There is not any nonsense in Ron Norsworthy’s look and tone. I noticed this immediately during our conversation. The interdisciplinary artist it has owl-like eyes, black, wide and glossy. With as much emphasis as the good Reverend, Norsworthy tilts his head, bobbing like a corkscrew, and declares that each single one of us who walks this earth is “f… beautiful.” In the era we live in, full of mental distortions, plasticized aesthetics and distorted self-image, his balanced words and sermons seem particularly energizing. Many times I resist the urge to arise and shout, “Amen!” Ready to release one of those long and loose church “.”

We sit within the Edwynn Houk Gallery on Fifth Avenue, curled up in lavish chairs surrounding Norsworthy’s upcoming exhibition. He is dressed simply in an olive green motorcycle jacket, thin jeans and a dove gray turtleneck, with the identical authority as his royal subjects. The revision of the tragic Greek myth goals to overthrow not only the exclusionary cliques of beauty and history, but in addition to hold a mirror up to a nation eternally erased. As frivolous because the word “beauty” may sound, beauty as a system is commonly an insidious concept.

“Who can be beautiful? Who are the arbiters of beauty?” These are the questions Norsworthy asks and explores through his exhibition. “Whom does culture favor, allow and support? We cannot think about beauty without thinking about gender, class, or ethnicity, and these are all narratives that have shaped us. They are, and often classical notions of beauty have been shaped by white models of power. I wanted to bring these narratives to life and make them more relevant to people like me,” Norsworthy says at one point in our conversation.

Born and raised in South Bend, Indiana, Norsworthy’s path to becoming an influential figure within the art world was shaped by the ladies in his family. She tells me the story about her grandmother’s jewelry box, its light, each set, and all of the pendants. “I remember her sewing, us both looking at the illustrations, and then I ran over to try and sketch the dresses,” he said. His mother was one other figure he admired growing up. She remembers how sensually she tied the scarves. Here he mentions what he calls “her amazing fur”, which he loved immensely. “I know too many beautiful black women who just knew how to carry themselves – it was never about the physical marks, it was about how they radiated the whole package.”

These impressions shaped by black women left an indelible mark on his stylistic edicts. Like his grandmother, he doesn’t mix fashion with style, preferring high-quality wardrobe staples over low-cost and poorly produced fabrics. “Fashion is a moment,” declares Norsworthy. “Style is eternal and I have never been interested in that kind of impermanence.” He is currently experiencing a “tailored moment” by designing and embroidering his suits and jackets. Also favorites are designers resembling Emily Adams Bode Aujla and Thom Browne, whom she praises for his or her level of tailoring. Like his works of art, Norsworthy’s style just isn’t only a way to honor the depths of our inner life, but in addition an energetic way to empower our change.

“I grew up in a time where so many restrictions were placed on me. It was a form of perpetual anxiety because I knew I’d never meet them,” Norsworthy recalled. He tells stories about his upbringing that made it difficult for him to build a world in which he felt comfortable or that made sense. “I believe it’s extremely necessary that we are able to look within the mirror and say, ‘I’m not ashamed of who I’m,’ and that every of us can live strongly in our identity.”

Norsworthy’s profession began in the sector of set design, where he created visually stunning sets or “site-specific installations” for artists resembling Britney Spears, Lisa Marie Presley, Notorious BIG and plenty of others. The visionary behind movies resembling Erykah Badu’s “Bag Lady” and Foxy Brown’s “I’ll Be” has collaborated with such luminaries as costume designer June Ambrose and director Hype Williams. Missy Elliott’s “The Rain (Supa Dupa Fly)” is one other feat he is amazingly proud of achieving. “Set design and creative direction were my first canvases,” he admits. “It was a way for me to express myself and challenge the limits of our dreams.”

For nearly thirty years, his designs, characterised by baroque mise-en-scenes and ornate reality, have made him one of probably the most sought-after names within the industry. But Norsworthy’s ambitions at all times prolonged beyond the world of stage design. “I never wanted to limit myself to one medium,” he explains. He claims that art is about exploration and experimentation – it’s a way of crossing boundaries.

