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Archive for the ‘Skin Art’

This Stunning Underwater Art Museum Is Open to Tourists. All You Need Is a Yacht to Get There. – Robb Report09.23.20

Reminiscent of the fictional city of Atlantis, the Museum of Underwater Arts installations by British artist Jason deCaires Taylor go far beyond the limits of sculpture. Located in Townsville, North Queensland, Australia, the underwater exhibition shuns traditional art galleries in favor of the seabed. Superyacht owners can now book exclusive private tours to see the exhibition first-hand.

Installed in November 2019 in the Great Barrier Reef some 50 miles off the coast, the 53-foot deep Coral Greenhouse at John Brewer Reef is the first of four MOUA installations. Spanning 235 square feet, the skeletal building contains 25 concrete life-sized inhabitants anchored to the seafloor, all molded from real people and seemingly frozen in time. When selecting models, Taylor is known to eschew slim models with flawless complexions in favor of heavy-set volunteers with pockmarked skin and wrinkles. Taylor used these models because they are believed to attract more marine life and better withstand the forces of the sea.

The greenhouse is constructed out of stainless steel and pH-neutral materials to complement natural coral growth, and visitors are encouraged to don a scuba tank or snorkel and swim through the installation, accessed by three separate entrances, to view the artwork up close.

The museum is situated on the reef bottom in a 22-square foot area that is accessible only by scuba gear.Courtesy MOUA

Great art tells stories, and we have worked with Jason deCaires Taylor to tell the story of the reef, science, culture and art, Dr. Adam Smith, co-founder of MOUA, told Robb Report. Art and sculpture in an underwater environment will have different meanings for every person. For me, they are beautiful and surreal.

The second sculpture, the Ocean Siren, was installed alongside North Queenslands Strand Jetty in Townsville in December 2019. It changes color in response to live water temperature data from the Davies Reef weather station on the Great Barrier Reef. Set to be completed in 2021 following a recent $1 million cash injection by the Queensland state government, stage three of the project will see sculptures on Palm Island and Magnetic Island that focus on stories of indigenous culture and marine science. All artworks, present and future, are engineered to withstand wind and waves associated with a Category 4 cyclone.

As well as forming stunning underwater spectacles, it is hoped the not-for-profit museumthe first of its kind in the Southern Hemispherewill expand ocean research and conservation, including coral spawning, the biology of mangroves, herbivorous fish and marine protected areas, all of which will be monitored and recorded by citizen scientists.

The aim is to plant some local corals in the Greenhouse for research and education, says Smith. There has also been some natural recruitment of algae, coral, invertebrates and fish to the Coral Greenhouse, and a recent survey indicated over 50 species of fish, including the rare and protected Barramundi cod.

The idea behind MOUA was inspired by Mexicos Underwater Museum of Art in Cancun, which opened in 2010 and holds over 500 lifesize sculptures. It has shown how art can help coral reefs, improve marine park management and increase tourism, says Smith. With this in mind, MOUA is working with five authorized commercial tourism operators to allow visitors to experience the seabed museum, assisted by dive instructors and guides.

Superyachts of up to 115 feet in length, and other recreational boaters, are also invited to book a private mooring and dive at the Coral Greenhouse. For guests wanting to visit by charter yacht, nearby Orpheus Island Resort, part of the Northern Escape Collection, is one of MOUAs authorized operators, and offers 131-foot superyacht Flying Fish for charter.

The unusual shapes of the sculptures promote faster growth of coral and reef fish. Much of the museums purpose is habitat restoration.Courtesy MOUA

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London Fashion Week Spring/Summer 2021| Best Hair and Makeup Moments – Allure09.23.20

With New York Fashion Week proving spring 2021 collections can still be shown while maintaining safety measures during the global COVID-19 pandemic, London Fashion Week kicked off right after it with a majority of the designers choosing to release elaborate performance art videos and look books while others stuck to traditional runway shows and in-person presentations.

Year after year, London Fashion Week constantly brings to life some of the most adventurous and eccentric beauty looks of Fashion Month. Despite the difficult circumstances we're all facing, this season was no different across the pond. Loud colors, glitzy accents, and unexpected hair accessories still were incorporated into the designers' creations with the help of intrepid makeup artists, like Isamaya Ffrench and Thomas de Kluyver, and innovative hairstylists, such as Sam McKnight and Anthony Turner, as well as beloved face painter Valentina Li.

Get ready to crave to recreating these crystal tattoos, ribboned updos, unexpected color combinations, colored brows, and blush looks from the comfort of your home to bring a bit of British style to your hair and makeup routines, no matter where in the world you may be. We hand-picked the best beauty highlights of London Fashion Week to add to your mood board ASAP. And that's not all: we also suggested products to help you out with putting together your own versions of the high fashion looks.

All products featured on Allure are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

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THE HAPTIC EYE | 1 | The Eyes of the Skin – FAD magazine09.23.20

For much of the past year we have seen our senses restricted by the need to limit activity, wear face masks and be socially distanced. This deprivation has been extended to the assimilation of art, as shows have been forced online, depriving the viewer of immediacy of physical experience.

Birgit Dieker Rosie, 2007

Each exhibition will aim in a different way to generate a polyphony of the senses, to use Gaston Bachelards term for how our visual aesthetic experiences come from the fact that the eye collaborates with the body and the other senses in a state of continuous interaction. A demonstration of that is seen in the ever-improving neurophysiological understanding of synaesthesia how a sense impression relating to one sense, or part of the body, can stimulate another sense or part of the body experience. Here the eye remains primary, yet leading curator Mark Gisbourne has thematically grouped works together in which an optical entry point connects us to their multi-sensory qualities. He cites Bachelards view in LAir et les Songes, 1943, that a true poet wants imagination to be a voyage. Thus each poet owes us his invitation to the voyage. With this invitation, we register, in our inner being, a gentle impulsion that shakes us, that sets in motion beneficent reverie, truly dynamic reverie.

Exhibition One, The Eyes of the Skin, emphasises touch through soft works in which the artists innovative use of materials evoke the body-based ideas of the pelt, mantle and environmental habitat. This approach can be traced back to the seminal exhibition Soft Art at the Kunsthaus Zrich in 1979, the first to systematically explore this counter-tendency to the hard, fixed and durable traditions of the statue. The materials used are all natural and organic and give the viewer, says Gisbourne, a really immediate presence of the haptic aspect of creativity the touch that is integral to artistic production. Such malleable, manipulable and foldable works act, he explains, as a counter to the conventions of art which is about solid objects and things. For example, Aiko Tezukas textiles unravel before us to make their materiality palpable; Kyrgistan artist Shaabek Amankul collages fuse photography and video images with tapestry and embroidery sources to fuse the intense physicality of a parade with a more comfortable shamanic and domestic register; Ritzi and Peter Jacobi extend the traditions of Romanian weaving by incorporating non-traditional elementssuch as thick cords and pieces of wood; and Shelia Hickss wall cushions beg to be sat on as well as stroked, playing on how neither is possible in a gallery context, even in person. This is a show to feel through the eyes.

