South Dakota scores with 12 seconds left to beat FCS top-ranked North Dakota State 29-28ESAB Co. ( NYSE:ESAB – Get Free Report ) announced a quarterly dividend on Tuesday, December 17th, Wall Street Journal reports. Shareholders of record on Tuesday, December 31st will be given a dividend of 0.08 per share on Friday, January 17th. This represents a $0.32 dividend on an annualized basis and a yield of 0.26%. The ex-dividend date is Tuesday, December 31st. ESAB has a dividend payout ratio of 5.9% indicating that its dividend is sufficiently covered by earnings. Equities analysts expect ESAB to earn $5.38 per share next year, which means the company should continue to be able to cover its $0.32 annual dividend with an expected future payout ratio of 5.9%. ESAB Trading Down 1.1 % Shares of ESAB stock opened at $121.41 on Friday. ESAB has a 1-year low of $82.44 and a 1-year high of $135.97. The company has a debt-to-equity ratio of 0.58, a current ratio of 1.92 and a quick ratio of 1.25. The stock has a market cap of $7.34 billion, a P/E ratio of 28.43, a P/E/G ratio of 2.25 and a beta of 1.34. The stock’s 50 day simple moving average is $124.99 and its 200-day simple moving average is $108.49. Insider Activity In other news, Director Rhonda L. Jordan sold 4,254 shares of the firm’s stock in a transaction that occurred on Wednesday, October 30th. The shares were sold at an average price of $125.03, for a total value of $531,877.62. The transaction was disclosed in a document filed with the Securities & Exchange Commission, which is available at this hyperlink . Also, CEO Shyam Kambeyanda sold 59,120 shares of the company’s stock in a transaction that occurred on Tuesday, October 29th. The stock was sold at an average price of $122.96, for a total transaction of $7,269,395.20. Following the sale, the chief executive officer now directly owns 53,902 shares in the company, valued at approximately $6,627,789.92. The trade was a 52.31 % decrease in their ownership of the stock. The disclosure for this sale can be found here . Over the last ninety days, insiders sold 68,418 shares of company stock valued at $8,431,773. 7.00% of the stock is currently owned by corporate insiders. Wall Street Analysts Forecast Growth ESAB has been the topic of several recent analyst reports. Evercore ISI lowered shares of ESAB from an “in-line” rating to an “underperform” rating and boosted their target price for the company from $102.00 to $122.00 in a report on Wednesday, November 13th. JPMorgan Chase & Co. increased their price objective on ESAB from $120.00 to $128.00 and gave the stock an “overweight” rating in a research report on Monday, September 30th. Jefferies Financial Group assumed coverage on ESAB in a research note on Thursday, December 12th. They set a “buy” rating and a $160.00 target price for the company. Oppenheimer reaffirmed an “outperform” rating and issued a $144.00 price target (up previously from $138.00) on shares of ESAB in a research note on Friday, November 8th. Finally, Loop Capital raised their price objective on ESAB from $105.00 to $120.00 and gave the stock a “hold” rating in a research report on Wednesday, October 30th. One research analyst has rated the stock with a sell rating, two have issued a hold rating and four have issued a buy rating to the company’s stock. Based on data from MarketBeat.com, the stock has an average rating of “Hold” and an average target price of $133.43. View Our Latest Stock Report on ESAB ESAB Company Profile ( Get Free Report ) ESAB Corporation engages in the formulation, development, manufacture, and supply of consumable products and equipment for use in cutting, joining, automated welding, and gas control equipment. Its comprehensive range of welding consumables includes electrodes, cored and solid wires, and fluxes using a range of specialty and other materials; and cutting consumables comprising electrodes, nozzles, shields, and tips. Featured Articles Receive News & Ratings for ESAB Daily - Enter your email address below to receive a concise daily summary of the latest news and analysts' ratings for ESAB and related companies with MarketBeat.com's FREE daily email newsletter .
