MILWAUKEE (AP) — Milwaukee Bucks guard Patrick Beverley was suspended by the NBA on Thursday for four games without pay to begin next season for his actions during and after the final game of an Eastern Conference first-round playoff series with the Indiana Pacers.

The league announced the suspension and said Beverley was getting punished for “forcefully throwing a basketball multiple times at spectators and an inappropriate interaction with a reporter during media availability.”

This suspension was handed down one day after Indianapolis police said they were investigating an “NBA player and citizen” altercation that happened during that May 2 game without mentioning anyone by name.

Beverley threw a ball at fans in the closing minutes of Milwaukee’s 120-98 Game 6 loss at Indiana that knocked the Bucks out of the playoffs. Cameras showed him sitting on the bench and tossing a ball into the stands, hitting a fan in the head with about 2 ½ minutes left. After a different fan threw the ball back to Beverley, who was holding his arm out for it, the Bucks guard fired it back at that spectator.

Beverley spoke about his behavior on an episode of “The Pat Bev Podcast” that was released Wednesday. He said he was called a word that he’d never been called before, but added that his actions were “still inexcusable.”

“I will be better,” he said. “I have to be better, and I will be better. That should have never happened. Regardless of what was said, that should have never happened. Simple as that.”

Beverley added the atmosphere in Indiana “was great” aside from “a handful of fans” who crossed the line.

“I ain’t bringing a basketball on the bench no more,” Beverley said. “That … threw my whole vibe off.”

After the game, Beverley wouldn’t allow ESPN journalist Malinda Adams to ask him a question in a group interview in the locker room. He said it was because she didn’t subscribe to his podcast. Beverley told her to get her microphone out of his face and then eventually asked her to leave the interview circle.

The next day, Adams said on X that she had received apologies from both the Bucks and from Beverley himself.

On his podcast, Beverley said he had asked that of reporters who interviewed him ever since he launched his podcast. Beverley said he told Adams that “it was never my intent to disrespect you.”

A day after the game, Bucks coach Doc Rivers said Beverley’s behavior was “not the Milwaukee way or the Bucks way.”

“We’re better than that,” Rivers said. “Pat feels awful about that. He also understands emotionally — this is an emotional game and things happen — unfortunately, you’re judged immediately and he let the emotions get the better of him.”

The Bucks acquired the 35-year-old Beverley from the Philadelphia 76ers at the trade deadline. Beverley was playing on a one-year deal, making him an unrestricted free agent heading into the offseason.

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AP NBA: https://apnews.com/hub/NBA

Marking his first solo U.S. exhibition, Idris Khan’s “Repeat After Me” at the Milwaukee Art Museum is an impressive and expansive overview of the artist’s creative evolution thus far. Beginning with his early digital work in photography, video and sculpture, leading us into his more recent work in painting, and culminating in a new collection of watercolor works created specifically for the show, viewers are given a masterfully curated insight into the artist’s unique creative language. Khan’s work uses repetition as the main recurring motif regardless of medium, exploring themes such as time, memory and loss. Following a chronological timeline, each gallery is both an exciting departure and a continuation from the last as we travel along with Khan in discovering how repetition can be used to better understand time and remembrance.

The show begins with Khan’s early work in photography in which he takes existing media of a similar subject matter and meticulously layers them all into one large file. The resulting images are blurred, overly saturated and difficult to comprehend—and they are meant to be. Khan has stripped away the preconceived understanding that photography produces clear, carbon copy images of one moment in time and instead has created deeply layered and complex works exploring time itself. His works such as “every…William Turner Postcard from Tate Britain” (2004) feel deeply familiar yet distant almost as though they are the result of closing your eyes and conjuring up a William Turner painting from memory.

Idris Khan, “Overture,” 2015, oil on glass with aluminum frame, 96″ x 78″ x 156″/Photo: Idris Khan and Sean Kelly

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Following his work with photography, we move onto his text-based work. Applying the same methodologies from before, Khan combines every scanned page of a book into one single image. Just as with the subject matter of the photographs, the “subject” or text becomes impossible to discern. However, it is not the text itself that is important but rather the resulting powerful visual story. This is furthered once again in the next room in which the text from literature is replaced with musical compositions. It is here that his exploration of time really begins to resonate as each musical score exists in its entirety simultaneously.

The first half of the exhibition features Khan working primarily with pre-existing media. In one of the largest departures in the show, we now enter into an exciting place in his practice in which he begins to create pieces created solely by his own hand. It is also where we begin to see his work with sculpture and painting. Repetition remains the driving force behind his art but we are introduced to it being shown in a new light. His work “Overture” (2015), a large-scale sculpture featuring seven large panels of glass hanging vertically, one in front of the other, introduces his work with stamps and his exploration of global crisis and displacement. Each panel of glass is stamped repeatedly with his own writing, creating densely layered abstract shapes where the writing is illegible except for the edges of shapes where broken phrases start to become visible. The repetition becomes deeply personal in his work “My Mother,” a cast of around 360 stacked photos representing his mother’s entire life in photographs.

