Its Mardan http://itsmardan.com/ Wed, 21 Sep 2022 15:03:34 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 http://itsmardan.com/wp-content/uploads/2021/05/its-mardan-icon-150x150.png Its Mardan http://itsmardan.com/ 32 32 Preview of the art exhibition entirely inspired by Nicolas Cage and his cat http://itsmardan.com/preview-of-the-art-exhibition-entirely-inspired-by-nicolas-cage-and-his-cat/ Wed, 21 Sep 2022 15:03:34 +0000 http://itsmardan.com/preview-of-the-art-exhibition-entirely-inspired-by-nicolas-cage-and-his-cat/

An art exhibition called Uncaged: The Unbearable Weight of Genius Cat Art arrives at CatCon on October 1 and 2, 2022. The convention, held this year in Pasadena, brings cat culture and pop culture together — a space that Nicolas Cage also inhabits as a prolific movie star and self-proclaimed cat. This year’s art exhibit used this crossbreed as a theme and will feature seven original works of art inspired by Cage’s friendship with his cat Merlin, a fluffy black Maine Coon. Yes, a Nicolas Cage feline art exhibit is real.

Michael Caines/Brian Hoffman

The four artworks featured here represent a diversity of styles that will make up the Cat Art Show. There’s everything from the wallpaper we’re expecting to see in the next Wes Anderson movie to the oil paintings that would look right at home on any hearth. Plus, the show has an off-putting addition to the vintage Dick and Jane-style alphabet. Although this one should perhaps be a 26 piece set and complete Nicolas Cage’s complete collection of cat art.

Two works of art with Nicolas Cage and a cat that are part of the CatCon art exhibition
Vanessa Stockard/Daniel Ryan

Cage’s affection for Merlin (and vice versa) was revealed during the press tour for his recent movie. The unbearable weight of massive talent. “Nicolas Cage is an artist’s dream subject – he’s cult, he’s camp and he’s DGAF,” says curator and founder Susan Michals. “Cats have many of the same characteristics, so why not combine the two and celebrate it on canvas?”

Tickets are on sale for the convention billed as Comic-Con for Cats. The art will be for sale, with 10% of proceeds going to cat-related charities. Along with the art exhibit, the exhibit will host vendors and meet internet famous cats and their owners. You can even adopt a stupid kitty!

Melissa is Nerdist’s science and technology editor. She also leads “science of” panels at conventions and co-hosts Star Warsologies, a podcast about science and Star Wars. Follow her on Twitter @melissatruth.

]]> Brickworks’ share price edged higher on $746 million profit http://itsmardan.com/brickworks-share-price-edged-higher-on-746-million-profit/ Wed, 21 Sep 2022 01:17:40 +0000 http://itsmardan.com/brickworks-share-price-edged-higher-on-746-million-profit/

Image source: Getty Images

The Brickworks Limited (ASX: BKW) The stock price is edging its way into the green in morning trading amid the company’s release of its FY22 annual results.

Shares in Australia’s largest building products maker are currently trading at $21.76 apiece, up 0.32%, after falling to $21.05 shortly after the market opened.

Let’s review the highlights of the report.

What did Brickworks report?

Brickwork’s standout operating segment for the year was real estate. Namely, its industrial real estate portfolio around Sydney and Brisbane. Total segment profit increased 155% year-on-year to $644 million.

The company said its portfolio benefited from a “strong increase in valuation in response to growing demand for prime logistics and warehousing space. In addition, strong development activity contributed to the result of the ‘Immovable.

Meanwhile, Brickwork’s revenue for building products also grew in Australia and the United States. This would have been helped by the company’s investment in Washington H. Soul Pattinson and Co. Ltd (ASX: GROUND).

Building Products revenue in Australia increased 7% to $694 million and EBITDA increased 110% to $205 million.

During the same period, North American Building Products revenue grew significantly more, recording a 97% gain to $399 million, while EBITDA increased 84% to $48 million.

Brickwork’s fully franked dividend of 41 cents per share has a record date of Nov. 2 and an expiration date of Nov. 1. The expected payment date is November 23.

What else happened in FY22?

The value of the company’s joint venture trust jumped in FY22 to $1.54 billion from $631 million in FY21.

Additionally, Brickworks has launched another joint venture real estate trust with Goodman Group (ASX: GMG) comprising 15 manufacturing plants. The total value of the trust is $416 million.

Brickworks also notes that despite its considerable investments over the years, its leverage remains low, with a net debt to equity ratio of 15%.

What did management say?

