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Archive for the ‘Skin Art’

Iconic Feminist ArtistAnd Beauty Influencer? Niki de Saint Phalle’s Lesser-Known Impact on the World of Skin Care – Vogue07.25.21

Immediately taken by the hue that the artist herself described as the color of joy and luck, La Prairie ultimately decided there was only one color that could symbolize the essence of its iconic line. Continuing their appreciation for Saint Phalle, the brand spearheaded the current PS1 exhibition to celebrate and bring greater awareness of the artists life work.

But Saint Phalles legacy of mixing allure with a political edge went beyond her palette. Perhaps some of her best-known works of art, the Nanas were a collection of curvy sculptures that often appeared in motion and were intentionally seductive. When they were first made in the 60s, the Nanas were these exaggerated female forms, and they were large-scale, functioning as these monumental sculptures that were really a counterpoint to the representation of femininity at the time where a lot of the monuments depicting womens bodies were made by men, says Katrib. The Nanas evoked goddess figures, but they were also really provocative, sometimes even being read as scandalous.

Saint Phalles approach to body positivity through her sculptural work at a time when narrow ideals of the female form were still mass-produced was bold and created important dialogue around desirability and sexual attraction while helping push open the parameters of how beauty is understood. As she put it, For me, my sculptures represent the world of the amplified woman, the delusion of grandeur of women, women in the world today, woman power.

Niki de Saint Phalle: Structures for Life will run until September 6, 2021. More information can be found here.

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Who were the Florida Highwaymen? Selby Gardens show reveals dreamers and artists – Sarasota Herald-Tribune07.25.21

Marty Fugate| Special to the Herald-Tribune

We Dream a World: African American Landscape Painters of Mid-Century Florida, The Highwaymen is the heavyweight title of a dreamy exhibition at Selby Botanical Gardens.

Curated by Radiah Lovette Harper, it showcases work by a small band of 20th-century, African-American landscape painters. Their legacy is a proud chapter in the Sunshine States artistic history. Or a shameful one, depending on who writes the story.

In contemporary artspeak, these maverick Black painters are typically lumped together as The Florida Highwaymen. (A white art critic coined that catchall term in the 1980s.) During the years these artists painted, they fought to make a name for themselves. But forget artistic labels and look at the artists themselves.

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Who were they?Simply put: a cohort of independent, entrepreneurial African-American painters. A band of brothers and sisters who made the South Florida scene at the cusp of the 1960s. Segregation was still state law. Floridas respectable, whites-only museums and galleries shut their doors to their talents. They could create art without being paid for it. But make a living by selling their art? Sadly, the white-privileged system didnt work that way.

Happily, these hard-working Black creators found a workaround. They sold their creations by the side of the road, hence the monikerHighwaymen.They exhibited along the crossroads along SR A1A at all the busy intersections of west-east highways. That traffic included plenty of tourists who loved these artists dreams of Florida and didnt care about their skin color.

More on the artists: How Floridas Highwaymen came to be

A 2010 showcase: Portraits of the Highwaymen

That sounds romantic, but lets be clear, these Highwaymen painters didnt create their art for arts sake. Their output was more like art for financial survival. That boiled down to supply and demand.

People along the highway bought Florida landscape paintings and these artists gave them whatthey wanted Florida beaches, seascapes, and landscapes. Money was a powerful motivator for these painters. But their art was far more than a commercial calculation. And far different than the four-color Florida dreams printed on 20th-century postcards.

Thesepainters pushed the boundaries of realism. The Selby exhibitmakes that clear. Youll see few actual, factual, Florida landscapes based on reference photos or painted en plein air. Nearly every scene is filtered through an artists imagination. Wallace Stevens wrote a poem about The Palm at the End of the Mind. These artists painted it.

Dreams of Floridas wild side. Nothing less. Nothing more.

Top 10: Arts picks for Sarasota-Manatee: July 22-28

These artists painted dreams share a lush, unearthly quality. Their imaginary Florida vistas remind me of Alfred Bierstadts fanciful Western landscapes or alien worlds on the covers of Amazing Stories in the 1950s. In the hands of these Highwaymen artists, Florida became an alien world. (To be fair, Floridas subtropical landscapes often resemble other planets.)

Harold Newton was one powerful dreamer. He loved to paint with oils on Upson boards. (He could easily transport these tough, board-backed paintings in his car trunk. Fragile canvas paintings usually didnt survive the trip.) A practical medium, true. But it didnt drag Newtons dreams down to earth.

Newtons Palm on the River crackles with fractured energy. This scene on the Upper Manatee River dances before your eyes. Whipped by implied winds, a coconut palm and tall grasses twist to the viewers left in a circular motion. Behind them, a swelling river and scudding clouds violently push in the opposite direction. The tension feels exciting like the sudden smell of ozone in the air. You know a storm is coming.

