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St. Louis Rep Announces Adjusted 2020-21 Season – American Theatre09.03.20

ST. LOUIS: The Repertory Theatre of St. Louis has announced a 2020-21 season that will include in-person performances beginning in March 2021.

Over the past months we have not been able to gather together in the theatre, said the Reps artistic director, Hana S. Sharif, in a statement, but the hunger for storytelling that illuminates our humanity is fiercer than ever. I still believe that great art can transform lives, so we have adapted this season to create unique and safe opportunities to bring arts to our community.

Throughout the fall and winter, the Rep will be announcing interactive, site-specific, and virtual experiences. The first virtual event will be a free staged reading of Monty ColesBlack Like Me (Sept. 10), based on the John Howard Griffin memoir of the same name. Modern-day Black characters reenact and wrestle with the true story of a white journalist in 1959 who temporarily dyed his skin as a way to experience life as a Black man.

In-person performances will begin with Little Shop of Horrors (March 5-April 11, 2021), with book and lyrics by Howard Ashman and music by Alan Menken.

The season will conclude with Lynn Nottages Mlimas Tale (May 28-July 11, 2021), about the spirit of an African elephant murdered for his tusks as it journeys through the dark world of the international ivory trade.

Founded in 1966, the Repertory Theatre of St. Louis is a professional theatre striving to produce an eclectic range of productions.

A just and thriving theatre ecology begins with information for all.If you are able, please join us in this mission by making a donation.As we reckon with the impact of COVID-19, the theatre field needs committed and nuanced journalism. Free and unlimited access toAmericanTheatre.orgis one way that we and our publisher, Theatre Communications Group, are eliminating barriers to crucial resources during this crisis.When you support American Theatreand TCG, you support these emergency resources andour long legacy of quality nonprofit arts journalism.Clickhereto make your fully tax-deductible donation today!


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How a Deeside based aircraft maintenance company is using new state of the art tech to fight Coronavirus – Deeside.com09.03.20

A Deeside based company is using state of the art ultraviolet light technology to kill harmful bacteria and viruses, including Coronavirus.

Ultraviolet light has been known to kill bacteria for hundreds of years, but until now has not been deemed safe for use around humans.

With new research put into this field due to the pandemic, a local aircraft maintenance company is looking to bring technology to the UK which could help combat the virus and future pandemics.

Aerocare Aviation Services (AAS), a company in Broughton specialising in maintaining and upgrading private aircraft, say the equipment can be used almost anywhere.

AAS has said the technology is unmatched for speed, convenience and effectiveness in combating the spread of pathogens viral and bacterial agents both on surfaces and in the air.

Trademarked as FAR UV-Sterilray Excimer Wave Technology it is currently being used in various transport, agriculture and building settings.

It is said that Coronavirus is very susceptible to FAR-UV as the light targets the shell which protects it from harm.

Similar technology has been used in China to disinfect buses, but the World Health Organisation warned of its use on skin as it can cause irritation and skin cancer.

The FAR-UV light on the other hand operates at a specific wavelength that is harmless to people, does not damage or corrode surfaces and does not require large amounts of power to operate.

However, it is lethal to pathogens and either destroys them outright or damages them such that they cannot replicate.

It also comes in many delivery formats, such as rail lamp solutions, fans, overhead lamps, standing sources for rooms, robotic sources for multiple room spaces, and in wand format.

Ruth Roberts, the Commercial and Planning Manager at Aerocare, said: Right now weve been concentrating on aviation, but this technology could be used in any situation.

Companies currently approaching us are from across the transport sector including airports, aircraft and train manufacturers as well as cruise ship operators, for example.

The technology is quite expensive at the moment, so we couldnt all afford to have it in our homes yet, but this will become achievable in the future.

Eventually, FAR-UV lamps could be put into many uses in everyday life, the potential is incredible hospitals, schools, in the home and in industry.

The technology is currently being used in the US but has not been scientifically proven by British scientists for use in the UK.

Various scientific trials are planned or underway in the UK the booth and cleansing cart used by Aerocare are part of the Innovate UK project which itself forms one part of the overall validationprocess.