THE HAPTIC EYE | 1 | The Eyes of the Skin runs from 18th Sept to 8th Oct at ArtCircle web site and , withwork by Shaarbek Amankul, Birgit Dieker, Sheila Hicks, Ritzi & Peter Jacobi, Marie Claire MessoumaManlanbien, Aiko Tezuka, Gnter Weseler and Magda Ziman.

It will be followed by THE HAPTIC EYE 2: Tactile Visions (9th Oct-5th Nov), stressing the sensuousness of colour and the opticality of touch

and finally THE HAPTIC EYE 3: Pathways of Dexterity (6th Nov 30th Dec), focussing on dexterity through the artists fingers in such disciplines as knitting, sewing and embroidery.

THE HAPTIC EYE 1-3 Viewable at Art-Circle & Artsy online: 18th September 30th December 2020

Mark Gisbourne is one of Europes most renowned and respected curators and art historians. British-born, educated in Rome and London and currently based in Berlin, he was formerly a BA assistant Supervisor at the Courtauld Institute of Art; Lecturer at the Slade School of Art; and Senior Lecturer in Post-war and Contemporary Art at Sothebys Institute. He has curated numerous exhibitions worldwide, and written more than 250 catalogue essays and a dozen books including Double Act (Two People One Expression), Prestel Verlag, 2007; I AM A BERLINER (Eighteen Positions in Berlin Painting), linked to a major International Touring Exhibition in 2011-12; and Elective Affinities: German Art since the Late 1960s, for the Latvian National Museum, 2016.

ArtCircle is an art platform which organises museum-quality one off exhibitions, to which internationally renowned curators and art experts bring their distinctive visions. Through careful choice of artists of historical importance as well as undiscovered and emerging talents, ArtCircle produces unique experiences, opens up creative dialogue and introduces the best of the contemporary art scene for both art lovers and collectors. These unique shows not only allow for a deep dive into the themes explored, but also give collectors access to the brightest pieces of contemporary art. Art Circle is currently expanding into the online arena with the launch of its first virtual art exhibition, The Haptic Eye.

Mark Westall is the Founder and Editor of FAD magazineFounder and co-publisher Art of Conversation and founder of the platform @worldoffad

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Real Bodies: The Exhibition – The Boca Raton Observer09.23.20

The South Florida Science Center is announcing the fall blockbuster exhibit, Real Bodies: The Exhibition presented by the Stiles-Nicholson Foundation. Opening September 28, 2020, the exhibit will be on display until April 11, 2021.

Appropriate for all ages, Real Bodies goes beyond skin deep to reveal the mysteries of human anatomy, exploring the body through physiology, culture and emotion. Visitors will tour real, preserved human bodies, digging deeper into what it means to be alive.

This powerful exhibition, produced by Imagine Exhibitions, Inc., displays 20 real, perfectly preserved human bodies and more than 200 anatomical specimens throughout 11 galleries. Each of the specimens featured in Real Bodies has been carefully and respectfully preserved by a team of experts using a scientific method known as polymer preservation, or plastination. This revolutionary process uses liquid silicon rubber to prevent the natural process of decaying.

The exhibition pushes boundaries while blending art, science and emotion. When visitors explore different systems of the body, they will see the deeper connection between breathing, hunger, heart rhythm, love, motion and thought that makes each person unique.

We are thrilled to bring Real Bodies to Palm Beach County, said Kate Arrizza, Science Center President and CEO. We know our guests will love seeing the science beneath the skin and learning about human evolution through time. This is a rare opportunity to see the human body from the inside, which we hope will spark an interest in children to seek careers in science and medicine.

The exhibition will also feature a new COVID-19 component, encouraging visitors to learn more about the pandemics impact on the human body. Designed by Imagine Exhibitions, Inc. in consultation with emergency medicine physicians and epidemiologists with experience in emerging infectious disease preparedness, this new content showcases the latest science-based information about the novel coronavirus.

To continue with the theme of the historical, cultural and emotional context of the human body, the exhibit addresses efforts related to treating COVID-19 as well as the effects of the pandemic on human health and the healthcare system, including the challenges workers are facing in treating and preventing the virus. Interesting facts about how it affects each of the different body systemsfrom respiration to digestion to circulationand other related topics will be found throughout the exhibition. Social distancing floor decals will continue the education as will a short film that illustrates the journey of the virus inside the human body. Visitors will also experience a dramatic display of dozens of 3-D printed virus models as part of the exhibition.

The human body is a magnificent machine capable of wonderful things, and the exhibition will showcase how amazing anatomy is, said Kate Arrizza, President and CEO of the Science Center. The new COVID-19 component is an excellent and timely resource that adds value to the educational impact.

I am excited to share with the public the amazing work that our team collaborated on to create and enhance the exhibition in an effort to answer everyday questions about COVID-19, said CEO of Imagine Exhibitions Tom Zaller. Our goal is to share with people the current findings about how this new virus affects the different systems of the body in an easy to digest form. The hope is that we all come out of the exhibition knowing a little more than when we went in.

Real Bodies is presented by the Stiles-Nicholson Foundation and sponsored by Lew and Kathleen Crampton, Comcast, Cultural Council for Palm Beach County, Discover The Palm Beaches, Frances and Jeffrey Fisher, Gast Construction Group, Matthew and Helene Lorentzen, Northern Trust, Outfront Media, South Florida Science Centers Board of Trustees, Christine and Robert Stiller and Tobacco Free Florida.

The mission of the South Florida Science Center and Aquarium is to open every mind to science and the indoor/outdoor venue features more than 100 hands-on educational exhibits, a 10,000 gallon fresh and salt water aquarium, digital planetarium, Pre-K focused Discovery Center, 18-hole conservation-themed Mini Golf Course and quarter mile long outdoor science trail. The newest addition includes a $2.5 million permanent exhibit, Journey Through the Human Brain and features the most advanced neuroscience research and technology in the world. Safety guidelines like social distancing and mask wearing are enforced.

Admission to the South Florida Science Center and Aquarium during Real Bodies is $17.95 for adults, $13.95 for children ages 3 to 12 and $15.95 for seniors aged 60 and older. Science Center members and children under 3 are free.

For more information on Real Bodies or other Science Center programming, call 561-832-1988 or visit http://www.sfsciencecenter.org. Like the South Florida Science Center and Aquarium on Facebook and follow on Twitter and Instagram @SFScienceCenter.

