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69 articles, 2016-05-13 06:05 1 turner prize 2016 shortlist revealed this year sees anthea hamilton, michael dean, helen marten and josephine pryde vying for the title, whose creative practices are linked by common mediums — sculpture and installation. 2016-05-12 16:50 5KB www.designboom.com (2.07/3)

2 Morning Links: Yale Center for British Art Edition (1.08/3) Must-read stories from around the art world 2016-05-12 08:21 2KB www.artnews.com 3 Turning Snow: Olga Viso on Martin Friedman’s Legacy Martin Friedman, the Walker's director from 1961 to 1990, passed away in New York City on May 9, 2016. When I began my tenure at the Walker in early 2008, it had been almost 20 years since Martin... 2016-05-12 21:54 900Bytes blogs.walkerart.org (1.04/3)

4 Tate Britain Announces Four Turner Prize Nominees Helen Marten, "Eucalyptus, Let Us In," 2015. COURTESY GREEN NAFTALI Tate Britain announced four nominees for the annual Turner Prize today: Michael Dean, (1.04/3) 2016-05-12 13:15 2KB www.artnews.com 5 aesop opens snøhetta-designed store in singapore snøhetta has continued its ongoing collaboration with aesop with the opening of its second store in singapore. 2016-05-12 19:22 2KB www.designboom.com (1.02/3)

6 Affable Experimentation: Steve Lehman Octet at the Walker To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opi... 2016-05-13 05:00 935Bytes blogs.walkerart.org (1.00/3)

7 Summers of Rock — Magazine — Walker Art Center (0.09/3) Launched in 1998, the Walker’s now-annual Rock the Garden festival has gone through plenty of changes—from its inception as an intermittent, on... 2016-05-12 20:00 12KB www.walkerart.org 8 ala sieradzka transforms scraps to nutrients with bono composter with the help of earthworms, bono turns bin-bound items into nutrient filled fertilizer that can be used to cultivate herbs, veggies, and fruits at home. 2016-05-13 04:01 2KB www.designboom.com 9 erwin wurm deforms domestic interior objects at frieze new york at the 2016 edition of frieze new york, lehmann maupin gallery presents a selection of new bronze works by austrian artist erwin wurm. 2016-05-13 02:01 2KB www.designboom.com 10 Sonic Youth visits the Walker Before they headed to the Minnesota State Fair last night for a rain-soaked concert with the Magic Numbers and The Flaming Lips, Sonic Youth stopped by for a tour of the Walker galleries with Perform... 2016-05-13 05:00 789Bytes blogs.walkerart.org 11 designphase dba adds glass façade to pizza restaurant in singapore the open-plan setting provides a casual environment that aims to appeal to a younger audience who can relate to street art with its connotations of culture, music, and young hip fashion. 2016-05-12 23:45 1KB www.designboom.com

12 Sarah Jessica Parker Uncensored Sarah Jessica Parker talked frankly about her successes and failures, and how the pain sometimes feels good. 2016-05-12 23:09 2KB wwd.com 13 American Airlines Taps Cole Haan and Twin Hill for Employees’ New Accessories and Uniforms American Airlines will phase out its Kaufman Franco-designed uniforms for Twin Hill ones accessorized with items from Cole Haan that staffers can also purchase for family and friends. 2016-05-12 22:51 3KB wwd.com 14 Susan Sarandon Is on a Roll The actress talks about her new beauty deal with L’Oréal, aging in Hollywood, girl power and the joys of producing. 2016-05-12 22:33 5KB wwd.com 15 A Portrait of the Artist as a Young Philosopher | City of the Seekers Artist Rives Granade loves all the things about Los Angeles that everyone else hates. 2016-05-12 21:15 8KB thecreatorsproject.vice.com 16 Ivanka Trump and Kate Hudson Share Insights at Forbes Women’s Summit The two shared stories about their lives as entrepreneurs and celebrities. 2016-05-12 21:09 4KB wwd.com 17 Calvin Klein Stirs Up More Controversy With Its Spring 2016 Campaign The ad features Danish actress Klara Kristin from a revealing angle. 2016-05-12 21:01 2KB wwd.com 18 Elizabeth Arden to Buy Christina Aguilera Fragrance Business Originally part of P&G’s sale to Coty, Christina Aguilera Perfumes dropped out of that deal in January. 2016-05-12 20:43 2KB wwd.com 19 Here's a New Model for Selling Art with Bitcoin Eric Barry Drasin and Benton C. Bainbridge inaugurate their Moving Pictures Gallery project with a performance by audiovisual artist Jonas Bers. 2016-05-12 20:25 9KB thecreatorsproject.vice.com 20 Second Thoughts: Fred Sandback and the Virtual Line How does an exhibition accrete meaning, gain relevance, or shift shape over time? In the 2016-05-12 17:40 858Bytes blogs.walkerart.org 21 What is a Contemporary Collection? Thoughts on the Walker Moving Image Commissions and the Ruben/Bentson Moving Image Collection The Walker Moving Image Commissions is an online series in which five artists responded to selections from the Ruben/Bentson Moving Image Collection. Premiered in the Walker Cinema and released for a... 2016-05-12 18:40 1KB blogs.walkerart.org 22 Artists Installing: Lee Kit Hong Kong artist Lee Kit spent the past two-and-a-half weeks in the gallery working on his site-specific installation for his first solo museum exhibition in the US, Lee Kit: Hold your breath, dance... 2016-05-12 18:39 835Bytes blogs.walkerart.org

23 Giant Fluorescent Totems Rise in the Nevada Desert No, you’re not hallucinating: A massive installation by Ugo Rondinone is the Southwest’s latest roadside attraction. 2016-05-12 19:50 4KB thecreatorsproject.vice.com 24 Listening Mix: Devendra Banhart & Friends LISTENING MIX provides a musical preview for artists visiting the Walker. Combining their work with sounds from a variety of contextual sources, LISTENING MIX can be experienced before or after a pe... 2016-05-12 18:27 941Bytes blogs.walkerart.org 25 A Melancholy Tale About the Father of Cinema, Eadweard Muybridge Get ready to feel bad for the famous artist's less-famous kid. 2016-05-12 19:25 3KB thecreatorsproject.vice.com 26 Charles Pétillon Engulfs Gallery Magda Danysz in a Balloon Vortex “Invasions,” the artist’s debut exhibition in China, features a site-specific installation of thousands of balloons arranged in a spiral around the 1,000-square-meter gallery. Visitors to the show will be enveloped in this vast creation, giving them the experience of entering what the... 2016-05-12 19:16 2KB www.blouinartinfo.com 27 Let Fairy Tale Slackliners Teach You the Art of Falling Slackliner Louis Boniface knows how to make the most of any fall. 2016-05-12 18:25 2KB thecreatorsproject.vice.com 28 Scott Anderson at CES Gallery, Los Angeles Pictures at an Exhibition presents images of one notable show every weekday 2016-05-12 18:20 1KB www.artnews.com 29 Iris Apfel Among Tastemakers for Pirch Campaign The campaign will run throughout the summer. 2016-05-12 18:07 1KB wwd.com 30 Row Downtown L. A. Project Nabs Brooklyn Flea Food Market Smorgasburg is set to make its West Coast debut June 19 at the Row DTLA mixed-use project. 2016-05-12 18:00 4KB wwd.com 31 san francisco approves foster + partners' oceanwide center the new oceanwide center in san francisco, designed by foster + partners in collaboration with heller manus, has received approval from local authorities. 2016-05-12 17:56 2KB www.designboom.com 32 Former Condé Nast Publisher Bill Wackermann’s Wilhelmina Pay Revealed Wackermann’s new salary has been revealed in a regulatory filing. 2016-05-12 17:48 1KB wwd.com 33 Narciso Rodriguez and Robert Longo Celebrate Stephen Petronio Benefit Tote The collaborative tote was designed to support Petronio’s dance company. 2016-05-12 17:46 2KB wwd.com 34 2,000 Glowing Pigeons Illuminate the Brooklyn Waterfront As artist Duke Riley proves in 'Fly by Night,' LED-equipped pigeons are the new performance art. 2016-05-12 17:30 5KB thecreatorsproject.vice.com

35 Die Antwoord's "I Fink U Freeky" Director Released a Terrifying Short Film Artist Roger Ballen filmed the thriller in the old mental asylum that now houses Sydney's College of the Arts. 2016-05-12 17:10 3KB thecreatorsproject.vice.com 36 Tunick Wants to Make America Naked Again Photographer Spencer Tunick is looking for one hundred women willing to "pose nude in Cleveland during the Republican National Convention. " 2016-05-12 16:53 2KB news.artnet.com 37 George Zimmerman Gun Auction Cancelled George Zimmerman was offering the gun with which he shot and killed Trayvon Martin, until the auction website pulled the listing. 2016-05-12 16:27 3KB news.artnet.com 38 Jan Fabre’s Art Conquers Florence With Bronze Turtle, Shiny Insects Jan Fabre’s Art Conquers Florence With Bronze Turtle, Shiny Insects 2016-05-12 16:21 3KB www.blouinartinfo.com 39 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-05-12 16:56 1KB gdusa.com 40 DAS INSTITUT Serpentine Sackler Gallery / London Throughout DAS INSTITUT’s latest self-titled show, currently at the Serpentine Sackler Gallery, the body is suggested, performed, dissected and expanded by the imaginative layering of Kerstin Brätsch and Adele Röder’s... 2016-05-12 16:14 2KB www.flashartonline.com 41 crisscross adaptable furniture is easy to build, take apart and move again because of its modular design, you can create almost anything to fit your space, and when you don’t need it anymore, you can change it into something new. 2016-05-12 15:54 2KB www.designboom.com 42 Mixed-Media Works Break Down Cultural and Critical Barriers Chad Wys' work is what art history would look like if it time-traveled between the past and the future. 2016-05-12 15:30 7KB thecreatorsproject.vice.com 43 Charles Gleyre’s Reputation Reexamined in Orsay Show Charles Gleyre is a painter who has often been mistreated by art history. A new show in Paris aims to set the record straight and rehabilitate his reputation. 2016-05-12 15:25 3KB www.blouinartinfo.com 44 Desiigner's Panda Mask Was Made by a Taxidermy Artist [Exclusive] We spoke to taxidermy artist Kate Clark, who made the rapper's custom mask for his "Panda" music video. 2016-05-12 14:20 3KB thecreatorsproject.vice.com 45 Vanessa Hudgens, Emily Ratajkowski, Josh Hutcherson Ring in Rosario Dawson’s Fashion Launch and Birthday Shiva Rose and Kendrick Sampson were also at the launch party for Dawson’s artisan- made collection with Yoox, which doubled as her belated birthday bash. 2016-05-12 13:51 4KB wwd.com 46 An Abandoned Power Plant Is Reborn as an Art Space Can this old power plant grow a brand new art scene in South Bend, Indiana? 2016-05-12 13:50 6KB thecreatorsproject.vice.com

47 French Artist Builds Illegal Secret Installations Beneath Paris Radouan Zeghidour is an urban explorer leaving his mark on underground Paris. 2016-05-12 13:25 4KB thecreatorsproject.vice.com 48 LINK arkitektur wraps contemporary gabled extension with kebony wood in norway LINK arkitektur establishes a meaningful dialogue between past and present seen in the farmhouse shape and the introduction of contemporary materials. 2016-05-12 13:23 3KB www.designboom.com 49 Cartier Aims for Younger Customers, Men, Retail Rennovations Cartier sees opportunity in younger market with everyday luxury pieces while refining its retail stores. 2016-05-12 13:04 2KB wwd.com 50 Talking the Revival of ‘Roots’ With Anika Noni Rose Tony winner and Disney princess Anika Noni Rose stars this May in the remake of the historic series “Roots.” 2016-05-12 13:00 5KB wwd.com 51 holland green residences by OMA + allies and morrison OMA + allies and morrison have constructed three limestone-clad residential blocks around london's listed commonwealth institute building, which has also been fully renovated ahead of its opening as the new design museum later this year. 2016-05-12 12:59 3KB www.designboom.com 52 Rodin Museum Settles Engineer's Injuries The Rodin Museum is settling a lawsuit leveled by an engineer who fell through the building's glass ceiling during an energy inspection in 2012. 2016-05-12 12:47 2KB news.artnet.com 53 le roi soleil by marcel wanders for baccarat is adjourned with crystal shades and cut motifs 'le roi soleil' chandelier by marcel wanders was presented as part of baccarat's 'lumières out of the box' installation at milan design week 2016. 2016-05-12 12:30 2KB www.designboom.com 54 VIDEO: Bernard Frize on Color and Serendipity The French artist talked with BLOUIN ARTINFO about the new works in his exhibition “Dawn Comes Up So Young,” on view at Galerie Perrotin in New York through June 18. 2016-05-12 12:15 1KB www.blouinartinfo.com 55 Meet BeMA: The New Beirut Museum of Art The highly-anticipated art center BeMA: Beirut Museum of Art officially opens in 2020. In the meantime, the design competition heats up. 2016-05-12 12:05 2KB news.artnet.com 56 Dominique Lévy Adds Pat Steir to Its Roster, Plans September Show in London Pat Steir making a waterfall painting in 1990.©ERIC BOMAN In the midst of an auction week marked by huge sales for work by Cy Twombly and Agnes Martin in New 2016-05-12 12:00 3KB www.artnews.com 57 Pilar Tompkins Rivas Named Director of Vincent Price Art Museum in Los Angeles Pilar Tompkins Rivas. RAFAEL CARDENAS East Los Angeles College announced today that Pilar Tompkins—the former coordinator of curatorial initiatives at the 2016-05-12 11:22 2KB www.artnews.com

58 Take a Look at Tony Bennett's Paintings Tony Bennett is best known for his musical career, but the octogenarian singer (like a growing number of public figures) is also an accomplished painter. 2016-05-12 11:08 2KB news.artnet.com 59 Hanne Darboven’s Genius in “Evolution Leibniz” at Galerie Crone Some of Hanne Darboven’s work is getting displayed for the first time in 20 years at Galerie Crone in Berlin. 2016-05-12 11:01 2KB www.blouinartinfo.com 60 Will British Museums Reveal Secret BP Funding? London's Tate, British Museum, and National Portrait Gallery are being investigated for possible ethics violations over their controversial BP sponsorships. 2016-05-12 10:56 2KB news.artnet.com 61 Christie's Warhol Auction Flunks Art History 101 – Read THE DAILY PIC, on how a neo-expressionist splash outsold a Pop icon, proving the market's idiocy. 2016-05-12 10:54 3KB news.artnet.com 62 Tokyo Art Guide May 2016 This week's guide includes Karl Lagerfeld, Yoko Ono, Hishida Shunso, and more. 2016-05-12 10:42 2KB news.artnet.com 63 Here's What Yusaku Maezawa Has Bought So Far Is the 40-year-old Japanese billionaire the art world's next mega collector? 2016-05-12 10:28 1KB news.artnet.com 64 Video: Other Music's 10 Essential Spins The New York record shop Other Music will close its doors on June 25, after over two decades in business. We asked the co-owner Josh Madell about the records that represent the soul of his store. 2016-05-12 10:20 832Bytes www.nytimes.com 65 Ad for LGBTQ Show With Photo by Trans Artist Cassils Is Banned by German Rail, Then Allowed Cassils and Robin Black, Advertisement: Hommage to Benglis, part of the series "CUTS: A Traditional Sculpture," 2011, six-month durational performance. ©2011 2016-05-12 10:16 6KB www.artnews.com 66 Making a Dream, a Reality At Real Art, we get serious when it comes to window displays. Like Fifth Avenue, Rodeo Drive serious. With the floor-to-ceiling, First Street facing window of the Dayton office, we try to aim for the stars. Dressed in paper airplanes,... 2016-05-12 09:45 2KB realart.com 67 ‘Art Derives From Everything in Life’: A Talk with Nathaniel Mary Quinn Nathaniel Mary Quinn photographed on March 8, 2016, in New York City. MARIO SORRENTI Bill Powers: Do you consider your paintings to be portraits? Nathaniel 2016-05-12 09:30 11KB www.artnews.com 68 Paddle8 and Auctionata Announce Merger The two online auctioneers announced a merger deal at an undisclosed amount, poised to strengthen their position in the mid-range sector. 2016-05-12 07:06 2KB news.artnet.com 69 Chen Ke’s Paintings Explore Marilyn Monroe at Galerie Perrotin Chinese artist Chen Ke presents a series of paintings of Marilyn Monroe's real life and dreams at Hong Kong’s Galerie Perrotin. 2016-05-12 06:42 2KB www.blouinartinfo.com Articles

69 articles, 2016-05-13 06:05

1 turner prize 2016 shortlist revealed (2.07/3) turner prize 2016 shortlist revealed (above) anthea hamilton; ‘project for door (after gaetano pesce)’, 2015 installation view; ‘anthea hamilton: lichen! libido! chastity!’ exhibition at sculpturecenter, new york, 2015, courtesy the artist, photo: kyle knodell since 1984, the turner prize has been awarding an artist annually for an outstanding exhibition, or other presentation of their work from the preceding year. still one of the best-know prizes for visual arts, the shortlist of four creatives is selected each year by a specially chosen independent jury, following a process of public nominations. before the winner is announced in december, the four shortlisted artists are invited to present their pieces at the tate britain in an exhibition — with the nominees to be judged on the work for which they were chosen, and not for what they bring forth during the turner prize show. this year sees anthea hamilton, michael dean, helen marten and josephine pryde vying for the title, whose creative practices are linked by common mediums — sculpture and installation. anthea hamilton ‘brick suit’, 2010, installation view ‘anthea hamilton: lichen! libido! chastity! exhibition at sculpturecenter, new york, 2015 wool, lining 22 x 5 x 46 inches (55.9 x 12.7 x 116.8 cm) courtesy the artist, photo: kyle knodell anthea hamilton brings a surrealist sensibility to popular culture and the mind-bending volume of stylized and sexualized imagery in the digital world. working across sculpture, installation, performance and video, she seduces the viewer with comic and unexpected combinations of images, materials and worlds, through dramatic shifts in scale. she is nominated for her solo exhibition ‘anthea hamilton: lichen! libido! chastity!’ at sculpturecentre, new york. michael dean installation view of ‘sic glyphs’ exhibition at south london gallery, london, 2016 image courtesy of the artist, herald st, london, mendes wood DM, sao paulo, supportico lopez, berlin photo: andy keate michael dean’s practice is concerned with the physical presentation of language. his sculptures and installations reference everyday urban environments and the familiarly mundane, through the use of aesthetically overlooked materials — from rebar taken from a building site to the corrugated metal of a shop shutter. he has been nominated for his exhibitions ‘sic glyphs’ at south london gallery, london; and ‘qualities of violence’ at de appel arts centre, amsterdam. michael dean installation view of ‘sic glyphs’ exhibition at south london gallery, london, 2016 image courtesy of the artist, herald st, london, mendes wood DM, sao paulo, supportico lopez, berlin photo: andy keate helen marten ‘ùlimpet apology (traffic tenses)’, 2015 screen printing and painting on leather, suede, cotton, velvet; stained and sprayed ash; folded steel; enamel paint on balsa wood; airbrushed steel; magnets; inlaid formica; cherry © the artist, courtesy sadie coles HQ, london and greene naftali, new york photo: annik wetter, geneva helen marten’s practice sees her employing a wide range of found objects, combined with immaculately crafted elements in her sculptures. while her work is suggestive of contemporary visual culture, as well as various kinds of art since the 60s, it also defies both form and meaning: it attracts and intrigues, but also resists interpretation and categorization. she is nominated for her projects ‘lunar nibs’ presented at the 56th venice biennale; and solo exhibition ‘eucalyptus let us in’ at green naftali, new york. helen marten ‘night-blooming genera’, 2015 (detail) spun aluminium, airbrushed steel, welded steel, lacquered hardwoods, stitched fabric, handthrown glazed ceramic, leather, glass, feathers, acid etched concrete © the artist, courtesy sadie coles HQ, london and greene naftali, new york photo: annik wetter, geneva josephine pryde ‘installation view lapses in thinking by the person I am’ exhibition at wattis institute for contemporary arts, san francisco image courtesy of josephine pryde, photo: johnna arnold josphine pryde works across both two- and three-dimensional mediums — from photography to installation — through which she explores the very nature of image making and display. she is fascinated by the relationship between art and photography, of art as commodity and of the seductive qualities of the wider art world. she often calls into question the conventions of the gallery and the complex networks of the art world. she is nominated for her solo exhibition ‘lapsus in thinking by the person I am’ at CCA wattis, san francisco. josephine pryde ‘für mich 2′, 2014, C-print unframed: 60 x 45 cm (23 5/8 x 17 3/4 in.) edition of 3 + 2 AP (SLG-JOP-08391) courtesy of the artist and simon lee gallery, london; reena spaulings fine art, new york; and galerie neu, berlin the turner prize 2016 exhibition at the tate britain runs from september 27th, 2016 to january 8t, 2017. clockwise from top left: portrait of anthea hamilton, photo by lewis ronald; photo of michael dean, photo taken by the artist; photo of josephine pryde, photo: dan michell; photo of helen marten, photo by juergen teller 2016-05-12 16:50 Andrea Chin

