Announcement

Home , Billboards (ballet), Jonty Hurwitz, Ovidiu Anton

Announcement

68 articles, 2016-04-23 06:03 1 Unseen Lucian Freud Self-Portrait Acquired by U. K., Heads for NPG to Settle $800,000 Tax Bill Unseen Lucian Freud Self-Portrait Acquired by U. K., Heads for NPG to Settle $800,000 Tax Bill 2016-04-22 15:06 2KB www.blouinartinfo.com (4.00/5)

2 Met Opera Announces Some Replacements for Levine With James Levine suffering health problems, the Metropolitan Opera names David Robertson and Sebastian Weigle as replacements for some performances. (2.00/5) 2016-04-22 16:12 2KB artsbeat.blogs.nytimes.com

3 PUTPUT gives paint rollers preposterous purposes with atypical objects paint rollers are given preposterous purposes in this latest photographic series by copenhagen-based studio PUTPUT. 2016-04-23 01:30 1KB www.designboom.com 4 Feel Like This: Sam Johnson on Luis Garay’s Maneries To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and o... 2016-04-23 02:21 946Bytes blogs.walkerart.org 5 artec 3 experiments with light & perception in llumversació placed within a gallery setting, the pieces hope to reassess perception of an object through use of light, as well as experiment with color interaction. 2016-04-22 23:15 1KB www.designboom.com 6 Brands, Organizations Criticize ‘Fashion Transparency Index’ Livia Firth among the speakers at Houses of Parliament. 2016-04-22 23:01 8KB wwd.com

7 ‘American Psycho: The Musical’ Makes Its Broadway Debut After showing in London, the U. S. version of the play has made its way to Broadway and Mr Porter is the exclusive men’s wardrobe partner. 2016-04-22 22:51 2KB wwd.com 8 Fashion Designers, Brands Appear in ‘Slowing Down Fast Fashion’ British Documentary The documentary is narrated by the British musician — and cheese-maker — Alex James. 2016-04-22 22:28 6KB wwd.com 9 With Broadway Stars, ‘An American in Paris’ Will Play London Next Year The show will open in the West End in March 2017. 2016-04-22 22:18 1KB artsbeat.blogs.nytimes.com 10 Young Royals Host Dinner at Kensington Palace for the Obamas The Duke and Duchess of Cambridge along with Prince Harry hosted a dinner for President and First Lady at Kensington Palace. 2016-04-22 22:01 2KB wwd.com 11 PS• + secondome curate ‘ladies & gentlemen’ exhibition hosted within historic milanese house PS• and secondome design gallery curated 'ladies & gentlemen' — an exhibition that presented designs expressing an interaction between the past and present. 2016-04-22 20:30 13KB www.designboom.com

12 Romania Expelled From Eurovision Song Contest Romania has been expelled from the Eurovision song contest for failing to pay debts. 2016-04-22 19:28 2KB artsbeat.blogs.nytimes.com 13 My Brain Hurts, Novelty Song, Calypso, and Captain America: This Week in Comics #14 A heartfelt coming of age LGBT story, music thieves, Captain America, and more in this week’s comic roundup. 2016-04-22 19:15 4KB thecreatorsproject.vice.com 14 Gwyneth Paltrow, Freida Pinto, Rachel Zoe Turn Out for Bally Dinner Bally threw a dinner in L. A. that drew Gwyneth Paltrow, Freida Pinto, Rachel Zoe and more. 2016-04-22 19:12 2KB wwd.com 15 The Biggest Joint in the World | Insta of the Week It's a monster. 2016-04-22 19:00 1KB thecreatorsproject.vice.com

16 Davidoff Art Initiative Names Natalia Ortega Gamez for FLORA Residency Dominican artist Natalia Ortega Gamez has been announced as the first artist selected for the Davidoff Art Initiative’s (DAI) new residency program at FLORA ars+natura in Bogotá, Colombia. 2016-04-22 18:50 1KB www.blouinartinfo.com 17 Artists Pay Tribute to Prince’s Life and Legacy From celebrity cats to hand drawn album covers, these artists have created work in memory of Prince. 2016-04-22 18:30 2KB thecreatorsproject.vice.com 18 Survey Reveals Costs and Habits of Mothers The survey also included a snapshot of shopping trends for a one-year period that involved over 260,000 products. 2016-04-22 18:24 2KB wwd.com 19 Rosita and Angela Missoni Detail the Designer Company Through the Years at 92Y Founded in 1953 by Rosita and Ottavio Missoni, the Italian designer label is widely known for its zigzag knitwear and family approach to business. 2016-04-22 18:21 1KB wwd.com 20 Music legend Prince dies at age 57 Prince, a multitalented musician who came out of the Minneapolis scene and changed the world of music forever, has died at age 57... 2016-04-22 16:37 10KB blog.thecurrent.org 21 ‘Refugee’ Photo Exhibit Draws Kristen Bell, Amy Adams, Emilia Clarke The “Refugee” exhibit at Los Angeles’ Annenberg Space for Photography draws Kristen Bell, Amy Adams, Emilia Clarke and more actresses. 2016-04-22 18:16 2KB wwd.com 22 Alternate Senses of Tone and Pulse: An Interview with C. Spencer Yeh For Sound Horizon, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three-part progr... 2016-04-22 21:29 946Bytes blogs.walkerart.org 23 Our 11 Favorite Works from the Dallas Art Fair From all-too-realistic babies, to not-so-superflat Murakamis, here are our selects from this year's Dallas Art Fair. 2016-04-22 17:40 9KB thecreatorsproject.vice.com

24 Olivia Palermo, Alessandra Ambrosio, Bloggers Descend on Schutz Store Bash The party celebrated the official opening of the Brazilian shoe company’s second U. S. store in Beverly Hills. 2016-04-22 17:38 2KB wwd.com 25 Does Having a World Record Make You an Artist? We Asked Guinness From the biggest bottle cap sculpture to the most expensive painting ever made by an elephant... 2016-04-22 17:35 6KB thecreatorsproject.vice.com 26 Keds Enlists Social Media Style Starlets for Topshop Collection Tina Leung and Julia Sarr-Jamois have designed limited-edition shoes for the plimsoll purveyor. 2016-04-22 17:28 1005Bytes wwd.com 27 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a... 2016-04-22 20:20 11KB www.walkerart.org 28 Becoming American: Fionn Meade on Less Than One The first in a series of entries exploring Less Than One, on view through December, “Becoming American” begins with a consideration of author Joseph Brodsky (1940–1996), whose essay provides th... 2016-04-22 20:20 865Bytes blogs.walkerart.org 29 john pawson's serene life house for living architecture john pawson offers visitors to holiday in the ‘life house’, the cascading scheme unfolds as a place of calm and solace - influenced by japanese design. 2016-04-22 17:04 2KB www.designboom.com 30 Art to Love the Earth By | GIF Six-Pack It's Earth Day. Prove you care by sharing these GIFs with all of your friends. 2016-04-22 17:00 1KB thecreatorsproject.vice.com 31 Sponsored: Invaluable Gears Up for Spring Auction Season With Prints and Multiples The platform's curatorial director offers insight into the upcoming auctions. 2016-04-22 16:40 3KB www.blouinartinfo.com 32 Eli Manning, Zegna Host Fundraiser for Robin Hood The Italian brand created a special limited-edition tie for the evening. 2016-04-22 16:39 1KB wwd.com 33 See Albert Kriemler's Fujimoto-Inspired Designs Albert Kriemler's sharp designs were inspired by world-famous architectural sites, such as the airy buildings of Sou Fujimoto. 2016-04-22 16:39 5KB news.artnet.com 34 Sketching Is Prohibited at V&A Museum Show London's V&A Museum is enforcing a photography and sketching ban on visitors to a new temporary exhibition dedicated to a (brief) history of underwear. 2016-04-22 16:36 2KB news.artnet.com 35 MTV Video Music Awards Return to New York MTV will bring the VMAs back to New York on August 28th. 2016-04-22 16:33 1KB wwd.com 36 Selling Sex with Durex’s Pleasure Art Campaign Talking sex and intimacy is easier when in the context of an online visual art gallery. 2016-04-22 16:33 3KB thecreatorsproject.vice.com 37 L. A. Habitat: Amanda Ross-Ho Amanda Ross-Ho in her Skid Row studio on December 12, 2015. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their 2016-04-22 16:24 5KB www.artnews.com 38 Chiming Cuckoos: Chadwick Rantanen at Essex Street Through May 15 2016-04-22 16:13 3KB www.artnews.com

39 kengo kuma plans new hans christian andersen museum in denmark, the city of odense has revealed plans drawn up by japanese architect kengo kuma for a new hans christian andersen museum. 2016-04-22 16:10 3KB www.designboom.com 40 Chamber Music Society of Lincoln Center Signs Up Its Artistic Directors Through 2022 The Chamber Music Society of Lincoln Center extends the contracts of its artistic directors, David Finckel and Wu Han, through the 2021-2022 season. 2016-04-22 16:06 1KB artsbeat.blogs.nytimes.com 41 ‘Can Computers Be Programmed to Appreciate Art?’: The Machine as Viewer, in 1977 COURTESY MAGNUS With Magnus, an app that can recognize artworks using visual data, being released to the public recently, we turn back to the Summer 1977 2016-04-22 15:52 4KB www.artnews.com 42 Art-Focused 21c Museum Hotels Releases Statement About North Carolina Law Restricting LGBTQ Rights Peregrine Honig's sign for 21c Museum Hotels. COURTESY 21C MUSEUM HOTELS 21c Museum Hotels, the art-centric North Carolina–based chain, spoke out today 2016-04-22 15:46 3KB www.artnews.com 43 Castles in the Sky: Adam McEwen on ‘Harvest,’ His Show at Petzel Gallery Adam McEwen, IBM Blue Gene 1 and IBM Blue Gene 2, both 2016. COURTESY THE ARTIST AND PETZEL, NEW YORK For the past few years I have had a poster in my living 2016-04-22 15:02 8KB www.artnews.com 44 Ryan McGinness Thinks You're Looking at Art Wrong | Studio Visits Design-art master Ryan McGinness talks shop and coping with art world woes. 2016-04-22 14:30 5KB thecreatorsproject.vice.com 45 At Tribeca, Documentaries Focus on Chris Burden and Maurizio Cattelan At this year’s Tribeca Film Festival, two of the more interesting films were about two artists from different periods and with very different work. 2016-04-22 13:38 5KB www.blouinartinfo.com 46 ghidini 1961 - a new collection of brass designs curated by stefano giovannoni ghidini 1961 brings together diverse creatives to consider the properties of brass, through new and innovative contemporary designs for mass consumption. 2016-04-22 13:25 8KB www.designboom.com 47 Odd Nerdrum Unable to Travel to US for Solo Show Sources say Norwegian painter Odd Nerdrum is not permitted to travel to the US to attend the opening of a solo show because of tax problems in Norway. 2016-04-22 13:07 4KB news.artnet.com 48 Five Minutes With Alexa Chung: Fashion Apps, Social Media and Her Hatred of ‘Clique-y’ Coachella Fashion The British It girl chats with WWD about becoming an app maker, influencing young women on social media and hating the commercialization of festival fashion. 2016-04-22 13:01 1KB wwd.com 49 Alexa Chung Turns On Kelly Osbourne, Poppy Delevingne and Leigh Lezark at Her Villoid Fashion App Party Adding app maker to her resume, the British It girl hosted a tea party at the Roosevelt Hotel in Hollywood. 2016-04-22 12:57 4KB wwd.com 50 Light Art Makes the Far Side of the Moon an Interactive Experience Montreal-based studio, Iregular, gives audiences a chance to dance with the shadows of synthetic moonlight. 2016-04-22 12:30 2KB thecreatorsproject.vice.com 51 This Puerto Rican Hotel is a Minimalist Eco-Friendly Heaven At Hix Island House in Vieques, you can vacation beautifully without polluting the earth. 2016-04-22 12:25 2KB thecreatorsproject.vice.com 52 Was Stonehenge an Ancient Burial Ground? Archaeologists have discovered cremated human remains at Stonehenge, leading to speculation that the mysterious ruin served as an ancient cemetery. 2016-04-22 12:23 2KB news.artnet.com 53 Black-and-White Op Art Visualizes Energy, Oscillations, and Frequencies Aleksander Drakulic's visuals take inspiration from modern science and classical geometry. 2016-04-22 12:20 2KB thecreatorsproject.vice.com 54 Review: Fifty Years On: “Funny Girl” Back in London Sheridan Smith provides a cracking turn in the title role at The Savoy. 2016-04-22 12:15 2KB www.blouinartinfo.com 55 Monumental Wildlife Portraits Capture Wastelands Once Roamed Photographer Nick Brandt transforms his portraits of East African wildlife into ephemeral monuments to a vanishing world. 2016-04-22 12:15 5KB thecreatorsproject.vice.com 56 See and Spin #6: 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. 2016-04-22 11:43 6KB realart.com 57 J. M. W. Turner to Appear on Bank of England’s Next £20 Banknote The Bank of England has announced that Joseph Mallord William Turner (J. M. W. Turner) will appear on the next £20 banknote due to be issued by 2020 2016-04-22 11:43 2KB www.blouinartinfo.com 58 Art New York and Context Start May Fair Season This is the second year of Art New York and the first for its sister fair Context at Pier 94 in Manhattan. 2016-04-22 11:20 3KB news.artnet.com

59 Richard Prince at Sadie Coles HQ, London Pictures at an Exhibition presents images of one notable show every weekday 2016-04-22 11:18 1KB www.artnews.com 60 The Temptation of the Center Art history exists as a set of critical relationships to what has been created in the past, and to what is currently being produced, in a dynamic relationship with the... 2016-04-22 11:06 4KB www.flashartonline.com 61 oxfordshire farmhouse retreat by michaelis boyd + soho house soho house has collaborated with architects michaelis boyd on the development of soho farmhouse, a countryside retreat located in an oxfordshire village. 2016-04-22 10:40 4KB www.designboom.com 62 Celebrate Earth Day with a Last Look at FotoFest Check out these environmentally-engaged photos from Houston's Fotofest, closing this weekend, as you celebrate Earth Day on April 22. 2016-04-22 10:31 2KB news.artnet.com 63 Art Dealer Perry Rubenstein Arrested— After lawsuits by Hollywood mogul Michael Ovitz and others, Los Angeles art dealer Perry Rubenstein, who declared bankruptcy in 2014, has been arrested. 2016-04-22 10:20 2KB news.artnet.com 64 Was the 'Mona Lisa' Leonardo's Male Lover? An Italian researcher claims the mysterious smile of the Mona Lisa may have belonged to Salai, a young boy who was Leonardo's apprentice and lover. 2016-04-22 10:03 3KB news.artnet.com 65 hortum machina B: a kinetic urban cyber-gardener that senses its surroundings william victor camilleri and danilo sampaio at the interactive architecture lab have realized 'hortum machina B' - a kinetic urban cyber-gardener. 2016-04-22 10:00 3KB www.designboom.com 66 Damien Hirst Returns to Gagosian— Two of the most recognized brands in the art market are reunited as YBA Damien Hirst has returned to the stable of mega-dealer Larry Gagosian. 2016-04-22 09:50 2KB news.artnet.com 67 Prince, The Artist Formerly Known as Unpronounceable Symbol, Changed Design In design world, Prince will remain remembered by his decision, in 1993, to change his name to an unpronounceable, untypeable symbol. 2016-04-22 08:27 3KB www.blouinartinfo.com 68 Top 10 Booths at Art Brussels 2016 The 34th edition of Art Brussels previewed yesterday at its new location, featuring a few structural changes. Has the fair's makeover paid off? 2016-04-22 06:23 9KB news.artnet.com Articles

68 articles, 2016-04-23 06:03

1 Unseen Lucian Freud Self-Portrait Acquired by U. K., Heads for NPG to Settle $800,000 Tax Bill (4.00/5) Related Venues National Portrait Gallery Artists Lucian Freud A recently found self-portrait of the late British painter Lucian Freud has been handed to the nation to settle an inheritance tax bill of £559,773 (about $800,000). The unfinished portrait, thought to have been executed in the mid-1980s, will join other items in the Freud archive in the National Portrait Gallery, it was announced. The smaller than life-size fragment is a rare unfinished piece by the artist (1922-2011), who meticulously worked on sections of many images until he felt the whole was complete, a process that could take many months of painting and repainting of layers and colors. His frequent practice was to start in the center of the subject’s face and develop outward. In this case, the eyes and hair are painted precisely, though Freud had stopped, for whatever reason, before reaching the chin. The NPG’s Senior Curator Sarah Howgate said that it was one of the most intriguing of unfinished oils. The newly-revealed piece is similar to “Reflection (Self-Portrait),” finished in 1985, with the same direct gaze. Freud, one of the most influential modern painters, produced many self sketches and they are an important part of his output. They include etchings, line drawings, and even sculpture, with his “Self Portrait With a Black Eye” painting selling at Sotheby’s London in 2010 for a price of about $4.4 million. In 2015, the NPG had acquired an archive of Freud’s sketchbooks, drawings and letters under the Acceptance in Lieu scheme, administered by the Arts Council England. This advises if property offered is of sufficient importance and fairly valued, with more than £250 million of art bought over the last decade. The NPG’s other Freud portraits include a self-portrait from 1963. A selection of these, together with the new acquisition, will go on show in June. The gallery’s earlier “ Lucian Freud Portraits” was its most visited ticketed exhibition, with many strong presences among the images. 2016-04-22 15:06 Mark Beech

2 Met Opera Announces Some Replacements for Levine (2.00/5) When the Metropolitan Opera announced last week that James Levine would step down as its music director at the end of the season to become music director emeritus, it said that he would continue to conduct most, but not all, of his previously announced engagements. On Thursday the Met announced that it had engaged conductors to lead two of the coming engagements that Mr. Levine, who has been grappling with health problems, is withdrawing from. David Robertson , the music director of the St. Louis Symphony Orchestra, will conduct a May 22 concert of the Met Orchestra at Carnegie Hall, and Sebastian Weigle , the general music director of Frankfurt Opera, will conduct the company’s new production of Strauss’s “Der Rosenkavalier” next spring. The May 22 concert led by Mr. Robertson will feature Renée Fleming singing Strauss lieder, including the Four Last Songs. (In addition, the program is to include “Don Juan” and “Also Sprach Zarathustra,” replacing the previously announced suite from “Le Bourgeois Gentilhomme” and “Till Eulenspiegels Lustige Streiche.”) The Met said Mr. Levine would conduct his other scheduled Met Orchestra concerts at Carnegie: a May 19 concert featuring the pianist Evgeny Kissin playing Rachmaninoff’s Piano Concerto No. 2, and a May 26 concert of excerpts from Wagner’s “Der Ring des Nibelungen.” The Wagner concert will feature the soprano Christine Goerke and the tenor Stefan Vinke, who will replace Johan Botha, who has withdrawn from the program because of illness. Next season’s new production of “Der Rosenkavalier,” directed by Robert Carsen, is to star Ms. Fleming, Elina Garanca, Erin Morley, Günther Groissböck and Matthew Polenzani. Mr. Weigle, who made his Met debut in 2000 conducting Mozart’s “Die Zauberflöte,” will also lead the Met’s revival of Beethoven’s “Fidelio” next season. Mr. Levine is still expected to conduct three revivals at the Met next season: Rossini’s “L’Italiana in Algeri,” Verdi’s “Nabucco” and Mozart’s “Idomeneo.” 2016-04-22 16:12 By

3 PUTPUT gives paint rollers preposterous purposes with atypical objects paint rollers are given preposterous purposes in this latest photographic series by copenhagen- based studio PUTPUT. the collection of images forms a vast catalog of 60 different handles paired with a quirky selection of everyday items that mimic the tubular form. vegetable skewers, corn, a sex toy and a cigar are only a few of the atypical objects that replace the function of the roller, each attached to a plastic handle and photographed simply on a plain grey backdrop. ‘we have been painstakingly collecting paint rollers and objects for an extended period of time in order to complete this series of images in an exhaustive and all encompassing manner,’ stephan friedli and ulrik martin larsen of putput say. in a meeting of the practical and the purely decorative, PUPUT gives a mundane task a new expression and fictional typology for an imagined purpose. 2016-04-23 01:30 Nina Azzarello

4 Feel Like This: Sam Johnson on Luis Garay’s Maneries To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, performance-based artist Sam Johnson shares his perspective on Maneries by Luis Garay in the […] 2016-04-23 02:21 By

5 artec 3 experiments with light & perception in llumversació

artec 3 experiments with light & perception in llumversació all images courtesy of artec 3 studio ‘llumversació’ is a collection of light-based artworks from artec 3 and maurici ginés, the studio’s creative director. placed within a gallery setting, the pieces hope to reassess perception of an object through use of light, as well as experiment with the roles and interaction of colors. ‘llumversació’ uses analog techniques and materials to create wonderful images, and start a unique dialogue between artifact and audience. 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. 2016-04-22 23:15 www.designboom

6 Brands, Organizations Criticize ‘Fashion Transparency Index’ A report that called out leading luxury and fast-fashion brands for a lack of visibility in their supply chains has been roundly criticized by the companies themselves as well as other nongovernmental organizations involved with workers’ rights and supply chain issues. The study by the London-based group called Fashion Revolution and Ethical Consumer, which is a nonprofit magazine and Web site, created a Fashion Transparency Index that ranked more than 40 global retail companies based on their level of transparency and support of workers’ rights. Based on its own rankings, the group criticized luxury brands including Chanel, Hermès, Prada and Louis Vuitton for what it claimed was a lack of transparency, while praising Levi Strauss, Inditex, Nike, H&M and Adidas. The group’s critical study was reported online by Vice and also picked up by Vogue.com. But the index was based on methodology that immediately stirred criticism. WWD contacted a series of industry organizations that work on sustainability initiatives but they declined to comment. A spokesperson from one of the organizations said “it is really hard to comment on research that is so poorly executed and tells us nothing.” The group said in the report that it received 10 questionnaires from brands and retailers out of a total of 40 that were sent to companies. While 10 of the companies received scores based on their replies to the questionnaires and other publicly available information, the other 30 companies were scored based solely on publicly available information on Web sites and in annual reports, from which the group’s researchers drew their own conclusions. “For the companies that did not reply, it is impossible for our researchers to know anything beyond what they are communicating publicly online,” the report said. “Therefore these companies may have received lower scores while companies who did fill out the questionnaire had the opportunity to tell us more and thus potentially score higher,” the report said. The group said companies could have their scores “updated” if new information is made available to its “research team.” In a statement, a Chanel spokesman questioned the report, stating that it only highlights how well companies communicate their sustainability initiatives. “This index in no way measures actions regarding social, societal and environmental responsibility, but only evaluates the communication policies of brands relative to these topics. Like three-quarters of the companies questioned, if Chanel chose not to answer the questionnaire, it is because the reality of our actions seems more important to us than any related media coverage. Chanel’s ready-to-wear products are manufactured exclusively in France, Italy and Scotland; this proximity allows us to be extremely familiar with our partners, most of whom have been working with us for many years. Furthermore, we perform regular audits of our subcontractors’ social, societal and environmental responsibility policies and actions. Chanel is extremely vigilant with regard to all ethical, social, societal and environmental issues in all of its fields of activity, even though this is not part of our communication strategy,” a company spokesman told WWD. A Fendi spokesperson said, “Fendi is committed to promoting responsible relations with its partners, suppliers and subcontractors. It monitors, audits and evaluates its suppliers and constantly aims at improving situations that are suboptimal. Fendi shares common tools and organize training courses for suppliers in Asia, the U. S. and Europe. We are compliant with the Suppliers Code of Conduct of LVMH and all its Maisons, available on The Group Web site as are the details of the relations with third parties [notably on pages 84-86 of the 2016 Document de reference].” Fashion Revolution is a nonprofit organization based in the U. K. and was founded by Carry Somers and Orsola de Castro following the 2013 collapse of the Rana Plaza. Before launching the organization, Somers operated her own sustainable label Pachacuti, as did de Castro who began upcycling in 1997 with her label From Somewhere. De Castro had also launched Esthetica under the British Fashion Council in 2006 which aimed to promote designers who worked sustainably. Fashion Revolution said it selected brands with an annual turnover of more than 400 million pounds, or $575 million, at current exchange, as “those brands have the most to lose through lack of transparency, and the most to gain through better practice,” according to a Fashion Revolution spokeswoman. The group said it took more than a year to put together the research. According to the organization, the survey revealed an absence in long-term thinking in brands’ sustainability strategies, with only 40 percent of the companies surveyed having a system in place to monitor labor standards. According to the group, the survey takes a “bold brushstroke approach” to illustrate how much brands reveal about their supply chains. Some of the criteria used as part of the assessment include the standards and goals a company sets for the protection of workers, its engagements with NGOs or unions, and the ways a company checks its supply chains for compliance with international standards and local laws. “The public do not have enough information about where and how their clothes are made. Shoppers have the right to know that their money is not supporting exploitation, human rights abuses and environment destruction,” Somers said. Fashion Revolution said it plans to continue publishing the Fashion Transparency Index and will be including up to 100 brands as part of next year’s ranking. As part of Fashion Revolution Week last week to mark the three-year anniversary of the Rana Plaza factory collapse, the British MP Mary Creagh hosted a talk at the Houses of Parliament in London to discuss garment workers’ rights. Speakers at the event included Livia Firth , the creative director of Eco-Age; Roberto Ridolfi, director of the European commission for sustainable growth and development; Jenny Holdcroft, policy director at global union IndustriALL; Mike Cain, shadow minister for international development, and Allanna McAspurn, chief executive officer of the nonprofit organization Made By. The discussion quickly turned to the Brexit referendum, which will take place on June 23, and how Britian’s role in the EU impacts its support of workers’ rights. “I believe we should remain in the European Union because it’s a world leader in advancing worker’s rights and protections. We heard last year that the EU has worked closely with the government of Bangladesh to change employment laws and improve factory standards and inspections after the Rana Plaza tragedy. It is vital for the U. K. fashion industry to understand how we can achieve change and improve the lives of garment workers around the globe,” Creagh said. Firth shared a similar view. “United we are stronger, the matter is as simple as that for me,” she said, adding that garment workers’ rights would only be reinforced with robust legislation. “Otherwise it’s difficult for brands to start talking about human rights,” Firth said. “Countries need to start speaking to each other and set transnational wages. In Bangladesh at the moment this is impossible because the factories are not communicating, they are being put against each other by the brands.” The panel commended Hennes & Mauritz for its sustainability initiatives and for being transparent regarding issues such as workers’ rights. Last week, H&M announced its aim to become 100 percent circular and only use ethically sourced materials by 2020. Firth added that a change in consumer attitudes is also essential. “Fashion is a feminist issue, as women of the West, why do we shop with this bulimia to constantly get something new and make a disservice to women on the other side of the world? Why do we want to wear the unhappy stories of other women?” 2016-04-22 23:01 Luisa Zargani

