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WASHINGTON >> President-elect Donald Trump said today that any person or company investing at least $1 billion into the U.S. “will receive fully expedited approvals and permits, including, but in no way limited to, all Environmental approvals.” The statement, posted on his social media platform Truth Social, did not offer further details. Trump’s transition team is working on a package to roll out within days of his taking office on Jan. 20 to approve export permits for liquefied natural gas projects and to increase oil drilling on federal lands and off the U.S. coast, sources familiar have said. It was not immediately clear how Trump could work around independent commissions such as the Federal Energy Regulatory Commission, which has recently required additional environmental reviews for LNG projects. The Trump transition team did not immediately respond to a request for comment. Trump, a Republican, also plans to repeal some aspects of Democratic President Joe Biden’s regulations and top climate legislation, such as tax credits for electric vehicles and new clean power plant standards that aim to phase out coal and natural gas.

Sensex choppy in early trade, Nifty holds 24,600; all eyes on domestic, US inflation data

GREGG JARRETT: Daniel Penny is not guilty but DA Bragg has done lasting damageTrump is named Time's Person of the Year and rings the New York Stock Exchange's opening bell NEW YORK (AP) — President-elect Donald Trump rang the opening bell at the New York Stock Exchange after being recognized by Time magazine as its person of the year. The honors Thursday for the businessman-turned-politician are a measure of Trump’s remarkable comeback from an ostracized former president who refused to accept his election loss four years ago to a president-elect who won the White House decisively in November. At the stock exchange, Trump was accompanied by his wife, Melania Trump, daughters Ivanka and Tiffany and Vice President-elect JD Vance. Trump grinned as people chanted “USA” before he opened the trading day and raised his fist. YouTube TV is hiking its monthly price, again. Here's what to know NEW YORK (AP) — Are you a YouTube TV subscriber? Your monthly bills are about to get more expensive again. YouTube has announced that it’s upping the price of its streaming service’s base plan by $10 — citing rising content costs and other investments. The new $82.99 per month price tag will go into effect starting Jan. 13 for existing subscribers, and immediately for new customers who sign up going forward. YouTube TV has rolled out a series of price hikes over the years. When launched back in 2017, the going price of its streaming package was $35 a month. By 2019, that fee rose to $50 — and has climbed higher and higher since. Snoop Dogg and Dr. Dre's brotherhood is still strong after 30 years with new album 'Missionary' LOS ANGELES (AP) — When it comes to music, there’s one person in particular Snoop Dogg trusts to steer the ship without question: hit-making producer Dr. Dre. Their bond, built over 30 years of brotherhood, began when Dr. Dre shaped Snoop’s game-changing debut, “Doggystyle,” a cornerstone of hip-hop history. From young dreamers chasing stardom to legends cementing their legacies, the duo has always moved in sync. Now, the dynamic pair reunites for Snoop’s “Missionary,” his milestone 20th studio album, which releases Friday. The 15-track project features several big-name guest appearances including Eminem, 50 Cent, Sting, Method Man, Jelly Roll, Tom Petty, Jhené Aiko and Method Man. Country star Morgan Wallen sentenced in chair-throwing case NASHVILLE, Tenn. (AP) — Country music star Morgan Wallen has pleaded guilty to two misdemeanor counts of reckless endangerment. He had been charged for throwing a chair from the rooftop of a six-story bar in Nashville and nearly hitting two police officers with it. Wallen appeared in court alongside his attorney on Thursday. He was sentenced to spend seven days in a DUI education center and will be under supervised probation for two years. According to the arrest affidavit, Wallen was accused of throwing a chair off the roof of Chief’s bar on April 7. The chair landed about a yard from the officers. Witnesses told police they saw Wallen pick up a chair, throw it off the roof and laugh about it. Indian teen Gukesh Dommaraju becomes the youngest chess world champion after beating Chinese rival NEW DELHI (AP) — Indian teenager Gukesh Dommaraju has become the youngest chess world champion after beating the defending champion Ding Liren of China. Dommaraju, 18, secured 7.5 points against 6.5 of his Chinese rival in Thursday's game which was played in Singapore. He has surpassed the achievement of Russia’s Garry Kasparov who won the title at the age of 22. Dommaraju is now also the second Indian to win the title after five-time world chess champion Viswanathan Anand. The Indian teen prodigy has long been considered a rising star in the chess world after he became a chess grandmaster at 12. He had entered the match as the youngest-ever challenger to the world crown after winning the Candidates tournament earlier this year. 'Vanderpump Rules' star James Kennedy arrested on suspicion of misdemeanor domestic violence BURBANK, Calif. (AP) — Police say “Vanderpump Rules” star James Kennedy has been arrested on suspicion of misdemeanor domestic violence. Police in Burbank, California, say officers investigated reports of an argument between a man and a woman at a residence late Tuesday night and arrested the 32-year-old Kennedy. He was released from jail after posting bail. A representative of Kennedy did not immediately respond to a message seeking comment. The Burbank city attorney will decide whether to file charges. Kennedy is a DJ and reality TV star who has appeared for 10 seasons on “Vanderpump Rules” — the Bravo series about the lives of employees at a set of swank restaurants. The wife of a Wisconsin kayaker who faked his own death moves to end their marriage MADISON, Wis. (AP) — The wife of a Wisconsin kayaker who faked his own drowning so he could abscond to Europe has filed a court action to end the couple's marriage. Online court records indicate Emily Borgwardt filed a petition in