2 Morning Links: Yale Center for British Art Edition (1.08/3) The Yale Center for British Art. COURTESY YALE CENTER FOR BRITISH ART MUSEUMS The Yale Center for British Art has finally reopened after an eight-year renovation that cost $33 million. The New Haven, Connecticut, museum now looks more modern, with an angular, sleek facade. [ The Guardian ]An engineer who sued the Philadelphia Museum of Art and the security company AlliedBarton Security Services after falling 40 feet has settled for $7.25 million. [ CBS News ] NEW CONNECTIONS Kelly Crow looks at the changing profile of African art. A total of 6,500 people attended last week’s 1:54 Contemporary African Art Fair in Brooklyn, and there are many more fairs like it that are now also attracting crowds. [ The Wall Street Journal ]Basel’s Beyeler Foundation is now linked to the Vitra Campus in Weil am Rhein, Germany, by a three-mile art walk. Tobias Rehberger has dotted the walk with 24 “stops,” or monolithic sculptures colored like Ellsworth Kelly paintings. [ Curbed ] LIVES Etel Adnan and Hans Ulrich Obrist remember Zaha Hadid. “Hadid’s work was so far apart from all artistic and architectural conventions and norms that it took some time for her to find the recognition she deserved,” Obrist writes. [ Artforum ] AUCTIONS Yusaku Maezawa bought a Basquiat painting this week for $98 million. So, who is this guy? [ BBC ]Here’s a little quiz in which you have to pick which item sold for more at this week’s auctions. Which is more expensive: a Marcel Duchamp or a Robert Gober? Take your guess. OK! [ The New York Times ] “MILLENNIALS” Wondering where all the young artists are in this week’s auctions? Vulture has a handy list of all the “millennials” who made art that’s going for big money. (Millennials appears in quotations because one of their picks is Cory Arcangel, who was born in 1978.) [ Vulture ]Matthew Cerletty, Jamian Juliano-Villani, and Caitlin Keough are among the artists who’ve recently made temporary tattoos for the Whitney Museum. The catch: in order to get them, you have to go to the Whitney’s Studio Party, which costs $250 a ticket. [ The Observer ] EXTRAS UCLA’s art school is planning a $31 million expansion that will include a new studio complex for graduate students. This is the same plan revealed in 2011 that was later scrapped. [ The Los Angeles Times ]Ken Johnson reviews Gagosian Gallery’s new Richard Serra shows. “Exhibitions of new works occupying Gagosian Gallery’s two Chelsea display spaces find Mr. Serra at 76 still wrangling fundamentals of shape, space, gravity and time into objects and installations of thrilling severity,” he writes. [ The New York Times ]Sturtevant at Sant’Andrea De Scaphis in Rome. [ Contemporary Art Daily ] 2016-05-12 08:21 The Editors

3 Turning Snow: Olga Viso on Martin Friedman’s Legacy (1.04/3) Martin Friedman, the Walker’s director from 1961 to 1990, passed away in New York City on May 9, 2016. When I began my tenure at the Walker in early 2008, it had been almost 20 years since Martin Friedman had retired. As the institution’s third and longest-serving director, Martin was legendary and his influence foundational. Indeed […] 2016-05-12 21:54 By

4 Tate Britain Announces Four Turner Prize Nominees (1.04/3) Helen Marten, “Eucalyptus, Let Us In,” 2015. COURTESY GREEN NAFTALI Tate Britain announced four nominees for the annual Turner Prize today: Michael Dean, Anthea Hamilton, Helen Marten, and Josephine Pryde. The prize, reserved for artists under the age of 50 who either live in Britain or are of British descent, awards £25,000 to one individual, with the other three receiving £5,000 each. Established in 1984, it is the most prestigious award a young artist can receive in Britain. For the first time in five years, all candidates have hailed from Britain. Dean received a nomination for his ongoing South London Gallery show “ Sic Glyphs ” and last year’s “ Qualities of Violence ” show at De Appel in Amsterdam, exhibitions which investigate the intersection of physical space and language through found and manipulated materials. Hamilton was selected for her recent solo show “ Anthea Hamilton: Lichen! Libido! Chastity! ,” an interdisciplinary exhibition merging sculpture, fashion, performance, and video that closed earlier this year at SculptureCenter in New York. Marten was chosen for her installment at the the 56th Venice Biennale, which featured found materials and sculptural tableaus and also appeared as a solo exhibition at Green Naftali in New York titled “ Eucalyptus, Let Us In.” And Pryde, an established photographer who places a focus on multidimensional installation techniques, was noted for her contribution to “ New Photography 2013 ,” an exhibition held at the Museum of Modern Art in New York. Tate Britain will host an exhibition of the nominees’ work from September 27 through January 9. The winner of the prize, selected by a four-person jury headed by Alex Farquharson, Tate Britain’s Director, will be announced via broadcast on the BBC in early December. 2016-05-12 13:15 Ella Coon

5 aesop opens snøhetta-designed store in singapore (1.02/3) snøhetta suspends timber battens from the ceiling of singapore's aesop ION store snøhetta suspends timber battens from the ceiling of singapore’s aesop ION store all images © aesop snøhetta has continued its ongoing collaboration with aesop with the opening of its second store in singapore. situated just off orchard road, ‘aesop ION’ pays homage to the bustling street’s original incarnation as a nutmeg plantation. in order to reference its obscured past and underground location, snøhetta created an upside-down forest using an assemblage of materials, colors and forms. the store is aesop’s second in singapore a dark ceiling mimics the orchard floor, complemented with a similarly toned sisal carpet. thin timber battens hang from the ceiling, forming a delineation that curves throughout the space. selected central battens are suspended with horizontal ‘branches’ fixed to the stems acting as product displays. pink walls are reminiscent of the color of mace, another spice harvested from the nutmeg fruit. ION is the fourth snøhetta-designed aesop store to open. aesop raffles city, which was also designed in collaboration with snøhetta, opened in singapore earlier this year, while the firm has also been involved with the design of aesop’s signature store in oslo, norway, as well as the outlet in fasanenstraße, berlin. an upside-down forest was created using an assemblage of materials, colors and forms thin timber battens hang from the ceiling, forming a delineation that curves throughout the space aesop’s signature faucets have also been included pink walls are reminiscent of the color of mace, another spice harvested from the nutmeg fruit ION is the fourth snøhetta-designed aesop store to open the firm has also been involved with the design of aesop stores in oslo and berlin 2016-05-12 19:22 Philip Stevens

6 Affable Experimentation: Steve Lehman Octet at the Walker (1.00/3) To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Sam Segal shares his perspective on last Saturday’s performance by the […] 2016-05-13 05:00 By

7 Summers of Rock — Magazine — Walker Art Center (0.09/3) Launched in 1998, the Walker’s now-annual Rock the Garden festival has gone through plenty of changes— from its inception as an intermittent, on-the-street jam to a 10,000-fan party on the Walker hillside, a two-day festival to, in 2016, a one-day, two-stage affair at Boom Island Park. Here’s a look back at the varied and vibrant history of what’s traditionally been considered the launch of the Twin Cities’ summer concert season. The Jayhawks headlined the inaugural Rock the Garden—preceded by the Steve Millar Band and the Hot Head Swing Band —in an event that was deluged by rain, sending scores of fans into the Walker lobby to await a break in the clouds. Returning to the stage, Gary Louris, in a green Lacoste windbreaker, a Flying V strapped around his neck, enthusiastically fronted the band for this historic first-ever RTG. After a year off, the fledgling festival returned, with a killer lineup: Sonic Youth headlined, with Stereolab and Sunship Sextet opening. Walker senior performing arts curator Philip Bither’s recollection of the show: “Kim Gordon’s hair blowing in the wind, stoically beautiful in the midst of Thurston Moore and Lee Ranaldo’s sonic squall storm force of Sonic Youth playing a blistering set.” Band members would return several times: Gordon gave a talk on Yoko Ono’s influence in 2001; Ranaldo performed in 2004 as part of the group playing a live score for Stan Brakhage’s films; and, in town to play the 2006 Minnesota State Fair, the entire band stopped by the galleries to check out a solo show by their friend, Cameron Jamie. Medeski Martin & Wood got top billing in a year that saw Iffy (a side project of the late Run Westy Run co-founder Kirk Johnson) and Marc Ribot and Los Cubanos Postizos open the show. “Beloved—and missed—locals Iffy, along with Ribot’s ‘fake Cuban’ band, nearly stole the show from MMW,” recalls Performing Arts associate curator Doug Benidt. Jazz trio The Bad Plus —featuring drummer Dave King —heated up the stage in a year when Andrew Broder, aka Fog , opened and Wilco , fresh off the release of their heralded album Yankee Hotel Foxtrot (which earned a perfect-10 rating from Pitchfork ), headlined. The array of bands, especially Wilco’s performance, is “perhaps my best musical memory of all Rock the Gardens,” says the Walker’s Bither. David Byrne ’s attire matched his RTG 2004 set, which Bither calls “masterful” and “elegantly thrilling.” The former Talking Heads frontman arrived for an afternoon soundcheck on a bike wearing knee socks and pinstriped overalls. Later, when he hit the stage, he wore white and brown saddle shoes and matching gray work pants and shirt, embroidered with a quote from Martin Luther King, Jr.—from King’s 1967 book Where Do We Go from Here: Chaos or Community? —on the back. Byrne headlined, preceded by local opener Barb Cohen (co- founder of Brother Sun Sister Moon) and Brooklyn’s Antibalas Afrobeat Orchestra. Touring around the album Who Is This America? (Ropeadope), Antibalas ’s horn-heavy brand of Afropop stirred crowds with numbers like “ Pay Back Africa ” and its sharp-edged commentary on American politics, “ Indictment .” Remembers Benidt, “The Fela-riffic Antibalas groove really set the stage nicely for the globally eared David Byrne performance.” Bither remembers Byrne , with full funk-adept rock band plus the New York–based Tosca String Quartet , “wailing into the setting sun his own very moving version of Verdi’s ‘Un Di, Felice, Eterea,’ and soon after kicking it with a blistering version of ‘Burning Down the House.’” Four years before winning dual Grammy awards, Bon Iver opened Rock the Garden as the “local” act. Bither remembers the singer-songwriter “mesmerizing everyone within hearing distance.” After the set, Bither spent time hanging out with Bon Iver’s Justin Vernon backstage, “discovering what a regular, sweet guy he was. We talked about everything, including basketball and Eau Claire, and he reminisced about the mind-opening shows he’d seen at the Walker as a young guy.” Vernon was in good company: on the bill with him were Cloud Cult , The New Pornographers , and Andrew Bird . 2008 also marked the first year of the Walker’s ongoing partnership with 89.3 The Current to copresent Rock the Garden. When an epic squall appeared on the horizon—complete with lightning, no friend of the electricity-conducting stage and equipment—2008 Rock the Garden coordinator Ellie McKinney nervously signaled to Andrew Bird that she needed the microphone to announce a rain delay. “As soon as I finished, I looked out into the crowd for the first time and realized a man in the front row was screaming ‘NOOOO!’ in slow-mo. Then I heard the boos,” McKinney says. “I was being booed. Booed by 10,000 people. As I walked off that stage—my first and only time onstage in front of 10,000 people—Andrew said to me, ‘I forgot my shoes up there.’ And then came a call on the radio: ‘I think your fly was down.’” Soon after, as Bither recalls, “The dramatic dark clouds broke open for a fantastic sunset behind the city skyline as Andrew returned to the stage.” By reorienting the stage to face the Walker hillside for its 2009 edition, Rock the Garden’s capacity increased by around 3,000 fans. “Turning the stage toward the grassy amphitheater really made the event feel more natural and convivial,” says Benidt. The lineup: Solid Gold , Yeasayer , Calexico , and headliners The Decemberists. Betsy Carpenter’s top Rock the Garden moment came in 2009 when The Decemberists performed Heart’s “Crazy on You.” “The female lead singers were wearing white business suits with peplum jackets and were belting out the lyrics while enacting the most bizarre stage moves,” the former Walker visual arts curator recalls. “The audience was going crazy with the requisite head-banging and hand gestures, and the band seemed to be having a blast. It was just so surprising and incongruous.” OK GO hit the confetti cannon in 2010, a year that saw the LA-based foursome play in the biggest RTG lineup yet, along with Retribution Gospel Choir (featuring Low’s Alan Sparhawk), Sharon Jones & the Dap-Kings , and MGMT . “2010 was my favorite Rock the Garden to date,” says Benidt. “The blend of sounds and killer performances really made for a long and oh so beautiful day.” In a sequined aquamarine dress with white fringe, Sharon Jones , along with her Dap-Kings, was a crowd-pleaser, especially so for one audience member. Minneapolis’s then-Mayor RT Rybak took to Twitter , punning: “Sharon Jones, former prison guard, has Rock the Garden crowd in custody. Love her sound!” Rain—drenching, all-morning rain—nearly put the kibosh on this year’s concert. But the show went on, as the Walker hillside turned to mud as Tapes ‘N Tapes , Booker T. Jones , Neko Case , and My Morning Jacket wrested the stage away from the dreary weather. Yeti boots: check. Scarf: check. Cape: check. In proper rock star attire, My Morning Jacket front man Jim James “put the ‘rock’ into Rock the Garden,” as Bither put it, “in both great and ridiculous ways.” With 2012’s nearly all-local lineup— Howler , tUnE-yArDs , Doomtree , Trampled by Turtles , and The Hold Steady — the tenth edition of Rock the Garden didn’t disappoint. “It’s great to be home, and in such a beautiful part of our city,” THS’s Minnesota-raised front man Craig Finn told the crowd of more than 10,000. At the 2011 concert, he was in the audience, but this year he was on stage: “Thanks for making another of my dreams come true,” he said. Right out of the gate, Rock the Garden 2013 was met with bad weather, but we made the most of it, and spectacularly so. Facing a rain- (and lightning-) delay, opening act Dan Deacon had a suggestion, “I can play in the garage.” As Benidt later wrote, “What ensued in the depths of the parking garage is one of the most spontaneously joyous performance moments I have witnessed. Electro Pied Piper Dan Deacon led an ecstatic dance party with thousands of wet and ponchoed people—all dancing, drinking, and feeling the relief of being dry just for a moment.” Yet, Deacon’s buzzed-about underground rave wasn’t the only landmark moment of 2013’s concert. Back outside after the weather cleared, the Duluth trio Low used its entire 27-minute set to play one song, a drone version of 1996’s single “Do You Know How to Waltz?” Front man Alan Sparhawk concluded the set with three now-infamous words: “Drone, not drones.” More than a few angry fans immediately went online to share their reactions. Afterwards, an unapologetic Bither took to the Walker blog to compare the set to Stravinsky’s riot-inducing premiere of The Rite of Spring in 1913, noting that the annual concert event “grew out of a 50- year old Performing Arts program at the Walker dedicated to new sounds, new movements, and new forms of theater and interdisciplinary art, where traits like innovation and audacity rank high.” RTG 2013 also marked a homecoming for Bob Mould , who co-founded the punk band Hüsker Dü here in 1979. His rousing set included classics from both his 1990s band Sugar and his solo work, including the new song, “ The Descent.” Blazing through their sets, Silversun Pickups and alt-rockers Metric wrapped up the 2013 festival in memorable fashion . In 2014, Rock the Garden expanded into a two-day festival , kicking off on Saturday with sets by Lizzo (whose single “Batches and Cookies” became the festival’s unofficial anthem ), Jeremy Messersmith , Best Coast , Matt and Kim , and, headlining, hip-hop pioneers De La Soul Memphis-based Valerie June opened up Sunday’s concert, bringing her distinct brand of “organic moonshine roots music.” Following her were Kurt Vile and The Violators , Doomtree emcee Dessa , the ever-prolific Guided by Voices , and Spoon . Local favorite Lizzo said that being a part of Rock the Garden made her feel like a “ gift- wrapped package with glitter coming out of the top .” May we suggest a cherry on top as well? With Spoonbridge and Cherry just across the street in the Minneapolis Sculpture Garden, it’s only fitting that the 2014 edition concluded with headliner Spoon . Again presented as a two-day festival, RTG15 saw a momentous first day: the reunion of 1990s Minneapolis punk trio Babes in Toyland , as well as showstoppers by young St. Paul phenoms thestand4rd , followed by Lucius , Courtney Barnett , and Conor Oberst. All the way from Glasgow, headliners Belle and Sebastian regaled audiences with tales of their trip to Minneapolis—including a dip in Cedar Lake—and wrapped the night with an on-stage dance party/singalong to their classic, “The Boy With The Arab Strap.” Before taking the stage at Rock the Garden 2015, the members of Lucius took a private tour of the Walker’s International Pop exhibition, stopping to spend a bit of extra time with a particularly inspiring work, Evelyne Axell’s Ice Cream (1964), which graces the cover of the band’s 2014 album Wildewoman . The final day of RTG15 aimed for diversity of styles and geographies: New York’s The Ghost of a Saber Tooth Tiger (with Sean Lennon) , Oklahoma roots rocker JD McPherson , Lagos-based Seun Kuti & Egypt 80 (the son of, and band that backed up, Afrobeat sensation Fela Kuti), seminal punk band Babes in Toyland , and Washington State indie band Modest Mouse . This year’s festival brings eight bands to the Mississippi riverfront for one unforgettable day of music. Due to renovations at the Walker and Minneapolis Sculpture Garden, we’re moving to Boom Island where, backdropped by the downtown skyline, we’ll hear from LA punk quartet Plague Vendor , local hip-hop supergroup GRRRL PRTY (Lizzo, Sophia Eris, Manchita, DJ Shannon Blowtorch, and Quinn Wilson), Missouri’s Nathaniel Rateliff & the Night Sweats , Hippo Campus , M. Ward , Poliça (fresh off their United Crushers album), Chicago’s Chance the Rapper (whose highly anticipated release Chance 3 comes out May 13), and headliners The Flaming Lips. One day, two stages, eight bands. We hope to see you on the island , and back on the newly renovated Walker campus for Rock the Garden 2017. 2016-05-12 20:00 www.walkerart

8 ala sieradzka transforms scraps to nutrients with bono composter ala sieradzka transforms scraps to nutrients with bono composter all images courtesy of ala sieradzka on average, 30-50% of daily household waste comes from organic sources; veggie scraps, fruit peelings, coffee grounds, and those french fries you thought would be good two days later. throwing away bits and pieces might not seem like much on a day to day basis, but the larger picture is far more revealing. according to the food and agriculture organization — of the united nations — ‘per capita waste by consumers in europe and north america is between 95-115kg (209-253lbs) a year’. sub-saharan africa and south east asia have a much lower PCW of 6- 11kg/annual. the result of organic recycling is a high-quality fertilizer that bolsters home cultivation efforts there are countless variables surrounding who, why, what, and at which stage agricultural items are being wasted. the question is how can we, daily consumers, minimize contributing to the growing global environmental issue? ‘bono’, developed by polish designer ala sieradzka, is a minimal, easy-to-use composter. with the help of eisenia fetida, aka earthworms, ‘bono’ turns bin-bound scraps into nutrient filled fertilizer that can be used to cultivate herbs, veggies, and fruits directly at home. ‘bono’ is made of spun, powder-coated aluminum, with a cap and base — that holds an additional aluminum dish — of expanded cork. holes for ventilation increase air circulation to quicken the process, and a pull-out drawer collects the inevitable juices of decomposition. but don’t think about pouring it down the drain, compost run-off can be given to plants as a tasty, nutrient-rich drink. drainage holes are located at the bottom of the container at the bottom put damp paper, sprinkle garden soil, and add newspaper shreds — earthworms are optional add peels of fruits, vegetables, and coffee grounds daily, once weekly sprinkle the surface with egg shells (for Ph) after 2-3 months biohumus collection can begin; a high value fertilizer, it has valuable micro- elements for growth the base has a sliding shelf that holds a bowl that catches dripping liquid from the main tank fluids can be used for watering plants designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-13 04:01 Alicja S

9 erwin wurm deforms domestic interior objects at frieze new york at the 2016 edition of frieze new york, lehmann maupin gallery presents a selection of new bronze works by austrian artist erwin wurm. the three sculptures depict deformed interpretations of modern furniture and household objects, disfigured by a direct engagement with the artist himself. wurm sits, punches, crushes and drives across the original clay forms prior to casting, leaving permanent marks on their final figure. an oversized gun, a low cabinet and a sculptural dresser are arranged as a domestic interior, highlighting wurm’s engagement with everyday objects — particularly as a catalyst for challenging perceptions of volume, form, and materiality. this series continues wurm’s work with malformed and misshapen objects, beginning with the deconstruction of architectural objects, and evolving to include vintage furniture pieces and domestic items. at frieze, the bronze pieces have been presented alongside wurm’s one minute sculpture photographs and performances. these actions are activated on site by participants who execute the artist’s drawn or written instructions for a one-minute pose, using props or architecture. muddy earth, 2016 | bronze image courtesy the artist and lehmann maupin, new york and hong kong muddy earth, 2016 | 35.43 x 78.74 x 31.5 inches (90 x 200 x 80 cm) image courtesy the artist and lehmann maupin, new york and hong kong the object is disfigured by a direct engagement with the artist himself image © designboom wurm sits, punches, crushes and drives across the original clay forms prior to casting image © designboom detial of the deconstruction of the original clay forms image © designboom 2016-05-13 02:01 Nina Azzarello

10 Sonic Youth visits the Walker At the concert they anounced they were heading to Mickey’s dinner in downtown SP so I guess the got the whole tour of hotspots. That photo is awesome. Their set was pretty good, but it seemed like most of the people came to the show to see the Flaming Lips. Despite that, they rocked out anyway. 2016-05-13 05:00 By

11 designphase dba adds glass façade to pizza restaurant in singapore designphase dba adds glass façade to pizza restaurant in singapore (above) the glass façade provides interior views and invites customers in all images courtesy of designphase dba local-based studio designphase dba has completed the interior design of ‘alt. pizza’, a restaurant in singapore. the concept started with a very simple question: what’s the essence of pizza? they began planning everything around this, with the certainty that their main shape and basis would be the circle, giving a natural, easy, relaxed and unpretentious feeling. both indoor and outdoor seating is available the open-plan setting provides a casual environment that aims to appeal to a younger audience who can relate to street art with its connotations of culture, music, and young hip fashion. with an open kitchen, the diners also have the possibility to watch their pizza being prepared. through interior design, the studio connects the message the brand communicates to the market and the customer experience: high quality, imaginative and affordable. a red suspended light gives a fun and easy look to the pizzeria designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-12 23:45 www.designboom

12 12 Sarah Jessica Parker Uncensored Sarah Jessica Parker may share some of the fashion frivolity of her “Sex and the City” character Carrie Bradshaw, but she’s also a shrewd businesswoman whose feet are firmly planted on the ground. Parker on Thursday spoke with Forbes Media chairman Steve Forbes at the Forbes Women’s Summit held at Chelsea Piers in New York. Asked how she transitioned from child actor to adult actress without going off the rails, Parker said having seven brothers and sisters and parents who discouraged diva tendencies helped. “My parents were cognizant of the many land mines,” she said. “They really wanted me to work mostly in the theater because they felt the chances were better that I’d turn out OK.” Parker added, referring to “Sex,” “I did this show and people watched it. I wanted to continue the search. I really like the hunt. It makes me smarter. Any success I have makes me greedier. The more I learn, the more I want to try. I have an insatiable curiosity.” She has the same risk-taking impulses in business. When she launched her first fragrance with Coty Inc., she was surprised to find that she connected with business. “The margins and profits, I loved it.” Because of “that show” and the relationship her character had with shoes, offers to do footwear kept popping up. She finally called George Malkemus, chief executive officer of Manolo Blahnik USA, and two years ago, they launched SJP by Sarah Jessica Parker. Her now-defunct clothing line Bitten and short tenure as creative director of Halston Heritage, though disappointing, were learning experiences. “I loved when my heart was broken — the agony, the heartbreak,” she said. “I like pushing on a bruise a little bit because it’s good for you.” Parker’s new series, “Divorce,” launches on HBO in the fall. She is also vice chairman of the New York City Ballet. “We’re all better people, more complete people,” she said, “the more we’re exposed to the arts.” 2016-05-12 23:09 Sharon Edelson

