Generate an explanation for the given claim using the provided supporting material from the paragraph. Please consider the following points while generating an output. 1) The claim will always have supporting proof in the paragraph, and the paragraph will have a clear point of view supporting the claim. 2) There can be instances where direct correlation to the claim is not available. Make use of the sentences in the paragraph to provide a corresponding output supporting the claim. 3) The explanation should be at least one and at most twelve sentences long.

[EX Q]: Paragraph: The unveiling of former President Barack Obama’s official portrait on 12 February 2018 also introduced many Americans to artist Kehinde Wiley for the first time as well, as opening the door to late-breaking controversy over some of Wiley’s earlier work. Wiley, who has described his own visual style as “bombastic, syrupy, and garish,” is celebrated in the contemporary art world for his large-scale portraits of black and brown men and women striking heroic poses modeled on those of aristocrats in classic European paintings. Two portraits in particular, both of them modern takes on the biblical story of Judith beheading Holofernes and featuring elegantly-dressed black women brandishing the severed heads of white women, suddenly turned controversial in the context of Wiley’s new role as a presidential portraitist. Images of the paintings were shared on social media with comments stating or implying that their content is racist: This what is confusing to me … you can’t have Confederate flags … you take down historical statues because they are racist but the 44th POTUS picks the guy who painted these pictures to paint his presidential portrait and that’s just fine? Maybe I’m missing something? #tcot pic.twitter.com/9RhYCGPQK7 — Jeannie-ology (@jeanniology) February 12, 2018  So a racist ex-President selects a racist artist to paint his picture. Anyone surprised? Artist Who Painted Obama’s Official Portrait Known For Painting Blacks Beheading Whites https://t.co/JarXVYUQ27 — American Real News (@USArealnews) February 13, 2018  In a post on right-wing blog TheGatewayPundit.com, Kehinde Wiley was described as being “known for” and “having a great fondness for” painting black people beheading white people: Both beheading pieces are titled “Judith beheading Holofernes”, referencing a story in the Book of Judith, which involves a beautiful woman who seduces an invading general before he is able to destroy their land, gets him drunk, and then decapitates him. Typical artists from the Rennaissance [sic] era have placed Judith in the role of a scriptural savior, “a type of the praying Virgin or the church or as a figure who tramples Satan and harrows Hell.” Given the historical context and how Wiley recreated it in his works, is hard to interpret his use of this theme as anything other than a blatant statement of racism; black women are the powerful angels of the earth, conquering the white devils. Can you imagine for a second if George W. Bush, or any other former president, decided on a painter who was famous for depicting white people killing black people to paint his official portrait? It’s hard to imagine, right? Yea, that’s because it’s disgusting and backward. It is not the case, however, that Wiley was “famous for depicting black people killing white people” before politically motivated commentators chose to make it so. Far from it. Of the scores of paintings the artist has produced, only the two based on the biblical beheading story depict such a scene. They generated very little controversy before Wiley’s portrait of Obama was publicly unveiled. That the strong, couture-clad black females in the paintings are depicted in the immediate aftermath of decapitating white women is not incidental. As with many works of art, this was meant to be provocative (“I think at its best what art is doing is setting up a set of provocations,” Wiley said in a 2015 interview). A 2012 article on the web site of the North Carolina Museum of Art (NCMA) supplies some needed context: Known for his monumental portraits of young black men, placed in historical poses and settings appropriated from Old Master paintings, Kehinde Wiley critiques the racism of art history while also commenting on contemporary street culture and masculine identity. Reinventing classical portraiture and questioning who is represented in the portraits found in museums worldwide, Wiley states, “The whole conversation of my work has to do with power and who has it.” Judith and Holofernes is from Wiley’s most recent body of work and his first series of paintings to feature female subjects. Wiley uses “street casting” to find his models — walking city streets and asking ordinary people if they would pose for a portrait. He met the model for this painting, Treisha Lowe, at Fulton Mall, a pedestrian shopping street in downtown Brooklyn. This painting references a specific art-historical work, a 17th-century painting by Giovanni Baglione, Judith and the Head of Holofernes (1608). The subject is taken from the apocryphal Old Testament Book of Judith, in which a Jewish town is under attack by the Assyrian army led by the general Holofernes. Judith, a widow from the town, goes to Holofernes under the pretense of helping him defeat the Jews. After he falls asleep, she cuts his head off with his own sword, and the town defeats the army. Wiley translates this image of a courageous, powerful woman into a contemporary version that resonates with fury and righteousness. “It’s sort of a play on the ‘kill whitey’ thing,” Wiley said in a 2012 interview with New York Magazine. The operative word is “play.”  What is all too easy to miss on a cursory glance is the deeply conceptual nature of these works. We turn again to the NCMA’s commentary: Wiley takes obvious artistic license with the story — Holofernes is represented by a woman’s head, and Judith wears a gown designed by Riccardo Tisci of Givenchy. This new rendition can be interpreted on many different levels, including racial and gender identity and inequity, the representation of women throughout art history, and society’s ideals for beauty. In Wiley’s words, “I am painting women in order to come to terms with the depictions of gender within the context of art history. One has to broaden the conversation . . . This series of works attempts to reconcile the presence of black female stereotypes that surrounds their presence and/or absence in art history, and the notions of beauty, spectacle, and the ‘grand’ in painting.” In contrast to the blunt literalism of those who prefer to interpret these paintings as a celebration of racial violence, art critic Walter Robinson writes that Wiley’s take on Judith and Holofernes “suggests, with a jovial brutality, that Judith would prefer to be done with white standards of beauty.” If, as Wiley has said, his intent as an artist is to be provocative, he can consider himself successful. Claim: Kehinde Wiley, the artist who painted former President Barack Obama's official portrait, also produced a pair of paintings depicting black women decapitating white people.
[EX A]: We reached out to Mr. Wiley for comment, but did not receive a reply.

