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50 articles, 2016-04-09 12:00 1 Free Freight Program Take advantage of our special year-round Free Freight Program for exhibitors! It's simple: When you send your artwork to any of our shows to exhibit, we'll transport it to the next show... and the next ... and the... 2016-04-09 12:00 1KB artexponewyork.com 2 Alexis Silk, 2016 Spotlight Artist Alexis Silk is breaking exciting ground with dramatic new works in blown glass and metal that are at once timeless and thought provoking. Emerging from the intersection of the artist's fascination with the human figure, passion for her molten medium, and desire for conceptual expression,... 2016-04-09 12:00 2KB artexponewyork.com 3 Tickets Ticket Options Please Note: Above tickets include VIP Opening Preview Party but DO NOT include TRADE DAY Hours on Thursday, April 14, 12PM–4PM. General inquiries for ticket refunds can be sent to [email protected]. TRADE ATTENDEE REGISTRATION If you're an industry buyer,... 2016-04-09 12:00 1KB artexponewyork.com 4 Show Guide Ad Upload AENY 2016 Show Guide Ad Upload Form 2016-04-09 12:00 602Bytes artexponewyork.com 5 Official Logos Proud Sponsors Exhibitor Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Logo for... 2016-04-09 12:00 848Bytes artexponewyork.com 6 Twin Cities choreographer wins Guggenheim Fellowship Twin Cities-based choreographer Emily Johnson, an Alaska native whose work is marked by intelligence, subtlety and striking imagery, has won a Guggenheim fellowship, the New York-based foundation has announced. 2016-04-09 10:17 1KB www.startribune.com 7 Could Reading Be Looking? | e-flux Imagine, if you must, walking into an exhibition space and encountering work so oblique you don’t know what to make of it... 2016-04-09 05:57 18KB www.e-flux.com 8 autori creates house 23 as an inviting hostel in serbia autori creates house 23 as an inviting hostel in serbiaall images © relja ivanić sited on a large estate called terra panonica in serb 2016-04-09 06:15 1KB www.designboom.com 9 monoambiente raises questions on city development with letters to the mayor exhibition 'letters to the mayor' has become a tool for architects, citizens and intellectuals to communicate ideas and thoughts about the ways in which our cities are developed. 2016-04-09 04:05 5KB www.designboom.com 10 Moving Image Commissions #3: Bruce Conner and Leslie Thornton Leslie Thornton’s They Were Just People is the third installment in the Moving Image Commissions, a series that addresses works by key artists in the Walker’s Ruben/Bentson Collection. They Were... 2016-04-09 01:57 883Bytes blogs.walkerart.org 11 nilufar gallery displays an exhibition dedicated to brazilian design nilufar gallery in milan hosts an exhibition that focuses on brazilian design from the period 1940-1970. 2016-04-09 02:30 2KB www.designboom.com
12 Jason Wu Gets Married to Longtime Partner The designer wed his longtime love Gustavo Rangel in a beachside ceremony in Tulum over the weekend. 2016-04-09 02:19 2KB wwd.com 13 Ramones Exhibition in Queens Rocks A conversation with curator Marc H. Miller on the eve of the Queens Museum of Art's much-anticipated Ramones exhibition. 2016-04-09 02:02 4KB news.artnet.com 14 BUY TICKETS On Tuesday, April 5, the Walker and 89.3 The Current announced the lineup of Rock the Garden 2016. Due to construction at the Walker, this year's concert will be held on Saturday, June 18, 2016 at... 2016-04-09 01:02 865Bytes blogs.walkerart.org 15 Meredith Monk: 16 Millimeter Earrings and the Artist’s Body At once a choreographer, composer, actress, singer, and director, Meredith Monk is known for a body of work that is often considered unclassifiable. Since the 1960s, her practice has spanned across d... 2016-04-09 03:04 968Bytes blogs.walkerart.org 16 REVIEW: Blood, Bondage, and Boos in ‘Lucia di Lammermoor’ at the Royal Opera Problems in a new production of Donizetti’s 1835 opera at the Royal Opera in Covent Garden. 2016-04-08 22:59 3KB www.blouinartinfo.com 17 Hearst Avows to Show Diversity in Pages at Talk With White House CTO Megan Smith The White House chief technology officer Megan Smith talked to Hearst’s David Carey about diversity, women and technology. 2016-04-08 22:58 3KB wwd.com 18 Met to Sell Alexander McQueen, Issey Miyake and Other Designer Products Inspired by ‘Manus x Machina’ Exhibition Lightweight, packable designer items inspired by the upcoming exhibition “Manus x Machina: Fashion in the Age of Technology” will be sold at The Met later this spring. 2016-04-08 22:51 2KB wwd.com 19 Pinacotheque Closes Singapore Outpost after Paris Pinacotheque Closes Singapore Outpost after Paris 2016-04-08 22:36 2KB www.blouinartinfo.com 20 The 23 Best Evening Bags for Fall 2016 WWD’s picks for the best evening bags for fall 2016 from the New York, London, Milan and Paris collections. 2016-04-08 22:16 1KB wwd.com 21 Rosie Huntington-Whiteley on Childhood in the Countryside and Life in L. A. The new face of Ugg talks about life before modeling. 2016-04-08 22:00 2KB wwd.com 22 Jennifer Fisher Celebrates 10 Years at Mr. Chow To help her celebrate, Fisher invited some of her nearest and dearest to an intimate dinner at Mr. Chow in TriBeCa on Thursday night. 2016-04-08 21:54 2KB wwd.com 23 Ford, V Magazine Announce 2016 Model Search Winners In addition to scoring contracts with Ford Models, Olthoff and Agee will be featured in an upcoming editorial in V Magazine’s summer issue. 2016-04-08 21:29 1KB wwd.com 24 Diane von Furstenberg Salutes DVF Award Winners at the United Nations In its seventh year, the DVF Awards honor women who champion change and empowerment throughout the world. 2016-04-08 21:22 3KB wwd.com
25 Variety Honors Power of Women at New York Luncheon Variety honored five women for their professional and philanthropic achievements. 2016-04-08 21:16 2KB wwd.com 26 Could Virtual Reality Revolutionize the World of... Mimes? Honestly, it's about time mimes got with the program. 2016-04-08 20:35 2KB thecreatorsproject.vice.com 27 Remembering Zaha Hadid, the Queen of the Curve A self-proclaimed post-modernist, Hadid wanted buildings to evoke the chaos of life. 2016-04-08 20:25 2KB thecreatorsproject.vice.com 28 An Autonomous New Gadget Makes Light and Sound Art Moscow-based artist ::vtol::’s latest work, ‘Red’, uses data, sound and flexible lens to make multimedia art. 2016-04-08 20:10 2KB thecreatorsproject.vice.com 29 The Smallest Waterpark in Dubai Is Bite-Sized | Insta of the Week The City of Superlatives might now be home to the world's tiniest water slide. 2016-04-08 19:20 1KB thecreatorsproject.vice.com 30 I Watched Every Single 'Mortal Kombat' Fatality and You Can Too Hungry? Not anymore. 2016-04-08 19:15 1KB thecreatorsproject.vice.com 31 The Week in Art: Tribeca Ball and MoMA PS1 This week saw the New York Academy of Art host its annual Tribeca Ball, while MoMA PS1 held an open house with a live musical performance featuring Cao Fei. 2016-04-08 18:47 6KB news.artnet.com 32 This "Screen Test” Will Scare You Out of Auditions An ‘ER’-inspired short from 'Rachel Dratch’s Late Night Snack’ combines the magic of filmmaking with the awkwardness of cold reading. 2016-04-08 17:45 4KB thecreatorsproject.vice.com 33 Olivia Culpo Talks Sexy Scents and Spring Fashion at Lord & Taylor Olivia Culpo celebrated the spring launch for Lord & Taylor’s Birdcage shop. 2016-04-08 17:02 2KB wwd.com 34 alexei sovertkov's surreal species of human caricatures moscow-based photographer and visual artist alexei sovertkov has realized a series of surreal portraits that blend the physical and virtual worlds. 2016-04-08 16:45 1KB www.designboom.com 35 Q&A: Photographer Nadav Kander on “Dust” at Flower Gallery ARTINFO spoke to the London-based photographer about documenting atomic test sites in Kazakhstan and Russia. 2016-04-08 16:12 5KB www.blouinartinfo.com 36 The Truth is Out There: “Art of the Real” at Film Society of Lincoln Center The annual series is dedicated to work that expands the definition of documentary film. 2016-04-08 15:52 6KB www.blouinartinfo.com
37 artnet Asks: British Pop Pioneer Allen Jones The legendary British artist Allen Jones looks back at his controversial and colorful career at his retrospective at Michael Werner Gallery, New York. 2016-04-08 15:31 7KB news.artnet.com 38 Bang on a Can Marathon Loses Its Home The Winter Garden at Brookfield Place in Lower Manhattan has decided to stop hosting the annual Bang on a Can new-music marathon. 2016-04-08 15:16 2KB rss.nytimes.com 39 Contemporary Art Museum Opens in Amsterdam The Modern Contemporary Museum, or Moco, opens to the public on Saturday with a show of works by Banksy and Andy Warhol. 2016-04-08 15:01 1KB rss.nytimes.com 40 When Artists Kill Is a murderous temper the mark of a great artist? 2016-04-08 14:20 6KB thecreatorsproject.vice.com 41 Nahmad Modigliani in Panama Papers The Nahmad family has long denied ownership of a Modigliani involved in a Nazi loot restitution case, but the Panama Papers have finally revealed the truth. 2016-04-08 14:04 2KB news.artnet.com 42 Adam Green's Psychedelic 'Aladdin' Is a Handmade Labor of Love An exclusive look at how a group of friends and lovers, including Macaulay Culkin, Alia Shawkat, Zoe Kravitz, and Natasha Lyonne, made the version of 'Aladdin' you never knew you needed. 2016-04-08 13:30 6KB thecreatorsproject.vice.com 43 inside tadao ando's self-built studio in osaka on the occasion of its 5th anniversary, PORT magazine visited tadao ando's studio in osaka, and discusses the principles that typify the 74-year-old's work. 2016-04-08 13:26 4KB www.designboom.com 44 interview with italian multi-disciplinary design practice antonio citterio patricia viel designboom visited the firm's milan HQ and spoke with patricia viel about her approach to architecture and what project has given her the most satisfaction. 2016-04-08 13:10 15KB www.designboom.com 45 ‘It’s About Bringing People Together’: Fabiola Alondra and Jane Harmon on Their ‘Non-Gallery Gallery,’ Fortnight Institute Carmen Winant, Self Healing (II) (detail), 2016. COURTESY FORTNIGHT INSTITUTE On Saturday, April 16, Fortnight Institute, which bills itself as a public salon 2016-04-08 12:48 6KB www.artnews.com 46 Cao Fei's First US Museum Solo at MoMA PS1 For her first US Museum solo show at MoMA PS1, Cao Fei presents several roomfuls of dystopic scenarios that include alienated teens and utopian musings. 2016-04-08 12:42 7KB news.artnet.com 47 alcarol's fungi collection reveals nature's intricate textures at salone satellite alcarol's fungi collection captures natural organism found within decaying wood at salone del mobile 2016. 2016-04-08 12:41 4KB www.designboom.com 48 ‘He Nudges the Sacred Liberal Cows of Assimilation’: A Brief History of David Hammons David Hammons, A Movable Object, 2012.©DAVID HAMMONS/TOM POWEL IMAGING, INC./COURTESY MNUCHIN GALLERY With David Hammons's 50-year career being surveyed at 2016-04-08 12:27 8KB www.artnews.com
49 Geology Gets Deep Dreamed into Georgia O'Keeffe-Like Abstractions Filmmaker Kurtis Hough uses Google's AI vision to give timelapsed landscapes a Georgia O’Keeffe makeover. 2016-04-08 12:15 3KB thecreatorsproject.vice.com 50 Avid Art Buffs Camp Out for 'RCA Secret' Auction London's Royal College of Arts hosts their 22nd iteration of 'RCA Secret,' an anonymous auction featuring works by Grayson Perry, Steve McQueen, and more. 2016-04-08 12:06 2KB news.artnet.com Articles
50 articles, 2016-04-09 12:00
1 Free Freight Program Take advantage of our special year-round Free Freight Program for exhibitors! It’s simple: When you send your artwork to any of our shows to exhibit, we’ll transport it to the next show … and the next … and the next, saving you thousands of dollars in the process. Just imagine the convenience—after Artexpo New York this April, we’ll carefully store your artwork and ship it to whichever Redwood Media Group show you’ll be exhibiting at next. Just pick the show and we’ll make it happen! Exhibitors, don’t miss the opportunity to save big with the Free Freight Program! Call us today to take advantage of this exclusive deal. 2016-04-09 12:00 artexponewyork.com
2 Alexis Silk, 2016 Spotlight Artist Alexis Silk is breaking exciting ground with dramatic new works in blown glass and metal that are at once timeless and thought provoking. Emerging from the intersection of the artist’s fascination with the human figure, passion for her molten medium, and desire for conceptual expression, the work exhibits surprising maturity and depth. Technically, Silk is pushing the boundaries of what is possible, sculpting her glass figures entirely freehand while the glass is hot on the end of a blowpipe or punty rod. Her largest figures are close to half her body weight and take a team of six assistants to handle the glass while she is sculpting it. While making intrinsically beautiful objects, Silk explores issues of human nature, society, and the relationship of humans, nature, and industry. Her hanging figures are an eloquent exploration of objectification of the body. Since receiving her BFA from the School of the Art Institute of Chicago in 2005, Silk has continued to study with glass masters such as Pino Signoretto, Richard Royal, and Boyd Sugiki. She has been working full time as an artist since 2006. Today she has work in museums, galleries, private collections, and fine art shows around the world. A much-anticipated programming element of Redwood Media Group’s other art shows, the Spotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 and will continue to be a highlight at the show in future years. Alexis Silk is one of four esteemed artists selected for this year’s Spotlight Artist Program. 2016-04-09 12:00 lmullikin
3 Tickets Please Note : Above tickets include VIP Opening Preview Party but DO NOT include TRADE DAY Hours on Thursday, April 14, 12PM–4PM. General inquiries for ticket refunds can be sent to [email protected] . If you’re an industry buyer, such as a designer, architect, or gallery owner, register online. After April 12th, complimentary trade registration tickets will be available onsite only. Trade attendees must bring the following identification to Artexpo New York: • Personalized business card (with company and employee name) • Photo ID After April 12, 2016 if you are PRESS or MEDIA please contact Jaclyn Acree at [email protected] to RSVP for media access. 2016-04-09 12:00 artexponewyork.com
4 Show Guide Ad Upload Please include your gallery name on all files. Files larger than 15MB can be sent to: [email protected], using one of these free services: • Dropbox: www.dropbox.com • WeTransfer: https://www.wetransfer.com/ • Hightail: https: https://www.hightail.com/ 2016-04-09 12:00 artexponewyork.com
5 Official Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Use this HTML code to add the banner to your website: 2016-04-09 12:00 artexponewyork.com
6 Twin Cities choreographer wins Guggenheim Fellowship Twin Cities-based choreographer Emily Johnson , an Alaska native whose work is marked by intelligence, subtlety and striking imagery, has won a Guggenheim fellowship, the New York- based foundation has announced. Johnson is one of approximately 200 creative artists, natural scientists and humanities scholars to land the prestigious mid-career honor out of approximately 4,000 applicants. Guggenheim winners get varying amount of funding, which helps to support their work over a period of six months to a year. Johnson, who has performed at Walker Art Center and Northrop, among other venues, is one of several Twin Cities-connected winners. Writer Paul Lisicky , whose books include “Lawnboy,” “Famous Builder” and “The Narrow Door,” is published by Minneapolis-based Graywolf Press. Poet Sally Keith , also a Guggenheim winner, is published by Milkweed. And poet Stephen Burt , who now teaches at Harvard, is a former Twin Citian. The long list of fellowship awardees has some august names, including theater-maker Anna Deavere Smith , choreographer Camille Brown and photographer Lyle Ashton Harris . 2016-04-09 10:17 www.startribune
7 Could Reading Be Looking? | e-flux Imagine, if you must, walking into an exhibition space and encountering work so oblique you don’t know what to make of it. You start looking for text. First on the wall, then, by the door or a desk someplace. You scan whatever copy you can find, searching for coordinates, landmarks, bits of conceptual breadcrumbs, or a bright stripe of familiarity amidst the thicket of ideas. You hope to find some meaning in the work in front of you. Sometimes you do. The average museumgoer stands in front of a work for fifteen to thirty seconds. An average reader can comprehend about two hundred words per minute. A viewer who reads a standard wall label (which averages about one hundred words) will spend as much time reading as looking. The wall labels, introductory texts, and section texts condition the pace at which visitors move through an exhibition, the amount of information they receive beyond any preexisting knowledge, and their sense of what the museum wants them to know or learn over the course of the show. To group together these three textual mechanisms—the introductory wall text, the section texts, and the labels—is, in a way, to go against a museum’s best practices, since each of these plays a different role in communicating an exhibition’s thesis and pace. But they all support each other in an endless loop of authority. What do we look at when there’s a text present? Where do our eyes go? Vinyl lettering on the wall near the entrance to a show colors it, shading it thematically or in terms of an artist’s biography. If a label is aligned with a painting, eyes wander between text and image, comparing authority and subjective experience, looking for the places where text touches what it describes. Guides, maps, and lists plot the works in a sequence, delineating ways of moving through the space. All of these devices—wall texts, labels, press releases—are built into viewing art. Reading has become part of looking. One of the most personal and comprehensive accounts of looking at art began in January 2000, when art historian T. J. Clark arrived at a six-month research residency at the Getty Institute in Los Angeles. He had no exact research program—“the most likely bet was Picasso between the wars”—and during his first days he wandered around the Getty Museum in search of specific paintings.1 Clark titled the resulting study The Sight of Death: An Experiment in Art Writing, though “an experiment in attention” might have been more accurate. Clark spent six months visiting, nearly every day, two paintings by Nicolas Poussin: Landscape with a Calm (1650–51) and Landscape with a Man Killed by a Snake (1648, on loan to the Getty from the National Gallery, London). The Sight of Death records Clark’s thoughts day by day, giving us an expanded sense of what looking might mean for the art historian: Clark shifts from descriptions of the works to accounts of the his steps through the museum toward them; he reassesses the political possibilities of art history; he writes about Greek religion, times of day (both the time depicted in the painting and the hours in which he goes to look at them), travels through the West Coast, and what is valuable enough to write down as description (and what isn’t). I download a high-quality JPEG of Landscape with a Calm from the Getty’s website (the 17.58 MB image is freely available to download under the institution’s open content policy2) and examine it onscreen, zooming in and out, running my fingers on the trackpad to lead me through the image: the leaves on the trees, the horse riders on the left, the Italianate architecture of the castle that dominates the image even though it isn’t in the foreground. None of this amounts to the hours of looking Clark clocked in, but it does add up to more attention than I would usually give to any image I download off the internet and save onto my desktop. But there’s another form of attention: when I google “Landscape with a Calm poussin,” the second result is a YouTube video produced by the Getty.3 It’s a static shot of the painting, accompanied by an audio track delineating some details about the painting (year, subject), and a short section in which Denise Allen, then associate curator of painting at the museum, talks about what painters learned from Euclidean geometry. The