input: Please answer the following: The answer to the question: What is the last name of the person who was awarded a gold medal for his dedication to the photographic industry.? is inside the article: Toward the end of 1961, Kertesz broke his contract to Conde Nast Publishing after a minor dispute, and started doing his own work again. This later period of his life is often referred to as the "International period", when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; in 1963, he was one of the invited artists of the IV Mostra Biennale Internazionale della Fotografia there and he was awarded a gold medal for his dedication to the photographic industry. Later in 1963, his work was shown in Paris at the Bibliotheque nationale de France. He later visited Argentina to see his younger brother Jeno for the first time in years. Kertesz experimented with color photographs, but only produced a few. In 1964, soon after John Szarkowski became the photography director at the Museum of Modern Art, he featured Kertesz in a solo show. With his work critically acclaimed, Kertesz gained recognition in the photographic world as an important artist. The work of Kertesz was featured in numerous exhibitions throughout the world in his later life, even into his early nineties. Due to his newfound success, in 1965 Kertesz was appointed as a member of the American Society of Media Photographers. His awards rapidly accumulated: 1974, Guggenheim Fellowship; 1974, Commander of the French Ordre des Arts et des Lettres; 1977, Mayor's Award of Honor for Arts and Culture in New York, 1980 the Medal of the City of Paris, and the first Annual Award of the Association of International Photography Art Dealers in New York; and 1981, honorary Doctorate of Fine Arts from Bard College, and the New York Mayor's Award of Honor for Arts and Culture that year.During this period, Kertesz produced a number of new books. He was able to recover some of the negatives he had left in France decades before. Despite his successes, Kertesz still felt unrecognised as a photographer. His last years were spent travelling to various locations around the globe for his exhibitions,..., can you guess it ?
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output: Kertesz

input: Please answer the following: The answer to the question: What is the last name of the person who starred in the film Sarafina!, which centered on students involved in the 1976 Soweto uprising? is inside the article: Following growing pressure from the anti-apartheid movement both domestically and internationally, in 1990 State President Frederik Willem de Klerk reversed the ban on the African National Congress and other anti-apartheid organisations, and announced that Mandela would shortly be released from prison. Mandela was released in February 1990. He persuaded Makeba to return to South Africa, which she did, using her French passport, on 10 June 1990. Makeba, Gillespie, Simone, and Masekela recorded and released her studio album, Eyes on Tomorrow, in 1991. It combined jazz, R&B, pop, and traditional African music, and was a hit across Africa. Makeba and Gillespie then toured the world together to promote it. In November she made a guest appearance on a US sitcom, The Cosby Show. In 1992, she starred in the film Sarafina!, which centred on students involved in the 1976 Soweto uprising. Makeba portrayed the title character's mother, Angelina, a role which The New York Times described as having been performed with "immense dignity".On 16 October 1999, Makeba was named a Goodwill Ambassador of the Food and Agriculture Organization of the United Nations. In January 2000, her album, Homeland, produced by the New York City based record label Putumayo World Music, was nominated for a Grammy Award in the Best World Music Album category. She worked closely with Graca Machel-Mandela, the South African first lady, advocating for children suffering from HIV/AIDS, child soldiers, and the physically handicapped. She established the Makeba Centre for Girls, a home for orphans, described in an obituary as her most personal project. She also took part in the 2002 documentary Amandla!: A Revolution in Four-Part Harmony, which examined the struggles of black South Africans against apartheid through the music of the period. Makeba's second autobiography, Makeba: The Miriam Makeba Story, was published in 2004. In 2005 she announced that she would retire and began a farewell tour, but despite having osteoarthritis, continued to perform..., can you guess it ?
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output: Makeba

input: Please answer the following: The answer to the question: To whom is Millar referring when he observes that, positively, any comparisons undertaken would demonstrate his remarkable independence, his unfailing integrity and charm? is inside the article: In his field and day, Wright was certainly eclipsed by his rival the more prolific Lely, to whom he is often compared. One critic, Millar, observes that any comparisons undertaken would "ruthlessly expose Wright's weaknesses and mannerisms" but that positively "they would also demonstrate his remarkable independence, his unfailing integrity and charm, the sources of which must partly lie in his unusual origins, fragmented career and attractive personality". Millar suggests that a particularly useful comparison can be made between Lely and Wright's respective portrayals of the Duchess of Clevland (Barbara Villiers) (above). Whereas Lely portrayed her as a "full-blown and palpably desirable strumpet", the more seriously minded Wright, who was not really in sympathy with the morality of the new court and its courtesans, rendered a more puppet-like figure.However, even if Lely was considered the more masterly and fashionable of the two in seventeenth-century Britain, Wright is generally accepted as portraying the more lively and realistic likenesses of his subjects, a fact that reinforces Pepys's observation that Lely's work was "good but not like". Neither should Wright's realism be confused with a prudishness; as can be seen, for example, in his portrait the lady, thought to be Ann Davis (right). The picture, with the sitter's clothing left undone and her modesty barely preserved by a red drape, has been described as exhibiting a fresh even risky reality: erotic by contemporary standards. Whereas Wright's contemporaries might have used the 'disguise' of presenting the sitter in the guise of a classical goddess to protect against accusation of salaciousness, Wright's portrait rather depends on his realism, notably in his flesh tones, and depth., can you guess it ?
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output:
Wright