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Archive for the ‘Skin Art’

Wrinkle creams: Your guide to younger looking skin – Mayo …10.08.21

Wrinkle creams: Your guide to younger looking skin

Do over-the-counter wrinkle creams really reduce the appearance of fine lines and wrinkles? It depends.

People buy nonprescription wrinkle creams and lotions with the hope that these products can reduce wrinkles and prevent or reverse damage caused by the sun.

Do they work? That often depends on the products' ingredients and how long you use them. Because these over-the-counter (OTC) wrinkle creams aren't classified as drugs, they're not required to undergo scientific research to prove their effectiveness.

If you're looking for a face-lift in a bottle, you probably won't find it in OTC wrinkle creams. The benefits of these products are usually only slight.

Moisturizing alone can improve the appearance of your skin. It temporarily plumps the skin, making lines and wrinkles less visible. Moisturizers are lotions, creams, gels and serums made of water, oils and other ingredients, such as proteins, waxes, glycerin, lactate and urea.

Wrinkle creams often are moisturizers with active ingredients that offer additional benefits. These added ingredients are intended to improve skin tone, texture, fine lines and wrinkles. The effectiveness of these products depends in part on your skin type and the active ingredient or ingredients.

Here are common ingredients that may result in some improvement in in the appearance of your skin.

Hydroxy acids. Alpha hydroxy acids (AHAs) include glycolic, citric and lactic acid. They are used to remove dead skin cells (exfoliate). Using an AHA product regularly prepares your skin to better absorb other products and stimulates the growth of smooth, evenly pigmented new skin.

AHAs, beta hydroxyl acids and a newer form called polyhydroxy acids have also been shown to be effective in reducing fine lines and wrinkles.

The Food and Drug Administration (FDA) classifies creams and lotions as cosmetics, which are defined as having no medical value. So the FDA regulates them less strictly than it does drugs. This means that cosmetic products don't undergo the same rigorous testing for safety and effectiveness that topically applied medications undergo.

Because the FDA doesn't evaluate cosmetic products for effectiveness, there's no guarantee that any OTC product will reduce your wrinkles.

Consider these points when judging the merits of using a wrinkle cream:

An anti-wrinkle cream may lessen the appearance of your wrinkles, depending on how often you use it, the type and amount of active ingredient in the wrinkle cream, and the type of wrinkles you want to treat.

But if you want to take the guesswork out of your skin care regimen, try these more reliable ways to improve and maintain your skin's appearance:

A dermatologist can help you create a personalized skin care plan by assessing your skin type, evaluating your skin's condition and recommending products likely to be effective. If you're looking for more-dramatic results, a dermatologist can recommend medical treatments for wrinkles, including prescription creams, botulinum toxin (Botox) injections or skin-resurfacing techniques.


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What Did Egyptian Mummies Really Look Like? A Gene-Tech Company Has Unwrapped the Mystery, Creating Hyper-Realistic Portraits – artnet News10.08.21

A team of forensic researchers have digitally reconstructed the faces of three ancient Egyptian males, each more than 2,000 years old, using DNA samples culled from their mummified remains.

Experts at the Virginia-based technology company Parabon NanoLabs used DNA phenotypingor a scientific process for determining an organisms physical attributes from their genetic makeupto project the mens facial features and skin color at age 25. From there, the companys forensic artist synthesized these predictions into 3D images of the individuals, which look like characters from a sophisticated video game.

The company said in a statement that its researchers believe This is the first time comprehensive DNA phenotyping has been performed on human DNA of this age. They presented their work at the International Symposium on Human Identification last month.

Buried between 1380 B.C. and A.D. 425, the three individuals hailed from the ancient Egyptian city of Abusir el-Meleq. DNA from their bodies, now publicly available, was sequenced by scientists at the Max Planck Institute for the Science of Human History and the University of Tubingen in Germany in 2017, marking the first time an Egyptian mummys genome had been successfully re-created.

Parabons recent facial reconstructions, which depict the men with light brown skin and dark eyes and hair, help to illustrate the central finding from the Max Planck scientists work four years ago: that the genetic makeup of ancient Egyptians is more closely related to that of modern-day individuals in the Mediterranean or the Middle East than it is to contemporary Egyptians, who tend to have more Sub-Saharan DNA.

Its great to see how genome sequencing and advanced bioinformatics can be applied to ancient DNA samples, said Dr. Ellen Greytak, Parabons director of bioinformatics. These techniques are revolutionizing ancient DNA analysis. Parabons technology has also been used to augment forensic evidence in police investigations and solve cold cases.

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What Did Egyptian Mummies Really Look Like? A Gene-Tech Company Has Unwrapped the Mystery, Creating Hyper-Realistic Portraits - artnet News

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Latest from Mormon Land: Picturing Jesus Why the art you see may have it wrong – Salt Lake Tribune10.08.21

These are excerpts from The Salt Lake Tribunes free Mormon Land newsletter, a weekly highlight reel of developments in and about The Church of Jesus Christ of Latter-day Saints. Want this newsletter, with additional items, in your inbox? Subscribe here. You also can support Mormon Land with a donation at, where you can access, among other exclusive gifts and content, transcripts from our Mormon Land podcasts.