text of the audio track sounds familiar. In language, in approach, it echoes a certain standard: it gives a date, title, and a medium, the name of the artist, a quick description, and a short, digestible explanation of what the work might mean. All the checkboxes of a wall label. My eyes no longer wander across the JPEG, they focus on the larger picture since the curator discusses geometry and spatial configuration. Does reading wall labels allow us to escape the difficult task of looking? Or commit us more totally to it? Without the feeling of the body in the museum space, while looking digitally it’s easy for me to register exactly how the text authors the way I look. It is enough to compare Thomas Struth’s series of photographs taken in museums to the promotional images on those same museums’ websites to see how looking has changed over time. The peopled installation shot is a trope because it helps register scale. (The art historical term is “staffage,” which is the word for the characters and animals populating a painting of which they are not the subject. The shepherds, goats, and horses in Landscape with a Calm are all staffage.) This kind of installation shot also makes the museum seem lively, a communal space where all sorts of activity happens, though apparently this mainly involves taking photographs. The “Visit” page on MoMA’s website includes an image (taken from Flickr) of a young man photographing a close-up of Monet’s Water Lilies (1914–26) from the museum’s collection. There’s #museumselfie day (January 21). When Beyoncé and Jay Z visited the Louvre in 2014 they posted pictures on Instagram of themselves in front of the Mona Lisa and another image of their backs (with their toddler Blue Ivy) looking at Jacques-Louis David’s Coronation of Napoleon (1807). Cell-phone photography conditions much of what looking at art in pubic collections is now. It’s a comfortable looking, a familiar version—watching by way of a screen. It’s also often an uncomfortable image: Struth’s photographs (especially in the “Audiences” series) are populated by staring, gaping masses. Some of them are scratching their heads or digging fingers into their mouths. There are some cell phones and digital cameras in Struth’s images (Hermitage 3 and Hermitage 5, 2005), but these are a bit too early for the Instagram-oriented museum. In Hermitage 1 there are two women listening to audioguides and in Audience 2 (Florence, 2004) a woman in a sundress and sneakers is reading a printed book that looks like a guide to the work in front of her (Michelangelo’s David). Is it more looking or less looking if a viewer is watching the work on a cell-phone screen while standing in front of it? Is it more or less concentration if a viewer listens carefully to the audioguide, his or her eyes resting on the work in front? Is looking without an audioguide, without text, more looking? Is reading the wall text more learning? This question appears in the list of issues MoMA found visitors are most concerned with when reflecting on wall labels. Other questions include “Is this really art?” and “How did the artist make this?”4 The most common queries are for background information about the artist, the method of a work’s production, and its value. Hence the standard information included in a wall label— artist’s name, work title, date of execution, medium, and a short text that attempts to do one or some of the following: (1) place the work within a larger historical framework; (2) reflect on the artist’s intentions; (3) assert the contribution/value of the particular work on display; and if the work is in a temporary exhibition, (4) support the show’s ideas by using the work as an example thereof.5 This assigns a wall label a particular, crucial role. Not only does it provide information about the work; it is also the main vehicle for museum audiences to internalize the art-historical trajectory the institution ascribes to a work by linking it to a movement, to historical precedents, to sociopolitical concerns, or to an artist’s larger body of work. The historicizing impulse in wall labels and texts, however, conceals a contradiction: a wall text or label is a temporary, undocumented construct. It could be updated, in the case of a collection display, or taken off the wall, in the case of a temporary exhibition, but it is rarely made available on the museum’s website, for example, as a historical document in its own right. In April 2015, LA Times art critic Christopher Knight published an article taking to task the Whitney Museum of American Art. Knight claimed that in a wall text featured in “America Is Hard to See,” the exhibition inaugurating the Whitney’s new Downtown Manhattan home, the museum misrepresented his 1993 review of that year’s Whitney Biennial. According to Knight’s account —there is no record of the copy anywhere else—the wall text read, “Christopher Knight’s review was a typical one, noting the unprecedented presence of art by women, ethnic minorities, and gays and lesbians, while decrying the show’s artistic quality.” The critic condemned the Whitney’s “shabby” wall text, which reads as though Knight ascribed the lack of quality to the participation of marginalized artists, rather than his original intention, which was to commend the curators for creating a “Biennial that looks more like America,” while faulting their choice of works by these artists, which predictably dealt largely with the artists’ exclusion.6 The wall text was subsequently altered, but not to Knight’s satisfaction. Why is there no common archive of wall texts to which disputes such as these can be referred? Institutional authority begins by placing some part of itself outside history. When a wall text has done its job, it coincides with history so entirely that its own history is insignificant, in the way that the history of the grains of sand in which Pythagoras first drew his famous theorem are insignificant. Only when a wall text is wrong or perceived to be wrong does it become part of the story. An archive of wall texts, then, would be like an ever-expanding compendium of the illicit history of the museum and the writing thereof. If the museum wants its wall text to be as transparent as possible, the commercial gallery simply wants it to be: wall text is the gallery’s object of desire. This is why galleries have disposed of it entirely and do not produce it themselves. Collect wisely and wall text is your reward. Buy this and someday your name, too, might appear within the medium of record, just below a description of your triumphant taste! Hence the central role played by the gallery press release, which, unlike a wall text, exists less to edify an existing value than to delineate the future significance of what is present somewhere nearby. The exuberant language of these releases is a performance of wall text, distilling its social-historical logic by way of an exaggerated and aggressive imitation. A corrected caption from a recent exhibition on Seth Siegelaub at the Stedelijk Museum in Amsterdam. The exhibition reproduced original wall labels from the show “January 5–31, 1969” (1969). The complex authority of wall texts is what artist Fred Wilson exploits in projects like the exhibition “Mining the Museum” (1992, Maryland Historical Society). Wilson culled objects from the museum’s collection and presented them in a way that highlighted the museum as a “site of institutional racism.”7 The life-size sculptures of Indians placed outside cigar stores in the United States were shown accompanied by labels identifying the store owners who commissioned them. An archival photograph of two slaves with three white kids emphasized the former’s presence in the label: “African-American domestics with charges.” And a pair of iron slave shackles were joined to a presentation of nineteenth-century silverware made in Baltimore, the label identifying them as contemporaneous (c. 1793–1872), using the devices of art history to underline a new and different account of the world historical kind. This intricate relationship to history and authority has become comic amidst the current trend of recreating historical shows. In a recent exhibition at the Stedelijk Museum in Amsterdam on Seth Siegelaub’s work as a curator, art dealer, publisher, and textile collector/scholar, a wall text read: “For reasons of historical accuracy, the text on the wall labels in the reconstruction of the January 5–31, 1969 show reproduces the original specifications of the artworks as found also in the catalogue. The updated specifications can be found below the introduction text of this space.” The section dedicated to the show was a one-to-one scale model based on photographs from the original exhibition and its catalogue. The labels were recreated too, as part of the exhibition. The updated specifications mainly included brief provenance notes. The decision to add updated labels outside the recreation demonstrates the wall text’s conflicting mandates: Are these labels scholarly evidence or pedagogical devices? Are they the history of an exhibition or are they its present state? The Stedelijk, responsibly, decided not to decide. They went with both. Beyoncé and Jay Z rent out the Louvre Museum for a private tour. Among other shots and selfies, they are portrayed looking at Jacques-Louis David’s Coronation of Napoleon (1807). Is it still a wall text when it isn’t on the wall? With technological developments, especially mobile devices and social media, museums see countless opportunities to engage with their audience digitally, both in the building and outside it. The Metropolitan Museum of Art has calculated that while the museum sees six million visitors a year, its website brings in twenty-nine million, and the reach of the institution’s Facebook page is ninety-two million. The New York Times declared that these numbers “raise interesting questions about what we mean when we speak of ‘the museum.’”8 The above question combines two others: the first is where viewers expect to find knowledge, and the second is an inquiry into the way it is presented. The Met’s app has a collection section with 425,381 records (as of March 2016) and access to the museum’s audioguide directly from a mobile phone. The Guggenheim’s app offers tours through the temporary exhibitions (with recordings of the wall texts as they are presented in the exhibition) as well as one dedicated to the Frank Lloyd Wright building. The Walker has an online collections catalogue—constantly updated, media rich, heavily researched, and publicly available.9 The Tate has produced over ten apps, from exhibition-specific ones (which are offered for a price of $2.99) to a mobile guide to Tate Britain (offering videos not unlike the one on the Getty’s website described above) and a game of cards (“Tate Trumps”). All of these—maybe with the exception of “Tate Trumps,” which is so futile that it hasn’t been updated since January 2012—bring the kind of knowledge ordinarily acquired inside the museum out beyond its walls. Making a great app will not save any institution from the knotty status of its wall texts and other interpretive material, but at least it makes this content part of our current system of consuming information. Making it publicly available subjects it to scrutiny and documentation (even simply by screenshots), and perhaps gives it a more valid place in systems of knowledge distribution. In 2009, the Pompidou Centre in Paris presented an exhibition where the only thing to see was wall texts. “Vides” (Voids) was a retrospective of empty exhibitions. Beginning with Yves Klein’s The Specialization of Sensibility in the Raw Material State of Stabilized Pictorial Sensibility (known today largely as “Le Vide”), which was originally shown at Galerie Iris Clert in Paris in 1958, the museum charted a history of vacant spaces, including works by Robert Barry, Art & Language, and Maria Eichhorn. The series of nine empty rooms offered “nothing to see, but a lot to think about,” according to Le Monde art critic Emmanuelle Lequeux.10 A museum without wall texts is not a solution. Taking away interpretive devices like wall texts would chip away at understanding, at the possibilities for art to present ideas that expand the time and context of its making. One thing these discursive elements could offer, however, and don’t, is a shift from authority to a multiplicity of voices. Imagine numerous label systems, or layers on each label, or six audioguides from different viewpoints, or different exhibition guides according to a visitor’s interest. Curator Ingrid Schaffner evaluates the current state of wall texts in an essay cheekily headed “Wall text, 2003/6. Ink on paper, courtesy of the author.”11 Schaffner charts the history of labels back to the early eighteenth century (in leaflets offered to those recommendation-holding visitors allowed to view private collections). She also provides a short history of artist interventions into wall texts (“artists have a lot to teach curators about the rhetorical power of text”—the example of Fred Wilson’s work above came from this essay) and a number of curatorial methodologies for wall labels. What Schaffner presents is not a best practices—since most museums have created their own—but rather a survey of suggestions. “Labels should talk to the viewer and to the art simultaneously”; “language can be rigorous, or colloquial, as long as the overall tone is generous.” Most importantly, Schaffner begins her list of recommendations by declaring that “there should be no set standard for wall texts.” Authority begins as a symptom or a reflex of comprehension. Authority is what comprehension produces as a byproduct, almost, of the process of separating itself from confusion. “We see as we are told.”12 2016-04-09 05:57 Orit Gat
8 autori creates house 23 as an inviting hostel in serbia autori creates house 23 as an inviting hostel in serbia all images © relja ivanić sited on a large estate called terra panonica in serbia, belgrade-based architectural practice autori added ‘house 23′ as a hostel and accommodation. the context in which the scheme is sited was part of a large project to give a contemporary meaning and interpretation to the term ‘village estate’. greenery grows over the façade, giving the grey exterior color and warmth the hostel itself is set in a large, gabled volume; the geometry of the façade reminiscent of rural buildings, but at the same time, representing a more modern interpretation. a series of mesh panels have been installed to the façade to encourage plants and greenery to take over. inside, the simple and clean interiors are permeated with light making it an inviting space. the use of a grid is prevalent and can be seen in the furniture, surfaces and pattern throughout. ‘the rest of the house is a collage of our favorite materials used on the entire estate, toned down for a number of personalities who would spend their time in this hostel.’ comments the design team at autori the hostel in located on the terra panonica estate terrazzo flooring is used primarily throughout the narrow staircase takes visitors up to the accommodation despite its simplicity, the hostel is instills an inviting atmosphere 2016-04-09 06:15 Natasha Kwok
9 monoambiente raises questions on city development with letters to the mayor exhibition monoambiente raises questions on city development with letters to the mayor exhibition (above) monolocale is an experimental space committed to the development of architecture and design all images courtesy of monoambiente / © manuel ciarlotti bidinost founded and directed by the architect martín huberman, monoambiente is an experimental space committed to the development of architecture and contemporary design. by challenging and questioning established limits, the exhibitions, actions, and programs carried out under its auspices further the material and spatial language of both disciplines (architecture and design). it foments action and engagement as exploration and collaboration as support.the gallery is currently located at 4228 concepción arenal street, in one of the storefronts of the historical barrio parque los andes in the chacarita section of buenos aires. monoambiente invited three institutions for its 2016 programming to take over the space monoambiente invited three institutions for its 2016 programming, to take over the space and to work and develop an exhibition of their choice that would generate a dialogue between the institutions, contemporary architecture and practices from north to south america. the invited institutions were: storefront for art and architecture (new york, usa), liga espacio para arquitectura df, (mexico df, mexico), and the canadian centre for architecture, (montreal, canada). the aim was to focus and challenge experimental architecture, creating new networks between all agents involved in the discipline. the first collaboratory exhibition of 2016, ‘letters to the mayor’, is a project created by storefront for art & architecture the first collaboratory exhibition of 2016, ‘letters to the mayor’, is a project created by storefront for art and architecture, a non-profit institution based in new york that is dedicated to the advancement of innovative positions in art, architecture and related disciplines that focus on cities and public life. in 2014, fifty architects from across the globe were asked to write to their mayors. the letters they produced were exhibited both at storefront’s physical space and online, and the resulting collection became an important archive that sparked broad discussion about the role of the architect in the processes and structures of power surrounding the construction and development of cities. ‘letters to the mayor’ has become a tool for architects, citizens and intellectuals to communicate ideas and thoughts about the ways in which our cities are developed. a tool for architects, citizens and intellectuals to communicate ideas about the ways in which our cities are developed in 2015, storefront initiated a world tour of ‘letters to the mayor’, partnering with local institutions and groups to bring the most innovative ideas and concerns for our built environment into the public consciousness, and to the desks and ears of our elected officials. the exhibition at storefront consisted of three elements: the letters, a wallpaper, and a mayoral office. for this occasion more than 50 architects from buenos aires were invited to write a letter to the mayor of the city, mr. horacio rodríguez larreta. the letters were exhibited in monoambiente, along with two site-specific works: ‘the boss’s desk’, designed by grupo bondi and the wallpaper ‘the common’ by the rock instrument bureau. for this occasion more than 50 architects from buenos aires were invited to write a letter to the mayor of the city the letters were exhibited in monoambiente, along with two site-specific works curated with: storefront for art and architecture (new york, usa) progamming 2016: collaboratory director and chief curator: arq. martín huberman producer 2015: lucía seijo producer 2016: arq. inés molinari grants and support: monoambiente has been granted the support of mecenazgo buenos aires & graham foundation for advanced studies in the fine arts for the execution of its 2016 program entitled collaboratory. the annual project has been declared of cultural interest by the city of buenos aires. main sponsor: sodimac homecenter sponsors and collaborators: el espartano, normal™, monte 153c photography: manuel ciarlotti bidinost (estudio homeless) www.estudiohomeless.com e flyers and booklets: designed by twentyfive™, www.betwentyfive.com 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. 2016-04-09 04:05 www.designboom
10 Moving Image Commissions #3: Bruce Conner and Leslie Thornton Leslie Thornton’s They Were Just People is the third installment in the Moving Image Commissions, a series that addresses works by key artists in the Walker’s Ruben/Bentson Collection. They Were Just People will be presented on the Walker Channel April 8 through May 31, 2016. It will also be screened April 9, 2016 in the […] 2016-04-09 01:57 By
