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fb777 online casino Fire and Emergency's (FENZ) chief executive says the organisation is working to abolish poor behaviour. Kerry Gregory's message on social media comes after two independent reviews outlined bullying, harassment, sexism and racism in its culture . He said the organisation's reputation was being tarnished by those acting inappropriately, and those not willing to follow FENZ's code of conduct should leave. "My message is simple. Enough's enough. "Our organisation's values are not just words on a page. They describe who we are and what we want to be. If you're not willing to uphold our values, be accountable for your actions and show respect for those around you, then maybe Fire and Emergency is no longer the place for you to work or volunteer." In the video, Gregory acknowledged members who felt anxious and unsafe about going to work, saying it genuinely upsets him. "The feedback we received was direct and difficult to hear, but it was accurate and necessary and I'm committed to doing it better. "When I reflect on why this behaviour has continued, I believe it's because there's a sense that it's acceptable or that those responsible are untouchable and there's been a lack of trust in our organisation's ability to act." He said it needed to stop for the safety of FENZ staff. Gregory wanted members to hold themselves and other staff accountable. "If you see or hear something that you feel crosses the line, whether it's hurtful, disrespectful or just doesn't sit well with you, say something. This isn't about confrontation, it's about having honest conversations." Speaking to RNZ's Midday Report on Friday, Gregory said a lot of work had been done since the culture review in 2022 "to actually get the things in line, to give our people more tools to be able to, to deal with them". "We've put an independent complaints management process in place, not only to raise complaints, but also to get advice on how [staff] can deal with things. And we've now just put in place our code of conduct and our managing inappropriate behaviour and conduct policy." Gregory defended the years-long timeframe, saying culture change "takes a long time". "It's a long journey and on the whole, you know, our people are really good - but [there are] certainly pockets that I'm seeing where it is inappropriate behaviour... I don't think there's any place in FENZ for bullying, harassment, racism, sexism, all those. And like I said, culture change takes time and it takes a whole organisation to be able to wrap behind them and actually move the culture." He said since 2022 FENZ had "taken quite a different approach. To lead from the top, you cannot just say 'we need to change our culture'. Not everyone sees that, because the parts of the organisation that many of our people work in have a really good culture, really supportive of this... but where it's not appropriate, that's where there's no place for that in FENZ." The video's release was not a pre-emptive move against forthcoming information that might put FENZ in a bad light, he said. "It's just a chance to remind people and say, I need you as well. I need you to help to change the culture and, and get rid of these inappropriate behaviours... the video is not meant to be a game changer. The video is meant to be a call to action and for people to really think about their behaviour and the behaviours of others." Sign up for Ngā Pitopito Kōrero, a daily newsletter curated by our editors and delivered straight to your inbox every weekday.The United States is urging the Zimbabwe government to double down on reforms aimed at returning the country to the prosperity it once enjoyed. Speaking to reporters in Harare on Monday, Pamela Tremont, the U.S. ambassador to Zimbabwe, said her country wants to have cordial relations with the southern African nation. She urged the government to pursue political and financial reforms that she said would deliver Zimbabwe’s people the prosperity and dignity they deserve. "We're here today as part of our commitment to the Zimbabwe people that is long-standing and consistent, and we're here to advocate for the reforms that the international community has been asking for for many years," Tremont said. "We're quite clear — we need public officials to quit using their public offices for private gain. We need the judiciary to be able to deliver justice independently of political considerations." The United States also wants "the rights to assembly and free speech to be fully respected,” in Zimbabwe, she said. Tremont spoke as talks on restructuring Zimbabwe’s $21 billion debt began. Akinwumi Adesina, president of the African Development Bank Group, called for negotiations on the debt to speed up. “Even wars never last this long," Adesina said. "It is clearly time to bring this to a close — end the decades of untold damage to the economy of Zimbabwe, the suffering of its people, and have a new beginning with collective hope, aspiration and shared prosperity for its people, today and well into the future. It is time to make Zimbabwe beautiful again. No one, no matter how strong, can run up a hill carrying on their back piles of sand. The $21 billion debt of Zimbabwe, of which the bulk is actually arrears, has made arrears the new debt stacked like piles of sandbags on the back of Zimbabwe. "We all agree we must play our part to correct this anomaly and give a new lease of life to this nation and its people so Zimbabwe can run again.” Adesina was asking institutions such as the World Bank and the International Monetary Fund to finance new loans for Zimbabwe and forgive or reduce old debts. At the same meeting, President Emmerson Mnangagwa appealed for debt to be restructured so Zimbabwe can access credit lines. “The successful implementation of our arrears clearance and debt resolution strategy is key for Zimbabwe to unlock new concessional external financing critical for achieving our economic development objectives," the president said. "I call for the continued support of the international financial institutions, development partners, our creditors and the international community for the arrears clearance and debt resolution process. Access to external financing will be key for long-term funding [of] our projects and programs. I am looking forward to achieving the set objective of this structured dialogue.” Zimbabwe’s national debt has climbed steadily since the early 2000s, when land confiscations by the government led to sharply reduced food production and sent the economy into a tailspin. Some government officials maintain that Zimbabwe cannot access credit lines because of the targeted sanctions imposed on some leaders for alleged election rigging and human rights abuses in the early 2000s.Yes, the U.S. health care system is the most expensive in the world

Stock market today: Wall Street drifts to a mixed close in thin trading following a holiday pauseEurope can make up the Ukraine funding shortfall if the U.S. withdraws, analysts say

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HVAC Market: 53% of Growth to Come from APAC, Report on AI-Driven Market Transformation - TechnavioCompany experts offer predictions across key sectors to help businesses navigate the unexpected MEMPHIS, Tenn. , Dec. 12, 2024 /PRNewswire/ -- Sedgwick , a leading global provider of claims management, loss adjusting and technology-enabled business solutions, has published its Forecasting 2025 thought leadership report . In preparing the report, Sedgwick's experts conducted research and engaged with clients for notable insights to forecast trends across key sectors and topics. The content focuses on ensuring organizations are aware of new risks and evolving trends and helping them navigate the unexpected in the year ahead. The Forecasting 2025 thought leadership report highlights trends related to: "2024 was a seismic year across industry sectors as companies navigated the unexpected, and 2025 will be no different," said Kimberly George, Sedgwick's Global Chief Brand Officer . "These predictions serve as a barometer for what's to come, so leaders around the world can prepare accordingly." The trends and predictions in the Forecasting 2025 report will be monitored by Sedgwick's experts throughout the year and serve as part of a larger thought leadership strategy to keep clients and partners informed. With this, Sedgwick will launch a new podcast featuring in-depth conversations with its experts and client partners on a new topic each month. For more on the report insights, visit sedgwick.com . About Sedgwick Sedgwick is a leading global provider of claims management, loss adjusting and technology-enabled business solutions. The company provides a broad range of resources tailored to clients' specific needs in casualty, property, marine, benefits, brand protection and other lines. At Sedgwick, caring counts; through the dedication and expertise of over 33,000 colleagues across 80 countries, the company takes care of people and organizations by mitigating and reducing risks and losses, promoting health and productivity, protecting brand reputations, and containing costs that can impact performance. Sedgwick's majority shareholder is The Carlyle Group; Stone Point Capital LLC, Altas Partners, CDPQ, Onex and other management investors are minority shareholders. For more, see sedgwick.com . View original content to download multimedia: https://www.prnewswire.com/news-releases/sedgwick-shares-major-trends-in-forecasting-2025-report-302330767.html SOURCE Sedgwick Claims Management Services, Inc.