Dodge County Circuit Court on Thursday seeking to annul her marriage to Ryan Borgwardt. A hearing has been set for April. According to court documents, Ryan Borgwardt staged his own drowning by leaving his overturned kayak floating on Green Lake. He flew to Eastern Europe, where he spent several days in a hotel with a woman before taking up residence in the country of Georgia. He is charged with misdemeanor obstruction in Green Lake County. San Francisco names street for Associated Press photographer who captured the iconic Iwo Jima photo SAN FRANCISCO (AP) — A block in downtown San Francisco has been renamed for acclaimed photojournalist Joe Rosenthal, who won the Pulitzer Prize for his iconic photo of U.S. Marines raising the flag on the Japanese island of Iwo Jima during WWII. The longtime staff photographer for the San Francisco Chronicle, who died in 2006 at age 94, is also remembered for the 35 years he spent documenting the city's famous and not so famous for the daily newspaper. He photographed a young Willie Mays getting his hat fitted as a San Francisco Giant in 1957. He also photographed joyous children making a mad dash for freedom on the last day of school in 1965. Nearly half of US teens are online 'constantly,' Pew report finds Nearly half of American teenagers say they are online “constantly,” despite concerns about the effects of social media and smartphones on their mental health. That's according to a new report published Thursday by the Pew Research Center. As in past years, YouTube was the single most popular platform teenagers used — 90% said they watched videos on the site, down slightly from 95% in 2022. There was a slight downward trend in several popular apps teens used. For instance, 63% of teens said they used TikTok, down from 67% and Snapchat slipped to 55% from 59%. Wander Franco's sex abuse trial has been postponed 5 months PUERTO PLATA, Dominican Republic (AP) — The trial against Tampa Bay Rays shortstop Wander Franco, who has been charged with sexually abusing a minor, sexual and commercial exploitation against a minor, and human trafficking, has been postponed until June 2, 2025. Dominican judge Yacaira Veras postponed the hearing Thursday at the request of prosecutors because of the absence of several key witnesses in the case. Franco’s lawyers asked the court to reconsider the postponement, arguing Franco must report to spring training in mid-February. The judge replied that Franco is obligated to continue with the trial schedule and his conditional release from detainment.

GitHub today announced GitHub Copilot Free, a free new tier of GitHub Copilot that integrates directly with Visual Studio Code. “Now automatically integrated into VS Code, all of you have access to 2,000 code completions and 50 chat messages per month, simply by signing in with your personal GitHub account,” . “Copilot Free gives you the choice between Anthropic’s Claude 3.5 Sonnet or OpenAI’s GPT-4o model. You can ask a coding question, explain existing code, or have it find a bug. You can execute edits across multiple files. And you can access Copilot’s third-party agents or build your own extension.” Sign up for our new free newsletter to get three time-saving tips each Friday — get free copies of Paul Thurrott's Windows 11 and Windows 10 Field Guides (normally $9.99) as a special welcome gift! , it appears that the main limitation of GitHub Copilot Free when compared to the free versions is usage-based: Where GitHub Copilot Pro, Business, and Enterprise all offer unlimited messages, interactions, and real-time code suggestions each month, the free version tops out at 50 messages and interactions, and 2000 code suggestions per month. It also doesn’t offer pull request, issue, and discussion summaries, and some other high-end features. But the basics are all there: You can use different models, tailor the chat to your codebase, integrate with unlimited GitHub Copilot extensions, build your own private extensions, access core features like chat and prompt suggestions, and get code feedback in Visual Studio Code. : With this, GitHub Copilot becomes a core part of the Visual Studio Code experience. . Paul Thurrott is an award-winning technology journalist and blogger with 30 years of industry experience and the author of 30 books. He is the owner of and the host of three tech podcasts: with Leo Laporte and Richard Campbell, , and with Brad Sams. He was formerly the senior technology analyst at Windows IT Pro and the creator of the SuperSite for Windows from 1999 to 2014 and the Major Domo of Thurrott.com while at BWW Media Group from 2015 to 2023. You can reach Paul via , or . Join the crowd where the love of tech is real - become a Thurrott Premium Member today! Sign up for our new free newsletter to get three time-saving tips each Friday, /PRNewswire/ -- Oracle Corporation (NYSE: ORCL) today announced fiscal 2025 Q2 results. Total quarterly revenues were up 9% year-over-year, in both USD and constant currency, to . Cloud services and license support revenues were up 12% year-over-year, in both USD and constant currency, to . Cloud license and on-premise license revenues were up 1% in USD and up 3% in constant currency, to . Q2 GAAP operating income was . Non-GAAP operating income was , up 10% in both USD and constant currency. GAAP operating margin was 30%, and non-GAAP operating margin was 43%. GAAP net income was . Non-GAAP net income was , up 12% in both USD and constant currency. Q2 GAAP earnings per share was , up 24% in USD and up 23% in constant currency, while non-GAAP earnings per share was , up 10% in both USD and constant currency. Short-term deferred revenues were . Over the last twelve months, operating cash flow was and free cash flow was . "Record level AI demand drove Oracle Cloud Infrastructure revenue up 52% in Q2, a much higher growth rate than any of our hyperscale cloud infrastructure competitors," said Oracle CEO, . "Growth in the AI segment of our Infrastructure business was extraordinary—GPU consumption was up 336% in the quarter—and we delivered the world's largest and fastest AI SuperComputer scaling up to 65,000 NVIDIA H200 GPUs. With our remaining performance obligation (RPO) up 50% to , we believe our already impressive growth rates will continue