49-jili The U.N. General Assembly overwhelmingly approved resolutions Wednesday demanding an immediate ceasefire in Gaza and expressing support for the U.N. agency for Palestinian refugees that Israel has moved to ban. General Assembly resolutions are not legally binding, although they reflect world opinion. Israel has faced growing international criticism over its conduct in Gaza as it fights Hamas militants, especially when it comes to humanitarian aid for desperate people in the besieged and heavily destroyed territory. Israeli airstrikes in northern and central Gaza killed at least 33 people overnight and into Wednesday, Palestinian medical officials said. Hospital records show one Israeli strike in northern Gaza killed 19 people in a home, including a family of eight — four children, their parents and two grandparents. The Israeli military said it targeted a Hamas militant in the vicinity of the hospital, part of a blistering offensive in Gaza’s isolated and heavily destroyed north . The war in Gaza began when Hamas-led militants stormed into Israel on Oct. 7, 2023, killing some 1,200 people, mostly civilians, and abducting around 250 people, including children and older adults. Around 100 hostages are still inside Gaza, at least a third of whom are believed to be dead. Israel’s retaliatory offensive has killed more than 44,800 Palestinians in Gaza, according to local health officials. They say women and children make up more than half the dead but do not distinguish between fighters and civilians in their count. Israel says it has killed over 17,000 militants, without providing evidence. Here's the latest: JERUSALEM — Israeli hospital officials say a young boy is fighting for his life after a shooting attack in the occupied West Bank. An Israeli bus came under fire from a suspected Palestinian attacker late Wednesday, the military said, and Israeli forces are searching for the shooter. Hadassah Hospital in Jerusalem says at least three people were wounded in the shooting, which took place just outside the city in an area near major Israeli settlements. The hospital says the boy, who is about 10, is in grave condition. It says two other people, ages 24 and 55, were also hurt. UNITED NATIONS — The U.N. General Assembly overwhelmingly approved resolutions Wednesday demanding an immediate ceasefire in Gaza and backing the U.N. agency for Palestinian refugees that Israel has moved to ban . The votes in the 193-nation world body were 158-9 with 13 abstentions to demand a ceasefire now and 159-9 with 11 abstentions to support the agency known as UNRWA. The votes culminated two days of speeches overwhelmingly calling for an end to the 14-month war between Israel and the militant Hamas group . General Assembly resolutions are not legally binding, though they reflect world opinion. There are no vetoes in the assembly. Israel and its close ally, the United States, were in a tiny minority speaking and voting against the resolutions. BEIRUT — Israeli forces withdrew from a strategic town in southern Lebanon and handed it back to the Lebanese army in coordination with U.N. peacekeepers, the two militaries said Wednesday, marking an important test of the recent ceasefire between Israel and Hezbollah militants. It appeared to be Israel's first pullout from a Lebanese border town captured during this fall’s ground invasion, and comes as part of the initial phase of the ceasefire. The Lebanese army said Wednesday it has deployed units to five positions around the town of Khiam coinciding with the Israeli army’s withdrawal. Israel's military confirmed this was the first town it has turned over to the Lebanese army under the truce, which — if it endures — would end nearly 14 months of fighting between Israel and Hezbollah. Israel has said the truce deal gives it the right to use military force against perceived ceasefire violations. Israel has launched near-daily strikes, mostly in southern Lebanon, that have killed at least 28 people and wounded 25 others since the ceasefire took effect on Nov. 27. Still, the shaky truce appears to be holding. Five people were killed Wednesday by at least three Israeli strikes in different towns in the southern municipality of Bint Jbeil, Lebanon’s Health Ministry and state news agency said. The Lebanese army warned civilians to stay out of Khiam until it can clear the area of any unexploded munitions. The strategic hilltop town, located less than 3 miles (5 kilometers) from the border with Israel, saw some of the most intense fighting during the war. Thousands of Lebanese displaced by the war returned home two weeks ago after a ceasefire took hold , driving cars stacked with personal belongings and defying warnings from Lebanese and Israeli troops to avoid some areas. WASHINGTON — All Russian naval ships that were docked at the Syrian port of Tartus have left and it appears Moscow is now looking for a new base along the coast now that its key ally, Bashar Assad, has been ousted a ruler of Syria, a U.S. official said. It’s not clear where the ships will go, but Russia may seek a new port on the Mediterranean Sea along the African shoreline, said the official, who spoke on condition of anonymity to discuss U.S. assessments. The official did not say how many vessels Russia had in Syria at the time Assad was overthrown. Moscow has dedicated the bulk of its military assets to the war in Ukraine. Asked about Tartus on Wednesday, Sabrina Singh, a Pentagon spokeswoman, said that the U.S. is seeing some Russian forces and naval vessels leaving Syria. “They just had one of their key political allies, ousted,” said Singh. “We’re seeing Russia consolidate assets.” — By Lolita C. Baldor UNITED NATIONS – The Palestinians are urging United Nations member countries to vote in favor of resolutions demanding an immediate ceasefire in Gaza and supporting the U.N. agency helping Palestinian refugees, which Israel has moved to ban in Palestinian territories. The Palestinian mission to the United Nations issued the urgent appeal to the 193 U.N. member nations ahead of Wednesday afternoon’s votes on the resolutions in the General Assembly, whose members have has been listening to two days of speeches overwhelmingly supporting the measures. Israel and close ally the United States have spoken against the resolutions. The Palestinians and their supporters went to the General Assembly after the U.S. vetoed a Security Council resolution last month demanding an immediate ceasefire in the war in Gaza. It was supported by the 14 other Security Councilmember nations, but the U.S. objected because the resolution did not include a link to an immediate release of Israeli hostages held by Hamas. The General Assembly resolution being voted on Wednesday mirrors the Security Council language: It “demands an immediate, unconditional and permanent cease-fire to be respected by all parties, and further reiterates its demand for the immediate and unconditional release of all hostages.” Unlike the Security Council, there are no vetoes in the General Assembly. But while council resolutions are legally binding, assembly resolutions are not, though they do reflect world opinion. The second resolution being voted on supports the mandate of the U.N. agency caring for Palestinian refugees known as UNRWA which was established by the General Assembly in 1949. It “deplores” legislation adopted by Israel’s parliament, the Knesset, on Oct. 28 banning UNRWA’s activities in the Palestinian territories, which takes effect in 90 days. It calls on the Israeli government “to abide by its international obligations, respect the privileges and immunities of UNRWA and uphold its responsibility to allow and facilitate full, rapid, safe and unhindered humanitarian assistance in all its forms into and throughout the entire Gaza Strip.” JERUSALEM — Israel has lifted restrictions on public gatherings and outdoor activities in areas near the Lebanese border in the northern Golan Heights, two weeks after a ceasefire with Hezbollah. The army’s Home Front Command said it was changing its public safety guidelines to “full activity” from “partial activity.” Israel had tightened restrictions on Nov. 25, reflecting concerns that fighting could intensify ahead of any possible cease-fire between Israel and Lebanese militants. The truce went into effect on Nov. 27. In recent days, Israeli tanks and troops have advanced out of Israeli-held territory in the Golan Heights and pushed into a buffer zone inside Syria — a move Israel said it took to prevent attacks on its citizens. Israel captured the Golan Heights from Syria in the 1967 Mideast war and annexed it in a move not recognized internationally, except by the United States. BEIRUT - Syria-based Palestinian factions have formed a unified delegation to meet with the country's new rebel-led authorities. The factions said in a statement after their meeting Wednesday at the Palestinian Embassy that they stand by the side of the Syrian people. The factions condemned Israel’s airstrikes on Syria over the past few days that have destroyed much of the assets of the Syrian army. The factions decided to form a joint committee to run the affairs of Palestinians in Syria as well as to be in contact with the new insurgent-led transitional government, following the ouster of President Bashar Assad. Hundreds of thousands of Palestinians live in Syria, many of them refugees, and the factions that have been based in Damascus were close to Assad’s government. Hamas was based in Syria until it left in 2012 a year after the county's civil war began. PRETORIA, South Africa — The United Nations chief says the fall of Syria’s authoritarian government has brought hope to the troubled Middle East, and pledged the global body’s support to the country's new leaders to ensure a smooth transition. Secretary-General Antonio Guterres said Wednesday that the U.N. wants to see “an inclusive political process in which the rights of all minorities will be fully respected, and paving the way towards a united sovereign Syria, with its territorial integrity fully re-established.” The jihadi-led Syrian rebels took control of the capital Damascus after the Syrian army withdrew from much of southern part of the country, leaving many areas, including several provincial capitals, under the control of opposition fighters. A Kurdish-led, U.S.-backed force also controls large parts of northeastern Syria. Guterres said he fully trusts the people of Syria to be able “to choose their own destiny”. “I think it is our duty to do everything to support the different Syrian leaders in order to make sure that they come together and are able to guarantee a smooth transition, an inclusive transition in which all Syrians can feel that they belong," Guterres said. “The alternative does not make any sense.” Guterres is in South Africa to discuss the country’s role as it takes over the G20 presidency, among other issues. DEIR AL-BALAH, Gaza Strip — An Israeli strike in central Gaza Strip killed four people and injured 16 others Wednesday, health officials said. Those killed and injured were taken to Awda Hospital after the strike hit a house in the urban Nuseirat refugee camp, according to the press center at the hospital. Since Israel’s war in Gaza began in October last year, at least 44,805 people have been killed and 106,257 others have been injured, according to the latest update by the Gaza Health ministry. BEIRUT — The top U.S. military commander for the Middle East was in Lebanon on Wednesday meeting with the head of the Lebanese army. In the wake of shocking overthrow of the government in neighboring Syria, the two military leaders discussed the security situation in Lebanon, a statement from the country's army said. U.S. Army Gen. Erik Kurilla, who leads U.S. Central Command, met with the head of the Lebanese army Gen. Joseph Aoun to discuss ongoing American support for the implementation of the U.S.