Idris Khan, “The Seasons Turn,” 2021, oil on mounted paper, twenty-eight panels, each: 25 1/2″ × 21 1/2″/Photo: Idris Khan and Sean Kelly

The exhibition once again takes new form as we begin to view Khan’s work with painting in “The Seasons Turn,” a collection of twenty-eight (seven for each season) watercolor works created during the COVID-19 pandemic. Each painting features colors specially chosen to represent a particular season and is stamped with the music of Vivaldi’s “Four Seasons.” Through these works, not only do we see a continuation of his work with musical compositions and repetition, but we are also introduced to a new caliber of his artistic skill—his masterful use of color. When viewed together as one large piece, the colors converse with one another in a symbiotic relationship.

The final room features a new collection of paintings Khan has created specifically for the exhibition. Taking inspiration from five master paintings in the museum’s collection, he has created colorful reinterpretations of paintings stamped with musical compositions created with a digital program directly using the colors from each historical painting. The show is deeply compelling and brilliantly curated to create a powerfully intimate viewing experience. If you were to enter the show not knowing anything about Idris Khan, you will leave a fan excited and eager for future work.

“Idris Khan: Repeat After Me” is on view at Milwaukee Art Museum, 700 North Art Museum Drive, Milwaukee, Wisconsin, through August 11.

MILWAUKEE — UW-Milwaukee’s chancellor says if the campus protest encampment does end soon, the school will take action to ensure that it does.

Demonstrators have been camped out for 10 days, demanding that UWM cut all ties with Israel over the war in Gaza.

in a letter shared with students and staff today, Chancellor Mark Mone called the camp a safety concern, and said the school is actively negotiating with the group, and is “asking protesters to end the encampment in no way equates to asking protesters to be silent.”

Read the full statement from the chancellor below:

“Dear UWM Students, Faculty and Staff,

We are bearing witness to history, not just at UWM, but across the nation and the world. For the past 10 days, UWM’s portion of this historic chapter has unfolded as an encampment on the lawn outside of Mitchell Hall. It tests us in ways not seen in generations and reminds us that such tests rarely come with one-size-fits-all answers. Knowing all this, I write to provide more clarity about UWM’s position, its obligations, and my personal hopes for how we move forward.

Conflict in the Middle East, as it has done for decades and centuries, inevitably sparks the deeply felt and seemingly diametrically opposed responses we see today. For many of our students and many more in the surrounding community, the encampment has become a focal point to voice these beliefs. Since the encampment’s inception, UWM leadership has sought the precarious balance required of a public university that serves a broadly diverse community. We’ve also made it clear that the encampment is unlawful, and that it must end.

UWM remains committed to preserving the safety of everyone within our campus community and to respecting free speech rights that are guided by Universities of Wisconsin policy and Wisconsin state law. I appreciate that the protests have remained peaceful and have not disrupted daily campus operations. And it is laudable that so many learning opportunities have been incorporated into life inside the encampment. This is a reflection of our campus community as a whole – and I salute the many instances of people coming together, discussing issues of the day, and welcoming the diverse people and opinions on our campus.

It’s in that spirit that UWM has used the widest possible amount of patience and restraint while the protesters exercise their free speech rights. Throughout conversations with community members and representatives of the protesters, UWM has been consistent in its desire for a peaceful resolution. We’ve maintained this approach even as protesters erected barriers, expanded their camp, and used rhetoric that’s offensive to many in our community. I recognize that many people believe UWM has offered too much leeway, while others will say we’ve not offered enough. I also recognize that people can strongly disagree with what others say while still supporting their right to say it.

It’s important to note some specifics about UWM’s approach, which has been engaged and hands-on, because it has differed from many others across the nation that have drawn media attention.

• UWM Police have continually monitored the encampment but not intervened. UWM has not called in law enforcement mutual aid for enforcement purposes. We do not want to take such action. But in the event of a public safety concern or an emergency, UWM Police will exercise its authority to keep the campus community safe.
• The UWM Foundation has shared its message addressing protesters’ concerns about its investments. In summary, it confirmed UWM’s consistently stated position of having no direct investments in weapons manufacturers or with Middle East governments, though it does hold mutual equity funds that include a variety of major industries.
• We are actively negotiating with representatives of the protest group and have addressed the protesters’ demands as much as state laws and policy allow. We’ve also explained how UWM, as a public university, cannot take political stances or infringe on academic freedom.

The protesters have said they want the encampment to end, and I believe we all genuinely share this goal. However, they have remained steadfast about not leaving their encampment until all of their demands are met, including those that are legally impossible for UWM to meet. Therein lies the conundrum.

UWM is simply not equipped nor properly resourced to support and safeguard a long-term outdoor campground. This is part of why such encampments are unlawful under Chapter 18 of the Wisconsin Administrative Code, and why Gov. Tony Evers, Milwaukee Mayor Cavalier Johnson and Universities of Wisconsin President Jay Rothman have all said the encampments must end. The longer the encampment stays, the greater safety concerns grow, be it from a counter protest flashpoint or bad actors deliberately targeting the encampment. This is why we’ve gone to such great lengths to work with protesters to bring an end to the encampment. However, if the encampment doesn’t end soon, UWM will have to take action to ensure that it does.

Asking protesters to end the encampment in no way equates to asking protesters to be silent. On the contrary, our actions have shown how much UWM encourages and supports everyone’s right to make their voices heard. This will not change.

UWM’s only request to the protesters is that they abide by the law. It is my great hope that we can find common ground on this and remove the barriers that keep us from seeking answers together.”

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