World's Edge

# World's Edge

## Abstract

World's Edge is an American video game developer and a studio of Xbox Game Studios based in Redmond, Washington. They were established in June 2019 to oversee the Age of Empires franchise. The studio works with external studios such as Forgotten Empires, Tantalus Media and Relic Entertainment to bring back the franchise.

## History

At E3 2019 Xbox announced that they are establishing a new internal studio which later named World's Edge. The studio was established in 2019 by Shannon Loftis, former Head of Publishing at Xbox Game Studios Publishing, to work on the Age of Empires franchise.

The studio's first title was Age of Empires II: Definitive Edition for which they partnered with Forgotten Empires, Tantalus Media and Wicked Witch Software. They worked as an overseer to make sure the title was in the right direction.

Shannon Loftis, founder and head of the studio retired in 2022 and Michael Mann the executive producer of Age of Empires IV took her place.

On the 25th anniversary of Age of Empires, World's Edge announced Xbox console ports of Age of Empires II: Definitive Edition and Age of Empires IV along with a remaster of Age of Mythology and the global version of Age of Empires Mobile.


Intermodal container

# Intermodal container

## Abstract

An intermodal container, often called a shipping container, or cargo container, (or simply “container”) is a large metal crate designed and built for intermodal freight transport, meaning these containers can be used across different modes of transport – such as from ships to trains to trucks – without unloading and reloading their cargo. Intermodal containers are primarily used to store and transport materials and products efficiently and securely in the global containerized intermodal freight transport system, but smaller numbers are in regional use as well. It is like a boxcar that does not have wheels. Based on size alone, up to 95% of intermodal containers comply with ISO standards, and can officially be called ISO containers. These containers are known by many names: freight container, sea container, ocean container, container van or sea van, sea can or C can, or MILVAN, or SEAVAN. The term CONEX (Box) is a technically incorrect carry-over usage of the name of an important predecessor of the ISO containers: the much smaller steel CONEX boxes used by the U.S. Army.

Intermodal containers exist in many types and standardized sizes, but 90 percent of the global container fleet are "dry freight" or "general purpose" containers: durable closed rectangular boxes, made of rust-retardant Corten steel; almost all 8 feet (2.44 m) wide, and of either 20 or 40 feet (6.10 or 12.19 m) standard length, as defined by International Organization for Standardization (ISO) standard 668:2020. The worldwide standard heights are 8 feet 6 inches (2.59 m) and 9 feet 6 inches (2.90 m) – the latter are known as High Cube or Hi-Cube (HC or HQ) containers. Depending on the source, these containers may be termed TEUs (twenty-foot equivalent units), reflecting the 20- or 40-foot dimensions.

Invented in the early 20th century, 40-foot intermodal containers proliferated during the 1960s and 1970s under the containerization innovations of the American shipping company SeaLand. Like cardboard boxes and pallets, these containers are a means to bundle cargo and goods into larger, unitized loads that can be easily handled, moved, and stacked, and that will pack tightly in a ship or yard. Intermodal containers share a number of construction features to withstand the stresses of intermodal shipping, to facilitate their handling, and to allow stacking. Each has a unique ISO 6346 reporting mark.

In 2012, there were about 20.5 million intermodal containers in the world of varying types to suit different cargoes. Containers have largely supplanted the traditional break bulk cargo; in 2010, containers accounted for 60% of the world's seaborne trade. The predominant alternative methods of transport carry bulk cargo, whether gaseous, liquid, or solid—e.g., by bulk carrier or tank ship, tank car, or truck. For air freight, the lighter weight IATA -defined unit load devices are used.

## History

### Origins

Containerization has its origins in early coal mining regions in England beginning in the late 18th century. In 1766 James Brindley designed the box boat 'Starvationer' with ten wooden containers, to transport coal from Worsley Delph (quarry) to Manchester by Bridgewater Canal. In 1795, Benjamin Outram opened the Little Eaton Gangway, upon which coal was carried in wagons built at his Butterley Ironwork. The horse-drawn wheeled wagons on the gangway took the form of containers, which, loaded with coal, could be transshipped from canal barges on the Derby Canal, which Outram had also promoted.

By the 1830s, railroads were carrying containers that could be transferred to other modes of transport. The Liverpool and Manchester Railway in the UK was one of these, making use of "simple rectangular timber boxes" to convey coal from Lancashire collieries to Liverpool, where a crane transferred them to horse-drawn carriages. Originally used for moving coal on and off barges, "loose boxes" were used to containerize coal from the late 1780s, at places like the Bridgewater Canal. By the 1840s, iron boxes were in use as well as wooden ones. The early 1900s saw the adoption of closed container boxes designed for movement between road and rail.

### Creation of international standards

The first international standard for containers was established by the Bureau International des Containers et du Transport Intermodal (B.I.C.) in 1933, and a second one in 1935, primarily for transport between European countries. American containers at this time were not standardized, and these early containers were not yet stackable – neither in the U.S. nor Europe. In November 1932, the first container terminal in the world was opened by the Pennsylvania Rail Road Company in Enola, Pennsylvania. Containerization was developed in Europe and the US as a way to revitalize rail companies after the Wall Street Crash of 1929, in New York, which resulted in economic collapse and a drop in all modes of transport.

### Mid 20th century innovations

In April 1951 at Zürich Tiefenbrunnen railway station, the Swiss Museum of Transport and the Bureau International des Containers (BIC) held demonstrations of container systems for representatives from a number of European countries, and from the United States. A system was selected for Western Europe, based on the Netherlands' system for consumer goods and waste transportation called Laadkisten (lit. "Loading chests"), in use since 1934. This system used roller containers for transport by rail, truck and ship, in various configurations up to 5,500 kg (12,100 lb) capacity, and up to 3.1 by 2.3 by 2 metres (10 ft 2 in × 7 ft 6 + 1 ⁄ 2 in × 6 ft 6 + 3 ⁄ 4 in) in size. This became the first post World War II European railway standard of the International Union of Railways – UIC-590, known as "pa-Behälter". It was implemented in the Netherlands, Belgium, Luxembourg, West Germany, Switzerland, Sweden and Denmark.

The use of standardized steel shipping containers began during the late 1940s and early 1950s, when commercial shipping operators and the US military started developing such units. In 1948 the U.S. Army Transportation Corps developed the "Transporter", a rigid, corrugated steel container, able to carry 9,000 pounds (4,100 kg). It was 8 ft 6 in (2.59 m) long, 6 ft 3 in (1.91 m) wide, and 6 ft 10 in (2.08 m) high, with double doors on one end, was mounted on skids, and had lifting rings on the top four corners. After proving successful in Korea, the Transporter was developed into the Container Express (CONEX) box system in late 1952. Based on the Transporter, the size and capacity of the Conex were about the same, but the system was made modular, by the addition of a smaller, half-size unit of 6 ft 3 in (1.91 m) long, 4 ft 3 in (1.30 m) wide and 6 ft 10 + 1 ⁄ 2 in (2.10 m) high. CONEXes could be stacked three high, and protected their contents from the elements. By 1965 the US military used some 100,000 Conex boxes, and more than 200,000 in 1967, making this the first worldwide application of intermodal containers. Their invention made a major contribution to the globalization of commerce in the second half of the 20th century, dramatically reducing the cost of transporting goods and hence of long-distance trade.

From 1949 onward, engineer Keith Tantlinger repeatedly contributed to the development of containers, as well as their handling and transportation equipment. In 1949, while at Brown Trailers Inc. of Spokane, Washington, he modified the design of their stressed skin aluminum 30-foot trailer, to fulfil an order of two-hundred 30 by 8 by 8.5 feet (9.14 m × 2.44 m × 2.59 m) containers that could be stacked two high, for Alaska-based Ocean Van Lines. Steel castings on the top corners provided lifting and securing points.

In 1955, trucking magnate Malcom McLean bought Pan-Atlantic Steamship Company, to form a container shipping enterprise, later known as Sea-Land. The first containers were supplied by Brown Trailers Inc, where McLean met Keith Tantlinger, and hired him as vice-president of engineering and research. Under the supervision of Tantlinger, a new 35 ft (10.67 m) x 8 ft (2.44 m) x 8 ft 6 in (2.59 m) Sea-Land container was developed, the length determined by the maximum length of trailers then allowed on Pennsylvanian highways. Each container had a frame with eight corner castings that could withstand stacking loads. Tantlinger also designed automatic spreaders for handling the containers, as well as the twistlock mechanism that connects with the corner castings.

### Modern form

Containers in their modern 21st-century form first began to gain widespread use around 1956. Businesses began to devise a structured process to utilize and to get optimal benefits from the role and use of shipping containers. Over time, the invention of the modern telecommunications of the late 20th century made it highly beneficial to have standardized shipping containers and made these shipping processes more standardized, modular, easier to schedule, and easier to manage.

Two years after McLean's first container ship, the Ideal X, started container shipping on the US East Coast, Matson Navigation followed suit between California and Hawaii. Just like Pan-Atlantic 's containers, Matson's were 8 ft (2.44 m) wide and 8 ft 6 in (2.59 m) high, but due to California's different traffic code Matson chose to make theirs 24 ft (7.32 m) long. In 1968, McLean began container service to South Vietnam for the US military with great success.

### Modern ISO standards

ISO standards for containers were published between 1968 and 1970 by the International Maritime Organization. These standards allow for more consistent loading, transporting, and unloading of goods in ports throughout the world, thus saving time and resources.

The International Convention for Safe Containers (CSC) is a 1972 regulation by the Inter-governmental Maritime Consultative Organization on the safe handling and transport of containers. It decrees that every container traveling internationally be fitted with a CSC Safety-approval Plate. This holds essential information about the container, including age, registration number, dimensions and weights, as well as its strength and maximum stacking capability.

### Impact of industry changes on workers

Longshoremen and related unions around the world struggled with this revolution in shipping goods. For example, by 1971 a clause in the International Longshoremen's Association (ILA) contract stipulated that the work of "stuffing" (filling) or "stripping" (emptying) a container within 50 miles (80 km) of a port must be done by ILA workers, or if not done by ILA, that the shipper needed to pay royalties and penalties to the ILA. Unions for truckers and consolidators argued that the ILA rules were not valid work preservation clauses, because the work of stuffing and stripping containers away from the pier had not traditionally been done by ILA members. In 1980 the Supreme Court of the United States heard this case and ruled against the ILA.

### Impact in worldwide supply shortage of 2020 to present

Some experts have said that the centralized, continuous shipping process made possible by containers has created dangerous liabilities: one bottleneck, delay, or other breakdown at any point in the process can easily cause major delays everywhere up and down the supply chain.