11 nilufar gallery displays an exhibition dedicated to brazilian design nilufar gallery displays an exhibition dedicated to brazilian design (above) ‘rio chaise longue’ by oscar niemeyer, 1980s image courtesy of nilufar gallery nilufar gallery in milan presents an exhibition dedicated to brazilian design, boasting a collection of over fourty pieces from the period 1940-1970. the designers showcased include; sergio rodrigues, joaquim tenreiro, zanine caldas, jorge zalszupin, martin eisler and oscar niemeyer. architect oscar niemeyer’s sculptural ‘rio chaise longue’ on show at nilufar, was designed in 1978 in collaboration with his daughter anna maria niemeyer. the chair expresses a classic elegance through its curved shape and folded layers, an almost shell like appearance is present, mimicking natural forms found within nature. polish born jorge zalszupin moved to brazil after world war II where he designed ‘carrinho de chá’. this furniture piece embodies distinct brazilian modernist features, including two large brass wheels, a triangular second shelf, as well as a tray top containing abstract slots in which to hold objects. jose zanine was an artist, designer and architect who was heavily influenced by local craftsmen who carved boats and furniture from felled trees. he began experimenting with these traditional techniques creating sculptural works which became the focus of his late career. the ‘bar cabinet’ he created in the 1950’s consists of numerous compartments that fit together to make a complex structure. small embellishments are added to the sides, in the form of small randomly dotted holes. designer joaquim tenreiro developed a language that adapted to the country’s heat, using wicker and brazilian hardwoods. the ‘sofa’ he constructed uses strips of wood that form a long rectangular block. on top sit three square blue cushions out lined with a white seam, this piece challenges conventional preconceptions towards a sitting room chair, by incorporating the comfort of a sofa that responds to a warmer climate. all of the works described are on show at nulifar gallery. 2016-04-09 02:30 Hollie Smith
12 Jason Wu Gets Married to Longtime Partner More Articles By As anyone who follows the fashion crowd on Instagram by now knows, Jason Wu is officially off the market. The 33-year old designer trekked his nearest and dearest to Tulum, Mexico for his nupitals to longtime boyfriend Gustavo Rangel (the brand’s chief financial officer). Jennifer Fisher, who just celebrated the anniversary of her first decade in business, celebrity loyalist Diane Kruger , Bryanboy, Sofia Sanchez de Betak and others joined the designer for the beachside celebration. The couple met on New Year’s Eve in 2005. It takes two to tango. And what's better than finding that perfect tango partner for life. Congratulations my love @jasonwu @tavonyc #rangelwu #justmarried #hitched A photo posted by Melvin Chua (@melvin0619) on Apr 8, 2016 at 5:39pm PDT @jasonwu with #BFF #dianekruger beautiful speech 'The Gus makes The Wu better' #RangelWu @jasonwu @tavonyc #tulum A photo posted by Melvin Chua (@melvin0619) on Apr 8, 2016 at 7:00pm PDT Re-united @alexdebetak #rangelwu #WeddingTime @jasonwu @tavonyc A photo posted by Sofia Sanchez de Betak (@chufy) on Apr 8, 2016 at 4:54pm PDT The boys #rangelwu A photo posted by Francesco Sourigues (@francescosourigues) on Apr 8, 2016 at 4:42pm PDT Congratulations @JasonWu! Wishing you and Gus the absolute very best! I love you both so much! #tulum #RangelWu #mexico A photo posted by Bryanboy (@bryanboycom) on Apr 8, 2016 at 5:17pm PDT Congratulations ❤ Jason and Gus @jasonwu @tavonyc #rangelwu #jenniferfisher wearing #JasonWu A photo posted by JENNIFER FISHER JEWELRY (@jenniferfisherjewelry) on Apr 8, 2016 at 5:38pm PDT Garden party reception. #tulumwedding #rangelwu A photo posted by sarah kuszelewicz (@sarahkusz) on Apr 8, 2016 at 5:33pm PDT 2016-04-09 02:19 Taylor Harris
13 Ramones Exhibition in Queens Rocks "It's the perfect place to grow up neurotic," Tommy Ramone once told Interview magazine about Queens. A new exhibition dedicated to his influential punk group debuts at the Queens Museum of Art on April 10. " Hey! Ho! Let's Go: Ramones and the Birth of Punk ," is already generating serious buzz, and is likely to be a record setter attendance-wise. It is fitting that the museum, which is in Flushing, is not too far from the Forest Hills neighborhood where the legendary band members met and got their start, before eventually becoming a fixture of the Lower East Side's energetically gritty 1970s music scene. The Queens show coincides with the 40th anniversary of the band's eponymous first album, and it celebrates their colorful history, and enduring influence. But Marc H. Miller, the artist and historian who guest curated the show insists that the "exhibit is as much an art show as it is a memorabilia show," he said in a phone interview with artnet News. Of the now shuttered Lower East Side venue they frequently performed at, Miller says, "CBGB was more than just bands. It was was just swarming with artists—visual artists, photographers, writers, film-makers, fashion people—so the band was very fortunate in the kind of visual record that was created around them. The exhibition draws on that rich record. " In 1978, Miller, who studied art history at NYU's Institute of Fine Arts and was later chief curator at the Queens Museum, curated the first-ever show of " Punk Art " at Washington Project for the Arts. Having lived on the Bowery in the 1970s, he was immersed in the music scene, in all its permutations. He notes how in some ways the formation of the band itself was an artistic concept, with the Ramones taking a cue from Andy Warhol to use branding as an art form. "Tommy was the one that put them together. He had this concept of getting four hoods out there, wearing leather jackets and ripped jeans. The rule was, 'never smile,'" says Miller. Tommy further recruited Danny Fields, who was part of Warhol's entourage and managed numerous major bands, including the Velvet Underground, as a manager for the Ramones. "Danny had his own talents. He was a very good photographer and as manager of the group, he said, 'I had nothing to do all day but take pictures of them,' so there is a very good collection of images," said Miller. Bill Santelli, director of the Grammy Museum, curated the show with Miller. When the Queens Museum show wraps up in late July, they expect the exhibition to travel, but dates and locations are still to be determined. Along with memorabilia such as Punk magazine covers, tour posters, leather jackets, and high- top black sneakers, there is a large collection of photographs of the band performing and posing for publicity shots with their signature scowls. Punk magazine artist John Holstrom is also creating a new poster that will be given away to visitors at the museum. It's a cartoon map of the Ramones in Queens and in New York, with clubs they played, places they lived, and sites of some of their songs and hangouts. "He did quite a job. It took forever," Miller notes. Another sign of the band's enduring influence? The number of contemporary artists who wanted to be involved with the show, including artists Yoshitomo Nara and Shepard Fairey . Nara's newly-created work is a giant five-by-seven foot painting depicting his signature character, Ramona. It shows her at the microphone and she's screaming: "Hey! Ho! Let's Go!," the famous opening lines to "Blitzkrieg Bop". Four new paintings by Shepard Fairey, one of each of the Ramones, are placed at the end of the show. "They are variations on ones he painted before. But he never painted Tommy, so he added one," Miller says. "The philosophy is if you just let the band be themselves and present them as they presented themselves and the people around them," Miller says, "then the magic is on. " Follow artnet News on Facebook. 2016-04-09 02:02 Eileen Kinsella
14 BUY TICKETS On Tuesday, April 5, the Walker and 89.3 The Current announced the lineup of Rock the Garden 2016. Due to construction at the Walker, this year’s concert will be held on Saturday, June 18, 2016 at Boom Island Park in near Northeast Minneapolis, and will feature two alternating performance stages for our eight amazing bands. We liveblogged the announcement […] 2016-04-09 01:02 By
15 Meredith Monk: 16 Millimeter Earrings and the Artist’s Body At once a choreographer, composer, actress, singer, and director, Meredith Monk is known for a body of work that is often considered unclassifiable. Since the 1960s, her practice has spanned across disciplines of dance, theater, visual arts, and film, and has included solo as well as ensemble pieces. Monk’s self-fashioned degree in “Interdisciplinary Performance,” obtained […] 2016-04-09 03:04 By
16 16 REVIEW: Blood, Bondage, and Boos in ‘Lucia di Lammermoor’ at the Royal Opera
Related Venues Royal Opera House, London The homicidal bondage is amusing. Some other fairly explicit sex, although a bit anatomically unconvincing, also serves the plot. As for the buckets of blood, well, you can’t have “Lucia di Lammermoor” without blood. No, those really aren’t the problems in a new production of Donizetti’s 1835 opera at the Royal Opera in Covent Garden. One of the major setbacks is a crucial misuse of space. Director Katie Mitchell creates a split stage (it’s a trick she’s often used in other productions too) so that every scene involves two contrasting sets, placed side by side. While Lucia is in her closet getting dressed, her lover Edgardo creeps around the family vault. While Edgardo sits in his study, the heroine is in her bedroom simultaneously tying up and stabbing the husband she’s been forced to marry. The sets are separated by a vertical wall, which means that the sight-lines are grisly for any audience members sitting to the sides of the auditorium. It also means that less than half the stage is ever available for the squeezed chorus, who look as comfortable as jailbirds in a Haitian lockup. (It doesn’t help their sound, either.) Another problem is one of tone. Vicki Mortimer’s realistic sets and costumes place the action firmly in the 1850s, but there are few hints – beyond the broadest of brushstrokes - at the codes of mid-nineteenth century behaviour. Lucia’s brother and priest confront her while she stands undressed in her bathroom; she has sex in front of her maid; and so on. It all feels rather fuzzy and fantastical. It also means that a central plank of Mitchell’s concept – that the blood on Lucia’s dress in her mad scene is not that of her slaughtered husband, but that of the foetus which she has just miscarried – fails to pack the revisionist punch that it should. Musically it’s also a bit patchy. Diana Damrau (Lucia) flings herself into the production wholeheartedly, and if her upper coloratura lacks the bite and ping which some other sopranos have brought to the role, she gives a committed and energetic performance. Charles Castronovo sings with real emotional oomph as Edgardo, but tires by the time he gets to his final scene. Ludovic Tézier booms and blusters his way through the role of Lucia’s domineering brother Enrico. Conductor Daniel Oren gives a somewhat flabby and imprecise account of the score. On opening night there were cheers for the singers, and boos for the director. It’s not an uncommon occurrence at Covent Garden at the moment. 2016-04-08 22:59 Warwick Thompson
17 Hearst Avows to Show Diversity in Pages at Talk With White House CTO Megan Smith More Articles By Megan Smith, the White House chief technology officer, paid a visit to Hearst Tower in Manhattan on Thursday afternoon. The appearance, which would seem timely, taking into account news of the Panama Papers data leak and ongoing questions abounding from Apple’s iPhone encryption case, proved to be light on answers. The talk, which was led by Hearst Magazines president David Carey , was more of a presentation on what Smith’s role is in the Obama Administration, and her personal cause to educate Americans on the historic role that women have played in computer and data science. For instance, she highlighted Katherine Johnson, the NASA mathematician who was the recipient of the 2015 National Medal of Freedom. She also noted that only 3 percent of female entrepreneurs were receiving venture capital funding. For black entrepreneurs, the numbers were even grimmer at 1 percent. While Carey did make mention of the larger world issues, he didn’t press Smith. He asked if there was a “breach” between the West Coast and Washington, D. C., taking into consideration that we’re in an “era where terrorists are using digital tools.” “The president is very serious about encryption….and being collaborative,” she replied, noting that without going the legal route, agencies can follow “digital dust” or data signals for pertinent information. “What I’m finding is a great openness on all sides,” Smith offered. In terms of technology, she noted that the government may find a use for virtual reality in the form of training police officers on “empathy.” After an exposition of sorts on how the public and private sectors have “unconscious bias” in favor of promoting men over women, Smith said: “One of the hardest things is to step into the reality that we can’t see.” She quoted studies that said if a job listing is looking for 10 specific skills, women will apply if they have at least seven of them whereas men will apply if they have three. Toward the end of the conversation, Smith looked to Carey and Hearst for help in changing views on women and people of color. Carey nodded to Cosmopolitan editor in chief Joanna Coles, who was sitting in the first row. “We’ve started this initiative to make sure that the pages we create reflect the diversity in the United States,” Carey said. “As we looked at those pages over the last couple of years, we realized we did not do the job we need to, so we kicked off this initiative last year…just so we make sure we look at everything with fresh eyes.” 2016-04-08 22:58 Alexandra Steigrad
18 Met to Sell Alexander McQueen, Issey Miyake and Other Designer Products Inspired by ‘Manus x Machina’ Exhibition As of May 5, museum goers will find jewelry, handbags, scarves, stationery, books and postcards amidst the more than 150 items. As a nod to the fact that fashion insiders like to be first, the museum will launch the collection online May 2 to celebrate this year’s Met Ball that night. All of the merchandise will be offered in its Fifth Avenue main-floor store on May 5, timed to the official exhibition opening for the public. Gleaning shopping preferences from the in-store assortment that was offered for last year’s blockbuster “China: Through the Looking Glass” show, The Met’s retail team is focusing on smaller items that retail for $500 or less. Small, lightweight items that are not cumbersome for tourists or out-of-towners to carry in their bags or stash in suitcases are consistently popular, according to a staffer in the museum’s retail division. Exclusive offerings include a $385 silk chiffon Alexander McQueen scarf. With prices ranging from $425 to $925, Issey Miyake bags are expected to be bestsellers. Other items include a $375 Noa Raviv silk scarf; Flowen’s $3,950 ENDO clutch; a Maison Martin Margiela $90 magnifying glass, and $195 Junko Koshino handbags. Shoppers who find their way into the galleries will discover 100-plus ensembles, spanning from an 1880s Charles Worth gown to a 2015 Chanel suit. “Manus x Machina” will explore haute couture’s start in the 19th century, and how the onset of industrialization and mass production that followed helped to more clearly distinguish between the hand and machine. For the catalogue, curator in charge Andrew Bolton interviewed Karl Lagerfeld, Hussein Chalayan, Christopher Kane, Iris van Herpen, Sarah Burton, Miuccia Prada and Gareth Pugh, among others for the Yale University-published $50 book. 2016-04-08 22:51 Rosemary Feitelberg
19 Pinacotheque Closes Singapore Outpost after Paris Related Venues Singapore Pinacothèque de Paris Just a little over a year since it opened, Singapore Pinacotheque de Paris will close on Monday, April 11, due to “weaker than expected visitorship and other business and financial challenges faced,” according to an official statement. The move follow the abrupt closure last months of the Pinacothèque in Paris, whose parent company Art Héritage France has been in receivership for several months. An exhibition of fashion designer Karl Lagerfeld’s photographs still had a month to run but Marc Restellini, the founder and director of the Pinacothèque, said the property on the posh Place de la Madeleine had become too expensive to sustain with income flagging and a fall in visitors in the wake of the terrorist attack in Paris last November. But Restellini told French radio that he hopes to reopen the Pinacothèque “in the medium term, in premises that are more financially sustainable. " One of the Pinacotheque’s most successful shows in Paris was “The Dutch Golden Age” in 2007, which saw 700,000 visitors flock to view works by 17th-century Dutch masters, and amongst some of its coups was the Edvard Munch exhibition in 2011, which was the most comprehensive presentation of the painter’s oeuvre to date gathering work from private collections, some shown for the first time. In Singapore, the Pinacotheque’s permanent gallery was presenting 40-50 paintings by masters such Claude Monet, Renoir and Modigliani, while its Feature gallery was hosting exhibitions, the current one, “Pressionism: Graffiti Masterpieces,” including pieces by Futura, Dondi White, Lady Pink and Rammellzee. According to Singapore’s The Straits Times newspaper, the closure comes at a time when Art Heritage Singapore, which ran the Pinacotheque, is facing claims in Singapore by an Italian exhibition organizer Arthemisia Group over a dispute arising from the Myth of Cleopatra exhibition last May. 2016-04-08 22:36 Sonia Kolesnikov
20 The 23 Best Evening Bags for Fall 2016 Come nightfall, the dress isn’t the only way to dazzle. One’s evening bag often makes just as much of a statement as one’s clothing. Especially this fall. The autumn’s crop of bag are equal parts functional objects and objets d’art. For instance, Alexander McQueen showed a white leather version decorated with a fairy-tale scene of a unicorn under a shooting star. Oscar de la Renta offered a hot-pink satin number, heavily embellished with jet beading. At home or in hand, either would be a conversation item. Check out our other callouts among the season’s best trends , from footwear — tall boots , chunky-heeled shoes , mary janes , men’s-inspired shoes — to accessories — top-handle bags , small shoulder bags and clutches — to jewelry . 2016-04-08 22:16 Roxanne Robinson
21 Rosie Huntington-Whiteley on Childhood in the Countryside and Life in L. A. The brand decorated long wooden tables with rows of pink roses and candles displayed in holders made from tree trunks. Bales of hay were cast around the barn, some fashioned as sofas with cozy throw pillows and blankets and complemented by slabs of tree trunks used as tables. Following the event, the British model, who has worked with brands such as Marks & Spencer and Burberry, and who acted in the Academy Award- and BAFTA-winning “Mad Max: Fury Road,” sat down with WWD and talked about growing up in the country. I think we live in an age now where people really want to see a bit more. There is still obviously this side of the industry that is all about being very aspirational and glamorous and unobtainable, and I think that is an important part of fashion, but I think at the same time, for brand like Ugg, and for somebody like myself, it’s really exciting when you can get to be more playful, more fun and show that side of yourself as well. I really wanted to move to London since I became a teenager, because I wanted the polar opposite (of the outdoors). I’ve lived in New York and in London. I love the city life, but what actually suits me really well right now is living in Los Angeles because it feels a little bit like living in the countryside, but living in the city at the same time. You can drive thirty minutes and be at the beach or the coast, or drive a few hours and be skiing. What is so cool about Ugg is that it’s a brand that I can always have in the back of my car, and pack them wherever I go. I recently got the Rella boot, which is the new boot for spring, and I’ve been wearing it during the weekend in Malibu, with the dogs on the beach, and it’s just the perfect shoe to have for my off-duty days. Living in Los Angeles, it’s the small things that you miss. I miss switching the TV on and hearing a British accent, reading the news, or putting the radio on and hearing my favorite DJ. Just being able to crack a joke and for people to kind of get it. Sometimes my sense of humor gets lost a little bit in Los Angeles. 2016-04-08 22:00 Lorelei Marfil