[EX Q]: Paragraph: Voters in both Western states approved ballot initiatives in 2012 allowing personal possession and use of marijuana by anyone aged 21 and or older for purposes of just getting high, though public consumption of pot remains illegal. In January the world’s first state-licensed retail marijuana outlets opened for business in Colorado, and stores in Washington are set to follow suit later this year. Both states are among 20 that have already removed criminal sanctions for medical use of marijuana. The federal government still classifies marijuana as an illegal narcotic, but the Obama administration has given states new leeway to experiment with legalized cannabis. In Denver’s Civic Center Park near the state capitol, revelers on Sunday gathered to hear music and listened to speakers during a weekend event that organizers billed as the “world’s largest 4/20 rally.”  The date of April 20, or 4/20, corresponds to the numerical code widely recognized within the cannabis subculture as a symbol for all things marijuana. Police officers standing by on the fringes of the Denver festival issued 63 citations on Sunday, most for smoking pot in public - a ticket that carries a fine of $150. About half as many were cited on Saturday, police said. At least eight individuals were taken to a detoxification facility for treatment during the two days, police said. Denver police spokesman Sonny Jackson said officers have refrained from wading into the crowd to arrest violators, but instead were citing people who openly defied the public consumption ban. “Those ticketed were blatantly in violation of state law and city ordinances,” Jackson said. Organizers of the rally and city officials beefed up security at the event after three people were wounded by gunfire at last year’s rally. Separately, the Cannabis Cup, a trade show sponsored by High Times magazine, drew sold-out crowds over the weekend at a Denver convention venue. The two-day event featured marijuana sampling and workshops, such as how to open a pot shop, cultivation tips, and how to talk to children about weed, according to the event’s website. Rachel O’Bryan, spokeswoman for Smart Colorado, an organization that advocates for stricter enforcement of marijuana laws, said the cannabis industry needs to do more to police its own. “People are flouting the law by openly consuming,” she said. “We’re concerned about the message that sends to our kids.”  In Seattle, several hundred people who paid $15 a head crowded the cavernous interior of a former brewery where Rainier Beer was made for decades to attend a 4/20 gathering organized by sponsors of the city’s annual Hempfest rally. Reggae music played over loudspeakers and the air inside was thick with the sweet, skunky odor of cannabis. But no police were visible at the event, which organizers deliberately held on private space leased from the brewery owners in an industrial section of the city south of downtown. The gathering featured a workshop on how to roll a joint with an entire ounce (28 grams) of marijuana - the legal limit for personal possession in the state - as well as vendors selling pipes and other paraphernalia, and a blind-toke test in which participants tried to distinguish between different strains of pot by sampling them. Attendees ranged from middle-aged baby boomers to a younger crowd from the so-called millennial generation. A cheer from the crowd went up at precisely 4:20 p.m. local time, as many attendees milling about outside lit joints and pipes simultaneously, sending puffs of smoke into the air followed by raucous fits of coughing. One woman in the crowd accepted a joint handed her from a bearded bystander. “You look just like Jesus,” she exclaimed in an apparent reference to the event coinciding with Easter Sunday. “How does it feel to be risen?”  Doug Medina, 54, said he traveled hundreds of miles with his wife and daughter from Billings, Montana, to Seattle for the 4/20 weekend celebrations there. “It feels a little more open than it did five or 10 years ago,” he said while smoking a joint outside the brewery. Claim: Marijuana fans pack 4/20 events in Colorado, Washington state.
[EX A]: Thousands of marijuana enthusiasts gathered in Colorado and Washington state over the weekend for an annual celebration of cannabis culture with rallies, concerts and trade shows in the first two U.S. states to legalize recreational marijuana.

[EX Q]: Paragraph: Westminster Council said it had visited the Icecreamists restaurant in London’s Covent Garden and removed all ice cream containing breast milk for testing after being contacted by members of the public and the Food Standards Agency. “Selling foodstuffs made from another person’s bodily fluids can lead to viruses being passed on and in this case, potentially hepatitis,” Brian Connell, Westminster Council’s cabinet member for business, said on Tuesday. He added that the owner had agreed to cease making and serving the ice cream while it was being tested. Matt O’Connor, founder of the restaurant where the “Baby Gaga” ice cream made from breast milk, Madagascan vanilla pods and lemon zest was launched on Friday, dismissed the concerns, saying they were “complete rubbish.”   He said the breast milk — provided by women who responded to an advert on an online mothers’ forum — had undergone the same “scrupulous” screening procedures as the milk, blood and sperm found in donation banks. “If the ice cream is not safe, then these mothers pose a serious risk to their babies,” he told Reuters on Tuesday. Claim: London council confiscates breast milk ice cream.
[EX A]:
A London council has confiscated supplies of breast milk ice cream from a specialist parlor which launched the new flavor in the British capital last week on concerns the frozen treat may spread viruses.