13 American Airlines Taps Cole Haan and Twin Hill for Employees’ New Accessories and Uniforms More Articles By In time for its 90th anniversary year, American Airlines has tapped Cole Haan to create an exclusive line of accessories for its employees this fall. And starting in September, staffers’ Kaufman Franco-designed uniforms will be replaced with ones from Twin Hill. The airline will be refreshing its signature look just two-and-a-half years after Ken Kaufman and Isaac Franco suited up employees. American’s 52,000-person strong base offered design input ranging from pocket placement to the choice of fabrics, according to Fernand Fernandez. The deal is big business for Twin Hill’s parent company Tailored Brands, which also owns Men’s Wearhouse, Jos. A. Bank, Joseph Abboud and other brands. Starting May 13, two million garments will be shipped to pilots, flight attendants, ground crew and other staff to give them time to have anything altered or exchanged for the proper size, he said. Cole Haan has created handbags and scarves for female employees and attaché cases and pockets squares for their male counterparts. In addition to upping the style quota, Cole Haan had functional elements to consider such as the fact that American’s 24,000 flight attendants need to be able to quickly access the Samsung tablets they use to help passengers. Cole Haan also kept American’s 15,000 iPad-equipped pilots in mind. Available in gray, red and white, or red, white and blue, the scarves provide a dose of color for American Airlines’ in- flight crews’ uniforms. American Airline employees will have the option to buy the new accessories for family and friends. The handbags and attaché cases will retail from $300 to $500 and the scarves will be sold for $50 to $100. The collection will not be sold in Cole Haan stores or in American’s in-flight magazine. American Airlines is not alone in trying to make its staffers more stylish. Delta recruited Zac Posen to overhaul uniforms for its 30,000 employees. His creations will be unveiled in 2018. Aligned with that timing is Alaska Airlines’ plans to present its own new look. Alaska Airlines, which recently acquired Virgin America for $2.6 billion, has hired Seattle-based designer Luly Yang to redesign uniforms for its 2,500 in-flight crew members. In the midst of conducting focus groups with Alaska Airlines staff, the designer plans to test some of her creations later this year or early next year, a spokesman for the designer said. The Seattle-based company wanted to go with a local designer, since it markets a variety of Seattle products to passengers, she added. It has not yet been determined if Yang will also design new looks for Virgin staff but the designer is already blogging fashion -related travel tips on Alaska Airlines’ site. Known also for her bridal designs, Yang recently posted about packing a wedding dress for a destination wedding. 2016-05-12 22:51 Rosemary Feitelberg

14 Susan Sarandon Is on a Roll On Sunday, the power duo will unite once again when they are honored with the Women in Motion Award, given away by French luxury group Kering, which is one of the official sponsors of the Cannes Film Festival and parent to such brands as Saint Laurent and Stella McCartney. Sarandon can’t believe it’s been a quarter century, but notes firmly that the movie’s impact on the film industry has run into some headwinds. “When it came out, everyone thought that it would usher in a new age of women-led films, but it didn’t,” she said. “I don’t think the studios have changed. I don’t think Hollywood has changed. I think the hope is all of those female comedians that are writing, producing and coming up with hit movies, because they [give] parts to other women. They are the most interesting change in Hollywood.” Sarandon is sitting in a suite at the Hotel Martinez overlooking the Croisette. She is sporting a pinstriped Max Mara suit in navy blue with a pair of mesh sneakers and a T-shirt boasting an intriguing equation, which she identifies as the coefficient of restitution. “The formula explains why a ball bounces,” she smiles. The film veteran has a franchise of ping-pong clubs called Spin, which is currently in expansion mode. “We have one in New York, we just opened in San Francisco, one in Chicago, Toronto and L. A.,” Sarandon reveals, though “it’s just for fun. There are 17 tables, a bar and a restaurant and really nice lighting,” she says, dubbing herself “a propaganda son of player.” Fresh off her first Cannes outing as a rep for L’Oréal at opening night on Wednesday , Sarandon, who has landed the beauty deal at the age of 69, shrugs off compliments about her youthful looks and relaxed, sporty sartorial choices. “You know, I fell down a mountain in Colombia when I was hiking with my son and fractured my ankle six weeks ago. I just got my boot off. Hence the sneakers.” But her fountain-of-youth routine is as simple as it is efficient. “I live in New York so I don’t tend to sit in the car all the time. That helps. I believe in washing my face every time before I go to bed, and I believe in sunscreen. But if an actress asks me about skin, I say: ‘just stop smoking cigarettes, for one thing,’ that’s really going to take a toll eventually.” Sarandon, a passionate humanitarian, political and civil rights activist, says she signed with L’Oréal only after making sure they promoted a beauty standard she could stand behind. “I think the whole company is about diversity of ethnicity and age, and different kinds of women,” she says, pauses, then adds: “I wonder if they’d love doing a transgender…that would be good.” Sarandon’s got some plans of her own. Her next project called “Feud” is to explore the rivalry between two Hollywood dames: Bette Davis, played by Sarandon, and Joan Crawford, portrayed by Jessica Lange. Sarandon will also produce the drama series, masterminded by Robert Murphy. “It’s true that women in the Fifties saw other women as threats, and that they aligned themselves with power, which was men. In my generation, I’m so lucky. Women are very collaborative. We are having laughs, we keep each other up to speed in everything. In the tribe of the Amy Poehlers, Melissa McCarthys and Amy Schumers, I have the feeling that we are really protecting each other and helping each other, and that has changed,” she observes. A little help from one’s friends is indeed necessary. Sarandon gladly admits that aging in Hollywood is no cakewalk for a female actor. “It’s very tough, and that’s one of the reasons I don’t live in Hollywood,” she says. “It’s a town where it’s very hard to maintain your confidence because it’s so self-conscious, it’s such a company town. I can just imagine picking up a head of lettuce in a supermarket, running into a producer who then later says: ‘oh no, I saw her, she is really not looking great these days,’ because you are there without any makeup on or whatever. In New York it’s easier to live.” Sarandon really lights up when she talks about her producing credits. “It’s like designing a house, choosing the furniture and the curtains. I couldn’t be a line producer, I don’t wanna sit down with the budget and try to figure that out, but in terms of putting the pieces together, it is fun.” Could she be tempted to make her directorial debut next? She teases: “I might start off on a documentary on a subject that interests me. I just don’t want to deal with the aftermath, the packaging and the fight for distribution. But the actual working with actors is really fun.” 2016-05-12 22:33 Paulina Szmydke

15 A Portrait of the Artist as a Young Philosopher | City of the Seekers Untitled, 2009, oil on canvas, 48"x72," private collection, courtesy the artist In the late 19th century, Southern California attracted misfits, idealists, and entrepreneurs with few ties to anyone or anything. Swamis, spiritualists, and other self-proclaimed religious authorities quickly made their way out West to forge new faiths. Independent book publishers, motivational speakers, and metaphysical-minded artists and writers then became part of the Los Angeles landscape. From yogis, to psychics, to witches, City of the Seekers examines how creative freedom enables LA-based artists to make spiritual work as part of their practices. "People have used adjectives such as 'plastic' and 'visceral' to describe my work," says artist and writer Rives Granade. "The dialectic between those two words is where I want my art to land. " By definition, it seems 'plastic' and 'visceral' couldn't be further apart, but in Granade's case, they really are the closest words to describe his work. In art, plastic is related to producing three- dimensional effects in painting, as well as modeling and molding in 3D. Visceral, meanwhile, relates to profound emotions and impulses. When it comes to his process and output, Granade's work indeed falls somewhere between. Happy, 2015, oil on canvas, 72"x72," courtesy the artist and Ochi Projects Los Angeles With a BA in philosophy and an MFA from the San Francisco Art Institute, the internationally exhibited artist is influenced by everything from history and archeology to lighting design, signage, advertising, neo-futurism, and poetry by the likes of Ezra Pound, Rene Daumal, Henri Michaux, and Jean Genet. With such a broad range of interests, it's not easy to pinpoint Granade's style, but that's kind of the point. "Style is something that comes out of sensibility—sensibility being a certain intuition to make choices based on one’s own inclinations," Granade explains. "I don’t really think of style when I work, but I do think of the way something will look and in what context it will be presented. What you end up with is a certain style, I guess, but I’ve never been that consistent. I tend to gravitate toward harsher things and forms. " Instead of working within a specific genre, Granade is more interested in beginning with an idea and thinking about how it will look in the end. Lately, he says he's been especially inclined toward using text as a kind of of ready-made form for manipulation, exploring ideas of mutability and legibility throughout. Kandinsky’s Bathmat, 2012-2016, oil on canvas, 78"x48," courtesy the artist "For example, I might say, I wonder what the letter 'A' would look like from underneath? From there, it becomes a matter of how I might achieve seeing this 'A' from underneath. " According to Granade, this could take the form of a sculpture, drawing, painting, or a video, or he might model the "A" in a 3D graphics program and see what it looked like then. Maybe he'd discover that the letter "A" isn't interesting from underneath, or he'd do something to the letter by accident, resulting in a completely different form that's ultimately more interesting than the original. Whatever the case, it's clear that Granade's artistic process is informed by his education in philosophy, with the frequent manifestation of what he describes as larger and more universal questions that address the linguistic, architectural, or mundane implications of viewing a familiar form from a new perspective. "Also, you have to ask yourself if the object should even be brought into the world at all," Granade observes. "I once heard Peter Saul give similar advice. He was saying, essentially, that you have to be very careful what you put out into the world: it is so full of junk already, and an artist shouldn’t just be adding to this [...] I believe he has a point. " Zamora, 2015, oil and paper on canvas with cat food cans, 72"x72," courtesy the artist and Ochi Projects Los Angeles Whatever the final form his work takes, creating is a way of life for Granade, enabling him to navigate the present in the same way people use religion to do the same. Like most professional artists, Granade says that he goes a little crazy if he's not creating, and he describes the creative process as something more akin to "scratching an itch" than any kind of cathartic release. Yet while his process is full of questions, Granade ultimately wants his art to radiate a certain kind of energy and convey a kind of "feeling" for the observer. It's the same feeling that comes from encountering 1960s Brutalist or parametric architecture, which are also big influences of Granade's, as is graffiti made with Super Soakers. It comes as no surprise, then, that for the past six years, Granade has been living and working in the land of unlikely inspirations: Los Angeles. The Saddle, 2015, steel and enamel, 55"x78"x13.5," courtesy the artist and Ochi Projects Los Angeles Granade says it was LA's architecture and the quality of light that called to him, along with the weather and the affordability of space. Unlike many other Angelenos who loathe traffic, Granade actually likes driving everywhere. In fact, the clichés people associate with the city are what Granade loves about it, including strip mall architecture, fast food, palm trees, swimming pools, and helicopters. "It’s also a little run-down," he says. "It feels very American to me. " Granade believes that Los Angeles has a huge influence over the artists who live and work within the confines of the city, especially with the movie industry facilitating creativity in unexpected ways. "With prop shops and large industrial manufacturing all over town, artists may only be constrained by their budgets," he points out. "Los Angeles is a place of fantasy, and it really does live up to its own mythology. " From LA's color palette to subject matter, the city influences the artist in countless ways. Plus, Granade feels that the cross-pollination of cultures in the city supplies a distinct energy that affects not just his work, but the work of almost everyone else who lives in LA, too. The Saddle (detail), 2015, courtesy the artist and Ochi Projects Los Angeles Given that Los Angeles now has more galleries than ever before, however, Granade finds himself concerned over their sustainability. "It just seems to me that there are not that many collectors even worldwide to maintain this type of growth. After all, there are only something like a few thousand people in the world that would or can spend six figures on a work of art. The whole scene is very small, when you think about it, and yet all the same, it is an exciting time to be living and working in Los Angeles.” In the end, Granade will be striving for the same truth in his practice, wherever he lives. "I have found that I need art—it enhances my life. It is ritual for me," he says. "Instead of going to church, I might go and see a show, a performance, or a building. Occasionally, walking into a gallery or museum space is like walking into a cathedral. As skeptical as I am about saying this, there can at times be something transcendent in a work of art, whether it be a perfectly arranged Donald Judd installation in the desert of west Texas or a Monet water lily painting hanging in an immaculately tiled room in Japan, sometimes art shows us something greater than ourselves. " Red Poem, 2015, installation view, courtesy Ochi Projects Los Angeles Kykeon, 2015, oil and acrylic on canvas, 48"x52," courtesy the artist Linda Flora, 2013-2015, oil and paper on canvas, 108"x78," courtesy the artist Acid, 2016, nickel plated steel, 137"x21"x 14," courtesy Harmony Murphy Gallery Acid (detail), 2016, courtesy Harmony Murphy Gallery Visit Rives Granade’s website here. Related: You’ll Be Back in the Next Life, So Don’t Stress Out" | City of the Seekers Can Visionary Art Also be Conceptual? | City of the Seekers Worship the Ceramic Booty | City of the Seekers 2016-05-12 21:15 Tanja M

16 Ivanka Trump and Kate Hudson Share Insights at Forbes Women’s Summit Ivanka Trump and Kate Hudson shared insights Thursday with more than 250 leaders in business, politics, health, technology, media, philanthropy, fashion and entertainment at the 2016 Forbes Women’s Summit Thursday at Pier Sixty in New York. The 34-year-old founder of The Ivanka Trump Collection and executive vice president of acquisitions and development at the Trump Organization, chatted with Gayle King, anchor of CBS News, and politics wasn’t off the table. “I’ve been incredibly impressed by his [Donald Trump’s] instinct and his leadership skills that have been displayed on a much larger platform,” said Trump, who’s also the mother of three children under four-and-a-half and was dressed head-to-toe in her namesake brand. Asked whether she ever expected that her father would be the presumptive Republican nominee, Trump replied, “I wouldn’t have been surprised…. When he sets his mind about something, he achieves great things.” She was asked how she handles the criticism and replied, “On a human level, it can be challenging. Often the criticism is wrong. I’m pretty thick-skinned.” King then asked Trump whether her father plays nicely with others, and she said that when people are swinging punches, he’s a counterpuncher. “My father’s built an enormous business. You can’t function in business if you can’t get along with people,” she said. Describing his top skills as a dealmaker and negotiator, Trump noted, “It’s been a very interesting campaign season. There’s tremendously high energy and people want change. It’s been a rather tough campaign season. “I think America is really seeing my father…he’s honest, with him, what you see is what you get, even if you don’t like him. He’s elevated and he’s created a dialogue around the issues, it’s a powerful thing,” she added. As for her own business skills and what it takes to be a good boss, Trump said you want people who buy into your mission. Her clothing and handbags seek to inspire and empower young women. “The empowering and inspiring part gets me excited. You have to have a bold vision and work really hard. I don’t know anyone who’s successful who cuts corners…. People who create the most important companies really love it,” said Trump. Hudson, 37, actress, author and entrepreneur, was interviewed by Amy Robach, news anchor for “Good Morning America.” Hudson said her partners came to her and asked her if she wanted to formulate an idea with them for an ath-leisure company. “I always wanted to get into fashion,” said Hudson, and not necessarily ath-leisure, but Fabletics’ collection really represented her. “I felt there was a hole in the market for affordable athletic wear and it’s had this tremendous success the last two years.” Hudson said she didn’t grow up in the spotlight — although there were some moments — and was raised in Colorado. She said she grew up in a “pretty normal family” with three brothers and developed a “tough skin.” “In Hollywood, everyone wants to build you up and tear you down,” she said. She said growing up, she always saw her mother working hard. “My mother had a driver who came to the house and I hated it. He would take my mother away. But what it taught me was how hard she worked to create opportunities for other women,” she said, noting that her mother, Goldie Hawn, was the first female actress to produce her own film. “She was a trailblazer in Hollywood,” said Hudson. Now that ath-leisure is an official word in the dictionary, Hudson said that “ath-leisure” has been her life forever, and now they’ve given it a name. “I am a frustrated athlete,” she said. “The success has been shocking and amazing and it came so fast.” 2016-05-12 21:09 Lisa Lockwood

17 Calvin Klein Stirs Up More Controversy With Its Spring 2016 Campaign What will Calvin Klein do next in its “I ___ in #mycalvins” spring campaign? The brand has been flashing different imagery from the campaign around 26 different global markets, but its newest ad has hit some people as a little too cheeky. Released on the brand’s Instagram account, the photo under fire features Danish actress Klara Kristin from an up-the-dress angle, paired with the tagline “I flash in #mycalvins.” The image was shot by Harley Weir. The post currently has 44,800 likes on the brand’s Instagram account and nearly 1,800 comments from users both blasting and defending the image. “This is selling sex right? Oh, it’s selling a product? I wouldn’t have known. I couldn’t find any products amid this absolute distasteful ad. #notbuyingit,” writes one user, while another said, “Very creative and beautifully executed. Keep it up!” Calvin Klein spokesmen could not immediately be reached for comment. Kristin was also included on a Calvin Klein billboard in SoHo in Manhattan that stirred up controversy in March. The advertisement showed an image of her (“I seduce in #mycalvins”) juxtaposed next to an image of male singer Fetty Wap (“I make money in #mycalvins.”) Critics blasted the billboard for perpetuating sexist gender stereotypes, and lingerie company ThirdLove began an online petition calling for Calvin Klein to take it down. (It was later swapped out, although as part of a preplanned rotation and not in response to the petition.) Like Fetty Wap, Kristin also ostentatiously makes money in her Calvins — after all, this is a major corporate ad campaign with major dollars attached. The more people who take a peek, the better. .. Just hanging with fetty! ⚔ #whutupnyc A photo posted by Klara Kristin (@karate_katia) on Mar 14, 2016 at 8:23am PDT 2016-05-12 21:01 Kristen Tauer

18 Elizabeth Arden to Buy Christina Aguilera Fragrance Business Elizabeth Arden Inc. is buying the Christina Aguilera fragrance business from Procter & Gamble as part of P&G’s plan to slim down its beauty portfolio. Stifel analyst Mark Astrachan estimated the fragrance license had about $80 million in sales and $10 million in earnings before interest, taxes, depreciation and amortization in a January analyst note. The purchase price for the transaction was not disclosed. “This stellar brand is one with a global footprint and a significant international presence in Europe,” said George Cleary, president of global fragrances at Arden. “This acquisition is consistent with our strategy to acquire brands to grow our fragrance business on a global basis.” “I really enjoy developing my fragrances and I am excited to continue the process with Elizabeth Arden,” Aguilera said in a statement. “Their commitment to creating fragrances is important to me and I know they will do a great job helping me deliver top- quality product to my fans.” She has seven fragrances, according to the business’ web site. Arden’s other celebrity fragrances include Taylor Swift, Nicki Minaj, Mariah Carey and Justin Bieber. The company’s fragrance sales, which grew by 3 percent in the latest quarter, were pushed by John Varvatos and Juicy Couture. For the quarter, Arden had a $27.7 million net loss . Overall, the celebrity fragrance category has not fared well in recent years — dropping to about 2 percent of the prestige fragrance market in 2014, from 4 percent in 2011, according to figures from The NPD Group. Christina Aguilera Perfumes was originally part of the beauty brand package that P&G agreed to sell Coty — but along with Dolce & Gabbana, Christina Aguilera dropped out of the deal. 2016-05-12 20:43 Allison Collins