Brickworks Managing Director Lindsay Partridge commented on the growth of his Industrial JV Trust:

One of the highlights of the year was the completion of Amazon’s state-of-the-art fulfillment centre, the first facility in Oakdale West, Sydney. This follows many years of planning and investment in the site preparation and infrastructure of this area. With other facilities now nearing completion, Oakdale West is poised to become one of the most prestigious industrial property neighborhoods in the Southern Hemisphere. Further estates in Oakdale South (Sydney) and Rochedale (Brisbane) have now been fully built, following the completion of final developments in these areas in the second half of the year.

And after?

Partridge described the future as having “an increasingly uncertain outlook”. Some factors at play would be rising interest rates and the threat of recession.

He also made the following comment about what the future might look like:

There is a significant development pipeline within the Industrial JV Trust, and the continued development of Oakdale West will drive asset growth over the next few years. The planned sale of the balance of Oakdale East to the Trust in FY23 will support continued growth over the medium term. We continue to explore real estate opportunities in North America, and recently signed a non-binding memorandum of understanding with Goodman to explore the development of the Mid-Atlantic site in Pennsylvania. From FY23, Property will also include revenue generated by the Brickworks Manufacturing Trust.

Brickworks Stock Price Overview

Brickworks’ stock price is down almost 12% since the start of the year.

During this time, the S&P/ASX 200 Index (ASX:XJO) is around 11% lower over the same period.

The company’s current market capitalization is $3.28 billion.

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Bloom House moves new ‘Art Attack’ event to online format http://itsmardan.com/bloom-house-moves-new-art-attack-event-to-online-format/ Tue, 20 Sep 2022 22:05:12 +0000 http://itsmardan.com/bloom-house-moves-new-art-attack-event-to-online-format/

Bloom House Youth Services logo.

Bloom House Youth Services was set to hold its first ‘Art Attack’ fundraiser later this week, however, during an appearance on KVOE’s morning show on Tuesday, Bloom House Board Chair Clara Corn, made an unfortunate announcement.


Although unhappy, Corn says they won’t cancel the event entirely, but instead reformat it into an online auction.

Corn says they will be uploading videos to their official Facebook page and website. Corn says the change is disappointing, however, she is confident he can still be a big hit.

All proceeds from the auction will be used to support Bloom House services and resources. Bloom House is a non-profit organization that provides services to reduce the number of homeless youth.

For more information, call Bloom House at 620-392-3055 or visit Bloomhouseks.org.

]]> From tech to tools, a Columbia building has it all – The Columbia Chronicle http://itsmardan.com/from-tech-to-tools-a-columbia-building-has-it-all-the-columbia-chronicle/ Mon, 19 Sep 2022 23:10:20 +0000 http://itsmardan.com/from-tech-to-tools-a-columbia-building-has-it-all-the-columbia-chronicle/

File photo

Columbia Building at 623 S. Wabash Avenue houses various resources for students, allowing them to access materials and equipment for their artistic practices. The variety can be overwhelming and knowing what prerequisites are needed to access each resource can be daunting. Here’s a tier-by-tier breakdown of the resources that can be found there.

The technical bar

New in the building is the TechBar on the first floor. Now open after a year and a half of development, the space offers students “level one,” or basic support with technology.

“Our Columbia students provide technical support to [their] fellow Columbia students,” said Dok Kang, an academic technology architect.

While students shouldn’t expect miracles, the tech bar can fix pesky issues that can delay an assignment or prevent access to their email.

“We do not open the computer, we do not repair the hardware, but we provide simple technological solutions, in particular [for] first-year students, Kang said.

The TechBar specializes in software used university-wide, such as Canvas and Office 365.

The TechBar is open weekdays from 9 a.m. to 5 p.m., and students can ask questions in person or remotely, by email, phone, or via Microsoft Teams. In addition to support, students can also rent a Chromebook for up to a week and borrow chargers for phones, iPads, and several types of computers for a 24-hour period.

The various parts of the manufacturing facility are available to students after they receive their certifications. Jared Callaway

Burning facility

Although it serves as a classroom for many printmaking courses, the second-floor printmaking center is also available to students outside school hours.

Open 8 a.m. to 10 p.m. Monday to Thursday, 8 a.m. to 4:50 p.m. Friday and 9 a.m. to 5 p.m. on Saturdays, with specific studio opening times that vary from day to day.

The space is accessible to students who have taken the five-week screen printing course or “Engraving I”. The space is then available to students until they graduate, whether or not they continue to take printmaking classes.

With five printing presses, risograph printers, a direct-to-garment printer, and materials available for purchase on-site, students can experiment with a variety of techniques including etching, lithography, and relief printing.

The space, which is covered with prints and student work, is what Meghann Sottile, teaching specialist at the manufacturing plant, said is “smaller [and] more intimate” than other facilities, making it a haven for students.

“It’s a really inclusive environment,” Sottile said. “There’s definitely like a community, especially as the semester progresses and students start to get to know each other.”