Step into the foyer of a Latter-day Saint meetinghouse and you are supposed to be greeted by a painting of Christ.

Not just any artwork, mind you, but one of 22 approved depictions of Jesus.

That begs a question that is impossible to answer but almost as impossible to resist asking: What did Jesus look like?

Its one blogger Chad Nielsen explores in a recent Times and Seasons post.

Relying on ancient scriptural summaries and more modern explanations from early Latter-day Saint leaders, Nielsen notes that the Christian Savior is usually described as radiant, glorious and cloaked in light or fire.

Wrote church founder Joseph Smith and Oliver Cowdery in reporting their 1836 vision of Jesus in the Kirtland Temple: His eyes were as a flame of fire; the hair of his head was white like the pure snow; his countenance shone above the brightness of the sun.

Nielsen recounts why so many familiar and famous paintings portray Christ as white, even though it is doubtful that Jesus would have had fair skin or blue eyes.

He was Jewish, he writes, and, according to Isaiahs prophecy, did not necessarily stand out in his appearance. ...That likely meant that he was a dark-skinned, brown-eyed Middle Easterner. He was not European.

Nielsen speculates because thats all anyone can do on this matter that Jesus may appear differently to different people so that they will recognize him according to their expectations and focus on the message being presented.

(Think of the 1977 movie Oh, God, with an earthy George Burns playing the heavenly being. I took this form, Burns Almighty says, because if I showed myself to you as I am, you wouldnt be able to comprehend me. Or, in a more current flick, 2011s The Adjustment Bureau, theres the mysterious and never-definitively-seen godlike Chairman, who can appear in any form.)

At the end of the day, Nielsen writes, we do not really know what Jesus looks like. Our scriptural canon gives us no real definitive statement.

(If only there had been Praetorian Polaroids or synagogues with surveillance videos or disciples with cellphone cameras, right?)

Then again, not knowing, the blogger concludes, gives us artistic freedom to imagine his appearance.

(Leah Hogsten | The Salt Lake Tribune) President Dallin H. Oaks, first counselor in the First Presidency, President Russell M. Nelson and President Henry B. Eyring, second counselor in the First Presidency of The Church of Jesus Christ of Latter-day Saints, during the 191st Semiannual General Conference at the Conference Center in Salt Lake City on Saturday, Oct. 2, 2021.

Aside from the naming of 13 new temples, no major announcements took place at the past weekends General Conference, but there were major addresses and other highlights:

General authorities played to the big room again, speaking from the Conference Center Auditorium for the first time in two years. But, save for a few hundred invited attendees, the 21,000-seat hall was mainly empty during this fourth straight all-virtual global gathering.

The Tabernacle Choir at Temple Square sang at three sessions, the scaled-back groups first live conference performance since October 2019. All the singers were vaccinated, tested and physically distanced.

President Russell M. Nelson thanked members who have heeded the faiths COVID-19 counsel which consistently has included calls for vaccinations, masking and social distancing and trumpeted temple worship while challenging members to build solid spiritual foundations.

Apostle Dale G. Renlund, a former cardiologist, praised the safe and effective vaccines but said divisions that have arisen during the coronavirus pandemic point to the need for unity among Latter-day Saints.

In his first public address since his much-debated August speech at BYU, apostle Jeffrey R. Holland encouraged listeners to go all-in with the gospel, saying that there can be no halfway measures in Gods kingdom.

Fellow apostle Neil L. Andersen reaffirmed the mandate that members, media and others eschew most uses of the term Mormon and detailed the churchs efforts to scrub the moniker from its platforms and communications.

German general authority Seventy Erich W. Kopischke delivered a powerful and personal sermon about the pain caused by mental illness in the most extensive conference coverage of the subject since Relief Society leader Reyna Aburto and Holland tackled the topic in 2019 and 2013, respectively.

Four women gave speeches (three offered prayers), including President Camille N. Johnson, who delivered her first conference address since being named in April to oversee the childrens Primary, and general Relief Society first counselor Sharon Eubank, president of Latter-day Saint Charities, who spotlighted projects to help those in need around the world. There is so much more to do, she said, urging members with a willing heart to step up and say to the Lord: Here am I, send me.

Read summaries of Saturdays sermons and Sundays sermons.

On this weeks show, Emily Jensen, a writer and web editor for Dialogue: A Journal of Mormon Thought, reflects on the weekends General Conference the words, the music, what inspired, what disappointed, and what the proceedings may mean moving forward.

Listen here.

Subscribe here to get this and additional newsletter items free in your inbox each week. You also can support The Salt Lake Tribunes Mormon Land with a donation at to access the full newsletter, along with other exclusive content, gifts and transcripts of our Mormon Land podcasts.

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The Trauma and Talent of Some of Historys Greatest Women Artists – The New York Times10.08.21

THE MIRROR AND THE PALETTE Rebellion, Revolution, and Resilience Five Hundred Years of Womens Self Portraits By Jennifer Higgie

Ive written quite a lot about art and artists and have cultivated a pretty deep envy of them, the novelist Rachel Cusk recently told an interviewer for The Paris Review. To operate outside of language it seems the more lasting contribution. Yet painting is, has been, so masculine. The story of women in art is brutal. The Mirror and the Palette, a new history of women artists self-portraits, proves her right about the brutality.