19 Here's a New Model for Selling Art with Bitcoin Bers’ setup. All photos courtesy Moving Pictures Gallery. For some collectors, words like “bitcoin” and “blockchain” sound way too Silicon Valley and far removed from the art world. But some gallerists are embracing these new technologies as the art market’s new frontier, like Eric Barry Drasin and Benton C. Bainbridge, realtime media artists intent on changing the way digital and new media art is bought and sold. Working on the fringes of the mainstream art world, the two recently launched Moving Pictures Gallery, pairing with the online art-selling platforms Ascribe and Artlery, which use bitcoin and blockchain technologies to keep a transparent, permanent record of provenance, and to keep a “smart contract” agreement between artist, collector, and patron, ensuring that all involved parties automatically receive compensation for their contributions to valuing the work. Moving Pictures Gallery was inaugurated by a performance by audiovisual artist Jonas Bers , who played a setup of hacked videogame machines from the 80s and 90s. While the performance, which was streamed online and can be viewed on YouTube , might initially look like a complex syncing of noise and visuals, the two are actually one in the same. He’s not playing modular synths, he’s playing video signals, which contain inaudible sound frequencies. As he amplifies bits and pieces of the signals, connected into feedback loops through his custom-created audiovisual equipment, the video signals become audible, and at the same time, the sounds create visual patterns on the screen. With Drasin and Bainbridge’s sales model, portions of this synesthetic performance will be selected and sold as unique editions. The duo spoke with The Creators Project on the occasion of Bers’ performance, to explain their radical ideas surrounding what they think is a necessary restructuring of the art market to match the proliferation of digital and new media art. Bers performing live. The Creators Project: What is realtime media art? Benton C. Bainbridge (BCB): Early video artists were interested in ideas like, ‘how can we perform digital music?’ and ‘can you play an image?’ That’s our interest. Eric Barry Drasin (EBD): Also, these tools are becoming rapidly more accessible to more people. We’re starting to see this proliferation of technique and virtuosity in the performance of these instruments. Now, we’re seeing this point where we’re bringing it onto the stage, and it’s becoming this type of live cinema, live theater. And we’re starting to treat it truly as visual music, with virtuosic performers like Jonas, that can tell a story and bring the audience through something, in a very live way. This is the new electric guitar. But also, it’s art. What exacly is "Performing Systems? " EBD: A few years ago, my friends and I needed a context to really develop and focus what we were doing. So I started a video art collective called the Fast Food Collective , and from that developed Performing Systems. It is the space where people exhibit fully fleshed-out concepts, video scores, that are specifically single-channel. It’s one projector, two speakers, and someone standing in front performing for the audience. I wanted to just focus on the relationship between the performer and the technology that they’re using. How are you using Artlery and Ascribe? BCB: We [as a society] don’t really have a system set up for fine artists to participate in royalties from resales, and Artlery is very focused on that. EBD: We’re getting our certificates of authenticity from Ascribe, and then we’re selling it though Artlery using a smart contract that has resale royalties built into it. Droit de Suite is the term [Artlery uses], French for “right to follow.” Basically it’s resale rights: if we sell a Jonas Bers for $10 today, and then a collector sells that same piece for $100 next year, Jonas deserves to participate in resales of that work. You could actually build, with the proper infrastructure, a self-executing contract, where that sale could be the thing that triggers the exchange of that artwork, while at the same time, funneing off the percentage to the artist. Artlery is also focused on the people that appreciate art. Every time you look at the Mona Lisa , for example, you are adding to the value of that artwork. Artlery is interested in setting up a system where that’s acknowledged. All these blockchain technologies seem to point to this future where there’s this sort of radical participation of users in the economic value that’s created by art participation. Bers perfoming. Photo courtesy the author. Could you clarify how blockchain works in relation to selling art? BCB: The blockchain is like triple-entry accounting, which acknowledges that any human can make a mistake. To enter each item on a ledger in triplicate means three people are checking one another. The blockchain is at the core of how cryptocurrencies work, and the idea is that accounting is done, not by three people, but by a vast network of computers, all of whom can check the legitimacy. In the generation of the cryptocurrency in the first place, called “mining,” the blockchain can confirm that it’s been correctly mined, that it’s a central confirmation across a whole network of computers. Those transactions are all entered with a time-date stamp, and are confirmed by all computers that have access to this public blockchain. So essentially we have all the advantages of multiple-entry accounting, but more open. Why have you adopted this format? EBD: The promise of electronic media, not only digital media, is that you can spread it widely. That’s a great thing, but I started with the question, ‘why aren’t realtime media artists collecting one another’s work?’ I came to the conclusion that this community simply didn’t have the superstructure in place so that they could actually collect one another. BCB: We’ve sort of just come to the conclusion over the years that art doesn’t have an inherent value. The logic of the free market swoops in, and says, ‘ok, we’re completely devaluing your labor.’ So, with Performing Systems, we’ve been creating these very specific performance environments, where we can really assert the authorship of the performer and the technologist, and treat is as a score. The audience comes to understand that this is something they should treat with some regard, not as something ancillary to a product message, or to theater, or to anything else. It’s important for us to assert the context that we want the work to be seen in, which is that this is, in fact, fine art. Watch the full documentation of Bers’ performance below. What do you think about the tension between the traditional fine art market, which relies on scarcity, and the digital art world, which operates on the premise that digital works can be infinitely shared or easily copied? EBD: Given the trajectory of some of these blockchain technologies, we’re going to start seeing that digital media files are going to be treated as physical objects. It should be the choice of the artist to determine how they either want to license or sell that work. We’re asserting that this is a thing, and it is an object, and we are selling it as an object, it’s a unique object. It’s created out of a unique process that can never be replicated in time and space. Eventually, more people are going to figure out more interesting licensing techniques. Artlery is creating a really interesting system for licensing art and disseminating ownership. At it’s core, what we’re trying to do, is assert the singular nature of digital media, using these technologies, that are currently on the verge of existing. Do you think of this project as an avant-garde, or a future mainstream model? BCB: Exactly the latter. A future mainstream model. I like that personally because, if you look at Nam June Paik’s early writings, there’s a collection of his writings called, Videa n’ Videology ; and it’s not like he came up with every idea on his own, but he synthesized all these ideas, and what he was writing about over half a century ago, is the way we live today. He was writing things like, ‘in the future, there will be hundreds of channels of TV.’ ‘In the future, there will be a TV channel to watch paint dry.’ All these things came true. At the time, he sounded like he was tripping, but I’ve seen many of his ideas come true. Find out more about Moving Pictures Gallery on their website . Related: Guest Column: On Art in the Real-Time Stream Brooklyn’s Net Art Scene Migrates to Munich for New Media Art Fair The Third Era of Visual Art is Finally Upon Us 2016-05-12 20:25 Alyssa Buffenstein

20 Second Thoughts: Fred Sandback and the Virtual Line How does an exhibition accrete meaning, gain relevance, or shift shape over time? In the “Second Thoughts” series, Walker curators reconsider earlier presentations of art, articulating new or refined conclusions. Here, Jordan Carter writes about how the discovery of a 1977 book of line drawings by American artist Fred Sandback (1943–2003) prompts new thinking about the artist’s sculptures made using yarn or elastic cord. […] 2016-05-12 17:40 By

21 What is a Contemporary Collection? Thoughts on the Walker Moving Image Commissions and the Ruben/Bentson Moving Image Collection The Walker Moving Image Commissions is an online series in which five artists responded to selections from the Ruben/Bentson Moving Image Collection. Premiered in the Walker Cinema and released for a limited run online, the Moving Image Commissions were initiated in May 2015 with premieres of work by Moyra Davey and James Richards that focused […] 2016-05-12 18:40 By

22 Artists Installing: Lee Kit Hong Kong artist Lee Kit spent the past two-and-a-half weeks in the gallery working on his site-specific installation for his first solo museum exhibition in the US, Lee Kit: Hold your breath, dance slowly. The installation features new videos and paintings, as well as everyday objects sourced from Home Depot and IKEA: cabinets, lamps, rugs, chairs, […] 2016-05-12 18:39 By

23 Giant Fluorescent Totems Rise in the Nevada Desert Ugo Rondinone: Seven Magic Mountains, Las Vegas, Nevada, 2016. All photos by Gianfranco Gorgoni, courtesy of Art Production Fund and Nevada Museum of Art, unless otherwise noted. The Nevada desert can already feel like a dreamscape, but now, the view towards the horizon looks even more surreal. Ugo Rondinone’s Seven Magic Mountains , located off Interstate 15, ten miles south of Las Vegas, has officially opened to the public. The majestic, fluorescent cairns, each over 30 feet high, have had Nevada drivers asking questions and making detours for a couple of weeks now—if anything, to confirm that what they are seeing isn’t a vision of their own making. Rondinone’s installation sits beside hallowed ground, by art historical standards: Nearby Jean Dry Lake is where Jean Tinguely staged his Study for an End of the World No. 2 in 1962, and where Michael Heizer created Rift 1 six years later. As the first earthwork completed in over 40 years, this is a big moment for large-scale land art, dropping a contemporary pin in the movement’s timeline. Screengrab of video showing stacking process For the project’s co-producers, the Nevada Museum of Art and the Art Production Fund , this also meant facing contemporary hurdles. “In the old days, if you wanted to build something monumental in the landscape, you didn't have all the restrictions you have today,” explains Museum Director David Walker. “You didn't have to file an Environmental Impact Report. You didn't have to work with licensed contractors. And certainly today you need a lot of political support, which we got.” The fact that the chosen site sits on federally owned land made the logistics even more complicated. “And then, there's the little matter of raising $3.5 million,” adds Walker. In the end, the Magic Mountains took five years to implement. The final phases of construction are documented in a series of short videos on the project’s timeline , which show skilled workers cutting and coring the massive boulders, stacking them in place, and painting them in hyper-real, neon hues. The finished product is an awe-inspiring addition to the landscape. “When artists use natural materials, their work tends to have a visceral resonance,” reflects Walker. “This piece certainly does that. These are monumental towers, and when you encounter one of them—not to mention seven of them—they have a spiritual presence.” For him, the first encounter with the work unearthed old memories: “When you’re driving towards them and see them in the distance, they’re this wonderful gesture of color. It reminds me of being in a car as a child, around 1969, and seeing Las Vegas for the first time—seeing all the colors and neon lights. They kind of simulate that experience.” Walker is looking forward to documenting other visitors’ encounters with the work. The Nevada Museum of Art will be collecting the entire archive of the project, up until the work is taken down, two years from now—so make sure to get that Southwestern road trip in by 2018. Screengrab of video showing cutting process Screengrab of video showing painting process Learn more about Seven Magic Mountains here . Related: The Healing Scars of Land Art Land Art Animations Piece Life Itself Together For $6500 You Can Visit James Turrell's Unfinished Observatory 2016-05-12 19:50 Noémie Jennifer

24 Listening Mix: Devendra Banhart & Friends LISTENING MIX provides a musical preview for artists visiting the Walker. Combining their work with sounds from a variety of contextual sources, LISTENING MIX can be experienced before or after a performance. For his two-evening event this weekend, Wind Grove Mind Alone, singer/songwriter Devendra Banhart has gathered a group of collaborators, contemporaries, mentors, and friends. It wasn’t so long […] 2016-05-12 18:27 By

25 A Melancholy Tale About the Father of Cinema, Eadweard Muybridge

Screencaps via The Emperor of Time is a strikingly heartfelt story about a man whose famous name is normally given a paragraph of explanation. Born from an obsession with the father of filmmaking, Eadweard Muybridge, the film is written from the perspective of the adoptive son whom he abandoned and visualized in a 19th century mutoscope. It's a heartfelt look not only at the man behind the footnote, but at how film changed humanity's perception of the world. "I had been planning to do a film on Muybridge for the last seven years," filmmaker Drew Christie tells The Creators Project. "I got a book of his photos years ago and in that book there was some biographical information, mentioning his son that he abandoned and the fact that he murdered a man. From that point on, I was hooked. " He wrote the script for the film, explaining Muybridge's story with gorgeous prose like, "He was the first man who stared at time itself and said, 'Stop.'" Christie often focuses on creative minds from the past in his work, including Temple Grandin and Charles Bukowski , but he normally works in animation. "I kept having this feeling that since all of Muybridge's work was black-and-white photographs, this story should be realized to look like black-and-white photographs, not drawings of black-and-white photographs," he says. "I actually had to find a living, breathing horse and a living, breathing man to star in the film. Usually, I can just draw a horse or a person, but I had to find real stuff! " He struck gold with retired actor Richard Evans, who happened to live on the same Washington island he inhabits. "He was in every classic western of the 60's: Rawhide , Wagon Train , Gunsmoke , Bonanza , Lassie , Star Trek , and many others," says Christie. "He loved my script and agreed to come out of retirement and star as Muybridge. And luckily, my friend's mom has horses and she let us film on her property with them. " The Emperor of Time made the official selection at Sundance Film Festival, Sydney Film Festival, Seattle International Film Festival, and the Berkshire International Film Festival, and was recently released on Vimeo. Watch the full short below. See more of Drew Christie's work on his website . Related: When Artists Kill Gutter Poet Charles Bukowski, Animated and Uncensored Illustrated Temple Grandin Interview Reveals Why She's Thankful for Autism 2016-05-12 19:25 Beckett Mufson

26 Charles Pétillon Engulfs Gallery Magda Danysz in a Balloon Vortex Related Venues Gallery Magda Danysz Shanghai The white balloons of French photographer Charles Pétillon are floating into Shanghai for “Invasions,” the artist’s debut exhibition in China, opening May 14 at Gallery Magda Danysz. For the show, Pétillon has created elaborate assemblies of his iconic white balloons, which he places in empty or abandoned spaces and then photographs. The results are stark tableaux of these ivory globules, which evoke soap bubbles frozen in space and time. Some of the images are set in landscapes, others in empty manmade environments. In “Mutations 2,” a twisted horizontal braid of balloons floats in the forest; in “Playstation,” balloons of different sizes are arrayed around a children’s jungle gym in a desolate park. The most haunting image in “Invasions” is “Souvenirs de Famille,” an exterior shot of a vacant house overflowing with Pétillon’s balloons. The house is at once full and empty, packed to the rafters with these white baubles that contain nothing but air. Pétillon calls his balloon works metaphors that he says are intended to “change the point of view on the places we see every day without really paying attention.” “Invasions” also features a site-specific installation of thousands of balloons arranged in a spiral around the 1,000-square-meter gallery. Visitors to the show will be enveloped in this vast creation, giving them the experience of entering what the gallery describes as “the vortex that is a never-ending life.” Pétillon last created a large-scale balloon installation at London’s Covent Garden Market, where he filled the building’s arched roof with 100,000 balloons. That sculpture was 50 meters long and 12 meters wide and pulsed with white light to the rhythm of a heartbeat. 2016-05-12 19:16 Samuel Spencer

27 Let Fairy Tale Slackliners Teach You the Art of Falling Screengrabs by the author Say you lose balance and you fall... What do you do next? Do you stop and give up, or do you press on? This is the question posed by Yeah Dude in their new video, " Headway " which turns slackline jumping into an inspirational meditation on pulling through. According to creator Nicolas Romieu , 18-year-old Yohann Grignou wanted to film slackliner Louis Boniface jumping to violin music. “I found it was a cool idea,” Romieu tells The Creators Project, “but I said to him that I wanted to write a story.” He wrote a script and in one day, they filmed in a forest outside of Paris. The sound by Julien Riquier was added after the shoot abd Alexis Maingaud composed original music, while Pierre Morsard gave the film its unforgettable pink hue. The result is a dramatic and otherworldly piece wherein the violinist acts as a gamekeeper to the personal journey the slackliners go through over a fairy tale-worthy lake. Coupled with the dramatic music, the rhythm of the jumper invites the viewer into this slackline world. Next time we fall, we'll know how to make the most of it. Click here to see more from Yeah Dude. Related: Do Not Watch This Drone Footage If You’re Scared of Heights Extreme Highliners Weave a Massive Web Between Mountains Giant Wooden Megaphones Amplify the Sounds of a Forest 2016-05-12 18:25 Anya Tchoupakov

28 Scott Anderson at CES Gallery, Los Angeles Scott Anderson, Interfaith Leftovers , 2016, oil on canvas. COURTESY THE ARTIST AND CES GALLERY Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Scott Anderson: Supper Club” is on view at CES Gallery in Los Angeles through Saturday, May 14. The solo exhibition, the artist’s first with the gallery, presents a new body of work. Scott Anderson, Salsa Wash , 2016, oil, graphite, and oil crayon on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Ort , 2015, oil, oil crayon, and ink on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Interfaith Leftovers , 2016, oil on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Holding Food-Court , 2015, oil, oil crayon, and graphite on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, French Exit , 2016, oil and oil crayon canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Farm To Table Dinner Theater , 2016, oil on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, El Patio , 2016, oil and oil crayon on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Interfaith Leftovers , 2016, oil on canvas. COURTESY THE ARTIST AND CES GALLERY 2016-05-12 18:20 The Editors

29 Iris Apfel Among Tastemakers for Pirch Campaign More Articles By Pirch, the luxury kitchen and bath retailer, has chosen fashion icon Iris Apfel to be part of an advertising campaign running throughout the summer. The campaign, which starts Monday, coincides with the opening of Pirch’s 32,000-square-foot SoHo flagship at the corner of Broome and Lafayette Streets. Apfel is among a series of high- profile tastemakers — including interior designer Nate Berkus, well-known foodie and writer Padma Lakshmi and chef Geoffrey Zakarian — who are taking part in the campaign. Apfel, who appears in a bubble bath, has the tag line “It’s just a store, like I’m just an old lady.” The campaign will appear in New York subway stations, Jitney buses, billboards and print, among other media forms. Pirch has a unique retail concept in that it allows consumers to experience top kitchen, bathroom and outdoor products before they buy. Barker is the advertising agency for the campaign. 2016-05-12 18:07 Vicki M

30 Row Downtown L. A. Project Nabs Brooklyn Flea Food Market More Articles By The direction of the Row DTLA redevelopment project has begun to take shape with the Brooklyn, N. Y., food-flea market hybrid Smorgasburg set to land June 19. The mixed-use Row project aims to breathe new life into a nine-building, two-million-square-foot portfolio in downtown Los Angeles acquired by New York-based real estate investment firm Atlas Capital Group and Square Mile Capital Management in 2014. The two paid a reported $357 million for the deal that includes the headquarters of American Apparel, Splendid and Ella Moss. “[The Row’s] really exciting in that it’s not just a project in downtown,” Joseph Miller, who founded brokerage and development firm Runyon Group, told WWD late last year. “It’s a series of buildings in a neighborhood that could really define downtown just given the scale. Runyon Group, which developed the Platform project in Culver City, Calif. and has served as broker to companies such as Reformation and Rag & Bone, is handling the Row’s retail leasing. Smorgasburg is the first major announcement on the progress of the project, which marketing materials say will see a summer 2016 opening. The company has yet to announce additional tenants and is expected this evening to hold an introductory meeting aimed at introducing the project to the community and announcing the upcoming Smorgasburg as its first tenant along with an artist-in-resident series being developed. Other retail tenants have yet to be announced with marketing materials characterizing additional retail as “progressive luxury.” Pop-ups are expected around the holiday. Smorgasburg’s market will total as many as 80 vendors selling their goods every Sunday at the site of the Alameda Produce Market, which runs Monday through Saturday. If it’s as successful as its predecessors, in New York and sister Brooklyn Flea markets, of which the Smorgasburg concept is a spin-off, it could serve as a significant shot in the arm for downtown which has slowly begun to see a shift in its landscape with more residents, eateries and now retailers. The Brooklyn Flea sees anywhere from 5,000 to 6,000 visitors per day, with Smorgasburg drawing some 10,000 people each day of the market, according Eric Demby, who founded the Brooklyn Flea and Smorgasburg with Jonathan Butler. A list of more than 20 confirmed vendors includes Blossom Vintage and Coast to Coast Mobile Vintage for clothing. There’s Big Daddy’s Antiques, California Modern Woodworks, Feed Your Darlings and Papushka Vintage in the way of home goods and furniture. Other vendors include Goldenwest Goods, The Radder, Nikki Montoya Jewelry, Pauline Wolstencroft and Capricorn Press. Who makes it into the market is “totally arbitrary and subjective,” said Demby. “We don’t need to know your name. You don’t need to be selling at the coolest stores. We like people who are at the start of their careers.” To mark itself distinct from other craft, fleas and food markets in the Southern California region — aside from the mammoth, 5,000-space parking garage — is the fact that Smorgasburg combines facets of all those other markets and occurs on a weekly basis, Demby said. “They are this regularly, weekly gathering place and so there’s a social and community aspect to what we do,” he said. “I think it will be a showcase for what’s interesting here in food, in makers, in vintage and design…. It’s less of a major event that happens once or twice a year and more of a reliable place to go. This feeling of discovery. The scale of it is going to be quite big. It’s a lot of space. It’s almost a festival atmosphere but it doesn’t feel as intense and crazy.” Smorgasburg at the Row will be followed by an upstate New York version set to start Aug. 6. 2016-05-12 18:00 Kari Hamanaka

31 san francisco approves foster + partners' oceanwide center san francisco approves foster + partners’ plans for new oceanwide center all images courtesy of foster + partners the new oceanwide center in san francisco, designed by foster + partners in collaboration with heller manus architects, has received approval from local authorities. located in south of market (SOMA), the project forms part of the transbay development plan, which intends to provide increased urban density. the 2.3 million square foot development comprises two mixed-use towers — the 605-foot mission street tower accommodating a hotel and residences, and an 850-foot office and residential tower. importantly, the project also includes the addition of new public spaces with pedestrian connections, as well as the restoration of two of the site’s historic buildings. at ground level, both structures appear open, accessible and transparent. the towers have been elevated to a height of almost five storeys to provide room for a public square that forms an extension of the surrounding streets and alleyways. this 22,000 square feet space is to be landscaped by kathryn gustafson, and will have a wide ranging program of art installations. the project’s groundbreaking has been scheduled for november 2016. ‘we are delighted that our plans for the new oceanwide center have received planning permission,’ commented stefan behling, senior executive partner, foster + partners. ‘this development will be the new exemplar of urban living with exciting places to live and work right alongside the central transport hub. the new ‘urban room’ at ground level with pedestrian routes cutting across the site will catalyze the public realm in the neighborhood, with shops, cafes and green spaces for residents and employees to enjoy. we look forward to the next stages of the project with great anticipation.’ the towers have been elevated to a height of almost five storeys to provide room for a public square the project’s groundbreaking has been scheduled for november 2016 2016-05-12 17:56 Philip Stevens

32 32 Former Condé Nast Publisher Bill Wackermann’s Wilhelmina Pay Revealed Bill Wackermann , Condé Nast’s former publishing exec, took a bit of a pay cut when he grabbed the reins as chief executive officer of Wilhelmina International early this year, sources tell WWD. According to insiders, Wackermann was pulling down a seven-figure salary at the company where he spent more than 20 years in various publisher roles at Glamour , W , Bon Appétit , Brides and most recently, Condé Nast Traveler. At one point he was overseeing multiple titles, but his work was reduced to one title, Traveler, in 2013. The hard-charging publisher was let go late last year , however, as Condé Nast began cutting costs in order to grow its digital business. At Wilhelmina , Wackermann’s salary is $500,000, according to the company’s filing with the Securities and Exchange Commission. Wilhelmina said he also gets performance bonuses ranging from between 7 and 15 percent of earnings before interest, taxes, depreciation and amortization of the company’s wholly owned subsidiaries “in excess of certain performance thresholds starting at $5.5 million per year.” Wackermann will also receive two consecutive annual grants of $200,000 options under the company’s 2015 incentive plan to vest in five equal increments. Wackermann’s employee agreement is two years, subject to annual evergreen — unless the contract isn’t renewed by either party. 2016-05-12 17:48 Alexandra Steigrad

33 Narciso Rodriguez and Robert Longo Celebrate Stephen Petronio Benefit Tote More Articles By On Thursday night, a supple-limbed man was prowling around the Metro Gallery is his socks. He was taking in the large-scale artwork: Cindy Sherman’s “Works from the Olbricht Collection.” The real focus of the night, however, was on the minimalist black leather tote slung over his shoulder. The bag, designed by Narciso Rodriguez and featuring artwork by Robert Longo, was being sold to support the Stephen Petronio Dance Company, for which the young man danced. Sherman was a major link for the night: she’s the one who, many years ago, initially introduced both the designer and the artist to Petronio. “We’re all sort of connected in different ways,” Rodriguez explained. “I’ve known Stephen, and I’ve been a big fan of Stephen’s, for a long time. He’s a quiet fire. One of his big supporters Jill Brienza approached me about doing something together. Robert Longo’s also a great friend and supporter of Stephen’s, so voila! This was the product of all of these great minds coming together. Everybody wants the perfect tote, right?” The bag isn’t Narciso’s first time collaborating with Petronio: He previously designed costumes for Petronio’s Locomotor and Non Locomotor choreography. “I’ve been very reluctant to do anything like this with my images; media’s always ripping me off, fashion uses it,” Longo explained from behind a pair of rose-tinted glasses. “I thought it would be a nice thing to actually use it as a weapon for good. As an artist I grew up with modern dance and rock and roll, and I know how hard it is for dance and music to find support.” One-hundred percent of the proceeds from the bag will go to supporting the dance company; with 300 bags being sold for $650 each, they’re looking to potentially raise $195,000. “I feel like a kid at Christmas,” Petronio enthused. “Doing something together like this makes it all so much more fun than when you’re in the studio by yourself. I’m a collaborator by nature.” Longo let his friend choose the imagery for the bags; it’s no surprise that Petronio chose from the artist’s “Men in the Cities” series — the images exude movement. “I chose the ‘Men in the Cities’ series from the Eighties because when I was 23, the very first piece of art I bought was a poster of the ‘Men in the Cities.’ I still have it framed on my wall,” Petronio explained. “[Longo] was a little hesitant, but he said, ‘I’ll do it for you.'” 2016-05-12 17:46 Kristen Tauer