AAS say FAR-UV is more effective than bleach or fogging and available for mains or battery operation, and is a cost-effective way to combat both current and potential future pandemics.

The process of the testing has gone really well, Ruth said.

As soon as we have the results back, the scientific paper will be written up, but all went to plan.

The company are also keen to manufacture and develop the UV technology in North Wales to support the local supply chain.

To learn more about the medical evidence and testing of products, visit Aerocares website

By Jordan Adams

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Global Microneedles for Drug Delivery Patent Landscape 2020 – Who Are the Top Players and Who is Best Placed in the Race Against COVID-19? -…09.03.20

DUBLIN, Sept. 3, 2020 /PRNewswire/ -- The "Microneedles for Drug Delivery Patent Landscape" report has been added to's offering.

Report's Key Features

Microneedles for drug delivery, a new way to deliver drugs through the stratum corneum

The global drug delivery market has been observed to be as large as USD 440.5 billion in 2018. Hypodermic needles are known to be very efficient and they have been used immensely in the delivery of biological macromolecules, insulin, vaccines, etc. However, their invasive nature, stability issues, and non-compliance have always been the issues of concern and led to the requirement of highly skilled medical practitioners for administration.

In this context, microneedles have shown immense potential, since they can easily, painlessly and safely deliver drugs without special storage infrastructure. Hence, they can be self-administered by anybody, thereby eliminating the need for a clinic visit and the assistance of skilled medical practitioners. This serves as an important advantage, especially in the emerging markets. Moreover, microneedles do not create sharp waste, thereby eliminating the problem of discarding needles and hazardous risks. Patients suffering from needle phobia can easily use microneedles. Indeed, according to a study published in Behavioral Neurology, 2014, around 3-4% of the world population faces needle phobia.

Microneedles for drug delivery are attracting interest from big companies and start-ups alike and show immense potential that could transform the global transdermal market. Furthermore, in the actual race to find a COVID-19 vaccine, numerous companies (e.g. Kindeva (3M), Debiotech, Verndari, NanoPass, Bioserentach, Sorrento Therapeutics, Merck, etc.) have developed or shared their microneedle delivery system and promising results have already been released. Other fields, like cosmetic, ophthalmic and diabetes showed important technological progress in the past few years that could disrupt the existing market and replace the current standard drug delivery system.

In this evolving context, it is crucial to understand the intellectual property position and strategy of these different players. Such knowledge can help detect business risks and opportunities, anticipate emerging technologies, and enable strategic decisions to strengthen one's market position.

The analysis of the time evolution of patent publications shows that using microneedles for drug delivery were first filed in the 1971 by ALZA corporation patent (US3964482). However, it was not possible to make such microstructure devices until the 1990s, with the advent of high-precision microelectronics industrial tools. Hence, no patent families were published until 1993 and publications increased from 2001/2002, mainly due to the patenting activity of ALZA Corporation and Becton and Dickinson. A stagnation phase was observed between 2007 and 2012, followed by a second acceleration phase related to the patenting activities of 3M, Toppan Printing and Hisamistu Pharmaceutical. Patent publications then accelerated from 2015 with the entry of numerous newcomers and the expansion of the cosmetic and soluble microneedles field. The main patent assignees are Asian industrial players that develop an international intellectual property strategy. Asia (CN, JP and KR) and US are the main territories of protection, which appear to be strategic territories for these applicants.

Analysis by segment

Microneedles for drug delivery can be applied to different fields and use different technologies (i.e. type of microneedles). Therefore, a technological segmentation was made for this IP landscape, as follows:



Identifying the companies that have recently emerged in the IP landscape

Among the players that have filed patents related to microneedles for drug delivery, over 40 newcomers were identified. These companies are established companies and start-up firms developing their first products in the microneedle sector. Numerous IP newcomers are based in Asia and in the US with only a few in Europe. It is possible that one of these innovative companies could become one of the next healthcare unicorns that big corporations will be tempted to acquire.

Key patent analysis

This IP study includes the selection and description of key patents. The key patent analysis includes the legal state of the family for each of the main territories, the number of received citations, the review of the main claim(s), the description of interesting features about the innovation disclosures and relevant figures illustrating how the innovation works. The description also contains information about the fact that the patent family was involved in patent litigation in the USA.