7 ‘American Psycho: The Musical’ Makes Its Broadway Debut Mr Porter has partnered with “American Psycho: The Musical,” which debuted Thursday on Broadway at the Gerald Schoenfeld Theatre. Guests attending the opening night included Christian Slater, Calvin Klein, Tituss Burgess and Molly Ringwald. Benjamin Walker, who plays Patrick Bateman, was also in attendance and wore a suit from Mr Porter ’s Kingsman collection , a bespoke line inspired by Arianne Phillips’ costume design for the film “Kingsman: The Secret Service.” “We like to partner with projects that are clever, entertaining and will appeal to our customers. This one just happens to be a musical,” said Jeremy Langmead, Mr Porter’s brand and content director, who added that the Kingsman line is one of Mr Porter’s top 10 selling brands. The wardrobe partnership coincides with a content collaboration that includes themed editorials on its newly launched section, The Daily , and an exclusive editorial featuring Walker that will appear in Mr Porter’s weekly online magazine, The Journal, on May 12. The retailer also supported the world premiere of this play in 2013 when it debuted in London. In the play Walker wears bespoke suits and other cast members wear vintage designer styles that stay true to the Eighties aesthetic, but Katrina Lindsay, the play’s costume designer, incorporated shoes, ties and accessories from Mr Porter’s offering. “Bateman and his social circle, at work and play, are obsessed with the surface value and status of everything around them. It is an obsession which highlights the void that enables Bateman to kill and enhances the dark humour within the piece,” said Lindsay. “To create a real sense of this and the period it felt important to be able to place within the costume world key pieces that are true to everything Bateman is focused on.” In terms of what Bateman would wear today, Langmead said it wouldn’t be too far off from his uniform in the Eighties. “Patrick Bateman is a creature of habit, so he would probably still stick to the brands he was fond of in the Eighties including Ralph Lauren and Valentino,” Langmead told WWD. “Bateman and his ilk viewed their clothes as uniforms and battled dress and perhaps the trend for bomber jackets, sweats and sneakers would be seen as a modern-day version of that — for off duty at least.” 2016-04-22 22:51 Aria Hughes

8 Fashion Designers, Brands Appear in ‘Slowing Down Fast Fashion’ British Documentary More Articles By “Cheap doesn’t always mean good value in whatever you’re buying. As a food producer, I have to understand the entire process from soil to Sainsbury’s. I love fashion, too. I wanted to make this film because I think the better we understand where our clothes come from, how they are made, what they are made from and where they end up when we’ve finished with them, the savvier we can be on the high street,” he told WWD at the screening of his film, “Slowing Down Fast Fashion,” in London. The 60-minute film will make its global premiere at the Berlin Fashion Film Festival in early June and will launch to consumers later this year to tie in with Wool Week. In the film, James, the bassist for Blur who also has a cheese-making business on his family’s farm in the Cotswolds, in southwestern England, is on a mission to learn about fast fashion, which began in the Nineties when high-street stores began copying trends from the runways, and the possibilities offered by sustainable fashion. He interviews the reformed shopaholic Elizabeth Klein, and together they visit various shops looking at labels. They point to the materials the clothing is made from; the various countries it comes from, and the low price points, and address low wages earned by garment workers. “We’ve been trained to think that to pay more is a rip off, when really the only reason that they are able to sell for this little amount of money is because they sell so much of it and the garment workers are paid so little,” Klein says. James compared fast fashion to food. “So when you buy a top for the same price as a burger and you think you’ve got yourself a bargain, ask yourself, how can it be so cheap?” he says in the film. He also raises the issue of retailers looking for faster and more cost-effective ways to produce clothing as they incorporate cheaper fabrics and labor into their products. James also interviews various shoppers in the film, asking them if they knew where their clothing was manufactured or what the materials were made of. A majority claim they don’t know or they are not sure. He speaks with Pamela Nell, a psychology expert who sees retail therapy as “an instant fix, like a drug, and it will work for a little while and then it will stop working, and then we have to go buy something again to get that quick fix.” He takes the issue to various brands, including Primark, which declined to participate in the film. James said he feels that if similar companies such as theirs would take a responsible approach to materials, it just might make a difference. James also performs an experiment with two sweaters, one made from wool, the other made from acrylic. He sets fire to both and only manages to burn a hole in the wool sweater, while the acrylic garment bursts into flames because it’s made from oil-based plastic materials that are not biodegradable. James talks about natural fibers versus man-made fibers, and notes that while cotton is a natural fiber, it still takes more than ten thousand liters of water to make a pair of jeans. In terms of the areas where cotton is grown, water is an important resource that can cause strain in a region if large quantities are used. He also touts wool as an ideal material for clothing as it is biodegradable and speaks about NASA’s astronaut’s uniforms, which are made with wool and don’t smell even after months in space. The documentary features footage of Prince Charles, a patron of the Campaign for Wool, taking part in a biodegradable wool test in 2004. He buried two sweaters in a flowerbed at his London home, Clarence House. One was made of wool while the other was of synthetic fibers. In the film, James unearths the sweaters and sees that the wool has naturally decomposed, while the other synthetic sweater remains intact. In the documentary, James also talks with fashion industry figures including Vivienne Westwood , Christopher Raeburn , British Fashion Council chief executive officer Caroline Rush , Condé Nast International president Nicholas Coleridge and executives from Marks & Spencer , Topman and John Lewis . “We contacted H&M and Zara but sadly they never replied,” a spokesman from Chief productions, which made the film, told WWD after the screening. “We tried multiple times to get in contact but we couldn’t either get through to the right person or an email wasn’t replied to. To Primark’s credit at least they replied and declined to take part. “Our hope for the film is to get as many people as possible to think about what they are wearing,” the spokesman added. “Not just if it looks good but what it’s made of, what is its life span, and is it environmentally worth it. We’d like people to open their eyes to what they are wearing. They might think it’s a natural fiber, but they should assume it’s not. This will hopefully make people think about investment dressing and buying quality whatever its age.” Raeburn, who attended the screening, said he was “very impressed, actually, that someone of the caliber of Alex had just taken the initiative. He has brought a different perspective to something that is clearly very important. With his background as well, it makes it so much more relevant, for so many people. I think it’s important to realize the role that you have in this type of conversation is to be honest,” said Raeburn of working on the film. He added that he is moving from his Poplar and Limehouse studio to Hackney Central. “We’re moving to the old Burberry textile factory,” he said. “It’s a purpose-built, architect design space, but it obviously has real soul to it. And actually the focus for the entire company is very much seen in this film. It’s about being less, but better, and really working a lot more with key partners as well to bring as much sustainability and design merits to what we do. That is our everyday practice.” The Campaign for Wool and Fashion Revolution, a nonprofit organization founded after the Rana Plaza disaster that wants companies to be more transparent about their sourcing, were both named as supporters of the film. 2016-04-22 22:28 Lorelei Marfil

9 With Broadway Stars, ‘An American in Paris’ Will Play London Next Year “An American in Paris,” the Tony Award-winning Broadway musical, will open in London next year, starring Robert Fairchild and Leanne Cope, who originated the lead roles on Broadway. Inspired by the 1951 Vincente Minnelli film, in which Gene Kelly and Leslie Caron danced to the music of George and Ira Gershwin, the musical adaptation of “An American in Paris,” began life in Paris in December 2014 and opened on Broadway to rave reviews last march. The show subsequently received 12 Tony nominations and won four awards, with Christopher Wheeldon, who also directed, taking the best choreography award. It also won for best scenic design, lighting design and orchestration. “Gershwin, Broadway, dance: They are all things that do very well in London, where there are fantastic dance and theater audiences,” the British-born Mr. Wheeldon said in a telephone interview from Stockholm, where he was staging his full-length ballet “Alice in Wonderland.” Mr. Fairchild, a principal with New York City Ballet, left the Broadway production in March. Ms. Cope, a former Royal Ballet dancer, remains in the show. The London production will open at the Dominion Theater, in the West End, in March 2017. 2016-04-22 22:18 By

10 Young Royals Host Dinner at Kensington Palace for the Obamas More Articles By The President and First Lady were greeted by Prince George , who was dressed in a white robe, pajamas and slippers. The duchess played with Prince George on the rocking horse gifted by the President and First Lady. She donned a pink and blue printed L. K. Bennett dress with Rupert Sanderson shoes while the First Lady wore an ensemble of a camel coat with a beige blouse, lace skirt and Jimmy Choo shoes. Earlier in the day, the President joined British Prime minister David Cameron for a press conference. He stated his appeal for the U. K. to remain in the European Union. The Obamas met with Queen Elizabeth and Prince Philip for lunch to celebrate her 90th birthday at Windsor Castle. RELATED STORY: Michelle Obama Wears Oscar de la Renta in London >> Their visit to the U. K. is part of a tour, which includes Saudi Arabia and Germany. During the First Lady’s last visit to the U. K., she traveled with daughters Sasha and Malia and mother Marian Robinson last June for a weeklong tour of Britain and Italy to support her Let Girls Learn initiative. During her two-day stay, she promoted her campaigns for girls’ education, where she spoke at a roundtable discussion and unveiled a new partnership between the United States and the United Kingdom to improve education for adolescent girls, as part of her Let Girls Learn initiative. 2016-04-22 22:01 Lorelei Marfil

11 PS• + secondome curate ‘ladies & gentlemen’ exhibition hosted within historic milanese house each year during milan design week, historic palazzos, private homes and forgotten spaces are re-opened as venues for hosting special contemporary design events. this year, in co- production with the 5vie art + design district, consultancy agency PS• and secondome design gallery curated ‘ladies & gentlemen’ — an exhibition that took over a historic milanese house at via cesare correnti, 14 presenting designs that in someway expressed an interaction between the past and present. drawing on the past as a starting point for the future, the pieces on show in someway drew on artisanal techniques and stylistic genres of old as a source of influence; in which the memory of bygone crafts and processes were re-interpreted into contemporary objects and products. among the participants were: botteganove, .exnovo, federica elmo, francesco meda, henzel studio, hervet manufacturier, mario milana, mingardo, restartmilano, samer alameen, secondome, servomuto & .to.do, studiopepe, tommaso fantoni and valentina cameranesi sgroi. installation view of benches and stools by giorgia zanellato and coralla maiuri for secondome design gallery among exhibition’s protagonists is .exnovo — a brand leader in the realization of decorative lighting using 3D printing technologies. ‘ladies & gentlemen’ presented the latest creation signed by the american designer david nosanchuk. the ‘big louie’ pendant lamp is a celebration of innovation, design and architectural history. the heterogeneous and intriguing set of lines and points resumes, in fact, the detail of a new york building designed by louis sullivan, one of the fathers of modern american architecture. starting from the 3D scan of the building, the nosanchuk wanted to explore the idea of capturing an artifact of three- dimensional design – the capital of the bayard-condict building – and transform it, with the support of .exnovo team, into an enlightened form. giorgia zanellato and coralla maiuri‘s ‘awaiting’ project for secondome design gallery speaks to the feeling of anticipation and excitement that precedes an encounter, and is deeply linked to the purpose of the objects: benches, a vanity table and a séparé. the collaboration started as a game. the artist, coralla maiuri, provoked by pictures of her porcelain pieces, designs a collection of bold colored velvet cloth. her will to shape them into something equally bold yet refined, brought her to designer giorgia zanellato. ‘awaiting’ is a feminine and sensual collection of furniture pieces realized in golden brass and velvet that mix the classic and contemporary. HERVET MANUFACTURIER employs french cabinet-making techniques to create futuristic furniture pieces read more about hervet manufacturier on designboom here passionate about quality and design, HERVET MANUFACTURIER’s designs are influenced by the boldness and geometry of modern architecture. but, unlike most modern furniture, the company uses only age old techniques and traditions of making hand-crafted luxury furniture. all pieces are made locally in france in small quantities, using only quality woods, metals, glass and leather from around the world, ensuring the highest standards for each and every object made. the result is a collection that mixes traditional techniques with new materials and modern design. the contemporary designs visually and physically interacted within the venue of the historic milanese house the ornate wallpaper of the milanese residence is contrasted by the strict lines of restartmilano’s ‘frames’ ‘frames’ is a new product family designed by maurizio navone for restartmilano. based on a modular system, it explores multiple compositional possibilities and is, therefore, open to numerous functions. by using two construction elements from olivetti’s exhibition design project in the 1980s — a die-cast joint and metal tube structural grid — ‘frames’ unfolds in a series of three-dimensional cages that, are given specific functions, through different types of levels, storage, and accessories. the different components keep their own characteristics but, at the same time, give life to an original form of exchange. this solution enhances both the formal solidity and lightness of the system, as in the rationalist architecture of asnago and vender, some intuitions of which are indirectly evoked. the manner of construction, the versatility of the connections, and the simplicity of the plugs allow ‘frames’ to develop across a wealth of types and dimensions in true freedom. restartmilano’s ‘verticale’ shelves bring a sense of visual order to the decorative interior of the exhibition venue installation view of mingardo’s designer | faber collection of finely crafted designer limited editions in metal mingardo presented the fourth edition of their designer | faber collection: finely-crafted designer limited editions in metal. under the artistic direction of aldo parisotto, the 2016 collection combines furniture items and accessories that express a contemporary aesthetic of clean lines and a graphic presence, drawing their shared influences from the material used. metals (natural or burnished iron, steel, brass and copper) are treated with different finishes, often featuring refined contrasts between gloss and matte finishes. the collection includes: ‘sfoglia’ and ‘piega’ wall lamps by parisotto+formenton architetti; the ‘maxi-dominoes’ which play on combinations of various metals in different finishes created by antigone acconci + riccardo bastiani; the original ‘fabbrica’ stool and bench in black iron with brass details by omri revesz and damian tatangelo; ‘shapes’ mirrors in copper by leonidas trampoukis + eleni petaloti of studio objects of common interest; ‘satin’ collection of small tables and trays, designed by chiara andreatti as an homage to bauhaus design; the unusual, multifunctional jointed piece ‘asse zeta’ by marco zito; and the ironic ‘rollingin’ bar trolley and ‘tensé’ shelving system by gio tirotto, which can be reconfigured in a myriad different ways. more rigorous designs stand alongside items with a dose of irony, but all share the same contemporary research for signs and meanings to be expressed through the language of metal. the artistic boiserie of botteganove’s tiles seem at home with their shimmering lustres and elegant textures botteganove celebrates the craftsmanship of ceramic and porcelain mosaics through traditional manufacturing methods, rethought in a contemporary way; as seen in the ‘plumage’ collection designed in collaboration with the new art director cristina celestino. the production of ceramics, whose fatherland has been nove since 1700, is the basis from which founder christian pegoraro started his work. the company specializes in the production of one of the greatest italian excellences,ceramic and porcelain mosaics, in which pegoraro has developed a dynamic approach to the traditional design procedures for today’s market. the ceramic mosaic is the evolution of the craftsmanship traditionally applied to artistic pottery products. mario milana’s ‘giotto’ collection and ‘bis’ chair furnish one of the rooms mario milana presents the ‘giotto / zero’ collection composed of two pieces: ‘roto’ – a rotation room divider composed by three circular elements, that overlaps and unfolds by rolling the screens, creating a dynamic play between transparencies and materials; and ‘giro’ – a table that functions on a rotating disk system, offering a convivial experience to share and serve food. tommaso fantoni’s geometric ‘colourscapes’ add a new dimensions to the striped walls of one of the salons acting as a backdrop to maria milana’s furniture is architect and designer tommaso fantoni’s ‘colourscapes’ — an installation made up of small acrylic paintings on canvas. the artworks see interacting geometric shapes reduced to simple lines, packed with areas of bright colours. often deliberately juxtaposed with the ordinary, the result is an exploration of the world of pure colour, structured in countless variations and applied to an equally natural and artificial vision of the landscape. servomuto and. TO. DO’s display of lighting and furniture pieces servomuto and davide loddo from studio. TO. DO designed a special display presenting four new servomuto designs, together with a careful selection of unique pieces from the fifties selected by. TO. DO. the vintage furniture and the new lighting were held together by several common threads: the exploration of textiles, graphics and forms taken from the bauhaus and transferred to an exotic climate. in addition, servomuto and. TO. DO offered a preview of their ‘anarchic coverings’ made up of special pieces selected by. TO. DO, and covered by graphics made with poplin origami conceived by servomuto. detail of servomuto’s ‘meringa’ lamps that come in five different colour combinations calle henzel + henzel studio’s ‘collaborations / heritage’ showcased art rugs designed in close collaboration with some of the most prominent and influential figures in the art world including: leo gabin, helmut lang, marilyn minter, richard prince, anselm reyle and tom of finland foundation. all henzel studio rugs are bespoke and made by hand in nepal, using centuries old artisanal weaving techniques that make each rug unique and one of a kind. henzel studio uses the most luxurious wool and silk available, and is certified by goodweave, the most respected organization monitoring labor conditions and related social standards. view of ‘ladies & gentlemen’ exhibition curated by PS• + secondome francesco meda’s ‘foursplit’ table and ‘bridge steel’ light (available for purchase on the designboom shop) francesco meda’s ‘foursplit’ table is made up of four cipollino rosso luana slabs of marble from the apuan alps, joined to each other by a brass plaque which creates a geometric composition across its top. the 18 mm thick slab is resin-coated on its lower part to ensure a greater use of the veins of the marble. the metal legs are made by laser-cutting, and an 8 mm thick sheet which is joined by spacers ensures overall structural stability to the table. the aesthetic of the legs is deliberately lightweight and rational to enhance the slab of marble which is the dominant material in the design. the feature of this prized marble is its red and green colour and its tones of grey, up to black. studio pepe’s ‘out of the blue’ installation is based on relationship between form, color and light studio pepe’s ‘out of the blue’ exhibition is based on research exploring the relationship between form, color and light. the collection of ceramic sculptures investigates the correspondence between sunlight and form, through the photographic process of cyanotype (‘cyan’ is derived from the ancient greek κύανoς (‘kyanos’), meaning ‘dark blue’). the blue color in all its shades is the result of this match, and tells the story of the object itself, the time of exposure to sunlight after being brushed with the cyanotype mixture; and the conditions of the light in a certain time frame. ‘out of the blue’ is an idiom of the english language that describes an event that happens unexpectedly. the blue refers to the sky, where something unexpected is suddenly revealed. literally ‘out of the blue’ or ‘derived from the blue’, as if the blue color in this research took on a physical form. studio pepe’s aim was to investigate the possible effects of this formal incarnation with a collection of limited edition pieces (bisque ceramic). the ‘out of the blue’ ceramic sculptures investigate the correspondence between sunlight and for valentina cameranesi sgroi’s ‘superficie’, ‘le teste’, ‘tundra’ and ‘marie’ sculptural vases and jugs valentina cameranesi sgroi’s ‘superficie’, ‘le teste’, ‘tundra’ e ‘marie’ sculptural vases, jugs and a table present spring from a decorative perspective. ‘superficie’ is a round table that has a circular top, with a base whose decoration is intrinsical to the object’s shape and surface. disjointed like a series of graphic volumes and planes, it becomes a territory to explore through the use of two laminated colours — a contemporary hyper-decorative system which contrasts with the top’s almost anonymous simplicity. ‘le teste’ are two hand-thrown and decorated vase-sculptures influenced by female coiffures depicted in 15th-century paintings. like unfinished hairstyles, they display a soft ornamentation that contrasts with the material used, including cords hand-plaited by the french artist manon beuchot. like heads with uncompleted plaits, the two vases are glazed in neutral shades that reference dry grasses. ‘tunda’ and ‘maria’ are a revisitation of the traditional sardinian bride’s jug made of hand-thrown pottery. developed in collaboration with with sardinian artisan walter usai for the pretziada project, they stand (at two different heights) like two sisters. they express classic elements of sardinian pottery’s artisan decoration, but disassembled and reinterpreted, in which bold shapes contrast with classic, sensuous lines. they are finished using a hand-applied glaze. 2016-04-22 20:30 Andrea Chin

12 Romania Expelled From Eurovision Song Contest Romania is having a bad arts week. Not long after a brouhaha over the resignation, then the reinstatement, of the international ballet stars Johan Kobborg and Alina Cojocaru, at the Bucharest national ballet company, the Eurovision song contest announced on Friday that Romania had been expelled from the annual competition for failure to pay outstanding debts dating back to 2007. The European Broadcasting Union , the umbrella organization of public service broadcasters that runs the competition, said in a statement that Romania owes 16 million Swiss francs (about $16.3 million), and had called on Televiziunea Romana, the country’s public broadcaster, to settle the debt by April 20. “It is regrettable that we are forced to take this action,” Ingrid Deltenre, the director of the European Broadcasting Union, said in a statement. “We are disappointed that all our attempts to resolve this matter have received no response from the Romanian government.” Romania has taken part since 1994 in the annual competition, and has reached the finals each year since 2004, although the country has never won the televised contest, which attracts as many as 200 million viewers. This year’s entrant, Ovidiu Anton, was selected to perform the presciently titled “Moment of Silence” at this year’s contest, which begins May 10 in Stockholm. Mr. Anton wrote on his website: “I am still the same, same honest artist, same fighter that won fair and square both from the jury and from the public’s vote, but yet, I have to declare I have been ‘defeated.’ By whom? Why? Fair? I don’t know how to put it nicely, so I abstain.” The song is on the official CD for this year’s competition and the European Broadcasting Union said it would keep the digital download available as a courtesy to the artist. “We will have to see for 2017 and onwards, how this situation develops,” Jon Ola Sand, the executive supervisor of the contest, said. 2016-04-22 19:28 By

13 My Brain Hurts, Novelty Song, Calypso, and Captain America: This Week in Comics #14 Image selection from Tales of Suspense #58. Illustrated by Don Heck. Originally printed in 1964, reprinted in this week’s Captain America: Road to War #1. Photo courtesy of Marvel Comics. Screencap via the author. This week Captain America: Road to War #1 features a reprinting of the classic Marvel comic Tales of Suspense #58. The comic, written by Stan Lee and illustrated by Don Heck, was originally published back in October 1964. While it’s wonderful to see this classic comic (which pits Iron Man against Captain America in a fun and twisty slug-fest), it’s strange that they chose to publish it in the back of this brand new Cap comic. Sure, they’re pitching a “Captain vs. Iron” storyline to lead into Captain America: Civil War , but as mentioned in detail below, this week’s new Captain America comic is very weak, and the 52-year-old comic used to pad out its length only serves to illustrate the point. It’s easy to think of “older” comics as being cotton-candy, goody-two-shoes, and without modern drama, but sometimes those comics shine because they actually told stories—a concept many modern comics, while in the throes of major arcs, often forget. Also featured this week: a comic about the hardships of growing up LGBT, a comic about music thieves, and a comic about a WWII soldier trapped in an idyllic farmhouse. Cover for My Brain Hurts Vol. 2. Illustrated by Liz Baillie. Photo courtesy of Microcosm Publishing. Created by Liz Baillie. Originally published back in 2009, My Brain Hurts Vol. 2 is now available as a digital comic on Comixology. The story, which sprawls to tell the story of several young, LGBT New York teenagers, is deeply impactful and heart-wrenching. Because of the realistic troubles these young characters face there are trigger warnings in this comic, especially for people who’ve dealt with abuse via homophobia. But Liz Baillie is an eternal optimist, and this comic serves simultaneously as a love letter and a middle finger to the hard times of growing up gay around 2001 in NYC. With over 100 pages of content, including “Where Are They Now” character roundups, My Brain Hurts Vol. 2 is an amazing deal, and a powerful work of art. Cover for Novelty Song #3. Illustrated by Brian Daly. Photo courtesy of Bee Tee Dee Comics. Created by Brian Daly. Novelty Song has a hell of a premise. If you take a song that’s already been written, and throw it into the knothole of a tree, that song will magically become yours… you’ll own it forever. That’s the jumping off point of this wild comic, which follows the band Jenny Jump as they try to make it big with a ton of stolen music. But a tree cult that’s poked out their eardrums gets involved, and people realize they can steal any concept by putting it into a tree knothole, and then things just get… weird. Novelty Song is a fast, high-flying, well-illustrated indie that will appeal to garageband impresarios and plagiarists. Cover for Omega Comics Presents: Calypso. Illustrated by Marvin Mann. Photo courtesy of Pop! Goes the Icon. Written by Russell Lissau, illustrated and lettered by Marvin Mann. Calypso tells the story of an injured US soldier during WWII who’s brought into a French cottage and nursed to health by a woman named Calypso. While there, he puts off returning to the war, and finds that all is not as it seems in his idyllic sanctuary. While the story is a bit basic, and even wades into a sort of “woman as evil witch” territory that makes this reviewer uncomfortable, Marvin Mann’s illustrations are worth bringing to attention here. Lazy and hazy, he depicts in this short tale a sort of idealized country home that makes one want to settle down and raise chickens. An interesting read, but maybe too socially old-fashioned for the discerning reader. Related: #13 #12 #11 #10 #9 #8 #7 #6 #5 #4 #3 #2 #1 2016-04-22 19:15 Giaco Furino

