The untimely death of the Heroes and Scream star was a tragic ending to a life filled with darkness in an industry that still lets its younger stars down

• Hayden Panettiere: an actor so magnetic that entire shows were rewritten for her

• Hayden Panettiere – a life in pictures

• Hayden Panettiere obituary

For a little while, it looked as if maybe former child actors had shed the stigma, long understandably held, that Hollywood success at a young age would lead to tragedy later in life. Child stars from the 1970s and 1980s seemed particularly mistreated and/or self-destructive, whether born into dysfunctional Hollywood families, like Tatum O’Neal, or the result of more sui generis success, like Brad Renfro, River Phoenix, or Corey Haim. But as these cases became more notorious, they seemed to act as cautionary tales for a generation of stars that seemed – broadly speaking – to be receiving better guidance, whether from family, friends, or themselves.

Look at the astonishingly well-adjusted core cast of Harry Potter kids, who worked for a full decade, from their pre-teen years to young adulthood: among Daniel Radcliffe, Emma Watson, and Rupert Grint, there are more awards, charity work and seemingly happy relationships than genuine scandals. (The biggest malfeasance of anyone in the trio? Some mild tax problems for Grint.) Other awards-show fixtures like Natalie Portman, Christian Bale, and Kieran Culkin have come out the other side of child stardom with terrific careers and strong reputations closer to the Jodie Foster model. Even Lindsay Lohan, whose behavior in the 2000s and into the 2010s seemed to signal impending tragedy, seems to be doing well: sober, happily married, and back on the big screen last year with the hit sequel Freakier Friday. In terms of more recent young stars, a pop singer like Olivia Rodrigo appears to have much more autonomy than Britney Spears did, even in her early-2000s heyday.

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Peter Kernwein posted a photo:

Peter Kernwein posted a photo:

Peter Kernwein posted a photo:

Peter Kernwein posted a photo:

Peter Kernwein posted a photo:

Thomas Hawk posted a photo:

Thomas Hawk posted a photo:

Thomas Hawk posted a photo:

Thomas Hawk posted a photo:

Thomas Hawk posted a photo:

handwritten on slide, "Death Valley, Feb 2000"

Zo nu en dan geef ik ook wat ‘klassieke’ muziek door in Closing Time. Van ‘oud klassiek’ tot wat moderner repertoire.

De interesse voor klassiek begon in mijn erg jonge jaren bij de Brandenburgse concerten van Bach. En met name het Brandenburg Concerto No. 3. Een lichtvoetig werkje, dat ook rockmuzikanten inspireerde. Onder andere The Nice met Keith Emerson (van de latere Emerson, Lake and Palmer).

Awel, van het een kwam het ander en ‘klassiek’ heeft nog steeds mijn grote belangstelling. Zeker het ‘moderne klassiek’ (denk aan Louis Andriessen of Edgar Varèse).

Met dank aan Bach dus, dit Brandenburg Concerto No. 3 voor 3 violen, 3 altviolen, 3 cellos en contrabas en klavecimbel.

AMSTELVEEN (ANP) - Met twee doelpunten had Joosje Burg een groot aandeel in de 4-2-zege van de Nederlandse hockeysters op Australië op het WK. De 29-jarige hockeyster was blij dat ze op intuïtie haar eerste WK-goal (2-0) kon maken.

"In het eerste kwart had ik een voorzet met de backhand en die raakte ik verkeerd en toen baalde ik", vertelde Burg. "Ik kwam op de bank en mopperde: maak toch je eigen keuzes. Dan gaat het vaak op intuïtie het beste. Ik zag over mijn schouder een gaatje en ik schoot. Ik heb bij die goal niet nagedacht."

De aanvalster vertelde ook dat er tegen Australië meer ruimte kwam dan in de eerste wedstrijd tegen Chili. "Dit was een heel andere partij. De goal die ik maak, die ruimte kreeg je tegen Chili niet. Dan stonden meteen drie verdedigsters om je heen. Tegen Australië konden we wat meer ballen afpakken in de as en vervolgens hockeyen zoals we kunnen hockeyen. Maar ik denk dat we nog steeds meer in het toernooi kunnen groeien."