This artists Hibiscus offers another spiraling vortex. Not a landscape painting. An extreme close-up of a blood-red hibiscus flower. Its petals bend leftward a counterclockwise arc, like the bands of a ruby hurricane. Newton brightly illuminates the flowers fiery form. But he keeps its leaves and supporting stem in the dark. Realistic? Hardly. The artists floral painting grows from precise observation but its not a botanical illustration. Newton bathes his imaginary hibiscus in dramatic lighting. Realism? To hell with it! This flower puts on a show.

Mary Ann Carrolls Royal Poinciana on the Indian River is another study in scarlet. Her landscape painting is a wide shot, not a close-up. A twilight scene by a flowing river. Two royal poinciana trees burst with natural fireworks. The artist frames their brightly lit, ruddy blossoms with a darkling vignette of cabbage palms. Whats the light source? Whatever you want it to be. Dramatic lighting again. You want realism? Get a camera.

More arts news: Ringling College names new director for Sarasota Art Museum

We Dream a World abounds with such beautifully imaginative visions. These paintings beautifully illustrate a greater artistic movement. They look great together. Although theyre rarely shown that way.

Harper gathered these pieces from foundations and family members, museums, private collections and other sources.Seeing these paintings in the same place at the same time instantly deconstructs the Florida Highwayman pigeonhole. That box is a lousy fit for the artists it describes. Thats not just an abstract question of art theory. You can see it for yourself.

After scraping off the art critics label, Harper strives to tell these artists stories both individually and collectively. Shes done this before. Harper curated a 1996 Highwaymen art show at the Tampa Museum of Art that boasted more paintings. But the Selby Gardens exhibition is far more ambitious and it succeeds in its ambitions.

That story it tells is subtle and nuanced and outside the limited scope of a 900-word art review. Any summary would be a gross oversimplification, so I wont even try to boil it down. To get the full story, youll need to experience this exhibit for yourself. What youll see is highly interesting. What you wont see is even more so.

These individualistic, African-American artists marched to different drummers. Their painted dreams were also different but always beautiful. Realitys ugliness was never a part of it.

Intentionally or not, these Black artists painted a peaceable kingdom. Their Florida dreams had no color line, no stereotypes, and no racist violence. Their art revealed a beautiful world. It was clearly not the real world.

This exhibition borrows its title from Langston Hughes poem. A dream of racial justice. A dream of freedom and equality. By accident or design, these artists painted it.

The world they dreamed was beautiful in the 1960s.It wasnt real back then. It still isnt in 2021.But its still beautiful.

African-American Landscape Painters of Mid-Century Florida, The Highwaymen:Through Sept. 26 atMarie Selby Botanical Gardens, 1534 Mound St., Sarasota. Admission $20;free for members.941-366-5731;

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Lauren Redniss and the Art of the Indescribable – The New Yorker07.25.21

In the world of arts and letters, there isnt anyone quite like Lauren Redniss. Since her poignant pen-and-ink microhistories in the New York Times Op-Art section, Redniss has plowed a furrow between word and text, facts and fantasy, that, for lack of a better term, might be called visual nonfiction. Her first book, Century Girl (2006), related the life and times of Doris Eaton Travis, the last surviving member of the Ziegfeld Follies, with a zany bricolage of drawing, ephemera, and hand-lettered text. Four years later, Redniss released Radioactive, a stunning twin biography of Marie and Pierre Curie that intertwined the scientists love story with their collaborative discovery of radioactivity. (A film adaptation, directed by Marjane Satrapi and starring Rosamund Pike, came out in 2019.) Moving from the vanishingly small to the unthinkably vast, in Thunder and Lightning (2015), Redniss sang of fog, hail, and heat, as well as war, dominion, and profit; politics, always in the background in her biographies, moved to the fore, as she made visible the forces that shape and are shaped by the atmosphere. The following year, Redniss won the MacArthur genius grant, for work that enriches the ways in which stories can be conveyed, experienced, and understood.

Rednisss books are big, the size of road atlases. If you hold them too close, they can be overwhelming, and their style is at once distinctive and deeply allusive. In Radioactive, her most lyrical book, Rednisss glowing cyanotype prints are haunted not just by the ghostly look of X-rays but by the playful, plaintively stripped-down work of Paul Klee. The copper-plate photogravures in Thunder and Lightning draw from eighteenth- and nineteenth-century books of natural history; although theres an almost childish simplicity to the drawings, you see traces of tradition everywhere, as in her wordless chapter of Turner-like cloud studies, or in the ice-skating townspeople that glide straight from Bruegel into her scenes of the Little Ice Age. Even her serious images have a cartoonish humor about them. In Thunder, in particular, one page will look like a Paleolithic cave painting, the next like a spread from Dr. Seuss.

