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53 articles, 2016-06-25 06:00 1 Artists' Answers to the Brexit Vote Artists and others in the art world had a lot to say about the results, not much of it good. 2016-06-24 17:13 3KB www.blouinartinfo.com (2.04/3)

2 See the Opening of the Long-Awaited Stavros Niarchos Foundation Cultural Center The city of Athens, Greece, is celebrating the finished Starvos Niarchos Foundation Cultural Center, home to Greece's National (1.02/3) Library and Opera House. 2016-06-24 13:41 5KB news.artnet.com 3 Quebec City Museum Opens $103 Million Pavilion, Swiss Performance Artist Milo Moiré Arrested in London, and More (1.02/3) A daily round-up of must-read news from the art world and beyond. 2016-06-24 10:45 739Bytes www.blouinartinfo.com 4 Alexis Silk, 2016 Spotlight Artist Alexis Silk is breaking exciting ground with dramatic new works in blown glass and metal that are at once timeless and thought (0.02/3) provoking. Emerging from the intersection of the artist's fascination with the human figure, passion for her molten medium, and desire for conceptual expression,... 2016-06-25 06:00 2KB artexponewyork.com 5 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 Saturday at Artexpo marked the show's busiest day yet, drawing (0.01/3) thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for... 2016-06-25 06:00 1KB artexponewyork.com 6 Jaeger-LeCoultre Hosts Cocktail on Place Vendôme Colin Field, the Ritz Paris famous head bartender was mixing drinks. (0.01/3) 2016-06-24 20:06 1KB wwd.com 7 AENY 2016 Recap: Highlights from an Incredible Year That's a wrap! Artexpo New York has taken the fine-art scene by storm yet again, and we've got the sales, stories, and gorgeous collection of photos and videos to prove it. We'd like to extend a huge thank you to everyone... 2016-06-25 06:00 2KB artexponewyork.com

8 DAY 2 AT ARTEXPO: SPECIAL KEYNOTE, LIVE ART DEMOS & MORE Friday at Artexpo brought throngs of visitors through the gates of Pier 94 to see artwork from over 400 exhibitors from around the world, comprising more than 1,000 artists in total. The doors opened early for the event's Keynote Presentation by Pam Danziger, "Marketing Art... 2016-06-25 06:00 1KB artexponewyork.com 9 From Startup to Industry Star: Litsa Spanos, President and Owner of Art Design Consultants Founded in 1992, ADC, Art Design Consultants, Inc. has grown from a one-woman operation started in a 500-square-foot basement to a successful multi-team-member venture running in a gorgeous gallery space with stunning views. The woman who made it all happen... 2016-06-25 06:00 4KB artexponewyork.com 10 AENY 2016 – Art Talks & Seminars Planning your trip to the show? Be sure to attend one of our Art Talks or Seminars! Here are some highlights from our Education Schedule. For the full schedule click here. THURSDAY, April 14th 1pm-2pm | A Cautionary Tale: Protecting Your Artwork... 2016-06-25 06:00 3KB artexponewyork.com 11 konto studio's montage series uses contemporary still life compositions the 'montage' series by konto studio builds upon still life painting in a contemporary fashion, using spatial pieces within a framed composition. 2016-06-24 22:30 1KB www.designboom.com 12 July in the Bear Gallery… Quilt Alaska Quilt By Sonja Zastrow A biennial quilt exhibit organized by the Cabin Fever Quilters’ Guild and hosted by Fairbanks Arts Association’s Bear Gallery. Opening Reception: Fri… 2016-06-24 21:47 775Bytes fairbanksarts.org 13 Thursday Night at the Cassini Residence: Stan Herman on Six Decades in Fashion Lavelle & Co. women’s mentoring group provides a social network for professional women. 2016-06-24 20:09 2KB wwd.com 14 Here It Is, Your Guide to Displaying Digital Art TRANSFER Gallery's Kelani Nichole helped us navigate the confusing world of displaying digital art. 2016-06-24 19:35 8KB thecreatorsproject.vice.com

15 aston martin vantage GT12 roadster beneath the carbon fiber is a unique suspension setup defined by aston martin’s in-house dynamics experts, helping to ensure the aston martin vantage GT12 roadster shares the same handling characteristics as the coupe. 2016-06-24 19:15 2KB www.designboom.com 16 Thurston Moore on the Legacy of Black Metal Gods, Mayhem The legendary musician gave us the scoop on bringing Necrobutcher's black metal memorabilia to Tenderbooks in London. 2016-06-24 19:05 10KB thecreatorsproject.vice.com 17 The Blossoming of a Queer Enlightenment The show is particularly and sadly pertinent, following the art, activism, and styles that sprang from the Stonewall riots through the next decade, to the start of the AIDS crisis. 2016-06-24 18:40 4KB www.blouinartinfo.com 18 Daniel Radcliffe's Corpse Does Hollywood | Insta of the Week Daniel Radcliffe's dead body next to Daniel Radcliffe’s Hollywood Star is horrific and hilarious—just like 'Swiss Army Man.' 2016-06-24 18:40 1KB thecreatorsproject.vice.com 19 Giant Doughnuts Make 'Go Skateboarding Day' Great Again Oversized sculptures by Jack Greer turned NYC traditions into skateable objects. 2016-06-24 18:15 3KB thecreatorsproject.vice.com 20 Diesel Celebrates Its ‘Bad’ Scent The label held a party in Paris on Thursday night, where guests included Tinashe, Theophilus London, Nicola Formichetti and Neels Visser. 2016-06-24 18:04 4KB wwd.com 21 The Wicked Comedy of Nicole Eisenman's Allegorical Paintings New Museum Artistic Director Massimiliano Gioni discusses the painter’s first New York Survey. 2016-06-24 17:40 5KB thecreatorsproject.vice.com 22 Art Hamptons 8th Edition Opens Easy, accessible art dominated the opening day of Art Hamptons fair in Bridgehampton. 2016-06-24 17:01 3KB news.artnet.com

23 Wonder Woman, Shonen Jump, Gwenpool, Rumble: This Week in Comics #23 From a displaced comic fanatic to the week’s best from Japan, this is the week in comics. 2016-06-24 16:55 4KB thecreatorsproject.vice.com 24 Interview Magazine Poaches Hearst’s Jason Nikic as Chief Revenue Officer Nikic comes to Interview from Car and Driver and Road & Track. 2016-06-24 16:54 2KB wwd.com 25 Chanel Fetes Launch of ‘Le Rouge’ Collection by Lucia Pica Brand ambassador Kristen Stewart attended the event. 2016-06-24 16:47 5KB wwd.com 26 16 Summer Shows Featuring Queer Artists See our must-see list of summer exhibitions featuring queer artists. 2016-06-24 16:34 15KB news.artnet.com 27 Summer's Upon Us | GIF Six Pack Celebrate the longest days of the year with loops that never end. 2016-06-24 16:20 1KB thecreatorsproject.vice.com 28 'We Happy Few' Is the Perfect Dystopian Video Game for Brexit Blues 'A Clockwork Orange' meets 'BioShock' in small game company Compulsion Games' dystopian new title, which recently appeared at E3. 2016-06-24 15:55 2KB thecreatorsproject.vice.com 29 152 elizabeth street by tadao ando in new york designed by japanese architect tadao ando, '152 elizabeth street' is an ultra luxury condominium building located in new york’s nolita neighborhood. 2016-06-24 15:37 3KB www.designboom.com 30 MoMA PS1 Early Adopters Look Back at Its 40-Year History MoMa PS1 turns 40 this year; here's a look back at its beginnings and legacy, through a trip down memory lane with Alanna Heiss, Klaus Biesenbach and more. 2016-06-24 15:32 10KB news.artnet.com 31 Scuffle Breaks Out at Colette Party Bad blood between rappers Theophilus London and Ian Connor escalated at an event for Vlone and Virgil Abloh. 2016-06-24 15:13 2KB wwd.com

32 Fondazione Zegna Helps Restore Punta Mesco in Italy Fondazione Zegna is supporting the restoration of a rural treasure. 2016-06-24 15:03 1KB wwd.com 33 Michel Houellebecq Searches for Unconditional Love In dedication to his own late corgi,artist Michel Houellebecq's current exhibition is "a call to confronting eternity fearlessly," the artist explains. 2016-06-24 14:50 6KB news.artnet.com 34 Our 5 Dirtiest Discoveries from Miss Read: The Berlin Art Book Fair With over 200 publishers present, the best way to stand out at the 8th annual Berlin Art Book Fair was with poop jokes and graphic sexual imagery. 2016-06-24 14:45 5KB thecreatorsproject.vice.com 35 Todd Solondz Tracks the Pain of a 'Wiener- Dog' Solondz takes the insult chanted at Dawn Wiener at the end of “Welcome to the Dollhouse” and turns it into an actual dog who shuffles through, and connects, four stories. 2016-06-24 14:30 4KB www.blouinartinfo.com 36 Timothy Hull at Ashes/Ashes, Los Angeles Pictures at an Exhibition presents images of one notable show every weekday 2016-06-24 14:00 2KB www.artnews.com 37 Your Brainwaves Control the Wings of a Gorgeous Butterfly Skirt The calmer you are, the faster the 'Enlightenment' skirt flaps its wings. 2016-06-24 14:00 2KB thecreatorsproject.vice.com 38 Struts Down a New Stretch of Broadway Theater Photography and selfies will be *mandatory* during the performance. Meow! 2016-06-24 13:45 4KB thecreatorsproject.vice.com 39 Broadway Shocked at the Sudden Closing of “Shuffle Along” Broadway Shocked at the Sudden Closing of “Shuffle Along” 2016-06-24 13:22 4KB www.blouinartinfo.com 40 Sony World Photography Awards 2016 Exhibition at Willy-Brandt-Haus, Berlin Sony World Photography Awards 2016 Exhibition at Willy-Brandt- Haus, Berlin 2016-06-24 13:21 3KB www.blouinartinfo.com

41 Jay Fielden Discusses the Future of Esquire at Cocktail The magazine’s new editor in chief hosted a party during men’s fashion week, with Luke Evans, Ethan Peck and Thom Browne in attendance. 2016-06-24 13:20 2KB wwd.com 42 zooco estudio transforms 36 square-meter space into a home covered in mosaics the concept aimed to compress and expand the bands that run around the perimeter in order make the best out of the small area. 2016-06-24 13:01 3KB www.designboom.com 43 Danny Lyon’s Photos at the Whitney Museum Ask 'What’s Going On?' Christian Viveros-Fauné reveals why "Danny Lyon: A Message to the Future" at the Whitney Museum is one of the freshest shows of the summer. 2016-06-24 12:44 6KB news.artnet.com 44 Cubist Misunderstanding: An Argument Against Fernand Léger, in 1967 Fernand Léger, Composition I (Décoration pour une salle à manger) (Composition I ), 1930, oil on canvas. CANTZ MEDIA MANAGEMENT, OSTFILDERN/©2016 VG BILD-KUNST, 2016-06-24 12:40 10KB www.artnews.com 45 Kraemer Gallery Pulls out of Biennale des Antiquaires Amid Fake Scandal Galerie Kraemer Pulls out of Biennale des Antiquaires Amid Fake Scandal 2016-06-24 11:18 3KB www.blouinartinfo.com 46 See and Spin #13: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. 2016-06-24 11:17 3KB realart.com 47 Woman Claims Sexual Coercion at ICA Miami A participant in Laura Lima's new exhibition at the ICA Miami claims she felt pressured to perform a sexual act with rope. 2016-06-24 11:06 4KB news.artnet.com

48 L. A. Habitat: Elad Lassry Elad Lassry in his Hollywood studio. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the city 2016-06-24 11:00 4KB www.artnews.com 49 Philipp Demandt Director Städel Museum- artnet News Esteemed historian Dr. Philipp Demandt trades Berlin's Alte Nationalgalerie to take the reins of the Städel Museum in Frankfurt. 2016-06-24 10:54 2KB news.artnet.com 50 Words, Sex, Landscape: Marcia Hafif at Fergus McCaffrey, New York Through June 25 2016-06-24 10:00 2KB www.artnews.com 51 Yoga in Indian Visual Arts at IGNCA, New Delhi Yoga in Indian Visual Arts at IGNCA, New Delhi 2016-06-24 08:21 3KB www.blouinartinfo.com 52 Yusaku Maezawa 2016 Contemporary Art Award CAF, the foundation of Japanese billionaire and art collector Yusaku Maezawa, has launched a call for submissions for its second Contemporary Art Award. 2016-06-24 08:17 3KB news.artnet.com 53 London Auctions Preview, Part 6: Christie's "Defining British Art" Evening Sale In the run-up to the June London sales, we’ll be previewing works in each that hold particular promise. Here are some to look for in Christie's Defining British Art Evening sale. 2016-06-24 07:30 3KB www.blouinartinfo.com Articles

53 articles, 2016-06-25 06:00

1 Artists' Answers to the Brexit Vote (2.04/3) Related Artists Kaws Wolfgang Tillmans Gilbert and George Lucian Freud Gary Baseman Bob and Roberta Smith As the world reacts to the news that Great Britain has voted to leave the European Union, we turn to the soapbox of our age — social media — for the art world’s thoughts. Klaus Biesenbach commented with some pointed works of art. The metaphor in Lucian Freud’s 1991-92 portrait of Leigh Bowery turning his exposed naked back (and hint of backside) to the viewer probably need not be explained. Biesenbach followed it with the aghast facial expressions of Gilbert and George, bedecked in their trademark Union Jack suits, in 2010’s “Nettle Dance.” Wolfgang Tillmans has been a vocal opponent to the withdrawal, taking it upon himself in mid-May to design a public campaign of 25 posters urging Britain to remain in the EU. His not-for-profit space Between Bridges, which relocated to Berlin from London a few years ago, was also given over to an ongoing exhibition discussing issues facing Europe, Brexit key among them. On Instagram, he shared an image of the very different results in the UK’s four countries, alongside a resigned caption about politicians with more than a hint of “they made their bed…” Bob and Roberta Smith (a.k.a. Patrick Brill) tried to lighten the day by posting a vibrant work by a child in a Royal Academy kids workshop to Twitter. American artist Gary Baseman cast the crimson crosses of the Union Jack in rather a different light by placing it side-by-side with the infamous Bolton family heraldry from “Game of Thrones,” which features a splayed and flayed human figure. London-based illustrator Hattie Stewart’s winking and strutting loveheart carrying the EU circle of stars, which she posted pre-vote, has been updated today with tears and half-mast flag, alongside some particularly strong sentiments for UK Independence Party leader Nigel Farage. And then there were the ones who said it best by saying (almost) nothing at all. KAWS posted a picture of his “Crying Companion” surrounded in snow, while Ai Weiwei announced simply “UK votes to leave,” alongside what appears to be a picture of some truly extensive dental surgery. From the gallerists, Sadie Coles HQ’s black square (#eureferendum) and Laura Bartlett Gallery’s broken EU symbol with a fallen star (an image making the rounds; Axel Rüger, director of the Van Gogh Museum also posted it to Twitter) spoke for themselves. Meanwhile Peter Paul Rubens, or the people behind this entertaining Twitter account, asserted the renowned humanist’s (likely) stance, captioning the artist’s “Consequesnces of War,” “Speaking as a confirmed internationalist, you're killing me here, Britain! #BrexitOrNot #Bremain .” 2016-06-24 17:13 Juliet Helmke

2 See the Opening of the Long-Awaited Stavros Niarchos Foundation Cultural Center (1.02/3) It's official: Athens guidebooks are out of date. This weekend, the city is celebrating the completion of the Stavros Niarchos Foundation Cultural Center, a Renzo Piano-designed complex that will soon be home to Greece's National Library and National Opera House. With construction finished after five years of work, the Stavros Niarchos Foundation (SNF) will soon turn over the facilities to the government. In honor of the occasion, SNF is throwing "Metamorphosis," a four-night festival (June 23-26) of cultural, educational, and sporting events, all free and open to the public. The project was built on the site of a former hippodrome that served as a parking lot during the 2004 Olympic Games, and was subsequently abandoned following the international competition. In fact, it was the Games that first inspired SNF co-president Andreas Dracopoulos to begin the project. "Greece was flying high," he told journalists in a conversation with Piano during a media preview on June 24. Of course, as the project got underway, Greece entered an economic crisis, causing some to question whether the center was the best possible use for the nearly €600 million in funding from the foundation. "We thought it was very important to give hope to the people, that Greece could still deliver," Dracopoulos explained, adding that the foundation has only increased its activity in the country during the current crisis. Piano's ambitious plan for the site would reveal sweeping views of the Mediterranean Sea, if it wasn't obscured by a multi-lane highway. (The neighborhood, Kallithea, Greek for “beautiful view," is currently so off the beaten track that the current edition of Lonely Planet's Greece travel guide doesn't even mention it.) But at the top of the hill, the opera house's top floors directly faces the Acropolis, and the entire city is revealed in breathtaking detail below. From the beginning, SNF always envisioned the site as having three parts: The opera, the library, and a public park. Piano made room for all three by creatively building the two facilities into the hill, allowing the park, with Grecian landscaping by Deborah Nevins, to serve as a green roof. A profusion of olive trees grow on the slope leading up to the library, and the scent of fragrant herbs and flowers hang heavy in the Athenian winds. You would never know of the cultural center hidden below. The library lobby, which can be seen through floor-to-ceiling glass walls is a welcoming invitation to the facilities which will house the national research library, as well as a new circulating collection. Playful, block foam chairs in bright colors dot the facility, and a massive mobile sculpture by Susumu Shingu hangs from the lobby ceiling. For now, however, most of the events of “Metamorphosis" take place scattered about the park, which features 14 jazz orchestras spread and an outdoor chess match pitting grand master Garry Kasparov against a number of merciless child competitors. The visual arts are well-represented here, with the video art survey "Fireflies in the Night Take Wing" running from midnight to 4:00 a.m. on 11 projection screens located throughout the park. Now in its second year, "Fireflies" features over 50 artists selected by artistic director Robert Storr with the help of curators Barbara London, Kalliopi Minioudaki, and Francesca Pietropaolo. On Saturday,the Greek National Opera will inaugurate its alternative stage with a performance of Jani Christou's The Pianist and The Strychnine Lady , set to a backdrop of Alexandros Pyschoulis's sculptural art installation, a series of hanging fabric sculptures of genitals, some growing out of a large black whale. Across the park on the Great Lawn, artist Laurie Anderson is embracing what she called "perennial questioning" in a new performance. At midnight, the artist will screen her documentary Heart of a Dog , which appeared earlier this year in New York's Times Square's Midnight Moment series. Also on view is an exhibition of work by contemporary Greek painter Panayiotis Tetsis, known for beautifully capture the inimitable light and vibrant color of his native land. Organized by the SNFCC in conjunction with the National Gallery of Greece, the show is on view through July 31. It features 35 works donated to the gallery by the artist, who died on April 3, including his epic Street Market , a massive, supremely colorful frieze depicting the weekly gathering outside the artist's studio. Dracopoulos sees the "Metamorphosis" programming as a pilot program for the future of Greek cultural activities. "We're trying to share with you what could be done," he noted during the preview, hopeful that the government will take up the torch following the transfer. "The real owners are the community. " 2016-06-24 13:41 Sarah Cascone

3 Quebec City Museum Opens $103 Million Pavilion, Swiss Performance Artist Milo Moiré Arrested in London, and More (1.02/3) Related Venues Musée National des Beaux- Arts du Quebec Venice Biennale MOCA Dallas Museum of Art Artists EGILL SÆBJÖRNSSON Walter de Maria Valie Export Rem Koolhaas 2016-06-24 10:45 Taylor Dafoe

4 Alexis Silk, 2016 Spotlight Artist (0.02/3) Alexis Silk is breaking exciting ground with dramatic new works in blown glass and metal that are at once timeless and thought provoking. Emerging from the intersection of the artist’s fascination with the human figure, passion for her molten medium, and desire for conceptual expression, the work exhibits surprising maturity and depth. Technically, Silk is pushing the boundaries of what is possible, sculpting her glass figures entirely freehand while the glass is hot on the end of a blowpipe or punty rod. Her largest figures are close to half her body weight and take a team of six assistants to handle the glass while she is sculpting it. While making intrinsically beautiful objects, Silk explores issues of human nature, society, and the relationship of humans, nature, and industry. Her hanging figures are an eloquent exploration of objectification of the body. Since receiving her BFA from the School of the Art Institute of Chicago in 2005, Silk has continued to study with glass masters such as Pino Signoretto, Richard Royal, and Boyd Sugiki. She has been working full time as an artist since 2006. Today she has work in museums, galleries, private collections, and fine art shows around the world. A much-anticipated programming element of Redwood Media Group’s other art shows, the Spotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 and will continue to be a highlight at the show in future years. Alexis Silk is one of four esteemed artists selected for this year’s Spotlight Artist Program. 2016-06-25 06:00 lmullikin