14 Gwyneth Paltrow, Freida Pinto, Rachel Zoe Turn Out for Bally Dinner Even in perennially sunny Los Angeles, timing is everything with fashion events. So Bally timed its L. A. moment — in celebration of its first new U. S. boutique, on Rodeo Drive — to the arrival of sultry spring weather rather than the store’s actual opening in February. It was a good thing, since design director Pablo Coppola, who hosted the Thursday night Chateau Marmont dinner with chief executive officer Frédéric de Narp, missed his plane to L. A. back in February. “Tonight, it all came together,” said Coppola, who was so inspired on his last trip to the City of Angeles that he designed a custom surfboard for the new store. It was still rather surreal for the Spanish designer, who, like most European and East Coast fashion folk who find themselves thrust into a “Hollywood party” was a little star struck. “I get here, and the first thing I’m doing is speaking Spanish with Gwyneth Paltrow. Her accent actually sounds more Spanish mine,” he laughed. Paltrow was in her element at the poolside cocktails, sticking closeby her producer boyfriend Brad Falchuk and restaurateur pal Bruce Bozzi. After guests enjoyed their outdoor drinks, they adjourned to the greenhouse terrace of Bungalow One, where dinner was set at a long table for 55. “It’s like, my favorite,” said Rachel Zoe of the location, though she said she was still recovering from her quick trip to Coachella for party-hosting duties. As Alan Cumming, Freida Pinto , Elizabeth Debicki, Austin Stowell and Robbie Rogers took their seats, the wine started flowing and guests settled in for a good two hours. Also in the mix were friends of the charity Communities in Schools, beneficiary of the evening. Joy Bryant won the night’s prize for most committed guest — she arrived just as dessert came out because she’d been hosting an event at Bloomingdale’s to benefit Oxfam’s Sisters on the Planet. 2016-04-22 19:12 Marcy Medina

15 The Biggest Joint in the World | Insta of the Week There's a secret war constantly raging between the social media-savvy weed artisans of the world: the competition to make the world's largest joint. Yearly group efforts at bud-fueled baccanals like Hempfest and ragers at Oregon's Hippie Hill yield monstrous two- or three-pound behemoths that the crowd tries to suck down their lungs before the cops come and confiscate it. Blunt sculptor Tony Greenhand circumnavigated this sad situation by hosting his latest shot at the record—a whopping 4.2lb watermelon-shaped work of art—at a private party. We profiled Greenhand on Wednesday, delving into the process that allows him to create blunts shaped like Spider Man, AK-47s, and the Seattle Space Needle. Below, watch the work that went into rolling, stuffing, and smoking the largest joint in the world. Check out more of Greenhand's outrageous joints and blunts here: Check out more of Tony Greenhand's work on Instagram. Visit The Creators Project Instagram for more out-there art. Related: Artist Rolls $1,100 Joints and a Massive, Smokeable Watermelon Spend Your 4/20 at This Custom Glass Art Show Blow Your Mind with Psychedelia | GIF Six-Pack Minimalist Contemporary Stonerware Elevates an Aesthetic 2016-04-22 19:00 Beckett Mufson

17 Artists Pay Tribute to Prince’s Life and Legacy GIF by Brooklyn-based illustrator Jennifer Van Meter, via jennifervanmeter.tumblr.com Following the news that pop icon Prince has passed away, the tributes have started flooding in. Google US paid their respects via a Purple Rain-themed logo ; and next week's New Yorker will honor the singer with a special edition cover created by illustrator Bob Staake. Artists around the world are also commemorating Prince's life and legacy by uploading some pretty incredible artwork on Tumblr and Instagram. Here are some of our favorites so far. Comic artist/illustrator/printmaker Fiona Avocado has already created a whole zine in homage to Prince, via fionavocado.tumblr.com Brooklyn illustrator and animator Traceloops transforms his iconic masks into Prince's iconic symbol, via traceloops.tumblr.com We love this pop art-inspired Prince piece by 23-year-old illustrator James White, via linear- thoughts.tumblr.com While they're usually dedicated to Meryl Streep, the @tasteofstreep Instagram today made a post in honor of the late, great Prince, via instagram.com/tasteofstreep A wonderful artwork by LA-based designer Robin Eisenberg, via robineisenberg.tumblr.com Kidmograph lends his space robot aesthetic to a Prince tribute called 'PVRPLE R∆IN', via kidmograph.tumblr.com This portrait by Toronto illustrator Kagan Brown was done on deadline for Friday's issue of the National Post, via kaganmcleod.tumblr.com Artist Francesco Francavilla writes on Tumblr, "The very first 2 music albums I owned as a teen were THRILLER and PURPLE RAIN. So long, Prince, we’ll miss U 4ever," via francavillarts.tumblr.com A tribute to the "I Wanna Be Your Lover" album art, via handdrawnalbumcovers.tumblr.com Digital illustration by Atlanta-based designer Cole Mitchell, via raisedcreative.tumblr.com A simple but sweet sketch by a writer from Edmonton, Alberta, via iamnickbossross.tumblr.com Celebrity cat Princess Cheeto pays her respects via a rendition of the "Purple Rain" album cover, via instagram.com/princesscheeto Related: Inside the Wes Anderson Tribute Art Show Instagram Artists Memorialize David Bowie David Bowie Writhes Through New "Lazarus" Music Video 2016-04-22 18:30 Ingrid Kesa

18 Survey Reveals Costs and Habits of Mothers More Articles By Sleepless nights, money woes and missing life before having children — and wishing Julia Roberts could babysit — were some of the key findings of concerns in a consumer survey by Zulily pegged for this coming Mother’s Day. The survey also included a snapshot of shopping trends for a one-year period that involved more than 260,000 products. The e-commerce retailer conducted the Google survey with 1,000 respondents earlier this month and when asked which celebrity respondents would want to baby their kids, 37.4 percent pined for Julia Roberts. Melissa McCarthy came in next with 35 percent while Kate Hudson garnered 16.4 percent of votes. Scarlett Johansson had 8.3 percent, and Kim Kardashian grabbed 2.9 percent of votes (evidently for those children who are tabloid-ready). The survey found that “New Yorkers and Californians were more likely to pick Melissa McCarthy, while Mississippians picked Julia Roberts and South Carolinians picked Kate Hudson.” When asked what they missed most about their lives before having children, respondents cited uninterrupted sleep, affordable groceries and being spontaneous. Regarding their “most missed indulgence after becoming a mom,” 45.3 percent said it was having a day off. With fathers, 33.8 percent of men said it was having “quality time with their wife.” And asked about the most common topic for arguments among first-time parents, most said it was about money. With product trends, the retailer pulled data from April 6, 2015, through April 6 of this year, which showed that 9.3 million infant and maternity product units were sold on the value-driven site as well as 1.6 million baby gear products. And according to the company’s calculations, consumers saved more than $3 million on diapers and related items during that time period as well as over $2 million on strollers and stroller accessories. Below is a breakdown by category as well as top-selling maternity styles. Strollers & Accessories: 117,833 Baby Blankets: 183,303 “Setting up a nursery”: 166,140 Feeding Supplies: 580,557 Diapering Supplies: 252,494 Baby Bottles: 28,068 T-Shirts: 105,242 Bras: 61,942 Tank Tops: 39,534 Casual Dresses: 38,949 Leggings: 38,624 Denim Pants & Jeans: 32,834 Maxidresses: 31,936 Blouses: 28,692 Camisoles: 26,152 Tunics: 18,653 2016-04-22 18:24 Arthur Zaczkiewicz

19 Rosita and Angela Missoni Detail the Designer Company Through the Years at 92Y Rosita Missoni has covered a lot of ground in the 63 years since she and her husband Ottavio started their namesake brand. And Thursday night, with the help of her daughter Angela, the company’s creative director, she recapped some of the company’s more memorable moments during a Q&A with at the 92nd Street Y with Fern Mallis. The younger Missoni described the undercurrent that runs through their lives: “Home and the factory were theism.” 2016-04-22 18:21 Rosemary Feitelberg

20 Music legend Prince dies at age 57 Prince, a multitalented musician who came out of the Minneapolis scene and changed the world of music forever, has died at age 57. According to a statement from Carver County Sheriff Jim Olson, “on April 21, 2016, at about 9:43 am, sheriff’s deputies responded to a medical call at Paisley Park Studios in Chanhassen. When deputies and medical personnel arrived, they found an unresponsive adult male in the elevator. First responders attempted to provide lifesaving CPR, but were unable to revive the victim. He was pronounced deceased at 10:07 am. He has been identified as Prince Rogers Nelson (57) of Chanhassen.” We are continuing to follow this story and will add updates as they become available. One of the greatest stars in rock history, Prince bridged rock and R&B to fuse a “Minneapolis Sound” that helped define the music of the 1980s. With over 100 million albums sold worldwide, Prince is one of the best-selling artists of all time, widely cited as an influence by artists from the worlds of pop, R&B, rock, hip-hop, and beyond. Born Prince Rogers Nelson in Minneapolis in 1958, Prince remained a lifelong Minnesotan and had a profound impact on the community here. With the hit movie and soundtrack Purple Rain , he turned First Avenue from a hot local club to an international music landmark. Artists including Jimmy Jam and Terry Lewis went from Prince collaborations to performing and producing chart- topping hits that spread the “Minneapolis Sound” across the musical landscape. Prince’s genius seemed to arrive fully formed, almost as if by magic: he released his debut album ( For You , 1978) at the age of 19, and its eponymous follow-up, released the following year, made him a breakout success with instant classics like “I Wanna Be Your Lover” and “I Feel For You.” He wrote, played, sang, and produced the entire collection himself, adding to the sense that somehow lightning had struck in Minneapolis. It had, but recently released compilations like Purple Snow: Forecasting the Minneapolis Sound (Numero Group) and Twin Cities Funk & Soul (Secret Stash Records) shone a long-overdue spotlight on the small but tight-knit and inventive local R&B scene that spawned Prince. Once Prince was out of the gate, there was no stopping him. Prince was made for the ’80s, and the ’80s were made for him. Seriously funky but also pop-friendly, Prince was at the forefront of artists who deployed synthesizers and samplers in conjunction with traditional rock instrumentation to create music that felt completely liberated — sexy and fun. “Sexy” was part of Prince’s playbook from day one: he knew how to tease his fans into a frenzy on record, on stage, and, crucially, on screen. His provocative antics earned priceless condemnation from the voices of conventional morality (“Darling Nikki” inspired Tipper Gore to found the PMRC ), and Prince — dressing as flamboyantly as the decade demanded, with a regal flair he might have learned from James Brown — played his bad-boy/pretty-boy role to the hilt. Purple Rain represented Prince in full flower. While some fans and critics argue that Sign “O” the Times (1987) represents an even greater artistic triumph, Purple Rain ‘s vast commercial success was not incidental to its epochal achievement. “When Doves Cry” epitomized the unique power of Prince; at decade’s end, critic Dave Marsh wrote that it “may have been the most influential single record of the 80s.” A stripped-down, percussive track with a vocal that’s so understated it’s sometimes half-spoken and — to the astonishment of music insiders who thought they knew how to make a record — no bass track, “When Doves Cry” seemed to break all the rules of pop songcraft, and yet Prince turned it into such an intoxicating single that it shot to number one for five weeks, holding even Bruce Springsteen’s “Dancing in the Dark” at bay. Simultaneously, Albert Magnoli’s gloriously shameless film defined Prince’s personal mythology and made him one of the greatest pop icons of a decade that had more than its share. Set in Minneapolis, the film depicted First Avenue as a hot spot on the order of Studio 54; instead of driving along Highway 1 as they might have done in an L. A. movie, Prince and his costar Apollonia hopped on a purple motorcycle and cruised out into the Minneapolis suburbs to get “purified in the waters of Lake Minnetonka.” To this day, touring acts are visibly thrilled to discover that First Ave actually is a great club, that it actually does look like that (okay, not the dressing rooms), and that it remains the center of a thriving music scene. Though he never had another smash album as big as the Purple Rain soundtrack, Prince remained a dominant commercial force throughout the ’80s and early ’90s, producing #1 hits ranging from the hard-flirting “Kiss” (1986) to the novelty “Batdance” (1989) to the sparkling “Cream” (1991) while cycling through various band configurations and sounds. The early ’90s marked a crucial point of transition in Prince’s career. He formed a fresh band — the New Power Generation — and released music that increasingly delved into hip-hop, meeting with a mixed reception. If some fans started to sense an identity crisis, they were affirmed by Prince’s 1993 decision to change his name to the unpronounceable glyph (“Love Symbol #2”) that had served as the title to the 1992 album ironically containing the single “My Name is Prince.” The 1993 release of a two-disc greatest hits collection also served to cap a remarkable run on the charts that ended with 1994’s #3 hit “The Most Beautiful Girl in the World,” Prince’s last single to date to crack the American top ten. The mid-90s marked the end of Prince’s relationship with his label Warner Bros. — after releasing a quick series of low-selling albums to fulfill his contractual obligations, he broke from the label in 1996 — and the beginning of his famously tumultuous relationship with the Internet. The iconoclastic perfectionist saw the Internet’s potential as a tool to allow him to independently manage his own fandom and distribute his own music, but he also grew increasingly concerned about the danger of having his material freely bootlegged. Prince was the first major artist to release an album on the Internet (1997’s Crystal Ball ) and from 2001-2006 ran the pioneering NPG Music Club to sell his music online by membership; but following the closure of that site, he became increasingly negative about the Internet, complaining that other sites (notably, YouTube) were benefiting by unauthorized circulation of his material. In an infamous 2010 statement, the online pioneer declared that “the Internet’s completely over.” Releasing music both independently and through various short-term deals with major labels, in the late 90s and the first decade of the 2000s Prince released a flood of new material ranging from the obscure (the instrumental N. E. W. S. in 2003) to the consciously commercial (1999’s Rave Un2 the Joy Fantastic and 2006’s 3121 ). He reclaimed his given name when his Warner Bros. publishing contract ended in 2000, and his widely-praised Super Bowl halftime show in 2007 proved to the largest possible audience that he was still a fiery live performer. In the 2010s, Prince stepped back into the public eye in a way rarely seen since the ’90s. He formed another new band — the all-female 3RDEYEGIRL — and played rapturously reviewed shows with them at venues ranging from Minnesota casinos to London living rooms. He “took over” an entire episode of Arsenio Hall’s talk show , and duetted with Zooey Deschanel on a new song he premiered on a post-Super-Bowl episode of New Girl. Perhaps most surprisingly, Prince re-signed with Warner Bros. Media coverage of the deal focused on the promised new music and Purple Rain reissue, but a telling detail of the press release is that the deal gave Prince ownership of his Warner Bros. masters. The artist who wore the word SLAVE on his cheek during a 1993 legal battle with his label was a free man. Most recently, Prince released a pair of HITNRUN albums recorded at Paisley Park, and was performing solo “Piano & a Microphone” shows at venues around the world. He debuted the format with two intimate performances at Paisley Park in January. “I forgot,” he said as he momentarily became overcome at one show, “that sometimes music is emotional.” He was writing a memoir , which was expected to be published next fall. Artists associated with Prince are still active. Revolution drummer Bobby Z holds an annual benefit concert at First Avenue, childhood friend and collaborator André Cymone just released his first new music in decades , NPG drummer Michael Bland is a busy performer and producer…the list goes on. A new generation of local performers are exemplifying the ’80s-era spirit of cross-genre fertilization and collaboration, now with a strong and adventurous hip-hop scene that’s produced the area’s best-known current artists. Prince remained aware and supportive of what’s going on. In a classic Prince moment, he showed up backstage when the local supergroup GAYNGS played First Ave in 2010. Prince picked up a guitar and played a little, but ultimately declined to take the stage; some reported hearing him make a comment to the effect of, “Looks like they’ve got it under control.” Prince’s legacy in Minnesota is multilayered — from his early collaborations with neighborhood bands, to his towering hits that put Minneapolis on the world’s music map, to the venues he founded (Paisley Park and the former downtown club Glam Slam), to the enduring contributions of musicians he played with, to the example the Minneapolis Sound set for the dynamic scene of today. Perhaps most importantly, though, Prince’s music is evidence — to the world, and to Minnesotans ourselves — of the diversity of our state, and of our music. When you listen to Prince, you hear the influences of all the artists he grew up with: black, white, funky, rocking, groovy, prickly. It’s not the sound of Minnesota’s lonesome prairie, it’s the sound of our dense cities. This utopian artist proved that music truly can break barriers — if u want it 2. Portions of this article were previously published here . We’re gathering your thoughts: What do Prince and his music mean to you? Visit this page to send us your thoughts and memories of Prince . 2016-04-22 16:37 Jay Gabler

21 ‘Refugee’ Photo Exhibit Draws Kristen Bell, Amy Adams, Emilia Clarke More Articles By It was an emotional night for actresses attending Thursday’s opening of the Los Angeles-based Annenberg Space for Photography’s “Refugee” photo exhibit, where they not only voiced support for displaced people worldwide, but also celebrated Prince’s boundary-crossing music and style. Just hours after news broke of the singer’s sudden death, guests including Kristen Bell, Amy Adams, Kristin Davis, Emilia Clarke, Mindy Kaling and Tracee Ellis Ross mingled inside the gallery and tented party. Sipping tumblers of water, they peered at intimate photos of displaced people in Africa, Europe, Southeast Asia, Mexico and the United States taken by photographers Lynsey Addario, Omar Victor Diop, Graciela Iturbide, Martin Schoeller and Tom Stoddart. “I heard a quote today from Prince. He said, ‘Compassion is not a word. It is an action with no limits,’” said Ross, in a sheer black floor-length dress. “That’s perfectly timely for an event like this.” Fashion photographer Diop’s stylized photos of refugees in Cameroon showcased what he called their “dignified and generous” openness. Meanwhile, Schoeller’s detailed, close-up portraits of refugees in the U. S. had a similar bare quality to his photos of notables including President Obama and Marc Jacobs. “When you compare faces, you find that we’re not all that different,” he said. Bell even teared up while talking about the refugee crisis. Added Kaling, “My parents were welcomed to this country as immigrants, but that’s not the option for millions of people around the world.” Asked about Prince, she smiled, reminiscing about his androgynous, sexy fashion sense. “I loved how often he went shirtless,” she said. 2016-04-22 18:16 Solvej Schou

22 22 Alternate Senses of Tone and Pulse: An Interview with C. Spencer Yeh For Sound Horizon, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three-part program. While his first two pieces were informed responses to work by musicians Mary Halvorson and Vicky Chow / Tristan Perich, he concludes with an in-person […] 2016-04-22 21:29 By

23 Our 11 Favorite Works from the Dallas Art Fair Rachel Lee Hovananian, Perfect Baby Showroom, 2014. Installation with wallpaper, baby dolls, extension cords, metal, acrylic, wood, neon light, foam, cotton fabric, LED lights, cereal. Dimensions variable. Courtesy of the artist and Leila Heller Gallery, New York/Dubai As electric as was this year's Art Basel Miami Beach, no doubt the biggest challenge for art lovers was intimacy. But if Basel was speed dating, the Dallas Art Fair was a several-course meal, complete with palate-cleansing digital artworks and the ever-sumptuous pigmentary soufflés that are the high-performance market-movers of Richter, Lowman, Gillick, and Meese. It was nearly a week of facetime—not facades—new and old, and the kind of impassioned, one-on-one evening art convos that really only happen with a captive audience. (Not that being put up at The Joule , which lives up to its homophone in degrees , is any kind of captivity I'm against.) It was also the inaugural year for the Dallas Art Fair Foundation Acquisition Program , a fund that promises a thunderous future for all things contemporary at the Dallas Museum of Art. As far as this list goes, it's by no means comprehensive; Oculus Rift artworks by Rachel Rossin at Zieher Smith & Horton have to be experienced in person, and Chul-Hyun Ahn's infinite mirror boxes at Grimaldis Gallery could make Michael Heizer weep. All in all, it's impossible to deny: big things are happening in the Big D. Here were some of our favorites: Rachel Lee Hovnanian, Perfect Baby Showroom, 2014. Installation with wallpaper, baby dolls, extension cords, metal, acrylic, wood, neon light, foam, cotton fabric, LED lights, cereal. Dimensions variable. Courtesy of the artist and Leila Heller Gallery, New York/Dubai Babies are weird and gross, magical little sacks of soft bones, and mostly jelly. They're some of the most beautiful, intentional things people can make, making them an awful lot like art. This is why Rachel Lee Hovnanian's array of sculpted infants, seen above, was right at home on the first floor of the Fashion Industry Gallery building, ready to be picked up ( and Instagrammed ), provided you donned a smock and some hand sanitizer. Good art makes you engage with it physically; great art makes you worry it'll barf down the back of your shirt. This was both. Takashi Murakami, Ensō: Zen, White and Black, 2015. Acrylic on canvas mounted on aluminum frame / Acrylique sur toile montée sur châssis en aluminium. 55 1/2 x 47 1/4 inches / 141 x 120 cm. © 2015 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy Galerie Perrotin Everything about this suggests an evolution of the "superflat" master's practice—not least the fact that it isn't really flat at all. You might not be able to tell it from the image above, but the entire surface, beneath the black, Zen Buddhist circle, bursts with Murakami's signature cartoon skulls. I'm hesitant to call it "you have to see it in person" art, only because if you see it in person, say goodbye to your life savings. Rinus Van De Velde, Its All About Rescheduling My Desire, 2015. Charcoal on canvas, artist frame. Courtesy the artist and Tim Van Laere Gallery, Antwerp. Thumbnail: Rinus Van De Velde, You are so dangerous, she told me, 2015. Charcoal on canvas, artist frame. 200 x 200 cm. Courtesy Tim Van Laere Gallery, Antwerp Raymond Pettibon meets Robert Longo meets Tetsuo: The Iron Man on the massive, fully covered surfaces of Van De Velde's charcoal on canvas works. Getting home to one of these would be like watching Eraserhead every night, without having to fast-forward through all the gooey bits. Elsa Zambrano, Jeff Koons, 2014. Assemblage. 31 x 45.5 x 10 cm. Courtesy of the artist and Beatriz Esguerra, Miami & Bogotá Entire worlds await in Zambrano's Imaginary Museums , shoebox-sized assemblages replete with wallet-sized masterpieces. Each one is a hermetically-sealed spectacle, meticulously crafted in a way that makes me hopeful for Rick Moranis' triumphant return in Honey, I Shrunk the Koons. Val Kilmer, Godblock (black), 2014. Acrylic paint on six wooden boxes. 72 x 12 x 12 inches. Courtesy of the artist and James Kelly Contemporary, Santa Fe One time Val Kilmer showed up at my dad's office wearing a head-to-toe chicken suit to surprise one of his friends on their birthday. He's probably the only actor in the world who could have shown the piece above, in the middle of the Dallas Art Fair, and had it looked at as contemporary art (and not just some hobby). He should have been in Highlander. Nick Lobo, Bio-foam ® Aluminum pour(Natural Ice ® version 1) 2015. Aluminum, Bio-foam ® 58 x 41 in. Courtesy the artist and Gallery Diet, Miami What I said above about "great art making you worry it'll barf down your back" also rings true in the amorphous-but-deadly-looking wall sculptures of Miami artist Nick Lobo. There's something at once familiar and uncanny in these "aluminum pour" works, something that makes me think about the alchemy intrinsic to earwax, or that gunk you scrape off the bottom of your sneakers. These are like the visual equivalent of chewing on aluminum foil; revolting but you just can't look away. David Hockney (Clockwise from left), Third Detail March 25th, 1995. Digital Inkjet Print, edition 14/45. 35 x 43.75 in (88.9 x 111.13 cm). Courtesy Robert Miller Gallery, New York. Fourth Detail March 25th, 1995. Digital Inkjet Print, edition 14/45. 35 x 43.75 in (88.9 x 111.13 cm). Courtesy Robert Miller Gallery, New York. First Detail March 25th, 1995. Digital Inkjet Print, edition 14/45. 35 x 43.75 in (88.9 x 111.13 cm). Courtesy Robert Miller Gallery, New York. Second Detail March 25th, 1995. Digital Inkjet Print, edition 14/45. 35 x 43.75 in (88.9 x 111.13 cm). Courtesy Robert Miller Gallery, New York Pure aesthetic mastery radiates out from these prints of an installation Hockey photographed back in the 90s. A little Picasso, a little Kandinsky, a little de Saint Phalle, a whole lotta' love. Faig Ahmed, Restraint, 2015 Woven rug. 150 x 200 cm / 59 x 78.75 in. Courtesy of the artist and Sapar Contemporary, New York The woven glitch textiles of the Azerbaijani artist Faig Ahmed elevate an ancient craft tradition to the internet age, but that's not just why I'm including them. Whether dripping onto the floor or bubbling out of their surfaces, they're really well-made, fine art as much as simply beautiful objects. Nabil Nahas, Untitled, 2015. Acrylic on canvas. 152 x 121 cm. Courtesy of the artist and Lawrie Shabibi, Dubai This was sort of like the blacklight-reactive VICE Magazine cover bioartists Coral Morphologic made back in 2014, but with so much surface to pore over that you could gaze at it for days and still notice increasingly fine details. Plus, they're paint, so you don't have to worry about keeping them alive with a delicate pH balance. Rebecca Ward, X (green and yellow), 2015. Oil and dye on silk, 60 x 45 in / 152.4 × 114.3 cm. Courtesy of the artist and Ronchini Gallery, London This particular fair featured far less studio-to-collector-style hybrid painting-sculptures than most, making color and shadow-based contemporary artworks like the above X (green and yellow) all the more enticing. Each piece is one-of-a-kind, the end result of a time-hardened process that fixes a feeling in physical space. If that's not something to invest in, to get to watch mature, I should probably go to business school. Jonathan Monaghan, French Second Empire, 2014. Inkjet print on Hahnemühle photo luster, Dibond. 57 x 43 in / 144.8 x 109.2 cm, framed. Edition of 3. Courtesy of the artist and bitforms gallery, New York It was a pleasure to see the wickedly ahead-of-the-game bitforms gallery in the fair's midsts, not least because of the techno-utopian, Fabergé-meets- Black Mirror amalgamations of Jonathan Monaghan. Something innately forward about these prints makes them subversive, and few who passed by the young gallery's booth could resist getting up close. If everything's bigger in Texas, I can't wait to see when they'll start building mechs. What were your favorite works at the Dallas Art Fair? Let us know on Twitter @CreatorsProject or in the comments below. Related: A Fake Art Fair Takes Aim at Contemporary Practices The Best Things We Saw at Zona Maco 2016 [Photos] Here's How NADA Keeps It Fresh 2016-04-22 17:40 Emerson Rosenthal