-and French-brokered ceasefire agreement, which ended more than a year of war between Israel and the Lebanese militant group Hezbollah. Israel has said the truce deal gives it the right to use military force against perceived ceasefire violations. Israel has launched near-daily strikes, mostly in southern Lebanon, that have killed at least 28 people and wounded 25 others since the ceasefire took effect on Nov. 27. Still, the shaky truce appears to be holding. Five people were killed Wednesday by at least three Israeli strikes in different towns in the southern municipality of Bint Jbeil, Lebanon’s Health Ministry and state news agency said. On Tuesday, Kurilla was in eastern Syria visiting U.S. military bases and meeting with members of a Kurdish-led Syrian force that is backed by the U.S. He was assessing what CENTCOM described as efforts to counter a resurgence of the Islamic State group. He also visited Baghdad for talks with Iraqi officials on regional security and counter-IS operations. DAMASCUS — With the fall of Damascus, security forces of the deposed Bashar Assad government and staff withdrew from the Damascus International airport, grounding flights and stranding passengers. The airport has not been functional since. Now, security members of the rebel alliance in control of Syria have taken control of the airport, hoping to restore security, a sense of confidence, and the legitimacy needed to restart flights out of the capital, and from one of the country’s three international airports. “Damascus international airport is the heart of the city because it is the gateway for international delegations and missions,” Omar al-Shami, a security official with Hayat Tahrir al-Sham, the faction that led the shock offensive that led to the fall of Assad, told The Associated Press, calling it "the passage for Syria to breathe.” Al-Shami said security was restored at the international airport nearly 12 hours after the fall of Damascus. The factions entered the capital before dawn, and security members of the rebel alliance took charge before sunset on Sunday. He said he hoped the airport would be operational in less than a week. On Wednesday, a handful of engineers were inspecting four planes that were on the tarmac. Cleaning staff were removing broken furniture, glass windows, and trash from ransacking by looters following the fall of Damascus. The attack, reportedly by mobs and looters from the neighboring areas, left parts of the airport halls destroyed, with smashed furniture and merchandise. “There was a lot damage in the airport’s equipment and facilities in 90% of the sections,” Anis Fallouh, the head of the airport, told the AP. Fallouh said the operations to clean up the airport aim to convince international airlines to resume their flights to Damascus. “Soon in the coming days, flights will resume when we reopen air traffic to Syria and inform countries that Damascus airport is operational. We may start with domestic or test flights to ensure that everything in the airport is operational and avoid any mistakes. Then we can resume international flights.” Engineers were inspecting the four planes on the tarmac, from two Syrian airlines. Some administrative staff were visiting the airport as the new administrators of Damascus work to convince state officials to return to their posts. “We are on the Airbus 320, the technical team. Because of the security vacuum that happened on Sunday, some ill-intentioned people tried to cause damage but thank God the plane is fine — the body, the engines and its systems. Some things are missing and we are trying to fix that,” said Bassam Radi, the engineer in charge of maintenance, said. BERLIN — German Foreign Minister Annalena Baerbock on Wednesday addressed Berlin's reservations but also willingness to work the Syrian militant group in control of Damascus, Hayat Tahrir al-Sham, or HTS. “Nobody overlooks the origins of HTS in the al-Qaeda ideology. It is therefore clear that we will measure HTS by its actions,” Baerbock told reporters in Berlin. “Any cooperation presupposes that ethnic and religious minorities are protected, women’s rights are respected and acts of revenge are prevented.” She said that “whether we like it or not, the HTS militia ... is one of the decisive actors for the future of Syria.” “Together with our partners, we are therefore looking for an adequate way of dealing with HTS, with whom many have had no direct contact for good reasons,” she added. Ahmad al-Sharaa, the insurgent leader also known by his nom de guerre Abu Mohammed al-Golani, has renounced longtime ties to al-Qaida and depicted himself as a champion of pluralism and tolerance. BEIRUT — An Israeli airstrike near the southern Lebanese town of Bin Jbeil killed one person and wounded another, the state news agency reported. National News Agency said Wednesday’s airstrike hit a home. It gave no further details and there was no immediate comment from Israeli military. More than a dozen people have been killed in Israeli airstrikes since a ceasefire went into effect on Nov. 27, ending the 14-month Israel-Hezbollah war. WASHINGTON — U.S. Secretary of State Antony Blinken is returning to the Middle East this week on his 12th visit since the Israel-Hamas war erupted last year but his first since the ouster of Syrian President Bashar Assad . Assad's departure has sparked new fears of instability in the region now wracked by three conflicts despite a ceasefire agreement in Lebanon. Blinken will travel to Jordan and Turkey on Thursday and Friday for talks expected to focus largely on Syria but also touch on long-elusive hopes for a deal to end the fighting in Gaza that has devastated the territory since October 2023. The State Department said Blinken would meet Jordanian officials, including King Abdullah II, in the port of Aqaba on Thursday before flying to Ankara for meetings with Turkish officials Friday. Other stops in the region are also possible, officials said. Blinken “will reiterate the United States’ support for an inclusive, Syrian-led transition to an accountable and representative government,” department spokesman Matthew Miller said in a statement. BEIRUT — Insurgents have set on fire the tomb of Syria’s former President Hafez Assad in his hometown in the northwest, a war monitor and a local journalist said Wednesday. Hafez Assad had ruled Syria for 30 years until his death in 2000, when his son, Bashar, succeeded him. Both ruled Syria with an iron fist and were blamed for crackdowns that left tens of thousands dead, mainly in the central city of Hama in 1982, and in much of the country since the civil war in 2011. Bashar Assad was ousted over the weekend and fled to Russia where he was given political asylum. Rami Abdurrahman of the Britain-based Syrian Observatory for Human Rights and Syrian journalist Qusay Noor told The Associated Press that the tomb was set on fire Wednesday in the town of Qardaha in Latakia province. JERUSALEM — The United Nations is asking donors for over $4 billion to fund humanitarian operations in the Palestinian territories, most of it earmarked for war-ravaged Gaza. The U.N. Office for the Coordination of Humanitarian Affairs also called for the “lifting all impediments to the entry of aid” in its appeal issued Wednesday. U.N. agencies say aid operations in Gaza are hindered by Israeli restrictions and the breakdown of law and order. Israel says it allows enough aid to enter and blames the U.N. for not distributing it within the territory. The appeal for 2025 includes $3.6 billion for Gaza and about $450 million for Palestinians in the Israeli-occupied West Bank. Israel’s offensive, launched after Hamas’ Oct. 7, 2023, attack, has destroyed vast areas of the besieged territory and displaced around 90% of its population of 2.3 million. Many have been displaced multiple times and are now crammed into squalid tent camps with little in the way of food or other essentials. Most of the population relies on international aid. JERUSALEM — The president of Paraguay addressed the Israeli parliament Wednesday ahead of the reopening of the country’s embassy in Jerusalem. The decision to reopen the embassy in Jerusalem and recognize the city as the capital of Israel is a diplomatic win for Prime Minister Benjamin Netanyahu, and puts Paraguay in a small group of countries that have taken the move. Israel annexed east Jerusalem in 1967 but it wasn't recognized by the international community, and most countries run their embassies out of Tel Aviv. “Without Jerusalem, the land of Israel is a body without a soul,” President Santiago Peña said in a speech to the Knesset. “So I say here today that without an embassy in Jerusalem, diplomatic relations with Israel do not have a real heart.” He said he hoped the move would inspire other countries to do the same. The embassy is set to open Thursday. Pena’s move was welcomed by Netanyahu, Israeli President Isaac Herzog, along with other Israeli leaders. “Tomorrow we will inaugurate together the embassy of Paraguay in our eternal capital, and that will happen not for the first time, but for the second time,” Netanyahu said. Paraguay had an embassy in Jerusalem in 2018, under Former President Horacio Cartes. That embassy was moved back to Tel Aviv by Cartes’ successor, Mario Abdo Benitez, prompting Israel to close its embassy in Asuncion. Israel reopened its embassy in September. MOSCOW — Russia said Wednesday it has maintained contacts with the new authorities in Syria. Kremlin spokesman Dmitry Peskov said that “we are monitoring most closely what is happening in Syria.” “We, of course, maintain contacts with those who are currently controlling the situation in Syria,” Peskov said in a conference call with reporters. “This is necessary because our bases are located there, our diplomatic mission is located there and, of course, the issue related to ensuring the security of these facilities is extremely important and of primary significance.” Peskov wouldn’t give details of those contacts, saying only that Russia has contacted “those who are controlling the situation on the ground.” He wouldn’t give the number of Russian troops in Syria. Asked to comment about Israel’s seizure of a buffer zone on the border with Syria, Peskov called them destabilizing. “The strikes and actions in the Golan Heights area, in the buffer zone area, are unlikely to help stabilize the situation in an already destabilized Syria,” he said. Russia has granted political asylum to ousted Syrian President Bashar Assad and his family after they fled rebels who seized Damascus over the weekend. TEHRAN, Iran — Iran’s Supreme Leader Ayatollah Ali Khamenei says the recent events in Syria, including the fall of its government, were part of a joint plan by the United States and Israel. “There should be no doubt that what has happened in Syria is the result of a joint American and Zionist plan," Khamenei said in a speech in Tehran on Wednesday that was broadcast on state TV. “We have evidence, and this evidence leaves no room for doubt.” The Supreme leader added: “A neighboring state of Syria has played a clear role in this matter, and it continues to do so. Everyone can see this.” Khamenei also rejected speculation by analysts who have said that Iran will be weakened by the fall of Syrian President Bashar Assad's government. “Those ignorant analysts are unaware of the meaning of resistance. They think that if resistance weakens, Islamic Iran will also weaken. But I say, with the help and power of God — by the will of Almighty Allah — Iran is powerful and it will become even more powerful," he said.SEOUL, South Korea (AP) — The president of South Korea early Wednesday lifted the martial law he imposed on the country hours earlier, bending to political pressure after a tense night in which troops surrounded parliament and lawmakers voted to reject military rule. President Yoon Suk Yeol, who appeared likely to be impeached over his actions, imposed martial law late Tuesday out of frustration with the opposition, vowing to eliminate “anti-state” forces as he struggles against opponents who control parliament and that he accuses of sympathizing with communist North Korea. Police and military personnel were seen leaving the grounds of parliament following the bipartisan vote to overrule the president, and the declaration was formally lifted around 4:30 a.m. during a Cabinet meeting. Parliament acted swiftly after martial law was imposed, with National Assembly Speaker Woo Won Shik declaring that the law was “invalid” and that lawmakers would “protect democracy with the people.” In all, martial law was in effect for about six hours. The president’s surprising move harkened back to an era of authoritarian leaders that the country has not seen since the 1980s, and it was immediately denounced by the opposition and the leader of Yoon’s own conservative party. Lee Jae-myung , leader of the liberal Democratic Party, which holds the majority in the 300-seat parliament, said the party’s lawmakers would remain in the Assembly’s main hall until Yoon formally lifted his order. Woo applauded how troops quickly left the Assembly after the vote. “Even with our unfortunate memories of military coups, our citizens have surely observed the events of today and saw the maturity of our military,” Woo said. While announcing his plan to lift martial law, Yoon continued to criticize parliament’s attempts to impeach key government officials and senior prosecutors. He said lawmakers had engaged in “unscrupulous acts of legislative and budgetary manipulation that are paralyzing the functions of the state.” Jo Seung-lae, a Democratic lawmaker, claimed that security camera footage following Yoon’s declaration showed that troops moved in a way that suggested they were trying to arrest Lee, Woo and even Han Dong-hoon, the leader of Yoon’s People Power Party. Officials from Yoon’s office and the Defense Ministry did not respond to requests for comment early Wednesday. Seemingly hundreds of protesters gathered