34 2,000 Glowing Pigeons Illuminate the Brooklyn Waterfront Photo by Tod Seelie for Creative Time. Seeing 2,000 pigeons equipped with LED lights whirl through the night sky is a little bit like laying flat on a merry-go-round at dusk and watching the starry sky twirl overhead. It's strangely enchanting to feel the wind from beating wings. After gathering with a couple hundred strangers to behold this twilight marvel on the New York waterfront, venturing into the Brooklyn night feels a little more magical. The mastermind behind this spectacle is artist and avian aficionado Duke Riley , and his piece, commissioned by Creative Time , is called Fly By Night. Every weekend night for six weeks, a massive flock of carrier pigeons is released over the Brooklyn Navy Yard at sunset. As the light fades, tiny LEDs attached to the birds’ legs twinkle to life, illuminating the darkening sky. Creative Time, a nonprofit that produces art in public spaces, is known for ambitious, politically- charged commissions. Fly By Night was partly inspired by the US Navy’s historical use of homing pigeons to deliver messages at sea before the widespread use of radio. The Brooklyn Navy Yard was the site of the military’s largest coop at it's peak during World War II. Returning birds to this site is not only a love letter to pigeon fancying, it is something of a PR campaign for creatures routinely called “rats with wings.” Riley tells The Creators Project, “They’re extremely smart, and have excellent facial recognition skills. In some ways, they’re kind of like a liaison between the human and the natural world.” Photo by Tod Seelie for Creative Time. Riley’s affinity for the birds runs deep. As a child, he found and cared for a pigeon, and though his mother sent it away, the bird came back. Riley later lived in a pigeon coop in Providence, Rhode Island for several years. “There’s a real bond between Duke and the pigeons that he homes and raises,” says Creative Time’s executive director Katie Hollander . “It’s one of the things that brought him to New York, because there’s such a large, though dwindling, pigeon community. It’s been an integral part of his practice.” In 2013, Riley trained birds to smuggle Cuban cigars from Havana to Key West in a performance piece titled For Trading With The Enemy. A daring and mutable artist, he also draws on the urban waterfront as a wellspring of inspiration. In After the Battle of Brooklyn (2007) he built and launched a Revolutionary War-era submarine called the Turtle in the New York Harbor and got within yards of the Queen Mary 2 before being arrested. Photo by Erik Herrström "The urban waterfront is the genesis of every city. All cities are based around the development of water, whether for consumption or transportation. It always marks the oldest place in the city," says Riley. "The waterfront is the buffer between the governed and the ungovernable. " Today, the home of the Fly By Night flock is inside another sort of battleship. A decommissioned vessel named the Baylander houses 13 specially designed coops. “We’d never worked with animals before. It’s something we were very sensitive about, and we wanted to make sure we had processes in place to care for the health and well being of the birds,” Hollander says. Creative Time employs a team of avian experts to care for the pigeons, and the project FAQ addresses the history of homing pigeons and the care and makeup of Riley’s flock. Photo by Erik Herrström Fly By Night encourages urbanites to look up and take in their surroundings. “There’s a level of enjoyment and childlike amusement,” Hollander says. “One day, we were down at the Navy Yard, and a security guard ran over and said, ‘I just got off a 16-hour shift, and seeing this filled me with joy.’ That’s what we’re going for: an opportunity to replenish people with hope and wonder.” Riley and his avian performance artists illuminate the waterfront in a confluence of art and nature, creating a spellbinding experience for those lucky enough to witness it this spring. General admission tickets for Fly By Night are fully reserved, but for a chance to see a performance, you can join the waitlist. To learn more about the artist click here. Related: I Spent the Night at an Anything-Goes Art Slumber Party Kara Walker's Domino Sugar Installation Lives On Thanks To Streetview How Kara Walker Built A 75-Foot-Long Candy Sphinx In The Abandoned Domino Sugar Factory 2016-05-12 17:30 Kara Weisenstein

35 Die Antwoord's "I Fink U Freeky" Director Released a Terrifying Short Film Screencaps via Roger Ballen did not arrive in Sydney with the intention of making a film. The Johannesburg- based photographer, who you might also know as the director of Die Antwoord’s 2012 music video " I Fink U Freeky ," was actually visiting the University of Sydney’s College of the Arts to view an installation of his own work curated by Colin Rhodes. But the haunting atmosphere of the art school, which is located on the site of a former psychiatric hospital, immediately caught his imagination. “I was so inspired by the dungeon cells at the Sydney College of Arts that I felt I needed to preserve my experience,” Ballen tells The Creators Project. “The turning point in the process occurred when I added sound to the installation and was blown away by the penetrating recordings.” The result is Roger Ballen’s Theatre of the Mind , a powerful two-minute psychological thriller which begins with Ballen giving a lecture on his work, only to be interrupted by a series of dreamy and disturbing images filmed in the art school’s bizarre underground tunnels. Ballen worked on the video and accompanying photo installation with a group of Sydney College of the Arts students and graduates, including producer Tanja Bruckner. Filming with Ballen was a dream come true for Bruckner, who’d long been a fan of the world renowned photographer. “It was an absolute privilege to work with him,” she tells The Creators Project. “His work doesn’t cotton wool life like a lot of art and other forms of media do. He punches the viewer in the face so hard with the very real possibility that things fall apart, including the mind.” As a former Sydney College of the Arts student, Bruckner’s filmed on campus many times. Unsurprisingly, exploring the nineteenth century passageways of an old mental asylum always makes for an eerie experience. “You can feel the energy of certain spirits still trapped in their isolation cells,” she says. A 19th century mental hospital is the perfect choice of setting for Ballen, whose photography and video practice tends to float in the interstitial space between perceptions of real and unreal. In fact, he’s enjoyed a lifelong fascination with themes of mental disturbance. “I have always been interested in the thin line between sanity and insanity,” he says. “What society defines as normal could be seen as insanity, and vice versa.” You can view more of Roger Ballen’s work here and follow him on Instagram . This article originally appeared on The Creators Project Australia. Related: Die Antwoord Photographer Roger Ballen's Best Art Advice 'Lights Out': The Horror Short That Could The Psychology of What Makes an Image "Horror" 2016-05-12 17:10 Katherine Gillespie

36 Tunick Wants to Make America Naked Again Photographer and Female Body Inspector Spencer Tunick is looking for a hundred women willing to "pose nude in Cleveland during the Republican National Convention," reports Jezebel. His objective? To remind Republicans "that women are a reflection and embodiment of nature, the sun, the sky, and the land. " That is, at least, what he said in a recent interview with the Cleveland Scene. Tunick also mentioned that his "sacred" female subjects will be holding large mirrors during the July 17 event, an act where "[t]he woman becomes the future and the future becomes the woman. " However, it appears that some women are more sacred than others. In fact, the 49-year-old photographer explicitly states on his website that "participants will be selected based on photographs submitted. " We're sure his selection process will see him making a lot of hard choices. Tunick stresses that his project isn't a protest. One wonders, then, what he anticipates a group of naked women to accomplish. "It's sort of to energize the city, to heat it up," he said. (Apparently Accuweather's 79 degree forecast isn't hot enough.) For those suspicious of Tunick's intentions, he reassured his Twitter followers that he's doing this "for our daughters. " The photographer, evidently, "just couldn't stand by and do nothing. " And when the going gets tough, the sensible solution is to throw some naked women in the mix. "I think it's going to shine a little wisdom on the convention," Tunick said. Because, really, what could be more enlightening than the combined efforts of one hundred fully exposed women and a fully-dressed man and his vision? Follow artnet News on Facebook. 2016-05-12 16:53 Rain Embuscado

37 George Zimmerman Gun Auction Cancelled Four years after shooting and killing Trayvon Martin, an unarmed black teenager in Florida, George Zimmerman reportedly attempted to sell the murder weapon at auction. Having recently recovered the weapon from the Department of Justice, Zimmerman listed the Kel-Tec PF-9 gun on the user- generated auction site Gun Broker. "Prospective bidders, I am honored and humbled to announce the sale of an American Firearm Icon," he wrote. "The firearm for sale is the firearm that was used to defend my life and end the brutal attack from Trayvon Martin. " Shortly before the auction was slated to begin, Gun Broker pulled the listing from the website. In a statement , the company noted that Zimmerman was the sole person responsible for posting and promoting the listing. "We want no part in the listing on our web site or in any of the publicity it is receiving," the website insisted, noting that "we reserve the right to reject listings at our sole discretion, and have done so with the Zimmerman listing. " Despite Zimmerman's claims that the Smithsonian was among the "many have expressed interest in owning and displaying the firearm," which he described as "a piece of American history," the institution was quick to deny it. "The Smithsonian has never expressed interest in collecting George Zimmerman's firearm. The Smithsonian has no plans to ever collect or display this object in any of its museums," reads their statement. A statement issued on behalf of Martin's father, Tracy Martin, said that the Trayvon Martin Foundation "has no comment on the actions of that person that murdered Trayvon" and "is committed to its mission of ending senseless gun violence in the United States. " Since his acquittal on murder charges in July 2013, Zimmerman has continued to court controversy through his abominable works of art. For instance, he sold an American flag painting on eBay for $100,099.99 that December. This past August, Zimmerman joined forces with a Florida gun store, selling prints of a Confederate flag painting with a gun rights message to support the store's owner, who was threatening to bar Muslims from patronizing the business. Zimmerman's continued time in the media spotlight has also included several other brushes with the law, most in connection to incidents of domestic violence. In January 2015, Zimmerman allegedly threw a bottle of wine at a woman when she refused to return a painting to him. When questioned about the decision to sell the gun that he used to kill Martin, Zimmerman told local FOX affiliate WOFL , "I'm a free American. I can do what I'd like with my possessions. " Undeterred, Zimmerman is attempting to sell the 9mm weapon at another online gun auction , reports USA Today. Bids start at $5,000. Follow artnet News on Facebook. 2016-05-12 16:27 Sarah Cascone

38 Jan Fabre’s Art Conquers Florence With Bronze Turtle, Shiny Insects Related Venues Forte di Belvedere Artists Jan Fabre For the first time in history, a contemporary artist has “conquered” three historical venues in Florence. Jan Fabre ’s show “Spiritual Guards” is now side by side with Michelangelo in Piazza della Signoria. It also occupies the frescoed rooms of Palazzo Vecchio. If this is not enough, it dominates the Medici’s town with an impressive display of sculptures and videos at Forte di Belvedere. More than 100 works by the Flemish artist, dating from 1978 to 2016 - including a performance done in Florence in April - bring his world to life under the Tuscan sky. Fabre, born in Antwerp in 1958, touches on his usual themes: life and death, beauty and fear, war and laughter, heroism, and vulnerability. The monumental sculpture “Searching for Utopia,” Fabre's self-portrait riding a giant golden turtle (a symbol common to many religions) was recently installed on Piazza della Signoria, next to the equestrian statue of Granduca Cosimo I, a Renaissance masterpiece by Giambologna. It has already become a favorite among tourists with selfie sticks. Fabre’s “Man Who Measures the Clouds” (1998-2016) stands on the Arengario outside Palazzo Vecchio between the copies of Michelangelo’s David and Donatello’s Judith. Inside the Palazzo, arranged amidst the permanent collection, Fabre’s swords, armored, skulls, and dead squirrels provide a contract with the rich interiors and artefacts. Among the installations, there’s “Globe” (1997), 2.5 meters in diameter. It is covered in iridescent insects and is inspired precisely by the 16 th -century globe shown in the “Sala Delle Mappe Geografiche.” The most striking part of the exhibition is at Forte di Belvedere, open for free to the public. This showcases about 60 of Fabre works in bronze and wax, along with a series of films focusing on some of the artist’s historic performances. Both indoor and open-air, there are Fabre’s many faces and incarnations: the warrior, the knight, the philosopher, the worm and the beetle. Some of his self-portraits laugh at the human condition; some others are looking at the sky, sheltering from the rain, trying to light a cigarette. Many have horns and animal features. The “guards” who name the entire project are, in fact, the small army of bronze beetles who stand on the bastions in defense of the fort, Fabre’s “angels of metamorphosis.” The three exhibitions are under the art direction of Sergio Risaliti and have been curated jointly from Belgium and Italy by Melania Rossi and Joanna De Vos. 2016-05-12 16:21 Pia Capelli

39 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-05-12 16:56 GDUSA Staff

40 DAS INSTITUT Serpentine Sackler Gallery / London Throughout DAS INSTITUT’s latest self-titled show, currently at the Serpentine Sackler Gallery , the body is suggested, performed, dissected and expanded by the imaginative layering of Kerstin Brätsch and Adele Röder’s practices. Serpentine Sackler Gallery Kerstin Brätsch Upon entering, the viewer is confronted by the flickering lights of Röder’s COMCORRÖDER Breast (2010–15), a colorful breast-shaped neon sculpture that rhythmically composes and decomposes its own contours. The space is filled with clashing stimuli extending from ubiquitous locations; any sense of direction is confounded. This spatial approach creates an escalating intensity between objects and perceptions, allowing a deeper understanding of the compositional games employed by the duo. Working collaboratively since 2007 as DAS INSTITUT, Brätsch utilizes painting to question how a body can manifest and represent itself, while Röder employs an artistic vocabulary comprised of light, physical presences and textiles. The pair’s output is an attempt to playfully explore the limits of agency and artistic control through an unconventional attitude that attempts to express emotionally subjective and difficult-to-define elements of life. The buoyant mixture of individual and collaborative pieces also includes a few outside contributions. Flame Creatures (2015) by artist friend Sergei Tcherepnin sets the rhythm of one of the central rooms, where North Tomb (2016) is a juxtaposition of Röder’s Deep Sleep (2010– 15) neon pieces and Brätsch’s suspended “KAYA Mylars” (2015) oil paintings. Allison Katz’s dismembered portrait of Brätsch and Röder, Exhumation Tabl e (2016), fills a number of Plexiglas boxes. The show casts the viewer as a fundamental participant of this idiosyncratic creative process, her presence looped back in the infinite construction and destruction of a unique context. As soon as I left the gallery, I wanted to be re-immersed in the show again and again. by Attilia Fattori Franchini 2016-05-12 16:14 www.flashartonline

41 crisscross adaptable furniture is easy to build, take apart and move again crisscross adaptable furniture is easy to build, take apart and move again (above) small cupboard kit all images courtesy of crisscross when it comes to moving, we all know there nothing’s quite as frustrating as furniture. it’s hard to build, a pain to take apart, and a nightmare to move. that’s why a recent graduate of falmouth university set out to create something better. in his final year of studying, sam wrigley came up with an idea for a range of furniture that would make moving easier and more enjoyable. to turn his idea into reality, he founded his first company: ‘we’ve spent the last 9 months designing, prototyping and developing crisscross.’ crisscross is a range of adaptable furniture that’s easy to build, take apart and move again. ‘we wanted to create a range of furniture that would adapt to people’s lives, rather than tying them down.’ because of its modular design, you can create almost anything to fit your space, and when you don’t need it anymore, you can change it into something new. the range of furniture can be adapted to different environments the project is currently seeking funds and it will launch a campaign on kickstarter at 10am on the 17th may and runs for 30 days. sam says, ‘we’re incredibly excited to finally share crisscross furniture with the world. we just hope everyone loves it as much as we do!’ kickstarter backers will be able to get crisscross before anyone else, and at a reduced price. the pieces are made only from wood that comes from sustainable forests designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-12 15:54 www.designboom

42 Mixed-Media Works Break Down Cultural and Critical Barriers Composition 118, paint on laser print (2012, 10.5" x 7"); and Castrophia, paint on laser print (2012, 10.5" x 8") All images courtesy the artist. If Thomas Gainsborough and John Baldessari had a baby, and that infant was a Lladró porcelain figurine whose godfather was a hologram of Joan Miró, the whole family would look something like the work of Chad Wys . Employing everything from the perplexing to the playful, the artist's vision effectively merges the characteristics of long-standing genres such as classical portraiture and plein air painting with postmodernist applications found in movements such as abstract expressionism. Even so, Wys' whole practice yields an entirely new category of artistic composition. The result is a mind-blowing body of work that's completely unexpected, each piece differing drastically from the last. An Alpine Landscape With Bars, paint on found painting and frame (2014, 16" x 20") Wys' unique, thought-provoking style is best described as post-conceptual, drawing from fine art traditions as well as more contemporary ones. But look beyond the Bob Ross-meets-Banksy veneer and you'll see a much more complex system at play. Lurking beneath the layers of Wys' works is a careful examination of the signs and symbols that we as a society have inherited from our ancestors, and how those signs are interpreted today. While it might appear that Wys' work looks backwards, it also looks to the future, exploring how the communication between technology and humankind ultimately affects our awareness of our own aesthetics. With an M. A. in visual culture from Illinois State University, Wys currently lives and works in rural Illinois. His formal training as an artist is obvious in his work: far from mere pastiche, it explores the trajectory of art history itself, evaluating traditional work through a modern lens. Whether creating actual paintings, digital collages, or assemblages from found objects, Wys bridges the firmly entrenched divide between highbrow and kitsch, exploring the emergence of art criticism within his art itself. Arrangement In Skintones 11, digital c-print (2011, 44" x 44") "I think art is lifeless and hollow and disposable if it doesn't strive for something greater beyond the surface," he says, drawing comparisons between art and literature, in the sense that both disciplines convey an experience. "The best literature, the best poetry, shows us a new aspect of the world and ourselves. Visual art is no different. Art must always be showing us some aspect with which we're not finished grappling.​" If art is a mirror reflecting the struggle of the human experience, then it stands to reason that today's art should inevitably dive into a kind of messy discourse about technology, and the uncertainty that comes with it. Yet while new applications of scientific knowledge definitely affect the way art is produced, Wys believes that today's artists themselves share much in common with their forebears. Brutalized Gainsborough 2, paint on laser print (2009, 10.5" x 8") "I think the fundamentals and philosophies are very much in keeping with the avant-garde of generations past in that ideas give birth to subsequent ideas, and ideas continue to mash together and overlap and mature into new ideas," he says. "The social and political climates change—or in some ways remain the same—and new ways of looking at the world always seem to be manifesting. But the same drive and ambition to tell important stories in refreshing ways has been a constant throughout art history and the production of images since the beginning— except when it has been suppressed maliciously from without, but even then, thoughts could not be gathered up and destroyed. " Wys feels his own art strives to convey a quality of mood, rather than taking the form of a narrative. "I work mostly in aesthetic tonalism—like a tone poem—without a clear objective or obvious antagonists, but with aesthetic gestures and the act of appropriation I hope to stir the audience to consider the very act of processing visual information," he says. "I hope to meet people at the very point that they perceive an image or an object and ask them to investigate how they derive meaning and experience in the first place. " Composition on Panel 6, collage and paint on board (2015, 9" x 9") The artist believes his own professional integrity has strengthened over the course of his practice, and that his vision has become more astute. Nevertheless, his themes have remained the same, conceptually speaking: "I think there's an ideological and aesthetic through-line that can be drawn from my earliest compositions to my most recent ones, and to some degree that's comforting, because it suggests I'm on a comfortable track," he says. "But while my critiques of reception have grown sharper and more nuanced, my drive to experiment with various mediums has broadened. I think I'm becoming more confident in my process, or, at least, more confident in being unable, and unwilling, to control every outcome. " Composition on Panel 21, collage and paint on board (2016, 10" x 10") When asked about the future of art as social commentary, Wys says, "I think all objects and images—all art—comment on our culture. All visual information that is produced in a culture, in some fashion, reflects that culture back on itself. Even art that isn't overtly political in nature communicates a great deal about the circumstances surrounding its production. I choose to point directly at the unseen forces at work in visuality, in art history, through the act of appropriation. I think artists will find their voice naturally. Whether they are viewed as an 'activist' or not depends more on the person doing the labeling. I think we all activate content in our own way. It's important that we continue to concentrate on what matters to each of us. " Inherit The Earth, geological specimens and found sculpture (2013, 5.25" x 4" x 2.5"); and A Grecian Bust With Color Tests, paint on found sculpture (2013, 7" x 3" x 2.25") The Absurdity of Looking, wood, paint, found painting and frame (2015, 20" x 22" x 3") The Awkward State of Seeing, wood, screws, paint, found sculpture (2015, 18" x 12" x 9") Follow Chad Wys on Facebook , Instagram , and Twitter , and find more of his work here and here . Related: 10 Artists Who Tackle the Social Issues of Today The Warping 3D World of Kidmograph Ordinary Is Extraordinary in CUR3ES' Collage Wonderland 2016-05-12 15:30 Presented by