The reliance on containers exacerbated some of the economic and societal damage from the 2021 global supply chain crisis of 2020 and 2021, and the resulting shortages related to the COVID-19 pandemic. In January 2021, for example, a shortage of shipping containers at ports caused shipping to be backlogged.

Marc Levinson, author of Outside the Box: How Globalization Changed from Moving Stuff to Spreading Ideas and The Box: How the Shipping Container Made the World Smaller and the World Economy Bigger, said in an interview:

Because of delays in the process, it's taking a container longer to go from its origin to its final destination where it's unloaded, so the container is in use longer for each trip. You've just lost a big hunk of the total capacity because the containers can't be used as intensively.We've had in the United States an additional problem, which is that the ship lines typically charge much higher rates on services from Asia to North America than from North America to Asia. This has resulted in complaints, for example, from farmers and agricultural companies, that it's hard to get containers in some parts of the country because the ship lines want to ship them empty back to Asia, rather than letting them go to South Dakota and load over the course of several days. So we've had exporters in the United States complaining that they have a hard time finding a container that they can use to send their own goods abroad.

## Description

Ninety percent of the global container fleet consists of "dry freight" or "general purpose" containers – both of standard and special sizes. And although lengths of containers vary from 8 to 56 feet (2.4 to 17.1 m), according to two 2012 container census reports about 80% of the world's containers are either 20- or 40-foot standard-length boxes of the dry freight design. These typical containers are rectangular, closed box models, with doors fitted at one end, and made of corrugated weathering steel (commonly known as CorTen) with a plywood floor. Although corrugating the sheet metal used for the sides and roof contributes significantly to the container's rigidity and stacking strength, just like in corrugated iron or in cardboard boxes, the corrugated sides cause aerodynamic drag, and up to 10% fuel economy loss in road or rail transport, compared to smooth-sided vans.

Standard containers are 8 feet (2.44 m) wide by 8 ft 6 in (2.59 m) high, although the taller "High Cube" or "hi-cube" units measuring 9 feet 6 inches (2.90 m) have become very common in recent years. By the end of 2013, high-cube 40 ft containers represented almost 50% of the world's maritime container fleet, according to Drewry's Container Census report.

About 90% of the world's containers are either nominal 20-foot (6.1 m) or 40-foot (12.2 m) long, although the United States and Canada also use longer units of 45 ft (13.7 m), 48 ft (14.6 m) and 53 ft (16.15 m). ISO containers have castings with openings for twistlock fasteners at each of the eight corners, to allow gripping the box from above, below, or the side, and they can be stacked up to ten units high.

Although ISO standard 1496 of 1990 only required nine-high stacking, and only of containers rated at 24,000 kg (53,000 lb), current Ultra Large Container Vessels of the Post New Panamax and Maersk Triple E class are stacking them ten or eleven high. Moreover, vessels like the Marie Maersk no longer use separate stacks in their holds, and other stacks above deck – instead they maximize their capacity by stacking continuously from the bottom of the hull, to as much as 21 high. This requires automated planning to keep heavy containers at the bottom of the stack and light ones on top to stabilize the ship and to prevent crushing the bottom containers.

Regional intermodal containers, such as European, Japanese and U.S. domestic units however, are mainly transported by road and rail, and can frequently only be stacked up to two or three laden units high. Although the two ends are quite rigid, containers flex somewhat during transport.

Container capacity is often expressed in twenty-foot equivalent units (TEU, or sometimes teu). A twenty-foot equivalent unit is a measure of containerized cargo capacity equal to one standard 20-foot (6.1 m) long container. This is an approximate measure, wherein the height of the box is not considered. For example, the 9 ft 6 in (2.9 m) tall high-cube, as well as 4-foot-3-inch half-height (1.3 m) 20-foot (6.1 m) containers are equally counted as one TEU. Similarly, extra long 45 ft (13.72 m) containers are commonly counted as just two TEU, no different from standard 40 feet (12.19 m) long units. Two TEU are equivalent to one forty-foot equivalent unit (FEU).

In 2014 the global container fleet grew to a volume of 36.6 million TEU, based on Drewry Shipping Consultants' Container Census. Moreover, in 2014 for the first time in history 40-foot High-Cube containers accounted for the majority of boxes in service, measured in TEU. In 2019 it was noted by global logistics data analysis startup Upply that China's role as 'factory of the world' is further incentivizing the use of 40-foot containers, and that the computational standard 1 TEU boxes only make up 20% of units on major east–west liner routes, and demand for shipping them keeps dropping. In the 21st century, the market has shifted to using 40-foot high-cube dry and refrigerated containers more and more predominantly. Forty-foot units have become the standard to such an extent that the sea freight industry now charges less than 30% more for moving a 40-ft unit than for a 1 TEU box. Although 20-ft units mostly have heavy cargo, and are useful for stabilizing both ships and revenue, carriers financially penalize 1 TEU boxes by comparison.

For container manufacturers, 40-foot High-Cubes now dominate market demand both for dry and refrigerated units. Manufacturing prices for regular dry freight containers are typically in the range of $1750–$2000 U.S. per CEU (container equivalent unit), and about 90% of the world's containers are made in China. The average age of the global container fleet was a little over 5 years from end 1994 to end 2009, meaning containers remain in shipping use for well over 10 years.

### Gooseneck tunnel

A gooseneck tunnel, an indentation in the floor structure, that meshes with the gooseneck on dedicated container semi-trailers, is a mandatory feature in the bottom structure of 1AAA and 1EEE (40- and 45-ft high-cube) containers, and optional but typical on standard height, forty-foot and longer containers.

## Types

Other than the standard, general purpose container, many variations exist for use with different cargoes. The most prominent of these are refrigerated containers (also called reefers) for perishable goods, that make up 6% of the world's shipping boxes. Tanks in a frame, for bulk liquids, account for another 0.75% of the global container fleet.

Although these variations are not of the standard type, they mostly are ISO standard containers – in fact the ISO 6346 standard classifies a broad spectrum of container types in great detail. Aside from different size options, the most important container types are:

- General-purpose dry vans, for boxes, cartons, cases, sacks, bales, pallets, drums, etc., Special interior layouts are known, such as: rolling-floor containers, for difficult-to-handle cargo garmentainers, for shipping garments on hangers (GOH)

- rolling-floor containers, for difficult-to-handle cargo

- garmentainers, for shipping garments on hangers (GOH)

- Ventilated containers. Essentially dry vans, but either passively or actively ventilated. For instance for organic products requiring ventilation.

- Temperature controlled – either insulated, refrigerated, and/or heated containers, for perishable goods

- Tank containers, for liquids, gases, or powders. Frequently these are dangerous goods, and in the case of gases one shipping unit may contain multiple gas bottles

- Bulk containers (sometimes bulktainers), either closed models with roof-lids, or hard or soft open-top units for top loading, for instance for bulk minerals. Containerized coal carriers and "bin-liners" (containers designed for the efficient road and rail transportation of rubbish from cities to recycling and dump sites) are used in Europe.

- Open-top and open-side containers, for instance for easy loading of heavy machinery or oversize pallets. Crane systems can be used to load and unload crates without having to disassemble the container itself. Open sides are also used for ventilating hardy perishables like apples or potatoes.

- Log cradles for cradling logs

- Platform based containers such as:

- flat-rack and bolster containers, for barrels, drums, crates, and any heavy or bulky out-of-gauge cargo, like machinery, semi-finished goods or processed timber. Empty flat-racks can either be stacked or shipped sideways in another ISO container collapsible containers, ranging from flushfolding flat-racks to fully closed ISO and CSC certified units with roof and walls when erected.

- flat-rack and bolster containers, for barrels, drums, crates, and any heavy or bulky out-of-gauge cargo, like machinery, semi-finished goods or processed timber. Empty flat-racks can either be stacked or shipped sideways in another ISO container

- collapsible containers, ranging from flushfolding flat-racks to fully closed ISO and CSC certified units with roof and walls when erected.

- trash containers, for carrying trash bags and cans to and from Recycling factories and landfills.

Containers for offshore use have a few different features, like pad eyes, and must meet additional strength and design requirements, standards and certification, such as the DNV2.7-1 by Det Norske Veritas, LRCCS by Lloyd's Register, Guide for Certification of Offshore Containers by American Bureau of Shipping and the International standard ISO10855: Offshore containers and associated lifting sets, in support of IMO MSC/Circ. 860

A multitude of equipment, such as generators, has been installed in containers of different types to simplify logistics – see § Containerized equipment for more details.

Swap body units usually have the same bottom corner fixtures as intermodal containers, and often have folding legs under their frame so that they can be moved between trucks without using a crane. However they frequently do not have the upper corner fittings of ISO containers, and are not stackable, nor can they be lifted and handled by the usual equipment like reach-stackers or straddle-carriers. They are generally more expensive to procure.

## Specifications

Basic terminology of globally standardized intermodal shipping containers is set out in standard:

- ISO 830:(1999) Freight containers – Vocabulary, 2nd edition; last reviewed and confirmed in 2016.

From its inception, ISO standards on international shipping containers, consistently speak of them sofar as 'Series 1' containers – deliberately so conceived, to leave room for another such series of interrelated container standards in the future.

Basic dimensions and permissible gross weights of intermodal containers are largely determined by two ISO standards:

- ISO 668:2013–2020 Series 1 freight containers—Classification, dimensions and ratings

- ISO 1496-1:2013 Series 1 freight containers—Specification and testing—Part 1: General cargo containers for general purposes

Weights and dimensions of the most common (standardized) types of containers are given below. Forty-eight foot and fifty-three foot containers have not yet been incorporated in the latest, 2020 edition of the ISO 668. ISO standard maximum gross mass for all standard sizes except 10-ft boxes was raised to 36,000 kg or 79,000 lb per Amendment 1 on ISO 668:2013, in 2016. Draft Amendment 1 of ISO 668: 2020 – for the eighth edition – maintains this. Given the average container lifespan, the majority of the global container fleet have not caught up with this change yet.

Values vary slightly from manufacturer to manufacturer, but must stay within the tolerances dictated by the standards. Empty weight (tare weight) is not determined by the standards, but by the container's construction, and is therefore indicative, but necessary to calculate a net load figure, by subtracting it from the maximum permitted gross weight.

The bottom row in the table gives the legal maximum cargo weights for U.S. highway transport, and those based on use of an industry common tri-axle chassis. Cargo must also be loaded evenly inside the container, to avoid axle weight violations. The maximum gross weights that U.S. railroads accept or deliver are 52,900 lb (24,000 kg) for 20-foot containers, and 67,200 lb (30,500 kg) for 40-foot containers, in contrast to the global ISO-standard gross weight for 20-footers having been raised to the same as 40-footers in the year 2005. In the U.S., containers loaded up to the rail cargo weight limit cannot move over the road, as they will exceed the U.S. 80,000 lb (36,000 kg) highway limit.