The Houston Rockets finally ended a 15-game losing streak against the Golden State Warriors in a dramatic NBA Cup quarterfinal clash on Wednesday night. With a nail-biting 91-90 victory, the Rockets booked their spot in the semifinals. Rockets HC Ime Udoka credited his team’s defense for the hard-fought win, especially pointing to their resilience in the face of adversity. This victory, though, was no easy task. The Warriors were minutes away from extending their historic streak to 16 games. However, the Rockets clawed back from a six-point deficit in the final minute to steal the game, thanks to clutch free throws and some questionable officiating . Just a week after ripping apart his team’s ‘humiliating’ effort against the Dubs, Ime Udoka took great pride in praising their defense. We’re gonna continue to fight and not give up. Got stops when we needed to, hit big shots when we needed to. Got on the floor, loose balls, created that foul... As I’ve said before, you can always rely on your defense when the shots aren’t falling... That’s a recipe for success on the defensive end, for sure . "That's a recipe for success on the defensive end." Rockets HC Ime Udoka applauded his team for their elite defense in the #EmiratesNBACup Quarterfinals pic.twitter.com/Fey3UrOkoD Udoka is a stickler for defensive fundamentals. The Rockets forced the Warriors into 8 shot-clock violations and scored 30 points off 22 turnovers. Keeping the Warriors, a top-five defensive team, off the free-throw line was another key element of their game plan. Houston only allowed 9 trips to the charity stripe, showcasing their defensive discipline (and, of course, the ‘questionable officiating’). The Rockets’ defensive efforts are no fluke. They currently boast the second-best defense in the league, trailing only the Oklahoma City Thunder , their semifinal opponent. Ime Udoka ’s strategy relies heavily on forcing mistakes from opposing teams and capitalizing on transition opportunities due to their own shooting woes, a formula that proved successful against the Warriors. Charles Barkley does not believe in Ime Udoka and the Rockets Despite their milestone victory, the Rockets faced some heavy skepticism from Hall of Famer and TNT analyst Charles Barkley. The Chuckster does not shy away from providing some tough love to young and old NBA teams alike. On Wednesday, he questioned the ‘prime time readiness’ of the young Rockets, led by Ime Udoka. They don’t have any idea how to play basketball. They play the game strictly on talent...They got a great record, they’re not ready for prime time... They relevant, they got a terrific coach, now they got to learn, like, ‘we got to take care of the ball, we got to stop taking bad shots . "They don't have any idea how to play basketball" Chuck isn't impressed by Houston's run to Vegas pic.twitter.com/nhFui0RmG9 Charles Barkley’s comments pointed to the Rockets’ lack of discipline, particularly in their half-court offense. They boast a putrid 112.2 offensive rating, which in itself, is heavily inflated by their top-5 transition offense in the league. However, this is part of Ime Udoka’s strategy as the Rockets coach has been vocal about his team’s focus on getting up and down the court with their gritty defense. With the semifinal matchup against the Thunder looming, the Rockets will look to continue their momentum. The NBA Cup’s single-game knockout system leaves any outcome up to the imagination, giving the upstart Rockets a chance against the West-leading Thunder. Tip-off is set for 7:30 p.m. CT on Saturday, with the winner advancing to the final to face either the Milwaukee Bucks or Atlanta Hawks. This article first appeared on FirstSportz and was syndicated with permission.KyKy Tandy, FAU close out Oklahoma State in CharlestonGDP, durable goods orders, and jobless claims top Wednesday's economic calendar
Emboldened by the view from the top of the NFC North, the Detroit Lions are out to eliminate nightmare holiday gatherings when the Chicago Bears come to town Thursday for a lunchtime division duel. The Lions (10-1) are streaking one direction, the Bears (4-7) the other in the first matchup of the season between teams on opposite ends of the division. Riding a nine-game winning streak, their longest since a 10-game streak during their first season in Detroit in 1934, the Lions are burdened by losses in their traditional Thanksgiving Day game the past seven seasons. Three of the defeats are courtesy of Chicago. The Bears and Lions get together for the 20th time on Thanksgiving -- the Bears have 11 wins -- this week in the first of two meetings between the teams in a 25-day span. Detroit goes to Soldier Field on Dec. 22. "I think there's two things," Campbell said of the Thanksgiving losing streak. "Number one -- Get a W. And it's a division