43 Charles Gleyre’s Reputation Reexamined in Orsay Show Related Events Charles Gleyre (1806-1874) Venues Musée d'Orsay Artists Charles Gleyre Charles Gleyre is a painter who has often been mistreated by art history. A new show in Paris aims to set the record straight and rehabilitate his reputation. The Musée d’Orsay does a good job in showing an artist whose finely executed works have led to him being labelled a perfect representative of Academism. As such, he has been overlooked and criticized. After a retrospective in Lausanne in 2006 (Gleyre is a Swiss artist), the Orsay museum reassesses the evidence. Few people may realize that this apparent champion of classicism actually spent 25 years running the most liberal and prolific painting studio of Paris, where many future impressionists such as Renoir, Sisley and Bazille met. Some 120 paintings and drawings, including Gleyre’s most important works, are gathered to demonstrate the originality of this independent and paradoxical personality. As a whole, the exhibition reaches its goal. The visitor follows, with growing sympathy, the adventures, setbacks, and few successes, of an artist who has been sacrificed on the altar of modernity. While many of his paintings are characteristic of a cold and wise academism, the drawing is enhanced by a smooth technique. Gleyre was an anxious man, often paralyzed by his desire for perfection. But surprisingly, his compositions often show signs of irreverence, such as the satiric “Roman Thieves” (1831, now in The Louvre). They also prove his inventive spirit when choosing to depict unusual mythological scenes (such as “Penthenum pursued by the Maenads,” from the Bâle Kunstmuseum). At a time when westerners were fascinated by the East, Gleyre was the painter who made the longest trip to the Middle East and North Africa. He stayed there for four years starting in 1831, accompanying the wealthy American philanthropist John Lowell Jr. A whole section of the show is devoted to his journeys in Egypt, Sudan and Nubia, featuring representations of the places and people he saw. However, the artist came back exhausted and disappointed from this long expedition, after being unable to produce great pieces there. It is only his reconstructed reminiscence of a magic moment on the Nile which later brought him glory. Exhibited at the Salon of 1843, “The Evening,” also known as “The Lost Illusions,” (usually kept in the Louvre) was unanimously acclaimed, awarded a Gold Metal, acquired by the French state and became a symbol in the popular imagination of an Oriental dream. Gleyre is also at his best when he experiments with intuitive visions of fantastic landscapes as an attempt to feature the ancient world, freed of human presence. One of his masterpieces is “The Great Flood” from 1856. The oil and pastel work, kept in the museum of Lausanne, offers a singularly poetic and mysterious version of the cataclysm flown over by hieratic angels inspired by Giotto. Always contradictory, this supposedly misogynist and eternal bachelor celebrated feminine beauty in pictures such as “Minerva and the Three Graces” or “The Bath,” which is judiciously hung next to Renoir’s “Bather with Long Hair” from the Orangerie. His last picture exhibited at the Salon (1849), “The Dance of the Bacchantes,” shows a sensual female ritual that opposes the common Greek masculine Dionysian scene offered by most painters. 2016-05-12 15:25 Nathalie Mandel

44 Desiigner's Panda Mask Was Made by a Taxidermy Artist [Exclusive] Screencap via She continues, "For the video, they envisioned Desiigner turning into a panda, so my balance of human/animal was what they wanted. " The mask dominates the final 15 seconds of the video, showing Desiigner's face transformed, but the rest of his body is hid by a hoodie. For narrative's sake, we can assume he is fully transformed into the creature he's been rapping about for the duration of the song. Traditionally, Clark's work is true to the hide of the animal she's sculpting, but "Panda" required her to break this rule. "Since I obviously can’t (and don’t want to) get a Panda hide, I had to create something similar using black bear hide and antelope hide. " Working with a cast of Desiigner's face, she stitched together the two animal pelts, strategically shaving areas to make the mask uncannily human. Desiigner visited her studio to pin and trim the final details into place, and Clark says he had great energy and was, "very cool about being a fan of my work. " You know the collaboration is successful when you see Desiigner in the mask—his character has gone completely out of his brain. Photo by Jeff Hutton , courtesy Kate Clark Now that the video has been released, Clark will display the mask as part of her solo show, Kate Clark: Mysterious Presence at the Newcomb Art Museum in New Orleans. Then, it'll travel to the Hilliard Museum in Louisiana at the end of May. But that doesn't necessarily mean this is the last time we'll see the Brooklyn rapper go full panda on his audience. "Desiigner and I have talked about opportunities for him to wear it again and of course I want that to happen! " This collaboration is exciting because it's an all too uncommon instance of a pop star enlisting a fine artist to actualize the ideas they've spent years thinking about. "I was excited about the project because they were not asking me to make a prop, but instead to make one of my signature sculptures, using all of the details that I’ve developed through the years to make a visual balance between human and animal," Clark says. There have been a number of controversial music videos that artists claim "imitate" their work, in some cases winding up in court. It's always nice to see the opposite happen. At it's heart, "Panda" may be a banger about losing your mind to the party, it's also proof that sometimes we can all get along. Image courtesy Kate Clark See more of Kate Clark's work on her website . Related: Meet the Artist Putting Human Faces on Taxidermied Animals [Exclusive] Unmasking the 'True Detective' Killer Skrillex & Vic Mensa's Tokyo Monster Trucks Have "No Chill" 2016-05-12 14:20 Beckett Mufson

45 Vanessa Hudgens, Emily Ratajkowski, Josh Hutcherson Ring in Rosario Dawson’s Fashion Launch and Birthday Superheroes are flying into movie theaters this summer but not before descending on the conversations at the cocktail party for Yoox and Rosario Dawson’s Studio 189 fashion label on Wednesday night. Along with Studio 189 cofounder Abrima Erwiah, Dawson is a fan of the blockbusters featuring Marvel characters that fly, zap, spin webs and do anything out of this world. While Dawson’s favorites are Spider-Man and Claire Temple, the nurse she portrays on Netflix’s “Daredevil,” Erwiah is partial to Iron Man and Black Widow. “We get our superhero on,” Dawson confessed. “That’s, like, our delicious treat.” The duo, who met growing up in New York, come across as Wonder Twins who use style to benefit artisan communities in Africa. After launching their first collection three years ago out of headquarters in Ghana and the U. S., they’re introducing denim cutoffs patched with indigo squares, white shirtdresses and pink batik halter dresses as part of a 13-piece collection premiering Monday on Yoox . Dawson certainly showed some preternatural skills with multitasking. On Tuesday, she supported Sen. Bernie Sanders in get-out-the-vote campaigns at four colleges in East Los Angeles. Then she squeezed in her fashion party at a modern cream-and-white manse in Beverly Hills. On Thursday, she flies to Georgia to film the leading role in a farcical drama titled “Krystal,” directed by William H. Macy and co-starring Kathy Bates. It’s no wonder that Vanessa Hudgens, who plays “a normal girl trying to find herself in a world of superheroes” in an upcoming NBC comedy called “Powerless,” holds her “Gimme Shelter” co- star in awe. “She was, of course, one of those women who could do something like this,” Hudgens said of Studio 189. “She’s empowering. I want to be Rosario Dawson when I grow up.” That’s not to say Dawson is all business. To electrified African beats mixed by DJ Uproot Andy, she hugged, danced and goofed off with guests including Shiva Rose, Kendrick Sampson and Tracie Thoms when not nibbling on spicy carrot and peanut tostadas and polenta topped with spring vegetables and mint. During dessert at the poolside dinner, she rallied Hudgens to join her in a ditty with Jesse Boykins III and Xeryus Gittens. Then everyone chimed in to sing “Happy Birthday” to their hostess, who turned 37 on Monday. Emily Ratajkowski must have been gathering ideas for the 25th birthday blowout she’s planning for herself in June. A month after her birthday, she’s heading to London to film her fifth movie, a psychological thriller called “In Darkness,” with Natalie Dormer. Shedding the scantily clad roles she cornered in the “Blurred Lines” music video and “Entourage” movie, she said her dream roles are based on “strong female characters that don’t heavily revolve around the male plot line.” That’s familiar territory to Josh Hutcherson, who met his match in the heroic huntress portrayed by Jennifer Lawrence in “The Hunger Games” franchise. Having spent 15 years of his life on Hollywood sets, the 23-year-old actor feels that now is the right time for him to make his directorial debut. Partnering with Indigenous Media and The Black List, he plans to helm a short film called “Ape” in one weekend. Most likely it’s a weekend that he won’t be campaigning for Sanders. Fond of the blue shirt he was sporting from Studio 189, he thought of a way for him and Dawson to spruce up the septuagenarian politician. “Make him a suit or a tie,” he said. “That’d be great.” 2016-05-12 13:51 Khanh T

46 An Abandoned Power Plant Is Reborn as an Art Space Matthew Batty, Trapping the In Between, 2015. Photos by Peter Ringenberg Resurrection is hard, but a century-old former power plant has been brought back to life, and all it took was an 11-artist residency last summer. Organized by the Birdsell Project, a passion project from South Bend, Indiana artists Myles Robertson and Nalani Stolz, a series of sculptures, installations, and experiences sprouted in the basement of the city's aging Commerce Center. Filmmaker Chuck Fry, who documented Robertson and Stolz's first foray into art-fueled architectural regeneration in 2014, and whose film about glass artist Kiva Ford enthralled us in January, returns with an in-depth look at the life and artwork fostered by the Birdsell Project's first-ever summer residency. "The Commerce Center basement, with it's varied history as a health facility and a hydroelectric power plant, really provides an interesting canvas for artists to work with," Robertson tells Fry in the new documentary. "The basement can't really be leased in any sort of conventional way, but it was perfect for what we were looking for," adds Stolz. This is reminiscent of New York's Spring/Break Art Fair occupying the empty hallways of Moynihan Station, Red Bull's residency in Detroit , and other efforts to repurpose unused spaces with art.. They welcomed artists from all over the country to live in the derelict space for two months, creating works that react to the neglected walls and dirt-encrusted floors. Hunter Foster, Everything Is Nice, 2015 Chicago artist Hunter Foster, for example, planted a rose garden in an empty Jacuzzi, once part of the the swanky East Bank Club's men's locker room. "I have been using objects and quiet edits to the architecture in attempts to draw out affects of desire and shame in a strictly gendered space," he writes in the description of Everything Is Nice. Boston-based artist Leah Gallant's Zano with Vains also adapts her work to the space, specifically a weathered sign she found for a construction company called Vannoni & Sons. Gallant spoke to the Vannoni family and encased artifacts from their home in ice, which slowly melts into a series of aqueducts she built, "thus channeling the essence of the Vannonis and returning it into the space. " Stolz's artwork, Shrouded , is a series of hanging veils that cover the space, distorting the light and, as she writes, "transforming the caverns into flat pictures of what was. A world that is visible, but just out of our reach. " These are just a few of the installations that comprise The Birdsell Summer Residency. Each one is a thoughtful take on the history and physical space of South Bend, with materials lists that read like random word generators, encompassing everything from cheesecloth to "screen-prints of skinned groundhog. " The residency is Robertson and Stolz's first attempt at giving the artists a place to live and work alongside the installation space. Bryce Robinson, The Hive Within, 2015 The hope is that projects like these will grow the arts and creativity culture of South Bend. "Art I feel is a very strong tool for changing my mind about thing and letting me see things more clearly," Robertson tells Fry in the documentary. "I wanted to bring something like that to the community I live in. Instead of going elsewhere for that, let's build that here. " Nayeon Yang, It's a Boy II , 2015 This summer, the Commerce Center will host a new artist residency. As with the work created in Birdsell Mansion for the original project, the majority of the artwork has been removed, some of which is able to be displayed elsewhere. "Much of the work was created specifically for the mansion—responding to the space in some way—and thus was never intended to live outside the mansion," Robertson tells The Creators Project. "Some of the work that used the space itself as part of the piece—those pieces that applied material directly to the walls, for example— continue to live at the mansion and have become part of the narrative that other artists have since responded to. Similarly, this is what has become of the work at the Commerce Center. This summer a new group of artists will work in the space, creating new work that continues to respond to the space and the remnants of what work was there in the past, art or otherwise. " Andrew Strong, Enriched, Bleached, and Prefitted, 2015 Learn more about the Birdsell Project Summer Residency here. Check out the 11 works from Matthew Batty, Liam Cawley, Hunter Foster, Leah Gallant, Margaret Halquist, So Hee Kim, Allison Polgar, Bryce Robinson, Nalani Stolz, Andrew Strong, and Nayeon Yang in the images and Fry's documentary below. Allison Polgar, Pose, Pretend, Repeat, 2015 So Hee Kim, After a Tornado Swept 80’s Kid’s Birthday Party, 2015 Matthew Batty, Trapping the In Between, 2015 Liam Cawley, DOVE MUOIONO I CRISTIANI (Where Christians Die), 2015 Nalani Stolz, Shrouded, 2015 Leah Gallant, Zano with Vains, 2015 Margaret Halquist, Pool the Pins, 2015 Learn more on The Birdsell Project's official website. Check out more of Chuck Fry's videos here. Related: An Abandoned Mansion Reborn as an Art Space Inside Spring/Break, the Standout Fair of Art Week 2016 Anonymous Artists Greenscreen-Bombed a KFC in Brooklyn 2016-05-12 13:50 Beckett Mufson

47 French Artist Builds Illegal Secret Installations Beneath Paris Désenchantement, 2015. Wood, acrylic, wool, wax. Installed without authorization below La Maison Rouge. All photos courtesy of the artist Radouan Zeghidour is an art student by day, and a secret detective by night. “I explore underground when I feel blue. It soothes me,” states the Paris-based artist, describing his regular practice of illicit urban exploration. With time, research, and perseverance, Zeghidour has found ways to gain access to some of the vast spatial networks that exist below street level: the city beneath the city. DESENCHANTEMENT from Radouan Zeghidour on Vimeo . The artist has elected these remote spaces to install an ongoing series of works, which he leaves behind, like sacred relics to be discovered only by the French capital’s underground workers—if anyone at all. Each work requires up to a month of careful preparation. “It’s a kind of investigation,” he explains. “I place cigarette butts inside door locks, wedge things underneath the door, and place objects along hallways and passageways. Then I come back later to see if they’ve moved, and when. I also research the locations extensively, and try to see if any construction work is planned along the subway lines. I try and find out workers’ hours, and those of security as well. I also plan an emergency exit, in case something goes wrong.” Radeau échoué, 2014. Wood, wool, candles, survival jackets. Installed in the Paris subway without authorization. After devising what feels like a solid game plan, Zeghidour heads to the chosen site at dawn. “I do everything in one go, alone, for about ten hours,” he tells The Creators Project. Most of his installations are created with materials that are found on location. Radeau échoué (Sunken Raft) , from 2014, was placed along a Paris subway line, and Désenchantement (Disenchantment) , a wooden structure covered in wax, was produced in 2015 below La Maison Rouge, a contemporary art space near the Bastille. Locations of other works from 2013 are not disclosed. Zeghidour releases documentary evidence of the installations after the fact, including photos of the works and videos of the process. His secret adventures often yield other, above-ground works. Paintings made with found debris, for example, are completed in his studio and presented to the public. Mea Culpa, a map of installation locations, on view at Hypogea exhibition A short exhibition curated by Marie Salomé Peyronnel, Hypogea , on view May 11–15 at Catinca Tabacaru Gallery in New York, commemorates the installation of Désenchantement with a series of offshoots. These include debris paintings memorialized in wax, an aluminum “tombstone” marking the end of the process, and a hand drawn map disclosing the points of access to the original site, for those brave enough to make the pilgrimage. Note that the journey is not without risk: Zeghidour once spent three days behind bars, enduring incessant questioning. Another time, however, a subway operator who spotted him simply accompanied him back to the nearest station, more concerned with his safety than anything else. Box of relics, on view at Hypogea exhibition Detail of Désenchantement, 2015 Citadelle, 2013 Hypogea is on view at Catinca Tabacaru Gallery until May 15. To see more of Radouan Zeghidour’s work, visit his website. Related: New Doc Follows NYC's Urban Explorers on Instagram Miniature Street Art Installations Take Over London Artist JR Photographed A Troupe Of Ballet Dancers 180 Feet Above Paris 2016-05-12 13:25 Noémie Jennifer

48 LINK arkitektur wraps contemporary gabled extension with kebony wood in norway a nod to the traditional farmhouse structures in the area, norwegian firm LINK arkitektur has established a meaningful dialogue between past and present with the design of the ‘øvre tomtegate 7′ house in norway. the building was restored from its previous dilapidated state and connected to the existing residential property; the new extension is characterized by its gabled form and introduction of modern materials. the main component throughout the project’s development was the external envelope. glass and aluminium seen extensively throughout, with both the roof and façade of the extension clad in kebony timber, chosen by the architects to maintain the traditional style of the original farmhouse. kebony cladding, when exposed to light, softens in color over time to adopt a delicate silver-grey patina. in turn, this complements the light tones of the wood paneling inside. martin ebert, LINK’s lead architect on the project comments: ‘this project has been fascinating to work on with the traditional scandinavian design style interwoven with modern architectural elements. the kebony cladding is a really exciting way to keep traditional architecture alive without the negative environmental impact associated with hardwood deforestation.’ the design was heavily influenced by the traditional gable roofed farmhouses in the area the patented kebony technology is a unique process that modifies sustainable sourced wood species with furfuryl alcohol, a liquid produced from agricultural crop waste. with the addition of heat the furfuryl polymer is permanently grafted into the wood cell wall, resulting in greatly improved durability and dimensional stability; making the wood resistant to biological decay and harsh weather conditions, without the need for expensive and environmentally-damaging treatments. both the roof and façade of the extension is clad with kebony wood to maintain the traditional aesthetic internally, there is a focus on natural light, greenery and garden views. the open-plan interior is permeated with natural light through the fully-glazed façade that looks out onto the garden. meanwhile, the roof rises in the center to create a mezzanine level. the wooden envelope gives the barn a striking yet natural external appearance the ground floor is made of recycled concrete with an intricate heating mechanism where pipes in the floor are supplied with hot water glass and aluminium are two main materials 2016-05-12 13:23 Natasha Kwok

49 Cartier Aims for Younger Customers, Men, Retail Rennovations As gold prices continue to rise, putting the squeeze on jewelry companies, Richemont-owned Cartier is digging in its heels and looking forward on a variety of fronts. Mercedes Abramo, president and chief executive officer of Cartier North America, touched down in Los Angeles on Wednesday to cohost an event with Hillary Kerr and Katherine Power aimed at raising the brand’s profile with younger customers. The “Visionaries” party honored under age 30 movers and shakers including anti-bullying activists Lauren Paul and Molly Thompson, Internet influencer Aimee Song, Barneys New York digital art director Erica Choi and celebrity stylist Jamie Schneider. The centerpiece display showcased the latest additions to the Amulette de Cartier collection of interchangeable talisman pendant necklaces, bracelets, rings and earrings launched last year. The new pieces, made from guilloché gold, snakewood and malachite, are meant to attract a younger buyer at an opening price point of under $2,000 retail. But it’s not all for the ladies. Gentlemen have a new everyday luxury piece, the Drive de Cartier watch, which starts at $6,200. “We always try to anticipate the market needs, but we also want to surprise and delight, so it’s great when it happens to be a perfect pairing of price point and design,” said Abramo. The house plans an event during Pitti Uomo at Florence’s Palazzo Gondi June 14 to 16, when Raf Simons and Karl Lagerfeld will also stage events there. Before that, Abramo plans to host a client event in Beverly Hills to show the high jewelry collection. Fall will bring retail openings and reopenings, including a new store in Palo Alto (the sixth in California), and renovations of the Wynn Las Vegas and King of Prussia boutiques. The piece de resistance will be the reopening of the New York “Mansion” at 52nd Street and Fifth Avenue, which will feature a new concept designed by Thierry Despont. 2016-05-12 13:04 Marcy Medina

50 Talking the Revival of ‘Roots’ With Anika Noni Rose Anika Noni Rose — Tony winner, Grammy nominee, Beyoncé costar and Disney princess — is not the type of actress to find a niche and stick to it. Her résumé includes productions of “Footloose” and “Cat on a Hot Tin Roof”; arcs on “Bates Motel” and “The Good Wife”, and — just to keep things interesting — an early role in “From Justin to Kelly.” None of which, upon meeting Rose, is accidental. “There are some people for whom they are genius, they’ve carved out their niche, this is what they do and they do it brilliantly,” she says, bare feet tucked under her, perched on her publicist’s couch. “For me, I have wanderlust in life, and I have wanderlust in work.” She’s prepping for a busy summer, starting with playing Kizzy in the History Channel’s reimagination of “Roots,” the 1977 Golden Globe and Emmy-winning slave-trade series that holds Nielsen ratings records for the volume of audiences it drew upon airing. In July, she joins the Starz series “Power,” which set the record for the network’s most-viewed original season debut when it aired last year, and just wrapped BET’s “The Yard,” in which she stars as the lead, as the network moves further into scripted series. Such a schedule, Rose says, is a moment to appreciate. “I think any actor will tell you that you have times where you feel like everything is happening and it’s great and wonderful, and then there will be times when nothing is happening,” she says. “It’s very much a feast or famine type of situation.” Rose, 43, was raised in Connecticut and studied theater at Florida A&M University and the American Conservatory Theater. Her Broadway breakout, 2004’s “Caroline, or Change,” won her the Tony for Best Featured Actress in a Musical. In 2006, she gained international fame in “Dreamgirls,” starring alongside Jennifer Hudson, Jamie Foxx and Beyoncé in the film, which earned her SAG and Grammy nominations. In 2009, she became the first-ever African- American Disney princess as Princess Tiana in “The Princess and the Frog,” and was subsequently named a Disney Legend in 2011. She was again nominated for a Tony in 2014 for “A Raisin in the Sun.” “The universe attracts other things, so once you really kick-start and get into a groove, things just start to come together,” she says. “At least that’s what it seems like to me. 2016 seems like a really exciting year for me. I just felt it at the beginning of the year. I don’t know what that means, but it feels like it’s going to be a year of renewal. You know, right now I have three things happening at the same time that are so vastly different, and that is how I like to function — that’s exciting to me.” When it came to “Roots,” which also features Forest Whitaker, Jonathan Rhys Meyers, Laurence Fishburne, Anna Paquin and Matthew Goode, Rose was initially hesitant of touching such an established classic. “Was [the remake] a bandwagon choice, or were they trying to do something interesting, expansive with it; was there an integrity involved?” she says. Measuring from the passion with which she speaks of the project, the script passed her clearances. “I feel like it’s a great honor to be able to bring this forth for a new generation of viewers, and make this story a story that is poignant and relevant,” she says. “I don’t think that it’s a story — and when I say ‘it,’ I mean the story of enslaved America — that should ever stop being told.” The timing of the revival, Rose says, is appropriate for where American media and culture is in the current consciousness. “It is a story that is pervasive. And I think out of guilt, out of shame, out of many things, people are either very interested in forgetting it or changing it, which is dangerous,” she says. “But it’s really relevant — I think the repercussions are still affecting our country, the way we see each other, the way we treat each other. When you look at the situation with policing, in particular with young people of color, I can’t see that there’s not a link.” The remake of “Roots” will have to stand up to the expectations that are demanded of it. And while it is one of many projects for Rose, she is pensive when describing her involvement. “I feel like every time I do something that is historic, that it’s a tribute to everyone who came before me,” she says. “It is a thank you to every person who was strong enough to survive, so I can be on this couch, with a team of people doing my hair and makeup and taking pictures, and being an actor, and doing the things that I do. Because I’m quite certain that those people never would’ve thought that this could’ve been what life would be.” 2016-05-12 13:00 Leigh Nordstrom

