San Francisco 49ers running back Elijah Mitchell is expected to play the Minnesota Vikings on Sunday, less than two weeks after surgery for a broken finger, a source told ESPN’s Adam Schefter.

Mitchell, officially classified as questionable for Sunday with a finger and rib injury, had finger surgery on November 16. He suffered a rib injury against the Chicago Bears on October 31, but did not miss any time before injuring his finger.

Mitchell was limited in training this week, but Niners trainer Kyle Shanahan said Friday the rookie was moving in the right direction.

Mitchell, a Louisiana pick in the sixth round of this year’s draft, has established himself as the 49ers’ top running back. In his seven games, Mitchell leads the 49ers in carry (116) and rushing yards (560), and he’s 12th in the NFL in yards per carry (4.8).

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San Francisco 49ers running back Elijah Mitchell is expected to play the Minnesota Vikings on the street on Sunday, less than two weeks after surgery for a broken finger, a source told ESPN’s Adam Schefter.

Mitchell, officially classified as questionable for Sunday with a finger and rib injury, had finger surgery on November 16. He sustained a rib injury against the Bears on October 31, but did not miss any time before injuring his finger.

Mitchell was limited in training this week, but coach Kyle Shanahan said Friday the rookie was moving in the right direction.

Mitchell, a Louisiana pick in the sixth round of this year’s draft, has established himself as the 49ers’ top running back. In his seven games, Mitchell leads the 49ers in carry (116) and rushing yards (560) and is 12th in the NFL in yards per carry (4.8).

The post San Francisco 49ers RB Elijah Mitchell anticipated to play vs. Minnesota Vikings appeared first on Los Gatos News And Events.

Joan Mitchell, Sans neige, 1969; Carnegie Museum of Art, Pittsburgh, Gift of the Hillman Foundation.

© Estate of Joan Mitchell

Whether it’s a first-time entry into an art museum or a lifelong connoisseur, visitors to the historic Joan Mitchell (1925-1992) exhibit at the San Francisco Museum of Modern Art will find it. Newcomers will be amazed by the enormous size, their strong, bright colors and the expressiveness of their brushwork. Lovers discover easily overlooked subtleties, the connection with painting, details about their life and work that provide an even richer context for an already beloved artist.

“Joan Mitchell”, which can be seen until January 17, 2022, captivates with its rare combination of total subtlety with deep subtlety – depending on the viewer. It’s a backboard-smashing slam dunk that is built up by a nifty drop-step.

There is no better example of the ability of Mitchell’s paintings to be everything to everyone than Sans Neige (1969). The 16 foot wide triptych, whose title translates to “no snow” in English, shows its full spectrum of markings, “from glowing passages of wet paint and dripping laundry to thickly applied impasto, or paint that gives a deep texture and of jumps off a surface ”, as SFMOMA describes it.

At first glance, the size and energy of the image confuse the senses, as if walking through a loop on a roller coaster. Once stabilized, the dazzling color acts like a tractor beam, drawing the viewer closer to the canvas and into a carefully constructed universe of individual brushstrokes that correspond to all descriptions. Hours – days – could be spent inspecting and considering individual artistic decisions, large and small. It’s an exciting ride, a film, a biography, a national park all rolled into one.

“Joan Mitchell” is the first opportunity in more than 40 years to see Sans Neige outside of his permanent home at the Carnegie Museum of Art in Pittsburgh.

What’s the best way to perceive a painting like this, the scale of which can be overwhelming?

“Mitchell herself liked to look from a distance – partly because of her eyesight and partly to see how the painting as a whole held together. When you step back, you feel the landscape effect: the sweep of the river, the vertical bracket of the trees, ”Katy Seigel, co-curator of the exhibition and senior programming & research curator of the Baltimore Museum of Art, told Forbes.com. “When you take a step closer, you step into the landscape – the painting fills your peripheral vision, your ups and downs, and that immersion can be magical. One more step and the landscape dissolves into paint and brushstrokes. Now you can feel Mitchell’s color handling, her movement, her outstretching arm and her touch, alternately declarative and sensitive. Beautiful color, paint that is dry and wet, thick and thin. It’s another way of getting lost. “

Getting “lost” in a Joan Mitchell painting is an experience everyone should enjoy.

Joan Mitchell, To the Harbor Master, 1957; AKSArt LP.