win that's why this huge. Number two is because the players are going to get a couple of days off. So, they have family, friends in, it'd be nice to feel good about it when you're with everybody because it's just not real fun. It's not real fun to be around." Detroit (10-1) owns the best record in the NFC but the Lions aren't even assured of a division title. Minnesota sits one game behind them and Green Bay is two games back. The Bears (4-7) sit in last place and would likely need to run the table to have any chance of making the playoffs. The Lions have been dominant in all phases and haven't allowed a touchdown in the past 10 consecutive quarters. Detroit's offense ranks first in points per game (32.7) and second in total yardage (394.3) The Lions defense has not given up a touchdown in the last 10 quarters. Rookie placekicker Jake Bates has made all 16 of his field goal attempts, including four from 50-plus yards over the past three games. Chicago shows up in a foul mood. The Bears are saddled with a five-game losing streak and Chicago's defense has been destroyed for nearly 2,000 total yards in the last four games. The Bears failed to reach the 20-point mark four times in five outings since they last won a game. In their latest defeat, rookie quarterback Caleb Williams and the offense perked up but they lost to Minnesota in overtime, 30-27. "We have to play complementary football for us to be able to win these games," coach Matt Eberflus said. "The games we have won, we have done that. The games we have been close we've missed the mark a little bit. Over the course of the year, it's been one side or the other, this side or that side. In this league you have to be good on all sides to win. That's what we are searching for." Williams threw for 340 yards and two touchdowns without an interception. The wide receiver trio of DJ Moore, Keenan Allen and Romeo Odunze combined for 21 receptions and two touchdowns while tight end Cole Kmet caught seven passes. "What I've been impressed with is just how he has grown," Campbell said. "He has grown every game but these last two I really feel like he's taken off and what they're doing with him has been really good for him and he just looks very composed. He doesn't get frazzled, plays pretty fast, and he's an accurate passer, big arm, and he's got some guys that can get open for him." Detroit's banged-up secondary could be susceptible against the Bears' veteran receivers in their bid to pull off an upset on Thursday. The Lions put two defensive backs on injured reserve in the past week and top cornerback Carlton Davis isn't expected to play due to knee and thumb injuries. Detroit offensive tackle Taylor Decker (knee) and top returner Kalif Raymond (foot) are also expected to miss the game, though Campbell expressed optimism that running back David Montgomery (shoulder), formerly of the Bears, would play. Bears safety Elijah Hicks was listed as a DNP for Tuesday's walkthrough. --Field Level MediaJimmy Carter, the 39th US president, has died at 100
President-elect Donald Trump is likely to create a new White House post to oversee federal policies and governmental use of artificial intelligence , according to a report Monday. The proposed AI czar would be selected with help from billionaire Trump confidant Elon Musk, who owns an AI company, and former Republican presidential candidate Vivek Ramaswamy, Axios said, citing sources on Trump's transition team. Trump recently appointed both men to lead a new, independent Department of Government Efficiency. The AI czar would reportedly work with DOGE to root out waste, fraud and abuse in government programs, including Social Security, Medicare and Medicaid. The federal government has a pressing need for AI and the new supervisor would likely work with various agency officials tasked with putting the technology to use under terms of an executive order signed by President Joe Biden , Axios said. Musk has publicly clashed with rival tech CEOs, including OpenAI's Sam Altman and Google's Sundar Pichai, raising concerns that Musk may exploit his relationship with Trump to benefit his AIx and other companies, according to Axios. It's not certain if Trump will go ahead with the plan for an AI czar and the job could be combined with one to oversee cryptocurrency policy, Axios said. Last week, Bloomberg reported that Trump's transition team was vetting candidates for that role, which could involve leading a small staff and serving as a liaison between the White House, Congress and various agencies with jurisdiction over cryptocurrencies. Trump has sold several series of digital trading cards and is the "chief crypto advocate" for his family's World Liberty Financial cryptocurrency venture, which has sold more than 3.5 billion WLFI tokens, according to its website, which features