5 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 (0.01/3) Saturday at Artexpo marked the show’s busiest day yet, drawing thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for everyone. Visitors to the show were captivated by live demonstrations from artists hailing from around the globe, and enjoyed Art Talks such as “The Journey of a Working Artist” by Crista Cloutier, “Six Spheres of Success” by Michael Joseph, “Stewardship: Insuring the Legacy” by Jeannie Stanca, and a discussion with three successful artists—Tristina Dietz Elmes, Julia Carter, and Jeanne Bessette— about their respective careers. Showgoers will get one last chance today until 6 p.m. to peruse the fine art displayed at this world-renowned show. Here’s the lineup of events scheduled for Sunday. Not in New York? No worries—you’ll get an inside look at what it’s like to be at the show with our exclusive videos. Check them out here! Last but not least, make sure to check out Artexpo New York on Facebook, Twitter, and Instagram for fun tidbits throughout the show and leading up to next year. And check back soon for a full show roundup, including top sales, a full list of award winners, and more! 2016-06-25 06:00 lmullikin

6 Jaeger-LeCoultre Hosts Cocktail on Place Vendôme (0.01/3) The occasion was to celebrate the Atelier Reverso, the watchmaker’s new concept allowing clients to customize their timepiece, including with the new designs by Christian Louboutin. It was also to mark the 85th anniversary of the famous watch style. “There are roughly 5,577 combinations,” explained Franck Robinet, Jaeger -LeCoultre brand manager for France, of the customization feature, which is to roll out to other boutiques worldwide after London and Paris. The event drew a flurry of French actresses including Marina Hands, Valérie Donzelli and Aïssa Maïga. Christian Boyens, the Ritz Paris general manager, popped by as a neighbor. “I have been here [on the Place Vendôme] for six years. I still take photos of it,” said the executive. “We’re an independent house. We have tried to keep that spirit,” he said of the four-year renovation of the hotel that has just reopened. (A selection of Jaeger-LeCoultre pieces is featured in one of the 92 display cases in the hotel.) Designer Alexis Mabille, Belgian singer Stromae and the model Estelle Lefébure were among other guests who turned out. 2016-06-24 20:06 Laure Guilbault

7 AENY 2016 Recap: Highlights from an Incredible Year That’s a wrap! Artexpo New York has taken the fine-art scene by storm yet again, and we’ve got the sales, stories, and gorgeous collection of photos and videos to prove it. We’d like to extend a huge thank you to everyone who played a part, from our extraordinary exhibitors and generous sponsors to our ever-eager attendees. Read on to find out more about 2016’s show— we’re proud to say it was another phenomenal one! Moments to Remember Throughout the four-day weekend, attendees enjoyed a number of exciting events, from the VIP Opening Night Preview Party featuring the unveiling of this year’s Poster Challenge winner to inspiring Art Talks, Meet the Artist sessions, and more. Famed dance photographer Jordan Matter wowed us all with his live photo shoots, and painters from around the world gave us a peek at their creative process during live art demonstrations. On Friday, author and industry leader Pamela N. Danziger gave the Keynote Presentation to a rapt audience of exhibitors and trade attendees. 2016 Artexpo Award Winners Over a dozen artists and galleries were given special recognition during Artexpo this year for their work that went above and beyond. Here’s a full list of 2016 award recipients: Top Sales & Success Stories Here’s a sampling of some of our exhibitors’ top sales and feedback for the event. See more testimonials here ! Media Buzz Artexpo New York garnered tons of attention in media outlets in New York and beyond, with coverage including a shout-out in PAPER magazine, which dubbed our show as a “must-see,” a segment on CBS New York , and many others. We also reached tens of thousands of fans via social media, offering followers around the world up-to-the-minute event tidbits and photos on Facebook , Twitter , and Instagram. Thanks to everyone liking and following us on our social media channels—we love keeping you engaged! Exhibit in 2017 Inspired by this year’s event to give exhibiting a shot yourself, or want to return to Artexpo after having a successful show this year? Apply for 2017 here , or contact our helpful sales team —they’ll be happy to help you. 2016-06-25 06:00 sdalton

9 From Startup to Industry Star: Litsa Spanos, President and Owner of Art Design Consultants Founded in 1992, ADC, Art Design Consultants, Inc. has grown from a one-woman operation started in a 500- square-foot basement to a successful multi-team- member venture running in a gorgeous gallery space with stunning views. The woman who made it all happen? Litsa Spanos. In the last 24 years, Spanos has not only built ADC to be the booming business that it is today, helping clients select the perfect artwork for their corporate or residential spaces, but she has also received several honors along the way, including the Cincinnati USA Regional Chamber of Commerce & WE Celebrate’s “Woman-Owned Business of the Year” award in 2013. The accolades couldn’t go to a more deserving person— Litsa gives back as much as she receives, supporting numerous regional non-profit organizations and causes in addition to nurturing her clientele, ADC team, and family. Always with her finger on the pulse of what’s next in the art market, Litsa provides a valuable perspective for trade buyers and artists alike. We got to talk with her about her path to success as well as her tips for those rising in the industry: What have been some of the challenges in your career, as well as some of the highlights? The challenges are similar to what all small businesses face—finding new clients or talent and then bringing everyone together in an impactful way. Highlights of my career include being named “Woman-Owned Business of the Year”; publishing a beautiful art-filled book (Blink Art Resource); landing incredible new corporate, healthcare, and residential projects; and being able to work with creative and talented people every day. Any pleasant surprises or memorable experiences on your path to success that you’d like to share? A pleasant surprise was finding our incredible location in downtown Cincinnati during the recession. It’s a light-filled, 10,000-square-foot gallery with sweeping views of the city. It beautifully showcases all types of art, from paintings and sculpture to photography and mixed media. Our clients never want to leave, and we are all inspired every day! What do you think are the most essential qualities one must have to succeed in the art world? Perseverance, the willingness to take risks, honesty, and ethics. What do you see coming up in the art market, trendwise? Many of our clients want something different, unusual, and unexpected. Artists need to think outside the box and create works that no one else has. Whether it’s a new way to print photographs or painting on unusual surfaces, think fresh, new, and exciting. Starting a conversation and creating an interesting dialogue between the buyer and seller is what makes sales happen! ADC has several exciting things coming up this year, starting with the launch of the 2016 Blink Art Resource at Artexpo New York. This stunning, image-rich guide for designers, galleries, and consultants features work from hundreds of exceptional artists in a wide variety of mediums for sourcing work with ease and efficiency. Ask Litsa about it at while you’re at the show, or check out the details at blinkartresource.com. In addition, ADC will be hosting the Artist Success Summit this June 3–4, an inspiring two- day conference and networking event that equips artists with everything they need to succeed in today’s competitive art market. For more on the Summit, visit http://adcfineart.com/success-summit-2. ADC also proudly sponsors Art Comes Alive (ACA), an annual fine art contest and exhibit that awards over $250,000 to the brightest and best artists working in North America. For more information, visit adcfineart.com/selling-artists-works. 2016-06-25 06:00 lmullikin

10 AENY 2016 – Art Talks & Seminars Planning your trip to the show? Be sure to attend one of our Art Talks or Seminars! Here are some highlights from our Education Schedule. For the full schedule click here. Award-winning photographer Doug Menuez will share his cautionary tale about taking a personal project and making it into a lasting legacy through print and exhibitions. Joining the conversation will be fine art photographer and gallery owner Michael Joseph of Artblend. In this talk, Cory Huff of The Abundant Artist will explain the difference between the ways that artists think art is sold and how artists who make a living from their work actually do it. Speaker, author, and market researcher Pamela N. Danziger is internationally recognized for her expertise on the world’s most influential consumers: affluent Americans. Join Jennifer Townsend from Larson-Juhl as she reviews the essential design elements for creating memorable rooms. As home building trends have evolved over the past few decades, home furnishings and design have kept pace. Custom frames have also adapted to relate to those changes. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of three fine art photographers. Generate sales, increase awareness, and brand your business as the premier destination for art and framing. Litsa Spanos, President of Art Design Consultants (ADC), will share creative marketing ideas that can take your art gallery to the next level. Crista Cloutier explores the journey of the artist, how one finds a voice, develops it, and uses it to create a professional career as a working artist. Cloutier uses her own background as an arts dealer, curator, publisher, writer, and artist to illustrate her message of the importance of practice, authenticity, and the coupling of tenacity with audacity. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of three artists. The “Six Spheres of Success” is a fact-proven concept in attracting art buyers and each of the elements that makes up a successful art career. The strategic plan is designed to help artist build a brand, nurture a long sustaining career, add value, and increase art sales. Get the scoop from an expert on what is needed in today’s world to protect your artwork collection. What is personal property? What is stewardship? And what is needed to protect your art investment? Stanca will answer all those questions in this informative seminar. Learn the data backup strategies, tools, and copyright protections necessary to ensure that your artwork is protected and available decades from now. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of five artists. To license or not to license—that is the question. How do you decide if licensing is right for you? In this seminar, we’ll cover where to begin in today’s fast-paced licensing world. Art is important; it challenges the status quo and leads to innovation and change. Crista Cloutier of The Working Artist encourages artists to claim their rightful role as leaders. 2016-06-25 06:00 lmullikin

11 konto studio's montage series uses contemporary still life compositions ‘still life’ painting is a useful method in which to study objects, light, color and one’s perception towards space. the ‘montage’ series builds upon the traditional art form in a contemporary fashion, using spatial pieces within a framed composition. the project by konto studio uses a number of objects which each contain a repeated shape. the series looks at the relationship between different components using a palette of pastel tones and playful architectural arrangements. ‘montage’ draws upon the cubist movement that abstracts and depicts ones perception of a particular viewpoint. structural elements including striped poles and grid patterns set the composition of each frame, whilst mirrored surfaces distort and reflect the existing space. the series looks at the relationship between different components ‘montage’ use a palette of pastel tones and playful architectural arrangements 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. 2016-06-24 22:30 www.designboom

12 July in the Bear Gallery… Quilt By Sonja Zastrow A biennial quilt exhibit organized by the Cabin Fever Quilters’ Guild and hosted by Fairbanks Arts Association’s Bear Gallery. Opening Reception: Friday, July 1, 2016 5–8pm On Display in the Bear Gallery July 1-30, 2016 2016-06-24 21:47 fairbanksartsassociation

13 Thursday Night at the Cassini Residence: Stan Herman on Six Decades in Fashion More Articles By Lavelle & Co. women’s mentoring group took over the second floor of the Upper East Side Cassini family townhouse on Thursday night. The intimate and diverse crowd included Ruth Finley, Fern Mallis , Marianne Nestor Cassini, Carol Alt, Yeohlee Teng and Lucy Jarvis — who was celebrating her 99th birthday, and was surprised with cake and operatic rendition of “Happy Birthday.” All had come out to mingle and catch a talk from fashion veteran Stan Herman. “I’m here in a room that a great friend of mine lived in, and that makes me feel a pitter-patter in my heart…I’m going to raise a glass to Oleg Cassini, who was one of my first bosses,” said Herman, clutching a glass of Scotch next to the sweeping staircase. “Oleg, wherever you are, here’s to you.” Herman proceeded to read from his memoir, which he’s been writing for “about 45 years.” He took the audience through an overview of his six decades in the fashion business, 16 of which were spent as president of the CFDA. During his career, he has designed for a plethora of different categories and markets — luxury, mass, uniforms, bras, shoes — dressed “more airlines than any other designer,” has “sold over 200 millions dollars of merchandise on QVC,” guest taught at “almost every design school of note in America,” and even clocked a stint singing tenor for an opera company. “With a slash of a scissor, my long life has reached the salvaged edge of the fabric of my life. How quickly I went from young upstart to the old man of the industry, combat tested, 62 years,” Herman continued reading to the captivated crowd. “You’re looking at a proud garmento.” Herman then opened up the floor, answering questions from the audience. I also had a 40-year relationship with one man. 40 years, 40 years at a time where it was never thought about. 40 years where I could come home at night, clear my head and feel wanted and feel loved.” 2016-06-24 20:09 Kristen Tauer

14 Here It Is, Your Guide to Displaying Digital Art The Framed device displaying its store. Image courtesy of Framed Most of us spend a huge chunk—if not the majority— of our days looking at screens, but far fewer spend time looking at screens specifically designed to display art. As more artists began to make digital and moving image-based works, and more collectors became interested in hanging these works on their walls, a number of companies developed devices for displaying digital art. Longtime readers of The Creators Project will already know about Framed, a platform that acts as a digital canvas for displaying digital art. Framed launched in 2011 and has since failed to pick up speed, despite a revamp last year. In 2014, we first covered Electric Objects , a similar platform, also Kickstarter-funded, that has managed to gained more traction and has even established a SoHo showroom last year. Since Framed nabbed the tagline , “a revolutionary platform for digital art,” Electric Objects found its niche as, “a computer made for art.” If it’s hard for you, dear reader, to tell the difference between these two models of display, you’re not alone–even Kelani Nichole, owner and director of TRANSFER , the New York-based gallery focused on net art, new media, and moving image work, finds these devices, and the myriad platforms spouting revolutionary claims about how their systems will change the future of digital art display, dizzying. A gallerist who supports exactly the type of work these devices purport to revolutionize, she’s collected a list of systems developed for the purpose of displaying digital works, all more or less “solving” the same “problem.” Further, from her perspective, many of these platforms miss the point. Nichole worked with The Creators Project to create this guide to the good, bad, and straight-up unnecessary in the world of displaying digital art. An EO1 in action. Image courtesy of Electric Objects “The state-of-the-art frame for discovering and displaying digital art,” the EO1 connects to the internet, supports user uploads, and has an inventory of works designed specifically for the EO1. Electric Objects has sort of become the go-to home digital display device, probably due to its large library of works, including reproductions of museum collections, and its price of $299 for the setup. Their artist-focused programs such as "Art Club," a vibrant community of artists making work on the platform, are standouts among the list in terms of defining new forms of support for artists. We have one in The Creators Project's headquarters and use it every day. Framed screens come in two different sizes, and support most media types users can find online. There is also a Framed app, where users can compile their art collections. Framed’s gallery hosts a selection of Framed- specific editions for sale at price points of $35 and $65. Framed retails at MoMA for $899 , pre-loaded with six works from artists whose other work is in the MoMA collection. Billed as a “digital motion art gallery,” Blackdove is an app with a rotating monthly selection of works that users can display on their choice of smart screen. With a $9.99 subscription, users can access the full library of over 400 works, and half the money goes to the artists. Users must find their own means of display. DAD’s interface. Image courtesy of DAD. DAD is a software that describes itself as ”Apple TV meets Spotify for digital art,” and indeed, works can be viewed through different DAD- endorsed Apple TV setups. The Kickstarter description says DAD is, “the world’s first truly fine-art digital platform,” but others on this list make similar “groundbreaking” claims. Depending on their subscription level, DAD users can view curated exhibitions, which include a DIS -curated selection coinciding with the Berlin Biennale, create their own playlists, or create their own private channels. Depict says they’re, “doing for visual content what iTunes and Spotify have done for music.” The platform’s display is called the Depict Frame, and works are stored on the Depict Cloud, where users can buy individual works or editions, or sign up for a subscription. Certain formats of digital works that users might have in a separate collection can also be uploaded to the Depict Frame. Openframe was used for the exhibition alt-AI in New York. Here, LCD displays and a Raspberry Pi—the most common configuration for an Openframe—display Animal Parade by Mika Tyka (left) and 1+2=3 by Marcel Schwittlick (right). Image courtesy of Openframe. The only open source platform on this list, Openframe works with any HDMI display and a Raspberry Pi. In that sense, it’s a bit more for specialists: marketed towards artists who feel limited by other platforms, curators wanting to manage their collections, and developers hoping to improve the platform. Notably, they recommend Electric Objects and Framed for users who aren’t so DIY. Niio is a cloud-based management system for storing, distributing, displaying, and monetizing digital art. They call this system “pro tools,” and a 4K art console for turning, “any screen or projector into a professional dedicated art player” is currently up for pre-order. This platform’s features regarding preservation, best-practices, and management catered to multiple players in the world of dealing art—artists, gallerists, curators, collectors—are promising. Created by artist Constant Dullaart , DullTech™ is a media player and artwork in one, not really aiming to revolutionize anything, but instead simply aid artists in playing looped videos which are synced through USB. DullTech™, neoliberal lulz. Constant Dullaart 2016. Installation detail courtesy CarrollFletcher London and DullTech™. Besides these platforms (whose general claims of singular novelty make clear that they probably aren’t paying attention to what’s going on around them), there are also initiatives like Artapp.org , a petition to add an “art” category to the App Store. And yet, popularizing digital art shouldn’t necessarily be the prerogative of these platforms. Ask any musician, and they’ll probably tell you that trying to make art accessible according to an iTunes or Spotify model is bad news for artists. From the perspective of a gallerist, further, few of these platforms address any real problems of preservation and display for new formats— TRANSFER, for example, places artworks in the same way as a traditional gallery dealing with “physical” or “old media” work: through a relationship- based appreciation process which is catered to the collector’s needs. These platforms claim to create new marketplaces for artworks, but those works aren't often comparable in quality to those that might be sold through a traditional gallery. The problem is, the gallery doesn't yet sell the screen, too. Despite substantial investment, these platforms have yet to become profitable for artists, though some, like Electric Objects, do help. When paired with the functionality that allows you to upload any user-owned file, works can become enmeshed in the world of poor images. Ultimately, though some platforms are more promising than others, the current crop of platforms falls short when it comes to compelling collectors to invest in new media art, and largely fails to address fundamental issues of preservation and distributed authenticity. In short, the 'entrepreneurial approach' isn’t always best for the creators it claims to help. But hey, it is something. Related: Is This the Most Boring Tech Startup Ever, or the Perfect Performance? [#DIGART] Revolutionizing How Digital Art is Displayed—Q&A with FRAMED Move Over Louvre, the DiMoDa Museum Exists Online in VR and IRL 2016-06-24 19:35 Alyssa Buffenstein

15 aston martin vantage GT12 roadster aston martin engineers justify more power with more carbon fiber for one-off roadster customization division at aston martin have revealed an extreme convertible in the unique form of an one-off ‘vantage GT12’ roadster. at first glance, the most visible differences are the significant number of carbon- fibre body panels but underneath the body, the british carmaker emphasized the need for radical performance. conceived and delivered within a nine-month period, the car draws its origins from the latest coupe, with a special 600 HP version of the company’s 6.0 L normally aspirated V12 engine paired with a seven-speed paddle shift transmission. a unique suspension setup defined by aston martin’s in-house dynamics experts, helps to ensure the roadster shares the same handling characteristics as the coupe. technical highlights also include magnesium inlet manifolds with revised geometry, a lightweight magnesium torque tube and a full titanium exhaust system. ‘the vantage GT12 roadster is a hugely exciting project,’ explains CEO of aston martin dr. andy palmer. ‘not just because it’s sensational to look at, but because it vividly demonstrates the expanded capabilities of Q by aston martin. by incorporating the exceptional engineering capabilities of aston martin advanced operations within the Q by aston martin bespoke commissioning service we have a truly formidable creative team.’ side fenders behind the wheels to redistribute air 2016-06-24 19:15 Piotr Boruslawski