Juan Soto introduced by Mets at Citi Field after striking record $765 million, 15-year deal NEW YORK (AP) — Juan Soto put on a New York Mets jersey and cap for the first time after his record $765 million, 15-year contract was finalized and talked about what made the difference in his decision. He said at his introductory news conference on Thursday that the Mets “showed me a lot of love." Soto was introduced at Citi Field a day after his deal was finalized. Speaking in the Piazza 31 Club, Soto was flanked by Mets owner Steve Cohen, president of baseball operations David Stearns and his agent, Scott Boras. Bill Belichick 'always wanted' to give college coaching a try. Now he will at North Carolina New North Carolina football coach Bill Belichick said he had long been interested in coaching in the college ranks. But it had never worked out until now, as he takes over the Tar Heels program. Belichick led the New England Patriots to six Super Bowl titles during a 24-year run there that ended last year. Belichick's five-year deal pays him $10 million in base and supplemental salary per year. It is guaranteed only for the first three years, including for buyout purposes. There is also up to $3.5 million in annual bonuses. Wander Franco's sex abuse trial has been postponed 5 months PUERTO PLATA, Dominican Republic (AP) — The trial against Tampa Bay Rays shortstop Wander Franco, who has been charged with sexually abusing a minor, sexual and commercial exploitation against a minor, and human trafficking, has been postponed until June 2, 2025. Dominican judge Yacaira Veras postponed the hearing Thursday at the request of prosecutors because of the absence of several key witnesses in the case. Franco’s lawyers asked the court to reconsider the postponement, arguing Franco must report to spring training in mid-February. The judge replied that Franco is obligated to continue with the trial schedule and his conditional release from detainment. Rape investigation that Swedish media say focused on Kylian Mbappé has been closed STOCKHOLM (AP) — Swedish prosecutors say they have dropped a rape investigation that was launched in connection with soccer star Kylian Mbappé’s visit to Stockholm in October. In a statement, lead investigator Marina Chirakova says there is not enough evidence to continue the investigation into the allegation at a hotel. Prosecutors never publicly named the suspect in the investigation but some Swedish media reported it was Mbappé. The Real Madrid striker visited Stockholm in October during a break in the Spanish league. At the time, Mbappé’s legal team dismissed those reports as false. Travis Hunter, the 2-way standout for Colorado, is the AP college football player of the year BOULDER, Colo. (AP) — Colorado two-way standout Travis Hunter is The Associated Press college football player of the year. Hunter received 26 of the 43 votes from a panel of AP Top 25 voters. Boise State tailback Ashton Jeanty finished second with 16 votes, and Arizona State running back Cameron Skattebo received one vote. A throwback player who rarely left the field, Hunter had 92 catches for 1,152 yards and 14 touchdowns as a receiver. He had four interceptions and 11 passes defensed as a shutdown corner. Hunter helped the the 20th-ranked Buffaloes to a 9-3 record and an appearance in the Alamo Bowl against BYU. 2034 World Cup visitors will live in 'a bubble' and not see real life, Saudi rights activist says LONDON (AP) — A Saudi human rights activist says soccer fans visiting Saudi Arabia for the 2034 World Cup will live in a “bubble” that doesn't reflect real life there. Lina al-Hathloul is a London-based activist whose sister was jailed in Saudi Arabia then banned from travel after campaigning to end a ban on women driving. When FIFA confirmed the kingdom as the 2034 tournament host on Wednesday its president Gianni Infantino acknowledged “the world will be watching” for positive social change. Al-Hathloul says western people “will be very safe” at the World Cup but "will see a bubble of what Saudi Arabia is.” Team claims NASCAR rescinded approval to buy new charter unless federal antitrust suit is dropped CHARLOTTE, N.C. (AP) — A new court filing says NASCAR rejected Front Row Motorsports’ agreement to purchase a charter from Stewart-Haas Racing unless the team and 23XI Racing dropped their federal antitrust lawsuit against the stock car series. Front Row and 23XI rejected NASCAR's new revenue sharing agreement and have gone to court. NASCAR now says it will move forward in 2025 with 32 chartered teams and eight open spots, with offers on charters for Front Row and 23XI rescinded and the SHR charters in limbo. Indian teen Gukesh Dommaraju becomes the youngest chess world champion after beating Chinese rival NEW DELHI (AP) — Indian teenager Gukesh Dommaraju has become the youngest chess world champion after beating the defending champion Ding Liren of China. Dommaraju, 18, secured 7.5 points against 6.5 of his Chinese rival in Thursday's game which was played in Singapore. He has surpassed the achievement of Russia’s Garry Kasparov who won the title at the age of 22. Dommaraju is now also the second Indian to win the title after five-time world chess champion Viswanathan Anand. The Indian teen prodigy has long been considered a rising star in the chess world after he became a chess grandmaster at 12. He had entered the match as the youngest-ever challenger to the world crown after winning the Candidates tournament earlier this year. Hojlund scores twice for Man United to beat Viktoria Plzen 2-1 in Europa League, Tottenham held 1-1 Rasmus Hojlund scored twice after coming off the bench and Manchester United rallied to beat Viktoria Plzen 2-1 in the Europa League. The Denmark striker netted in the 88th minute after collecting Bruno Fernandes’ pass off a free kick to seal the victory. Hojlund came on in the 56th and scored an equalizer six minutes later. Totenham was held 1-1 at Rangers and Lazio tops the standings after a 3-1 win at Ajax. In the Conference League a youthful Chelsea lineup made the most of a long trip to Kazakhstan by beating Astana 3-1 to stay perfect in the third-tier competition. NFL world reacts with excitement, surprise, questions after Bill Belichick is hired to coach UNC Bill Belichick is already the most decorated coach in NFL history. His next challenge is college football after he agreed to a five-year deal to coach at North Carolina. The reaction around the NFL ranged from excitement at seeing him back on the sideline to disbelief. Some of his former players believe his skill set will work at any level. Others caution that the players he brings into UNC should prepare to have their limits tested.

