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A suspected Chinese spy with business ties to Prince Andrew is barred from UK LONDON (AP) — A suspected Chinese spy with business ties to Prince Andrew has been barred from the U.K. because of concerns he poses a threat to national security. Danica Kirka, The Associated Press Dec 13, 2024 12:46 PM Dec 13, 2024 1:05 PM Share by Email Share on Facebook Share on X Share on LinkedIn Print Share via Text Message FILE -Prince Andrew leaves after attending the Christmas day service at St Mary Magdalene Church in Sandringham in Norfolk, England, Sunday, Dec. 25, 2022. (AP Photo/Kirsty Wigglesworth, File) LONDON (AP) — A suspected Chinese spy with business ties to Prince Andrew has been barred from the U.K. because of concerns he poses a threat to national security. A British immigration tribunal upheld the decision on Thursday in a ruling that revealed the Chinese national had developed such a close relationship with Andrew that he was invited to the prince’s birthday party. Government officials were concerned the man could have misused his influence because the prince was under “considerable pressure” at the time, according to the ruling. British authorities believe the Chinese national, whose name wasn’t released, was working on behalf of the United Front Work Department, an arm of the Chinese Communist Party that is used to influence foreign entities. The government determined that the businessman “was in a position to generate relationships between senior Chinese officials and prominent U.K. figures which could be leveraged for political interference purposes by the Chinese State,” according to the tribunal's decision. In a statement from his office, Andrew, also known as the Duke of York, said he accepted government advice and ceased all contact with the Chinese national as soon as concerns were raised. “The Duke met the individual through official channels with nothing of a sensitive nature ever discussed,′′ his office said. “He is unable to comment further on matters relating to national security.” Prince Andrew, the younger brother of King Charles III, has been repeatedly criticized for his links to wealthy foreigners, raising concerns that those individuals are trying to buy access to the royal family. Andrew’s finances have been squeezed in recent years after he was forced to step away from royal duties and give up public funding amid concerns about his relationship with Jeffrey Epstein , the American financier and convicted pedophile who committed suicide in prison in 2019. British intelligence chiefs have become increasingly concerned about China’s efforts to influence U.K. government policy. In 2022, Britain’s domestic intelligence service, known as MI5, warned politicians that a British-Chinese lawyer had been seeking to improperly influence members of Parliament for years. A parliamentary researcher was arrested in 2023 on suspicion of providing sensitive information to China. The 50-year-old Chinese national covered by this week’s ruling was described as a man who worked as a junior civil servant in China before he came to the U.K. as a student in 2002. He earned a master’s degree in public administration and public policy at the University of York before starting a business that advises U.K.-based companies on their operations in China. He was granted the right to live and work in the U.K. for an indefinite period in 2013. Although he didn’t make Britain his permanent home, the man told authorities that he spent one to two weeks a month in the country and considered it his “second home.” He was stopped while entering the U.K. on Nov. 6, 2021, and ordered to surrender his mobile phone and other digital devices on which authorities found a letter from a senior adviser to Andrew confirming that he was authorized to act on behalf of the prince in relation to potential partners and investors in China. The letter and other documents highlighted the strength of the relationship between Andrew, his adviser and the Chinese national. “I also hope that it is clear to you where you sit with my principal and indeed his family,” the adviser wrote. “You should never underestimate the strength of that relationship. Outside of his closest internal confidants, you sit at the very top of a tree that many, many people would like to be on.” The letter went on to describe how they had found a way to work around former private secretaries to the prince and other people who weren’t completely trusted. “Under your guidance, we found a way to get the relevant people unnoticed in and out of the house in Windsor,” the adviser wrote. Andrew lives at the Royal Lodge, a historic country estate near Windsor Castle, west of London. Danica Kirka, The Associated Press See a typo/mistake? Have a story/tip? This has been shared 0 times 0 Shares Share by Email Share on Facebook Share on X Share on LinkedIn Print Share via Text Message More The Mix S&P/TSX composite down more than 100 points, U.S. stock markets mixed Dec 13, 2024 1:32 PM Nova Scotia non-profit groups trying to save huge Acadian church now facing lawsuit Dec 13, 2024 1:30 PM Court approves The Body Shop Canada sale, about 100 to lose jobs as some stores close Dec 13, 2024 1:21 PM Featured FlyerNew York takes on St. Louis after Panarin's 2-goal showing
This article was originally published on March 2, 2021, ahead of Brooklyn Museum’s retrospective exhibition “Lorraine O’Grady: Both/And.” O’Grady died at the age of 90 on December 13, 2024. On a very hot day in September 1983, the artist Lorraine O’Grady dressed in all white, pinned a pair of white gloves to her shirt, and joined the annual African American Day Parade in Harlem. The other participants were marching bands, Black community groups, and brands; O’Grady had entered her own float, an empty nine-by-15-foot gold-painted wooden picture frame that she’d built with friends and mounted upright on a flatbed. As it made its way along Adam Clayton Powell Jr. Boulevard, the frame captured the people and sights on both sides of the street within its gilded bounds. O’Grady had hired 15 young Black performers who walked and danced alongside it, carrying smaller golden frames that they held up before members of the crowd. Big black letters on either side of the flatbed proclaimed