his image on its homepage and the page for making purchases. He's also pledged to make the U.S. the "crypto capital of the planet" and his election victory over Vice President Kamala Harris earlier this month pushed the price of Bitcoin to record highs.Only three congressional races in the November general election remain uncalled by The Associated Press, with two in California and one in Iowa. As of the latest update on Nov. 25, Duarte had 50.05 percent of the vote while Gray had 49.95 percent. In 2022, the two candidates faced each other in a midterm election decided by just 564 votes. Duarte, a businessman and pistachio farmer, has served District 13, located west of Fresno, since January 2023. He has sponsored congressional bills such as the Border Security and Immigration Reform Act while in office and promises to combat the high cost of living, protect the Central Valley’s water and farms, and prioritize safe communities. Gray has also served in the California State Assembly, representing the 21st Assembly District from 2012 to 2022. He supported access to affordable health care, job creation, education, public safety, and protecting the region’s water. Steel, a two-term incumbent for the seat, started out of the gate with a convincing lead over Tran. The race swiftly tightened as Tran, a lawyer and first-time candidate for public office, took the lead. Steel was first elected to the House in 2020. A businesswoman and one of the first Korean American women elected to Congress, she said she prioritizes job creation, addressing high crime, tax reduction, securing the border, caring for veterans, solving the homelessness crisis, and making health care and prescription drugs affordable. Tran promises to preserve Social Security and Medicare funding; increase funding for education; fight for the LGBT, immigrant, and minority communities; and support abortion access. Miller-Meeks currently has 50.1 percent of the vote versus Bohannan’s 49.9 percent, with a 798-vote margin between them. Miller-Meeks, who declared victory in the race, is a military veteran, doctor, and former state senator who calls herself a “proven conservative.” Bohannan is a law professor, former engineer, and former state lawmaker who supports lowering costs for families and advocating for small businesses. The final results in that election must be certified by Iowa’s state board of canvassers no later than Dec. 2.
2 Oregon men die from exposure in a forest after they went out to look for Sasquatch
Mumbai, Nov 23 (PTI) Sarita Fadnavis, BJP leader Devendra Fadnavis's mother, on Saturday said her son is a "favourite" of Prime Minister Narendra Modi and everyone in the BJP wants him to become the next chief minister of Maharashtra. Speaking to reporters in Nagpur as the ruling coalition was on its way to win a massive victory in the assembly elections, she said her son, currently a deputy chief minister, knows how to overcome challenges. "Everyone in the party wants him to become the next chief minister. It is evident that others also wish that he takes on that role. He is indeed a favourite of prime minister Narendra Modi who regards him as a son," Sarita Fadnavis said. Her son's tireless work and people's love for him brought this victory, she said. Asked about the Opposition targeting her son over the last two years, she said, "This is precisely why he described himself as the Abhimanyu of modern times. He understands how to navigate his way through the challenges he faces." Fadnavis's political stock has soared after Saturday's results as the BJP has put up its best-ever performance in these elections. He was the chief minister of the state from 2014 to 2019. His father, late Gangadhar Fadnavis, was a leader of the Jan Sangh and later the BJP. (This story has not been edited by THE WEEK and is auto-generated from PTI)BEAVER CREEK, Colo. (AP) — As the situation stands, snowboarder/ski racer Ester Ledecka has two Olympic races on the same day in 2026, at nearly the same time and in Italian mountain towns hours apart. The Czech Republic standout simply can’t make both starting gates. So she may have a big decision to make on Feb. 8, 2026 — race in the women's downhill at the Milan-Cortina Games or go for a three-peat in snowboarding’s parallel giant slalom. Unless, of course, her lobbying efforts pay off. Ledecka said she's going through her country's Olympic committee to reach out and see if one of the events can be switched. The Winter Games schedule was just recently released. “It’s like someone has broken your dream,” the 29-year-old Ledecka said after a training run in Beaver Creek as she prepares for a World Cup downhill and super-G this weekend. “So please change it. Please, please, please. It’s my biggest dream to do both. I can create a great show for people.” Ledecka