22 Jennifer Fisher Celebrates 10 Years at Mr. Chow More Articles By “A few years into it, I knew we had something special.” Jennifer Fisher was reflecting on hitting the 10-year milestone of her jewelry line at Mr. Chow in TriBeCa on Thursday night. The designer had invited some of her nearest and dearest to help her celebrate the occasion. “I started going to Mr. Chow when I was young growing up in California,” she explained of the venue choice, which was decked in greenery for the event. “They are home here — it’s sort of like our ‘Cheers’. It really felt right to do it here.” Athena Calderone, Georgia Fowler, Scott Studenberg, John Targon, Nell Diamond, Kyle Hotchkiss Carone, Cleo Wade, and Valerie Boster had all come out to toast the designer, who monogrammed a piece of jewelry for each guest. For most of the crowd, it wasn’t their first time donning her designs. “I have this yellow gold big chain, and I mix it with this soft one,” said Studenberg, showing off the two bracelets from Fisher’s collection on his wrist. He and Baja East codesigner Targon have used Fisher’s jewelry in several of their past collections, starting with resort 2015. “We were doing our look book and we needed something to kick it, clean, like now, fresh and all rose gold,” he explained. “Right after the shoot I was like, I need that chain.” Studenberg jangled the links of his bracelets. “So I had this in rose gold for a while, but then I lost it. Now I have another one.” Fisher took the floor during dinner, growing visibly moved as she spoke. “I am so thankful and grateful for all of you,” she told the room. “I would not be here if it wasn’t for all of you.” 2016-04-08 21:54 Kristen Tauer
23 Ford, V Magazine Announce 2016 Model Search Winners I WANNA BE A SUPERMODEL: The V/Ford Model Search, now in its third consecutive year, has chosen Kate Olthoff and Elise Agee as this year’s winners. In addition to scoring contracts with Ford Models — which is turning 70 this year — Olthoff and Agee will be featured in an upcoming editorial in V Magazine’s summer issue, V101, out in May and featuring imagery shot by Gia Coppola and styled by Arianne Phillips. Both blonde-haired and blue-eyed, Olthoff, 17, hails from Indiana and Agee, 21, lives in Chicago. The winners in 2014 included Iesha Hodges, who went onto walk the Marc Jacobs spring 2015 show, and Lilly Marie, who walked for Fendi and Chanel. 2016-04-08 21:29 Kristi Garced
24 24 Diane von Furstenberg Salutes DVF Award Winners at the United Nations Reminding guests that the former New York senator presented one of the DVF awards last year, the designer said, “I would like to ask all of you — the ones of you who know her, her passion, her dedication to women, our country, the world and to all the values that we believe in — to please spread the word. We want her as our president.” With Democratic and Republican candidates stumping in New York in advance of the April 19 primary, Chirlane McCray, New York Mayor Bill de Blasio’s wife, also talked politics. More specifically, she addressed Ted Cruz’s recent criticism of her husband’s liberalism. ”From what I’ve heard, New Yorkers have spoken to Ted Cruz. Didn’t they tell him to go home? That’s my response, too,” McCray said. American politics aside, the DVF Awards celebrated five champions of change — Lifetime Leadership Award winner Dr. Martine Rothblatt, International Award winner Agnes Igoye, Inspiration Award winner Sarah Jones, International Award winner Maria Pacheco and People’s Voice award winner Emily Greener. Doing double-duty with von Furstenberg as cohost of the U. N.’s two-day “Women In The World” conference, Tina Brown said, “It’s really hard to believe that all of this positive change-making energy started with a suitcase of figure-hugging wrap dresses in 1970. But when you consider who was lugging that suitcase from store to store, it does make perfect sense.” The designer welcomed the crowd – which included her daughter Tatiana, her son Alexander — who encouraged her to start the DVF Awards — and her husband Barry Diller – by paying tribute to the “brilliant, groundbreaking” architect Zaha Hadid, who died late last month. “Thankfully, she has left a huge body of work and the most majestic, and amazing buildings,” Von Furstenberg added. “And she was a Syrian girl and believe me it wasn’t easy.” After a few songs from Justine Skye, presenters like CBS’ Norah O’Donnell and Allison Williams of “Girls” helped to honor this year’s winners. Tony and Obie-winning “Bridge and Tunnel” playwright and performer Jones capped off her acceptance by acting out her thanks as different characters. She is soon off to Berkeley, Calif., to preview her new show “Sell By Date” before its September opening at the Manhattan Theater Club. After Igoye detailed her anti-human trafficking efforts in Uganda, Pacheco spoke of cofounding Wakami, handmade accessories produced by more than 450 Guatemalan women and exported to 20-plus countries.”This new concept of ethical fashion that is emerging is so powerful because it also makes the lives of people who produce it so beautiful, too,” she said. Von Furstenberg noted that previous winners like The Empowerment Plan’s founder Veronika Scott, who helped develop a self-heating coat for the homeless, and Jaycee Duggard, who after being released from a lengthy kidnapping started the JAYC foundation to help families dealing with abductions, have created a 35-person strong network. “Right now women’s conditions around the world are not doing good. It’s really important,” von Furstenberg said. “We can’t afford to pooh-pooh anything that deals with women. We’re losing, losing, losing…so we have to help one another.” 2016-04-08 21:22 Rosemary Feitelberg
25 Variety Honors Power of Women at New York Luncheon “I have a real understanding for what I represent.” Last summer, Misty Copeland was promoted to principal dancer at American Ballet Theatre, the first African-American dancer to earn that top ranking in the company’s history. “I’m just so happy there are little girls that can look at me and see themselves,” she said on Friday afternoon. The dancer had swapped her leotard for Oscar de la Renta to take the stage at Variety’s Power of Women luncheon at Cipriani 42nd Street. Copeland was being recognized along with Lupita Nyong’o, Julianne Moore , Vera Wang , Megyn Kelly and Mariska Hargitay for their individual professional and philanthropic achievements. Yes, Friday’s honorees have a collectively impressive list of accolades but what exactly defines a “powerful woman”? “I think a powerful woman is one who doesn’t apologize for her femininity,” Nyong’o told WWD. “And a powerful woman stands up for what she believes.” Wang added her thoughts to the designation. “Courage to live life the way you want to, courage to pursue what you really love — and courage to be yourself.” Host Billy Eichner was certainly taking advantage of the stage to be — and promote — himself. The comedian also opened the lunch with a shout-out of support for Democratic presidential nominee Hillary Clinton and knocked Donald Trump. Kelly told the crowd, “I’ve been thinking a lot lately about love and support, how critical they are to happiness, including my own this year. In the wake of the dust-up between yours truly and Donald Trump — has anyone here heard of that? — some have used the word ‘fearless’ about me. And it’s wrong. I am not fearless,” she continued. “Fear is normal. The goal is not to get rid of it, the goal is to walk through it. Courage is what we need.” Moore, speaking out for Everytown for Gun Safety, closed the lunch with a song lyric. “As Teddy Pendergrass sang, ‘The world won’t get no better if we just let it be, the world won’t get no better, we gotta change it, yeah, you and me.” Before the lunch, Moore had also shared her concept of power. “I think power is taking advantage of your voice, being able to use it and being free with it,” she said. “And using it to support things you believe in.” The women at Friday’s lunch did exactly that. 2016-04-08 21:16 Kristen Tauer
26 Could Virtual Reality Revolutionize the World of... Mimes? Image courtesy the artist In a land of self-driving cars , animal-free meat , robots that look like Scarlett Johansson , and chairs that build themselves , isn't it about time mimes got with the program? Here to usher the dusty old world of miming into the 21st century are Pablo Rochat and Fabio Benedetto , two art directors and designers who just launched the VR-enabled Mime Academy. Gone is the need for imagination; finally you can feel like you're tugging on actual rope and pressing your palms on actual walls as you bother people and frighten children in public spaces. The official website lets you know everything you need to become the very model of a modern mime: 1. Request Mime Academy Beta for Oculus 2. Get Oculus Rift 3. Get Leap Motion for VR 4. Get Mime Costume "VR is on the rise, but no one has made use of the ridiculous arm gestures people make while using a VR headset," Rochat tells The Creators Project. "We’re putting those arms to use, but teaching you how to become a mime! " Together with Benedetto, Rochat has spent the last year mocking iPhone ads and founding the first annual Netflix and Chill Festival at the University of Philidelphia. Now they're poised to conquer the antiquated world of mimes with modern technology. If you remained unconvinced of the power and influence of this medium after reading our coverage of Chris Milk's documentaries on the refugee crisis or BeAnotherLab's VR sex change , you can now set your skepticism aside. The future is going to be awesome. See more of Pablo Rochat and Fabio Benedetto 's work on their websites. Related: This Guy Just Spent 48 Hours in Virtual Reality Virtual Reality Journalism Puts You Inside the Refugee Crisis Can Virtual Reality Show Us What Love Feels Like? Code Like a God in Virtual Reality Video Game 'Loop' 2016-04-08 20:35 Beckett Mufson
27 Remembering Zaha Hadid, the Queen of the Curve Photo by Brigitte Lacombe. Image courtesy Zaha Hadid Architects. Known for swooping, avant-garde structures, British-Iraqi architect Zaha Hadid was arguably more artist than architect. As the world mourns her sudden passing, articles about her unique and often misunderstood vision continue to make her all the more intriguing. The first woman to receive the Priztker Prize— architecture’s highest honor—was as much a triumph for women architects, as well as a recognition that Hadid was pioneer in her field. When she received her award in 2004, much fuss was made about her accomplishments as a woman, but the architectural critic, Joseph Giovannini decided to focus elsewhere--on her work, “Air is Hadid’s element: she floats buildings that reside aloft. At a time, in the early 80s, when architects were concerned about manifesting the path of gravity through buildings, Hadid invented a new anti-gravitational visual physics. She suspended weight in the same way dramatists suspend disbelief.” Galaxy SOHO in Bejing, China, 2010. Creative Commons Giovannini was onto something: Hadid's uncanny ability to change the way we see and feel space foreshadowed the discipline’s direction, making her a legendary figure for architects and non-architects alike. Born in Baghdad, Iraq in 1950, Hadid came of age in an era when the Middle East was in love with modernity. She grew up in a Bauhaus-style home in an affluent Baghdad neighborhood, and later studied mathematics at the American University in Beirut, Lebanon. Having always been intrigued by how the structure and style of a building could affect an individual as well as whole culture, she turned her attention to architecture—which took her to swinging 1960s London. Dongdaemun Design Plaza, Seoul, Korea, 2014. Photography by Virgile Simon Bertrand. Images courtesy Zaha Hadid Architects It was during this time that she was able to view her Arab heritage and culture through the lens of an outsider and begin to reconsider how architecture was not only a manifestation of culture or a historical marker, but also a way for an individual to influence and literally shape that culture. Hadid’s early fascination with Russian revolutionary architecture grew from her interest in how design could affect individual experiences while at the same time advance a government agenda. 2016-04-08 20:25 Molly Hannon
28 An Autonomous New Gadget Makes Light and Sound Art Images courtesy the artist It seems that every few months Russian artist and electronics tinkerer ::vtol:: (a.k.a., Dmitry Morozov) unleashes some newfangled gadget. While his visuals are as much an aesthetic component as audio, much of ::vtol::’s recent work has been built around sound. Late year he made Silk , a “cryptocurrency-tracking” musical instrument, and then Ra , a synthesizer that generates sound from a pyrite disc. His latest project, Red , is an algorithm-powered machine that combines optics and sound, while somewhat resembling a robotic weapon. To create the evolving molten visuals, ::vtol:: used a red glass crystal and flexible Fresnel lens, which the robot bends to create variations in the optics. “The project includes many reworked electronic devices—a CD-rom, an old scanner, reused electric motors,” ::vtol:: explains. “Multiple moving elements provide wide variability for rather primitive optical elements. It is accomplished by constant change of focal length between the light source, crystal, and lens, as well as by changing the crystal's tilt angle and mechanical distortion of the lens.” Like any true robot, ::vtol:: has programmed Red autonomously with pure data and Python scripts getting routed to Arduino and Rasberry Pi 2 circuit boards. Powered by an algorithm with a number of accidental events tied to feedback, Red is equipped with sensors that define the position of various mechanical elements relative to the range of their movement. “The sound part has up to four voices which depend on the activity of various elements,” he explains. “The sound is also in direct interaction with actual position of those elements, and basically is voicing the process of movement, brightness of light, and intensity of the piece.” Check out Red in action below: ::vtol:: red from ::vtol:: on Vimeo . Click here to see more of ::vtol::’s work. Related: This Musical Instrument Tracks Cryptocurrencies in Real Time Motion-Sensing Robot Orchestra Plays Algorthmic Symphonies Hear Haunting Music Made by Slowly-Crushed Toys and Smartphones 2016-04-08 20:10 DJ Pangburn
29 The Smallest Waterpark in Dubai Is Bite-Sized | Insta of the Week Miniature street artist extraoridinaire Slinkachu hit Dubai this week with a series of desert and anti-desert themed public dioramas, the latest of which is this tiny water park in one of the city's public gardens. He has also installed an itty bitty bonfire on top of a fire alarm, a teeny weenie yacht sinking into a puddle, a very small camel trudging across a very small sand dune, a petite sightseer atop a surveillance camera, and a Hot Wheels Lamborghini splattered with life-sized bird poop. Slinkachu has ten sculptures planned in the City of Superlatives, produced with the help of street art groups City Walk Dubai and Dubai Walls. The series will culminate in an open air gallery of Slinkachu's photography. Check out more of his work in Dubai below. Follow Slinkachu's on Instagram here. Check out more artists on The Creators Project's Instagram feed. Related: Solar "Smart Palms" to Power Dubai's Public Places This Is What We Should Do with Old Oil Tankers Breakneck Dubai Timelapse Effortlessly Blends Night and Day 2016-04-08 19:20 Beckett Mufson
30 I Watched Every Single 'Mortal Kombat' Fatality and You Can Too Screencap via Call me a sick freak (if you're nasty), but I always saw Mortal Kombat as less of a skill-based arcade game than a reward-based exercise in satiating bloodthirst. Before I could watch rated 'R' movies, "Fatalities," did the trick. Although I don't play video games, whenever a new MK game comes out, I peruse both the promo clips and character lists to get the dish on who I'll get to see get dished, whether by slicing, shattering, or sex appeal. It's a wonder this didn't exist before, but YouTube video game channel IZUNIY compiled every Mortal Kombat fatality ever into the 104-minute medly of my middle school nightmares. There will be blood: Mortal Kombat X is out now. Click here for more info. Related: Get Customizing with Fallout 4's Wasteland Workshop Somebody Meticulously Recreated 1920s Berlin in Second Life This Game Is 'Monument Valley,' 'GTA,' and 'Where's Waldo?' Combined 2016-04-08 19:15 Emerson Rosenthal
31 The Week in Art: Tribeca Ball and MoMA PS1 Though it may seem that Armory Week and Frieze Week get all the action, the reality is that there is never a dull moment in the New York art world. From the East Side to the West Side, there's always something happening at the city's museums, galleries, and various event spaces. This week was no exception. Tribeca Ball , presented by Van Cleef & Arpels at the New York Academy of Art The week started with a bang on Monday, April 4, with the annual Tribeca Ball, this year honoring Eva and Michael Chow. Event chairs Jeffrey Deitch and Urs Fischer and dinner chair Brooke Shields were just a few of the bold faced names in attendance, which also included artists Marina Abramovic , Will Cotton , and Dustin Yellin , fashion designer Vera Wang, gallerist Tony Shafrazi , collector Beth Rudin DeWoody, and actors Al Pacino, Rose McGowan, and Naomi Watts. But with stilt-walking models coated in gold and blue body paint, a photo booth full of mermaids, magic tricks from Matthew Holtzclaw , a festive dress code of "shimmery attire," and ample food and drink (including waiters with oyster shucking utility belts outfitted with a full range of condiments) it was hard to spot the celebrities wandering the crowded, labyrinthine artist studios. Even with all that going on, the focus was still on the art, which included a one-night-only exhibition titled "Funny Stuff," curated by New York Times critic Ken Johnson. "It's always a great event," said actress Naomi Watts, who attends every year she's in town, to artnet News. "I love finding affordable art, and it's great to support emerging artists. " Annual Spring Gala at the New Museum Monday was also a star-studded night at Spring Studios, where the New Museum held their annual gala. Amid the crowd were artists Jeff Koons and Juliana Huxtable , collector and musician Swizz Beatz (doubling down on art events for the evening, having also stopped by the Tribeca Ball), and museum directors Thelma Golden and Karen Wong. The items auctioned off that night were donated by hefty art-world names: a piece by Albert Oehlen , a watercolor by Elizabeth Peyton , a painting by Rashid Johnson , a photograph by Wolfgang Tillmans , and an installation by Urs Fischer. The New Museum's deputy director Karen Wong noted: “We've been very lucky. Artists have been so loyal since we held so many of their first exhibitions. Some of the works came directly from the artists' studios. " MoMA PS1 Spring Open House Held on April 3, MoMA PS1's annual Spring Open House celebrated the opening of its new Cao Fei exhibition , her first major museum solo show in the US. The event, which was free and open to the public, saw the artist performing "Straight Out of Time" with Chinatown based rap group the Notorious MSG under the VW Dome. It was a reunion for the group and the artist after they collaborated in Cao's video work Hip Hop: New York in 2006. In the afternoon, after a conversation between Cao and Klaus Biesenbach, MoMA PS1 director and the curator of Cao's exhibition, the band returned to the stage for a loud and fierce performance. The stage was adorned with the elements of a Chinatown street scene, replete with cardboard images of roasted ducks and pork chops, and a projection of spinning dim sum plates on the ceiling of the dome. Cao was surprised to learn, she told artnet News, that she was the first artist to project moving images onto the dome's ceiling. A few MSG hit tunes later, Cao surprised the audience with her cameo in the MSG song “Dim Sum Girl. " She appeared in sunglasses and mini apron, holding a notepad to take orders from the singers and the audience in the role of, of course, the dim sum girl. The crowd was fighting to catch the dim sum Cao was tossing from the stage. Cao wrapped up the show with a solo of her singing her favorite karaoke song, "Shanghai Bund. " 1:54 Contemporary African Art Fair Celebration of 1:54 FORUM at Richard Taittinger Gallery As 1:54 Contemporary African Art Fair prepares returns to Pioneer Works for Frieze Week (May 5–8), the fair, now in its second edition, announced the details for 1:54 FORUM, with a cocktail event at Richard Tattinger on April 7. Frances Goodman's current solo exhibition "Rapaciously Yours," provided a dramatic backdrop to the festivities, particularly with her large- scale installation, The Dream , made from discarded wedding dresses. Fair director Touria El Glaoui introduced FORUM curator Koyo Kouoh, of EVA International 2016 (Ireland's Biennial) and RAW Material Company in Dakar, who has an impressive team on board for this year's programming: Adrienne Edwards (Performa, New York and Walker Art Center, Minneapolis), Ugochukwu-Smooth C. Nzewi (Hood Museum of Art, Dartmouth College), and independent New York-based curator Dexter Wimberly. Young New Yorkers Benefit Auction Young New Yorkers, which provides arts-based diversion programs to court-involved young people in New York, hosted a silent auction celebrating the art and activism of the American street artist Shepard Fairey on April 7. Street art inspired works by Fairey and other New York artists lined the walls as well-heeled guests enthusiastically placed bids and sipped cocktails. The proceeds from the evening went towards Young New Yorker's goal of transforming the criminal justice system through art. "It was fun being in the same room with so many socially conscience artists," event volunteer Natalia Donoso told artnet News. It brings another level of appreciation for the arts. " "Sky Descending: Texas Landscapes" by Gay Gaddis at the Curator Gallery Curator Rebecca Michelman of New York's Michelman Fine Art tapped Gay Gaddis, founder of T3, the largest woman-owned advertising firm in the country, for her debut solo show. Guests at the opening included Ann S. Moore, former chairman and CEO of Time Inc., fashion designer Kay Unger and former Chairman and CEO of Ogilvy & Mather, Shelly Lazarus. Additional reporting by Rain Embuscado, Liz Li, and Henri Neuendorf. Follow artnet News on Facebook. 2016-04-08 18:47 artnet News