In this candid book by Jennifer Higgie, an Australian art critic, each painter endures some life-changing trauma. The stark message is that women need to suffer in order to make great paintings, and that trauma is the alchemical ingredient necessary for transforming talent into genius.

Higgie has structured her book in thematic, rather than strictly chronological, chapters. The first is Easel and the last Naked. She starts with Catharina van Hemessen, a Flemish artist who in 1548 painted her tiny self-portrait widely believed to be the earliest surviving one by an artist of any gender seated at an easel and ends with Alice Neel, the American painter, who died in 1984. Neel provides the books final quote: You inherit the world. Somehow, you find a place for yourself.

Is there a female voice in painting? Is there a painterly equivalent of Charlotte Bront, Jean Rhys or Annie Ernaux? This book suggests there is and that it is defined by woundedness.

The worthy women artists who diligently persevered with their craft, from 1548 onward, sometimes gained reputations for themselves by brilliantly evoking the styles of the famous male artists of their time; the 17th-century Dutch painter Judith Leyster mimicked the style of her countryman Frans Hals perfectly, for example. In the sequence of the women artists presented here, the first to blaze out with an original female style was Frida Kahlo: Her paintings expressed an undeniable authenticity, a newly experienced awareness of the world, unlike anything else.

Kahlo was born in Mexico City in 1907. Higgie writes: At the age of 6, Frida contracted polio and at 18, she was involved in a cataclysmic accident: A tram crashed into the bus she was traveling on. A handrail pierced her body. Her pelvis, her collarbone, her spine and her ribs were broken; her leg, withered from her childhood disease, was fractured in 11 places; her shoulder was dislocated and one of her feet was crushed. She underwent 32 operations. One of her legs turned gangrenous and was amputated. Her husband, the painter Diego Rivera, also caused her emotional pain. According to Higgie, Their relationship was tempestuous, adoring, furious; both had affairs.

Yet nothing stopped Kahlo from painting. When she was bedridden, she hung a mirror above her bed so that she could paint herself. She said, I paint myself because I am alone. I am the subject I know best. There is an energy, an almost supernatural force, about her work that is very difficult to describe in words; it has to do with the urgency of the paint marks: the need that drove her to transcribe her disability and psychological instability into beauty and permanence.

In Higgies fifth chapter, Solitude, she talks about the life and work of two artists who mean a lot to me: Helene Schjerfbeck, born in Helsinki in 1862, and Gwen John, born in Haverfordwest, Wales, in 1876. Both found their signature styles by withdrawing from the world. Unlike Kahlos, their woundedness appears to have been self-imposed. But the pain of their longing was the fuel that drove them on.

I saw the first solo exhibition of Schjerfbecks work in Britain at the Royal Academy of Arts in 2019. I had never heard of her before. The important room in the exhibition was devoted to her self-portraits. The late ones are among the most extraordinary self-explorations ever made, by a woman or a man. The early paintings are charming, but conventional. Then something happens.

Higgie explains that Schjerfbeck, after studying in Paris where she was happy and successful and traveling abroad, went back to Finland, eventually retiring to a small town in the countryside to look after her mother. She supported them both through sales of her art and gradually gained recognition in the Finnish art world. Then she fell in love with the forester, painter, writer and art collector Einar Reuter. When she heard that he was engaged to someone else, the news was such a shock that she spent three months recovering in a hospital.

By the time she came home, her art was transformed. Higgie describes one of these new self-portraits: Thin lines scar the paintings surface, most violently around her eyes. Her body, as dark as a hole as if theres no delineation between her own skin and that of her painting. In pain, she harms the image she has created of herself. After her mother died, Schjerfbeck again became ill. Even though she was now famous, she could manage her grief only by painting in solitude. When she died, in 1946, Higgie writes, her easel, like family, was at her bedside.

I have always felt closely connected to Gwen John, and her work is intimately familiar to me. Throughout her life, John had to contend with her brother, Augustus John, who became a much more successful painter than she was. They both attended the Slade School of Art in London and lived together as students. Gwen found Augustus overbearing. Her search for self-knowledge was precipitated by her need to escape his influence. Two self-portraits capture her transformation.

In the first, from around 1900, she portrays herself with a hand on her hip, her fingers nearly touching the masculine buckle of her belt. She is gazing directly and challengingly at the viewer. She was painting like a man, like her brother. The energy of the brush marks flows outward, not inward. She has not yet found the quiet intensity that would define her later work.

About two years later, she painted another self-portrait. Her expression is as remote as that of a figurehead on a ship: Shes saying that she is prepared to face anything the world throws at her, but she will not be part of any family circle or art club. Her brother had recently married her close friend and the couple had had a baby. John understood that to become a mother one has to compromise, and she wasnt prepared to do that. She was going to choose solitude and deprivation instead. In doing so, she became one of the greatest spiritual painters of all time.