MIAMI — Lionel Messi, fresh off accepting his MLS MVP trophy, kicked off the holiday season by traveling 6,870 miles to Azerbaijan this week and brought along teammates Luis Suarez, Sergio Busquets and Jordi Alba for a private charity event in the capital city of Baku. Azerbaijan is a landlocked country in Southwestern Asia, bordering the Caspian Sea, Iran, Russia, Georgia, and Turkey. Messi and his friends attended a gathering on Wednesday at the Crystal Hall, a famous music and sports venue. The event included a concert featuring French singer Willy William and Romanian group Morandi. The Argentine legend received a personalized rug with an image of himself lifting the World Cup trophy. “I have discovered the culture and the people of Azerbaijan,” Messi said. “Thank you for the warm greeting. Thank you very much for the support.” Messi, Suárez, Busquets and Alba also paid a visit and laid flowers at the tomb of former Azerbaijani leader Heydar Aliyev, on the eve of the 21st anniversary of his death Dec. 12, 2003. That part of the visit drew some criticism on social media from opponents of Aliyev’s regime. Inter Miami vs. Club America in Las Vegas? Speaking of travel, Inter Miami managing owner Jorge Mas said last week that the club is not planning another four-country, seven-game globetrotting preseason tour, as it did last year. The team played in El Salvador, Saudi Arabia, Hong Kong and Japan in early 2024 and wound up dealing with injuries to a few players and a controversy when Messi sustained an injury and was unable to play in Hong Kong. Mas said the team does plan a trip abroad in early 2025, but it will be a more compact itinerary, and that a high-profile game was being planned in the United States. Deporte Total USA reported that Inter Miami will play Mexican power Club America in Las Vegas and that the game is tentatively set for Jan. 18. An MLS source confirmed that Inter Miami and Club America are in talks about a game, but details had not been finalized. Also, the club announced it will play a friendly match against Orlando City in Tampa on Feb. 14. CJ Dos Santos traded to San Diego FC Inter Miami traded backup goalkeeper CJ dos Santos to expansion club San Diego FC in exchange for $100,000 in 2025 general allocation money (GAM). Dos Santos, 24, signed for Inter Miami ahead of the 2022 MLS season. He made three appearances for the first team — two in MLS and one in the Leagues Cup, in which he kept a clean sheet against Mexican side Club Puebla in 2024 — and 28 matches for Inter Miami II in MLS NEXT Pro. New ‘Fortitude’ jersey unveiled Inter Miami on Thursday released its new “Fortitude” away jersey for the 2025 season. It has black and granite-gray blocks with the trademark pink trim. The club explained in a press release that the name came from the Latin word “Fortis,” which means strength, and the Spanish word “Fortaleza,” which stands for resilience and determination. This shirt also serves as a tribute to Fort Lauderdale, “a city that has become a fortress for Inter Miami CF and the stage for some of the Club’s most significant milestones”. This coming season will be the team’s final season in Fort Lauderdale before moving to Miami Freedom Park in 2026. The new kits are on sale at the team store at Chase Stadium beginning Thursday (Dec. 12), while supplies last. It is also available online at MLSstore.com and adidas.com . Royal Caribbean, the club’s official jersey partner, will soon have the jersey available for purchase on its ships. ©2024 Miami Herald. Visit miamiherald.com . Distributed by Tribune Content Agency, LLC.Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member . 2024 was a bustling year for art in New York, with blockbuster exhibitions at museums, museum-level shows at galleries — especially a few new, nearly museum-sized galleries in Tribeca, the city’s reigning art hub — and nonprofits and artist-run spaces presenting some fresh faces and engaging programming. Art censorship also came to the fore this year as we got a glimpse into the interests and politics of museums, but despite it all, there was so much great art to see. It was hard for Hyperallergic ’s staff and contributors to compile our favorites with so many strong shows to choose from, but below are the ones that made us think, nourished our souls, introduced us to under-recognized artists, cultures, or histories, and most of all, just blew us away. — Natalie Haddad, Reviews Editor Joyce Kozloff: Collateral Damage DC Moore Gallery , January 6–February 3, 2024 Organized by the gallery I arrived on the last day of this beautiful exhibition to find a series of map works by the veteran of the Pattern & Decoration movement. Kozloff turned each graphic into a rich surface teeming with danger, cultural memory, and possibilities. Joyce Kozloff demonstrates how painting continues to be a point of conflict — not only in art but in the way we see the world or, as we’re bombarded with information, the way we refuse to look away. — Hrag Vartanian Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities Apollinaria Broche: In the distance there was a glimpse Marianne Boesky Gallery , January 24–March 2, 2024 Organized by the gallery A moving display of whimsical ceramic and bronze sculptures that seem to have stepped out of someone’s dreamspace. There’s a sense of romanticism throughout Apollinaria Broche’s art and in this show an eerie pop soundtrack helped to transport the viewer into a space of wonder. The title was swiped from Frances Hodgson Burnett’s 1911 children’s book The Secret Garden . It is a good choice as it captures the spirit of awe, tinged with fragility, that was very much a part of this show. I still think about it, not only for the wistful figures and plants that appear to be on the verge of almost disappearing, but for that spirit. — HV Medieval Money, Merchants, and Morality The Morgan Library & Museum , November 10, 2023–March 10, 2024 Curated by Diane Wolfthal and Deirdre Jackson This unexpectedly in depth exhibition focused on the culture of money in the European Medieval and early Renaissance eras, and included numismatic displays, old manuscripts, prints by Albrecht Dürer, paintings by Fra Angelico, Jan Gossaert, Hans Memling, and even Hieronymus Bosch’s riveting “Death and the Miser” (c. 1485–90) on loan from the National Gallery of Art in DC. The Morgan did a fantastic job of introducing the culture of commerce and early capitalism without falling for clichés. I left this show understanding the complexity of money and its role not only in life but in the art of the era. — HV Richard Mosse: Broken Spectre Jack Shainman Gallery , January 12–March 16, 2024 Organized by the gallery This exhibition was the soft launch of Jack Shainman Gallery’s new space by City Hall, and it seemed perfectly in tune with a collective desire these days for spaces that allow the viewer to reflect