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You can switch and customize your watch faces with any version of watchOS, but you need watchOS 9 or higher (and iOS 16 or higher on your iPhone) to take advantage of the newest additions. To make sure you have the latest watchOS version, open the Watch app on your iPhone and tap General > Software Update. If the app says your software is up to date, you're good to go. If not, your phone will download and apply the latest update to your watch.
This article is part of our Prayer resource meant to inspire and encourage your prayer life when you face uncertain times. Visit our most popular prayers if you are wondering how to pray or what to pray. Remember, the Holy Spirit intercedes for us and God knows your heart even if you can't find the words to pray.
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Wounds and grazes to the face can often be caused by a range of things, such as falling over, shaving or knocking into something. Accidental bumps and knocks are a part of everyday life but wounds can also be the result of deliberate harm.
Head injuries can be serious and require urgent medical attention. A hard blow to the head from a fall, knock or assault can injure the brain, even when there are no visible signs of trauma to the scalp or face. Symptoms of serious head injury include wounds, altered consciousness, clear fluid leaking from the eyes or nose, black eyes or bruises behind the ears, vision changes, nausea and vomiting.
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This work is known by two titles: Mother and Awaiting His Return. The woman who dominates the composition stares into space, her strongly modeled figure a study in patience. Given the work's date (1945), the framed star in the background (a symbol of the US military), and the word mother inscribed in the lithograph's lower left corner, the two titles make equal sense. The woman's face is easily interpreted as that of a mother waiting for a loved one to return from service in World War II. Artist Charles White has chiseled her facial features with determination while infusing her expression with sadness. The cubist faceting of her figure imparts a feeling of solidity and strength in her that is reinforced by her imposing size and foreground placement. Her hands and face are nearly architectural, with their sharp edges and straight-line markings of light and shadow. Yet her tired eyes, her chin set into the palm of her hand, and the merest hint of doubt in her expression signal concern.In 1942 White, primarily known as a painter of historical murals, shifted his focus to portraits of everyday African Americans on the advice of Harry Sternberg, an instructor at the Art Students League, New York. White's portraits, including Mother, depict anonymous people dealing with situations common to the black experience. The meticulous draftsman used his skill to render human emotion and endurance in the face of such obstacles as discrimination. His works from the 1950s, the decade when the civil rights struggle exploded in the United States, show the cost of such perseverance in images of black men and women fighting for social justice.
Daybreak - A Time to Rest is one in a series of panel paintings that tell the story of Harriet Tubman, the famed African American woman who freed enslaved people using a fragile network of safe houses called the Underground Railroad. This abstracted image emphasizes Tubman's bravery in the face of constant danger. Lying on the hard ground beside a couple and their baby, she holds a rifle. Her face, pointing upward to the sky, occupies the near center of the canvas, her body surrounded by purple. Tubman's enormous feet, grossly out of proportion, become the focal point of the work. The lines delineating her toes and muscles look like carvings in a rock, as if to emphasize the arduous journeys she has made. Reeds in the foreground frame the prone runaways. Three insects (a walking stick, a beetle, and an ant) are signs of activity at daybreak.Jacob Lawrence is renowned for his narrative painting series that chronicles the experiences of African Americans, which he created during a career of more than six decades. Using geometric shapes and bold colors on flattened picture planes to express his emotions, he fleshed out the lives of Tubman, Frederick Douglass, John Brown, and African Americans migrating north from the rural south during and after slavery. Lawrence was 12 in 1929 when his family settled in Harlem, New York, at a time when African American intellectual and artistic life was flourishing there. As a teen, he took classes at the Harlem Art Workshop and Harlem Community Art Center, where he studied works of art by African American artists and learned about African art and history. Lawrence went on to create images that are major expressions of the history and experience of African Americans.