When we arrive at Alice Neel, born in 1900 in Philadelphia, its as if she effortlessly opens a door that had previously seemed locked, bringing with her the possibility of freedom and humor. Goodness knows, she had her share of tragedy: Her first daughter died of diphtheria before she turned 1; her second daughter was abducted by her husband; she had a breakdown as a result and was hospitalized. Various relationships with disturbed and abusive partners followed her recovery, as well as two sons, whom she brought up almost single-handedly in poverty.

Yet her invincible spirit shines through and her life ended in triumph. When she was 70, she was commissioned to paint the feminist critic Kate Millett, the author of Sexual Politics, for the cover of Time magazine. It made her famous. At 74 she had a retrospective at the Whitney Museum in New York. She said that the experience convinced her that she had the right to paint. She painted her first solo self-portrait at 80. She painted herself naked, and said: Frightful, isnt it? I love it. At least it shows a certain revolt against everything decent. Somehow, Neel managed to make woundedness look like joy.

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Gallery of Aesthetics, a State-of-the-Art Medical Spa with Artistic Vision in South Jordan, Utah, Is Now Open – PR Web10.08.21

Gallery of Aesthetics, a state-of-the-art medical spa in South Jordan, Utah, is now open, serving Salt Lake County with advanced non-surgical aesthetic solutions.

SOUTH JORDAN, Utah (PRWEB) October 01, 2021

Gallery of Aesthetics, a state-of-the-art medical spa in South Jordan, Utah, is now open, serving Salt Lake County with advanced non-surgical aesthetic solutions including laser skin rejuvenation, hair restoration and much more.

What sets Gallery of Aesthetics apart? Medical Director and CEO of Gallery of Aesthetics Dr. Jeffrey Ayers, who owns the Gallery with his wife, Julie, created Gallery of Aesthetics to merge his two greatest passions: Aesthetic medicine and art. Hence, Gallery of Aesthetics is more than just a medical spa; its also a gallery showcasing the celebrated works of international artists.

I love art, says Dr. Ayers, My vision was to create a state-of-the-art space where our clients can enjoy advanced aesthetic treatments to bring out their personal best. During your visit, youll be able to enjoy results-driven treatments to turn back time, reverse sun damage and intensely revitalize yourself from head to toe. At the same time, youll also be able to peruse inspiring artwork! Of course, the most important works of art are our clients! Our team cant wait to help you feel like the work of art you are!

Advanced aesthetic servicesDr. Ayers and his wife, Julie Ayers, are co-owners of Gallery of Aesthetics. Theyve worked diligently to curate a menu of services that provide the highest level of results for their clients with minimal downtime. Gallery of Aesthetics proudly offers a wide selection of aesthetic services, including:

Gallery of Aesthetics is offering a first-time client special:

Gallery of Aesthetics is located at 10709 S. Redwood Road, Suite 103, South Jordan, UT, 84095. To learn more or schedule a consultation, please call 801-515-0260 or visit their website today.

About Gallery of AestheticsGallery of Aesthetics is a state-of-the-art medical spa in South Jordan, Utah, with a uniquely artistic vision. At Gallery of Aesthetics, clients can transform their skin into a work of art! Our dedicated team is ready to guide clients on their journey toward looking and feeling their very best both inside and out, at any age or stage in life.

Whether clients are visiting our aesthetic gallery for skin rejuvenation or fillers, Gallery of Aesthetics is committed to providing the highest standard of aesthetic and wellness care in the industry. Their menu includes: Collagen stimulators, BBL photofacial, clinical facials, microneedling, lash services, platelet-rich fibrin (PRF) facials and facelifts, Botox/Xeomin/Dysport, dermal fillers, liquid facelift, non-surgical rhinoplasty, PRF hair restoration, HydraFacial MD, laser hair reduction, Minoxidil and Finasteride hair restoration, hair loss supplements, Moxi fractional laser skin treatment, AquaGold, chemical peels, dermaplaning, clinical skin care products.

About Dr. Jeffrey Ayers, medical director and CEO of Gallery of AestheticsDr. Ayers has practiced medicine in Utah for 26 years. While working for Intermountain Healthcare, he realized medicine would evolve, requiring professional diversity. As a result, he sought additional training and discovered medical aesthetics.

After joining the National Institute of Medical Aesthetics, he spent 12+ years as their medical director. While there, he continued developing his artistic skill for aesthetics and contributed to the professional training programs they offered.

Dr. Ayers has a bachelors degree in biology from Westmont College and completed his medical degree at Des Moines University. He then completed his family medicine residency at Camp Pendleton Naval Hospital and served as a staff family doctor in Sasebo, Japan as a commissioned naval officer for three years.

Dr. Ayers enjoys many of the services offered at Gallery of Aesthetics. On any given day, he would jump at the chance to have a HydraFacial. This service mildly exfoliates the skin and infuses serums and boosters, leaving the skin feeling clean, refreshed and soft. In addition, in as little as 30 minutes he can also have a fractional laser resurfacing (Moxi) that has very little downtime. He also believes the most important step in skincare is sunscreen. A regimen of antioxidants, anti-aging products and sunscreen will correct and protect the skin moving forward.

Dr. Ayers is inspired by many artists and enjoys contemporary abstract to realism. His first recollection of an artist he enjoyed as a child was Andrew Wyeth (USA). Dr. Ayers also enjoys the works of Didier Lourenco (Spain) and Danny McBride (Canada).