He soon began to explore other forms of artistic expression, from photography to installation. After starting his own brand, he became one of the primary black men to offer sold-out collections. “I have a very wide practice. I’m not afraid of materials.” He says he loves sculptures, collages and assemblages. Here, Norsworthy mentions that he can even create beyond his expectations. “If I decided I wanted to design sneakers or a wedding dress, I could and would do it using the same methodology.”

Among eleven offerings, swirling photographs mined from the Internet and transferred to picket panels, Norsworthy offers the type of narrative that almost all movies refuse to take into consideration, let alone imagine. Instead of black lives mutilated, stripped of dignity and degraded, each portrait that comes together is a study in delicious splendor. In Norsworthy’s universe, black men stare upon their reflections in cozy, warmly lit homes or wear tailored suits adorned with cabochon brooches and diamond flowers.

In one portrait, titled “Narcissus in Fleetwood Chapel,” a Renaissance figure resembling the enduring artist Prince, with a petulant expression and a lavish coat, lounges affectionately in a Cadillac Coupe DeVille. Although Norsworthy insists that they’re all his favorites, this one remains to be electrifying.” It challenges what we mean by gender. She is wearing tights, no top, no shirt, fur, and her hair is curly. I really like all these elements combined with his pose and reflection.”

In one other peculiar photo, a person elegantly dressed looks on the exquisite beauty of a portrait of Laura Wheeler Waring. In others, vases, roses and tulips are decorated with sparkling diamonds that might be found at a Sotheby’s auction.

My favorite from the exhibition is named) A young man seems to be searching through the frame. His skin, a greedy shade of brown, seems to absorb all the sunshine. He is hunched over, half-dressed, and his thighs are decorated with tulips. His hair is flooded Soul Head that may destroy the couch. A necklace of pearls and diamonds hangs around his collarbones and chest. The suit hangs on the wall. At his feet lie a suitcase and a pair of women’s shoes. The room he’s in is empty and full of luxuries: a stool, an antique mirror, a still life portrait, and an unopened package draped over a pink chair. Refracted rainbows dance on the wallpaper and floor. But what intrigues me most is the person’s face.

His lips are pursed and his gaze is nearly confrontational, although his posture seems gentle, gentle, and his shoulders are hunched. Is he nervous? Is this an invasion of his privacy? Is he sad? Has he lost a friend? Am I studying it an excessive amount of? Wanting deeply to be soaked in what I imagine? Is that just his face? Or perhaps he’s bored, tired of being elegant, tired of being seen in any respect, tired of the ridiculous binaries of the world.

Of all my habits, probably the most crucial to my survival was the knowledge that there was no diamond as brilliant as mine. I grew up in a house full of a mother’s sublime love. A love that insisted that I believe highly of myself, hold my head high, value my feelings, and spend hours respecting myself within the mirror.

There were, of course, just a few years once I confused self-confidence with self-love, and two years once I lost strength under the load of the world. But still, my mother’s love for me surpassed any form of hatred. I need everyone to know this sense of mastery. I wish everyone knew how to stay calm in a world that’s betting on us destroying our self-awareness. One of probably the most stunning effects of the commodification of beauty is its subtlety and normalization. This concept only offers a refracted mirror that may put you at war with yourself and devour your imagination.

These ideals indicate why Norsworthy’s work raises a crucial and urgent query. What would the world be like if we softened our minds and dared to love our reflections? His latest exhibition goals to answer this query in a novel way.

Last week, the U.S. Department of Agriculture reported that a pig at a backyard farm in Oregon had been infected with bird flu.

As the bird flu situation continues to evolve, now we have learned that the A/H5N1 strain of the virus infects a spread of animals, including quite a lot of birds, wildlife and dairy cattle.

Fortunately, now we have not seen sustained spread of the virus between people at this stage. However, the detection of the virus in pigs represents a worrying development in the trajectory of this virus.

How did we get here?

The most concerning sort of bird flu currently circulating is clade 2.3.4.4b A/H5N1, the influenza A strain.

Since 2020, the A/H5N1 2.3.4.4b virus has spread to a big selection of birds, wildlife and livestock which have never previously been infected with avian influenza.

While Europe is a hotspot for A/H5N1, attention is currently focused on the US. In 2024, dairy cattle were infected for the first time, with over The problem affects 400 herds in a minimum of 14 US states.