24 Olivia Palermo, Alessandra Ambrosio, Bloggers Descend on Schutz Store Bash More Articles By The Brazilian shoe company unveiled its second door in the U. S. after New York at 314 North Beverly Drive and managed to pack a full house for its opening party, cohosted with Vogue. The evening’s guest list drew a mix of celebrities, models and influencers who mingled among the sea of shoes and included Olivia Palermo, Alessandra Ambrosio, Whitney Port, Johnny Wujek, Chriselle Lim, Rumi Neely, Shea Marie and Danielle Bernstein. The opening is timely with the region gearing up for the coming weekend with the second and final iteration of the annual Coachella Valley Music and Arts Festival, which Ambrosio said she is likely attending. The model came out to support the shoe brand, which she’s worked with in advertising campaigns. “I love the boots. I love the sandals, but I think their flat, summer sandals are always the most beautiful ones,” she said. Guests nibbled on light bites and sipped from cups screaming 314, per the company’s style of naming flagships after the streets where they take up residence. “We believe that a flagship store has to be streets,” said Alexandre Birman, chief executive officer and founder of the company. “We don’t have flagship stores in a mall and Beverly Drive is the combination of very high-end public traffic, very close to the national luxury brands, you have foreigners and the space here is really big. It allows us to showcase all of our collection.” Store growth is a step-by-step process for the company, Birman said, adding Beverly Drive and New York are “just the beginning.” The ceo went on to say the company’s next move in the U. S. will be a mall door that is expected to more significantly kick off the company’s presence here with Birman saying “to really have a business you need to be in the mall.” He declined to say whether the mall store would be in California, citing nondisclosure agreements, but added “hopefully yes.” 2016-04-22 17:38 Kari Hamanaka

25 Does Having a World Record Make You an Artist? We Asked Guinness The world’s largest cheese sculpture was made by cheese sculptor Troy Landwehr and San Francisco based fast food restaurant The Melt in September 2015. Credit: Guinness World Records. Art, so often associated with inaccessibility, high brows, or market value, may be a small space that few enjoy or understand. Those "in the know" see prizes and awards like Turner, Frieze, or Bucksbaum as a way of marking these achievements, celebrating those artists who have managed to break through to a committee of people that the wider population has probably never heard of. Yet there’s another organization who holds influence in selecting the best and the brightest, or rather, the smallest to the biggest— Guinness. “We have hundreds of artwork records, covering sculptures, mosaics and paintings,” says a representative from The Guinness World Book of Records , an annual publication documenting ‘human achievements and the extremes of the natural world’. “We are constantly working to research and inspire new artistic achievements. I wouldn’t say that our records are strange but they are unique, for example, the ' largest cheese sculpture ' is of a burger.” The largest chocolate sculpture created by Namba Walk, Japan in February 2012 weighs over 589 pounds. Credit: Guinness World Records. While there’s no doubt that some pieces found in contemporary art are bizarre, at first glance, Guinness’ listed art accomplishments are equally peculiar. From the largest chocolate candy sculpture , to the largest art installation made from coat hangers , Guinness situates their 40,000-plus records over the people suggesting new ones, or from those attempting to beat already established feats. “These tend to be for artworks that are made out of everyday items, such as the largest lunchbox mosaic,” explains Guinness. “We also have researched records, which we monitor by looking at art institutions and experts to verify, like the oldest sculpture , painting, and largest displays of famous artists’ work.” Extremities seem to be the overriding theme within Guinness art, be they in size, length, or mass, but whether or not these diverse, seemingly scattered bodies of work can stand alone, outside of Guinness’ yearly print edition, makes the franchise’s definition of art a bit more complicated. “People will go to see any old nonsense if its promoted correctly and has the right 'Art Speak' to back it up,” says Garry Vanderhorne of London’s Resistance Gallery. For him, putting a Guinness Art World Record in a gallery, “depends on the art and the impetus or reach beyond the world record.” Using mackerel and nigri, the largest sushi mosaic at 41.99 m² was achieved in Japan by Young Entrepreneurs Group of The Ono Chamber Of Commerce & Industry and The Ono Chamber of Commerce & Industry in January 2015. Credit: Guinness World Records. Since its inception in 1955, Guinness has turned into a household name, noted as "the biggest selling copyright book of all time. " That sort of influence—one that gains global media attention, also reaching television screens, the internet, and a chain of museums —is a sort of channel that many artists dream of. Yet for two-time Guinness World Record holder Jonty Hurwitz , who boasts both the "smallest sculpture of human form" and the "smallest animal sculpture," the Guinness franchise was an afterthought to his artistic practice. “They’re trying to amaze and awe people, but I suppose to some extent, they look for an element of marketing value to sell their books,” says Hurwitz. “I think they contacted me because it was a world record and it would amaze people, plus it’s good photos.” 3D printed Trust by UK-based artist Jonty Hurwitz measured at 80 by 100 by 30 microns when it was inaugurated into the Guinness World Records in February 2015. Credit: Jonty Hurwitz. Hurtwitz agrees with Vanderhorne, telling The Creators Project that, “Guinness on its own isn’t enough—the art world is looking for another layer. But I suppose someone with a bit of creativity could mangle some angle that resonates with people.” That being said, some record holders don’t think they’d have obtained their achievement without Guinness, like printmaker Steven McKenzie, who in October 2013, led a team of artists to create the world’s largest monotype print . Fragile Giant, also by Hurwitz, is a tiny elephant measuring a mere 0.157mm in height. Credit: Jonty Hurwitz. “Guinness is all about the biggest, the longest, the most, whatever,” says McKenzie. “You can’t help but be attracted by that idea. In the field of arts, though, they sort of limit the category.” A narrow canvas maybe, but what Guinness does do successfully is engage a global community of artists and non-artists alike, using creative endeavors to bring people together. “A lot of the artwork records that are applied for are by small communities, talking about issues that matter to them, be it making the world a greener place or raising awareness about diseases,” says Guinness. “By working together with communities and art institutions we hope to celebrate artistic achievements in all walks of life.” Making sure things are rolling straight for the world’s largest monotype print of 137.31 m by 1.21 m in Newark, New York in October 2013. Led by Stephen McKenzie with the Newark Arts Council and Gallery 1978, Maplewood Arts Center. Credit: Colleen Gutwein. Explore the Guinness World Book of Records or try to set your own here. Related: Light Painting World Record Set by 200 Glowing Orbs Chinese Robot Wins World Record for Walking 500,000 Christmas Lights Break Guinness World Record 2016-04-22 17:35 Catherine Chapman

26 Keds Enlists Social Media Style Starlets for Topshop Collection More Articles By Hailed as the first installment of the brand’s new Keds Collective program, two styles created by Tina Leung and Julia Sarr-Jamois will become available for sale on Topshop ’s Web site and in select Topshop stores beginning May 5. Both women took a spin on Keds’ classic Champion style. Leung’s design comes covered in pearlescent sequins and is laced with grosgrain ribbon. Sarr-Jamois’ is fabricated of a pink canvas and is strung with patterned pink and cobalt laces. The shoes retail for $45. 2016-04-22 17:28 Misty White

27 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a vanguard artist. As a composer of sound, movement, and film, Monk is one of the most innovative American artists of our time. Her expansive body of work, anchored by her trademark, three-octave voice, transcends definition; it is simultaneously contemporary yet timeless, deeply personal yet universal. Since the beginning Monk has pushed boundaries within her practice, and she continues to do so today. But her explorations of sound, time, and space, in whatever form they take, all bear her unmistakable signature. Meredith Monk and the Walker share a long, rich history that has spanned the majority of her career. Since 1974, the Walker has supported Monk’s artistic activity across a variety of mediums, including commissioning five key works, presenting an array of her creative output over 11 visits to the Walker, hosting six artistic and community residencies, featuring her in a prominent exhibition in the Walker galleries, and acquiring her iconic 16 Millimeter Earrings, 1966/98 for the Walker’s visual arts collection. What follows is a chronological history of Meredith Monk’s legacy with the Walker, one that’s sure to continue far into the future. The Walker first presented Meredith Monk’s work in 1974 with Act II from Education of the Girlchild , a theatrical opera, which, in this version, incorporated local artists, alongside her intimate solo work, Our Lady of Late. Each performance happened in a converted Masonic lodge, reflecting Monk’s early and longstanding interest in non-proscenium spaces (a section of her influential work Juice: A Theatre Cantata in Three Installments was the first live performance to happen at the Guggenheim, in 1969). Education of the Girlchild (1973) consisted of three sections at the Masonic Lodge, beginning and ending with the artist performing alone and featuring local performers in the middle section. Monk described the themes of the work as “seeing the process of aging, but backwards … show[ing] the change of time through gesture and through sound.” Likewise, Our Lady of Late (1971) featured Monk alone onstage, this time accompanied by the sound of a wine glass. Taken together, these two performances showcased the artist’s adventurous treatment of both time and sound, making it a fitting introduction for Walker audiences to her early work. Three years later, Monk returned to the Twin Cities with Quarry , her 1976 Obie Award–winning opera music/theater piece set during World War II. With 40 performers, the multidisciplinary work was performed in the Great Hall at the University of Minnesota’s Coffman Memorial Union. In describing the inspiration behind Quarry , Monk asked herself: “How could I make a piece, an abstract, poetic documentary about World War II that had some historical references, but at the same time was free of that and dealt with cycles of war and cycles of dictatorship. How could I do that in a really honest way?” In contrast to the large scale production of Quarry , Monk also performed her unaccompanied solo Songs from the Hill , a work originally composed on a hill in New Mexico in 1975 and 1976, showcasing the dynamic range of Monk’s singular voice. Continuing her site-specific exploration of the Twin Cities, Monk and Ping Chong filmed their collaborative theater piece Paris , a live performance originally created in 1972, over five days in an abandoned grain factory on the Mississippi River. This adaptation was supported by the Walker and KTCA-TV (now TPT or Twin Cities Public Television) and aired on national public television to wide acclaim; Paris was also performed in front of a live audience in the Walker auditorium during a 1982 residency. In celebration of the 20th anniversary of her career, the Walker presented a selection of performances from Meredith Monk’s expansive catalogue, including vocal arrangements from her landmark works Solo Excerpts for Voice and Piano , Turtle Dreams: Waltz , and Dolmen Music. A screening of the documentary film version of Quarry contributed to the evening at Hamline University. Alive from Off Center , a creative collaboration between the Walker and Twin Cities Public Television, was a 1980s broadcast TV show that featured contemporary performing artists across a range of genres. Meredith Monk’s short film Ellis Island (1981) was featured in the third season of the show, in an episode hosted by Laurie Anderson. Ellis Island explores the American immigrant experience through music, dance, and imagery, examining history through a contemporary lens. ATLAS: An Opera in Three Parts was the first work by Meredith Monk that the Walker commissioned—and the artist’s first full-scale opera. The critically acclaimed performance includes a 12-piece orchestra, seven soloists, and a full chorus trained in Monk’s extended vocal technique. The story revolves around Alexandra Daniels, a female explorer based upon the life of Alexandra David-Neel, the first western woman explorer to visit Lhasa, Tibet. The work was performed at the O’Shaughnessy Auditorium at St. Catherine’s University. In 1994, Meredith Monk returned to the Walker auditorium for an early work-in-progress showing of the Walker co-commissioned work Volcano Songs , which deals with themes of aging and the miracle of human transformation and features Monk’s characteristic vocal range. Describing the Walker’s support of Volcano Songs , Monk stated that “they gave me the chance to do what an artist strives to do: to create a new work without knowing what the result will be; to take the risk of starting from zero, cutting through preconceptions and artistic habits to allow the piece to grow organically, so that eventually it will have a life of its own.” In 1994, the Walker also co-commissioned American Archeology #1 , a site-specific work performed only on Roosevelt Island, New York, in Lighthouse Park and Renwick Ruin. The 1998 Walker exhibition Art Performs Life: Merce Cunningham/Meredith Monk/Bill T. Jones documented the Walker’s longstanding relationships with three key innovators who approached multidisciplinary creation in distinct ways. Monk’s gallery included a new set of interactive, memorable installations (which the artist worked closely with Walker curators to create) as well as scores, storyboards, drawings, sets, props, costumes, and sound and film excerpts representing the range of her artistic output, including landmark works like 16 Millimeter Earrings (1966), Juice (1969), Quarry (1976), and ATLAS (1991). Monk’s role in Art Performs Life also included performances, an artist talk with Curator Philip Bither, community residency activities, and an exhibition catalogue. The Meredith Monk gallery in Art Performs Life included an installation of her breakthrough music/performance/film 16 Millimeter Earrings. Created very early in her career, 16 Millimeter Earrings was the first time the artist worked with film and consequently became a watershed moment for Monk. Combining voice, guitar, audio loops, performance, film projections, and sculpture, the work is mesmerizing and unforgettable. In 2010, the Walker acquired 16 Millimeter Earrings , 1966/1998_ , the video/installation version of the work created for Art Performs Life for our visual arts collection; it is currently on view in the Walker exhibition Less Than One. Another key element of the Art Performs Life opening was a moving performance of A Celebration Service (1996) at the First Unitarian Society Church next to the Walker, involving Monk, her Vocal Ensemble, numerous community members, and a post-concert processional. Monk also sang a solo work from the organ loft at the Basilica of St. Mary, also near the Walker, following Sunday mass. In conjunction with the opening weekend of Art Performs Life , Meredith Monk and Vocal Ensemble performed a full concert featuring excerpts from two Walker co-commissioned works: ATLAS (1991) and The Politics of Quiet (1996), which Monk describes in the Art Performs Life exhibition catalogue as a “musical-theater oratorio.” She went on to say, “I am always interested in discovering new forms between the cracks. … In The Politics of Quiet the music was the continuity. I didn’t want to illustrate the music; I wanted images that were a counterpoint to the music. Eventually, the piece revealed itself to be an abstract, nonverbal oratorio, or you could think of it as a ceremonial.” Meredith Monk and visual artist Ann Hamilton worked together for the first time on their 2001 music/performance work mercy. With visual installations by Hamilton and sound and movement by Monk, the work was a true collaboration between the two artists from start to finish. In 2008, Monk said “[ mercy ] ended up being a manifestation of the creative process of two human beings. The first image of the piece—the two of us sitting at opposite ends of a table—was what the piece was about.” The New York Times called mercy “an extraordinary collaboration. … Together, they created a multitude of visual and sonic wonders.” The work was performed at the O’Shaughnessy Auditorium at the College of St. Catherine. When the Walker held a grand opening celebration for the McGuire Theater in 2005, Performing Arts curator Philip Bither invited Meredith Monk and her longtime collaborator, Theo Bleckmann, to inaugurate the space in a series of performances that also included Philip Glass, Mugiyono Kasido, Steve Tibbetts with Choying Drolma, and Rizwan-Muazzam Qawwali. As Bither remembers : “After Meredith Monk and Theo Bleckmann flawlessly performed three excerpts from Monk’sFacing Northto a hushed, reverent crowd, they began their deceptively simple but truly complex vocal work Hocket. A few seconds in, Theo started on a wrong beat and Meredith waved her arms and then faced the audience with a smile: ‘Hold it. Start over.’ Warm laughter flooded the room; rigid shoulders lowered as the relieved audience seemed to settle comfortably into their seats. It was like hanging out with friends in your living room, or being with family and playing music together, or experimenting with something and realizing it was time to start over. The theater had, in a matter of seconds, been transformed from a temple of excellence to the kind of artist-centered, audience-friendly place we’d dreamed of.” Songs of Ascension (2008) combined Meredith Monk’s composition and choreography with Ann Hamilton’s visual elements to create a music/theater work exploring spirituality, ritual, community, and time. Monk was inspired, in part, by Hamilton’s 60-foot spiraling tower located in Geyserville, California, where the work was later performed as a site-specific version. The Walker co-commissioned Songs of Ascension , presented three preview performances, and hosted a 15-day production residency in the McGuire Theater, which helped Monk, her performers, and her artistic collaborators bring the work to life. To honor Meredith Monk’s rich history as a pioneer in contemporary performance, Meredith Monk and Vocal Ensemble performs The Soul’s Messenger, Celebrating 50 Years of New Music on Friday, April 15, 2016 at The O’Shaughnessy Auditorium. Meredith Monk will join Director and Senior Curator of Performing Arts Philip Bither for a conversation about her evolution as an artist on Thursday, April 14, 2016, in the Walker’s McGuire Theater. 16 Millimeter Earrings, 1966/1998 is on view in the Walker galleries as part of the exhibition Less Than One through December 2016. 2016-04-22 20:20 www.walkerart

28 Becoming American: Fionn Meade on Less Than One The first in a series of entries exploring Less Than One, on view through December, “Becoming American” begins with a consideration of author Joseph Brodsky (1940– 1996), whose essay provides the exhibition title, and Flags (1965), a painting by Jasper Johns included in the exhibition. At an early age Joseph Brodsky experienced much of what it […] 2016-04-22 20:20 By

29 john pawson's serene life house for living architecture providing people the opportunity to holiday in residences designed exclusively by known architects and designers, living architecture is an ongoing program that aims to promote, educate and influence discussion about modern architecture in the UK. for john pawson, his ‘life house’ has recently been completed buried in the hills in tŷ bywyd, wales. the cascading scheme unfolds as a place of calm and solace, with a generous living area, large bathrooms, bedrooms and common areas that allow for both complete privacy and – when it’s desired – sociability and communion. the house’s programme is arranged as a series of self-contained folds, opening off two corridors ‘from the beginning, the thinking behind the life house was an uncompromisingly modern design where it would be possible to inhabit a different sort of architectural space. experiments with massing and orientation have produced a composition that is bedded into the fall of the land.’ – john pawson the music bedroom contains a sound system with a curated selection of transcendent and calming music the exterior of the building is constructed from black danish handmade bricks, allowing the structure to unobtrusively occupy the cascading landscape. accommodating up to six peole; the polished terrazzo floors and the light timber ceilings combine to instill a bright and tranquil ambiance. the corridors are planned as key architectural experiences, each charged with its own distinctive character continuing with the idea of serenity and restoration, there is a a bathing bedroom which provides a room-based bathing platform in which to lie and enjoy views onto the welsh valley. one of the bedrooms is integrated with a suitably generous music system and a carefully curated selection of transcendent and calming music from all ages and genres. the design, which sleeps six people, is based upon the concept of a retreat instilling serenity and contemplation the polished terrazzo floor, set against the white brick, and light timber ceilings, creates a peaceful and life calming space the scheme is constructed of danish handmade bricks; black for the exterior and white for the interior pawson’s residence is set in mid wales, near the small town of llanbister, amidst a landscape of rolling hills 2016-04-22 17:04 Natasha Kwok

30 Art to Love the Earth By | GIF Six-Pack Living Stills The Earth. There's a lot on Earth that we love, like pie, Game of Thrones , and that feeling when you turn your pillow over to the cool side. More than any of those things, though, we love GIFs, and GIFs love the Earth—at least, the ones we carefully selected for this week's Earth Day edition of GIF Six-Pack do. From the bugs that keep our plants alive to the plants that help us breathe and the gorgeous vistas that make breathing meaningful, this planet sure does a lot for us. It's pretty messed up that, with all of that the Earth does for us we keep mucking it up by burning fossil fuels , razing the forests , and killing all the animals. Use these GIFs to get back in touch with what nature's all about: rolling in the dirt and being beautiful. Happy Earth Day. Sasha Katz Scorpion Dagger John McLaughlin Living Stills Psyklon Motion Addicts BONUS: What will happen if we don't take care of the Earth Kiszkilosky See more earthy GIFs on GIPHY . Related: Surreal Photographs Reveal Africa's Environment in Crisis A Spanish Artist Subverted the Scars of a Refugee Camp [Exclusive Photos] A Daring Filmmaker Shoots a Timelapse in a Forest Fire 90 Tons of Glacial Ice Melt in Front of the Paris Climate Talks 2016-04-22 17:00 thecreatorsproject.vice

31 Sponsored: Invaluable Gears Up for Spring Auction Season With Prints and Multiples Related Artists Francis Bacon Cy Twombly Albrecht Durer Andy Warhol Pablo Picasso As auction season rears its head, advisors and collectors turn their attention to the secondary market. Despite sluggish fair and gallery sales so far this year, blue-chip artists remain in high demand. Unattainable for many collectors, these prized artists become increasingly accessible through the prints and multiples they produced. From contemporary favorites like Francis Bacon and Cy Twombly to historic icons like Albrecht Dürer and Rembrandt van Rijn, the prints marketplace can be as varied as any other medium. Art enthusiasts can observe this diversity on Invaluable , a marketplace that offers sought-after works from auction houses and galleries all over the world. Operating from a privileged vantage point, Invaluable and its curatorial team are able to observe trends as they happen, like the latest upswing in the multiples marketplace. “We’re seeing more new and established collectors looking to expand their collection online,” explained curatorial head Amanda Nolan. “Prints are the perfect entry-point for scooping up works by blue-chip artists that have shaped the course of art history.” We asked Nolan what to look out for in the coming auction season, which spans from April 25 to May 12, and she shared a selection of pieces that represent the increasingly vibrant landscape. When it comes to the Contemporary and Post-War bracket, it is not surprising that Andy Warhol reigns supreme. An iconoclast in and out of the studio, Warhol’s dedicated printmaking practice demanded that a new generation consider screen printing as a serious art form. At Phillips ’ upcoming Evening Edition sale, collectors can find not one, but two noteworthy Warhol editions to take home: “Moonwalk” and “Mickey Mouse, from Myths.” Simple and striking, these prints exemplify the reason to invest in the often overlooked medium. If Pop isn’t your thing, Nolan suggests a more expressive piece by the likes of Pablo Picasso or Francis Bacon. Picasso’s recent sculpture show at the Museum of Modern Art only strengthened his market, so sanctioned editions, like his charming “Tete de Femme” at Shannon’s Fine Art Auctioneers, offer clients the ability to take home a piece of history minus the debt. The same goes for Bacon. His “Man’s Head (Portrait of George Dyer Talking)” from 1966 is available from Doyle New York and represents an important work from the late artist’s career. Both infamously unaffordable, the edition market makes the artists feel surprisingly within reach. Leaving one with the question: What to bid on first? 2016-04-22 16:40 BLOUIN ARTINFO

32 Eli Manning, Zegna Host Fundraiser for Robin Hood Ermenegildo Zegna ’s longtime ambassador, Eli Manning, drew a well-heeled group of fans to the Italian luxury brand’s flagship on Fifth Avenue for a fund-raiser earlier this week. Manning, the New York Giants quarterback, was the marquee host at a fundraiser for the Robin Hood Foundation, an organization he has long supported. Manning, who looked lean and in peak condition in a midnight blue two-button made-to-measure notch-lapel Zegna suit, said he’s begun working out with the team already to get ready for next season, concentrating mainly on flexibility and strength training. Manning was also wearing a blue limited-edition Robin Hood tie that Zegna created especially for the evening. It was available in two colors — light and navy blue — and included the Robin Hood Foundation logo. Fifteen percent of the sales from the tie were donated to the charity. He said he first became familiar with the charity around seven years ago when he attended a breakfast event and heard stories from some of the people Robin Hood had helped. “It was very emotional for me and it made me jump on board to see if there was a way to help out the many organizations that Robin Hood works with,” he said. Manning has been a member of the foundation’s Leadership Council for the past couple of years. “It’s a great charity and they’re doing a lot of work to fight poverty in New York, which is a major problem,” he said. 2016-04-22 16:39 Jean E