in front of the Assembly, waving banners and calling for Yoon’s impeachment. Some protesters scuffled with troops ahead of the lawmakers’ vote, but there were no immediate reports of injuries or major property damage. At least one window was broken as troops attempted to enter the Assembly building. One woman tried unsuccessfully to pull a rifle away from one of the soldiers, while shouting “Aren’t you embarrassed?” Under South Korea’s constitution, the president can declare martial law during “wartime, war-like situations or other comparable national emergency states” that require the use of military force to maintain peace and order. It was questionable whether South Korea is currently in such a state. When martial law is declared, “special measures” can be employed to restrict freedom of press, freedom of assembly and other rights, as well as the power of courts. The constitution also states that the president must oblige when the National Assembly demands the lifting of martial law with a majority vote. Following Yoon’s announcement of martial law, South Korea’s military proclaimed that parliament and other political gatherings that could cause “social confusion” would be suspended, South Korea’s Yonhap news agency said. The military said anyone who violated the decree could be arrested without a warrant. In Washington, the White House said the U.S. was “seriously concerned” by the events in Seoul. A spokesperson for the National Security Council said President Joe Biden’s administration was not notified in advance of the martial law announcement and was in contact with the South Korean government. Pentagon spokesman Maj. Gen. Pat Ryder said there was no effect on the more than 27,000 U.S. service members based in South Korea. The South Korean military also said that the country’s striking doctors should return to work within 48 hours, Yonhap said. Thousands of doctors have been striking for months over government plans to expand the number of students at medical schools. Soon after martial law was declared, the parliament speaker called on his YouTube channel for all lawmakers to gather at the National Assembly. He urged military and law enforcement personnel to “remain calm and hold their positions. All 190 lawmakers who participated in the vote supported the lifting of martial law. At one point, television footage showed police officers blocking the entrance of the National Assembly and helmeted soldiers carrying rifles in front of the building. An Associated Press photographer saw at least three helicopters, likely from the military, that landed inside the Assembly grounds, while two or three helicopters circled above the site. The leader of Yoon’s conservative party called the decision to impose martial law “wrong.” Lee, who narrowly lost to Yoon in the 2022 presidential election, said Yoon’s announcement was “illegal and unconstitutional.” Yoon said during a televised speech that martial law would help “rebuild and protect” the country from “falling into the depths of national ruin.” He said he would “eradicate pro-North Korean forces and protect the constitutional democratic order.” “I will eliminate anti-state forces as quickly as possible and normalize the country,” he said, while asking the people to believe in him and tolerate “some inconveniences.” Yoon — whose approval rating dipped in recent months — has struggled to push his agenda against an opposition-controlled parliament since taking office in 2022. His party has been locked in an impasse with the liberal opposition over next year’s budget bill. The opposition has also attempted to impeach three top prosecutors, including the chief of the central Seoul prosecutors’ office, in what the conservatives have called a vendetta against their criminal investigations of Lee, who has been seen as the favorite for the next presidential election in 2027 in opinion polls. During his televised announcement, Yoon also described the opposition as “shameless pro-North Korean anti-state forces who are plundering the freedom and happiness of our citizens.” He did not elaborate. Yoon has taken a hard line on North Korea over its nuclear ambitions, departing from the policies of his liberal predecessor, Moon Jae-in, who pursued inter-Korean engagement. Yoon has also dismissed calls for independent investigations into scandals involving his wife and top officials, drawing quick, strong rebukes from his political rivals. Yoon’s move was the first declaration of martial law since the country’s democratization in 1987. The country’s last previous martial law was in October 1979, following the assassination of former military dictator Park Chung-hee. Sydney Seiler, Korean chair at the Center for Strategic and International Studies, argued that the move was symbolic for Yoon to express his frustration with the opposition-controlled parliament. “He has nothing to lose,” said Seiler, comparing Yoon’s move to the Hail Mary pass in American football, with a slim chance of success. Now Yoon faces likely impeachment, a scenario that was also possible before he made the bold move, Seiler said. Natalia Slavney, research analyst at the Stimson Center’s 38 North website that focuses on Korean affairs, said Yoon’s imposition of martial law was “a serious backslide of democracy" that followed a “worrying trend of abuse” since he took office in 2022. South Korea “has a robust history of political pluralism and is no stranger to mass protests and swift impeachments,” Slavney said, citing the example of former President Park Geun-hye, the country’s first female president, who was ousted from office and imprisoned for bribery and other crimes in 2017 . Associated Press writers Hyung-jin Kim in Seoul, South Korea, and Matt Lee, Didi Tang and Tara Copp in Washington contributed to this report.

NoneNewly elected Woodbury County officials to be sworn in Tuesday, dedication ceremony for Dennis Butler to follow

Datalogz Hosts "Future Frontiers" Fireside Chat: Using Data to Improve the Federal Government and Tackle America’s Biggest Challenges

In pardoning his son Hunter, President Joe Biden opened himself up to fierce criticism from both sides of the aisle, with many accusing him of violating norms. But, while this case stands out as being particularly controversial, the power to issue pardons has been used by nearly all of Biden’s predecessors, including President-elect Donald Trump and former President Barack Obama. In fact, since the founding of the republic, every U.S. president has delivered pardons — questionable or otherwise — with just two exceptions. William Henry Harrison and James Garfield hold the distinction of being the only presidents not to grant clemency during their time in the White House, according to historians. “Both died in office and served the shortest administrations in American history,” Louis Picone, an adjunct professor of history at William Paterson University, told McClatchy News. “There’s nothing — say, in their character — to suggest that they wouldn’t have (issued pardons) if they could have,” Taylor Stoermer, a historian at Johns Hopkins University, told McClatchy News. “They just didn’t have the chance.” William Henry Harrison, a Whig politician from Virginia, became the ninth president of the U.S. upon his inauguration in March 1841. However, less than one month into his first term, he developed pneumonia and died on April 4 — becoming the first president to pass away while in office, according to White House records. “Harrison died 31 days after taking the oath of office and was sick through much of his brief term,” said Picone, the author of “The President is Dead!” “He did little of substance during that time, let alone presidential pardons.” “There wasn’t even a thought given to pardons,” Stoermer said. This is because — much like today — pardons are typically doled out toward the end of a president’s term, Thomas Balcerski, a presidential historian at Eastern Connecticut State University, told McClatchy News. Additionally, “as compared to modern presidents, the power of clemency was but rarely used in the 19th century,” Balcerski said. For example, George Washington didn’t issue his first pardon until he’d been in office for five years, Picone said. → How does Senate confirmation process work? What to know as Trump makes Cabinet picks → Trump to return to White House after 4 years. Only one past president has done that → How did LGBT Americans vote in election? Exit poll finds significant shift from 2020 James Garfield, America’s 20th president, similarly met an untimely end while in office. A longtime Democratic representative from Ohio, he was elected in 1880 and inaugurated in March 1881. However, four months into his term, on July 2, he was shot by a disgruntled lawyer while at a train station in Washington, D.C. He then spent the next few months “in agony and out of action” and “rapidly deteriorated,” Picone said. He was “effectively done for the next 79 days until he died” on Sept. 19 — before issuing a single pardon, Stoermer said.

AKRON, Ohio (AP) — Nate Johnson scored 25 points to help Akron defeat Alabama State 97-78 on Sunday. Johnson added five rebounds for the Zips (4-2). Bowen Hardman scored 19 points, shooting 6 for 7 from beyond the arc. Isaiah Gray went 4 of 7 from the field to finish with 11 points. The Hornets (3-3) were led by CJ Hines with 19 points. Tyler Mack added 18 points and Antonio Madlock scored 17. Akron took the lead with 6:46 left in the first half and did not relinquish it. Johnson led their team in scoring with 13 points in the first half to help put them up 50-41 at the break. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .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 . Art can thrive in the most unfathomable times; 2024 was a year filled with global conflict but it was also a year of exceptional exhibitions. From Botticelli’s rarely seen drawings to sculptural revivals of archaic myths, contemporary takes on traditional crafts, and a world of plastic put to good use; from the story of a disability arts movement to artists’ interventions in institutional collections, to a much-needed mash-up of art and sports; and of course, from past artists with a vision to present-day artists with a loud and clear voice, Hyperallergic ’s staff and contributors gathered together a list of our favorites from around the globe. — Natalie Haddad, Reviews Editor Botticelli Drawings Legion of Honor , San Francisco, November 19, 2023–February 11, 2024 Curated by Furio Rinaldi Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities A year later, I can’t stop thinking about last winter’s Botticelli Drawings , a show about an Italian Early Renaissance artist that feels a little too timely. While advertising and fashion have long embraced Botticelli’s sweetness — pretty swaying ladies in diaphanous clothes, flowers, and shells — the Legion show offered a poignant reminder of the darker path of his life’s journey (to sort of quote Dante, whose Divine Comedy Botticelli famously illustrated) under the sway of the dangerous and charismatic zealot Girolamo Savonarola. The drawings bring us tantalizingly close to the artist himself, a man as clouded by intimations of darkness, and seeking some salve of beauty, as we are today. — Bridget Quinn Daido Moriyama The Photographers Gallery , London, October 6, 2023–February 11, 2024 Curated by Thyago Nogueira This exhibition, brilliantly curated by Thyago Nogueira, head of contemporary photography at São Paulo’s Instituto Moreira Salles, where it originated in 2022, traveled to C/O Berlin in 2023. The London iteration was smaller than the previous surveys. And yet, perhaps thanks to its intimacy and the use of wallpaper surrounding visitors with a plethora of images, it felt even more pointed, underscoring Moriyama’s edgy, brooding aesthetics and prodigious output. As Nogueira stressed throughout this traveling show, Moriyama, who first emerged in 1960s Tokyo, bristled at the naïve humanism commonly evidenced in photojournalism, in which the image was to confirm a single coherent truth. From his dark, granular, Xerox-like pictures of car crashes and notorious celebrities to his late, intensely personal road diaries, the artist has favored subjectivity, fragmentation, and mystery. — Ela Bittencourt Celia Álvarez Muñoz: Breaking the Binding New Mexico State University Art Museum , Las Cruces, New Mexico, October 20, 2023–March 2, 2024 Curated by Kate Green and Isabel Casso Celia Álvarez Muñoz can turn just about any material, or any turn of phrase, into an artwork. But the power of her conceptual artwork lies in what she chooses to include and how she uses it. This 40-year career retrospective, which originated at the San Diego Museum of Art and made its final stop at the Philbrook, included a riveting selection of the artist’s multimedia translations of her memories and experiences living on the US/Mexico border, with an emphasis on her installations. A