About Imagine Exhibitions

Imagine Exhibitions is currently producing over 40 unique exhibitions globally in museums, science centers, zoos, integrated resorts, and non-traditional venues, with millions of people around the world visiting our exhibitions each year. In addition to developing successful traveling exhibitions, Imagine Exhibitions designs, opens, and operates permanent installations and venues, and consults on building, expanding, and directing museums and attractions. With decades of diverse experience in the museum and entertainment industries, Imagine Exhibitions consistently develops exhibitions that educate and excite while exceeding attendance goals. For more information, visit http://www.ImagineExhibitions.com or find us on Facebook.

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Amoako Boafo on Slowing Down and Staying Focused While His Auction Prices Skyrocket – Observer09.23.20

I love my paintings, says Amoako Boafo, surrounded by his first solo show at Chicagos Mariane Ibrahim Gallery, titled I Stand By Me. Hes reflecting, in his quiet way, about comments he received as a grad student in Vienna that his figures were too black. Luckily the Ghana-born, Vienna-based Boafo didnt listen and arrived at where he is today, fresh off a collaboration with Dior, with skyrocketing auction prices and at least one major museum acquisition.

But Boafo appears fairly unfazed by the sudden meteoric rise. With or without all the attention, he would still be in the studio, using his fingers to create skin like no other, full of movement and emotion. Its the magic, as he calls it, that the artist makes with finger painting that sets him apart. According to his gallerist Ibrahim, his paintings represent a leap forward in portraiture. He completely changed and innovatedtexturizedthe way portraiture is done, she says. In Boafos paintings of Black subjects, the skin is full of energy and alludes to more than blackness, perhaps whats under the skin, as opposed to creating perfectly illustrative figures with paintbrush, shadow and highlights. Its this that made him appealing to collectors early on, says the gallerist. Ibrahim, who recently relocated to Chicago from Seattle, specializes in representing artists from the African diaspora.

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But shes quick to also point out that this rocket ship to success will mean that some buyers only want to take a quick ride and dont understand the artists true worth. As she puts it, the market can be abusive. Shes talking about speculating collectors offering high six figure sums for paintings on the secondary market, and those willing to part with works only recently acquired to make quick profit during an uncertain time. At the Phillips auction of contemporary art in February, one of Boafos paintings, The Lemon Bathing Suit, 2019, sold for an astounding $881,432 after being estimated between $39,130 and $65,217. News of the auction dropped like a bomb and people started to scramble for his work.

Im pretty, pretty sure that those who separated from their work intentionally probably regret it now, because Amoako is not an artist that is fashionable or anything like that. Hes the artist that weve been actually waiting for, says the gallerist.

Thats why the recent acquisition by the Guggenheim Museum of his 2019 painting Joy Adenike is such an important step. Acquisitions to major permanent collections help to ensure sustainable growth for an artist on fire in a fast-moving art market.

While the feedback he received in Vienna showed that perhaps Europe didnt understand his genius, in the United States Boafo found collectors thirsty for his work. In the context of other great painters of portraits and the Black experience like Kerry James Marshall, Kehinde Wiley (who was one of Boafos earliest collectors) and Njideka Akunyili Crosby, Boafo is pushing Black portraiture to the next level, says Ibrahim.

The Coronavirus pandemic has given Boafo a chance to take a breather and focus on producing the work for I Stand By Me. Right before the lockdown Ibrahim made a visit to see the painter in his native Accra, where he set up a studio to be close to his mothers cooking and soccer games with friends. But Boafo admits that when the virus hit he was stressed, feeling like he was being pulled in a million directions. Whatever was planned for last year happened anyway, he says, but slowing things down for me was really good.

I Stand by Me was originally slated for June, but was delayed due to the pandemic. During the interim, the gallery finished a large outdoor space and made improvements to be more conducive to social distancing. The explosive Phillips auction and the solo show in Chicago came in short succession after a sold-out Mariane Ibrahim Gallery booth at Art Basel Miami Beach 2019, and a solo show at LAs Roberts Projects earlier the same year. Ibrahim and the artist had an organic connection and formed their relationship over a few years of ongoing communication leading up to this moment.

But amid all the current commotion, Boafo is working on more than just his art. Hes building an artist residency in Accra so that African artists dont have to leave the continent for professional opportunities. It will form part of a growing network of organizations and spaces concentrating on that aim (Wiley recently inaugurated his own residency space in Senegal). Im happy to be part of these growing spaces on the continent, because I think its time that we take good care of ourselves, he says of bringing professional opportunities to his birthplace.

Boafo cant reveal what hes working on after that, but judging by the excitement radiating from both the artist and his dealer, its something big. Ibrahim keeps the lid on any juicy details, ever caring and mindful of her artists wellbeing and delicate success. Whatever comes out of this stars studio next is sure to be a sensation.

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AMERICAN THEATRE | Unicorn at the Soup Factory – American Theatre09.23.20

Dear reader, this article is penned by a unicorn.

At least, Ive been identified as such.

You see, Im not only transgender but Im also a casting director. The truth is, Im not the only one. In fact, I can count a total of three other individuals who identify as non-binary, transgender, or gender nonconfirming (TGNC). But I was rare enough that upon arriving in New York from Seattle in 2016 to pursue a career in casting, a fellow casting director would audibly gasp upon meeting me. Youre a unicorn! she insisted, projecting her declaration into the freezing December night air as we stood in the middle of the East Village. At long last I had come along! The announcement seemed to echo off the surrounding structures.

My very specific status hadnt dawned on me yet, as my entrance into casting was decided on a hunch after being asked for the first time in my adult life what I wanted to do with it. Logic pointed me toward a larger city, and New York made the most sense if I wanted to aim for work in a casting office focused on theatre. It was astounding to me to think that in a city of more than 9 million people, I might (allegedly) be the only one like myself.

Of course, I had never worked in an office with another TGNC individual before, so I wasnt exactly a stranger to this sense of seeming uniqueness. The difference was that there suddenly seemed an ounce of pressure to not only get it rightmeaning I couldnt make a single mistake in my career, or Id risk my employment valuebut also that I apparently held the keys to change the entire industry hoping to be more TGNC-inclusive.

From the beginning, I knew something had to give. Inclusivity cannot be ordained by a permission slip, and yet my introduction to what I figured was standard casting procedures and office culture was listening to casting directors asking directors, playwrights, and artistic directors for permission to consider TGNC actors for projects. I spoke up, and apparently out of turn, when asking a director at a casting meeting if they were trying to articulate that the character under discussion might possibly be non-binary.

Once I was able to enter the workforce as an independent casting professional, it became clear that developing a system of operation, standard communication practice, and philosophy around casting was essential. I knew that my being a trans person would exist in the periphery of my work. Finding comparisons between my approach to work from the casting side of the table and the things actors do in preparation for an audition or rehearsal room came quickly, often surprising me in how similar our career goals and objectives were. Some of the rules required for actors could be interpreted as silly: They are required to drop all emotional baggage at the door, suit up in some Teflon-like emotionless armor, and proceed to chug gallons and gallons of frothy emotional soup in order to find the root of humankind. While the soup-stream constantly flows, they then proceed to convey humanity with a believable freshness and imposed spontaneity to strangers with the same dexterity on repeat, until it all comes to an abrupt end. Everyone then takes off the armor, goes home, checks for bruises, and starts the process all over again.

