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Become a Member The Metropolitan Museum of Art in New York is a famous destination for art enthusiasts, so it should come as no surprise that those on its staff are some of the biggest art lovers to pass through its galleries and corridors every day of the week (except Wednesdays). “There’s definitely a community around art in the museum that’s different from other places,” Amanda Rothschild, an employee in the museum’s technology department, told Hyperallergic on Tuesday afternoon, November 26. Her work is among the nearly 700 included in Art Work: Artists Working at The Met , a sweeping survey spotlighting the talents and creativity of The Met’s staff. Like many of her colleagues, Rothschild took a moment in her workday to peruse the show, which features her 2020 painting of a sink in a Greenpoint coffee shop. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities On view in Gallery 199 through December 1, the show is part of a biannual Met tradition since 1935, but this is only the second time it has been open to the public . And much like the museum’s own encyclopedic collection, it is a hodgepodge of paintings, embroidery, ceramics, digital art, etchings, and even taxidermy by 640 staffers across every department in the museum, from librarians, conservators, and technicians to security staff and volunteers. Exhibition Design Manager Daniel Kershaw, who has overseen the installation of the show for the last three decades, told Hyperallergic that this year’s edition has nearly double the works of past exhibitions. “Because of the amount of press that it got last time and the opportunity for the public to see it, everybody decided that they want to put something in,” Kershaw said. The installation took six days plus a few long evenings and some work over the weekend. “It was completely beyond anything I’ve ever dealt with before,” Kershaw said. Still, he maintained: “It’s just a lot of fun.” Kershaw, like many of his colleagues, has work in the show — an architectural model for a future exhibition that will be publicized at a later date. It is displayed across from a digital photo print and pen sketch entitled “Shore Dream” (2022) by security staffer Thom Gallucio, who said he made the work as an homage to Seaside Heights. He considers himself more of a musician than a visual artist, but he told Hyperallergic that he always participates in the staff shows, usually contributing sketches. Further down the wall hangs a photographic portrait and a bubblegum-pink dress, which is visitor experience coordinator Henry Schreibman’s reinterpretation of Laura Wheeler Waring’s painting “ Girl in Pink Dress ” (1927) included in the museum’s recent Harlem Renaissance exhibition. Around the corner in a side room, a caricatured sculpture of President-elect Donald Trump as a baby by security staffer Lambert Fernando is on display adjacent to a massive oil painting of Kamala Harris holding a bejeweled saber, inscribed with metallic text that reads, “We Are Not Going Back...” The work, named after Harris, is by museum volunteer Roxanna Melendez. “Everyone has the capacity to make art,” Micah Pegues, a video producer on The Met’s social media team, told Hyperallergic . This year was also her first time participating in the show, which she described as a “uniting experience.” She contributed a woven photographic work entitled “Collapsed Time” (2024), consisting of interlaced photographs of her great aunt and her great-great-grandparents from a family reunion in Muskogee, Oklahoma. It is on view above an intricate quilt by volunteer Amy Olsen, in the same room as Johnathan Lewis’s taxidermied mouse, portrayed as an artist holding a palette in one paw and a red paintbrush in the other. “It’s really a testament to the people who work at this museum,” Pegues said. 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 FacebookSportradar to Participate in the Morgan Stanley Consumer & Retail Conference
Ruud van Nistelrooy ‘disappointed’ and ‘hurt’ after cutting ties with Man UtdFast charging is a key topic of discussion when it comes to electric vehicles, and when the GEN3 car was introduced two seasons ago, it should have become a key theme in Formula E, too. Now, after a long wait, Pit Boost is finally set to arrive. Pit Boost will have drivers come in for a 30-second pit stop to top up battery levels by 10 percent at 600kW power. It will provide a key strategy instrument, with drivers already only starting the race with around half the energy they’d need to complete it flat-out. The additional 10 percent will change how the useable energy is deployed in the race, potentially opening the door for more aggressive running, and less energy management — not to mention when you choose to make the stop for the top-up. It’s that last point that’s proved to be one of the stumbling blocks when it’s come to the introduction of in-race fast charging. Along with typical technical hurdles, the FIA had to work out just how you fit meaningful pit stops into races that are shorter than the other FIA world championships that feature stops. More Formula E! With new U.S. investment and Porsche power, rebranded Cupra Kiro aims high in Formula E FE a viable alternative to F1 for open-wheel talent - Fittipaldi Barnard and NEOM McLaren earning their stripes fast “In Formula E, we have always been looking to innovate and introduce the most advanced technologies and of course this always comes with challenges,” Pablo Martino, head of Formula E at the FIA, tells RACER. “We have had some challenges from a technical point of view that have required further validation testing to happen before the introduction of this Pit Boost in Season 11. We have also had some sporting challenges because of course it’s not easy in a 45-minute (race) to use a pit stop; but we are ready to move forward and introduce this new technology in Formula E.” It won’t be at every race, though. Pit Boost