Moreover, the report also includes an Excel database with the >2,450 patent families analyzed in this study. This useful patent database allows for multi-criteria searches and includes patent publication numbers, hyperlinks to the original documents, priority dates, titles, abstracts, patent assignees, each patent's current legal status and segmentation to which it belongs.

Key Topics Covered










Companies Mentioned

For more information about this report visit

Research and Markets also offers Custom Research services providing focused, comprehensive and tailored research.

Media Contact:

Research and Markets Laura Wood, Senior Manager [emailprotected]

For E.S.T Office Hours Call +1-917-300-0470 For U.S./CAN Toll Free Call +1-800-526-8630 For GMT Office Hours Call +353-1-416-8900

U.S. Fax: 646-607-1907 Fax (outside U.S.): +353-1-481-1716

SOURCE Research and Markets

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Magazine stands will have more Black faces and voices in September amid reckoning in media – NBC News09.03.20

The killings of George Floyd and other Black Americans this spring sparked a national reckoning over the treatment of Black people and other minorities in the United States. As protestors took to the streets to decry institutional racism and demand change, employees began to call out instances of racially insensitive and discriminatory behavior in their own workplaces.

The media industry in particular was hard hit by allegations of racism, both within office culture and within the content companies were putting out. Staffers at major cable outlets, broadcasters and media companies came forward to decry their working conditions, detailing instances of discrimination and harassment.

In June, shortly after Floyd was killed by police, staffers at Cond Nast, the publisher of Vogue, Vanity Fair and The New Yorker, came forward with complaints about racism. Similar allegations arose in July about the culture at Hearst Magzines, which puts out O: The Oprah Magazine and Cosmopolitan.

Now, these magazines have dedicated their September issues to Black voices.

The move is particularly notable because September issues are typically the most important issues of the year for magazines. Theyre typically bigger than other issues and have lots of glossy editorial shoots, advertisements and fall fashion trends. Theyre a reset as consumers return from summer vacations and settle back into regular life. Theyre tone-setting.

Vanity Fair, Vogue, and O: The Oprah Magazine all took a different approach to their editions.

Vanity Fair brought on American author and journalist Ta-Nehisi Coates as a guest editor and allowed him to curate a special edition exploring art, activism, and power in 21st-century America, the magazine said in a statement.

Let our news meet your inbox. The news and stories that matters, delivered weekday mornings.

Coates, who writes about cultural and social issues with a special focus on Black Americans and white supremacy, has also published three non-fiction books that capture his experience as a Black man in this country.

Theres no one better suited than Ta-Nehisi to illuminate this urgent moment in American history to answer the question, why is this time different? said Editor-in-Chief Radhika Jones. We are honored to collaborate with him on this project, bringing together the writers, artists, and icons whose work pushes us toward a more just world.

Coates was able to oversee nearly every part of the editions creation, including assigning stories, editing, selecting writers and photographers and directing the art, design and multimedia. He highlighted the work of prominent Black writers, artists and photographers, including Ava DuVernay, Eve L. Ewing, Bomani Jones and Josie Duffy Rice.

The issue included articles about the move to abolish the police, systemic racism and inequities within collegiate athletics and featured a cover with an image of Breonna Taylor painted by artist Amy Sherald.

Taylor, 26, was an emergency medical technician in Louisville, Kentucky, who was gunned down during a botched police raid in March, according to a lawsuit from her family. Plainclothes officers showed up at Taylors apartment after midnight with a no-knock warrant.

An image of Taylor was also featured on the September cover of O: The Oprah Magazine, marking the first time someone other than Oprah Winfrey has appeared on the cover since its launch in 2000.

Only in the wake of George Floyds filmed execution was national attention brought to the shooting death of Breonna Taylor, two and a half months after she was killed, Winfrey said in a statement. Pleas for justice have fallen on deaf ears. As I write this, in early July, just one of the three officers involved has been dismissed from the police force. This officer blindly fired ten rounds from his gun, some of which went into the adjoining apartment.

The other two officers in the raid were placed on administrative leave and the Kentucky attorney general is still investigating the case.