33 See Albert Kriemler's Fujimoto-Inspired Designs Albert Kriemler gave a new twist to the idea of “building a collection" when he began working on his minimalist designs for Akris's Spring-Summer 2016 Collection. A devotee of modernist architecture, Kriemler took inspiration from the airy buildings and structures—Zen-like in their serenity—created by Sou Fujimoto with their relationship to nature in mind. His first experience of the Japanese architect's work was seeing his 2013 Serpentine Gallery Pavilion, a cloud of white steel poles arranged in an intricate grid and forming an ascending seating terrace amid London's verdant Kensington Gardens. Embarking on a collaboration with Fujimoto, Kriemler replicated the pavilion as a red design motif evoked by Fujimoto's sketching the cloud in clustered red ink lines, which also suggested to him the red embroidery he used on pure white asymmetrical tunic, T-shirt and bag. “In Sou's work, I recognize a desire to comprehend and create volume, space and room, to intertwine nature and construction, to work with transparency and opaqueness that rings familiar to me," Kriemler has said. “He is a great integrator and he is able to express a complex virtuosity with utmost simplicity and ease. " The two men first met in 2015 through the photographer Iwan Baan in Paris, where Fujimoto was working on the Ecole Polytechnique at the Université Paris-Saclay campus south of the city. The Polytechnique building, housing six schools, will feature unconfined walkways and balconies and be organized around a light-filled atrium adorned by trees and plants. Fujimoto's incorporating of nature into a working-socializing space—or living space in the case of his 2008 House N, a structure of three white nested shells in Kyushu island's Ōita Prefecture —is mirrored in Kriemler's prints on the flowing parka pared with a tunic dress presented as part of the collection at the Grand Palais in Paris last fall. The models in the show passed through a replica of House N that connected backstage with the runway at the Palais. Kriemler was greatly moved by Fujimoto's delicate white pavilion in the harbor at Naoshima, his monumental “21st Century Oasis" design for the Taiwan Towers project, his upscale Palm Court retail complex in Miami's Design District, and the huge white mushroom-shaped canopy— dotted with apertures to allow trees to grow through it—for the House of Hungarian Music in the museum complex planned for Budapest's city park. The Naoshima pavilion's intricate diamond shape inspired Kriemler's 3D-printed rings and its mesh panels prompted the broderie anglaise that characterized the cutting-edge ensembles in this group. The Taiwan Towers gave Kriemler the idea for the bamboo-derived texture of an exquisitely diaphanous fabric used in some of the loveliest dresses; the sapphire-blue glass fins of the Palm Court's façade influenced dresses and futuristic jackets in brilliant shades ranging from navy to marine. And the different shaped apertures intended to aerate the Hungarian music hall are represented in an archipelago of geometrically shaped cut-outs on the garments. No single facet—whether cut, line, color, or fabric—is more important than any other in Kriemler's breathtaking designs, yet what doesn't meet the eye in them was clearly a defining element in their conception. The ellipses, holes, and abbreviations in many of the collection's shift dresses (an Akris icon), in its shorts, pants, tops, shirts, and accessories, are as essential to their elegance as the sublime fabrics that surround such artfully contrived voids. These are clothes for cool, sexy modern women who exude self-possession and playfulness, hence the avoidance not only of frills and fuss but the absence of convention. Kriemler sees no reason why a hemline shouldn't be two-tiered or a garment beautifully ventilated. Sometimes Kriemler's fabrics are gossamer-thin—a sensuous near-transparency complementing dresses or tops that are backless, sleeveless, or daringly riven by deep (if never immodest) V-shaped necklines. Sometimes fabric has been judiciously eliminated in small square windows that show the wearer's natural raiment. Less may, indeed, be more, but the more shimmers (literally in the case of certain fabrics) with aesthetic purity. Kriemler did not come to Fujimoto arbitrarily. His passion for architecture—including the work of Adolf Loos, Joseph Maria Olbrich, the landscape architect Robert Burle Marx, and the contemporary team of Jacques Herzog and Pierre de Meuron as well as Tatiana Bilbao—has led him organically to Fujimoto's eco-friendly masterpieces. Just as they express an ideal for living based on spatial economy, consciousness of light, and sensitivity to natural shapes and textures, so the clothes in Akris's Spring-Summer 2016 collection express an ideal for how women can dress not simply to look desirable but also for comfort, gracefulness, and in harmony with nature and modernity. Synergy between a fashion designer and an architect has never been so bountiful or exciting. Follow artnet News on Facebook. 2016-04-22 16:39 In Partnership

34 Sketching Is Prohibited at V&A Museum Show To the dismay of many, the Victoria & Albert Museum have banned photography and sketching at a new temporary exhibition titled "Undressed: A Brief History of Underwear. " The show features an assortment of undergarments and related media from the 18th century onward, and is conveniently sponsored by Agent Provocateur and Revlon. Granted, this isn't the first time the V&A implemented a ban on capturing images. According to the Guardian , the museum instated a similar rule in their 2013 David Bowie exhibition to help with the flow of visitors. But in an email to artnet News, Lucy Hayes, a press officer for V&A, revealed that these restrictions are the result of specific legal contingencies. She didn't provide further details, but did note that "visitors to the V&A are welcome to sketch within the permanent galleries," provided that "loan conditions permit. " Around 60 of the 200 objects on display are now part of the museum's permanent collection. The image above, which is included in the heavily-branded exhibition, depicts a model wearing the 'Tamila' lingerie set from Agent Provocateur's Soirée collection, where the bra alone costs $890. In addition, a pair of Floral Tie Knickers "created exclusively for the V&A exhibition" is available in the gift shop. Of course, museum policies on photography and sketching in exhibitions vary across the board —whether they are corporate-sponsored ventures or not. Museums known to ban selfie sticks , for instance, include Boston's Museum of Fine Arts, Dia: Beacon, and the Museum of Modern Art. Others, however, like Tate, the Louvre, and the National Gallery, lifted their decades-old photography bans so long as flash is suppressed. Follow artnet News on Facebook. 2016-04-22 16:36 Rain Embuscado

35 MTV Video Music Awards Return to New York The 2016 MTV Video Music Awards are coming back to New York. MTV announced on Thursday that the 2016 ceremony will take place August 28 at Madison Square Garden. This will be the first time since its 1984 inception that the VMAs are held at MSG. The first ceremony was broadcast from New York’s Radio City Music Hall. The 2015 ceremony was held at the Microsoft Theater in Los Angeles and hosted by Miley Cyrus. In a rather pot-stirring move, the image accompanying the announcement on Twitter is of the infamous Kanye West and Taylor Swift moment on 2009, when West interrupted Swift’s acceptance speech for best female video. The feud was rehashed this past February when West debuted his album “The Life of Pablo” during New York Fashion Week, which includes a song that brought up the drama with Swift once again. Is this MTV ’s way of saying this is the kind of spectacle we can expect from a New York-based VMAs? Guess we’ll be tuning in August 28 to find out. 2016-04-22 16:33 Leigh Nordstrom

36 Selling Sex with Durex’s Pleasure Art Campaign Final artwork by Chanon Treenet for Durex “Play Aloe Vera” campaign. Image courtesy of the artist Thailand-based animator and painter Chanon Treenet illustrated a sensual scene between two lovers made out of succelents, waves, and water poppies. To begin a dialog with the Chinese market about sex, condom and product brand Durex launched a campaign to engage consumers through a series of visual art created by top tier international talents including Treenet. Twelve artists were hired to make work around the “Aloe Vera Pleasure Gel” product, promoting racy scenarios. In a society where speaking of intimacy openly is often not the norm , the social marketing agency behind the campaign S-Lab , promoted the lube with a series of posters. An online museum was created, exhibiting the full-color artworks, all vaguely based on sexual experience. On the first day the campaign launched, it achieved nearly one million views. Final artwork before color by Chanon Treenet for Durex “Play Aloe Vera” campaign. Image courtesy of the artist While the work Treenet produced for the campaign is both intimate and intricate, he manages to express human sexuality without letting it overcome the mood of the piece. Engaging the natural elements of water, flora, fauna, fish and of course the aloe plant, Treenet’s work feels more personal than a product campaign. “A good thing about this project is that they wanted us to produce a piece of art, not a commercial advertisement,” he tells The Creators Project. Durex is known for its legitimately creative, tongue-in-cheek ad campaigns, but this one shows a sensitive side. First color draft by Chanon Treenet for Durex “Play Aloe Vera” campaign. Image courtesy of the artist The range of art from the online sex museum varied from artist to artist, each creating a poster in their own signature style and medium. Treenet worked on his piece using his usual traditional technique of drawing first with graphite and ink and then scanning it in to add color to create the finished work. “This is the first time I have worked on a project based on the subject of sex,” says Treenet, “I had to think about how to present my idea while avoiding getting too erotic with the possibilities.” First draft by Chanon Treenet for Durex “Play Aloe Vera” campaign. Image courtesy of the artist Click here to visit the website of Chanon Treenet. Related: The Sensations of Sex, Visualized | GIF Six-Pack Everything in This Sex Shop is Made of Felt Tame Impala’s New Music Video Is a Surreal Sex Fantasia 2016-04-22 16:33 Hannah Stouffer

37 L. A. Habitat: Amanda Ross-Ho Amanda Ross-Ho in her Skid Row studio on December 12, 2015. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the city. This week’s studio: Amanda Ross-Ho; Skid Row, Los Angeles. “L. A. is one of the most fraught, anxious places that I’ve ever spent time in,” Amanda Ross-Ho told me recently. “But that motivates me.”We were strolling through her Skid Row studio, near Sixth Street in downtown Los Angeles. Ross-Ho’s workspace is located in a large former warehouse on a relatively empty street, but the Skid Row neighborhood is home to thousands of people, many of whom are homeless or living in shelters.“We’ve been watching that community get pushed out of this area while things are being pushed in from the east side. A lot of former industrial buildings are being turned into lofts. The stratification is a little stressful,” Ross-Ho told me. Before inhabiting her current studio, which she moved into eight years ago, she shared a space with ten other artists in East Los Angeles. Ross-Ho now splits her Skid Row studio with only one other artist—her partner, Eric Frydenborg. Originally from Chicago, Ross-Ho moved to Los Angeles to attend USC, where she graduated with an M. F. A. in 2006. Since that time, her relationship with Los Angeles has been in flux. “I hated L. A. for a long time. I couldn’t navigate; I was literally lost all the time,” she said. “It was pre-smartphone, so everything was stressful.” She noted that the city’s fraught nature is part of the reason it feels right for her, though. “There’s a sense of urgency and wanting to ask questions that are rigorous and inevitably lead you into murky territory that is not always about the pleasure of beauty. It leads you into places that are problematic and complicated, and this place is complicated. At least, it has been in the past,” she said, adding that she’s noticed L. A. residents becoming more self-aware in recent years. Ross-Ho told me that her creative process involves navigating what it means to understand something, which requires a process of deconstruction and a careful examination of myriad complexities. To her, a studio atmosphere that feels “readily unresolved” is the perfect setting in which to make art. “There’s something actually productive about being uncomfortable,” she said. “You can’t be passive—you have to be really intentional about everything.” Ross-Ho will have solo exhibitions at The Pit II in Glendale, California, in June, De Vleeshal in Middleburg, Netherlands, in September 2016 and Bonner Kunstverein in Bonn, Germany, next February. Below, a look around Ross-Ho’s Skid Row studio. ALL PHOTOS: KATHERINE MCMAHON Ross-Ho in her studio. “The first part of the day is admin and emails and stuff like that, and then I get a surge of energy at this weird point in the afternoon. Night is when I am particularly productive,” she said. She keeps active while she waits for a second wind. “There’s a lot of shuffling that happens around the studio. I move things, organize, or clean, which often ends up being super useful.” Ross-Ho’s studio space in downtown Los Angeles is located in a former retail distribution warehouse just off of Skid Row. Her first shared studio space was situated in a former rubber factory in the City Terrace neighborhood. “It dissolved for a number of reasons, but that was our initial workspace right out of school. It was a different time in L. A.” Ross-Ho with an in-process Black Glove wall piece constructed from stretch cotton, sateen, acrylic paint, cotton piping, and armature wire. “These are based on the idea that a glove usually comes in pairs; there’s a presumed activity between two hands. Instead, these are made forensically. Their appearance begins to distort. At some point, you may not even see the glove anymore.” “These are the fingertips of the gloves. Sometimes I’ll pull the glove off and the tip will come off, so I made these isolated fingers. I want to try to incorporate them into some other projects as well.” Latex-glove source material for some of Ross-Ho’s larger scale works. She incorporates things in and around her studio as part of her work. “I started to become interested in the value of chance and authentic marks when I started working in a studio. It’s this peripheral space where things are made, but I also realized, ‘What would happen if I recreated those accidental marks through an authentic process?’ They become fictional props of the actual space,” she said. “Would they have the same energy if they happened accidentally?” More works in the studio. Recently, Ross-Ho has been listening to podcasts like Serial and Undisclosed , both of which, in many ways, play into her practice. “I have a high tolerance for that kind of banter. I’m mostly interested in how they parse through things. Something about that is related to the insanity of what you’re doing in the studio, the extremity of focusing so intently on detail. The extremity of bringing something into the world, something that you insist needs to exist, requires precision.” Ross-Ho looks at several sculptures in the studio. “I’m the maker and the observer at the same time,” she said. “Everything is intentional, even if something is a random mark that happened accidentally. I take it and carefully recreate it using both intuition and chance. The immediacy is vital to the process of creation.” 2016-04-22 16:24 Katherine McMahon

38 Chiming Cuckoos: Chadwick Rantanen at Essex Street Chadwick Rantanen, Red Wine, Doc , 2016, ten battery-operated light up wall decorations, fourteen artist-made AA battery adaptors (plastic, metal, stickers), 43½ x 47 x 2½ inches. COURTESY THE ARTIST AND ESSEX STREET, NEW YORK C hadwick Rantanen’s “ Five Bars of Deal ” opened at Essex Street gallery on April Fools’ Day, but the show is no joke. It reveals this young Los Angeles–based artist as one to watch, with a formidable group of works that strike the right balance between dry humor and heady concepts. Rantanen is best known for sculptures that involve slit-open tennis balls like those you might find on the bottom of rolling walkers, which Rantanen attaches to eight-foot-tall poles. Like the flipped- around cuckoo clocks in this show, the sculptures are beguiling, bizarre things, yet the walker- ball works take themselves too seriously, or are too tongue-in-cheek. Rantanen’s new sculptures are an improvement. Most are from the “Battery Adaptors” series, for which the artist has refitted chintzy light-up clocks and paintings with lower-power batteries—AAA instead of AA, for example. The batteries come with plastic wings and are placed in little bays on the backs of the objects, which now face the wall rather than viewers. Chadwick Rantanen, Black Forest Swiss House with Turning Goats , 2016, battery-operated cuckoo clock, two artist-made AA battery adaptors (plastic, metal, stickers), 9½ x 8 x 4 inches. COURTESY THE ARTIST AND ESSEX STREET, NEW YORK Whatever visual pleasure the clocks and picture frames once provided is largely hidden. Instead, we see their behinds, in a sense—their dust covers, which have bar codes stuck on them and are sometimes torn, exposing LED lights. These works have a topsy-turvy quality—what is normally the front becomes the back. Likewise, in his “Fluorescent Fittings,” ceiling lights are positioned like sculptures, with their bulbs detached and plastic pieces with stickers lodged between them. The ceiling becomes like a wall: a place from which to hang art. The “Battery Adaptor” works are essentially objects pulled out of the world, tweaked slightly, and placed in a gallery. When does an object become art? Rantanen’s answer: when its purpose isn’t what it used to be. The bar codes on the back refer to how, when an object is sold as art, it becomes useless—a source of aesthetic pleasure that, in effect, does nothing. Rantanen’s next challenge will be to determine how his sculptures differ from Dada and Neo-Dada work. Surprisingly, the artist’s cuckoo clocks are functional—sort of. When I visited the show Black Forest Swiss House with Turning Goats (2016) sprang to life. Its timing was off (it chimed as if it were 1 p.m.; I visited at 5:30 p.m.), but it didn’t matter. The point was that someone had to be there to know it happened—the viewer had to complete the work. After all, if a cuckoo clock chimes in a gallery, and nobody is there to hear it, does it make a sound? 2016-04-22 16:13 Alex Greenberger

39 kengo kuma plans new hans christian andersen museum kengo kuma set to build new hans christian andersen museum in denmark all images courtesy of kengo kuma / cornelius+vöge architects in denmark, the city of odense has revealed plans drawn up by japanese architect kengo kuma for a entirely new museum dedicated to the work of hans christian andersen. the competition-winning design, which was developed alongside cornelius+vöge architects, was chosen ahead of proposals by bjarke ingels group, snøhetta, and barozzi veiga. the project was revealed on the 211th anniversary of the author’s birth, and is strongly influenced by andersen’s much-loved fairy tales. covered in lush greenery, an ensemble of curving pavilions occupy the site the 9,000 square meter scheme forms part of the city’s ongoing regeneration, and includes a cultural center for children within the ‘enchanted gardens’ of the ‘lotzes have park’. covered in lush greenery, an ensemble of curving pavilions occupy the site, their form mimicked by spiraling hedgerows that form immersive maze sequences. the building itself has a floor space of 5,600 square meters, two-thirds of which is underground, creating a series of sunken fairy tale-inspired spaces. ‘we have found a unique winning project,’ says odense’s mayor anker boye, who was also the jury chairman for the competition. ‘the fact that kengo kuma is from japan only goes to show that sometimes you have to travel abroad to find home. the proposal has a unique quality that captures the spirit of both hans christian andersen and odense, has striking international caliber and is locally embedded at the same time. it is a project that I can only imagine taking place here in odense. but at the same time, it points far beyond anything local or national.’ a competition for a combined exhibition-design concept based on the world view of hans christian andersen was won by british group event communications. according to jane jegind, odense’s alderwoman for urban and cultural affairs, the winning concept formed the basis of kengo kuma’s proposal. ‘in planning the project, it was important to us that gardens, building and exhibition design were envisaged as an interconnected whole that clearly captures the spirit of andersen and brings out the essence of the city of odense at the same time,’ explains jegind. ‘this is another reason why it is brilliant to have found such a well-integrated and well-designed project that is both ingenious and magical. kengo kuma and the danish partners cornelius+vöge and MASU planning have created the perfect setting for the future presentation of hans christian andersen where we need a keener focus on his enchanting universe than on his personal life.’ the museum is now in the process of securing funding, with further announcements expected later this year. 2016-04-22 16:10 Philip Stevens

40 40 Chamber Music Society of Lincoln Center Signs Up Its Artistic Directors Through 2022 The Chamber Music Society of Lincoln Center , which is expanding its reach beyond Alice Tully Hall through tours, residencies and radio broadcasts, announced Friday that it had extended the contracts of its artistic directors, David Finckel and Wu Han, through the 2021-22 season. The extension ensures that Mr. Finckel, a cellist, and Ms. Wu, a pianist, who are married and who took over the artistic leadership of the society in 2004, will remain in their posts through the society’s 50th anniversary season, which will begin in the fall of 2019. The couple said in a joint statement that they were “emboldened to lead the organization toward ever higher achievements on behalf of the art form we love and respect so much.” Suzanne Davidson, the society’s executive director, said that during their tenure at the helm the organization had seen its subscription base grow and its audience in New York expand, added summer concerts, toured more domestically and internationally, and increased its radio broadcasts and online streams of its concerts. 2016-04-22 16:06 By

41 ‘Can Computers Be Programmed to Appreciate Art?’: The Machine as Viewer, in 1977 COURTESY MAGNUS With Magnus, an app that can recognize artworks using visual data, being released to the public recently, we turn back to the Summer 1977 issue of ARTnews , in which the editors wondered if it was possible for a computer to appreciate art. “Would there be a call for computer art critics?” the editors asked. No, Magnus does not meet that description, but it is being called “Shazam for the art world,” and it can tell you titles, artists, media, and prices when viewers take pictures of the work in question with their phones. The 1977 article follows in full below. “Can computers be programmed to appreciate art?” Summer 1977 Writing in a recent issue of the British contemporary arts journal Leonardo , Wales psychologist Michael J. Apter asked the fascinating question “Can computers be programmed to appreciate art?” Well, maybe, according to Apter, if we reevaluate our notion of what art is. The idea of art as a profoundly spiritual—or, at least, emotional—undertaking is questioned by Apter, for starters: “It is possible to think of the whole artistic process mechanistically,” writes the psychologist. Apter’s strategy is arriving at such a mechanistic understanding of art involves dispensing with the question of “whether computers can be said to be creative in a human sense or feel conscious emotions,” since “these important and interesting questions have been discussed by philosophers and others.” Instead, he advises thinking of the human brain itself as a kind of computer. “It might seem that an art work should be considered as a collection of data produced by an artist’s ‘computer’ that is analyzed by an observer’s ‘computer’,” is Apter’s way of putting it. COURTESY MAGNUS He goes on to an interpretation of the “collection of data” that is an artwork as a program of the sort fed into a computer. The program, or artwork, operates on the “emotional subsystem of the observer’s ‘computer’ so that certain emotions are automatically aroused. It is as if an observer’s ‘computer’ was a musical instrument being played on by the artwork’s program.” New styles of art such as Impressionism or Cubism are not generally understood when first encountered, writes Apter, because one is not emotionally aroused. Yet soon enough the brain develops a “compiler” (a special program used by computers to decode “high level language”) responsive to these styles. For Apter, this suggests a function of art beyond emotional satisfaction: “…it exercises and develops one’s own ability to understand new and complex structures.” Apter’s “structure” gets more complex by the page. A work of art, he states, is a model—”a structure that is simultaneously an exemplar of a theoretical construct and a simplification of reality.” Models are also used in science—an airplane model used for a wind test in a tunnel, for example. Works of art such as figurative paintings “may be said to exemplify some general idea, theme or argument in a particular way and at the same time to represent in a simplified and selective manner chosen aspects of the real world,” like the airplane in the wind tunnel. Apter cites Goya’s anti-war paintings as good examples of models of “abstract religious notions,” and Rembrandt’s drawings as “simplification…of an extreme form, a few lines representing a whole complex scene.”Having cinched his arguments for the brain as a computer and the artwork as scientific model, Apter has to admit that “there are many difficulties at the present stage in converting such a mechanistic interpretation into a viable computer program.” Great strides have been taken in this direction, however, since, the author points out, computers are getting better and better at processing “natural language” and in incorporating “emotional subsystems.” In fact, as computers evolve and become more and more lifelike, they may evidence a need for an art on their own—programmed, of course. “Such programs would … be functionally equivalent to artworks; but they would be specially designed for computers… If computers themselves were used to produce such artwork, then we would have the intriguing development of computer art for computers themselves.” Intriguing indeed. Would there be a call for computer art critics, their insightful, critical printouts reading something like, “The works of Computer 352911 operated effectively on the emotional subsystem of this observer, exercising my ability to understand new and complex structures and setting my compiler whirling”? 2016-04-22 15:52 The Editors

42 Art-Focused 21c Museum Hotels Releases Statement About North Carolina Law Restricting LGBTQ Rights Peregrine Honig’s sign for 21c Museum Hotels. COURTESY 21C MUSEUM HOTELS 21c Museum Hotels, the art-centric North Carolina–based chain, spoke out today against House Bill 2, a law that requires North Carolinians to use bathrooms that correspond to their “biological sex.” And they’re not the only people in the art world to publicly come out against the law, either. Last week, Eric Shiner, the director of the Andy Warhol Museum, called off a visit to the University of North Carolina, writing in a statement, “Until that bill is revoked, I do not feel comfortable or safe coming to North Carolina.” House Bill 2 is a state law that forbids local municipalities from creating their own legislation about employment and public facilities. The bill, which passed in North Carolina’s overwhelmingly Republican General Assembly last month, makes it so that the bathroom a person uses must correlate with their “biological sex,” effectively restricting transgender rights. Unisex bathrooms are still legal, but they must be single-occupancy, according to the law. In a statement today, 21c Museum Hotels made clear that the hotel chain does not stand with the bill. Below is their statement. 21c Museum Hotel was conceived as a space where contemporary art – sometimes whimsical, sometimes inspiring, often challenging – can be transformative; a venue for exploring what is relevant today through different lenses. We cherish artists’ ability to lend unique and powerful voice to distinct perspectives on the most important issues of our time. We do not strive for unanimous acceptance of the works, but we hope the experience will facilitate conversation. Unfettered expression is the heart of our mission. Individuality is the cornerstone of our culture. It is in the spirit of these values, and with commitment to our community, our guests, our employees, and the artists whose work we display, that we share this statement: It is demoralizing that sanctioned discrimination could be a cause contemplated, let alone endorsed, by public officials elected to represent a diverse and complete constituency. We are proud that the vibrant city of Durham is home to 21c Museum Hotel, and we humbly stand with fellow North Carolinians who petition the repeal of House Bill 2. In response to the bill, 21c Museum Hotels has also commissioned the artist Peregrine Honig to design bathroom signs that combine male and female bodies. Under the figure on these signs is the phrase WE DON’T CARE. “21c feels this installation gives the community another way to engage in conversation around this important issue,” a release reads. “First and foremost, this is a human issue. 21c simply opposes discrimination. But officials should understand that this human issue does have economic implications – both in lost revenue for the state and for individual business owners.” 2016-04-22 15:46 Alex Greenberger