charging will feature at doubleheader events — and in only one of the two races on those weekends, too — in a deliberate move to provide variety in terms of race types and strategies over the course of the season. “This has been a decision that was taken at the beginning of the project,” Martino explains. “Basically, Formula E races have no need to have this extra energy; however, we believe that the Pit Boost will create an additional strategy element. Races with this 10 percent extra energy are going to be totally different to the races without the Pit Boost.” Choosing the right window for Fast Charge will open a new strategic element for Formula E’s frenetic races. Motorsport Images The technology for Pit Boost differs to the current charging infrastructure in Formula E. Already, an 80 kW charger provided by series partner ABB charges the cars from zero to 100 percent using power from the local power grid at races. The pit booster comes from Fortescue zero (previously known as Williams Advanced Engineering) and is designed to provide 10 percent of the car’s battery capacity in a fast 600kW boost. The pit boosters are not connected to the local grid at all times either, storing the energy they put into the cars in a battery. Now that the technology has arrived, the development won’t stop. While Formula E has just introduced its updated GEN3 Evo, work on the GEN4 car that will succeed it in 2026 is ongoing. While wholesale changes aren’t anticipated, lessons learned over the next two years will be implemented when GEN4 arrives. “We are always trying to think six, seven years ahead of the mass production technologies, so of course we are now in the process of finalizing the definitions of the GEN4 project,” says Martino. “On the car side it’s already quite defined. We are still working with different charger suppliers in order to determine who will be the charger producer for GEN4. Of course, depending on the choice we take, the technology will be a little bit different. “That doesn’t mean that we are going to change the technology radically. We still consider the 600 kW Pit Boosters are going to continue being at the front in terms of technology in a couple of years’ time when the GEN4 is introduced, but of course any of the learnings from these upcoming two seasons will be implemented sporting-wise in Season 13 onwards.” As it evolves its own fast charging systems, Formula E hopes to help propel the technology forward for road-going electric cars. Sam Bagnall/Motorsport Images Road relevance is a big part of Formula E, and while current roadside charging technology differs from what Formula E is bringing in, Martino believes we could see crossover within the next half-decade, although he acknowledges that it will be a big undertaking. “Today, with road car technology, the fastest chargers are operating at 350 kW, which is already a really big amount of power, but the technology behind them is quite different,” he says. “The road relevancy is super-important for us as a championship, but also the manufacturers involved in the championship, so from their side, they always work on how to make races more relevant for the street cars for the road. We, as the FIA, on the technical side and also on the sporting side, also work with that objective in mind. “We hope to see, in the next five years, similar power capacities for the street. That will probably be a turning point for the charging infrastructure but of course it’s quite technologically demanding, so it’s something that is a little bit complex to see. “But the technology is there, not only with the chargers, but the batteries. One of the biggest challenges for the Pit Boost is to have batteries capable of working with 600 kW power, so this technology is quite demanding and complex to implement. But we foresee that its implementation on the streets will continue evolving at the same pace that it’s evolving today.” The first chance to see Formula E’s Pit Boost in action will be at the Jeddah E-Prix in Saudi Arabia on Feb. 14-15. Before that, the season continues in Mexico City on Jan. 11.
The Defense Logistics Agency is integrating artificial intelligence and zero trust into to help protect operational technology systems from cyberattacks through two Phase 1 contracts under the Small Business Innovation Research program. DLA said Wednesday the first SBIR contract, which concluded in September, integrated AI into the cyber digital twins to help detect anomalies associated with potential cyberthreats. Under the second contract, DLA is combining zero trust with cyber digital twins to mitigate unauthorized data access and improve the overall security of OT systems. This SBIR contract is expected to be completed by September 2025. “The insights we learn from cyber digital twins can help DLA continuously strengthen security measures for the agency and our partners,” Humphrey noted. “This helps us build a more resilient cybersecurity posture.”A Comprehensive Look At Mooka’S Ebay Automation ServiceThe Light to Night Festival is returning for its ninth edition from Jan. 17 to Feb. 6, 2025. The festival will take place at multiple locations within National Gallery Singapore and the Civic District including: A post shared by Light to Night Singapore (@lighttonightsg) There will be over 70 programmes, including large-scale light projections, art installations and interactive public activities. This year's theme, "Do You See Me?", invites reflection and celebration of key national milestones such as Singapore's 60th anniversary of independence and the Gallery’s 10th anniversary. A post shared by Light to Night Singapore (@lighttonightsg) Admission to the festival is free, with certain ticketed programmes available. Here are some of the event's highlights: This projection mapping showcase will feature local artists using the facades of buildings in the Civic District as canvases for art projections. Photo courtesy of National Gallery Singapore. This