What’s in a blog?

Zinc White Paint concerns

Tue, 27 Dec 2011 10:29:22 -0800

Dear Sue,

Here something that all of our members should know. That is those who want their paintings to last a few years.

Here is an article from a paint manufacturer that excerpts a 29 year test of Zinc paint at the Smithsonian.

http://www.naturalpigments.com/vb/content.php/161-Zinc-White-Problems-in-Oil-Paint

I seems that lots of manufactures mix zinc in with the Titanium dioxide. There is a list showing who does and who doesn't in the article.

Good luck, Malcolm

NEA Announces New Research Note on Artists

Sun, 27 Nov 2011 18:38:02 -0800

Hello my artist friends;

Interesting stuff - maybe some you already knew, some you didn't.

<http://www.arts.gov/research/Notes/105.pdf>

Happy Thanksgiving. :-)

FYI-
J.P.
jp@thistlecreekstudio.com
www.ThistleCreekStudio.com and www.JPanterCalligraphy.com

- Artists are highly entrepreneurial. They are 3.5 times more likely than the total U.S. workforce to be self-employed.

-Artists are generally more educated than other workers. Over half of all artists have received at least a bachelor’s degree.

-Artists are less likely than other workers to have full-year or full-time employment, which partly accounts for their annual median incomes being lower than those of workers with similar education levels.

-Among full-year, full-time artists, women earn 81 cents for every dollar earned by men artists. Only women musicians and “other entertainers” earn slightly more (by $0.02 per dollar) than men in those professions. Among writers and authors, women earn nearly the same amount as men.8

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<http://www.arts.gov/news/news11/Research-Note-105.html>