Ha ha. So funny. And yet even then I could relate. What I wondered, though, was: How responsible is it to ask for emotional soup consumption, so to speak, from individuals who come from marginalized communities, without creating a space where they are also required to not let it get under their skin? We live in a country where stigmas around mental health are extraordinarily prevalent, and seeking help from mental health professionals also requires insurance or lots of moneytwo things not always synonymous with work in the professional theatre.

Actors are already regularly made to feel subhuman by their surrounding society, by the elected government in power on a national level, and in many cases by their own family. Especially if we fold in intersections of race and culture: BIPOC TGNC people are disproportionately affected by the intermingling of transphobia and racism that stains and strains the fabric of our society.

Find me a TGNC actor! is something I have heard before, as if that meant anything without an elaborate discussion, as would be the case for any other actor we were searching for.

I had my work cut out for me, in other words. Opportunities began to quickly present themselves, though I had not completely solidified how I would manage myself as a freelancer. My strategy and philosophy were still in an incubator stage, and I knew there might be some challenges in successfully developing as not only a casting director but as an activist for the TGNC community. Put another way, I was not in a place financially to turn jobs down.

After completing multiple contracted projects around the country, I began to contemplate the theatre industrys longstanding and ongoing problem with follow-through on its purportedly liberal commitments. Even before the monumentally important We See You, White American Theater demands were released over the summer, a nationwide cry for more inclusivity and representation within all aspects of theatre making had reached a fever pitch around the same time as #OscarsSoWhite had taken off in 2015, and the #MeToo movement entered a call-and-response stage on social media in 2017. Theatre institutions began creating missions with carefully decided vocabulary words such as equity and diversity. Groups were formed in institutions to discuss anti-racism and accountability. Plays written by women and BIPOC playwrights were being programmed more and more.

My work as a casting director and consultant with a great many of these regional companies was to pacify artistic leaders by ensuring them that by hiring a TGNC actor in the role of a TGNC person, they were taking the right first step toward ethical casting. I would be brought to various parts of the country to point out holes that existed in their daily operations and rehearsal room culture that went beyond casting TGNC roles appropriately. Id ask: What else are you doing to ensure these actors are able to enter the rehearsal room and do their job without distraction or discomfort? Wed discuss any number of topics. The conversation usually included some mention of how to change bathrooms to become gender non-specific.

What do you do as a lone independent contractor when these same theatre companies proceed to cast cis actors as trans characters a year later? Or dont change their restroom facilities? Or dont hire a perfectly capable TGNC stage manager or artistic associate when the opportunity arises? These havent been cases where theatre companies could say they didnt know better. I wonder where I went wrong. Time and time again, I have found that how the changes might affect (potential) revenue took precedence over the pleas of marginalized communities, even when they have looked people with power over programming in the eye and asked them, in some cases even been paid to ask them: Do better.

What is equally heartbreaking in many of these cases is that there are exceptionally talented TGNC actors out there who are fully capable of sinking their teeth into these characters, finding the root of these characters humanity, and selling it beautifully, with conviction, and maybe even something uniqueflair by way of authenticity, lets call it. There are clever and resourceful TGNC playwrights, composers, and lyricists who have already created wonderfully engaging and provocative plays and musicals, and have the capacity and ideas for more. When accepting the Emmy Award for Best Supporting Actress in a Miniseries for The Act, Patricia Arquette openly mourned the loss of her sister Alexis Arquette, and took the opportunity to ask the thousands of powerful television executives in the room to give TGNC people jobs. She also, in turn, asked for millions of viewers around the world to acknowledge that TGNC people had not been given a fair shake.

The theatre industry is long overdue for doing justice to marginalized communities. Its time that we fully capture the existence of underrepresented people by humanizing their existence onstage. This includes their joys, their achievements, and their own experiences of monotony. The theatre has forever existed as a mirror of society, and a form of commentary. If we are not properly reflecting our landscape, we are doing a disservice not only to ourselves, but to the very people we are marketing ourselves to. TGNC people exist everywhere, whether you know it or not. We shop at your grocery stores. We work out at your gyms. We check out books at your libraries. And were at the point now where were done calling it yours. Its ours, too, friend-o. Scootch over.

In October 2018, the Off-Broadway company the Playwrights Realm created a contracted position for an in-house casting administrator for the first time ever. The responsibilities were limited to hiring actors to appear in their readings, workshops, and other developmental processes that required talent. As they only produced one or two mainstage productions a year, the majority of the casting work for the organization would be entrusted to this individual. They reached out and asked if I would be interested in taking on the role. It was an almost immediate no-brainer, as casting positions at theatre institutions are not as frequently available as other administrative positions. At the top of the Realms list of values is a pledge to represent the full spectrum of New Yorks humanity in their staffing choices, and hiring a trans woman as their first casting associate is an example of the seriousness of their intent.

But they didnt just create the opportunity. They also devised a system of communication and developed a series of expectations that were manageable, thoughtful, and built on trust. It seemed specific to my needs, and to what I projected would help ensure my best possible work. This in turn would ideally lead to a better experience for the casts Id have the honor of helping to assemble. Upon renewing my contract the following season, the invitation to fold me into the casting process for their mainstage productions was extended, and I could kick it up a notch as to how I could be of service to underrepresented communities in the acting profession, especially actors who are TGNC, by adding them to the audition process.

This platform allowed me an opportunity to safely continue to develop and solidify my principles and philosophy around acting. It provided me the space to listen to and actively engage with TGNC actors and discover their needs and wants. They are as varied, earnest, thoughtful, and often simple as any other performer. In the casting world, the term type is used far too frequently for my comfort. In referring to someone as a type, the goal is to help the person on the receiving end of the conversation reflect on the purported example type, and apply these generalities onto the person in question. Have you ever heard someone say, Theyre an Audra McDonald type? Probably. Have you ever stopped and wondered: Wait, what does that mean exactly? That the person is an incredibly skilled singer? Clever with modern and classical text? Able to successfully dial it up or down depending on whether the project is for the theatre, or film, or television (or Zoom, for that matter)? Or all of the above? We are just expected to read mindsOh yes, the Audra McDonald typeand go from there.

This is potentially irresponsible and lazy. TGNC actors are not monolithic, nor are they a type, and yet they have found themselves to be seen and spoken about as such. Find me a TGNC actor! is something I have heard before, as if that meant anything without an elaborate discussion, as would be the case for any other actor we were searching for. They, like all of us, would like you to consider them as individuals. They would like for people to ask them thoughtful, helpful questions. They look forward to the day when nobody makes assumptions about them.

