc.’s actual results may differ from their expectations, estimates and projections and, consequently, readers should not rely on these forward-looking statements as predictions of future events. Words such as “expect,” “estimate,” “project,” “budget,” “forecast,” “anticipate,” “intend,” “plan,” “may,” “will,” “could,” “should,” “believes,” “predicts,” “potential,” “continue” and similar expressions (or the negative versions of such words or expressions) are intended to identify such forward-looking statements. These forward-looking statements involve significant risks and uncertainties that could cause the actual results to differ materially from those discussed in the forward-looking statements. Most of these factors are outside Fr8Tech’s and Fr8App Inc.’s control and are difficult to predict. Factors that may cause such differences include, but are not limited to: (1) the inability to obtain or maintain the listing of Fr8Tech’s ordinary shares on Nasdaq; (2) changes in applicable laws or regulations; (3) the possibility that Fr8Tech or Fr8App Inc. may be adversely affected by other economic, business and/or competitive factors; (4) risks relating to the uncertainty of the projected financial information with respect to Fr8App Inc.; (5) risks related to the organic and inorganic growth of Fr8App Inc.’s business and the timing of expected business milestones; and (6) other risks and uncertainties identified, including those under “Risk Factors,” to be filed in Fr8Tech other filings with the Securities Exchange Commission. Fr8Tech cautions that the foregoing list of factors is not exclusive. Should one or more of these risks or uncertainties materialize, or should underlying assumptions prove incorrect, actual results may vary materially from those indicated or anticipated by such forward-looking statements. Fr8Tech and Fr8App Inc. caution readers not to place undue reliance upon any forward-looking statements, which speak only as of the date made. Fr8Tech and Fr8App Inc. do not undertake or accept any obligation or undertaking to release publicly any updates or revisions to any forward-looking statements to reflect any change in their expectations or any change in events, conditions or circumstances on which any such statement is based.NEW DELHI: With Children's Day just behind us, India Inc has a timely opportunity to assess the progress of its childcare and parental policies , especially since these benefits became mandatory in 2017. Increasingly, companies are budgeting for childcare/daycare expenses as part of the HR policies. The number of companies offering structured daycare benefit plans has surged five-fold since then, with prevalence rising from 30% to 90% over the past two years, says a survey shared exclusively with TOI. Along with increased budgets and offerings, many companies are also making childcare benefits more inclusive. This reflects a broader shift towards supporting all employees in balancing work and family responsibilities. The daycare support programme for employees is mandated as per the The Maternity Benefit (Amendment) Act of 2017, which says employers with 50 or more employees must provide a creche facility. "Daycare benefit is no longer just a policy on paper. Companies are going beyond legal requirements to improve employee engagement by supporting parents with extended daycare benefits, such as creches near home (or flexible daycare options), increased corporate funding or subsidies for daycare fees and expanding these benefits to all working parents, not just mothers. From almost 85% of the surveyed companies not allocating funds or offering this benefit in 2017, now a small number - only 17% - do not have an allocated daycare budget," Ketika Kapoor, founder, Proeves, one of the largest aggregator and booking platform for daycares/preschools, told TOI. In 2022, around 70% of the surveyed companies activated the daycare benefit programme to get working parents back to office (as part of return to office campaigns). The survey studied about 52 companies across sectors of FMCG, BFSI, manufacturing, services and IT/ITES. Surabhi Kaul, people & culture director, Sanofi (India) says: "Our childcare benefit policy not only offers 75% of the annual daycare fee, it also covers 50% of the monthly daycare fee at Sanofi-assessed and approved centres. Parents can avail of this benefit for up to three children, aged six months to 10 years as against the mandated six-year cap for childcare provision. Additionally, Sanofi's equal parental leave not only grants time-off to new parents of any gender, it also offers paternity leave of 14-weeks, which is above industry norms." Currently, majority of surveyed companies allocated between 0-5% of their total HR budget to daycare-related expenses. While these budgets may be modest, what's significant is the growing focus by companies on investing in these mature benefits to support working parents. This shift could also signal a broader change in priorities, moving beyond the millennial-centric trends that have dominated startup culture in recent years. Ashish Kumar, CHRO at Meesho, said, "We have made it a priority to create a people-centric workplace that evolves with the needs of our employees. Our Childcare Benefits and Parental Wellness Programme exemplifies this commitment, offering gender-neutral support based on caregiving roles.'' Further, Fidelity Investments is supporting associates through a convenient, inclusive, and flexible daycare policy covering children up to age six and available to associates of all genders, Narayanan Vijayaraghavan, head - compensation and benefits, of the company said. Ready to Master Stock Valuation? ET's Workshop is just around the corner!
