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Artist Ellsworth Kellys new chapel at the University of Texas in Austin. Its the first and only freestanding building designed by Kelly. (images via Dezeen)
Its like Donald Trump said, Go to Toys R Us and bring me all the toys, and I will choose the best one,' he says. They can make the wall from here to the sky and we can find a way to get around it. Los mexicanos tienen maa. Mexicans have knack.
His neighbor, Juan Manuel Hernandez Lozano, takes a dimmer view.
Hernandez was born in Mexico but was taken to Los Angeles without papers when he was about 5. He spent almost his entire life in Los Angeles and speaks English laced with the musical cadence of the Eastside. To prove his real-deal L.A.-ness, he shows me a Raiders tattoo.
Nine years ago, he was deported. His family lives in L.A., but hes stuck in Tijuana. In that time, he has missed the funerals of both parents and a brother.
Its now easier than ever to spark your creativity through arts and crafts. You can take online classes on nearly any subject and wade through countless inspiring blogs. But if youre looking for a tactile way to learn and enjoy a new skill, try a DIY kit. They come in nearly every craft and are convenientmany all-inclusive packs have everything you need to get started. Just grab basic supplies like scissors and youll be on the path to making something great.
DIY kits allow you to test drive an art or craft before you fully commit to it, making it a safe way to try something out of your comfort zone. If youre curious about crafting your own paper flowers, for instance, the van Gogh Irises kit is one to explore. Its creator Sarah Yakawonis modeled the flowers after the iconic painters artwork. When youre done, youll have a set of Irises to decorate your home. Afterwards, you can evaluate what you thought of crafting your own florals and even build on your skills with books like Tiffany Turners The Fine Art of Paper Flowers.
Weve taken the guesswork out of finding a DIY kit. Check out 10 of our recommendations below.
Make a fox that isnt sly enoug...
London-based fine art photographer Alma Haser is known for turning traditional portrait photography into eye-catching, futuristic imagery. Using various manipulation techniques, such as three-dimensional paper folding and carefully constructed collage, the resulting surreal portraits blur the line between reality and fantasy. For her latest project titled Within 15 Minutes, Haser explores her fascination with identical twins by creating jigsaw puzzles portraits that reveal the subtle differences between them.
Inspired by monozygotic twinssiblings that develop from one zygote, which splits and forms two embryosHasers subjects were five different sets of identical siblings. After photographing each person individually, Haser then turned the portraits into jigsaw puzzles. However, instead of placing the correct pieces together, the artist swapped every other piece, mixing each persons portrait up with his/her siblings portrait. By not knowing where their facial features would be placed when mixed and arranged side by side, the hybrid portraits appear distorted, unrecognizable, and strangely eerie. Haser explains that the twins are no longer seen as completely identical, they are unique.
Installation view, Alexander Apstol, Salida de los obreros del museo. Taller y Repblica a partir de Tucumn arde (all images courtesy of the Museo de Arte Latinoamericano de Buenos Aires, photo by Guyot/Mendoza)
BUENOS AIRES In 1968, a collective of artists, intellectuals, and workers based primarily in the Argentinean cities of Rosario and Buenos Aires developed a series of exhibitions that would become a paradigm for political art. Their focus was the impoverished province of Tucumn, where military dictator Juan Carlos Ongana imposed a shutdown of sugar refineries under the shameful guise of establishing new, North American industries in the region. The collective condemned the Argentine government, which they accused of pursuing a nefarious colonizing policy at the expense of Tucumns largely sugar-dependent working class. Further incensed by the deliberate concealment and distortion of information by the government-backed media, the frivolous apathy of the leading avant-garde and the widening distance between art and reality, and the brutality of the ongoing war in Vietnam, the group mobilized the aesthetic and political effort Tucumn arde (Tucumn is burning.)
Its manifesto, authored by founding members Mara Teresa Gramuglio and Nicols Rosa, declared the collectives intention to reveal the fallacious contradiction of the government and its supporting class via a series of exhibitions joining art and activism; these included attesting to the degradation of Tucumn. They took place in the headquarters of the General Workers Confederation of the Argentines (CGT) in the cities of Rosario, Santa Fe, and Buenos Aires, rather than in traditional institutional spaces, in line with Tucumn ardes critique of the latter and its firm stance on the necessity of transferring [works of art] to another context....
