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Global Cases Surpass 1.5 Million; N.Y. Deaths Jump: Virus Update

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(Bloomberg) -- Global cases of the coronavirus topped 1.5 million, less than a week after surpassing the 1 million mark. New York, the U.K. and Belgium reported their deadliest days so far. Spain’s fatalities and new cases rose to the highest in four days. U.K. Prime Minister Boris Johnson is stable and responding to treatment at a London hospital.U.S. Democrats are seeking at least $500 billion in the next stimulus bill, and Hong Kong announced a fresh package valued at about $18 billion. European Union finance ministers failed to agree on a $543 billion recovery plan for the bloc.The World Health Organization cautioned countries against lowering their guards.Key Developments:Global cases top 1.5 million; deaths pass 87,000: Johns HopkinsTrump team prepares plans to reopen economy that depend on testingFederal medical aid to states falls short, House report saysGenome researchers find most NYC cases came from EuropeU.S. recession model at 100% confirms downturn is already hereCalifornia Has $1.4 Billion Plan to Buy Medical Equipment (5:17 p.m. NY)California Governor Gavin Newsom secured a deal to import 200 million masks on a monthly basis for health care workers, grocery store employees and others on the front line of the coronavirus pandemic, part of a $1.4 billion planned investment in personal protective equipment.Some of that equipment could be shared with other states facing shortages, Newsom said at a press briefing Wednesday,“California is just uniquely resourced,” Newsom said. It can use “the kind of scale that few other states, few other countries can even resource, so we’re pleased to do that and it’s our responsibility to do more.”Read more hereU.S. Cases Climb 9.6%, Deaths Top 14,000 (4:20 p.m. NY)The growth in U.S. coronavirus cases showed signs of slowing Wednesday, even as deaths accelerated in some of the hardest-hit states.U.S. cases rose 9.6% from the day before to 419,975 as of Wednesday afternoon, according to data compiled by Johns Hopkins University and Bloomberg News. Cases nationally had been climbing an average of 11% a day over the past week. Deaths rose 19% to 14,262.New York had another day of record fatalities, reporting 779 more deaths. The state has lost more than 1,500 to the virus over the past two days, for a total of almost 6,300. Still, Governor Andrew Cuomo said hospitalizations are falling, showing social distancing is working.“Nobody is saying we peaked,” Cuomo said. “We’ve flattened the curve for this point of time.”New Jersey reported a record 275 deaths. California also had one of its deadliest days, with 68 fatalities. Illinois had 82.Michigan, which has the most infections after New York and New Jersey, saw cases increase 7% to surpass 20,000, according to the state health department. Deaths rose by 114 to 959Ohio Cuts Peak Estimate to 1,600 New Cases (3:10 p.m. NY)The Ohio Department of Health Wednesday issued new analysis reducing the statistical expectations of the virus’s impact to as few as 1,600 new cases-per-day at a peak expected in mid-April. That’s down from 10,000 new cases-per-day.Officials said this means social distancing orders, including a shelter-in-place order that led to hundreds of thousands losing their jobs, is helping to slow the virus’s spread and keeping the health-care system from being overwhelmed.“Don’t stop doing what you’re doing, that’s what these models are showing,” Ohio Department of Health Director Amy Acton said during a Wednesday press conference in Columbus. “You have squashed this and you have stretched this.”N.J. Has Record New Deaths (1:36 p.m. NY)New Jersey reported a second day of record new deaths from Covid-19 and a tapering of infections.Cases rose by 7% to 47,437, the fourth straight day of increases of 10% or less. In the last two weeks of March, New Jersey saw daily increases from 20% to 82%.Governor Phil Murphy reported 275 new fatalities since yesterday, the biggest one-day increase since the crisis began.N.Y. Reports Record 779 Daily Deaths (1:36 p.m. NY)New York suffered another day of record fatalities from the coronavirus outbreak, reporting 779 additional deaths even as hospitalizations declined.“The number of deaths will continue to rise as those hospitalized for a period of time pass away,” Governor Andrew Cuomo said Wednesday at his daily virus briefing.The state has lost more than 1,500 people to the virus in the last two days, for a total of almost 6,300.Despite the rising death toll, Cuomo said the state’s social-distancing rules and other measures were working.WHO Says World Must Pull Together (1 p.m. NY)The coronavirus crisis will escalate if countries don’t start showing more solidarity, the head of the World Health Organization said, urging the U.S. and China to show “honest leadership” and stop bickering.“If you don’t want many more body bags, then you refrain from politicizing it,” Director-General Tedros Adhanom Ghebreyesus said at a briefing in Geneva Wednesday. “No using Covid-19 to score political points.”When asked about President Donald Trump’s threat to cut funding and claim that the WHO favors China, Tedros said the WHO tries to treat everyone equally, and the WHO will do an assessment of its successes and failures.He urged the U.S., China, Group of 20 countries and the rest of the world to come together and fight.“For God’s sake, we have lost more than 60,000 citizens of the world,” he said. “Even one person is precious.”Tedros revealed he has been receiving racist insults and death threats.‘Too Early’ for Europe to Start Easing Restrictions, Agency Says (12:47 p.m. NY)The European Centre for Disease Prevention and Control warned Europe not to rush into lifting restrictions that are helping slow the spread of the pandemic.“Based on the available evidence, it is currently too early to start lifting all community and physical distancing measures” in Europe, the agency said in its latest risk assessment. “Sustained transmission of the virus is to be expected if current interventions are lifted too quickly.”The ECDC noted the reported new infections today reflect the measures that were in place a week earlier.U.K. Announces New High for Fatalities (12:02 p.m. NY)The U.K. reported a further 938 deaths from the coronavirus on Wednesday, up from yesterday’s record daily total of 786.In total 60,733 people have tested positive for the illness, up from 55,242 reported on Tuesday, according to the latest figures from the Department of Heath and Social Care. The day’s figures indicate a slight increase in the rate of growth.Some 14,682 tests were conducted in the country on April 7, more than the 14,006 conducted the day before. The U.K. aims to conduct 100,000 tests a day by the end of April, seeking to replicate the mass screening seen in countries such as South Korea and Germany.EU Plans to Prolong External-Border Closure Until May 15 (11:45 a.m. NY)The European Commission proposed prolonging until May 15 a ban on most travel into the European Union. Maintaining the restriction on non-essential travel into the bloc for another 30 days is necessary to contain the spread of the coronavirus, the commission said in a recommendation that needs the approval of member-country governments.Trump’s Plans to Reopen Economy Depend on Testing (11:30 a.m. NY)The White House is developing plans to get the U.S. economy back in action that depend on testing far more Americans for the coronavirus than has been possible to date, according to people familiar with the matter.The effort would likely begin in smaller cities and towns in states that haven’t yet been heavily hit by the virus. Cities such as New York, Detroit, New Orleans and other places the president has described as “hot spots” would remain shuttered. The planning is in its early stages.Read more hereEU Braces for Arrival of 8,000 Cruise-Ship Passengers (11:00 a.m. NY)Eleven cruise ships carrying around 8,000 passengers in total will arrive at European Unions ports between April 8 and 11, the European Commission said.The EU laid out guidelines for member nations on handling the travelers, saying ships with passengers known to be