ART IS ... O’Grady, then 48, had decided to become an artist just six years before, after two marriages, an attempt at a novel, and stints as a translator and rock critic. She was still finding her footing, running up against both a white art world that ignored and dismissed Black artists and a Black one that, she felt, was sometimes too eager to play it safe. The float was a conceptual statement, a rebuttal to a Black social-worker acquaintance who’d told her, “Avant-garde art doesn’t have anything to do with Black people!” As Art Is ... rolled by, Black paradegoers smiled and posed and mugged for the frames held up by O’Grady’s performers, shouting, “That’s right! That’s what art is. We’re the art!” “I’ve never had a more exhilarating and completely undigested experience in my life,” she later wrote. O’Grady hadn’t publicized Art Is ... , telling just a handful of peers about it; there was no review, no public feedback aside from what she got from participants. “I thought no one had noticed,” she told an art historian many years later. It wasn’t until the late aughts that she would pull out of storage hundreds of slides taken by friends and onlookers at the parade and turn 40 of them into an installation. Once it caught curators’ attention, Art Is ... would become one of her best-known works, helping to cement her belated status as a trailblazer. It only took decades. O’Grady is now 86, a warm and intellectually formidable presence. Dressing almost exclusively in black — often in a leather jacket and tight pants or leggings that hug her thin form — she wears chunky silver jewelry and favors red lipstick. She usually styles her dark curly hair up and forward in a kind of punk-inflected Afro (although the pandemic has forced it into a gray-and-white ponytail). She tends to lean toward you when she speaks, sliding smoothly between two levels of conversation: an accessible one, punctuated by her infectious laugh, and a more rarefied zone. She’s equally given to long, sometimes meandering stories and profoundly succinct expressions of complex ideas. This is as true in public conversations as in private ones. Speaking at a 2015 conference at the National Museum of Women in the Arts, wearing a rubber gorilla mask as part of the anonymous feminist activist group the Guerrilla Girls, she delivered an earnest seven-minute dissection of the phrase “women and artists of color” and the way it leaves out people who are both. At the end, she quipped: “This problem is defeating us, and, I mean, it defeats me, because any time I try to get a language, it just doesn’t work on a poster!” O’Grady has made art using collage, performance, photo installation, and video. She has written criticism and curated shows. She has studied Egyptology and European modernism. Through every medium and subject, she has built a body of work that asserts two key ideas: the centrality of Black women and their stories and the ways in which hybridity — of people, cultures, ideas — has shaped the modern Western world. These are also the central themes of her life, as a Black middle-class Caribbean American woman who has never fit neatly into prescribed categories. “I always felt that nobody knew my story, but if there wasn’t room for my story, then it wasn’t my problem,” she said. “It was theirs.” Now the artist is the most visible she’s ever been — a situation that she’s still getting used to. In November, Duke University Press published a collection of her texts, Writing in Space, 1973–2019 , and the Brooklyn Museum is set to open her first-ever retrospective, “Lorraine O’Grady: Both/And,” on March 5. It not only gathers art from her entire career but also marks the debut of her first new performance persona since the early ’80s. O’Grady and I have known each other since 2014, when she reached out to thank me for a blog post I’d written about her. When we logged on to Zoom on a recent Friday night, she was sitting at a desk in her apartment in Westbeth — a Manhattan artists’-housing complex where she has lived since 1976 — that currently doubles as her home and office. She was in a narrow hallway between her tiny kitchen — I spotted an abundance of books, vitamin bottles, and Tupperware — and her “bedroom,” a makeshift nook with a bed wedged between a filing cabinet and two bookcases. (“This is terrible, isn’t it?” she joked.) She was more subdued than the last time I’d seen her, a few years ago. She’d been pulling a lot of all-nighters lately in order to work on the new performance, the book, and the retrospective. Still, her lower energy appeared to be about more than just exhaustion; she seemed circumspect about “making it” at 86. “The current moment is a strange one, because you can’t say nothing has changed, but you can’t say that anything significant has changed,” she said. “ ‘The Other’ has remained safely bracketed as ‘the Other.’ ” If more Black artists — and, crucially, Black women artists — are showing and selling their work now than ever before, they’re still mostly working within systems that were originally designed to exclude them. The new recognition is exciting. It also throws into relief the decades spent without it. What does it mean for an artist like O’Grady, who has spent her career as a gate-crasher, to finally be welcomed in? Lorraine’s parents, Lena and Edwin O’Grady, were both born in Jamaica, but they met at a cricket match in Boston in the 1920s. Lorraine was born on September 21, 1934, 11 years after her older sister, Devonia. The girls grew up first on an Irish immigrant block, then a Jewish one; the little West Indian community they were part of was centered on an Episcopal church. Lena and Edwin had both come from well-educated upper- and middle-class families in Jamaica, but upon arrival in the U.S., they’d been forced into working-class jobs. Boston was a heavily white city at the time, and O’Grady said her class-conscious parents didn’t relate to many of the African Americans there, including upper-class Black Bostonians. “They felt that they were looked down on,” she said. “They had different styles, different tastes, different everything. They couldn’t bridge the gap, and they didn’t want to, actually — I think it was self-defense.” Still, she remembers that when her mother spoke to other members of the exclusive Black