to climb even higher. This fiscal year, total Oracle Cloud revenue should top ." "Oracle Cloud Infrastructure trains several of the world's most important generative AI models because we are faster and less expensive than other clouds," said Oracle Chairman and CTO, . "And we just signed an agreement with Meta—for them to use Oracle's AI Cloud Infrastructure—and collaborate with Oracle on the development of AI Agents based on Meta's Llama models. The Oracle Cloud trains dozens of specialized AI models and embeds hundreds of AI Agents in cloud applications. For example, Oracle's AI Agents automate drug design, image and genomic analysis for cancer diagnostics, audio updates to electronic health records for patient care, satellite image analysis to predict and improve agricultural output, fraud and money laundering detection, dual-factor biometric computer logins, and real time video weapons detection in schools. Oracle trained AI models and AI Agents will improve the rate of scientific discovery, economic development and corporate growth throughout the world. The scale of the opportunity is unimaginable." The board of directors declared a quarterly cash dividend of per share of outstanding common stock. This dividend will be paid to stockholders of record as of the close of business on , with a payment date of . Oracle will hold a conference call and webcast today to discuss these results at Central. A live and replay webcast will be available on the Oracle Investor Relations website at . Oracle offers integrated suites of applications plus secure, autonomous infrastructure in the Oracle Cloud. For more information about Oracle (NYSE: ORCL), please visit us at . Oracle, Java, MySQL, and NetSuite are registered trademarks of Oracle Corporation. NetSuite was the first cloud company—ushering in the new era of cloud computing. Statements in this press release relating to future plans, expectations, beliefs, intentions and prospects, including the expectations for converting the Remaining Performance Obligations to revenue, future total Oracle Cloud revenue this fiscal year and the scale of opportunity for Oracle trained AI models and AI Agents, are "forward-looking statements" and are subject to material risks and uncertainties. Risks and uncertainties that could affect our current expectations and our actual results, include, among others: our ability to develop new products and services, integrate acquired products and services and enhance our existing products and services, including our AI products; our management of complex cloud and hardware offerings, including the sourcing of technologies and technology components; our ability to secure data center capacity; significant coding, manufacturing or configuration errors in our offerings; risks associated with acquisitions; economic, political and market conditions; information technology system failures, privacy and data security concerns; cybersecurity breaches; unfavorable legal proceedings, government investigations, and complex and changing laws and regulations. A detailed discussion of these factors and other risks that affect our business is contained in our SEC filings, including our most recent reports on Form 10-K and Form 10-Q, particularly under the heading "Risk Factors." Copies of these filings are available online from the SEC or by contacting Oracle's Investor Relations Department at (650) 506-4073 or by clicking on SEC Filings on the Oracle Investor Relations website at . All information set forth in this press release is current as of . Oracle undertakes no duty to update any statement in light of new information or future events.

Days ahead of their march to the national capital on December 6, farmer leaders under the banner of Kisan Mazdoor Morcha (KMM) and Samyukta Kisan Morcha (Non-political) have announced that they will not use tractor-trailers to go to Delhi. Farmer unions said they were accused of using tractors to break barricades and indulge in violence, so they have decided to go to the national capital to press for their demands on foot. KMM convener Sarwan Singh Pandher said: “This time, we will not go on tractor-trailers. The Haryana and Union governments should allow us to proceed toward Delhi. We will peacefully march and if the government still uses tear gas and pellet guns then they stand exposed.” The Haryana government had time and again been reiterating that they won’t allow farmers to proceed on tractor trailers. “Farmers will march to the national capital in groups led by the union leaders,” he added. The protesting farmers have been camping at Shambhu and Khanauri border points between Punjab and Haryana since February 13, when their ‘Delhi Chalo’ march, spearheaded by the SKM (Non-Political) and the KMM, was stopped by security forces. The farmers are agitating over a plethora of demands, including legal guarantee of MSP for their produce, implementation of the Swaminathan Commission’s formula, full debt waiver for farmers, pension for farmers and labourers and withdrawal of cases against farmers during the 2020-21 protest. Pandher said they were open for the talks with the Union government if invited. “We want to resolve issues with dialogue. But the government seems in no mood to hold discussions,” said Pandher. The last meeting between the Union government and farmers unions was held on February 18 this year. Elaborating on their plan to move towards Delhi, Tejveer Singh, spokesperson, BKU Shaheed Bhagat Singh, said the first group of around 50 farmers, will be led by leaders Satnam Singh Pannu and Surinder Singh Chautala. He added that the second group would be led by farmer leader Surjit Singh Phul. Meanwhile, the five-member high-powered committee appointed by the Supreme Court to address agrarian issues affecting farmers and farm workers is learnt to have completed its report. The apex court had constituted the committee on September 2 to address various demands of farmers who have been protesting since February, including a legal guarantee of minimum support price (MSP) for crops. The committee, headed by a former Punjab and Haryana high court judge, has already met various farm unions and agriculture experts before finalising the issues, people familiar with the development said. The committee has already engaged with SKM (Non-political), which had submitted a charter of demands last month to the committee while the Kisan Mazdoor Morcha (KMM) had refused to hold talks with the panel.US stocks rally despite Trump tariff threat but European stocks fall