I would personally add that TGNC performers deserve equal considerationto be paid their fair share when theyre hired, and offered roles as ingenues and romantic heroes as well as other kinds of parts. If a music director has not done the work to ensure a TGNC singer is actually singing in a comfortable key, they have not done their job properly. A sad story: An actor was once asked to mouth the words in chorus numbers during a musical workshop, because the music director could not be persuaded to find a place for them vocally that did not completely leave them face to face with their dysphoria.

Needless to say, if you are going to invite TGNC people inand you should invite TGNC people inmake sure your walls are clean, as the call is now coming from inside the house. We are, after all, a clever species as art makers. Why not lean into that a bit more as it pertains to how we prepare our work spaces?

Have you ever seen three TGNC actors on the same stage together performing a 400-plus-year-old play by William Shakespeare? This happened when The Taming of the Shrew, translated by Amy Freed, was read as part of Play on! Shakespeares translation project and subsequent festival in the spring of 2019. The festival was produced in collaboration with Classic Stage Company and Oregon Shakespeare Festival, and I had the privilege of singlehandedly casting Shakespeares entire canon for them. The event employed more than 150 actors. While I had been a part of the process of casting them for this reading, it had not dawned on me how moving it would be to see them in action until the afternoon of the reading itself. Should it be this infrequent, I wondered? The play, after all, was written between 1590 and 1592.

At a party, I was pulled aside by an actor who is trans. Having you in the room made all the difference, they told me. I sighed. More than the possible notch to my ego, or even an answer to my existential pondering over whether I was doing my casting work right, it pained me to know this actor had to wait to enter a room with me in it to feel they could really let their hair down, and do that whole baggage/armor/emotional soup work for us.

But I knew exactly what they were talking about. I know how infrequent it is to see any TGNC performers wrestling with Shakespeares text, let alone more than one.

Suddenly something snapped internally. The weight of advocating for my community in my profession as I also struggled to advocate for myself in other parts of my life suddenly felt very heavy. I had figured I would manage fine, having been no stranger to path creation up to that point. But my transness was also tied up with years of assuring myself I was fortunate to be anywhere that allowed me a semblance of dignity, despite the progressive politics of the places Ive lived. In learning how to best advocate for the TGNC acting community, I had to bury years and years of my own internalized self-consciousness about being transgender myself. Indeed the first decade of my transitioning was spent not understanding or fighting my own internalized transphobia. By December of 2019, despite my best efforts up to that point, it seemed I had suddenly failed. My armor was made of linen, and was full of holes. I had drowned in the emotional soup.

My mind began romanticizing old haunts, and directed me down paths once etched out by old shoes Id long worn through and discarded. Quietly, I began to devise a plan to return to the West Coast and prioritize self-care for the first time in my adult life. Then suddenly work ground to a complete halt virtually overnight when the reality of the COVID-19 outbreak hit home, and the theatre industry as we knew it ceased to operate with only four hours notice on a slightly muggy late-winter March afternoon in New York. I stood in a rehearsal room with my colleagues at the Playwrights Realm and toasted a glass of champagne to the camaraderie. I hadnt realized that when I left the reading that afternoon and returned home to Brooklyn, Id never return to Manhattan again. Less than a month later after barricading myself in my apartment, I would fly back to my home state of Washington and enter quarantine for several weeks.

Poof. The responsibility to do anything but take care of myself was suddenly gone. The soup factory had dried up.

The following months allowed for a period of intense reflection and rebuilding. They granted an organic opportunity to begin creating a balance of self-care and self-preservation practices, both personally and professionally. The timing could not have been more on point. As I write this, the air outside my house is some of the worst in the entire world, as only a few hundred miles away, entire communities and ecosystems are on fire. A billionaire author is waging war on TGNC identities, creating fictional fear-based rhetoric that has the potential to pollute the minds of free thinkers.

And yet, a silver lining has formed for me personally. In the silence of meditation, I sat one afternoon and found myself suddenly missing the many many trans, non-binary, and gender nonconforming artists I had the privilege of working alongside, watching from the audience, and advocating for back in New York.

Out of the blue, an email arrived. The Playwrights Realm invited me to renew my contract and work with them remotely from Seattle for the upcoming season. My senses lit up. There is still so much to accomplish. So many people to meet and find work for. Without hesitation, I committed myself to another year.

Dear reader, in the end, I truly believe in the American theatre. And I believe in the trans, non-binary, and gender nonconforming community. I need and love both. So, whats next for us all? Whats next for the unicorns? Lets find out.

Ada Karamanyan (she/her) is a Seattle-based casting director, writer, and activist. She is half Armenian, an Aries (Gemini moon, Aquarius rising), a member of the TGNC community, and the proud daughter of Janet and Ararad Karamanyan of Langley, Wash. She encourages you to vote this November.

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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Art Insider: Tire tread expresses the complexity of the human experience – KCRW09.23.20

Figures made out of tire tread convey the complexity of identity. Layered paintings delve into subject matter of the heart. And mixed media paintings blend abstraction and representation.

Kim Dacres at Gavlak

At Gavlak downtown, 11 busts sit proudly on white plinths. Made out of found tires (bikes, cars, motorcycles), each of Kim Dacres figures in her exhibition Wisdom Embedded in the Treads is textural and layered. Rubber bike tubes are manipulated to become delicate sweeping rows of braided hair. Bike chains stand in for body piercings. Flat strips of tires are screwed in place to become contorted facial features. In Whitney, a single bike seat stands in for the pop singers nose. Through the specificity of each figure, Dacres hopes to convey the multiplicity of her community. Skin color and hairstyles alone do not singularly tell the story of an individual, Dacres explains in the press release. The work is a celebration of her community. People should be honored for their everyday experience and roles in society, she tells me.

Sourced from tire shops around New York, Dacres is deeply interested in the past lives of the tire material. Throughout their lives, tires become worn and the tread wears down, but each becomes a unique representation of the places and experiences theyve encountered. The material reminds me to think of people with full and whole experiences that are similar to mine and also different in ways I can learn from. In the making process, Im transforming pain, journey, and experience into a figure [that is] easier to identify with. I dont think any other material has the same draw for me, Dacres says.

On view: September 12 October 24, 2020

Linda Stark at David Kordansky

Ive always responded to the slow wit of Linda Starks textural paintings. At first glance, some of the work might read as cheeky pop, like the cartoon Minion eye in Cyclops Fountain (2020) that dramatically sobs rivers of silvery-blue tears. Yet, Starks work builds emotionally, conceptually, and literally.

To create the paintings, the artist painstakingly builds up layers and layers of oil paint (some of the modestly-sized works take her years to produce), molding each layer carefully to create her textured effects. With each layer of paint, the sincerity of the work seems to build. Each work becomes a labored treasure that the artist is deeply connected to.