gallery-sized unfurling of several of her books and a video installation that broke free of the binding to present “pages” as images on the walls were showstoppers. — Nancy Zastudil Coexisting with Darkness Mystetskyi Arsenal , Kyiv, Ukraine, November 9, 2023–March 31, 2024 Curated by Anton Usanov and Natasha Chychasova From the fall of 2023 to spring 2024, the Mystetskyi Arsenal in Old Kyiv hosted Coexisting with Darkness , an exhibition that reflected on Russia’s destruction of the power grid. Even as bombs and missiles rained on the capital of Ukraine, it attracted 5,000 visitors in the two months following its opening — yet another demonstration that in wartime art becomes a vital necessity, as we have known ever since the Golden Age of Athens in the 5th century BC, following the Persian Wars. Coexisting with Darkness offered a diversity of sensorial experiences that transcended the visual plane, including humming generators and the smell of gas that evoked the Ukrainian cities targeted by the Russians, but anybody from Gaza, Lebanon, Syria, or any number of other conflict-ridden parts of the world could at once recognize the cues and relate to it. The war also reoriented the flagship cultural institution’s interest toward in contemporary Ukrainian art as part of a broader decolonization project. — Avedis Hadjian She Laughs Back: Feminist Wit in 1970s Bay Area Art University Library Gallery , Sacramento State University, Sacramento, February 6–April 13, 2024 Curated by Elaine O’Brien One of the dumber longstanding accusations against feminism is that it’s humorless. She Laughs Back was a reminder of how effectively feminist art wields humor as a weapon. Comprising nearly 100 artworks by 19 artists, it also situated Northern California as central to the development of feminist art, with work such as one of Dori Atlantis’s iconic photographs of the “C.U.N.T. Cheerleaders ” (1971), done when she and Nancy Youdelman worked alongside Judy Chicago in the Feminist Art Program at California State University, Fresno (the first feminist art program anywhere). Special standouts included feminist comics from Trina Robbins — who died just before the show closed — and Joan Moment’s fabulous “Condom Relief Series No. 1, 1971” (refabricated in 1993), 96 translucent condoms laid out on gauze. The piece riffs on the formalist obsession with the grid with earthy humor and maybe a little shot (pun intended) at the masculine pretensions of much Minimalist art and art criticism. — BQ Entangled Pasts, 1768–now: Art, Colonialism and Change Royal Academy of Arts , London, February 3–April 28, 2024 Curated by Cora Gilroy-Ware With many UK institutions commissioning investigations into their own colonial pasts, the Royal Academy’s Entangled Pasts: 1768–now: Art, Colonialism and Change not only highlighted its academicians who benefited from the slave trade and colonialism, but sought out the lives and stories of Black persons overlooked by history, and paired these findings with emotive and moving responses from contemporary artists. Arranged non-chronologically, the show explored themes including appropriation and displacement, in which archival items from the RA’s story, such as cash books detailing work by sitters for life drawings, were paired with pieces from its collection. This new context invited us to consider the changing perceptions and roles of displaced people over time and, crucially, how we should go forward collectively as a society. — Olivia McEwan Fukuda Heihachiro: A Retrospective Nakanoshima Museum of Art , Osaka, Japan, March 9–May 6, 2024 Organized by the museum Nature is a constant in Fukuda Heihachiro’s subtly stunning work. Born in 1892 in Oita, Japan, the artist was a tireless observer and interpreter of the quiet worlds around him. This expansive exhibition traced Fukuda’s full trajectory, from his earliest Taishō era screens and paintings to his increasingly bold and colorful mature works, where a lively sense of poetry and decoration merge. Crucially, the retrospective (and its excellent catalog) included many of the artist’s sketchbooks, where Fukuda’s graceful studies of plants, birds, children’s drawings, food, and especially water — the artist was an avid fisherman — reveal an ever-curious, ever-evolving master. — Lauren Moya Ford The Time Is Always Now: Artists Reframe the Black Figure National Portrait Gallery , London, February 22–May 19, 2024 Curated by Ekow Eshun With The Time is Always Now: Artists Reframe the Black Figure the National Portrait Gallery was determined to address the historical dominance of White male society figures in its collection, while thrusting itself into the main stage of contemporary art-making, presenting portraits from 22 African diasporic artists working today. Curator Ekow Eshun’s intention was to enable White visitors to “[see] from the viewpoint of Black artists and the figures they depict.” Showcasing these voices emphasizes the importance of Black experience and identity in a predominantly White society as an ongoing and urgent issue. — OM Firelei Báez Louisiana Museum , Humlebæk, Denmark, October 5, 2023–May 20, 2024 Curated by Mathias Ussing Seeberg and Assistant Curator Amalie Laustsen The ciguapa, a folkloric creature from Dominican culture, appears enigmatically in Firelei Báez’s work. It traverses the world with its feet turned backward, making it hard to locate, thus serving as a symbol of survival. Báez brings to life defiance through the sheer variety of color in her work, often in stark contrast to the staid world maps of colonial planners. In “Encyclopedia of gestures (Jeu du monde),” the painting features a bright, plumed figure crouching over the 17th-century board game Le Jeu du Monde (Game of the World) . The purpose of the game was to travel from the outer regions of the world to its center, which in this case was France, then on its way to usurping the Dutch as the world’s superpower. The show’s title evoked the possibility of memory as a form of resistance to written history, which is so often told through the lens of power, and Báez beautifully presented how vibrant cultural resistance can be. Like the ciguapa, she proved in this show that the tools of liberation can be found in coloring outside the lines. — AX Mina Exteriors: Annie Ernaux and Photography MEP – Maison Europeene de la Photographie , Paris, February 28–May 26, 2024 Curated by Lou Stoppard French writer Annie Ernaux, who won the 2022 Nobel Prize for Literature, is known for her acute depictions of fleeting, mundane life, which writer Lou Stoppard took as an inspiration for the immensely gratifying Exteriors . From the edgy instantaneity of Daido Moriyama and Henry Wessel, whose offhand portraits of strangers nevertheless hint at deep distress and physical trauma, to the melancholy of Hiro’s “Shinjuku Station” (1962), depicting dejected riders on a crowded train, and Dolorés Marat’s “Woman with Gloves” (1987), capturing a lone woman’s descent down the metro, Exteriors is an homage to close observation. Accompanied by excerpts from Ernaux’s writings, the exhibition underscored the tension between anonymity and encounters experienced in large cities. — EB Unravel: The Power and Politics of Textiles in Art Barbican Centre , London, February 13–May 26, 2024 Co-organized by the Barbican, London, and the Stedelijk Museum, Amsterdam An eclectic global showcase of artwork made from fabric and fibers, Unravel: The Power and Politics of Textiles in Art features 50 artists from about 30 countries . Exploring a massive web of interconnected human experiences — including political violence, loss and grief, identity and community, ancestry and survival, love and hope — the exhibition casts light on the terrible and beautiful alike. Wending through these works, which are, by turns, wrenching, tender, and galvanizing, textile techniques serve as both medium and metaphor. The show underscores the vast range of what textiles and fiber art can be and reveals powerful possibilities for protest and resistance. — Julie Schneider Frans Hals Rijksmuseum , Amsterdam, February 16–June 9, 2024 Curated by Friso Lammertse and Tamar van Riessen Amid the stoicism and seriousness emerging from the patronal studios of the 17th century Low countries, the Dutch Golden Age titan (and foil to Rembrandt) Frans Hals stood out by delighting in the absurdity of the human condition, and having no qualms about showing it. Between his paintings “The Regents” and “Malle Babbe,” what this exhibition, in fact, revealed was that Hals’s bold brushstrokes actually were upending social mores. Hals unabashedly equated the upper class and (so-called) social outcasts by portraying them all in similar states of debauchery and duress — in the end suggesting that everyone, regardless of status, is deserving of memorialization and respect. A pretty revolutionary, and lasting, gesture, particularly for the time. — Julie Baumgardner Rosana Paulino: Amefricana Fundación Malba , Buenos Aires, March 22–June 10, 2024 Curated by Andrea Giunta and Igor Simões Rosana Paulino’s 80-work survey at MALBA was a formidable reckoning of slavery’s legacy and enduring violence in Brazil. Leading visitors from Paulino’s sown fabric collages to monumental installations like “Parede da memória” (1994–2015), the exhibition centered her strategy of stitching, or suturing, diverse fragments of history. Images from her own family albums and centuries-old photographic records are printed onto various textiles and brought into dialogue with embroidery, botanical drawings, and myriad other vestiges of a fraught past that, Paulino suggests, has been inadequately considered. Though primarily concerned with the experience of Afro-Brazilian individuals — and Black and mixed-race women in the country in particular — the show has an urgent resonance in Argentina, whose acknowledgment of racism has arguably barely scratched the surface. Tellingly, Amefricana was the first solo exhibition of a Black artist at the Buenos Aires institution. — Valentina Di Liscia Paul Pfeiffer: Prologue to the Story of the Birth of Freedom Museum of Contemporary Art Los Angeles , November 12, 2023–June 16, 2024 Curated by Clara Kim and Paula Kroll Critics rightly read this show as a critique of sports, spectacle, and entertainment, but it also transformed the museum into a cathedral. The room-sized diorama of a vertigo-inducing, one-million-seat stadium, “Vitruvian Figure” (2008), was the altar. Photos of athletes defying gravity, stripped of logos and branding, were the tapestries. Disembodied cheers in “The Saints” (2007) were the voices of angels. I saw the people Pfeiffer brought into his projects to reenact sporting milestones as the congregation. Instead of obscuring the volunteers, the artist credits every participant in his didactics. Their names sprawl across the walls like donor plaques in a brand new church. — Renée Reizman Rick Dillingham: To Make, Unmake, and Make Again New Mexico Museum of Art , Santa Fe, October 6, 2023–June 16, 2024 Curated by Katie Doyle Rick Dillingham was a ceramic artist whose name I had never heard and whose work I had never seen until this exhibition. His artistic activities ran the gamut — the museum describes him as a scholar, author, collector, curator, and art dealer. He died from AIDS complications in 1994. He broke the pot down, both literally and figuratively, shattering and reassembling his reductive clay sculptures, then applying pigments; the exhibition showcases a creative approach that some people may see as appropriation, alongside a selection of works that influenced him, such as clay pots from the Indigenous communities and makers he knew. I sincerely wish I would’ve spent more time with this sleeper show because certainly there’s more to uncover. Luckily, the museum holds Dillingham’s archives, including his letters, glaze recipes, photos, and slides, in addition to numerous artworks, for future explorations. — NZ Claudia Joskowicz: Every Building on Avenida Alfonso Ugarte—After Ruscha Herbert F. Johnson Museum of Art , Ithaca, New York, January 27–June 23, 2024 Curated by Kate Addleman-Frankel Inspired by Ed Ruscha’s Every Building on the Sunset Strip (1966), a now-iconic book project that featured a photograph of every building on, you guessed it, the Sunset Strip in Los Angeles, Joskowicz turns that same framework into a two-channel video installation recording a major avenue in the Indigenous-majority city of El Alto, Bolivia. The museum’s immersive display was effective and the artist even managed to capture moments, like soldiers in riot gear in one instance, demonstrating how life has an odd way of creeping into art. A really beautiful project. — Hrag Vartanian I’ll Be Your Mirror: Reflections of the Contemporary Queer Various venues , Detroit, Michigan, May 31–June 30, 2024 Curated by Patrick Burton When I’ll Be Your Mirror , the second edition of the Mighty Real/Queer Detroit biennial, opened