infected with the coronavirus should be directed to ports close to hospitals with adequate capacity.The commission also urged a coordinated EU effort to designate several ports for “fast-track” crew changes, citing the “essential role” of maritime transport in the bloc’s international goods trade.De Blasio Says Distancing Eases Ventilator Demand (10:55 a.m. NY)New York City’s social-distancing strategy appears to be working, and one result is less demand for ventilators than had been projected, Mayor Bill de Blasio said.The city had estimated that it would need as many as 300 more of the life-saving machines this week to treat coronavirus patients but has needed to add only 100, de Blasio said Wednesday at his daily virus briefing. It has 5,500 in all.Statewide, the infection rate has begun flattening, even as the death count rises.EU Working for Coordinated Ends to Members’ Lockdowns (10:40 a.m. NY)The European Commission is trying to coordinate how member states end lockdowns following criticism that the bloc’s initial response to the pandemic was chaotic. An internal draft of a memo seen by Bloomberg sets out conditions for easing to begin as well as other steps that be needed, such as expanding testing capacities and using apps to gather data.“Any level of (gradual) relaxation of the confinement will unavoidably lead to a corresponding increase in new cases,” according to the memo. Gradual exits and a phased-in restart to economic activity may be best, according to the memo. “Not all population should go back to the workplace at the same time.”The adoption of the plan has been pushed back, according to commission spokesman Eric Mamer, who told journalists in Brussels that timing is a “tricky issue” since countries are at different stages of the outbreak.McDonald’s Reports Sales Decline, Withdraws Forecast (9:06 a.m. NY)The company said comparable sales fell 3.4% in the first quarter, and it expects to cut capital expenditures by about $1 billion for 2020.Oktoberfest in Doubt as Germany Sees Lasting Impact (8:59 a.m. NY)Bavaria’s state premier cast doubt over the annual Oktoberfest, offering an idea of how long German authorities expect the pandemic to upend social life. Markus Soeder, a political ally of Chancellor Angela Merkel, told the Bild newspaper that a decision will be taken in June, but that widespread travel and border openings by then are “very unlikely.” The traditional beer festival, which draws millions to the Bavarian capital of Munich, is scheduled to start Sept. 19 and last two weeks. If it takes place at all, “it will be under completely different conditions,” Soeder told Bild.Local French Curfew Blocked in Legal Rebuke of Lockdowns (8:51 a.m. NY)A French court blocked a curfew in a municipality north of Paris, in what is probably the first legal rebuke in the country of measures designed to halt the spread of the coronavirus.The court said the mayor of Saint-Ouen-sur-Seine had failed to justify the curfew, which went from 7 p.m. to 6 a.m. The judge said that the regional government had already taken steps to prevent gatherings, including shutting liquor stores after 9 p.m.Dutch Cases Top 20,000 (8:31 a.m. NY)Confirmed cases in the Netherlands rose 5% to 20,549, below the average daily increase in the past week. Reported deaths rose 7% to 2,248. New hospital intakes climbed 4% to a total of 7,735, according to the RIVM National Institute for Public Health and the Environment.India’s Most Populous State Seals 15 Districts (8:23 a.m. NY)India’s most populous state, Uttar Pradesh, has sealed off 15 of its districts worst affected by infections.“Since the numbers have risen sharply, this move is essential to stop community spread,” R. K. Tiwari, chief secretary of the state, said in a television interview on Wednesday. The state has so far recorded 326 infections and three deaths.India has had total infections of 5,360 and 164 deaths, according to data from Johns Hopkins University. A 21-day national lockdown ends April 14.Boris Johnson is Stable, Responding to Treatment (7:54 a.m. NY)U.K. Prime Minister Boris Johnson is in a stable condition in intensive care and is “responding to treatment” for a severe coronavirus infection, his spokesman said. Johnson was taken into St Thomas’ hospital in London on Sunday and moved to the critical care unit on Monday after struggling to shake off the symptoms, including a cough and a fever.Vaccine Hopes, Tests Boost Oxford Biomedica, Novacyt (7:50 a.m. NY)Oxford Biomedica shares rose as much as 24%, the most since Sept. 2013, after the firm joined a consortium working on a Covid-19 vaccine. The consortium, led by the University of Oxford’s Jenner Institute, has fast-tracked clinical trials of a vaccine candidate to start this month. Oxford Biomedica will be the manufacturing partner for the drug should the trials prove successful.Earlier, Novacyt SA shares extended their year-to-date surge to more than 1,600% after the company’s Covid-19 test was listed as eligible for procurement by the World Health Organization. The stock jumped as much as 22% in Paris as Novacyt said its diagnostics kit would be available for a year following an emergency process by WHO.U.K. Employers Cheating Furlough Plan Face Prosecution (7:37 a.m. NY)“Some employees have already been reporting that some employers have asked them to work during the furlough period,” Jim Harra, chief executive officer of Her Majesty’s Revenue and Customs, told a panel of lawmakers by video conference on Wednesday. “If it amounted to trying to defraud us, we could take criminal action.”Under the job-retention program announced last month, the government will pay 80% of employee wages so long as they remain tied to their jobs during the economic lockdown designed to slow the spread of the disease. A condition of the payments is that no work is done for employers, although training is permitted.Democrats Seek At Least $500 Billion in Next Stimulus Bill (7:36 a.m. NY)Democrats want $250 billion in small business aid, with $125 billion channeled through community-based financial institutions that serve farmers, family, women, minority and veteran-owned cos, House Speaker Nancy Pelosi and Senate Democratic leader Chuck Schumer said in a joint statement.French Scientific Committee Sees Confinement Until ICUs Relieved (7:18 a.m. UK)France will be able to look into ending its confinement only when intensive-care units won’t be saturated and other control measures are operational, the scientific committee that advises the government said in a note, cited by Agence France-Presse. Experts say the population’s immunity is probably under 15%.Hong Kong Unveils Virus Relief Package (6:33 a.m. NY)Hong Kong Chief Executive Carrie Lam announced a fresh government stimulus package worth about HK$137.5 billion ($17.7 billion) to support the city’s deteriorating economy. The spending package will include an HK$80 billion job security program to subsidize 50% of wages for affected workers for six months.WHO Says Lifting Lockdowns May Be Premature (6 a.m. NY)“To think we’re close to an endpoint would be dangerous,” Hans Kluge, the World Health Organization’s regional director for Europe, said at a briefing. Sweden is showing a fresh surge in cases, while the WHO is concerned about a dramatic increase in Turkey, he said. Countries should not lower their guard, he said.“We have got to ensure that the public understands we’re moving to a new phase,” said Bruce Aylward, one of the WHO’s top officials who recently led a mission to Spain. Countries need to make sure they’re hunting the disease down, because the key to eradication is testing patients, isolating them and tracing their close contacts. Some restrictions may need to continue for some time while others are gradually loosened, he said. “It’s not lifting lockdowns and going back to normal. It’s a new normal.”Spain’s success in slowing the spread proves that lockdowns and measures such as testing and contact tracing can work, Aylward said. While the country had a 20-fold increase in cases in the week through March 14, the rate later slowed to doubling every eight days.For more articles like this, please visit us at bloomberg.comSubscribe now to stay ahead with the most trusted business news source.©2020 Bloomberg L.P.