The September issue of Vogue centered on hope and featured two covers by two different Black artists, Kerry James Marshall and Jordan Casteel.

They were given complete freedom to decide who would be on their cover, a real or imaginary person, and how that person would be portrayed, Vogue said in an article explaining the covers.

Marshall said the figures he paints have skin so dark its at the edge of visibility. For his cover, he painted a woman standing regally in a room that leads onto a penthouse terrace. Shes depicted wearing a formal white evening dress designed by Off-White, a fashion company founded by Black designer Virgil Abloh.

The point is to show that blackness is rich and complex, within the blackness alone, Marshall said. If you say, Black is beautiful, you have to show it. And what Im doing is showing it at the extreme. Yes, it is black very black and it is very beautiful.

Casteel chose to paint fashion designer Aurora James for her cover. James started the 15 Percent Pledge in June to support Black-owned businesses.

Whats most exciting to me is being given artistic integrity and being able to choose the person to be my sitter someone who reflects a portion of my own identity and then to do that truly in the medium of my choice, Casteel said.

This is the way that I speak to the world. And this is the way Ive been speaking to the world and talking about the humanity of our people, talking about humanity in general. Its a really profound experience. I do think Im participating and a change is happening.

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Column: Honoring the legacy and impact of Chadwick Boseman – The Daily Tar Heel09.03.20

His portrayal of TChalla in "Black Panther" was one that showed to have the most profound impact on the Black community. For Black people, going to see a Black superhero on-screen was more than just a typical movie-going-experience; it was a celebration of Blackness.

Black people rolled out our own red carpets as we proudly strode into the theaters decked out in our freshest Dashikis and pro-Black garb, rocking our natural tresses and sporting inerasable smiles.

Christopher Tofade, a Black student at UNC, said that as an African American with a Nigerian background, Bosemans role strongly resonated with him.

It symbolized a lot of things that people say that a Black man cant be, Tofade said. Wealthy, powerful, respectable, you know, kings.

As an actor, Boseman amplified Black voices; as a humanitarian, he selflessly gave to children who were fighting the same ruthless and invasive disease that he was battling; as a creator, he worked tirelessly with discipline and dedication to see his vision come into fruition.

Kathy Williams, a UNC dramatic arts associate professor said his life and legacy has inspired her to carry the mantle. She was inspired by his drive to continue his work in spite of his dire circumstances.

I felt like it was a call to service. It was a call for artists, all of us who create art for the world, to rise to the challenge, Williams said.

Boseman didnt just portray a superhero on screen he truly was a superhero, and it is unfortunate that it took his heartbreaking death for us to realize this.

He inspired so many people without realizing the gravity of his impact on the Black community. He told stories of resilience while having to be his own model of resilience during his bout with colon cancer.

With crossed arms in Wakandan fashion, I salute Chadwick Boseman and thank him for showing us that not all superheros wear capes; they can be adorned in the finest Vibranium from Wakanda while standing tall with poise and grace in sun-kissed, Black skin with a smile that lights up the universe.


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Artist selected to paint mural on Garrett City Hall – KPCnews.com09.01.20

GARRETT Ricardo Diamante Guerrero, known as Ricco Diamante, of Defiance, Ohio, has been selected as the artist who will create DeKalb Countys mural on the side of City Hall in Garrett as part of Make It Your Own Mural Fest, taking place Sept. 8-18 across northeast Indianas 11 counties.

Diamante was raised in Defiance and Fort Wayne. He is a graduate of the University of Saint Francis and CEO of Diamante Studios Tattoo and Fine Art. He primarily creates art on skin, canvas and paper and specializes in lifelike detail in his art and tattoos.

The concrete wall at Garrett City Hall is a total of 5,625 square feet, and the mural will cover 2,500 square feet of the wall.

Public art is important for people to experience, even for just a few seconds, to move them from their everyday routines into the realm of possibilities. Public art becomes an interactive gathering place that slows people down to look up and become engaged in a shared visual language. Art inspires thought and conversations about why the art was created. Public art is accessible to everyone and builds a sense of community around a painting that can represent both beauty and history, Diamante said in a news release.