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How Palm Springs Unified helps children overcome the barriers of poverty – Desert Sun09.04.21

Richard R. Clapp| Guest columnist

I have read the book, "White Fragility," as well as several others of the same ilk where the troubles in our society come down to the color of our skin. Having spent a lot of time thinking about this, I have come to a different conclusion.This is not to say that there isnt prejudice out there because of skin color, it is to say that what is going on in our country comes from a bigger problem.I believe the cause is the growing discrepancy between those that have and those that have not.

It is true that there is a much higher percentage of Black people or Hispanic people in poverty than white or Asian people.It is also a fact that poor children dont do as well in school as non poor children.If you look at standardized test scores, the higher the rate of poverty, the lower the test scores.It is not a straight line and there are always outliers; but, the conclusion seems inescapable:If you want to be successful in school, you cant be poor.

Why?A big part of the reason is that children in poverty do not get the same types and quantity of experiences that children not in poverty get just by the lives they live. If you are reading this column, then the chances are you are not in poverty. How many times have your children been to the beach?Compare what your children have experienced to those children in this valley in poverty.

If these opportunities could be provided to all children, would poor children do better in school?There is some evidence they do, and we dont have to look far to see.

If you look at the school districts in Riverside County and rank them in order of percentage of poverty, the Palm Springs Unified School District is always near the bottom.Usually 21st out of 22 with over 88% poverty.Surprised?

Temecula and Menifee are around 25% poverty. This should mean that when these school districts take standardized tests, PSUSD should be near the bottom. However, when the the last test was given (pre-COVID), PSUSD tested 12th and 13th in math and language arts.

While not at the top, this was certainly much better than our children seemingly should be testing. Why?

Outstanding teaching, enlightened administrationand a school board committed to providing opportunities beyond reading, writing and arithmetic.I was one of the five members of that board for 12 years, as well as being a teacher, counselor and administrator in the district for 37 years, and I watched the impact poverty has on students and their families.

What PSUSD did started with a comprehensive arts program from preschool to 12th grade.Every possible type of fine art, practical art, performing art is provided for all children at no cost.

A recess program at all elementary schools teaches all children how to get along, follow rulesand resolve problems without violence. Many pathways and academies provide choices for post high school. PSUSD began feeding all children years ago because children in poverty dont eat as well as others. An extensive parent support program that does far more than teach parents how to help with homework. A foundation that provides support where the school district cant. And on and on.Again, compare the lives you give your children versus the lives children in poverty get.

I do not think the solution our societal problems is to treat people different because of their skin color. I think the solution is our public school system.

We need to do everything possible to see that all children arenottreated the same, butare given over the 13 years they spend in school the opportunities and experiences their environment has denied them. That way,when they graduate, they can all greet the future with the same expectation of success.This can be done if our schools deliberately mitigate the effects of poverty by providing the experiences and opportunities that some children are missing.

Richard R. Clapp of Cathedral City is a former teacher, administrator and school board member. Email him

How Palm Springs Unified helps children overcome the barriers of poverty - Desert Sun

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Peter Brathwaite to Present ‘Visible Skin: Rediscovering the Renaissance through Black Portraiture’ – OperaWire09.04.21

Opera singer and broadcaster Peter Brathwaite will present Visible Skin: Rediscovering the Renaissance through Black Portraiture, a new outdoor exhibition across Kings College Londons Strand Campus.

The showcase, which is set to take place on Sept. 10, 2021, will feature photographs and other artwork by Brathwaite. The aim of the presentation is to decontextualize the Renaissance, a time of cultural rebirth, through the lens of imagery centering on Black people. Brathwaite restaged many famous paintings using items from his familys past and from his cultural heritage in Barbados in Britain.

Rediscovering Black Portraiture is about platforming less dominant voices specifically the Black lives silenced by the canon of Western Art. My collaboration with the Renaissance Skin research team at Kings College London represents some of the stories and lives that have remained hidden from view. I hope Visible Skin can start a dialogue that allows us all to speak about a past that is often avoided in the present, said Brathwaite in a press statement.

Evelyn Welch, Professor of Renaissance Studies, Provost & Senior Vice President (Arts & Sciences) at Kings College London added, Skin is the most visible part of our bodies sometimes we ignore it, many times we define and categorize it. It has been a privilege to work with Peter Brathwaite and Hannah Murphy, Lecturer in History at Kings on Visible Skin, an exhibition inspired by our Wellcome Trust funded in-depth research on Renaissance Skin. Brathwaites photography asks us to look again at the visibility of race in the Renaissance period in Europe. We hope this intervention in the public spaces around the Strand will provoke comment, dialogue and discussion.

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Everything You Need to Know About Multani Mitti for Skin Care – Healthline09.04.21

Every morning, I always found a small cup on my grandmothers kitchen counter with a smooth mixture of brownish clay, milk, and turmeric. After the morning hustle and bustle subsided, shed apply it to her face, wait for 10 minutes, and rinse it off.

It was a ritual she followed religiously, claiming it was the secret to her smooth and glowing skin.