The Marine Corps Wants to Transform JLTVs into Aircraft-Killing Trucks

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Marine Corps Systems Command recently invited defense firms to submit ideas for creating the Direct Fire Defeat System.

13 Notable Removals of Artwork—Through Censorship, Protest, and More

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Artists removing work from an exhibition (or having it removed for them) is a pointed and often political gesture—and part of a lineage covering many decades to the present. Last year, eight artists called for their work to be removed from the Whitney Biennial in protest of the chair of the museum’s board. Since then, Phil Collins and Ali Yass pulled out of a MoMA PS1 show about the Gulf Wars, and a group of artists removed their art from the Aichi Triennale in Japan over claims of censorship. Meanwhile, a video by Xandra Ibarra was removed from a show of Chicanx performance art in Texas earlier this year after local politicians deemed it “obscene.”

Removals such as these have historical precedents. Below is a guide to some of the most notable artworks that have been removed—either by force or by choice—over the past 50 or so years.

Takis pulls work from Museum of Modern Art (1969)
“The Machine as Seen at the End of the Mechanical Age,” Pontus Hultén’s 1968 group show at MoMA, has been considered a landmark exhibition for its interest in technology. But the show is also major for what happened around it—the removal of an artwork by the Greek artist Takis. Toward the end of the show’s run, Takis picked up a sculpture of his that was on view in the exhibition, claiming that the museum had not consulted him before installing it, and moved it into MoMA’s courtyard. He described the removal as a symbolic action intended to open up conversation between artists and upper-ranking museum staff. After discussion with MoMA’s director, the work was officially taken out of the exhibition for good.

Robert Morris closes show at the Whitney Museum (1970)
Robert Morris removed not just one artwork but an entire show as debate surrounding the Vietnam War raged in America. Many in the New York art scene tried to figure out what role artists could play in protest, and Morris became the leader of an antiwar movement that swept the city’s art world—and even resulted in a widespread strike that saw museums and galleries close. As part of his efforts, Morris shuttered his solo exhibition at the Whitney in an gesture, he said at the time, meant “to underscore the need I and others feel to shift priorities at this time from an making and viewing to unified action within the art community against the intensifying conditions of repression, war and racism in this country.”

Daniel Buren sculpture taken down at the Guggenheim (1971)
Many artists have dramatically transformed the rotunda of the Guggenheim Museum in New York, but none has courted so much scandal as Daniel Buren. His artistic intervention in the space—a striped drape titled Around the Corner that hung from the ceiling and extended almost all the way down—didn’t seem controversial. But some artists who were exhibiting in its midst (in a now-defunct recurring survey known as the Guggenheim International) felt differently. In an effort led by Dan Flavin and Donald Judd, five artists claimed that Buren’s art obstructed views of Frank Lloyd Wright’s sloping architecture—and their own work. They called for it to be deinstalled, and after they got what they wanted, feted art historian Douglas Crimp (then a curator at the museum) resigned because of the fracas.

Ulay moves Hitler’s favorite painting  (1976)
Sometimes removal can be both a form of protest and an artwork in itself. For a “protest action” titled Irritation – There is a Criminal Touch to Art, performance artist Ulay seized his attention on the 1837 Carl Spitzweg painting The Poor Poet: a quaint image of a writer counting out the meters of his verse in a cramped attic that was also Adolf Hitler’s favorite artwork (he even owned a copy of it). Ulay chose not to let Germany forget that fact by marching into the Neue Nationalgalerie in Berlin, taking the work of the wall, and bringing it to the home of a Turkish immigrant elsewhere in the city. Ulay returned the painting 30 hours later, and the temporary theft was documented by his partner Marina Abramović.

Richard Serra’s Tilted Arc deinstalled (1989)
From its initial installation in 1981, Richard Serra’s Tilted Arc—a 120-foot-long arc crafted with Corten steel in Lower Manhattan’s Foley Plaza—was meant to lead to an intriguing reorientation of a viewer’s understanding of a picturesque location. Not everyone saw it that way, however—and after howls from the public, a jury voted in favor of taking down the enormous mass of 73 tons of steel that were unceremoniously hauled away to a government-owned parking lot in Brooklyn.

Adrian Piper pulls out of Conceptualism survey in L.A. (1995)
In 1995, the Museum of Contemporary Art Los Angeles staged “1965–1975: Reconsidering the Object of Art,” a major survey focused loosely on the evolution of Conceptualism. But the proceedings were marred by controversy when one of the sponsors was revealed: Philip Morris, the cigarette company that owns Marlboro. The artists in the show claimed not to have been notified in advance, and Adrian Piper asked MOCA to pull her work from the show and replace it with Ashes to Ashes (1995), a piece focused on her parents’ struggles with—and, ultimately, deaths from—cancer that may have been caused by smoking. When the museum declined, she withdrew from the show entirely.