I applied to paint a mural in northeast Indiana to ignite the imagination of everybody who views my art. I want the mural to be both commemorative and beautiful. I hope the painting inspires conversations about how public art is essential for community health and growth. I saw this opportunity to paint as an experience that would be rewarding for both my artistic achievements and for the community to watch the production of a thought-provoking mural. I hope this mural prompts positive discourse and more murals for the city.

He said painting a public mural is interactive between the community and the artist.

It is a unique experience to be a performance artist and paint large with a changing audience that encourages and critiques the progress. Mural painting becomes a marathon with the community cheering me on to finish strong, he added.

He described installing a mural as a major artistic production.

The painting needs to both complement and enhance the building as well as come alive and command attention. The mural installation requires strategy and discipline to meet huge goals every day to achieve the deadline. It is definitely challenging to paint an image that will move countless people for many years, but the art has to be successful in both decorative and historic meaning, Diamante said.

I want northeast Indiana residents to know that I love to impact people in a positive way through my art. I want my art to make an impression that stays with them for a long time. I do my best to create images that bridge experiences and culture with the symbolism in the art to create something far beyond personal expectations. I love making art for maximum exposure.

The regional mural festival concept, the first of its kind in the state, is an activation of the Make It Your Own brand intended to enhance the regions efforts to drive talent attraction, talent retention and tourism by investing in quality of place assets and public art.

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Grace Wales Bonners Visions of Black Style – The New Yorker09.01.20

When Wales Bonner enrolled at Central Saint Martins, she wasnt sure whether she wanted to be a historian or an artist. In 2013, she wrote her dissertation, Black on Black, which is a study about Black creatives and thinkers, who, through their very existence, represent a new identity politics, which is to say a world in which Blackness is not just one thing. Black history, she writes, is best understood as a reality thats been cut up, a collection of pieces that has its own ethos, one that becomes more complex, elegant, and vibrant from generation to generation. You cant apply Western ideas of linearity to any of it. If you do, youre a non-hoodoo fool.

At Central Saint Martins, Wales Bonner found herself more and more drawn to clothing as a means of expression. In 2013, she came to New York to assist Camilla Nickerson, the fashion editor at Vogue, for a time. Nickerson encouraged her love of research, and her interest in using garments as a way to say something about the times, society, and the nature of storytelling in general. Back in London, Wales Bonner began to exhibit her work, which was, she says, a reaction to the way in which Black culture was represented in fashion. The industry was quick to support her vision. Here was a woman who was creating menswear in a new way, with less heteronormative flash than there was in Ozwald Boatengs renderings of street cool, and with more control and oomph than Richard James put into his sleek suiting. Wales Bonner was awarded, in 2016, the LVMH Prize; at the 2017 GQ Awards, she was named Breakthrough Designer of the Year; and in May, 2019, she became a beneficiary of the British Fashion Council/Vogue Designer Fashion Fund. Her work, however, isnt restricted to the runway. The adventurous Serpentine Gallery, in London, has hosted her installations; in 2019, when she released her Mumbo Jumbo line, the space welcomed not only Wales Bonners work but its inspiration himself, Ishmael Reed. Although the overwhelmingly white fashion world has, for decades, marginalizedor treated as a kind of urban sideshowthe stories that Wales Bonner wants to tell, she has become, in our woke era, one of the people to whom fashion editors look to understand the interplay of race and style. These days, woke makes money.

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To Be Determined: On Sasha Phyars-Burgess and the Work of Abstraction – Newcity Art09.01.20


Locate 41.8949 N, 87.7654 W and you are positioned on the far West Side of Chicago in the neighborhood of South Austin. You are on the corner of Chicago and Central Avenues, to be precise. I know of those coordinates and of that place because of Sasha Phyars-Burgess project:UNTITLED AND YET TO BE DETERMINED, 41.8949 N, 87.7654 W (AUSTIN). Austin, the site of her photographic study, is a community area that has historically been disregarded by the city of Chicago within their strategic plans for investment and social services. Within her project, one can see a duality of photographys work. In a space between art and documentary, indeterminacyand precision, Phyars-Burgess undertakes figuring the community of Austin and the people who live there.