NoneButler's trey with :04 left gives Fightin Maidens win over Whitehouse
Most Asian currencies subdued heading towards year-end; S.Korean markets riseThis article was originally published on March 2, 2021, ahead of Brooklyn Museum’s retrospective exhibition “Lorraine O’Grady: Both/And.” O’Grady died at the age of 90 on December 13, 2024. On a very hot day in September 1983, the artist Lorraine O’Grady dressed in all white, pinned a pair of white gloves to her shirt, and joined the annual African American Day Parade in Harlem. The other participants were marching bands, Black community groups, and brands; O’Grady had entered her own float, an empty nine-by-15-foot gold-painted wooden picture frame that she’d built with friends and mounted upright on a flatbed. As it made its way along Adam Clayton Powell Jr. Boulevard, the frame captured the people and sights on both sides of the street within its gilded bounds. O’Grady had hired 15 young Black performers who walked and danced alongside it, carrying smaller golden frames that they held up before members of the crowd. Big black letters on either side of the flatbed proclaimed ART IS ... O’Grady, then 48, had decided to become an artist just six years before, after two marriages, an attempt at a novel, and stints as a translator and rock critic. She was still finding her footing, running up against both a white art world that ignored and dismissed Black artists and a Black one that, she felt, was sometimes too eager to play it safe. The float was a conceptual statement, a rebuttal to a Black social-worker acquaintance who’d told her, “Avant-garde art doesn’t have anything to do with Black people!” As Art Is ... rolled by, Black paradegoers smiled and posed and mugged for the frames held up by O’Grady’s performers, shouting, “That’s right! That’s what art is. We’re the art!” “I’ve never had a more exhilarating and completely undigested experience in my life,” she later wrote. O’Grady hadn’t publicized Art Is ... , telling just a handful of peers about it; there was no review, no public feedback aside from what she got from participants. “I thought no one had noticed,” she told an art historian many years later. It wasn’t until the late aughts that she would pull out of storage hundreds of slides taken by friends and onlookers at the parade and turn 40 of them into an installation. Once it caught curators’ attention, Art Is ... would become one of her best-known works, helping to cement her belated status as a trailblazer. It only took decades. O’Grady is now 86, a warm and intellectually formidable presence. Dressing almost exclusively in black — often in a leather jacket and tight pants or leggings that hug her thin form — she wears chunky silver jewelry and favors red lipstick. She usually styles her dark curly hair up and forward in a kind of punk-inflected Afro (although the pandemic has forced it into a gray-and-white ponytail). She tends to lean toward you when she speaks, sliding smoothly between two levels of conversation: an accessible one, punctuated by her infectious laugh, and a more rarefied zone. She’s equally given to long, sometimes meandering stories and profoundly succinct expressions of complex ideas. This is as true in public conversations as in private ones. Speaking at a 2015 conference at the National Museum of Women in the Arts, wearing a rubber gorilla mask as part of the anonymous feminist activist group the Guerrilla Girls, she delivered an earnest seven-minute dissection of the phrase “women and artists of color” and the way it leaves out people who are both. At the end, she quipped: “This problem is defeating us, and, I mean, it defeats me, because any time I try to get a language, it just doesn’t work on a poster!” O’Grady has made art using collage, performance, photo installation, and video. She has written criticism and curated shows. She has studied Egyptology and European modernism. Through every medium and subject, she has built a body of work that asserts two key ideas: the centrality of Black women and their stories and the ways in which hybridity — of people, cultures, ideas — has shaped the modern Western world. These are also the central themes of her life, as a Black middle-class Caribbean American woman who has never fit neatly into prescribed categories. “I always felt that nobody knew my story, but if there wasn’t room for my story, then it wasn’t my problem,” she said. “It was theirs.” Now the artist is the most visible she’s ever been — a situation that she’s still getting used to. In November, Duke University Press published a collection of her texts, Writing in Space, 1973–2019 , and the Brooklyn Museum is set to open her first-ever retrospective, “Lorraine O’Grady: Both/And,” on March 5. It not only gathers art from her entire career but also marks the debut of her first new performance persona since the early ’80s. O’Grady and I have known each other since 2014, when she reached out to thank me for a blog post I’d written about her. When we logged on to Zoom on a recent Friday night, she was sitting at a desk in her apartment