women’s social club she’d joined, she tried to disguise her Jamaican accent. “It would drive me nuts,” O’Grady said, “to see her contorting herself. I liked the way she talked.” O’Grady has said her parents adhered to “British colonial values.” This meant, in part, that she received a rigorous education that would lead her to Wellesley College, which she attended on scholarship and where she was one of only a few Black women to enroll. Her studies were briefly interrupted when, in 1953, near the end of her sophomore year, she married a man she’d met through one of her former classmates — a star athlete at Tufts — and had a son with him. O’Grady managed to finish school, deciding to “get practical” and switch her major from Spanish literature to economics. She went to work as a research economist and intelligence analyst for the federal government, but the stability she’d been seeking never came. “I had several days when I woke up and said to myself, Nobody here is ever gonna know who I am, and I have to find a way to say who I am, ” she said. So she quit her job. Her marriage had recently ended. Then her sister, Devonia, died, at the age of 38. It was the early ’60s, and O’Grady was in a moment of deep personal crisis. She left her young son with his father — a decision she still struggles with today, although they have since worked on their relationship and become closer — cashed in her retirement savings, and went to Europe, looking for a way to say who she was. She wouldn’t find the right way to do it for years. By the late ’70s, she’d started (then abandoned) a novel, started (but not finished) studies at the Iowa Writers’ Workshop, married (and then separated from) a filmmaker she met at Iowa, took over a successful translation business in Chicago, and moved to New York, where she kept writing, this time rock criticism for The Village Voice and Rolling Stone. Then she got a job as an adjunct instructor at the School of Visual Arts. The art world, she realized, was one she didn’t know anything about. She went looking for books to learn more. She picked up one by the critic Lucy Lippard about conceptual art. “I had read art books before, but they hadn’t hit me,” she said. This one she read cover to cover. “I knew at the end of reading it that this was something I could do and be good at.” Not long after that, she had a breast-cancer scare; when her biopsy came back negative, she decided to make a newspaper collage as a present for her doctor, on whom she had a crush (taking inspiration from the Surrealist André Breton, whose work she taught at SVA). She began looking through the Sunday New York Times and found herself cutting out phrases for a poem instead. When she completed it, she thought it was too good to part with. For nearly six months thereafter, she created a work every Sunday, calling the project “Cutting Out the New York Times.” By the time she was done, she had become an artist. “The problem I always had was that no matter who I was with or what I did, I got bored pretty quickly,” said O’Grady. “This was something I knew I would never get bored with, because how can I get bored? I would always be learning, and I would never, ever master it. That was part of the appeal.” Within a few years, she started hanging out at Just Above Midtown, a nonprofit gallery devoted to avant-garde African American art that Linda Goode Bryant had opened in 1974. O’Grady found her way in by volunteering there, which she now calls a “bougie thing to do — ‘Oh, I’ll lick stamps! I’ll lick envelopes if you want!’ ” She got to know Black artists for the first time in her life, people like David Hammons, Senga Nengudi, Maren Hassinger, and Dawoud Bey. It was a community of support and possibility. “The condition of my life until I came to New York and joined Just Above Midtown was that no matter where I went, I was always going to be the only Black person in the room,” O’Grady said. Still, even among the JAM artists, she didn’t feel entirely seen; her life experience wasn’t considered a “typical” Black American narrative. Her family didn’t come from the South and hadn’t experienced American slavery; she’d grown up more class than race conscious. O’Grady has said that before she entered the art world, she considered herself “post-Black.” Coming face-to-face with racial discrimination, she embraced her Blackness — but she still identified, and continues to, as a Caribbean American, rather than as African American. “It was difficult, even in the New York art world, to mention a connection to the Caribbean without feeling as if I were somehow claiming superiority,” she told an interviewer for her Brooklyn Museum catalogue. “But what if those are the problems you are dealing with?” Rather than shrinking from this difference, O’Grady mined it for her work. In 1980, she had originally planned to attend her 25th reunion at Wellesley. Instead, she debuted a performance persona that would allow her to both enter and critique the art world at the same time: Mlle Bourgeoise Noire, otherwise known as Miss Black Middle-Class, of Boston. This avatar came to O’Grady one day as she was walking through Union Square. The artist imagined her as the winner of an international beauty pageant held in Cayenne, French Guiana, in 1955. She was, perhaps, a version of O’Grady that might have existed in an alternate reality. One night in June, when JAM had an opening, O’Grady showed up unannounced (to everyone except Goode Bryant) wearing a crown, sash, and gown and cape she had made out of 180 pairs of white gloves, acquired from thrift stores around the city. Accompanied by her brother-in-law playing her master of ceremonies, O’Grady as Mlle Bourgeoise Noire circulated among the guests, smiling as she passed out white chrysanthemums. When she’d given them all away, she donned a pair of above-the-elbow white gloves and began to whip herself with a white cat-o’-nine-tails, before shouting a short poem that ended with the line “Black art must take more risks!!!” Then she left. “When she told me about Mlle Bourgeoise Noire and that she wanted to do this, I wondered to myself, Will she take creative risk? ” recalled Goode Bryant. “That night answered it. That took so much courage.” Goode Bryant explained that although people in the crowd knew O’Grady, they’d