## Other sizes

### Australian RACE containers

Australian RACE containers are also slightly wider to optimise them for the use of Australia Standard Pallets, or are 41 ft (12.5 m) long and 2.5 m (8 ft 2 in) wide to be able to fit up to 40 pallets.

### European pallet wide containers

European pallet wide (or PW) containers are minimally wider, and have shallow side corrugation, to offer just enough internal width, to allow common European Euro-pallets of 1.20 m (47 + 1 ⁄ 4 in) long by 0.80 m (31 + 1 ⁄ 2 in) wide, to be loaded with significantly greater efficiency and capacity. Having a typical internal width of 2.44 m (96 + 1 ⁄ 8 in), (a gain of ~ 10 centimetres (3 + 15 ⁄ 16 in) over the ISO-usual 2.34 m (92 + 1 ⁄ 8 in), gives pallet-wide containers a usable internal floor width of 2.40 m (94 + 1 ⁄ 2 in), compared to 2.00 m (78 + 3 ⁄ 4 in) in standard containers, because the extra width enables their users to either load two Euro-pallets end on end across their width, or three of them side by side (providing the pallets were neatly stacked, without overspill), whereas in standard ISO containers, a strip of internal floor-width of about 33 centimetres (13 in) cannot be used by Euro-pallets.

As a result, while being virtually interchangeable:

- A 20-foot PW can load 15 Euro-pallets – four more, or 36% better than the normal 11 pallets in an ISO-standard 20-foot unit

- A 40-foot PW can load 30 Euro-pallets – five more, or 20% better than the 25 pallets in a standard 40-foot unit, and

- A 45-foot PW can load 34 Euro-pallets – seven more, or 26% better than 27 in a standard 45-foot container.

Some pallet-wides are simply manufactured with the same, ISO-standard floor structure, but with the side-panels welded in, such that the ribs/corrugations are embossed outwards, instead of indenting to the inside. This makes it possible for some pallet-wides to be just 2.462 m (96 + 7 ⁄ 8 in) wide, but others can be 2.50 m (98 + 3 ⁄ 8 in) wide.

The 45 ft (13.72 m) pallet-wide high-cube container has gained particularly wide acceptance, as these containers can replace the 13.6 m (44 ft 7 + 3 ⁄ 8 in) swap bodies that are common for truck transport in Europe. The EU has started a standardization for pallet wide containerization in the European Intermodal Loading Unit (EILU) initiative.

Many sea shipping providers in Europe allow these on board, as their external width overhangs over standard containers are sufficiently minor that they fit in the usual interlock spaces in ship's holds, as long as their corner-castings patterns (both in the floor and the top) still match with regular 40-foot units, for stacking and securing.

### North American containers

The North American market has widely adopted containerization, especially for domestic shipments that need to move between road and rail transport. While they appear similar to the ISO-standard containers, there are several significant differences: they are considered High-Cubes based on their 9 ft 6 in (2.90 m) ISO-standard height, their 102-inch (2.6 m) width matches the maximum width of road vehicles in the region but is 6 inches (15 cm) wider than ISO-standard containers, and they are often not built strong enough to endure the rigors of ocean transport.

#### 48-foot containers

The first North American containers to come to market were 48 feet (15 m) long. This size was introduced by container shipping company American President Lines (APL) in 1986. The size of the containers matched new federal regulations passed in 1983 which prohibited states from outlawing the operation of single trailers shorter than 48 feet long or 102 inches wide. This size being 8 feet (2.44 m) longer and 6 inches (15 cm) wider has 29% more volume capacity than the standard 40-ft High-Cube, yet costs of moving it by truck or rail are almost the same.

#### 53-foot containers

In the late 1980s, the federal government announced it would once again allow an increase in the length of trailers to 53 feet (16 m) at the start of 1990. Anticipating this change, 53 foot containers were introduced in 1989. These large boxes have 60% more capacity than 40' containers, enabling shippers to consolidate more cargo into fewer containers.

In 2007, APL introduced the first 53-foot ocean-capable containers designed to withstand voyages on its South China-to-Los Angeles service. In 2013, APL stopped offering vessel space for 53-foot containers on its trans-Pacific ships. In 2015 both Crowley and TOTE Maritime each announced the construction of their respective second combined container and roll-on/roll-off ships for Puerto Rico trade, with the specific design to maximize cubic cargo capacity by carrying 53-foot, 102-inch wide (2,591 mm) containers. Within Canada, Oceanex offers 53-foot-container ocean service to and from Newfoundland. 53-foot containers are also being used on some Asia Pacific international shipping routes.

#### Canadian 60-foot containers

In April 2017, Canadian Tire and Canadian Pacific Railway announced deployment of what they claimed to be the first 60-foot intermodal containers in North America. The containers allowed Canadian Tire to increase the volume of goods shipped per container by 13%.

## Small containers

The ISO 668 standard has so far never standardized 10 ft (3 m) containers to be the same height as so-called "Standard-height", 8 ft 6 in (2.59 m), 20- and 40-foot containers. By the ISO standard, 10-foot (and previously included 5-ft and 6 1 ⁄ 2 -ft boxes) are only of unnamed, 8-foot (2.44 m) height. But industry makes 10-foot units more frequently of 8 ft 6 in (2.59 m) height, to mix, match (and stack) better in a fleet of longer, 8 ft 6 in tall containers. Smaller units, on the other hand, are no longer standardized, leading to deviating lengths, like 8 ft (2.44 m) or 6 + 1 ⁄ 2 ft (1.98 m), with non-standard widths of 2.20 m / 86.6 in and 1.95 m / 76 + 3 ⁄ 4 in respectively, and non-standard heights of 2.26 m / 7 ft 5 in and 1.91 m / 6 ft 3.2 in respectively, for storage or off-shore use.

### U.S. military

The United States military continues to use small containers, strongly reminiscent of their Transporter and Conex boxes of the 1950s and 1960s. These mostly comply with (previous) ISO standard dimensions, or are a direct derivative thereof. Current terminology of the United States armed forces calls these small containers Bicon, Tricon and Quadcon, with sizes that correspond with (previous) ISO 668 standard sizes 1D, 1E and 1F respectively. These containers are of a standard 8 ft (2.44 m) height, and with a footprint size either one half (Bicon), one third (Tricon) or one quarter (Quadcon) the size of a standard 20-foot, one TEU container. At a nominal length of 10 feet (3.05 m), two Bicons coupled together lengthwise match one 20-foot ISO container, but their height is 6 inches (152 mm) shy of the more commonly available 10-foot ISO containers of so-called 'standard' height, which are 8 ft 6 in (2.59 m) tall. Tricons and Quadcons however have to be coupled transversely – either three or four in a row – to be stackable with twenty foot containers. Their length of 8 ft (2.44 m) corresponds to the width of a standard 20-foot container, which is why there are forklift pockets at their ends, as well as in the sides of these boxes, and the doors only have one locking bar each. The smallest of these, the Quadcon, exists in two heights: 96 in (2.44 m) or 82 in (2.08 m). Only the first conforms to ISO-668 standard dimensions (size 1F).

### ABC bulk containers

ABC containers are small containers, typically 20 ft long and 5 ft high, used for hauling dense materials. The smaller size reduces the tare weight (as compared to using a half-full standard height container). They are normally shipped on specialized railroad flatcars, where 6 containers can be carried in the space of 4 standard containers.

### Japan: 12-foot containers

In Japan's domestic freight rail transport, most of the containers are 12 ft (3.66 m) long in order to fit Japan's unique standard pallet sizes.

## Reporting mark

Each container is allocated a standardized ISO 6346 reporting mark (ownership code), four letters long ending in either U, J or Z, followed by six digits and a check digit. The ownership code for intermodal containers is issued by the Bureau International des Containers (International container bureau, abbr. B.I.C.) in France, hence the name "BIC-Code" for the intermodal container reporting mark. So far there exist only four-letter BIC-Codes ending in "U".

The placement and registration of BIC Codes is standardized by the commissions TC104 and TC122 in the JTC1 of the ISO which are dominated by shipping companies. Shipping containers are labelled with a series of identification codes that includes the manufacturer code, the ownership code, usage classification code, UN placard for hazardous goods and reference codes for additional transport control and security.

Following the extended usage of pallet-wide containers in Europe the EU started the Intermodal Loading Unit (ILU) initiative. This showed advantages for intermodal transport of containers and swap bodies. This led to the introduction of ILU-Codes defined by the standard EN 13044 which has the same format as the earlier BIC-Codes. The International Container Office BIC agreed to only issue ownership codes ending with U, J or Z. The new allocation office of the UIRR (International Union of Combined Road-Rail Transport Companies) agreed to only issue ownership reporting marks for swap bodies ending with A, B, C, D or K – companies having a BIC-Code ending with U can allocate an ILU-Code ending with K having the same preceding letters. Since July 2011 the new ILU codes can be registered, beginning with July 2014 all intermodal ISO containers and intermodal swap bodies must have an ownership code and by July 2019 all of them must bear a standard-conforming placard.

## Handling

Containers are transferred between rail, truck, and ship by container cranes at container terminals. Forklifts, reach stackers, straddle carriers, container jacks and cranes may be used to load and unload trucks or trains outside of container terminals. Swap bodies, sidelifters, tilt deck trucks, and hook trucks allow transfer to and from trucks with no extra equipment.

ISO-standard containers can be handled and lifted in a variety of ways by their corner fixtures, but the structure and strength of 45-foot (type E) containers limits their tolerance of side-lifting, nor can they be forklifted, based on ISO 3874 (1997).

## Transport

Containers can be transported by container ship, truck and freight trains as part of a single journey without unpacking. Units can be secured in transit using " twistlock " points located at each corner of the container. Every container has a unique BIC code painted on the outside for identification and tracking, and is capable of carrying up to 20–25 tonnes. Costs for transport are calculated in twenty-foot equivalent units (TEU).

### Rail

When carried by rail, containers may be carried on flatcars or well cars. The latter are specially designed for container transport, and can accommodate double-stacked containers. However, the loading gauge of a rail system may restrict the modes and types of container shipment. The smaller loading gauges often found in European railroads will only accommodate single-stacked containers. In some countries, such as the United Kingdom, there are sections of the rail network through which high-cube containers cannot pass, or can pass through only on well cars. On the other hand, Indian Railways runs double-stacked containers on flatcars under 25 kV overhead electrical wires. The wires must be at least 7.45 metres (24 ft 5 in) above the track. China Railway also runs double-stacked containers under overhead wires, but must use well cars to do so, since the wires are only 6.6 metres (21 ft 8 in) above the track.