and process the world around them through art. Irish artist Richard Mosse gave us a multi-channel exploration of the environmental devastation in the Amazon. The visuals were gorgeous even when we were faced with the anger of a young Indigenous woman who will not let you forget your privilege as consumers of her resources. — HV Aki Sasamoto: Point Reflection Queens Museum , December 6, 2023–April 7, 2024 Organized by Hitomi Iwasaki, Head of Exhibitions/Curator Aki Sasamoto’s wacky humor about the drudgeries of middle-class life reached peak existentialism in her first museum exhibition. The show played a sneaky trick on viewers: Sure, you get amused by installations showing Magic Eraser cubes dancing in the air with snail shells, or by watching the artist crawl in and out of industrial pipes in her performances, but soon after leaving you struggle to push away the question: What kind of life am I living? — Hakim Bishara Kay WalkingStick / Hudson River School The New-York Historical Society , October 20, 2023–April 14, 2024 Curated by the artist and Wendy Nālani E. Ikemoto It was fantastic to see Kay WalkingStick paired with the artists of the Hudson River School, because it allowed her art to be in direct dialogue with much of the imagery she has grappled with for decades. Juxtaposed with canvases by Asher B. Durand, Albert Bierstadt, and others, WalkingStick challenged us to question what is “objective” in the colonial gaze and how the lies of “manifest destiny” continue to infect our ideas of nature in North America and beyond. — HV Jim Dine: The ’60s 125 Newbury , March 15–April 20, 2024 Organized by the gallery Jim Dine’s career has gone through many changes since his first exhibition at the Reuben Gallery in the 1960s, where he also staged the performance “Car Crash” in 1960. Because of all these transformations, and the wide range of techniques he has mastered, from printmaking to drawing to painting to sculpture, not to mention his poetry, his art cannot be characterized. What would a retrospective of his work like, if it were to cast a backward gaze from the vantage point of 2025, when the artist, who shows no sign of slowing down, turns 90? These questions occurred to me when I saw this show, which revealed two aspects of the artist’s work that I had not fully grasped in the past. First, drawing was there from the beginning. Second, Dine believes physical labor and art making are essentially interchangeable. On Templon gallery’s website, he is quoted as saying: “When you paint every day, all year long, then the subject is essentially the act of working.” For Dine, there is neither a gap between art and life (as with Robert Rauschenberg) nor a disdain for labor (as with Andy Warhol). Dine’s belief in labor explains why many of his works project a sense of joy, as the sheer act of making is one that gives the artist pleasure. Many pleasures are to be found in Dine’s work, which is far more complex and varied than the art world has given him credit for. He attached objects to all 11 paintings in the exhibition (which also included two sculptures incorporating tools or workmen’s clothing and two pairs of drawings — one based on color charts, the other depicting a paintbrush). His commemorations of industriousness are at fundamental odds with the art historians, critics, and curators who have asserted that Pop Art is about boredom and picks up where Marcel Duchamp left off; he celebrates labor while eschewing commercial products and mechanical means. As the art world focused on erasing the hand from art and championed fabrication, Dine neither wavered from nor fetishized his belief in the bond between art and labor. — John Yau Mira Schor: Wet Lyles & King , March 27–May 4, 2024 Organized by the gallery Over the last five decades, Mira Schor has forged a body of work rooted in feminist thought and encompassing its evolutions. The fact that her deceptively delicate rice-paper Dresses from the 1970s pulse with relevance today (and that her canvases from the past year, portraying faceless women in deeply hued expanses, are just as timeless) made this thematic survey an ambitious undertaking — and all the more thrilling to take in. The show captured visitors from the start with a salon-style hang of framed works at its entrance and a riveting selection of Schor’s expansive multi-paneled canvases, including “ Pardon Me Ms. ” (1989), in which an ear metamorphosing into a penis zooms through space like a projectile, inseminating a smaller ear with the liquid red stripes of the United States flag. Tender, funny, tough, and serious, WET was a spirited tribute to an artist’s living legacy. — Valentina Di Liscia Beatrix Potter: Drawn to Nature The Morgan Library & Museum , February 23–June 9, 2024 Curated by Philip Palmer For many, the name Beatrix Potter will immediately evoke a whimsical, cozy world of personified bunnies gathering blackberries and getting tucked into bed by an apron-wearing Mrs. Rabbit, or a group of dapper toads at a tea party. But the universally cherished British children’s book author and illustrator was also a mycologist, botanist, and committed land preservationist, among other lesser-known roles brought to the forefront in this exquisite survey. The exhibition encompassed not only artworks from Potter’s most beloved tales, but also early sketches, letters, manuscripts, books, and photographs that radiated with her deep affection for the natural world. Carefully curated, the show was tender and heartfelt, but not the least bit cutesy. — VD None Whatsoever: Zen Paintings from the Gitter-Yelen Collection Japan Society , March 8–June 16, 2024 Curated by Tiffany Lambert; the presentation at Museum of Fine Arts, Houston, was curated by Bradley M. Bailey and Yukio Lippit The collection of Alice Yelen Gitter and Kurt Gitter was a great introduction to zenga , which is what the painting associated with Japanese Zen Buddhism is called. Hakuin Ekaku, considered one of the most influential figures in the genre, was showcased with his excellent “Two Blind Men Crossing a Log Bridge” (18th century), which curator Yukio Lippit explained is one of the best known zenga works outside of Japan. Among the other works on display, a large cross section of scroll paintings highlighted the intellectual interests of Zen. This show was a great exploration of the themes that illuminate why the Japanese understanding of Zen continues to have wide appeal. — HV Americans in Paris: Artists Working in Postwar France, 1946–1962 Grey Art Museum , March 2–July 20, 2024 Curated by Lynn Gumpert and Debra Bricker Balken Starting at the end of World War II, more than 400 servicemen went to Paris to study art, subsidized by the G.I. Bill, including artists of color, as well as many women. As demonstrated by this landmark exhibition, this resulted in racial and gender diversity in Paris that was not mirrored in