Rednisss books have less to do with comics and more to do with collage, with print sequences, and, perhaps most of all, with the immersive choreography of film. The words may convey specific facts or details that would be impossible to get across in pictures, she once told an interviewer, while the images depict a mood or a moment that is made more poignant by the lack of exposition, or vice versa. The suggestive, sometimes inexplicable juxtaposition of images, and the tension of the visual with the verbal, allow Redniss to say less and communicate more, and differently. Reading her work is like poring over the notebooks of a hyper-literate, hyper-curious, and slightly mad artistwhich, in a way, they are.

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Gnarly concept art from The Thing’s cancelled sequel game emerges online – PC Gamer07.25.21

In 2002, now-defunct developer Computer Artworks ceased work on a sequel to John Carpenter's The Thing. 20 years later, concept artist Ron Ashtiani has given us a host of gruesome monster designs that have crept in the shadows for far too long.

Planned as a survival horror follow-up to Computer Artworks' 2002 The Thing tie-in (above), The Thing 2 would've seen Kurt Russel's R.J. MacReady and prior protagonist Blake team up to fight through refinery towns, oil rigs, and aircraft carriersfacing off against deadlier versions of the alien creatures.

Posting on Artstation earlier this week, Ashtiani unloaded a wealth of concept art. The stars of the show are his creature designstruly horrific takes on an already gross design that would see the game littered with scuttling torsos, crab-like heads, and fleshy masses blooming from helicopter wreckage.

One gory trick Ashtiani describes was a "burst out" system that would see Thing-like creature parts erupt from otherwise humanoid enemies. He marks seams where a character's skin would split open to reveal gnawing ribs, bodies splitting in two as alien tentacles burst out and cling to walls. In 2002, it would've been mighty impressive.

Unfortunately, The Thing 2 was not to be. In a 2014 interview with Eurogamer, lead designer Andrew Curtis explained that the game never made it much past the prototyping stage. Rapid growth led to the studio taking on too many projects to handle, ultimately shutting down in 2003.

"It was heart-breaking when Computer Artworks closed but it was a familiar story unfortunately," said Curtis. "We just grew too quickly, taking on a lot of projects including The Thing 2 and an Alone In The Dark sequel."

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Food Matters: Anderson Ranch celebrates the art of food – Aspen Times07.25.21

When small crocks of seafood bouillabaisse arrive to our table, French chef Babette is plating turtle soup for 12 onscreen. Though the multi-course Dinner & A Movie tasting conceived by Anderson Ranch Arts Centers new food and beverage director Rob Ittner and Ranch Caf chef de cuisine Daniel Leon is based on the classic 1987 Danish film Babettes Feast, such precise timing was purely coincidental. (The event menu rearranged courses for American palates caviar-topped buckwheat blini are served as an amuse-bouche; endive salad with Colorado cherries come before the main attraction and Ittner reassures us at the start that no turtles were harmed during the making of the meal.)

As we slurp rich, buttery broth and pick tender clam meat gently from shells, this synchronicity feels magical, as Anderson Ranch executive director Peter Waanders recaps later. The celebration in Babettes Feast is happening alongside our meal in real time in Schermer Meeting Hall. Talk about an artistic moment!

Even neighboring diner Lisa Rigsby Peterson, newly appointed executive director of the Wheeler Opera House, noted in a succinct review: I felt like I was eating with them.

This intersection of creative disciplines film, food, art encapsulates the mission of Anderson Ranch. Founded in 1966, the nonprofit welcomes established and emerging visual artists and craftspeople who decamp to the bucolic campus tucked off Owl Creek Road in Snowmass Village for residencies and workshops every summer. Art is part of the landscape here, from a breeze-block pattern stamped in paint on parking lot asphalt to ceramic platters fired in the studios massive kiln, now presenting food from a reinvigorated kitchen team.

Tonight, art takes shape in the form of food, to explore how creativity nourishes a community.

A ticketed public event during Anderson Ranchs Recognition Week, the meal was inspired by 2021 International Artist Award honoree Simone Leighs personal pick for most significant film, says Aspen Film executive and artistic director Susan Wrubel. The pioneering ceramic artist, who hails from Brooklyn and is the first Black woman to represent the U.S. at the Venice Biennale (April to November 2022), chose Babettes Feast, a fable about relationships, beliefs and a very special meal in a 19th-century Danish village. Criterion Collection summarizes the 1988 Academy Award winner for Best Foreign Language Film as a rousing paean to artistic creation, a delicate evocation of divine grace, and the ultimate film about food.