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 . 2024 was a bustling year for art in New York, with blockbuster exhibitions at museums, museum-level shows at galleries — especially a few new, nearly museum-sized galleries in Tribeca, the city’s reigning art hub — and nonprofits and artist-run spaces presenting some fresh faces and engaging programming. Art censorship also came to the fore this year as we got a glimpse into the interests and politics of museums, but despite it all, there was so much great art to see. It was hard for Hyperallergic ’s staff and contributors to compile our favorites with so many strong shows to choose from, but below are the ones that made us think, nourished our souls, introduced us to under-recognized artists, cultures, or histories, and most of all, just blew us away. — Natalie Haddad, Reviews Editor Joyce Kozloff: Collateral Damage DC Moore Gallery , January 6–February 3, 2024 Organized by the gallery I arrived on the last day of this beautiful exhibition to find a series of map works by the veteran of the Pattern & Decoration movement. Kozloff turned each graphic into a rich surface teeming with danger, cultural memory, and possibilities. Joyce Kozloff demonstrates how painting continues to be a point of conflict — not only in art but in the way we see the world or, as we’re bombarded with information, the way we refuse to look away. — Hrag Vartanian Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities Apollinaria Broche: In the distance there was a glimpse Marianne Boesky Gallery , January 24–March 2, 2024 Organized by the gallery A moving display of whimsical ceramic and bronze sculptures that seem to have stepped out of someone’s dreamspace. There’s a sense of romanticism throughout Apollinaria Broche’s art and in this show an eerie pop soundtrack helped to transport the viewer into a space of wonder. The title was swiped from Frances Hodgson Burnett’s 1911 children’s book The Secret Garden . It is a good choice as it captures the spirit of awe, tinged with fragility, that was very much a part of this show. I still think about it, not only for the wistful figures and plants that appear to be on the verge of almost disappearing, but for that spirit. — HV Medieval Money, Merchants, and Morality The Morgan Library & Museum , November 10, 2023–March 10, 2024 Curated by Diane Wolfthal and Deirdre Jackson This unexpectedly in depth exhibition focused on the culture of money in the European Medieval and early Renaissance eras, and included numismatic displays, old manuscripts, prints by Albrecht Dürer, paintings by Fra Angelico, Jan Gossaert, Hans Memling, and even Hieronymus Bosch’s riveting “Death and the Miser” (c. 1485–90) on loan from the National Gallery of Art in DC. The Morgan did a fantastic job of introducing the culture of commerce and early capitalism without falling for clichés. I left this show understanding the complexity of money and its role not only in life but in the art of the era. — HV Richard Mosse: Broken Spectre Jack Shainman Gallery , January 12–March 16, 2024 Organized by the gallery This exhibition was the soft launch of Jack Shainman Gallery’s new space by City Hall, and it seemed perfectly in tune with a collective desire these days for spaces that allow the viewer to reflect and process the world around them through art. Irish artist Richard Mosse gave us a multi-channel exploration of the environmental devastation in the Amazon. The visuals were gorgeous even when we were faced with the anger of a young Indigenous woman who will not let you forget your privilege as consumers of her resources. — HV Aki Sasamoto: Point Reflection Queens Museum , December 6, 2023–April 7, 2024 Organized by Hitomi Iwasaki, Head of Exhibitions/Curator Aki Sasamoto’s wacky humor about the drudgeries of middle-class life reached peak existentialism in her first museum exhibition. The show played a sneaky trick on viewers: Sure, you get amused by installations showing Magic Eraser cubes dancing in the air with snail shells, or by watching the artist crawl in and out of industrial pipes in her performances, but soon after leaving you struggle to push away the question: What kind of life am I living? — Hakim Bishara Kay WalkingStick / Hudson River School The New-York Historical Society , October 20, 2023–April 14, 2024 Curated by the artist and Wendy Nālani E. Ikemoto It was fantastic to see Kay WalkingStick paired with the artists of the Hudson River School, because it allowed her art to be in direct dialogue with much of the imagery she has grappled with for decades. Juxtaposed with canvases by Asher B. Durand, Albert Bierstadt, and others, WalkingStick challenged us to question what is “objective” in the colonial gaze and how the lies of “manifest destiny” continue to infect our ideas of nature in North America and beyond. — HV Jim Dine: The ’60s 125 Newbury , March 15–April 20, 2024 Organized by the gallery Jim Dine’s career has gone through many changes since his first exhibition at the Reuben Gallery in the 1960s, where he also staged the performance “Car Crash” in 1960. Because of all these transformations, and the wide range of techniques he has mastered, from printmaking to drawing to painting to sculpture, not to mention his poetry, his art cannot be characterized. What would a retrospective of his work like, if it were to cast a backward gaze from the vantage point of 2025, when the artist, who shows no sign of slowing down, turns 90? These questions occurred to me when I saw this show, which revealed two aspects of the artist’s work that I had not fully grasped in the past. First, drawing was there from the beginning. Second, Dine believes physical labor and art making are essentially interchangeable. On Templon gallery’s website, he is quoted as saying: “When you paint every day, all year long, then the subject is essentially the act of working.” For Dine, there is neither a gap between art and life (as with Robert Rauschenberg) nor a disdain for labor (as with Andy Warhol). Dine’s belief in labor explains why many of his works project a sense of joy, as the sheer act of making is one that gives the artist pleasure. Many pleasures are to be found in Dine’s work, which is far more complex and varied than the art world has given him credit for. He attached objects to all 11 paintings in the exhibition (which also included two sculptures incorporating tools or workmen’s clothing and two pairs of drawings — one based on color charts, the other depicting a paintbrush). His commemorations of industriousness are at fundamental odds with the art historians, critics, and curators who have asserted that Pop Art is about boredom and picks up where Marcel Duchamp left off; he celebrates labor while eschewing commercial products and mechanical means. As the art world focused on erasing the hand from art and championed fabrication, Dine neither wavered from nor fetishized his belief in the bond between art and labor. — John Yau Mira Schor: Wet Lyles & King , March 27–May 4, 2024 Organized by the gallery Over the last five decades, Mira Schor has forged a body of work rooted in feminist thought and encompassing its evolutions. The fact that her deceptively delicate rice-paper Dresses from the 1970s pulse with relevance today (and that her canvases from the past year, portraying faceless women in deeply hued expanses, are just as timeless) made this thematic survey an ambitious undertaking — and all the more thrilling to take in. The show captured visitors from the start with a salon-style hang of framed works at its entrance and a riveting selection of Schor’s expansive multi-paneled canvases, including “ Pardon Me Ms. ” (1989), in which an ear metamorphosing into a penis zooms through space like a projectile, inseminating a smaller ear with the liquid red stripes of the United States flag. Tender, funny, tough, and serious, WET was a spirited tribute to an artist’s living legacy. — Valentina Di Liscia Beatrix Potter: Drawn to Nature The Morgan Library & Museum , February 23–June 9, 2024 Curated by Philip Palmer For many, the name Beatrix Potter will immediately evoke a whimsical, cozy world of personified bunnies gathering blackberries and getting tucked into bed by an apron-wearing Mrs. Rabbit, or a group of dapper toads at a tea party. But the universally cherished British children’s book author and illustrator was also a mycologist, botanist, and committed land preservationist, among other lesser-known roles brought to the forefront in this exquisite survey. The exhibition encompassed not only artworks from Potter’s most beloved tales, but also early sketches, letters, manuscripts, books, and photographs that radiated with her deep affection for the natural world. Carefully curated, the show was tender and heartfelt, but not the least bit cutesy. — VD None Whatsoever: Zen Paintings from the Gitter-Yelen Collection Japan Society , March 8–June 16, 2024 Curated by Tiffany Lambert; the presentation at Museum of Fine Arts, Houston, was curated by Bradley M. Bailey and Yukio Lippit The collection of Alice Yelen Gitter and Kurt Gitter was a great introduction to zenga , which is what the painting associated with Japanese Zen Buddhism is called. Hakuin Ekaku, considered one of the most influential figures in the genre, was showcased with his excellent “Two Blind Men Crossing a Log Bridge” (18th century), which curator Yukio Lippit explained is one of the best known zenga works outside of Japan. Among the other works on display, a large cross section of scroll paintings highlighted the intellectual interests of Zen. This show was a great exploration of the themes that illuminate why the Japanese understanding of Zen continues to have wide appeal. — HV Americans in Paris: Artists Working in Postwar France, 1946–1962 Grey Art Museum , March 2–July 20, 2024 Curated by Lynn Gumpert and Debra Bricker Balken Starting at the end of World War II, more than 400 servicemen went to Paris to study art, subsidized by the G.I. Bill, including artists of color, as well as many women. As demonstrated by this landmark exhibition, this resulted in racial and gender diversity in Paris that was not mirrored in the ascending New York art world. Among the 70 artists included, viewers got to see early pieces by James Bishop, Norman Bluhm, Ed Clark, Ralph Coburn, Shirley Goldfarb, Carmen Herrera, Sheila Hicks, Shirley Jaffe, Kimber Smith, and Shinkichi Tajiri, all of whom went on to create singular bodies of work. With the exception of Herrera, who received a major exhibition at the Whitney Museum of American Art, Carmen Herrera: Lines of Sight (September 16, 2016–January 9, 2017), curated by Dana Miller (though Herrera was more than 100 years old by then), the artists I listed deserve to be better known, even though not all of them returned to the United States or settled in New York. Being in Paris was instrumental for many, as they gained firsthand experience of different European traditions, from the chance operations of Hans Arp to the saturated colors of Henri Matisse. What this exhibition conveys is the cross pollination that took place in Paris after their eyes were opened to new possibilities. — JY The Harlem Renaissance and Transatlantic Modernism Metropolitan Museum of Art , February 25–July 28, 2024 Curated by Denise Murrell At the Metropolitan Museum, curator Denise Murrell arranged an enlightening collection of artworks representing a pivotal cultural era following World War I: the Harlem Renaissance. The artistic, literary, and scholarly movement traversed Black America and beyond, with the namesake New York City neighborhood at its center. The exhibition posits Alain Locke, author of The New Negro , as a vanguard of the landmark movement, highlighting his philosophies on class and racial uplift alongside the movement’s prolific development of arts and literature. Borrowing from the repositories of Historically Black Colleges and Universities like Howard, Hampton, and Fisk, the exhibition is decorated with works revealing the day-to-day curiosities, experiences, and philosophies of 20th-century Black life, like Laura Wheeler’s pensive portraits and photographs by James van der Zee. “The Block” (1971) by Romare Bearden, offers a stretching view of a bustling