Tania Bruguera installation shuttered at the Havana Biennial (2000)
Tania Bruguera is no stranger to controversy, having regularly staged boundary-pushing performances that have raised the ire of officials in her home country of Cuba. Originally staged in a fortress used to house political prisoners in the 1950s, her installation Untitled (Havana, 2000) was a darkened space in which viewers could see barely visible nude performers who appeared to be slapping their bodies and video footage of Fidel Castro as they walked across a mat of sugarcane. Brugerua’s consideration of the state of the body under oppressive regimes was closed by authorities hours after opening. Since then, it has been acquired by MoMA, which restaged it in 2018.

Adrian Piper yanks video from black performance art exhibition (2013)
Eighteen years after her MOCA removal, Piper pulled work from “Radical Presence: Black Performance in Contemporary Art,” an exhibition spread across NYU’s Grey Art Gallery and the Studio Museum in Harlem. Piper’s work appeared in the NYU part, where she was presenting documentation of her past performances as the Mythic Being—a male alter ego she assumed to test gender and racial norms. Piper said she felt limited by the show’s purview and suggested that curator Valerie Cassel Oliver organize “multi-ethnic exhibitions that give American audiences the rare opportunity to measure directly the groundbreaking achievements of African American artists against those of their peers in ‘the art world at large.’”

Yams Collective drops out of the Whitney Biennial (2014)
Amid outrage over a work by the white male artist Joe Scanlan, who got black female performers to play a fictional character known as Donelle Woolford, the Yams Collective (also known by the name HOWDOYOUSAYYAMINAFRICAN?) pulled their work from the Whitney Biennial in 2014. “We felt that the representation of an established academic white man posing as a privileged African-American woman is problematic, even if he tries to hide it in an avatar’s mystique,” one of the collective’s members told Hyperallergic at the time.

Shanghai officials strike Ai Weiwei from survey (2014)
Ai Weiwei has frequently accused governments and museum figures of censorship in ways that have affected his standing in his home country of China. In 2014, days before the government-operated Power Station of Art in Shanghai was to stage an exhibition devoted to the winners of collector Uli Sigg’s Chinese Contemporary Art Award, officials in the city yanked Ai’s work—including his famed Sunflower Seeds installation—and dropped his name from the artist list. At the time, Sigg said, “We don’t understand but we must accept that his works will not be in there.”

Animals pulled from Chinese art show in New York (2017)
The Guggenheim Museum faced a widespread outcry when several historically important artworks featuring live animals went on view in a survey of Chinese art. The controversial pieces included Huang Yong Ping’s Theater of the World, featuring a see-through case in which insects and amphibians preyed upon one another; photo documentation of Xu Bing’s A Case Study of Transference, in which pigs were inked with Chinese characters; and a Sun Yuan and Peng Yu video that involved dogs on treadmills. Animal-rights groups widely decried the works, and after an online petition garnered tens of thousands of signatures, the museum pulled them—leading some to wonder whether the protesters properly understood the cultural context for the art on view.

Olu Oguibe obelisk taken down in Germany (2018)
A giant obelisk dedicated to immigrants by Nigerian-born Olu Oguibe was one of the most celebrated offerings at the 2017 edition of Documenta—it even won the artist the exhibition’s top prize. But after the city of Kassel formalized plans to install the work, the work, titled Monument to Strangers and Refugees, was targeted by right-wing politicians who raised doubts about its pro-refugee message and the price of its installation. The monument was removed—but then, just two weeks later, reinstated.

10 artists pull out of the Aichi Triennale in Japan (2019)
Almost from its beginning, the Aichi Triennale began generating controversy when officials made the decision to remove a show-within-a-show titled “After ‘Freedom of Expression?’” That exhibition featured a sculpture by Kim Seo-kyung and Kim Eun-sung that referred to the history of ianfu—Asian women who were forced into sexual slavery by the Japanese Imperial Army. And when it was taken off view, 10 artists—including Pedro Reyes, Tania Bruguera, Minouk Lim, and Claudia Martínez Garay—pulled their own works from the triennial, claiming that the removal of the ianfu piece was a violation of its makers’ freedom of expression. Ultimately, officials relented—and the ianfu work was reinstated along with all the other works that been taken away.

Truck drivers are quietly ruling America's highways as shelter-in-place orders force millions to stay home

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Truck drivers are sincerely hoping you'll keep working from home after the coronavirus pandemic is over, because their commutes are better than ever.

Fire Breaks Out at Construction Site for Berlin’s Embattled Humboldt Forum Museum

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A controversial museum in Germany has experienced yet another hitch. A fire broke out on Wednesday morning at the forthcoming Humboldt Forum, a soon-to-open museum in Berlin bringing together several ethnographic collections that has experienced fierce opposition from critics.

The fire broke out around 10 a.m. local time and appears to have been caused by an explosion of two tar cookers at the construction site, according to a report in the New York Times. The fire, which injured one worker, sent a column of black smoke over the city, which, like much of the world, is currently under lockdown in order to fight the ongoing coronavirus pandemic. After the fire was contained, local police said that they were treating it as an accident.

The Humboldt Forum is a $700 million museum project that involves the reconstruction of an imperial palace along the River Spree that had been destroyed during World War II. The museum was originally scheduled to open at the end of 2019, but the museum announced last June that that timeline was increasingly seeming unrealistic. The opening has been pushed back to November 2020, though it is unclear if today’s fire and the ongoing coronavirus-related closures of museums around the world will impact this updated timeline.

Among the objects that are to go on view at the Humboldt Forum are the numerous pieces acquired during the colonial era, many of which have spotty provenance. These include examples of the so-called Benin Bronzes (which are also held in other European museums), a Chinese Buddhist temple from the 5th–6th century, and a throne from western Cameroon.

Critics of the Humboldt Forum have argued that, in the current moment, it is inappropriate for such objects to be displayed in a Western museum, particularly since it is unclear exactly how some of the objects arrived in Europe. In October 2018, the Times reported on protests against the forthcoming institution with protestors carrying signs that read “Tell the Truth About Germany’s Colonial History” and “Clear Out the Colonial Treasury.” Also around this time, one of the institution’s well-regarded advisory members, Bénédicte Savoy, resigned. Later that year, Savoy would go on to co-author, with Felwine Sarr, an explosive report that called for France to restitute many of its colonial objects back to Africa.