43 Castles in the Sky: Adam McEwen on ‘Harvest,’ His Show at Petzel Gallery Adam McEwen, IBM Blue Gene 1 and IBM Blue Gene 2 , both 2016. COURTESY THE ARTIST AND PETZEL, NEW YORK For the past few years I have had a poster in my living room of Kate Moss’s New York Times obituary. It begins, “Kate Moss, the model who died aged 33, was the most celebrated and iconic beauty of her time, possessed of a poised glamour which she translated into lasting fame and a considerable fortune.” The whole thing is beautifully written, and has a photo of Moss posing, topless, in front of dark shadows. When people first see it they usually pause suddenly, trying to remember when she passed. Sometimes I do too. Moss, of course, is still very much alive. The article is a work that Adam McEwen made in 2007 as part of a series of obituaries of living figures, including Bill Clinton, Bret Easton Ellis, and Jeff Koons. He was drawing on his years of expertise as an obituary writer for The Daily Telegraph , and they are perhaps his most famous works, but it has been a while since a new piece has appeared.“I haven’t done one since 2011, but I would do another one,” McEwen told me one afternoon at the Petzel gallery in Chelsea. “It’s hard to think of people who would really work.”McEwen talked quickly and excitedly, standing close so that he could be heard over the drills, hammers, and saws that were buzzing in the background, assembling his show, “Harvest.” He is a gangly 6 feet, 2 inches, and he towered over me. He had a crisp haircut, and with his youthful enthusiasm, he seemed a decade younger than his 51 years. Installation view of ‘Adam McEwen: Harvest’ at Petzel in New York, 2016. COURTESY PETZEL, NEW YORK “They’re homages,” he added, of the obituaries. “So they have to be somebody I really think is great, in a sense. Yet they all have this thing of, the person seems to have a flaw, and the flaw seems to be that they don’t seem to be really in control of reality.” As fanciful as it sounds, McEwen’s art can itself exercise exacting control over reality. For a quick moment, viewing his works, someone is dead, or an apparently straightforward object reveals itself as something else entirely. We were standing in front of two large, sleek, gray sculptures that resemble giant IBM servers, which would ordinarily be filled with scores of hard drives, collecting data, humming away. These, however, are hollow inside, and they are made of graphite.“I mean why? Why did they make it look like this?” McEwen said, almost laughing with good-natured exasperation. “These are cupboards! That’s all they are. But I think they’re saying, ‘If you rent these, or buy these, or use our system, we will fuck with anyone you want cause we are bad and we’re fast.’ ” The servers, he pointed out, also recall the monoliths in 2001: A Space Odyssey and classic Minimalism—Tony Smith, Brice Marden, and Donald Judd. McEwen is interested, he said, in the way “that culture sort of drips through. Really the bottom line is, this is IKEA. Judd today is IKEA.”McEwen has also made immaculate graphite sculptures of locked gates, water fountains, and ATMs. All of those subjects obscure their contents. They hold back products, water, or cash until the push of a button or the turn of a key. I asked him what makes for a good graphite sculpture. He said, “I think usually the suggestion that something might be offered and that the object can’t deliver.” Adam McEwen, Staircase , 2016. COURTESY THE ARTIST AND PETZEL, NEW YORK “They all want to offer, and they’re optimistic, I mean in the sense that they are designed to offer you something,” McEwen added. “But, what if they are restricted somehow? What if an ATM can’t deliver?” His works sit resplendently in a zone of certain failure. (He once made a version of a “Sorry, We’re Closed” sign that read, “Sorry, We’re Sorry,” which is, he told me, “another thing that can’t deliver. It’s like: Sorry, I can’t give you anything. I can’t even give you a new word, so here’s the same word. Sorry.”) One has a flash realization before his objects: these things are making promises that they can never fulfill. “I think that if you can try to find that hiccup, then in that moment, for a split second, somebody drops into a different place,” he told me. “And if you get them in that different place, then you can flip things over. That’s why you might make a drinking fountain out of graphite, because they go, ‘Drinking fountain,’ and then there’s that, ‘What?’ And just in that second—that is why very familiar things are useful, because it’s a starting point. Banal things. They kind of creep up on you.”And to that end, there would seem to be nothing quite as familiar as a letter of the alphabet. McEwen has blown up one—”K”—into a gigantic sculpture with metal beams and plywood boxing. It stands almost 19 feet tall, nearly filling one room, and has stairs and platforms that allow one to walk up inside of it. Why a K? For the first time McEwen paused and thought hard. “It’s hard to explain,” he said. “I can’t…I…partly, it comes from Kafka,” referring to The Castle (1926), whose main character is named simply K. He then launched into the story of LeFrak City, the housing complex that Samuel LeFrak built in the 1960s in Queens, which fell into disrepair in the 1980s and ’90s, coming to be known as LeCrack City, and Bomber Harris, the British Air Marshal who oversaw bombing campaigns in World War II, whom McEwen learned about in his youth.“This guy bombs cities, this guy builds cities,” McEwen said, “And in the meantime I’m thinking there’s this huge city with a castle with a K, and it just all sort of seemed hard to understand. I was interested in the way that these two stories don’t meet…And they kind of seem to talk to each other, but they don’t—the gray area in between is weird. And somehow the K, which sort of reaches out to, let’s say Kafka and The Castle , seemed to be like the link.”Once he came up with the shape of the K—in Helvetica font with a few subtle alterations—it was an easy job to build, McEwen said, simply a matter of placing in stairs and railings the only places they could logically go. “Down to the last millimeter, it completely designed itself,” he said. “You just had to iron out the wrinkles. It determined what it did. It’s very weird. Really satisfying.” And at this he took a deep breath, looking truly pleased. Visitors to the show, which runs through April 30, must sign a form stating they will not sue if injured on McEwen’s K. Which may sound a bit silly, but it is scary as hell way up on top of it. It is wobbly, and I stepped very carefully, watching where I placed my weight. Adam McEwen, TSA , 2016. COURTESY THE ARTIST AND PETZEL, NEW YORK The show, in essence, is about movement—about how information and bodies flow through space, and about how those things can be delayed or stopped. McEwen kept returning to that idea while we talked, explaining how visitors would move through the space, past graphite approximations of Heathrow security trays near the entrance and eventually ending up in a room with images of the four tunnels that flow into Manhattan (printed, improbably, on large, thin sponges) and a metal cast of a very strong Fox police lock designed to keep a door in place. Lives and careers, to be sure, also involve movement, and McEwen’s would appear to be on a steady upswing, though I think he remains deeply underrated. He was a bit of a late bloomer. After graduating from CalArts in 1991 and returning to his native London, “I failed to make an art object for about eight years,” he told me, still sounding pained. And so he decamped for New York—“a last-gasp effort to change something.” Ideas finally began to come, and he has gained a healthy amount of commercial success over the years. In January he will have his first solo museum show, at the Aspen Art Museum.“An obituary is a narrative of somebody’s decisions,” McEwen told me. “And in that narrative essentially they’re trying to do the best for themselves. You watch somebody: in 1978 she did this, and in 1983 she did this, and in 1988 she—” He cut himself off. “Clearly they’re trying to do what they want with their life, and then they die. And in a sense it’s optimistic, and in another sense it’s impossible, and that’s like making art. You’re trying to make this thing that floats, and you know that’s not going to happen, but you think it’s still worth trying.” 2016-04-22 15:02 Andrew Russeth

44 Ryan McGinness Thinks You're Looking at Art Wrong | Studio Visits Photos by Charlie Ruben Ryan McGinness ' approach to art and the art world is sardonic yet earnest, a mature version of the rebellious ethos that defined his youth in 90s skate culture. He’s soft-spoken and very tall, a gentle giant from Virgina Beach, long and far away from his current space on the top floor of a six-story former factory in New York's Chinatown. When I visit his studio of 19 years, McGinness is shipping a series called #metadata , which is all about how people often look at art wrong—or at least see it incompletely. When you see a JPEG of a painting, he argues, you’re missing texture and the nuanced quality of the paint. But his cynicism comes hand-in-hand with a solution. “That’s why I use fluorescent, pearlescent, and metallic paints, because they’re qualities of pigment that have to be experienced in person. They can’t be reproduced on a screen,” he tells The Creators Project. More than a decade after his self-explanatory show, The Fine Art of Corporate Sponsorship/The Corporate Sponsorship of Fine Art in 2003, #metadata is a response to McGinness’ many frustrations with the way we consume culture. He occupies a space along many of the art world’s borders, including branding with the likes of Supreme and Hennessy, hosting themed soirees for a project called 50 Parties , and running his own merch store. But these deviations from the white cube norm are just one part of his attempt to deal with perceived flaws in the art world. At the point in his career where his work is instantly recognizable as a symbol of taste and status, McGinness is in the process of pulling an Andy Warhol and turning his career into a work of art. Whether it’s a painting from his Women series, Black Holes , Mindscapes , or Art History Is Not Linear , he has become frustrated by the commodification of his practice. “Some people express interest in just wanting ‘A Ryan McGinness,’ so the work in those cases just serves as a symbol or placeholder for whatever ‘A Ryan McGinness’ means to them,” he says. McGinness takes this frustration with the humor you’d expect from a guy who spent his youth falling off a skateboard onto concrete all day. He gets right back up again and puts it into the art. #metadata acknowledges that his are paintings being used as status symbols by literally turning paintings themselves into symbols in his paintings. Furthermore, his work is of the sort that, “you might not want on your living room wall.” Not only are they often painted with a color palette meticulously designed not to go with anyone’s drapes, but many of McGinness’ symbols are pretty subversive. “I can’t imagine anyone wanting images of people fucking skulls and fucking each other and hanging themselves and performing autoerotic asphyxiation—which are all in my paintings—in their house,” he says. This topic has been thoroughly considered, as is every aspect of the studio that operates around McGinness. Every item has a place. The paints are chromatically-organized, each a unique recipe perfected by McGinness and his staff, like a magic potion. His calendar is full of notes, sketches, deadlines, and arrows: the potential energy of an exhibition incarnate. Dozens of paintings and silkscreens are stacked along the walls in neat rows. More hang on the walls, filling the space, but not making it feel cluttered. “When we reach for a hammer, that hammer better be in its place,” he says. Two decades of time spent inside the same four walls have made them his castle, as much an extension of the artist as a paintbrush, an arm, or a smartphone. “If at all possible, try to stay in one spot,” he advises artists on the up. “The efficiency is exponential over the years by not having to move, pack up and rearrange. If you need more space for older stuff, use offsite storage.” This is a mature, pragmatic recommendation, spoken with the wisdom of someone who has published 17 books about his art and creative process. His first book, flatnessisgod , is known to be beloved by Japanese artist Takashi Murakami. His penchant for simplification and wry use of symbolic language permeates skate and streetwear staples, but when I ask him to speculate about his influence on emerging artists, he draws a blank. “Real influence, in the way I’m influenced by people, has to do with being inspired by work ethic or what different people are investigating in their concepts in their work,” he says. His work ethic was first driven by the competitive nature of skate culture. If he couldn’t keep up with the the best of best skaters, he could create the designs they emblazoned on their boards and tshirts. “I experienced the work being appreciated,” he says. “That’s an intoxicating and empowering feeling.” Today, he’s driven by a more Sisiphysian motivator: his own creativity. “I feel like I’m three years behind myself,” he explains. “Three years behind all the sketches and outlines in my notebooks. The drive is just to catch up to myself. I hope I do, one day, and then I can rest, then I’ll be done. But that’ll never happen.” Learn more about the artist on his official website . Related: Talking Skateboarding, Instagram, and Glow-in-the-Dark Art with Ryan McGinnness Paintings within Paintings Hit Disorienting New Show '#metadata' A Street Art Skate Park Fills a Former Spanish Church How a Freewheeling Skater Became an Art Historian 2016-04-22 14:30 Beckett Mufson

45 At Tribeca, Documentaries Focus on Chris Burden and Maurizio Cattelan Related Events Tribeca Film Festival Artists Chris Burden Maurizio Cattelan Maurizio Cattelan kicks a burning baby carriage in Milan / Courtesy of Maurizio Cattelan Archive Most artist documentaries are not good. Their purpose, typically, is to introduce the life and work of an artist to the general public. In their creation, there is an inherent tension between generalization and specificity. With a standardized feature-length running time — anywhere from around 90 to 120 minutes — and the intention of acting as a survey, there is need for condensing. But at the same time, for the film to appeal to an audience who might be aware of the artist and his or her work, there needs to be, in the best examples, some form of reexamination or demythologizing. At this year’s Tribeca Film Festival , two of the more interesting, not completely successful, films were about two artists from different periods and with very different work. What links them together is their desire to provoke. “ Burden ,” a documentary about the life and work of Chris Burden , presents a common hagiography of its subject. Through a tour of Burden’s career, there is an attempt by the co-directors to look behind the surface of his work, which often, at least in the earlier years, pushed situations to violent extremes. “ Maurizio Cattelan : Be Right Back” is at first similar in its approach. But as the film moves toward its conclusion, it takes a different route, becoming a collaboration with the artist in the retelling, even the obscuring, of his own biography. Chris Burden , who died just short of a year ago at the age of 69, was still alive when the film about his work was being made, and he was able to participate. These moments are the most interesting. Older and softer, the glint of danger in his eyes has now been replaced by something that is more comfortable and calm. He resembles less the artist in his twilight years than a retiree tinkering around in his garage, more interested in his tools than whatever he is building. The work he made later in his career mirrors this — after he moved away from performance concerning the body, simple, almost innocent pleasures dominated: flight, movement, light. The film presents all this rather delicately but has little to say about what the transition means in relation to his work. It is strange that the man who once staged a performance where he had somebody shoot him became a more publicly acceptable, or as the film describes him, “cuddly” figure. Does the change only seem drastic because of the way his early work is described in terms of its integrity? Should the shift be viewed as a progression, regression, or transgression? There’s no simple answer to any of those questions, but they are not even posed by the film, which reinforces the mythic bubble around Burden’s earliest work without ever attempting to puncture it. One gets the sense that the artist was running away from something as his career progressed, but what exactly that was is unclear. “Be Right Back” is also focused on an artist who is running away. Within seconds of the film, Cattelan is referred to as an “artistic conman,” and he wears that title as a badge of honor. The film about his life and work is yet another one of his cons, a biographical sketch that turns out to be as silly as much of his other work. This is intentional, of course, as becomes clear later in the film. “Be Right Back” draws the curtain in front of what we’ve been watching and reveals that much of it was in fact “false.” There is the sense that Cattelan, or at least the filmmakers, think this maneuver has something to say about the tenuous link between truth and biography in art. I’m not sure that it does. Cattelan, through his work — and by proxy through the film, which can be considered an extension of his work — plays with the question of authenticity, but has little to say about it beyond the gesture the film reveals (and if you’re familiar with his work, you’re already aware of). He’s not really engaging with the idea, just wearing another mask. This is another deflection, it could be said, another way to ignore the question. For Burden, the shift in his work can be seen as a similar movement or retreat. There is a desire for the reaction but a difficulty dealing with the consequences. Both films would have done better to ask the questions that the artists are incapable of asking — essentially, perform the role of the critic. But rarely do we see a documentary about an artist that truly takes on his or her work, which stands up to it and questions it. Instead, we get the deepening of established narratives, of art history like a hamster spinning in its wheel. 2016-04-22 13:38 Craig Hubert

46 ghidini 1961 - a new collection of brass designs curated by stefano giovannoni ghidini 1961 - a new collection of brass designs curated by stefano giovannoni ghidini 1961 – a new collection of brass designs curated by stefano giovannoni image courtesy of ghidini 1961 in the province of brescia, italy one finds the unparalleled italian manufacturing excellence of ghidini bosco. a company that specializes in die casting brass, aluminium and zamak, ghidini bosco excells at combining advanced technologies with a passion for fine craftsmanship, applying their expertise to a range of products. for more than 50 years, ghidini bosco has been working with the best designers, architects and industry professionals to manufacture classic and contemporary pieces, as well as carry out custom projects. with all aspects of production taking place in-house at villa carcina, it has become known for its particular attention to detail throughout the entire production process — from concept phase to realization. it is these qualities that form the basis of ghidini 1961 — a new design brand that has been formed under the art direction of stefano giovannoni, who has brought together a group of diverse creatives to consider the properties of brass, a material often disregarded by the contemporary design industry, through new and innovative contemporary designs for mass consumption. ‘take me to miami’ collection by nika zupanc table, chair, mirror, plate polished brass various dimensions launched during milan design week 2016 at spazio rossano orlandi, the initial collection presents pieces by andrea branzi, fernando and humberto campana, richard hutten, elisa giovannoni, stefano giovannoni, studio job and nika zupanc; who have designed a diverse range of pieces — from fine jewelery boxes to tableware to furniture to industrial lighting. collectively they showcase the particular luster of brass in a way that celebrates the overlooked material. ‘kaleidos’ by the campana brothers, is composed of six hinged mirror blades that can be opened or closed. the brass base and gilded mirrors create a kaleidoscope of golden tones and reflections. ‘the piece can be used as a lamp as it is backlit‘, explains fernando campana. ‘it will be a mirror with the possibility of different sizes and colors. a geometric piece that can produce various designs. we were inspired by lygia clark’s bicho critter sculptures,’ adds humberto campana. ‘this is our first collaboration with ghidini and we really enjoyed working together. they devote great concern to achieving refined finishes.’ - campana brothers ‘giotto’ by andrea branzi hanging frame that supports photos, small containers, books and other knick knacks polished brass 45 x 25 x 180 cm andrea branzi has created three distinct pieces for ghidini 1961: the ‘giotto’ floor lamp, ‘incrocio’ shelf, and ‘porto’ console, each one an expression of geometric forms with backlit elements. ‘incrocio’ by andrea branzi hanging frame that supports photos, small containers, books and other knick knacks polished brass 204 x 12 x 134,7 cm ‘miami’ table and chair by nika zupanc table, chair stainless steel, polished brass 105 x 60 x 75 cm; 45 x 43,5 x 82 cm nika zupanc’s ‘take me to miami’ series brings forth pieces that recall old school classrooms and furniture. just when you’re feeling down, and a little bit battered or numbed by life in general, along comes the spectacularly shiny square-metre ‘miami’ table — a perfectly mad place on which to produce the blueprint of your very individualism. the ‘miami’ chair is the perfect partner to the table’s personal transformative power. lightly push it back away from the desk, step in between the two objects and take a seat on the essence of simplicity. stripped to its iconic form, on the chair you ultimately find yourself arranged, alight the peak of your super fabulous golden self. ‘flamingo’ lamp by nika zupanc table lamp polished brass 59 x 43 cm the vibrant stream of light coursing from the adjustable self-standing steel ‘flamingo’ lamp is all about brightening up even the coldest of corners. misjudgements, misguidance and misfits, they all disappear under the melting embrace of light. the round 50-inch surface of the ‘sunset’ mirror is sunk into the graphic embrace of two palm fronds. the wall-mounted design declaration of a true summer paradise. fiasco. guilt. fear of love. a place to hide all the things we secretly desire yet are too scared to utter. the luscious things the perfect lover knows are never to be told. she dreams, she wonders, where to find this place. first she thinks Heaven, then the beach; in the end she finds this place in the ‘knotted cherry’. stefano giovannoni has designed a family of precious metal objects that celebrate the form of a rabbit. in different cultures, both eastern and western, the animal is a symbol of sweetness and fertility — a sweet and auspicious object that brings good luck and good wishes, for ghidini 1961 giovannoni has translated the rabbit into salt and pepper shakers, a paperweight and doorstopper. stefano giovannoni has also designed ‘omini’ — a family of products that plays on the inclusion and the relationship between the human figure with a series of monolithic objects from geometric and minimalist design. small lilliputians attack and animate the pure forms of the pieces, referring to the natural-artificial and abstract-figurative contradictions that have always characterized the relationship between man and the object. the bell metal lamp used in industrial halls is a no-name icon — a balance between technical and functional image and memory. elisa giovannonni has developed a noble metal version of the hanging light with a smooth and reflective bell. its distinguishing features are the casting that encloses the bulb holder and the anchor hook, while polycarbonate closes the bell to diffuse the light. ‘axonometry cube’ and ‘axonometry parallelepipedo’ by elisa giovannoni serving tray in stainless steel polished brass 15 x 17.3 x 2.5 cm, 15 x 17.3 x 2.5 cm, 15 x 15 x 2.5 cm; 15 x 34.7 x 2.5 cm, 15 x 34.7 x 2.5 cm, 15 x 15 x 2.5 cm the compositional schemes elisa giovannoni’s family of small trays are axonometric isometric projections of two parallelepipeds which create a three-dimensional optical effect implemented by inclined edges and contrasting metal finishes. like in a game, you can get as many configurations as you wish, always creating different designs. ‘kaleidos’ by campana brothers sculptural wall light in stainless steel polished brass 101.4 x 93.4 cm, 46.473 x 5.13 cm ‘here (thimble)’ by studio job ice bucket cast and polished brass ø 24,75 x 24,75 cm studio job drew inspiration from tailoring traditions and care of the smallest details to realize their supreme ‘here (thimble)’. the ice bucket is represented by a gigantic thimble with etchings. ‘opera tables’ by richard hutten rectangular, square and round side tables stainless steel, polished brass 56 x 25 x 60 cm; 28 x 60 cm; 28 x 60 cm richard hutten’s side tables for ghidini 1961 were originally designed for the interior of the dutch national opera and ballet — simple yet elegant. nika zupanc’s ‘take me to miami’ series for ghidini 1961 presented at milan design week 2016 image © designboom ‘flamingo’ lamp by nika zupanc at spazio rossana orlandi during milan design week 2016 image © designboom ‘factory’ suspension light by elisa giovannoni and ‘opera’ side tables by richard hutten image © designboom 2016-04-22 13:25 Andrea Chin

47 Odd Nerdrum Unable to Travel to US for Solo Show Norwegian painter Odd Nerdrum is having his first solo show in the US in five years but he will be prohibited from attending the opening. Art dealer Casey Gleghorn, who is director of the Booth Gallery in midtown Manhattan, told artnet News that the Nerdrum show, titled "Crime and Refuge," is set to open April 30. However, he learned within recent days that Nerdrum is unable to travel to the US after unsuccessful appeals in a long-running tax fraud case that may finally land the artist in jail. The artist pleaded unsuccessfully to be allowed to serve his sentence at home since he suffers from Tourette syndrome, among other health issues, Gleghorn says. The case, which dates back at least five years , is extraordinarily complicated. Gleghorn told artnet News that the trouble started when some of Nerdrum's paintings began to re-liquify starting around 1989. Nerdrum had attempted to make his own "Maroger" medium, a mixture of cooked oil, lead flakes, and mastic, that allows for paint to be manipulated for a longer time. Apparently the component that failed was the mastic which Nerdrum "had been misguided to [use] by a Norwegian conservator," according to Gleghorn. Nerdrum attempted to repaint the compositions as replacements for those that had "melted" between 1989 and 2002. But Norweigan officials, Gleghorn says, taxed the artist for both the originals, which the artist wrote off as a loss, and the replacements. In the late 1990s, when the artist joined New York's Forum Gallery, the gallery reportedly negotiated to retain a percentage of his commission as security against the melting paintings. artnet reached out to Forum Gallery for comment. Associate director Jillian Casey wrote in an email: "We do indeed still work with Odd Nerdrum, but we do not represent him exclusively, and we know nothing specific of his travel plans, legal difficulties or exhibition prospects at any galleries. " Gleghorn maintains in an email that the "main evidence against Nerdrum is that he and his accountant did not report this check, held mutually in trust as income. A notarized agreement between Odd and the gallery was offered as evidence (and ignored). " On August 17, 2011, district courts in Norway sentenced the artist to two years in jail. The artist appealed the sentence, but in June 2012, the court of appeals increased the time to two years and ten months, after prosecutors claimed that the artist had made great efforts to hide his assets from the Norwegian government. In 2013, the Supreme Court in Oslo ruled that the evidence did not support the verdict, thanks to research from Anders Fjellberg, a journalist from Dagbladet , who traveled to Iceland (where Nerdrum had moved) and to Austria, to collect statements as evidence. Fjellberg reportedly supplied documents including correspondence over an Austrian bank statement, Icelandic tax returns, and income which showed that the court had counted Nerdrum's income several times. The case then went back to appeals court, where the final decision was one year in prison and eight months of house arrest. artnet News reached out to Fjellberg for comment. He told us in an email: "I have not heard about that specific issue—regarding Nerdrum not being allowed to enter the US. But as far as I know, he is still waiting to serve time for the tax fraud case. " He continued, "His sentence was heavily reduced, but he still has to serve a year in prison. [The case] is a bit of a mess and a complicated matter. " According to the artnet Price Database, a total of 119 works by Odd Nerdrum have come up at auction over the years. Of these, 43 works, or 36 percent, have failed to sell. The highest price ever paid at auction is $231,000, set at Norwegian auction house Bruun Rasmussen in 2007, for Contra Natura (1988-90). The second highest price is just under $170,000, set at Sotheby's London in June 2007 for The Animal Stone (1987). The lowest price, however, is a mere $465, paid at Grev Wedels Plass Auksjoner AS in 2010, for a lithograph, Kjaerlighetspar. artnet News also reached out to Nerdrum's attorney, John Christian Elder, but did not receive an immediate response. 2016-04-22 13:07 Eileen Kinsella

48 Five Minutes With Alexa Chung: Fashion Apps, Social Media and Her Hatred of ‘Clique-y’ Coachella Fashion Alexa Chung wants to show that she’s more than another “It” girl. In addition to pulling pieces from Marks & Spencer’s archives for a special capsule collection and prepping to shoot her fall ad campaign for AG next week, she’s revving up interest in her fashion app called Villoid. Formerly known as So Bazaar, the tech company hosted a garden tea party at the Roosevelt Hotel in Hollywood on Thursday. Before greeting her friends, including Poppy Delevingne and Kelly Osbourne, the 32-year-old chatted with WWD about becoming an app-maker, influencing young women on social media and hating the commercialization of festival fashion. 2016-04-22 13:01 Khanh T

49 Alexa Chung Turns On Kelly Osbourne, Poppy Delevingne and Leigh Lezark at Her Villoid Fashion App Party Hosting a garden tea party during cocktail hour at a hipster sanctuary like the Roosevelt Hotel in Hollywood is a formula for frivolous fun. Adding a hostess like Alexa Chung is a guarantee for whimsical clothes and stylish guests. The perennial “It” girl welcomed her peers — including Poppy Delevingne , Kelly Osbourne , Leigh Lezark and Kilo Kish — to introduce her fashion app called Villoid on Thursday afternoon. In the spirit of working for a start-up, Chung threw herself into many of the tasks necessary for ensuring a memorable — and Instagrammable — party. After shopping for the paper flowers hanging above the garden, she handed over a flash drive packed with tunes by Otis Redding, Beastie Boys and The Velvet Underground to a guy tinkering with the sound system. She even encouraged guests to quaff the rosé wine, hauled into the party by the crateful to wash down the tea sandwiches and mini scones topped with cream and jam. “She comes up with the creative ideas,” said Karin Kallman, chief marketing officer of the nine- person app maker that used to be known as So Bazaar. When the company tried to recruit Chung, it got an earful on what they were doing wrong. “She thought it was really ugly, the clothes were boring and she hated the name,” Kallman recalled. Since undergoing a Chung-approved makeover, the app has expanded from its base in Norway to 95 countries and tallied 350,000 downloads. Chung herself has more than 36,000 followers on the app. A hybrid of Pinterest, Twitter and e-commerce, it was recognized as the best new app in the U. K. and Scandinavia last December. Chung also gave an “It” girl touch to her party outfit, pairing black Converse high-tops with a pink slip dress accented with red lace. “I bought it at Selfridges in the underwear department,” she said, pleading ignorance to the brand name. On her app, she knew exactly which styles she wanted to wear this summer. Pointing to $795 Sixties-inspired loafers adorned with interlocking G’s, she said, “Gucci is my dream right now. It just looks like everything I like.” Scrolling down on the screen to $2,290 shantung wide-leg pants by The Row, she said, “I want a white suit.” In contrast, most of her guests dressed boho casual. Fresh from hosting a party with Shopbop at Coachella last weekend, Delevingne couldn’t relinquish her denim cutoffs. Lily Donaldson, also sporting short shorts, begged photographers not to take her picture. Having fully recovered from spinning tunes at Jeremy Scott’s blow-out bash at Coachella , Lezark said she was trying her hand at another aspect of music-making: movie soundtracks. Along with her partner, Geordon Nicol, from The Misshapes, she created the score for “Time to Choose,” the documentary about climate change from Charles Ferguson, who won an Oscar four years ago for his last exposé, “Inside Job.” Other photogenic guests who refused to coast through life on their looks included photographer Tasya van Ree, who is curating a show highlighting female artists with Petecia le Fawnhawk at Parachute Market, and designer Elle Sasson, who recently added bags to her ready-to-wear line. Osbourne is in the middle of revamping her fashion line called Stories…By Kelly Osbourne. Even though she’s known Chung since they were teens breaking into the TV industry, Osbourne wouldn’t think of picking her friend’s brain for advice. “It’s the last thing we do when we get together,” Osbourne said. “We do not talk about work.” 2016-04-22 12:57 Khanh T