This is the part when I present the current condition of Austinvacant lots and foreclosures, food deserts, school closures, a fourteen-percent unemployment rate, gun violencebefore I pose a version of the question, How did we get here? And how can art liberate, investigate, interrogate, present new possibilities, offer a reflection of society, create a visual identity? But you can take the time to study and learn of the multiple relations that come together to form this concrete reality in Austin.

I will say that when you get the history, you cannot deny itthere is an unabashedly racist, predatory and coordinated effort between real estate agents, banks, developers, employers, government officials and police departments that go deep into the past. Coupled with lack of care and acknowledgment by the mayor, city council and other community stakeholders, the abandonment of the people who live in Austin and the neglect of their infrastructure continues more or less unmitigated.

The last time Phyars-Burgess and I discussed her work, she brought Ta-Nehisi Coates Between the World and Me to the conversation:

I have spent much of my studies searching for the right question by which I might fully understand the breach between the world and me I drew great joy from the study, from the struggle the struggle has ruptured and remade me several times over The changes have awarded me a rapture that comes only when you no longer can be lied to.

I hold that quote so close to my heart because Im not gaining knowledge for the sake of having it. Its so that when people lie to me, I know it, Phyars-Burgess says. Following Coates, the lie is the Dream. That prosperity, care and health are afforded to every Chicagoan is the Dream. What determined histories and dreams have in common is that they both exist within abstraction, rupture and fragmentation. This realization, as much as erased facts and figures coming to light through study, folds into the territory of no longer accepting the lie.

ON THE TABLE, AUSTIN, CHICAGO, 2018/Sasha Phyars-Burgess

I hesitate to give a compressed version of how the city of Chicagos mayors, alderpeople and officials, as well as capitalists, made it so that people living in Austin have not and will not attain the Dream. The modes of spatial production that made the Dream only available to a few did so by abstracting relations and lived experiences. The fragmentation of space, of Austins neighborhood, can be observed in countless examples of the slicing of space into discrete parcels la redlining and blockbusting. These spatial fragments, these blocks where Black people live and work, went through processes of legislation that allowed their entry into cycles of capital accumulation circulated between real estate developers, investors, business people and officials. These legal and economic expressions of spatial fragmentation are then reinforced by how disciplinesdare I include artistic practice?carve up space according to their pursuit. So again I will say, in a society so deeply constituted by abstractions, adding another condensed narrative of violence, trauma and divestment might not be helpful.

Within abstract space, the Black body is divided into particular uses and values attached to them, so that there is a parallel between the ways that space is carved up and how the body is cut into pieces. This process is not happenstance, one misguided policy after another, but is strategically pursued by a combined force of political institutions and capitalist agenda.

This spatial abstraction creates a rift of familiarity between the center and the periphery, between the city and Austin. The process of abstracting space, transforming a person or place into data sets, figures of speech and bylines, makes for ethical ease and efficient work when pulling resources from the South and Far West Sides before turning around and funneling community services and development funding into the Lakefront, North Side and West Loop.

Phyars-Burgess came to Chicago two years ago by way of her 2018 Diane Dammeyer Fellowship for the Photographic Arts and Social Issues sponsored by Columbia College Chicago and Heartland Alliance. The latter has many social programs. The fellowship brought her into proximity of two: READI (Rapid Employment and Development Initiative) and Mae Suites. READI is a program which focuses on engaging those that Heartland Alliance finds to be most affected by gun violence, young men, through a combination of transitional jobs, cognitive behavioral therapy and follow-up coaching. Mae Suites is studio housing in Austin and Phyars-Burgess work there was made possible by support provided by Sharon Tenard, Mae Suites case manager.

BLESSED, AUSTIN, CHICAGO, 2018/Sasha Phyars-Burgess

Another group of Heartland Alliance programs includes five child detention centers for unaccompanied immigrant minors under contract from the U.S. Department of Health and Human Services Office of Refugee Resettlement in cooperation with U.S. Immigration and Customs Enforcement (ICE). The space here cannot hold both Austin and the psychological trauma alleged against these Heartland Alliance facilities. But it is important to note the relation. Although the Heartland Alliance can do great work in one community area (READI, Mae Suites), in other areas they reinscribe the obfuscating, violent work that created these spaces of neglect in the first place. That is the system and processes by which the Heartland Alliance houses unaccompanied children, the regulation and compression of testimony and biometric data according to the terms created by ICE, is no different than the processes which led to Austins current conditions.