New York hits new coronavirus peak but curve flattening

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New York recorded a new single-day high for coronavirus deaths on Wednesday but Governor Andrew Cuomo said the epidemic appeared to be stabilizing. Cuomo said 779 people had died in the last 24 hours, bringing the total death toll in New York state from COVID-19 to 6,268. New York is bearing the brunt of America's deadly coronavirus pandemic, accounting for around half the number of deaths across the country.

A New York nurse laments his coronavirus patient's last words before intubation: 'Who's going to pay for it?'

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"I've never seen what I've been seeing lately with the speed, intensity, and spread of the virus itself," Derrick Smith said.

Christie’s Moves Marquee Spring Hong Kong Auctions to July

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Auction calendars are continuing to shift because of the coronavirus pandemic, with Christie’s moving its marquee Hong Kong sales yet again. Having historically been planned for March, the sales were this year scheduled for the end of May still to be held at the company’s Hong Kong headquarters despite the coronavirus shuttering many Hong Kong businesses. Now, the house has shuffled the schedule one more time, re-dating them for July 5 in New York.

The Hong Kong sales will now be held during the same week as Sotheby’s and Phillips’s auctions, both of which had scheduled their auctions for the spring in the territory. Christie’s executives announced the shift in a conference call on Wednesday morning, and they also revealed a few other auctions set to occur in the upcoming months, among them an online Walker Evans sale to take place at the end of April, as well as a sale of works from the Saatchi Gallery collection and a Warhol charity auction, which are set to occur in person and online.

A Christie’s representative said that the house in the process of securing a site to exhibit works from the sale with the understanding that traffic flow will have to be limited to comply with coronavirus-related guidelines. No tentative date was immediately provided for the showing of works hitting the block.

Marc Porter, Christie’s chairman of Americas, confirmed that, even in spite of the art market’s uncertainty, top clients are viewing the current situation as an opportunity to acquire objects for their collections that previously have not been available. As public auctions remain the industry standard for calibrating the health of individual artists markets, Porter said, “the real driver of the return to normal volume in the market is when the estates start to appear. The estates will be poised to sell in the fall, and that is when we will see the price points.” Porter added that clients are now seeking market stability—something proven, he claimed, by an increased interest in offerings in private sales.

Guillaume Cerutti, Christie’s CEO, said the house was growing online and witnessing a rising demand for works offered via private sale. The house reported that funds brought in from private sales were up 28 percent over last year. The price points in those sales are reportedly also remaining stable.

As the house continues to evaluate the coronavirus’s economic impact on the U.S., Christie’s officials are still reviewing whether to apply for funding that’s part of the Coronavirus Aid, Relief, and Economic Security (CARES) Act. Christie’s asked the 500 most highly paid employees if they would take a temporary pay cut of between 10 and 20 percent; 95 percent of those asked agreed. Meanwhile, roughly 40 percent of its workforce based in the U.K. and Europe has been furloughed. The firm has committed to paying back the lost salaries once business returns to normal.

New York reports 779 more deaths, governor says social distancing working

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Cuomo, who has emerged as a leading national voice on the outbreak, said he never thought he would ever again experience a disaster on the scale of the September 11, 2001 ,attacks and called the mounting death toll "almost unimaginable to me." The governor acknowledged that it was a "very real possibility" that deaths in New York were being undercounted as people died in their homes, and called for continued adherence to business closures and other social distancing steps. Cuomo ordered all flags to be flown at half-staff across New York, where 6,268 people have now died from COVID-19, the respiratory illness caused by the novel coronavirus, accounting for nearly half the deaths in the United States.

Bernie drops out, as Democrats pick pragmatism over consistency

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In many ways, Bernie Sanders is the anti-Trump. And, in important ways, he ran his campaign as the anti-Biden.Sanders bowed out of the Democratic nomination race on April 8, repeating his runner-up status from four years earlier. His two runs at the White House have cemented his legacy as a consistent standard-bearer for progressive policies. The veteran democratic socialist possessed a rare quality for a political candidate in this age of Trumpian fickleness. He is a politician whose actions and beliefs have remained steadfast over time and across campaigns. But in the current political moment, it appears the Democratic electorate longs less for a politician who is consistent from day to day than one who can provide pragmatic leadership to unseat the vacillating Trump. Same ol’ SandersSanders ran his campaign as the antithesis of a political showman, who says one thing today and another tomorrow with little regard for facts and consistency. He has exhibited throughout his career what anthropologist Alessandro Duranti calls “existential coherence” – he is a political figure “whose past, present, and future actions, beliefs, and evaluations follow some clear basic principles, none of which contradicts another.” As a linguistic anthropologist who studies language and politics, I know that traditionally, candidates have worried about how to project a consistent political persona, and they have often gone to great pains to do so. But Trump shattered that expectation, excelling in self-contradictions and inconsistencies – often within a single sitting.Sanders, instead, has put forth a consistent vision that has remained more or less the same since his early days in politics as mayor of Burlington, Vermont. Rather than moving toward the electorate and shifting positions based on perceptions of what the electorate desired, the electorate has moved toward Sanders to join his vision for universal health care and other progressive causes. A CNBC survey in 2019 found that a majority of Americans supported progressive policies, including a higher minimum wage and Medicare for All – key issues that Sanders has been advocating throughout his decades-long political career. In an episode of Comedy Central’s “The Daily Show” last year, host Trevor Noah unearthed footage from 1987 of Sanders discussing politics on a local public access channel in his hometown of Burlington. The Bernie Sanders of 1987 talked of the unfair tax system that placed a large burden on working people and the need for universal health care. “We are one of two nations in the industrialized world that does not have a national health care system,” declared Sanders in 1987. Three decades later, in both his 2016 and 2020 presidential campaigns, Sanders continued with that theme. In 2016, he released his Medicare for All plan by declaring, “It is time for our country to join every other major industrialized nation on Earth and guarantee health care to all citizens as a right, not a privilege.” His 2020 campaign website further echoed this sentiment, stating that “the United States will join every other major country on Earth and guarantee health care to all people as a right.” A consistent candidate often comes across as a more authentic candidate – someone who is staying true to his core self rather than pandering to the latest polling data or saying whatever will attract the most dramatic news coverage. Sanders’ authenticity as a candidate who has fought for working people and progressive ideals his entire life made him appealing to many liberals. He attracted an unshakable following of core supporters because of it. ‘Results, not revolution’Biden’s pragmatic approach, however, trumped Sanders’ often dogmatic consistency. In their debates, Sanders hammered Biden over what he saw as shifting stances on Social Security, Medicare and veterans’ programs. And then there was Biden’s 2003 vote for the Iraq war before he turned against it.But this is not the 2004 presidential election, where accusations of flip-flopping can sink a candidate, like it did John Kerry in his race against George W. Bush. Perhaps Donald Trump’s fickleness has changed what voters look for in a candidate. Maybe it’s simply that nobody cares about Biden’s apparent lack of judgment in 2003, which occurred well before he spent eight years as vice president in arguably one of the most popular Democratic administrations in U.S. history.Biden easily parried Sanders’ accusations of inconsistency by pointing to an underlying consistency of principles that have guided his varying positions over time. Voters ultimately decided to support someone who exhibits a practical sense of how to govern in a way that gets things done. As Biden said in his last debate with Sanders, “People are looking for results, not revolution.”On health care, one might have expected Sanders to have an advantage with his Medicare for All proposal, a consistent theme across his time as mayor, congressman, senator and presidential candidate. Polling done by the Kaiser Family Foundation found that for the first time a majority of Americans began to support a single government plan for health care in 2016, corresponding to the Sanders campaign push for Medicare for All.But in the same Kaiser poll, more Democrats and Democratic-leaning independents said they would prefer a candidate who would build on the Affordable Care Act rather than replace it. Biden’s campaign argued precisely for this more pragmatic approach, and he positioned himself as the right person to get the job done in a contentious political environment. An overtureAfter sweeping the primaries in Florida, Illinois and Arizona in March – putting the wheels in motion for the eventual withdrawal of Sanders from the race – Biden then struck the right chord in his speech after the Florida primary by making an appeal to Sanders voters. “I hear you,” he said. “I know what’s at stake. I know what we have to do. Our goal as a campaign and my goal as a candidate for president is to unify this party and then to unify the nation.” Biden’s appeal to Sanders voters suggests he may be willing to absorb some of the best ideas from Sanders – and other candidates. It’s a pragmatic approach, rather than a dogmatic consistency, that may bring along their supporters, too. That may be exactly what he will need to do to beat Trump in November.[You’re smart and curious about the world. So are The Conversation’s authors and editors. You can read us daily by subscribing to The Conversation’s newsletter.]This article is republished from The Conversation, a nonprofit news site dedicated to sharing ideas from academic experts.Read more: * Biden’s big night with moderates, African Americans and baby boomers * Biden’s resurrection was unprecedented – and well-timedAdam Hodges does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