NEA Announces New Research Note on Artists in the Workforce
Research offers industry-specific, regional, and demographic data on the 2.1 million artists working in the U.S.
For immediate release October 28, 2011
There are 2.1 million artists in the United States workforce, and a large portion of them -- designers -- contribute to industries whose products Americans use every day, according to new research from the National Endowment for the Arts. Artists and Arts Workers in the United States offers the first combined analysis of artists and industries, state and metro employment rates, and new demographic information such as age, education levels, income, ethnicity, and other social characteristics.
This latest report builds on earlier NEA research -- Artists in the Workforce: 1990 - 2005 -- which identified key traits that differentiated artists from other U.S. workers. That report found artists to be entrepreneurial (more likely to be self-employed) and more educated than the workforce at large. This latest research confirms those earlier conclusions and shares new data about the working artist. Among the key findings:
There are 2.1 million artists in the United States. They make up 1.4 percent of the total workforce, and 6.9 percent of the professional workforce (artists are classified as "professional workers").
• More than one-third of artists in the survey (39 percent, or 829,000 workers) are designers (such as graphic, commercial, and industrial designers, fashion designers, floral designers, interior designers, merchandise displayers, and set and exhibit designers.)
• Performing artists make up the next largest category (17 percent). In addition, each of the following occupations make up 10 percent of all artists: fine artists, art directors, and animators; writers and authors; and architects.
• Between 2000 and 2009, the artist labor force increased by 5 percent while the civilian labor force grew by nearly 8 percent. (i)
Artists work in many industries and job sectors
• More than half of artists (54 percent) work in the private, for-profit sector; 35 percent are self-employed.
• One in three artists (34 percent) works in the "professional, scientific, and technical services" sector, which includes architectural and design firms, advertising agencies and consulting firms, and companies offering computer or photographic services.
• One in five (18 percent) of artists work in the "performing arts, spectator sports, and independent artists" category, including more than half (53 percent) of all musicians.
• Fourteen percent of all artists (73 percent of producers and directors, 23 percent of actors, and 20 percent of writers and authors) work in "information" industries, such as the motion picture, video, and broadcasting industries, or newspaper, book, or directory publishing.
Wage gaps persist
• Women artists earn $0.81 cents for every dollar earned by men artists. This gap is similar to that in the overall labor force (where women earn $0.80 cents for every dollar earned by men); professional women earn even less -- $0.74 for every dollar earned by professional men. (ii)
• Artists' median wages and salaries ($43,000 in 2009) are higher than the median for the whole labor force ($39,000). Yet artists as a whole earn far less than the median wage of the "professional" category of workers ($54,000), to which they belong. Architects make the highest median wage ($63,000), while workers who are classified as "other entertainers" had the lowest ($25,000). (iii)
Artist demographics
• Artists are less socioeconomically and demographically diverse than the total U.S. workforce, yet diversity levels vary across individual artist occupations.
• While artists as a whole are less likely to be foreign-born than other U.S. workers, some of the highest-paid artist occupations have the highest rates of foreign-born workers. Architects and designers are the most likely to be foreign-born (14 to 16 percent, roughly the same as the U.S. workforce).
• Artists work at home at more than three times the rate of the total labor force (15 versus 4 percent).
• Artists are just as likely to be married as the general workforce (53-54 percent).
Artist-heavy states and regions
• New York and California have the highest numbers of artists in the U.S. Oregon and Vermont have 20 percent greater-than-average numbers of artists, with writers and authors especially prominent. Colorado, Connecticut, Hawaii, Maryland, Massachusetts, Minnesota, Nevada, New Jersey, Washington, and Rhode Island outdo the national average.
• In Tennessee, 22 percent of all working artists are musicians.
• Minnesota, New York, Massachusetts, and New Jersey have the most workers in the book publishing industry. (iv)
• The San Jose, California metro area has the highest level of employment in industrial design services -- more than 3 times the U.S. average. (v)
The NEA analyzed data from the U.S. Census American Community Survey, a new annual survey tool that complements the decennial census. The note analyzed 11 distinct artist occupations: actors, announcers, architects, dancers and choreographers, designers, fine artists, art directors and animators, musicians, other entertainers, photographers, producers and directors, and writers and authors. The NEA used a five-year data set (2005-2009) to get a large enough sample size for a thorough analysis. New data on employment patterns and freelance artists reveal more accurate totals for this mobile, entrepreneurial group of workers.
About NEA Research
The NEA is the only federal agency to conduct long-term and detailed analyses of arts participation. For more than 30 years, the NEA Office of Research & Analysis has produced periodic research reports, brochures, and notes on significant topics affecting artists and arts organizations, often in partnership with other federal agencies such as the U.S. Census Bureau and the Bureau of Labor Statistics. Recently, the NEA announced a new research grant opportunity to foster more research on the value and impact of the arts on the nation. The NEA is committed to extending the conversation about arts participation by making data available to both the research community and the public at large.
About the National Endowment for the Arts
The National Endowment for the Arts was established by Congress in 1965 as an independent agency of the federal government. To date, the NEA has awarded more than $4 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector. To join the discussion on how art works, visit the NEA atwww.arts.gov
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i. Bureau of Labor Statistics ii. These calculations are for full-year/full-time work only. iii. Annual wages and salaries are provided only for full-time, full-year artists, based on 2009 estimates.. iv. From the Quarterly Census of Employment and Wages, which tracks employment by industry, not occupation. This data includes both artists and other workers in that industry. v. Ibid.
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The Great Paintout

Mon, 12 Sep 2011 13:17:03 -0700

My news: We had a big day here in Davis on Sat. for the "Great Paintout" with the John Natsoulas Gallery; the paintout location was a 5 block area of downtown. I made the local paper and there's a fun photo in the story. I had a great time talking with friends and passersby . . . lots of talking. I'm in the photo, bottom left.

http://www.davisenterprise.com/local-news/great-california-paint-out/

be seeing you!
Lynne

Creative Artists

Wed, 20 Jul 2011 08:07:20 -0700

Must watch video ... to make you smile:
http://oaklandnorth.net/2011/05/19/creative-growth-provides-an-outlet-for-extraordinary-artists/

By: Nicole Jones | May 19, 2011 – 2:46 pm

The Creative Growth Art Center, located north of downtown Oakland, has been serving artists with developmental, physical and mental disabilities for over 35 years. The studio has space for a few dozen artists to work in paint, ceramic, mosaics and woodwork. Located right next door to the studio is the exhibition space — the first of its kind dedicated to people with disabilities. Open daily to the public, people can observe what the artists are working and purchase their work. Proceeds go to the non-profit and the individual artist.