For her new exhibition Hearts, Stark iterates on the theme of Purple Hearts, bleeding hearts, and heart-shaped candy boxes. Sacred Heart (2020) pictures the Catholic devotional symbol radiating with gold. Yet the center of the heart contains an outline of delicately rendered ovaries. A feminist message undergirds much of Starks work, and here, the artist commandeers a religious symbol that might stand in for the repression of womens bodies, and transforms it into a celebratory ode to the female form.

On view: Sept. 19 Oct. 24, 2020

Yevgeniya Baras at the Landing

In I Sit by the Window at the Landing Gallery, Yevgeniya Baras has presented dozens of new paintings. Each one is a sculptural puzzle. Built up on burlap fabric, the artist embeds rope, paper pulp, wood, and other mixed material to create idiosyncratic and textural surfaces that she then layers on top of with gloopy paint. Inspired by recent time spent in Texas, the artist uses a colorful yet muted color palette across the exhibition. Bright ocres melt into muddy browns and pock-marked blues. Built-up dimensional ridges create organic forms across that canvas that dually read as aerial landscapes or microscopic bodily organisms.

Many of the untitled paintings contain letter forms that stack onomatopoeically across the canvas, integrating with abstract geometries though never culminating in any readable words. These clues prompt you to search for more legibility in each work either textual or narrative. And while the artist references specific experiences in each work, she coyly withholds that clarity from the viewer. The work instead revels in a middle ground between knowable forms and abstraction, always pushing you to search its layered depths for more.On view: September 16 October 28, 2020

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‘Malaise’ reflects reality as the new exhibit at Hutchinson Center for the Arts – Crow River Media09.23.20

If you're looking to add a new dimension to your daily routine, consider taking an art break and view the new exhibit titled "Malaise" through Nov. 13 at the Hutchinson Center for the Arts. It features the work of two Minnesota regional artists: Liz Miller of Good Thunder and Chris Allen of Rochester.

Miller, a professor of installation and drawing at Mankato State University, and Allen, who has worked as an arts educator, gallery owner and cake decorator, submitted their work through the art center's call for exhibition proposals. It was Lisa Bergh, executive director of the art center, who saw the commonalities of color, repetition, use of non-traditional materials and the tying of knots over and over and thought to put the two artists together for this event. She liked the scale shift from Liz's large-scale knotted sculptural objects to Chris's small-scale beaded sculptures.

"I was so excited when I saw that," Allen said of the pairing. "I've admired Liz's work for so long."

When: 10 a.m.-5 p.m. Tuesday, Wednesday and Thursday, and noon-4 p.m. Friday. Private appointments are also available.

Where: Hutchinson Center for the Arts, 15 Franklin St. S.W.

Admission: Free and the public is welcome. The art center follows state health guidelines, so masks and social distancing are required.

Special event:Google Meet Virtual Artist Talk 6-7 p.m. Wednesday, Sept. 30, with Liz Miller and Chris Allen.To participate, visit meet.google.com/kbt-meod-adq.

Next up: Amber Rahe: Dec. 1-Jan. 15

For more information: Call the art center at 320-587-7278.

"I knew Chris' work through the arts community,"Miller said. " I thought it was a really cool pairing, and a great example of curators, people like Lisa, who see the potential to have a dialogue in the space."

In case you peeked in the windows of the art center this past week, you may have seen how the space is being transformed. All the panels and pedestals have gone from flat white to a cheery mint green. They will play supporting roles to the exhibit that includes all the colors of the rainbow.

"When I wear my curator hat at the art center, I am always looking for ways to encourage audiences to move beyond the initial act of seeing art as just objects and be open to the experience of an exhibit," Bergh said. "Perfect for the times, both artists are exploring their experiences and responses to the pandemic and the shared anxieties of society. The exhibit is visually compelling, overwhelming, entertaining and thought-provoking."

The title for the exhibit, "Malaise," was developed through collaborative brainstorming. It was Miller who threw out the word thinking they could do something with it or use it to inspire other words.

Artist Chris Allen is organizing a variety of her small, beaded objects during installation day on Thursday at the Hutchinson Center for the Arts. She uses a traditional Native American sewing technique known as a peyote stitch.

"It describes 2020," Miller said. "In my work, a lot of time I use bright colors, pattern, that is the part that is fun. The work I'm doing, the material is unraveling, structure is undulating, it can't sustain itself. It's an abstract conversation between structure and structure collapse. I like the fact it points the viewer to look at the work from a slightly different vantage point."

Allen's work is based in textile techniques. She uses small seed beads in a traditional Native American sewing technique known as a peyote stitch.

"I'm using it in a temporary way to create skin that goes around stone," she said. "This pairing of the two materials creates a spiritual metaphor. For me, it's a meditative experience. Each beaded skin takes me about 40 hours. Some are tiny, so they don't take that long. They are windows to the soul. You can see and touch the rock within."

Bergh describes the exhibit as "rooted in the anxiety and uncertainty of the times."

"When visiting the gallery, viewers will experience the obsessive repetition, tension and infrastructure of their works in both a physical and emotional response," she said. "Miller, making large-scale sculpture works from knotted ropes, and Allen, creating small beaded objects, present the beauty in the precariousness of all that surrounds us."

In viewing her work, Allen wants people to personally feel hope.

I think we're in a very unprecedented time," she said. "We're living through something most people have never experienced. There is so much uncertainty, but I think we're going to be OK. We just have to be patient.

Liz Miller is displaying 10 pieces titled Talisman 1-10. During their creation, Miller said she was thinking about the idea of a talisman and that its something that holds magical powers. Im really interested in this kind of repetitive body as a process that holds a lot of strength and resilience she said.

Miller said the viewer's first impression of her work is about the materials.

I love the colors, she said. I hope the work encourages them to spend time and see more than that. I hope it causes them to ask questions."

Describe your work in 15 words or less

Miller: Abstract, materially intensive, fiber-based works that explore ideas related to infrastructure and perception.

Allen: My work addresses themes of spiritual healing, personal growth and epiphanies utilizing marginalized materials.

How has the way you work with materials/ideas evolved over the span of your career?

Miller: When I started out, I was pursuing a career as a painter. It didnt take me long to realize that I am a horrible painter, but that I do have a decent sensibility with collage and non-traditional materials. The shift to more sculptural environments was very gradual, as I have no formal background or experience in sculpture. For most of the past decade I have worked primarily in site-specific installations comprised of flexible materials such as fabric and paper. These materials inhabit a magical space that can be 2D, 3D or both. I love working with simple materials that can be manipulated without technical processes or power tools.

More recently, my installation work led me back to the wall, (which is the type of work on display at the art center) as I became fascinated by the hundreds of knots I was tying to rig the installations. I decided to focus on the knots and rope alone. These new works are a combination of everything Ive done as an artist up to this point materially and conceptually. I am a slow, steady worker, and shifts in my work happen over long periods of time. A change in the work is often sparked by a simple observation of my own process, or just kind of playing with ideas in the studio until something clicks.