### Sea

About 90% of non-bulk cargo worldwide is transported by container, and the largest container ships can carry over 19,000 TEU (Twenty-Foot Equivalent, or how many 20 foot containers can fit on a ship). Between 2011 and 2013, an average of 2,683 containers were reported lost at sea. Other estimates go up to 10,000; of these 10% are expected to contain chemicals toxic to marine life. Various systems are used for securing containers on ships. Losses of containers at sea are low.

### Air

Containers can also be transported in planes, as seen within intermodal freight transport. However, transporting containers in this way is typically avoided due to the cost of doing such and the lack of availability of planes which can accommodate such awkwardly sized cargo.

There are special aviation containers, smaller than intermodal containers, called unit load devices.

## Securing and security

### Securing containers and contents

There are many established methods and materials for stabilizing and securing intermodal containers loaded on ships, as well as the internal cargo inside the boxes. Conventional restraint methods and materials such as steel strapping and wood blocking and bracing have been around for decades and are still widely used. Polyester strapping and lashing, and synthetic webbings are also common today. Dunnage bags (also known as "air bags") are used to keep unit loads in place.

Flexi-bags can also be directly loaded, stacked in food-grade containers. Indeed, their standard shape fills the entire ground surface of a 20 ft ISO container.

## Non-shipping uses

### Containerized equipment

Container-sized units are also often used for moving large pieces of equipment to temporary sites. Specialised containers are particularly attractive to militaries already using containerisation to move much of their freight around. Shipment of specialized equipment in this way simplifies logistics and may prevent identification of high value equipment by enemies. Such systems may include command and control facilities, mobile operating theatres or even missile launchers (such as the Russian 3M-54 Klub surface-to-surface missile).

Complete water treatment systems can be installed in containers and shipped around the world.

Electric generators can be permanently installed in containers to be used for portable power.

### Repurposing

Half the containers that enter the United States leave empty. Their value in the US is lower than in China, so they are sometimes used for other purposes. This is typically but not always at the end of their voyaging lives. The US military often used its Conex containers as on-site storage, or easily transportable housing for command staff and medical clinics. Nearly all of the more than 150,000 Conex containers shipped to Vietnam remained in the country, primarily as storage or other mobile facilities. Permanent or semi-permanent placement of containers for storage is common. A regular forty-foot container has about 4,000 kg (8,818 lb) of steel, which takes 8,000 kWh (28,800 MJ) of energy to melt down. Repurposing used shipping containers is increasingly a practical solution to both social and ecological problems.

Shipping container architecture employs used shipping containers as the main framing of modular home designs, where the steel may be an integrated part of the design, or be camouflaged into a traditional looking home. They have also been used to make temporary shops, cafes, and computer datacenters, e.g. the Sun Modular Datacenter.

Intermodal containers are not strong enough for conversion to underground bunkers without additional bracing, as the walls cannot sustain much lateral pressure and will collapse. Also, the wooden floor of many used containers could contain some fumigation residues, rendering them unsuitable as confined spaces, such as for prison cells or bunkers. Cleaning or replacing the wood floor can make these used containers habitable, with proper attention to such essential issues as ventilation and insulation.

### Single-time use

The City of Göttingen has deployed containers for the disablement of unexploded ordnance: either FIBCs filled with sand or IBCs filled with water.When the bomb squad performs controlled detonations, such prepared containers absorb shock and fragments. This use requires level, load-bearing ground. The deformed containers are unsuitable for further circulation.


List of African-American visual artists

# List of African-American visual artists

## Abstract

This list of African-American visual artists is a list that includes dates of birth and death of historically recognized African-American fine artists known for the creation of artworks that are primarily visual in nature, including traditional media such as painting, sculpture, photography, and printmaking, as well as more recent genres, including installation art, performance art, body art, conceptual art, video art, and digital art. The entries are in alphabetical order by surname.

## Artists

### A–B

- Panteha Abareshi (born 1999), multidisciplinary artist

- Nina Chanel Abney (born 1982), painter

- Blanch Ackers (1914–2003), painter

- Terry Adkins (1953–2014), artist

- Mequitta Ahuja (born 1976), painter, installation artist

- Larry D. Alexander (born 1953), painter

- Laylah Ali (born 1968), painter

- Jules T. Allen (born 1947), photographer

- Tina Allen (1949–2008), sculptor

- Steve R. Allen (born 1954), painter

- Charles Alston (1907–1977), painter

- Amalia Amaki (born 1959), artist

- Emma Amos (1938–2020), painter

- Benny Andrews (1930–2006), painter

- Edgar Arceneaux (born 1972), drawing artist

- Nellie Ashford (born c. 1943), folk artist

- James Atkins (born 1941), painter

- Roland Ayers (1932–2014), printmaker

- Radcliffe Bailey (born 1968) collage, sculpture

- Kyle Baker (born 1965), cartoonist

- Matt Baker (1921–1959), comic book artist

- James Presley Ball (1825–1904), photographer

- Alvin Baltrop (1948–2004), photographer

- Henry Bannarn (1910–1965), painter

- Edward Mitchell Bannister (1828–1901), painter

- Ernie Barnes (1938–2009), neo-Mannerist artist

- Richmond Barthé (1901–1989), sculptor

- Jean-Michel Basquiat (1960–1988), painter

- C. M. Battey (1873–1927), photographer

- Romare Bearden (1911–1988), painter

- Arthello Beck (1941–2004), painter

- Arthur P. Bedou (1882–1966), photographer

- Darrin Bell (born 1975), cartoonist

- Mary A. Bell (1873–1941)

- Dawoud Bey (born 1953), photographer

- Sharif Bey (born 1974), ceramist

- John T. Biggers (1924–2001), muralist

- Sanford Biggers (born 1970), interdisciplinary

- Gene Bilbrew (1923–1974), cartoonist and fetish artist

- Camille Billops (1933–2019), filmmaker, sculptor, painter, printmaker

- McArthur Binion (born 1946), painter

- Robert Blackburn (1920–2003), master printmaker, lithographer, and educator

- Thomas Blackshear (born 1955)

- Betty Blayton (1937–2016), painter, printmaker

- Chakaia Booker (born 1953), sculptor

- Edythe Boone (born 1938), muralist

- Charles Boyce (born 1949), cartoonist

- Tina Williams Brewer, fiber artist

- James Brantley (born 1945), painter

- Mark Bradford (born 1961)

- Elenora "Rukiya" Brown, doll creator

- Elmer Brown (1909–1971)

- Frank J. Brown (1956–2020), sculptor

- Frederick J. Brown (1945–2012), painter

- Larry Poncho Brown (born 1962)

- Manuelita Brown, sculptor

- Robert Brown (c. 1936 – 2007), cartoonist

- Beverly Buchanan (1940–2015), painter, sculptor

- Selma Burke (1900–1995), sculptor

- Calvin Burnett (1921–2007), book illustrator

- Pauline Powell Burns (1872–1912), painter

- John Bush (?–1754), powder horn carver

- Bisa Butler (born 1973), quilter

- Robert Butler (1943–2014), painter

### C–D

- Frank Calloway (1915–2014)

- E. Simms Campbell (1906–1971), cartoonist

- Allen 'Big Al' Carter (1947–2008)

- Fred Carter (1938–2023), cartoonist

- Bernie Casey (1939–2017), painter

- Elizabeth Catlett (1915–2012), sculptor and printmaker

- Nick Cave (born 1959), performance artist

- Michael Ray Charles (born 1967), painter

- Barbara Chase-Riboud (born 1936), sculptor

- Jamour Chames (born 1989), painter

- Don Hogan Charles (1938–2017), photographer

- Caitlin Cherry (born 1987), painter and sculptor

- Claude Clark (1915–2001), painter and printmaker

- Edward Clark (1926–2019), painter

- Sonya Clark (born 1967), textile and multimedia artist

- Willie Cole (born 1955), painter

- Robert Colescott (1925–2009), painter

- Eldzier Cortor (1916–2015), artist and printmaker

- Pamela Council (born 1986), multidisciplinary artist, sculptor

- Ernest Crichlow (1914–2005), social realist artist

- Allan Crite (1910–2007), painter

- Njideka Akunyili Crosby (born 1983), painter

- Emilio Cruz (1938–2004), painter

- Frank E. Cummings III (born 1938), woodworker

- Michael Cummings (born 1945), textile artist

- Ulysses Davis (1913–1990), sculptor

- Bing Davis (born 1937), potter and graphic artist

- Charles C. Dawson (1889–1981) illustrator, painter, and printmaker

- Roy DeCarava (1919–2009), photographer

- Beauford Delaney (1901–1979), painter

- Joseph Delaney (1904–1991)

- Nadine M. DeLawrence (1953–1992), American sculptor and installation artist

- Xiomara De Oliver (born 1967), Canadian-born American painter.

- Woody De Othello (born 1991), ceramicist, painter

- Rosetta DeBerardinis, painter

- Louis Delsarte (1944–2020), artist

- Cheryl Derricotte, glass artist, printmaker

- Joseph Clinton Devillis (1878–1912), painter

- Thornton Dial (1928–2016)

- Terry Dixon (born 1969), painter and multimedia artist

- Jeff Donaldson (1932–2004), painter and critic

- Aaron Douglas (1899–1979), painter

- Emory Douglas (born 1943), Black Panther artist

- John E. Dowell Jr. (born 1941), printmaker, etcher, lithographer, and painter

- David Driskell (1931–2020), artist and scholar

- Robert Seldon Duncanson (1821–1872), Hudson River School

- Edward Dwight (born 1933) sculptor, painter, author

### E–H

- Walter Edmonds (1938–2011), muralist

- William Edmondson (1874–1951), folk art sculptor

- Allan L. Edmunds (born 1949), printmaker

- Mel Edwards (born 1937), sculptor

- Janiva Ellis (born 1987), painter

- Walter Ellison (1899–1977), painter

- Minnie Evans (1892–1987), folk artist

- Lola Flash (born 1959), photographer

- Halim Flowers (born 1980), street artist

- LaToya Ruby Frazier (born 1982), photographer

- Meta Vaux Warrick Fuller (1877–1968), artist

- George Gadson, artist and sculptor

- Ellen Gallagher (born 1965)

- Reginald Gammon (1921–2005), painter, printmaker, activist

- Melvino Garretti (born 1946)

- Theaster Gates (born 1973), sculptor, ceramicist, and performance artist

- Reginald K (Kevin) Gee (born 1964), painter

- Herbert Gentry (1919–2003), painter

- Wilda Gerideau-Squires (born 1946), photographer

- Robert A. Gilbert (c. 1870 – 1942), nature photographer

- Leah Gilliam (born 1967), media artist and filmmaker

- Sam Gilliam (1933–2022), painter

- Russell T. Gordon (1936–2013), printmaker

- Rex Goreleigh (1902–1986), painter, educator

- Billy Graham (1935–1999), comic book artist

- Lonnie Graham, photographer and installation artist

- Deborah Grant (born 1968), painter

- Todd Gray (born 1954), photographer, installation and performance artist

- Leamon Green (born 1959)