50 Light Art Makes the Far Side of the Moon an Interactive Experience All images courtesy Studio Iregular It’s a no surprise that Montreal-based creative studio Iregular , known for mesmerizing digital wormholes , interactive light harps , and other large-scale participatory light installations , was commissioned by the internationally renowned Winter Lights in Canary Wharf, London to create MOON , an installation of lunar proportions. Seeking to provide viewers with both intimate and immersive pieces, the studio unveiled the smoky light tunnel, pushing viewers into the floating, framed point of view of the moon. “I’ve been using the frame shape a lot because it allows me to mark the interaction zone without textual instructions,” studio founder Daniel Iregui tells The Creators Project. “I’ve been experimenting and thinking a lot on this aspect and MOON was an idea I wanted to try.” Winter Lights took place back in January, but now you can experience MOON in action in the video below: MOON — London, United Kingdom from Iregular on Vimeo . Controlling both light beams and a four-voice analog synth-generated soundtrack with a motion- capture device, viewers experienced unique experiences with the synthetic moon. “The light is viewed because I am projecting on smoke, and the sound comes from an analog synth controlled in real time with the movement of your hands,” Iregui tells us. “There are four different light patterns and sound voices that are selected randomly, but also allow four people to use it at the same time. " Iregui explains that he wanted the audience to be integrated, to be active, and to contribute to work, instead of just looking at it. “I also work a lot with random visuals and sound to create a work that is always transforming and evolving,” he says. “I prefer to delegate the final result to chance and other people,” he concludes, adding that the interactive part is the best way to strengthen the random dimension. MOON 's visual documentation just came out a few days ago. Check it out in the images below: See more of Iregular's work on their website. Related: You Control the LED Lighting at This House-Sized Installation Lose Yourself Inside an Infinite Digital Wormhole Create Colors and Music by Plucking a Room-Sized Light Harp 2016-04-22 12:30 Benoit Palop

51 This Puerto Rican Hotel is a Minimalist Eco-Friendly Heaven All photos courtesy of Hix Island House Made up of 19 spacious loft apartments in angular concrete buildings that rise from the lush landscape like granite boulders, Hix Island House is the antithesis of the all-inclusive resorts usually associated with Puerto Rico. Horses roam gardens tamed from the dense jungle, and trade winds drift through the open air guest rooms, which feature glassless windows, sprawling balconies, and outdoor showers. Architect John Hix and his wife, designer Neeva Gayle Hix moved to Vieques from Canada in the 80s and set about creating a sustainable haven in the Caribbean, a fusion between conservation and design. “I try to give our guests a contrast of experience from their mundane environment, whether it is suburbia or the center of a robust city,” John Hix tells The Creators Project. Away from the bustling traffic and crowded beaches of San Juan, Hix Island House is located on the island of Vieques, a remote idyll home to just 9,000 people and 3,000 wild horses. I got there via prop plane, flying low enough to watch the sprawl of San Juan dissolve into lush forest hugging cerulean sea. Although it was used by the US Navy for test bombing till 2003, Vieques feels pristine, with miles of untamed, deserted beaches, and the world’s brightest bioluminescent bay. The island’s warm climate and natural beauty makes it an ideal place for autonomous design, a sustainable building practice Hix has pursued throughout his career. Architects who adhere to the principle believe buildings should adapt to nature, not strive against it. Air conditioning is a perfect example; most buildings are sealed against the elements, consuming huge amounts of electricity to pipe in cool air. The Hix Island House, on the other hand, is powered by solar panels, collects rainwater in cisterns, heats water with the sun, and uses runoff from sinks and showers to irrigate fruit trees on the property. “We should learn that the house does not contain the machine but that the house is the machine,” proclaims Hix. 2016-04-22 12:25 Kara Weisenstein

52 Was Stonehenge an Ancient Burial Ground? Every so often, someone brings forth a new theory on the purpose of Stonehenge, one of the most mysterious ruins of the ancient world. The latest archaeological study of the site, as reported by the Daily Mail , has uncovered ancient human remains, suggesting that Stonehenge was used as a burial ground. "Our research shows that Stonehenge was used as a cremation cemetery for mostly adult men and women for around five centuries, during and between its first two main stages of construction," explained the recent study, published in the April 2016 issue of Antiquity journal by archaeology professor Mike Parker-Pearson at University College London and his colleagues. Related: Stonehenge May Have Been Built in Wales First According to New Study A 2013 study led by Parker-Pearson offered the graveyard theory, and the most recent study adds to this idea. For instance, the charred skeletons were found in small "Aubrey Holes" at Stonehenge that are thought to have been part of a circle of standing stones. Each stone appears to have been a burial marker for a specific individual. The remains were cremated over a period of 500 years, between 3,100 BC and 2,600 BC, according to radiocarbon dating. After that time, the people of Stonehenge ceased cremations, instead burying their dead in a circular ditch surrounding the site. "Stonehenge changed from being a stone circle for specific dead individuals linked to particular stones, to one more diffusely associated with the collectivity of increasingly long-dead ancestors buried there," the paper concluded. The bones were first uncovered by archaeologists William Hawley in the 1920s, but he did not comprehend their significance and subsequently reburied them. Other Stonehenge revelations in recent years include the theory that the ancients used the stones like stilts supporting a raised wooden platform for performing rituals. Archaeological discoveries in the region have also included a 4,000-year-old Bronze-Age skeleton, unearthed last July some 15 miles from the site. In September, a " second Stonehenge ," just one mile away from the popular tourist destination, was discovered buried underground. Stonehenge is now understood to be just one part of a network of ancient monuments in the British countryside. Follow artnet News on Facebook. 2016-04-22 12:23 Sarah Cascone

53 Black-and-White Op Art Visualizes Energy, Oscillations, and Frequencies Image courtesy of the artist Slovenian artist Aleksander Drakulic spent ten years working with timekeeping technology, the type that helps keep precise synchronizations for industry and governments. The high-tech test equipment and systems that he worked around went on to influence what he calls his “psychokinetic art,” black and white Op art that oscillates and vibrates before your eyes. The images are Drakulic's visualizations of energy, oscillations, waveforms, electromagnetic fields, and frequencies that occur in the natural world and find form in the measuring instruments of science. "We live in a world that can be both a beautiful illusion and nightmare in our mind," the graphic designer tells The Creators Project. "Op art helps us to understand that the universe and our perception of the universe is much more complex than it might seem. " Image courtesy of the artist Drakulic, who is now based in Budapest, creates his work in vector programs like Adobe Illustrator. The work draws not only from Op art and science but also Arabic geometry, plus mathematicians and thinkers from the Ancient Greek world, like Plato, Euclid, and Pythagoras. "My work is an artistic expression, a visualization of frequencies you see on oscilloscopes, which looks like a line moving in different waveforms," explains Drakulic. "Pushing geometry to its very limits, making geometry look almost like a part of the material world means you have to use all the tools you have available. I try to manipulate graphics like a synthesizer would sounds. " Image courtesy of the artist Click here to visit Aleksander Drakulic's website. Related: David Shrigley Turns His Absurd Comic Eye to 1960s Op Art What These Artists Do with Ballpoint Pens Is Unreal Live Video Editing App Turns the World into Op Art 2016-04-22 12:20 Kevin Holmes

54 Review: Fifty Years On: “Funny Girl” Back in London Related Venues Savoy Theatre It’s got two classic numbers: “People” and “Don’t Rain on my Parade.” It’s got laughs and heartache. It’s got a zinger of a role for a comic actress. So why hasn’t there been a full UK revival of “ Funny Girl ” since Barbra Streisand helmed it in London in 1966? A lively new staging at The Savoy provides some answers: there’s no antagonist, not much conflict, and a fair bit of padding. But there are nuggets of gold too, and Sheridan Smith provides a cracking turn in the title role. The plot of Jule Styne and Bob Merrill’s musical is loosely based on the real-life story of Fanny Brice, the most successful female Broadway entertainer of the 1920s and 30s. We see the gawky, Yiddish-quipping Fanny triumph against the odds as a comedienne, and then fall for the suave and debonair gambler Nicky Arnstein (Darius Campbell). The marriage crumbles when Nicky loses his money and can’t face the humiliation of being bankrolled by his wife. It’s pretty thin as plots go: an itty-bitty conflict is stretched for two acts. But Smith compensates with bags of charm in Fanny’s revue numbers, and she makes the audience wonderfully complicit in her pratfalling with her knowing winks and rolling of the eyes. She gets the pathos just right too: when her husband leaves her, the pain is etched on her every feature. On the downside, she relies too heavily on certain mannerisms –a sudden lowering of the voice for comic effect, clutching her head in a certain way – and they come to feel repetitious. On Thursday Smith’s voice gave out, but professional that she is, she croaked and rasped her way through the numbers as best she could. Despite her efforts, they were underpowered and uncertain. No doubt things will pick up in the rest of the run. Darius Campbell, with his matinee-idol looks and silky voice, is on far more secure ground, and he provides a terrific turn as the charming but weak-willed Nicky. The rest of the cast (in mostly underwritten roles) all do a good job, and director Michael Mayer keeps the period-costume production flowing well. But they can’t disguise the flaws under the fun. “ Funny Girl ”, a transfer from the Menier Chocolate Factory, is at the Savoy Theatre. 2016-04-22 12:15 Warwick Thompson

55 Monumental Wildlife Portraits Capture Wastelands Once Roamed For more Earth Day 2016 coverage, click here. Alleyway with Chimpanzee (2014). All Images © Nick Brandt, Courtesy of Fahey/Klein Gallery, Los Angeles English photographer Nick Brandt first had occasion to visit East Africa in 1995, as the director of the music video for Michael Jackson’s “ Earth Song.” As many have, he simply “fell in love with the place,” not least with the animals that live there. “That experience shifted my focus in terms of what I wanted to say about the world,” says Brandt, and for almost two decades now, he has exclusively dedicated himself to saying it. His richly toned and finely detailed black-and-white photographs of East Africa’s surreal landscapes and wild creatures have the regal tone of court portraiture, a timeless, cinematic confidence, and the complex emotional gravitas of character studies. But what was born of a pure, almost innocent, and deeply personal love for the charms of the region soon became inextricably bound up in much thornier, darker, and increasingly dire issues of rapid, reckless industrialization and its dangerous and tragic encroachment on the natural environments animals once called home. Factory with Rhino (2014). © Nick Brandt, Courtesy of Fahey/Klein Gallery, Los Angeles His new book Inherit the Dust , from which selections are currently on display at Fahey/Klein Gallery in Los Angeles through May 16, reflects both this narrative, political stance, and a breakthrough moment in Brandt’s artistic evolution. Inherit the Dust is an inventive, labor- intensive, concept-driven, art historical work. Conceived in early 2014 to highlight the scope of the damage being inflicted by human activity, Brandt had the idea to not only re-photograph the same locations where he had shot his years of animal portraits, but to physically incorporate those original images back into the same locations in dramatic fashion. He enlarged his previous images to the scale of billboards and murals, and physically installed them in carefully composed relationships to the jarring surroundings where the creatures once belonged. The results are partly magical in a how did he do that? craftsmanship kind of way, and partly heartbreaking as they perform and embody the surreal symbolism and real-life magnitude of the situation in a way no statistics ever could. Quarry with Giraffe (2014). © Nick Brandt, Courtesy of Fahey/Klein Gallery, Los Angeles Quarry with Lion (2014). © Nick Brandt, Courtesy of Fahey/Klein Gallery, Los Angeles That said, the accompanying texts in the hefty tome go into great detail about every aspect of the project’s process and its meaning. From Brandt’s own moving narrative on what he has come to see as his life’s purpose, to a photography-lover’s nerd-fest on the allure of large-format film cameras, and an especially entertaining set of responses to being asked if the pictures are Photoshopped, to candid behind-the-scenes stories about the makings of individual pieces, the cavalier attitude of locals toward the antics of a nutty Western artist, the book is an essential object. That said, there's nothing quite like encountering the prints in person, because one result of using film is a depth of detail that stands up to massive enlargement. Brandt himself feels that “anything less than an eight-foot-long print does not begin to capture all the elements. Each face, each piece of garbage, tells more of the story.” Wasteland with Rhinos and Residents (2015). © Nick Brandt, Courtesy of Fahey/Klein Gallery, Los Angeles Underpass with Elephants (Lean Back, Your Life is on Track) (2015). © Nick Brandt, Courtesy of Fahey/Klein Gallery, Los Angeles What began as an artistic romance soon became a matter of political urgency for Brandt, as his poetic documentation of East Africa’s megafauna transformed him from a gifted nature photographer into an unwitting witness to extinction, from a documentarian to activist. In 2010, he co-founded the Big Life Foundation , a nonprofit more than deserving of an Earth Day contribution (hint, hint), which directly supports the protection of some two million acres in Kenya and Tanzania, through both a growing corps of ranger patrols, and the advocacy of a civic policy founded on eco-tourism instead of industrial development. “One poached elephant tusk sells for $20K and no one in the community sees that money, even if they wanted it,” he notes. “But one elephant can claim $1.6 million as his lifetime share of the GDP—and that all stays in country.” But despite the success of the Foundation, which Brandt credits to the tireless operational savvy of his co-founder Richard Bonham , in the end, Brandt is an artist, and his gift is for making images that communicate in a language of poetry that inspires rather than divides. Click here to visit Nick Brandt's website. Related: Surreal Photographs Reveal Africa's Environment in Crisis See the World's Best Photojournalism of 2015 Street Artist Invader Goes to Tanzania 2016-04-22 12:15 Shana Nys

56 See and Spin #6: 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 Really Big One (Kathryn Schulz / The New Yorker ) “An earthquake will destroy a sizable portion of the coastal Northwest. The question is when.” Kathryn Schulz won a Pulitzer this week for feature writing with this piece from 2015, which after a devastating earthquake in Ecuador only grows more unnerving by the day. The Secret History of Tiger Woods (Wright Thompson / ESPN.com ) The death of his father set a battle raging inside the world’s greatest golfer. How he waged that war—through an obsession with the Navy SEALs—is the tale of how Tiger lost his way. In Memoriam: Five Pieces of Writing on Prince On Thursday afternoon the world lost a virtuoso beyond classification or comparison. Five pieces of writing, past and present, serious and silly, on the dynamo known as Prince. Prince, Mysterious, Inventive Chameleon of Music, Dies at 57 (Matt Schudel and Emily Langer / The Washington Post — 2016) President Obama: “Few artists have influenced the sound and trajectory of popular music more distinctly, or touched quite so many people with their talent.” The Man Who Would Be Prince (Chris Heath / GQ — 2012) In the fall of 1991, set to drop double-platinum Diamonds and Pearls, Prince sat down with writer Chris Heath for a rare interview. A crazy-rare interview: The singer had spoken publicly just four times between 1984’s Purple Rain and that year. Go inside Paisley Park, where Heath lived for six days. Prince’s Hot Rock: The Secret Life Of America’s Sexiest One-Man Band (Debby Miller / Rolling Stone — 1983) What does a twenty-two-year-old musical wizard in bikini briefs have that other rock stars don’t? Whatever it is, it makes him the world’s sexiest and most influential one-man band. Nation Too Sad To Fuck Even Though It’s What Prince Would Have Wanted ( The Onion — 2016) “If Prince is looking down on us right now, I know he’d want to see us all get down and fuck, but I’m still just so upset that he’s gone that I don’t think I could get in the mood.” I Am Your Conscious, I Am Love (Hilton Als / Harper’s Magazine — 2012) “In general, artists forge one of two career paths for themselves early on. Either they reject the world in order to become the romantic hero of their own imagining, or they embrace the real, transmuting what they find in the streets and in people’s homes into tales an audience can readily identify with. Growing up, Prince did both.” SBTRKT (featuring The-Dream) / “BURY YOU” / Save Yourself (2016) What are we supposed to make of Save Yourself , the 2016 release from Aaron Jerome, leader of the electronic outfit SBTRKT? “This is not an album,” Jerome wrote on Facebook. “[This is] about being able to share music much more frequently with you than I have in the past.” Discounting the awesome album cover, Jerome has a point: Save Yourself feels almost unfinished at points. But as the SBTRKT pendulum so often swings from club banger to downbeat tearjerker, a great sample of the latter comes in “album” closer “Bury You,” which features R&B singer and ghostwriter to the stars The-Dream. A sublimely somber meditation on death, The-Dream croons over SBTRKT’s production, narrating the process of grieving— picking out gravestones, admiring flowers and…digging the actual grave? The spooky lyrics make this seem more like a confession of a murder than a reflection on an untimely, natural passing, but by the time those horns appear in the breakdown, the debate goes out the window in lieu of at least one certainty: this one hurts so good regardless. Sufjan Stevens / “Impossible Soul” / The Age of Adz (2010) Last weekend at Coachella Sufjan Stevens treated Friday night’s crowd to something resembling a musical LSD odyssey. Foregoing 2015’s masterful Carrie & Lowell apart from a danceified “All of Me Wants All of You,” Stevens busted out three tracks that hadn’t been played live since 2011: “Seven Swans,” with wings sprouting from band members during the haunting peak, “Too Much,” and “Impossible Soul,” the incredibly ambitious closer to 2010’s everything- and-the-kitchen-sink “The Age of Adz.” When pressed for time in a 50-minute festival set, playing a 25-minute epic sounds bizarre, but we should all know better than to doubt the mad genius of Stevens. “Impossible Soul” is the logical culmination of Adz , a schizophrenic meld of genres and soundscapes that is just crazy enough to work. Working through a dense lyrical composition that touches on the five stages of grief and the boundaries of communication in relationships, “Impossible Soul” has almost too many instrumental and vocal flourishes to track: electronic beats, soaring orchestral swells, horns on top of horns, guitar shred, chanting, AutoTune, and of course, a vintage, soft-spoken finger-plucked string outro. Profound or pretentious? Six years later, who cares? Just enjoy the trip. Cellars / “Do You Miss Me?” / Phases (2016) “Do You Miss Me?,” on the second LP Phases from L. A. singer-songwriter Allene Norton’s synth-pop outfit Cellars, has a crucial characteristic missing from much of modern pop’s opulence: patience. Featuring a lush instrumental intro that lasts over a minute, by the time Norton’s voice enters the picture you’ve lost track of just how long you’ve been slinking across the dance floor in the 1980’s prom taking place in your head. With glossy synths and crisp production from the eccentric Ariel Pink permeating this electro ballad, you’d be forgiven for missing the song’s longing undertones. Reflecting on separation from a far-flung lover and failed relationships, Norton’s musings and the music she has encased them in feel at home in both a John Hughes movie and the modern “Top 40” chart. And because it’s necessary… Prince, Tom Petty, Steve Winwood, Jeff Lynne / “While My Guitar Gently Weeps” / Live at the Rock & Roll Hall of Fame (2004) A performance and solo (3:27) that indicates even on a stage of legends, Prince was in a league of his own. And seriously—where the hell does the guitar go after he throws it into the air? 2016-04-22 11:43 realart.com

57 J. M. W. Turner to Appear on Bank of England’s Next £20 Banknote Related Artists Joseph Mallord William Turner The Bank of England has announced that Joseph Mallord William Turner (J. M. W. Turner) will appear on the next £20 banknote due to be issued by 2020. The note will feature Turner’s “Self-Portrait” c.1799 from Tate’s world-famous Turner collection. The design also includes a depiction of the artist’s renowned painting “The Fighting Temeraire,” the quote “Light is therefore colour” from an 1818 lecture by Turner referring to his innovative use of light, shade, colour, and tone in his pictures, as well as Turner’s signature from his Will. J. M. W. Turner was selected as the face of the new £20 banknote following the Bank of England’s decision that the next £20 would celebrate the visual arts. The artist was selected following a public nomination period and deliberation by the Banknote Character Advisory Committee. The Bank received 29,701 nominations covering 590 eligible characters. The Committee, with input from public focus groups, then produced a shortlist which it discussed in detail with the Governor who made the final decision. Commenting on the decision, Bank of England Governor, Mark Carney, said: “I am delighted to announce that J. M. W. Turner has been chosen to appear on the next £20 note. Turner is perhaps the single most influential British artist of all time. “His work was transformative, bridging the classical and modern worlds. His influence spanned his lifetime and is still apparent today. Turner bequeathed this painting to the nation, an example of his important contribution to British society.” 2016-04-22 11:43 Nicholas Forrest

58 Art New York and Context Start May Fair Season The packed line-up of spring art fairs timed to coincide with the Frieze Art Fair just got a bit busier with the addition of another event, the Miami-based Context fair. The latest offering from Nick Korniloff's group of major Miami fairs will sit alongside Art New York, its sister fair, on Pier 94 in Manhattan this year. (Art New York was initially named Art Miami, but was changed after the move for obvious reasons.) "We were very happy with the fair last year," says Art New York director Katelijne de Backer. With respect to the new name, she says, "Of course we realized it was confusing, so that was a very obvious thing we had to change. " Julian Navarro, who has been running the Context fair in Miami, will also be leading the inaugural New York edition. "We had been looking for the right opportunity to bring Context to New York," Navarro told artnet News in a phone interview. "Between the diversity of collectors, all the big institutions and the sheer volume of requests from our galleries, we felt it was the right moment to expand the fair. " Together, Art New York and Context will showcase artwork from more than 150 galleries representing 1,200 artists. But what sets the two apart? Art New York "provides a fresh alternative to acquiring important, never-before exhibited works," according to a statement from the organization, while Context is "dedicated to the development and reinforcement of emerging and mid-career artists. " Related: Art Miami New York Mixes Blue-Chip Masters with Street Art In addition to the name change, another development to look out for is the timing; the fairs will open for VIP and press previews on Tuesday, May 3—one day ahead of Frieze New York's preview on Randall's Island. "We adopted the same format as Art Miami," says de Backer, explaining that the fair opens the day prior to Art Basel in Miami Beach. "We wanted to do the same thing here in New York— open this important week. " The fair is holding an olive branch out to Frieze VIP cardholders; it will provide complimentary admittance and courtesy shuttle service to Pier 94 from the Frieze ferry terminal on 35th Street. Asked about being part of the busy fair lineup, de Backer told artnet News: "I think the fairs that are happening in May really nicely complement each other. Art New York and Context are very different than Frieze. Art New York is a bit more classical with a good mix of secondary market and primary market material. Context is, of course, much more edgy. " This year, one booth in particular at Art New York will be focused on cause close to Korniloff and his wife, Pamela Cohen. Kevin O'Leary, of the television show Shark Tank, will feature his photographs at Tansey Contemporary gallery's booth at Art New York. All profits will go toward the Perry J. Cohen Foundation and aspiring teenage entrepreneurs. Last year, Pamela founded the Perry J. Cohen Foundation to honor her teenage son who was lost at sea with his friend this past July. Art New York and Context are also planning a few large site-specific projects and provocative installations. These include "Digits to Digital" at Context, a program featuring video works that was curated by Regine Basha. At Context, "Positions," curated by Christoph Cox, features sound works by roughly a dozen artists, and "Art from Berlin" offers insight into the Berlin art scene with five contemporary galleries selected by a panel of Berlin-based curators and critics. Art New York and Context run from May 3–8 at Pier 94. Follow artnet News on Facebook . 2016-04-22 11:20 Eileen Kinsella

59 Richard Prince at Sadie Coles HQ, London Installation view of Richard Prince’s 2016 solo exhibition at Sadie Coles HQ, London. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: Richard Prince’s solo exhibition is on view at Sadie Coles HQ in London through Saturday, June 18. The show presents recent works on canvas. Richard Prince, Free Love #93 , 2015, ink jet, acrylic and oil stick on canvas. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON Richard Prince, Free Love #127 , 2015, ink jet, acrylic and oil stick on canvas. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON Richard Prince, Free Love #209 , 2015, ink jet, acrylic and oil stick on canvas. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON Richard Prince, Free Love #221 , 2015, ink jet, acrylic and oil stick on canvas. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON Richard Prince, Free Love #233 , 2015, ink jet, acrylic and oil stick on canvas. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON Richard Prince, Free Love #241 , 2015, ink jet, acrylic and oil stick on canvas. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON Richard Prince, Free Love #245 , 2015, ink jet, acrylic and oil stick on canvas. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON Richard Prince, Free Love #267 , 2015, ink jet, acrylic and oil stick on canvas. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON Installation view of Richard Prince’s 2016 solo exhibition at Sadie Coles HQ, London. ©RICHARD PRINCE/COURTESY SADIE COLES HQ, LONDON 2016-04-22 11:18 The Editors