32 This "Screen Test” Will Scare You Out of Auditions Screencaps via A comedic, ER -inspired short featured on truTV's Rachel Dratch's Late Night Snack perfectly captures the magic of filmmaking and intersperses it with the awkward quality of the audition process. Conceived, directed, written and produced by Edmond Hawkins (a graphic/VFX artist for SNL ) and backed by a crew composed of minds from PFFR ( The Heart, She Holler , Wonder Showzen , Delocated ) and actors, directors, and writers that have worked on Archer , Jug Face , and Workaholics —Michael Cargill, Mack Williams, Lauren Ashley Carter, Bill Grandberg, and Scotty Landes certainly knocked it out of the park. The style brings to mind Tim and Eric ’s Doug Lussenhop and Vic Berger’s style of editing—a frenzied mess brought together by absurd sound design, effects, and live direction, birthing a comedically unsettling narrative. Using only screen test footage from real actors—yes, REAL ACTORS that didn’t have a CLUE as to what was going on— The Screen Test: Love Triangle in The Emergency Room tears into the audition process and makes it not-as-hard to watch. “I was running my lines on the subway and really sweating it over this doctor role. There was all this medical jargon and I thought, 'Man, I am wasting their time.' But when I walked in the room they were like 'No, really ham it up.' I started making an ass of myself and everyone in the room was like, 'Yes. Perfect,'" says actor and comedian Ryan Bennett. He and the other actors were subject to a true-to-life audition process, including having to run lines in different accents and act solo with a crowd of people watching the whole way through. Unbeknownst to them, they were pawns in a production they could never have imagined, “When the big reveal happened in the end and I was told what was really going on, I couldn't help but just laugh. They got me. Oh man , they got me. I hope the people watching get the same sense of fun,” says actor and participant William Douglas Turner. “The idea came from hearing how odd the audition process can be for actors and then finding a way to shine a light on that process,” says Hawkins. “From a casting director’s point of view, it makes sense how having them do a variety of performances would show an actor’s range; but of those requests actually made the final cut for a commercial, TV show, or movie that otherwise took itself seriously, felt like a unique way to approach comedy,” and it certainly is. With a diverse crew pouring all sorts of spins into the experience, they had more than enough footage to choose from. “Post-production was fun because we basically treated the edit and VFX as if it was a serious attempt at the short’s respective genre, so that the tonally bad direction would really stand out,” says Hawkins. Watch The Screen Test: Love Triangle in The Emergency Room below. Try not to require a defibrillator after: Rachel Dratch's Late Night Snack is all-new this Thursday at 11/10 Central. Click here for more information, and check out more on Edmond Hawkins' website. Related: Not Dead Yet: Meet Sisters Weekend, America's Next Video Sweethearts Here's Why It's Great to Join a Creative Collective An Interview with 'We Bare Bears' Writer Mikey Heller A Look Inside Brooklyn’s First All-Day Alt-Comedy Fest 2016-04-08 17:45 Lorelei Ramirez
33 Olivia Culpo Talks Sexy Scents and Spring Fashion at Lord & Taylor The rose is back in bloom at Lord & Taylor. On Thursday evening, the department store welcomed shoppers — and former Miss Universe Olivia Culpo — onto the main floor of its Fifth Avenue flagship for the opening of their spring Birdcage , a seasonal concept shop. The Birdcage is set to the theme of a “free spirit rose,” a twist on the retailer’s iconic symbol. Guests were customizing sweatshirts and browsing a selection of rose-themed curated goods, ranging from rose gold jewelry and paper goods to floral beauty products and T-shirts printed with on-the-nose slogans like “rosé all day” and “every rose has its thorn.” After posing in front of a rose-filled step-and- repeat, which seems to be the party move du jour — we blame Kim and Kanye — Culpo made her way through the mini-boutique, as shoppers craned their phones in hopes of a semi-focused Snapchat. “Well, obviously, this is Lord & Taylor bringing back the Free Spirit rose, so I do see a lot of roses, which are very exciting,” Culpo said, surveying the space. “It’s spring-feeling all around. Everybody kind of has that breath of fresh air feeling around them, which is common in April.” Culpo had only arrived in New York earlier in the week, just in time for some rather unthematic weather. “I’m telling you, two weeks, and that’s it,” she said of the dwindling winter. The damp skies were also making her adjust her plans while in town. “The weather has been a little rainy so that’s never good, but I’m looking forward to walking around the park actually,” she said. “I miss that. The blossoms are almost making their way out.” Her favorite rose blossom? “I think the red rose is so romantic,” she said. “I also like a white rose. And a pink — I just named three. But yeah. And I actually love Viktor & Rolf Flowerbomb , it’s one of the most beautiful, sexy scents out there. And it’s done so well. It’s one of my absolute favorites.” When it comes to spring fashion, Culpo skews traditional. “I think spring is the time to be very ethereal and to be kind of born again, and light feeling,” she said. “I really love to embrace the pale pinks, the pale yellows, the pale blues, the creams, the whites, everything in that palette.” 2016-04-08 17:02 Leigh Nordstrom
34 alexei sovertkov's surreal species of human caricatures as an exploration of the synergy between analogue and digital media, moscow-based photographer and visual artist alexei sovertkov has realized a series of surreal portraits that blends the physical and virtual worlds. ‘portraituning’ sees five photos of human figures morphed into cartoon-like caricatures, with unnaturally widened eyes and abnormally enlarged skulls. while these modifications warp the viewer’s sense of scale and perspective, the models retain most of their figurative characteristics, rendering them on the edge between alien and human. adding to the intrigue, props and ‘pets’ appear as unusual additions to the scene, like a hybrid dinosaur-cat and a grotesque hairless beaver. with titles like ‘grandma with diplodocus’ and ‘girl with a water jug’, the compositions are clearly inspired by classical portraiture, yet maintain a decidedly disturbing and eerie edge. 2016-04-08 16:45 Nina Azzarello
35 Q&A: Photographer Nadav Kander on “Dust” at Flower Gallery Related Artists Nadav Kander The two atomic-era towns along the border of Kazakhstan and Russia don’t have names as instantly recognizable as the Nevada Test Site in the United States. That, in part, is because Kurchatov and Priozersk were secret cities, laboratories for Soviet nuclear and anti-ballistic research. They only appeared on the map for the first time in the 1990s. Over the course of decades, atomic tests reduced the areas to towers of crumbling concrete, derelict structures recently captured by photographer Nadav Kander in his series “Dust.” Ahead of the opening of his show at Flower Gallery in New York, ARTINFO spoke to the London-based photographer about documenting these radioactive ruins. It is the area, just out of interest, where Fyodor Dostoevsky was banished. It is very barren, very empty, very flat. You can catch a train there for six or eight hours and nothing changes. One of the places I photographed was a science town, set up to discover how to flip the atom and trigger an atomic bomb. Outside this town, 20 or 30 kilometers away was an area called the Polygon. And the Polygon was where they exploded hundreds of bombs over the next 30 years. It is a very contaminated, radioactive place. But that is what interested me: The beauty of devastation and the beauty of ruins. I am very interested in harnessing memory and in what ruins mean to us as human beings — that we find ruins necessary and interesting and melancholic and romantic. They allude to times gone by. They almost give us a security that there is more to come. European painters would paint landscapes and include a fictitious ruin, because it lent heft to the painting. They alluded to human presence and human existence of times gone by. Why do we look at a collapsed church in Ireland covered in ivy and think, “Wow, how beautiful,” while possibly its doors were locked in 1500 with Protestants burned alive? The atrocities of these ruins are awful. And yet as time goes by and nature overcomes them, they feel quite vulnerable. But I totally agree with you. If you walked around Dresden in 1948 when it was a bombed-out city, you certainly wouldn’t feel like that. But I think those are the questions that we must ask ourselves. I find quite a beauty in the acceptance that this is our past. But I sound like a bloody prophet! No, well, it is — I always want there to be a question in a photograph, I don’t want there to be an answer. And the way that I do that is twofold: I photograph difficult places, but places with a veil of beauty over them. And the other way is by stepping back. I like to allow you to be the viewer and for me not to get stuck in. That is a dispassionate view for you to write the narrative. I don’t show the figure, because there were not human beings around. I would not have minded had there been. But the narrative, as it unfolded for me, was without humans. I met a doctor who said there were a lot more people living there at the time of the bombs and there were a lot of birth defects in that area. But they are not people that I came across. I had to be quite athletic with these pictures. I could only go to the Polygon twice, because otherwise I think I would have gotten arrested a third time. In any case, I don’t know if I would have wanted to get involved with the people, because I think the work would have become photojournalistic, which I am so not wanting to do. The point of the pictures is about accepting the darkness that is actually just as beautiful as the light in human beings. You are not illegally there, if you have a visa to Kazakhstan. But in the Polygon itself you are not allowed in. There are, however, people who take you in for a fee and they just make sure that the military is not driving around. It is only the Polygon you have to wear a dust mask and a white suit. The guide tells you where not to go. It is a very surreal feeling, willing yourself to make beautiful pictures when you are clicking away, while also seeing the dangers. There were notes taken about the silence after the noise of the atmospheric bomb where the only sound was of birds lying on the ground scorched, dying. The only animal I ever saw in the Polygon was the crow and in the front of my book I show that mystical animal. They are also Biblical animals. When Cain killed Abel, the crow taught Adam how to burry a body. I love crows and ravens. There is an amazing Japanese photographer called Masahisa Fukase who did a book called the “Solitude of Ravens.” In a way, it was the inspiration for this work. Once I found those crows there, it all made much more sense to me. The melancholy that one gets with a hymn is very much what I was feeling when I was making the work. 2016-04-08 16:12 Noelle Bodick
36 The Truth is Out There: “Art of the Real” at Film Society of Lincoln Center Related Venues Film Society of Lincoln Center “Art of the Real,” the Film Society of Lincoln Center’s annual series dedicated to work that expands the definition of documentary film, is, by its very nature, constantly moving backward and forward. A documentary film is always looking behind itself, documenting what came before. But what does it mean, exactly, to document? And are the old methods not just overused but somehow insufficient? There are many ways to find truth on film, and many of them, as the series displays, involve incorporating various, and sometime obvious, fictional modes. José Luis Guerín’s “ Academy of the Muses ” plays with this idea in a way that sneaks up on the viewer. What begins as a document of a lecture hall discussion about the role of muses in the creation of art becomes a portrait of the students, mostly women who appear to be actors, and who, through conversations together and with the professor, reveal the intricacies of their intertwined lives. The movement from nonfiction to fiction isn’t announced or even really acknowledged. It subtly emerges, allowing the viewer to decide what falls into what category, or if either of the categories even apply here. Andrea Bussmann and Nicolás Pereda’s “ Tales of Two Who Dreamt ,” about a Hungarian family waiting out the decision over their asylum application in a dreary housing block in Toronto, is involved in a similar, if more obvious, exchange of ideas about what is real. The film shifts from what appear to be observational shots of the family and life around the housing complex to more overtly scripted scenes involving mythical stories — including one about a boy who mysteriously turns into a bird — that the main character first announces in a series of retakes at the beginning of the film. The characters or subjects of “Tales of Two” are engaged in the creation of their own reality in front of the camera. Through a breaking of traditional models they are revealing a hidden truth about documentary cinema and the subjectivity of the camera. The same can be said for the painter Rose Wylie, who is at the center of Ben Rivers’s “ What Means Something.” The film, a portrait of the artist’s life in isolation as she sips coffee and works in her studio, collapses the distance between filmed and being filmed. Rivers does not try to hide his own voice, and Wylie frequently asks him questions and performs the duty of using her hands as a clapperboard between takes. What we get is something more akin to collaboration. In a different way, Claire Simon’s “ The Woods Dreams Are Made Of ” is also a collaboration between the person filming and what and who are being filmed. Shot entirely in Paris’s massive Le Bois de Vincennes, the largest public park in the city, the work follows all the different visitors and residents of the park. These include prostitutes, fisherman, homeless people, dog walkers, cyclists, groundskeepers, and old men who use the park’s natural resources as their expansive gym. Each is given ample time to tell their story and to explain their use of the space. No one is held above another, all are treated compassionately and fairly, and each is essential to the intricate puzzle Simon weaves of the necessity of public space. (With its abundance of outdoor sequences, the film makes an interesting pair with the very different work of Bruce Baillie, who is deservedly getting his own sidebar-retrospective as part of the series). “The Woods,” in its dissection of public and private space, also dovetails nicely with “ The Prison in Twelve Landscapes ,” Brett Story’s deft examination of how the endless construction of prisons has effects that reach outside its walls. We see men in Washington Square Park in New York talking about how they honed their chess game at Rikers, get a tour of Quicken Loans’ sprawling corporate campus in downtown Detroit, where the tour guide at once extols the current hipness and former dangers of the neighborhood, and arrive at the street in Ferguson, Missouri, where Michael Brown was shot in 2014. “Twelve Landscapes” achieves much of its power through its lack of informational explanation. The connections don’t need to be spelled out or described; they are shown, felt, understood. It’s essayistic, but never didactic and not afraid to let abstraction become part of its depiction of reality. It’s engaged in presenting a new way of seeing. Thom Andersen’s “ The Thoughts That Once We Had ” and Jean-Gabriel Périot’s “ A German Youth ,” using very different formal methods, are involved in a similar reorganization of how we see the world and film itself. “Thoughts” is a dense film that utilizes Gilles Deleuze’s writings on cinema as the loose structure for a personal history of the medium, using footage from different films as its body. This allows Andersen to free-associate, making connections across the history of cinema and finding visual patterns and linking them together. A familiarity with Deleuze (who also shows up, via his daughter, in “The Woods Dreams Are Made Of,” a phantom presence who haunts the series) and his ideas might help when watching “Thoughts,” but Andersen seems to be using his work so loosely and without restriction that it’s not without its pleasures. “A German Youth” is engaged with a comparable formal strategy, using found footage — from films, television broadcasts — and recreated events to reexamine the formation of the Red Army Faction, a group of intellectuals turned militants known for their escalating political actions in West Germany in the 1970s. The film, through an investigation of what the group was saying and how they were saying it, but also what was being said about them, recreates the mood and tensions of the time, and makes the argument that the atmosphere of the time pushed the group into existence. “A German Youth” is part of recent trend of documentary film that uses existing footage, the debris of daily visual life, to take another look at our past. Instead of analysis through interviews with experts, and/or a flimsy attempt at ethical observation, these films are finding new ways to look at personal, and political, and cinematic history — separately or at the same time — through a reshaping of material that already exists. The truth is out there; sometimes it just takes another look, another voice, to bring it to the surface. 2016-04-08 15:52 Craig Hubert
