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The Lollygagger Hi-Rise Chair Takes Lollygagging to the Next Level

Sep 27, 2023 By Admin in Design

While low-slung outdoor chairs are functional and comfortable, they can take away from one of the best parts of sitting and relaxing – the view. Think about how often your line of sight is obstructed by landscaping or a railing and what you’re missing out on! That’s why Loll Designs has introduced the first-ever outdoor lounge chair made to specifically to eliminate the issue: the Lollygagger Hi-Rise Chair.

Known for its sustainable, colorful, and fun-loving outdoor furniture, the brand drew design inspiration from the lifeguard chair. Then, some thoughtful extra touches were added. A bottle opener under one of the arms and a bag hook, as well as a modular design that allows you to connect multiple chairs with a table and shelf (the Bridge) in between. The perfect setup for lollygagging with friends and family! So, sit back with the beverage of your choice and enjoy the rest of summer.

Black

grey high-rise chair with positioning of modular tables on a white background

Driftwood

Blue

two red high-rise chairs and connecting table on a white background

Red

trio of black high-rise chairs and connecting tables on a white background

Navy

Green

White

Orange

Loll Designs donates 1% of all sales from this collection to environmental organizations as part of their pledge to 1% For the Planet. To learn more about the Lollygagger Hi-Rise Chair and Bridge, visit lolldesigns.com.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

Students create memories with cyanotype photography

Sep 27, 2023 By Admin in Photography

Dalton Junior High School ninth-grader Taylor Nietzsche did not realize how convenient today’s generation has it when it comes to capturing a moment in time with the quick snap of a camera button.

That was until she learned about creating cyanotypes in her Photography I class, a process that captures an object in time through unconventional ways by today’s standards of photography.

The class, taught by art teacher Kristi Harvey, recently had students create chemical cyanotype photographs, one of the oldest photographic printing processes in history dating back to 1842 when it was discovered by scientist Sir John Herschel.

“I didn’t know it was photography because you’re not actually taking pictures,” Nietzsche said.

Instead, cyanotype photography, known as a “sun-printing” process, involves using a specialized white paper coated with a solution of iron salts created by combining potassium ferricyanide and ferric ammonium citrate, which becomes sensitive to ultraviolet (UV) light.

An object is placed on the paper and then exposed to sunlight (or a UV lamp). When sunlight hits the paper, the area not covered by an object will react and turn blue, while the area underneath the object will remain white, effectively imprinting its “shadow” on the paper.

The paper is then processed and rinsed in water to stabilize the material and create a deeper shade of blue while the print of the object remains white.

Cyanotypes derive their name from the cyan shade of blue created. Originally popularized as a way to study botany by capturing plants, cyanotype photography was later used by engineers to produce copies of architectural drawings, coining the term “blueprint.”

For the class project, Harvey ordered cyanotype paper that had already had the solution added. Students used anything they had available in their backpacks to create their prints, ranging from hairbrushes and candy wrappers to earphones and charging cases.

Kaylen Chitwood, who used a pack of gum for her print, said the process was fascinating.

“I didn’t realize after the paper had dried, it would completely change colors again,” she said. “It turned a lot darker.”

Mary Sharp and Marley Barmore both said the results were unexpected after using a bracelet, hair bows and pencils for their prints.

“After we came back inside, we submerged them in water to stop the thermal process,” Barmore said. “It was cool to see how it worked.”

“You could see the shadows of the objects (on the paper), which I didn’t expect,” said Sharp. “You could see the reflection of the pencil on the paper in a lighter color. It’s cool because you could see different results with each try if you wanted.”

Harvey, who began her second year as a visual arts teacher for Dalton Public Schools this year, has taught photography classes for seven of her 20 years as a teacher.

Harvey also teaches drawing and painting, pottery and ceramics and eighth-grade general visual arts classes. Ninth-grade students are able to receive a high school fine arts credit by taking art classes at the junior high.

Harvey said educating students on different forms of art is essential.

“The purpose of (Photography I) is to educate these students about careers as they start high school,” she said. “Right now, things like technology, cellphones, photographs, social media, kids are exposed to all of these things. What I hope to do is show them that they can look deeper into what they see. Like how to tell a story with the photos (they) take or how to capture a moment in a more aesthetic way.