- Renee Green (born 1959), installation artist

- Mario Gully, comic book artist

- Tyree Guyton (born 1955)

- Ed Hamilton (born 1947), sculptor

- Patrick Earl Hammie (born 1981), painter

- David Hammons (born 1943), artist

- Trenton Doyle Hancock (born 1974)

- Austin Hansen (1910–1996), photographer

- John Wesley Hardrick (1891–1948), painter

- Edwin Harleston (1882–1931), painter

- Elise Forrest Harleston (1891–1970), photographer

- Jerry Harris (1945–2016), sculptor

- John T. Harris (1908–1972), painter, printmaker, educator

- Kira Lynn Harris (born 1963), multidisciplinary

- Lawrence Harris (born 1937), painter

- Ilana Harris-Babou (born 1991), sculptor and installation artist

- Marren Hassenger (born 1947), sculptor, installation, performance

- Palmer Hayden (1893–1973), painter

- Donté K. Hayes (b. 1975), ceramicist

- Barkley Hendricks (1945–2017), painter

- Nestor Hernández (1961–2006), photographer

- George Herriman (1880–1944), cartoonist

- LaToya M. Hobbs (born 1988) printmaker, painter, mixed media artist

- Alvin Hollingsworth (1928–2000), illustrator, painter

- Humbert Howard (1905 or 1915–1990), painter, ceramicist

- William Howard (active 19th century), American woodworker and craftsman

- Bryce Hudson (born 1979), painter, sculptor

- Julien Hudson (1811–1844), painter, sculptor

- David Huffman (born 1963), painter

- Edward Ellis Hughes (1940–2017), painter

- Richard Hunt (1935–2023), sculptor

- Clementine Hunter (1886/7–1988), folk artist

### J–O

- Wadsworth Jarrell (born 1929), painter, sculptor

- Oliver Lee Jackson (born 1935), painter, sculptor, printmaker, educator

- Suzanne Jackson, artist, gallery owner

- Tomashi Jackson (born 1980), multimedia artist, painter, videographer, textile-maker and sculptor

- Steffani Jemison (born 1981), performance artist, video artist

- Wilmer Angier Jennings (1910–1990), printmaker, painter, jeweler

- Annette P. Jimerson (born 1966), painter

- Joshua Johnson (c. 1763 – c. 1824), portrait painter and folk artist

- LeRoy Johnson (1937–1922), multidisciplinary artist

- Malvin Gray Johnson (1896–1934), painter

- Martina Johnson-Allen (born 1947), painter, sculptor, and printmaker, educator

- Rashid Johnson (born 1977), conceptual artist

- Sargent Johnson (1888–1967), sculptor

- William H. Johnson (1902–1970)

- Calvin B. Jones (1934–2010), painter, muralist

- Ida E. Jones, painter

- Jennie C. Jones (born 1968), multidisciplinary

- Lois Mailou Jones (1905–1998), painter

- Lawrence A. Jones (1910–1996), artist, teacher

- Samuel Levi Jones (born 1978), painter, assemblage artist

- Seitu Jones (born 1951), multidisciplinary, sculptor

- Eddie Jack Jordan (1925–1999), artist, teacher

- Ronald Joseph (1910–1992), artist, teacher, and printmaker

- Titus Kaphar (born 1976), painter

- Richard Gordon Kendall (1933–2008), Texas-based outsider artist

- Autumn Knight (born 1980), interdisciplinary artist working with performance, installation, and text

- Gwendolyn Knight (1914–2005), artist

- Jacob Lawrence (1917–2000), painter

- Deana Lawson (born 1979), photographer

- Carolyn Lazard (born 1987), conceptual artist

- Hughie Lee-Smith (1915–1999), artist

- Simone Leigh (born 1967), sculpture, ceramics

- Edmonia Lewis (c. 1843 – 1879), artist

- Nate Lewis (born 1985), visual artist

- Norman Lewis (1909–1979), painter

- Joe Louis Light (1934–2005), painter and sculptor

- Glenn Ligon (born 1960), painter

- James Little (born 1952), painter, curator

- Willie Little (born 1961), multimedia artist, painter, sculptor, author

- Llanakila, artist, painter, digital illustrator, and digital artist

- Edward L. Loper, Sr. (1916–2011), painter

- Whitfield Lovell (born 1960), artist

- Alvin D. Loving (1935–2005), artist

- Eric N. Mack (born 1987), painter, multi-media installation artist, and sculptor

- Gwendolyn Ann Magee (1943–2011), artist, quilter

- Clarence Major (born 1936), painter

- Ajuan Mance, visual artist, professor

- Kerry James Marshall (born 1955), painter

- Eugene J. Martin (1938–2005), painter

- Louise Martin (1911–1995), photographer

- Percy Martin, printmaker

- Richard Mayhew (born 1934), Afro-Native American, landscape painter

- Valerie Maynard (1937–2022), sculptor, printmaker, painter

- Ealy Mays (born 1959), painter

- Lester Julian Merriweather (born 1978) collagist, painter

- William McBride (artist) (1912–2000), artist, designer and collector

- Howard McCalebb (born 1947), artist

- Hugo McCloud (born 1980), visual artist

- Corky McCoy, illustrator

- Charles McGee, (1924–2021) painter

- Charles McGill (1964–2017), artist, educator

- Julie Mehretu (born 1970), painter, printmaker

- Troy Michie (born 1985), collage artist, painter, interdisciplinary installation artist, and sculptor

- Nicole Miller (born 1982), video artist

- Joe Minter (born 1943) sculptor, creator of African Village in America

- Dean Mitchell (born 1957), painter

- Evangeline Montgomery, metal art, printmaker

- Scipio Moorhead (active 1770s), painter

- Barbara Tyson Mosley (born 1950), abstract painter

- Charles Franklin Moss (1878–1961), photographer and painter

- Archibald Motley (1891–1981), painter

- Zora J. Murff (born 1987), photographer

- Wangechi Mutu (born 1972) painter, sculptor

- Gus Nall (1919–1995), painter

- Senga Nengudi (born 1943), sculptor, performance artist

- Harold Newton (1934–1994), artist

- Lorraine O'Grady (born 1934), conceptual artist

- Turtel Onli (born 1952), cartoonist

- Jackie Ormes (1911–1985), cartoonist

- John Outterbridge (1933–2020), assemblage artist

- Joe Overstreet (1933–2019), artist

### P–S

- Jennifer Packer (born 1985), painter

- Norman Parish, painter, muralist and art dealer

- Gordon Parks (1912–2006), photographer, director

- Sandra Payne (1951–2021), collagist, sculptor, conceptual artist

- Cecelia Pedescleaux (born 1945), quilter

- Janet Taylor Pickett (born 1948), mixed media artist

- Delilah Pierce (1904–1992), artist

- Earle M. Pilgrim (1923–1976), artist

- Howardena Pindell (born 1943), painter

- Jefferson Pinder, performance

- Jerry Pinkney (1939–2021), illustrator

- Adrian Piper (born 1948), conceptual artist

- Rose Piper (1917–2005), painter and textile designer

- Horace Pippin (1888–1946), painter

- William Pleasant Jr. (1928-1997), painter

- P. H. Polk (1898–1984), photographer

- Stephanie Pogue (1944–2002), printmaker

- Carl Robert Pope (born 1961), photographer

- William Pope.L (born 1955) conceptual artist

- Charles Ethan Porter (1847/49–1923) painter

- Harriet Powers (1837–1910), folk artist

- Walter Price (artist) (born 1989), painter

- Martin Puryear (born 1941), sculptor

- Mavis Pusey (1928–2019), abstract painter

- Bob Ragland (1938–2021), painter and sculptor

- Patrick H. Reason (1816–1898)

- Earle Wilton Richardson (1912–1935), artist

- Taft Richardson Jr. (1943–2008), folk artist

- Faith Ringgold (born 1930), painter

- Haywood Rivers (1922–2001), painter

- Amber Robles-Gordon, installation artist

- Deborah Roberts, (born 1962), collage artist

- Arthur Rose Sr. (1921–1995), multidisciplinary

- Bayeté Ross Smith (born 1976), photographer

- Susan Smith-Pinelo, video, performance

- Alison Saar (born 1956), artist

- Betye Saar (born 1926), artist

- Synthia Saint James (born 1949) painter

- Charles L. Sallée Jr. (1923–2006), painter

- Reginald Sanders (1921–2001), visual artist

- Raymond Saunders (born 1934), painter

- Augusta Savage (1892–1962), sculptor

- Dread Scott (born 1965), performance, photography, installation, screen-printing and video

- John T. Scott (1940–2007), artist

- Joyce J. Scott (born 1948), sculptor

- Lorenzo Scott (born 1934), painter

- William Edouard Scott (1884–1964), painter

- Charles Searles (1937–2004), painter, sculptor

- Charles Sebree (1914–1985), painter

- Gail Shaw-Clemons, printmaker, educator

- Thomas Sills (1914–2000), painter

- Gary Simmons (born 1964), artist

- Lorna Simpson (born 1960), artist

- Merton Simpson (1928–2013), painter

- William Simpson (1818–1872), portrait painter

- Ferrari Sheppard (born 1983), painter

- Amy Sherald (born 1973), painter

- Carroll Sockwell (1943–1992), abstract painter

- Jeff Sonhouse (born 1968), painter

- Cauleen Smith (born 1967), filmmaker

- Leslie Smith III (born 1985), painter

- Vincent D. Smith (1929–2003), painter and printmaker

- William E. Smith (1913–1997), painter and printmaker

- Gilda Snowden (1954–2014)

- Mitchell Squire (born 1958), American installation artist, sculptor and performance artist

- Raymond Steth (1916–1997)

- Renee Stout (born 1958), artist

- Lou Stovall, printmaker

- Thelma Johnson Streat (1911–1959), American painter, dancer, educator

- Martine Syms (born 1988), artist

### T–Z

- Henry Ossawa Tanner (1859–1937), artist

- Ron Tarver (born 1957), photographer, artist, and educator

- Mary Lee Tate (1893–1939), painter, decorative artist

- U.S. Grant Tayes (1885–1972), painter, barber, musician, columnist, and educator

- Margaret Taylor-Burroughs (1915–2010)

- Alma Thomas (1891–1978), painter

- Hank Willis Thomas (born 1976), photographer

- Mickalene Thomas (born 1971), painter and installation artist

- Bob Thompson (1937–1966), painter

- Mildred Thompson (1935–2003), abstract painter, printmaker and sculptor

- Dox Thrash (1892–1962), printmaker, sculptor

- Bill Traylor (1856–1949)