never seen her art and didn’t necessarily anticipate something so radical from the woman who’d been writing the gallery’s press releases. “I don’t know that I expected she would be so stark in her reveal of the layers and contradictions,” Goode Bryant said. “I knew she was on her way at that point.” The following year, O’Grady crashed another opening in the same fashion, this time for a New Museum show that featured nine white contemporary artists who adopted personae in their work. The museum had invited O’Grady to participate in an education program but not to show her own art. (Even that offer was rescinded after her guerrilla performance.) “I was furious at the segregation and the assumptions that the white art world made every day without even thinking about it,” O’Grady said. “But nobody was really saying anything. Everybody was still trying to play nice. I hadn’t been established — I had nothing to lose.” Mlle Bourgeoise Noire became her instrument for calling out the segregation of the New York art scene. Within the next two years, she organized an exhibition that featured 14 white and 14 Black artists, as well as the Art Is ... performance, under the guise of the character. “The thing that feels so distinctive about Lorraine is she confounds so many different people’s expectations,” said Zoé Whitley, who has curated the artist’s work and is now the director of London’s Chisenhale Gallery. When O’Grady was starting out, Whitley said, she faced a dearth of models and options — especially as a Black woman making performance art, which was relatively new and considered by many to be a white genre. She “was really pushing boundaries in terms of gender and race and class or even what art mediums she should adopt,” Whitley said. “She didn’t ask anyone for permission or wait for that to be granted; she accorded that power to herself.” Not all of O’Grady’s early work was so confrontational. In 1982, she staged Rivers, First Draft, or The Woman in Red, an ensemble piece with 17 participants, in Central Park. Starring O’Grady as the titular character, the performance loosely told the story of her navigating the antagonisms of the art world to find her voice as an artist against the backdrop of her Caribbean and New England roots. It was less of a straightforward narrative than what O’Grady called “a collage in space”: Three versions of her at different ages appeared separately and simultaneously, moving through different sequences and actions until, at the end, they united and walked together through a stream. “I would say that the Mlle Bourgeoise Noire project, those pieces were not the core of my work,” she told me. “The core was this other work that combined self-exploration with cultural critique.” That quality grew more pronounced over time as she abandoned performance and moved her work to the wall. Her first solo show, at INTAR gallery in midtown in 1991, featured a group of photomontages now collectively titled “Body Is the Ground of My Experience.” These surreal, playful, and sometimes dark pieces, such as The Fir-Palm, which shows a composite tree springing from a Black woman’s navel, posit Black women’s bodies as a kind of ground zero for Western culture — a subject O’Grady continued to investigate the following year with “Olympia’s Maid.” Referencing the Black woman in Manet’s 1863 painting Olympia, this groundbreaking essay asserted the need for Black women to reclaim their subjectivity. One line perfectly sums up her ethos: “Critiquing them does not show who you are: it cannot turn you from an object into a subject of history.” Soon after, O’Grady would add a postscript: Western culture is structured by binaries and a logic of either-or — good versus evil, black versus white — that create supremacies. The solution is to embrace the concept of “both/and,” the coexistence of supposed opposites. Plurality and hybridity as the norm. “Look, I’m not somebody who tries to say we’re all the same. The differences are real,” O’Grady told me. “The problem isn’t the differences. The problem is the hierarchization of the differences.” The idea of “both/and” has manifested most clearly in her use of diptychs — for instance, placing images of the ancient Egyptian queen Nefertiti next to photographs of her sister in the work Miscegenated Family Album ; between them, there is an implied connection, a gap, and a tension. It’s also there in the multiplicity of a piece like Rivers, the duality of both gazing outward and in, and in O’Grady herself, a product of several heritages, “living on a hyphen,” as she put it. It informs her overall approach, which is to treat everything as unfixed. O’Grady was constantly refining her ideas, but she still wasn’t finding the audience she wanted. Even her solo exhibition hadn’t been received as she’d hoped: Operation Desert Storm started the week before it opened, gluing New Yorkers to their TVs. The show was important to her, said O’Grady, “but it was like a stone dropping into the middle of the ocean.” 1977/2017: Lorraine O’Grady, Cutting Out CONYT 12, 1977/2017 . O’Grady’s first act as an artist was a series of collages called “Cutting Out the New York Times,” which she made by cutting up the paper’s Sunday editions. Forty years later, she reprinted and reshuffled her earlier work, creating a new series of tense, poetic diptychs. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1980/1994: Lorraine O’Grady Miscegenated Family Album (Cross Generational), L: Nefertiti, the last image; R: Devonia’s youngest daughter, Kimberley, 1980/1994. A series of diptychs pairing depictions of the Egyptian queen Nefertiti with photos of O’Grady’s late sister, Devonia, and Devonia’s family. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1980–83/2009: Lorraine O’Grady, Untitled (Mlle Bourgeoise Noire and her Master of Ceremonies enter the New Museum), 1980-83/2009. O’Grady’s first performance persona, whom she imagined as a 1950s Caribbean Bostonian beauty queen. She crashed exhibitions at Just Above Midtown gallery and the New Museum, with her brother-in-law playing her master of ceremonies. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1982/2015: Rivers, First Draft. Staged at the Loch in Central Park, this group performance rolled out as a dreamlike autobiography for O’Grady, in which versions of herself from disparate points in her life coexisted simultaneously. Here, Lorraine O’Grady, Rivers, First Draft: A Little Girl with Pink Sash memorizes her Latin lesson, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: Their flirtation begins, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: The Woman in White eats coconut and looks away from the action, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: The Debauchees dance in place, and the Woman in Red catches up to them, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: The Woman in Red hesitates outside after the Black Male Artists in Yellow eject her, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York Lorraine O’Grady, Rivers, First Draft: The Nantucket Memorial guides the Woman in Red to the other side of the stream, 1982/2015. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1991/2019: The Fir-Palm , 1991/2012. A photomontage series that positions Black women’s bodies as the foundation of Western culture. In this image, a woman’s navel sprouts a composite fir-palm tree, a visual of O’Grady’s relationship to both New England and the Caribbean. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 1983/2009: Art Is ... (Man With a Camera), 1983/2009. O’Grady’s intervention at the annual African American Day Parade in Harlem, in which crowd members were celebrated with golden picture frames. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York 2020: Family Portrait 2 (Getting Dressed), 2020. O’Grady as her new performance persona, Lancela, with an assisting performer. Art: Courtesy Alexander Gray Associates, New York © Lorraine O’Grady/Artists Rights Society (ARS), New York By the early aughts, O’Grady was living in California, where she’d moved for a full-time position at UC Irvine. Things had been quiet for her; she was still making work, but she wasn’t showing much. Then, around 2005, Connie Butler, a curator at the Museum of Contemporary Art, Los Angeles, got in touch and told O’Grady she wanted to include Mlle Bourgeoise Noire in a major exhibition of feminist art called “ WACK! ” The invitation was a catalyst. “I knew it would be the one opportunity I had to be visible,” O’Grady said, “because I had been invisible, let’s face it.” She also knew the show alone wouldn’t cut it — there had to be a place where people could go to learn more about her work. She made a website and started cataloguing her career, posting images of her work online along with her own descriptions and texts by others. It was a digital showcase as well as an archive. She was building the architecture of her own recuperation. One of the works she returned to around this time was Art Is ... She started by making a slideshow for her website, which led to a wall installation; her new gallery, Alexander Gray Associates, showed it at an art fair, where it attracted the attention of curators. (The piece has become so popular that, last fall, the Biden-Harris campaign used it, with O’Grady’s permission, as the inspiration for a victory video; O’Grady was thrilled and humbled.) After decades of being sidelined by New York’s biggest institutions, she was included in the 2010 Whitney Biennial. The ground was shifting. The art world had become a much more diverse and integrated place than the one O’Grady had entered in the ’80s, and Black feminist artists and curators were looking for their predecessors. “It’s one of those things where you find your foremothers after the fact,” said the artist Simone Leigh, who has included O’Grady in several projects, helping to raise her profile. Leigh, who is also the child of Jamaican immigrants, considers O’Grady a mentor; the two grew close over dinners at a Jamaican restaurant in Brooklyn. “She created a way of seeing that was very supportive to everything I was trying to do.” The Brooklyn Museum show is the apex of a slow-moving process as well as an opportunity to expand the frame of reference beyond Mlle Bourgeoise Noire and Art Is ... , which have become O’Grady’s best-known pieces. “She’s been allowed in in these two kinds of ways, which has been at the expense of the entire career, ultimately,” said Catherine Morris, the senior curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. Morris and the writer Aruna D’Souza organized the show with curatorial assistant Jenée-Daria Strand. (D’Souza also edited O’Grady’s book, Writing in Space .) O’Grady hopes a return to performance — with a new character, a knight named Lancela — will help illuminate her previous work. Inspired by the books about King Arthur she read as a girl at the Boston Public Library, O’Grady had her own suit of armor forged for the part, one that weighs 40 pounds and is so well crafted that she can run and dance in it. Palm trees sometimes sprout from the helmet — a Caribbean signifier atop a Western trunk. Part of the appeal, too, is that the armor gives her a chance to perform without showing any markers of her identity. “When you take away age, race, color, everything, what’s left?” she asked. “What never goes away?” It may seem strange that an artist whose work emerged from her unshakable sense of self would want to obscure those things. But there’s a logic to it, when you consider that the white Establishment shut out not just O’Grady but an entire generation of Black artists because of who they were. “I thought that when I had the retrospective, there would be this great big moment when I would go into the galleries and see all of my work at the same time, in the same place, and have this big Aha! ” she said. “But it’s already happening with the questions that I’m receiving.” She meant the questions that I and other interviewers had been sending to her ahead of the show. “They have made me understand how much all of us who did not have that attention lost in the ability to grow. The engagement of the audience, which involves a back-and-forth of question-and-answer, is the thing that was missing.” O’Grady was frank early in her career that she felt the true audience for her art hadn’t arrived yet, that she was making work for viewers still to come. She now recognizes that her audience is here, and after decades spent contextualizing and cataloguing her own art, of finding and strengthening her own voice, she’s eager to hear what