🇨🇳💭 Is Biden up to Dealing with China after THIS.. | 03/12/23

A hypersonic nuclear missile has been launched globally by China...... [Golden Gate Marketers]( Golden Gate Marketers is dedicated to providing readers like you with unique opportunities. The message below from one of our business associates is one we believe you should take a serious look at. [--------------][--------------] China just launched a hypersonic nuclear missile around the world. A show of Louise Bourgeois' later work features an array of ghostly garments. She's not the only artist to use clothes to powerfully evoke life, and death, writes Rosalind Jana. I In the first room of Louise Bourgeois: The Woven Child – an exhibition looking at the final chapter of the great French-American artist's career, currently at London's Hayward Gallery – there stand a set of doors. They are huddled together, forming a small, room-like space. Their surfaces reveal their age. The wood is faded and splintered. Glass panels hold webs of cracks. Inside, arranged on a series of metal armatures and fat, yellow cattle bones, there hang a series of undergarments: slips, shirts, chemises. The fabrics are feather light against the heavy bones. They betray signs of their storage, crumpled and imprinted with creases from decades of being folded away. On the floor there lurks a watchful metal spider. To one side there sits a model of Bourgeois' childhood house in Choisy-le-Roi. To the other there is a spiral staircase, threads spooling out from the top and tethering it to these still, white clothes. More like this: – Literature's greatest fashion disasters – The woman written out of history – How Paula Rego helped change the world Entitled Cell VII, this installation was created by Bourgeois in 1998. In the last two decades of her life – which is the period the Hayward Gallery show covers – the prolific artist turned to textiles. Or rather, she returned. As a child she watched her parents mend and trade antique tapestries, her mother repairing them and her father selling them in a gallery in St Germain, Paris. Sometimes Bourgeois helped out, drawing in the missing parts of scenes – often feet, which were the first to wear away because they were at the bottom of the work – but she wasn't initiated into the intricacies of needlework or weaving. Louise Bourgeois' 1998 installation Cell VII features a series of undergarments many of which belonged to her mother (Credit: Hayward Gallery) Louise Bourgeois' 1998 installation Cell VII features a series of undergarments many of which belonged to her mother (Credit: Hayward Gallery) She did, however, go on to live a life haunted by fabric. Clothes were a source of great joy and even greater friction. As quoted in Charlie Porter's What Artists Wear, in 1968 she wrote in her notes, "it gives me great pleasure to keep my clothes my dresses, my stockings… It's my past, and as rotten as it is I would like to take it and hold it tight in my arms." Later she would describe these possessions as burdensome, representing "failures, rejects abandoned." In 1995, she finally managed to let them go, transferring most of her clothes to her studio where she could turn them into raw, sculptural material. She commented on the weight that had been lifted: "the cord was cut and I felt dizzy – the history of the wardrobe had started". It's an image that simultaneously evokes birth – the umbilical cord – and death – the cord akin to the thread cut by Atropos, the third Fate of Greek mythology tasked with deciding life's end point. Clothes are often referred to in ghostly terms, which is unsurprising given their appearance. Suspended, they take on a spectral guise. They also hold echoes of the dead [Missile]( here's always a hot ticket at fashion week – emerging names who go on (or not) to make the waves predicted for them. In September, it was non-binary designer Harris Reed, among the winners of the Leaders of Change category at the 2021 British Fashion Awards, who presented their second-only collection at London's Serpentine Gallery Pavilion. Ten pieces were repurposed from second-hand bridal and groomwear, and seamlessly blended the motifs of classic male-and-female formal attire, to create a bolero from tuxedo jackets, a floor-sweeping lace cape from veils, and more. Extravagant yet soulful, the show had all the hallmarks of the imagination that has seen the Central St Martins graduate put Harry Styles in a ballgown for US Vogue, and dress supermodel and entrepreneur Iman for the Met Gala 2021. More like this: - How BLM changed fashion - What does the perfect man look like? - The gender-fluid look that fans love Reed's work is a further incarnation of fashion's exploration of non-binary identity. In interview after interview, Reed makes clear that their work is a celebration of the "romanticism of the non-binary". As the designer told Vogue, "I don't just make clothes. I fight for the beauty of fluidity. I fight for a more opulent and accepting world". The designer Harris Reed emphasises the 'beauty