the ascending New York art world. Among the 70 artists included, viewers got to see early pieces by James Bishop, Norman Bluhm, Ed Clark, Ralph Coburn, Shirley Goldfarb, Carmen Herrera, Sheila Hicks, Shirley Jaffe, Kimber Smith, and Shinkichi Tajiri, all of whom went on to create singular bodies of work. With the exception of Herrera, who received a major exhibition at the Whitney Museum of American Art, Carmen Herrera: Lines of Sight (September 16, 2016–January 9, 2017), curated by Dana Miller (though Herrera was more than 100 years old by then), the artists I listed deserve to be better known, even though not all of them returned to the United States or settled in New York. Being in Paris was instrumental for many, as they gained firsthand experience of different European traditions, from the chance operations of Hans Arp to the saturated colors of Henri Matisse. What this exhibition conveys is the cross pollination that took place in Paris after their eyes were opened to new possibilities. — JY The Harlem Renaissance and Transatlantic Modernism Metropolitan Museum of Art , February 25–July 28, 2024 Curated by Denise Murrell At the Metropolitan Museum, curator Denise Murrell arranged an enlightening collection of artworks representing a pivotal cultural era following World War I: the Harlem Renaissance. The artistic, literary, and scholarly movement traversed Black America and beyond, with the namesake New York City neighborhood at its center. The exhibition posits Alain Locke, author of The New Negro , as a vanguard of the landmark movement, highlighting his philosophies on class and racial uplift alongside the movement’s prolific development of arts and literature. Borrowing from the repositories of Historically Black Colleges and Universities like Howard, Hampton, and Fisk, the exhibition is decorated with works revealing the day-to-day curiosities, experiences, and philosophies of 20th-century Black life, like Laura Wheeler’s pensive portraits and photographs by James van der Zee. “The Block” (1971) by Romare Bearden, offers a stretching view of a bustling Harlem street across six panels; Aaron Douglas’s massive canvases depict Black American history through grandiose, mythic visuals. Other collected works help make sense of sociocultural trends — like the Great Migration, famously represented by collagist Jacob Lawrence — giving a peek at, and helping conceptualize the larger ethos of, a burgeoning Black modernism. — Jasmine Weber Video Works at the 2024 Whitney Biennial Whitney Museum of American Art , March 20–August 11, 2024 Curated by Chrissie Iles, Meg Onli, Min Sun Jeon, and Beatriz Cifuentes If anything stood out at this year’s Whitney Biennial, it was the videos. Artists including Sharon Hayes ( Ricerche: four , 2024), Nyala Moon (“Dilating for Maximum Results,” 2023), and Penelope Spheeris (“I Don’t Know,” 1970) all showed works that navigated LGBTQ+ themes with nuance and humor, while Christopher Harris ( Still/Here , 2001), Edward Owens (“Remembrance: A Portrait Study,” 1967), Diane Severin Nguyen ( In Her Time (Iris’s Version) , 2023–24), and many more explored racism, memory, and colonial histories, to name a few topics with which most of us can connect in some way. Hayes’s engrossing two-channel video installation had a homey feel, with mismatched chairs inviting visitors to listen to different generations of queer people in discussion (it’s a shame that the 60-minute film itself couldn’t be streamed on Mubi, like many of the videos). Other standout works included Seba Calfuqueo’s visually stunning “Tray Tray Ko” (2022), Madeleine Hunt-Ehrlich’s poetic look at Suzanne Césaire, “Too Bright to See (Part I)” (2022), and Isaac Julien’s grand, room-sized installation Iolaus/In the Life (Once Again. . . Statues Never Die) (2022). While we all enjoyed works in various media, film and video really made this biennial. — NH Painting Deconstructed Ortega y Gasset Projects , May 18–August 24, 2024 Curated by Leeza Meksin What is a painting? That was the question posed by this exhibition, answered spectacularly by 45 envelope-pushing artists from various backgrounds and disciplines. Their paintings jumped out of the walls, burst out of their frames, or cosplayed as sculptures. It was a remarkable feat by this artist-run gallery, and a joy to behold. — HB Suchitra Mattai: We are nomads, we are dreamers Socrates Sculpture Park , May 11–August 25, 2024 Curated by Kaitlin Garcia-Maestas Half a year has passed since I visited Suchitra Mattai’s sculptures in Queens. They’ve been taken down, a chill has settled over the park where they once stood, and much has changed in both my life and the world around me. I still think about them every day. The Guyanese-American artist’s intuitive approach to line and color endowed these mirrored forms with a heartbeat. Woven from everyday saris that were previously worn and loved, they recall the ocean’s linkage to histories of Indo-Guyanese indentured labor and the shape of both South Asia and South America. The more time I spent with them, the more new interpretations they conjured. They could be coral reefs, clouds, continents, or creatures from another world, but one thing was certain: They were alive. — Lakshmi Rivera Amin Pacita Abad MoMA PS1 , April 4–September 2, 2024 Curated by Ruba Katrib and Sheldon Gooch; the presentation at the Walker Art Center, Minneapolis, was curated by Victoria Sung and Matthew Villar Miranda Filipina artist Pacita Abad was an empath, a roving intellectual, a truth-teller, a soul queen, a woman of the world. She journeyed between continents, visiting some 60 countries, to soak up local traditions and feel the pain of others on her skin. She stitched all these experiences into spellbinding quilt-like trapunto paintings, using everything from shells and beads to water bottle caps and toothpaste tubes. New Yorkers had a rare chance to see so many of her magnificent works in one place thanks to this unforgettable exhibition. — HB LaToya Ruby Frazier: Monuments of Solidarity Museum of Modern Art , May 12–September 7, 2024 Curated by Roxana Marcoci, Caitlin Ryan, and Antoinette D. Roberts LaToya Ruby Frazier’s MoMA retrospective lived up to its title in many ways. Monumental in scale and scope, the exhibition, featuring works from across two decades of the artist’s career, asked big questions about the meaning and enactment of solidarity, and the reasons why it’s so deeply necessary in a world that feels ever more atomized. While many know the intimate black and white photographs Frazier has taken over the years in her Rust Belt hometown of Braddock, Pennsylvania, they might be unaware of her three-act series on the Flint, Michigan, water crisis through the experiences of Shea S. Cobb, a poet, activist, and mother from the city; her moving collaboration with fellow artist Sandra Gould Ford focused on the racially segregated