- Henry Taylor (born 1958), painter

- Yvonne Edwards Tucker (born 1941), potter

- Adejoke Tugbiyele (born 1977), sculptor, multidisciplinary artist

- Morrie Turner (1923–2014), cartoonist

- James Van Der Zee (1886–1983), photographer

- Kara Walker (born 1969), artist

- William Walker (1927–2011), Chicago muralist

- Eugene Warburg, (1825–1859), sculptor

- Laura Wheeler Waring (1887–1948), painter

- E. M. Washington (born 1962), printmaker and counterfeiter

- Cullen Washington, Jr. (born 1972), abstract painter

- James W. Washington, Jr. (1908–2000), painter and sculptor

- Howard N. Watson (1929–2022), watercolor painter

- Richard J. Watson (born 1946), painter, printmaker

- Lewis Watts

- Carrie Mae Weems (born 1953), photographer

- Joyce Wellman (born 1949), painter, printmaker

- Pheoris West (1950–2021)

- Charles Wilbert White (1918–1979), muralist

- Fo Wilson, interdisciplinary artist and designer

- Jack Whitten (1939–2018), painter

- Kehinde Wiley (born 1977), painter

- Gerald Williams (artist) (born 1941), painter

- William T. Williams (born 1942), painter

- Deborah Willis (born 1948), photographer

- Ellis Wilson (1899–1977), painter

- Fred Wilson (born 1954), conceptual artist

- Wilmer Wilson IV, performance, photographer

- John Woodrow Wilson (1922–2015), sculptor

- Beulah Woodard (1895–1955), sculptor

- Hale Woodruff (1900–1980), painter

- Richard Wyatt, Jr. (born 1955), painter, muralist

- Richard Yarde (1939–2011), watercolorist

- Joseph Yoakum (1890–1972), self-taught landscape artist

- Kenneth Victor Young (1933–2017), painter, designer, educator

- Purvis Young (1943–2010), artist

## Artist groups

- The Highwaymen

- AfriCOBRA

- Where We At

- Spiral (arts alliance)


2024 Los Angeles Rams season

# 2024 Los Angeles Rams season

## Abstract

The 2024 season is the Los Angeles Rams ' 87th in the National Football League (NFL), their 88th overall, 58th in the Greater Los Angeles Area, fifth playing their home games at SoFi Stadium and eighth under head coach Sean McVay. This will be their first season since 2013 without Aaron Donald, who announced his retirement on March 15. The Rams will be searching to improve on their 10–7 record and to advance in the playoffs after being defeated in the Wild Card Round in 2023. After holding training camp for the first time at Loyola Marymount University in Los Angeles, the Rams conducted the remainder of preseason practices at Cal Lutheran University in Thousand Oaks, where the team had operated its temporary training facility since 2016 when the franchise relocated from St. Louis. This was necessitated due to delays in the construction of the Kroenke Warner Center complex in Woodland Hills. Following the end of the preseason, the Rams began conducting practices at their new permanent facility.

## Offseason

### Coaching changes

- Eric Henderson, who had served as defensive line coach and run game coordinator, departed the Rams to join the USC Trojans football staff to serve as co-defensive coordinator, run game coordinator, and defensive line coach.

- Raheem Morris, the Rams' defensive coordinator since 2021, was hired by the Atlanta Falcons as head coach. He is the sixth former Rams assistant to be hired as a head coach after serving on Sean McVay 's staff.

- Zac Robinson, who had spent the previous five seasons on the Rams' coaching staff in various positions, most recently as pass game coordinator/quarterbacks coach, followed Raheem Morris to the Atlanta Falcons to become the team's new offensive coordinator.

- Jimmy Lake, the Rams' assistant head coach in 2023, joined Morris in Atlanta to serve as defensive coordinator.

- Jeremy Springer, a special teams assistant for the Rams the previous two seasons, was hired by the New England Patriots as special teams coordinator.

- Chris Shula, who served in a variety of roles on the Rams coaching staff for the previous seven seasons as an assistant, most recently as pass rush coordinator & linebackers coach in 2023, was elevated to defensive coordinator, succeeding Raheem Morris.

- Giff Smith, most recently the interim head coach of the Los Angeles Chargers, was hired by the Rams to take on dual responsibilities as defensive line coach and run game coordinator, succeeding Eric Henderson in both roles.

- The Rams hired Chili Davis, former Kansas State Wildcats special teams quality control coach and a veteran college assistant, to serve as assistant special teams coach. However, the team parted ways with Peete prior to the season.

- Jake Peetz, who had spent the previous two seasons as an offensive assistant with the Rams (including last season as pass game specialist), was hired by the Seattle Seahawks as their new pass game coordinator.

- John Streicher, previously the director of football administration with the Tennessee Titans, joined the Rams staff with a new title of coordinator of football strategy.

- Dave Ragone, who had served as offensive coordinator with the Atlanta Falcons for the last three seasons, was hired as the Rams quarterback coach. The Rams also brought on board Nathan Scheelhaase, a longtime offensive assistant at Iowa State, as pass game specialist. Both positions had been previously held by Zac Robinson.

- Greg Williams joined the Rams coaching staff as inside linebackers coach.

- Sean Desai, previously a defensive coordinator for the Chicago Bears and the Philadelphia Eagles, was hired by the Rams as a senior defensive assistant.

- On March 8, 2024, the Rams announced they had hired Jerry Schuplinski to serve as a senior offensive assistant.

- On September 2, 2024, the Rams announced the hiring of former Nebraska and UCF head coach Scott Frost as a senior football analyst, helping with offense, defense, and special teams.

## Preseason

The Rams' preseason opponents and preliminary schedule was announced on May 15, in conjunction with the release of the regular season schedule.

### Game summaries

#### Preseason Week 1: vs Dallas Cowboys

at SoFi Stadium, Inglewood, California

- Date: August 11

- Game time: 1:25 p.m. PDT

- Game weather: Sunny, 88 °F (31 °C) (fixed roof)

- Game attendance: 73,023

- Referee: Land Clark

- TV announcers (KABC): Andrew Siciliano (play-by-play), Andrew Whitworth (color analyst), Mina Kimes (commentary), and Curt Sandoval (sideline reporter)

#### Preseason Week 2: at Los Angeles Chargers

at SoFi Stadium, Inglewood, California

- Date: August 17

- Game time: 4:05 p.m. PDT

- Game weather: Sunny, 77 °F (25 °C) (fixed roof)

- Game attendance: 66,112

- Referee: John Hussey

- TV announcers (KABC): Andrew Siciliano (play-by-play), Andrew Whitworth (color analyst), Mina Kimes (commentary), and Curt Sandoval (sideline reporter)

For this game, assistant head coach/pass game coordinator Aubrey Pleasant served as Rams head coach, calling plays and making decisions from the sideline while Sean McVay watched the game from the coach's booth.

#### Preseason Week 3: at Houston Texans

at NRG Stadium, Houston, Texas

- Date: August 24

- Game time: 10:00 a.m. PDT

- Game attendance: 68,829

- Referee: Scott Novak

- TV announcers (KABC): Andrew Siciliano (play-by-play), Maurice Jones-Drew (color analyst), Mina Kimes (commentary), and Curt Sandoval (sideline reporter)

## Regular season

### Schedule

Notes

- Intra-division opponents are in bold text.

- Networks and times from Weeks 5–16 are subject to change as a result of flexible scheduling.

- The date, time and network for Week 17 will be finalized at a later date.

- The date, time and network for Week 18 will be finalized at the end of Week 17.

### Game summaries

#### Week 1: at Detroit Lions

at Ford Field, Detroit, Michigan

- Date: September 8

- Game time: 8:20 p.m. EDT /5:20 p.m. PDT

- Game weather: None (indoor stadium)

- Game attendance: 66,530

- Referee: Adrian Hill

- TV announcers (NBC): Mike Tirico, Cris Collinsworth and Melissa Stark

- Recap, Game Book

In a rematch of a 2023 Wild Card Round game, the Rams overcame a rash of injuries to rally for a 20-17 lead late in the fourth quarter before falling to the host Lions in overtime on Sunday Night Football at Ford Field. Wide receiver Cooper Kupp tied a single game career-high with 14 receptions for 110 yards, including a 9-yard touchdown from quarterback Matthew Stafford with 4:30 remaining that put Los Angeles in the lead for the first time on the night. Stafford completed 34 of 49 passes for 317 yards while wide receiver Tyler Johnson caught five passes for 79 yards. However, second-year wide receiver Puka Nacua left the game in the second quarter after catching four passes for 35 yards and did not return. Offensively, running back Kyren Williams had 18 carries for 50 yards with a 1-yard TD run but the Rams offensive line, already down two starters prior to the game, lost two more when left guard Steve Avila and left tackle Joe Noteboom were both injured and knocked out of the game. On defense, Rams safety Quentin Lake led the Rams with 10 tackles while fellow safety John Johnson had an interception. Linebackers Byron Young and Jared Verse (a rookie) each had four tackles and a sack in the loss.

#### Week 2: at Arizona Cardinals

at State Farm Stadium, Glendale, Arizona

- Date: September 15

- Game time: 1:05 p.m. MST & PDT

- Game weather: None (retractable roof closed)

- Referee: John Hussey

- TV announcers (Fox): Adam Amin, Mark Sanchez and Kristina Pink

- Recap

#### Week 3: vs. San Francisco 49ers

at SoFi Stadium, Inglewood, California

- Date: September 22

- Game time: 1:25 p.m. PDT

- Game weather: TBD (fixed roof)

- TV announcers (Fox): Adam Amin, Mark Sanchez, and Kristina Pink

- Preview

### Standings


Travis Roy (soccer)

# Travis Roy (soccer)

## Abstract

Travis Roy (born May 10, 1974) is a retired American soccer player who played professionally in the USISL and National Professional Soccer League. He was the 1998 NPSL Rookie of the Year.

## Youth

Born in Detroit, Roy grew up in Livonia, Michigan. He graduated from Stevenson High School where he played on the Michigan State High School soccer championship team. He attended the University of Wisconsin-Madison, playing on the men's soccer team from 1992 to 1995. The Badgers won the 1995 NCAA Men's Division I Soccer Championship. Roy graduated with a double degree in history and political science.