Id seen Babettes Feast, but watching it again while tucking into cailles en sarcophage (whole roasted quail perched on a puff pastry coffin with foie gras-truffle-Cognac sauce) was a novel sensory experience. Similar in flavor to the The Princess Bride, the dramedy features food as a starring character. Prepared by Babette, a Franco-Prussian War refugee who seeks solace in a remote, religious community, the epic smorgasbord was echoed in ambition and intent at Anderson Ranch by Ittner and Leon.

One of the things that Im very passionate about (is) that food is art, Ittner says. My mission here is to get people to taste and enjoy the food. Some of the best parts of this movie are the silent moments, when you look at the expressions of people as theyre tasting the various (foods) of Babettes feast.

Seafood Bouillabaise.Roshni Gorur, Courtesy of Anderson Ranch Arts Center

Caviar blini.Roshni Gorur, Courtesy of Anderson Ranch Arts Center

Endive salad with anchovies.Roshni Gorur, Courtesy of Anderson Ranch Arts Center

Cailles en sarcophages.Roshni Gorur, Courtesy of Anderson Ranch Arts Center

Roshni Gorur, Courtesy of Anderson Ranch Arts Center

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This five-course dinner was one of the first main events spearheaded by Leon, who arrived at Anderson Ranch by way of Homewood, the only four-star restaurant in Dallas, where he was sous chef. Ittner and Leon have also reimagined the Ranch Caf menu for breakfast, lunch and dinner. Most popular with visitors is lunch, which offers a robust list of internationally influenced sandwiches and bowls (about five each, along with various sides and the option to add on protein, if desired), plus dessert and drinks. Think: a roasted lamb gyro or pastrami on rye; grilled chicken yakitori over steamed rice or a Middle Eastern Mezza spread, each using local ingredients and plenty of fresh produce.

Craveable breakfast items include avocado toast, egg bowls, Liege waffles, and ancient grain granola. Dinner presents composed plates, such as pan-seared smoked duck, curried dahl with grilled vegetable skewers, prime rib with baked mac and cheese. Larissa Huffman, a barista formally trained at the Onyx Coffee Lab and Arsagas Coffee Roasters in northwest Arkansas, returns to offer coffee beverages thanks to the venues new espresso machine. All together, these components offer a decidedly farm-to-table restaurant-style experience worth a trip from Aspen or parts downvalley.

Hes done a fabulous job in the kitchen and hes a rising star in the chef world, Ittner enthuses of chef Leon. Im so excited to be working with him here at the Ranch.

The propertys marketing and communications director, Katherine Roberts, echoes that sentiment. After all, the Ranch Caf is essentially an elevated dining hall that serves Anderson Ranch staff, residents, visiting artists, workshop students (who receive a 30% discount) and the public. Frequently on the lunch menu, she notes, is the main dish of the moment. Recently that special took shape as, Colorado ruby red trout with rice and haricots verts. I mean, perfectly cooked, medium-rare fish (with) crispy skin; perfectly cooked rice; tender-crisp vegetables, Roberts recalls. It was simply prepared but beautiful. (Leon) has a great command of flavors. He knows how to treat ingredients.

Ittner has long been a champion of local food, as well as foods artistic merit, as the owner of both Rustique Bistro (which closed in 2019 after 19 years) and the Cooking School of Aspen (2016 to 2019). Here in Snowmass, Ittners Rustique at the Ranch winter holiday dinner in December 2019 sold out almost two full weeks in advance.

Ultimately, the Ranch Caf hopes to foster more of the Cooking School of Aspen approach, plus additional special events over the long term, Roberts explains. Last September, for example, Anderson Ranch hosted a dinner in collaboration with Carbondale studio potter Alleghany Meadows and chef-owner C. Barclay Dodge of Bosq, each of whom brought his own art to the table.

Surveying smiling diners still nestled in their seats, content after tucking into a real-life Babettes Feast at Anderson Ranch, Ittner marvels at his newfound role as a visiting artist of sorts. This is what we do, he concludes, standing alongside chef Leon and the entire culinary team during the crowds animated standing ovation. This is how we express art.

Amanda Rae is the editor of The Aspen Cookbook (November 2020), a pandemic fundraiser for restaurant workers:

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With Guardians, Cleveland Steps Away From an Offensive Name – The New York Times07.25.21

Philip Yenyo has been protesting outside Clevelands baseball stadiums for 30 years, demanding the local Major League Baseball team change a name many consider racist. But next spring, Yenyo will put down his signs and take his 11-year-old son inside Progressive Field for the first time.