16 Thurston Moore on the Legacy of Black Metal Gods, Mayhem All images courtesy Ecstatic Peace Library © 2016 from "The Death Archives: Mayhem 1984-94" by Jørn Stubberud aka Necrobutcher For the masses, the perception of Norwegian black metal is of an extreme, possibly evil subculture. This has much to do with stories about the bands and the scene itself taking the journalistic approach, as very few of the artists and fans communicate with the rest of the world, leaving mostly headlines in their wakes. But when Jørn “Necrobutcher” Stubberud, the bassist behind legendary Norwegian black metal band Mayhem, put out his memoir, Dødsarkiv , a door was opened ever so slightly into the shadowy subculture. In publishing Necrobutcher’s memoir in English as The Death Archives: Mayhem 1984-1994 , Sonic Youth’s Thurston Moore has helped kick the door open quite a bit more Not content with just a book, though, Moore and Necrobutcher have done a series of Q&A sessions. The two also launched an exhibition at Tenderbooks in London, with Moore acting as curator. On display were all sorts of Necrobutcher’s Mayhem ephemera, including his rare collection of band photographs from the band’s early years, as well as recording session footage and the band’s radical album artwork. Moore recently spoke to The Creators Project about The Death Archives exhibition. He also reminisced about how he originally heard about Mayhem and the world of Norwegian black metal. The Creators Project: When was your first encounter with the band Mayhem, as well as the subculture surrounding Scandinavian black metal? Thurston Moore: I had heard about them through the fascination with Norwegian black metal that started happening when Burzum put his record out. It was such a weird, weird record at the time for anyone in heavy metal. And I was kind of not listening to so much heavy metal at the time, but at some point in the 80s, when we were really into hardcore, like Black Flag and Minor Threat, all these bands. We got really interested in this band called Venom coming out of Nottingham, England. They were a heavy metal trio, long hair and pentagrams and the whole thing, but the sound was this hybrid of really thrashed out punk rock hardcore mixed with the tropes of metal, and it was really underground and kind of cool. They were kind of our re-entry into the metal zone. We found out later that there were a coterie of metal kids in Scandinavia, particularly Norway, who were really turned on by Venom and Bathory, another band from England. So there was this new generation of kids coming from punk rock who really wanted to play metal, but not really wanting to play the refined metal that Metallica was sort of developing. They wanted to be a bit more fucked up, trashed out, and scary and just messing with ideas that dealt with completely politically incorrect perceptions. So Mayhem was one of the first bands. I had heard their name but hadn’t heard them until a lot of the controversy started coming out where this band’s singer killed himself and then the guitar player was killed by the guy who made the Burzum record. And you just sort of heard stories in the press, and it was before the Internet so magazines Kerrang! and Metal Hammer , et cetera, would write about how something had just happened in Norway about these insane bands. What did you think when you finally listened to Mayhem? I remember hearing Mayhem’s album Deathcrush and thinking it was amazing. It kind of struck the same chord that I remembered liking when I got into Venom. And Venom is the band that put out an album called Black Metal , and I think Mayhem’s allegiance to Venom is that they sort of took on the mantle of black metal as opposed to calling it speed metal or death metal. I was curious, but it wasn’t like I invested much in it. But as the years went on I kept an eye on it, at some point the genre of black metal really became global and there was this incredible period, which continues today, but it reached an apex about five or six years ago where all around the world there were these super underground, primal black metal bands doing all kinds of aspects of the music—isolationist or really brutalist. I became really fascinated with it because it didn’t really have any ambitions to have anything to do with the rest of the music world. It was its own thing— it sort of denied the industry of music, independent music, major label music, punk rock, anything, even heavy metal. So I started getting into it and it led me into the original texts, which was definitely Mayhem. And of course we all read Lords of Chaos and Peter Beste did that photo book True Norwegian Black Metal , and all of this information was coming to the rest of the world because it was kind of a hidden subculture and played to itself. It was very elite in a strange way. I didn’t really fancy myself a black metal warrior or anything. I didn’t dress up in corpse paint and crawl around going to gigs, but I was definitely interested in what I was hearing. So how did this fascination mutate into the publishing of Necrobutcher’s book? I did a tour of Norway last year and there was a Norwegian journalist who told me about Necrobutcher’s memoir, and I couldn’t believe it. I also couldn’t find it. Luckily I located one copy while on tour and it was just amazing looking. So my partner Eva and I took it upon ourselves to get the book’s English translation rights and publish this book here in England. And I finally got to meet Necrobutcher himself and I’ve done a couple events with him, including a Q&A here at Rough Trade in London, and that was amazing. They’re kind of this undeniable band. The fact that they still continue after so much upheaval, more upheaval than any other band I can think of—one guy commits suicide, the other guy is murdered—and you kind of think the band is going to be over with at that point, but they continue with this singer named Attila, who also performs with Sunn O))), so they’re just very curious and I think they’re a very significant band. By translating Necrobutcher’s story you realize it’s just completely engaging and interesting in the context of all the rock and roll stories that are out there in the last 20 or 30 years. And he’s the only one who tells it from the inside. But he only writes for Mayhem—he doesn’t speak for black metal. As far as the Mayhem exhibition, what was your approach as curator? The exhibition completely comes out of the publishing of the book. The book is rife with photographs from the mid-80s when the band was forming because he just kept everything. It’s also rife with ephemera like fliers, set lists—everything. So the exhibition was just easy. It was just basically showing this work on a wall so that when people come to the show they really get the images in the book. The exhibition is in this artist book space in London called Tenderbooks, and so a lot of the demographic that comes in there is not black metal kids, because they don’t go to bookstores. So in a way it’s bringing Necrobutcher, Mayhem and black metal into this space that doesn't normally associate itself with that kind of world. For Necrobutcher, it was incredible: he was so appreciative that he could actually talk about what he does to people who aren’t converts. For those people who are there, I think a lot of it is this introductory primer to this subculture, so in a way we’re kind of facilitating this meeting between the real world and this kind of nefarious black metal world. After translating Necrobutcher’s book and curating the exhibition, do you feel that you have any valuable insight into the Norwegian black metal scenes' flirtations with Nordic paganism and then satanism? Also, what are your thoughts on the ideas about evil that exists in ceratin parts of this subculture? I think Mayhem is the band least invested in that. But I think they sort of put on the parade of it because they saw it as something that they really equated with their fascination with horror cinema. So, for them it is theater. There is nowhere in this book where there is any expression of the more problematic strains that run through black metal—bands that sort of deal with either racist or nationalist ideology. Mayhem was never that, and I would have no interest whatsoever in publishing a book that had any of that ideology involved with it anyway. The book is all about music and survival on the road, and Necrobutcher’s whole thing about expressing any kind of vocabulary with satanism or paganism is that he sees it as the flipside of Christianity. So he sees it as their equal. There is good, bad, devil, god, whatever. He sort of thinks that you have to believe in Christianity to believe in Satanism, and neither of them win. When you’re playing those grunged out power chords at that velocity and volume you’re going to raise the devil sign, you’re not going to raise the cross. That’s all there is to it, and he understands it on such a primal level. And that’s as far as it goes with this band. I think a lot of people took it upon themselves to take black metal into more serious places of just real demonic investigation. But then I think a lot of music genres have a lot of problematic strains, whether it be strains of country and western or even punk rock. There has been some real horror in punk rock with the bands that are sort of bully boy pro-Nazi kind of punk that have existed over the years. And country and western has a horrible history of racist commentary. It’s like any genre, be it a religious or political persuasion: there is always going to be some fascist who ruins the party. The Death Archives: Mayhem 1984-1994 is now available in English on Ecstatic Peace! Related: Black Metal Forever Turns Up The Volume On Generative Music Goth Industrial: Even More Metal in 360 Degrees Yes, Baby Chickens Can Be Heavy Metal 2016-06-24 19:05 DJ Pangburn

17 The Blossoming of a Queer Enlightenment Related Venues The Bronx Museum of the Arts Artists Robert Mapplethorpe Peter Hujar John Dugdale Karen Finley Deborah Kass Glenn Ligon Felix Gonzalez-Torres Annie Leibovitz Martin Wong This morning President Obama designated New York’s Stonewall Inn a national monument. The declaration comes toward the end of a particularly emotional pride month and two days before the city’s annual Pride Parade, which will take over dozens of downtown blocks and is projected to be one of the biggest in its history, with over 32,000 marchers. The event will be less celebratory than normal and more poignant. Hanging over it is the tragic hate crime in Orlando two weeks ago that claimed 49 lives and was the subject of a vigil held Stonewall Inn on the following day. New York Mayor Bill de Blasio has invited people from all over the country to come together in solidarity at this year’s march. All this makes the show currently on view at the Leslie-Lohman Museum of Gay and Lesbian Art in SoHo particularly timely and sadly pertinent. Curated by the museum’s staff, “ The 1970s: The Blossoming of a Queer Enlightenment ” explores the art, activism, and styles that sprang from the Stonewall riots of 1969, often cited as birth of the modern LGBT rights movement, and tracks these currents, along with major events, through the following years, up through the emergence of the AIDS crisis in the last part of the decade. “The show came from this idea that there was something important going on between the Stonewall riots in 1969 and when that very first story came out in the New York Native about this mysterious disease that was affecting gay men,” said museum director Hunter O’Hanian. “It was a very powerful period of time. It felt like an age of enlightenment. We were coming out of the dark ages of the Eisenhower years to a period of enlightenment. And I feel like we’re in a similar period of enlightenment now.” The exhibition, which opened April 3, was planned to coincide with Pride month and run through to the parade, but no one could have predicted how relevant it would turn out to be. “Though it was 40 years ago, you can see how elucidating that period is for where we are today,” said O’Hanian. “This was a time in which people looked at themselves, they looked at fashion, they looked at portraiture, they looked at sex — it affected art in many ways. Even before we got to this point at the end of June 2016, it felt like it had so much relevance to where we are.” The exhibition contains more than 115 photos, drawings, and paintings from the ’70s, most drawn from the museum’s own collection. Over 40 artists are represented, from big recognizable names like Robert Mapplethorpe , Jimmy DeSana, and Peter Hujar to less-known figures in the movement. Despite the heavy issues pervading the decade, the work included is unfailingly positive. “We wanted to convey a period of freedom and joy and interaction between individuals,” said O’Hanian. “It was a time when people felt that freedom, and it gave them happiness. I want people to take this freedom today and feel just as empowered by it.” Following the “1970s,” the museum will open “ A Deeper Dive ” on July 15. This show will examine the work of nine of the artists — Lawrence Brose, Brian Buczak, Jimmy DeSana, John Dugdale , Karen Finley , Deborah Kass , Glenn Ligon , Ann P Meredith, and Anthony Viti — represented in the traveling exhibition “ Art AIDS America ,” which opens at the Bronx Museum of the Arts two days earlier and continues through September 25. The latter show contains 125 works by artists who include, in addition to the eight mentioned above, such well-known names as Félix González-Torres, Derek Jackson, Kia Labeija, Annie Leibovitz , Robert Mapplethorpe , and Martin Wong. 2016-06-24 18:40 Taylor Dafoe

18 Daniel Radcliffe's Corpse Does Hollywood | Insta of the Week In heart-stopping anticipation of his new film, Swiss Army Man , actor Daniel Radcliffe has been traveling the country alongside a rather quiet friend: his own corpse. An ongoing promotional tour called Manny Watch sees the nation snapping lifeless Instagrams with the film's protagonist, the most recent of which sees Manny making it all the way to the Hollywood Walk of Fame to lie down beside Radcliffe’s very own star. Deadly meta. This week, The Creators Project sat down with Daniels , the directorial duo behind the film, for a conversation on Facebook Live. In the film, Hank, played by Paul Dano, is stranded alone, on a remote island. Just as he's about to give himself an offing, Manny washes up on shore. Over the course of the film, Hank finds that Manny's body has the ability to talk and provide a host of other services, as the film's title suggests. Co- directors Daniel Scheinert and Daniel Kwan are much obliged to demonstrate. Below, check out a few of the places Manny's been over the past month: 2016-06-24 18:40 Nathaniel Ainley

19 Giant Doughnuts Make 'Go Skateboarding Day' Great Again Nike athlete Hjalte Halberg. Photo by Zach Malfa-Kowalski. Skateboarding is a physical art, one steeped in interaction with the physical environment. Whether that exploration occurs on paved streets, a skatepark, or the confines of a contest course, the experience is unique to the user and their own relationship with the landscape. For New York- based visual artist Jack Greer , there’s little detachment between his work with Still House Group in Red Hook, Brooklyn, and what he encounters on the asphalt as a skater. Nike SB tasked Greer with creating sculptures for this year’s Go Skateboarding Day , which took place on June 21, in McCarren Park. In the past, Nike’s worked with artists and designers to create pop-up parks and even a “skate” barge that shuttled. Greer’s contributions—a resin doughnut and a coffee cup—are less spectacle and more symbolic of his relationship with the city. For Greer, creating art in a refined space, be it a gallery or a patch of pavement, is part of the challenge and inspiration—not a limitation. “I knew that I wanted to produce sculptures that could be skated on, as opposed to skatepark obstacles that were painted to look like sculptures,” Greer tells The Creators Project. “This distinction was very important to me —I wanted the result to be much like the way in which skateboarders access objects on the street as opposed to objects in a skateboard facility. I chose to create a gigantic coffee cup and a gigantic doughnut. These two objects are classic NYC elements.” The sculptures being made in Brooklyn. Image courtesy the aritst. Greer’s work spans a vast swath of visual mediums, including oil paintings, mixed-media works, installations, and custom patchwork for Nike and Opening Ceremony. The throughline in these disciplines is the spacial relationship he creates between object and environment. In describing his installations—painted wood, foam, and resin coated pieces — for Go Skateboarding Day, there’s an eloquent simplicity that radiates from him. For a monolithic brand to tap Greer to erect a giant, skateable coffee cup in New York City speaks to a massive shift in the perception of skateboarding being innately Californian, and also to the emergence of New York City as its current creative heart. Today, skateboarding is often a commonality that drives the city’s creatives. The sculptures being made in Brooklyn. Image courtesy the aritst. As Go Skateboarding Day came and went, its detractors were to be expected, as they are on Record Store Day, or any holiday that symbolizes the rise of vital subcultures and how well they punched their way into the mainstream. Instead, Greer’s goal for the project was simple: “Enjoy the day, enjoy them all.” Click here to learn more about the artist, and here to learn more about Go Skateboarding Day. Related: The Year’s Most Beautiful Skate Film Takes Place on a Frozen Beach in Norway Broken Skateboards Are Transformed into Designer Tables Public Art Fights Anti-Skateboarding Law in Philadelphia 2016-06-24 18:15 Anthony Pappalardo

20 Diesel Celebrates Its ‘Bad’ Scent More Articles By The event’s guest performer, who took to the stage at midnight, was Tinashe Jorgenson Kachingwe — aka Tinashe. The singer- songwriter told WWD she’d been to Paris just a few times before. “Every time that I come I get to see a little bit more, meet a couple more people, eat at another nice restaurant,” she said. “So, it’s fun.” Tinashe sure is busy. She has a new single coming out in the next two to three weeks, followed by her “Joyride” album, which should break late summer or early fall. “I’ve got a lot of features coming up soon, on other people’s stuff,” she said, adding next stop is home prior to presenting at the BET Awards and then South Africa. Tinashe has no loyalty to one particular designer or perfume. “I think my fashion style kind of mirrors my music style or my personality in the sense that I think it doesn’t really necessarily fit into one particular box. I love to mix and match unexpected things,” she explained. “But I would describe my style mostly as ‘sporty-sexy.’” For fragrance, Tinashe — who was wearing Thierry Mugler’s Alien — said: “I love essential oil-type smells, things that really you can find in nature, like vanilla, coconut or lavender.” Diesel creative director Nicola Formichetti has never stuck to one scent, either. “I love switching my fragrances every couple of years, because it really reminds me of places I’ve been,” he said, adding the scent of his childhood was Jean Paul Gaultier’s Le Male, while for the past two years it’s been Byredo 1996 Inez & Vinoodh. “But now I’m going to start wearing that,” he said, pointing to Bad, emblazoned in huge letters, which he’d been hard at work on with Diesel fragrance licensee L’Oréal. “We never had a very, very classic but masculine fragrance yet,” he said. “This is much more mature and modern, with a Diesel touch. For me, [by] ‘bad boys’ we don’t mean someone negative. For us at Diesel, ‘bad’ is something very positive, energetic.” Model Soo Joo Park, who had walked the runway of the Haider Ackermann men’s show the prior day, finds fragrance important, since it can be very nostalgic. “It’s one of those unseen things that is very impactful,” she said. Model, social-media phenomenon and DJ Neels Visser said he’ll be releasing music soon. He was fresh from Milan, where he appeared on the Dolce & Gabbana catwalk, and did a meet-and-greet session. “It shut down the streets, which was crazy,” said Visser, whose Instagram fan base alone numbers 1.1 million. Theophilus London has been multitasking, too. “I am working on this new project called NY Theo,” he said, of the multimedia platform having “anything to do with the arts. It’s an energy. It’s a movement. It’s a lifestyle.” The rapper-singer said he realized New York youth culture needed some new energy. “I teamed up with everyone that I can, that’s in my Rolodex, and every night we put on events for kids to come and hang that have nothing to do,” he said. “I want to do a NY Theo film-festival, where all my friends, my influencers pick movies to teach the kids.” London wants to lead by example with his new album. “I’ve been working with Tame Impala, with Devonté Hynes, who does Blood Orange. Skepta, from the U. K., also produced a new song. Been trying to get Sade on it, I want Jay Z on it,” he said, adding there could also be more design collaborations, anything to help breathe life into youth culture in a hands-on way, not simply via Twitter or Instagram. Diesel’s Bad scent — boasting accords of tobacco and caviar — was created with perfumers Anne Flipo and Carlos Benaïm, of International Flavors and Fragrances. It is fronted by Boyd Holbrook. Other guests at the perfume party included Renzo Rosso, Nicolas Hieronimus, Vashtie Kola and Winnie Harlow. 2016-06-24 18:04 Jennifer Weil

21 The Wicked Comedy of Nicole Eisenman's Allegorical Paintings Selfie, 2014. Courtesy of the artist and Susanne Vielmetter Los Angeles Projects Photo: Robert Wedemeyer. Puns are often employed when discussing artist Nicole Eisenman’s work. A playful response to the painter’s wicked sense of humor, these jokes usually fail to capture the complexity of Eisenman’s comedy. Aligned with the rise of dark sitcoms like Arrested Development and It’s Always Sunny in Philadelphia , her work employs the same strategies that comedians use when writing a script. In Comedy Writing Secrets , the de facto comedy-writing-101 book by Mark Shatz and Mel Helitzer, the authors list the six essential ingredients of a good comedy: Target, Hostility, Realism, Exaggeration, Emotion and Surprise. The chapter on Realism begins with M*A*S*H writer Larry Gelbart’s quote, "Most good jokes state a bitter truth. " One would be hard pressed to come to a different conclusion while walking through Nicole Eisenman: Al-ugh-ories , the artist's soon-to-be-closed New Museum survey. Death and the Maiden, 2009. Courtesy the New Museum A mixture of paintings from Eisenman’s oeuvre, rather than attempting a comprehensive overview, the exhibition hones in on her usage of allegory and symbols. “Nicole is an artist who has been playing with the history of art, while completely transforming it: she manages to both celebrate and destroy accepted histories and traditions,” New Museum Artistic Director Massimiliano Gioni , who co-curated the show with Assistant Curator Helga Christoffersen, tells The Creators Project. “As Amy Sillman has written, Nicole is a very special artist because she is simultaneously killing the father—criticizing accepted notions of painting and art history—and keeping the grandfather alive, which means she rediscovers uncelebrated styles and traditions. I think these are the main elements which emerge from our exhibition.” The Fag End II, 2009. Courtesy the New Museum Ignoring chronology in favor of themes, the show adopts, rather than fights against, the way the artist is able to collapse multiple inspiration points into a seamless composition. On a stroll around Eisenman’s floor-swallowing show, one can become absorbed in trying to identify her references—it’s a Mad Lib with seemingly infinite possibilities, from Neoclassical painter Jean Auguste Dominique Ingres’s Angelica in Chains to the cringe-worthy, “I’m With Stupid” souvenir tee. Coping, 2008. Courtesy the New Museum Reminiscent of the way serial cartoon series like Family Guy and South Park mash pop culture with history to form time-sensitive sketches, Eisenman’s images don’t shy away from the modern condition: they embrace it. IPhones and other technological gizmos appear again and again with references that will inevitably date the paintings. “Nicole's work is always very much of its own time,” Gioni says. “It is infused with a punk attitude which makes it quite tough, almost belligerent, even when it plays with references and quotations that are almost classical, and even when it achieves that trembling beauty that pervades some of her best work.” Biergarten, 2007. Courtesy the artist and Susanne Vielmetter Los Angeles Projects Following in the footsteps of painters like Philip Guston and James Rosenquist, Eisenman’s collaged aesthetic and biting humor appears to have inspired a new generation of painters like Jamian Juliano-Villani, Orion Martin, and Emily Mae Smith. “Nicole started exhibiting in the early 1990s, a time in which painting was not particularly fashionable or popular,” Gioni says. “A few other painters such as John Currin or Elizabeth Peyton or Chris Ofili started exhibiting around the same time, but Nicole was younger than those colleagues and her work took a little longer to be noticed. More generally, I think her work has kept a polemical, at times even confrontational vein very much alive.” As it is just as much about the human condition as it is about painting, Eisenman's work extends beyond the boundaries of the art world and into public discourse. Through their accessibility, her paintings are generous to the viewer in a way that most contemporary art is not. “I think I am constantly surprised and amazed by her ability to play on such a wide extension of themes and styles,” Gioni says. “Her voice is absolutely unique but she can speak in tongues.” Nicole Eisenman: Al-ugh-ories ends this weekend. Go check it out at the New Museum—before it's too late. Related: Painting’s Evolution in the Digital Age The Art of Everyday Not Perfect Surfaces The Art of Being Feminist and Fabulous 2016-06-24 17:40 Kat Herriman