and dangerous realities of work inside the steel mills that once dominated the region where they both grew up; her steady and probing gaze as the final car left the line at the now-shuttered General Motors plant in Lordstown, Ohio; and her pilgrimage to capture the legacy of United Farmworkers Association co-founder Dolores Huerta. Viewers got a taste of how the artist builds intimacy, connection, and a shared sense of struggle with those she features and collaborates with in her work; we were also pushed to ask ourselves about our own community ties, and about where and when we would act for those with whom we live, work, and love. — Alexis Clements Frank Walter: To Capture a Soul The Drawing Center , June 21–September 15, 2024 Curated by Claire Gilman To Capture a Soul packed in a lot. Along with dozens of the late Antiguan artist’s paintings and drawings, two walls and multiple vitrines displayed archival materials documenting his labyrinthine genealogy, which he had made efforts to trace; his professional life — in 1948 he became a rare person of color in a managerial position at the Antiguan Sugar Syndicate; his travels throughout the UK to study industrial technology; other creative outlets, including books and poetry; and the home studio he built later in life in rural Antigua. Although Walter’s aesthetic can evoke naive art, particularly in his simplistic renderings of the human figures that occasionally enter his imagery, he was no hobbyist. Creativity flowed through his veins, and he honed it whenever he had the chance. The archival materials were important context, but his mostly small landscape paintings are Walter’s great legacy. Thin layers of oils, often with visible brushstrokes adding texture, transform abstract color fields into idyllic realms — Antigua, Scotland — pared down to basic forms and awash in radiant color. In “Untitled (Lavender sky, black bird formation),” birds blackened by the dusk light soar in formation from a black landmass against a dark mauve sky, above a crimson sea. The painting holds Rothko and Turner in the balance, but that’s beside the point: It’s sublime on its own. In another work, among the archival materials and easy to miss, Walter created an entire bucolic landscape through nothing but strata of grayish white and grassy greens. His paintings are less to look at than to live within. — NH Sonya Clark: We Are Each Other Museum of Arts and Design , March 23–September 22, 2024 Organized by the Museum of Arts and Design; Cranbrook Art Museum, Bloomfield Hills, Michigan; and the High Museum of Art, Atlanta Sonya Clark has a unique ability to hack our culture by finding a contentious form that forces us to reconsider what we thought we already knew. Her “Monumental” (2019) project about the actual white dishcloth flag of surrender used by Confederate forces is a good example. She also frays Confederate flags in a way that makes them appear very fragile and vulnerable, while her work with Black hair is striking in the way that it renders a symbol of racist hierarchies into something that turns it into a beautiful object deserving careful attention. Each one of her projects was a delight to explore in this compact show that gracefully demonstrated her brilliance. — HV Leon Golub: Et In Arcadia Ego Hauser & Wirth , September 5–October 19, 2024 Conceived by Rashid Johnson As I wrote in September, Golub’s art “aims at the gut more than the mind.” The paradox of this show is that these searing political works were all the more gutting because Hauser & Wirth — a blue-chip commercial gallery — has the means to showcase them properly (the up side is that commercial galleries are free to enter). Still, there’s nothing like the experience of being surrounded by these massive, vitriolic paintings from the 1980s, in a space that lets them breathe but allows them to feel monumental, even overwhelming. At the right time, they could be seen in relative solitude, and in those moments the paintings’ brute figures or crimson color fields seemed to teem with perverse energy. Golub’s art treads a fine line between condemning and fetishizing violence, and the mercenary paintings on view here may be his ultimate achievement. In this fairly intimate space they were visceral enough to bring their chilling realities of police brutality, war crimes, and torture — everyday events, then as now — up close, in all their nauseating grandeur. — NH Nan Goldin: You never did anything wrong Gagosian , September 12–October 19, 2024 Organized by the gallery To be enraptured by art’s sublime beauty is the dream of anyone who’s tired of seeing things as they are. Nan Goldin had that experience in the palatial museums of Paris, where she began seeing the faces of friends and lovers from over the years in classical masterpieces portraying gods, nymphs, and satyrs. Her short film “Stendhal Syndrome” is an entrancing record of that episode. It was juxtaposed with “you never did anything wrong, Part 1” (both from 2024), a moving video work that gazes empathetically into the expressive eyes of animals during a total solar eclipse. Both films were a generous invitation to take part in a transcendental moment. — HB Rafael Lozano-Hemmer: Caressing the Circle Bitforms Gallery , September 4–October 26, 2024 Organized by the gallery Rafael Lozano-Hemmer is always on the cutting edge of art and tech, but in this show his “Transparency Display” (2024), which he developed with his own “pixel glass” technology, suggested that he might be considering industrial uses for this attractive technology, potentially influencing the way we interact with windows. Lozano-Hemmer always sparks excitement and wonder in his projects, which often look like they emerged from an inventor’s laboratory. Always an innovator, his latest show was a welcome peek at the tinkering going on in his studio. More please. — HV Manoucher Yektai: Landscapes Karma Gallery , September 12–November 9, 2024 Organized by the gallery Iranian-born Manoucher Yektai is the Abstract Expressionist who is in the midst of a comeback: his gestural paintings offer a fresh chapter of the story of the New York School that has floundered in obscurity for decades. In this exhibition, his rhythmic landscapes charted a journey from European-inflected modernism to more abstract compositions that distill the mid-20th century energy of post-World War II painting. Yektai’s best paintings are situated between legibility and pure abstraction, and always made with heaps of paint. — HV Miatta Kawinzi: Numma Yah Smack Mellon , September 28–November 17, 2024 Organized by Smack Mellon Filmed in both Liberia and the US, “to trust the ground might free us (begin again)” (2024) is a moving short video that seems to wish for a world beyond flags and borders, one that heals as much as fractures. Artist Miatta Kawinzi brought a diasporic sensibility to ideas around space