“I think it engages and creates more visual literacy and allows students to think a little tighter, so to speak. Instead of just that click (of a camera), they’re really analyzing what they’re seeing and doing, so I want them to know about careers that they may not have realized could involve the art of photography specifically.”

Principal Matt Phillips said Harvey and her students are a “great example of what can happen when you combine talented students with amazing teachers.”

“Allowing students to engage in multiple forms of visual art is vital to a well-rounded educational experience,” Phillips said. “Having a quality, engaging art teacher such as Ms. Harvey is a valuable asset to any school staff, and we are thankful for the way she connects with our students and their interests. She makes relationships with her students and uses those relationships to connect them to art that interests them.”

Harvey said her goal is to have students leave the classroom with a new perspective.

“What’s interesting is there are things like this that they never knew about that came before the cellphone in their hand or a DSLR (digital single-lens reflex) camera,” she said. “They have really taken to it well.”

Chitwood said she has a different outlook after the project.

“I didn’t realize there were ways to take pictures other than using a camera,” she said. “It made me respect the people who used this back then.”

Sharp shared similar sentiments.

“It made me realize that I’ve grown up very limited, just taking pictures on my phone and that was all I knew,” she said. “It was so cool to experience this.”

Harvey said the class will revisit cyanotypes later in the semester.

“That way they can apply what they learned the first time around and maybe do things differently.”

Jennifer Crupi’s Sculptural Jewelry Embellishes Human Touch and Emotion

Sep 27, 2023 By Admin in Sculpture

How do our bodies communicate? Jennifer Crupi prods this question as she designs metal contraptions fit for limbs and torsos.

Jennifer Crupi’s Sculptural Jewelry Embellishes Human Touch and Emotion

Sep 27, 2023 By Admin in Art World News

“Tools for Reassuring Contact, #1,” sterling silver, plastisol rubber dip, and acrylic, 17 x 17 x 6 inches. All images © Jennifer Crupi, shared with permission

How do our bodies communicate? Jennifer Crupi prods this question as she designs metal contraptions fit for limbs and torsos. Following her unconventional collection that considered gesture as embellishment, the artist’s new Tools for Reassuring Contact series similarly focuses on hands while exploring the power of human touch.

Born out of lockdown-induced isolation, the prosthetic-like pieces curve and press the fingers and palms down, presumably into the shoulder or arm of a companion. “Each work implies an empty space where a second user is encouraged to place his or her hand,” Crupi shares. “Once engaged with the piece, a clamp-like mechanism exaggerates the contact and pressure.” Made of sterling silver, the Tools outline and emphasize the value of the touch itself, with common blue rubber serving as a facilitator.

Other series include Guarded and Unguarded Gestures, comprising pieces that hang from wearers’ necks and place their limbs in either defensive, reserved positions or open and welcoming ones. These companion works reflect Crupi’s profound interest in psychology and human behavior, particularly the way we use our bodies to communicate confidence or for protection. She shares:

All frontal-covering gestures are supposed to be subtle but meaningful acts of self-protection. They work to varying degrees, of course, but even slight movements can be all the security we need. Apparently, most everyone locks ankles or crosses their legs when in the dentist’s chair, for example—I have tried a few times myself not to do this, but it is not easy! Likewise, at times when we need to show we are open to someone’s ideas or need to take charge we will adopt open postures. The “hands-on-hips” posture is supposed to have its roots in the animal kingdom, evolving from the way animals fluff their fur to make themselves look larger when in a threatening situation.

Some of Crupi’s works are included in the group exhibition Gestures: Past, Present and Future on view through November 5, 2023, at Koblenz State Museum Ehrenbreitstein Fortress. She will also open a solo show on March 25, 2024, at Indianapolis Art Center. Until then, follow updates to the ongoing Tools for Reassuring Contact series on her site.

A person wearing a metal jewelry piece places their hand on another person's arm

“Tools for Reassuring Contact, #2,” sterling silver, plastisol rubber dip, and acrylic, 17 x 17 x 6 inches

a woman wears a metal work that places her hands on her hips

“Unguarded Gestures, #2,” aluminum, painted wood, and acrylic, 24 x 24 x 12 inches

“Guarded Gestures, #3,” sterling silver and foam, 27 x 6.5 x 3.5 inches

a woman wears a metal work that splays her hands outward

“Unguarded Gestures, #3,” aluminum, painted wood, and acrylic, 28 x 18 x 13 inches

a woman wears a metal work that places her hands where her pockets would be

“Unguarded Gestures, #1,” aluminum, painted wood, and acrylic, 28 x 18 x 10 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Jennifer Crupi’s Sculptural Jewelry Embellishes Human Touch and Emotion appeared first on Colossal.