## Professional

The Milwaukee Wave selected Roy in the Territorial Round of the 1995 National Professional Soccer League Amateur Draft, but Roy did not sign with the team. On April 15, 1996, he signed with the Milwaukee Rampage of the USISL. In 1997, Roy and his teammates won the USISL A-League championship. In the fall of 1997, Roy moved indoors with the Detroit Rockers of the NPSL where he was named the 1997–1998 Rookie of the Year. On February 1, 1998, the MetroStars selected Roy in the second round (fourteenth overall) of the 1998 MLS Supplemental Draft. The MetroStars sent him on loan to the Staten Island Vipers at the end of May before waiving him the first week of June. He rejoined the Rampage on July 11, 1998, for the 1998 outdoor season before moving indoors with the Rockers for the 1998–1999 NPSL season. On March 20, 1999, the Rockers traded Roy and Mariano Bollella to the St. Louis Ambush for Lee Tschantret. In September 2000, Roy signed with the Buffalo Blizzard. The Blizzard folded at the end of the season and on August 20, 2001, the Cleveland Crunch selected Roy in the sixth round (thirty-second) overall of the MISL Dispersal Draft. He did not sign with the Crunch.


1823 in Germany

# 1823 in Germany

## Abstract

Events from the year 1823 in Germany

## Incumbents

### Kingdoms

- Kingdom of Prussia Monarch – Frederick William III of Prussia (16 November 1797 – 7 June 1840)

- Monarch – Frederick William III of Prussia (16 November 1797 – 7 June 1840)

- Kingdom of Bavaria Maximilian I (1 January 1806 – 13 October 1825)

- Maximilian I (1 January 1806 – 13 October 1825)

- Kingdom of Saxony Frederick Augustus I (20 December 1806 – 5 May 1827)

- Frederick Augustus I (20 December 1806 – 5 May 1827)

- Kingdom of Hanover George IV (29 January 1820 – 26 June 1830)

- George IV (29 January 1820 – 26 June 1830)

- Kingdom of Württemberg William (30 October 1816 – 25 June 1864)

- William (30 October 1816 – 25 June 1864)

### Grand Duchies

- Grand Duke of Baden Louis I (8 December 1818 – 30 March 1830)

- Louis I (8 December 1818 – 30 March 1830)

- Grand Duke of Hesse Louis I (14 August 1806 – 6 April 1830)

- Louis I (14 August 1806 – 6 April 1830)

- Grand Duke of Mecklenburg-Schwerin Frederick Francis I – (24 April 1785 – 1 February 1837)

- Frederick Francis I – (24 April 1785 – 1 February 1837)

- Grand Duke of Mecklenburg-Strelitz George (6 November 1816 – 6 September 1860)

- George (6 November 1816 – 6 September 1860)

- Grand Duke of Oldenburg Wilhelm (6 July 1785 – 2 July 1823) Due to mental illness, Wilhelm was duke in name only, with his cousin Peter, Prince-Bishop of Lübeck, acting as regent throughout his entire reign. Peter I (2 July 1823 – 21 May 1829)

- Wilhelm (6 July 1785 – 2 July 1823) Due to mental illness, Wilhelm was duke in name only, with his cousin Peter, Prince-Bishop of Lübeck, acting as regent throughout his entire reign.

- Peter I (2 July 1823 – 21 May 1829)

- Grand Duke of Saxe-Weimar-Eisenach Charles Frederick (14 June 1828 – 8 July 1853)

- Charles Frederick (14 June 1828 – 8 July 1853)

### Principalities

- Schaumburg-Lippe George William (13 February 1787 - 1860)

- George William (13 February 1787 - 1860)

- Schwarzburg-Rudolstadt Friedrich Günther (28 April 1807 – 28 June 1867)

- Friedrich Günther (28 April 1807 – 28 June 1867)

- Schwarzburg-Sondershausen Günther Friedrich Karl I (14 October 1794 – 19 August 1835)

- Günther Friedrich Karl I (14 October 1794 – 19 August 1835)

- Principality of Lippe Leopold II (5 November 1802 – 1 January 1851)

- Leopold II (5 November 1802 – 1 January 1851)

- Principality of Reuss-Greiz Heinrich XIX (29 January 1817 – 31 October 1836)

- Heinrich XIX (29 January 1817 – 31 October 1836)

- Waldeck and Pyrmont George II (9 September 1813 – 15 May 1845)

- George II (9 September 1813 – 15 May 1845)

### Duchies

- Duke of Anhalt-Dessau Leopold IV (9 August 1817 – 22 May 1871)

- Leopold IV (9 August 1817 – 22 May 1871)

- Duke of Brunswick Charles II (16 June 1815 – 9 September 1830)

- Charles II (16 June 1815 – 9 September 1830)

- Duke of Saxe-Altenburg Duke of Saxe-Hildburghausen (1780–1826) - Frederick

- Duke of Saxe-Hildburghausen (1780–1826) - Frederick

- Duke of Saxe-Coburg and Gotha Ernest I (9 December 1806 – 12 November 1826)

- Ernest I (9 December 1806 – 12 November 1826)

- Duke of Saxe-Meiningen Bernhard II (24 December 1803 – 20 September 1866)

- Bernhard II (24 December 1803 – 20 September 1866)

- Duke of Schleswig-Holstein-Sonderburg-Beck Frederick William (25 March 1816 – 6 July 1825)

- Frederick William (25 March 1816 – 6 July 1825)

## Events

- 10 February – The first worldwide carnival parade takes place in Cologne, Prussia.

- 13 April – Franz Liszt, 11, gives a concert in Vienna, after which he is personally congratulated by Ludwig van Beethoven.

## Births

- 4 April – Carl Wilhelm Siemens, German engineer (d. 1883)

- 6 December – Friedrich Max Müller, German Orientalist (d. 1900)

- 13 December – Ferdinand Büchner, German composer (d. 1906)


Bojan Gočanin

# Bojan Gočanin

## Abstract

Bojan Gočanin (Serbian Cyrillic: Бојан Гочанин; born 11 October 1997) is a Serbian footballer who plays for Omladinac Novo Selo. He had played for Sloga Kraljevo on loan from Metalac Gornji Milanovac.

## Club career

Born in Vrnjačka Banja, Bojan's surname originating from the Goč mountain. He started his career with Radnički Kragujevac as a centre-back. He was also called into Serbia national under-17 football team, and was nominated for the best youth sportsmen of Kragujevac ending of 2013. Later he played with youth teams of BSK Borča and OFK Beograd.

### Metalac Gornji Milanovac

Gočanin joined Metalac Gornji Milanovac at the beginning of 2016, where he ended his youth career. He passed the summer pre-season and started 2016–17 Serbian SuperLiga with te first team. He made his senior debut for the club in opening match of the season against Borac Čačak, played on 23 July 2016, replacing Nemanja Mladenović in the 54th minute of the game.


TenZ

# TenZ

## Abstract

Tyson Van Ngo (born May 5, 2001), better known as TenZ is a Canadian streamer, Content Creator, former professional Valorant player and former professional Counter-Strike: Global Offensive player. He is widely considered to be one of the greatest Valorant players of all time.

He began his esports career in October 2019 as a Counter-Strike: Global Offensive player for Cloud9. In April 2020, he transitioned to Valorant, playing for Cloud9. He took a break from professional Valorant in January 2021 to focus on a career in content creation, and in April 2021, he was loaned to Sentinels. He went on to win the VCT Stage Two Masters in Reykjavík later that year. In June 2021, his Cloud9 contract was bought out by Sentinels.

## Career

TenZ's professional career began in October 2019 when, at the age of 18, he joined the Cloud9 team in the first-person shooter title, Counter-Strike: Global Offensive (CS:GO). His entry into Cloud9 marked him as one of the youngest players in the professional esports scene at that time. However, in April 2020, following the public beta release of Riot Games ' first-person shooter Valorant, TenZ announced his decision to retire from CS:GO and opted to transition into Valorant, thereby becoming Cloud9's first professional player in the title.

In January 2021, TenZ announced his departure from professional Valorant focus on a career in content creation. However, his hiatus was short-lived, as Cloud9 agreed to loan TenZ to Sentinels in April 2021, following the suspension of Sentinels player Sinatraa. During the first two stages of the 2021 Valorant Champions Tour (VCT), TenZ competed remotely from Canada. Sentinels went on to win the first international Valorant tournament, the VCT Stage Two Masters Reykjavík after sweeping Fnatic in the grand finals by a score of 3–0. TenZ was named the grand finals most valuable player. On June 2, 2021, Sentinels bought out TenZ's contract, reported to be valued between US$1.25 to $1.5 million.

After their first international trophy on May 30, 2021, TenZ and Sentinels would never win another trophy for almost 3 years.

On April 18, 2023, Sentinels head coach Adam Kaplan announced that TenZ would be temporarily benched due to illness and a hand injury.

On March 24, 2024, TenZ helped Sentinels to their second international trophy, winning the 2024 VCT Masters Madrid, becoming the second-ever Valorant player to win two Masters trophies after Timofey "Chronicle" Khromov did so with Gambit and Fnatic.

On September 14, 2024, TenZ announced his retirement from professional Valorant marking an end to his journey as a professional player.

## Personal life

Ngo, born on May 5, 2001, is from Nanaimo, on Vancouver Island, British Columbia and is of Vietnamese and French descent. He lived in Canada before moving to Los Angeles in January 2022.

Ngo is currently engaged to Kyedae Shymko, a content creator. The couple announced their engagement in August 2022.

Ngo stated in an interview that he had ADHD, but he did not fully address the disorder until he took a break from competitive Valorant.

Ngo also revealed in a video published on the official Sentinels YouTube channel that he is protanomaly colorblind, and as a result uses yellow instead of red as his enemy highlight color in Valorant.


True Love (Robert Palmer song)

# True Love (Robert Palmer song)

## Abstract

" True Love " is a song by English singer Robert Palmer, which was released in 1999 as the only single from his thirteenth studio album Rhythm & Blues. The song was written by Alan Mansfield, Sharon O'Neill and Palmer. It was produced by Palmer and Pino Pischetola.

Released as the lead single from the Rhythm & Blues album, the song saw limited commercial success, like the album. It reached No. 87 on the UK Singles Chart. It was his final single release (discounting a 2003 remix of " Addicted to Love ").

## Release

The single was released as a CD single mainly in the UK and across European. A radio edit of "True Love" was created for its release as a single. An extended mix was also included, along with the non-album B-side "Big Shot". A promotional CD single was also created, featuring the radio edit of "True Love" as the only track.

## Promotion

A music video was filmed to promote the single, featuring Palmer singing the song among various clips including a couple dancing. The video was shot in black and white, with the song's lyrics scrolling along the bottom of the video. In the Netherlands, Palmer performed also the song on the TV show Laat de Leeuw.

## Critical reception

Upon release, Billboard reviewed the single, stating: "Robert Palmer teases his new album with a track that shows that this long-innovative artist has yet to content himself with stereotypical production. He's come a long way from "Addicted to Love" with this offering that's part '80s, part sheer experimentation. His vocal is layered in double octaves, giving this midtempo love song a mysterious, exotic feel. Instrumentally, it features a persistent, assertive beat with a peppering of Asian influences and a solid hook that could hook the attention of reminiscent hot ACs. Fans will be delighted that Palmer remains vital and original, while radio may just have a pick to click." Dave Kendrick of the Hartford Courant said in a review of Rhythm & Blues: "...the songs are sunny and optimistic, and Palmer is in fine vocal form throughout. The opening track, 'True Love' sounds like a great single." AllMusic highlighted the song by labelling it an AMG Pick Track from the Rhythm & Blues album.