The fashion lab

On the seventh floor, The Fashion Lab is open to all students of the School of Fine and Performing Arts. Industrial sewing machines, mannequins and other sewing supplies are available to students from 8:00 a.m. to 10:00 p.m. Monday through Thursday, from from 8 a.m. to 5.30 p.m. on Friday and from 9 a.m. to 5 p.m. on Saturday.

Fashion students are allowed to use the space as part of several of their courses – including “Pattern Design and Construction 1” and “Clothing Appraisal” – but all other students must make an appointment for fashion clearance with a teaching specialist.

For specialized equipment such as embroidery and knitting machines, demonstrations will take place at Fashion Lab on Wednesdays at 3 p.m. until November 22.

“Each semester we give incoming students their own kits to start the semester,” said Ruqyyah Karim, a 2015 fashion graduate and Fashion Lab teaching specialist.

In the free kits, students will receive materials such as muslin and a sewing kit, which are also available for purchase in the lab.

While the space isn’t usually overcrowded, teaching specialist and 2016 fashion graduate Zena Salam warns that it gets hectic towards the end of the semester.

“Come early during the finals to claim your space,” Salam said.

The variety of supplies and workspace in the Open Studio in room 809 at 623 S. Wabash Ave. overlooks the heart of the city. Jared Callaway

Open workshop

The Open Studio, located on the eighth floor, is a free workspace accessible to any student.

“The idea is anytime, any building hour, any day of the week, this space is available for students to work on models, paint, draw, sculpt, whatever. what they want to work on,” said Chris Kerr, director of Instructional Installations.

There are no logins or prerequisites needed to use the space, which includes work tables, a photoshoot area, and storage lockers for students. work. The the studio is open from 7 a.m. to 10:30 p.m. on weekdays and from 8 a.m. to 6 p.m. on Saturdays.

The machines in the manufacturing plant on the 10th floor of 623 S. Wabash Ave. are available to cut wood and other materials once certification is received. Jared Callaway

manufacturing facility

The Tenth Floor Manufacturing Plant hosts an assortment of tools and materials that cover a range of disciplines, from woodworking to digital output. Once a student has taken a course in design, photography, acting, art and art history, or fashion studies, they automatically have access to the space.

In the manufacturing facility, students find cnc router, a vacuum former, potter’s wheels and power tools, among other equipment. And when classes aren’t held at the facility, students can use the classrooms and computer lab as study spaces.

Students can buy equipment at wholesale prices and can also rent tools for the day.

For some tools, such as laser cutters and 3D printers, students need individual authorization training before using them. For most resources, permissions are issued through a tier system.

A short training video takes students to level one, providing access to simple hand tools, ceramics and the training center.

For levels two and three, in-person training sessions are longer and students have access to advanced woodworking and metalworking tools. Permissions are granted throughout the fall semester, with the majority taking place in September.

“A lot of people are afraid to get on and use the big power tools, and that’s just part of what we have here,” said Andy Young, education specialist at the manufacturing plant. . “I always say that no matter what major you go for, IIt’s great to have tools under your belt, and I say that’s no pun intended.

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Little Caesars opens an Instagram gallery selling pepperoni-themed art http://itsmardan.com/little-caesars-opens-an-instagram-gallery-selling-pepperoni-themed-art/ Mon, 19 Sep 2022 14:51:40 +0000 http://itsmardan.com/little-caesars-opens-an-instagram-gallery-selling-pepperoni-themed-art/

Diving Brief:

  • Little Caesars Pizza reinvents its Instagram page into a pepperoni-themed art gallery to promote the rollout of a new menu item, according to a statement.
  • The channel is taking advantage of the app’s grid layout for a one-day event on September 20. Little Caesar’s main page will post a series of purchasable posts showcasing items available on a first-come, first-served basis and all for $9.99 – the same price as Old World Fanceroni pepperoni pizza.
  • Products range from framed oil paintings to a candelabrum outfitted with pepperoni-scented candles. The brand is using social commerce to build consumer affinity at a time when the tactic is struggling to grow in the United States.

Overview of the dive:

Little Caesars wants to position its Fanceroni Old World Pepperoni Pizza as a premium option available at an affordable price. To promote the menu addition, the chain is taking a traditionally high-end concept – the opening of an art gallery – and turning it into a buyable, limited-time event on Instagram. Activation is timed for National Pepperoni Pizza Day.

For years, the fast-food category has grappled with the idea of ​​products for super fans who will happily express their affinity for their favorite brands. The drop in Little Caesars adds a sense of urgency by only operating for one day and having products available on a first-come, first-served basis at a relatively inexpensive price.