this past summer, the fact that it existed was cause to celebrate. When I was going to college in Detroit, many years ago, it was a different, dangerous environment. As it turned out, the biennial was filled with impressive works by local and national artists. In particular, Wayne State University’s Elaine L. Jacob Gallery presented a deftly curated selection in a range of media. Probably one of the country’s more under-sung university galleries, it’s played host to several shows over the years that would have garnered more attention in a higher-profile city. This was one such show. Among a number of standout works, a small, understated painting by Hugh Steers still lingers in my mind. — NH Jonathan Baldock: Touch Wood Yorkshire Sculpture Park , West Bretton, England, September 23, 2023–June 30, 2024 Organized by the institution “Touch grass” has become part of the internet’s lingo du jour, a reminder to get out and experience nature. Baldock’s Touch Wood brought to life some of the ways of nature that many modern societies have lost touch with, reviving myths like the Green Man, a symbol of birth and resurrection, here infused with contemporary queerness. In “They tried to bury me, They didn’t realise I was a seed,” Baldock sculpted a vase with the Green Man’s face, his tongue sticking out as a ceramic flower emerges into the sunlight. Four textiles placed in the center of the gallery represented the four seasons but also, importantly, symbols that were found scratched in church surfaces around the UK. It’s touching (wood) to look back on these textiles in particular, because they contain the phrase “You Enrich This World,” referencing a line from Shon Faye’s book The Transgender Issue: Trans Justice Is Justice for All (2022): “your existence enriches this world.” — AXM Imagined Fronts: The Great War and Global Media Los Angeles County Museum of Art , December 3, 2023–July 7, 2024 Curated by Timothy O. Benson, curator, Robert Gore Rifkind Center for German Expressionist Studies A single exhibition can never capture the whole visual history of World War I, but Imagined Fronts offered a broad overview of various national and cultural perspectives without neglecting the visual dynamism of the era’s art (thanks, in large part, to the holdings of LACMA’s Rifkind Center for German Expressionist Studies). Bringing archival materials together with artworks in multiple media — painting, drawing, documentary photography, propaganda posters, film, theater design, and more — LACMA had the means to go in depth, and did in a big enough way that some college-age gallery attendants seemed to be taking their first interest in the war that ushered the world into modernity. Although the usual artists and objects, like the Berlin Dadaists, German Expressionist filmmakers, and oft-seen posters, were on view (fair enough, for relevance), attention to the contributions of Indigenous, Arab, and other under-recognized combatants was refreshing. And, as I wrote in my review in July, it was a rare chance to see a haunting Otto Dix drawing in LACMA’s collection that speaks to nothing if not the trauma of war. — NH Paris 1874: Inventing Impressionism Musée d’Orsay , Paris, March 26 – July 14, 2024 Curated by Sylvie Patry and Anne Robbins Musée d’Orsay’s robust exhibition, organized on the 150th anniversary of the birth of Impressionism, conveyed the movement’s contentious spirit and diverse aims by zeroing in on its early days, when artists such as Édouard Manet and Auguste Renoir were still as likely to vie for a spot in the official Salon as to rebel against it. From taboo subjects, such as prostitution, to voyeurism and spectacle, the Impressionists in the d’Orsay show, including Renoir, Degas, and Monet, and non-Impressionist artists exhibiting alongside them, such as Cezanne, scandalized the public with their first independent show (a commercial flop) in April 1874. The critics rejected even the more understated portraits, for instance, Renoir’s “La Parisienne” (1874) and Berthe Morisot’s “The Cradle” (1872), also in this exhibition. Paris 1874 traced the varying fortunes of subsequent Impressionist salons and its artists, while bearing out the newcomers’ boldness, by contrasting them with a number of official Salon paintings, which hewed to stricter naturalism and to mythical, pastoral themes. — EB Woven Histories: Textiles and Modern Abstraction National Gallery of Art , Washington, DC, March 17–July 28, 2024 Organized by the National Gallery of Art, Washington, DC; the Los Angeles County Museum of Art; and the National Gallery of Canada, Ottawa. This iteration of the exhibition was curated by Lynne Cooke. This touring exhibition is sure to become one that scholars, artists, activists, and art lovers return to over and over, not only for its exploration of “the centrality of cloth and fiber in the history of modern art” but for its deep dive into abstraction’s powerful presence across cultures in an increasingly globalized, technology-obsessed world. Whether I was looking at pieces by Ruth Asawa, Shan Goshorn, Harmony Hammond, Ellen Lesperance, Neri Oxman/The Mediated Matter Group, Lyubov Popova, or any others of the nearly 160 works on view, I was filled with an overwhelming sense of awe at how artists have embraced textiles as tools for social and cultural expression and resistance. The show is currently on view at the National Gallery of Canada in Ottawa and then travels to MoMA. — NZ Selva Aparicio: In Memory Of DePaul Art Museum , Chicago, March 14–August 4, 2024 Organized by DePaul Art Museum, curated by Ionit Behar Selva Aparicio’s first museum solo exhibition confirmed the Barcelona native, now Chicago resident, as an emerging master of the memorial, on par with Doris Salcedo and Maya Lin. Her sculptures, graceful elevations of discarded and collected materials, often arduously worked, can be transcendently beautiful, as in a faithful reproduction of Catalonia’s largest rose window, with old lettuce leaves in place of stained glass. An upright piano filled with dozens of wasp nests combined the homey and the hellish, as did a white crochet blanket woven with hundreds of honey locust thorns. The therapeutic potential of great labor infused a mourning veil fashioned from 1,365 magicicada wings stitched together with hair, likewise the area rug from her childhood home, chiseled directly into the gallery floorboards throughout the duration of the show. Aparicio, coming by her commitment to death and trauma with unfortunate personal honesty, provided a merciful focal point for the grief of all. — Lori Waxman Christina Ramberg: A Retrospective Art Institute of Chicago , April 20–August 11, 2024 Curated by Thea Liberty Nichols and Mark Pascale The first comprehensive survey in nearly three decades of Christina Ramberg’s fetishistically fantastic paintings should clarify that one of the lesser-known Chicago Imagists has always been the most exciting. First she pictured women squeezed into the lacy undergarments of yesteryear, every sheen and thread individually rendered, every bulge of flesh impossibly smoothed, every torso contorted to fit the frame. Next, she turned gleaming brown hair into bonbons, urns, carved chairbacks, and bondage wraps for headless torsos. On to clothing, which she made of flesh, and flesh, of clothing. Echoes of S&M, comics, medical illustrations, decorative patterns, and mannequins reverberate in her personal archive of thrift-store dolls, scrapbooks, and diaries, generously revealed in an exhibition and catalog spanning her art student days in the 1960s through her too-early end, in 1995, from a neurodegenerative disease. — LW Loie Hollowell: Space Between, A Survey of Ten Years The Aldrich Contemporary Art Museum , Ridgefield, Connecticut, January 21–August 11, 2024 Curated by Amy Smith-Stewart Brooklyn-based Loie Hollowell’s first survey included three groups of paintings and that drawings that demonstrate her taste for time-based abstractions that cohere the world around her into attractive forms. Building on the legacy of early 20th-century modernist painting, she freely quotes everything from Tantric imagery to the Light and Space movement, and all with a sense of hopefulness that endows her art with a visual splendor. A wonderful survey exhibition by an artist we are sure to see a lot from in the years ahead. — HV Surrealism: Other Myths National Museum , Warsaw, May 10–August 11, 2024 Curated by Hanna Doroszuk Against the common wisdom that Surrealism took hold primarily in Western Europe, the ambitious Surrealism: Other Myths presented over 60 Polish artists working across painting, drawing, photography, and film who, while not officially part of the movement, nevertheless placed an emphasis on the subconscious and dreams, and experimented with its pioneering techniques, such as montage and automatism, to uncanny effect. Particularly impactful was the section dedicated to the readymade, which included a wide range of surrealist boxes and art objects, from Marek Piasiecki’s 1950s and ’60s dismembered dolls and Wladyslaw Hasior’s ’70s sculptural insects to the eerie ’80s sculptures alluding to anatomy like breasts and vaginas by Erna Rosenstein, to, finally, Dominika Olszowy’s “Nocturne” (2024), a dreamy domestic environment inhabited by twig-sprouting teacups and headless statues. — EB Tamuna Sirbiladze: Not Cool but Compelling Belvedere 21 , Vienna, March 22–August 11, 2024 Curated by Sergey Harutoonian and Vasilena Stoyanova Had Tamuna Sirbiladze lived longer, Not Cool but Compelling might have been a retrospective of an established artist rather than an introduction for many to a formidable talent. When Sirbiladze died of cancer-related causes in 2016, she left behind a body of searing paintings, in many cases reflecting the most intimate parts of the psyche. This incredible, thoughtfully curated exhibition offered a chronological tour through her artistic evolution. For me, and likely others who were unfamiliar with the artist, it was a revelation. It’s unfortunate that Sirbiladze is not here to see her art appreciated, but the more it’s exposed, the more her deeply expressive paintings will forge connections with those who encounter them. — NH Four Chicago Artists: Theodore Halkin, Evelyn Statsinger, Barbara Rossi, and Christina Ramberg Art Institute of Chicago , May 11–August 26, 2024 Curated by Mark Pascale, Stephanie Strother, and Kathryn Cua This tightly curated exhibition overlapped with museum’s Christina Ramberg: A Retrospective. The pairing was revelatory because it focused on a major, under-recognized artist and explored the communal spirit that characterizes Chicago’s art history and its artists’ determination to pursue visions that had nothing to do with trends in the New York art world, and that scene’s emphasis on lineage, progress, and the universality of geometry. By rejecting hierarchies and the artistic standards established by critics Clement Greenberg and Harold Rosenberg, the Chicago art world offered an alternate vision of how artists from various generations can interact. Educated at the School of the Art Institute of Chicago during different eras, all four artists were committed to drawing and creating meticulous work on a modest scale in a wide range of mediums and technique, including paint on Plexiglas, photograms, prints, and quilting. The exhibition — thoughtfully curated by Mark Pascale, Stephanie Strother, and Kathryn Cua — also included “untitled” (c. 1970), an exquisite corpse drawing by Philip Hanson, Christina Ramberg, and Evelyn Statsinger. That forgoing of the artist’s ego for a joint effort was a welcome reminder of what is possible. — John Yau Suzanne Valadon: A Modern Epic Museu Nacional d’Art de Catalunya , Barcelona, Spain, April 19–September 1, 2024 Organized by the Museu Nacional d’Art de Catalunya in collaboration with the Centre Pompidou-Metz and the Musée d’Art de Nantes. Curated by Eduard Vallès and Philip-Dennis Cate. During my visit to this monumental show, one museum-goer sat on the floor with colored pencils and a sketchbook in front of “The Blue Room,” a 1923 painting of a woman in repose, smoking a cigarette. It wouldn’t be the first time an artist took inspiration from Suzanne Valadon , the unflappable self-taught French painter who rendered herself and other women with bold brushstrokes and aplomb. Though her role as a model for Henri de Toulouse-Lautrec, Edgar Degas, and other men overshadowed some of her oeuvre after her death, A Modern Epic laid bare the staggering range of her artistic skill while situating her within the bohemian landscape of early 20th-century Paris. (Case in point: She and composer Erik Satie briefly dated, and their side-by-side portraits of one another confirmed that they chose their respective pursuits wisely.) Valadon’s tender portraits of women thinking, resting, and spending time together subvert that ubiquitous pattern across art history of men painting their projections onto