of fluidity' in their collections (Credit: Courtesy Harris Reed/ Photo by Giovanni Corabi) The designer Harris Reed emphasises the 'beauty of fluidity' in their collections (Credit: Courtesy Harris Reed/ Photo by Giovanni Corabi) For Caroline Stevenson, head of cultural and historical studies at the London College of Fashion, Reed succeeds: "Harris Reed's aesthetic speaks to the limiting boundaries of society's binary gender roles," she tells BBC Culture. "They use fashion as a stage to demonstrate the abundance of imagination, choice and freedom available to us when these boundaries are lifted. The non-binary experience is one of self-determination, rather than fitting into society's expectations of what a male or female should be." Arguably, there has never been a better time to explore gender identity: from those who identify as neither male nor female, to those who identify as both – and all those in between. More and more high-profile personalities are publicly rejecting the stereotypes that come along with being assigned male or female at birth – from designers Reed, Charles Jeffrey of Loverboy and Edward Crutchley to hip labels such as Art School and One DNA, from models Lily Cole, Ruby Rose and Cara Delevingne to actors Elliot Page and Kristen Stewart. In 2019, Pose star Indya Moore became the first non-binary person to be the face of a Louis Vuitton campaign, while Laverne Cox, who plays trans prisoner Sophia Burset in Netflix drama Orange is the New Black, became the first trans person to be on the cover of British Vogue. If society is no longer organised around a gender binary, we no longer need these distinctive categories – Caroline Stevenson Lea T has modelled for Givenchy, Andreja Pejić has walked runways for both menswear and womenswear, Gucci worked with Hari Nef. Meanwhile, an upcoming exhibition at London's V&A, Fashioning Masculinities: The Art of Menswear, looks set to further challenge stereotypes, celebrating the foundations of men's fashion by displaying more than 100 looks, including Billy Porter's hot pink Golden Globe cloak and work by Harris Reed, alongside 100 sculptures and artworks including the celebrated marble statue of Classical Antiquity, the Apollo Belvedere. When Collins has included "non-binary" in its dictionaries, and when publications like Business Insider offer headlines like "Trans and non-binary representation is going mainstream in advertising", you know something fundamental has shifted. In many early cultures, similar attire was worn by all genders – such as the robes worn by the Byzantine Emperor Justinian and Empress Theodora (Credit: Getty Images) In many early cultures, similar attire was worn by all genders – such as the robes worn by the Byzantine Emperor Justinian and Empress Theodora (Credit: Getty Images) Gender-neutral clothing has a long history. Across the world and the millennia, items such as tunics and togas, kimonos and sarongs, have been worn by both sexes. Momo Amjad of The Future Laboratory – a strategic foresight consultancy based in London – cites several examples of third-gender communities with a long past. Among them are the traditional MāhÅ« people in Native Hawaiian and Tahitian cultures, the pan-gender roles of nádleehi people in the Navajo Nation, and the eunuchs, intersex people, asexual or transgender people known as the Hijra across South Asia. "Clothing was not always split along gender lines," explains Stevenson. "In feudal England, fashion followed class status and land tenure. Male and female dress across class stratifications was very similar. It was only through the breakdown of feudal society into a market society – where men started to dominate the workforce – that clothing shifted into male and female categories. Male fashion revolved around shifting notions of the suit, while female dress remained aspirational and flamboyant; a marker of her husband's success." And it is largely since the early 20th Century, and the rebirth of the debate around gender equality and female inclusion in the world of work, that Western fashion has been marked by, as Stevenson puts it, "overt and repressed desires to emulate the clothing styles associated with the opposite gender". Now it is normal to see women in suits and, increasingly, pussy-bow blouses for men, for instance at Yves Saint Laurent and Gucci. But the recent attention to non-binary style is more than stylistic experimentation, news that will be balm to the more than one in 10 millennials who now identify as transgender or gender non-conforming. "The new wave of non-binary is intimately bound up with significant shifts in society's expectations around gender roles, and our understanding of gender equalities," says Stevenson. "If society is no longer organised around a gender binary, we no longer need these distinctive categories." In this brave new world, the role of fashion cannot be understated. "When a platform such as fashion invites 'The Other' to be presented, it opens doors," says Sissel Kärneskog, a non-binary "humanwear" artist. [Here's]( America's response to it. Dress codes shown in 18th-Century art can tell us a lot about race and identity – both then and now. Cath Pound explores the surprising details hidden in the "Casta" paintings of Latin America. T The history of colonial Latin America is one with which the world is unfamiliar – yet a new exhibition at the Blanton Museum of Art uses the visual representation of clothing and textiles in an attempt to rectify that. Painted Cloth: Fashion and Ritual in Colonial Latin America focuses on the 1700s, a time when Spain was tightening its grip on its territories in the face of increasing French influence. More like this: - Britain's first black aristocrats - The past hidden in the countryside - The century's 'most important painting' The Casta paintings featured in the exhibition, which take their name from the casta system that the Spanish authorities invented to define a hierarchy of race, are particularly eye-opening. The genre emerged in what is now Mexico, and to a lesser extent Peru, in the 18th Century. Created in series, with an occasional multi-image single panel, the paintings were intended to illustrate the diversity of ethnicities living in the region, and the mixed races that resulted from their unions. They reveal the existence of a racially diverse and integrated population, the extent of which may well surprise contemporary audiences, while also inviting questions about modern-day attitudes to race and racism. The Casta paintings of Latin America offer an intriguing glimpse into life in colonial times (Credit: Javier Rodríguez Barrera) The Casta paintings of Latin America offer an intriguing glimpse into life in colonial times (Credit: Javier Rodríguez Barrera) "They address something which continues to be important – the hybridity of cultures, with all the movement of people… we are still struggling with how identity is formed," says curator Rosaria Inés Granados. The Spanish invasion of what is now Mexico and its surrounding communities in the 16th Century had a devastating effect on the region's social fabric. The invaders imposed their culture and their own indicators of social class, while simultaneously trying to convert the indigenous population to Catholicism. Unions between indigenous women and Spanish men – some forced, some consensual – and the forced migration of enslaved black people from West Africa resulted in a multi-ethnic co-existence which the authorities defined and controlled via the casta system. The invaders imposed their culture and their own indicators of social class Paintings such as Negra de Guinea O Criolla. Español. Producen. Mulatos, and Yndia Serrana. O Civilizada. Produce mestiso, both created around 1770 by an unknown artist in the circle of Cristóbal Lozano, show mixed-race couples and their offspring. The paintings are labelled in an almost anthropological manner, with subjects defined via terms such as mulatto or mestizo. "We know that many of them were made for cabinets of Natural History. They were not made to be part of a domestic setting," explains Granados. De Yndio, y Cambuja, nace Sambahiga by José Joaquín Magón was painted around 1770 (Credit: Museo Nacional de Antropología, Madrid / photo by Javier Rodríguez Barrera) De Yndio, y Cambuja, nace Sambahiga by José Joaquín Magón was painted around 1770 (Credit: Museo Nacional de Antropología, Madrid / photo by Javier Rodríguez Barrera) The subjects of the paintings are dressed in the clothing they were permitted to wear according to their place in the hierarchy, a restriction intended to exert both social and economic control on the population. The black couple and child depicted in Negros Bozales de Guinea wear rough, simple garments showing that they are enslaved. In contrast, the black woman shown with her Spanish husband in Negra de Guinea o Criolla. Español. Producen. Mulatos wears clothing similar to that of the elite, an indication of the higher status that marriage to a Spaniard gives her. Unsurprisingly, the idea of looking at images that were designed to categorise and rank individuals according to their race is troubling to many. However, if we take time to understand how and why they were produced, and how the ideal depicted so often differed from the reality, it reveals an altogether more nuanced picture of the society in which they [Golden Gate Marketers] {EMAIL}, You are getting this email as a result of your earlier interest in Financial Education, shown on a sign-up form on our websites[.]( If you feel like this email from Golden Gate Marketers was sent to you mistakenly, please [unsubscribe here](. The easiest way to stay up to date with the investing world is by [whitelisting us](. [Privacy Policy]( | [Terms & Conditions]( Email courtesy of Finance and Investing Traffic, LLC, owner and operator of Golden Gate Marketers. © 2023 All rights reserved. 221 W 9th St # Wilmington, DE 19801 Also let us know your position by email abuse@goldengatemarketers.com. 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