As a beneficiary of Heartland Alliances support and working alongside their other programs, Phyars-Burgess has questioned her position and complicity within the overarching structure. The answer is still unclear. But the question lives alongside Phyars-Burgess work which focuses on those living in spite of an ongoing slow crisis (which has escalated in the midst of the pandemic). Her image-making is a study of living in abstracted space: Im fractured, theres a fracture in the thing that we do, being in these bodies. My skin has made me blank, but my skin has also made me visible. I feel like that sounds like madness, but Ive been trying to understand this thing. Whats it like to be an abstraction, to be fractured constantly, to be in six different places at once, to be virtual and in reality and behind, and perhaps that is the experience of being a human being. But I think that there is something particular about being Black, that asks of you to be in multiple places at once.

The question for study here is not quite how do we create a more equitable system that ensures safety and well-being for all; the answer is not as concrete as defunding police and contributing more capital into Austin (although, yes and yes). The question is how do you live in a Black body? After the Black body has reached such a point of abstraction, you could lose your body just by being you, by living. And as much as one might interrogate and challenge the iterative violence on Black bodies and their communities, that question is unanswerable.

How does one apply the tools and practice of art to the study of an unanswerable question? Photography has an empirical value to capture a scene, hold it so that one might look at a fleeting moment, again and again, to find something unseen and offer a conclusive end. But for Phyars-Burgess, photography does not hold historical truths and the work, through all of her study of people living in Austin, does not add black-and-white clarity or defined contours and edges. I feel like Im trying to explain something that is unexplainable, which is like what it is to be Black and alive, Phyars-Burgess says. I am aware that even in my desire to explain, Im failing all the time because its unexplainable. To be a double negative, a double negative all the timeBlack and aliveto be in constant abstraction is to be unexplainable, is to be unreadable. It is to be unintelligible.

OMAR, SANKOFA, AUSTIN, CHICAGO, 2018/Sasha Phyars-Burgess

Nonetheless, to dismiss abstract space and reorient wholly toward lived experience would be an overcorrection. The mechanics of photography, particularly the visual language of black-and-white photography lends itself to the idea that it delivers clear truths. But for Phyars-Burgess project it is just as much about holding a space of beauty as it is documenting people living. Sometimes someone just does something and Im like, damn, that really knocked me out, she says. I want to photograph that, like a walk down the street in a certain way. They lean a certain way. They, you know, scratch their head above their eye. Anything.

The people living in Austin are not included in the canon of beauty. But they look at you, you look at them and they are beautiful. When looking at Phyars-Burgess images, it is in the beauty of their bodies, their gestures that a moment of absorption occurs. Ones attention is brought wholly to a point and that engagement produces a space in a way that canonical notions of beauty cannot. This project does not document the truths or lies of Austins history and current state. Rather, they hold a moment for one to look at and look at again.

This moment of absorption is the spatial abstraction that Phyars-Burgess produces within her work. It is a moment in which to suspend the fragments of space and the selfyours, mine, oursso one can see the many fractures and relations that feel intangible and inexplicably linked, the nodes and connections that make it so being Black and alive is a double negative. And in that abstracted space of suspension, one is allowed a moment to look deeply, not to fully comprehend and answer, but to question what I see, then to question what I see after that, because the questions matter as much, perhaps more than, the answers.(Stephanie Koch)

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To Be Determined: On Sasha Phyars-Burgess and the Work of Abstraction - Newcity Art

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Bac unveils first sales on Venice title ‘The Man Who Sold His Skin’ (exclusive) – Screen International09.01.20

Paris-based Bac Films International has revealed early sales on Tunisian director Kaouther Ben Hanias drama The Man Who Sold His Skin ahead of its world premiere in Venices Horizons section this week.

The feature has pre-sold to the Netherlands and Belgium (Cinart), Turkey (Bir Films), Taiwan (Creative Century) and Russia (Ten Letters). Bac Films will distribute the English, Arabic and French-language film in France.