As far as what consumers can compete with, there are oil paintings that take inspiration from well-known masterpieces, like a riff on van Gogh’s “Starry Night,” replacing swirling stars with pepperoni slices. Another piece depicting a slice of Little Caesar was made by Noah Verrier, whose entire body of work frequently dives into fast food topics. Also on display are the candelabrum with scented candles, a cup-shaped chair, a drinks chest and a dazzled “purseroni”.

The pun-fueled effort comes as Instagram’s plans for social commerce are in flux. The tactic seemed like a surefire bet at the start of the pandemic, when people were spending more time browsing and shopping from home. But the COVID e-commerce boom has slowed significantly in recent months, while privacy changes implemented by Apple have made it harder to track and measure the success of campaigns on mobile devices. A recent report in The Information stated that Instagram would significantly reduce its commercial push focus more on advertising initiatives.

Little Caesars is in the midst of a bigger publicity blitz as it enters its first year as the official pizza sponsor of the NFL. New TV commercials Matthew Stafford, Los Angeles Rams quarterback. The company is also among the initial sponsors for Amazon’s “Thursday Night Football” streams, a bet to reach fans who are adopting more digital viewing habits and could welcome tactics like QR codes that can be scanned during broadcasts to order pizza and win prizes advantages.

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BNZ Art Collection: Colin McCahon’s works sold for millions of dollars http://itsmardan.com/bnz-art-collection-colin-mccahons-works-sold-for-millions-of-dollars/ Sun, 18 Sep 2022 20:20:55 +0000 http://itsmardan.com/bnz-art-collection-colin-mccahons-works-sold-for-millions-of-dollars/ Part of the BNZ art collection is auctioned off at Webb’s on Sunday. RNZ / Felix Walton

Five works by New Zealand artist Colin McCahon sold for millions at the BNZ Art Collection this afternoon – and concerns over their sale still linger.

Colin McCahon’s painting from 1982 Is there anything you can say, look, it’s new? set a new all-time record for a work of art sold at auction in New Zealand when it sold for $2.39 million. It was estimated between 1.5 and 2.5 million dollars.

His O Let Us Weep sold for $926,125.

But most of the paintings in this afternoon’s auction for the BNZ Art Collection – including McCahon’s Small Bush Covered Hillside, Kauri and Gray Sky, Red Earth Works – sold above their upper estimate.

Brent Wong’s Town Boundary sold for $472,025, while Tony Fomison’s Fugitive sold for $1.82 million – its estimate was $600,000 to $900,000.

Among the BNZ’s collection of over 200 works of art were works by some of the country’s most important artists, Rita Angus, Gordon Walters, Toss Woollaston, Gretchen Albrecht, Milan Mrkusich, Don Binney and Ralph Hotere.

Webb’s auction manager Charles Ninow earlier said it was one of the biggest auctions in New Zealand history.

Total sales during the first part of the auction exceeded $13.5 million.

“This is the largest corporate collection New Zealand has ever seen,” said Ninow. “It contains many works of art that can absolutely rival the best works in public collections in this country.”

Tony Fomison's The Fugitive (left) sold for $1.82 million - its estimate was $600,000-900,000.  RNZ / Felix Walton
Tony Fomison’s The Fugitive (left) sold for $1.82 million – its estimate was $600,000-900,000. RNZ / Felix Walton

However, there have been objections to the auctioning of such important works of art to private buyers, with former New Zealand Prime Minister Helen Clark saying BNZ should not sell for millions of dollars of art. works of art originally purchased when the bank was state owned.

Te Papa marketing and communications manager Kate Camp said she acquired two paintings at the auction, but said she would have appreciated the opportunity to bid on works ahead of the auction .

The paintings acquired by Te Papa are Glenda at Tahakopa, by Robin White, purchased for $406,300 and Design by A. Lois White, purchased for $221,075.

She said BNZ gave them advance notice of the auction, but there was no option to purchase outside of the auction process or receive items as a donation.

“Te Papa sees the value in having works in public collections and would always encourage collectors to think of public collections first when selling works,” Camp said.

Glenda at Tahakopa, by Robin White, purchased for $406,000 by Te Papa at the BNZ Art Collection auction.  Photo / Supplied.
Glenda at Tahakopa, by Robin White, purchased for $406,000 by Te Papa at the BNZ Art Collection auction. Photo / Supplied.

Te Papa’s chief executive, Courtney Johnston, said the national museum would always encourage private and private collectors to consider donating works of art to public collections if they disperse a collection.

“We encourage any collector to consider the legacy they are creating when they return works to the hands of the public, where they can be held in trust for future generations,” Johnston said.

“There is a limit to what public institutions in New Zealand can afford to buy, and as the market becomes more expensive the public will depend more on the generosity and vision of collectors who choose to do so. gift of works.”

Former New Zealand Prime Minister Helen Clark has said BNZ should not sell millions of dollars worth of artwork originally bought when the bank was state-owned.