I often wondered what the clay was, and it was only much later that I realized that it was Multani mitti.

Also called fullers earth or mud of Multan, this ingredient has been used by homemakers like my grandmother and mother as well as skin experts for decades.

Its also a staple ingredient in herbal formulations, Ayurvedic beauty treatments, and ubtans Ayurvedic treatments to cleanse and detox the body often used before traditional Indian weddings.

Multani mitti is a mineral-rich clay-like substance that gets its name from its city of origin, Multan in modern day Pakistan. With a texture thats much finer than clay and with a higher water content, Multani mitti is known for decolorizing oil and other liquids without harsh adverse reactions.

Its composed of hydrated aluminum silicates and is rich in magnesium chloride and calcium bentonite, a composition similar to bentonite clay. Its found in a large range of natural colors like brown, green, and white.

Multani mitti is known as fullers earth in English for its historic use by textile workers known as fullers.

Fullers earth was popularly mined in the state of Multan and exported to other regions of the Indian subcontinent. Thus, it came to be known as Multani Mitti, says Jatin Gujrati, founder of Ayurvedic lifestyle brand Vedix. Princesses and affluent women in Indian history always had a stash of Multani mitti along with sandalwood paste and gram flour, which they used for beauty treatments.

A prime destination on the silk route, traders brought home Multans clay-like soil, and women used it extensively on their skin and hair at that time.

During World War II, fullers earth was mixed with water and applied to feet to reduce inflammation.

Multani mitti or fullers earth is used as a natural cleanser and astringent, offering a host of benefits for the skin, including:

According to Rinky Kapoor, cosmetic dermatologist and surgeon at The Esthetic Clinic, Multani mitti contains mattifying properties that balance skin oils and remove impurities.

Its especially beneficial for oily skin, as it helps open up clogged pores and absorbs excess sebum from the skin.

According to one study, Multani mitti removes dirt and absorbs excess oil.

According toVaishali Sawant, assistant medical director of Vedicure Healthcare and Wellness, Multani mitti is effective at treating acne. It does this by:

The magnesium chloride in fullers earth is a magic anti-acne worker, says Kapoor.

According to research, Multani mitti increases the cleanliness of the skin by removing dead skin cells from the surface, which results in:

These benefits provide a rejuvenated, glowing look.

Multani mitti helps fight dark circles and sun damage due to its cooling effect on the skin.

It gives you an even skin tone, tackles tanning and pigmentation, and is effective against sunburn, skin rashes, and infections, adds Sawant.

Given that Multani mitti is effective against removing excess oil, impurities, and dead cells, it gives the skin a natural glow.

The ions in Multani mitti lighten the skin and heal the damage done by sun exposure, says Kapoor.

Multani mitti can be used in multiple ways as a beauty treatment, including:

In India, tightening face masks are often referred to as face packs. Multani mitti makes a great face pack and can be combined with other ingredients to suit different skin types.

It has both a cooling and tightening effect, helps reduce lines, wrinkles, and pigmentation while cleansing the skin.

You can try products like Reshma Beauty Fullers Earth Face Mask.

Because of its oil-absorbing properties, Multani mitti makes a great spot treatment.

You can use a bit of a face mask or mix Multani mitti powder with water and dab it on pimples to dry them up and reduce redness.

In India, its popularly mixed with neem when used as a spot treatment.

Multani mitti can be mixed with other ingredients to create a moisturizing and brightening face mask. Common ingredients include:

These ingredients can help add moisture or brightness to the skin.

Multani mitti is very effective in removing dead cells from the surface of the skin.

Use it as a gentle scrub by mixing it with orange peel powder or powdered oats.

Want to give Multani mitti a try? The recipes below have you covered.

For this face pack, you can use your favorite high fat milk if you have combination skin. Rose water works best for dehydrated skin.



Recipe courtesy of Manasi Shirolikar, head dermatologist at Remedico.

This quick and easy spot treatment helps dry up acne fast.



Recipe courtesy Jatin Gujrati of Vedix.

This simple face mask is moisturizing, brightening, and cleansing.



Recipe courtesy Jeeshant Khan, formulations scientist at I am Love.

This exfoliating mask features the skin benefits of antioxidant-rich papaya.



Recipe courtesy Sushant Shetty of Kaya Limited.

For skin types that need extra moisture, mix your Multani mitti with equal parts aloe vera gel. Make sure its food-grade and has no additives.



This simple exfoliant blend can help slough off dead skin cells and brighten with lemon.



Lemon and other citrus fruits may cause skin irritation for some people. You shouldnt use lemon if you know youre going to be out in the sun, as doing so can increase your risk of sunburn and other side effects. Always do a patch test before you use lemon in your skin care routine.

People with highly sensitive or dry skin should avoid using Multani mitti. Because it absorbs oil, Multani mitti can leave your skin feeling thirsty.

If you have sensitive skin, it may lead to redness or irritation.

Always do a patch test to rule out sensitivity and allergy before using any new product.

Multani mitti offers plenty of benefits for the skin, including cleansing, brightening, and toning properties.

To reap the benefits, you can use it in simple DIY recipes, like face masks, exfoliants, and spot treatments.

