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.
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Question: 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.

Answer: We reached out to Mr. Wiley for comment, but did not receive a reply.


Question: Paragraph: The black rhinos died of salt poisoning following the decision by the Kenya Wildlife Service (KWS) to ignore water test results in Tsavo East National Park, the committee’s report said. The deaths of the endangered animals, being moved to a more secure home in the face of the threat from poachers, were a major embarrassment to Kenya, which sells itself as destination for wildlife tourism. The inquiry said WWF, which donated $1 million for the relocation in June 2018, applied pressure on KWS to speed up the process in a bid to generate positive publicity and secure funding for itself from Germany. WWF denied the allegations in the inquiry report, which was made public last week, saying KWS had carried out hydrological surveys and given assurances the park was safe and suitable. “At no point either before or during the translocations were any issues raised about the quality of the water on the site,”  WWF said by email. “We would never push for a translocation to go ahead against the recommendations of the relevant experts. This was a tragedy we hope will never be repeated.”  The parliamentary committee’s inquiry said the relocation took place during a period in 2018 when the term of one KWS board had ended and before a new one had begun, creating a lack of oversight. The report said KWS’s former board of trustees had rejected the relocation three times in part because of the high salinity levels of the drinking water in the park. The report said Najib Balala, the minister of tourism and wildlife, should take overall responsibility for the rhinos’ deaths because he delayed the appointment of the new KWS board. The minister’s spokesman declined to comment. The KWS could not be immediately reached to comment. However, Richard Leakey, former chairperson of KWS, told the inquiry: “WWF-Kenya, as the funding entity, was alleged to have had a major interference on the board resolution against the translocation, and consequently pushed for the exercise after the exit of the board.”  WWF said it was saddened by the loss of the rhinos and it fully recognized the “serious failings of this operation”. “In response, we have strengthened existing practices and implemented brand new organizational guidelines to mitigate future risk as far as possible.”  Kenya had a rhino population of 1,258 in 2017 of which 745 were black rhinos, 510 were southern white rhinos and three were northern white rhinos, having grown from less than 400 rhinos in the 1980s. Poaching has risen in recent years across sub-Saharan Africa where well-armed criminal gangs have killed elephants for tusks and rhinos for horns. Often the animal parts are shipped to Asia for use in ornaments and medicines. Claim: WWF says it did not push for rhino relocation process where 11 died.

Answer: The World Wildlife Fund has rejected the findings of a Kenyan parliamentary inquiry that said the conservation group pushed Kenyan authorities to speed up a botched relocation of 14 rhinos last year that led to the deaths of 11 animals.


Question: Paragraph: "At a minimum, the reporter could have found out how much the master used in the study typically charges and how much the DVD costs. Still, unlike most of the stories, this reporter did write, ""Dr. Shmerling said that though tai chi is inexpensive compared with other treatments, some patients would reject such an alternative therapy."" The story presents the evidence in relative terms. It would have been nice to see the absolute numbers. Still, it’s easy to calculate roughly what one third of 33 would be and one sixth would be. Essentially about 11 people stopped taking drugs after tai chi, and 5 or 6 stopped using other therapies. That’s not a huge difference, but, because there was any improvement, the researchers and the journal were understandably curious and hoping the study might spark more research. A big point of the story is that tai chi would be a much less onerous therapy with no harmful side effects. It is difficult to imagine that twice-weekly tai chi, like any other form of moderate exercise, would be harmful, but, at a minimum, the story could have reported upon the study’s adverse events registry. The journal article on which the story is based clearly discussed this. The story makes it clear early that the study is small and that more research would be needed in order to recommend tai chi as a therapy. There is no disease mongering and the description of the syndrome is the best of the five stories we reviewed. Most of the quotes in the story are from people not affiliated with the study. The story talks about how the study compared different alternatives, and it mentions, at least in passing, several other therapies. The story makes it clear that there are multiple versions of tai chi. It could have been more clear about how widely available it might be, especially in sparsely populated areas. The story says, ""Recent studies have suggested that tai chi, with its slow exercises, breathing and meditation, could benefit patients with other chronic conditions, including arthritis. But not all of these reports have been conclusive, and tai chi is hard to study because there are many styles and approaches."" This is all important context, succinctly presented. This story shows that you can pull together a lot of information and still keep the story tight. The story is very well reported and goes well beyond the original study, the editorial and any supporting materials. We were unable to locate a press release about the study." Claim: Tai Chi Reported to Ease Fibromyalgia

Answer:
This is a well considered look at a limited study of an unusual approach to a disorder that has stumped clinicians for decades. It is the only one of the five stories we reviewed that quoted a patient about her experience. This has pluses and minuses. The patient’s extraordinary improvement after tai chi could give reader’s the impression that it will work for everyone. At the same time, it shows that the reporter attempted to gather a fuller picture of the study than most of the other reporters covering it. It could have included more cost information and could have examined the evidence a little more closely. Still, it is the best of the five stories we reviewed. With a sensational topic like tai chi for a debilitating syndrome it is important to write even more clearly and dispassionately as possible. Whether clinicians really have a handle on what causes fibromyalgia remains to be seen, but the truth is that many patients feel shackled to the condition. If an alternative therapy can liberate them without surgery or dependency on long-term drug therapy, that would indeed be reason to celebrate.