22 Art Hamptons 8th Edition Opens Following record attendance at last year's eighth edition of Art Hamptons, expectations ran high at this year's edition. Taking place in Bridgehampton, the fair attracted swaths of well- heeled visitors from around the region, and the so-called secondary home community —wealthy New Yorkers escaping the sweltering city over the summer months— was out in force. Over the years the fair has established a reputation for primarily presenting accessible and uncomplicated secondary market works in the mid-market price range. And this year the offerings yet again fell comfortably into that category. One of the best booths was Adamar Fine Arts from Miami, which stood out for the quality of the works on display. The gallery, which specializes in pop masters, showed a variety of original work and prints by Andy Warhol , Alex Katz , Keith Haring , Robert Longo , Donald Sultan , Helen Frankenthaler , and others. “This is my fifth year," owner and director Tamar Edberg told artnet News. “I've been doing it for a long time because I have a lot of collectors in New York so its a good opportunity to see them. And I sell," she added, “In the past we've been very successful here. " Another highlight at the fair was the booth Fernando Luis Alvarez Gallery. The centerpiece of the was an eye-catching installation featuring a large crate filled with shipping material, installation hardware, food and beer packaging, and 15 small works by gallery artists. Called Art Fair Crib: Death of a Salesman (2016) the work was created by gallerist and former artist Luis Alvarez Fernandez. He explained that the work "speaks for the first time to the anticipation and uncertainty gallerists and artists face in art fairs. " Nearby, Chase Edwards Gallery, which is based in Bridgehampton, was showing reverse paintings on glass by Christopher Martin. Bonnie Edwards told artnet News that the fair shines a light on the local art scene. “It brings art to the area for people to see who may not be able to travel, and brings work to a small area like this," she said. “It becomes an event in the Hamptons because it brings culture to an audience that really respects it. " The booth of Galeria Habana, one of three galleries making the trip from Havana, Cuba, was based around prints and original works by the late artist Belkis Ayón. Luis Miret Pérez, director of the first time exhibitor explained that the gallery has been coming to the US since 2001 because cultural goods were exempt from the trade embargo. Nevertheless he maintained that “problems and complications with collecting payments," have been alleviated since US-Cuban relations have thawed in recent months. A welcome contrast to the works on view was being offered by Seven Art Gallery, from Norwalk, CT. Specializing in street and urban art, the booth included works by Retna , one-of-a-kind prints by Shepard Fairey , and drawings by renowned skateboard illustrator Jim Phillips and illustrator Glynis Sweeny. Anna Lutz Fernandez of Seven Art Gallery told artnet News, "Because we're a little different, we're getting a good reaction. It's a genre that's been receiving a lot of attention. " On the way out guests were mingling outside of the entrance of the 40,000 square-foot tented venue, sipping champagne and enjoying the sunshine as they ambled towards their sports cars. This is the Hamptons after all, not Basel. Most of the visitors were probably on their way to see out the day on the deck with a sundowner; some with a new, reasonably-priced artwork under their arm. Follow artnet News on Facebook. 2016-06-24 17:01 Henri Neuendorf

23 Wonder Woman, Shonen Jump, Gwenpool, Rumble: This Week in Comics #23 Doctor Strange spies on our world, agrees with our casting in The Unbelievable Gwenpool #3. Illustrated by Gurihiru. Photo courtesy of Marvel Comics. A comic fan finds herself stuck in the Marvel universe, Wonder Woman tries to find her way home, an ancient god of war is stuck in a scarecrow, and a bevvy of manga ships sails in from Japan. The variety in comics on display in this week’s roundup are a testament to the flexibility of the medium. Not only are these examples completely different in style and tone, they’re also all pretty damn good. It’s easy to feel bogged down by major studio events (like Marvel’s current Civil War II and DC’s Rebirth ), but along the edges of even the big studios exciting stories are being told. Cover for The Unbelievable Gwenpool #3. Cover illustration by Stacey Lee. Photo courtesy of Marvel Comics. Gwen Poole lived in “our reality,” reading comic books about Thor and Spider-Man. Suddenly, she’s sucked into the comic world, and ends up joining ranks with a bunch of low-level villains. This is comic book comedy at its best, with plenty of jokes for diehard fans, but plenty of fun observations for outsiders as well. While at a tailor, Gwen asks if they’ve got more fabric in for her to have pants. This is both a great jab at sexism in comics and a sly admission that they’re doing it, too. In this issue, Gwen’s having a hard time getting paid (because she doesn’t actually exist in the Marvel reality) so she gets some supernatural help. Cover for Wonder Woman #1. Illustrated by Liam Sharp. Photo courtesy of DC Comics. On the 75th anniversary of Wonder Woman, DC Comics fits her back into the Rebirth event to get a new line of stories going with her. These comics aren’t reboots—readers aren’t seeing how Wonder Woman gets her powers, but instead see the Wonder Woman they’ve grown to love… the Wonder Woman who gives three warnings before beating the piss out of a bunch of jackal-monster-men in the jungle. These new comics seem to be a nice distillation of what the core character’s meant to be. Though there’s plenty of backstory expectation in this comic, readers could jump in here and move forward happily. Cover for Rumble #11. Illustrated by John Arcudi and James Harren. Photo courtesy of Image Comics. Rathraq is an ancient warrior god who finds himself not only trapped in the present day, but trapped in the body of a scarecrow. Sure, he’s found his ancient body, but the heart’s been cut out of it, so it’s of little use to him until he gets the heart back. Fighting, joking, and culture-clashing ensue. This issue is more emotionally packed and poignant than one would expect from a quippy comic about war gods returning to mortal form. That extra punch of feeling, added to the quick, Mignola-inspired artwork, gives this comic an urgency. The reader can’t help but tear through the page. Cover for Weekly Shonen Jump Volume 228. Illustrated in part by Eiichiro Oda. Photo courtesy of Viz. With over 160 pages of manga coming out each week for $1, Weekly Shonen Jump is by far the best bang for readers’ bucks. Comixology made a really savvy move when they partnered with major manga companies to release translated versions of Japanese manga the same day as they hit stores in Japan. This is a true feat, and this issue of Shonen Jump is as good a point as any to jump in. Contained within the ten different comics compiled are stories of treasure hunting pirates, people on a quest to cook the best food in the world, and the astounding One-Punch Man, which is stirring up the manga scene. If any of this interests readers even a little, they should get in on this ASAP. What were you reading this week? Let us know on Twitter or in the comments below. Related: This Week in Comics #22 This Week in Comics #21 This Week in Comics #20 2016-06-24 16:55 Giaco Furino

24 Interview Magazine Poaches Hearst’s Jason Nikic as Chief Revenue Officer Interview Magazine has brought in Jason Nikic as chief revenue officer. Brant told WWD that over the past few months, she met with a “large number” of candidates, many of whom had “the obvious” fashion-centric backgrounds. “We didn’t want to hire someone based on the relationships, but their strategic vision,” Brant noted. “Jason had excitement for where the industry is heading instead of nostalgia [for the past].” She offered that his career at Hearst and The Atlantic , where he served as integrated sales director, gave him a “digital savvy” that Interview is seeking as it makes bolder moves this year to monetize its web site. Currently, Brant said Interview has about 650,000 unique visitors a month, which, while small, has been “fully organic.” She explained that means the company hasn’t hired a team focused on expanding its web traffic, per se — which is where Nikic comes in. Nikic, who will report to Brant when he starts today, will be responsible for advertising sales, marketing and driving revenue across all of Interview’s current channels — from print and digital to social and events. He will also develop new products and revenue streams and work to build a team with a digital-first mind-set. For his part, Nikic offered: “I couldn’t be more honored to share in the responsibility in making sure that Interview continues to thrive. That I share this responsibility with an editorial team that’s eager to find new ways to converse with their readers and users gives me the confidence that we will be able to present our partners with increasingly more innovative platforms to participate in this conversation.” Nikic’s hire comes at an important time for the 47-year-old magazine. Founded in 1969 by Andy Warhol , Interview carries a circulation of approximately 220,000 at a time when print readership is waning. With a lean staff and tight budgets, Interview, like its competitors, must grow new revenue streams in order to thrive in today’s volatile media environment. 2016-06-24 16:54 Alexandra Steigrad

25 Chanel Fetes Launch of ‘Le Rouge’ Collection by Lucia Pica This was the first collection designed by Lucia Pica in her role as Chanel ’s global creative designer for makeup and color. To celebrate the occasion the French luxury house went all out, flashing red spotlights on the vast Neoclassical building that overlooks the Thames. Laura Bailey, Lily Allen, Emily Weiss of online beauty brand Glossier, Henry Holland, and Erin O’ Connor were among the guests. Pica aimed to subvert the classic status associated with the color red and to give the collection another dimension. She did so by working with the photographer Max Farago and filmmaker Clara Cullen to document her creative journey and different sources of inspiration associated with the color red. Stewart, who is the face of the new collection’s campaign, said Pica’s array of references inspired her to have a deeper connection with the concept. “This is my first makeup campaign that I had done with Chanel and they approached their work with such genuine impulse. I know that clothes can really acquaint you with aspects of yourself that can be surprising; when they tell a story and when they evoke a feeling it really can be like one of the coolest art forms there is,” she told WWD. “I didn’t really know how deep you could go with that on a makeup level but Lucia derives her work from something that is so fundamental to her and really comes from a deep place within her. Just seeing all of her references and inspirations was so special, it is not just about red lipstick.” Stewart added that she has been playing with the products, and was immediately attracted to the rawness of the look that can be achieved. “Red is not the most obvious choice to put — say — on your eyes or something like that, but it is the color of blood. It’s the color of what keeps us alive and so it is really emotional. You might think that red eyeliner might make you look tired but what it looks like is it looks raw. It looks like your blood is closer to the surface of your skin, it looks like you are alive so there is something engaging about it. Basically you are taking what you naturally have and enhancing it so it doesn’t feel like a mask,” said the actress who will be shooting the first short film she has written and directed herself at the end of July. The collection consists of a variety of products — an eye shadow palette, six lip colors, nail varnishes, blush, mascara, lip liners and long-lasting eyeliners — in order to allow customers to achieve a full look. “You can actually wear the full collection and not look completely made up because all of the colors are very harmonious. A red undertone runs through the whole collection, so it is not just red colors, you can pair it with warm and earthy colors as well. It makes it less harsh for the face to wear this color,” said Pica. Prices range from 17.50 pounds, or $26, for a lip liner to 40 pounds, or $59, for the eye shadow palette. Pica’s initial choice to focus on the color red for her inaugural collection for the house came from a personal obsession, as well as from Chanel’s strong associations with the color. “I really wanted to start somewhere very personal because I felt it was the only way I could be proud of this. I also found out that it was a strong asset for the house, and Mademoiselle Chanel used to say, ‘I love the color red, it is the color of life and the color of blood.’ She also used to say ‘put your red lipstick on and attack.’ So for her it meant power and femininity and this resonated with me so much,” added Pica. She added that working with Farago on the images felt natural, given her personal relationship with him. “Max understands where I am coming from. He knows me really well so he knows how to put through my vision. Things like this sometimes just start through dinner you know?” said Pica. “We wanted to do something that felt a little bit fresher and a little bit more modern. I wanted to put myself into what is happening right now, and how I can discover things while doing them. I wanted to do a study of the color red, and I wanted to go a little deeper with it and how this color makes you think and how it makes you feel. It turns out it is about women and the celebration of women and how we react to this color, how this color happens on our faces.” Another collaborator of Pica’s, hair stylist Sam McKnight, was also in attendance and he described the collection as “sensual and very true to what Chanel and Lucia are all about.” McKnight has been planning a new book and an exhibition at Somerset House which will launch in November and will showcase his work throughout the years. “It won’t just be pictures on the walls, we aim to create an experience and it will hopefully help to elevate my profession, as currently people don’t know too much about what we do,” he told WWD. 2016-06-24 16:47 Natalie Theodosi

26 16 Summer Shows Featuring Queer Artists This weekend marks the 46th anniversary of New York City Pride, which commemorates the riots at the Stonewall Inn on June 28, 1969. If the artists in our current selection of exhibitions demonstrate anything, it's that queer bodies have existed in different forms and responded to different conditions throughout history. Given the breadth of the queer experience, the task of compiling exhibitions that represent the full spectrum is no small order. To quote artnet News's Kathleen Massara, who expertly coalesced our roundup last year: "It's tough to create a list of contemporary queer artist shows, for one, because the list is so long, and two, competition is so fierce. " During Pride Month, we offer 16 queer artists who are pushing the conversation forward, despite the obstacles. 1. Harmony Hammond , " Solo Exhibition " Works on paper, paintings, and monotypes, all drawn from Harmony Hammond's recent body of work, are on view at Alexander Gray Associates' space in Chelsea. Hammond, who helped found New York City's feminist movement in the early 1970s, has long engaged with the male-dominated world of Modernist painting, offering what she once described as "overtly lesbian" content. "Since then," Hammond explained to Carlos Motta in We Who Feel Differently , a contemporary queer archive, "I have continued making work, writing, teaching, lecturing and contributing to various feminist, lesbian, and queer art projects over the years. " WHERE : Alexander Gray Associates , New York WHEN : Through June 25, 2016 2. Rashaad Newsome , " Stop Playing in My Face! " In content and style, Rashaad Newsome's exhibition at De Buck Gallery in Chelsea offers itself as a complementary companion to the artist's Studio Museum show, " This Is What I Want to See, " which runs through June 26. Newsome describes his amorphous collages of distinctly human faces as evolutionary extensions of "abstracted Baroque-esque designs," taking their cue from the elaborate works of old Dutch masters and the compositional feats of Dadaist pioneers like Hannah Höch. The ornate portraits at the gallery, along with his video-works of Vogue dancers and video vixens on view at the Studio Museum, are complicated, albeit affectionate, testimonies to the queer sub-cultures that exist within broader black communities. As Newsome told Complex in a 2014 interview: "I don't create work that is present in a gaze of how society sees me. I present how I see myself and how my community sees itself. And you can either get in or not get in. " WHERE : De Buck Gallery , New York WHEN : Through June 25 3. Nicole Eisenman , " Al-ugh-ories " Readings of Nicole Eisenman's paintings at the New Museum, her first major institutional survey, run the gamut from comical to grim. Arguably, it is precisely this in-between space that makes her work so spellbinding. After all, the task of bringing women's issues to the fore in a violently hyper- patriarchal world is bound to get thorny, so why not poke some fun? In both her life and work, Eisenman doesn't flinch from paradoxical dilemmas—and she's not afraid to address her own privileges, to boot. "I have a problem with the fact that the world feels like it's on fire and we're all going to hell in a hand basket," she said in a recent conversation with Grace Dunham for the New York Times. "You have to acknowledge your own privilege. Otherwise you're walking around with a blindfold on. " WHERE : New Museum , New York WHEN : Through June 26, 2016 4. Terence Koh , " Bee Chapel " Terence Koh emerged from his self-imposed retirement earlier this year, and his return from the mountains of upstate New York yielded " Bee Chapel. " His exhibition, which takes over Andrew Edlin's new gallery space in the Lower East Side, offers up a curious mix of sculptures, works on paper, and, of course, the imposing bee chapel installation. As Kevin McGarry noted in his review for the New York Times , Koh, once the art world's "enfant terrible," has since changed his tune, advancing "ecological" concerns—namely the dwindling bee population and its environmental impact. And just this month, Koh paid a special tribute to the victims of the Orlando shooting by broadcasting their names into outer space. WHERE : Andrew Edlin Gallery , New York WHEN : Through July 1, 2016 5. Glenn Ligon and others, " A Deeper Dive " The AIDS crisis that ravaged America in the 1980s and beyond, comprise the psychic material in "A Deeper Dive," a special group exhibition hosted by the Leslie-Lohman Museum of Gay and Lesbian Art. Foremost in the show is artist Glenn Ligon, whose body of work has consistently addressed issues of sexuality, race, and the painful memories indelibly enmeshed in his memories of the epidemic. In a statement to artnet News, the museum's director, Hunter O'Hanian, describes this project as highlighting an "amazing period in gay history. " He added: "It was informed by the sexual revolution, anti-war efforts, and the civil rights movement which fermented in the 1960s. It was the awakening of a new period of enlightenment in human and social development. In June 2016, these lessons could not be more relevant. " WHERE : Leslie-Lohman Museum of Gay and Lesbian Art , New York WHEN : July 15 through September 25, 2016 6. David Antonio Cruz and others, " Look up here, I'm in heaven " The orgranizers of BRIC's forthcoming exhibition, "Look up here, I'm in heaven," are well-aware that racial discrimination continues to haunt artists of color, but curators Elizabeth Ferrer and Jenny Gerow have nonetheless asked the artists in the show to aim their arrows a little higher. Featuring works by David Antonio Cruz, Yashua Klos, Tschabalala Self, and Yoon Ji Seon, the show tackles hard truths with optimistic bravado. Cruz, who recently mounted a solo exhibition at the Gateway Project Spaces, has long mined issues related to his identifyung as a gender-fluid gay Latino man. "At the time, I was coming out," Cruz told art critic Lee Ann Norman in a 2013 interview for BOMB Magazine , "I was coming to terms with how I saw myself. I started thinking about my relationship with my father. The work was tough, intense. I was making these self-portraits that a professor described as car crashes. " WHERE : BRIC , New York WHEN : July 6 through August 14, 2016 7. Felix Gonzalez-Torres , " Untitled " That conceptual artist Felix Gonzalez-Torres preferred to keep his art open for interpretation, a refrain that many who survived his death maintain, shouldn't deter us from remembering his life. With three simultaneous shows in New York, London, and Milan, we'd be remiss to forget Gonzalez- Torres's own celebratory history of love—namely for Ross Laycock, who would serve as a muse in one of his jigsaw works and the inspiration behind his widely-acclaimed candy-work. As Andrea Rosen told artnet News in an interview last month: "One of the things Felix said most often is that 'the only thing that's permanent is change. At the core of Felix's work is this innate idea that because something existed, it will always exist. " WHERE : Hauser & Wirth , London WHEN : Through July 30, 2016 8. Robert Mapplethorpe , " The Perfect Medium " With a forthcoming television series, a biopic on the horizon, and a recent HBO documentary not far in our rear-view mirror, Robert Mapplethorpe 's legacy is experiencing a well-deserved revival. To build the interest around his legacy, the Los Angeles County Museum of Art and the Getty Museum have produced twin exhibitions showcasing the photographer's work. The shows, which offer up his photographs of everything from New York's underground BDSM scene to flowers (courtesy of his foundation), cast a desperately-needed light on remembering the AIDS crisis, the culture wars that ravaged America in the late 1980s and 1990s, and the very real legal discriminations that punished queer bodies at-large. WHERE : Los Angeles County Museum of Art , Los Angeles WHEN : Through July 31, 2016 9. David Wojnarowicz , " Raging through Time " A small selection of David Wojnarowicz's works are currently on view in an intimate, three-part exhibition at Rutgers University's Zimmerli Art Museum. According to a statement from the museum, the show traverses the length of the artist's career in chronological order, starting with his photographic explorations of nature and mythology and ending with his prints at the height of the AIDS epidemic. Wojnarowicz's monumental role in the culture wars of the late 1980s and 1990s positioned him in staunch opposition to conservative politicians like Jesse Helms. His sizeable body of mixed-media work will be the subject of a major retrospective at the Whitney Museum in 2018. WHERE : Zimmerli Art Museum , Rutgers – New Brunswick WHEN : Through July 31, 2016 10. Genesis Breyer P-Orridge , " Try to Altar Everything " Devotion lies at the heart of Genesis Breyer P-Orridge's interactive exhibition at the Rubin Museum of Art. For nearly half a century, P-Orrdige, who identifies as third gender, has successfully eschewed classifications regarding identity and style. And his/her offerings in "Try to Altar Everything," which range from sculptures to paintings and loaned objects, is an homage to the fluidity in Nepali traditions that he/she deeply resonates with. Guests to the show are invited to participate in his/her special project. Interested parties may bring offerings with sentimental value to the admissions desk, after which P-Orridge will place the objects in an installation he/she will continuously rearrange during the duration of his/her exhibition. WHERE : Rubin Museum of Art , New York WHEN : Through August 1, 2016 11. Hannah Höch , " A Revolutionary Woman " It's hard to imagine a more fitting title than "A Revolutionary Woman" for a full-scale survey of Dadaist master Hannah Höch. The German artist, who forged her own way amid intense competition from fellow male artists, stands as one of the most influential artists to date. The intrepid artist was a pioneer in photomontage, a method that uses actual photographs in the process of collaging. Höch used the technique to spectacular effect in critiquing the social structures of her time. "They continued for a long time to look on us women artists as charming and gifted amateurs, denying us any real professional status," Hoch wrote, adding: "Thirty years ago it wasn't easy for a woman to impose herself as a modern artist in Germany. " WHERE : Kunsthalle Mannheim , Mannheim WHEN : Through August 14, 2016 12. Mark Bradford , " Receive Calls on Your Cell Phone from Jail " Mark Bradford takes aim at America's social justice system in an exhibition at the Contemporary Art Museum, St. Louis. With his signature, cartographic approach to abstract painting, Bradford articulates the difficulty that individuals and their incarcerated loved ones encounter in attempting cellular communication. Drawing from an interview with Hyperallergic last year, this project belongs to the artist's broader project of engaging with institutional and systemic abuses. Ahead of his takeover of the American pavilion at the Venice Biennale next year, Bradford will be mounting dual shows at the Denver Art Museum and the Clyfford Still Museum. WHERE : Contemporary Art Museum , St. Louis WHEN : Through August 21, 2016 13. David Hockney , " 82 Portraits and 1 Still-Life " Artist John Baldessari , gallery king Larry Gagosian, and others in David Hockney 's colorful life appear in the British artist's new series of paintings, "82 Portraits and 1 Still-life," at the Royal Academy of Arts. Fans of Hockney's homoerotic poolside paintings—which act as visual records of his sunny youth in 1960s Los Angeles—will be happy to learn that the esteemed painter dipped back into his vibrant palette to conjure these new works. His exhibition at the Royal Academy of Art, which opens next week on July 2 , isn't the only show on Hockney's horizon. Next February, Tate Modern is slated to mount a full-scale survey , which spans six decades-worth of work and tracks his artistic evolution over the years. Those hoping to brush up on their history about the artist ahead of his shows might want to consider watching Hockney , a recent feature-length BBC documentary that artnet News's own Sarah Cascone described as "compelling cinema. " WHERE : Royal Academy of Arts , London WHEN : Through October 2, 2016 14. Alice Neel , " Painter of Modern Life " Born at the turn of the 20th century, Alice Neel's approach to portraiture, particularly of women, has earned her accolades and praise as an early pioneer of feminist painting. At the Ateneum Art Museum in Helsinki, Finland, a major survey of the late artist's contributions to the practice is on view. It's worth noting that while Neel did not expressly depict same-sex desires among women, her frank portraits of female forms advanced what she characterized as "realistic" accounts of women's bodies. "Neel [did not] provide any verbal commentary on the increasingly visible efforts of lesbian women artists," Pamela Allara writes in her biography on the artist. She continued: "This absence may in part be explained by the fact that what one might term a lesbian sensibility in contemporary art did not emerge until the very end of Neel's life. " WHERE : Ateneum Art Museum , Helsinki WHEN : Through October 2, 2016 15. Alex Da Corte , " Free Roses " Breakout star Alex Da Corte has been the subject of much art world interest in recent years. In "Free Flowers," his first major institutional show (and his largest one to date), the Philadelphia native offers an immersive installation replete with jarring neon lights, hallucinatory structures, and an arrangement of what MASS MoCA describes as "banal, off-brand items. " In an interview with Randy Kennedy for the New York Times , Da Corte revealed that much of his work grapples with the "rules that we have for what is beauty or what is optimism. " WHERE : MASS MoCA WHEN : Through January 2017 16. Nan Goldin , " The Ballad of Sexual Dependency " Some 700 images drawn from Nan Goldin 's archive make their way into the Museum of Modern Art's new exhibition of her work, "The Ballad of Sexual Dependency. " In a slideshow of photographs depicting the precarious underground culture of 1980s New York, this iteration of Goldin's presentation is a remarkable tribute to the queer lives of her youth. To borrow from art critic Christian Viveros-Fauné 's review: "Goldin's Ballad of Sexual Dependency is a record of loss that, like Puccini's “La Bohème," contains its own partial redemption. A mix of beauty, horror, and despair, her images also reveal a lust for life rare not just in art, but in living. A better memorial does not exist for alternative scenes anywhere—from New York's faded downtown to today's battered but unbeaten gay Orlando. " WHERE : Museum of Modern Art , New York WHEN : Through February 12, 2017 Follow artnet News on Facebook. 2016-06-24 16:34 Rain Embuscado

