Given a document, find the main entity about whom the author is writing. Write the full name if mentioned in the text. Note that URLs in the text have been replaced with [Link].

Ex Input:
For his profession   Lowell Bailey  wears a .22 caliber rifle strapped to  his  back. It has taken  him  across the world and to four Olympic Games  most recently to the biathlon mixed relay Tuesday night at Alpensia Biathlon Centre  where  he  skied the anchor leg for a United States team that finished 15th.  His  sport and  his  livelihood revolve around shooting.  His  competitors from other countries often wonder about  his  country's relationship with guns.
Biathlon and mass murder of innocent people share no connective tissue  other than the broadest definition of the tool used. Even understanding that intellectual fact   Bailey  and  his  teammates often experience a visceral need to reconcile the shooting portion of their sport and the destruction guns have caused in their country. They are shooting rifles while representing a country where debates over gun control have once again become a central issue.
Tuesday night  under the lights and in front of a packed grandstand   Bailey  spoke out.
"I support an assault weapons ban  " Bailey  said. "I really do. Our country needs to wake up. Our country needs to change. There's just no excuse. I compete against all of these other World Cup nations â Germany  Norway. How good are they on the range? They're great at rifle marksmanship. Do you know how strict their gun controls law are? It's a travesty America hasn't changed and continues to go down this path. It just makes me want to cry."
"We're really aware we are a firearm sport  that we are a shooting sport " Firesteel Reid said. "A lot of us have pretty strong opinions about this. I think  we  get grouped into a certain type of person  and I don't think any of  us  are that type of person. That has been quite fascinating."
While the rules here are extreme  U.S. gun laws confound biathletes from other countries.  Bailey  said  he  has discussed the U.S. laws with rivals  and mostly they are left at a loss.
"They're absolutely baffled "  Bailey  said. "They're baffled at the political landscape of the United States and how we can continue to put assault weapons in the hands of anyone who wants to walk into a gun store and buy one."
"We're a sport that uses a .22 caliber rifle "  Bailey  said. "A .22 caliber rifle with a bolt action that shoots a single round is a much different thing than an AR-15. In my opinion  there's just no reason for assault rifles to be in the hands of ordinary citizens. I understand the Second Amendment. I appreciate hunting. I appreciate rifle marksmanship. You're talking about rifles. You're talking about targets. You're not talking about weapons that are designed to kill people.

Ex Output:
Lowell Bailey


Ex Input:
Democrats on Wednesday questioned again whether Attorney General Jeff Sessions was forthcoming with Congress amid news reports  he  killed a suggestion by  former Trump campaign adviser George Papadopoulos  to set up a meeting with Republican candidate Donald Trump and Russian President Vladimir Putin.
"Jeff Sessions concealed his meetings with Russians  and he had an obligation to be more forthcoming about the meeting that involved  Papadopoulos  as well " Connecticut Sen. Richard Blumenthal  a member of the Judiciary Committee  told Manu Raju on CNN.
"In fact  one of the points of question is whether  Papadopoulos  in that charging document where there's a reference to a campaign supervisor was  in fact  talking to Jeff Sessions."
According to charging documents unsealed Monday in Russia special counsel Robert Mueller's probe   Papadopoulos  suggested in a July 2016 meeting that  he  should make efforts to connect Trump with Putin.
Trump  who was at the meeting of campaign advisers  "didn't say yes and  he  didn't say no " an official who was in the room told CNN about the meeting.
 Papadopoulos   30  a Trump foreign policy adviser  pleaded guilty to lying to the FBI  according to the unsealed documents in Mueller's investigation.

