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University of California announced its 22nd president

University of California announced its 22nd president

Yahoo03-05-2025

(FOX40.COM) — The University of California Board of Regents has approved the appointment of James B. Milliken as the 22nd president of UC's world-renowned system of 10 campuses, six academic health centers, and three nationally affiliated laboratories.
According to a statement released by the University of California, Milliken has been serving as the chancellor of the University of Texas since 2018. His career also includes serving as the chancellor of The City University of New York from 2014 to 2018, president of the University of Nebraska from 2004 to 2014, and senior vice president at the University of North Carolina from 1998 to 2004.
'The University of California is universally regarded as the preeminent public research university in the world, and I am deeply honored to have an opportunity to join the many talented faculty, staff, and campus leaders in their vital work. It is more important than ever that we expand the education, research, health care, and public service for which UC is so widely admired and which has benefited so many Californians,' said Milliken.
UC officials stated that he is guided by his commitment to expand opportunities and student success. Milliken has been a leader in expanding access to high-education for low-income students.
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When he was the chancellor of UT, he held an initiative to cover the full cost of tuition and fees for students who qualified, which included families whose incomes were under $100,000.
The UC said in their statement that Milliken's leadership at UT also included record-setting enrollment levels, low college debt, and almost $5 billion in annual research expenditures, ranking second in the nation.
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'Chancellor Milliken embodies the qualities and leadership experiences the University of California community needs at this moment,' said Janet Reilly, chair of the UC Board of Regents. 'He understands how critical UC's contributions are to the state and the country, and he has decades of experience leading public institutions during times of unprecedented change in higher education. Chancellor Milliken is simply the right person for UC at just the right time.'
Milliken will be entering his new role in August with the board's approval salary of $1,475,000, said UC authorities. He will be taking over for President Drake, who has served as the University's president since 2020 and who announced he would step down in July.
The six-month-long search for the University's systemwide leader started in November of last year, which was guided by criteria approved by the regents, said officials. The team was filled with stakeholders, including faculty, students, staff, alumni, and community partners.
'Serving on the search committee was a tremendous responsibility and an opportunity to represent student voices,' said Student Regent Josiah Beharry. 'Throughout this process, we were searching for more than just a leader — we were looking for someone who could speak the language of equity with action, who understands that affordability is not a privilege, but a promise.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

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Michael Phillips: In a world of easily manipulated images, can movies retain their magic?
Michael Phillips: In a world of easily manipulated images, can movies retain their magic?

Yahoo

time13 hours ago

  • Yahoo

Michael Phillips: In a world of easily manipulated images, can movies retain their magic?

I love getting faked out by the movies. I love believing the impossible, if only for a moment. Moviewise, I live for a lot of things; one of them, by which I was floored at the age 5, was Buster Keaton's 'Cops' (1922) and his startling genius as a physical and comic presence. Half the time, at that age, I wasn't sure if what I was watching was actually happening. That's how it is with beautiful illusions, created from real risks that become the audience's reward. When the right people collaborate on the right movie, it sometimes happens: a fresh combination of legitimately dangerous stunt work and crafty but not frantic editing, along with the inevitable layer of digital effects elements. What do you get? Honest fakery. The best kind. The kind that elicits a single, astonished, delighted response in the mind of the beholder: Can I believe what I just saw? 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Though, for some of us, seeing Ethan Hunt dangle from a biplane, however rickety the narrative excuses for that to happen, is more fun. So we turn, still, to the movies for honest fakery we can trust. But these are strange days. As Farid puts it: 'You sit in the theater, you immerse yourself in the fantasy. But so much of our real world feels like that now — a fantasy.' Maybe it's time to retire the phrase 'seeing is believing.' ——— (Michael Phillips is the Chicago Tribune film critic.) ———

'Sinners' puts 'truth on screen' for the Mississippi Band of Choctaw Indians

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'Sinners' puts 'truth on screen' for the Mississippi Band of Choctaw Indians

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Lorna Simpson: Painting as a Weapon of Freedom
Lorna Simpson: Painting as a Weapon of Freedom

New York Times

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  • New York Times

Lorna Simpson: Painting as a Weapon of Freedom

Some of our most interesting artists have one thing in common. They do outstanding work early on, then, rather than coasting by recycling that success, they complicate it, even change artist Lorna Simpson is one these restless souls, and she has the technical and imaginative chops to make major changes work, as is evident in a corner-turning retrospective of paintings, 'Source Notes,' now at the Metropolitan Museum of Art. In the late 1980s and 1990s, Simpson gained a strong reputation as a standout among a new generation of conceptual photographers and artists who — following 'Pictures Generation' progenitors like Cindy Sherman a decade earlier — used photographic techniques somewhat the way painters used paint. Through a traditionally point-and-shoot, ostensibly reality-capturing medium, they created entirely fictional images. Simpson began as a straight-up picture-taker. A native New Yorker — born in Brooklyn in 1960, and raised in Queens — she studied photography at the School of Visual Arts and initially identified her work with the genre of 'street photography.' Graduate school at the University of California, San Diego, where Conceptualism was the reigning mode, added a new dimension to that early impulse. So was the perception that her career opportunities in the field were limited: 'Being a Black woman photographer was like being nobody,' as she has put it. So she saw no reason not to experiment both with her medium and with the subjects that interested her, namely the politics of gender and race. To that end she developed a studio-based style that combined staged images, notably shots of unnamed Black women posing in plain white shifts against a neutral backdrop, their faces turned away from the camera or out of its range, with results that evoke voyeuristic 19th-century ethnological documents, mug shots, and performance art stills. Most of these images have incorporated short texts that hint at explanatory narratives, some violent, without actually providing anything explicit. Creating on aura of mystery has been her generative M.O., one she has applied to film and installation work as well as to still photography. What has changed in the past decade is her primary medium. Around 2014, she began, for the first time since her pre-art-school years, to focus on painting, and the Met exhibition is a tight but monumental survey of this new work. Want all of The Times? Subscribe.

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