## Track listing

- "True Love" (radio edit) – 3:52

- "True Love" (extended mix)

- "Big Shot" – 4:22

- "True Love" (radio edit) – 3:52

## Personnel

- Robert Palmer – lead vocals, producer, arranger

- Pino Pischetola – producer, engineer, mixing

- Alan Mansfield – additional instruments


Amelia Peláez

# Amelia Peláez

## Abstract

Amelia Peláez del Casal (January 5, 1897 – April 8, 1968) was an important Cuban painter of the Avant-garde generation.

## Biography

Amelia Peláez (born-1897) Yaguajay, Cuba, in the former Cuban province of Las Villas (now Sancti Spíritus Province). She was the fifth born of eleven siblings in a family that was part of the Cuban-Creole middle class. Her father was a doctor, Manuel Pelaez y Laredo, and her mother, Maria del Carmen del Casal y Lastra, stayed at home with her children. Amelia's uncle was Julian del Casal, who was a poet and included her family in Cuba's intellectual circles.

In 1917, her family moved to Havana, to the La Víbora district, and this gave her the opportunity to enter the Escuela Nacional de Bellas Artes "San Alejandro" at the rather late age of 20 years (students at this academy usually start at 12–13 years of age). She was among Leopoldo Romañach 's favorite students. In 1924 she graduated from San Alejandro, and exhibited her paintings for the first time, along with another Cuban female painter, María Pepa Lamarque, at the Association of Painters and Sculptors in Havana. Receiving a small government grant, she travelled to New York City in the summer of 1924 and began six months of study at the Art Students' League. In 1927, after being awarded a larger grant, she began studying in France, while paying short visits to Spain, Italy, and other countries.

## Student life in Paris

Pelaez moved to Paris, accompanied by Cuban writer Lydia Cabrera, after she received a grant from the government in order to pursue art. Both took painting and art history courses at École Nationale Supérieure des Beaux-Arts. She also took drawing and art history courses at the Académie de la Grande Chaumière and the École du Louvre. In 1931 Pelaez enrolled, along with Cabrera, in Fernand Léger 's Academie Contemporaine. She then began studying with Russian painter Alexandra Exter, whose friendship and classes in color theory and design were an important influence.

Galerie Zak hosted a solo-exhibition of her paintings in 1933, where she exhibited thirty-eight works. In that same year, she participated in the eleventh Salon des Tuileries and “was also included in an exhibition of illustrated manuscripts by the calligrapher Guido at the Galerie Myrbor”, in which she illustrated Sept Poemes of Leon Paul Fargue. In her years in Paris, her work was highly praised by French critics.

## Life in Havana

In 1934, following a showing at the Salon des Independants, Pelaez returned to live in her mother’s colonial-style house in Cuba. The Cuba Pelaez returned to was in a state of economic uncertainty and political unrest. Beginning in the late 1920s, Cuba was searching for a new art that would reflect the national identity. In response, Pelaez departed from earlier vanguard strategies and turned to new approaches that involved depictions of Afro-Cuban and guajiro (peasant) subjects, while representing them in the adoption of European modernism. According to Ingrid Williams Elliot, Pelaez’s vibrant colors as well as thick lines are derived from Spanish-colonial architecture “integrating domestic objects with architectural decorations”. Peláez uses "Baroque ornamentation in her use of domestic colonial interiors to engage and merge multiple histories and assorted styles -- past and present -- to arrive at a contemporary Cuban idiom.”

In 1935, Pelaez had a solo exhibition at a women’s club in Havana called the Lyceum, which helped gain exposure of her new modernist Cuban style.

During this time, in the mid-thirties, Peláez was experimenting with "patterns, shapes and geometric relationships of tablecloths and fruit dishes, laying the groundwork for the geometric constructions and rhythmic patterns that have been associated with her architectural ornamentation in her work in the forties”, it also shows her awareness of Cubism. Her signature still life paintings were praised for the use of native fruits and flora referencing her Cuban roots.

In 1935-1936, Pelaez focused much of her paintings and drawings to the use of ink and pencil. The treatment of these drawings differs than her previous oil works, by distorting and exaggerating the figure with "sinuous line and light shading" that reference Cubism and European Modernism.

Peláez received a prize in the National Exposition of Painters and Sculptors in 1938, and collaborated on several art magazines in Cuba, such as Orígenes, Nadie Parecía, and Espuela de Plata. In 1950 she opened a workshop at San Antonio de los Baños, a small city near Havana, where she dedicated herself, until 1962, to her favourite pastime of pottery. She sent her paintings to the São Paulo Art Biennial in 1951 and 1957, and participated in 1952's Venice Biennale. In 1958 she was a guest of honour and jury member at the First Inter-American Biennial of Painting and Printmaking in Mexico City, although she pulled out of the raucous and controversial jury discussions based on what she reported to be “an openly Communist bias in the decisions.” Aside from painting and pottery, she dedicated time to murals, located mainly at different schools in Cuba. Her most important works of this type are a ceramic mural at the Tribunal de Cuentas in Havana (1953) and the facade of the Habana Hilton hotel (1957). She had a hard time selling her paintings as a living artists—she and her paintings, later named Amelias, achieved fame much later in life.

Peláez died in Havana in 1968.

## Estrada Palma 261

Amelia lived in her mother's house, which was a mix between a neoclassical design and a more traditional Cuban Creole architectural style house, for the rest of her years after her return to Havana, Cuba. Her house was a main source of inspiration after returning to a reclusive domestic lifestyle. The house was built in 1912, filled with colonial furniture of the baroque style. The house contained marble, crystal, wood, and ceramics in its interior. Amelia would also hang her paintings as decor.

## Exhibitions

- 1924 Amelia Pelaez y Maria Pepa Lamarque, Asociacion de Pintores y Escultores, Havana.

- 1933 Amelia Pelaez Del Casal, Galerie Zak, Paris.

- 1935 Amelia Pelaez Del Casal, Lyceum, Havana.

- 1941 Amelia Pelaez, Norte Gallery, New York.

- 1943 Amelia Pelaez: Retrospectiva, Institucion Hispano—Cubana de Cultura, Havana.

- 1956 Amelia Pelaez, Nuestro Tiempo, Havana.

- 1957 Amelia Pelaez, Lyceum, Havana.

- 1959 Pintura de Amelia Pelaez, Instituto Municipal de Cultura, Marianao, Havana.

- 1960 Amelia Pelaez.

- 1964 Oleos y Temperas de Amelia Pelaez, Galeria de la Habana, Havana.

- 1967 Dibujos de Amelia Pelaez, Museo de Arte Moderno Bogota. Amelia Pelaez; Goaches y Ceramicas, Lyceum, Havana.

- 1968 Amelia Pelaez: Exposicion Retrospectiva, Museo Nacional, Havana.

- 1977 Amelia Pelaez, Metropolitan Museum & Art Center, Miami.

- 1979 La Gran Pintora Cubana Amelia Pelaez, Museo de Arte Moderno, Mexico City.

- 1980 Amelia Pelaez, Museo de Arte Moderno, Bogota.

- 1987 Amelia Pelaez, Nineteenth Sao Paulo Biennial, Sao Paolo.

- 1988 Amelia Pelaez; A Retrospective, Cuban Museum of Arts & Culture, Miami.

- 2013 Amelia Peláez: The Craft of Modernity, Pérez Art Museum Miami

## Collections (selection)

The works of Peláez are held in the Museo Nacional de Bellas Artes de La Habana, the Pérez Art Museum Miami, Moderna Museet in Stockholm, and the Museum of Modern Art, New York.


Bitva extrasensov

# Bitva extrasensov

## Abstract

Battle of the Psychics (Russian: Битва экстрасенсов, romanized: Bitva extrasensov) is a Russian tv-show which airs on the Russian TNT TV channel, filmed in the format of the British TV show Britain's Psychic Challenge.

Such programs show in the U.S. (America's Psychic Challenge), Israel (Reality Koah – "Power"), Bulgaria ("Ясновидци"), Azerbaijan (Ekstra hiss), Ukraine (Bytva ekstrasensiv), Mongolia (Зөн билгийн тулаан), Georgia (Ekstrasensta Brdzola – ექსტრასენსთა ბრძოლა), Kazakhstan (Qıl kópіr), Australia (The One), Lithuania (Ekstrasensų mūšis), Estonia (Selgeltnägijate tuleproov), Latvia (Ekstrasensu cīņas).

The first release of the first season was aired on February 25, 2007. Now, the 23rd season has started.

## Facts

One of the creators, Vladislav Severtsev, participated in the producing of the 2017 film The Bride.

## Seasons

### Twenty-fourth season (2024)

Source:


2023 Indian Super Cup

# 2023 Indian Super Cup

## Abstract

The 2023 Super Cup was the third edition of the Super Cup and the 41st season of the national knockout football competition in India. The competition was sponsored by Hero MotoCorp and known as the Hero Super Cup for sponsorship purposes.

The tournament was being organised after a gap of four years due to various scheduling issues, with the latest edition being played in 2019. This was the first time the Super Cup champions to had a spot allotted in the AFC competitions. Odisha were crowned champions after defeating Bengaluru 2–1 in the final, their first-ever major title, and qualified for the qualifier for 2023–24 AFC Cup group stage.

## Format

The 2023 edition of Super Cup was played across two cities of Kerala, Kozhikode and Manjeri, selected by the AIFF in a comprehensive and inclusive manner. The competition consisted of the qualifying play-offs, the group stage, the semi-finals and the final.

The tournament proper featured 16 top clubs across the top two divisions of Indian football. All 11 clubs from the ISL and the 2022–23 I-League champions directly qualified to the group stage. The teams placed 2nd to 10th in the 2022–23 I-League competed for the four remaining spots in the qualifying round that featured single-leg ties.

The 16 qualified clubs were drawn into four groups of four each, competing in a single round-robin format, with group winners making it through to the semi-finals.

## Venues

A total of 32 matches were played across 2 cities, Kozhikode and Manjeri. 18 matches were played in Manjeri, including the qualifying play-offs, and 14 matches in Kozhikode.

## Qualifying rounds

### First qualifying round

### Second qualifying round

## Group stage

### Group B

### Group C

## Knockout stage

### Semi-finals

### Final

## Top scorers

## Broadcasting

The Hero Super Cup 2023 was streamed live on Fancode app (all matches) and Sony Sports Ten 2 channel (all matches except the qualifiers).