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Residents accuse the largely white state government of neglecting the needs of a city that's 82% Black. White flight in the 1970s devastated the tax base, posing a major challenge to any solution.

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

Lawyers and health experts, as well as incarcerated and formerly incarcerated individuals, say getting gender-affirming care in prison often comes only after threats of lawsuits or a full legal fight.

Florida officials recently rejected a slew of math textbooks, claiming they included "prohibited topics." Journalist Dana Goldstein theorizes the objections related to social-emotional learning.

Since its publication on September 3, 1947, the book has lulled children around the world to sleep with its dreamy tradition of bidding "goodnight" to everything in the "great green room."

Camp Roundup, a summer camp experience for fat women, was held for the first time this year in Newark, Ohio.

A Secret Service spokesman disputes the Department of Homeland Security inspector general's account, saying its request came after a mobile phone migration had started, but no messages were lost.

The president of the San Diego Humane Society just got back from a trip to the border with Poland and Ukraine.

Anyone who doesn't want their phone number, email or street address to be found online can ask Google to omit the data from its search results.

She was never just that prim prude from the start of Grease, nor the strutting vamp from its finale. Her superpower, for over 50 years, was embodying both at once.