27 Summer's Upon Us | GIF Six Pack via GIPHY by Gustavo Torres/Kidmograph The Summer Solstice marks the longest day of the year, when the sun has reached its highest position in the sky and everyone living north of the equator can officially declare it bathing suit season. This year, the longest day of visible sunlight fell on a Monday, June 20th. Did you notice? Neither did I. According to timeanddate.com , the Solstice this year coincided with a full moon, a celestial occurrence that hasn’t come about since 1967 and won’t again until 2062. So not only is it the start of summer, but these solstices only happen twice a year, in June and December, giving us more than enough reason to celebrate. Different cultures around the world have their own ways of celebrating the start of it— here at The Creators Project, we thought we would share in the festivities with a Summer Solstice sixer for your viewing pleasure. via GIPHY by Haydiroket (Mert Keskin) via GIPHY by Sofiahydman via GIPHY by Carl Burton via GIPHY by Gustavo Torres/Kidmograph via GIPHY by Renderfruit via GIPHY by Nicolas Ulloa See more summer GIFs on GIPHY . Related: 400 Years Ago, Galileo's Sun Science Was Banned GIFs of People Floating in Water as Pure Relaxation An Open Road, an Endless Drive | GIF Six-Pack 2016-06-24 16:20 Nathaniel Ainley

28 'We Happy Few' Is the Perfect Dystopian Video Game for Brexit Blues Screencaps via The jury is out as to whether or not we live in a computer simulation. But take a look around, and it seems an overwhelming majority live in a mass collective hallucination. The Quebec- based video game company Compulsion Games explores this conceptual territory in We Happy Few , which they recently teased at E3 in Los Angeles. The roguelike game is set in a retrofuturistic England ravaged by war and currently under the spell of an oddly happy mass hallucination created by a pill called “Joy.” The scenario seems a bit like the Kids in the Hall ’s "Brain Candy" film meets Terry Gilliam’s Brazil and Charlie Brooker’s Black Mirror. Players can assume a number of characters, flawed instead of heroic, with their goal being to escape Wellington Wells without being noticed. “If you act out of turn, or they notice you’re not on Joy, the locals will become suspicious and will rapidly turn your frown upside down! Forcefully,” Compulsion explains on their website. “You will need to practice conformity, stealth, and combat if you want to survive long enough to escape.” If players die, they must start over again. Compulsion designed procedural generation tech, which means that players won’t be starting over in the same city, but in a new version of Wellington Wells. Compulsion is still fixing bugs in We Happy Few , but are updating the progress regularly on their website. Check out a bit of gameplay below: Click here to read more about We Happy Few. Via The Guardian Related: Here's How a 4D Video Game Actually Works Code Like a God in Virtual Reality Video Game 'Loop' Glitch Video Game Nightmares Can Be Beautiful [Music Video] 2016-06-24 15:55 DJ Pangburn

29 152 elizabeth street by tadao ando in new york ‘152 elizabeth street’ is an ultra luxury condominium building located in new york’s nolita neighborhood. designed by acclaimed japanese architect tadao ando, the scheme measures 32,000-square feet and comprises a total of seven stories and seven residences. each dwelling has been designed as a bespoke custom home, individually configured to highlight craft, detail, and quality. the living green wall measures 55 feet by 99 feet (17 x 30 meters) image by noë & associates and the boundary developed by sumaida + khurana, ando is collaborating on the project with michael gabellini, the architect of record who is also designing the building’s interiors. in addition to ando’s signature poured-in-place concrete, the scheme also features a living green wall measuring 55-feet- high and 99-feet-wide — one of the largest in new york city. landscaping firm m. paul friedberg and partners collaborated on the design, which evolves organically through different seasons. it comprises seasonal vines selected for a mix of textures and colors, including: english ivy, boston ivy, virginia creepers, jasmine clematis, and climbing hydrangeas. sketch of the green wall by architect tadao ando located at kenmare and elizabeth street, the building uses airport-quality exterior glass to ensure sound-proofing. another of the building’s design features is found in its vestibule — a floor-to ceiling water wall with grooved glass panels, naturally backlit by diffused natural light. the interior design seeks to create a sense of openness with very few walls and doors, while simultaneously allowing separation and privacy from room to room. tadao ando at the sales gallery of ‘152 elizabeth street’ in new york lighting systems, found inside each apartment, enhance and complement the natural light that floods each residence. other features and amenities include a de-humidification system, for art collectors who want to display pieces in their homes; an automated private residential parking garage; and a 24-hour doorman. prices for half-floor residences start at $5,750,000 USD, with full-floors beginning at $14,800,000. the penthouse pricing has not yet been yet. see designboom’s previous coverage of the project here. ando sketches out his plans for the building the building uses airport-quality exterior glass to ensure sound-proofing image by noë & associates and the boundary a floor-to ceiling water wall features grooved glass panels, backlit by diffused natural light image by noë & associates and the boundary the interior design seeks to create a sense of openness with very few walls and doors image by noë & associates and the boundary lighting systems complement the natural light that floods each residence image by noë & associates and the boundary 2016-06-24 15:37 Philip Stevens

30 MoMA PS1 Early Adopters Look Back at Its 40- Year History Founded in 1971 by Alanna Heiss in an old public school building in Queens, PS1 quickly became a bright star in the constellation of the alternative space movement. It opened its doors in 1976 with the show "Rooms," for which it extended an invitation to 78 artists to decorate their space with unique and empirical art. Richard Serra created a work in the attic, Walter De Maria plastered one wall with pornographic imagery, and Vito Acconci created an installation in the boiler room of a sound piece with stools and a light bulb. In the eighties exhibitions of artists such as Michelangelo Pistoletto's "Mirror Painting " (March 10–April 12, 1980), and Barbara Kruger 's "Photography " (December 7, 1980–January 25, 1981) cemented the institutions visionary approach to presenting art. And in the 90s shows featuring Marcia Hafif (January 14–March 11, 1990) and David Hammons (December 16, 1990–February 10, 1991) underscored the institution's significance. Over the years, MoMA PS1 (it was acquired by MoMA in 2000) has broadened its reach, combining PS1's daring push for boundary- defying works of contemporary art and MoMA's strength as a collecting institution. In 2010 Klaus Biesenbach took over directorship of MoMA PS1 and continued Heiss's legacy of of presenting cutting edge contemporary art by giving a platform to artists including Francis Alÿs (May 4–September 12, 2011) and Ryan Trecartin (June 19–September 3, 2011). The German curator also placed emphasis on broadening the scope of the museum by offering a Retrospective to the legendary techno band Kraftwerk and utilizing the former school as a concert venue. In homage to the 40th anniversary of this storied New York institution, we reached out to several players who played key roles in its history and evolution, including Heiss and Biesenbach, as well as others who could speak to its iconoclastic roots. Happy Birthday MoMA PS1! Alanna Heiss, founder and director (1976–2008) In 2001 we were preparing for a large Janet Cardiff and George Bures Miller exhibition, complete with "burning houses," audio walks around the building, and many other technically demanding works. The installation of 40-Part Motet was causing tremendous consternation in the Cardiff camp as they labored to correctly align the various sound channels representing the voices of the 40 singers. It was almost perfect. Then the shock of the World Trade Center explosion hit NYC. The next day I called Janet and asked to open the show early. She and George quickly agreed. Everyone at P. S.1 worked shifts to keep the building open night and day for the next week. People started gathering in the piece, and these audiences grew and grew and grew. There was never any sound except for the Thomas Tallis hymn. Richard Nonas, artist Each room was different because some had water up to your knees, some had water up to your ankles, some had seats in them still, some didn't, some had desks. Each of them had a different history. Despite the fact that there was a large number of artists, everybody came in, and in a certain sense had a choice. You let people wander around, and at least until it became impossible, basically people chose the place they wanted to be. In the toilets, in the basement, in the attic, and that was kind of an extraordinary thing that could never happen again. There is an iconic quality, a historic quality, a mystical quality at this point, about that first P. S.1 show. Fred Fisher, architect (1997 PS1 renovation) Over pasta and wine at Manducotis, Alanna and her co-conspirators strategized countless ideas. Alanna is infinitely curious about people and art. Her love of both drove the realization of seemingly improbable art works, collaborations, and the realization of PS1 itself. She sees the essential connection between art , materiality, and architectural space. We met in connection with work on two installations by the California artists James Turrell and Eric Orr. We connected on the basis of staying close to artists and curators, creating a canvas, not a monument. She tested the evolving design of PS1 with her art world cohort. One memorable comment from an artist reflected the cherished place that PS1 was: “Don't f### it up! " Klaus Biesenbach, director, MoMA PS1, chief curator at large, MoMA In 1994, Rebecca Horn's Guggenheim exhibition came to national gallery in Berlin. I think it was also a special birthday for her so everybody celebrated in a Greek restaurant in Berlin. It was a very large family-style celebration and in the later hours reminded me of a Greek wedding. Rebecca wanted somebody to jump onto the table and throw the plates against the wall, like in a wedding. Of course nobody would do this. Then she started cheering and the only two people jumping onto the table independently not knowing each other were Alanna and I. So we met at an artist's celebration on a tabletop. From then on we became close collaborators, researching together in Thailand, visiting dozens of studios, changing the upper floor of a Mexico City hotel into an artists' club with DJs, co-curating the Shanghai Biennial, touring the night in Tokyo with Araki, and organizing Christoph Schlingensief's infamous Statue of Liberty performance. As a surprise to many, I have never worked for her. We collaborated while I was the director of KW and she was the director of MoMA PS1. When I finally left Berlin for good in 2004, I started full-time at MoMA, not at MoMA PS1. Alanna left PS1 in 2008, and I started as director and chief curator at large in 2010, so we never had any real overlap but I owe her so much as a mentor! She taught me that it always has to be about the artist, the art, that installation is about positioning objects in space and time, and that it has to be as serious as a question of life and death. And that it takes much more precision to install in a decrepit abandoned building than it does in a perfect white cube. Alanna founded MoMA PS1 to serve the artists and their dreams. I hope I can follow her in this legacy. Brian O'Doherty, artist Why were these spaces alternative? Because the galleries were very repressive in their way. And a redistribution of power occurred, because Alanna Heiss was involuntarily in competition with galleries. Artists were coming to her, and new talent was not flowing to the galleries but rather to alternative spaces. Galleries were not in control of artists' lives, as they had been. At P. S.1, one could come in and attack the wall, pull up what one wanted from the floor—one could do anything. I remember one of my students, Alan Saret, had dug into the wall. This was amazing. Galleries would not have that. There was a tremendous sense of liberation in the Rooms show. Robert Yasuda, artist When I first got to P. S.1, I thought was a hare-brained idea. It was this massive building, and looking around at all of the debris, it was very exciting. We thought this was really, in a way, something we had not experienced before, in terms of scale. From our point of view, the important thing about P. S.1 is not only that it created a situation where we could do work that we could do nowhere else. But there was a buzz that started, that didn't exist before. It was always with the idea of a non-gallery, non- commercial—this is a place for art at the moment. For us that was really important. Laurie Anderson, artist This incarnation of P. S.1 is really fantastic. It looks much spiffier now, I have to say. And, I usually don't like that at all. I just don't like museums that much, but this is fantastic. It looks beautiful here! Very simple. And the building itself is gorgeous and funky, and the show "FORTY" is so well curated. About 40 years ago was when I was kind of, like, spooking around—my memory of that is friendships. So, in everything I see here I see my friends— or my teacher. Here's Sol LeWitt , he was my teacher for a long time. That's why I'm an artist, really, is Sol. Also people shifting between sculpture and painting, and talking, and performance, and dance, and sound, is what P. S.1 was really doing 40 years ago! It's really wonderful to see that represented. I think Alanna did an amazing job getting the spirit. But she knew all of us; she was part of the scene. So she's a perfect person to say, “Yeah, what happened at Magoo's that night," you know? So, it is fun to see it. And, I've seen a bunch of my old friends here. Kenny Schachter, dealer and curator I organized a show entitled "Bingeing," part of " 7 Rooms/7 Shows" (November 8, 1992–January 10, 1993) along with fellow curators: Franklin Sirmans, Alain Clariet, Four Walls, Lois Nesbitt, Robert Nickas, and Calvin Reid and served on the International Studio Program selection committee at the same time. Alanna was omnipresent, unabashed, wildly dedicated and cursed worse than my kids (that's a lot); she defined PS1 (and the reverse), the place was her spiritual and intellectual home (and more), evinced by the time I encountered her with her knickers around her ankles having a wee in the men's room with the door swung wide-open. I jumped back; she could care less. Dickie Landry, artist and musician Opening night at PS1 in 1976, at the "Rooms" exhibition: Packed house! At the end of the opening everyone leaving via the staircase to the street. For some reason I am the first one to open the door to the outside. In front of me was about a dozen young kids with baseball bats and rubber hoses. They pointed to someone on the staircase and said, "That's him," and they barged in swinging. All hell broke out with a gang/artist fight. In the middle of it all I asked Gordon Matta-Clark, "Where is your truck? " "Around the the corner," he replied. "Give me the keys," I said. So I ran and got the pickup truck and came down the side walk, horn blaring, crowd scattered and my friends jumped in and we sped off. 2016-06-24 15:32 Daniela Rios

31 Scuffle Breaks Out at Colette Party More Articles By Fashion folk and music fans got more than they bargained for Thursday night when Colette hosted a double event: the launch of a limited-edition collaboration between Vlone, the brand founded by two rappers from A$AP Mob — A$AP Rocky and A$AP Bari; and a personal appearance by Virgil Abloh, creative director of Off-White, who signed copies of a book documenting his fall 2016 men’s wear show. Smartphones switched on, young fans lined up in order to meet up with Bari, Rocky and Abloh, also capturing the arrival of the rappers Theophilus London and Ian Connor, who have been quarreling and name-calling on Twitter. Suddenly, the bad blood boiled over on the crowded shop floor as Connor lunged at London with a punch, knocking off London’s facemask and prompting screams from startled onlookers. The two men were separated by security and Connor was ejected from the premises, only to be chased by Bari, who socked Connor in the face. Colette management closed the store temporarily, but ultimately the packed party resumed. Sales were brisk for the books and the Vlone T-shirts and hoodies, characterized by Colette as an “encounter with streetwear and luxury ready-to-wear.” Rocky was visibly upset and left the event, but Abloh took the scuffle in stride. “They’re all brothers, so it’s basically watching a bunch of brothers fight,” he said later. “It was totally fine. I looked at it as, like, a casualty — I call it me being a camp counselor. I probably knew it was going to happen. It’s just all the energy, but it’s like them being them. But I believe you can’t just like kids when it’s good. I’m not an educator or anything like that. And it’s not about that. It’s just about leading by example.” Separately, Abloh told WWD he’s planning to open a store in an office block in Tokyo next month, and two more within the next year, including one in Toronto. And he lauded the young, enthusiastic turnout in Paris. “Those energetic vibes are needed in order to spur new trends.” 2016-06-24 15:13 Joelle Diderich

32 Fondazione Zegna Helps Restore Punta Mesco in Italy Fondazione Zegna has been supporting FAI, Italy’s National Trust, in restoring Podere Case Lovara in Punta Mesco, a rural area in the Italian region of Liguria. Located in the Cinque Terre National Park, a UNESCO World Heritage Site, the 45 hectares of farmland include three buildings. This week marked the opening of Podere Case Lovara to the public, after completion of the first part of the restoration, focusing on the renovation of two buildings — dating to the 18th and early 20th centuries — and the regeneration of the surrounding area. The goal is to bring people back to Punta Mesco after 20 years of abandonment and to reinstate the practice of agriculture, simultaneously enriching visitors’ experiences. To this end, the second part of the works will focus on the completion of a small farm-holiday complex with bedrooms, bathrooms, camping options and a catering area, opening to the public next year. Once fully operational, Podere Case Lovara will be a traditional farm with a farm-holiday complex that will be environmentally sustainable. Lucart Group, Ikea Italia and Deutche Post Foundation also contributed to the project. 2016-06-24 15:03 Sandra Salibian