Researcher uses art to share science with a broad audience

Sep 27, 2023 By Admin in Art World News

Art is an essential part of science. And for Nick Navin, Ph.D., it’s a succinct way to share important scientific discoveries.

“Art is how we communicate information, how we visualize data,” says Navin, chair of Systems Biology.

Back when he was a graduate student in Molecular Genetics at Cold Spring Harbor Laboratory and Stony Brook University, Navin developed some of the first single-cell sequencing methods.

“Breast cancer has always been an area of interest for me,” he says. “I developed some of those early methods because I wanted to understand diversity and heterogeneity within tumor cell populations in the breast. It ended up becoming a technology that’s now very widely used, with a huge commercial market. Before that, all methods were based on bulk sequencing, which means you look at the whole tissue at once and you don’t understand the diversity of the cell types that are present and the different clones of tumor cells.”

Navin’s art, which is always computer-generated, reflects his work. He creates abstract images to accompany news stories, talks, lectures and articles about his research. Occasionally, his art will appear on the cover of a journal.

“I like to sketch things out first,” he says. “On my whiteboard, you’ll see pictures I’m going to draw. Then I go to the computer. I’ll try out a million different things until I find something that works. Often, I have a student or postdoc in the lab with good artistic skills and we bounce ideas back and forth.”

Using single-cell sequencing technologies to plot scientific data

Since joining the MD Anderson faculty in 2011, Navin and his colleagues at the Navin Laboratory — which is focused on cancer genomics and computational biology research — have built on his early single-cell sequencing technologies to gain a better understanding of different aspects of breast cancer, including early progression, metastatic disease and resistance to various therapies.

“We generate very large data sets,” Navin explains. “Millions and billions of numbers. You can analyze with statistics and mathematics, but I always like to plot things and look at them to understand relationships.”

That’s where the art starts. Plotting scientific data allows researchers to visualize variation or show relationships between variables.

“It’s always a big challenge because you really want to make the right plots to understand the relationships between data,” says Navin, also a professor in the departments of Genetics and Bioinformatics & Computational Biology. “This is an important skill I try to teach all my students.”

Art inspired by research data, imagination and aesthetics

Navin’s art springs from this plotting. Although the art is inspired by research data, it also reflects Navin’s own imagination and aesthetic sensibility.

One of his illustrations, depicting six circles composed of smaller circles in multiple colors on a black background, responds to discoveries made while working on the Human Breast Cell Atlas — the world’s largest and most comprehensive map of normal breast tissue, created by researchers at MD Anderson, University of California, Irvine and Baylor College of Medicine.

“The circles represent a cross-section of the ducts in human breast tissues that transport milk during lactation to feed infants,” Navin explains. “The different colors represent the diversity of different types of epithelial cells that were discovered in the Human Breast Cell Atlas project, many of which still have unknown functions.”

Another of Navin’s renderings is reminiscent of stained glass, with six main blocks of color and multiple variations within each color.

“The mosaic of cells and colors represents a tissue section that has been barcoded and labeled with a new technology developed by our laboratory called spatial nucleus barcoding (SNUBAR),” Navin notes. “The different colors represent different groups of cells that have been barcoded across distinct spatial areas within the tissue, to identify spatial differences that they may have at the molecular level using downstream single-cell sequencing technologies.”

A cover illustration he created for a January 2018 issue of Cell shows multi-clonal invasion in premalignant breast cancer, in which multiple clones indicated by different colors escape the ducts and invade the surrounding tissues of the breast.

Navin’s goal is always the same: to create art that communicates something essential about the data for a broad audience.

“You try to give a higher-level interpretation of the data, especially for a more general journal like Nature,” he says. “A physicist might read it. Or a chemist.”

Art at home

Navin was raised with a deep appreciation for visual and computer-generated art.

His father, Richard Navin, was a well-known artist in New York City, where the family lived. Richard Navin had a sculpture exhibit at the Guggenheim Museum called “The Mycenae Circle” in 1981 and exhibited his work at the Whitney Museum of American Art and elsewhere.