Harlem street across six panels; Aaron Douglas’s massive canvases depict Black American history through grandiose, mythic visuals. Other collected works help make sense of sociocultural trends — like the Great Migration, famously represented by collagist Jacob Lawrence — giving a peek at, and helping conceptualize the larger ethos of, a burgeoning Black modernism. — Jasmine Weber Video Works at the 2024 Whitney Biennial Whitney Museum of American Art , March 20–August 11, 2024 Curated by Chrissie Iles, Meg Onli, Min Sun Jeon, and Beatriz Cifuentes If anything stood out at this year’s Whitney Biennial, it was the videos. Artists including Sharon Hayes ( Ricerche: four , 2024), Nyala Moon (“Dilating for Maximum Results,” 2023), and Penelope Spheeris (“I Don’t Know,” 1970) all showed works that navigated LGBTQ+ themes with nuance and humor, while Christopher Harris ( Still/Here , 2001), Edward Owens (“Remembrance: A Portrait Study,” 1967), Diane Severin Nguyen ( In Her Time (Iris’s Version) , 2023–24), and many more explored racism, memory, and colonial histories, to name a few topics with which most of us can connect in some way. Hayes’s engrossing two-channel video installation had a homey feel, with mismatched chairs inviting visitors to listen to different generations of queer people in discussion (it’s a shame that the 60-minute film itself couldn’t be streamed on Mubi, like many of the videos). Other standout works included Seba Calfuqueo’s visually stunning “Tray Tray Ko” (2022), Madeleine Hunt-Ehrlich’s poetic look at Suzanne Césaire, “Too Bright to See (Part I)” (2022), and Isaac Julien’s grand, room-sized installation Iolaus/In the Life (Once Again. . . Statues Never Die) (2022). While we all enjoyed works in various media, film and video really made this biennial. — NH Painting Deconstructed Ortega y Gasset Projects , May 18–August 24, 2024 Curated by Leeza Meksin What is a painting? That was the question posed by this exhibition, answered spectacularly by 45 envelope-pushing artists from various backgrounds and disciplines. Their paintings jumped out of the walls, burst out of their frames, or cosplayed as sculptures. It was a remarkable feat by this artist-run gallery, and a joy to behold. — HB Suchitra Mattai: We are nomads, we are dreamers Socrates Sculpture Park , May 11–August 25, 2024 Curated by Kaitlin Garcia-Maestas Half a year has passed since I visited Suchitra Mattai’s sculptures in Queens. They’ve been taken down, a chill has settled over the park where they once stood, and much has changed in both my life and the world around me. I still think about them every day. The Guyanese-American artist’s intuitive approach to line and color endowed these mirrored forms with a heartbeat. Woven from everyday saris that were previously worn and loved, they recall the ocean’s linkage to histories of Indo-Guyanese indentured labor and the shape of both South Asia and South America. The more time I spent with them, the more new interpretations they conjured. They could be coral reefs, clouds, continents, or creatures from another world, but one thing was certain: They were alive. — Lakshmi Rivera Amin Pacita Abad MoMA PS1 , April 4–September 2, 2024 Curated by Ruba Katrib and Sheldon Gooch; the presentation at the Walker Art Center, Minneapolis, was curated by Victoria Sung and Matthew Villar Miranda Filipina artist Pacita Abad was an empath, a roving intellectual, a truth-teller, a soul queen, a woman of the world. She journeyed between continents, visiting some 60 countries, to soak up local traditions and feel the pain of others on her skin. She stitched all these experiences into spellbinding quilt-like trapunto paintings, using everything from shells and beads to water bottle caps and toothpaste tubes. New Yorkers had a rare chance to see so many of her magnificent works in one place thanks to this unforgettable exhibition. — HB LaToya Ruby Frazier: Monuments of Solidarity Museum of Modern Art , May 12–September 7, 2024 Curated by Roxana Marcoci, Caitlin Ryan, and Antoinette D. Roberts LaToya Ruby Frazier’s MoMA retrospective lived up to its title in many ways. Monumental in scale and scope, the exhibition, featuring works from across two decades of the artist’s career, asked big questions about the meaning and enactment of solidarity, and the reasons why it’s so deeply necessary in a world that feels ever more atomized. While many know the intimate black and white photographs Frazier has taken over the years in her Rust Belt hometown of Braddock, Pennsylvania, they might be unaware of her three-act series on the Flint, Michigan, water crisis through the experiences of Shea S. Cobb, a poet, activist, and mother from the city; her moving collaboration with fellow artist Sandra Gould Ford focused on the racially segregated and dangerous realities of work inside the steel mills that once dominated the region where they both grew up; her steady and probing gaze as the final car left the line at the now-shuttered General Motors plant in Lordstown, Ohio; and her pilgrimage to capture the legacy of United Farmworkers Association co-founder Dolores Huerta. Viewers got a taste of how the artist builds intimacy, connection, and a shared sense of struggle with those she features and collaborates with in her work; we were also pushed to ask ourselves about our own community ties, and about where and when we would act for those with whom we live, work, and love. — Alexis Clements Frank Walter: To Capture a Soul The Drawing Center , June 21–September 15, 2024 Curated by Claire Gilman To Capture a Soul packed in a lot. Along with dozens of the late Antiguan artist’s paintings and drawings, two walls and multiple vitrines displayed archival materials documenting his labyrinthine genealogy, which he had made efforts to trace; his professional life — in 1948 he became a rare person of color in a managerial position at the Antiguan Sugar Syndicate; his travels throughout the UK to study industrial technology; other creative outlets, including books and poetry; and the home studio he built later in life in rural Antigua. Although Walter’s aesthetic can evoke naive art, particularly in his simplistic renderings of the human figures that occasionally enter his imagery, he was no hobbyist. Creativity