33 Michel Houellebecq Searches for Unconditional Love For those who know the work of Michel Houellebecq, the enfant terrible of France's contemporary literary scene, the photograph representing his current exhibition at Palais de Tokyo in Paris may come as a surprise. Basking in the light of a setting sun, a Welsh Corgy sits on a patch of grass, looking out over the water; the show's title, "Rester Vivant" (To stay alive), is scrawled in large white font above the dog's head. It's a benign, picture- perfect vision of pastoral utopia—and considering the award-winning poet, essayist, novelist and filmmaker's signature penchant for provocation, from misogyny to racism, it is natural to assume that the image must be some kind of joke. Quite the contrary. The pictured Corgi was Houellebecq's own, the late Clément (who recurs regularly in his writing as “Fox"), and he is used in this multimedia exhibition to represent unconditional, absolute love. An entire gallery is devoted to the animal—who is not an ironic symbol, but a genuine one—and while the rest of the exhibition features plenty of Houllebequian gloom, it concludes on a note that verges toward sentimentality and empowerment. On view from June 23 through September 12 and curated by Jean de Loisy, "Rester Vivant" is a strange, sprawling maze of photographs, videos, and installations sited throughout 18 dark, winding galleries. The show takes its name from Houellebecq's eponymous 1991 book, often described as a collection of poems, and it is organized into chapter-like themes. Houellebecq is not known as a fine artist, of course, although he has occasionally participated in exhibitions—including the 2007 Lyon Biennale, and earlier this month, Manifesta 11 in Zurich—but "art is a constant preoccupation throughout his novels that allows him to establish exactly his own aesthetics," in the words of curator de Loisy. That aesthetic, whether pursued in writing, photography or film, is consistently raw and knotted, and the Palais de Tokyo presentation may be aptly described as both. While Houellebecq's own works constitute the majority of the show, he has also invited a handful of other artists, including Robert Combas, Raphaël Sohier, Renaud Marchand, and Maurice Renoma, to explore his obsessions, from tourism and eroticism to personal space and the creative process. There is, then, a sense of polyvocality to the exhibition that evokes the intersecting stories and plot lines of a novel. Like his writing, which is rife with morbid undertones and the incessant suggestion of failure and boredom, his artworks are raw and haunting, capturing quotidian spaces and objects that seem somehow to be harbingers of doom. in Houellebecq's world, chasms open up into rock faces, and tangles of tree roots quickly grow rot. Indeed, certain thematic threads connect different rooms like recurring characters. Visual representations of urban development and industry abound, from the concrete interloper of a Leader Price grocery store sprouting up from green farmland, to a castle built into the side of a rock wall. Aerial photographs of cities at night, with their vast grids of light, are echoed in a series picturing flowers and plants from afar, their petals and stems blurred into a sea of color and line. The subjects seem antipodal—industrial environments of man's making versus the natural landscape—but Houellebecq captures both in a way that feels cosmic and abstract. The microcosm represented by each is extrapolated into a wider picture of networks writ large, evoking the various systems that govern both the built and organic world. Houellebecq also explores human intervention, addressing our need to create or contribute. In one room, the floor is carpeted in a garish assemblage of blow-up picture postcards from a multitude of French towns and regions. On the walls, blinding painted images of saccharine fun-for- sale — beaming amusement park visitors, victorious whale trainers at some aquarium—are juxtaposed with depressing photographs of natural landscapes infiltrated by tourism: snack bars on tropical beaches, or deserts populated by five-star hotels. But these dark moments are countered by lighter fare, such as a gallery that Houellebecq has transformed into veritable smoking lounge, equipped with bar stools, black lights, and a juke box that plays recordings of his own poems being sung by musical stars, from Iggy Pop to Carla Bruni. The installation devoted to Clément the dog, who belonged to Houellebecq and his ex-wife, meanwhile, recalls a den in any suburban household. With its plaid carpeting and wood-paneling, it is a space that feels domestic and safe. The walls are hung with photographs and watercolor paintings of the creature at various life stages; a long vitrine in the center of the room contains his belongings—mostly dog toys and stuffed animals—becoming both a grave and an altar. Despite the morbid subject matter, redemption is never far off. "Nous habitons l'absence" (we inhabit the absence), reads a black-and-white image of rock faces toward the end of the show. It is a simultaneous recognition of the void, an existential resignation to a world that lacks any semblance of purpose or higher meaning—and a vow to live in that world actively and with intention, to create meaning from the nothingness. "'Rester Vivant' is an extremely optimistic position to take," Houellebecq said in an interview with de Loisy. "The poster for the exhibition, with a photo of Clément, is a call to confronting eternity fearlessly, with the certitude that death is an illusion. This is an idea I've never completely abandoned. " " Rester Vivant " is on view at Palais de Tokyo in Paris from June 23- September 11, 2016. 2016-06-24 14:50 Emily Nathan

34 Our 5 Dirtiest Discoveries from Miss Read: The Berlin Art Book Fair The entrance to the fair. All photos by the author. Art book fairs are often a lot to take in, and the Miss Read: The Berlin Art Book Fair , which brought together over 200 publishers, was no exception. With all the art theory, conceptual packaging, photobooks, magazines, and posters, the only surefire way to stand out was with bright colors, flashy illustrations, and graphic images. To be clear, Miss Read isn’t all about filth. Its relatively short, yet storied history has close ties to the fine art world, and it’s innately enmeshed with the complex story of Berlin itself. Founded in 2009, the fair was held at K-W Institute for Contemporary Art until 2011, and then took place in conjunction with abc Art Berlin Contemporary for two years, before jumping around to the Literaturwerkstatt , a meeting place for authors and readers. Finally, in 2015, the fair landed at Akademie der Künste ’s (AdK) exhibition halls in the Hansaviertel, a neighborhood in the city’s Mitte district that was nearly leveled during World War II and was rebuilt as a community of housing estates in the late 1950s by architects like Walter Gropius, Max Taut, and Oscar Niemeyer. The 2016 edition of Miss Read returned to Werner Düttman’s giant concrete slab of a building just above Tiergarten. The rich history of AdK and its surroundings, however, was soon forgotten once inside the fair, where visitors were confronted with—amongst mostly NSFW books—some truly titillating publications. Here are five of the dirtiest discoveries we could find: Singapore-based print and publishing studio Knuckles & Notch brought a handful of posters and zines by illustrator Djohan Hanapi , whose recent work includes electrifying pop drawings and erotic Disney princesses in 3D. One poster riffed on the classic “hilarious optical illusion” of X-Ray Spex: put on a pair of red-blue 3D glasses and close one eye to see Snow White and the Seven Dwarves. Switch eyes, and almost everything disappears—the dwarves, the cottage in the woods...and Snow White’s dress. Undertaking the huge task of printing out the internet itself was Paul Soulellis , whose Library of the Printed Web archives the work of artists working with screenshots, search engines, and other web-based practices. How does Soulellis decide which parts of the web to print? “I treat each edition like a group show,” he says, calling on artists he admires to create work for the Printed Web volumes. At the fair, he was also selling individual artists' contributions, like the above by Jeona Cuberta, which comes from Printed Web 3. There’s a lot of disgusting filth on the internet, but Cuberta manages to make the idea of posting poop on Instagram cute. Artist duo Christian Gfeller and Anna Hellsgård run a print shop and exhibition space in Mitte called Resurgo. At their booth, the obvious standout was a small, glossy book, the cover of which was a photo of a woman wearing nothing but red Converse sneakers, sitting on the floor of an art gallery. The name of the book? Naked in the Gallery , obviously. Inside, more unnamed people strip down in front of paintings, some holding glasses of free gallery wine. This year, Miss Read had a special focus on publishers from Spanish- speaking countries, and among them was Buenos Aires' Sta. Rosa Editora. At their booth, visitors could find copies of Point of Lovely Sun , a punky, zine-y book of black-and-white photographs taken at underground parties in Buenos Aires between 2002 and 2004. These years mark a time of transition for Argentina, as the country was exiting economic depression and just before a nightclub fire in 2004 led to a crackdown on these semi- legal club spaces. Point of Lovely Sun captures a specific era of Argentine youth culture: inspired by grunge and goth from other countries, the faces in the book are pierced, sweaty, and, often enough, swapping spit. London-based artist Dan Mitchell had his own booth showcasing his magazine Hard Mag , the “specialist anti-fear magazine.” With an all-caps, '90s WordArt aesthetic, the mag is nearly impossible to read... and once you do, you almost wish you hadn’t. Each issue is filled with collages of hardcore porn and superheroes, gross-out buzzwords, and insane sentence-long stories about everything from Quaalude binges to a “DIY porno holocaust nightmare.” The magazine claims to be “an instrument for dismantling the everyday propaganda of the spectacle” and “the treatment of oneself as the enemy that needs to be provoked, subverted, and eventually overcome.” As a tame bonus, Mitchell was also selling copies of his zine Alcoholism , containing a series of impressionistic still lifes of different alcoholic beverages. Find out more about Miss Read: The Berlin Art Book Fair on their website . Related: What to See, Hear, and Read at Printed Matter’s LA Art Book Fair 17 Artists, Presses, and Publishers to Know at the New York Art Book Fair This Artist is Distributing Mini Libraries of Zines and Collages 2016-06-24 14:45 Alyssa Buffenstein

35 Todd Solondz Tracks the Pain of a 'Wiener- Dog' Director Todd Solondz / Courtesy SIFF In the work of Todd Solondz, nonconformity isn’t a choice. The outcasts who populate his films want nothing more than to be normal, desirable human beings. But they are shunned in both personal and public life, mocked at home and on the street. The young bespectacled Dawn Wiener of Solondz’s feature debut, “Welcome to the Dollhouse” (1995), taunted at school for her awkwardness and unfortunate last name, pines for Brandon, the misfit who taunts her, and wants to date him. That he rejects her, barely knows she exists, does not end her yearning. This is the pain that never goes away. In “Palindromes” (2004), Solondz’s examination of a similar character, played by multiple actors, Dawn Wiener returns. A decade older and still miserable, she commits suicide off-camera in a crucial scene. This was, in part, a joke, a way for Solondz to shut down for good the idea, pushed by fans of the first film, that he make a sequel But her death is also a message: Happiness is difficult, if not impossible, for most people. The world is a hard, cruel place. There are no second chapters for Dawn Wieners. It’s a harsh worldview whose bitterness Solondz makes easier to swallow with humor; comedy comingles with tragedy in his films. Solondz might be softening his perspective, however. Dawn Wiener gets an afterlife of a sort in “Wiener-Dog,” his latest film, which opens on June 24. The filmmaker takes the insult her schoolmates chant at Dawn at the end of “Dollhouse” — “Wiener Dog!”— and turns it into an even more defenseless creature: an actual dachshund who shuffles through four stories, acting as the connective tissue between them. The first involves an upper-class family — modern home, fire-red convertible, yoga classes — who adopt the dog as a toy for their young son, who is recovering from cancer. The mother and father (played by Julie Delpy and Tracy Letts) immediately regret their decision and try to figure out ways to dispose of her. The dog wanders into the arms of Dawn (Greta Gerwig), a nurse at a veterinary clinic, who runs off with her, quitting her job. Dawn encounters Brandon (Kieran Culkin), a former classmate, who convinces her to go on a road trip with him under mysterious circumstances. These characters share names with the couple in “Dollhouse,” continuing Solondz’s interest in coded references, although they are not direct. We can all be Dawn and Brandon, and the dog too. Dawn and Brandon end up leaving the dachshund with another couple, and we pick up again with Dave Schmerz (Danny DeVito), a sad-sack screenwriter and film professor at a New York City college. (Solondz himself teaches film at New York University.) Dave carries the animal with him everywhere and starts to resemble it, in the way owners tend to do. He can’t get work, desperately calling his agent in the middle of the night, and his students have no respect for him, mocking his sort-of success, a lame comedy, behind his back. We next find the dog with an old woman losing her sight (Ellen Burstyn). The woman, who sits in a chair, occasionally going out behind her house to smoke cigarettes, has named the animal “Cancer” because, she claims, it is appropriate. Her granddaughter (Zosia Mamet) arrives for a visit with her artist boyfriend, and there’s a devastating scene in which the two uncomfortably talk around their true intentions. The nature of their history and relationship slowly reveals itself. The dog — well, let’s just say she becomes immortal, finally an object of desire. Solondz has favored this type of multi-directional narrative in his last few films, which all contain ensemble casts, allowing him to explore self-loathing through a rotating wheel of different kinds of people. But at times, the characters lack depth, seemingly reduced to the cruel joke at the center of their stories. As soon as the punch line lands, sometimes shockingly — or at least depressingly — we move on. There is no time to linger. Maybe that’s because Solondz knows nothing really ever changes for people. You are the way you are, and the world reacts accordingly. There is no love for all the Wieners in the world. 2016-06-24 14:30 Craig Hubert

36 36 Timothy Hull at Ashes/Ashes, Los Angeles Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “ Timothy Hull: For Ammonis, Who Died at 29, in 610 ,” is on view at Ashes/Ashes in Los Angeles through Saturday, June 25. The solo exhibition presents new work that looks at “the complex territory of language, memory, history, and sexuality” in the context of the work by 20th- century Greek poet CP Cavafy. Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES Installation view of “Timothy Hull: For Ammonis, Who Died at 29, in 610,” 2016, at Ashes/Ashes, Los Angeles. COURTESY THE ARTIST AND ASHES/ASHES, LOS ANGELES 2016-06-24 14:00 The Editors

37 Your Brainwaves Control the Wings of a Gorgeous Butterfly Skirt Images and gifs courtesy of the artist A giant turquoise butterfly flaps its wings faster as you become more calm in the Enlightenment skirt. The piece combines fashion and technology, visualizing its wearers' brainwaves, to calming effects. These are measured by an Neurosky EEG headset, which sends data to two hidden servo motors powered by an arduino micro. Enlightenment was created by Birce Ozkan and Betty Quinn. Ozkan is a New York-based interactive fashion and wearable technology artist. Her most recent work has centered around creating fashion and technology which responds to nature and the environment. She curated a Wearable Technology and Functional Garments Exhibition at SXSTYLE SXSW in Austin, where her work was also featured. Quinn is an interaction designer and new media artist. After a video she submitted with her college application went viral , Quinn decided to pursue her passion for combining storytelling and technology. See the Enlightenment skirt come to life in the video below. Click here to visit Enlightenment 's project page. To learn more about Birce Ozkan, click here. To see more of Betty Quinn’s work, visit her website Related: Living Dresses Move, Breathe, and Know How You’re Feeling Creativity Bytes: A Brief Guide to Wearable Technology Forget “The” Dress: These Six Designs Actually Change Color 2016-06-24 14:00 Francesca Capossela

38 Struts Down a New Stretch of Broadway Theater All photos by Charley Parden. Courtesy of Katdashians! The Musical! Katdashians! The Musical! , an off-Broadway mashup/parody of The Kardashians and Cats , makes it quite clear that Kris Jenner’s progeny and Andrew Lloyd Webber’s felines are cut from the same cloth. “ Cats is pointless, and Kardashians is pointless,” co-creators Bob and Tobly McSmith tell The Creators Project. “We watched Cats , and we were like, ‘This is all confessionals!’” the show's choreographer, Viva Soudan, who also plays Kylie Katdashian, adds. Running in New York through July 17, Katdashians is an improbable sendup of America’s favorite reality-TV kharacters, spun from the expert minds not of playwrights, but performance artists. Bob and Tobly McSmith first made names for themselves doing off-beat, freak-out performance art in East Village dives. Their foray into theater began when the duo decided to write a campy musical based on Saved by the Bell. “Don’t be mistaken. We hate musicals,” Tobly McSmith says. “We fucking hate them, and 10 years ago, that’s why we decided to do them. We wanted to do a musical we’d want to see, at a price we’d want to pay.” The success of Bayside! The Musical snowballed into Showgirls! The Musical , Full House! The Musical , and JonBenet! Murder Mystery Theater . “Using the device of Cats to tell the Kardashians’ story was fun. More fun than Cats the Musical , for sure,” Tobly McSmith says. “Musicals are boring and scrubbed clean, but we’re dirty. This is our cleanest show.” “—And it’s fucking filthy!” Bob McSmith interjects. (L to R) Catlyn Jenner (Peter Smith), Kendall (Ariel Ash), Kourtney (Bridget Kennedy), Kim (Carmen Mendoza), Khloe (Elliott Brooks), Kylie (Viva Soudan), and Kris (Bailey Nolan) They may not be fans of the Kardashians or Cats (Bob was initially vehemently opposed to writing a musical about the two), but the McSmiths approach their subjects with academic rigor. Working with Soudan and performance artist Bailey Nolan, who plays Kris Jenner, the co-creators spawned a spot-on, utterly withering spoof. Musical numbers include “Meowmry,” sung by Catlyn Jenner, and “Dash! It’s a Store That We Own!” Fake butts abound as the cast morphs into Katdashians with stunning precision. Katdashians also tackles austere questions like, What exactly is a Kimoji? And, Can Katye West save Kim Katdashian with the power of fashion? Viva Soudan as Kylie Jenner The show's parodied exactitude is played for laughs, but the Katdashian creators see it as an exercise in anthropology, too. “I was interested in it as social commentary about who we are as Americans,” Tobly McSmith says. “Kim has, like, 70 million Instagram followers, whereas the President has 7 million. When she posts a picture, it literally gets a million likes.” “She could change the world if she wanted to,” Bob McSmith says. “But she doesn’t,” Tobly McSmith says. Carmen Mendoza as Kim Katdashian Of course, the punchline is that the Kardashians are in the game for financial gain, not the greater good. And yet, there’s something magnetic and indulgent about fixating on a group of celebrities who are supposedly doing nothing. Katdashians pounces on that frivolity and ups the ante, by way of booty dancing and compulsory audience selfies. And it’s easy to get swept away, because after all, superficial is fun. As Kim says in Season 11, Episode 1 of Keeping Up with the Kardashians , “Take a selfie! It’s the best part of life.” Bailey Nolan as Kris Katdashian Snag tickets to Katdashians! The Musical! here —before it's too late. Performances run now through July 17 at the Elektra Theater near Times Square. Related: Roam a 3D Mountain Range Made from Kim Kardashian's Face 40+ Young Performance Artists Take Over the MoMA 10 Years Later, a Look Back at Art’s First Reality Show 2016-06-24 13:45 Kara Weisenstein

39 Broadway Shocked at the Sudden Closing of “Shuffle Along” Shows that are grossing nearly a million dollars a week and playing at over 99% capacity — as “Shuffle Along” did recently — don’t usually close precipitously. But the curtain will ring down on “Shuffle Along” at the Music Box Theatre on July 24 and that is due to the departure of Audra McDonald, who received raves for her performance as Lottie Gee. The six- time Tony Award winner is pregnant — an unexpected development that kayoed the run of the show, since apparently she was a prime reason for many of the ticket sales. In a press release, lead producer Scott Rudin stated, “Audra McDonald is the biggest star on Broadway and audiences have been clamoring to see her in this role since the first preview in March … It has however become clear that the need for Audra to take a prolonged and unexpected hiatus from the show has determined the unfortunate inevitability of our running at a loss for significantly longer than the show can responsibly absorb.” The abrupt closing has stunned Broadway, especially since the producers had announced a replacement for McDonald — Grammy winner Rhiannon Giddens — with a guest star appearance by Savion Glover, who choreographed the show. The producers were also hoping that the show’s number on the Tony Awards telecast on June 12 might help spike advance sales, even though “Shuffle Along” went home empty-handed despite ten nominations, including best musical. What has mystified some fans of the show is that, in addition to McDonald, it also boasts a Who’s Who of African-American Broadway entertainers, including Tony winners Billy Porter and Brian Stokes Mitchell, and Tony nominees Joshua Henry and Brandon Victor Dixon. It was written and directed by George C. Wolfe, a two-time Tony Award winner himself. Yet “Shuffle Along” was always a bold gamble. Wolfe’s brainchild sought to dissect the success and aftermath of the first African-American Broadway musical, a challenge reflected in its official title: “Shuffle Along, Or the Making of the Musical Sensation of 1921 and All that Followed.” The production did not have the benefit of a tryout either at a non-profit theater or an out-of-town commercial run. It opened cold on Broadway in March and then shut down performances temporarily to work out the apparent problems, especially a three-and-a-half hour running time. McDonald’s schedule was problematic since even before she became pregnant. Prior to beginning rehearsals, it was announced that the 45-year- old actress would take a three-month summer hiatus from the show to star in a London production of “Lady Day at Emerson’s Bar and Grill,” which had brought her a record-breaking sixth Tony Award. Despite these challenges, “Shuffle Along” opened to strongly positive reviews — it won the New York Drama Critics Circle Award as Best Musical — and received ten Tony nominations, although McDonald was not cited among them. The musical seemed assured of a run at least through the summer after which McDonald was expected to resume performances. The pregnancy, as well as a severe dip in advance sales during her absence, put the handwriting on the wall. McDonald issued the following statement: “I am overjoyed to be expecting a new addition to my family yet completely heartbroken that our tremendously talented cast and company — my ‘Shuffle Family’ — won’t be able to continue telling this incredible story.” The fate of “Shuffle Along” on Broadway is an ironic inverse of its source material. Following a series of misadventures, the original 1921 production arrived on Broadway deeply in debt and with little hope of catching on. Yet it became a phenomenon, running for over a year when shows typically ran two months. When it closes on July 24, Wolfe’s “Shuffle Along” will have run 38 previews and 100 regular performances. There is no word yet of future productions or whether an original cast album will be issued. One would hope that a performance might be live-streamed, as will happen with “She Loves Me” on June 30. It will be an historic first on Broadway HD. 2016-06-24 13:22 Patrick Pacheco