Bird flu has huge consequences for breeding and industrial food production, as infected poultry flocks should be slaughtered and infected cows may result in contamination dairy products. That said, pasteurization should make the milk secure to drink.

Although farmers have suffered heavy losses as a consequence of H5N1 bird flu, it may well also mutate to cause a pandemic in humans.

Birds and humans have various kinds of receptors in their respiratory tract to which influenza viruses attach, corresponding to a lock (receptors) and a key (virus). The attachment of the virus allows it to enter the cell and body and cause disease. Avian influenza viruses are adapted to birds and spread easily amongst birds but not in humans.

So far, human cases have mainly occurred in individuals who stayed at the facility close contact with infected livestock or birds. In the US, the majority were agricultural employees.

The fear is that the virus will mutate and adapt to humans. One key step for this to occur could be to vary the virus’s affinity from bird receptors to receptors found in the human respiratory tract. In other words, if the virus “key” has mutated to raised fit the human “lock”.

Recent testing of sample A/H5N1 2.3.4.4bz infected person, disturbing results were obtainedidentifying mutations in the virus which will increase transmission between human hosts.

Why are pigs an issue?

A pandemic strain of influenza in humans can arise in several ways. One involves close contact between humans and animals infected with their very own specific influenza viruses, creating opportunities mixing of genes of avian and human viruses.

Pigs are the perfect vessel for mixing genes to supply a human strain of pandemic flu because they’ve receptors in their respiratory tract that each avian and human influenza viruses it may well get tied up.

This signifies that pigs will be infected with each avian influenza virus and human influenza virus. These viruses can exchange genetic material, mutate and simply transmit to humans.

Interestingly, there have been pigs in the past less vulnerable to A/H5N1 viruses. However, the virus has recently mutated they infect pigs more easily.

In a recent case in Oregon, A/H5N1 was detected in a pig on a non-commercial farm following an outbreak of disease amongst poultry kept on the same holding. This A/H5N1 strain originated from wild birdsand never the one common in US dairy cows.

Pig infection is a warning. If the virus makes its way into industrial piggeries, it might create a much higher level of pandemic risk, especially as winter approaches in the U.S., when seasonal human flu cases begin to extend.

How can we minimize the risk?

Surveillance is vital to early detection of a possible pandemic. This includes comprehensive testing and reporting of infections in birds and animals financial compensation and support measures for farmers to encourage timely reporting.

Strengthening global surveillance of influenza is crucial because unusual spikes in pneumonia and severe respiratory illnesses could signal a human pandemic. Our EPIWATCH system looks for early warnings of such activity, which can accelerate vaccine development.

If a cluster of human cases occurs and influenza A is detected, further testing (called subtyping) is vital to find out whether it’s a seasonal strain, an avian strain resulting from transmission of the virus, or a brand new pandemic strain.

Early identification can prevent a pandemic. Any delay in identifying an emerging pandemic strain allows the virus to spread widely across international borders.

The first human case of A/H5N1 in Australia was in a baby who became infected while traveling in India and was hospitalized for the disease in March 2024. Tests then identified influenza A (which might have been seasonal influenza or bird flu), but subtype to discover A/H5N1 was delayed.

This sort of delay may very well be costly if human-borne A/H5N1 emerges and is taken into account seasonal influenza because the influenza A test is positive. 5% of positive tests for influenza A undergo further subtyping in Australia and most countries.

In light of the current situation, there needs to be a low threshold for subtyping influenza A strains in humans. Rapid tests that may tell the difference between seasonal flu and H5 A flu are emerging and may form a part of governments’ pandemic preparedness.

The risk is higher than ever before

The U.S. Centers for Disease Control and Prevention states that the current risk posed by H5N1 to the general public stays low.

However, with the H5N1 virus already in a position to infect pigs and showing worrying mutations in adapting to humans, the risk level has increased. Given that the virus is so common amongst animals and birds, the statistical probability of a pandemic is higher than ever before.

The excellent news is that we’re higher prepared for a flu pandemic than other pandemics because vaccines will be produced in the same way as seasonal flu vaccines. Once the genome of the pandemic flu virus is understood, vaccines will be updated to match it.

Partially matched vaccines and a few are already available countries corresponding to Finland vaccinate high-risk farm employees.

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