in Westbeth — a Manhattan artists’-housing complex where she has lived since 1976 — that currently doubles as her home and office. She was in a narrow hallway between her tiny kitchen — I spotted an abundance of books, vitamin bottles, and Tupperware — and her “bedroom,” a makeshift nook with a bed wedged between a filing cabinet and two bookcases. (“This is terrible, isn’t it?” she joked.) She was more subdued than the last time I’d seen her, a few years ago. She’d been pulling a lot of all-nighters lately in order to work on the new performance, the book, and the retrospective. Still, her lower energy appeared to be about more than just exhaustion; she seemed circumspect about “making it” at 86. “The current moment is a strange one, because you can’t say nothing has changed, but you can’t say that anything significant has changed,” she said. “ ‘The Other’ has remained safely bracketed as ‘the Other.’ ” If more Black artists — and, crucially, Black women artists — are showing and selling their work now than ever before, they’re still mostly working within systems that were originally designed to exclude them. The new recognition is exciting. It also throws into relief the decades spent without it. What does it mean for an artist like O’Grady, who has spent her career as a gate-crasher, to finally be welcomed in? Lorraine’s parents, Lena and Edwin O’Grady, were both born in Jamaica, but they met at a cricket match in Boston in the 1920s. Lorraine was born on September 21, 1934, 11 years after her older sister, Devonia. The girls grew up first on an Irish immigrant block, then a Jewish one; the little West Indian community they were part of was centered on an Episcopal church. Lena and Edwin had both come from well-educated upper- and middle-class families in Jamaica, but upon arrival in the U.S., they’d been forced into working-class jobs. Boston was a heavily white city at the time, and O’Grady said her class-conscious parents didn’t relate to many of the African Americans there, including upper-class Black Bostonians. “They felt that they were looked down on,” she said. “They had different styles, different tastes, different everything. They couldn’t bridge the gap, and they didn’t want to, actually — I think it was self-defense.” Still, she remembers that when her mother spoke to other members of the exclusive Black women’s social club she’d joined, she tried to disguise her Jamaican accent. “It would drive me nuts,” O’Grady said, “to see her contorting herself. I liked the way she talked.” O’Grady has said her parents adhered to “British colonial values.” This meant, in part, that she received a rigorous education that would lead her to Wellesley College, which she attended on scholarship and where she was one of only a few Black women to enroll. Her studies were briefly interrupted when, in 1953, near the end of her sophomore year, she married a man she’d met through one of her former classmates — a star athlete at Tufts — and had a son with him. O’Grady managed to finish school, deciding to “get practical” and switch her major from Spanish literature to economics. She went to work as a research economist and intelligence analyst for the federal government, but the stability she’d been seeking never came. “I had several days when I woke up and said to myself, Nobody here is ever gonna know who I am, and I have to find a way to say who I am, ” she said. So she quit her job. Her marriage had recently ended. Then her sister, Devonia, died, at the age of 38. It was the early ’60s, and O’Grady was in a moment of deep personal crisis. She left her young son with his father — a decision she still struggles with today, although they have since worked on their relationship and become closer — cashed in her retirement savings, and went to Europe, looking for a way to say who she was. She wouldn’t find the right way to do it for years. By the late ’70s, she’d started (then abandoned) a novel, started (but not finished) studies at the Iowa Writers’ Workshop, married (and then separated from) a filmmaker she met at Iowa, took over a successful translation business in Chicago, and moved to New York, where she kept writing, this time rock criticism for The Village Voice and Rolling Stone. Then she got a job as an adjunct instructor at the School of Visual Arts. The art world, she realized, was one she didn’t know anything about. She went looking for books to learn more. She picked up one by the critic Lucy Lippard about conceptual art. “I had read art books before, but they hadn’t hit me,” she said. This one she read cover to cover. “I knew at the end of reading it that this was something I could do and be good at.” Not long after that, she had a breast-cancer scare; when her biopsy came back negative, she decided to make a newspaper collage as a present for her doctor, on whom she had a crush (taking inspiration from the Surrealist André Breton, whose work she taught at SVA). She began looking through the Sunday New York Times and found herself cutting out phrases for a poem instead. When she completed it, she thought it was too good to part with. For nearly six months thereafter, she created a work every Sunday, calling the project “Cutting Out the New York Times.” By the time she was done, she had become an artist. “The problem I always had was that no matter who I was with or what I did, I got bored pretty quickly,” said O’Grady. “This was something I knew I would never get bored with, because how can I get bored? I would always be learning, and I would never, ever master it. That was part of the appeal.” Within a few years, she started hanging out at Just Above Midtown, a nonprofit gallery devoted to avant-garde African American art that Linda Goode Bryant had opened in 1974. O’Grady found her way in by volunteering there, which she now calls a “bougie thing to do — ‘Oh, I’ll lick stamps! I’ll lick envelopes if you want!’ ” She got to know Black artists for the first time in her life, people like David Hammons, Senga Nengudi, Maren Hassinger, and Dawoud Bey. It was a community of support and possibility. “The condition of my life until I came to New York and joined Just Above Midtown was that no matter where I went, I was always going to be the only Black person in the room,” O’Grady said. Still, even among the JAM artists, she didn’t feel entirely seen; her life experience wasn’t considered a “typical” Black American narrative. Her family didn’t come from the South and hadn’t experienced American slavery; she’d grown up more class than race conscious. O’Grady has said that before she entered the art world, she considered herself “post-Black.” Coming face-to-face with racial discrimination, she embraced her Blackness — but she still identified, and continues to, as a Caribbean American, rather than as African American. “It was difficult, even in the New York art world, to mention a connection to the Caribbean without feeling as if I were somehow claiming superiority,” she told an interviewer for her Brooklyn Museum catalogue. “But what if those are the problems you are dealing with?” Rather than shrinking from this difference, O’Grady mined it for her work. In 1980, she had originally planned to attend her 25th reunion at Wellesley. Instead, she debuted a performance persona that would allow her to both enter and critique the art world at the same time: Mlle Bourgeoise Noire, otherwise known as Miss Black Middle-Class, of Boston. This avatar came to O’Grady one day as she was walking through Union Square. The artist imagined her as the winner of an international beauty pageant held in Cayenne, French Guiana, in 1955. She was, perhaps, a version of O’Grady that might have existed in an alternate reality. One night in June, when JAM had an opening, O’Grady showed up unannounced (to everyone except Goode Bryant) wearing a crown, sash, and gown and cape she had made out of 180 pairs of white gloves, acquired from thrift stores around the city. Accompanied by her brother-in-law playing her master of ceremonies, O’Grady as Mlle Bourgeoise Noire circulated among the guests, smiling as she passed out white chrysanthemums. When she’d given them all away, she donned a pair of above-the-elbow white gloves and began to whip herself with a white cat-o’-nine-tails, before shouting a short poem that ended with the line “Black art must take more risks!!!” Then she left. “When she told me about Mlle Bourgeoise Noire and that she wanted to do this, I wondered to myself, Will she take creative risk? ” recalled Goode Bryant. “That night answered it. That took so much courage.” Goode Bryant explained that although people in the crowd knew O’Grady, they’d never seen her art and didn’t necessarily anticipate something so radical from the woman who’d been writing the gallery’s press releases. “I don’t know that I expected she would be so stark in her reveal of the layers and contradictions,” Goode Bryant said. “I knew she was on her way at that point.” The following year, O’Grady crashed another opening in the same fashion, this time for a New Museum show that featured nine white contemporary artists who adopted personae in their work. The museum had invited O’Grady to participate in an education program but not to show her own art. (Even that offer was rescinded after her guerrilla performance.) “I was furious at the segregation and the assumptions that the white art world made every day without even thinking about it,” O’Grady said. “But nobody was really saying anything. Everybody was still trying to play nice. I hadn’t been established — I had nothing to lose.” Mlle Bourgeoise Noire became her instrument for calling out the segregation of the New York art scene. Within the next two years, she organized an exhibition that featured 14 white and 14 Black artists, as well as the Art Is ... performance, under the guise of the character. “The thing that feels so distinctive about Lorraine is she confounds so many different people’s expectations,” said Zoé Whitley, who has curated the artist’s work and is now the director of London’s Chisenhale Gallery. When O’Grady was starting out, Whitley said, she faced a dearth of models and options — especially as a Black woman making performance art, which was relatively new and considered by many to be a white genre. She “was really pushing boundaries in terms of gender and race and class or even what art mediums she should adopt,” Whitley said. “She didn’t ask anyone for permission or wait for that to be granted; she accorded that power to herself.” Not all of O’Grady’s early work was so confrontational. In 1982, she staged Rivers, First Draft, or The Woman in Red, an ensemble piece with 17 participants, in Central Park. Starring O’Grady as the titular character, the performance loosely told the story of her navigating the antagonisms of