Bill Ritter, an anchor for WABC-TV New York’s ABC7 Eyewitness News since 1999, announced Friday during his staple 6 p.m. newscast that he has been diagnosed with Alzheimer’s and is stepping down from the role. Ritter, a San Diego native whose journalism career started in Los Angeles first with the Los Angeles Times and later […]
Sports commentator Stephen A. Smith reiterated on Tuesday that President Trump should not have attended Game 3 of the NBA Finals on Monday. “He knows his behind should not have been at that game last night. Should have stayed his a-- at the White House,” Smith told host Chris Cuomo on NewsNation’s “Cuomo.” Trump attended...
Meta's social media platforms, including Facebook and Instagram, are experiencing widespread issues today, with users reporting login failures, unexpected account logouts, and problems accessing both websites and mobile apps. The Meta Business Suite is also down as of the time of writing.
Sam Reid isn’t a rock star, but he plays one on TV. Although, anyone who attended the June 2 premiere party for “The Vampire Lestat” at New York’s Beacon Theatre could have sworn Reid was the real deal. In full character as the show’s vampire-turned-rocker Lestat de Lioncourt, Reid performed six original songs from the […]
Anderson Cooper late Wednesday defended Kaitlan Collins after President Trump verbally attacked his CNN colleague in the Oval Office, saying she has “hatred in her eyes” and needs to smile more. “That’s the president of the United States, a nearly 80-year-old man who has no problem commenting on her physical appearance and telling her she...
When IMG’s Barney Francis and John Hollywood join Deadline for a virtual interview, they’ve just left a monthly ‘Premier League Huddle’ – a get-together with their teams to celebrate good work and talk about upcoming plans. Only this one had added significance, being the final meet before IMG-owned Premier League Productions’ (PLP) 22-year run producing […]
When we think of terms like “flowing” or “fluid,” we could be referring to the nature of water, but we can also just as easily apply these concepts to our understanding of art and craft. Fabrics “pool” and different mediums converge. The nature of creativity is often referred to in terms of an “ebb and flow.” Ecologically speaking, bodies of water are metaphorically woven into the fabric of our planet. Rivers and lakes sustain an abundance of life, shape cultures, and course through history. Amid the ongoing climate crisis, how do artists express concerns about water and the environment?
Water | Craft, a group exhibition at the Minnesota Marine Art Museum, dives into this question. The museum itself is situated on the banks of the Mississippi River and often directly engages with its expansive biological and cultural reach. Works by seven artists, whose practices incorporate weaving, pottery, basketry, glass, and textile arts, directly interface with contemporary issues of water access and cultural preservation amid climate change.
Sarah Sense, “Land, Lines, Blood, Memory 7” (detail) (2026), archival inkjet prints on Hahnemuhle bamboo paper and Hahnemuhle rice paper, wax, Arches watercolour paper, cotton thread, and artist tape
Colossal readers may be familiar with the mixed-media pieces of Tali Weinberg and Nicole McLaughlin, both of whom combine quantities of colorful thread with other materials in meditations on interconnectivity and multi-disciplinarity. Weinberg translates ecological data into tendril-like installations and abstract weavings, such as a series of three pieces from her Climate Datascapes series that visualize information about silt in the Upper Mississippi River. McLaughlin’s dramatically fringed ceramic platters reference Pre-Columbian cultures and the continuum of human history and time.
Water | Craft also includes works by Rowland Ricketts, Sarah Sense, Therman Statom, Kelly Church, and Tanya Aguiñiga. The latter is known for her intricately knotted wall works containing terracotta forms, which cascade gently to the floor. And Ricketts’ large-scale installation, “Bow,” comprises strands of indigo-dyed linen that suspend within a large gallery space, creating the effect of a current or perhaps the silhouette of a boat.
“Just as water flows through bodies, landscapes, and cultural histories, craft knowledge is passed between generations, carrying technical skills alongside cultural values,” the museum says. “The artists in Water | Craft employ traditional methods not as nostalgic gestures, but as living practices that continue to evolve in response to environmental change.”
Water | Craft continues through December 27 in Winona.