installation consists of six large-scale inflatable sculptures resembling tropical ferns in the middle of Padang. It offers a supersized view of nature's details that are often overlooked in Singapore's urban environment. Photo courtesy of National Gallery Singapore. The street festival will offer food, drinks, dance performances and live music. It will be open on all three festival weekends. Photo courtesy of National Gallery Singapore. Location: St Andrew’s Road This multi-floor installation imagines the rural industrialisation of Vietnam's Central Highlands. Suspended pillars that reference farming structures found in peppercorn plantations. Photo courtesy of National Gallery Singapore. Location: Street level of National Gallery Singapore's Padang Atrium The immersive installation is inspired by the artist's experiences as a visually impaired person. Location: National Gallery Singapore's Auditorium Foyer Ticketed programmes The Living Room offers identity-driven activations, drop-in craft workshops, artist talks and DJ sets by EATMEPOPTART. Photo courtesy of National Gallery Singapore. Dates: Jan. 17 to Feb. 6, 2025 Timings: Location: Singapore Courtyard, National Gallery Singapore Pre-registration is required. This casual platform encourages art appreciation by engaging individuals from various industries. Curators and creatives share their personal stories behind selected artworks. Photo from National Gallery Singapore's website. Dates: Time: 9am to 9:45pm This immersive experience combines storytelling and theatre. Photo from National Gallery Singapore's website. Dates: Timings: Ticket price: S$20 per person This interactive experience blends art, technology and gameplay. Photo from National Gallery Singapore's website. Dates: Jan. 17 to Feb. 6, 2025 Time: 10am to 7pm Ticket price: From S$28, pre-registration required Visitors get to solve puzzles, uncover secrets and explore the museum in this immersive murder mystery game of discovering how art shapes our identity. Photo from National Gallery Singapore's website. Dates: Jan. 17 to Feb. 6, 2025 Timings: Ticket price: S$12 per person, pre-registration required For more details and to book tickets, visit the Light to Night Festival's website . Top images via National Gallery Singapore and Light to Night Festival's Instagram.
Royal Bank of Canada Issues Positive Forecast for Edwards Lifesciences (NYSE:EW) Stock Price
Share Tweet Share Share Email On Monday, Waymo , a firm owned by Alphabet, revealed that it will begin testing its driverless cars in Tokyo in early 2025 as the first step towards globalisation. TakeAway Points: Waymo, which is owned by Alphabet, says that in early 2025, it will start testing its robotaxis in Tokyo, Japan. This is the first step the company has taken to expand internationally. Waymo has established development collaborations with taxi operator Nihon Kotsu and taxi-hailing service Go in Japan, although it has not yet committed to launching commercial operations there. Waymo to test in its first international destination Waymo hasn’t committed to start commercial service in Tokyo yet, but the robotaxi developer will partner with Japan’s largest taxi operator, Nihon Kotsu, and taxi app GO to start testing its Jaguar I-PACE vehicles in Tokyo’s streets. To start, Nihon Kotsu drivers will manually operate the Waymo vehicles to map key areas of the Japanese capital, including Minato, Shinjuku, Shibuya, Chiyoda, Chūō, Shinagawa, and Kōtō. Data from the crewed test drives will help train the company’s AI systems. Waymo will also test its robotaxis on a closed course in the U.S. built to mimic driving conditions in Japan. This is the first phase of the partnerships, which will last several quarters, Waymo said, adding that it expects to remain in Japan for an extended period. “Our upcoming road trip to Tokyo gives us the chance to work alongside local partners, government officials, and community groups to understand the new landscape,” Waymo said in a statement. “We’ll learn how Waymo can serve Tokyo’s residents and become a beneficial part of the city’s transportation ecosystem.” Nihon Kotsu will oversee the management and servicing of Waymo’s vehicles in Japan, the companies said. Waymo to Expand across US Waymo announced a series of expansions across the U.S. in 2024. Earlier this month, the company announced new testing in Miami in 2025; it made its driverless ride hail service available across Los Angeles in November; and in September, it announced planned expansions into Austin and Atlanta in partnership with Uber. The move into Japan marks the company’s first in a left-hand traffic market. Both the Japanese national government and Tokyo Metropolitan government see driverless technology as a potential boon to the country’s ageing population, according to research by the World Economic Forum. Tokyo has designated certain areas as “test zones” for self-driving cars, hoping to hasten the arrival of safe driverless transportation systems there. Several developers are working on autonomous vehicles in Japan, including local startup Tier IV and ZMP, a robotics company that is testing delivery vehicles and buses in Tokyo. Monet Technologies, which is partly owned by Toyota, announced plans to test a self-driving taxi service in Tokyo’s Odaiba district earlier this year. Waymo’s Japan expansion announcement comes a week after General Motors announced it was abandoning its Cruise robotaxi division. Honda, an outside investor in Cruise, said that it aimed to launch a driverless ride-hail service in Japan in early 2026 but would reassess those plans and make adjustments if needed. Prior to GM’s retreat from robotaxis, Cruise had been one of Waymo’s primary domestic competitors. Related Items: Tokyo , Waymo Share Tweet Share Share Email Recommended for you Waymo Plans Expansion To Miami Super Micro Shares Surge Amid GPU Quarterly Shipments Microsoft Investigates Azure, 365 Outage Affecting 25,000 Users Comments