Awesome Crocker Shows

Fri, 8 Jul 2011 11:09:26 -0700

Hi Sue!
There are two excellent shows going on at the Crocker in Sacramento that DaGroup members SHOULD NOT MISS! American Impressionism with works from across the board greats like Wendt, Hansen, Albert, Lauritz, Redmond, Schuster, Payne, etc. And a chance to see some great paintings by Franz Bischoff. Added to their large permanent collection it is more then you can absorb in one day, but you'll come away inspired.

http://crockerartmuseum.org/art/exhibitions/current-exhibits/616-franz-bischoff-porcelains-and-paintings

http://crockerartmuseum.org/transcending-vision-american-impressionism-18701940

GV

Pay Attention

Wed, 8 Jun 2011 08:46:12 -0700

Q&A With Henry Schwaller, Who Was Head Of The State's Recently Liquidated Arts Commission

Over Memorial Day Weekend, while most people were relaxing, Henry Schwaller was facing the reality of the assault on the arts in the United States. The chair of the Kansas Arts Commission found his agency in the crosshairs of Republican governor Sam Brownback, who employed his line-item veto to completely eliminate support for the arts in the upcoming state budget. The move made national headlines, not just for the dire affects that it will have on the arts in Kansas, but because Brownback publicly claimed to be setting an example for the rest of the nation.

On Friday, ARTINFO's Ben Davis talked to Schwaller about the background of the cuts, the governor's plans to replace state money with corporate cash, and the possible effects the liquidation of the Kansas Arts Commission on communities throughout the state. Minutes after the interview, Governor Brownback removed Schwaller from his post as chair of the now defunded agency, replacing him with Linda Weis, chair of the governor's newly created private-sector arts foundation (her letter of introduction can be found at the Kansas Arts Commission Web site).
According to Schwaller, staff were ordered by the governor's office to delete the commission's Twitter account, Facebook page, and other online content advocating for state support of the arts. Weis also canceled the June 16 open meeting of the commission that Schwaller speaks about below, saying that it did not have the governor's backing. However, a new Facebook page has already been established to continue advocating for arts in Kansas, dubbed Kansas Arts Movement.

You've called what happened the "Saturday morning massacre." Can you go over how you found out about the cut and the sequence of events that led up to it?
Let's start with the sequence of events and then we can go to that day. When the governor was inaugurated, he gave a "State of the State" address, indicating that because of budget concerns he would eliminate eight state agencies. This was in January. He then submitted a proposed budget to the state legislature, in which those eight state agencies were eliminated -- and one of those was the Kansas Arts Commission. But in that budget he also provided $200,000 in funding for a new entity called the Kansas Arts Foundation. The Kansas Arts Commission received $800,000 in funding in the current fiscal year, so that still represented a big change. Then, on February 7th, he signed what we call in Kansas an "executive reorganization order" that eliminated the Kansas Arts Commission and replaced it with the Foundation. Now, under Kansas law, either the state House or the Senate may override an executive reorganization order with a simple majority -- and the Kansas Senate did so on March 16th. Subsequently, in the process of creating a budget to present to the governor, both the House and the Senate agreed to fund the Kansas Arts Commission $689,000 for the new fiscal year that begins on July 1st, and they transmitted that budget to the governor.
So, at this juncture, we had heard rumors that the governor would absolutely, positively line-item veto us -- he has that power. But he was very coy. He wouldn't say. When he was approached by fellow Republicans, certainly donors, he would say, "Well, I just haven't made up my mind," or if it was a Republican who he knew was in favor of the arts, he would say, "Yes, I know you are a big supporter, thank you." He never really made any statement. Even his spokesperson said that the cut was something they were "considering." Then we received word last week that the governor would absolutely sign the budget with line-item vetoes last Friday, but this did not happen. So we were kind of confused -- and then on Saturday morning, I received an email from one of my board members that a newspaper was reporting that the governor had indeed line-item vetoed us. The reason it came as a surprise was that it really could have been done at any time. He chose Saturday for a reason. He chose the weekend because he knew it was a quiet time for the media. He also knew that most people would be thinking about either those who served our country or celebrating a three-day weekend with their loved ones. He has not had the guts to stand up and say this is my decision and I stand by it; he keeps kind of tap-dancing around it.
If you go the Kansas Arts Commission Web site, one of the first things you find is a set of pictures of you at something called the 2011 Governor's Arts Awards. How do you go from the Governor's Arts Awards to the Governor specifically targeting the arts with a line-item veto?
Well, that's an interesting thing. In fact, the Governor's Arts Awards have been a tradition for not quite 40 years. This incarnation, I don't know how long it's been around. But this particular governor was contacted when he was governor elect to ask if we could use his name for the Governor's Arts Awards, and to see if the date we chose, March 3rd, was convenient for him. His office never responded. They wouldn't approve the invitation, they wouldn't approve the date, and they wouldn't give us his name. He was invited. He sent no one, not even a lowly cabinet secretary. It was probably just as well, because the audience had a lot of fun without the governor there -- it was much more relaxed than if he had been present. Because there was a lot of tension. That was the day that the Senate considered and passed out of committee the resolution, so there were hundreds of people who had come from across the state to convince the Senate to support the arts, and we had been successful.
What is this Kansas Arts Foundation that he wants to replace the Commission with?
The governor created, through staff and friends, a private-sector, nonprofit foundation entitled the Kansas Arts Foundation. And the theory is that this group of citizens will raise corporate money that will be used to replace the state money that had been funding the arts. But there are a few problems. Number one, the foundation really hasn't got off the ground with much success. The governor has had difficulty finding 12 people to serve on his Foundation -- most arts people have avoided him, because they're not happy. Second, there has been some conflict with the National Endowment for the Arts. Originally, the governor said that his organization was just like Vermont's arts organization, which is a nonprofit. Since then, the executive director of the Vermont organization has said, "No, what you're doing is not at all like what we're doing." So, he had to keep changing his tune. The point is that he thought, falsely, that he could invent something that could replace state dollars and still receive matching funds from the National Endowment for the Arts and the Mid-America Arts Alliance.

