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A local florist says she's putting aside sunflowers for one of the victims, the daughter of one of her high school classmates. "Their baby's favorite was sunflowers," Kelly Baker said.

The non-binding declaration doesn't require the Canadian government to take any action — but the lawmaker who proposed it says she hopes it will have that effect.

The Museum of Modern Art shows the colorful works of Frédéric Bruly Bouabré, a prolific artist from the Ivory Coast who documented his Bété culture — and even created a pictograph language.

NPR's Ailsa Chang speaks with Deputy National Security Adviser Anne Neuberger, about the risk of a cyberwar and how the U.S. might respond to attacks on the country's infrastructure.

NPR's Ari Shapiro speaks with Department of Justice official Eli Rosenbaum on his investigation into war crimes that occurred in Ukraine.

In a year when the industry bet on fresh tech and virtual worlds, NPR's hip-hop and R&B editor found these albums powerfully immersive all on their own.

Llano County officials said they wanted to remove "pornographic" material from libraries but actually censored books based on political and religious grounds, the library patrons' lawsuit says.

While her friends and family went to the Australian beaches, Kidman stayed indoors reading — and imagining herself as a character in the books. Kidman stars as Lucille Ball in Being the Ricardos.

Less than a month after the Amazon Labor Union unionized the first Amazon facility in the U.S., workers at a smaller warehouse across the street begin voting on whether to join the upstart union.

From the gallery: Sparks Gallery’s programming for 2021 has included prominent Southern California artists who explore the theme and concept of “Identity” in their work. As we continue through our summer programming, we will feature an artist whose work explores how movement between people and objects can define their identity, as well as the identity of others. In her solo show, “The Way We Move”, artist Kelsey Overstreet draws inspiration from her environment, and speaks to human experience through exploration of movement in her abstract expressionist works. We invite you to join us in the gallery on Saturday, August 7, 2021 from 11 a.m. - 7 p.m. for the Opening of Kelsey Overstreet’s solo show, “The Way We Move”. RSVP required. RSVP here. The first impression of Overstreet’s work reveals how her environment has influenced her color palette. Natural tones are present, evocative of seafoam, rocks, and sand in the base of the works. Abstracted prismatic gradients punctuate the work. Reflecting the character of the artist herself, the work is curious and explorative. Her process is driven by a combination of physically active and quick gestural marks coupled with slow, meditative detail work. She uses pace, rhythm and breath to depict sensations within. Along with wide, sweeping arches and spirals, her work can also be identified by her broad strokes, transparent washes of color, web-like lines, and bursts of confetti. Overstreet explains, “I want people to engage with the work and feel both activated and calm. I want people to live with work that intentionally creates sacred space. I want the paintings to evolve over time and the viewer to continually discover new things the longer they live with or view the work. I want the work to change the environment it lives in.” There is a dynamic movement to each piece, as abstracted shapes and prismatic gradients seem to be frozen in time, almost fossil-like. We might imagine that these shapes and forms were free to move about the space they were given. They tend to “react”, curling and twisting to the edges of the canvas. The canvas itself becomes an external influence to these painted forms. Will they continue to move if we glance away, or is their journey over? The concept for these particular works began in observation of both occupied and unoccupied spaces. Overstreet was intrigued by the subtle changes that greatly alter the way we perceive what is around us. After several months into this investigation, she “was struck by an image of shipping containers, beautifully stacked in fixed organization and yet dynamically in transit. Even the things we carry and hold to as our identity, this subjective cargo that is contained and moving toward a destination is intriguing, particularly through personal and public spaces touched by a global pandemic standstill…” This duality of movement alongside stagnation sparked questions for the artist, which she explored through her work. We can observe how enduring experiences connect humans to each other, and to objects around us. When connected, and when we move together or apart from one another, a story is born, thus defining us. Overstreet adds, “Painting is movement and the relationship between action, object and narrative. Even a single line in repetition portrays movement: line after line after line after line until a direction or narrative reveals itself. The way we move and occupy space matters.