Syrian actor Yahya Mahayni stars as a young man who flees his native Syria for Beirut after being hounded by the police.In a bid to secure a safe and legal passage to Europe, he strikes a Faustian pact with a controversial artist to have a visa tattooed on his back and be an exhibit on a worldwide tour.

Other cast members include Monica Bellucci as the artists hard-nosed fixer and assistant, Belgian actor Koen de Bouw as the artist and French big-screen debutant Da Liane as the protagonists Syrian sweetheart.

Tunisian filmmaker Ben Hania presented her breakthrough mockumentary The Challat Of Tunis in Venices Final Cut industry showcase in 2013, aimed at finding post-production support for Middle Eastern and African features, and returned in 2018 as a member of the Luigi De Laurentiis jury for first features.

Her debut fiction feature Beauty And The Dogs, about a rape victim seeking justice, premiered in Cannes Un Certain Regard in 2017.

Nadim Cheikhrouha at Paris-based Tanit Films and Habib Attia at Tunis-based Cintlfilms lead produced her latest feature in association with Guillaume Rambourg, Lassaad and Rafik Kilani and with the support of co-producers Twenty Twenty Vision, Kwassa Films, Laika Film & Television, Metafora Media Production, Sunnyland Film (ART Group), Film I Vast, Voo & Be Tv and Istiqlal films.

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Bac unveils first sales on Venice title 'The Man Who Sold His Skin' (exclusive) - Screen International

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STEVE ISRAEL: Ode to a peach – and to life itself – Times Herald-Record09.01.20

Times Herald-Record

On this unofficial last weekend of a summer when so much in our lives has been upended, I salute one remarkable constant of these strange, sultry days: the peach.

Think about all that has changed in the last few months except the peach.

Masks are in and handshakes are out. Were wary of so much we took for granted just a few months ago other people, shopping in a store, eating inside a restaurant. As we enter a new school year, some of our kids will go to school; some will learn from home and who knows how long either situation will last.

All this, and more than 16 million of us are unemployed and more than 180,000 of us have died from the coronavirus an average of more than 1,000 Americans dying per day in much of this month.

All of which is why one of lifes simple pleasures, the peach, has been such a treasure.

Its one of natures exquisite works of art.

The peach is a harmonic marriage of so many contrasting elements starting with a slightly fuzzy skin on the outside that blends infinite shades of yellow, crimson and orange into a color that is at once utterly familiar and so unique it has its own name - peach.

As you bite through that skin, you discover an almost sensuous world of pleasure and possibility. The meaty fruit is firm enough to bite or slice, yet juicy enough to release so much sweet, sticky nectar,you can feel the juice explode into your mouth and see it drip on your fingers.

And the taste? Pleasingly sweet and just tart enough to be beguiling the ultimate union of natures opposites.

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A peach is a treat that is at once timely and timeless, as my in-laws Peg, 93, and Joe, 95, happily prove.

After living through a combined nearly two centuries of summers, they both still revel in the simple yet multi-dimensional joys of a peach. Thats especially true now that they live in a senior complex in Jersey and cant really make it to the best source of the best local peaches - a farmers market, or, even better, a farm.

Just watching Peg bite into her first peach of summer from up here is a treat as rewarding as the peach itself.

First, she sniffs that unique peachy smell that only hints at whats to come. Then, when she takes a bite, its as if the years peel off her pretty face and the joy of nearly a century of peachy summers shines through and drips on her fingers.

Why, Peg and Joe love peaches so much, when we last week brought them a locally baked peach and blueberry pie along with a bunch of local peaches, plums and tomatoes - Joe decided to have a slice,or three,for dinner (with a hearty helping of vanilla ice cream on top).

The moral to this peach of a story?

On this last weekend of a summer like no other, let's remember to savor lifes treasures - be it a peach, a parent, a child, a spouse or any loved one while we can. As the pandemic has shown us, life,precious life, can change in an instant.

And then, while we eagerly await the peaches of nexthopefully virus-freesummer, we can enjoy natures next edible wonder:a crisp, savory autumn apple.

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STEVE ISRAEL: Ode to a peach - and to life itself - Times Herald-Record

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