51 holland green residences by OMA + allies and morrison OMA + allies and morrison add residential blocks to london’s commonwealth institute site image by nick guttridge / all images courtesy of OMA after originally winning a competition to undertake the project in 2008, OMA has now completed its overhaul of the commonwealth institute site in london. realized in collaboration with allies & morrison, the project sees the construction of three limestone-clad residential blocks around the listed commonwealth institute building, which has also been fully renovated ahead of its opening as the new design museum later this year. the sale of 54 residential units has helped fund the commonwealth institute’s restoration and conversion, which will feature interiors by john pawson. the three new residential structures are positioned around the listed exhibition hall, intended as a composition of free-standing blocks in a green setting — each oriented to carefully align with the site’s listed centerpiece. the front building, set back from the street, responds to the urban scale of kensington high street, while the largest of the three corresponds to the height of park close’s two adjacent structures, which both date from the 1960s. the structure, which which will open as the new design museum, has been fully renovated image by sebastian van damme the orthogonal geometries of the site’s latest additions form a deliberate contrast with the hyperbolic geometries of the exhibition hall’s roof. each residential façade is a hybrid of two different typologies: one being an array of identical vertical windows, the other an expression of the buildings’ structural grid. the latter of the two ensures sweeping views, while incorporating outdoor spaces — including large terraces on the upper floors. the sale of 54 residential units has helped fund the commonwealth institute’s restoration and conversion image by nick guttridge the site’s vehicular traffic has been eliminated, with a continuous basement connecting the three residential buildings and the design museum at a single service level. this subterranean storey also houses a number of collective facilities for the residents, such as a spa, a sky-lit swimming pool, a cinema, and a gym. individual apartment units incorporate their own outdoor spaces image by hufton + crow the commonwealth institute’s main exhibition hall will be the new home of the design museum, offering nearly three times more space than its previous home. with the exception of the roof and its supporting structure, the building has been almost entirely rebuilt. a new basement has been installed, while the floors within have been rebuilt at new levels to accommodate the needs of the museum. the previous 1960s elevations have been replaced with energy efficient fritted façades, designed to resemble its original appearance. generous views are provided across the site image by nick guttridge orthogonal geometries contrast the dramatic hyperbolic geometries of the exhibition hall’s roof image by philip vile an array of identical vertical windows stretches along the façade image by hufton + crow each building is oriented to carefully align with the site’s listed centerpiece image by sebastian van damme the scheme has been conceived as a series of free-standing blocks in a green setting image by sebastian van damme 2016-05-12 12:59 Natasha Kwok

52 Rodin Museum Settles Engineer's Injuries The Rodin Museum in Philadelphia has settled a $7.25 million lawsuit leveled by an engineer who fell through the building's glass ceiling in 2012 during an energy inspection. The total amount awarded will be shared by AlliedBarton Security Services and the Philadelphia Museum of Art, which runs the Rodin Museum's operations. According to CBS Philly , an unfortunate misstep sent engineer Phani Guthula crashing through the attic's ceiling and falling 38 feet to the floor below. Guthula's request to step onto the glass ceiling was allegedly cleared by a security guard. The fall nearly killed Guthula, leaving him in the hospital for three months with $1.9 million in medical bills to show for it. According to the Daily Mail , Guthula was on assignment by ICF International, the engineering firm the museum hired to run an energy audit of the building. Guthula's attorneys, Larry Bendesky, David Kwass, and David Langsam, told the publication that the victim's life has been "a living hell every day since his fall. " AlliedBarton Security attempted to shift the blame in a court filing, according to the Philadelphia Inquirer , arguing that their guard was not "properly warned about the safety risks by the museum. " In a statement to the Inquirer , spokesperson Norman Keyes stated that the museum "has always adhered to the highest safety standards and complied with all legal requirements," but did not mention any plans to bolster these measures. The Rodin Museum and the Philadelphia Museum of Art did not respond to artnet News' immediate request for comment. Follow artnet News on Facebook. 2016-05-12 12:47 Rain Embuscado

53 le roi soleil by marcel wanders for baccarat is adjourned with crystal shades and cut motifs le roi soleil by marcel wanders for baccarat is adjourned with crystal shades and cut motifs le roi soleil by marcel wanders for baccarat is adjourned with crystal shades and cut motifs image © laurent parrault marcel wanders‘ ‘le roi soleil’ chandelier for baccarat pays tribute to the illustrious monarch louis XIV. the lighting object draws upon baccarat’s iconic ‘zénith’ chandelier which sees wanders re-designing its contours and softening the angles. ‘le roi soleil’ acts a symbol of modernity through its embracing curves and crystal shades which are adjourned with cut motifs. wanders has stretched and distorted the twisted branches, tassels and octagons to create a perfect heavenly body. the chandelier, which comes in four different versions, contains a small subtle red jewel that makes reference to the original ‘zénith’ design. ‘le roi soleil’ pays tribute to the illustrious monarch louis XIV image © laurent parrault marcel wanders states that ‘in an ode to the know-how of the manufactory’s artisans, I set out to celebrate the timeless quality of the zénith chandelier, a baccarat icon. ‘le roi soleil’ glitters and radiates throughout a kingdom of light.’ the dazzling piece is accompanied by a small table that draws upon the ‘new antique’ vase the dutch designer created in 2014. the vessel has been turned upside down and crowned with a white marble top, re-inventing the original model into a complimentary furniture piece. it contains a subtly concealed rechargeable LED system which creates a captivating aura. each chandelier contains a small subtle red jewel that makes reference to the original ‘zenith’ design image ©designboom marcel wanders’ ‘le roi soleil’ chandelier is one of three new lighting pieces, influenced by the unique savoir-faire and mastery of baccarat. presented during milan design week 2016 as part of the legendary maison’s exhibition ‘lumières out of the box’ – within the historic setting of the brera academy of fine arts’ sala napoleonica – wanders’ lighting piece, alongside designs by arik levy and hans van bentem, was suspended within an oversized shipping crate with reflective walls; the scenography beautifully symbolising baccarat’s ability to interpret its 250 years of heritage and history with modernity and glamour. installation view of marcel wanders’ chandelier and table set within the brera academy of fine arts’ sala napoleonica image © andrea martiradonna 2016-05-12 12:30 Hollie Smith

54 VIDEO: Bernard Frize on Color and Serendipity Related Venues Galerie Perrotin New York Artists Bernard Frize French artist Bernard Frize values speed, experimentation, and chance in his painting practice. While his canvases are often beautiful and seductive, he claims not to invest too much attention in his aesthetic decisions; if anything, he can occasionally seem like a conceptual artist who has found, in painting, an outlet for ideas. His latest show at Galerie Perrotin in New York, “Dawn Comes Up So Young,” is on view through June 18. It includes brand new works — some of which are made by pouring and then shifting pigment, without brushes, letting happenstance dictate the compositions — as well as a set of large paintings from the early ’90s. We spoke with Frize, the cover star of the May issue of Modern Painters, about his practice. 2016-05-12 12:15 Scott Indrisek

55 Meet BeMA: The New Beirut Museum of Art As Lebanon prepares to launch its modern and contemporary art museum in Beirut , the Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL) announced the name of its forthcoming institution, which will be BeMA: Beirut Museum of Art (Beyrouth Musée .(in Arabic .ﺑﻴﺮوت ﻣﺘﺤﻔﺎﻟﻔﻦ — ﺑﻤﺎ de l'Art in French and The national " Museum in the Making " campaign kicked of in February 2015, with an architectural design competition announced in October. Peter Palumbo, chair of the Pritzker Architecture Prize, headed the jury reviewing the open call for design proposals. Members, who included the late Zaha Hadid , Hans Ulrich Obrist , and Julia Peyton-Jones , recently named 13 firms to the short list of potential candidates, with a winner expected to be announced this fall. The museum is slated to open in 2020, and will be located on a site owned by the Université Saint-Joseph in Beirut. The institution is currently conducting a search for a director, and plans to announce details about its collection and programming in the coming months. APEAL, a non-profit organization that hopes promote international- quality arts programming featuring both Lebanese and international art envisions BeMA as "a multidisciplinary hub of art and design dedicated to showcasing modern and contemporary Lebanese culture," according to a press release. Although the opening is still some years off, BeMA has already begun programming in the region, launching an artist-in-residence program with Temporary. Art. Platform in Ras Masqa, Lebanon, in March. The six participating artists, Ali El-Darsa, Youmna Geday, Raymond Gemayel, Ieva Saudargaité, Petra Serhal, and Myriam Boulos worked on a number of different projects. BeMA is also publishing an ongoing series, "Works on Paper," consisting of commissioned projects from 12 artists which are included in Lebanon's daily newspapers, and curated by Amanda Abi Khalil. BeMA isn't the only sign of a growing art scene in Beirut. In November, collector Tony Salamé opened the Aishti Foundation , a massive private museum in a shopping mall 20 minutes from the city's downtown area. Follow artnet News on Facebook. 2016-05-12 12:05 Sarah Cascone

56 Dominique Lévy Adds Pat Steir to Its Roster, Plans September Show in London Pat Steir making a waterfall painting in 1990. ©ERIC BOMAN In the midst of an auction week marked by huge sales for work by Cy Twombly and Agnes Martin in New York, Dominique Lévy Gallery announced that it now represents Pat Steir, the painter whose abstractions have, over the past four decades, focused on nature and chance. The 76-year-old artist was formerly represented in New York by Cheim & Read, which last had a solo show of her work in 2014. Lévy is planning its first Steir survey at its London space in September. An expanded version of the show that includes new work will travel to Lévy’s Upper East Side New York gallery in 2017.“To me, she’s a quintessential painter of the New York School,” Lévy said in a phone interview. “She is, in a way, a painter, but she’s also an incredible conceptual artist. It’s like she allows the paint to do the work.”Steir first became famous during the early ’70s for her works about iconography and symbols. These early monochromatic paintings feature images of roses that are compared to abstractions, or sometimes depicted in such a stylized way that they are barely recognizable. In doing so, Steir said she wanted to “destroy images as symbols.”Steir drew her initial inspiration from Asian philosophy, Japanese and Chinese painting, and Conceptualism. She was also influenced by experimental figures like John Cage, who pioneered the use of chance in making art. Having lived in New York during the ’70s, Steir came into contact with Minimalists like Brice Marden and Sol LeWitt, and her monochromatic paintings were sometimes shown alongside Lewitt’s wall drawings. During the ’80s, Steir achieved critical acclaim for her waterfall paintings. For these monumental works, Steir pinned unstretched canvases with dark backgrounds to the wall. Using a ladder, Steir poured paint on them, allowing drips to flow vertically down the canvas. They resemble torrential rain or water flowing over rocks without ever physically alluding to a landscape. Though these pours were planned, Steir accepted accidents in her work, in the same way that Agnes Martin didn’t fix errors made in her grid paintings.“I’m drawn to her relationship to nature, to the line, the draftsmanship, and drawing,” Lévy said. “And I’m very drawn to beauty. That’s something we often forget in today’s art world—these paintings are beautiful. They’re moving, poetic… You really feel that you’re in nature.”In addition to painting, Steir is also known for her prints. Beginning in the ’70s, Crown Point Press sold Steir’s prints, and they are still shown frequently. An exhibition of Steir’s abstract, pour-like monoprints at New York’s Pace Prints gallery closed five days ago. Steir has taught at the Parsons School of Design, Princeton University, and the California Institute of the Arts. David Salle and Amy Sillman have been among her students. She has also received a number of accolades, from a Guggenheim fellowship to two National Endowment for the Arts grants. Steir’s work was included in the recent permanent-collection rehang at SFMOMA, and Lévy noted that her work has become an important part of art history. “I think she’s a source of inspiration for a lot of young artists, and for many woman painters,” Lévy said. “It’s that commitment to the visceral process and the paint. She stayed faithful to paint, which is incredibly rare. Very few artists have committed to paint.” 2016-05-12 12:00 Alex Greenberger

57 Pilar Tompkins Rivas Named Director of Vincent Price Art Museum in Los Angeles Pilar Tompkins Rivas. RAFAEL CARDENAS East Los Angeles College announced today that Pilar Tompkins— the former coordinator of curatorial initiatives at the Los Angeles County Museum of Art—has been hired as director of the college’s Vincent Price Art Museum. She starts her new job May 17. Tompkins has worked as an L. A.-based curator and arts administrator since 2002, organizing shows in and outside of the United States with a range of institutions, including not only LACMA, but the Getty Research Institute, the Watts Towers Arts Center for the Department of Cultural Affairs in L. A., the UCLA Fowler Museum, and the City of Los Angeles. She is currently co-curating “Home—So Different, So Appealing” and “A Universal History of Infamy” for the Pacific Standard Time: LA-LA initiative, which the Getty Foundation started to forge correspondences between the art scenes of L. A. and Latin American). It launches in 2017. Tompkins is noted for both launching and codirecting the UCLA-LACMA Art History Practicum Initiative and the Andrew W. Mellon Undergraduate Curatorial Fellowship program at LACMA. Regarding her recent appointment, the college’s president, Marvin Martinez, said in a release, “The Vincent Price Art Museum and our entire campus community will benefit from the experience and passion that Ms. Tompkins Rivas brings. She will undoubtedly help strengthen our museum’s reputation and continue to build on its momentum as it evolves into one of L. A.’s top museums.” 2016-05-12 11:22 Ella Coon

58 Take a Look at Tony Bennett's Paintings Tony Bennett is best known for his musical career, but the octogenarian singer ( like a growing number of public figures ) is also an accomplished painter. As the crooner prepares to turn 90 this August, he'll be kicking off the celebration early with an eclectic group of famous artists, including Marina Abramović , Dale Chihuly , and Jeff Koons , at Keep Memory Alive's 20th annual Power of Love gala. The milestone birthday party, which doubles as a philanthropic event featuring a silent art auction, will be held in Las Vegas on May 21, and will benefit the Cleveland Clinic Lou Ruvo Center for Brain Health. Related: We Rank 16 Celebrities Aspiring to Art World Recognition—Who Will Win? The singer-cum-artist signs his work " Benedetto ," his birth surname, and works primarily in oil and watercolor. Among his numerous accomplishments as a painter, Bennett has no less than three works in the Smithsonian collection, and created a commissioned artwork commemorating the United Nations' 50th anniversary in 2001. Celebrity chefs Wolfgang Puck, Mario Carbone, and Nobu Matsuhisa will prepare the evening's menu. Curator, creative director, and writer Neville Wakefield, as well as artists Jonathan Horowitz and Rob Pruitt will also be among the bold-faced names in attendance. The silent auction include Chihuly's Round About Red , a limited-edition lithograph print inspired by the artist's large blown glass spheres, and a special piece created in Bennett's honor by New York artist Peter Tunney . In The Good Life , an original painting celebrating Bennett's upcoming birthday, Tunney incorporates all of the singer's albums covers dating back to the the 1950s. The painting's buyer also gets Bennett's complete discography on vinyl, plus a record player, affording the purchaser the unique opportunity to "listen to his painting. " To mark the occasion, artnet News has rounded up a selection of the singer's paintings below. Follow artnet News on Facebook. 2016-05-12 11:08 Sarah Cascone

59 Hanne Darboven’s Genius in “Evolution Leibniz” at Galerie Crone Related Venues Galerie Crone Artists Hanne Darboven Some of Hanne Darboven ’s work is getting displayed for the first time in 20 years at Galerie Crone in Berlin. “Evolution Leibniz” showcases the artist (1941- 2009) who was inspired by arithmetic, history and systems of classification. The exhibition, like those last year , shows how the artist translated personal experience into a complex system of plans, codes and constructs. Darboven’s “Konstruktionen” (1966-67, ink, pen and pencil on graph paper, pasted on cardboard) is a collection of abstract lines, placed at angles, forming geometrical shapes. While seemingly impossible to be transformed into real life sculptures, those designs were nevertheless used by her as basis for her minimalist three dimensional works. In the titular monumental “Evolution Leibniz” (1986, ink, screen print, photographs and collage on paper), Darboven presents a series of almost identical “postcards,” each relating to one day in a year. In Darboven’s work, time is not an intangible experience but a system of connotations, rationalized and put in numerical order. While such systematic approach to the passing of days might give off the impression of having absolute control over the course of time, Darboven places a chilling reminder of the transiency of human life at the core of her artwork. Some of the “postcards” present an image of a skeleton next to an antique porcelain toilette. Darboven draws her inspiration from the philosophy of 18th-century Enlightenment, which postulated that life is a rational, measurable force. While being attracted to the idea of life as a flawless design, Darboven’s works convey a sense of disbelief and ironic detachment in their orderly structures. 2016-05-12 11:01 Natalia Masewicz

60 Will British Museums Reveal Secret BP Funding? British Petroleum's sponsorship of a number of British museums has come under the microscope thanks to an ethics investigation of the UK's Museums Association. London's Tate , British Museum , and National Portrait Gallery have all been accused by activist organization collective Art Not Oil of letting the oil company's agenda influence curatorial decision making. In March, the Tate announced plans to cut ties with BP following the end of the current sponsorship term in 2017. The British Museum and National Portrait Gallery have yet to follow suit, despite growing public pressure from celebrities including Vivienne Westwood and Emma Thompson. Meanwhile, in the current legal hearings initiated by London arts group Platform , with support from information rights group Request Initiative, the Tate has resisted requests to disclose precise figures related to the sponsorship deal, citing confidentiality agreements. ( Under duress , the museum has already released figures up until 2006 , which show relatively small annual contributions .) As reported by the Guardian , the information commissioner at the hearing initially was swayed by the museum's argument that to release more recent figures could negatively impact relations with other sponsors, but the museum was reportedly unable to provide concrete examples of possible damage. "We are delighted that the information commissioner today performed a dramatic U-turn and has agreed with us that there is no justification for Tate's secrecy around the amount of sponsorship negotiated with BP," Brendan Montague, a director of Request Initiative, said in a statement. Henderson will issue a ruling on the matter at the next hearing; the date has not yet been announced. Speaking anonymously, an employee at British Museum told Artforum that BP has been "extremely demanding of the museum" and used "bullying" tactics. Chris Garrard, who compiled his findings into a report titled "BP's Cultural Sponsorship: A Corrupting Influence," told the Guardian , "Now we have specific evidence of where our museums and galleries have been complicit in advancing BP's business interests and keeping the voices of the company's critics in check. " Cultural organizations with ties to fossil fuel companies have been subject to a great deal of criticism , with a number of high-profile protests both in the UK and the US , perhaps influencing energy magnate David Koch's resignation from the board at New York's American Museum of Natural History. Follow artnet News on Facebook. 2016-05-12 10:56 Sarah Cascone

61 Christie's Warhol Auction Flunks Art History 101 – THE DAILY PIC (#1548): “The best art is the most expensive because the art market is so smart," the auctioneer Tobias Meyer once said. I bet he's wanted to walk that line back after any number of notably dumb auction results – including the ones that came in Tuesday night after the evening sale at Christie 's in New York. The above Warhol painting of Liz Taylor, estimated at “only" $10 million to $15 million, failed entirely to sell or even to attract any bids. (I know, my writing “only" is an absurdity, but such is the world – the art world – we live in. Other Liz paintings have fetched far more. According to the artnet Price Database , Liz #3 , against a pea green background sold for $31,525,000 at Sotheby's in 2014; Silver Liz (diptych) sold for $28 million at Christie's in 2015; and Liz No. 5 (Early Colored Liz) , on a blue background, sold for $27 million at Phillips in 2011.) In that same Christie's sale on Tuesday, a 1982 painting by Jean-Michel Basquiat set a record at $57.3 million. The unsold Warhol was by an artist who changed almost everything in Western art and a good bit in world culture; it also happens to be of one of that genius's most iconic subjects. (There are rumors about some recent problems around the painting's ownership, but no one questions that Warhol made it – a forger or copyist or even an assistant wouldn't have dared to make Liz's face as "distressed" as it is in this work, giving her the look of road kill. The painting is almost a hybrid between a celebrity film-still and one of Warhol's Death and Disaster images – just the kind of art-historical complexity that collectors don't want to deal with.) Meanwhile, the Basquiat that did sell, for the cost of a passenger plane, is by a really pretty good 1980s neo-expressionist painter – expressionism being sucker bait for many big-time collectors, who still love, and can't get beyond, the hideous cliché of the tortured artist applying tortured paint in a signature gesture of “self-expression. " Christie's essay on the work bathes in such advertorial bromides, expressed in an overripe connoisseurial language that would get any grad student in art history flunked. Basquiat's painting has the added virtue of being big, something collectors also like, since they and the art market mostly judge aesthetics in terms of square footage. (Actually, since the Basquiat was 12 times bigger than the Warhol but only about five times more expensive, the buyer may have calculated that he got a bargain.) Basquiat does matter to art history for the way he dealt with black identity and culture(s), and with the place a black painter could have in a lily- white art world, but the Christie's catalog steers clear of such thorny stuff, which would hardly appeal to clients among the .1 per cent. The sale had plenty of other such absurdities. (For instance, an important early Richard Prince photo-appropriation went for around $3 million, while a drippy – and yes, big and “expressive" – later Nurse painting sold for three times more.) But I'll leave the last word in this story to Helen Molesworth, the reliably sharp chief curator of MoCA in Los Angeles, who said the following in a recent interview with The Art Newspaper : “The rise of art as an asset class has made a lot of things worse for a lot of people—women and men. It's a low moment in the development of Western civilization. " ( © The Andy Warhol Foundation for the Visual Arts, Inc / Artists Rights Society (ARS), New York) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-05-12 10:54 Blake Gopnik