the art world to find her voice as an artist against the backdrop of her Caribbean and New England roots. It was less of a straightforward narrative than what O’Grady called “a collage in space”: Three versions of her at different ages appeared separately and simultaneously, moving through different sequences and actions until, at the end, they united and walked together through a stream. “I would say that the Mlle Bourgeoise Noire project, those pieces were not the core of my work,” she told me. “The core was this other work that combined self-exploration with cultural critique.” That quality grew more pronounced over time as she abandoned performance and moved her work to the wall. Her first solo show, at INTAR gallery in midtown in 1991, featured a group of photomontages now collectively titled “Body Is the Ground of My Experience.” These surreal, playful, and sometimes dark pieces, such as The Fir-Palm, which shows a composite tree springing from a Black woman’s navel, posit Black women’s bodies as a kind of ground zero for Western culture — a subject O’Grady continued to investigate the following year with “Olympia’s Maid.” Referencing the Black woman in Manet’s 1863 painting Olympia, this groundbreaking essay asserted the need for Black women to reclaim their subjectivity. One line perfectly sums up her ethos: “Critiquing them does not show who you are: it cannot turn you from an object into a subject of history.” Soon after, O’Grady would add a postscript: Western culture is structured by binaries and a logic of either-or — good versus evil, black versus white — that create supremacies. The solution is to embrace the concept of “both/and,” the coexistence of supposed opposites. Plurality and hybridity as the norm. “Look, I’m not somebody who tries to say we’re all the same. The differences are real,” O’Grady told me. “The problem isn’t the differences. The problem is the hierarchization of the differences.” The idea of “both/and” has manifested most clearly in her use of diptychs — for instance, placing images of the ancient Egyptian queen Nefertiti next to photographs of her sister in the work Miscegenated Family Album ; between them, there is an implied connection, a gap, and a tension. It’s also there in the multiplicity of a piece like Rivers, the duality of both gazing outward and in, and in O’Grady herself, a product of several heritages, “living on a hyphen,” as she put it. It informs her overall approach, which is to treat everything as unfixed. O’Grady was constantly refining her ideas, but she still wasn’t finding the audience she wanted. Even her solo exhibition hadn’t been received as she’d hoped: Operation Desert Storm started the week before it opened, gluing New Yorkers to their TVs. The show was important to her, said O’Grady, “but it was like a stone dropping into the middle of the ocean.” 1977/2017: Lorraine O’Grady, Cutting Out CONYT 12, 1977/2017 . O’Grady’s first act as an artist was a series of collages called “Cutting Out the New York Times,” which she made by cutting up the paper’s Sunday editions. Forty years later, she reprinted and reshuffled her earlier work, creating a new series of tense, poetic diptychs. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1980/1994: Lorraine O’Grady Miscegenated Family Album (Cross Generational), L: Nefertiti, the last image; R: Devonia’s youngest daughter, Kimberley, 1980/1994. A series of diptychs pairing depictions of the Egyptian queen Nefertiti with photos of O’Grady’s late sister, Devonia, and Devonia’s family. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1980–83/2009: Lorraine O’Grady, Untitled (Mlle Bourgeoise Noire and her Master of Ceremonies enter the New Museum), 1980-83/2009. O’Grady’s first performance persona, whom she imagined as a 1950s Caribbean Bostonian beauty queen. She crashed exhibitions at Just Above Midtown gallery and the New Museum, with her brother-in-law playing her master of ceremonies. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1982/2015: Rivers, First Draft. Staged at the Loch in Central Park, this group performance rolled out as a dreamlike autobiography for O’Grady, in which versions of herself from disparate points in her life coexisted simultaneously. Here, Lorraine O’Grady, Rivers, First Draft: A Little Girl with Pink Sash memorizes her Latin lesson, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: Their flirtation begins, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: The Woman in White eats coconut and looks away from the action, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: The Debauchees dance in place, and the Woman in Red catches up to them, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: The Woman in Red hesitates outside after the Black Male Artists in Yellow eject her, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: The Nantucket Memorial guides the Woman in Red to the other side of the stream, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1991/2019: The Fir-Palm , 1991/2012. A photomontage series that positions Black women’s bodies as the foundation of Western culture. In this image, a woman’s navel sprouts a composite fir-palm tree, a visual of O’Grady’s relationship to both New England and the Caribbean. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1983/2009: Art Is ... (Man With a Camera), 1983/2009. O’Grady’s intervention at the annual African American Day Parade in Harlem, in which crowd members were celebrated with golden picture frames. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 2020: Family Portrait 2 (Getting Dressed), 2020. O’Grady as her new performance persona, Lancela, with an assisting performer. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York By the early aughts, O’Grady was living in California, where she’d moved for a full-time position at UC Irvine. Things had been quiet for her; she was still making work, but she wasn’t showing much. Then, around 2005, Connie Butler, a curator at the Museum of Contemporary Art, Los Angeles, got in touch and told O’Grady she wanted to include Mlle Bourgeoise Noire in a major exhibition of feminist art called “ WACK! ” The invitation was a catalyst. “I knew it would be the one opportunity I had to be visible,” O’Grady said, “because I had been invisible, let’s face it.” She also knew the show alone wouldn’t cut it — there had to be a place where people could go to learn more about her work. She made a website and started cataloguing her career, posting images of her work online along with her own descriptions and texts by others. It was a digital showcase as well as an archive. She was building the architecture of her own recuperation. One of the works she returned to around this time was Art Is ... She started by making a slideshow for her website, which led to a wall installation; her new gallery, Alexander Gray Associates, showed it at an art fair, where it attracted the attention of curators. (The piece has become so popular that, last fall, the Biden-Harris campaign used it, with O’Grady’s permission, as the inspiration for a victory video; O’Grady was thrilled and humbled.) After decades of being sidelined by New York’s biggest institutions, she was included in the 2010 Whitney Biennial. The ground was shifting. The art world had become a much more diverse and integrated place than the one O’Grady had entered in the ’80s, and Black feminist artists and curators were looking for their predecessors. “It’s one of those things where you find your foremothers after the fact,” said the artist Simone Leigh, who has included O’Grady in several projects, helping to raise her profile. Leigh, who is also the child of Jamaican immigrants, considers O’Grady a mentor; the two grew close over dinners at a Jamaican restaurant in Brooklyn. “She created a way of seeing that was very supportive to everything I was trying to do.” The Brooklyn Museum show is the apex of a slow-moving process as well as an opportunity to expand the frame of reference beyond Mlle Bourgeoise Noire and Art Is ... , which have become O’Grady’s best-known pieces. “She’s been allowed in in these two kinds of ways, which has been at the expense of the entire career, ultimately,” said Catherine Morris, the senior curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. Morris and the writer Aruna D’Souza organized the show with curatorial assistant Jenée-Daria Strand. (D’Souza also edited O’Grady’s book, Writing in Space .) O’Grady hopes a return to performance — with a new character, a knight named Lancela — will help illuminate her previous work. Inspired by the books about King Arthur she read as a girl at the Boston Public Library, O’Grady had her own suit of armor forged for the part, one that weighs 40 pounds and is so well crafted that she can run and dance in it. Palm trees sometimes sprout from the helmet — a Caribbean signifier atop a Western trunk. Part of the appeal, too, is that the armor gives her a chance to perform without showing any markers of her identity. “When you take away age, race, color, everything, what’s left?” she asked. “What never goes away?” It may seem strange that an artist whose work emerged from her unshakable sense of self would want to obscure those things. But there’s a logic to it, when you consider that the white Establishment shut out not just O’Grady but an entire generation of Black artists because of who they were. “I thought that when I had the retrospective, there would be this great big moment when I would go into the galleries and see all of my work at the same time, in the same place, and have this big Aha! ” she said. “But it’s already happening with the questions that I’m receiving.” She meant the questions that I and other interviewers had been sending to her ahead of the show. “They have made me understand how much all of us who did not have that attention lost in the ability to grow. The engagement of the audience, which involves a back-and-forth of question-and-answer, is the thing that was missing.” O’Grady was frank early in her career that she felt the true audience for her art hadn’t arrived yet, that she was making work for viewers still to come. She now recognizes that her audience is here, and after decades spent contextualizing and cataloguing her own art, of finding and strengthening her own voice, she’s eager to hear what others have to say — how they interpret the creations of a woman who has found so many different ways to tell her story, casting it in the harsh light of reality or the hazy glow of dreams. “The whole point of my wanting to be an artist was to find out who I was,” she said, “and to make it clear to everybody else what that meant.” *This article appears in the March 1, 2021, issue of New York Magazine. Subscribe Now!
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