What has the public response been to the elimination of the Kansas Arts Commission?
It's been overwhelmingly in support of the Commission. The folks that have been supportive of the governor have been few, with comments such as, "I don't want my taxes raised to pay for art." Or there was a comment from the state representative for Americans for Prosperity: "We all have different tastes, from Beethoven to 'Dogs Playing Poker' -- it's not for the state to decide." Now, I don't understand why we can't have both: I love Beethoven, I love "Dogs Playing Poker." The state has never decided what art is appropriate. We take money we receive from the state and the federal government, and we distribute it to 190 local arts organizations and artists for programming, arts education, professional development, and programs that are appropriate for their communities. We don't pick art and say this is what the state's art is. I believe very strongly that there is an incredible misunderstanding in the governor's office -- and in the governor's mind -- of what the arts mean for Kansas.
Are there some things that the Commission has sponsored in the past that are particularly notable?
Absolutely. We are the lead agency for Poetry Out Loud, and we have a really fantastic young woman in Topeka who has gone two years in a row to the finals in Washington, D.C. We sponsor Arts in Education programming that provides arts experience to young people, primarily grade school but really K through 12, throughout the state. For many, many young people this is their only experience with the visual or the performing arts or meeting an artist. We support operational funding for all local arts organization. This is not a lot of money -- some organizations get as little as $1,500. But that's what keeps tiny arts agencies in rural communities open. In addition, we provide really important training and programming for the administrators of these local arts organizations. We talk with them about how to put a budget together, how to put together a balance sheet, how to run a board meeting, how to pick board members, how to write a strategic plan. So, it's not just about money, although that is important. It's about getting everyone prepared to run a professional organization.
What are the immediate effects of the cuts? I know there has been a lot of talk about how rural arts programs are going to be hit. What's going to happen?
Well, on July 1st, 150 arts organization and 40 or 50 artists will not have a source of money. They will certainly have no outlet for professional development opportunities. So many of them are now scrambling to think about other places to turn -- maybe the city, maybe the county. But it's very difficult to make up those dollars. So I am sure that at some point these local arts organizations are going to have to think about staffing, that is, whether or not to maintain or reduce pay for staff. And certainly they will have to ask what programs will get cut. And probably it will be youth programs, young adult programs.
We know that there are about 4,000 nonprofit arts jobs in Kansas related to what we do. They generate $150 million in economic impact, and $15 million in revenue for the state. So this is going to be a slow, painful process.
And as for your own staff, there are five people affected?
There are five paid office workers. Their last day will be Friday, June 10th. They received layoff notices last month on May 10th -- before the legislature even passed a budget. We had two program directors, a communications officer, an individual serving as our financial officer, an interim executive director, and an office manager. Those folks are now unemployed.
Governor Brownback framed the ending of state arts funding as a "good trend." Obviously, you don't think it's good, but do you think that what happens in Kansas is going to affect the direction of arts policy nationally? Is it a trend?
You're right, I don't think it's good. But no, I don't think it is going to set policy across the country. Most legislators in other states, and most governors, know the value of federal money. They understand that every dollar they put into this program comes back to them, first from the federal government. And they also understand the economic impact of the arts. Certainly, two or three other states have flirted with this idea. But the overwhelming message that they received from voters in their states is "don't touch the arts." So I don't think this is going to set a national trend. It really follows up on Kansas's foray into not discussing evolution in science and discussing creationism, and it just keeps sending the message across the country -- in fact across the world -- "What's the matter with Kansas?" And that's sad to me.
The reason why the arts are important is not just the jobs, although that is part of it. It's also because the arts create a quality of life, particularly in rural communities. There's a small community in the southwest portion of the state, a tiny town near Dodge City, and its arts center is the community center. People go there -- little old ladies go there to paint watercolors, but they also go there on the holidays to wrap Christmas gifts for service members in Iraq or needy children, and they gather there for coffee and other things, and that's what the arts centers across Kansas do. They provide access to programs and a quality of life we wouldn't have otherwise. As I said before, for young people, the Arts Commission and our programs give them exposure to things they have never seen before and probably would not see, and give them an opportunity to think creatively and be innovative. These are people that could be very good employees in the future. And on top of all this, certainly there's the economic impact of the arts that I talked about before. It does raise money for the state. It's an industry, no different than aviation or agriculture.
What's next? Is there an opportunity to fight for the arts, or is it pretty much a done deal?
Well the legislature had "sine die," which is a Latin term for adjournment, on June 1. They need a two-thirds vote in both chambers to override the veto. Typically, only about half show up, and that's what happened this year. So there were not enough people present to override the veto. Consequently, beginning July 1, there is no funding for the arts in Kansas.
We are going to continue to work. Our board has a meeting on June 16. We're going to prepare a strategy for moving forward. It's going to difficult, there's no doubt about it. But in Kansas we're no strangers to difficulties. We just roll up our sleeves and keep working.