and belonging with this show, and transformed the Dumbo exhibition space into an otherworldly terrain that seemed to breathe with the rustle of fermenting ideas and connections. — HV Auriea Harvey: My Veins Are the Wires, My Body Is Your Keyboard Museum of the Moving Image , February 2–December 1, 2024 Curated by Regina Harsanyi Any child of the early internet will find a lot of familiarity in digital artist and sculptor Auriea Harvey’s retrospective that spanned the aesthetics of the early World Wide Web to more immersive worlds that transport you either through screen or artifact. Unlike many other digital artists, Harvey demonstrates an emotional depth that connects her work to other eras through its storytelling or metaphors. The show was a real tribute to an artist at the height of her powers. — HV Mandalas: Mapping the Buddhist Art of Tibet Metropolitan Museum of Art , September 19, 2024–January 12, 2025 Curated by Kurt Behrendt A stunning installation in the middle of the atrium in the Robert Lehman Wing of the Met Museum illustrates a thought in the process of becoming and dissipating. “Biography of a Thought” is artist Tenzing Rigdol’s atrium-size mandala bringing viewers on a journey through climate change, gun violence, and even George Floyd, as waves crash through the four sets of paintings. Throughout the installation, figures bear hand gestures that Rigdol calls “ASL [American Sign Language] mudras,” referencing natural elements and our own interdependence. Further into the exhibition, viewers are treated with a detailed view of mandalas — diagrams of the cosmos — from places like Tibet, Nepal, and China, spanning the centuries, along with physical objects, like the ritualistic vajra and a traditional trumpet, that would appear in mandalas. With 100 objects on display, plan to stay a while (it’s up into January 2025); this show rewards careful study of the various symbols, signs and images painted and woven into each mandala. — AX Mina Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies Brooklyn Museum , September 13, 2024–January 19, 2025 Curated by Dalila Scruggs, Catherine Morris, Mary Lee Corlett, Rashieda Witter, and Carla Forbes Elizabeth Catlett: A Black Revolutionary and All That It Implies succeeded at portraying the aesthetic brilliance and political depth of the distinguished artist’s work across a career of 50 years. The massive retrospective displays Catlett’s prints and sculpture depicting Black and Indigenous lives and struggles for liberation. Interactive spaces for immersion, play, and reflection follow the presentation of Catlett’s immense oeuvre. The exhibition provides didactic information to narrate the leftist politics and artistic traditions undergirding the artist’s consistent references to anti-imperialist and socialist movements as well as African and Mesoamerican artmaking traditions. The exhibition accurately historicizes Catlett as a Black American feminist artist adopted into a Mexican leftist community of artists, and a true renaissance woman whose artwork transcended both medium and national boundaries. — Alexandra M. Thomas Edges of Ailey Whitney Museum of American Art , September 25, 2024–February 9, 2025 Curated by Adrienne Edwards, Joshua Lubin-Levy, and CJ Salapare Dance and visual art — two forms in close kinship but often treated as disparate — are considered anew in Edges of Ailey , a deeply moving curation of Black diasporic art anchored by the legacy of late choreographer Alvin Ailey. Despite its ambitious range of materials, this exhibition deftly stitches together artistic traditions from the diaspora and incorporates new works made specifically for the show by Karon Davis, Jennifer Packer, Mickalene Thomas, and Lynette Yiadom-Boakye. Some of my favorite moments during my visit were encounters with familiar works in new contexts, like the 1979 Bayou Fever collage series by Romare Bearden, a close friend and collaborator of the choreographer. Situated below a clip of performances orchestrated by Ailey, Bearden’s figures, too, seemed to dance. — LRA Flow States – LA TRIENAL 2024 El Museo del Barrio , October 10, 2024–February 9, 2025 Curated by Rodrigo Moura, Susanna V. Temkin, and María Elena Ortiz One of the anchor works of El Museo del Barrio’s triennial survey of Latine contemporary art this year is Esteban Cabeza de Baca’s “Seven circles” (2023), an 18-foot-long, multi-panel painting rendered in the artist’s idiosyncratic mode of landscape abstraction. In his vision of the US-Mexico border, he warps the region’s topographical features into a wormhole composition that dizzyingly collapses distinct spaces and times — a fitting and disconcerting image for the fate of immigrant communities at the brink of a second Trump presidency. Featuring 33 artists from around the world, this exhibition is filled with wildly inventive and truly original work, from Norberto Roldan’s haunting ziggurat-shaped altars to Magdalena Suarez Frimkess’s hand-crafted ceramics unexpectedly adorned with comic-book references. La Trienal ’s curators seem to have figured out that you can’t change people’s minds or engage them in dialogue without first drawing them in, and this show does exactly that. — VD Flight into Egypt: Black Artists and Ancient Egypt, 1876–Now Metropolitan Museum of Art , November 17, 2024–February 17, 2025 Curated by Akili Tommasino Curator Akili Tommasino’s large show examines the reception of Ancient Egyptian art by Black artists. He placed Fred Wilson’s “Grey Area (Brown Version)” (1993) at the symbolic core of this show and then included a very wide range of artists, including Betye Saar, Renee Cox, Irene Clark, Damien Davis, Kara Walker, and EJ Hill, to illustrate the real impact of Egyptian art today. His exploration of the legacy of historical Egyptian art is a good reminder of how the spirit of one of the world’s oldest civilizations continues to resonate with those who can find empowerment in its imagery and stories. — HV Vital Signs: Artists and the Body Museum of Modern Art , Nov 3, 2024–Feb 22, 2025 Curated by Lanka Tattersall, Margarita Lizcano Hernandez, and Simon Ghebreyesus Organized by Lanka Tattersall with Margarita Lizcano Hernandez, this exhibition avoids the splashy expectations of other exhibitions focused on the body, instead offering a more archival and cerebral take that explores absences and residues of the human form as much as its agency or volume. While some inclusions were expected, such as Jasper Johns’s “Painting Bitten By a Man” (1961) and Nancy Grossman’s “Untitled (Double Head)” (19171), others, like Blondell Cummings’s excerpt from “Commitment: Two Portraits” (1988) and Bhupen Khakhar’s “Kali” (1965), were welcome surprises, suggesting an expansive view of the topic. Take your time here, and hopefully you’ll find some quiet moments, as the work on display benefits from your careful attention. And be sure to see the large mural project by Martine Syms outside the main galleries and overlooking the museum’s garden. — HV We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn FacebookWant a Copilot+ laptop? Get the Asus Vivobook S 14 while it’s $300 off

