This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping
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When photographer Claudia Andujar first visited the Yanomami territory in northern Brazil in the early 1970s, she planned to take pictures of the indigenous Yanomami people for a new Brazilian political magazine, Realidade. But ultimately the images she creates—many of which make up the moving, hopeful, and heartbreaking exhibit The Yanomami Struggle, currently underway at The Shed in New York —just part of her legacy to the Yanomami. Even as she sticks to and documents the lives and traditions of the Yanomami, Andujar, now 91, has taught them to protect themselves from immediate threats—increasing encroachment from the outside. from the Brazilian military dictatorship in 1964—and existentially. The discovery of valuable minerals such as gold, uranium and cassiterite in Yanomami territory in the 1970s attracted the attention of prospectors, miners and other undesirables from the outside—and followed by diseases, pollution, exploitation and deforestation. For many indigenous peoples across Brazil, that meant total annihilation. As a World War II refugee who fled Hungary as a child and whose entire patriarchal family was murdered at Auschwitz and Dachau, Andujar has experienced destruction. She’s not, she explained through an interpreter at a press conference this week, content to sit back and watch history repeat itself.
I realized that it would be beneficial for me to wait a while before sleeping with people I really like. But, more than that, I’m not sure if I should date them either. Maybe I should do what Maya and my friends are doing and I just let things smolder and see what they turn into. Part of that means knowing I’m worth someone’s time, even if there’s no finish line in sight. That I’m really, really great: my brows are big and smooth, even without Refy products, and I look good in bodycon and when I don’t have hormonal breakouts, my skin is so smooth and bright like the skin of an unripe nectarine. That I was warm and observed interesting things about the world that other people were not inclined to notice, such as the fact that the candle in our living room looked like a woman with large breasts, and every people who look like mice or pigs. That I don’t have to sleep with someone to get them interested. I told myself that I was worth the wait, just as I knew my friends and everyone I loved were worth it. Maybe it’s time to try friend partitioning.
Andujar’s 1971 photographs of the Yanomami and the photographs she has taken in the half century since, along with various works on paper and film by Yanomami artists, are part of a traveling exhibition organized by the Yanomami. co-organized with the Fondation Cartier pour l’art contemporain and the Moreira Salles Institute in Sao Paulo. This is a special exhibition, given the incredible amount of work (there are more than 200 works by Andujar and about 80 works by Yanomami artists), as well as the scope and depth of its closeness. . Group house surrounded by sweet potato leaves, Catrimani region Artwork © Claudia Andujar. Artist’s Collection. There are images of birth and death, hunting and gathering, project and play, portraits of belly and nipples, lips and eyes, ritually lit communal huts, of shamanic rituals, and suitable image. Some are in a direct reportage style, others capture more mystical and cosmic subjects (Andujar calls this “the soul of the forest”) using photographic techniques such as multiple exposures. and infrared film. The works considered have deep resonance: Unable to see these images of and by the Yanomami without realizing how precarious their lives are, every aspect of their existence has become should be threatened by the principles of crazy economic progress. cost (environment). The Yanomami, and indigenous people like them, are at the forefront of the question of what the future might look like on this planet. Or as Fondation Cartier’s artistic executive Hervé Chandes told Vogue, “We’re at a tipping point. After Yanomami, it’s all ours.”
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