“Sand temperatures above 29°C now produce 95–99% female sea turtles instead of the historical 50–50 ratio, creating a reproductive bottleneck that could collapse populations within two generations.”

Known for his large origami-style works, Sipho Mabona turns his attention to a deeply personal object in a new series: the calabash. The hollowed, dried gourd is native to tropical Africa and utilized across the continent as a bottle-like vessel for food and beverage. In The Calabashes We Never Drank Amasi From, Mabona translates his familial connection to the functional fruit into vibrant patterns made from recycled milk cartons.

“The starting point for my audiovisual series of works is my childhood memories of my late father’s stories about his own childhood in the rural Eastern Cape of South Africa,” he says. “One memory that was especially close to his heart, and which he often told my siblings and me, was of drinking his favourite drink, Amasi (Xhosa for fermented milk), from calabashes.”

To create the works, Mabona first cut triangular and rectangular pieces from the gourd, which he replaced with colorful, text-laden snippets of Tetra Pak containers secured with equally vibrant threads. Near the center of each piece is a small mirror that reflects the surroundings through a slightly distorted, curved perspective. When up close, viewers can also hear quiet recordings of Mabona’s father, the late scholar and activist Mongameli Mabona, reading his original poems and excerpts of his doctoral thesis on Xhosa cultural history.

Materially and conceptually, the works highlight how the personal and cultural intersect alongside the distinctly South African sense of resilience, one that emerges in the Black population’s upcycling traditions. The artist shares that the series reflects “how growing up and living in different cultural contexts shapes our worldview, and what interactions arise between generations through the transmission of these worldviews and the exchange that comes with it,” adding:

The works thus represent, on one hand, a juxtaposition of the different ways of life my father and I grew up in, and on the other, a dialogue between my own artistic work to date and his academic work as an anthropologist, in which he studied, among other things, the significance of symbols within his Xhosa culture… (The sculptures) also refer to the fact that calabashes serve not only to store food and drink, but in Xhosa culture are also the resonating bodies of musical instruments (Uhandi), and are used in rituals to communicate with the ancestors, to whom significant spiritual relevance is attributed.

To display the auditory works, the artist constructed cylindrical plinths made from soil, cow dung, glue, and water, an earthen concoction shaped into round stands reminiscent of the rondavel huts in which the elder Mabona spent his childhood in apartheid South Africa. “This is meant to lend the calabashes, with their anthropomorphic forms, a sense of home in an unfamiliar place, within a kind of animist worldview,” Mabona writes.

Find more from the artist, including additional works collaging found materials into rich, symbolic patterns, on his website and Instagram.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Milk Cartons and Bottle Gourds Form Sipho Mabona’s Tribute to His Late Father appeared first on Colossal.

De ontkerkelijking van de Verenigde Staten vlakt af. De aanwas van jonge, rechtse mannen verandert de politiek pluriforme katholieke gemeenschap – en de vijver van potentiële romantische partners. Jonge mannen „voelen zich ongemakkelijk bij het tempo van sociale verandering in de VS”.

On Saturday, the crew and I finished this mural refresh at Baller Art Supply on Tracy as part of the Los Feliz mural festival. This replacement for the “Make Art Not War” mural that was decaying follows the same peace theme with new imagery. Thanks to my crew of Rob Zagula, Willem Wolfe, and Jon Furlong, who also shot the photos!
-Shepard

The post New “Peace is Radical” Mural for the Los Feliz Mural Festival in Los Angeles appeared first on Obey Giant.

Op de Middelweg in Nieuw-Lekkerland vond maandag een bijzonder ongeluk plaats. Een auto en een fatbike raakten met elkaar in botsing. De fietser had tijdens de aanrijding een pot verf bij zich, die grotendeels op de auto belandde.