Today, Auckland Art Gallery also claimed BNZ dismissed concerns over the sale of significant New Zealand artwork.

Gallery director Kirsten Lacy said the artwork was purchased when BNZ was state-owned, but transferred when it was privatized.

She thought they should be available for everyone to see.

“There is a particular care for a corporate collection like this, to consider the national interest, and the bank is not interested in having a dialogue about what that means in terms of cultural assets. of New Zealand.”

BNZ was not interested in talking to him about the collection, Lacy said, but the bank said it had no formal approach to the galleries.

BNZ chief business officer Cliff Joiner said the future of the BNZ art collection had been carefully considered by the board over a two-year period.

The society decided the best way to continue supporting the legacy of the art collection was to pass on the privilege of caring for the works to others and supporting communities through proceeds, he said. declared.

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The Lost Art of Nation Building http://itsmardan.com/the-lost-art-of-nation-building/ Sun, 18 Sep 2022 18:19:47 +0000 http://itsmardan.com/the-lost-art-of-nation-building/

If you have already built anything other than a political career, you will know it takes a lot of smarts and tough yakka. Construction requires forward thinking, creativity, resilience, and most importantly, a plan for what the finished product will look like. Take those things away and you mindlessly create a big, ugly, expensive mess.

This brings me to the Labor Party’s plan for Australia.

In the months leading up to the Jobs and Skills Summit, Immigration Minister Matthew Giles was on Sky News Australia promote its plan to increase the number of migrants.

“I think immigration should be viewed fundamentally as part of the nation-building role of the national government.”

His top priority, he said, was to “make sure we solve the skills crisis” to “help businesses”. Perhaps forgetting that his first priority was to help Australians.

“That’s why we have processed over 1.3 million visas in the short time since we came to government.”

Hey Thanks.

Giles – who is susceptible on a salary of at least $332,760 and grew up in an Australia where migrants made up 23% of the total population, compared to 30% today – wants to “work with businesses” to “address the challenges of the moment”.

High house prices and low salaries, we can guess, are not the challenges they signify.

Tellingly, not once in the six and a half minute interview on Sky News Australia Giles mentioned the effect this will have on Australians’ standard of living. Having already decided that more people is always the answer, he doesn’t seem to care that most Australians want less migration. Instead, he derided the “benefits it will have for businesses”.

What happened to listening to the experts? A 2018 report by the Grattan Institute – quick to point out the “success” that migrants have brought to Australia – concedes the effect of migration on housing affordability, noting that “immigration has increased the demand for housing”, and therefore exerted pressure on prices.

“Immigrants are more likely to settle in major Australian cities than existing residents, increasing demand for scarce urban housing. In 2011, 86% of immigrants lived in large cities, compared to 65% of the Australian-born population.

“It is not surprising that several studies have shown that migration increases property prices.”

The report concludes by saying that unless dramatic changes are made to housing policy, “the Commonwealth should consider curbing the influx of migrants into Australia”.

Reporting on RBA Governor Philip Lowe’s comment in June last year, John Kehoe for the Australian Financial Review deepened the relationship between immigration and income stagnation.

“In the years before Covid, rapid population growth due to immigration contributed to more than half of Australia’s economic growth.

“But per capita, or per person, growth and incomes were barely increasing.

“Wage growth in Australia has not reached 3% for almost a decade and before Covid the country had virtually the lowest wage growth among advanced economies.

“It was perhaps no coincidence that Australia had one of the largest immigration programs.”

The problem is not just work. Yes, Giles may be hurting the workers he is supposed to represent, but before being the Hon. Minister of Goldman Sachs, Josh Frydenberg was already prepare the track for several million additional new entrants under the 2022 budget. NSW Liberal Party Treasurer Matt Kean has called on the government to create a new visa category targeting “low-skilled occupations and allowing a wider pool of workers “.

“Start stamping passports today,” he told the federal government.

Worse still, the only criticism Peter Dutton had of the rise in migrants was that it was “too little, too late”.

The unions, continuing their theme of doing the exact opposite of what their members want, have supported the rise of migrants. With civil servant salaries hovering around the $400,000 mark, unions have decided not to stand up to big business and become one instead.

Unsurprisingly, the media came out for lunch. There has not been sufficient media scrutiny of what is certainly one of the most controversial policies in Australia. When was the last time a publication other than The Spectator Australia dare to talk about the evils of mass migration? Even FriendlyJordies, who loves the job, calls this one out.

That both major parties are furiously in agreement, and that people like Jordies have noticed, says a lot. This shows that immigration is not just a left versus right issue. It’s not a culture war, it’s a class war. The regime of vested interests, against the middle and working classes of Australia.

