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  • The group, which is a rebrand of a group that attended the "Unite the Right" rally in Charlottesville, Va., has created an image of Americana bolstered by racism, antisemitism and neo-fascism.
  • Keith Jarrett's two strokes in 2018 left the pianist unable to perform publicly. On the occasion of Bordeaux Concert, WBGO's Nate Chinen caught up with Jarrett.
  • With demand rising for mental health care and providers in short supply, experts explain how California got here — and where we may be headed.
  • The symbol of the post-Roe era might not be coat hangers. It may instead be prison bars.
  • City transportation officials plan to install protected bike lanes on a one-mile stretch of Park Boulevard following a street resurfacing project.
  • Ana de Alvear (born 1962), is an artist and filmmaker from Madrid, Spain who has exhibited throughout Asia, Europe, and South America. This is her first solo exhibition in the United States. Despite seemingly traditional subject matter, the title of this exhibition invites the public to question the veracity of what they see and hear, a contemporary concern in an age of frequent misinformation. As one looks closely at her work, it becomes evident that there are layers of meanings and deceptions. What originally appear as photographs or even paintings are all achieved, in astonishing hyper-realistic detail, with the humble medium of colored pencil. This repartee with the history of art is not new; René Magritte spoke of “the treachery of images” and artists have been using trompe l ’oeil (fooling the eye) techniques in painting for years to dialogue with the reality of the image, a conversation made more acute with the advent of photography and extended further into the digital age. Yet with de Alvear’s drawings, there is no digital or mechanical process involved. Beyond this, de Alvear uses stuffed animals, knockoff porcelain, and plastic flowers and insects as her subjects to probe ironically the values of contemporary society. The compositions are inspired by European still-life paintings dating back to the seventeenth century, wherein artists painted such highly prized items as tulips, crystal, and imported porcelain, alongside insects and symbols of decay as memento mori (reminders of death). Initially appearing humorous and playful, the inclusion of toys in de Alvear’s works nevertheless also embodies darker meanings of lost childhood and trauma, while the ubiquitous presence of plastic, only visible upon close scrutiny, alludes to the current crisis of the environment and impending animal extinctions, such as the artificial bee attempting to pollinate plastic flowers. Humans’ position in the universe is laid before us as we are made more aware of our physicality and scale in the presence of two dramatic galaxy murals, each comprising fifty elaborately executed drawings. Related Programs and Events: Friday, June 18, 2021 Art Alive Members' PreviewSaturday, June 19, 2021 Art Alive Members' PreviewFriday, August 6, 2021 SDMA+ Naruwan Taiko: In the Forced VortexFriday, September 17, 2021 SDMA+ Disco Riot: Everything You See Could Be a Lie
  • Long COVID has been a reality since the beginning of the pandemic. The patients who have it are desperate for answers that doctors don't yet have.
  • Stocks were pummeled on Friday with the Nasdaq slumping more than 4% to post its worst month since 2008. Why things have gotten so bad in Wall Street.
  • The bipartisan Kids Online Safety Act comes amid mounting frustration in Washington that apps like Instagram and YouTube aren't doing enough to protect their youngest users.
  • Rodrigo Chaves wins an election that political analysts said was marked by a lack of voter enthusiasm due to the multitude of personal attacks that characterized the campaign.
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