“My father was a professor of art at Brooklyn College for many years, and he also taught computer science,” Navin says. “He was really a pioneer in computer-generated artwork and design. He worked closely with some companies, including Adobe, on very early three-dimensional graphics on computers. He tried to develop methods or algorithms to rotate simple objects like cubes and spheres.”

Richard Navin’s work rubbed off on his children, who learned basic art concepts from him at a very young age.

“I think it also influenced my decision to go to a liberal arts school for college, too, because although I loved computer science and biology, I wanted to go to a school with a strong art program,” says Navin, who attended Skidmore College in Upstate New York.

Navin is still steeped in art at home. His wife, Mei Rui, is a concert pianist and an assistant professor in Neurosurgery at MD Anderson. Rui has a D.M.A., a Doctor of Musician Arts, and her work explores how music can impact healing and patient care.

Both Navin and Rui hope to pass their respect and appreciation for art to the next generation.

“We have two children,” Navin says, “and I’m always thinking about how I can expose them to art.”

Learn about research at MD Anderson.

Cultural Center showcases new Haudenosaunee Beadwork exhibit

Sep 27, 2023 By Admin in Native

SALAMANCA — The Onöhsagwë:de’ Cultural Center on Saturday hosted the opening of its new exhibit, “Here, Now and Always: Haudenosaunee Beadwork,” housed in the Seneca-Iroquois National Museum.

The free event celebrating beadwork from the museum’s vast collections gave the public an opportunity to view the pieces, both old and new, and see the inspiration for contemporary artists. People also watched Haudenosaunee artists working on their craft.

Director Hayden Haynes said the staff wants to highlight the museum’s collections and is putting more emphasis on the beadwork because it’s so vast. He said they invited people to come to the opening and view the old as well as the more contemporary pieces on display, learn about their origins and what they mean to the Haudenosaunee culture.

“We wanted to exhibit these pieces, not just to show the collections but to also open conversations about Haudenosaunee history that includes the beadwork,” he said. “Beadwork is not just a form of self-expression; it’s also tied to our identity, our beliefs and our culture. The motifs, designs and even the forms themselves all tie to other things in our culture. We want to show how our ancestors’ pieces inspired us and continue to inspire contemporary bead artists, along with other artists.”

Haynes said beads, in general, have been employed by the Haudenosaunee people for many different uses since time immemorial. He said beads themselves are important to his people and they’ve been used for tens of thousands of years, having been made out of stone, bone, wood and marine shells.

Randee Spruce, educator and curator, said she prepares most of the exhibits at the museum, including putting the current beadwork exhibit together. She was educated at the Institute of American Indian Arts where she majored in museum studies. Spruce, who is also a beadworker, said she first learned the art from a friend and her friend’s grandmother.

Two well-known bead artists presented at the opening. Through their presentations, Grant Jonathan gave a detailed history of Tuscarora Raised Beadwork while Ken Williams Jr. took visitors on his personal beadwork journey. Both presenters gave an inside look at their lives growing up and how Haudenosaunee beadwork influenced their own beadwork.

Jonathan, who grew up on the Tuscarora Reservation near Niagara Falls, is a renowned beadwork artist and an attorney who has spent over a decade bringing home the beadwork crafted by his Tuscarora ancestors and sold to tourists from across the world at Niagara Falls. He said they were called “whimsies” and are beaded souvenirs that first appeared in the mid-19th century and were sold to tourists throughout the Northeast. Based in New York City, he started collecting whimsies in 2008 and currently has more than 2,100 of the historical beadwork pieces.

Williams, an award-winning bead artist, is Northern Arapaho and Seneca. Originally from the Cattaraugus Territory, he now lives in Santa Fe, NM. He talked about the traditional art of the Haudenosaunee and how modern design is integrated into his works today. Drawing upon Indigenous history, popular culture and high fashion, his work merges earlier Seneca and Arapaho styles and techniques with his own contemporary twist on pictorial imagery. He manages the Case Trading Post at the Wheelwright Museum of the American Indian in Santa Fe, N.M.