Tanya Aguiñiga, “Internal Body I” (2023), fiber, terracotta, and mixed media. Images courtesy of Volume GalleryTanya Aguiñiga, “Internal Body I” (detail). Image courtesy of Volume GalleryTherman Statom, “Pesca de la Noche” (2015), glass, mixed-media. Photo by Bailey BoltonTali Weinberg, “Silt Studies: Upper Mississippi River Basin” (2021), from the ‘Climate Datascapes’ series, woven fiber, plant-derived dyes, medical tubing, and fishing line. Photo by Bailey BoltonRowland Ricketts, “Bow” (MMAM installation view) (2023), indigo-dyed linen. Photo by Bailey BoltonNicole McLaughlin, “Confluencia (Confluence)” (detail)
Hadi Alodid refused legal representation and made no reply to charges which were put put to him through an Arabic interpreter as he appeared in court charged with attempted murder following the Belfast knife attack, the Press Association reports.
The 30-year-old, with an address at Duncairn Avenue in Belfast, appeared before the city’s magistrates’ court on Wednesday morning.
He is charged with the attempted murder of Stephen Ogilvie on Monday, with threatening to kill an NHS radiographer on the same day and with the possession of a knife.
“Matter is memory, and memory is a medium,” says artist Annalise Neil, whose surreal cyanotypes brim with animals, fungi, geological specimens, shells, and more that she augments with watercolor. Recently, the artist has been adding rich, earthy tones with natural dyes such as wild strawberry leaf, oak gall, loquat leaf, and chestnut. She has used botanical teas to shift the natural blue color of the cyanotypes for quite a while, but the sepia tonality has emerged as a larger focus lately, which allows her to layer hues like browns and purples.
Neil’s experiences in nature profoundly influence her individual pieces in a process that she poetically describes as “melting, rolling, pinching, sanding, walking across meadows, cheek on sun-warmed boulders.” This year, she’s a resident artist at Volcan Mountain Foundation in Julian, California, which merges artistic and scientific inquiry. “I endeavor to create work that will lead to contemplation and reflection and that invites a thoughtful examination of our relationship to reality and our surroundings,” she says.
“Littoral Talisman” (2026), watercolor and cyanotype toned with madder root, chestnut tannins and strawberry leaf tea on Canson Montval paper, hand-carved wood panel, gouache, volcano keyhole limpet shell, copper, 28 x 18 x 1.75 inches
“For my site-specific work, I begin by hiking for many days and photographing intriguing things I find, including birds and mammals, plants, geological forms, and insects,” she says. “As I photograph specimens in wild and cultivated spaces, I capture a brief version of their existence that I transmute into a negative and then into a cyanotype.” The images are then supported on hand-carved wooden panels.
Neil’s work is currently on view in Fast Forward: Analog Photography as a Third Space at the Los Angeles Center for Photography and Sanguine Glimmers at Hey Books! in San Diego, among others. See more and follow updates on the artist’s Instagram.
“Intervals” (2023), watercolor and cyanotype on Awagami Mitsumata paper mounted to acrylic-painted wood panel, 10 x 8 x 1.5 inches“Auguries” (2025), cyanotype and chestnut tannins on Hahnemuhle Sumi-e paper mounted to hand-carved wood panels, kiln-cast glass sculptures, flashe, bronze, 18 x 32 x 2 inchesFrom the ‘Idyllwild Reverie’ series (2025), cyanotype toned with strawberry leaf and chestnut, watercolor, and acrylic on wood panel, 12 x 24 x 1 inches“Loophole” (2024), bleached and toned cyanotype, watercolor, flashe, kiln-cast glass, handmade wood panel, bronze, 14.5 x 16 x 2 inches“Chaparral Coronet” (2026), cyanotype on Hahnemule Sumi-e paper toned with chestnut and strawberry leaf, watercolor, and shellac ink on hand-carved wood panel, 12 x 12 x 1.75 inches“Locus” (2024), kiln-cast glass, cuttlefish-cast bronze, toned cyanotype, watercolor, handmade wood panel, flashe, bronze wire, 14 x 10.5 x 1.5 inches“Harmony II” (2024), watercolor and toned cyanotype on cotton sateen mounted to wood panel, 30 x 24 x 1.5 inches“Gravity” (2024), bleached and traditional cyanotype, watercolor, kiln-cast glass, cuttlefish-cast bronze, handmade wood panel, flashe, 16 x 8 x 3.5 inches“Light Emergent”(2026), cyanotype on Hahnemule Sumi-e paper toned with strawberry leaf, watercolor, and pinyon pine pitch on hand-built and carved wood panel, 25 x 18 x 1 inches
Exclusive: Cancer charity says dispelling falsehoods gleaned from social media is now routine task for clinicians
Social media misinformation about the use of dietary supplements such as turmeric, St John’s wort and magnesium is now so common that dispelling online claims has become a routine part of NHS clinicians work.
Two out of five frontline health workers say they encounter patients who raise inaccurate or misleading information about supplements at least once a week.
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