is the rare athlete to do both winter sports at such a gold medal-winning level. Nearly seven years ago, Ledecka was a surprise winner in the super-G at the Pyeongchang Games — from bib No. 26, no less. A week later, she captured gold in the parallel GS (PGS). At the 2022 Beijing Winter Games, she defended her PGS crown along with finishing fifth in the super-G, 27th in the downhill and fourth in the Alpine combined. To amend an Olympic schedule would not be unprecedented. Before the 2016 Rio de Janeiro Games, the International Olympic Committee and the governing body for track and field accommodated a request from Allyson Felix to go for a 200-400 double. She earned a silver in the 400. In 1996, the schedule was shifted so American sprinter Michael Johnson could run in the 200 and 400 at the Atlanta Games. He won gold in both. “I would appreciate it,” said Ledecka, who started skiing at 2 years old and snowboarding three years later. “They’re fighting (for it) right now.” The current schedule has snowboarding parallel giant slalom holding a qualifying round from 9 a.m. to 11 on Feb. 8 in Livigno, Italy. The final is set for 1 p.m. Meanwhile, the women's downhill is set to take place in Cortina at 11:30 a.m. It's about a 4-hour drive between the two events. For now, she's leaning toward snowboarding. Only because a few days later she could ski race in a super-G. “I was quite sad about that fact,” Ledecka said of the conflict between events. "We'll see. It’s still quite far away.” Ledecka has 88 World Cup starts in skiing, with 10 podium finishes and four wins. She has 63 World Cup starts in snowboarding, featuring 39 podium finishes and 25 wins. “I don’t know how she does it,” said American ski racer Jacqueline Wiles, who dabbled in snowboarding as a kid. “It’s absolutely insane.” Ledecka enjoys both sports for different reasons. In skiing, it's for the speed. For snowboarding, it's the execution of a turn. It's not always easy splitting her time between the two sports, fitting in training around events. She won a PGS race on Nov. 30 in China before arriving in Beaver Creek. After this, it's off to St. Moritz, Switzerland, for more ski racing. She's currently traveling with eight snowboards and 20 pairs of skis. “You cannot believe how stacked the ski room is right now,” Ledecka cracked. “I really admire my tech guy and how he's handling it all. I’m very happy to have my team help me do this, my dream, of going from the snowboard World Cup to the ski World Cup. I'm having a lot of fun.” Notes: Lara Gut-Behrami of Switzerland had the fastest time in the second training run Thursday. Italians racers Sofia Goggia and Federica Brignone were both within a second. ... Lindsey Vonn is not expected to forerun before the third and final training session Friday. The 40-year-old Vonn still plans on testing out the course before this weekend's races on the Birds of Prey course. AP skiing: https://apnews.com/hub/alpine-skiing
Audrey McCarthy grew up in the cold, on a farm far north in Morris, Minn. Audrey McCarthy “I’m a farm girl through and through,” she said. Her family raised pigs, chickens and cattle, and every day was a workday. She grew up in a family of six. “I didn’t know it was the best of times, but it was,” she said. “We didn’t have cell phones, we didn’t have computers, we didn’t have any of that. When I was a kid, we had chores to do, of course. “We rode horses, because we lived in the country. If you wanted to go hang out with your friends on the weekend, you saddled up your horse and went there. Your parents didn’t have that instant connection to you – so you had responsibility to be somewhere at a certain time, and you knew you couldn’t go here, there or wherever. It worked out well.” Despite the workload, McCarthy says it was less stressful than today. “Everyone was not so connected,” she said. “You had a chance to be innocent. You weren’t bombarded with 5,000 TV selections or YouTube selections, you had three channels on your television and none of them were any good, so you went outside and discovered things outside. “I think today’s youth would probably have no idea what to do without the technology today.” McCarthy’s father wanted his six children to have pride in who they were. “You get one reputation,” she said. “You need to take care of it – ‘just make me proud.’ We were raised to be proud of what we accomplished. It was a really strict work ethic. You worked hard first and played later. That was the ethic we grew up with.” When she was growing up, Christmastime was cold. “Back in the late 60s and early 70s, the winters were the worst,” she said. “On the farm, you had to feed the animals twice a day for sure. The storms were so bad that you had to run a rope from the barn to the house so that you wouldn’t get lost in the snowstorm. And the snow would be up to the roof on some of the buildings. You’d have to dig down to get into the barn. It was just fantastic storms, 15 feet deep of snow. “And back then you didn’t have the equipment to move the snow to make your life easier. There was a lot of manual labor, shoveling and carrying pails and carrying water because things would freeze up. There just wasn’t a lot of extra electricity to do things. You just made do with what you had.” McCarthy says it was at least 10 degrees colder in Morris than Mitchell County on any given day. Summer starts 10 days sooner in Osage. The weather forecast was not as accurate as it is now. “You had no warning,” she said. “They’d send buses out and they wouldn’t even know that a storm was coming in. You’d have buses stuck in driveways because the drifts were so high. It was difficult to predict and plan and be safe. “You did not close school because of a snowstorm. You just went to school. They didn’t let them out early – once in a blue moon, but it was rare. It was bitter cold all the time, and you go to school anyway.” McCarthy could do everything – she can run a skid loader, a backhoe and a tractor. She can IV a dairy cow. When she was growing up, McCarthy wanted to be an attorney. “I was 11 years old, and I knew then I wanted to be an attorney,” she said. “But I didn’t make it.” When she was 11 years old, she had to testify in court. “I was so impressed by the procedure, the rigidity of law and order. I just fell in love with it. And I still do love law and order.” The only sport McCarthy participated in was track. She lived five miles away from town, and it was difficult for her parents to take her to practices. Otherwise, she might have played more sports. “It was hard on the farm for my dad to justify driving into town to pick us up,” she said. “Farming is farming, and we’ve got work to do.” McCarthy’s parents met roller skating. Her grandmother owned a roller rink. By the time McCarthy was a senior in high school, she could waltz on roller skates. “We’d do that any chance we could get,” she said. “It was fun.” She was also a bowler. She would meet her friends at the roller rink and at the bowling alley. There were a couple of lakes nearby, and she water skied and did water sports of all kinds. McCarthy graduated from Morris High School in 1981. Computers were just starting to come into the classroom. It was a time of change. The University of Minnesota, Morris campus, is in her hometown. It is her alma mater, but she got married at 19 and did not immediately go to college. In high school, she did not have a good guidance counselor to give her a nudge. If she had gone, she would have been an attorney. Her father only got as far as eighth grade. “Back then, you had to choose careers that were female oriented,” McCarthy said. “You either were a nurse, a teacher or a secretary.” Therefore, she attended technical school in Alexandria, Minn. to be a legal secretary. From there she landed a job at a bank. She would go on to spend almost 15 years in the banking industry. She started as a receptionist and worked her way up to being a licensed stockbroker and a mortgage loan officer. Afterward, she moved even farther north in Minnesota and worked for a hospital, beginning as an intake for the emergency room. She worked there for a decade, moving up as she did at the bank. Eventually, McCarthy figured out she could only go so far and earn so much. It was then that she decided to go to college in Morris. She was 42. While getting her degree, she was driving 200 miles combined from the hospital to Morris three times a week. “When I got to the third year, classes were getting pretty hard,” she said. “I was working fulltime, a single mom of three daughters, and going to college fulltime.” It was exhausting. “I don’t know how I did it,” she said. “I have a lot of discipline, and I know what to do and I’m proud of what I do. I say what I mean and mean what I say.” By the third year of college, classes were getting more difficult, and McCarthy had to leave her job at the hospital and move to Morris, and from then she had to take out student loans, which she is still paying back today. By the time McCarthy graduated in 2011, her oldest daughter had already graduated from high school. McCarthy has three daughters. After college, McCarthy started her own business, Freshmeister Foods, which involves artisan bread baking. She grinds wheat from whole seed into fresh flour. “When I graduated, because of my farmer blood, anything I can do related to that is what I like,” she said. “The initial idea was to have greenhouses with organic foods. I’m a health nut and very picky about what I eat. “At the time, I had my licensed kitchen, and I was baking bread for three schools around Morris.” Then, one of her daughters encouraged