40 Sony World Photography Awards 2016 Exhibition at Willy-Brandt-Haus, Berlin It is one thing to read about the horrors of human rights violations and quite another to see photographs as evidence of that. Asghar Kamesh’s “Fire of Hatred” is a powerful series of photographic portraits of acid attack victims, which has just won him the L’Iris d’Or Photographer of the Year award along with a $25,000 prize at the 2016 Sony World Photography Awards. Organized by the World Photography Organisation, the winners across several categories were selected from a record-breaking 230,103 entries from 186 countries. Each year, the awards recognize some of the finest editorial and commercial photographic works in the world. Along with World Press Photo, these awards aim to push boundaries in photography, recognizing the sometimes fine line between journalistic and conceptual work. The exhibition of winning photographs concluded recently at Somerset House, London and will now travel to Willy-Brandt-Haus in Berlin where they will be on display from July 5 through September 30, 2016. Since the awards’ launch in 2007, over a million entries have been received, confirming the increasing use of photography as a medium across genres. Generous with 14 categories of entries for submissions for the professionals, the awards judged photographers on a body of work in the Art and Documentary sections. Winner of the 3rd place in “Architecture,” Stephan Zirwes’ series, “The Pools Series” question the consumption of water for purposes of luxury and entertainment by way of photographic aerial views of perfect and symmetrical pools and bathers. In “TransBrasil,” Jetmir Idirizi, a photographer from Kosovo, takes the documentary route to understand the fluidity of identities and gender. The winner of the 1st prize in the Professional Campaign category, Idrizi also advocates the idea of the “trans” as an ephemeral space to explore transgender identity, not bound by the limits of societal perception. A much anticipated winner in the Sport (Professional) category, Jens Juul’s “Little Fighters” portrays the competitive world of women gymnasts, who need to clock at least 10,000 hours of training in order to compete internationally. The series makes a strong point about fear, doubt and the loneliness of the sport. Kevin Frayer, the only photographer two have won first place in two professional categories ever (Environment and People), brings to the awards a different sensibility in both categories. While his series from “The Eagle Hunting Festival” in western China reveals an old and traditional hunting practice in a cinematic visual style, his portraits of the Tibetan nomads on the world’s highest plateau is more photojournalistic in its execution and aesthetic. Even in the open and youth categories, open to all enthusiasts, the winning entries explore an admirable visual narrative and that is an indication that the power of technology and an interest to delve into issues make photography much more than an accessible hobby. 2016-06-24 13:21 Paroma Mukherjee

41 Jay Fielden Discusses the Future of Esquire at Cocktail “So much has changed in that small window of time. Men are more confident than ever about expressing themselves personally when they get dressed. It’s no longer about being a ‘suit’ guy or a ‘fashion’ guy, this type or that type. You have permission to have fun and Esquire, with its innate journalistic curiosity, can capture the spirit of this new era like no one else,” he noted, sporting a double-breasted suit in cappuccino brown — very much on trend with the noble setting. Guests at the Museo Bagatti Valsecchi, a 19th-century palazzo on the Via Gesù, Milan’s men’s fashion hub, included Thom Browne, Andrea Pompilio, Massimo Alba, Luke Evans, Nick Wooster and Ethan Peck. Though Fielden indicated that he would tap into fashion’s gender-fluid environment, wishing to woo female readers, as well. “Deploying our literary charm is one big way to do that,” he said, pointing to Esquire’s tradition of publishing short stories, which in the past included Ernest Hemingway, F. Scott Fitzgerald, Philip Roth, Stephen King and most recently James Franco, “and also by bringing in great female contributors to make the magazine the genre-busting title it was when it published Nora Ephron and Joan Didion. My ambition is to go beyond the men’s category and appeal to an audience curious about the world at large.” The editor did not specify how this would translate into the online edition of Esquire, but said the magazine would create new web-friendly features and mutual content, while essentially keeping print and online separate. “Esquire.com has around 15 million unique visitors a month, and I consider it a laboratory where you can learn and try new things every day to help answer the tough questions we’re asking together. What’s obvious is that although it’s essential that digital and print spring from a common manifesto, they express the Esquire brand in intriguingly different ways,” he noted. 2016-06-24 13:20 Paulina Szmydke

42 zooco estudio transforms 36 square-meter space into a home covered in mosaics madrid-based zooco estudio has transformed a 36 square-meter open space with a clear and concise geometry into a real home covered in mosaics. the concept aims to compress and expand the bands that run around the perimeter of the site in order make the best out of the small space, while dividing it in a surprising way. different elements provide spatial tension, configuring the necessary circles to accommodate the house in its minimum expression. the scheme is very clear: to fill the perimeter as the serve space and to empty the center, generating the habitable area. the scheme fills the perimeter as the serve space and to empties it in the center, generating the habitable area image © orlando gutiérrez each wall has a goal and a function by creating one central stay where life is carried out. the surface of each of these vertical planes exhibit the different scenes that daily life requires. looking at the apartment from left to right you can find: the resting area, formed by a wall that connects the sleeping area and the rest area; the bathroom, with a wall showcasing an urban environment; the kitchen and the dining area, where you can find everything you need to use; and finally, a green area with aromatic herbs that allow to disconnect from everyday life and enjoy an exceptional place. the concept aimed to compress and expand the bands that run around the perimeter image © orlando gutiérrez zooco estudio perceives this property as a whole, like a set. the use of space in different ways creates a unique concept without forgetting practicality and comfort, without restrains. a great part of the project is covered by mosaic glass developed by hisbalit. the intention was to create a singular and unique space using distinctive materials: the touch of wood on the floor, the effect of a ceiling coated by mirror and the play of colors and mosaics, that provides the whole space a point of attachment. each wall has a goal and a function by creating one central stay where life is carried out image © orlando gutiérrez the surface of each wall exhibits the different scenes that daily life requires image © orlando gutiérrez the use of mirrors on the ceilings contributes with the enhancement of the small area image © orlando gutiérrez zooco estudio perceives their creation as a whole, like a set image © orlando gutiérrez a green area with aromatic herbs allows to disconnect from everyday life image © orlando gutiérrez the use of space in different ways creates a unique concept without forgetting practicality and comfort image © orlando gutiérrez a great part of the project is covered by mosaic glass developed by hisbalit image © orlando gutiérrez the bathroom has a wall showcasing an urban environment image © orlando gutiérrez 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. 2016-06-24 13:01 Zooco Estudio

43 Danny Lyon’s Photos at the Whitney Museum Ask 'What’s Going On?' Everybody needs a soundtrack for the dog days, and the same could be said for inspiring summertime images. This season, visitors to New York museums are in luck: No less than four excellent exhibitions of photography are scheduled at as many major art institutions throughout the city. Nan Goldin's just-opened show at the Museum of Modern Art was followed this week by a recent group show of “post-internet" images at Manhattan's newest museum , the International Center of Photography on the Bowery. A much-anticipated survey of the work of Diane Arbus has been scheduled for mid-July at the Met Breuer uptown. And finally, the Whitney Museum of American Art is hosting a large-scale show of prints and films by socially minded shutterbug Danny Lyon. Of the four exhibitions, Lyon's show offers both the summer's most straightforward images and, paradoxically, the biggest surprises. The first comprehensive career retrospective in 25 years for the Queens, New York native, Danny Lyon: A Message to the Future was organized by San Francisco's Fine Arts Museums, but premieres first at the Whitney. The show consists of some 175 photographs, three films, eight photomontages, a large bulletin board covered in art postcards and clippings, and a pack rat's hoard of studio ephemera. At times, the museum's temporary walls are so crowded with prints the place resembles a 1950s photo lab. Taken as individual experiences, though, the show's snapshots prove fresher than toothpaste—of the variety that emboldens an in-your-face documentarian like Lyon. A Message to the Future plays forward the deep humanism that has fed Lyon's storied career for the last five decades. It also invokes a mini-trend in documentary image making, of both the still and moving kind, which has effectively resuscitated interest in the artist's work—along with a growing fascination with the output of immersive camera artists like Arbus and Goldin. As an exhibition, Lyon's survey chiefly highlights the American street photographer's focus on social issues and the lives of the poor and marginalized. As a larger development, the show exists at the pointy end of documentary reaction to the era's expanding balloon dog of escapism. Call it Reporealism. If the once cool, now hoary moniker New Journalism evokes mythical personages like Joan Didion, Hunter S. Thompson, Tom Wolfe, Norman Mailer, and Truman Capote, prepare to add a novel name to the list. Lyon committed early to photography—in 1962 to be exact—and immediately set out to emulate his artistic heroes: namely, the O. G. engag é artists Walker Evans and James Agee. Lyon fully embodied the ideals of participatory, investigative photoreportage by the time he was twenty. Outfitted with a photographic camera and a set of wheels he was and remains the artistic equal of the movement's more boldface names. Lyon's renown as a photographer was fixed before he turned 30. Despite not being a household name, the artist produced various seminal bodies of work before 1970, while also earning the reputation for being documentary photography's Johnny-on-the-spot. In 1962, Lyon photographed a young protester by the name of Bernie Sanders , was jailed in Albany, Georgia , alongside Martin Luther King, Jr., and was recruited to become the first official photographer for the era's Occupy, the Student Nonviolent Coordinating Committee (SNCC). The organization became Lyon's mobile meeting point: Under its auspices he was introduced to and photographed figures like James Baldwin, Stokely Carmichael, and John Lewis, the long- term representative from Georgia's Fifth Congressional District. (Lewis lead the recent House of Representative's sit-in for gun-control legislation in the wake of the Orlando shootings). But from the start, Lyon's gifts lay more in portraying regular people than celebrities, as is evident in the photo he took of a group of (very) patient black men awaiting "entry" to an all-white swimming pool in Cairo, Illinois, and another image of a clutch of racist police in Clarksdale, Mississippi, performing—for the photographer's delectation—the cracker crotch grab and the Dixie one-digit salute. Lyon's closeness with his hard-luck subjects is also apparent in his mid-1960s portraits of white Appalachian migrants to Chicago's Uptown district. Despite the photographer's clear sympathy, his Brylcreemed street kids— Caucasian counterparts to black America's great migration—look far more feral and at ease in their next-rung-up privilege than their poorer African American neighbors. In time, Lyon's experiments in immersive photography led him to chronicle an alternate universe of transgender youths in Galveston, Texas (his frank portraits of Roberta and Pumpkin Reneé are the soul of nobility), spend time with a Chicago motorcycle gang (his photos alternately capture and romanticize one of America's first youth subcultures), and apply to the Texas Department of Corrections to photograph the lives of convicts (his images of their days spent behind bars are equal parts real-life Shawshank Redemption and Jean Genet-style fantasy). In the late ‘60s, Lyon also shot and filmed the sculptor Mark di Suvero, a close friend, and recorded the destruction of Lower Manhattan (to make way for the first World Trade Center). Subsequent series took Lyon farther afield, to places like Haiti, Colombia, Bolivia, and China to pursue what he has termed "advocacy journalism. " At the Whitney, the 74-year-old Lyon unveils familiar stories and situations until they stack up like the verse, chorus and melody of a great song. In this way A Message to the Future addresses the past to look at our present and coming troubles—likely as not, more terrorism, populism, xenophobia, climate change, among other 21st century plagues. Synesthetically speaking, Lyon's exhibition is this summer's version of Marvin Gaye's 1971 hit, "What's Going On? " " Danny Lyon: Message to the Future " runs from June 17-September 25, 2016 at the Whitney Museum of American Art in New York. 2016-06-24 12:44 Christian Viveros

44 Cubist Misunderstanding: An Argument Against Fernand Léger, in 1967 Fernand Léger, Composition I (Décoration pour une salle à manger) (Composition I [Decoration for a Dining Room]), 1930, oil on canvas. CANTZ MEDIA MANAGEMENT, OSTFILDERN/©2016 VG BILD-KUNST, BONN/FONDATION BEYELER, RIEHEN AND BASEL In honor of the Museum Ludwig’s show “Fernand Léger: Painting in Space,” we turn back to the February 1967 issue of ARTnews , in which Marcelin Pleynet made an argument against the French modernist painter, who, he said, failed to comprehend basic concepts about Cubism, geometry, and space. Written on the occasion of a Léger retrospective at the International Galleries in Chicago, the article follows in full below. “The Léger Legacy” By Marcelin Pleynet February 1967 A retrospective for this Paris master at the International Galleries, Chicago, poses the question of his place in the modern tradition The work of Fernand Léger was and remains problematical. I mean by this that in each of the periods that comprise it, as well as in its evolution, the contradictions which dominate and limit it remain even today more interesting than the classicizing qualities one could grant it. To paraphrase Apollinaire’s famous quip, I would say, “When I look at Léger, I am not very content.” Fernand Léger, Composition for a Mural , 1926, oil on canvas. BPK/RMN GRAND PALAIS/GÉRARD BLOT/©2016 VG BILD-KUNST, BONN/MUSÉE NATIONAL FERNAND LÉGER, BIOT This characteristic disappointment which, on the level of criticism, gives the sketches, gouaches, series of versions of a single theme, drawings and studies a definite interest and essential place, this disappointing treatment of the problems inherent in the painting of our century, continually haunts the work of Léger. And in this respect, the recent small retrospective at the International Galleries in Chicago was significant. It was unfortunate that this show of about 60 works included none of the earliest ones (1905-07) which, at the start of Léger’s career, take up the representational function of traditional painting; Léger was in fact never to abandon it. It seems to me regrettable to place a Léger retrospective under the sign of the large Table and Fruit (1909) of the Minneapolis Art Institute: this is the same as situating Léger in the wake of Cézanne, which has already, and quite vainly, been attempted. Such an explanation accounts for only a few short years of the painter’s career (1910-14) and does so quite imperfectly: in excluding practically the entire oeuvre of the painter it finally explains nothing at all. On the contrary, it is the very first paintings (which are, nonetheless, a bit beyond student works) which should be allowed to speak; in these it is the cultivation and emphasizing of everything that links Impressionism to nineteenth-century academic painting that we should deduce, and never more so than when Léger attacks the questions raised by Cézanne. Table and Fruit dates from 1909; we mustn’t forget that Cézanne retrospective at the Salon d’Automne in 1907, nor that Picasso finished the Demoiselles d’Avignon in 1907, which is also the year of Matisse’s Blue Nude and Braque’s Large Nude , if we are to understand how the most Cézannesque of Léger’s paintings falls short of the experiments of his contemporaries and of Cézanne himself, even though at various times Léger was to comment on the importance that Cézanne’s work had had for him, without ever succeeding in understanding its qualities. He wrote of Cézanne in a 1914 text titled Pictorial Realizations of Our Time : “In numerous paintings of Cézanne one can see, barely roughed in, that unquiet sensitivity to plastic contrasts. Unfortunately. . . his highly Impressionist milieu and his own times, so much less condensed and less desultory than our own, could not lead him to the concept of multiplicity: he felt it, but without understanding it. All his pictures are composed in front of the subject, and in his landscapes in which houses jostle each other clumsily among the trees, he had felt that the truth was there.” This misunderstanding of Cézanne through what Léger calls “plastic contrasts” (an interpretation which will continue to occupy a prominent place in his work) and shortly thereafter, through extra-pictorial preoccupations and justifications (mechano-modernism, the heritage of that depressing idea of progress so dear to the nineteenth-century thought)—all this was to lead Léger further and further away from the revelations of Cézanne, back to J.-L. David (Hommage à David) and to what Clement Greenberg calls “popular vignettes.” What might be termed the “Cubist Misunderstanding” actually occupies, quantitatively and qualitatively, a very small place in Léger’s work, and can be situated around the year 1913, starting with the Contract of Forms series (which were represented in the International Galleries’ exhibition by six gouaches dating from 1912 to 1914). The unities of formal vocabulary which Léger used around this time, with figures shown as larger at the center and smaller and smaller at the edges, gradually imposed the look of Luca Cambiaso’s quasi-geometrical figure drawings, which of course have nothing to do with Cubism, and create a space in which volume regains its traditional function. The painter’s evolution toward a composition placed prominently in the center of the canvas is apparent in these six gouaches. The first Landscape (1912) covers a whole page with volumes of equal value, eliciting on a flat surface the narrow depth which the color implies, while already in the second Contrast of Forms (1913) the surface is organized and constructed around a vertical accordion-like figure (not unlike the one Brancusi used in his Endless Columns ) placed squarely in the center. We shall find this format again, employed in a manner highly significant for the painter, in another gouache, Woman in an Interior (1914) —a female figure in a kitchen which the breaking off of geometrical planes establishes in a highly realistic fashion. I don’t mean of course that this series of gouaches is absolutely representative, chronologically, representative of Léger’s work during these three years: one could easily find pictures of 1912 in which the space is obviously much less properly Cubist than in the gouaches shown here, just as one could find works of 1914 which illustrate masterfully this same idea. It is none the less true that throughout his Contrasts of Forms series, throughout the problems and contradictions which arise for him and which he in fact resolves in the course of these three years, Léger’s evolution tends toward a centered construction defined in realistic fashion, within the space of the picture. Installation view of “Fernand Léger: Painting in Space,” Museum Ludwig, Cologne, 2016. RHEINISCHES BILDARCHIV, COLOGNE/BRITTA SCHLIER/©2016 VG BILD-KUNST, BONN Everything which follows after and which gradually detaches itself from a formal vocabulary directly borrowed from Cézanne, everything that Léger henceforth will emphasize more and more, is thus conditioned by a misunderstanding of the implications of Cézanne and justified by theories whose anecdotalism is close to the theories of the Futurists. Whether in the series called Mechanical Elements (represented here by a minor painting of 1919); in the series built around the Grand Déjeuner (represented by an interesting Study for the Grand Déjeuner , 1919-20, and by The Red Blouse , 1922, in which one can and should observe a crucial aspect of Léger’s work—the objective game of formal displacements within a determined series: compare for example this Red Blouse with Woman Holding Flowers , another canvas of the same year, show at Louis Carré in 1945); whether in these series, or in the Profiles , or Keys (represented here by Dancers with Keys of 1929), or in the Compositions with Figure , which as early as 1932, fix Léger’s imagery definitively—we find in each “period” the same misunderstanding of formal problems. This misunderstanding is hidden (for the painter and for us) behind an emphasis on a self-styled objectivity of form as anecdotal destruction: a move which of course merely affirms, by disrupting, the anecdote it seeks to erase. A representative painter, a phenomenalist ultimately more interested in modernist sparkle than in the history of painting (“Modern life is so utterly unlike that of a hundred years ago, that contemporary art must be its total expression”— The Function of Painting ), Léger was to understand Mondrian no more than he had understood Cézanne (“Modern life, tumultuous and rapid, dynamic and full of contrast, batters fiercely at this light, delicate edifice emerging from chaos”— ibid ). And so he proceeds from the Composition with Parrots — inexpressive figures entirely conditioned by the volume they occupy in the indefinite space in which they float (the study for this composition shown at the International Galleries was, from this point of view, most illuminating)—to that regrettable period in his work of which a very good example is the Portrait of Maud Dale in the National Gallery, Washington. If the International Galleries’ show was disappointing for not including any of Léger’s major works (except for loans which were already well-known; although, curiously, almost nothing from his American period of 1940-45 was included except for three quite routine drawings), it nonetheless gave us a whole series of canvases, gouaches, sketches and drawings which are still useful for understanding a problem which it will one day be necessary to examine in detail (and no doubt through Léger first of all) if we are to understand that mysterious something which has sterilized for almost 30 years what is vainly called the School of Paris. 2016-06-24 12:40 The Editors

45 Kraemer Gallery Pulls out of Biennale des Antiquaires Amid Fake Scandal Related Events The 28th Biennale des Antiquaires Venues Biennale des Antiquaires Kraemer Gallery The Syndicat National des Antiquaires has confirmed that Kraemer Gallery, which has been caught up in a scandal regarding forgeries, would no longer take part in the Biennale des Antiquaires this year. “We would like to remind everyone that Kraemer Gallery , which affirms it has never acquired or transferred any object whose authenticity it might have doubted, is entitled to the presumption of innocence,” the Syndicat said in a press statement. In recent weeks, Parisian antiques world has been rocked by an alleged forgery scandal with two well-known antiques dealers — Laurent Kraemer, head of Kraemer Gallery, and Bill Pallot, a representative of Didier Aaron & Cie — and a craftsman (who was not named) were questioned on June 7 by the French art fraud office (Office central de lutte contre le trafic de biens culturels, or OCBC), under suspicion of having sold fake 18th-century furniture, including some which was for the Palace of Versailles. According to a press release by the French Ministry of Culture, concern has been expressed over several pieces of furniture acquired by the Palace of Versailles between 2008 and 2012, with a total value of 2.7 million euros. As well as the investigation by the OCBC, the ministry will launch its own investigation to review acquisition procedures for all items entering national collections. According to the Telegraph, the fraud office was tipped off as far back as 2012 by Charles Hooreman, a dealer and expert in 18th-century chairs, who suspected that that a set of four medallion back chairs sold by Kraemer to Versailles in 2009 included two fakes. Marked Louis Delanois, the chairs were said to belong to a series of thirteen delivered at the end of 1769 by joiner Louis Delanois for the living room of Madame Du Barry, the king’s mistress, and the historical items were recognized as “National Treasures.” But Hooreman had doubts because six similar chairs had already been sold at Christie’s New York in 2001. “I have seen them all, handled them, examined them. Versailles has 10, [a] Swiss collector two, and I know another that is impeccable belonging to a Parisian collector,” he told Le Monde. “That’s a lot.” Kraemer has denied the allegations, and says he bought and sold items in good faith, according to the Antiques Trade Gazette, while Pallot is reported to have admitted to the fabrication of royal furniture but only as “an intellectual challenge.” Referring to Galerie Kraemer’s decision to withdraw, the Syndicat stated: “We all appreciate the responsible initiative this internationally renowned gallery has taken.” The Biennale des Antiquaires will be held at the Grand Palais September 10‑18, and many dealers have already given Blouin Artinfo a sneak peek of some of the treasures they will bring. Click here to see a selection of these items. 2016-06-24 11:18 Sonia Kolesnikov