In South Africa, a government minister lost her salary for eating lunch in the wrong place

Yahoo - Art News - 5 hours 40 min ago

"Unmoved" by her excuses for the outing, South African President Cyril Ramaphosa put the minister on two months' leave, one of which will be unpaid.

Thousands of scientists in Sweden are criticizing the government for not implementing a lockdown to stop the coronavirus

Yahoo - Art News - 5 hours 57 min ago

Sweden is resisting international trends by not implementing a lockdown or strict social distancing measures to fight the coronavirus.

VP talk could intensify with Harris-DNC fundraising deal

Yahoo - Art News - 6 hours 6 min ago

California Sen. Kamala Harris has made an unusual fundraising move that is sure to fuel speculation about her prospects to be Joe Biden's running mate on the Democratic presidential ticket. Harris, who dropped out of the White House race in December, has set up the kind of arrangement with the Democratic National Committee that is typically reserved for nominees trying to attract large donations from the party’s biggest boosters. Harris, 55, will host her first virtual fundraiser Thursday under the new agreement.

Tuan Andrew Nguyen’s Mystical Art Brings People In Touch With Lost Ancestors

ArtNews News Feed - 6 hours 16 min ago

In Tuan Andrew Nguyen’s latest work, The Boat People (2020), a group of children search for objects left over from the ruins of human civilization. Led by a young girl, who we learn is the last woman on earth, the children call themselves the boat people, referring to their mode of transportation and reclaiming the derogatory term describing refugees who fled Vietnam by sea following the end of the American war in Vietnam in 1975. As the last survivors of the human race, the phrase becomes one of pride.

To seek the stories of their ancestors, the children meticulously create wooden replicas of the objects they encounter—and eventually burn them, releasing their ashes into the ocean in a ritual unknowable to the viewer. When the girl encounters the severed head of a Quan Yin statue on the beach, they discuss death, intergenerational knowledge, the afterlife, and more.

Set in Bataan, Philippines, the children find Buddhist and Catholic sculptures, but only replicate the Buddhist ones. Nguyen previously explored these religious tensions in Enemy’s Enemy: A Monument to A Monument (2009), where an image of Thích Quảng Đức self-immolating—one based on a famed photograph of the Buddhist monk’s 1963 protest against the U.S.-backed South Vietnamese government and its pro-Catholic policies that repressed the Buddhist community—is carved into a baseball bat. And these themes of war and migration run throughout the artist’s entire oeuvre, particularly in his four-channel video installation The Spector of Ancestors Becoming (2019), which focuses on the descendants of Senegalese soldiers of the French army deployed to Indochina between 1947 and 1954 to extinguish Vietnamese uprisings against French colonial rule.

In The Boat People, Nguyen considers what happens when we’re left without our ancestors. The work debuted in March at James Cohan Gallery in New York, serving as the centerpiece of Nguyen’s solo exhibition “A Lotus in a Sea of Fire.” (The exhibition, which also features charred wood sculptures, is currently closed to the public but accessible online.) While in New York for the opening, Nguyen, who is based in Ho Chi Minh City, sat down with ARTnews to discuss his latest work and his decades-long career examining racial memory and the legacy of colonialism.

ARTnews: In The Boat People, the objects the children recreate have largely landed in the Philippines as a result of political strife. I was reminded of your work Enemy’s Enemy: A Monument to A Monument, which touches upon cultural transmission resulting from invasion—specifically as it relates to baseball, an American sport, and what’s left behind even after military occupation ends. Why did you decide to focus on the legacies of colonialism and the physical objects and cultural remnants left in the wake of colonization?

Tuan Andrew Nguyen: Colonialism changed the world in so many different ways, and the legacies of it weigh heavy, especially in places like Vietnam and the Philippines. Oftentimes it’s not apparent—it undulates under the skin and resurfaces in how we relate to each other. In Vietnam, the residue of colonialism comes up through food and language, and even how we think about race. People in Vietnam still have a penchant for lighter skin, for instance, so it runs deep and it’s a continually destructive legacy. Because it’s so invisible most of the time, I think about how to make it visible, and that’s in the monuments as well as the architecture that are left over. I’m looking at those objects to talk about something else—the intangible voids that we have from the colonial project. When you anchor that into an object, it’s easier to wrap your head around all of the destructions that have occurred.