others have to say — how they interpret the creations of a woman who has found so many different ways to tell her story, casting it in the harsh light of reality or the hazy glow of dreams. “The whole point of my wanting to be an artist was to find out who I was,” she said, “and to make it clear to everybody else what that meant.” *This article appears in the March 1, 2021, issue of New York Magazine. Subscribe Now!Texas' abortion pill lawsuit against New York doctor marks new challenge to interstate telemedicine Texas has sued a New York doctor for prescribing abortion pills to a Texas woman via telemedicine. It appears to be the first challenge in the U.S. to a state shield law that's intended to protect prescribers in Democratic-controlled states from being punished by states with abortion bans. Prescriptions like these, made online and over the phone, are a key reason that the number of abortions has increased across the U.S. even after state bans started taking effect. Most abortions in the U.S. involve pills rather than procedures. Anti-abortion groups are increasingly focusing on the rise of pills. Thousands of Syrians celebrate in central Damascus during first Friday prayers since Assad's fall DAMASCUS (AP) — Thousands of Syrians have celebrated in Umayyad Square, the largest in Damascus, after the first Muslim Friday prayers following the ouster of President Bashar Assad. The leader of the insurgency that toppled Assad, Ahmad al-Sharaa, appeared in a video message in which he congratulated “the great Syrian people for the victory of the blessed revolution.” Meanwhile, U.S. Secretary of State Antony Blinken said in the Turkish capital of Ankara that there was “broad agreement” between Turkey and the United States on what they would like to see in Syria. The top U.S. diplomat also called for an “inclusive and non-sectarian" interim government. US military flies American released from Syrian prison to Jordan, officials say WASHINGTON (AP) — The U.S. military has brought an American who was imprisoned in Syria for seven months out of the country. That's according to two U.S. officials, who said Friday that Travis Timmerman has been flown to Jordan on a U.S. military helicopter. The 29-year-old Timmerman told The Associated Press earlier Friday he had gone to Syria on a Christian pilgrimage and was not ill-treated while in a notorious detention facility operated by Syrian intelligence. He said he was freed by “the liberators who came into the prison and knocked the door down (of his cell) with a hammer.” New Jersey governor wants more federal resources for probe into drone sightings TOMS RIVER, N.J. (AP) — New Jersey Gov. Phil Murphy has asked the Biden administration to put more resources into the ongoing investigation of mysterious drone sightings being reported in the state and other parts of the region. Murphy, a Democrat, made the request in a letter Thursday, noting that state and local law enforcement remain “hamstrung” by existing laws and policies in their efforts to successfully counteract any nefarious drone activity. Murphy and other officials say there is no evidence that the drones pose a national security or a public safety threat. A state lawmaker says up to 180 aircraft have been reported to authorities since Nov. 18. Nancy Pelosi hospitalized after she 'sustained an injury' from fall on official trip to Luxembourg WASHINGTON (AP) — Former House Speaker Nancy Pelosi has been hospitalized after she “sustained an injury” during an official engagement in Luxembourg, according to a spokesman. Pelosi is 84. She was in Europe to mark the 80th anniversary of the Battle of the Bulge in World War II. Her spokesman, Ian Krager, did not describe the nature of her injury or give any additional details, but a person familiar with the incident said that Pelosi tripped and fell while at an event with the other members of Congress. The person requested anonymity to discuss the fall because they were not authorized to speak about it publicly. Russia targets Ukrainian infrastructure with a massive attack by cruise missiles and drones KYIV, Ukraine (AP) — Russia has launched a massive aerial attack against Ukraine. Ukrainian President Volodymyr Zelenskyy says Russia fired 93 cruise and ballistic missiles and almost 200 drones in Friday's bombardments. He says it is one of the heaviest bombardments of the country’s energy sector since Russia’s full-scale invasion almost three years ago. He says Ukrainian defenses shot down 81 missiles, including 11 cruise missiles that were intercepted by F-16 warplanes provided by Western allies earlier this year. Zelenskyy renewed his plea for international unity against Russian President Vladimir Putin. But uncertainty surrounds how the war might unfold next year. President-elect Donald Trump has vowed to end the war and has thrown into doubt whether vital U.S. military support for Kyiv will continue. Veteran Daniel Penny, acquitted in NYC subway chokehold, will join Trump's suite at football game FORT LAUDERDALE, Fla. (AP) — A military veteran who choked an agitated New York subway rider and was acquitted of homicide this week has been invited by Vice President-elect JD Vance to join Donald Trump’s suite at the Army-Navy football game on Saturday. Daniel Penny was cleared of criminally negligent homicide in Jordan Neely’s 2023 death. A more serious manslaughter charge was dismissed last week. Vance served in the Marine Corps and had commented on the acquittal earlier this week. He said that “justice was done in this case” and Penny should never have been prosecuted. Some in seafood industry see Trump as fishermen's friend, but tariffs could make for pricier fish PORTLAND, Maine (AP) — The incoming administration of President-elect Donald Trump is likely to bring big changes to seafood, one of the oldest sectors of the U.S. economy. Some in the industry believe the returning president will be more responsive to its needs. Economic analysts paint a more complicated picture, as they fear Trump’s pending trade hostilities with major trading partners Canada and China could make an already pricy kind of protein more expensive. Conservationists also fear Trump’s emphasis on deregulation could jeopardize fish stocks already in peril. But many in the commercial fishing and seafood