Despite attempts to hide the debate from the public eye, some cries of protest are heard. A Sydney Morning Herald survey showed that 65% of Australians want migration to be at a lower level. Case Crispinrecently writing for The Lawyer, argues that higher immigration does not solve labor shortages, but increases them. If not, he asks, how is it that after 30 years of continuous mass migration, we still suffer from a so-called skills shortage? “Clearly the migration didn’t work the first time, why would it fix it now?”

And as another commenter on this article underlined: Australian universities are among the best in the world. How come we have a skills shortage?

Meanwhile, the other side plays the same old authoritarian playbook: scare the public with fear (“skills crisis”, “climate crisis”, “pandemic of the unvaccinated”) and then impose policies as the only solution. Dissidents will be made to look small, marginal – with words like “xenophobic” and “racist” usually following the opposition. And if none of that works, just make up falsehoods based on your argument.

“Australia is short-staffed,” writes Innes Willox, chief executive of the Australian Industry Group, clearly lying.

Ironically, while Australia opens its doors to the world, the Jobs and Skills Summit was closed to the public. Undemocratically, legal migration has not been part of any election in recent memory. While the voice of Indigenous peoples is the burning issue of the day, the voices of those calling for a reduction in migration will simply be ignored. So, how are you; politics, but only when it suits the regime.

It was not a well-intentioned attempt to fix the economy. Australia’s elites simply live in a kind of ether cloud, far from the ruin and damage that their stupidity causes. For proof, consider that I’ll end up with this speech from Giles last month.

“Others suggest Australia’s era of nation building is over, that globalization and mobility have made a sense of belonging less valuable. Not me – on both fronts.

“Multicultural Affairs is an affirmative recognition of where Australian migrants come from, a statement that everyone should be proud of who they are, that everyone belongs and that our diversity is our greatest strength.”

Do you have something to add ? Join the discussion and comment below.

]]> Lexin Fintech Holdings Ltd. (NASDAQ:LX) Short Interest Up 13.6% in August http://itsmardan.com/lexin-fintech-holdings-ltd-nasdaqlx-short-interest-up-13-6-in-august/ Sun, 18 Sep 2022 13:39:26 +0000 http://itsmardan.com/lexin-fintech-holdings-ltd-nasdaqlx-short-interest-up-13-6-in-august/

Lexin Fintech Holdings Ltd. (NASDAQ:LX- Get a rating) was the target of a surge in short-term interest in August. As of August 31, there was short interest totaling 1,420,000 shares, an increase of 13.6% from the total of 1,250,000 shares as of August 15. Based on an average daily volume of 971,700 shares, the short interest ratio is currently 1.5 days.

A Wall Street analyst gives his opinion

Several research analysts weighed in on LX shares. Citigroup downgraded shares of LexinFintech from a “buy” rating to a “neutral” rating in a Tuesday, May 31 report. CLSA downgraded shares of LexinFintech from an “outperform” rating to a “sell” rating and set a price target of $2.10 for the company. in a report from Wednesday, June 1.

LexinFintech Institutional Trading

Several hedge funds have recently bought and sold shares of LX. Vanguard Group Inc. increased its position in shares of LexinFintech by 0.8% during the 1st quarter. Vanguard Group Inc. now owns 4,129,620 shares of the company worth $10,819,000 after purchasing an additional 33,992 shares in the last quarter. BlackRock Inc. increased its position in LexinFintech shares by 0.3% during the 1st quarter. BlackRock Inc. now owns 2,460,483 shares of the company worth $6,446,000 after purchasing an additional 8,439 shares last quarter. Dimensional Fund Advisors LP increased its position in LexinFintech shares by 2.7% during the 1st quarter. Dimensional Fund Advisors LP now owns 1,842,159 shares of the company worth $4,840,000 after buying 47,563 additional shares in the last quarter. State Street Corp raised its position in shares of LexinFintech by 12.9% during the 2nd quarter. State Street Corp now owns 1,453,825 shares of the company worth $3,242,000 after purchasing an additional 166,554 shares last quarter. Finally, Arrowstreet Capital Limited Partnership increased its position in LexinFintech shares by 23.6% during the 1st quarter. Arrowstreet Capital Limited Partnership now owns 959,523 shares of the company worth $2,514,000 after purchasing an additional 183,472 shares last quarter. 16.19% of the shares are currently held by institutional investors.

LexinFintech is trading down 3.1%

NASDAQ:LX shares opened at $1.85 on Friday. The company has a market capitalization of $340.16 million, a PE ratio of 2.20 and a beta of 0.46. The company’s 50-day moving average price is $2.03 and its 200-day moving average price is $2.30. LexinFintech has a fifty-two week low of $1.67 and a fifty-two week high of $6.48. The company has a quick ratio of 1.79, a current ratio of 1.80 and a leverage ratio of 0.51.