David Reed, #64 (1974), oil on canvas, 6 feet 4 inches x 56 inches (Photo by Rob McKeever, courtesy Gagosian)
It is routine to characterize the 1970s as a decade dominated by Conceptual Art, and artists such as Sol LeWitt, Lawrence Weiner, Joseph Kosuth, and Mel Bochner. Part of this thinking is market-driven: the phenomenon of a group of artists who conveniently fall under a single heading and who steadily gain attention over the course of a decade. In 1978, LeWitt had a mid-career retrospective at the Museum of Modern Art. Critics described Conceptual Art as the next logical step after Minimalism while suggesting that artists engaged with painting did three things wrong: they worked in an obsolete form; they did not go beyond the reductiveness of Minimalism in a way that could be labeled; and they did not accept Donald Judds dim view of painting:
The main thing wrong with painting is that it is a rectangular plane placed flat against the wall. A rectangle is a shape itself; it is obviously the whole shape; it determines and limits the arrangement of whatever is on or inside of it.
The painter Carroll Dunham opens his essay Shapes of Things to Come: On Elizabeth Murray (Artforum, November 2005) with this blanket judgment: Painting in New York during the second half of the 1970s was a mess. I want to take issue with this received view of the 1970s because it continues to perpetuate a myth that painting, after taking a hiatus in the 1970s, returned in the 1980s. This view justifies the fact that painting was ignored or denigrated during the 1970s, as it verifies the appetites of the marketplace.
When Wallace Stevens said Money is a kind of poetry, he could have applied it to certain precincts of the art world, where it is a kind of criticism. Those who believe that the cream always rises to the top, and that success in the marketplace is a reliable measure of an artists ambition, tend to be white male critics....
On the 11th of February 1862, Elizabeth Siddal, an English artists model, died in London of a self-administered overdose of laudanum. In the early 1850s, as a young woman, Siddal was painted extensively by the Pre-Raphaelite Brotherhood. She sat for Walter Deverells Viola in Twelfth Night (1850), for William Holman Hunts British Girl in A Converted British Family Rescuing a Christian Priest from Persecution by the Druids (1851), for John Everett Millaiss Ophelia (1852) for which she posed floating in a bathtub full of water, and for Dante Gabriel Rossettis Beatrice, the Virgin Mary, St Catherine, and many others. Rossetti became eventually her...
Theres a new Ivo Neame album on the horizon. The London-based pianist is releasing Moksha on March 23rd, 2018 on Edition Records. If youre in the mood to spend the day exploring great new music, you only need to perform a search on the name Ivo Neame right here on this site to get 
Philip Allen, Devin Nunes, messenger boy from Hell (2018), photomontage, 11 x 17 inches
In a previous existence, Devin Nunes had been a telegram delivery boy. He kept getting canned because every message he delivered, however detailed and complicated before being sealed into its envelope, arrived mysteriously and absolutely blank.
Nothing was delivered. Some say he was bedeviled by an evil memo-deleting Jin; others that he had an undetectable method of opening sealed envelopes and worked on the messages himself until they conformed to a secret Deep State Masonic-Illuminati code that only Devin and a few others knew.
His tutor, one Rosemary Woods, had taught him the fine art of deletion and modification in order to construct an indecipherable narrative.
Hed arrive at his destination and deliver his much-anticipated epistle, leaving everyone speechless, scratching their heads, and wondering why hed bothered making the trip, particularly since hed hired his own brass band to precede him into towns announcing his imminent arrival.
Often, intoxicated with the importance of his sacred charge, he would refuse to let the addressees even see the memo and insist upon reading or worse, singing it to them. It was for this reason that he was at last dismissed from his position.
After he was let go, large rectangular chunks of Nunes would become translucent and then disappear, almost as if he were being haphazardly erased by some hidden hand. Finally, as his scalp was being erased, he dwelt on the possibility of reincarnation, and one last thought arose in his consciousness. Again
When it comes to art and design, experimenting with words is a unique way to creatively catch someone's attention. Whether hand-lettered or digitally rendered, text can have a powerful impact on a product. In this stylish selection of typography gifts, we present the versatility of words, punctuation marks, and everything in between.