processing industries said they expect Trump to allow fishing in protected areas and crack down on offshore wind expansion. OpenAI's legal battle with Elon Musk reveals internal turmoil over avoiding AI 'dictatorship' A 7-year-old rivalry between tech leaders Elon Musk and Sam Altman over who should run OpenAI and best avoid an artificial intelligence ‘dictatorship’ is now heading to a federal judge as Musk seeks to halt the ChatGPT maker’s ongoing conversion into a for-profit company. Musk, an early OpenAI investor and board member, sued the artificial intelligence company earlier this year. Musk has since escalated the dispute, adding new claims and asking for a court order that would stop OpenAI’s plans to convert itself into a for-profit business more fully. OpenAI is filing its response Friday. Paula Abdul settles lawsuit alleging sexual assault by 'American Idol' producer Nigel Lythgoe LOS ANGELES (AP) — Paula Abdul and former “American Idol” producer Nigel Lythgoe have agreed to settle a lawsuit in which she alleged he sexually assaulted her in the early 2000s when she was a judge on the show. Abdul filed a notice of settlement of the case in Los Angeles Superior Court on Thursday. The lawsuit filed nearly a year ago had also accused Lythgoe of sexually assaulting Abdul after she left “American Idol” and became a judge on Lythgoe’s other competition show “So You Think You Can Dance.” Lythgoe said at the time that he was “shocked and saddened” by the allegations, which he called “an appalling smear.”
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WILMINGTON, N.C. (AP) — Nolan Hodge scored 21 points as UNC Wilmington beat UNC Asheville 85-74 on Saturday. Hodge shot 6 for 9 (1 for 3 from 3-point range) and 8 of 8 from the free-throw line for the Seahawks (9-3). Donovan Newby scored 20 points while shooting 6 for 10 (3 for 5 from 3-point range) and 5 of 6 from the free-throw line. Josh Corbin shot 4 for 11, including 3 for 8 from beyond the arc to finish with 11 points. The Bulldogs (8-5) were led by Jordan Marsh, who posted 23 points and seven assists. UNC Asheville also got 18 points from Kameron Taylor. Josh Banks finished with 13 points. The Bulldogs ended a five-game winning streak with the loss. UNC Wilmington took the lead with 19:05 to go in the first half and did not relinquish it. The score was 44-30 at halftime, with Hodge racking up 12 points. Newby's 20-point second half helped UNC Wilmington finish off the 11-point victory. UNC Wilmington next plays Saturday against Spartanburg Methodist at home, and UNC Asheville will host Columbia International on Monday. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .None
Miles Barnstable scored 23 points as St. Thomas beat Bowling Green 93-68 on Saturday. Barnstable shot 6 for 12 (3 for 8 from 3-point range) and 8 of 9 from the free-throw line for the Tommies (10-4). Drake Dobbs scored 18 points while going 6 of 10 from the floor, including 1 for 3 from 3-point range, and 5 for 6 from the line and added five assists. Kendall Blue shot 5 for 11 (2 for 6 from 3-point range) and 4 of 4 from the free-throw line to finish with 16 points. The Tommies picked up their sixth straight win. Javontae Campbell led the way for the Falcons (4-7) with 18 points, six rebounds and four steals. Marcus Johnson added 16 points for Bowling Green. Derrick Butler had 15 points. St. Thomas took the lead with 18:36 remaining in the first half and did not relinquish it. Carter Bjerke led their team in scoring with 12 points in the first half to help put them up 46-20 at the break. St. Thomas pulled away with a 10-0 run in the second half to extend a 20-point lead to 30 points. They were outscored by Bowling Green in the second half by a one-point margin, but still wound up on top, as Barnstable led the way with a team-high 14 second-half points. St. Thomas' next game is Sunday against UC Riverside on the road, and Bowling Green hosts Aquinas (MI) on Monday. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .A death occurred at Rocky Point Park over the weekend. Port Moody Police are describing the incident as a “sudden death,” adding early signs in the investigation point to nothing suspicious. “Anyone with information is asked to contact our investigators” stated media relations officer Const. Sam Zacharias. First responders were called to the park’s boat launch at around 3:30 p.m. on Saturday after receiving a report of a body floating in the Burrard Inlet, Zacharias said. He said the person was retrieved from the water and pronounced dead at the scene, adding police and the B.C. Coroners Service are still working on an ID and cause of death. Residents on social media reported seeing rescue boats rushing across the inlet.
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, the standout quarterback, hasn't even left college football yet, but his prospects are already a hot topic. Are the Cowboys stealing Shedeur from the Raiders? For months, fans have embraced the idea that son is destined to join their team. However, recent speculation has thrown a wrench in that narrative, linking to the instead-a possibility that has ignited passionate reactions. The latest buzz started when reported on November 20 that Sanders had accepted an invitation to play in the , a showcase for top collegiate players. While the invitation itself was noteworthy, the event's location , home of the Cowboys-sent and fans into a frenzy. Coupled with rumors that Deion Sanders shares a strong relationship with owner , whispers of a potential Dallas destination for Shedeur began gaining traction. Raiders fans want Shedeur in Vegas However, fans aren't buying the hype. Some argue that has shown too much affection for to consider seriously. His recent social media activity, including tweets that seemingly celebrate losses, has fueled fan theories that the quarterback sees as his future home. Additionally, many point to his ties with legend , a close friend of , as evidence that Shedeur might prefer the West Coast. On the other hand, supporters of the connection cite ties to Dallas, where he spent a portion of his Hall of Fame career. They believe his relationship with Jones and the allure of America's Team could sway Shedeur toward Texas. Still, skeptics question how realistic the move is, given the existing in quarterback . As one fan put it, While fan debates rage on, NFL destination remains a mystery. Whether he ends up with the Raiders, Cowboys, or another team entirely, one thing is certain: he will be one of the most sought-after players in the .Celebrity-inspired Thanksgiving recipes, plus last-minute holiday meal ideas