While its generally considered safe, it may irritate sensitive skin. Make sure you do a patch test before you give it a try.

Rashmi Gopal Rao is a freelance writer from Bangalore. She writes on travel, art, culture, wellness, food, and design. You can read more of her work at Rashmi Notes.

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Final Art Stroll of the season features an auction and a dance performance – Martha’s Vineyard Times09.04.21

The Oak Bluffs Arts District (Dukes County Avenue and environs) is concluding its Art Stroll season this Saturday with additional artists, music, dance, and a special event. From 6 to 7 pm, the Arts District will host an auction of a unique sort. A dozen or so local artists were given the task of creating their own functional art by painting a chair in any manner they might choose. The 12 donated chairs will be auctioned off as a fundraiser for Habitat for Humanity. Also up for bid will be two outdoor showers one designed by local architect Hutker Designs, and one from the home of the late Olga Hirshhorn, as well as an outbuilding by Nantucket Sheds and some garden items from local nurseries.

Writer, poet, humorist, and producer Arnie Reisman will serve as auctioneer, a role he has taken on before for various organizations. Whether or not youre in the market for any of the items, Reismans participation should guarantee a fun time.

The stroll itself will take place between 4 and 7 pm, with the street closed to vehicle traffic, providing for a festival atmosphere. The event will incorporate open houses at all of the Arts District galleries, music by the John Alaimo Trio, and work by a number of independent artists on display on the street. Coordinator Holly Alaimo says, The opportunity is open to all artists. Its a free place to set up and sell their artwork.

Over at the Galaxy Gallery, visitors will have the chance to check out the latest show featuring work by four different artists. The exhibit is titled MultiMediums, and will include photography by Janet Woodcock, encaustics by Scout Austin, drawings by Chip Coblyn, and paintings by Gail Rodney.

Coblyns contribution to the show is a series of large-scale charcoal drawings called Tall Grass. The images depict the physical devastation wrought upon dancer and choreographer Tessa Permar after she was stricken with Lyme disease in 2019. The drawings depict the progression of the disease and the debilitating symptoms that plagued the dancer over the course of a year. Coblyn was inspired to create the series after seeing Permar perform an original dance, also titled Tall Grass, based on her experience with Lyme disease, at the annual Built on Stilts festival two years ago.

Its so pervasive here on the Island, says Coblyn of the tick-borne illness. Almost all of my longtime friends have had it several times. When I saw Tall Grass, it got my creative juices flowing.

The six images in the series are artfully rendered moody depictions of the various stages of Permars illness. In many her face is obscured, or partially obscured, and the focus is an up-close snapshot of parts of the dancers torso or limbs. The first image, titled Invasion, shows Permar squeezing the skin on her stomach. The description reads, She feels as if something is moving under her skin. The others are titled variously Burning, Delirious, Muted, Blinded, and Ascension the last depicting the dancers path to recovery. The thoughtful and dramatic drawings show exceptional talent and sensitivity on the part of the artist, and an honesty and vulnerability on the part of the model.

Coblyn and his wife Pam settled full-time on the Vineyard in 2019. Prior to that Coblyn enjoyed a successful career as an illustrator and graphic and industrial designer based in Bethesda, Md., just outside D.C. Retirement and relocation afforded the artist the opportunity to focus full-time on creating fine art, and he started participating in Tom Maleys life drawing classes while seeking a subject to base a show on. The Built on Stilts performance proved to be the turning point for Coblyn, who describes the series as a release for me as an artist-in-waiting.

In his artists statement Coblyn writes, As a lifelong athlete, my figure drawings tend to focus on the strength and athleticism of the model. As a professional dancer, Ms. Permar was a perfect fit physically, while her personal story provided the compelling element essential to successful art.

As part of the Stroll lineup, Permar will perform Tall Grass at 4:30 pm.

Scout Austin is also making her Vineyard debut as an artist with the Galaxy Gallery show, and, like Coblyn, she made a career change upon moving to the Island in 2014. After earning a B.A. in fine arts from Syracuse University and a master of fine arts degree from the University of Florida, Austin did a 180 when she decided to pursue a career as an attorney. She practiced law for many years both in California and Massachusetts. Retiring from her law career has allowed Austin to return to her early passion for art.

Interested in photography as well as other artforms, Austin spent her first few years on the Island shooting scenes around the Vineyard and immersing herself in the look and feel of the Island. After she and her husband built a studio in their home, she started concentrating on encaustic landscapes inspired by her photographs. The encaustic process involves using heated wax to which colored pigments have been added to build up an image on wood or another sturdy surface. Austins vibrant images come alive with color and texture, imparting almost a storybook feel to the Island landscape. Texture especially plays a large part in Austins work. She loves to focus on trees, rocks, sand grasses, and other Island flora, and the textural encaustic process serves her well in that respect.

In her artists statement, Austin writes, My work is narrative in nature. The stories I tell are both personal and universal. My hope is that those who experience my work come away with a better understanding of themselves and the world we live in.