Take Good Care of Your Eyes

Mon, 18 Apr 2011 09:22:16 -0700

Plein air painters love the sun and its effects ... and the painters’ eyes need special attention to care. Sunglasses don’t work for most while painting. Shade helps a lot ... from a tree or umbrella. Add a comment here to tell your best tips to find shade. Another critical factor is to keep hydrated which not only helps the body function well overall, it also helps minimize floaters. A painter can also put eyedrops, (e.g., Refresh) in their eyes before and during painting outside ... helps a lot. Following is an article on eyes and aging effects.

FLOATERS AND THEIR TREATMENT
by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon
The nature of floaters can be understood in terms of the fluid in which they occur, namely the vitreous. This is a gel matrix filling the vitreous cavity, making up about 2/3 the volume of the eye. In front of it is the lens structure, behind it is the retinal structure. The vitreous is a transparent gel, about 98% water, but it is 2-4 times more viscous than water, mainly due to the content of sodium hyaluronate (the salt of hyaluronic acid, a component of many fluid structures in the body). The hyaluronic acid molecules are large coils that hold water; in the vitreous they are entrapped in a matrix of collagen fibers (type II, the main fiber making up cartilage). Most of the collagen is at the surface region of the vitreous, where it comes in contact with the rest of the eye, giving it a somewhat more solid surface. There is less collagen in the central region, which is a more liquid portion, comprised of about 99% water. Collagen fibrils attach the vitreous gel to points around its margin, particularly to the retinal and lens structures.
The vitreous mainly functions as a transparent fill for the eyeball. The fluid maintains the shape of the eye, acts as a shock absorber, allows transmission of light to the retina, and helps maintain the contact between the retina and the back wall of the eye by applying a mild pressure. It contains no blood vessels and is essentially cell free. A few cells may be present near the retina, including hyalocytes that appear to be responsible for producing hyaluronic acid; these are similar to immune cells called macrophages. Aside from hyalocytes, there are other sources of the vitreous components among the various types of cells of the eye structure, though it is not yet established which ones play a key role.
The original three-dimensional net-like structure of collagen fibers begins to deteriorate once body growth has halted at adolescence. This deterioration is slow and involves having some strands of collagen clump up, and some of the original compartments of gel merge into larger compartments. At this point, "floaters" may begin to appear. Many people believe that these floaters are materials released into the eye, when, in fact, they are shadows on the retina from light encountering the irregularities in the gel matrix. Such irregularities are mainly caused by coalesced collagen filaments, forming fibrils. The floaters are especially visible while looking at a plain, well-lit background.