women. Her 1924 “Woman in White Stockings” is unbothered and assured; her 1927 self-portrait doesn’t feel the need to put on a smile. When I reached the reading room at the end of the exhibition, I found that I wanted to pick up a pencil, too. — Lakshmi Rivera Amin George Grosz: The Stick Men Heckscher Museum of Art , Huntington, New York, May 11–September 1, 2024 Curated by Karli Wurzelbacher, Pay Matthis Karstens, and Alice Delage George Grosz: The Stick Men was a really good small exhibition that explored the German Expressionist’s life in Long Island, weaving some of his politics with the post-World War II amnesia of the era. Organized with the Das Kleine Grosz Museum in Berlin, The Stick Men drawings were the focus and the curators used them to explore Grosz’s complicated political ideas and how these artworks of hollow men sought to portray the contradictions of life in the West. — HV Matisse: The Red Studio Fondation Louis Vuitton , Paris, May 4–September 9, 2024 Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, The Museum of Modern Art, and Dorthe Aagesen, Chief Curator and Senior Researcher, SMK – National Gallery of Denmark; with the assistance of Charlotte Barat, Madeleine Haddon, and Dana Liljegren; and with the collaboration of Georges Matisse and Anne Théry, Archives Henri Matisse, Issy-les-Moulineaux, France This exceptional exhibition reunited Henri Matisse’s 1911 painting of his studio with the actual artworks depicted in it. A massive undertaking, the show was originally organized by and displayed at New York’s Museum of Modern Art in 2022. There was, however, an added magic to seeing it in Paris, not too far from Matisse’s atelier in Issy-les-Moulineaux. Positioned at the center of the gallery, “The Red Studio” (acquired by MoMA in 1949) served as a pictorial index of the surviving works flanking it. The second half of the show contextualized the painting with tidbits about how it was rejected by the Russian patron who originally commissioned it and belonged at some point to a British nightclub owner. Hats off to the curators and researchers involved in assembling this enchanted time capsule and feat of curatorial work. — Hakim Bishara Mickalene Thomas: All About Love The Broad , Los Angeles, May 25–September 29, 2024 Co-organized by the Hayward Gallery, London, United Kingdom and the Broad, Los Angeles, in partnership with the Barnes Foundation, Philadelphia. This iteration of the exhibition was curated by Ed Schad. In Eartha Kitt’s throaty rendition of Antonio Machín’s song “Angelitos Negros,” the late performer implores, “Painter / If you paint with love / Paint me some black angels now.” In one room of her retrospective at The Broad, Mickalene Thomas displayed an eight-channel video work named after the song that mixes found archival footage of Kitt with contemporary footage Thomas captured of herself and some of the women she regularly paints. Looking back on the exhibition now, as so many of us are wondering how to weather the fickle and violently changing winds of this world, that piece especially stands out in the way that it echoes across time and Thomas takes up Kitt’s charge. The show, now at the Barnes Foundation in Philadelphia and traveling to London and France in 2025, offers a glimpse into the artist’s body of work, charting a determined and devoted path of love, care, curiosity, and recognition of women, and in particular, Black women. Her steady focus stands in contrast to that of political and corporate leaders, along with the countless sycophants chasing their favor, who constantly recalculate who among us is entitled to our full humanity, rather than insisting that it’s always all of us. — Alexis Clements Saints, Sinners, Lovers and Fools: Three Hundred Years of Flemish Masterworks Montreal Museum of Fine Arts , June 8–October 25, 2024 Curated by Katharina Van Cauteren In 2024, as fools kept rushing in where angels fear to tread, a Flemish painting show in Montreal exploring the many guises of the fool became hauntingly prescient. Antwerp’s bourgeoisie surrounded themselves with painting of folly, perhaps believing that these vivid portrayals might coax them into wiser choices. Standout pictures include Jan Massys’s painting of fools embracing, Jan Sanders van Hemessen’s rare portrait of an aging female jester, and Frans Verbeeck’s magnum opus of a peasant bacchanal. After the bloody massacre and sacking of Antwerp in 1576, euphemized as the Spanish Fury, the Antwerp art market collapsed and this widespread artistic preoccupation with fools essentially died with it. By spotlighting the Flemish fool as a unique moment in art history with several ravishing pictures, the show gave a whole new meaning to suffering fools gladly. — Daniel Larkin 2024 Inaugural Exhibition The Campus , Hudson, New York, June 30–October 27, 2024 Curated by Timo Kappeller in partnership with NXTHVN What do you get when you pack six tenacious New York City galleries into an abandoned high school in Hudson? The result of this unlikely experiment, now officially known as The Campus and unveiled this summer, was surprisingly less cliquey than it sounds ... perhaps even ... wholesome? Beyond the project’s intrinsic spirit of camaraderie, its debut show, nonchalantly titled 2024 Inaugural Exhibition , was notable for its thoughtful juxtapositions: works by Lara Schnitger and Yinka Shonibare across a sprawling gym, sculptures by Francesca DiMattio and photographs by Talia Chetrit sharing an intimate classroom. A section devoted to the Studio Fellows of the Connecticut nonprofit XTHVN felt fresh, breaking up the familiar roll call of mid-career and established names. The exhibition may be a harbinger of more collaborative undertakings in the notoriously ruthless art world. — VD The Plastic Bag Store: a tragicomic ode to the foreverness of plastic MASS MoCA , North Adams, Massachusetts, May 9–November 3, 2024 Organized by the museum with the artist The power of plastic is non-negotiable: Our entire planet is utterly dependent upon it and our society could not function without it. Among the most outstanding art events of my cultural year was a visit to MASS MoCA to experience The Plastic Bag Store by Robin Frohardt. Commissioned by Times Square Arts, this outrageous project premiered in New York City in 2020 and has since traveled to Los Angeles, Chicago, Austin, Adelaide, and North Adams. Consisting of an elaborate sculptural installation, a live site-specific performance, and a video screening in a cavelike room filled with plastic bags, and ending with a visit to a faux museum of plastic, The Plastic Bag Store was an unforgettable Gesamtkunstwerk . The show left me gutted and chuckling at once, both mentally wrecked by the sheer in-your-face reality check of plastic overkill (literally everything is affected by plastic) and giggling at the delightfully inventive orchestration of plastic to make the point (indeed we are screwed). Frodhardt, an award-winning theater and film director, is a magician in her ability to transform common plastic bags into a full-scale art installation while weaving in comical charm and a critical edge to playfully comment on over-consumption and convenience. — Taliesin Thomas John Akomfrah’s Listening All Night to the Rain at the Great Britain Pavilion Giardini at the Venice Biennale , Venice, Italy, April 20–November 24, 2024 Curated by Tarini Malik Out of all the pavilions at this year’s Venice Biennale, Akomfrah’s installation was the most political, and aesthetically sophisticated. It used technology as a way to chart collective memory and soundscapes that sometimes reveal themselves in what can feel like sonic archeology. Each “canto” was a bead in a necklace of insights that floated in my imagination. — HV Sculpting with Light: Contemporary Artists and Holography Getty Center , Los Angeles, August 20–November 24, 2024 Curated by Virginia Heckert In 1975, critic Hilton Kramer called Holography ’75 , a show at the then newly opened International Center for Photography, a “dismal demonstration of the distance ... between advanced technological invention and the serious artistic mind.” Nearly 50 years later, Sculpting with Light demonstrated how modern and contemporary artists instrumentalize the maligned form’s otherworldly kitsch to address the rapid aesthetic shifts of today’s innovation gristmill. Relics of visual culture took on a haunting glow in the exhibition: John Baldessari’s “It’s Alive” (1997–98) shows a shot of Boris Karloff in 1931’s Frankenstein , his face frozen in a reanimated stare, and Ed Ruscha’s “The End #1-#4” (1998/2016) features the serifed text of an outdated credit sequence hovering eerily over a white background. The holograms on view don’t necessarily prove Kramer wrong; instead, they reveal how even the most cutting-edge technologies will eventually become art: historical, self-contained, and a little scary. — Claudia Ross Carrie Mae Weems: Remember to Dream Hessel Museum of Art at Bard College , Annandale-on-Hudson, New York, June 22–December 1, 2024 Curated by Tom Eccles This summer and fall two excellent exhibitions were concurrently on display at the Hessel Museum of Art at Bard College, but the Carrie Mae Weems show in particular was truly spectacular. Made up of Weems’s lesser known pieces, the show took up nine of the museum’s galleries, each focused on one body of work, and it allowed for visitors to immerse themselves in the complexity of the artist’s ideas. The early photo work Family Pictures and Stories (1978–84) charts what may be the earliest influences on her ideas, and it just appears to be another layer in the artist’s interest in reflecting social realities through intimate and mundane objects. With each series, Weems appears to turn personal stories into the stuff of legend. — HV Ho Tzu Nyen: Time & the Tiger Hessel Museum of Art at Bard College , Annandale-on-Hudson, New York, June 22–December 1, 2024 Organized by the Singapore Art Museum and Art Sonje Center, Seoul, South Korea in collaboration with the Hessel Museum of Art and Mudam Luxembourg—Musée d’Art Moderne Grand-Duc Jean. This iteration of the exhibition was curated by Lauren Cornell and Tom Eccles. The exhibition program at the Hessel Museum at Bard College in Upstate NY is among the strongest in the region, and this year was no exception, with several outstanding shows, including Ho Tzu Nyen: Time & the Tiger . Born in Singapore in 1976, Ho is widely regarded as a leading interdisciplinary artist of his generation, working in a diverse range of media, including video, digital animation, writing, and performance. His dynamic installations comment on the realities, histories, and fictions of his native Southeast Asia. Time & the Tiger featured five immersive multimedia stations spread throughout the museum’s gallery spaces, each presenting mixed footage from historical events, documentaries, music videos, and other vehicles for cultural narratives. Ho’s ongoing exploration of identity offers a poignant critical examination of how personal and cultural stories are both imagined and performed. — TT Haegue Yang: Flat Works The Arts Club of Chicago , September 18–December 20, 2024 Curated by Orianna Cacchione This sleeper show was a joyous cultural celebration of paper cutting and how a contemporary artist is transforming the medium, while embracing its long history. Very un-Matisse-like in their layered temperament, Yang’s works mine folk and decorative traditions to create Rorschach-like forms that plumb the depths of what can feel like psychologically charged imagery. — HV Beatriz da Costa: (un)disciplinary tactics Los Angeles Contemporary Exhibitions (LACE) , September 7, 2024–January 5, 2025 Curated by Daniela Lieja Quintanar and Ana Briz Beatriz da Costa saw that every living thing could be creative, including vermin. She turned pigeons, cockroaches, and mice into artistic collaborators. The birds in “PigeonBlog” (2006–8) measured pollution, the cockroaches in “Zapped!” (2004–6) toyed with surveillance, and the mice used in medical research writhing in pain across the series Dying for the Other were choreographed dancers of sorts, dying from the same cancer that ate de Costa from the inside out. Her life was brief, but she was a workhorse, and she produced enough art to earn this small retrospective. The exhibition, a sentimental marriage of art and engineering, demonstrated that she spent every moment tinkering, teaching, and thriving. — RR The Dance of Life: Figure and Imagination in American Art, 1876–1917 Yale University Art Gallery , New Haven, Connecticut, September 6, 2024–January 5, 2025 Curated by Mark D. Mitchell This was an inspirational exhibition that reminded visitors that the United States once fostered populist arts that promoted democracy and its associated institutions. This large show focuses on three public buildings that commissioned major site-specific works in the post-Civil War era (Boston Public