Advance Directives Market New Trends, Size, Share, Top Companies, Industry Analysis, Advance Technology, Future Development & Forecast - 2028 12-13-2024 09:02 PM CET | Health & Medicine Press release from: ABNewswire The Asian Advance Directives market is experiencing rapid growth, driven by a convergence of factors. As societies age and cultural attitudes shift, there's an increased focus on personalized and patient-centered healthcare. Browse 120 market data Tables and 120 Figures spread through 67 Pages and in-depth TOC on "Advance Directives Market by Component (Software, Services), Demographics (Elderly Population (65 yrs & above), Middle Aged (40-64 yrs), Young Adults (18-39 yrs)), End User (B2B (Providers, Payers), B2C), & Region - Global Forecast to 2028 Advance Directives Market [ https://www.marketsandmarkets.com/Market-Reports/advance-directives-market-227199224.html?utm_source=abnewswire.com&utm_medium=referral&utm_campaign=paidpr ] in terms of revenue was estimated to be worth $122.9 billion in 2023 and is poised to reach $291.1 billion by 2028, growing at a CAGR of 18.8% from 2023 to 2028 according to a new report by MarketsandMarkets Trademark . Rise in investments & funding in the advance directives market, supporting government initiatives, and increasing focus on personalized care are some of the key factors that offer opportunities to the market during the forecast period. However, the fragmented healthcare systems, and lack of in disciplinary collaboration and communication are challenging the market growth to some extent. Download an Illustrative overview: https://www.marketsandmarkets.com/pdfdownloadNew.asp?id=227199224 [ https://www.marketsandmarkets.com/pdfdownloadNew.asp?id=227199224&utm_source=abnewswire.com&utm_medium=referral&utm_campaign=paidpr ] Healthcare Providers segment is expected to register the substantial share by end user of advance directives market The healthcare providers segment has emerged as a prominent contributor to the Advance Directives market share due to its pivotal role in facilitating and guiding patients through the AD process. Healthcare providers, including hospitals, clinics, and hospice organizations, possess the expertise to initiate AD conversations, educate patients about their options, and help them create legally binding documents such as advance directives. With a growing emphasis on patient-centered care, healthcare providers are recognizing the significance of honouring patients' preferences for end-of-life treatment. Their involvement not only ensures that patients' wishes are respected but also helps in aligning medical care with individual values. As a result, the healthcare providers segment has established itself as a key driver of AD adoption, shaping the market's considerable share. Advance Directives Services holds a substantial share by component in advance directives market Advance Directives (AD) services hold a significant share in the advance directives market by component due to their integral role in guiding individuals, families, and healthcare professionals through the complex process of making informed decisions about end-of-life care. These services offer a comprehensive approach, encompassing education, facilitation of discussions, legal documentation, and emotional support. With the growing recognition of patient autonomy and the importance of honouring individual preferences, AD services have become indispensable. Asia to witness a considerable growth rate during the forecast period. The Asian Advance Directives market is experiencing rapid growth, driven by a convergence of factors. As societies age and cultural attitudes shift, there's an increased focus on personalized and patient-centered healthcare. The integration of technology has made Advance Directives more accessible, while healthcare systems aim to optimize resource allocation. Regulatory support and policy initiatives further emphasize patient autonomy and shared decision-making. Request Sample Pages: https://www.marketsandmarkets.com/requestsampleNew.asp?id=227199224 [ https://www.marketsandmarkets.com/requestsampleNew.asp?id=227199224&utm_source=abnewswire.com&utm_medium=referral&utm_campaign=paidpr ] Advance Directives Market Dynamics: Drivers: * Rising Investments in Advance Care Planning * Government initiatives and regulations to enhance patient care and autonomy Restraints: * Lack of Awareness and Education Opportunities: * Technological Advancements and Digital Solutions Challenge: * Fragmented Healthcare Systems and Integration Key Market Players: ADvault, Inc.(US), VyncaCare (US), WiserCare Inc.(US), Sharp HealthCare(US), ACP Decisions (a DBA of Nous Foundation, Inc.) (US), Iris Healthcare(Aledade, Inc.) (US), Bronson Health Care Group, Inc. (US), ThroughCare, Inc.(US), Vital Decisions LLC (US), New Century Health (US), Honor My Decisions LLC (US) are some of the major players in this market. These companies are majorly focusing on the strategies such as agreements, collaborations, partnerships, and service launches in order to remain competitive and further increase their share in the market. Get 10% Free Customization on this Report: https://www.marketsandmarkets.com/requestCustomizationNew.asp?id=227199224 [ https://www.marketsandmarkets.com/requestCustomizationNew.asp?id=227199224&utm_source=abnewswire.com&utm_medium=referral&utm_campaign=paidpr ] Media Contact Company Name: MarketsandMarkets Trademark Research Private Ltd. Contact Person: Mr. Rohan Salgarkar Email:Send Email [ https://www.abnewswire.com/email_contact_us.php?pr=advance-directives-market-new-trends-size-share-top-companies-industry-analysis-advance-technology-future-development-forecast-2028 ] Phone: 18886006441 Address:1615 South Congress Ave. Suite 103, Delray Beach, FL 33445 City: Florida State: Florida Country: United States Website: https://www.marketsandmarkets.com/Market-Reports/advance-directives-market-227199224.html This release was published on openPR.