© Joan Mitchell estate; Photo: Tony Prikryl

This comprehensive retrospective shows around 80 outstanding works. In addition to the colorful, large-format, multi-part masterpieces from her later years, it contains rarely seen early paintings that established the artist’s career. The SFMOMA presentation includes 10 paintings that do not travel elsewhere, some from the museum’s own holdings.

Mitchell said, “Painting is made with feeling” and the curators have worked hard to produce an exhibition that will guide visitors through a variety of emotional, psychological and physical experiences.

“The atmosphere and feel of the exhibition change dramatically from gallery to gallery,” Sarah Roberts, exhibition co-curator and Andrew W. Mellon curator and head of painting and sculpture at SFMOMA, told Forbes.com. “Some rooms seem exuberant and full of energy, such as the gallery, which focuses on major works from the late 1950s; others are quieter, even melancholy, like the work she created from her experience in the Mediterranean in the early 1960s. Still others rise with mighty, huge canvases full of symphonic colors. “

Beyond the thrill of the theme park and the cinematic scale of the exhibition, art lovers will respond to their scientific goals of positioning Mitchell as a transnational painter for the first time.

“For the US audience, that means removing them from the 9th Street Story after the 50s and showing the very experimental, materialistic painting of Paris in the 60s, as well as the subsequent works that deal with nature, life and Dealing with death – alternating “hard, lyrical, operatic and tender,” said Siegel.

Mitchell limits “The 9th Street Story” to the New York abstract expressionists of the middle of the century. However, she spent the last over 30 years of her life in France, but moved there permanently in 1959 and painted all the time.

“Mitchell was determined to avoid any attempt to name them and limit them to representing a single thing or place,” explains Seigel. “For them, it meant a wider range of emotions / expressions beyond anger and alienation (in conjunction with Abstract Expressionism), including sadness, sensual joy, humor, joy and some kind of metaphysical soaring in the face of death. It also meant an ever more extensive and explicit connection to nature and its representation in certain views, trees, flowers. “

Connection to nature. Views. Trees.

“Joan Mitchell” points out to the viewer that the paintings are abstract, but the artist regards them as landscapes and sees herself as a landscape painter in the line of Van Gogh, Cézanne and Matisse.

Joan Mitchell, Sunflowers, 1990-91; John Cheim Collection.

© Estate of Joan Mitchell

A sense of place is imprinted in Mitchell’s paintings, from memories of her hometown of Chicago to New York, Paris and the Mediterranean coast to the pastoral hills of Vétheuil, the village outside Paris where she finally found her home.

“I paint from remembered landscapes that I carry with me – and remembered feelings about them, which naturally transform,” said Mitchell during her life.

This inspired her exuberant color choices.

“Bright, saturated colors were Mitchell’s most admired ties to nature and 19th and early 20th century painters. Their color palette reflects their commitment to color capturing the full spectrum of human experience and the richness of nature, ”said Roberts. “Even in watercolors she did in art school, she had an extraordinary intelligence and a bold use of color that has grown exponentially over the course of her life. She had the extraordinary ability to build highly complex color combinations across the entire surface by controlling the placement, proportion, weight and translucency of her colors. She took risky and strange color combinations that really should never work and somehow managed to do it. “

In that way, Mitchell was a powerful painter. A physical painter. As a growing up master figure skater, Mitchell’s paintings demonstrate an athleticism that is unique to the medium.

“I just got up that damn ladder and said to myself, ‘This stroke has to work,'” she once said. An attitude that led to images that seem bold and daring – do you dare to be called “male”?

Joan Mitchell kicked the ass.

She did this over a long career on both sides of the Atlantic, producing one of the most impressive canvases in art history. “Joan Mitchell” lives up to its theme.

Portrait of American born painter Joan Mitchell (1925-1992) in her studio, Paris, France, … [+] September 1956. Joan Mitchell, Paris, France.

Loomis Dean / The LIFE picture collection

After the presentation in San Francisco, “Joan Mitchell” can be seen from March 6 to August 14, 2022 at the Baltimore Museum of Art. A version of the exhibition will open at the Fondation Louis Vuitton in Paris in autumn 2022.

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Can Hollywood Fix Itself? Has that happened yet? Let’s go to the cinema together and find out.

It has to be my local everyman – a posh chain that broadcasts many productions live from the National Theater and sells yogurt-coated nuts instead of minstrels. Might not be your thing. On the plus side, you can get a cup of tea too. It has to be this place because the journey has already taken place.