We can finally go to a game, said Yenyo, the executive director of the American Indian Movement of Ohio. I cant wait to tell him. Weve been waiting a very long time for this.

Yenyo will be able to attend because Cleveland announced on Friday that it will change its name from Indians to Guardians, becoming the latest sports team to veer away from team names and mascots that reference Indigenous people.

For decades, Native American groups like Yenyos and others have petitioned sports teams to eliminate Indigenous names, mascots and imagery, insisting that they are racist, degrading and that they promote stereotypes. Momentum for widespread change had been building in recent years, and was accelerated last summer amid the protests for social justice following the murder of George Floyd by Minneapolis police officer Derek Chauvin.

In the wake of large-scale protests for social justice that followed Floyds death, the Washington Football Team discarded the name Redskins, thanks in large part to pressure from sponsors like FedEx, Nike and Pepsi. Cleveland was considered the next highest profile Indigenous team name in American sports, and in December the team decided to make the change, after consulting with local and national Indigenous organizations.

One of the organizations the team turned to was the National Congress of American Indians. Aaron Payment, N.C.A.I.s first vice president and also chairman of the Sault Ste. Marie Tribe of Chippewa Indians, lauded Cleveland for making what he said was a difficult, but appropriate decision.

Im sure there will be some pushback, Dr. Payment said, But they are on the right side of history and deserve credit for it. This new name closes the books forever on a derogatory name.

Some of the loudest pushback came from former President Donald J. Trump, who described himself as a former baseball fan and called the change a disgrace.

A small group of people with absolutely crazy ideas and policies, is forcing these changes to destroy our culture and heritage, he said in a statement.

But the team has been moving inexorably away from the divisive name for years, and Guardians will be the fifth name in franchise history (the team was also known as the Blues, the Bronchos and the Naps). In 2019, Cleveland abandoned its caricature Chief Wahoo logo, which Major League Baseball said was inappropriate for use on the field.

Terry Francona, the Cleveland manager and a former player for the team, whose father also played there, said the goal was to represent the entire city.

Its not about us, he said at a news conference. Its about other people, and you have to step outside of your own skin and think about other people that may have different color skin and what they are thinking. We are trying to be extremely respectful and Im really proud of our organization.

The new name, which was introduced by the club along with new logos in a two-minute video on the teams Twitter account, has some resonance with Ohio residents who regularly cross the Cuyahoga River on the Hope Memorial Bridge. A group of massive, winged Art Deco sculptures on the span are known as the Guardians of Traffic and are said to be symbols of progress. They stand just a few minutes drive from the teams stadium.

The new logo of a flashing G with wings, borrowed from the statues, also has an Art Deco feel to it and the style of the new script Guardians logo is said to mimic the trusses on the underside of the bridge. The colors will remain the same: red, white and blue.

Paul Dolan, the teams chairman and chief executive, noted in the news conference that he is a fifth-generation Clevelander who grew up with the old name.

We acknowledge the name change will be difficult for some of us, and the transition will take time, he said. It is our hope and belief this change will divert us from a divisive path and instead steer us toward a future where our fans, city and region are all united as Cleveland Guardians.

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The club said that over the last several months it engaged in an extensive outreach program with some 40,000 fans to find the new moniker and conducted 140 hours of interviews with community members and team staff. They said they generated a list of 1,198 possible names. Alex King, Clevelands vice president for marketing and strategy, said the Guardians of Traffic statues have gained traction and popularity in the city over the several years, especially among younger adults, who consume craft beers out of mugs, placed on coasters, while wearing T-shirts, with each item depicting the statues.

We knew this would not be as resonant nationally as it is locally, he said, and we are OK with that. We really wanted to stress the local with the new name.

For a while it seemed that the Spiders, the moniker used by a now-defunct Cleveland National League team from 1889 to 1899, was a favorite. Others suggested a reference to Clevelands Rock & Roll Hall of Fame, just blocks from the stadium, would be appropriate.

I was hoping it would be Spiders, Yenyo said. But Guardians is good, too. I was listening to sports talk radio this morning and people were complaining and saying they dont know what it refers to. If you are a Clevelander, you better know this stuff.

The Cleveland team said it planned to make the change official after the current season ends. With that settled, Dr. Payment said his organization and others will focus on various other teams like M.L.B.s Atlanta Braves, the Kansas City Chiefs of the N.F.L. and the Chicago Blackhawks of the N.H.L. that use Native names and imagery. All of those teams have said they have no plans to change their names.

But earlier this month, the Portland Winterhawks, a minor-league hockey team, changed its logo from an Indigenous person to a hawk, eliciting praise from Suzan Harjo, a Native American activist and one of the earliest proponents for eliminating Indigenous names and mascots.