Allen: During this pandemic, my world has turned upside down and has sometimes been scary and very confusing. I have also realized this unexpected time may be a gift for creating new work I previously could only dream and sketch. I can loosen up, be less of a purest, explore other techniques Ive been curious about and consider the mess I dont understand might make sense later in my work.

Artists Chris Allen, left, and Liz Miller installed their new exhibit, "Malaise," at the Hutchinson Center for the Arts. In the foreground is Allen's small-scale beaded sculptures and in the background is Miller's large-scale knotted sculptures. Allen has exhibited her work in galleries throughout the United States, while Miller has exhibited nationally and is the recipient of numerous awards and grants.

What is the first art work you remember making?

Miller: I dont know that I can identify a single work, but I can say that drawing was part of my childhood from the beginning. My parents were both computer programmers. My mom would bring home huge boxes of paper. On one side of the paper was the green and white pattern with the code written on it (It seems so crazy to think about that now, ancient times!). The plain side became a never-ending drawing surface for us. The paper was perforated, so we could tear out individual sheets or make ginormous drawings that spanned entire hallways. By providing us with this surface and a box of crayons, my mom made the activity of drawing seem like something everyone did, and I spent hours entertaining myself this way.

Allen: I remember thinking as a child that I was not artistic at all. My younger sister draws naturally and was considered "the artist" of our family, I was 7 or 8, in my room alone, and I had an urge to draw a yellow bathtub duck. It was suddenly like being in my own bubble and I knew what to do. I showed my sister, then she said lets show mom! My mom thought for sure the drawing was Jessies at first. My sister is still my biggest fan, and she still draws.

What do you like to do for fun outside of your studio?

Miller: I love spending time with my husband, David, and our two standard poodles, Edward and Greta. We live in the small town of Good Thunder, which is surrounded by a beautiful natural landscape with woods, rivers and gravel roads that go on and on. I am an avid runner and have just started getting into cycling. Im also becoming a better cook.

Allen: Most fun for me is gardening. I love flowers. It is amazing to watch a seed evolve into a ripe tomato. There is a beautiful power in a victory garden, especially this year. I think and plan all winter. (I) figure out which seeds are needed, start them, transplant, replanting when the time is right, watering, weeding, harvesting and preserving. I have beds at home and am also part of a community farm called The Village here in Rochester. The farm focuses on growing food to donate to a local food shelf called Channel One, which my mother founded in 1984.

Lisa Bergh contributed to the story in the form of the Leader's Q&A.

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20 Fall Nail Design Ideas to Try in 2020 – The Trend Spotter09.23.20

From the falling leaves to the cooler temperatures and stunning shades, this season is one of the most inspirational for fashion. Whether you love the brown and neutral trends, you always add a pop of color to your attire, or you keep it minimal all-year-round, weve found the perfect fall nail designs that all fashionistas will love.

RELATED: 10 Trending Fall Nail Colors to Try in 2020

Take fall colors, and put a fun twist on them. This funky and geometric design takes its inspiration from column charts and uses shades that are perfect for the season. To create this monochrome manicure, take small bits of tape and place them in the style you prefer add some spice to the overall look by changing the position of the bars on each finger. No matter what nail length or shape you have, its a universally flattering way to elevate your ensemble.

Certain things truly represent fall, and one of those things is falling leaves. This blend of nude and black polish and delicate artwork resembles a masterpiece that is autumn, across each fingertip. Using a fine brush and nature-inspired colors, paint delicate flowers on the tips and ends of your nails, but be sure they take up one-third of the space this will elongate the fingers and keep it looking elegant. For a high fashion twist, add s feature nail in black. Its a great way to get excited about the cooler season and stay stylish.

Its one of the most significant colors of the season, so why not wear it everywhere? These mustard nails are simple in design but so effective in action. A yellow-toned green hue is a perfect option for all skin tones it pops perfectly on everyone. You can rock this shade with greys, blues, and browns it is the best companion for a stunning fall wardrobe.

Its one of the trendiest designs of the season, and for a good reason. This marble-effect manicure features stunning Fall colors from rich purples to warm orange hues, this is the perfect autumn accessory. Let the organic swirls of the brush follow you across each finger, leaving some bare nail underneath for maximum impact. Add small fragments of white and baby pink within the deeper shades for further dimension on this fantastic art.

Let your fingers do the talking with this funky shaped nail art. For those who love to experiment with colors, styles, and patterns, this is the ideal manicure for you. Fill the crescent near your cuticle with a block shade or two, and elongate the tips of the others with an updated French manicure style. Use shades like brown, red and blue, alternating between shades with geometric lines. Its a style that perfectly flatters every skin tone, and now is the season to try it.

Channel your inner Gucci Gal and dive into this stunning manicure. Featuring muted pinks and greens, this Autumn-inspired nail art is sure to elevate any outfit. Using bottle green, cranberry red, and soft neutral pink, you can easily recreate this look. To consistently create straight lines, use small bits of tape in the center of the finger, and invert the colors on each hand. Its a perfect fall design for a fashion lover.

Are you a huge Halloween fan? Bring the dress-up event closer than ever with this ooky-spooky manicure. The classic pumpkin design gets a quirky upgrade as it sits on the cuticle of each finger the remaining negative space will elongate your fingertips and look extra fashionable. You can choose to create a scary face inside the orange winter squash, leave it bare or add some extra creepy detail. Get ready to celebrate one of the most-loved yearly events in style!

During this time of year, the atmosphere begins to change, and the cold weather sets in. Celebrate the start of a new season by recreating those stunning clouds on your fingertips. Whether you prefer the traditional shades of blue and gray, or you want to incorporate neutral colors, this is a great way to add some spice to your ensemble. Leave the space beneath plain to help the hue stand out even more. With a design this stunning, youll feel as if youre touching the sky.

As one of the trends that have stuck around for years, animal print is here to stay. This amber-colored rendition of leopard is totally on-trend, and its easy to see why its incredible to wear. From every angle, your nails will catch the light and appear like tortoiseshell delicate and mesmerizing. Feel free to be liberal with the pattern on top there are no two coats the same, so why should your manicure be?

Sometimes its the simplest designs that stay with you forever. This understated design is easy to recreate, and it looks great on all skin tones. Tape up one side of your nailbed, and paint a few layers of a hearty plum shade. Once the nail polish dries and you take away the sticky side, you will be left with a sleek and elegant manicure that is sure to garner a few compliments!

One of the hottest shades seen this year is green, and it would look brilliant as your next manicure. This geometric design is easy to replicate a home and has a timeless feel. Using bits of tape, cover one half of the fingertip in a diagonal line. Take two hues of the cool shade, one light and dark for longer-looking fingers, paint the bottom half of the nail in the deeper polish. Unify both the top and bottom by topping it off with a clear topcoat.