Tuan Andrew Nguyen, Enemy’s Enemy: A Monument to a Monument, 2009.

Because you’re able to focus on the materiality?

Yeah, you can focus on the materiality of it, so you can cite those traumas in the object. And a lot of my work is about how objects have—or don’t have—stories. I think objects have a certain kind of karma, and the life of an object and the things that objects have witnessed and hold testimonies to are quite fascinating. What were the causes and conditions that enabled an object to survive through time, through intense periods of war, for instance?

And you deal specifically with surviving religious statues and historical memorials in The Boat People. How has your thinking around monuments, their roles and their functions, changed since making Enemy’s Enemy: A Monument to A Monument over a decade ago?

Tuan Andrew Nguyen.

My obsession then was with the grand political motivations behind monuments, whether erecting or destroying them. For Enemy’s Enemy: A Monument to A Monument, I was thinking about the political motivation to erect this huge statue of Thích Quảng Đức, but I guess I was also thinking about what it means to make a smaller monument. The shrine to Thích Quảng Đức that was made by the community was quite forgotten when that huge monument was erected across the street.

My thinking about monuments drastically changed when I was doing The Island (2017). It was a film shot in Pulau Bidong, an island off the coast of Malaysia. I was originally interested in the island because a group of refugees came back to build a memorial to the boat people, refugees who escaped Vietnam by sea. And six months later, the memorial was destroyed, and no one at the time knew why or by whom. We later found out that it was the government in Hanoi that gave orders to the Malaysian government for its destruction. So it was a community organized memorialization of those histories, and at the same time, a politically motivated destruction.

I am still interested in those interrogations, but in this current exhibition, I’m looking more at monuments that were unintentional. This boat in the refugee museum in Bataan ends up becoming a monument. The Quan Yin statues and Buddhist temples built by hand by refugees were also unintended monuments, and almost in opposition to political monuments. I’m thinking about the things people make when they’re in these states of liminality, and the political significance that has.

It’s interesting, because you mention the role of governments in the lives of monuments, and in The Boat People, the children create replicas of monuments but also destroy those copies in the end. Within the context of funerary practices in Vietnam and the Philippines, is burning the replicas a votive offering, transporting the monuments from this realm to the afterlife?

Well, what does it mean to send a monument to the afterlife, and who needs that, and what kind of stories does the monument encapsulate and embody? We often think of sending personal items, like money or…

A house.

Houses, clothes. Now they even have little car votives and iPhones. I feel like we sometimes need monuments and memorials to ground us in certain histories, and at other times, we need to be free from the oppressive politics of some. There’s one scene where the girl says she’ll free the statue head in her way: by making a copy, burning it, and scattering the ashes into the ocean. But the statue head says that she’s rolled herself to the beach and is going to free herself. Who liberates whom? That idea of liberation is so interesting, to liberate yourself from the histories that hold you, and at the same time, to be empowered by those histories.

Tuan Andrew Nguyen, The Boat People, 2020.

When illuminating overlooked histories and moments of political turmoil, you do so through personal conversations. How did you land on dialogue as your storytelling vehicle?

I see dialogue as a counter-position to the monologue, voiceover, or essay film, which are relevant formats, but largely operate from a singular point of view or multiple points of view with similar investments in a certain political positioning. I aim to create a dialectic by looking at conflict through two positions, essentially a discussion, where opposing desires are pitted against each other. This idea of a dialogue, for me, relates back to the Vietnam War being a civil war. It could’ve been a space to discover or develop other potentialities between two very different outlooks as to how the country should move forward after coming out of colonialism, but unfortunately became extremely destructive armed conflict.

For my forthcoming [film that is being shot] in Marseille, France, I’ve been exploring this idea of ventriloquism. I’m working with a group of undocumented migrants, and we’re thinking through how migrants and the diasporic subject must perform ourselves in ways that are haunting and complex. There’s a simultaneous sense of embodiment and disembodiment, and I think that’s something that also happens between the two opposing screens in The Specter of Ancestors Becoming. On one screen, we see and hear a writer/performer reading the scene they wrote, and on the opposite screen, members of the Senegalese-Vietnamese community enact the scene, trying to sync their actions and lips to the dialogue being read.

I am obsessed with looking at how narrative functions within the context of history, especially through the lens of memory. Working with communities that have been made invisible through history and the different threads of history, such as colonialism and post-war migration, I believe I can help empower them again through storytelling.

Tuan Andrew Nguyen, The Specter of Ancestors Becoming, 2019.

A common theme in your work is the fragmentation of history and memory. The Specter of Ancestors Becoming imagined potential histories that could have been, and attempts to retain or recover cultural and intergenerational knowledge. The Boat People seems to be a departure from this notion of becoming whole. When the children were recreating the arms of the Quan Yin statue, they sculpted the hands as whole even though the actual statue had fingers missing.

That’s a very precise observation.

And the girl originally wanted to reunite the head of a different Quan Yin statue with the rest of its body, but the deity very strongly objects to that. By the end of the film, the head remains separated. How have your perceptions of wholeness, completeness, and fragmentation evolved since The Specter of Ancestors Becoming?

I think even when I was making The Specter of Ancestors Becoming, I didn’t subscribe to any belief that a whole sense of identity or history was possible. Part of that is due to my understanding of how decimated some of these histories were and how impossible they are to repair. In The Boat People, there’s an attempt, and I think there’s one throughout all of my work. It’s a genuine attempt that exists within this knowledge that you have to try but it’s impossible to have any whole conception of history or identity. It’s Sisyphean. And I think that’s a diasporic condition and a post-colonial condition. But our resistance lies in the attempt.

You’ve mentioned in the past that you were born in Sài Gòn, grew up in the U.S., and you moved back to Vietnam after you completed your M.F.A. at CalArts. How did those themes of wanting to return to motherland come up, if they did, while you were working on The Specter of Ancestors Becoming?