LexinFintech Company Profile

(Get a rating)

LexinFintech Holdings Ltd., through its subsidiaries, provides online consumer credit services in the People’s Republic of China. The Company operates Fenqile.com, an online consumer credit and consumer finance platform that offers installment purchases and personal installment loans, as well as online direct sales with installment payment terms; and Le Hua Card, a scenario-based loan.

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This instant news alert was powered by MarketBeat’s narrative science technology and financial data to provide readers with the fastest and most accurate reports. This story was reviewed by MarketBeat’s editorial team prior to publication. Please send questions or comments about this story to contact@marketbeat.com.

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Te Papa buys two paintings at auction from the BNZ art collection http://itsmardan.com/te-papa-buys-two-paintings-at-auction-from-the-bnz-art-collection/ Sun, 18 Sep 2022 06:38:00 +0000 http://itsmardan.com/te-papa-buys-two-paintings-at-auction-from-the-bnz-art-collection/

Te Papa acquired two paintings at auction from one of the country’s most important private art collections.

The paintings purchased by Te Papa are:

  • Glenda to Tahakopaby Robin White, oil on canvas, 1978, purchase price $406,000.
  • Design, by A. Lois White, watercolor on cardboard, c. 1944, purchase price $221,000.

Te Papa Tumu Whakarae | Managing Director Courtney Johnston said Te Papa would always encourage corporate and private collectors to consider donating artwork to public collections if they are scattering a collection.

“We encourage any collector to consider the legacy they are creating when they return works to the public, where they can be held in trust for future generations,” Ms Johnston said.

“There is a limit to what public institutions in New Zealand can afford to buy, and as the market becomes more expensive the public will depend more on the generosity and vision of collectors who choose to do so. gift of works.”

Ms Johnston said Te Papa was delighted to have obtained the two works purchased for the national collection.

“It is exciting for Te Papa to acquire two paintings of such stunning quality, by two important and beloved New Zealand painters,” said Ms Johnston.

“The response to a major Robin White retrospective currently at Te Papa shows just how popular his work is with New Zealanders, and Glenda to Tahakopa is one of his most iconic paintings.

“The Lois White watercolor is a lush, sensual work that evokes lesbian desire and love at a time when these stories were often hidden away,” says Ms Johnston.

“The acquisition of these two paintings, by women and representing women, is part of our strategy to increase the presence of women in the national art collection.

Te Papa’s artistic director, Charlotte Davy, said the museum had taken a close look at the works in the BNZ collection.

“While there are several works that deserve a place in Te Papa’s collection, we have to stay within our budget and have decided to focus on these two paintings,” Ms Davy said.

“These are works of fantastic quality, in very good condition, and each holds an important place in the history of art in Aotearoa,” says Ms Davy.

Te Papa has an annual acquisition budget of $3 million. This includes collecting across all disciplines, from buying art and history at auction, to funding field trips to collect flora and fauna, or traveling to the Pacific to work with communities and collect objects of contemporary culture.

About
Glenda to Tahakopa
by Robin White

Glenda to Tahakopa is one of Dame Robin White’s most iconic paintings. Dressed in brilliant red, Glenda stands in the center of the painting, her arms crossed, her eyes fixed in the middle. Behind her is the corrugated iron cladding of Tahakopa Station in South Otago. The work is great, and there is quiet companionship in the painting. As viewers, we have a strong sense of the close relationships between artist, subject and place.

The painting is a wonderful example of White’s painting practice. White is technically extremely skilled and her perfectionism as a painter is on full display in this crisp, eye-catching canvas. The subject is Robin White’s friend, Glenda, an elementary school teacher and member of the Otago Baha’i community.

About
Design by A. Lois White

Design is an exceptionally fine example of Lois White’s watercolour. In the 1940s and 1950s White produced a number of such varnished watercolors, in which swirling compositions are combined with washes of translucent color. This particular work is unusual for the complexity and density of its composition – although it is described as a drawing, there are no repeating patterns here. The painting is full of pattern, detail and delight: a scene of lush splendour.

Design joyfully proclaims the beauty and sexuality of women – in a way unlike any other work from this period in Te Papa’s collections. It represents women’s sexual desire, as well as lesbian desire and love, at a time when these stories have often been hidden or forgotten.

A. Lois White was born in Auckland in 1903 and grew up in a devout Methodist family. She was educated at the Elam School of Art in Auckland from 1923 to 1927 and spent most of her life both practicing painting and teaching at Elam. Te Papa contains 14 other works by A. Lois White.