her to join an online dating service. She told McCarthy that she needed someone. McCarthy was not so sure, but she gave it a try. Within two weeks, her husband found her. They got married, and she moved to a farm in Mitchell County. She brought Freshmeister Foods down, but her niche did not fit as well in Iowa as Minnesota. McCarthy says that in the winter there is not much to do on the farm, and so she decided to substitute teach. McCarthy is still a member of the Riceville Community School Board. She subbed in Osage and Riceville. However, COVID-19 hit, and she left teaching to work at a nursing home as the director. For health reasons, she had to retire early. She went back to subbing for Osage and Riceville. She did everything from preschool to high school. McCarthy is now a full-time paraprofessional at Osage Community Middle School. This is her first year. She works primarily with seventh and eighth grade students. She focuses on math and English classes. “That’s what I’m good at,” she said. “When I was in school, English was really easy for me. Math is definitely harder, but I’m a person who likes a challenge. “I’m a parent first and foremost. I love to watch them learn and be a part of that process. I enjoy watching younger people not make the same mistakes I made in life – that’s not to say experiences aren’t good for people, because they are, good, bad and otherwise.” She spends the day in the classroom, paired with homeroom teachers. “I’m there to help interpret what the teacher is trying to convey,” she said. “I enjoy my role here at Osage. It’s challenging for me. I’m making a difference for some of these kids.” Jason W. Selby is the community editor for the Mitchell Country Press News. He can be reached at 515-971-6217, or by email at . Get local news delivered to your inbox! Community Editor {{description}} Email notifications are only sent once a day, and only if there are new matching items.Jimmy Carter, former U.S. president and peace activist, dies at 100
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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 Facebook
Lab confirms seized DAP of poor quality, says agriculture ministerBOSC stock touches 52-week high at $3.4 amid market optimism
NoneThe Grok AI chatbot on Twitter/X can now take any image or meme and provide a detailed description. In 2023, Elon Musk debuted Grok, an AI chatbot used exclusively on Twitter/X. The feature is available for premium users who pay for their membership. With continued development, the AI chatbot is now able to describe any meme or image for premium X users, no matter how complicated. Its answers, though, can be somewhat satirical, especially when used in “fun” mode, and are meant to make the user laugh. Two variations of Grok have been released since its debut, with a third version currently in the works. In October, Musk announced the Grok initiative on X, saying the feature would “rapidly improve.” On December 10, the X owner gave further details about how Grok works. “You can also upload any image to Grok, including memes, and it will explain what they mean,” he said. You can also upload any image to Grok, including memes, and it will explain what they mean https://t.co/tfM8k63AJu Elon Musk intended to make Grok funny Social media users seem to like the new AI feature, as many agreed that it was a ‘winning’ idea, adding that AI was “getting scary good.” One X user also commented on how Grok is superior to other AI chatbots. “I love Grok and I have used about everything out there over the last 5 years,” they said. “Guys, don’t sleep on Grok Analysis, it is really good. It can break down memes and contextual understanding. It’s freaking awesome,” wrote popular X account ‘AutismCapital’ which included Grok’s analysis of a Barron Trump meme. Guys, don't sleep on Grok Analysis, it is *really* good. It can break down memes and contextual understanding. It's freaking awesome. 🔥 pic.twitter.com/BTSVrWVTbi After developing Grok, Musk noted that if AI was going to take over the internet, or more, the least he could do was turn his AI chatbot into something comical. “We worked hard to ensure Grok was funny. If AI is going to take over, please let it at least make us laugh,” Musk tweeted. Related: We worked hard to ensure Grok was funny. If AI is going to take over, please let it at least make us laugh. In November, Musk announced his plans to extend his platform with groundbreaking AI technology. With a love for video games, the X owner said he wanted to start his own AI game studio to make video games “great again.” “I think if you apply AI to a video game, you could really make it just an incredible video game,” he said to a fan who proposed the idea at a convention.
Trump says he's going to impose new tariffs: When could it impact your wallet?