Bead artists from across Turtle Island were invited to the event to sell their finely crafted pieces. Beadwork vendors included Lexi Sickles (Oneida), Iakorihwato:ken Hemlock (Mohawk), Courtney Regis (Seneca), Grace Crowe (Seneca) Robin Seneca (Seneca), Katwite:ne and Kwaharani Jacobs (Mohawk), Alayna Jimerson (Seneca), Kahionwinehshon Phillips (Mohawk), Kehala Smith (Tuscarora), Barbara Jonathan (Seneca) and Melissa Smith (Seneca). Visitors had the opportunity to watch Regis, Sickles and Hemlock demonstrate the intricate beadwork in their own styles.

Haynes said the beadwork exhibit will be on display until next fall. Staff are currently planning the museum’s November Winter Art Market, which is always well-attended. The market will feature traditional and non-native vendors showcasing their amazing works of art, jewelry and home decor. He said they are also working on their Annual Spring Art Show for 2024, which is one of their most popular events. Carson Waterman’s painting exhibit will be on display through February.

The Seneca-Iroquois National Museum is located within the Onöhsagwë:de’ Cultural Center at 82 West Hetzel St. For up-to-date information, call (716) 945-1760. The museum’s website, senecamuseum.org, is currently under construction.

Student develops new hobby in film photography

Sep 27, 2023 By Admin in Photography

With the plethora of mobile and digital cameras available, film photography might sound like an art form from the past. But for Justin Layug ’25, it is his present and future.

Half of the enjoyment Layug gets from shooting film photography is the 30-40 minute process that goes into developing the film. This time has become a sort of meditation away from his everyday stress.

“I can’t be on my phone doing stuff,” Layug said. “I sit there and just center myself. That is the meditation aspect of it.” The dark room in Boland Hall on the Hawk Hill campus is not the only place Layug develops his film. He has learned how to do the developing process in his apartment bathroom, saving him time and money.

Layug’s go-to film is the Kodak Max 800 he purchased on eBay, which sells for $28.99 for 4 rolls. This film was originally used in single-lens reflex cameras in the 2000s but is no longer manufactured. The expired film he uses gives his photos a unique color palette.

Layug’s grandfather, Dr. Pelagio Layug, used to be a film photographer in the ’50s and ’60s. Recently, Layug found a bunch of his grandfather’s slides in his basement and has since digitized them.

“I can see a similar style to him, which is super weird,” said Layug, who described his style as surrealist and natural. He takes inspiration from Patrick Joust, another film photographer from Maryland where Layug grew up.

Layug said when his grandfather first saw the newly digitized versions of his old photos, he was ecstatic. His grandfather died in July 2022.

Layug pointed out that shooting film photography might sound easy on paper, but it is a process with demands that digital photography does not have.

“Once you start doing the process, you realize you either have the patience for it or you don’t actually enjoy it,” Layug said.

This is what Layug said separates the people that do it because it’s “hip” from the people who actually appreciate the art of film photography. Layug compared film photography to today’s recent trend seen in vinyl records.

Adjunct art professor Maurene Cooper, who currently teaches dark room photography at St. Joe’s, attributes film photography’s resurgence in popularity to the pandemic.

“I think people across all age groups want things they can touch again, and they want to have those kinds of experiences,” Cooper said.

Layung said others who want to get into film photography should gradually start gathering supplies.

“Once you get everything to be self-sufficient with film, it cuts down a lot of the costs, making it into an affordable hobby,” Layung said.

PHOTOS COURTESY OF JUSTIN LAYUG ’25

The Harlem Portrait Studio Where Everyday People Went for Amazing Images

Sep 27, 2023 By Admin in Photography

Obviously there were exceptions, but within the United States in particular, you had widespread circulation of derogatory images in the forms of minstrelsy and Currier and Ives, all telling one kind of story about Black individuals. But Van Der Zee is really telling, visually, an extraordinary story and a really distinct one that is influenced by his innovations.

Speaking of these innovations, Ansel Adams once said, “You don’t take a photograph, you make it.” What were some of the techniques Van Der Zee used to “make” his photographs?

There was a high level of artistry involved. He really took his time—as opposed to peers who just had people coming into their studios, getting their photograph taken, and leaving, and then having more subjects come in. By contrast, Van Der Zee limited his visits to four or five per day. It’s important to think through what this means for his practice—what the extra time affords him when it comes to thinking through the final product with these photographs.