It is not until middle age, around age 40, that there are significant changes in the vitreous that generate floaters. The vitreous begins to slowly dry out, and the collagen becomes more clumped, leaving the vitreous almost entirely a free flowing fluid with some intervening gel lumps. These produce the floaters that are most frequently reported. They tend to "float" more easily because of the breakdown of the gel matrix. Nothing needs to enter the vitreous to make these floaters and nothing is present to break down the floaters, so they remain for many months. They may eventually degrade or settle out, or they may persist.
With further aging, the vitreous will dry, thicken, and shrink to an extent that it starts to pull away from the retina (the condition is called posterior vitreous detachment). This process may be the result of a sudden drying of the fluid, rather than the gradual drying that is normally expected. When a sudden vitreous shrinkage occurs, there can be a substantial appearance of floaters over a short period.
While vitreous detachment through a gradual process is common by age 70, it occurs more often and sometimes earlier in people who are nearsighted, have undergone cataract surgery or laser eye surgery, or who have an inflammatory disease of the inner portion of the eye, such as retinitis. When the vitreous gel pulls away from the retina, nothing may happen (vision remains basically the same), but this pulling can cause some retinal tears. Tearing of the retina may allow some blood cells to flow into the vitreous cavity, which accounts for some of the new floaters; other floaters may appear as a result of contraction of the fibers that had been attaching the vitreous to the retina.
When a retinal tear occurs, some of the vitreous fluid can penetrate into the torn areas and lift away the rest of the retina, which is extremely thin, leading to partial or full detachment. During retinal tearing or detachment, flashes of light (like flurries of fireflies) are detected by the patient, and the vision may be blurred, particularly in certain portions of the visual field. The torn retina should be examined carefully, as it may require treatment, such as laser photocoagulation, cryopexy (freezing), or surgery, to avoid complete retinal detachment or to treat a detached retina.
The condition of the vitreous fluid and the nature of floaters are observed by dilating the eye (applying eye drops to do so), and then examining the region through the pupil. There are no medical treatments for floaters. Some floaters, particularly those that occur as a young adult, will eventually disappear as the gel matrix changes. Other floaters, particularly those that occur in later years, may disappear as they settle out of the fluid. In persons suffering from severe disorders of the vitreous, which occurs in some cases of diabetes or where injuries have allowed blood into the vitreous, a vitrectomy may be performed; the vitreous is removed and placed with an artificial substitute liquid called hyaluronate.
POSSIBLE CAUSATIVE FACTORS
Little is known about what causes the changes in the vitreous with age, and what can speed up or slow down the process. It is relatively easy to speculate on some potential causes. It is known that excessive exposure to sunlight can cause damage to the eyes and skin, and is a contributor to cataract formation and drying, wrinkling skin. There is no reason to think that these types of effects could not occur in the vitreous to some extent, perhaps contributing to the clumping of the collagen fibers and the drying of the fluid. Hence, a rational protective effort would be to utilize good quality sunglasses and, in cases where there is considerable exposure to sun, to utilize shading (such as a visor or hat). Similarly, one should be careful about exposure to bright lights from copy machines, lasers, and other indoor sources. The drying of fluid within the eyes may be accelerated by poor circulation in the retina (capillary bed circulation) and by general lack of hydration. Blood circulation can be worsened by high blood sugar, high blood fat, and high oxidative levels in the blood, while it can be improved by maintaining healthy blood conditions and having a diet rich in flavonoids and antioxidants; hydration is improved by drinking plenty of water, juice, tea, or other healthy beverages. Thus, protecting the eyes and maintaining good circulation and hydration are potential preventive measures for floaters, retinal tearing, and retinal detachment.