Ex Output:
George Papadopoulos


Ex Input:
When does an artist become a phenomenon? Itâs a rare moment on the scale of seeing a new star emerge in the night sky. Already  a rising art world star  American artist Kehinde Wiley  seems poised now at the age of 35 and after just a little over a decade of work to take the next step and really heat things up. With not one but two big New York City exhibitions  a featured appearance on a hot new album cover  and the kind of retrospective  lavishly illustrated  critically evaluative monograph that seals the deal   Kehinde Wiley  has the whole world in the palm of  his  hand  and thatâs exactly what  he  wants.
Born in 1977 as the youngest of six children to a single mother   Wiley  grew up facing hard economic times but also enjoying the intellectual stimulation of having a mother in academia. Looking for a way to keep Kehinde occupied   his  mother enrolled  him  in art classes  including some at the Huntington Library  where  he  could study portraits such as Thomas Gainsboroughâs famous Blue Boy. After graduating with an MFA from Yale in 2001   Wiley  became artist-in-residence at the Studio Museum in Harlem  where  he  witnessed a steady stream of young African-American men walk past in full hip hop regalia. Joining the old school world of portraiture with this new school of personal style   Wiley  developed the unique subject matter and approach that has been a popular and critical success since.
In Kehinde Wiley  the first monograph dedicated to Wileyâs career as a whole (published by Rizzoli USA)  Thelma Golden  chief curator and director of the Studio Museum in Harlem  introduces the volume by remarking that she âwas in conversation with  Wiley  before I ever spoke to  him .â Wileyâs work touches on âthe politics of representation; the power of art history; the veracity of images; notions of authorship  identity  and culture; the critical nexus of race and gender in contemporary art â Golden listsâall things that she and nearly all contemporary art critics think deeply about. This combination of Wileyâs thought provoking practice and stunningly beautiful paintings makes him irresistible to both the high brows and those simply wanting to enjoy the show.
In addition to capturing visually  Wiley âs bravura brushwork and vast range of visual inventiveness in 275 color illustrations (including some gatefolds)   the contributors Kehinde Wiley  dig  their  critical teeth deep into Wileyâs art and come away with a mouthful. Art historian Robert Hobbs provides a detailed biography not just of Wileyâs life but of his thought  mapping mental landmarks ranging from W.E.B. DuBois and Henry Louis Gates  Jr.  to Michel Foucault and Jacques Lacan. Hobbs sees a kind of âconceptual realismâ at the heart of Wileyâs portraiture that is âcoercive rather than simply mimetic.â More than just capturing a likeness  Wileyâs portraits capture your mind and make you think about the power relations embedded in imagery of all kinds throughout history.
 Wiley âs standard procedure has been to âstreet castâ individuals who catch his eye  invite them to his studio  allow them to browse art history books and pick a pose  and then photograph the subjects in full regalia to use for painting later. Wileyâs 2008 painting The Virgin Martyr St. Cecilia (shown above) riffs on Renaissance sculptor Stefano Madernoâs The Virgin Martyr St. Cecilia from 1600. From one perspective  the prone African-American male seems as powerless as the martyred saint. From another  the young man takes on the gravitas of Cecilia as a modern victim of thoughtless violence. From yet another  knowing that the young man chose this pose for himself  he takes on the role of provocateur  consciously drawing all those associations and moreâparadoxically in control even when prone. This alchemical approach to art history is at the center of the âconceptual realismâ Hobbs suggests.
The Jewish Museum  New York is currently showing the latest installment of The World Stage paintingsâKehinde Wiley/The World Stage: Israel. The exhibition features 14 large-scale portraits of young Israeli men of different ethnic backgrounds and religions. A video on the museumâs website shows Wiley in Tel Aviv âstreet castingâ and finding individuals such as Ethopian Jewish hip hop performer Kalkidan. Wiley finds hip hop in the unlikeliest places in Israel  proving the global reach of the art form that began in the Bronx as a means of âblackâ expression.
The title of Sean Kelly Galleryâs current Wiley exhibition  Kehinde Wiley: An Economy of Grace  could be an emblem for everything Wileyâs been doing for the past decade both locally and globally. âThe phrase âan economy of graceâ speaks directly to the ways in which we manufacture and value grace and honor  the people that we choose to bestow that honor upon  and the ways in which grace is at once an ideal that we strive for and something that is considered to be a natural human right â Wiley explains. Wileyâs trying to turn his personal economy of grace into a global economy  with his portraits as the new gold standard. As technology brings us closer and closer  the friction between individuals  countries  ideologies  religions  and everything else heats up faster than ever. Grace may be the only currency that can pull us out of the global spiritual debt crisis. If Kehinde Wiley seems to have the world in his hands right now  itâs because he wants to save it one image at a time by showing us the grace and beauty of black men and  by extension  the grace and beauty of us all.
[Image: Kehinde Wiley. The Virgin Martyr St. Cecilia  2008. Oil on canvas. 101.5 x 226.5 in. Â© Kehinde Wiley.]
[Many thanks to Rizzoli USA for providing me with the image above and a review copy of the monograph Kehinde Wiley  by Thelma Golden  Sarah Lewis  Robert Hobbs  and Brian Keith Jackson. Many thanks also to Sean Kelly Gallery (whose exhibition Kehinde Wiley: An Economy of Grace runs through June 16  2012) and to The Jewish Museum  New York (whose exhibition Kehinde Wiley/The World Stage: Israel runs through July 29  2012) for press materials.]

Ex Output:

Kehinde Wiley