60 The Temptation of the Center Art history exists as a set of critical relationships to what has been created in the past, and to what is currently being produced, in a dynamic relationship with the future (or at least what we can glimpse of it). Thus, art can be thought of as a way to “give form” to our present, through imagination and innovation. The work of Mario García Torres, consisting of videos, installations and, more recently, sculptures, relates to this constitutive process. His practice mostly engages artistic practices from the second half of the twentieth century, which García Torres considers as crucial to the inherited Western concept of modernity. “Let’s Walk Together,” his current exhibition at Museo Tamayo , curated by Sofia Hernández Chong Cuy, aspires to be the first comprehensive retrospective of the artist’s work in Mexico. The curatorial proposal looks past the museum walls, venturing into various locations in the city according to a logic invented by the artist and linked to an earlier project, his Museo Arte Sacramento , an imaginary museum he mentally established on a piece of land in the Mexican state of Coahuila, where he is originally from. This labyrinthine display, which can be considered a work in itself, affirms the artist’s practice as primarily concerned with the elasticity of time, space and biography, in a problematic attempt to affirm art as a mostly intellectual activity whose relevancy isn’t ultimately linked to its physical substance. García Torres’s endeavor is a kind of ceaseless quest for ghosts, using the art world as a privileged territory to investigate past anecdotes and generative a posteriori narratives, which are in turn susceptible to added meaning from our present time. Museo Tamayo García Torres’s work is not often exhibited in his own country as one could expect — possibly suggesting a different understanding of the work outside of US and European contexts. Deliberately mimicking archival and documentary formats, appropriating the auras of other artists’ works and using ready-made objects as validating artifacts that are often only very distantly linked to the core narratives discussed, Garcia Torres plays with the idea of authenticity. His seeming ambition to be poetic and playful could be read as naïve. The artist’s interest in the idea of the border, be it imaginary, social or physical, is often betrayed by the temptation to repatriate the possibly ambivalent figures he chooses (in the majority white, male and upper class) on the side of artistic genius. Their potential function as heroic alter egos can hardly be concealed. If these appropriated tales can appeal to a Western audience inclined to valorize them as humanistic displays of interest in the figure of the marginal Other, one might consider, from a more “marginal” point of view, that this universalistic posture unconsciously central to Garcia Torres’s work is ultimately rooted in “the idea of ‘difference’ as pejoration.” ¹ Still, this might just a be a reminder that the Museum, the secondary character within the artist’s practice, anthropomorphic yet spectral, remains a place still to be decolonized, and that the white cube, in its most bare form, continues to be haunted by many ghosts talking out loud on behalf of many others. García Torres’s conscious denial of such matters attests to an interesting refusal to stay in the territory assigned to Latin American artists, to acknowledge his otherness, his pejorative difference. In a peculiar way not exempt of its own form of courage, he has decided to remain blind to the spectacle of decay that the world increasingly has to offer, and to use the safe place of the institution as a an endless territory to conquer — and I actually envy the nostalgic, boyish drive that makes him able to yield, again and again, to the temptation of the center. by Dorothée Dupuis 2016-04-22 11:06 www.flashartonline

61 oxfordshire farmhouse retreat by michaelis boyd + soho house michaelis boyd collaborates with soho house on oxfordshire farmhouse retreat all images courtesy of soho farmhouse soho house & co’s in-house design team has collaborated with london-based architecture practice michaelis boyd on the development of soho farmhouse, a countryside retreat located in an oxfordshire village. the scheme includes 40 individually-designed cabins assembled around the site’s original farm buildings, complemented by the addition of new buildings. michaelis boyd worked alongside the soho house design team on the main barn, boathouse, gym, yoga studios, cinema, and the steam and sauna island. an 805 square meter barn is located at the heart of the farm, providing a place for guests to gather for drinks and food. the large volume has areas of glazing that allow morning and evening light to flood into the central space. to the east and west of the building, gable ends allow indirect natural light into the mezzanine dining areas, as well as into the central bar and dining area at ground floor level. a balcony and glazed canopies provide views over the courtyard, lake, boathouse and gym. walls are finished in timber board that was reclaimed from a previously demolished barn. cobbled stone flooring is used on the ground floor and reclaimed timber floorboards on the mezzanine levels. crittall-style glazing has been incorporated, as well as reclaimed chicken-wire corrugated glass for the terrace roof covering. the outdoor section of the pool is surrounded by decking the boathouse incorporates a 16 meter indoor pool that extends to a 25 meter outdoor deck- level pool. the pool hall was designed to replicate the feel of a working boathouse and the specialist pool finish has been selected to resemble the cotswold stone used in the surrounding buildings. the boathouse comprises a series of interlinked structures that are staggered to reduce the building’s visual mass. the basement level houses a spin studio, changing facilities, steam and sauna room and ancillary plant rooms. externally, the ‘electric barn cinema’ is clad with corrugated metal, and low level painted brick. internally, the 390 square meter screening room is fitted with velvet armchairs and individual tables with lamps. as with the original electric cinema in portobello, london, individual cashmere blankets are offered for extra comfort. herringbone floorboards line the lobby floor, alongside checkerboard porcelain floor tiles in the common areas, and carpet in the screening room. the screening room walls are clad with walnut veneered paneling and acoustic fabric walling. the volume has areas of glazing that allow morning and evening light to flood into the central space the steam, sauna and ice room pavilions have been designed to resemble a series of self-built huts. the steam and sauna rooms are separated by a glazed roof walkway, leading to two raised hot tub platforms that open out to the privacy of the old upper mill pond. to the north, the decking connecting the island to the cowshed building lowers and floats above the lower mill pond level, forming a jetty for rowing boats. the location provides a communal place for guests to gather a bar is found at the center of the room gable ends allow natural light into the mezzanine dining areas a balcony and glazed canopies provide views over the courtyard the screening room is fitted with velvet armchairs and individual tables the steam, sauna and ice room pavilions have been designed to resemble a series of self-built huts 2016-04-22 10:40 Philip Stevens

62 Celebrate Earth Day with a Last Look at FotoFest Annual Earth Day celebrations are kicking into high gear April 22, and people around the world take a moment to reflect on environmental issues. This coming weekend also marks the end of the Fotofest International in Houston, Texas, which has dedicated its 2016 edition to climate change , industrialization, biodiversity, energy production, and water supplies. Since its founding in 1970, Earth Day has aimed to limit humankind's damage to the planet, to keep the air and water clean, and to protect endangered species. Over the years, many artists have supported the environmentalist cause , which has only become more pressing as it has become increasingly clear that the planet has entered a new era, the Anthropocene, defined by the global impact humans have had on the ecosystem. At Fotofest, there are 34 participating artists included in "Changing Circumstances: Looking at the Future of the Planet," curated by FotoFest executive director Steven Evans and cofounders Wendy Watriss and Frederick Baldwin . Related: 10 Surprisingly Earth Friendly Artworks for Earth Day "These are artists who have engaged the natural world and humanity's place in that world, over many years," said Wendy Watriss. "Many of the artworks manifest the artists' rigorous investigations into science and philosophy. " Among the participating photographers, Brazil's Vik Muniz has documented the garbage pickers of São Paulo, who make their living sorting through the huge piles of trash outside the city, while Dornith Doherty 's " Archiving Eden " series highlights the preservation efforts of international seed banks, which look to preserve crops threatened by climate change. Juxtaposing scenes of stunning natural beauty with evidence of the destructive effects human activity can have on our world, the works in the biennial remind us of the urgent need to preserve the planet's natural riches for future generations. See more of the photos from Fotofest below: The FotoFest 2016 Biennial is on view in Houston, Texas, March 12–April 24, 2016. Follow artnet News on Facebook. 2016-04-22 10:31 Sarah Cascone

63 Art Dealer Perry Rubenstein Arrested— Perry Rubenstein's fortunes have gone from bad to worse. The Los Angeles dealer was arrested on charges of fraud on April 21, with a legal complaint requesting he be held on $1 million bail. "We deny all these allegations and look forward to clearing his name and getting his reputation back," his lawyer, Stephen Sitkoff, told the Los Angeles Times , which had the story. "There's no criminal conduct on Perry's part. " Art collector Michael Salke claims that Rubenstein defrauded him after they signed a contract for the 2011 sale of a work by Takashi Murakami to the Eli and Edythe Broad Foundation. Broad, according to documents, paid $825,000 for the work, while Rubenstein told Salke that the buyer had paid just $630,000. Salke initially brought suit when Rubenstein attempted to add $20,000 to his commission, reports the Times. Hollywood mogul Michael Ovitz claims that Rubenstein sold works by Richard Prince for him but failed to turn over the funds. Rubenstein filed for bankruptcy in 2014. His creditors , according to the website Business Bankruptcies , included artist Shepard Fairey , actor Simon Baker, and Ovitz, former Walt Disney Co. president and founder of the Creative Artists Agency. Also named as creditors are the IRS, New York attorney Aaron Richard Golub, California law firm Browne George Ross, and New York lawyer Claudio E. Iannitelli. "We explored every viable alternative to sustain the gallery as it was intended,"Rubenstein told artnet News at the time , "every option from refinancing and restructuring and ultimately concluded in these past two months that insolvency was the only viable path. " Follow artnet News on Facebook. 2016-04-22 10:20 Brian Boucher

64 Was the 'Mona Lisa' Leonardo's Male Lover? The mysterious smile of Leonardo da Vinci 's Mona Lisa has captivated viewers for generations, but the true identity of the Renaissance artist's most famous subject has eluded art historians for centuries. Now, a theory put forth by an Italian researcher posits that the image was primarily based on a young man who was Leonardo's apprentice and possible lover. Silvano Vinceti, head of the National Committee for Cultural Heritage, believes that the Mona Lisa bears several striking similarities to Gian Giocomo Caprotti, known as Salai. He also examined infra-red scans of the world-famous artwork and compared it to other works by the master that Salai was known to have modeled for. Related: Did Leonardo da Vinci Paint the Mona Lisa Twice? "You see it particularly in Mona Lisa 's nose, her forehead, and her smile," Vinceti told the Telegraph. At a Foreign Press Association news conference, he cited Leonardo's St. John the Baptist and Angel Incarnate , an erotic drawing of a young boy with an erection, as other works based on Salai. Salai was apprenticed to Leonardo at around age 10, in 1490, and was known for being somewhat of a troublemaker—his nickname means "little devil. " He worked with the Renaissance master for two decades, and the two are widely believed to have been romantically involved. Related: Scientists Discover the Legendary Secret Behind the 'Mona Lisa' Smile The most accepted theory on the Mona Lisa is that painting's model was Lisa Gherardini, the wife of an Italian silk merchant. The couple's Tuscan villa went on sale for $11.3 million earlier this month. Others have argued that the Mona Lisa is actually a self-portrait, or a depiction the artist's mother and that she was a Chinese slave. Although Vinceti is not the first scholar to raise the possibility that Salai sat for the iconic portrait, the idea has not been met with universal approval. Art historian and Leonardo expert Pietro Marani told Agence France Presse that the theory was "groundless," while Martin Kemp, a professor emeritus of art history at Oxford's Trinity College told the Telegraph that Vincenti's claims were "a mishmash of known things, semi-known things, and complete fantasy. " By Vinceti's reckoning, Salai wasn't the only source for inspiration for the canvas. "The Mona Lisa is androgynous—half man and half woman," he said. The female influence, he allows, could be from Gherardini, or perhaps Beatrice D'Este, wife of Milanese duke Ludovico Sforza, whose court Leonardo worked at during the late 15th century. While most historians believe Leonardo began the Mona Lisa in 1503, Vinceti contends that he may have started the masterpiece while he was living in Milan in the 1490s. Follow artnet News on Facebook. 2016-04-22 10:03 Sarah Cascone

65 hortum machina B: a kinetic urban cyber-gardener that senses its surroundings probing new ways of interaction between humans and nature, designers and researchers at the interactive architecture lab have conceived the ‘reearth’ project as a technical investigation, art project, and architectural proposal. william victor camilleri and danilo sampaio, part of a multidisciplinary research group and masters program at the bartlett school of architecture, UCL have realized ‘hortum machina, B’ — an intelligent half- garden/half-machine proposed as an ‘urban cyber-gardener’. with an exoskeleton in the form of a geodesic sphere, echoing the architecture of buckminster fuller, ‘hortum machina, B’ hides twelve garden modules at its core. these components each hold a selection of native british plants on outwardly-extending linear motors, which allow the structure to move by shifting its center of gravity and rolling across the ground. through the study of electro-physiology, the team wired the primitive ‘intelligence’ of plants into the control-loop of an autonomous robotic ecosystem. while plants lack a nervous system, they can become electro- chemically stimulated by their surrounding environment. the intelligent half-garden/half-machine is proposed as an ‘urban cyber-gardener’ the plants autonomously sense and determine whether the environmental conditions are suitable for habitation. if necessary, the motorized panels will control the orientation of the structure and move it to a new location. ‘in the near future context of driverless cars, autonomous flying vehicles, and seemingly endless other forms of intelligent robotics co-habiting our built environment, ‘hortum machina B’ is a speculative cyber-gardener,’ the team describes. passers-by react to ‘hortum machina, B’ on the streets of london ‘largely architecture is understood as static. buildings do not conform to nature, its environment and nor to human beings. we as architects feel the need to integrate plants in buildings to the point where people think of them as actual living systems. therefore, our general theme and approach in this set of projects is that plants should become part of our society as well as self- reliant, and be given the ability to autonomously interact and walk with us.’ see a more detailed explanation of the ideas and technology behind the making of ‘hortum machina, B’ here. the system’s exoskeleton is realized in the form of a geodesic sphere the object probes new ways for humans to interact with nature the project is considered as a technical investigation, art project, and architectural proposal the structure is able to move by shifting its center of gravity motorized panels will control the orientation of the structure and move it to a new location the making of ‘hortum machina, B’video courtesy of section drawing of the geodesic sphere and its internal components 2016-04-22 10:00 Nina Azzarello

66 Damien Hirst Returns to Gagosian— Two of the biggest brands in the art market are set to reunite after a three-year separation. British artist Damien Hirst , known for provocative artworks like a sculpture with a shark preserved in formaldehyde, and dealer Larry Gagosian , who oversees a global empire with some sixteen locations in cities from New York to Hong Kong, will once again join forces, according to the New York Times. Related: Damien Hirst's Formaldehyde Works Leak Noxious Gas The YBA split with the mega-dealer just days after the Art Basel in Miami Beach fair in 2012. That departure accompanied Yayoi Kusama 's exit to rival gallery David Zwirner as well as longtime Gagosian artist Jeff Koons 's show at Zwirner. Hirst is known for doing things his own way. The split with Gagosian came four years after the artist took the unprecedented move of organizing an auction of his own work, which he dubbed “ Beautiful Inside My Head ," at Sotheby's London. The sale totaled £40.9 million for 167 works, with the top lot fetching £2.3 million. Just as neither party spoke publicly about the reasons for the split, neither will specify just what occasioned the reunion. However, Gagosian will mark the reconciliation by devoting his booth at Frieze New York next month to Hirst's work. The dealer and the artist made waves together in 2012 when all of Gagosian's locations worldwide (a paltry eleven at the time) showcased Hirst's spot paintings. That show, naturally, made a huge splash, but not everyone loved it. ArtFCity's Will Brand posted this scathing assessment : Hirst's auction record stands at $19.2 million, set at Sotheby's London in 2007, according to the artnet Price Database. That high was fetched by Lullaby Spring (2002), a nine-foot-wide steel cabinet including hundreds of painted reproductions of various pharmaceuticals. Earlier this week, Hirst was in the news following a study that found that low levels of noxious gases are leaking from some of his best-known works, namely those pricey formaldehyde sculptures. Follow artnet News on Facebook. 2016-04-22 09:50 Brian Boucher

67 Prince, The Artist Formerly Known as Unpronounceable Symbol, Changed Design Singer-songwriter Prince has died suddenly at the age of 57. The superstar musician was found dead at his studio in Paisley Park, in suburban Minneapolis. The cause of death is at this time still only speculative. In design world, Prince will remain remembered by his decision, in 1993, to change his name to the “love symbol”, a conjunction of the male and female sex symbols designed by graphic designer Mitch Monson. The unpronounceable symbol was used by Prince, born Prince Rogers Nelson, for seven years, until he reverted back to his Christian name in 2000. “He was the Nike swoosh before Nike was,” Monson said to Dezeen, calling the decision one of the great marketing masterpieces. The decision, however, was related to Prince's dissatisfaction with his recording label, Warner Bros. Though he never clearly spelled out his reasons in the media, Prince hinted that his name was changed in order to be able to control his music releases: according to the book by Ronin Ro , records released under another name would not contractually belong to the “Prince” that was beholden to Warner Bros. Monson confirmed that, noting that, under the new symbol, Prince was able to release more records. The changed his name back in 2000, the year in which his contract expired. The symbol became integral to Prince’s brand, used in music videos, stage design, and on album covers – presaging the way David Bowie maintained a control on his image right until his death. The unpronounceable symbol was also, due to computer font limitations, untypeable. Warner Bros. mailed out thousands of floppy disks to music publications, containing a custom font they could use to type Prince’s new name in their stories. What caught on instead, however, was calling him The Artist Formerly Known As Prince (TAFKAP), a moniker the artist admitted he never liked. Monson suggests that Prince’s struggle to have his name accepted paved the way for struggles facing those who don't adhere to the gender binary, to have the media refer to them by their preferred pronoun. The merging of the male and female symbol, as well as Prince’s highly erotic persona, supports that assertion. However, the symbol was used in print on occasion , opening the doors to the use of Dingbats in print typography that would become a niche trend by the late 1990s. As has become the internet lore, brands and designers have paid respect to Prince’s death with variations on the singer's glyph/logo/name. Google homepage has changed the color of its logo to purple, with an animated purple rain falling, a reference to one of Prince's best known songs. Animation company Pixar has incorporated the untypeable symbol into its logo for a day, as has PornHub , replacing the “P” in the title in what is perhaps the least likely tribute to this great musician. 2016-04-22 08:27 Jana Perkovic

68 68 Top 10 Booths at Art Brussels 2016 The 34th edition of Art Brussels previewed yesterday in its new location after 17 years, the former industrial site Tour & Taxis. But the makeover of the fair didn't only extend to its premises. Managing director Anne Vierstraete and artistic director Katerina Gregos have also revamped its contents, with a welcome reduction of the number of exhibiting galleries to 140 (over 50 less than the previous year ). "We wanted the fair to have a more human scale," Vierstraete told artnet News. "And we also wanted to redefine and to fine tune the categories of the fair," she added. Related: Who to Network With at Art Brussels Following this line of thought, the Young section of the fair has been discontinued, so that presentations highlighting young and experimental artists and showcasing works produced between 2013 and 2016 are now all gathered in the Discovery section. There's also a whole new section called Rediscovery, aimed at spotlighting works produced between 1917 and 1987 in solo presentations by under-appreciated or overlooked artists. This new addition confirms that the raging market trend of recuperating artistic figures of the various avant garde movements, modern, and early contemporary periods shows no sign of abating (as seen in similarly-oriented and highly successful sections like Spotlight at Frieze Masters, or Back to the Future at Artissima). Most collectors and VIPS in attendance—including, of course, Alain Servais—have also been spotted perusing the booths at Independent the day before, and, unavoidably—perhaps even unfairly, considering their different remits—everybody tended to make comparisons between the older, more established fair and the new addition to the local scene. The most common comments mentioned that, despite being more central in this new location, Art Brussels is still not central enough compared to Independent, which is, truly, in the heart of the city. Other critical voices expressed dismay at the (still big) size of the fair, compared to the tightly curated 70 galleries of Independent. Other still simply claimed that the selection of galleries and layout at Art Brussels were more traditional, and therefore less exciting. It's true that the bigger selection demanded more digging, but there were a number of outstanding presentations at the fair, 10 of which we highlight for you here. 1. Sorry We're Closed, Brussels Sébastien Janssen's gallery delighted with its curated, all-green presentation titled "Green doesn't sell. " Challenging the established notion among dealers that green artworks don't perform well, Janssen offered a huge portion of works in green hues—with prices ranging from €2,500 to €140,000—by a multifarious group of artists, from Arte Povera member Piero Gilardi and Color Field painter Thomas Downing, to hot young things like Sam Falls, Yann Gerstberger, and Eric Croes. Truly kooky and funny. 2. Galerie Bernard Ceysson, Saint-Étienne, Luxembourg, Paris, Geneva The gallery presented a dynamic dialogue between the French painters Claude Viallat and Bernar Venet—representatives of the Supports/Surfaces movement, which began in the south of France around the 1960s—and young New York painters from the new abstraction movement, including Sadie Laska (with works for €10,000), Trudy Benson, Lauren Luloff (with prices around €9,500), and Chris Hood. By the end of the first hour of the preview, a fantastic canvas by Benson, displaying a phenomenal textural play, had sold for €22,000. 3. Arcade, London There was something simultaneously soothing and uplifting about the simplicity of the booth of London gallery Arcade, exhibiting at the fair for the first time because of the interest that Belgian collectors have in the two artists showcased, Caroline Achaintre and John Finneran. Achaintre—who works across a range of mediums including ceramics, textiles, and watercolors, and is currently the subject of a show at Brussels non-profit art space c-o-m-p-o-s-i-t-e—was showing a large tapestry of hand tufted wool, priced at €24,000. Meanwhile, the young American artist Finneran had three recent large paintings and a small one on display—for prices ranging from €4,000 to €14,000. Finneran's works, which depict figurative bodies becoming geometrical abstractions, combine art historical references from the last 500 years and transform them into radiant, vibrant paintings. 4. Lyles & King, New York The infant New York gallery (active only since 11 months) Lyles & King made its European debut with a two-person presentation by the artists Chris Hood and Phillip Birch. Hood's multi-layered pictorial explorations (he paints the backs of the canvases and lets the paint seep through) provided the perfect backdrop for Birch's hilarious yet ominous sculptural forays into sci-fi and body horror. 5. unttld Contemporary, Vienna At the main section of the fair, another young gallery (this one just two years old) convinced with a solo presentation devoted to the artist Caroline Heider, who uses reproductions of photographs as raw material for subtle interventions in the form of folds and collages (prices from €6,200 to €9,400) that are as haunting as they are poetic. The results might appear like a fetishization of a vintage aesthetic, but Heider's conceits are based on exploration of the works of philosophers Gottfried Wilhelm Leibniz and Gilles Deleuze, so it's worth discovering that there's more substance to them than meets the eye. 6. Barbara Seiler Galerie, Zurich Along with Arcade, one of the best booths at the Discovery section was Barbara Seiler's solo presentation of Cécile B. Evans, who—despite having developed her artistic career between London and Berlin—is actually Belgian. Evans presented a number of LCD screen-based works, some of which feature animations that are being developed for her upcoming project for the DIS-curated Berlin Biennale, which opens this June. As Seiler told artnet News, this series of works by Evans—with prices ranging from £3,000 to £8,000—explore "what makes humans human. " The artist is fond of showing the insides of her hi-tech displays, their circuits, the electric cables that animate them, as if to show that they are vulnerable beings with needs. Instead of feeling cold and inorganic, Evan's technology-as- sculpture installations feel poignant, almost poetic. 7. Richard Saltoun Gallery , London Part of the Rediscovery section (that isn't really a section per se, as its booths were unfortunately all scattered across the fair, which made the section lose punch), Saltoun presented a booth dedicated to one of the founders of British minimalism, Bob Law, with a selection of works with prices between €5,000 and €200,000. Law enjoyed a moment in the limelight during the 1960s and in 1970s thanks to his (almost) blank Nothing to Be Afraid works, only to find himself falling out of favor with the establishment in the 1980s. Saltoun has led the re-discovery of this forgotten figure ever since he staged a presentation of Law's works at the Spotlight section of Frieze Masters in 2013. It is a timely moment to do so, as Law's work is currently being featured at Tate's British conceptual art survey exhibition. 8. Galerie Krizinger, Vienna Krizinger's presentation for the Solo section featured works by Hungarian artist István Csákány, who shot to fame in 2012 thanks to his large installation Ghost Keeping , included in Carolyn Christov-Bakargiev's Documenta 13. At Art Brussels, Csákány presented four beautiful sculptures made of wood and concrete, which—referencing Alain Resnais and Chris Marker's seminal 1963 film Les statues meurent aussi —question and challenge the appropriation of cultural traditions and ideologies, from African sculpture and Modern utopias to the notion of the artist studio as a locus of creativity. 9. Repetto Gallery, London Also part of the Rediscovery section, the London gallery presented a rare and wonderful booth dedicated to the Italian polymath Bruno Munari. The Milanese artist and inventor is perhaps best known for his work as the fields of graphic and industrial design, but Repetto gallery did a fantastic job representing Munari's contributions to the visual arts, including kinetic sculptures and mobiles (created "way before" Calder, as the dealer told me), and collages in several media. The works, which had all been consigned to the gallery by an unnamed Italian private collector, had price tags ranging from €6,000 to €230,000. 10. "Cabinet d'Amis: The Accidental Collection of Jan Hoet" This one is actually not a booth at the fair, but a museum-quality exhibition staged in a separate space, adjacent to the VIP lounge. Curated by Katerina Gregos as a goodbye of sorts (as this will be her last edition as artistic director of the fair ), this exhibition focuses on the private art collection of Jan Hoet, the renowned Belgian curator and founder of the S. M. A. K. museum in Ghent, who passed away in February 2014. Gathering works by artists including Joseph Beauys, Marcel Broodthaers , Mario Merz, Marisa Merz, Cady Noland, and Luc Tuymans among many, many others, "Cabinet d'Amis" was a touching homage to a key figure in the Belgian contemporary art scene and a much welcome respite from the commercial demands of art fair next door. Art Brussels takes place at Tour & Taxis, Brussels, from April 22-24, 2016. Follow artnet News on Facebook. 2016-04-22 06:23 Lorena Muñoz

Total 68 articles. Created at 2016-04-23 06:03