Many productslike Tattlys designy temporary tattoos and Hallie Batemans clever coffee cupsuse eye-catching text as a whimsical way to communicate messages. Othersincluding Ana Guilln Fernndezs Technicolor Times clock and Dalia Shamirs initial earringsemploy letters as decorative details, approaching type from an artistic angle.
Regardless of aesthetic approach and conceptual intention, each product proves that some designers simply have a way with words.
William Edmondson, Angel (c. 1931), limestone, 22 x 16 1/2 x 5 1/2 inches, Robert M. Greenberg Collection (all images courtesy The National Gallery, Washington, DC)
Its been quite a while since outsider art the not wholly satisfactory term coined by the British art historian Roger Cardinal in 1972 has occupied the art worlds peripheries, far from the insiders world of top-tier galleries, museums, and the market. Outsider arts abiding allure is evident in the extensive infrastructure now supporting its display and dissemination, encompassing museum collections, art fairs, and foundations devoted to important figures. Its inconceivable the significance of outsider art will ever recede from view. We can even speak of canonical outsider artists (Henry Darger, James Castle, Martn Ramrez) whose prominence within this art-historical rubric seems as secure as Pollocks and De Koonings within Abstract Expressionism. The rise and entrenchment of outsider art and its tributaries (most notably, though most uneasily, folk art) signal that this kind of work stirs up (without necessarily satisfying) some of the fundamental desires that inform our experience of art more broadly. Clearly we want something from outsider art. But what is it?
I asked myself this question as I went through Outliers and American Vanguard Art, a capacious exhibition centered on outsider art, currently on view at the National Gallery in Washington, D.C. As this show demonstrates, the rawness and tactility of the most powerful outsider artworks offer a sense of bedrock presence, of stubborn conviction and irrepressible need. The artworks authority asserts itself even as it is cloaked in gestures or an overall angle of vision that is off-kilter and eccentric, often due to mental states that most of us will never inhabit. The most powerful outsider artworks in Outliers and American Vanguard Art evoke certain cherished ideals about all artists: the belief, for example, that they should be seers, uncompromised and uncompromising, and are somehow mysteriously distinct from non-artists. Or that they should use their difference to channel a larger groups energies into expressive forms that, their social origins notwithstanding, bear a strongly individualized c...
Edward Melcarth, Junkie with Open Shirt (no date), oil on canvas, 40.5 x 30.25 inches, The Forbes Collection (photo courtesy of University of Kentucky Art Museum)
LEXINGTON, Kentucky Oblivion is a very lonely place in which to spend eternity.
Its also a destination that many artists who take their work seriously, thinking ahead to the long stretch of posterity, would very much like to avoid.
Fortunately, in recent decades a growing number of art historians, employing research and analytical approaches influenced by feminist and postmodernist critical thinking, have dug back into Western art historys familiar canon to shine long-overdue light on certain forgotten or overlooked artists from different periods, including those from some of modernisms best-known eras. Often these researchers have called attention to innovative contributions to modern arts evolution from non-white, non-hetero, or female artists.
Looking back, it appears that the Kentucky-born artist Edward Melcarth (1914-1973), who dared to live as an openly homosexual man and did not hide his support for communism, did not earn a significant place in modern arts canonical history for exactly those reasons. His achievements were also overshadowed by the art establishments preoccupation with Abstract Expressionism, whose rise coincided with Melcarths development of his own personal, mature artistic language.The artist Edward Melcarth at work in 1950; location and p...
For his first retrospective exhibition in Canada, Takashi Murakami brings 55 of his colorful paintings and sculptures to the Vancouver Art Gallery. The pieces collectively tell the story of Murakami's evolution as an artist, spanning over three decades from the 1980s to today. The Octopus Eats Its Own Leg is a glimpse into the world of Japan's most celebrated contemporary artist, one who is the driving force behind the Superflat art movement.
To complement pieces from his early repertoire, Murakami has also created two multi-paneled paintings and a large-scale sculpture for the exhibition. In addition, visitors are greeted by Murakami's art as soon as they come in view of the Vancouver Art Gallery, thanks to a public work placed on the building's facade. The piece, in which a skull is surrounded by octopus tentacles, reaches out and draws the public into Murakami's world.