Its been a good July, she said of the two recent changes. It just shows, its never too late to do the right thing.

Harjo said the declaration of the new name was bittersweet, however, because it cannot erase the decades of damage she says that it, and other similar names, have caused.

They were capitalizing on bigotry for a long time, she said. It caused genuine harm to Native peoples, and little kids grow up feeling that tremendous pain.

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Asians Are Represented in Classical Music. But Are They Seen? – The New York Times07.25.21

Artists of Asian descent have long been the subject of racist tropes and slurs, dating back to at least the 1960s and 70s, when musicians immigrated to the United States from Japan, Korea and other parts of East Asia to study and perform. A 1967 report in Time magazine, titled Invasion From the Orient, reflected the thinking of the era.

The stringed instruments were physically ideal for the Orientals: Their nimble fingers, so proficient in delicate calligraphy and other crafts, adapted easily to the demands of the fingerboard, the article said.

Over time, Asian artists gained a foothold in orchestras and on the concert circuit. By 2014, the last year for which data is available, musicians of Asian descent made up about 9 percent of large ensembles, according to the League of American Orchestras; in the United States, Asians represent about 6 percent of the population. In renowned groups like the New York Philharmonic, the number is even higher: Asians now account for a third of that orchestra. (In Europe, its often a different story: In the London Symphony Orchestra, for example, three of 82 players, or less than 4 percent, have Asian roots, while Asians make up more than 18 percent of Londons population.)

Yet racist portrayals of Asian artists have persisted. Some have been told by conductors that they look like computer engineers, not classical musicians. Others have been described by audition committees as too weak and youthful to be taken seriously. Still others have been told their names are too foreign to pronounce or remember.

You get written off as an automaton, said Akiko Tarumoto, the assistant concertmaster of the Los Angeles Philharmonic.

Tarumoto, 44, who is Japanese American, said that musicians of Asian descent in the Philharmonic are sometimes mistaken for each other, and in other ensembles she had heard fellow musicians refer to new hires simply as Chinese girls.

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Fortnite: Who Is Gildedguy And How To Unlock The Skin – DualShockers07.25.21

Epic Games is constantly working on uplifting content creators on Fortnite this season.

We previously saw Guggimon who was featured in the Battle Pass and very recently the World Cup winner Bugha also got his own skin in the game.

This time Gildedguy is the new animated skin that will be making its way to Fortnite via a special Party Royale event.



Bugha Arrives To The Fortnite Icon Series





Before we discuss how to get the Gildedguy skin in Fortnite, lets find out who is Gildedguy.

Gildedguyis a Dojo Duelist character created by Michael Moy who goes by the same online name Gildedguy (Michael Moy). For the uninitiated, Dojo Duels is a system, much like RHG (Rock Hard Gladiators), where one animator or artist challenges another to battle each others Duelist character.

The backstory of Gildedguy goes something like this: He was once a house painter resident who took pleasure in little things but also wished that his life was a bit more exciting. One day, he uses a slushy substance on his paintbrush to draw knight armor and a sword. Mysteriously, the art turns into life with an actual golden armor for him.

Surprised by this, Gildedguy sets out to know more about the mysterious paint. He ends up quitting his job as a painter and turns into an artist. In his current state, he experiences takes part in battles with other such fictional characters. (Source)

Once again, Epic Games is back with a sequel of Short Nite for Party Royale.

For those who do not know, Short Nite is like a mini film festival which is held in Fortnite where you can chill out with other players and watch a bunch of short films that you might not get to see anywhere else.

Fortnite Short Nite 2 date and time: July 23rd at 2 PM ET to July 25, 2 PM ET.

The total runtime of the shorts is about 40 minutes, and the showwill run non-stop for 48 hours so you can jump in anytime you want.

This time, Gildedguy is one of the characters featuring in Short Nite. Among the various animated shorts, we will also get to see the world premiere of the Gildedguy Gets Up.

Gildedguy skin will be available in the Fortnite Item Shop starting July 22at 8 PM ET. You will get the skin as a part of the Gilded Guy set which includes:

Since it is an Epic rarity outfit, you will have to spend 1500 V-Bucks to get the Gildedguy skin in Fortnite.

Have something to tell us about this article?

Manisha: A technology enthusiast who enjoys gaming and writing about it.Also Manisha: A couch potato who loves to binge on anime, memes and food.