The other two featured artists in the Galaxy Gallery show will be more familiar to visitors. Gail Rodney is a member of the Marthas Vineyard Art Association who exhibits her work at that groups Old Sculpin Gallery in Edgartown annually. She also shows regularly with the Gallery of Graphic Arts in New York City, and she is a juried member of the Pastel Society of America. Rodney covers a variety of subjects in her work, from NYC and Venice scenes to Vineyard landscapes. The latter is what she is contributing to the show both watercolors and oil paintings.

Janet Woodcock has been participating in the Artisans Festival shows for years, and has shown her work in galleries on the Vineyard and around the country. Working in traditional photography, using film that she develops in her home darkroom, she creates toned silver prints. Woodcock may be best known for her moody, sepia-toned images of barnyard animals and her eerie photos of the carnival side of the Ag Fair, but for the Galaxy Gallery show, she is exhibiting a wonderful series of botanical photographs.

A trip to the Art Stroll will afford an opportunity to visit two nearby artists studios Lucinda Sheldons is right around the corner from Dukes County at 11 Vineyard Ave., and Richard Limbers is on Upper Circuit Avenue (184R). Sheldon creates one-of-a-kind enamel jewelry, while Limber is a contemporary artist whose recent work includes images of civil rights hero John Lewis and Black victims of police violence. Limbers work is very powerful, relevant, and, at times, controversial.

Arts District Stroll and auction for Habitat for Humanity, Saturday, Sept. 4, Dukes County Avenue in Oak Bluffs. Stroll takes place from 4 to 7 pm. Auction of artist-painted chairs, outdoor showers, and more will start at 6 pm. Dance performance by Tessa Permar at 4:30 pm. The Galaxy Gallery show MultiMediums will hang through Sept. 8.

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Houston artist Donkeeboy and his mom turn a park into works of teachable art – Houston Chronicle09.04.21

Alex Donkeeboy Roman and Sylvia Donkeemom Roman have spent the past few weeks waiting for the sun to set over Clark Park in Northline. Around 6 p.m. its usually cool enough for the mother-son artist duo to begin their work, painting a mural over the concrete sidewalk leading from Tidwell Road into revitalized green space.

Four years ago, it would not have been safe for the Romans to be there after dark.

There was a stigma that it was unsafe park, says Jorge Sanchez, program manager of the Memorial Hermann Health Systems Community Benefits Corporation. Because of illegal activity or gunshots, parents would not dare step foot in the park grounds. Instead, they would have to drive 20 minutes to Discovery Green. No one should have to go to those measures when you have a beautiful park in your neighborhood.

Memorial Hermanns interest in Clark Park took hold in 2016, when data pulled from students at Burbank Middle School in HISD revealed an uptick of acanthosis nigricans, a skin condition which typically develops in people who are obese or have diabetes.

Thats what really sparked the conversation, Sanchez says. How could we improve the health of the students?

CBC functions as a subsidiary of Memorial Hermann to create evidence-based programming that improves the communities where Houstonians live, work, learn and play. Most initiatives fall under one of four pillars: access to healthcare, emotional well-being, food as health or exercise is medicine. The idea to activate Clark Park was grouped with the latter.

We started with looking at how we can break the clinic walls, Sanchez explains. When we surveyed the area, focus groups found there was a common line directing attention to how unsafe the (neighborhood) green spaces were, and how they lacked programming for families and students that were going to increase healthy literacy.

His team prioritized a number of mini face-lifts that would have a big impact on exercise and engagement. Repairing Clark Parks sidewalks was at the top of that list.

When the Romans are done, their colorful concrete mural will snake over 1.2 miles of sidewalk. Its a tall order, and one that will be completed in phases.

The first phase is geared around exercise, walking to and from the park, Alex says. The idea is that you can enter through the sidewalk and itll give you basic instructions on different exercises like jumping jacks, sprints, lunges and jogging. Its up to whoever is walking to decide how many.

Sanchez encouraged Alex and Sylvia to flip the script on promoting physical activity with words of affirmation such as Keep going.

Phases two and three will highlight diversity. We had several meetings with some of the people from the neighborhood. A lot of what were planning is their suggestions. They wanted something cultural, something that represented their community. But we havent even touched those phases yet.

As its name suggests, Northline is located in North Houston, east of Acres Homes and south of Aldine.

Because its a Hispanic community, thats something were going to focus on, Alex adds. He and Sylvia write mural script in both English and Spanish. Some of the sidewalk is going to be painted with some ideas from students: What do they want to be when they grow up? And what inspires them?

In the interim, CBC has crossed-off a number of other items on its Clark Park to-do list. The basketball court received a paint job and new hoop nets. Theres also a new junior soccer field, in addition to the launch of programs including Walk with a Doc a nationally recognized program with a physician walking and talking about various health-related topics and StepHealthy Connects, which supports residents who aspire to become professional group fitness instructors.

After we held the first Walk to Clark Park events, roughly 200 students walked the grounds, Sanchez says. For many, it was their first time visiting a park that was less than a mile away from them.

Memorial Hermann reports that following one year of increased police presence and interactive programming, park usage has increased by more than 22-percent.

Alex is proud to have a creative hand in Clark Parks makeover. Weve added some color and hopefully encouraged some people to come outside and take a stroll. There are definitely going to be a lot of future patterns involved.

He and Donkeemom just need the weather to cooperate.

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