In Untitled (Two Necklines), identical photographs of an unidentified African American woman, shown from mouth to breastbone, hang in circular frames, between them a list of words engraved on plaques. The double image suggests tranquility and composure: the woman's white shift is clean and simple, her mouth at ease, the curve of her breastbone elegantly arced. But the plaques feature words describing circularity and enclosure that are ominously electrified by text on the final plaque, which reads, "feel the ground sliding from under you."Such meticulous alignments of words and image fuel the subtle yet startling power of Lorna Simpson's work, which for more than two decades has probed the spectral issues of race, sex, and class. Like this one, her images are often truncated, replicated, and annotated with words that force the viewer to interpret. Here, the framed photographs and words inscribed on plaques are literally and metaphorically black and white; the background of the final plaque is a haunting blood red. One is hard pressed to deny the implications of this personal yet dehumanized image and its attendant language of racial pathology.Simpson's interest in the relationship between text and images began during her career as a documentary photographer. She received her BFA from the School of Visual Arts in New York and her MFA from the University of California, San Diego. She is recognized as one of America's ranking masters of potent, poetic work in photography and film. Her works signal what is most personal about identity while simultaneously touching upon clichés and assumptions that can disfigure or destroy it.
The densely layered image of Slum Gardens No. 3 signals claustrophobia. A large tree with a thick, spiked vine winding its way up the trunk defines the right side of the work. Weeds and flowers blanket the bottom half of the image, almost obscuring the wooden shack (left) and the staircase. Plants invade a picket fence and piece of railing in the lower foreground. We sense that the vegetation will soon overtake the entire area, turning the "garden" into a neighborhood menace. The muscularity of the work, emboldened by thick, heavy lines of black charcoal, contributes to the intimidating quality of the plant life.Joseph Norman frequently uses landscape imagery to convey meaning. For this work he drew on his experiences growing up in Chicago and on a 1990 trip to Costa Rica, where he witnessed the effects of poverty on various neighborhoods. Slum Gardens No. 3 is not a view of a specific place; rather, it visualizes the concept of "slums" from regions around the world. Here, the overgrowing landscape serves as a metaphor for the lack of attention paid to impoverished neighborhoods. Not only are the physical environments of such areas neglected, but, as Norman's drawing suggests, its social and economic problems are ignored as well.Norman was born in Chicago in 1957. He received a BS in art education from the University of Arkansas at Little Rock in 1980 and an MFA six years later from the University of Cincinnati. After teaching drawing for nine years at the Rhode Island School of Design, he took a professorship at the Lamar Dodd School of Art at the University of Georgia in 2001.
And face it we must. As a woman, as a Jew, as a lesbian, and as a labor leader in a time of great anti-union animus, I have had my share of biases projected on me. But it is nothing like the experience of people of color, and especially black and brown men and boys.
Black covers Snake's whole face with pure black paint. It is available in the player's inventory from the start of the game. This can be useful in dark areas and is made even more effective with Black Uniform. It was originally intended that Snake wear the black face paint when he arrived in Dremuchij North during Operation Snake Eater, due to the nighttime environment, but it ended up cut in the final version.
Zombie draws a white skull on Snake's face and leaves the rest of his face black.It provides cover in both black and white areas. Calling Sigint while having this face paint on can cause a humorous conversation. Both Snake and Sigint initially have no idea what a zombie is, much to Para-medic's shock and surprise. She later goes on explaining what zombies are and asks them if they've ever seen zombie films though both Snake and Sigint say they never have. Sigint then tells Snake to switch face paint though is opposed by Paramedic, who says that Snake looks 'cool' wearing it. Can be found behind Sokolov's cell in Rassvet after EVA opens the gate with her bike. Coincidentally, the word "zombie" means "snake" in the Voodoo religion.
It is also important to consider the historical context of this piece. Hughes was an important member of the Harlem Renaissance, who wrote extensively on the oppression and racism that Black Americans face. With this in mind, the speaker can be seen as a generalized image of an African American mother who wants to explain the troubles her black son is going to face as he ages.