37 artnet Asks: British Pop Pioneer Allen Jones Just after the opening of Allen Jones 's " Retrospective " at Michael Werner 's Upper East Side gallery—the British pop artist's first New York solo show in 40 years—artnet News spoke to the controversial painter and sculptor about his influences, his consistent depiction of the female figure, and going against the art establishment. Dressed in a dark blue suit and a pink tie, the 79-years-old artist was in exceptional shape and insisted on standing during the entirety of the interview so that he could discuss the works on view. Jones made a name for himself in the mid '60s for his provocative, colorful, and daring depictions of women. In 1969, when his controversial and infamous "Furniture" series, erotic fiberglass sculptures of scantily-clad women posed as furniture, was exhibited, it caused an uproar. In a subsequent exhibition in 1978, one of the works was targeted in an acid attack by feminists. But that didn't stop Jones, whose pop art influenced paintings and sculptures propelled him to success. With works from important public and private collections, the current show at Michael Werner, curated by Norman Rosenthal, represents a unique survey of the artist's iconic imagery that may not be seen in its current constellation again for several years. Speaking to artnet News, Jones looked back at his long and remarkable career. How did you arrive at figuratism and especially the female figure? The first few years of professional life were really absorbing the lessons of the recent past and recent art history, which for me would have been surrealism and futurism. You gradually find your own voice. With the early work, my anxiety as a young student was to have the work taken seriously and be seen as fine art. You sort of process the images through the grille of fine art, but then what you learn is that you have to actually speak directly and find a language to speak directly rather than through those filters. So by the mid '60s, when I returned to the UK after having lived in New York—and I suppose it was important to experience New York firsthand; if it had been 1910 one would have been in Paris… In a way, I found my own voice by about the mid '60s in the late paintings. The blatant preoccupation with the female figure came to the fore, whereas in the earlier work it's more embedded. The other thing was that I'm interested, and have been for years, in the canvas being a visual performance, so the canvas is a performance area. So taking subjects which are about performance, like the magicians, or the stage, or dance, they became a vehicle for actually picturing what the artist actually does. What's behind the use of perspective and dimension in your paintings? The mainstream of modern art through the '60s, when I started working professionally, was towards abstraction. The main thrust of art history in the 20th century was from Mondrian and from Minimalism. Although I could empathize with that, I couldn't do it; I temperamentally could not get rid of representation. And so nevertheless you knew the problem, the visual language problem of how to deal with that, and one of the things is that by definition when you paint an image which is a recognizable image, the area next to the image is space. And so the whole thing is how do you counter that? Or how do you make it clear that it's not an illusionistic depth? That it's not pretending to be a room, or pretending to be a field or something? And so I tend to use color as a way of counteracting that. The lesson from 20th century art was that if color is the key to the paintings, there is an optical space created on the retina between the play of one color against the other. And so the shallow spaces which exist in my pictures are what I call a real optical space. It is a depth which you build with a color reaction on the brain. I'm not sure that makes sense… Why did you shift from painting to sculpture and back again? I spent the '60s trying to develop my own pictorial language for describing the figure. And by the end of the decade I realized that I was modeling and suggesting volume so strongly that maybe I should take a chance and actually make the image rather than reproduce it two dimensionally. And so that was my second excursion into sculpture. This [ Third Man (1965)] is one of the earliest ones. This is from the mid '60s and was very much to do with the idea again of using color. The shift to three dimensional figures released the painting of having to be that descriptive. I think that the works after those initial furniture sculptures became more lyrical, more free, and the brush strokes started to play a bigger part in the paintings. And the same with steel. In the '80s I had another idea, I thought well what if you actually make the figure real, what if you cut it out. Well of course if it was paper or canvas, it would collapse. But if you fold it, it gives it an arbitrary physical strength. Whereas I only occasionally make three dimensional, volumetric figures using resin fiberglass, I've been consistently working with steel, using that folded idea pretty regularly since the '80s. So to me there are three different languages. There's the painting, there's the steel, and there's the fiberglass. I think its an interesting idea to say the same thing, but you're speaking three different languages, but hopefully you're making sense the same as you would be if you were speaking German, French, or Croatian. What is behind your desire to go against the art establishment? Either you can use your natural talent to replicate what has gone before, and you can speak intelligently using a visual language. Every period in art history, you've got the people who write the vocabulary, and then you have lots of people who learn the vocabulary and use it quite intelligently. There are lots of Fauvists apart from Matisse and Derain , but you remember the people who actually establish the rules. And so for me wanting to make representation of the figure, you had to find a way to do it that didn't rely on a crutch of the history of art. So instead of making the figures in stone or marble or bronze, the thrust was that if you make something where there's no history to the fabrication process, then people have to somehow make up their mind from the start. There's no "Oh I don't like it very much but it's obviously art. " Do you think you're misunderstood? I think I have been misunderstood, but that seems to have been a generational problem from the '70s. The feedback I have from people who are much younger than myself means that I think things have turned a corner. Do you think people overreacted to the "furniture" series. No. I just think that people's reactions are based on their own experience and their own expectations. And the problem with an artist is that he's responsible for making visible what he makes visible. But he's not responsible for how people use it. If you could own any artwork from art history what would it be? It would be very hard, there's got to be a dozen things. But most recently I've been thinking again about a Bronzino in the National Gallery in London called Venus, Cupid, Folly and Time (ca. 1545). I could live with that forever. Follow artnet News on Facebook. 2016-04-08 15:31 Henri Neuendorf
38 Bang on a Can Marathon Loses Its Home They need to find somewhere else to bang on their cans. The annual Bang on a Can Marathon, a vibrant new-music event, will not be held this year in New York City because it has lost its space and presenting partner of the past decade, the Winter Garden at Brookfield Place in Lower Manhattan. Festival officials said they were looking for a new space for 2017, when they will celebrate the marathon’s 30th anniversary. “We’re moving on, we’re going someplace new,” said Julia Wolfe, the Pulitzer Prize-winning composer who founded Bang on a Can with the composers Michael Gordon and David Lang. She noted that the marathon had been held at a number of different homes across the city during its nearly three decades in existence, including the old R. A. P. P. Arts Center on the Lower East Side, Lincoln Center and the Brooklyn Academy of Music. Ms. Wolfe praised Arts Brookfield, the group that offers cultural events at the Winter Garden — the public atrium in Brookfield Place, the office and shopping complex formerly known as the World Financial Center — for its years as co-presenter of the marathon, which offered many hours of free, innovative and occasionally zany musical performances. Debra Simon, the vice president for arts and events at Arts Brookfield, said that after an “incredible” 10-year partnership with Bang on a Can, they had decided not to continue to hold it at Brookfield Place, but said that they would continue other musical programming. “There are many artists and organizations that need support and we are continuing to curate in order to provide opportunities for a wide range of performers,” she said in an email. There have been marathon-free years in the past, occasionally. And hardcore New York Bang on a Can fans will have an opportunity to hear another marathon: the annual Bang on a Can Summer Music Festival at MASS MoCA, which will feature John Luther Adams as its guest composer this summer, ends each year with its own marathon. This summer Bang on a Can plans to charter a bus from New York City for the event, which is planned for July 30. 2016-04-08 15:16 By
39 Contemporary Art Museum Opens in Amsterdam AMSTERDAM — A private museum of modern and contemporary art has joined the heavy hitters on the city’s Museumplein. The Modern Contemporary Museum , or Moco, which opens to the public Saturday with a show of works by Banksy and Andy Warhol, is across from the Rijksmuseum and adjacent to the Van Gogh Museum and the Stedelijk. It aims to present the “rock stars of contemporary art,” according to its founders, the art dealers Kim and Lionel Logchies. The husband and wife own the Lionel Gallery in the Spiegel quarter of Amsterdam. The gallery represents Banksy, Mark Lagrange, Jeff Koons, Julian Opie and others. They have invested an undisclosed amount of their own money into the project and enlisted the help of four unnamed investors to rent the 13,500-square-foot space, in the former Villa Alsberg, a stately private home built in 1904. “We had a good few years, so we thought we could make our house nicer or we could make a big jump and do this,” Ms. Logchies said during a tour of the space on Friday. “Some clients were interested in investing as well.” Exhibitions will be based on works loaned from private collectors, including clients of the Lionel Gallery. Ms. Logchies said future shows could include works by Damien Hirst, Salvador Dalí and Picasso, as well as emerging street artists such as Os Gemeos, KAWS and Maya Hayuk. 2016-04-08 15:01 By
40 When Artists Kill Caravaggio, Salome with the Head of Saint John the Baptist (1610). All images via Wikimedia Commons. Many artists grace the idea of death every day, with their pens, pencils, and brushes. But throughout art history, a handful have brought actual death into the world, with knives, guns, and defenestration. This begs the question: When an artist kills, what happens to their work? The Renaissance master Caravaggio is known for chiaroscuro and dramatic compositions. His life was just as dramatic: in 1606, he got in a brawl with a man named Ranuccio Tomassoni over a prostitute named Fillide Melandroni. Caravaggio attempted to castrate his dueling partner, but missed and instead hit the femoral artery. Tomassoni bled out. Caravaggio spent the last four years of his life on the run from Roman authorities, who would have publicly displayed his disembodied head if caught. His work turned increasingly violent, perhaps in an attempt to atone. It is rumored that the artist signed his 1608 The Beheading of St. John the Baptist with the phrase “I, Caravaggio, did this,” referring to either his authorship of the painting, or of a murder. He painted three more beheadings between 1606 and his death in 1610: two versions of Salome with the Head of John the Baptist , and David with the Head of Goliath. In place of the severed heads of John the Baptist and Goliath, he painted his own likeness. Caravaggio, David with the Head of Goliath (1606-7) For Caravaggio, travel was the way to escape prosecution and continue his work. 250 years later, Eadweard Muybridge followed almost the same path—swapping the prostitute for a wife, and adding an acquittal. In 1874, Muybridge discovered a letter from his wife, Flora Dawns, to theater critic Harry Larkyns, that led him to believe Larkyns was the father of his wife’s child. Muybridge immediately tracked Larkyns down, shot, and killed him. He was acquitted on the grounds of “justifiable homicide,” and immediately left town, spending the next nine months photographing Central America. Back home, his wife divorced him and died soon after, sending the child to an orphanage. Murder, in a way, allowed Muybridge to focus on his work. Eadweard Muybridge, The Horse in Motion (1878) In 1872, he went to the Yosemite Valley to upstage a fellow nature photographer, Carlton Watkins , taking extreme lengths to prove his photographic prowess. In order to capture a more perfect landscape, he chopped down trees with his own hands. Perhaps, to Muybridge, his murder victim was tantamount to an unsightly tree. These irrational behaviors might be explained by brain chemistry. In 1860, Muybridge was involved in a stagecoach accident that left him in a coma, caused months of double vision, sensory deprivation, and, according to the hypothesis of psychologist Arthur Shimamura, uncontrollable emotional outbursts. Shimamura believes Muybridge suffered damage to his frontal cortex, the part of the brain that regulates emotions. Eadward Muybridge, Yosemite Falls, 2700 feet, Yosemite Valley (1868-1873) Brain damage might explain Muybridge’s murderous temperament and obsessive dedication to his work. But for Minimalist sculptor Carl Andre, the only chemical imbalance involved in a tragic death was a high BAC. Andre was apparently drunk when he and his wife of eight months, artist Ana Mendieta, had an argument that ended in her fall to death from the window of his 34th-floor apartment. Mendieta’s death on September 8, 1985, and the ensuing investigation, were heavily covered by the press. The New York Times reported that a Manhattan district attourney “said a passer-by had heard screams that were ‘consistent with someone being thrown out the window.’” In a later article , the newspaper reported “[a] doorman working nearby testified that he had heard cries of: 'No! No! No!' just before the body hit the ground.” Andre told a 911 dispatcher that Mendieta had “somehow gone out the window,” after a dispute about “the fact that [he] was, eh, more exposed to the public than she was.” Andre was acquitted, but it’s difficult not to speculate that he was at least a little bit jealous of Mendieta’s youth and promise, when he had already been canonized and pigeonholed. 17 years Andre’s junior, Mendieta had learned about Andre’s work in college. HIs early work was in some ways revolutionary; but as he aged, his work stayed the same, seemingly unaffected by anything external—not even the death of his wife. As late as 2009, he was still stacking blocks of wood. Mendieta, on the other hand, was just gaining traction in her career. Where Andre’s work dealt with form and gestalt, Mendieta’s was political, feminist, and engaging new media—more in line with the zeitgeist of the 1980s. After Andre’s acquittal, it was noted in The New York Times that Mendieta “was lesser known [than Andre], but her sculptures were gaining prominence.” Today, Mendieta’s work obscures the living Andre’s, the latter prompting protests in the former’s name, the former receiving posthumous exhibitions . What do these three controversial have in common? Well, for starters, each of their crimes or trials were brought about by passion. None were punished by law, not even those who confessed. They were all landmark artists: some pinpoint Caravaggio as the father of the Baroque, Muybridge as the father of the motion picture, and Andre as the father of Minimalist sculpture. If these patriarchs’ spotty histories are any indication, perhaps we should start thinking in terms of mothers of great art movements instead. Related: A 15-Year-Old Murder Inspires a Haunting Installation See Grisly Photos from the Godfather of Crime Scene Photography 7 Art Secrets that Were Uncovered with Technology 2016-04-08 14:20 Alyssa Buffenstein
41 Nahmad Modigliani in Panama Papers When the uber wealthy want to obscure their financial dealings, they have often turned to Panama-based law firm Mossack Fonseca, which has set up offshore tax havens and shell corporations for a number of the art world elite. Now, such maneuvering has become public knowledge , thanks to a massive data leak of the firm's files. Among the latest revelations to come out of the Panama Papers leak is that the Nahmad family does, in fact, own a Amedeo Modigliani canvas that was seized by Nazis during World War II and is the subject of an ongoing quest for restitution . Related: Chinese Auction House King Named in Panama Papers In the case of Modigliani's Seated Man With a Cane (1918), which was taken from Philippe Maestracci's grandfather, the ownership comes as no great surprise. The Nahmad family claimed in court that a company called the International Art Center (IAC) was the painting's owner, but Maestracci, who has long been seeking restitution of the work, maintained that IAC is a shell company for the Nahmad family's New York and London galleries. (IAC purchased Seated Man $3.2 million at Christie's London in 1996.) Maestracci's lawyers note that IAC was one of 11,000 companies that listed Fonseca as its director. The recent leaks show that the Nahmads have controlled IAC for more than 20 years. Related: Helly Nahmad Accused of Hiding $20 Million Nazi-Looted Modigliani The Nahmad's lawyer, Richard Golub, told the BBC that ownership of the IAC was "irrelevant" because "the main thing is what are the issues in the case, and can the plaintiff prove them? " He has previously questioned whether Maestracci's grandfather, Jewish art dealer Oscar Stettiner, ever owned the canvas. The case was dismissed in November on the grounds that the complaint should have been filed in Panama, not in New York, and that Maestracci was not the appropriate plaintiff. His most recent complaint with New York's Supreme Court , filed with the administrator of Stettiner's estate as the plaintiff, argues the Nahmad family operates through IAC "in a manner so as to confuse and conceal their identities, and hide revenues generated. " Follow artnet News on Facebook. 2016-04-08 14:04 Sarah Cascone