Some of the things he did were on the surface of the photograph. He was in the habit of hand coloring on the very surface of the photograph. He also did a lot of superimposing on the images. For example, he would add the text from a poem directly on an image. And then other times he would add little illustrations to the image. So, if he’s taking a photograph of someone who was in the service, he would add an illustration of a flag in the upper left-hand corner.

Art market focuses on indigenous creations

Sep 27, 2023 By Admin in Art World News

Wyoming’s first-ever art market exclusively featuring work by indigenous artists will be held this weekend on the St. John’s Episcopal Church lawn.

The Jackson Indigenous Art Market will bring together creators from all around the region to display and sell their wares in a context that focuses solely on the culture of the historic nations of this area.

Futures bounce back after Wall Street rout

Sep 27, 2023 By Admin in Art World News

Summary
Companies

US durable goods orders unexpectedly rise in Aug
Utilities slide among S&P sectors, energy gains
Costco rises after revenue, profit top estimates
Indexes: Dow down 0.2%, S&P up 0.02%, Nasdaq up 0.22%

Sept 27 (Reuters) – The S&P 500 eked out a fractional gain on Wednesday after a see-saw session, as investors weighed whether to start bargain hunting following a sell-off fueled by elevated Treasury yields and uncertainty about the path ahead for interest rates.

Investors were also attuned to developments in Washington as divisions among U.S. lawmakers put the federal government at risk of a partial shutdown by the weekend.

A possible shutdown has added to worries for stock investors as they grapple with benchmark Treasury yields that have climbed to 16-year highs after the Federal Reserve last week signaled a hawkish long-term path for interest rates.

At the same time, as the S&P 500 has sharply pared its year-to-date gain, some investors are wondering if the market is close to a bottom.

“At some point people will start to buy stocks for the fourth quarter, and the third-quarter selling might be almost done,” said Peter Tuz, president of Chase Investment Counsel.

“At a certain level, people are going to get back in thinking the fourth quarter might be a pretty good one.”

The Dow Jones Industrial Average (.DJI) fell 68.61 points, or 0.2%, to 33,550.27, the S&P 500 (.SPX) gained 0.98 points, or 0.02%, at 4,274.51 and the Nasdaq Composite (.IXIC) rose 29.24 points, or 0.22%, to 13,092.85.

During the session, the S&P 500 rose as much as 0.4% and fell as much as 0.8% before paring losses.

Among S&P 500 sectors, the rate-sensitive utilities group (.SPLRCU) fell most, dropping 1.9%. Energy (.SPNY) rose 2.5%, as Brent crude breached $97 a barrel, with the jump in oil prices posing a renewed threat to inflation that has been moderating.

Traders work on the floor of the New York Stock Exchange (NYSE) in New York City, U.S., September 26, 2023. REUTERS/Brendan McDermid/File Photo Acquire Licensing Rights

The S&P 500 has fallen about 7% since late July, but remains up over 11% for 2023.

“Investors are looking for a turning point,” said Art Hogan, chief market strategist at B. Riley Wealth. “Clearly, it is not going to take much of a breath of fresh air in this market for people to chase this.”

In Washington, Republican U.S. House Speaker Kevin McCarthy rejected a stopgap funding bill advancing in the Senate, bringing the government closer to its fourth partial shutdown in a decade.

Data on Wednesday showed orders for long-lasting U.S. manufactured goods rose in August while business spending on equipment appeared to regain momentum after faltering early in the third quarter.

Investors are focusing on Friday’s monthly personal consumption expenditures price index for a fresh view of inflation. This week also brings second-quarter Gross Domestic Product and remarks from Federal Reserve Chair Jerome Powell.

In company news, Costco Wholesale (COST.O) shares rose 1.9% after the retailer topped market estimates for quarterly revenue and profit.

Declining issues were roughly split with advancers on the NYSE. There were 56 new highs and 440 new lows on the NYSE.

On the Nasdaq, advancing issues outnumbered decliners by a 1.1-to-1 ratio. The Nasdaq recorded 35 new highs and 333 new lows.

About 10.9 billion shares changed hands in U.S. exchanges, compared with the 10.2 billion daily average over the last 20 sessions.

Reporting by Lewis Krauskopf, Sinead Carew and Herbert Lash in New York, Ankika Biswas, Shashwat Chauhan and Amruta Khandekar in Bengaluru; Editing by Maju Samuel and Richard Chang

Our Standards: The Thomson Reuters Trust Principles.