Inside, visitors can see familiar characters, from Murakami's smiling flowers to the iconic Mr. DOB. Mixing pop art style with traditional and contemporary Japanese culture, the artist has truly carved a unique path for himself, one that has allowed him to collaborate with the likes of Louis Vuitton and Kanye West. In tracing Takashi Murakamis development as an artist over the course of three decades, The Octopus Eats Its Own Leg draws attention to some of the major themes and cultural conditions that have shaped his artistic practice, says Kathleen S. Bartels, Director of the Vancouver Art Gallery.
Installation view of Michigan Stories: Mike Kelley & Jim Shaw at the MSU Broad (photo by Eat Pomegranate Photography)
EAST LANSING, Mich. In a 2006 interview I conducted with Mike Kelley for the Museum of Contemporary Art Detroit, I asked if, after 30 years in Los Angeles, he still felt connected to his home state (as well as mine), Michigan. Kelley replied, Oh yeah, Im a Detroiter. Theres no doubt about that. Im much more of a Detroiter than a Los Angelino. This sense of connection is the foundation of Michigan Stories: Mike Kelley & Jim Shaw at Michigan State Universitys Broad Museum, a joint survey of Kelley and fellow Michigan native Jim Shaw, curated by the museums director Marc-Olivier Wahler and assistant curators Carla Acevedo-Yates and Steven L. Bridges.
Kelley (born in 1954 in Wayne, Michigan) and Shaw (born in 1952 in Midland, Michigan) met in 1972 as undergraduate art students at the University of Michigan (U of M), where they formed a conceptual noise band, Destroy All Monsters, with two other art students, Cary Loren and Niagara. They left Michigan in 1976 for graduate school at CalArts. Both artists settled in Los Angeles, where they maintained their friendship until Kelleys untimely death in 2012.
For fans of Kelley and Shaw, Michigan Stories is a kind of origin story, a way to decipher the work of two multifaceted and prolific artists. It begins in Ann Arbor, with their collaborations at U of M and in Destroy All Monsters, before splitting into their separate but intersecting practices in California. What distinguishes the exhibition from standard biography is its representation of Michigans visual and social culture as formative influences and unique phenomena. In Kelleys words, Its a very particular place....
Leon Golub, Tete De Cheval II (1963), acrylic on canvas, 81 3/4 x 81 3/4 inches, The Estate of Leon Golub, Courtesy of Hauser and Wirth, The Nancy Spero and Leon Golub Foundation for the Arts/Licensed by VAGA, New York, NY (all images courtesy of The Metropolitan Museum of Art, New York, unless otherwise noted)
Leon Golub was a great American artist. End of story. Thats what popped into my head the moment the elevator doors at the Met Breuer slid open to reveal Gigantomachy II (1966), his enormous unstretched canvas crammed with nude men pummeling each other into pulp.
Gigantomachy II a recent gift to the Metropolitan Museum of Art, New York, from The Nancy Spero and Leon Golub Foundation for the Arts, with the support of the artists sons sets the stage for Leon Golub: Raw Nerve, a selective survey (as the introductory text puts it) seeking to shed light on the little-known corners of the artists body of work.
But as the exhibition demonstrates, great does not mean perfect, and in fact, the imperfections in Golubs art underscore the qualities that inform its greatness. And American is not a qualifier, but a testament to his distinctiveness.
Start with Gigantomachy II: the unvarnished power of this work, nearly 25 feet long and 10 feet high, is simply overwhelming. Seeing it firsthand is to realize just how painted-from-the-gut it is. The figures are a flurry of abstract marks streaming from a storm of emotion; the direction and opacity of the brushstrokes in pink, blue, black, and white, with touches of red oxide, Golubs signature color merge into arms, legs, fingers, eyes, noses, and teeth. The combatants glistening muscles seem less bruised than flayed....
View of the West Gallery of the Frick residence (1927) (all images Courtesy of The Frick Collection/Frick Art Reference Library Archives)
To enter the Frick Collection is to step inside what was once one of the most spacious mansions in Manhattan. Today, with visitors filling its hallways, security guards at watch, and ropes sectioning off areas, it can be difficult to imagine the museum as it once was, as a private residence for Henry Clay Frick, his wife Adelaide Childs, and their daughter, Helen Clay Frick.