flowed through his veins, and he honed it whenever he had the chance. The archival materials were important context, but his mostly small landscape paintings are Walter’s great legacy. Thin layers of oils, often with visible brushstrokes adding texture, transform abstract color fields into idyllic realms — Antigua, Scotland — pared down to basic forms and awash in radiant color. In “Untitled (Lavender sky, black bird formation),” birds blackened by the dusk light soar in formation from a black landmass against a dark mauve sky, above a crimson sea. The painting holds Rothko and Turner in the balance, but that’s beside the point: It’s sublime on its own. In another work, among the archival materials and easy to miss, Walter created an entire bucolic landscape through nothing but strata of grayish white and grassy greens. His paintings are less to look at than to live within. — NH Sonya Clark: We Are Each Other Museum of Arts and Design , March 23–September 22, 2024 Organized by the Museum of Arts and Design; Cranbrook Art Museum, Bloomfield Hills, Michigan; and the High Museum of Art, Atlanta Sonya Clark has a unique ability to hack our culture by finding a contentious form that forces us to reconsider what we thought we already knew. Her “Monumental” (2019) project about the actual white dishcloth flag of surrender used by Confederate forces is a good example. She also frays Confederate flags in a way that makes them appear very fragile and vulnerable, while her work with Black hair is striking in the way that it renders a symbol of racist hierarchies into something that turns it into a beautiful object deserving careful attention. Each one of her projects was a delight to explore in this compact show that gracefully demonstrated her brilliance. — HV Leon Golub: Et In Arcadia Ego Hauser & Wirth , September 5–October 19, 2024 Conceived by Rashid Johnson As I wrote in September, Golub’s art “aims at the gut more than the mind.” The paradox of this show is that these searing political works were all the more gutting because Hauser & Wirth — a blue-chip commercial gallery — has the means to showcase them properly (the up side is that commercial galleries are free to enter). Still, there’s nothing like the experience of being surrounded by these massive, vitriolic paintings from the 1980s, in a space that lets them breathe but allows them to feel monumental, even overwhelming. At the right time, they could be seen in relative solitude, and in those moments the paintings’ brute figures or crimson color fields seemed to teem with perverse energy. Golub’s art treads a fine line between condemning and fetishizing violence, and the mercenary paintings on view here may be his ultimate achievement. In this fairly intimate space they were visceral enough to bring their chilling realities of police brutality, war crimes, and torture — everyday events, then as now — up close, in all their nauseating grandeur. — NH Nan Goldin: You never did anything wrong Gagosian , September 12–October 19, 2024 Organized by the gallery To be enraptured by art’s sublime beauty is the dream of anyone who’s tired of seeing things as they are. Nan Goldin had that experience in the palatial museums of Paris, where she began seeing the faces of friends and lovers from over the years in classical masterpieces portraying gods, nymphs, and satyrs. Her short film “Stendhal Syndrome” is an entrancing record of that episode. It was juxtaposed with “you never did anything wrong, Part 1” (both from 2024), a moving video work that gazes empathetically into the expressive eyes of animals during a total solar eclipse. Both films were a generous invitation to take part in a transcendental moment. — HB Rafael Lozano-Hemmer: Caressing the Circle Bitforms Gallery , September 4–October 26, 2024 Organized by the gallery Rafael Lozano-Hemmer is always on the cutting edge of art and tech, but in this show his “Transparency Display” (2024), which he developed with his own “pixel glass” technology, suggested that he might be considering industrial uses for this attractive technology, potentially influencing the way we interact with windows. Lozano-Hemmer always sparks excitement and wonder in his projects, which often look like they emerged from an inventor’s laboratory. Always an innovator, his latest show was a welcome peek at the tinkering going on in his studio. More please. — HV Manoucher Yektai: Landscapes Karma Gallery , September 12–November 9, 2024 Organized by the gallery Iranian-born Manoucher Yektai is the Abstract Expressionist who is in the midst of a comeback: his gestural paintings offer a fresh chapter of the story of the New York School that has floundered in obscurity for decades. In this exhibition, his rhythmic landscapes charted a journey from European-inflected modernism to more abstract compositions that distill the mid-20th century energy of post-World War II painting. Yektai’s best paintings are situated between legibility and pure abstraction, and always made with heaps of paint. — HV Miatta Kawinzi: Numma Yah Smack Mellon , September 28–November 17, 2024 Organized by Smack Mellon Filmed in both Liberia and the US, “to trust the ground might free us (begin again)” (2024) is a moving short video that seems to wish for a world beyond flags and borders, one that heals as much as fractures. Artist Miatta Kawinzi brought a diasporic sensibility to ideas around space and belonging with this show, and transformed the Dumbo exhibition space into an otherworldly terrain that seemed to breathe with the rustle of fermenting ideas and connections. — HV Auriea Harvey: My Veins Are the Wires, My Body Is Your Keyboard Museum of the Moving Image , February 2–December 1, 2024 Curated by Regina Harsanyi Any child of the early internet will find a lot of familiarity in digital artist and sculptor Auriea Harvey’s retrospective that spanned the aesthetics of the early World Wide Web to more immersive worlds that transport you either through screen or artifact. Unlike many other digital artists, Harvey demonstrates an emotional depth that connects her work to other eras through its storytelling or metaphors. The show was a real tribute to an artist at the height of her powers. — HV Mandalas: Mapping the Buddhist Art of Tibet