42 Adam Green's Psychedelic 'Aladdin' Is a Handmade Labor of Love Your friendly neighborhood visionary art, film, and song maker Adam Green has put the better part of the last four years into a new adaptation of the classic Arabian Nights tale, Aladdin. The film, which premiered at Pioneer Works on Tuesday night, is a very different beast from the "Jessica," "Friends of Mine," and "Dance with Me" songwriter's first feature, The Wrong Ferrari , which was shot on an iPhone and rests conceptually on a foundation of ketamine. Vibrant, and dripping with a meticulous craft aesthetic best described as, "cartoons made flesh," Aladdin is a testament to the power of a good love story. The trailer, which you can watch above, hints of an inscrutable romp through Green's subconscious, but the film is actually fairly linear and straightforward, thanks to the influence of Green's wife, Yasmín, and the collective efforts of Green's sprawling network of friends and acolytes in the New York scene. The plot is driven by a lamp that, rather than relying on pure magic, takes the form of a 3D printer, opening all the doors to sex, power, and antics that modern technology promises in our own world. Adam Green funded Aladdin through Kickstarter, rented a warehouse in Red Hook a few blocks from Pioneer Works, and wound up using many of the artists doing residencies there as extras and minor characters. Written in the lyrical style of an album of songs, it's impossible to grasp every single line, but relaxing and letting sentences unpack themselves helps the film makes sense on it's own terms. "It's like a cartoon where you feel what's happening in the movie," Green explains to The Creators Project. "A kid could watch the movie and follow it—well, not a kid becayse it's not really a kids movie. But somebody could watch the movie and zone out and feel like they'd watched the movie Aladdin. Or they could analyze every line, because every line is its own nugget of something I thought to include in the movie. " In an exclusive behind-the-scenes documentary, premiering today on The Creators Project, actor Macaulay Culkin, one of Green's longtime friends, and the character who plays Ralph, the leader of anti-government revolutionary group called the Magical Americans, affectionately says, "I said yes to the script before [Green] had even written it," effectively summarizing the way everyone on set seems to feel about working with Green. Watch that below: Aladdin 's colorful set is populated by Green's fiercely loyal friends, who also happen to be film and fashion celebrities or art world around-towners. The film is uncompromisingly Green, which somehow also means that each actor's individual personality and humanness is made to shine through. "[Actor] Jack Dishel would do these voices in the [Moldy Peaches] tour van," Green tells us, explaining that Aladdin's characters are as much a product of the actors as the script. Dishel is the creator of Uber-bashing web series : Dryvrs , and a talented impressionist and character actor. In Aladdin , he takes on two separate main charaters, Aladdin's wholesome-ish Uncle Gary and a villainous technophile Sultan. "He'd do this old man character and this pan-European character. One time some guy came on the bus, very drunk and very foreign, and just felt entitled to everything, and I was just watching, thinking, 'Who the fuck is this guy?' Later, Jack did an impression of him, and that, partially, became the Sultan. " In this way, Green gives the human indulgences and imperfections normally airbrushed out of Hollywood productions a chance to thrive in the characters of Aladdin. This thread links together all the seemingly non-sensical characters in Green's Arabia, whether it's Dishel's dual roles, or Culkin as Ralph. Arrested Development star Alia Shawkat as Aladdin's sister Emily, Emmy- winner Natasha Lyonne as Aladdin's voluptuous mom, internet curiosity Bip Ling as the Kardashian-esque Princess Barbara, Zoë Kravitz as an asparagus-loving miner, and neo- Expressionist painter Francesco Clemente's portrayal as the genie each tackle Adam's lyrical voice in their own way. Courtesy Adam Green Green summarizes his approach in Aladdin as a reaction to the Dogme 95 movement started by Lars von Trier and Thomas Vinterberg, and championed by Harmony Korine. "I loved Lars von Trier and Harmony Korine growing up, with their whole set of rules: you won't have any pros, your actors will come to the location, location will not be changed at all, there's no music that isn't played at the time of shooting," Green explains. "My movie is the opposite. It's completely hand- made, and the rule is that nothing can be real in the movie. Which is funny because it's actually abut a real life experience. " Yasmín Green produced the film while pregnant with Adam's child and working at Google. "She's the smartest person I know," says Adam. Her influence was a pivotal factor in the growth you can see between The Wrong Ferarri and Aladdin. They met shortly after he finished his cinematic debut, tripping and falling headfirst into romance and then marriage. Their daughter is now 18 months old. More than just his wife's producing abilities, the relationship itself is what drew Green to Aladdin in the first place. "I like it because it's a love story, and I spent the last few years finding love in my life," Green says. "I was really relating to it because it's about love trumping material things. " There is a wedding at the end of the movie, culminating in a set of heart-lifting set of vows that Green reveals are identical to the ones from his own wedding. "We made the movie together, it was our project. And I think all my projects in the future will be ones I do with her. " Courtesy Adam Green Learn more about Adam Green's Aladdin on the movie's official website , where you can also to see when the stoner adventure epic/romance/sci-fi/fantasy/legend movie arrives at an art cinema near you. Check out more of Adam Green's film, music, and artwork here. Related: [Exclusive] Inside the DIY Mini-Films of 'Me and Earl and the Dying Girl' How to Fly to Mars on a DIY Spaceship Nothing Is Sacred in the Robot Chicken Christmas Special The Creators of 'Rick and Morty' Told Us the Secret to Comedy 2016-04-08 13:30 Beckett Mufson
43 inside tadao ando's self-built studio in osaka self-taught architect tadao ando set up his own practice in 1969. since then, he has completed over 200 buildings and was awarded the pritzker architecture prize in 1995. on the occasion of its 5th anniversary, PORT magazine visited the architect’s studio in osaka, which was originally intended as a residence, and discusses the key principles that typify the 74-year-old’s acclaimed work. ‘the real importance of architecture is its ability to move people’s hearts deeply,’ ando says. ‘I am always trying to establish spaces where people can gather and interact with one another.’ ando originally designed the building that houses his studio as a home for a young family. as it neared completion, the clients discovered they were expecting twins and the architect realized it would be too small for their needs. the studio was then extended three times, before it was rebuilt in 1991 to accommodate his own expanding team. the space features ando’s trademark smooth concrete surfaces with carefully positioned apertures that channel natural light. walls throughout the building accommodate shelves filled with books and magazines in an interview with alyn griffiths, tadao ando explains his working processes, the state of architecture as a profession today, and the contemporary artists he most admires. read an excerpt from the interview below, and the full feature published in PORT magazine’s latest issue. alyn griffiths: your buildings are often distinguished by their pure geometric forms and use of exposed concrete. how are you able to achieve such a human quality in your architecture using very basic shapes and materials? tadao ando: my intention is to create a specific space that does not exist autonomously of its site, using common materials that we can find anywhere in the world, like concrete, which consists of sand, stone and cement. I believe that the emotional power in architecture comes from how we introduce natural elements into the architectural space. therefore, rather than making elaborate forms, I choose simple geometries to draw delicate yet dramatic plays of light and shadow in space. frank gehry’s cardboard wiggle side chair occupies a corner of a landing on one of the staircases AG: how would you describe the state of the architecture profession today? in comparison to other periods you’ve witnessed during your career, is this a better or worse time to be an architect? TA: I personally feel that society today does not need as many architects as [it did] in the 19th and 20th centuries, especially in developed countries. I kept believing that architects have a role to play in realising places that can be a cornerstone and a compass in everyone’s hearts. but in recent years, due to pressures from the economy, the scale and speed of development have significantly increased all over the world, resulting in the decline of the social role of architects. however, even in such a difficult time, I wish to provide the origin and home of people’s hearts as an architect. AG: aside from the work of the great architects you admire, where else do you look for inspiration? TA: the inspiration to envision new architecture can be found anywhere, such as in a sentence or even a word in a novel I am reading, in a scene within a film, or in memories of my travel to caves in india or ancient ruins. as long as we open our mind all the time, we can find the inspirational keys to new creation. throughout my career, I have been fortunate to work with many influential artists as clients, coworkers and friends. I have been commissioned for several projects by fashion designers such as issey miyake, giorgio armani and tom ford. I have also kept in touch with outstanding contemporary artists with whom I collaborated, including damien hirst, ellsworth kelly and richard serra. their aesthetics and distinctive eyes always deeply inspire and motivate me to create. ando sketches the interior of his studio on a personalised notepad 2016-04-08 13:26 Philip Stevens
44 interview with italian multi-disciplinary design practice antonio citterio patricia viel antonio citterio and patricia viel are the founders of antonio citterio patricia viel: a multi- interdisciplinary studio that works across the fields of architecture, interior and product design. the firm works internationally, involved in developing complex projects of varying scales, such as hotels, offices, production facilities, residential and commercial complexes, showrooms and town planning schemes. the practice has established a name for itself for possessing a strong expertise in providing complete detailed documentation that encompasses both the shell and core to the interior of a building — from a structure’s envelop to interior fit-out — as well as offering bespoke millwork elements and furniture details for the builds they are involved in. some of its most notable works include: the ermenegildo zegna group headquarters in milan, italy; the bulgari hotel in london, UK; and the technogym village in cesena, italy. designboom visited the firm’s milan headquarters and spoke with patricia viel about her approach to architecture, the challenges of working internationally, and what project has given her the most satisfaction. technogym village, cesena, italy (2012) design antonio citterio patricia viel and partners photo courtesy technogym DESIGNBOOM: what originally influenced you to become an architect? PATRICIA VIEL: it’s a difficult question for me because I don’t remember. I always had a feeling. during my childhood, I played with toys that somehow was a forecast of my future life. I was building small houses in cardboard at 10 years old, but I honestly cannot remember when I decided to be an architect. I believe that my mother was someone that was really sensitive to interior design. she liked change, to move from house to house every six or seven years. she was attracted by a new location, a new apartment, a new situation, and for that reason she always had the opportunity to rethink our domestic space. it was very common to receive architecture and interiors publications at home, and of course they were accessible to me. so, probably my mother on one hand. on the other hand, my father always had the dream of being involved in architecture. his father was a painter, among other things, and his grandfather was a civil engineer; but he did something completely different in his life. however, books on architecture, urbanism, art history were always being brought into the house so I was surrounded by this creativity from a very young age. DB: how would you describe your architectural approach? PV: I’m extremely concerned by the fact that design and architecture has a social impact. we are called to utilize the resources that are not renewable: space, time, money, life… because in order to design a building and to build it you need years. so, I believe that my attitudes are extremely serious and conscious about all those elements. I am not someone who is playing with the project, or doing any ‘fun stuff’, if you like. I prefer to achieve something that is bringing happiness because of its beauty, because of its harmony, because of the evidence that it is the right thing to do. DB: the firm does work across quite a range of projects — from retail spaces to product design to larger scale plans such as the headquarters for technogym. looking at your practice’s diverse work, how you go about commencing the design process for each one? PV: design is something that antonio (citterio) does, so product design, is actually something I don’t know how to do! it is a completely different discipline, it is a completely different state of mind, so I would not place product design in this kind of analysis. but, when you talk about architecture crossing scales like urban design to architecture and interior design, I believe that first of all our attitude is something well done — the feasibility of things, the quality of construction, the madness, the fact that we believe that something should be maintained by hand. we are always concerned about the life of the building after us, and that’s probably the more consistent mental attitude that can be seen across all scales of our projects. for the rest, it’s all about skills, competence, level of analysis, and the quantity of the prohibition that you need to go through. of course when you go through urban design, you need have a certain amount of expertise in the field. you have to connect with a certain amount of information. of course it’s less sensitive for an interior designer who needs to imagine a mood and build a kind of atmosphere, but you do it. what you need to have in your background is a very deep amount of visual experience. so, the background and the amount of skills, along with your capabilities play a big role in this. I think that our practice, the fact that we are asked to develop the interior and exterior of the same project, is quite unique for this reason. DB: you are working across the globe, so how does the choice of form and material reflect the individual cultural context of each project; and how does this factor into your design process? PV: we try to always to be, I don’t want to say compatible, but somehow close to where we are. what we really believe is that clients are expecting something that is of a strong, european character. what we learned from working abroad in asia, in america, in the middle east, is that our culture as european architects has an enormous value. somehow we are recognized as a community, a population that really has the secret to the good life, and we export this. this kind of knowledge which is not only architectural, it’s about food, living, spending time, fashion… is a whole attitude, a way to reach a certain kind of wellness, happiness, well-being; and this is something that is recognized as very special in europe. we’ve designed a lot of residential buildings, and we are developing a lot of hotels at the moment. so, of course in these kinds of projects where the rituals of the day-to-day life are deep important considerations, we’ve experienced that being european is extremely important. expo 2015 accessibility works, milan, italy (2015) design antonio citterio patricia viel and partners photo leo torri DB: you mentioned that the work you are doing at the moment includes a number of luxury hotels. how did you enter that niche? PV: it was a coincidence. we started with bulgari in 2001, but we were trying to get in because we understood that that particular historical moment was really a magical moment in which the hotel industry was changing a lot. what was expected of the luxury concept was transforming into something more in-style, classic interiors… and there was a breakaway from the old, historical buildings. the hospitality industry was looking at something new, something that reflected the lifestyle of the millennials — a new generation of people capable of spending money, to travel, to work abroad. in a way the new nomads. the fact that we are capable of designing the entire context of a project — from the building to the interiors and the furniture — somehow put us in a very special position in which to offer this kind of service. we were contacted by bulgari, which is a fantastic italian brand, full of content, character and personality, who was looking for an office to design its complete chain of bulgari hotels, and we started with that. it’s not something that we are somehow developing with other brands. that is not our goal. I think we have had a lot of good experience with bulgari, and we have achieved a lot with them. we created something very new. a sort of contemporary, classic, luxury that was not available before. now it’s something that is, if you like, a benchmark for a lot of brands. we are very happy to be working with them. on the other hand, the mandarin oriental is a pure hotelier brand, which makes a difference of course. but for us it’s something that really is related to the fact that we are capable of completing a hotel project from exterior to interior. residential tower 7th district, taichung, taiwan (2013-17) design antonio citterio patricia viel and partners rendering copyright antonio citterio patricia viel and partners residential tower 7th district, taichung, taiwan (2013-17) design antonio citterio patricia viel and partners rendering copyright antonio citterio patricia viel and partners DB: now that computer generated visualizations are so commonplace, is there still a place for physical model making or sketching designs by hand? PV: working on a project in two dimensions with software is over. for some reason with BIM (building information modelling) we are returning to a strong manipulation of architecture with our hands. then you build a very sophisticated instrument to control the project with software, and then you create 3D models in different material for different proposals in different phases. but with BIM, I think that we’re back to engaging with touching and thinking of the project through pure manual work, because when you go through software modelling, you have to be extremely clear about what you want to do, in which way, what kind of details you are using for this or that solution… it’s a different way to manage the creation of architecture. you don’t go through the pure representation anymore. what was done in two-dimensions, a kind of drawing… a fake drawing of your project (laughs) is gone! now what you do is you sketch, you find solutions, and you build the real model. even though it’s virtual, it’s a real model. it’s not a representation, it’s three-dimensional and poses all the issues you would have to address. bulgari resort and residences, dubai, UAE (2014-17) design antonio citterio patricia viel and partners rendering copyright antonio citterio patricia viel and partners bulgari resort and residences, dubai, UAE (2014-17) design antonio citterio patricia viel and partners rendering copyright antonio citterio patricia viel and partners DB: to date, which project has given you the most satisfaction? PV: they are in construction! (laughs) I actually believe that in the next two years we will see the best project we have ever done. this is because of the maturity of the office. to be an architect is not something you can do as a young professional. you learn a lot through experience, and you have to be really deeply involved in the complexity of different experiences in order to become a master. there are no young masters in architecture. let’s just say, I believe the best project will be seen in 2017. but for now we have the headquarters for ermenegildo zegna that is a fantastic project for me, the technogym headquarters that was a very important achievement for the office, and here in milan what we completed for esprit in the 80s was something quite interesting for that time. residential tower nimit langsuan, bangkok, thailand (2014-ongoing) design antonio citterio patricia viel and partners rendering copyright antonio citterio patricia viel and partners residential tower nimit langsuan, bangkok, thailand (2014-ongoing) design antonio citterio patricia viel and partners rendering copyright antonio citterio patricia viel and partners DB: is there a particular architect or designer whose work you are fond of? either from the past or present? PV: from the past, I think le corbusier is probably the absolute master in terms of how we define modernity today. we are still following him as a model of architecture. gio ponti would be the other