Offering a window into that past is a digital album of photos, recently published by the museum, that captures the building when it was still occupied. The suite of over 70 images was taken in 1927 by the photographer Ira W. Martin, who was also employed by the Fricks to photograph artworks for the Frick Art Reference Library. They represent the earliest known photographs of the mansion, which was never documented by camera during Henry Fricks lifetime. The collector had passed away eight years prior, and Helen Frick was spending much of her time at Westmoreland Farm, a property she had purchased in Bedford Village. The museum believes only Adelaide resided there in 1927 although she was far from alone, having had the company of about 23 servants....
Still from Carlos Franklins VR recreation of Hieronymus Boschs The Temptation of Saint Anthony (all images courtesy the artist and Les Poissons Volants)
A boat with a broken mast floats by me in the sky. At the front, a man bends over himself, his upside-down face poking out at me from under his butt. A giant, spiked fish is biting the back of the boat, which is being lifted by a mutant manatee. I turn my head to see a bearded man in a robe inscribed with the letter T. Hes pressing his hands together like hes praying. What for? Probably for the creature next to him to stop beating him in the face with a fish.
Discerning art viewers may recognize this scene as a snippet from the 16th-century painting, The Temptation of Saint Anthony, by Hieronymus Bosch. However, most may not remember St. Anthonys fish slapping because they did not see the painting as I did, recreated through a virtual reality headset.
This 360 VR recreation of The Temptation of Saint Anthony was on display at the French Institutes first ever Animation Festival in New York this past weekend. The impetus for the festival was to showcase Frances animation lineage, with funky classics like Fantastic Planet and new beauties like The Red Turtle. The VR exhibit felt like an unusual addition but it ended up being my favorite part....
On the 10th of February 1962, American Pop artist Roy Lichtenstein showed his first solo exhibition at the Leo Castelli Gallery in New York, selling out before the opening. From an artist struggling with aesthetic and financial difficulties Lichtenstein was turned into an instant success, hunted by collectors and featured in the major media. Some of the now iconic works featured in the show included Blam, Engagement Ring, The Refrigerator and...
Paul Signac, Snow, Boulevard de Clichy, Paris (1886), oil on canvas, Minneapolis Institute of Arts (via Google Art Project/Wikimedia Commons)
Earlier this week, Paris all but shut down after a storm dumped up to 20 centimeters (almost eight inches) of snow on the French capital Tuesday night. Though most museums remained open, the Eiffel Tower was forced to close and will not reopen until Sunday due to continuing snowfall. While people continue to dig themselves out, weve taken the liberty, equality, and fraternity of compiling some of our favorite Instagram photos from the week of Parisian museums (and their gardens) covered in snow a rare sight in the typically temperate city....
Illustration of the Zodaic Man from the 1500 edition of Fasciculus medicinae (all images courtesy the New York Academy of Medicine)
Our astrological signs today are most often used to forecast our near futures, but in medieval times, the zodiac often dictated how medical practitioners treated their patients. Physicians consulted an illustrated nude figure whose body parts correspond to signs, and after calculating the phases of the moon, would decide whether they could safely draw blood from the region in question.
Known as the Zodiac Mac, this figure was one of the curious representations of man to appear in Fasciculus medicinae, one of the earliest printed, illustrated medical books. First published in 1491 by the brothers Johannes and Gregorius de Gregori, the book collected medical treatises independently written by scholars; its name literally means little bundle of medicine. Originally written in Latin, the texts quickly proved popular, and dozens of editions followed until 1522. These were translated into different languages and consulted by individuals in the medical field across Europe.Cover of the 1509 edition of Fasciculus medicinae
The number of illustrations increased after the second edition to cover an array of medical issues. Among them is the earliest depiction of a modern dissection, a urine color chart, and a pregnant anatomical female figure.
Louis Armstrong, Velma Middleton necktie (19571959), mixed media, 7 x 7 inches (all photos by the author for Hyperallergic)
NEW ORLEANS Prospect 4, the New Orleans triennial show that is spread between many museums and outdoor sites, is a hard show to love. Founded after Hurricane Katrina devastated New Orleans, it always was an ambitious and tough project to pull off. The logistics of curating and managing an installation of this size are daunting. And though I admire and respect the founders desires to draw tourists to the city to do something other than party, Prospect 4 was an overall disappointment on several levels.