Rackspace Technology to Participate in the UBS Global Technology and AI Conference

Amazon Stocks Shaping the Future of Gaming! The Untapped PotentialIf the assessment of assistant coach Nigel Henry is anything to go by, then San Juan Jabloteh’s schoolboy football stars Derrell “ Zum Zum” Garcia and Lyndell Sween are expected to get much more playing time when taking on season front-runners Defence Force today at the La Horquetta Recreation Ground from 6 p.m. The second week of the Trinidad and Tobago Premier Football League Tier One kicks off with another strong double-header at Phase II La Horquetta, where the home team Terminix La Horquetta Rangers, also face a tough Club Sando at 8 p.m. Tomorrow, action shifts to the Arima Velodrome for another double-header, while on Sunday, both of the top two teams of the 2023-2024 season are in action at the Police Barracks in St James. Led by national footballers Joevin and Alvin Jones, runners-up Miscellaneous Police FC will be looking for a first win of the season against Tobago FC Phoenix, who went to South and beat Point Fortin Civic 2-1 at the Mahaica Oval. The second match sees champions AC Port of Spain taking on Caledonia AIA, both having won on the opening day. On match-day one, Defence Force looked up to the hype when edging Police 2-1, with both teams strongly showing they are highly likely to be among this season’s top contenders. New Army recruit Kevin “Nash” Molino was a standout, as even on a very heavy surface, Defence Force tried to produce an attractive, quick brand of play which new head coach Densill Theobald is looking for. On opening day, St Anthony’s College striker Andell Fraser was a starter, while the schools league’s top-scorer Garcia, and Sween, were substitutes, as a young San Juan Jabloteh unit, coached by former national midfielder Marvin Gordon, made the first-half running. But after Jabloteh had missed a penalty, Central FC came into their own, last season’s strugglers looking much stronger with John-Paul Rochford and Jameel “Shooter” Neptune coming from AC Port of Spain to join other top recruits such as Tyronne Charles, Kevon “Showtime Woodley and Kadeem Corbin. “The players that we put on, they did not show up because we put them on a little too late, which would be Sween and “Zum”,” Jabloteh assistant coach Henry stated after their 3-1 loss to a revamped Central FC Reboot. “We be learning (about) the players. We learning their style of play, so we will come to it,” Henry suggested. Admitting that Central FC grew into the game, head coach Jason Spence also credited Jabloteh’s youngsters. “I must give kudos to Jabloteh because they have a nice, young, vibrant team,” Spence said. “They kept coming at us, but I felt as though once we managed the game well, our quality would have been able to show (eventually), and that’s exactly what happened.” UPCOMING TTPFL TIER ONE MATCHES: Today 6 p.m. -San Juan Jabloteh v Defence Force Elite, La Horquetta Rec, Phase II 8 p.m. - Terminix LA Rangers v Club Sando FC, La Horquetta Rec, Phase II Tomorrow 5 p.m. -Prison Service FC v Heritage Petroleum Point Fortin Civic, Arima Velodrome 7 p.m. - FC Eagles v Central FC, Arima Velodrome Sunday 5 p.m.- Miscellanous Police FC v FC Phoenix, Police Barracks, St James 7 p.m. - AC Port of Spain v Caledonia AIA, Police Barracks, St James

FDA proposes new testing rules to ensure cosmetics are asbestos-freeDAMASCUS, Syria (AP) — An American citizen who disappeared seven months ago into former Syrian President Bashar Assad’s notorious prison system was suddenly discovered Thursday outside Damascus after being released and handed over to rebel forces, Syria’s new authorities said. The political affairs office of the Islamist group Hayat Tahrir al-Sham, the rebel group that led the lightning offensive to topple Assad’s government, said the group had secured the release of U.S. citizen Travis Timmerman. In interviews with media in Syria, Timmerman said he was imprisoned after crossing from Lebanon into Syria on a Christian pilgrimage. Javascript is required for you to be able to read premium content. Please enable it in your browser settings.DE BEERS GROUP LAUNCHES HOLIDAY CAMPAIGN FOR NATURAL DIAMONDS

Leeds claim top spot after victory over Championship strugglers StokeNew criminal case calls as civil jury finds Conor McGregor DID sexually assault woman in hotel but he vows to appealSANTA CLARA, Calif. (AP) — The San Francisco 49ers got two key defensive players back with linebacker Dre Greenlaw set to play his first game since tearing his left Achilles tendon in and defensive end Nick Bosa returning after missing three games with injuries to his hip and oblique. Greenlaw had been practicing the past few weeks and was activated from the physically unable to perform list on Thursday to play against the Los Angeles Rams. San Francisco placed offensive lineman Ben Bartch on injured reserve with an ankle injury to make room on the roster. Bosa and running back Isaac Guerendo were both active for the game after being listed as questionable. Guerendo left Sunday's win over Chicago with a sprained foot. Greenlaw was one of the emotional leaders of San Francisco's defense before the freak injury in the first half of the Super Bowl loss to Kansas City. Greenlaw bounced up and down on the sideline and then started to run onto the field with a few teammates when he collapsed, holding his left leg. He was then helped off in a cart. Greenlaw was drafted in the fifth round in 2019 and emerged as one of the key defenders for San Francisco in 2022. He started 30 games the past two seasons with 247 tackles, eight tackles for loss, 10 passes defensed and three takeaways. The Niners have missed his intensity and physical play this season, especially against the run. The Rams and 49ers both promoted players from the practice squad for the game, with Los Angeles adding defensive back Charles Woods and San Francisco promoting running back Ke'Shawn Vaughn. The inactive players for the 49ers were left tackle Trent Williams (ankle), safety Malik Mustapha (chest, shoulder), running back Israel Abanikanda, cornerback Rock Ya-Sin and defensive tackle Khalil Davis. Joshua Dobbs was the emergency third quarterback. Cornerback Emmanuel Forbes Jr. was active for the Rams for the first time since being claimed off waivers from Washington. The inactive players for Los Angeles were cornerback Cobie Durant (chest), running back Cody Schrader, linebacker Brennan Jackson and offensive linemen Dylan McMahon and Warren McClendon Jr. Stetson Bennett was the emergency third quarterback. ___ AP NFL: Josh Dubow, The Associated Press