Metropolitan Museum of Art , September 19, 2024–January 12, 2025 Curated by Kurt Behrendt A stunning installation in the middle of the atrium in the Robert Lehman Wing of the Met Museum illustrates a thought in the process of becoming and dissipating. “Biography of a Thought” is artist Tenzing Rigdol’s atrium-size mandala bringing viewers on a journey through climate change, gun violence, and even George Floyd, as waves crash through the four sets of paintings. Throughout the installation, figures bear hand gestures that Rigdol calls “ASL [American Sign Language] mudras,” referencing natural elements and our own interdependence. Further into the exhibition, viewers are treated with a detailed view of mandalas — diagrams of the cosmos — from places like Tibet, Nepal, and China, spanning the centuries, along with physical objects, like the ritualistic vajra and a traditional trumpet, that would appear in mandalas. With 100 objects on display, plan to stay a while (it’s up into January 2025); this show rewards careful study of the various symbols, signs and images painted and woven into each mandala. — AX Mina Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies Brooklyn Museum , September 13, 2024–January 19, 2025 Curated by Dalila Scruggs, Catherine Morris, Mary Lee Corlett, Rashieda Witter, and Carla Forbes Elizabeth Catlett: A Black Revolutionary and All That It Implies succeeded at portraying the aesthetic brilliance and political depth of the distinguished artist’s work across a career of 50 years. The massive retrospective displays Catlett’s prints and sculpture depicting Black and Indigenous lives and struggles for liberation. Interactive spaces for immersion, play, and reflection follow the presentation of Catlett’s immense oeuvre. The exhibition provides didactic information to narrate the leftist politics and artistic traditions undergirding the artist’s consistent references to anti-imperialist and socialist movements as well as African and Mesoamerican artmaking traditions. The exhibition accurately historicizes Catlett as a Black American feminist artist adopted into a Mexican leftist community of artists, and a true renaissance woman whose artwork transcended both medium and national boundaries. — Alexandra M. Thomas Edges of Ailey Whitney Museum of American Art , September 25, 2024–February 9, 2025 Curated by Adrienne Edwards, Joshua Lubin-Levy, and CJ Salapare Dance and visual art — two forms in close kinship but often treated as disparate — are considered anew in Edges of Ailey , a deeply moving curation of Black diasporic art anchored by the legacy of late choreographer Alvin Ailey. Despite its ambitious range of materials, this exhibition deftly stitches together artistic traditions from the diaspora and incorporates new works made specifically for the show by Karon Davis, Jennifer Packer, Mickalene Thomas, and Lynette Yiadom-Boakye. Some of my favorite moments during my visit were encounters with familiar works in new contexts, like the 1979 Bayou Fever collage series by Romare Bearden, a close friend and collaborator of the choreographer. Situated below a clip of performances orchestrated by Ailey, Bearden’s figures, too, seemed to dance. — LRA Flow States – LA TRIENAL 2024 El Museo del Barrio , October 10, 2024–February 9, 2025 Curated by Rodrigo Moura, Susanna V. Temkin, and María Elena Ortiz One of the anchor works of El Museo del Barrio’s triennial survey of Latine contemporary art this year is Esteban Cabeza de Baca’s “Seven circles” (2023), an 18-foot-long, multi-panel painting rendered in the artist’s idiosyncratic mode of landscape abstraction. In his vision of the US-Mexico border, he warps the region’s topographical features into a wormhole composition that dizzyingly collapses distinct spaces and times — a fitting and disconcerting image for the fate of immigrant communities at the brink of a second Trump presidency. Featuring 33 artists from around the world, this exhibition is filled with wildly inventive and truly original work, from Norberto Roldan’s haunting ziggurat-shaped altars to Magdalena Suarez Frimkess’s hand-crafted ceramics unexpectedly adorned with comic-book references. La Trienal ’s curators seem to have figured out that you can’t change people’s minds or engage them in dialogue without first drawing them in, and this show does exactly that. — VD Flight into Egypt: Black Artists and Ancient Egypt, 1876–Now Metropolitan Museum of Art , November 17, 2024–February 17, 2025 Curated by Akili Tommasino Curator Akili Tommasino’s large show examines the reception of Ancient Egyptian art by Black artists. He placed Fred Wilson’s “Grey Area (Brown Version)” (1993) at the symbolic core of this show and then included a very wide range of artists, including Betye Saar, Renee Cox, Irene Clark, Damien Davis, Kara Walker, and EJ Hill, to illustrate the real impact of Egyptian art today. His exploration of the legacy of historical Egyptian art is a good reminder of how the spirit of one of the world’s oldest civilizations continues to resonate with those who can find empowerment in its imagery and stories. — HV Vital Signs: Artists and the Body Museum of Modern Art , Nov 3, 2024–Feb 22, 2025 Curated by Lanka Tattersall, Margarita Lizcano Hernandez, and Simon Ghebreyesus Organized by Lanka Tattersall with Margarita Lizcano Hernandez, this exhibition avoids the splashy expectations of other exhibitions focused on the body, instead offering a more archival and cerebral take that explores absences and residues of the human form as much as its agency or volume. While some inclusions were expected, such as Jasper Johns’s “Painting Bitten By a Man” (1961) and Nancy Grossman’s “Untitled (Double Head)” (19171), others, like Blondell Cummings’s excerpt from “Commitment: Two Portraits” (1988) and Bhupen Khakhar’s “Kali” (1965), were welcome surprises, suggesting an expansive view of the topic. Take your time here, and hopefully you’ll find some quiet moments, as the work on display benefits from your careful attention. And be sure to see the large mural project by Martine Syms outside the main galleries and overlooking the museum’s garden. — HV 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 Facebook

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