On the whole, much of the museum-based work was big on concept and shallow on real intellectual or artistic depth. Whats more, when I visited mid-January, several pieces in the New Orleans Contemporary Arts Center were broken. And the signage for installations in public spaces are practically nonexistent, making them hard to find.Daryl Montana, pink suit
However, one venue stands out for its interesting and creative curatorial vision. The New Orleans Jazz Museum at the Old US Mint is hosting the work of 12 artists. Almost all of the work here has t...
In the 15th century, artistic tastes throughout Europe started to shift. This change resulted in a period known as the Renaissance, a 300-year golden age of enlightenment. To many people, this piece of European art history is often only associated with masters of the Italian Renaissance, like Michelangelo, Leonardo da Vinci, and Sandro Botticelli. However, this transformation touched many countries across the continent, culminating in a separate but simultaneous movement known as the Northern Renaissance.
Like their Italian counterparts, Northern Renaissance artists rejected recent Medieval ideas and instead found inspiration in the age-old aesthetic of Classical antiquity. This approach culminated in an artistic revival that helped bring Europe out of its Dark Ages.
Here, we look at the lesser-known Northern Renaissance, exploring its history and presenting its achievements.
The Northern Renaissance is a period in which artists north of the Alpsnamely, in the Low Countries (the Netherlands and Belgium), Germany, France, and England adopted and adapted the ideas of the Italian Renaissance. It is characterized by a realistic approach to painting, improved techniques, and the proliferation of printmaking.
Ive switched my devices over to monochrome, and now Im having trouble telling what things in the environment have color and dont. I think my mind is projecting color onto the b&w images
Just when you think we've learned all we can about the ancient Egyptians, another archeological discovery sheds new light on the powerful civilization. Egypts Ministry of Antiquities just announced the discovery of the tomb of an ancient priestess, one covered with rare and remarkably well-preserved wall paintings. Discovered by Egyptian archeologists during the excavations of Giza's western cemetery, the tomb dates from the Old Kingdom's Fifth Dynasty (2465-2323 BC).
The 4,400-year-old Egyptian tomb belonged to a priestess named Hetpet, according to the Ministry. As a priestess to Hathor, the goddess of fertility, she assisted women in childbirth and would have been a top official at the royal palace at the end of the Fifth Dynasty. The tomb has very distinguished wall paintings in a very good conservation condition depicting Hetpet standing in different hunting and fishing scenes or sitting before a large offering table receiving offerings from her children, the Ministry of Antiquities announced on Facebook.
Additional scenes include music and dance performances, as well as imagery of leather and metal workers. Interestingly, monkeys, which were domestic animals at the time, are featured in two scenes. The first scene shows a monkey reaping fruits while the second displays a monkey dancing in front of an orchestra. Though rare, it's not unheard of to see monkeys included in the artwork, with similar scenes appearing in the 12th Dynasty tomb of Khnoum Hetep II in Beni Hassan and the Old Kingdom tomb of Ka-Iber in Saqqara.
While archeologists first discovered the western cemetery in 1842, this particular tomb had yet to be revealed. However, it's not the first time Hetpet's identity had come to the surface. A German expedition had found in 1909 a collection of antiquities carrying this lady's name, or a lady who has the same name, and these antiquities were moved to the Berlin museum at the time, Antiquities Minister Khaled al-Enany shared. And 109 years later, we find this tomb that carries Hetpet's name.
Archeologists will continue excavations in hopes that they can unearth other treasures.
Inspired by the splendor of the solar system, BeautySpot creates dreamy planet jewelry that will leave you over-the-moon. Available as a captivating cluster necklace and a striking bracelet, each out-of-this-world accessory is perfect for statement-makers and astronomy lovers alike.
Both planetary pieces featuring pendants inspired by seven celestial bodies in our solar system: Neptune, Mercury, Earth, Mars, Jupiter, Venus, and the Moon. Each charm is handmade and creatively composed of high-quality images mounted on black polymer clay and covered in transparent resin, giving each globe a glossy appearance.
Though these pieces of science jewelry can make a stunning set, they are not identical. The bracelet's baubles are uniform in size and strung together by a sterling silver links, while the necklace's are rendered roughly to scale and set in antique brass. In either case, the solar system jewelry goes well with anything, turning ordinary outfits into out-of-this-world ensembles.
Both items are available in the My Modern Met Store, making it easy to bring the beauty of the cosmos down to earth.
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