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New Valorant ‘Sentinels of Light’ Skin Bundle Is Among the Best-Looking Yet – Twinfinite07.25.21


Published on July 20, 2021 Alex Gibson

Home News New Valorant Sentinels of Light Skin Bundle Is Among the Best-Looking Yet

Few games do weapon skins quite like Valorant, and today Riot Games is readying itself to launch the games next premium bundle. Called Sentinels of Light, it follows on from Ruination as the second weapon bundle in Riots in-game crossover event of the same name.

The new skins have a distinct and absolutely beautiful fantasy aesthetic; as explained in a video over on Hitscans YouTube channel, which includes supporting commentary art lead Sean Marino and senior producer Preeti Khanolkar, The Sentinels are an established order of protectors who fight against darkness and push back evil. They originate from the Blessed Isles and are made up of champions scattered across the League universe, including Lucian, Senna, and Akshan.

As you may have noticed in the image above, the Sentinels of Light Bundle includes the Vandal, Ares, Operator, and Sheriff, with four different color options and the usual upgradeable levels of animation and finisher FX. You can get a flavor for its in-game appearance in the Tweet from Valorleaks below.

Theres no word yet on the Sentinels of Light bundles price, but if its the same as Ruination then expect it to cost 8,700 VP or $85.

In related Valorant news today, check out the Patch 3.02 notes here.

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New Valorant 'Sentinels of Light' Skin Bundle Is Among the Best-Looking Yet - Twinfinite

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Hula-Hoops are trending, but its not your childhood version – WTOP07.25.21

Instead of spinning hoops around the waist as kids have done for decades, Hula-Hoop dancers have some new moves as

Instead of spinning hoops around the waist as kids have done for decades, Hula-Hoop dancers have some new moves as the trend returns.

They are now throwing them into the air and twirling them around the body. Some use bright, flashing hoops. Others use multiple hoops at the same time.

One influencer can hoop while standing on a giant red ball, and another can hoop with her feet while doing a handstand.

Angela Presnell, who lives in Kansas City, Missouri, was mesmerized by all the Hula-Hoop activity on Instagram, so she bought a big hoop five years ago and began with the classic move: moving the hoop around her waist.

I was instantly hooked. It was a movement mediation that I needed during that time in my life, Presnell, 24, said. Then over time it just followed me everywhere I went. I was going to different cities, and I was bringing my hoops. My hoops were getting smaller. I was getting better.

Five years later, she can do all sorts of tricks, such as balancing the hoop on her nose and throwing it in the air and catching it between her ankles. Hooping became her form of self-expression, as she developed her own signature style.

Last year, she created @lilhoopgirl on TikTok to document her progress.

I make TikToks just for fun. I just put my phone up and dance to a goofy popular song. I didnt expect anything to happen, she said.

Presnell was shocked when her first video on TikTok went viral, raking in more than 2 million views. Her page, @lilhoopgirl, now has more than 283,000 followers and more than 6.2 million likes. On Instagram, she has another 21,500 followers.

Though they have existed since the late 1950s, Hula-Hoops have become a recent social media favorite with influencers such as Presnell, Melina Bear and Alice Nimmo taking this childhood trend to a whole new level.

On TikTok, there are more than 972.8 million views with the hashtag #HulaHoop.

Companies selling hoops have reported an increase in demand. Hoopologie, based in Boulder, Colorado, had a 25% increase in sales during the pandemic in 2020, according to founder Melinda Rider.

TikTok introduced many to this art and exercise activity, Rider said.

There are three types of hooping trending right now.

The version youre used to doing as a child is called on-body. With this style, the hoop spins around the waist, chest, shoulders, arms, knees and really any body part. Through a series of moves, these hoopers transition the hoop from one body part to another in one seemingly effortless motion.

Presnell specializes in off-body hooping, which has become more popular during the pandemic. It involves tossing, flipping and catching the hoop. Picture dancing but with the added complexity of a hoop being flung and caught while grooving. Its a lot of fun, fast moves that, when youre watching, youre like, what just happened?' Presnell explained.

Finally, there is weighted hooping. These hoops are large and can weigh up to 4 pounds (1.8 kilograms). Weighted hoops are used as a fitness routine to strengthen abdominal muscles. These hoops are designed to stay around your waist.

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Using a Hula-Hoop is a near total-body workout that engages your entire core, said CNN fitness contributor Dana Santas, a breathing, mobility and mind-body coach in pro sports. Its an aerobic, calorie-burning activity that also improves balance and flexibility.

Santas uses it as part of her interval training and warm-up routines.

Im more of a proponent for hula hooping than crunches, Santas said. Crunches only move your body in one direction forward and backward while hooping is a 360-degree movement.

Hula hooping around your waist is going to be working your obliques big time and working your lower lats in your back, which is great because youre making them stronger and more mobile at the same time, Santas said.