62 Tokyo Art Guide May 2016 Stories have been told about it, people from all over visit it, and some even get lost in it, and it will soon be the host of the next Summer Olympics and Paralympic Games in 2020—and yes, we're talking about Tokyo this week. Adding another string to the bow starting today, Art Fair Tokyo , in its 11th edition, offers a wide range of works, from antiques and crafts to modern and contemporary art with its 157 exhibiting galleries. Although it's the city's main and largest art event this week, it doesn't stop there. Make sure to take the chance to explore the countless art galleries and museums, from Whitestone Gallery and Yumiko Chiba Associates to The National Museum of Modern Art of Tokyo—the choice is yours. Exhibition: “Paris Haute Couture" When: March 4–May 22, 2016 Where: Mitsubushi Ichigokan Museum , 2-6-2 Marunouchi, Chiyoda-ku, Tokyo, Japan Exhibition: “MOMAT Collection | Special Feature: Spring in Full Bloom: A Nihon-ga Festival" When: March 8–May 15, 2016 Where: The National Museum of Modern Art , 3-1 Kitanomaru-koen, Chiyoda-ku, Tokyo, Japan Exhibition: “ Movie Folks " When: April 9–May 21, 2016 Where: Sansiao Gallery , B1F Sansho Bldg, 3-2-9 Nihonbashi, Chuo-ku, Tokyo, Japan Exhibition: “ Atsushi Kamijyo: To-y Budokan 1985 " When: April 21–May 21, 2016 Where: Gallery Naruyama , 205 Matsuoka Kudan, Building 2-2-8, Tokyo, Japan Exhibition: “ Ombak Hitam " When: April 23–June 11, 2016 Where: Ota Fine Arts , 6-6-9 Roppongi, Piramide Building 3f, Tokyo, Japan Exhibition: “ Selection of Global Japanese Artists: Gutai-today and to the Future " When: April 29–May 30, 2016 Where: Whitestone Gallery , 5-1-10 Ginza, Chuo-ku, Tokyo, Japan Exhibition: “ Kanji Wakae “Visibility " When: May 13–June 11, 2016 Where: Yumiko Chiba Associates , Park Grace #316, Nishi-Shinjuku 4-32-6, Shinjuku-ku, Tokyo, Japan Exhibition: “Yosuke Takeda ‘Arise'" When: May 14–June 11, 2016 Where: Taka Ishii Gallery , 3-10-11 B1, Sendagaya, Shibuya-ku, Tokyo, Japan Exhibition: “Yoko Ono ‘Garasu no kado'" When: May 14–June 26, 2016 Where: Tomio Koyama Gallery , 3-10-11, Sendagaya, Shibuya-ku, Tokyo, Japan Exhibition: “ Toru Kamiya ‘Modest Engagement' " When: May 20–June 25, 2016 Where: SCAI The Bathhouse , 6-1-23 Yanaka, Taito-ku, Tokyo, Japan 2016-05-12 10:42 Audrey Fair

63 Here's What Yusaku Maezawa Has Bought So Far Is Yusaku Maezawa the next mega collector in the making? Judging by the Japanese online shopping magnate's recent acquisitions, he's making a strong case. He bought seven works at Christie's and Sotheby's at New York's spring auction, spending $98 million within two days. In a statement Maezawa announced he plans to put the art on public display in Tokyo at his Contemporary Art Foundation, which “hosts collection shows twice per year. " According to the BBC , the 40-year-old billionaire made his fortune by starting the e- commerce company Start Today in 1998, and the online fashion retailer Zozotown in 2004. Here's what Maezawa bought. 1. $57.2 million on Jean-Michel Basquiat 's Untitled (1982), a new record for the artist. 2. $13.9 million on Christopher Wool 's Untitled (1990). 3. $9.7 million on Richard Prince 's Runaway Nurse (2007), a record for the artist. 4. $6.9 million on Jeff Koons ' Lobster (2007). 5. $2.6 million on Adrian Ghenie 's Self Portrait as Vincent Van Gogh (2012) 6. $5.8 million on Alexander Calder 's Sumac 17 (1955). 7. $1.69 million on Bruce Nauman 's Eat War (1986). Total : $98 million With a fortune estimated at $2.7 billion, Maezawa clearly has the resources to go toe-to-toe with the some of the most deep-pocketed collectors to get the works he wants. Follow artnet News on Facebook. 2016-05-12 10:28 Henri Neuendorf

64 Video: Other Music's 10 Essential Spins The New York record shop Other Music will close its doors on June 25, after over two decades in business. We asked the co-owner Josh Madell about the records that represent the soul of his store. 2016-05-12 10:20 YOUSUR AL

65 Ad for LGBTQ Show With Photo by Trans Artist Cassils Is Banned by German Rail, Then Allowed Cassils and Robin Black, Advertisement: Hommage to Benglis , part of the series “CUTS: A Traditional Sculpture,” 2011, six- month durational performance. ©2011 CASSILS AND ROBIN BLACK/COURTESY THE ARTIST AND RONALD FELMAN FINE ARTS Days before the opening of a traveling exhibition on the history of homosexual and queer identity, the show’s promotional poster has stirred quite a bit of controversy in Germany. The exhibition, “Homosexuality_ies,” which is traveling from two Berlin museums to the LWL-Museum für Kunst und Kultur in the northwestern German city of Münster, uses the work of Canadian trans artist and activist Cassils. Though the same advertisement was prominently on display in Berlin last fall, the railroad company Deutsche Bahn AG, which operates national and international lines throughout Germany, announced this week that it would not permit the advertisements to be displayed in its train stations. The piece, titled Advertisement: Hommage to Benglis , shows the artist wearing only a jockstrap and bright-red lipstick, with short brown hair and one nipple pierced. In reply to a query from the LWL on Twitter, Deutsche Bahn said the reason for the ban on displaying the work was that they deemed it “sexualized” and “sexist,” according to a press release from the Schwules Museum , one of the organizers of the exhibition. The press release added that Deutsche Bahn said that the German public had become much more sensitive regarding “sexism” after the events that occurred in Cologne on New Year’s Eve, in which there were over 80 reported cases of sexual assault on women. In a statement released to international press on Tuesday, May 10, the Schwules wrote, “We, the Schwules Museum, on the other hand consider the allegation and the resulting advertisement ban wrong and inappropriate.… It is interesting that the Deutsche Bahn AG has no problems showing people—with nudity—in advertisements when they conform [to] heterosexual norms. Yet an image that obviously questions such norms is being ‘censored’ and considered unacceptable for public display.” The work displayed in the advertisement is part of Cassils’s “CUTS: A Traditional Sculpture” series, which started as a six-month performance in which the artist reinterpreted Eleanor Antin’s work Carving: A Traditional Sculpture (1972) by focusing on bodybuilding and nutrition, instead of dieting like in the original work, for 23 weeks. During this time, Cassils gained 23 pounds of muscle and documented the change in a time-lapse video. The poster, made in collaboration with Robin Black, continues the tradition of Cassils revisiting the works of seminal woman artists by looking at Lynda Benglis’s famous Advertisement (1974), which depicts Benglis naked with short blond hair holding a double-headed dildo and ran in that year’s November issue of Artforum. In a statement sent to ARTnews , Cassils, who identifies as a gender-nonconforming trans masculine visual artist, wrote, “While Benglis’s original Advertisement acted as a commentary on sexist gender-based limitations in the art world, Cassils’s Hommage uses the same strategies to intervene in the gendered policing of trans and nonconforming bodies in the world at large.… This faux-feminist opposition to the display of the image is a glaring incident of transphobia, not just homophobia. The phobic response to Cassils’s image here calls to mind broader instances of transphobia which seek to prohibit the presence of trans and gender-nonconforming bodies from public spaces.” In a press release sent to press yesterday morning, the Schwules gave an update, saying that the Deutsche Bahn had lifted its ban on the poster and that it could now be displayed in train stations throughout Germany. The release noted, however, that the advertising spots that had previously been reserved for the exhibition had already been resold to other advertisers. Deutsche Bahn also announced this news in reply to a tweet from Queerspiegel, the LGBTQ blog of German publication Tagesspiegel. Deutsche Bahn has not released any official statements to the press surrounding the controversy and did not respond to requests for comment. “The entire handling of the incident by the Deutsche Bahn AG has left us with a bitter aftertaste,” the museum said in the press release. “This, among other confusing statements, raises the suspicion that the Deutsche Bahn AG only changed its policy to avoid a public debate and damage to its image as a state-owned company. Since the posters cannot be displayed to promote at least the opening of the exhibition, the sudden turnaround of Deutsche Bahn AG is little consolation.” Cassils added, “Artwork such as that presented by Cassils is vital to the project of working against transphobia, and the recent attempt to ban these images from the public sphere only underlines their necessity.… The artist invites you to download the banned image , print it, and paste it over any image you find ‘sexist’ currently displayed in the Deutsche Bahn.” “Homosexuality_ies” first opened as a two-venue show in Berlin, jointly on view at the Deutsches Historisches Museum and the Schwules Museum, last fall. The first section, at the Deutsches Historisches Museum, addressed important moments in gay liberation within Germany, with a focus on section 175 of the German penal code, which made “homosexual acts” between men illegal and was in effect from 1872 to 1994. The second section, at the Schwules, looked at ongoing struggles for the LGBTQ community and included work by contemporary artists, including Louise Bourgeois, Andy Warhol, and Nicole Eisenman. The exhibition at the LWL, which opens to the public Friday, May 13, will show a slightly more condensed version of the exhibition. 2016-05-12 10:16 Maximilíano Durón

66 Making a Dream, a Reality At Real Art, we get serious when it comes to window displays. Like Fifth Avenue, Rodeo Drive serious. With the floor-to-ceiling, First Street facing window of the Dayton office, we try to aim for the stars. Dressed in paper airplanes, we present our first in a series of absolute-inspired window displays. What’s an absolute? Great question. To put it simply, the 12 Absolutes are the Real Art way. They’re the merits we live by—guiding us to build, act, and do. They teach us how to build wonder. With each absolute, a group of Real Arters will tribe-together and showcase their interpretation of one value we hold dear through the front window display. The installations will serve as a “window” into the world of Real Art—how we think, what we build, and how we play. They will give us a chance to engage with the local community, attracting the attention of numerous passers-by making their way through downtown Dayton. Ideally, this series will change quarterly throughout the year. Having an absolute to guide each window streamlines the activation process because they already align with Real Art culture. We’re eliminating the plague of the random-theme-artist-block, one absolute at a time. With our first absolute, Dream Big, we decided to shoot it to the moon—literally. That’s how big dreamers dream. We took this opportunity to incorporate elements from a few past projects, such as a giant trebuchet from our 30th anniversary party , and paper airplane strands from a GE Aviation installation. To bring it all together, we harnessed the personal talents of our team. Tom Davis created an oversized paper airplane and an out-of-this-world paper mâché moon, complete with a tiny Real Art flag. To contribute her lettering skills, Candy Niemeyer painted “shoot it to the moon” across the display. Lastly, for a bit of magic, Crystal Dennis constructed some paper airplane suitcase- explosions. Everything blended into a motif of neutral newspaper, wood brown tones, and of course, the Real Art red. “With extraordinary creativity and vivid imagination, dreamers never run out of ideas.” — Real Art Manifesto 2016-05-12 09:45 realart.com

67 ‘Art Derives From Everything in Life’: A Talk with Nathaniel Mary Quinn Nathaniel Mary Quinn photographed on March 8, 2016, in New York City. MARIO SORRENTI Bill Powers: Do you consider your paintings to be portraits? Nathaniel Mary Quinn: In many respects a portrait is an attempt to duplicate a visual physicality. I’m trying to bring to the surface what I feel; it’s more of a psychological excavation of the internalized world of a human being. BP: The clothing depicted in your work often harks back to an older era. Is that intentional? NMQ: Chicago is known for being a cold city. It’s called the Windy City not only because of the harsh weather but in part because of the city’s politics. I grew up there, in a very impoverished community. When you grow up poor, you make attempts to communicate to the public that you’re not as poor as people may think you are. That’s why you might wear a fake-fur hat or a fake-fur coat. BP: And what’s interesting about that projection to you, as an artist? NMQ: I find that these types of figures are not normally represented in the art world because they are from the ghetto or the periphery of culture. But that doesn’t mean that these people are any less important. I love the idea of putting a pimp on the walls of the Whitney. And I did it! When [collector and Whitney trustee] Beth DeWoody invited me to be a part of their annual auction, I donated a piece called Richard [2014], which was named after my brother, who was big into fashion. He went out of his way to show people that he wasn’t broke. I presented him as a real gangster-like pimp. BP: You enjoyed the subversive aspect. NMQ: Absolutely. And I don’t change who [my subjects] are. I don’t try to make them more palatable to any given audience. BP: How do you start one of your paintings? NMQ: I normally start with the nose or the nucleus of the piece. It could be the neck or the hat. I’m looking for harmony. The composition has to be well balanced. BP: Hailing from Illinois, were you influenced at all by the Chicago Imagists? NMQ: I’m very much influenced by music production. I mean, obviously I’m influenced by painters as well. However, art derives from everything in life. I take walks a lot because I’m always collecting information. I live in [Brooklyn’s] Bed-Stuy; I speak with many of the drug dealers, pimps, prostitutes—I have conversations with all kinds of people. They hustle. I don’t judge them. I take their energy with me and figure out ways to employ it in my work. It helps me to stay connected to what I would call real life. In the same way, I know a bunch of wealthy collectors now. That energy, too, goes into my work. I like intersecting those worlds. I see them as reciprocal. BP: Before you were supporting yourself as an artist, you worked with at-risk youth. NMQ: Yeah, I was a counselor at this place [in downtown Manhattan] right off of Canal Street. Young kids, from 13 to 18, interfacing with the criminal justice system, many of them facing jail time. BP: What was your objective, working with these kids? NMQ: I found a direct link to functional illiteracy. Many of them couldn’t read or write. They knew how to navigate their limited surroundings. I taught a literacy class even though I had no training in it whatsoever. At first it was rough: kids cussing me out, threatening me. BP: They were probably suspicious that you were trying to brainwash them or something. NMQ: I wanted to show them a different route in life without compromising their experiences, how to translate what they’d learned into the workforce. Let’s say one of the kids had been selling drugs. I’d tell him, “OK, so you know how to build a clientele, manage your money, schedule. People go to business school to acquire these skills. There’s nothing wrong with your aim. There’s something wrong with your target.” BP: Would you ever take them to galleries? NMQ: All the time, because I knew they didn’t feel comfortable in spaces like that. I taught them that the gallery is open to the public. You don’t have to pay to walk in. Just look around. I remember I took a group to Metro Pictures one day to see a Gary Simmons show. We looked at the price list. They couldn’t believe someone could sell an artwork for $90,000. They’d never been exposed to these opportunities. BP: But you were also teaching them how to read and write? NMQ: We would walk by random restaurants—Subway, McDonald’s, Wendy’s—they knew all the places. But then we’d get back to the classroom and I’d write out the same names on the chalkboard and the kids couldn’t read it. They only knew the names from the logos. They had memorized the signifiers. But I’d also try to highlight the beauty in that, how they’d created their own language to survive. Language is just a code you have to crack in order to navigate the world. And there’s a plurality in language. I’ll never forget the day this kid read his first sentence. It made me cry. I hugged him and said, “Now you have something no one can steal from you: your education. That’s intellectual property.” So, yeah, I worked with at-risk youth for ten years. BP: Who is an artist that has had a profound impact on you? NMQ: I love how Caravaggio manipulated light, how he’s able to place figures within darkness. Hey, Caravaggio was an at-risk youth. He’d get into duels and have beef with people. BP: When I interviewed John Currin last year, he told a story about Caravaggio and Guido Reni almost getting into a fistfight about who invented raking light. NMQ: See! Caravaggio was a ruffian, but also a very talented painter. John Currin is also an influence, and Lucian Freud and Jim Dine. I love Jim Dine’s drawings of tools and the way he renders a necktie. He knows how to control the weight of a line. BP: Marlene Dumas says that to draw something is to show its resistance. NMQ: Often you add weight to a line in order to show tension. Look at a painting like John Currin’s Big Hands [2010] and you see how he’s captured the weight of her shoulders. Currin understands fragility and tension. BP: Can we talk about the emotional presence in your paintings? NMQ: I believe in life you are an amalgam of numerous experiences. You are built from a history of joy, sadness, ups, and downs. I’m trying to articulate the essence of that. All of that added up together is nothing more than a forest that stands in front of the truth. So I’m walking through the forest trying to get there. Subjective perception is simply allegiance—unknowingly—to your own ego. And your ego disallows you from seeing the collective interdependence of all people. BP: You said that you get visions sometimes. NMQ: I get visions almost every day. The vision is a picture of a whole image. I never write them down. And I never forget them. Every piece I’ve made was born from a vision. I’m talking about the style of work I make now. Earlier on I was obsessive, trying to make intellectual connections and show theoretical underpinnings behind the work. It was tiring and laborious. I didn’t want to live my life that way. I wanted to be free. I went to therapy for four years to deal with the loss of my mother, the loss of my family. What was that pain about? The detachment does something to you. BP: For people who don’t know your personal history, you had a pretty traumatic family experience in high school. NMQ: My mom passed away when I was a freshman in high school, my first month at boarding school. I went back to Chicago for the services and then returned to school. Thanksgiving came around and when I went home to see my family, the apartment was empty. My four older brothers and my dad had left without notifying me as to where they were going. BP: So you never saw them again? NMQ: Only last year did one of my brothers, Charles, finally contact me after hearing this podcast I did. He didn’t know what happened to our father. I learned that my brother Richard had died of AIDS and that my other brother was a full-blown alcoholic living on the streets. I asked Charles a lot of questions. I told him that I forgave him, but I don’t think we can ever have a relationship again. Not after that kind of rupture. Listen, I was very lucky as a kid. I was showered with love. My mom used to pray over me, pray over my body. She would ask God to watch over me after she was dead and gone. To this day, I believe that my mother conspires for my success. Whatever happens to me in life, things always seem to work out. BP: You have a new piece called Ethan [2016], where the body originated from an image of Ai Weiwei. NMQ: It’s not about his biography at all. I like how you can see time and gravity on his body, a body you imagine was once strong. The real Ethan was a tough guy I knew from Chicago. We lived in the same project building. He was nice to me, but you didn’t want to get on his bad side. He was very burdened by his circumstances. Ethan had a sad disposition. He was a tumbler, like me. I did gymnastics for 13 years. So Ethan and I would do back flips together. I was always a better tumbler than he was, which may be why I won his admiration. Ethan was sort of a protector for me. BP: Were you a tough guy? NMQ: Not really. But you had to be tough in that community. You couldn’t let anyone take you short. I was in this group called the Jesse White Tumblers. Jesse White is the Illinois Secretary of State who started this program to get kids off the street. Most of my teammates were from the projects—primarily the Cabrini-Green projects—and some of them were superbly dangerous. We used to perform at the Chicago Bulls halftime shows. I even got to meet Michael Jordan. BP: While Jordan was still in the NBA? NMQ: Yeah, man. Our locker rooms were right next to the players’. We’d come out into the hallway to stretch, and out would roll Michael Jordan, Scottie Pippen, Dennis Rodman. I was five feet away from Michael Jordan! I had never seen a physical specimen like that. The guy was beautiful. He was built like a machine. A lot of kids in the projects would try to get on the tumbling team. You got paid. They’d travel us around. We’d sign autographs. My mom first put me onto tumbling. She brought me to Mr. McClain, our grammar-school gym teacher, and said, “I want you to watch over my baby so he doesn’t get caught up in these streets.” Eventually I became the team captain. Nathaniel Mary Quinn’s work has been the subject of solo exhibitions at Pace Gallery in London and the Museum of Contemporary African Diasporan Arts in Brooklyn. He is represented by Rhona Hoffman Gallery in Chicago, Litvak Contemporary in Tel Aviv, and M+B gallery in Los Angeles, where his latest solo show runs from May 13 through June 25. 2016-05-12 09:30 Bill Powers

68 Paddle8 and Auctionata Announce Merger Online auctions start-ups Paddle8 and Auctionata have announced today that the two companies will join forces and will cater to what they define in a statement as an "underserved" middle market. Both Paddle8 and Auctionata have independently pursued the middle sector of items valued up to $500,000—Auctionata in Europe, with live streamed auctions of vintage luxury items; and Paddle8 in the US, with curated auctions and benefit sales of contemporary art. In 2015, the two companies reported combined sales totaling over $150 million; their joint user base numbers at just under 800,000, with registered accounts in 200 countries. According to the press release, the newly formed company will thus lay claim to being one of the top auction houses in the world, outside of China. “This merger allows us to allocate greater resources toward innovating at every step of the collecting process, from online valuation services to post-sale fulfillment, and to expand our current offerings in terms of both categories and sales channels," said Aditya Julka, co-founder of Paddle8, in a statement. While the financial terms of the deal were not disclosed, the companies confirmed that all co- founders will remain in strategic and operational roles. Alexander Zacke, previously CEO of Auctionata, will lead the global management team of the newly formed group, which will carry the names of both the Paddle8 and Auctionata brands. This past April, art insurer Hiscox released its annual report on the online market , for which it surveyed some 672 art buyers , who ranked Paddle8 as fifth and Auctionata as ninth among existing online art-buying platforms (artnet is listed third). Both companies have raised funding from high-profile investors, which will all remain involved with the new, as yet unnamed company. Fashion billionaire Bernard Arnault is an investor at Auctionata, which has raised $88 million in equity capital to date. Paddle8, meanwhile, has raised $44 million with investors, including artist Damien Hirst and dealers David Zwirner and Jay Jopling. Although deeply connected to the art world, Paddle8's most talked-about auction was of the sole copy of the Wu-Tang Clan's final album, which went for $2 million to former pharmaceutical executive Martin Shkreli , and carried with it a protracted copyright lawsuit. News of the fusion comes on the heels of a negative report by the auditors KPMG in which the management of Auctionata was accused of serious trade violations. Follow artnet News on Facebook. 2016-05-12 07:06 Hili Perlson

69 Chen Ke’s Paintings Explore Marilyn Monroe at Galerie Perrotin Related Venues Galerie Perrotin Hong Kong Galerie Perrotin For her debut gallery show, which runs May 11-June 25, Chinese artist Chen Ke presents a series of paintings of Marilyn Monroe at Hong Kong’s Galerie Perrotin. Although Monroe’s image has been an art world mainstay since artists like Andy Warhol and Richard Hamilton painted her in the 1960s, Chen takes a new approach to the famed actress in this exhibition, entitled “Dream·Dew.” Whereas previous artists have focused on Monroe as a image or icon of a certain era of Hollywood glamor, Chen focuses on Monroe as person, a woman with hopes, history, and dreams. For example, in “1932·Los Angeles·6 Years Old,” 2016, Chen shows a young Monroe in the flowering garden of a house straight out of an early 20th century American landscape painting. The image is put into question, however, by Monroe’s shadow, which seems to suggest she is posing against a backdrop rather than a real landscape, and by the fact the image is totally removed from the reality of 1930s America, with young Monroe’s blonde hair and clean blue dress at odds with our images of the Great Depression. Chen’s idea to paint Monroe’s dreams and real life came from the Chinese character translation of “Monroe,” which literally means “dream of dew.” As the artist put it in a statement, ““Dream” refers to Marilyn’s dreams, also the American Dream, the Hollywood Dream….the large paintings represent dreams of Marilyn’s childhood, youth, adulthood and an imaginary old age,” while “dew is the real, as opposed to dreams.” 2016-05-12 06:42 Samuel Spencer

Total 69 articles. Created at 2016-05-13 06:05