I want you to join me on my trip that I took last week to see Molly’s Game. The experience was complicated and generated unexpectedly intense thoughts on the current issue of women in Hollywood, and I would like to discuss it with a larger group. As my chimney sweep friend said, “Let’s have a mass debate!”

The sweep was actually in my cinema. He and I have been hosting a weekly game of poker for nearly 20 years, so you can imagine why we might be interested in this biopic of Molly Bloom, who played high-stakes games in New York and Los Angeles. The sweep loved her book. I found the font too small. So we were both excited in our own different ways when Aaron Sorkin announced a movie version.

Take into account that my own poker memoir, For Richer For Poorer: Confessions of a Player, had been “under option” for five years without anyone figuring out how to film it, and I was so interested in watching Molly’s Game that I could hardly sleep at night. Though maybe that was just the sound of my teeth grinding.

I watched it with the chimney sweep so that we could have fun hours afterwards discussing poker and the accuracy of its portrayal. Knowing it couldn’t be better than The Cincinnati Kid or worse than Runner Runner, we stuffed our smuggled minstrels into a backpack and rushed inside.

Before the main feature, there were two refreshing – even exhilarating – trailers. One was for The Post (which just opened), in which Meryl Streep plays the acclaimed 1970s newspaper publisher Katharine Graham in her battle against widespread government corruption.

The other was for I, Tonya, which opens in February, about controversial figure skater Tonya Harding, played with defiant defiance by Margot Robbie, and her mother, played with wild comedy by Allison Janney (“I made you a champion, when I know that you I hate myself for it, that’s the sacrifice a mother makes. ”…) Even in the promo, mother and daughter managed to be both unappealing and likeable at the same time. Historically, women are only allowed to be one or the other in most films. Interesting.

And these two trailers were in the lead up to a movie about Molly Bloom: a clever, determined, greedy ex-world ski champion who hosted an illegal game of poker! Neither a sweet girl who runs a pastry shop in a romantic comedy nor a crazy, wise cracking friend; not a steadfast / scared woman in a thriller; not a brave virgin in a horror movie; a really strange and uncategorizable person.

I was really excited. At home on TV we saw Feud: Bette and Joan on BBC iPlayer, a cheerful series that enjoys all the nuances of reminding Joan Crawford and Bette Davis of a Hollywood where “everything was written for women was broken down into three categories – ingenues, mothers or gorgons, ”when the roles of Crawford and Davis on the 21st show.

With the Graham and Harding trailers and the promise of Molly’s Game, which happens to be hot on the heels of the Golden Globes protests, it all felt like a real change in the type of stories that are told.

Whether you think it matters or not – and maybe it doesn’t – there has been an ongoing problem with how women are portrayed on screen before you even got the strange idea that it is such an honor to embody a lame and hackneyed “ingenuity” that actresses can hardly complain about one or the other rape while waiting in line.

On British television and radio – while it’s embarrassing how little power or equality female performers remain – at least no one argues that you shouldn’t mind if you want to be one of them if people jerk you off.

By the time Jessica Chastain flew onto the screen in the whimsical, multidimensional figure of Molly Bloom, her own golden spheres of healthy splendor, I was already full of hope and optimism for a more interesting and realistic world.

And it’s a great movie! Great performances, great dialogues, great portrait of a modern poker landscape. I loved it and recognized it.

And then Molly Bloom was beaten up. Just when I was feeling very excited and happy: punch, punch, scream, bleeding. I mean zzzzzzzzz.

It’s an important part of Molly’s real story, of course. But did we have to look at it in such detail? Could the attack have been portrayed with metaphors or sounds? With something weird, surprising, new or imaginative?

Whether it could or not, it wasn’t. The attack went on and on. Fists in the face. Boots to the belly. Beautiful, proud Molly helpless on the floor. It definitely showed her. And we all have to watch.

What instinct does this play on? For whom is that? I love the movie, but I really hated that section. Will we ever get away from shiny, sexy violence?

But maybe I’m wrong. Was it actually a good and honest way of showing the terrible truth about what happens to women? Maybe that was it.

After the beating, Molly strips and takes a long and painful shower. As always in front of the camera. She doesn’t just stay shocked where she is. Or go to a safe place. Or grind under the covers. Or sit with your back to the door and make sure it is locked. Nope. Kit out and under water.

Let the mass debate begin.

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