Related Hutchins Center honors 8 medalists who have made a difference At a recent reception, an eager crowd followed MacArthur “genius” and 2015 W.E.B. Du Bois Medalist Carrie Mae Weems as she wound her way through the Ethelbert Cooper Gallery of African & African American Art, stopping frequently to explain the thinking or inspiration behind her work. Many posed for pictures with the artist standing next to her images.Taken from her “Roaming” and “Museums” portfolios, the black-and-white prints show Weems, in a long black dress, standing with her back to the camera before a number of Roman landmarks and grand European museums. In the pictures she uses her body “as a vehicle for pointing at structures of power,” she told her listeners, and “to understand something about space, something about the power of architecture, how it rules over us … seduces us.”She also uses her body as a stand-in for the masses, she said, and as a way to guide viewers through history.“There’s something for you — to move past me into that space and begin to imagine what that space might contain. What it is. What it means.”Layers of meaning have always been central to Weems’ work, which addresses critical issues within the African-American experience and interlinked themes of family, gender, cultural identity, class, sexism, racism, and history. Within those concerns viewers can always find a common humanity “as a linchpin of engagement,” said gallery director Vera Grant, who curated the new show “Carrie Mae Weems: I once knew a girl …”Weems’ work transcends the “siloed conversations” that can limit art to certain groups or individuals, opening up a type of universal dialogue, Grant said.“She brings out this sense that everyone can participate in this art; to see it, to enjoy it, to listen to it, to reflect upon it.”Through the years Weems has branched out from her early black-and-white photographs to embrace video, staged productions, the spoken word, and painting. The new exhibition, the first solo-artist show at the Cooper Gallery, captures that range. New pieces and older works are among the 52 prints, video installations, and paintings organized around the themes of beauty, legacy, and landscapes.Nikki Greene (left), assistant professor of art at Wellesley College, and Carrie Mae Weems are pictured during the opening event. Stephanie Mitchell/Harvard Staff PhotographerThe show opener is a wall covered with the recent “Sites of Production,” a color print of the artist again facing away from the lens. Clad in her black dress, she is gazing out over a virtual balcony on the set of the hit TV show “Empire.” It’s a striking introduction, and a clever counterpoint to one of the last works in the exhibition. “When and Where I Enter — Mussolini’s Rome” shows Weems again in front of a balcony, once more with her back to the camera. The work was created in the Italian capitol’s Cinecittà, the famous film studio constructed during the Fascist era to help revive the country’s film industry.Blurry images of African-American artists such as Lena Horne and Josephine Baker from the artist’s “Slow Fade to Black” series, along with intimate black-and-white shots of Weems alone and undressed in her bedroom from the series “Not Manet’s Type,” line the walls along the gallery’s opening ramp. The works explore the tensions, said Weems, “between the way women have often been imagined and/or used in cinema or in photography or in painting.” They also reveal Weems’ biting humor, her refusal to be overlooked, and her self-described fascination with the space between “seriousness and play.”“It was clear I was not Manet’s type — Picasso who had a way with women — only used me & Duchamp never even considered me/But it could have been worse/Imagine my fate had De Kooning gotten hold of me,” reads the text accompanying the selection of images from “Not Manet’s Type.” Videos in the show include “The Obama Project,” on the racism endured by the nation’s first African-American president, and “History Repeating,” Weems’ take on “the killing of black men that has been devastating the country.”Since her earliest days with a camera she has grappled with how to make images in which “the vastness and the complexity and the richness of our lives will be understood, not typecast, not passed over,” Weems said. Her art is focused on putting a “carefully constructed humanity on display,” she added, in the hope that her viewers will “see something about themselves reflected in the work.”Weems is again center stage in the show’s final installation. Three evocative videos, in which she makes several appearances, are an “inventive celebration and insightful commentary on black beauty, fashion shows, and sexuality,” the exhibition text notes, and are an example of the joy Weems finds in shifting power relations, said Grant.“No matter how solemn, no matter how it’s head-on addressing the trauma found within these intimate kinds of personal spaces, her work carries this very strong, powerful, joyful presence,” the curator said. “And that just really changes the conversation.”“Carrie Mae Weems: I once knew a girl …” is on view at the Ethelbert Cooper Gallery of African & African American Art through Jan. 7, 2017.SaveSaveSaveSaveSaveSave Black lives, in focus
More attached. All Croatian tourism workers will unquestionably agree that the key to further “tourist success” of our country, whether we are talking about extending the season or increasing average earnings from tourism, is adequate investment in the development of tourism infrastructure, content and offer, in order to optimize money ”which, according to all research, is crucial for the choice of destination, ie further positive recommendations of satisfied guests. Side dish: Overview of direct air connections of the Republic of Croatia – winter 2019 – 2020 To this end, the Department for Market Research and Strategic Planning of the Croatian National Tourist Board has prepared an overview of direct flights and direct air connections of Croatian airports from 20 major emitting markets according to information obtained from Dubrovnik, Split, Zagreb, Zadar, Osijek, Pula, Mali Losinj. , Brač and Rijeka.