About the BNZ Art Collection

The BNZ holds one of New Zealand’s most important private art collections. The collection was founded in 1982, when the bank commissioned Peter McLeavey – at the time the country’s leading art dealer – to purchase works of art on their behalf. McLeavey built up the BNZ Collection between 1982 and 1988. He acquired paintings, prints, sculptures, textiles, ceramics and photography by New Zealand’s most important contemporary and 20th century artists. McLeavey’s in-depth knowledge of the New Zealand art world, as well as his privileged relationship with artists, has enabled him to acquire works of the highest quality. The collection has been considered, since the 1980s, to be one of the best representations of 20th century New Zealand art.

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My Golden Line: Explore the Unspoken Truth http://itsmardan.com/my-golden-line-explore-the-unspoken-truth/ Sat, 17 Sep 2022 19:39:01 +0000 http://itsmardan.com/my-golden-line-explore-the-unspoken-truth/

The achievement of the well-received realist painter Dileepa Jeewantha was not so much in innovating, but his relentless struggle to dig relentlessly deeper into his own soul.

His brief but very dynamic involvement in the field of art exhibitions with its strong expression of inner struggle marks a remarkable presence.

In doing so, he strengthened and expanded the viewer’s understanding of the familiar characteristics of figurative paintings, while at the same time challenging them and opening up new dimensions to his subject.

Among these familiar characteristics are the relationship between the artist and the sitter, the figure and its inner life, the artist’s philosophy and the exhausting process of seeing and painting reality and, finally, the viewer’s place in it all. . In Dileepa’s latest artistic encounter “My Golden Line”, they all consciously merge exquisitely, and his descriptions of the paintings are bold and witty.

my golden line

Her face has been her artistic subject as well as an object for some time. In ‘My Golden Line’, Dileepa has largely succeeded in painting her own face, capturing her deep, unspoken emotions, while equating flesh with oil paint.

Her vividly worked canvases depict different dimensions of her own face which aggressively conveys the unbearable realities of life. His solid youthful flesh weighed down by the experience of life, an unbearable tolerance and timidity tells the hard but intense story of an artist in a pragmatic society.

‘I want to laugh!’, ‘I can’t smile because I’m trying to live the truth!’, ‘Not all smiles show happiness!’, ‘Happiness is created by balancing hope!’ are some of his witty yet overly deep lines that he regularly throws at his viewers on social media regarding his “My Golden Line.”

Dileepa’s tenth solo exhibition, “My Golden Line”, is a good example that shows the effort required to get the picture painted. His rough, smeared, liberal brushstrokes that spread liberally across the canvases offer unforgiving views of the fleshy, thick, bent or stretched visible bones of his face that are confused, sad, pensive or empty. Every depiction displayed is sensational yet remains intensely inexcusable of its expression. Nevertheless, it is quite evident the artist’s enormous respect for his model – his own face, but completely shut down his emotions leaving no place to hide.

As Dileepa describes in her artist statement, her face holds the key to her unspoken soul. Being a trained visual artist, painting is his medium to reveal his “truth” in life.

“Painting always speaks to me but I don’t understand what it asks. But I know it always teaches me to live in the truth,” Dileepa said.

After a relentless expression of each realistic depiction, Dileepa made a line of gold leaf that describes the truth he learned during the process of delving into his soul.

Walking through the darkness of Paradise Road Gallery, the viewer can experience more of his raw and brutal impression of life.

The banality of “My Golden Line” is her eyes that are eerily calm and tightly closed, but they are metaphorically open to the truth of her soul. It seems that his willful ignorance of being honest in life may be symbolized by those tightly closed eyes.

However, whether he is just an illusion or staring at us with open mouth and closed eyes, the great auto-dramaturge remains curiously unknowable.

Carrier start

Dileepa Jeewantha has been doodling and drawing since childhood. Initially, it was chalk doodles on the floor and on every square inch of the walls of his house. As he got older, his obsession with art drove him to dig into the subject and he learned the visual arts inside and outside of visual art schools.

Dileepa holds a National Higher Diploma in Multidisciplinary Design at the National Design Center and from 2003 to 2006 with more success from the Certificate Course in Painting which he completed under the mentorship of Professor Chandraguptha Thenuwara at the VAFA Academy, he evolved as an artist with a love of oil on canvas.

His early career as a painter was influenced by abstract art, but his often austere and alienated paintings later led him towards realism. Dileepa identifies as an intensely private and reserved man who likes to hide his true emotions and harsh criticism of pragmatic society in his daily life. However, as he says, his paintings are the mirror of his soul.

Given his outlook on life, his constant search for meaning in his existence, and his skepticism of institutions and conventional social norms, he could be called an existentialist. But Dileepa likes to describe herself as an artist in search of a meaning in life, in her life in particular. In his early works, he painted his wife, newborn baby, and family members.

‘My Golden Line’ is at Paradise Road Gallery until October 6th.

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