Library, Library of Congress, Pennsylvania State Capitol) and we are given a full range of sketches and oil studies by those and other major American artists (Edwin Austin Abbey, Edwin Blashfield, Daniel Chester French, Violet Oakley, Augustus Saint-Gaudens, and John Singer Sargent). The effect is immersive and rich, providing insight into the evolving language of democracy in a country that had just a few decades before surfaced from a deadly national conflict. Experiencing the immense beauty of Edwin Austin Abbey’s large oil on canvas study for “The Hours” at the Pennsylvania State Capitol alone is worth a visit, but there are numerous other incredible works to behold, like Henry Siddons Mowbray’s “Muse of Electricity,” which was commissioned for a New York mansion and evokes the classical style of so much of the democratic imagery emerging during the era. While the US might be in the throes of oligarchs at the moment, it’s a good reminder that democracy is something we all engage with and fight for. — HV Crip Arte Spazio: The DAM in Venice CREA Cantieri del Contemporaneo , Venice, April 16, 2024–January 10, 2025 Curated by David Hevey Running concurrently with the Venice Biennale, whose theme was “Foreigners Everywhere,” this exhibition brought to life the work of a community often othered to the point of foreignness: the UK’s Disability Arts Movement in the 1970s. Jason Wilsher-Mills’s “I Am Argonaut,” a large fiberglass and acrylic sculpture, explored the experience of becoming disabled during puberty, with written statements about his experience etched along the figure’s body. Simon Roy’s graphic novel illustrations featured major figures like Deborah Williams , who pushed for the Disability Discrimination Act 1995 and Equality Act 2010. Prescient but also timeless was Ker Wallwork’s Merg , an animated short story set in London about the bureaucracy of care — and lack thereof — told predominantly through paperwork. As Williams is quoted saying: “It was an inaccessible society that disabled us, not the crip body.” — AXM Van Gogh: Poets and Lovers National Gallery , London, September 14, 2024–January 19, 2025 Curated by Cornelia Homburg and Christopher Riopelle Great artists come round again and again, as if on an ever-revolving carousel. The trick is to present them afresh: new themes and new insights; surprising juxtapositions; works wrested from galleries perhaps reluctant to lend, or from the ferocious grip of private collectors who fear separation from their most treasured possessions. Curator Cornelia Homburg achieved all these ambitions in a show that wowed the most hardened of critics. One of the two key thematic elements was van Gogh’s lifelong fascination with poetry, announced in the exhibition’s very first gallery, which presented his only portrait of the young man van Gogh chose to characterize as The Poet — he was a Belgian painter called Eugène Boch — and a view of the public garden where he imagined great poets from antiquity wandering and conversing. — Michael Glover Jeremy Frey: Woven Art Institute of Chicago , October 26, 2024–February 10, 2025 Organized by the Portland Museum of Art, Maine and curated by Ramey Mize and Jaime DeSimone. This iteration of the exhibition was organized by Andrew Hamilton. With striking silhouettes and hypnotic textures, high-craft sculptures dazzle in Jeremy Frey: Woven. This show marks the sculptor’s first museum exhibition in his two-decade career, and his artistic voice shines through bright and clear, in harmony with those of his ancestors. Some 50 of the seventh-generation Passamaquoddy basket maker’s vessels take the spotlight (several of which have recently joined major institutional collections), alongside a selection of elegant relief prints based on basket designs. A lush, wordless 11-minute video shadows the artist through each stage of making a basket, following in the footsteps of his predecessors: Felling a slim brown ash tree in Maine’s northern forests, splitting and dyeing thin strips of wood, weaving with nimble hands. Embedded with open-ended reflections on the environment and art, legacy and land, the exhibition situates Wabanaki basketry squarely in the realm of the art museum and Frey as a contemporary artist to watch. — Julie Schneider Preoccupied: Indigenizing the Museum Baltimore Museum of Art , April 21, 2024–February 16, 2025 Curated by Dare Turner and Elise Boulanger I’m not sure if calling this an exhibition is correct, considering that there are many aspects to this project, which includes community interventions and conversations that are not visible to most visitors, but the resulting exhibits distributed around the museum and organized by curator Dare Turner add up to an impactful and wide-ranging display of contemporary Native American and First Nations art by some of the leading practitioners today. The project includes a solo presentation by Dana Claxton, which was an absolutely stunning show in itself; as well as one by Dyani White Hawk, perfectly arranged in the Modern galleries; Laura Ortman, located in a quiet corner so you can enjoy the immersive quality of the work; Nicholas Galanin, who shines when allotted the space; and so many others, including the truly superb video program — I can’t remember the last time an hour of viewing flew by in a museum gallery. Even group shows like Illustrated Agency were a delight as the list of artists (Wendy Red Star, Julie Buffalohead, Rose B. Simpson, Alan Michelson, and to name a few) was perfectly chosen. Once you get past the notion that Preoccupied is “one” show, and allow yourself to wander throughout the institution, it is a worthwhile exploration that foregrounds Indigenous North American art as foundational to contemporary art on this continent. —HV Get in the Game: Sports, Art, Culture San Francisco Museum of Modern Art , October 19, 2024–February 18, 2025 Curated by Jennifer Dunlop Fletcher, Seph Rodney, and Katy Siegel Art and sports occupy separate and rarely intersecting spheres in the American imagination (@artbutmakeitsports is a notable exception), but as a lifelong superfan of both, I’ve long thought about the connection between the “unnecessary” but ubiquitous existence of art and sports across human history and cultures. Aiming to illuminate that connection, SFMOMA’s expansive show feels as sprawling and teeming as a football stadium — and it’s just as fun and filled with talent. My favorites include Catherine Opie’s 2012 nude portrait of swimmer Diana Nyad’s near abusive tan lines, Hank Willis Thomas’s “Guernica” (2016), composed of famous players’ basketball jerseys, Maurizio Cattelan’s “Stadium” (1991), a working foosball table for 22 players (that you’re allowed to play), and Tabitha Soren’s “Net Impact” (2024), in which piercing portraits of young baseball players, bone fragments, and sport-specific netting strongly imply that sports and religion share their own close connection. — BQ Broken Boxes: A Decade of Art, Action, and Dialogue Albuquerque Museum , September 7, 2024–March 2, 2025 Curated by Ginger Dunnill and Josie Lopez This group exhibition gave me a new appreciation for a curatorial format that, for me at least, can often feel forced or just plain boring. Featuring works by 23 artists who participated in the Broken Boxes Podcast, the show resists thematic homogeneity by highlighting each artist according to relationships rather than aesthetics. Here, the artists’ voices are literally amplified, creating an ambient soundtrack for the show and offering visitors multiple perspectives on art making and meaning. With sculptures, installations, films, and more that embody topics like mental and physical health, Indigenous sovereignty, and migration, I was compelled to visit multiple times, eagerly trying to commit it all to memory. — NZ Sci-Fi, Magick, Queer L.A.: Sexual Science and the Imagi-Nation USC Fisher Museum of Art , Los Angeles, August 22, 2024–March 15, 2025 Curated by Alexis Bard Johnson Science fiction fandom, occult societies, and queer organizing are the three areas that structure this exhibition, but all are rooted in the drama and fantasy endemic to Los Angeles. Spanning the 1930s through the ’60s, the show expertly balances archival materials and fine art to tell interweaving stories without neglecting the extraordinary art that came out of countercultural groups like the LA Science Fantasy Society and Ordo Templi Orientis. Co-organized with USC’s vast LGBTQ+ repository, ONE Archives, the show is a rabbit hole of otherworldly, occult, and extraterrestrial tales that I didn’t want to leave — and that doesn’t even touch on its glam aesthetic. Extended into 2025 (though closed until January 14), anyone with even a passing interest in the subject matter should see it if they can. — NH The Living End: Painting and Other Technologies, 1970–2020 Museum of Contemporary Art (MCA) Chicago , November 9, 2024–March 16, 2025 Curated by Jamillah James and Jack Schneider This ambitious display seems eager to chart how technology has extended painting in new ways. It’s a fascinating show in which archival work contextualizes so much of the art. The more recent artists’ wanderings are just as interesting, albeit incomplete and sometimes soliciting headscratching. Overall it’s a delight to investigate and find connections between art projects that span decades and communities. Even on an entire floor of the museum it feels like this show is just the beginning of a far larger exploration that I hope is expanded. As an added bonus, a must-see display of works by Arthur Jafa in the MCA’s collection is on view. It was one of the finest ways to survey those works I’ve yet to see. Do yourself a favor and check out both. — HV By dawn’s early light Nasher Museum of Art at Duke University , Durham, North CarolinaAugust 1, 2024–May 11, 2025 Organized by Xuxa Rodríguez, Patsy R. and Raymond D. Nasher Curator of Contemporary Art, with support from Julianne Miao, Curatorial Assistant Where are we now, some 60 years after the Civil Rights Act of 1964 and the Voting Rights Act of 1965? That’s the question this exhibition examines through a selection of outstanding works from the Nasher’s collection. Artists include Titus Kaphar, Hank Willis Thomas, Nari Ward, Fred Wilson, Jaune Quick-to-See Smith, Barkley L. Hendricks, Mel Chin, Scherezade García, and many other greats. The answer to this loaded question is elusive and incomplete as it’s still soaked in blood and tears. — HB 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

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OAKLAND, Calif. , Dec. 2, 2024 /PRNewswire/ -- On November 29, 2024 , PG&E Corporation (NYSE: PCG) declared its fourth-quarter 2024 regular cash dividend of $0.025 per share on the Corporation's common stock. The dividend is payable on January 15, 2025 , to shareholders of record as of December 31, 2024 . In addition, PG&E Corporation's utility subsidiary, Pacific Gas and Electric Company (PG&E), declared the regular preferred stock dividend for the three-month period ending January 31, 2025 , to be payable on February 15, 2025 , to shareholders of record as of January 31, 2025 . PG&E will pay dividends on its eight series of preferred stock as follows: First Preferred Stock, $25 Par Value Quarterly Dividend to be Paid Per Share Redeemable 5.00 % $0.31250 5.00% Series A $0.31250 4.80 % $0.30000 4.50 % $0.28125 4.36 % $0.27250 Non-Redeemable 6.00 % $0.37500 5.50 % $0.34375 5.00 % $0.31250 About PG&E Corporation PG&E Corporation (NYSE: PCG) is a holding company headquartered in Oakland, California . It is the parent company of Pacific Gas and Electric Company, an energy company that serves 16 million Californians across a 70,000-square-mile service area in Northern and Central California . For more information, visit http://www.pgecorp.com . View original content to download multimedia: https://www.prnewswire.com/news-releases/dates-set-for-pge-quarterly-stock-dividends-302319353.html SOURCE PG&E CorporationCarson Beck makes major announcement about his futureFORT MYERS, Fla. (AP) — Zavian McLean scored 18 points to lead FGCU and Michael Duax secured the victory with a free throw with 21 seconds left as the Eagles defeated Florida International 60-59 on Sunday. McLean shot 7 for 12, including 2 for 5 from beyond the arc for the Eagles (2-5). Rahmir Barno scored 11 points and added five assists and three steals. Jevin Muniz shot 2 of 7 from the field and 5 for 5 from the line to finish with nine points. Jayden Brewer finished with 18 points and eight rebounds for the Panthers (2-5). Jonathan Aybar added 12 points for Florida International. Dashon Gittens also had seven points and eight rebounds. McLean scored 14 points in the first half and FGCU went into the break trailing 30-29. Barno scored a team-high nine points for FGCU in the second half. FGCU outscored Florida International by two points over the final half. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .

Herbert tosses 3 TD passes and Chargers secure a playoff spot with a 40-7 rout of Patriots FOXBOROUGH, Mass. (AP) — Justin Herbert threw three touchdown passes and the Los Angeles Chargers clinched their second playoff appearance in three seasons with a 40-7 victory over the New England Patriots. The win also secured the fourth postseason appearance in Jim Harbaugh’s five seasons as an NFL coach, adding to the three he made during his stint with tAshe San Francisco 49ers. Herbert finished 26 of 38 for 281 yards to become the third player in NFL history with at least 3,000 passing yards and 20 touchdown passes in each of his first five seasons. The Patriots have lost six straight games, their second such losing streak of the season. They are now 2-14 the last two seasons at home. Dallas' Naji Marshall gets 4-game suspension, Phoenix's Jusuf Nurkic is banned 3 games for fight The NBA has suspended Dallas Mavericks forward Naji Marshall for four games and Phoenix Suns center Jusuf Nurkic for three games for their roles in an on-court fight during Friday night’s game. Dallas forward P.J. Washington was suspended for one game. All of the suspensions are without pay. Nurkic was called for an offensive foul while being guarded by Daniel Gafford with 9:02 left in the third quarter before the altercation quickly escalated. Nurkic confronted Marshall before taking an open-handed swing at his head and then Marshall responded with a punch. Washington quickly shoved Nurkic to the ground before the teams were separated. The NBA said Marshall “attempted to further engage Nurkic in a hostile manner in the corridor outside the locker rooms.” Shohei Ohtani to become a father for the 1st time in 2025 LOS ANGELES (AP) — Shohei Ohtani is adding a newcomer to his family lineup. The Los Angeles Dodgers superstar has posted on his Instagram account that he and wife Mamiko Tanaka are expecting a baby in 2025. The photo shows the couple's beloved dog, Decoy, as well as a pink ruffled onesie along with baby shoes and a sonogram that is covered by a baby emoji. Ohtani announced in February that he had married Tanaka, a former professional basketball player from his native Japan. The news from the intensely private player stunned Ohtani's teammates and his fans. Eli Manning and Antonio Gates are among the finalists for the Pro Football Hall of Fame Two-time Super Bowl MVP Eli Manning, former Defensive Players of the Year Luke Kuechly and Terrell Suggs, and prolific tight end Antonio Gates are among the finalists for the 2025 Pro Football Hall of Fame class. The Hall on Saturday announced the names of the 15 modern-era finalists who advanced from a group of 25 to the final stage of voting. The selection committee will vote next month to pick the class of between three and five modern-era players that will be announced the week of the Super Bowl. Georgia QB Carson Beck announces plan to enter NFL draft after season-ending elbow injury Georgia quarterback Carson Beck has announced his plans to enter the NFL draft, five days after having season-ending elbow surgery. The fifth-year senior made his NFL plans official on social media. Beck suffered a right elbow injury in the first half of the Bulldogs’ 22-19 overtime win over Texas in the Southeastern Conference championship game on Dec. 7. Beck had surgery on Monday to repair his ulnar collateral ligament in the elbow. He is expected to begin throwing next spring. Backup Gunner Stockton will make his first start in the Sugar Bowl against Notre Dame on Wednesday. Victor Wembanyama plays 1-on-1 chess with fans in New York Victor Wembanyama went to a park in New York City and played 1-on-1 with fans on Saturday. He even lost a couple of games. Not in basketball, though. Wemby was playing chess. Before the San Antonio Spurs left New York for a flight to Minnesota, Wembanyama put out the call on social media: “Who wants to meet me at the SW corner of Washington Square park to play chess? Im there,” Wembanyama wrote. It was 9:36 a.m. And people began showing up almost immediately. Mavs star Luka Doncic is latest pro athlete whose home was burglarized, business manager says DALLAS (AP) — Luka Doncic of the Dallas Mavericks is the latest professional athlete whose home has been burglarized. The star guard’s business manager tells multiple media outlets there was a break-in at Doncic’s home Friday night. Lara Beth Seager says nobody was home, and Doncic filed a police report. The Dallas Morning News reports that jewelry valued at about $30,000 was stolen. Doncic is the sixth known pro athlete in the U.S. whose home was burglarized since October. Star NFL quarterbacks Patrick Mahomes of Kansas City and Joe Burrow of Cincinnati are among them. The NFL and NBA have issued security alerts to players over the break-ins. Panthers place 1,000-yard rusher Chuba Hubbard on IR for final 2 games with strained calf CHARLOTTE, N.C. (AP) — The Carolina Panthers have shut down leading rusher Chuba Hubbard for the final two games of the season because of a strained calf. He was placed on injured reserve Saturday. Hubbard was limited in practice Friday with a knee injury and was listed as questionable to play Sunday against the Tampa Bay Buccaneers. After practice, Hubbard complained of pain and had an MRI, which revealed a grade two calf strain, according to the team. Hubbard ran for 1,195 yards and 10 touchdowns this season. He becomes the third Panthers running back to be placed on injured reserve this season, joining Miles Sanders and rookie Jonathan Brooks. Patriots QB Drake Maye returns to game after evaluation for head injury vs. Chargers FOXBOROUGH, Mass. (AP) — Patriots rookie quarterback Drake Maye has returned to the game after being evaluated for a head injury following a blow to the helmet in the first quarter of New England’s matchup with the Los Angeles Chargers. Maye was scrambling near the sideline on third down of the Patriots’ first possession of the game when he was hit by Chargers cornerback Cam Hart. Maye stayed down on the turf for several seconds before eventually getting up and jogging off the field on his own power. He briefly sat on the bench before going to the medical tent and then the locker room. He was replaced by backup Jacoby Brissett in the next series. But Maye returned at the 10:15 mark of the second quarter. Corbin Burnes and Arizona Diamondbacks agree to $210 million, 6-year deal, AP source says PHOENIX (AP) — Corbin Burnes and the Arizona Diamondbacks have agreed to a $210 million, six-year contract, a person familiar with the negotiations told The Associated Press. The person spoke to the AP on condition of anonymity because the deal was pending a successful physical. The 30-year-old Burnes was perhaps the top free agent pitcher on the market after going 15-9 with a 2.92 ERA for Baltimore last season. The Orioles acquired the right-hander in a February trade after he spent his first six major league seasons with the Milwaukee Brewers.

Javier Palomarez, President & CEO of the USHBC, Supports Andrew Ferguson for Chair of the Federal Trade CommissionNerdy Inc. CEO Charles Cohn acquires $534,000 in stockInteractive Brokers (Nasdaq: IBKR), an automated global electronic broker, has introduced significant enhancements to its web-based Advisor Portal , bringing advanced trading and portfolio management tools to financial advisors worldwide. These updates streamline client account management and trading by integrating powerful features from the company’s flagship desktop platform into its web-based offering. The latest enhancements include tools like Portfolio View, Allocation, Rebalance, and Tax Loss Harvesting, all designed to help advisors optimize client portfolios efficiently. Additionally, US-based advisors can now access the AI Commentary Generator, a cutting-edge generative AI tool that simplifies the creation of custom portfolio performance reports and market commentary. “Our web-based Advisor Portal is now more powerful than ever, offering advisors the same robust trading and portfolio management experience they’ve come to expect from our desktop platform,” said Steve Sanders, Executive Vice President of Marketing and Product Development . “With tools like the AI-powered Commentary Generator, we’re empowering advisors to save time, deliver value, and focus on what matters most: their clients.” Advisor Portal gives financial advisors web-based access to Interactive Brokers’ technology and other resources at no charge, including: PortfolioAnalyst® , a client relationship management (CRM) dashboard, activity statements, QuickTrade, Investors’ Marketplace and more. The latest enhancements bring industry-leading trading tools from its Trader Workstation desktop platform to the web-based portal: Introducing the AI Commentary Generator US-based financial advisors can easily create custom portfolio performance reports and market commentary using the AI Commentary Generator, a new generative AI-enabled tool available through the Advisor Portal. The AI Commentary Generator is integrated with PortfolioAnalyst reporting and is designed to help – not replace – advisors with client portfolio performance reporting, market updates and ticker-specific news. By combing through dozens of sources and citing them for the advisor’s convenience, the AI Commentary Generator conducts research in seconds that would otherwise take hours to complete. The AI Commentary Generator provides four sections of content: Interactive Brokers’ free portfolio management offering, PortfolioAnalyst, offers a unified and holistic view of client accounts plus an extensive selection of reporting and analytics content. It enables advisors to consolidate their clients’ finances from over 15,000 financial institutions, assess client portfolios and simplify investment decision-making. “We’re excited about our clients’ early response to the AI Commentary Generator in the US and look forward to rolling it out to advisors worldwide,” said Sanders. “Interactive Brokers is always looking for new ways to apply innovation and automation to help advisors everywhere be more efficient and more engaged with their clients.”

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