Europe is in eye of the storm of the COVID-19 pandemic, with the number of cases nearing a million, and should move with extreme caution when considering easing lockdowns, the World Health Organization’s regional director said on Thursday.”Case numbers across the region continue to climb. In the past 10 days, the number of cases reported in Europe has nearly doubled to close to 1 million,” the WHO’s European director, Hans Kluge, told reporters in an online briefing.This meant that about 50% of the global burden of COVID-19 was in Europe, Kluge said. More than 84,000 people in Europe have died in the epidemic, he said. “People are rightly asking: How much do we have to endure? And for how long? In response, we, governments, and health authorities must come up with answers to identify when, under what conditions and how we can consider a safe transition.”Any step to lift lockdown measures must firstly ensure several key things, he said, including that evidence shows a country’s COVID-19 transmission is being controlled, outbreak risks are minimized, and that health systems have the capacity to identify, test, trace and isolate COVID-19 cases.”We remain in the eye of the storm…If you cannot ensure these criteria are in place before easing restrictions, I urge you to re-think,” he said, adding: “There is no fast track back to normal.” “The storm clouds of this pandemic still hang heavily over the European region,” Kluge said.As some countries start to consider whether restrictions may be eased and whether schools and some workplaces might start to reopen, he said it was critical to understand the complexity and uncertainty of such transitioning.Companies and politicians across the world are worried about the economic impact of a long shutdown, and some countries in Europe – such as Germany, Denmark, Spain and others – are beginning to think about how to ease some societal restrictions.Kluge said the WHO recognized that social distancing policies designed to slow the spread of the virus “are affecting lives and livelihoods”. Topics :
She was preceded in death by her Father, Louis W. Meyer, Mother, Jennie Gilmore Meyer, Husband, Davis Booth, Sons, Lonnie Lee Booth, and Patrick W. Booth, Siblings, Harold Meyer and Mabel Marie Meyer Miller. Verna Gail is survived by her loving Grandson, Patrick C. Booth (Susan Coriell) of Aurora, IN; Great-grandchildren, Patrick C. Booth II (Sara), Christopher A. Booth, and Cassidy R. Booth; Great Great-grandchildren, Shelby D. Booth and Patrick C. Booth III. Also trusted caretaker and family friend Marcia Adams, Services will be held at the Funeral Home, at 2:00 pm, following visitation, with Pastor Mike Addison, officiating. She was born August 1, 1922 in Aurora, daughter of the late Louis W. Meyer and Jennie (Gilmore) Meyer. Verna Gail (Meyer) Booth 95, of Moores Hill, Indiana, passed away Friday, June 22, 2018 in Lawrenceburg, IN She was a life member of Holman Christian Union Church. Verna Gail was very active in her church. Her faith was very important to her and she lived out her faith by helping others. She taught Sunday School for several years and was always busy helping out whenever she could lend a hand. Verna Gail was a volunteer “Pink-Lady” at DCH Auxiliary for 30 years, she also volunteered with the Lifeline Program for DCH for many years and helped with numerous fund raisers for the American Heart Association and the American Cancer Society. Her legacy will live on in the many lives she has touched throughout her many years of service. She will be greatly missed by her loving family, many friends and church family. Interment will follow in the Mt. Sinai Cemetery, Moores Hill, Indiana. Contributions may be made to the Holman Christian Union Church, American Heart Association or the American Cancer Society. If unable to attend services, please call the funeral home office at (812) 926-1450 and we will notify the family of your donation with a card. Friends will be received Wednesday, June 27, 2018, 11:00 am – 2:00 pm at the Rullman Hunger Funeral Home, 219 Mechanic Street, Aurora, Indiana. Visit: www.rullmans.com
Staff CorrespondentSHILLONG: Meghalaya lost to Bihar by an innings and 178 runs in the Cooch Behar trophy match today. Bihar, who had been put in to bat first, made 404 all out in their first innings. Meghalaya’s Abhishek took 5/89, with Sudhir Sahani bagging 4/117 and Aryan 1/95.Meghalaya were then bowled out for 183 in their first innings, with Ankit Kumar Singh steering the side with an innings of 98. Later following on Meghalaya bowled out for just 43 in the second innings.Meanwhile In the CK Nayudu Cricket tournament Meghalaya lost to Puducherry by an innings and 93 runs at the MCA Cricket Group here today. Meghalaya won the toss and chose to field and Puducherry made 276 all out, with Kartik Pawar turning in a fine performance with the ball to claim 8/89. Akash Kumar (1/57) and Md Nafees (1/67) were the other wicket-takers. Meghalaya, however, were then bowled out twice for 68 and 115 following on, giving Puducherry victory by an innings and 93 runs.Also Read: Assam take big lead in Cooch Behar Trophy