If youre waist hooping as an exercise, Santas recommends alternating between clockwise and counterclockwise rotations around your body. That engages all the muscles around your core. Its also a neurological workout challenging your brain to move in your nondominant direction.

Just like writing with your left or right hand, most people have a dominant direction for hooping.

Weighted hula hooping was found to decreased waist circumference, according to a small 2015 study published in The Journal of the National Strength and Conditioning Association. In the six-week trial, the participants lost an average of 1.3 inches (3.3 centimeters) from their waistline and 0.5 inch (1.27 centimeters) from their hips.

We have seen miraculous weight loss stories, women who have lost 90 pounds and trimmed their waistline from the simple act of hooping 30 minutes a day, said Hoopologie founder Rider.

Presnell said shes in the best health of her life physically and mentally since she started hooping regularly. Hooping provides her with a mind-body connection.

Hooping was a way for me to get out of my head, said Presnell, who calls hooping a movement meditation.

For Presnell, the biggest benefit has been self-expression. As a queer woman, hooping is a way to freely express herself through meaningful movements.

I didnt even know I was queer when I picked up my first Hula-Hoop, she said. She now laughs looking back at her old videos and seeing how much she has grown. She now proudly rocks a mullet her signature look and takes pride in hooping as she challenges social norms.

Presnell also loves the growing community. She describes it as welcoming, loving and embracing of diversity.

Its a community where you show up as you are. You dont have to look a certain way. Be a certain somebody. You dont have to like festivals or EDM. You dont have to be super-advanced, Presnell said. If you are going into it with good intentions and a desire to learn, the community will love you.

After falling in love with hooping, Presnell now hopes others will join the movement. Her message is: Hooping isnt just for hippies or children, its for everyone. It is fun and affordable and can be done anywhere (except a tiny apartment).

When Presnell started learning, she looked up to hoop dancer Deanne Love for tips and inspiration. Love has hundreds of video tutorials on her YouTube page.

Now, Presnell is paving the way for more hoop enthusiasts by launching her own website, full of resources for beginners. It has all the information she says she wished she had when she got started.

She recommends hooping five to 10 minutes a day to build up your muscle memory. The key thing is to be persistent and patient as you start your journey.

Take that first step. The first step is always the hardest, Presnell said. Its going to be harder than it looks. It going to take more than a few days to get down. Its going to take months.

Before you dust off your old Hula-Hoop, read Presnells top tips:

1. Dress for success: When you are using a hoop, wear close-fitting athleisure attire. Youll want to get skin contact with the hoop, so tank tops and shorts are ideal. Remember, hooping is an art form, so wear something that makes you feel confident and comfortable.

2. Choose the right hoop for your style: No, you cannot just grab the one you used as a child those typically have water or sand for weight, so the hoop is wobbly and off-centered.

There are specific hoops designed for specific purposes. As a beginner, youll need to start with a bigger hoop to master the basic moves. The bigger your hoop, the slower it rotates. That makes it easier to learn. The right hoop size for you should hit your belly button when you stand the hoop upright from the floor.

For on-body moves, Presnell recommends starting with a 36- to 40-inch (91.4- to 107-centimeter) hoop thats weighted and taped. It might sound counterintuitive, but heavier hoops are easier to keep up. If you plan to try off-body moves, get a lighter and smaller hoop. She recommends a 29- to 30-inch (74- to 76.2-centimeter) polypropylene hoop that is about 0.75 inch (1.9 centimeters) in width.

3. Get the body ready before picking up the hoop: Before you start hooping, Santas recommends warming up. Put your hands on your hips and slowly move your hips in a circle, in both directions. Warm up your hips and your core first, before trying this dynamic movement, Santas said.

Make sure you stand up straight and tall. Your weight should be centered with your feet shoulder width apart, and your hoop should be parallel to the ground before releasing.

4. Master the waist spin first: As you spin the hoop around your waist, keep your legs as still as you can and pulse your waist forward to backward in a rhythmic fashion. When the hoop starts to drop (and it will), move faster and harder to push it back up. Focus on your four contact points: left hip, right hip, back and front.

5. Give these tricks a whirl: Once you get a good flow, practice a two-handed isolation. This is when the hoop stays still as your hands lightly circle the inside of the hoop. This creates an illusion that the hoop is defying gravity. Its like the hoop is just floating in one circle while your hands are doing all the work, Presnell said.

For an on-body move, try the upward escalator when the hoop twirls up around your body with one flick of the hand. Start with the hoop in front of you around one foot, then push the hoop up with the other hip, and the hoop will spiral up your body until you can catch it by your head.

The-CNN-Wire & 2021 Cable News Network, Inc., a WarnerMedia Company. All rights reserved.

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