This gradient trend has taken over the entire world, and its easy to replicate it with fall-inspired shades. Take white, a light dusty rose, gray and black, and apply a single color on each finger. For a unified effect, begin a transition from light to dark, and leaving the thumb the same as the pinky. Its a minimalist design, but it still provides a serious punch.

Rug up as the weather changes with this cozy and elegant manicure. What starts as a classic nude manicure quietly transforms into fingertips dipped in gold flakes. This is a tricky skill to master, so its a great idea to test the style with a professional nail artist. To create this look, youll need some loose gold leaf, clear polish, and tweezers. After youve painted the base shade, delicately place the pieces to the desired areas, and finish with a final top coat to seal it. For maximum effect, leave the thumb and pinky without any trimmings.

Elevate the classic manicure with this funky negative space spin. What makes this design so fascinating is the bare nail underneath, paired with modernism-inspired shapes in bold colors. Using tape, carve out rectangles down the finger add black and white, leaving space for a small red dot in between each figure. Without any base coat, your hands will appear elongated and like a piece of art.

Wake up with energy thanks to this cafe latte manicure. Finding its inspiration from a humble cup of coffee, the art features two shades of brown and is complete with cream on top. To replicate the look, paint the entire nail a soft stone or nude color, and delicately paint one half in a chocolate hue. Using a lighter tone, finely cut out an identical, yet smaller, shape. Finish by painting a thin border between the pattern and base. Youll be sure to feel a buzz with fingers this snazzy.

We all have a favorite manicure that we can always rely on, and this is definitely one of them. The classic nude manicure just received a refresh, and its so easy to recreate. Find two neutral shades that flatter your skin tone, and paint the entire base of the finger with the lighter color. Once it has dried, paint a second layer over the top, this time using the darker tone. Leave a small space from the cuticle, and carve it the natural shape of your cuticles. Finish it with a clear topcoat, and youll be dressed for any occasion.

While Spring is a typical time for florals, you should be able to enjoy them in every season. This updated manicure features Fall-inspired browns and neutrals, which offers dimension to the design. Start by painting three fingers a light stone shade, and the other two in a soft peanut hue. Once dry, use a thin brush to apply dainty flowers on each nail. Use the opposite colors to draw the blooms on the tips. Finish the design with small black dots as the center of the pattern.

This season calls for color inspiration from nature and the runways- falling golden brown leaves, blue skies, orange pumpkins, and a rich touch of emerald. Express this entire mood board on your nails to showcase your favorite season, and do it in style. Paint each fingertip a single shade there is no strict gradient you need to follow here, so choose the progression of hues however you wish. If you love wearing monochrome ensembles, this will act as the perfect finishing touch to whatever you wear.

Express your individuality on your fingertips, and celebrate the beauty of fall with this artsy neutral manicure. Using only two shades, it offers a lot of dimension and complexity, thanks to its fluid and organic style. Paint all fingers a single color, leaving one in the opposite as a feature. Then, using the alternative tone, let your creativity shine by finely painting flowers or creating a marble effect. If youre a nail novice, find a talented artist to replicate the breathtaking design. This is a fashion-forward way of wearing the hottest hue of the season.

One of the most popular trends weve seen on and off the runway this season is the subtle star manicure. A perfect option for autumn, this minimalist nail art looks amazing on anyone and is delicate enough to wear anywhere. Keep the base of your fingertip in a nude or neutral shade, and sprinkle small gold stars on top. To prevent them from falling off, finish with a layer or two of topcoat it will leave them looking shiny and fresh. From the office to a Halloween party, its the ideal way to dress for the time of year.

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Community needs to form task force to have influence in LHU ‘integration’ – Lock Haven Express09.23.20

The Clinton County community must rise up to engage and put pressure on the chancellor and the Pennsylvania State System of Higher Education as they look to essentially merge Lock Haven, Mansfield and Bloomsburg Universities.

This is so much more important ever since PASSHE initially announced an integration plan between just Lock Haven and Mansfield Universities.

Frankly, with this latest edict late last week to add the much-larger Bloomsburg to the mix, we are alarmed and the community should be very alarmed, too. Is LHU to become a satellite campus of Bloomsburg?

We respectfully suggest the Clinton County Economic Partnership take the lead with the City of Lock Haven, county and others to form a task force without delay to make the communitys voice be heard and prevent PASSHE from making decisions in a vacuum. We need skin in this game.

Political pressure from state officials representing our county would help greatly and is sorely needed.

The situation is dire, and yes there are the realities of lower enrollment and fewer students on campus due to COVID-19, resulting in less revenue.

Indeed, COVID-19 has exacerbated all of the challenges LHU and its 13 sister universities within PASSHE face.

But this is just when we must take the fight to preserve this community asset to a whole new level.

LHU has announced it will eliminate about 100 jobs starting next year.

Furthermore, the university, as PASSHEs direction, is studying the elimination of numerous programs such as alternative education, foreign languages, physics, political science, geology, math, music, sociology, athletic training, history, art and more.

All of this, we believe, puts the sustainability of LHU at risk.

The following is from a report made at last weeks Lock Haven University board of trustees meeting: In an effort to staunch the financial losses incurred by PASSHE, the (chancellor) has set metrics as guidelines by which institutions must return to sustainability using 2010-2011 as the benchmark. Chief among these metrics is the requirement for LHU to raise its student to faculty ratio to 19.2 (from the current 14). Secondary to this ratio are the culling of academic programs to a number consistent with current enrollment and raising of class sizes.

For LHU, meeting these metrics requires the loss of 47 faculty FTE (full-time equivalent), placing 7 undergraduate programs in moratorium, and raising our average class size to 32. These changes will result in both a significant departure from practice and culture but also a marked upheaval of the academic enterprise. They are, nonetheless, both mandated and necessary to avoid the continual fiscal crisis in which LHU is currently embroiled.

LHU President Dr. Robert Pignatello has done a fabulous job managing the schools finances and overall operations amid the most difficult era in its 150 years of existence. Why isnt he being given a chance to develop a long-term sustainability plan?

Lock Haven University is a proud institution and has been since its founding in 1870, with more than 32,000 alumni across the United States and beyond.

The colleges impact on this small, rural area economically and culturally is immeasurable.

In recent years, the college has upped investment to provide education and certification for critical professions, from health-care (physician assistants and nurses), to teachers, biologists, criminal justice and law enforcement, business, outdoor recreation-wellness and so much more.

NOW is the time for area officials, LHU stakeholders and community residents to stand up and be heard. To put as much political and community pressure on PASSHE as can be mustered.

One of the most important roles of LHU is to educate and empower first-generation students.

We cannot give up on that ever.

Education is fundamental to creating prosperity and opportunity. It strengthens our democracy. It enriches our civic life, and serves as a pathway to economic success.

Lock Haven University, the community and all of its stakeholders must be able to chart a course to revival and success. Too much is at stake.

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