I think being in Vietnam liberated me from this notion of motherland. I had started going back to Vietnam in 1998 when I was in college. I grew up hearing these amazing stories about my grandmother, who, during the Vietnam War, was editor in chief of a highly politicized newspaper that was critical of both sides of the war, which was very rare at the time. In my larger family, my grandmother is one of the only people who followed her dreams of becoming a writer, and she became a published poet at a really young age, which was quite amazing in Vietnam at the time because that would have been in the 1930s. And my grandmother just turned 100 years old last year. My desire was to be with her, to understand her story and learn from her. I had this belief that if I could anchor myself in that very specific history, her history, then I could find more empowerment in that than in a generalized, essentialized idea of a motherland. I think it’s those personal histories that mean more, because that notion of finding roots or a whole sense of identity isn’t possible as a diasporic subject.

Tuan Andrew Nguyen, The Island, 2017.

Thinking back to your project in Marseille, the idea of performance within a racial context reminds me of racial spectacles as performance, but also the mental gymnastics performed by diasporic subjects to avoid being seen as spectacle. As a Chinese American, I’m hyper-aware of how much space I occupy and often I’m looking at myself being looked at. Simply moving through the world has become something of a performance for me. When I speak of the idea of motherland, I envision it as a place where that racialized performance wouldn’t be necessary, but how has reality compared?

My first thought is that the U.S. is a highly racialized space—and a highly racist place to be. For me, returning to Vietnam, I became highly aware that I was also performing as a Việt Kiều, as a returnee, and there was a kind of hyper-awareness in that for me for an extended period of time, but not in the way that I have to be hyper-aware of my presence here in the U.S.. The awareness is totally different as the stakes are totally different.

Do you think that’s part of the diasporic condition?

Probably, yeah, because when I return to Vietnam, I’m also returning as a diasporic subject. When I’m moving around in the U.S., I’m definitely a diasporic subject. It’s a condition that one can’t escape.

Pelosi, Schumer introduce $500 billion follow-up coronavirus relief package

Yahoo - Art News - 6 hours 30 min ago

Top congressional Democrats are all for Senate Majority Leader Mitch McConnell's (R-Ky.) next coronavirus relief bill — with a few additions.On Wednesday, House Speaker Nancy Pelosi (D-Calif.) and Senate Minority Leader Chuck Schumer (D-N.Y.) announced their party was asking for an additional $250 billion in a so-called "CARES 2" act, doubling the size of the package McConnell had introduced. Their proposal would allocate more money to local and state governments and health care facilities, and ensure at least half McConnell's proposed funding goes toward "community-based financial institutions."Pelosi and Schumer repeated McConnell's call for $250 billion in small business assistance in their Wednesday proposal, but wanted to make sure $125 billion of it will "serve farmers, family, women, and minority and veteran-owned small businesses and nonprofits in rural, tribal, suburban, and urban communities." In addition, they'd like $100 billion for hospitals, community health centers, and health systems; $150 billion for state and local governments; and an additional 15 percent support added to SNAP food stamp benefits.> Pelosi/Schumer demands in Phase 4> > — $250B for small biz > — $100B for hospitals, health centers > — $150B for state/local gov’ts > — 15% boost in SNAP benefits> > — Sahil Kapur (@sahilkapur) April 8, 2020McConnell hoped to pass his $250 billion plan with a unanimous voice vote on Thursday, as that's the only way for Congress to vote right now without returning to Washington.More stories from The coming backlash against the public health experts Dr. Anthony Fauci cautiously predicts kids will return to school next fall, 'but it's going to be different' Boris Johnson remains in intensive care but is 'improving,' U.K. official says

Artist Kennedy Yanko Wants to Teach Your Children How to Make Art During Quarantine

ArtNews News Feed - 7 hours 4 min ago

Next week was supposed to be a big one for artist Kennedy Yanko, as she was supposed to present new work at the Dallas Art Fair by way of New York’s Denny Dimin Gallery. Then the fair, like so many other art events happening around the world, got postponed indefinitely. (It is now scheduled for the beginning of October.) But she had been at least sort of prepped for the disappointment: Having already had an exhibition recently canceled at Milan’s Marco Poggiali Gallery, “I had already experienced my freakout and paranoia,” she said, speaking by phone earlier this week. “I was emotionally prepared.”

Now, in quarantine like much of the world, Yanko—known for metal sculptures torqued in ways that make them resemble human forms—is “just chilling, hard.” But in her downtime, she and her partner—Rasaan Bonair, a guidance counselor at a middle school in Brooklyn—made an instructional video intended as educational outreach: a tutorial meant for children about to create objects from found materials at home. “We wanted to contribute in some way,” Yanko said. “It seemed like the obvious thing to do.”

Despite the circumstances, Yanko insists that “it’s always time for making art.” And in the video, she offers tips for how to work with low-cost materials, such as unused birthday candles from years past and bamboo rods. She also encourages prospective viewers to act without thinking too hard. For Yanko, the project is meant to inspire creativity. “It’s really important to work that intuitive muscle,” she said.

View Yanko’s video about making art at home below.

if(typeof(jQuery)=="function"){(function($){$.fn.fitVids=function(){}})(jQuery)}; jwplayer('jwplayer_cgdGPn3u_ALJ3XQCI_div').setup( {"playlist":"https:\/\/\/feeds\/cgdGPn3u.json","ph":2} );

Bernie Sanders drops out of presidential race

Yahoo - Art News - 7 hours 10 min ago

Bernie Sanders drops out of presidential race

Trump news - live: Bernie Sanders ends campaign as president slams Democrats and says coronavirus must be 'quickly forgotten'

Yahoo - Art News - 7 hours 14 min ago

Donald Trump used an interview with Sean Hannity of Fox News on Tuesday night to whine about the ingratitude of New York governor Andrew Cuomo, again push his preferred but unproven remedy for Covid-19, hydroxychloroquine, and attack the “lame stream media” for its coverage of his administration’s response to the crisis.The World Health Organisation (WHO) has hit back at the president after he threatened to stop US funding to the body as he seeks a scapegoat for the disaster wrought by the coronavirus pandemic, saying the WHO had “missed the call” – despite himself ignoring a memo from trade adviser Peter Navarro in February warning of the coming storm.

Dr. Birx warns of 'very acute second wave' of coronavirus infections if social distancing measures are relaxed

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The US experienced its deadliest day due to COVID-19 so far on Tuesday, with nearly 2,000 reported deaths in a 24-hour period.

UK truck driver pleads guilty in deaths of 39 Vietnamese

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A truck driver accused in the deaths of 39 Vietnamese migrants whose bodies were found inside a refrigerated container that had been hauled to England pleaded guilty to manslaughter Wednesday. Maurice Robinson, 25, of Craigavon in Northern Ireland, entered the plea at Central London Criminal Court.


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