46 See and Spin #13: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. The Big Hack: Envisioning the Hack That Could Take Down New York City (Reeves Wiedeman / New York Magazine ) The day cars drove themselves into walls and the hospitals froze. A scenario that could happen based on what already has. The Unbelievable Tale of Jesus’s Wife (Ariel Sabar / The Atlantic ) A hotly contested, supposedly ancient manuscript suggests Christ was married. But believing its origin story—a real-life Da Vinci Code, involving a Harvard professor, a onetime Florida pornographer, and an escape from East Germany —requires a big leap of faith. Why LaCroix Sparkling Water is Suddenly Everywhere (Libby Nelson, Javier Zarracina / Vox ) In the 1990s, LaCroix was the favorite drink of Midwestern moms. How did it get so cool? Touché Amoré / “Palm Dreams” / Stage Four (2016) While on tour in October 2014 supporting 2013’s masterful Is Survived By , Jeremy Bolm, the lead singer of L. A. post-hardcore outfit Touché Amoré, learned that his mother had lost her fight with cancer. The result of Bolm’s anguish is new single “Palm Dreams,” and presumably a large portion of forthcoming release Stage Four. Bolm’s visceral yell and meditative lyricism are back and cutting as ever, but some clean vocals make an appearance in tandem with Touché’s trademark combo of driving power chords and pointed riffery. The wrenching number sees Bolm speaking to his mother beyond the grave, wondering what made her move from Nebraska to Hollywood in the 70’s as he cleans out her house. As Bolm told NPR , “If this song inspires anyone to ask the questions they’ve never asked their loved ones, I’d call it a success.” Led Zeppelin / “Stairway to Heaven” / The Song Remains the Same (1976) Our long national nightmare is now over. On Thursday a Los Angeles jury found Led Zeppelin frontman Robert Plant and guitarist Jimmy Page not guilty of copyright infringement on arguably the band’s most famous song, “Stairway to Heaven.” A statement from the band echoed that the ruling was merely “confirming what we have known for 45 years.” Though many Zeppelin fans acted as if a guilty ruling would erase the song from the world’s history, it’s impossible to over appreciate the song’s utter majesty. Enjoy footage from the legendary 1976 version from concert film The Song Remains the Same, which was recorded over three nights in the summer of 1973 at Madison Square Garden. Phish / “Stash” / Live at the Mann Center for the Performing Arts — Philadelphia, PA — August 12th, 2015 The boys are back in your town…maybe. Phish began their 2016 summer tour on Wednesday in St. Paul, hoping to parallel last summer’s tour, which left the notion that Phish isn’t still pushing their limits in their 33rd year more dead than ever. Though many other jams from last summer got more shine —see Magnaball’s “Tweezer” into “Prince Caspian,” the crown jewel of their 10th festival—”Stash” from night two at Philadelphia’s Mann Center is a good microcosm of the tour’s quality. With a tightly played composed section segueing smoothly into the jam led by an ominous Mike Gordon bassline, the jam straddles the line perfectly between the shred and spacey, ambitious in its exploration without devolving into meandering noodling. The real win? Trey Anastasio taking that guitar (9:55 and on) for a walk before returning to the main theme, with an oceanic crowd roar sandwiched in between. 2016-06-24 11:17 realart.com

47 Woman Claims Sexual Coercion at ICA Miami Two women who answered a call for participants in Brazilian artist Laura Lima's exhibition at the ICA Miami claim they have been "misled" by the language of the casting call and, by the time the artist's directions had been fully explained, felt pressured to perform a sexual act using a nylon rope at the museum, the Miami New Times reports. "The Inverse" consists of a mammoth bundle of industrial nylon rope that wraps around the museum's support beams. "Enormous at one end, the braided material dwindles in size until it seems to merge with a female body," reads the show's description on the ICA's website. The rope disappears into a corner, where a model wearing a white dress made by Lima lies on the ground with only her legs protruding through a semi-circular opening in the wall. The rope, which is the width of a finger at this end, is then reportedly meant to be inserted into the performer's vagina. The wording in the announcement, published in mid-May, read, " [participants are required to] remain relaxed over the course of a four-hour period and engage passively with the sculpture, which will be attached to them, at their comfort. " Artist Kayla Delacerda, and another woman who wishes to remain unnamed, told the Miami New Times that penetrating oneself with a rope was not mentioned in the $15-per-hour job description. When Delacerda became aware of the artist's intentions, and the fact that finger condoms and lube will be made available to performers, she decided not to participate. The other woman told the paper she felt pressured to perform on June 3, the show's opening night, as another participant was not going to make it to the museum on time. She describes to the paper that "she violated herself under the museum and artist's direction and has been suffering emotionally since. " Ellen Salpeter, ICA's director, told the Miami New Times that the museum did not put any pressure on participants and that deciding whether or not to vaginally insert the rope was up to the performers. " Laura's work empowers the performer to make decisions about how they will participate," Salpeter said. "The museum and the artist explicitly told performers that their privacy and comfort is paramount and that they should not under any circumstance do anything they do not wish to do. " Lima said she was taken aback by the complaints, especially after having individual discussions with performers about her vision for the artwork. "When I invite people to participate in my pieces, it is not a casting call for a 'job,'" Lima added. "It is a true dialogue in which the participant willfully takes part, and a truthful and open conversation is required in advance of the presentation. " The artist, who often employs the female body in absurd or vulnerable situations, such as her 1997 work Doped/Dopada , where a sedated woman in a white robe connected to "a red crocheted ornament that is attached to the wall" sleeps on the gallery floor, made her US live-work debut at Performa 15 last year. The participatory performance titled Gala Chickens and Ball , involved "ornamental chickens, adorned in specially adhered Carnival feathers," at a space in Lower Manhattan. The artist also made waves at Art Basel Unlimited this year, with Ascenseur , where a disembodied arm stretches out from under a wall to grasp a set of keys. Lima currently is in a group show at Pace Gallery in New York, titled, " Blackness in Abstraction ," curated by Adrienne Edwards, which "trac[es] the persistent presence of the color black in art. " "Laura Lima, The Inverse," at the ICA Miami is scheduled to run through October 30. Follow artnet News on Facebook. 2016-06-24 11:06 Hili Perlson

48 L. A. Habitat: Elad Lassry Elad Lassry in his Hollywood studio. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the city. This week’s studio: Elad Lassry; Hollywood, Los Angeles. Elad Lassry arrived at CalArts in 1998, sandwiched between two exchange students in the back of a Nissan. The school, located deep in the San Fernando Valley, would become the Tel Aviv native’s first home in the United States. “I just remember thinking how different the landscape was from what I imagined,” he told me at his studio last December. Almost twenty years later, Lassry has become well known for his richly colorful photography, which often captures seemingly mundane household objects or studio portraits. His work, executed with technical precision, is typically of modest size and can be eerily evocative of stock photography. Lassry didn’t always know he wanted to be an artist, thought he did receive his first camera, a 35mm Olympus point-and-shoot, in high school. (These days, he prefers to use a Sinar 4×5.) “I finished high school in Israel, studying science. Art was always something I did on the side,” he said, “I first decided I wanted to make art full-time after high school.” Lassry recalled his pre-internet days, when he first learned about Californian artists such as John Baldessari at his local library in Tel Aviv. Since his original move to Los Angeles in 1998, Lassry has spent a few stretches of time away from the West Coast, but now calls the city his permanent home. Situated on an unassuming residential block north of Melrose Avenue, Lassry’s studio in Hollywood occupies a well-lit apartment that he’s inhabited since 2011. Dog beds sit next to the front door, providing spaces for his beloved poodles to crash on while he works. The walls are sparsely decorated, but his work table is cluttered with countless black and white source images. His work schedule, he says, tends to be pretty consistent during the week. “I’m definitely more of a morning person, though this has changed a bit since I’ve become a parent.” I asked Lassry what he does for fun in Los Angeles. “My work is a lot of fun for me. I also enjoy hiking, hanging out with my kids and my dogs,” he said. He told me that, despite the recent influx of museums and galleries in Los Angeles, he’s not very social, “in the sense of openings and things like that.” At the time of our interview, Lassry’s work was featured in the Guggenheim’s “ Photo-Poetics: An Anthology .” Next month, an exhibition curated by Lassry, Walaed Beshty, Zanele Muholi, and Collier Schorr called “ Systematically Open?: New Forms for Contemporary Image Production ” will open at the LUMA foundation in Arles, and in 2017, Lassry’s work will go on view in a solo exhibition curated by Jeff Wall in Vancouver. At the time, Lassry was experimenting with acrylic plastic and different embedded elements. “I’ve also been working a lot with negatives that I find on eBay.” Before moving to California, Lassry recalled going to a library in Tel Aviv to research art schools. “That was a pre-internet time. I specifically remember finding a John Baldessari book that day.” Lassry also described a 1999 Tony Oursler exhibition in Tel Aviv as one of the most influential on his practice. Source materials and photographs at the studio. “I start with images that I’m interested in. I start thinking about pieces while I lay them out.” Lassry said that sketching out his ideas is an integral part of his creative process. A few copies of Lassry’s photo books. Though his studio is well-stocked with art books, Lassry prefers to keep his space fairly minimal otherwise. “I try to not keep a lot of finished pieces here because it’s kind of distracting. All of my work is very small, so it’s easy for me to wrap them up and send them out myself.” Lassry considers sketching to be a crucial part of the process, and one that he feels is often overlooked. “I sketch as a way to flesh out ideas or see something centered in a very basic way.” 2016-06-24 11:00 Katherine McMahon

49 Philipp Demandt Director Städel Museum- artnet News After an extensive search for candidates, the Städelmuseum in Frankfurt Germany announced today that Philipp Demandt is the new director of the museum as well as of the Liebieghaus , the latter of which is one of the world's most prominent sculpture museums, and home to a collection of some 3,000 works, dating from ancient Egypt to Neoclassicism. Demandt, who will take charge of the two museums on October 1, was formerly director of the Alte Nationalgalerie, a museum of the Staatliche Museen zu Berlin. He is regarded as one of Germany's most renowned art historians and exhibition curators, according to a statement from the Städelmuseum. "We are very happy about the fact that, so soon after Max Hollein's departure , we have succeeded in recruiting one of the most creative minds in the German museum world to direct the two institutions," said Nikolaus Schweickart, chairman of the Städel Museum administration. Austrian-born Max Hollein resigned from his position as head of the Städel Museum and the Liebieghaus Sculpture Collection, and from and the Schirn Kunsthalle Frankfurt, back in March to helm the Fine Arts Museums of San Francisco, including the de Young Museum and the Legion of Honor . Frankfurt mayor Peter Feldmann, who is also chairman of the supervisory board of the Schirn Kunsthalle Frankfurt, described the hire as "a perfect fit," adding that he is "delighted" with the appointment. Demandt, as he says, "is an outstanding scholar and art mediator—a museum man of distinction. " Demandt said as he looked back on "five fulfilling years at the Nationalgalerie with deep gratitude, I am greatly looking forward to Frankfurt —professionally because it has developed to become one of the most exciting art centres in Germany and beyond. " Follow artnet News on Facebook. 2016-06-24 10:54 Eileen Kinsella

50 Words, Sex, Landscape: Marcia Hafif at Fergus McCaffrey, New York Installation view of “Marcia Hafif: The Italian Paintings, 1961-1969,” 2016, at Fergus McCaffrey, New York. ©MARCIA HAFIF/COURTESY FERGUS MCCAFFREY O h, to be a time traveler, making regular forays into the 1960s and ’70s, when there seemed to be less marketplace pressure and artists felt free to take imaginative chances, experiment uninhibitedly with materials and forms, and be more quietly speculative. Exemplifying the spirit of the era are the almost 50 forthright and vividly colored abstract paintings and works on paper that Marcia Hafif created in Rome between 1961 and 1969. The acrylic paints she began working with at the time strangely gave the images a sculptural effect: solid color equated with solid form. The combination of two and three dimensions in one work or image has affinities with the sculpture of Ken Price, whom Hafif acknowledged in an interview with Phong Bui in the Brooklyn Rail. What impressed her were his “little sculptures…some in a box” that she saw in a 1961 show. Marcia Hafif, 161. , 1967, acrylic on canvas, 55⅛ x 55⅛ inches. ©MARCIA HAFIF/COURTESY FERGUS MCCAFFREY For Hafif, who did graduate work in the Italian Renaissance and Far Eastern Art, that history is deeply embedded in her paintings, which reflect the affinities between Europe and the East, especially in the rich coloring and architectural allusions. Such translation extends to literary evocations as well, with images that evoke words and poetry in their rhythms and shapes, much in the way words can convey the idea of images, and the shape, as in concrete poetry. Especially striking in the exhibition are nine paintings, all with numerical titles, that instantly call to mind geometric, Minimalist, and Pop works. These are being shown in the United States for the first time. Hafif’s 161. (1967), an acrylic on canvas, exemplifies the simultaneous drama, wit, and subtlety of the artist’s paintings as well as their sexual provocativeness. The enigmatic red mound that rises up against the green backdrop is such a sensual form that it might even be viewed as an orgasmic surge. Or, on the other hand, a head. Beyond sex, landscape inhabits these works as well—natural shapes in the landscape as objects. The paintings express a strong, physical sense of place. After living in Rome for eight years, Hafif moved back to her native California, and the nature and spirit of those locales are fully apparent in the flatness and brightness, ease and clarity, of these lively seductive paintings. 2016-06-24 10:00 Barbara A

51 Yoga in Indian Visual Arts at IGNCA, New Delhi With India succeeding in getting June 21 declared as the International Day for Yoga since last year, the ancient Indian wisdom on holistic living is all the rage once again — to be more accurate, it never really went out of fashion even in the western hemisphere ever since celebs endorsed it decades ago. To mark the second International Day for Yoga recently, New Delhi’s premier cultural institution, the Indira Gandhi National Centre for the Arts has curated an interesting exhibition on the subject, titled “Yoga in Indian Visual Arts.” The exhibition explores the rich representation of the science and art of Yoga through the ages, in the form of 150 paintings, sculptures, scrolls, illustrated manuscripts, and books that have preserved the facts and legends about Yoga since times immemorial. According to Virendra Bangroo, the curator of the exhibition, the displays have been segregated into three independent yet integrated sections — Jnana (Knowledge), Dhyana (Meditation), and Karma (Actions). The first section, Jnana, comprises works that depict the union of the human soul with that of the supreme soul (i.e., the soul of the universe, the basic objective of Yoga). The second, Dhyana, showcases works that focus on meditation and contemplation, an important aid to the achievement of Jnana. The last section, Karma, puts spotlight on those works of visual arts that show how to practice physical exercises to attain the ultimate objective of Yoga. Said Bangroo at the launch of the exhibition, “Yogic exercises rejuvenate body and mind and are essential for the good health as well as for activating the energy and divine powers lying dormant within a person. This exhibition hopes to highlight all these aspects of Yoga.” The Indian tradition of Yoga, first codified in the “Yoga Sutra” of Patanjali circa 3 rd – 4 th CE, constitutes one of the world’s earliest and most influential traditions of spiritual practices. It has embraced a variety of practices and orientations, borrowing from and influencing a vast array of Indic religious traditions through the centuries. Some of the most interesting works on display include the depiction of various asanas through 19 th century folios, sculptures depicting various yogic postures, as well as the most important depiction in this category — Lord Shiva as the dancing Nataraja performing the cosmic dance of Tandavam, that destroys the universe in order to create a new, rejuvenated one. Besides IGNCA’s own collection, many other foreign museums and institutions have loaned works in these three broad categories for the exhibition. These include the British Library, British Museum, Victoria and Albert Museum, London; Ashmolean Museum, Oxford; Cleveland Museum, Los Angeles County Museum of Arts, Asia Art Museum (San Francisco) and Brooklyn Museum. 2016-06-24 08:21 Archana Khare

52 Yusaku Maezawa 2016 Contemporary Art Award Remember Yusaku Maezawa? The Japanese billionaire who reeled in seven works at Christie's and Sotheby's at New York's spring auction , putting down a cool $98 million in two days without breaking a sweat? In May, the online shopping magnate dropped $57.2 million on Jean-Michel Basquiat 's Untitled (1982), setting a new record for the artist. The sale was peanuts to the young billionaire, who made his fortune in e-commerce, founding the company Start Today in 1998, and the online fashion retailer Zozotown in 2004. Maezawa revealed his plans to put the art acquired earlier this year on public display in Tokyo at his Contemporary Art Foundation (CAF), which has just announced the call for submissions for its second Artist Award. The award offers a promising young Japan-based artist a cash prize of the equivalent of £20,000 and a 3-month residency at London's Delfina Foundation. “The foundation aims to contribute to the promotion of contemporary art by helping young artists and young musicians improve their skills. It also carries out activities such as holding contemporary art exhibitions, etc. to popularize and improve knowledge and education of contemporary art," CAF said in a statement. Maezawa has now solidified his reputation as a mega-collector, and after this year's edition of Art Basel many media outlets, including Le Figaro , have speculated about his involvement in the monumental sale of the Diego Giacometti library at the Jacques Lacoste Gallery booth in the design section of the fair . The Japanese buyer might have had his eye on the famous "book room," as well as furniture and bronze fixtures designed by Diego Giacometti between 1966 and 1969 for Marc Barbezat, founder of the then literary review (now publishing house) L'Arbalète. However, artnet News can reveal the rumours circulating about Maezawa's involvement in the mammoth sale are false. Jacques Lacoste Gallery told artnet News that they've heard all sorts of rumours and names of collectors who might have purchased the library, which they found extremely amusing. They have, however, declined to reveal the true identity of the buyer. The gallery—which displayed the prodigious library and furniture as it was when it was in use, replete with its illustrated 20th century books, photographs and assorted knick knacks—sold the ensemble for around €1.8 million. Regardless of the true identity of the buyer, the sale was great news for Art Basel, already having had a good year in a shaky market . Follow artnet News on Facebook. 2016-06-24 08:17 Naomi Rea

53 London Auctions Preview, Part 6: Christie's "Defining British Art" Evening Sale Related Venues Christie's Artists Lucian Freud Francis Bacon Henry Moore Frederic Leighton To cap the London auctions this month, Christie’s is staging a stand-alone “curated” evening sale, “Defining British Art.” The house has represented this session as a celebration of its 250th anniversary, but it also part of a marketing effort, an attempt to juice up its 20th-century offerings. The sale contains a rich 20th century mix. Prominent among these offerings is Lucian Freud’s tenderly rendered 1992 “Ib and Her Husband,” depicting the entwined figures of the artist’s pregnant daughter and her partner, Pat Costelloe (estimate on request, in the region of £18 million). The painting was included in a 1993-94 traveling retrospective that included stops at the Whitechapel Art Gallery, in London; the Metropolitan Museum of Art, in New York; and the Museo Nacional Centro de Arte Reina Sofia, in Madrid. In a grittier vein, Francis Bacon’s 1968 “Version No. 2 of Lying Figure with Hypodermic Syringe,” with an unpublished estimate of around £20 million, is an uncomfortably realistic portrayal of the reclining figure of Henrietta Moraes, a Bacon drinking companion from Soho’s Colony Club. As with his other major portraits, the artist based the painting, one of the relatively few depicting the female form in his male-dominated oeuvre, in part on a photograph. Other versions reside at the Reina Sofia and the Beyeler Foundation. Normally, the Freud and the Bacon would be the highlights of the house’s Post-War and Contemporary sale. Including them here instead of in its June 29 London auction in that category is a bold gesture. Drawn from deeper in the vault of modern British painting is Sir Stanley Spencer’s 1929 multi-figure view “Garage.” Commissioned by the Empire Marketing Board to celebrate the theme of industry and peace, it is estimated at £1.5 million to £2.5 million. Informed by a similar theme and carrying the same estimate, L. S. Lowry’s 1951 “Industrial scene” teems with figures, factories, and houses, conveying Lowry’s obsession with the unglamorous life of the working class. In the postwar sculpture category, one standout is Henry Moore’s large and fresh-to-market 1951 bronze “Reclining Figure: Festival.” Commissioned for the important Festival of Britain of the same year and held in an American private collection for almost half a century, the piece is estimated at £15 million to £20 million. Another version, owned by New York real estate developer Sheldon Solow, sold for an artist record £19 million at Christie’s London in February 2012. Earlier epochs are also represented in the sale. Among these offerings are Sir Joshua Reynold’s alluring 1778 painting of a society beauty, “Portrait of Lucy Long, Mrs. George Hardinge,” estimated at £2 million to £3 million, and Frederic, Lord Leighton’s 1864 “Golden Hours,” estimated at £3-5 million. The Leighton, born out of the British Aesthetic Movement, has not appeared at auction for 100 years and was last publicly viewed in a retrospective of the artist’s work at the Royal Academy on 1996. 2016-06-24 07:30 Judd Tully

Total 53 articles. Created at 2016-06-25 06:00