one, but he is more recent. it’s surprising because if you look at what le corbusier is capable of imagining in his years compared to his contemporaries, it is incredible. it’s absolutely unbelievable. for gio ponti it was probably a little bit easier because it was after the war and so on. but, more or less, they are equal in my mind — le corbusier and gio ponti from the past. as for architects today, it’s very difficult to say. I am really interested in the research that has been done by rem koolhaas about the relationship between what he calls ‘genetic architecture and urbanism’. so the need of having a loss of personality in buildings in order to be able to create a new urbanism. but I would say I am more interested in his theoretical expressions than what he really actually does, because there is a kind of distance between the two. chipperfield I think is one of the masters of today. the fact is that the multiplication of the diffusion of architectural culture is so wide today, that you really have to select your group. you pertain to a kind of area in terms of culture, references and attitude. so, I believe in our field probably david chipperfield is one of the contemporary masters. NOVE office building, munich, germany (2014-17) design antonio citterio patricia viel and partners rendering copyright antonio citterio patricia viel and partners DB: do you find yourself discussing your work a lot with other architects? PV: no, and that’s something that I really miss. I believe that it’s something that is not practiced among architects. for some reason they don’t meet, they don’t discuss, they are quite happy in their lonely world, and it’s a real pity. another thing that I miss is that when I am asked to be involved in seminars, conventions or whatever… I am always asked to talk about our projects which is extremely boring. it would be much much more interesting to put 10 architects around the table, say ‘this is the problem, what do you think about it?’ and start a discussion. that doesn’t happen. we should, through young people like you, promote the new millennium. DB: what advice do you have for architects who are just starting out and are trying to emerge into the field? PV: that’s a very good question because I think now we have to stop thinking that architecture as something that you can really manage and do by yourself. the complexity, the size, the needs, the speed in which you need to offer an answer to your clients are such that it is required that you are a group of people that are very well connected with a network of consultants and supporting players. for a young architect it’s very important to have different experiences. perhaps in different countries. that would be ideal. and, I think that it’s extremely important to work and have some experiences in other offices. if possible, a medium to big sized firm. one that is international and quite established. then maybe if they decide to prove themselves as a brand, to find some companions, or some associates… in any case, they need to start thinking that to practice architecture they need to be at least 20 people. it is the minimum size of an architecture office that is able to do something significant. if not that, it’s good to work as an architect with others in a big office, collaborating with important organizations around the world. 2016-04-08 13:10 Andrea Chin
45 ‘It’s About Bringing People Together’: Fabiola Alondra and Jane Harmon on Their ‘Non-Gallery Gallery,’ Fortnight Institute Carmen Winant, Self Healing (II) (detail), 2016. COURTESY FORTNIGHT INSTITUTE On Saturday, April 16, Fortnight Institute, which bills itself as a public salon, will open at 60 East 4th Street, on a quaint, boutique-lined street in the East Village. The Institute “was the beginning of wanting to do something that was unconditional and a space for artists and books and collectors and ephemera,” founder Fabiola Alondra told me over the phone, with co-founder Jane Harmon at her side. The two friends met in London, where they completed their graduate degrees in art history. “We really loved the arts scene in London,” Harmon told me. “The art galleries there really seemed to have a different model and a different way of doing things.” When the pair returned to New York, they again reunited under the employment of Richard Prince, specifically at Prince’s secret bookstore, Fulton Ryder, which closed on Christmas Day in 2014. Harmon continued to work for Prince, while Alondra began working with 303 Gallery’s Lisa Spellman on the gallery’s publishing imprint, 303 in Print. Inspired by their experience with Prince, as well as by their experiences as members of the feminist collective Minerva Cult—of which Marilyn Minter and Betty Tompkins are fans—the two decided to create an artist-driven space of their own.“It was this fantasy of ideas,” Harmon said of their experience working under Prince. “We had this really cool dynamic of working together and putting the art out there in all of these different ways. And we didn’t really have to adhere to a format, or hours…looking back, it was a really fun time. When that ran its course, we thought, ‘OK, we need to start something of our own.’ For the past eight months, we’ve been seriously thinking of how we could build on that idea of a non-gallery gallery, so to speak.”At first, the two planned recurring private salon sessions at Alondra’s apartment, where attendees could come to discuss ideas and look at art. After two editions, the pair decided to go public. “We thought we would find a place to try it out for one month,” Alondra said. “We went walking all around Chinatown, and all around the Lower East Side, but we couldn’t find anything. Then, we were speaking with some people, and they were like, ‘If you only do something for a month, what does that mean?’ We really thought about what we wanted to accomplish with this space, and it kind of propelled us to skip [a test run].”Finally, Alondra and Harmon found a space in the East Village, where they now neighbor an eclectic mix of businesses ranging from laundromats to hat makers. “We just moved in there last week to start renovations, and it’s so funny, all of the old neighborhood people just come up to you and talk to you,” said Harmon. “It feels like a great space for us. There are a lot of theaters and different small businesses, and there’s also this huge history of art in the East Village. The neighborhood isn’t very trendy right now, but that appealed to us as well.” Carmen Winant, She Was Not Dead Yet (But She Feared She Was Dying) , 2016. COURTESY OF THE ARTIST AND FORTNIGHT INSTITUTE The name of the project was not conceived on a whim. “Fortnight is such a meaningful word for us,” said Alondra. “It’s the combination of ‘fort’—which itself is strong—and ‘night,’ because it will be open late at night two times a week. The reason we like ‘fortnight’ is because we like that it’s an old British word that’s used to measure time—fourteen days exactly—and it’s one of the few words that you use to describe a time span of two weeks. Also, it’s interesting that fortnight is one of the few words used to describe time in terms of nights instead of days.” “The word institute came after we knew we weren’t a gallery,” Harmon added. “So what were we? We looked up the definition of an institution, and we were definitely not that. But we looked up what an institute is, and it’s just an organized body that has a purpose. We felt like that kind of description suited us perfectly.”Fortnight Institute will keep unusual hours, as both Alondra and Harmon still work at 303 Gallery and Richard Prince’s studio, respectively, during the day. They plan on some evening hours, late into the night, as well as weekends. Sometimes they will be open only by appointment. Next Saturday, their first show, an exhibition of work by Ohio- based artist Carmen Winant, titled “Who Says Pain Is Erotic?,” will open to the public. “I think it’s important that our first two show is with an artist that isn’t New York-based,” Alondra said. “It’s refreshing to work with artists who aren’t in the New York bubble, and we’ll continue to do that down the line as well. We’ll of course work with New York artists, but we’ll try to fit in people outside of the New York scene.” Their second show, opening a month later, on May 16, will feature work by the Canadian artist BP Laval. Alondra and Harmon also plan to organize performances and screenings in the future, and have contacted a few booksellers, who will begin selling books at Fortnight Institute. When I asked if the two had to raise funding for this project, however, the answer was an emphatic no.“No, we are completely self-funded,” Harmon said. “We thought it was an important thing to do on our own. Even in terms of just getting the space ready, we’re there every day painting and plumbing and sanding floors. We’ve physically, financially, and creatively invested ourselves and our time into this. We had a lot of people who were happy to offer funding to us, which we just really didn’t want to take.”“We kindly declined,” Alondra chimed in, laughing. “We never wanted to have to answer to investors. We just want to do what we want to do, and we want to build a sense of community around what we’re doing. Just this week, we’ve not only had friends come in to help us renovate, but we’ve had our new neighbors come in to visit, looking to be a part of something. [Fortnight Institute] isn’t only about the art—it’s mostly about bringing people together.” 2016-04-08 12:48 Hannah Ghorashi
46 Cao Fei's First US Museum Solo at MoMA PS1 Cao Fei has seen the future of China and it looks like Detroit—after a Hollywood zombie apocalypse. That's certainly the impression one receives on entering the 38-old artist's eponymously titled exhibition at MoMA PS1. In this, her first US museum solo outing, she presents several roomfuls of dystopic scenarios that include alienated teens, utopian musings, digital escapism, and post-apocalyptic clichés. Hailed as among the most innovative Chinese artists working today, Cao has made video and digital technology her media of choice in exploring the lives of China's citizens—especially its young citizens— as they struggle with raised expectations, falling economic growth rates, and a repressive society that censors the press and the Internet. In Cao's still and moving image works, her country's messy prospects are characteristically seen through the prism of China's 13-to-35-year-old demographic. Unfortunately, global youth culture is just as conservative in the East as it is in the West. Born in Guangzhou, also known as the “world's factory," Cao has experienced China's economic boom first hand as well as the topsy-turvy paradoxes brought by one party laissez-faire capitalism. Among these is the absurdity of life in a city like Guangzhou, where Zaha Hadid's futuristic opera house rises and whose pollution has been likened to a nuclear winter. If there is a place that symbolizes China's dangerous contradictions, it's Cao's hometown; in turn, this fact gives the artist's predictions of a coming Asian rust belt both their bite and urgency. Cao's objects, C-prints, standalone videos, and film installations liberally mix together disparate cultural elements to comment on the roiling changes bedeviling Chinese society. Among the more frequently used tropes in her arsenal are Pop aesthetics, social commentary, digital animation, virtual reality, and an evolving preoccupation with youth subcultures. An artist seemingly addicted to the ideal of roleplaying, Fei uses her performances to embark on various analog and digital fantasies that star herself or others. As the artist told artnet News 's Kathleen Massara , she's insistently in search of what she has termed “resistant power. " Cao's exhibition—tidily curated by Klaus Biesenbach, Director, MoMA PS1 and Chief Curator at Large, the Museum of Modern Art—is arrayed around eight rooms on the museum's first floor and also occupies the VW sponsored dome in the museum's courtyard. This last space contains an especially raucous multimedia installation: It's constituent parts include a stage set, fake Chinatown signage, reproductions of hanging birds, musical instruments and the music video stylings of the NYC-based hip-hop group Notorious MSG, one of Cao's more entertaining collaborators. (Cao held a performance with the hip-hop group this past Sunday.) According to the museum literature, the band's three core members currently work at restaurants in New York City's Chinatown. Their song “Straight out of Canton" captures a great deal of the joy and some of the potential “resistance" Cao ascribes to the group's all-immigrant appropriation of American hip-hop. However spunky and fun-filled, though, the irony of VW—a company that has admitted to massively evading global emission regulations—sponsoring this portion of the exhibition should be lost on no one. If Cao's early films from the 1990s and early 2000s—eight of which are arrayed in a circle on monitors in one of the show's last room—consist of low-fi abject fictions involving mostly friends and fellow students from the Guangzhou Academy of Fine Arts, her ensuing projects feature a combination of social realist portraiture and escapist make-believe. In 2004, for instance, Cao followed a tribe of Cosplayers around Guangzhou. In her photographs and videos a troupe of young adults lunge, thrust, and pose like American Civil War reenactors in full manga and anime costume. Like other global simulators in similar soul-killing locales— say, Brussels or Albany—they ritually refight their own Gettysburgs amid their city's ubiquitous gray high-rises and concrete plazas. A second project that goes all-in with a richly evasive Western subculture is the artist's embrace of Second Life: Linden Lab's formerly hot, now not virtual world that companies like Amazon, American Apparel, and Disney rushed to brand in the early 2000s (sales in that virtual universe peaked at $64 million in 2006). From 2007 to 2011, Fei purchased enough alt-real estate to build RMB City , a digital mashup of various global gothams she ghosts with China Tracy, her own Western-looking avatar. In real life—or at least in the artist's exhibition—the project is represented by a promotional video, white construction tools, and a broker's reception desk. In the wall text, Cao describes the effects of her installation: “It's perhaps no longer important to draw the line between the virtual and the real, as the border between the two has been blurred. " The reaction of hardline Chinese officials to this fanciful fairytale is easy to fathom : From Cao Fei's mouth to Xi Jinping's ears. But not all of Cao's elaborate artworks sound the same naïve fugitive note. In 2006, for instance, she took advantage of a residence in a Siemens lighting factory to juxtapose the daydreams of workers with their lives as they are actually lived inside a manufacturing plant. The ensuing project, Whose Utopia? , materializes these workers aspirations through photographs, a newspaper titled “Utopia Daily," and a video by the same title. In Cao's film a prima ballerina in wings and a fuzzy white halo dances amid shop machinery, an older gentleman slides silkily around the factory floor to Chinese pop music, and a young man acts out the dream of being a rock guitarist. Extravagant fantasies all, they are saved from mere amusement by one true thing. They are located inside a place of actual exploitation. Cao's most recent project, La Town , on the other hand, falls back on Hollywood boilerplate to depict the kind of post-apocalyptic imaginings that animate mass entertainment vehicles like HBOs The Walking Dead and MILFs Versus Zombies. The film, which opens Cao's current survey, enlists 3D dioramas to present a Breugel-like portrait of civilization struck by an unspecified disaster. As such, it begs for something more specific, less generic, more critical and less dependent on Western clichés—including copycat subcultures—to convincingly make its dystopic point. Despite some inventiveness, the first US museum show by this fast-rising Chinese art star invites adult skepticism. Escapism is not resistance, and fantasy is not utopia. Follow artnet News on Facebook. 2016-04-08 12:42 Christian Viveros
47 alcarol's fungi collection reveals nature's intricate textures at salone satellite forests are the dominant terrestrial ecosystem. their biomass is the oldest source of renewable energy used since our ancestors learned the secret of fire. much of this biomass occurs below ground as partially decomposed plant detritus. its decay is a clear example of the transformative energy of nature. the final stages in the life cycle of a forest tree attracts specialised fungi organisms which attack the wood breaking down the tough lignin layer that protects it. one of the effects of the early stages of wood decay is the fungi texture inside the matter of the tree: the fungal growth can create some of the most dramatic wood color changes with regions of discoloration and intricate patterns of amazing dark lines, adding a new dimension to the woodgrain. alcarol have used fungi from dead trees and abandoned logs to create unique pieces of furniture alcarol have used the fungi from dead trees and abandoned logs to create unique pieces of furniture. the company employs experimental processes to preserve the raw material exactly as it appear in his original habitat, giving it a new life before it goes to waste. the ‘fungi console’ is made of a single wood plank obtained from an abandoned beech log with its native populations of fungi, recovered in the italian dolomite forest. the plank is cut into two parts with a very thin blade and then joined so that in the corners the fungal woodgrain matches perfectly like a single bent piece, and also the resin – through a special process – is a single piece and not seen separations between horizontal and vertical resin edges. the console shows the most fascinating creations of the fungi: wood discolorations and intricate dark lines that look like free-form art drawn with a calligraphy pen, pigment demarcations constructed by the fungal colonies to protect their territories from potential competitor fungi. the ‘fungi console’ is made of a single wood plank obtained from an abandoned beech log the ‘fungi stool’ is a block of wood obtained from a dead apple tree with its native populations of fungi, inside and outside the log. the final stages in the life cycle of a tree attracts specialised fungi organisms which attack the wood breaking down the tough lignin layer that protects it. the section planes – through touch, sight and olfaction – allow you to transcend the ordinary perception of a place, discovering the intimate transformative wonder of nature. the ‘fungi screen’ is made of four wood boards obtained by sawing dead beech trees with their native populations of fungal colonies, recovered in the italian dolomite forest. the vertical arrangement seems to evoke the original forest trees, according to the idea of environmental cross-section of this extraordinary setting, and with the aim to transcend its ordinary perception. wood decay is a clear example of the transformative energy of nature the fungi table is made of a single wood plank obtained by sawing a very large beech log with its native populations of fungi, recovered in the italian dolomite forest. similar to the ‘console table’ the plank of wood is cut into two parts so that in the corners the fungal woodgrain matches correctly. alcarol’s fungi collection is on show at salone satellite 2016 during milan design week. the ‘fungi screen’ is made of four wood boards obtained by sawing dead beech trees the ‘fungi stool’ is a block of wood obtained from a dead apple tree the ‘fungi table’ is made of a single wood plank obtained by sawing a very large beech log the forest where alcarol find source their material alcarol have used fungi by selecting dead trees and abandoned logs 2016-04-08 12:41 Hollie Smith
48 ‘He Nudges the Sacred Liberal Cows of Assimilation’: A Brief History of David Hammons David Hammons, A Movable Object , 2012. ©DAVID HAMMONS/TOM POWEL IMAGING, INC./COURTESY MNUCHIN GALLERY With David Hammons’s 50-year career being surveyed at New York’s Mnuchin Gallery, many critics have taken the opportunity to reflect on the artist’s work, which has often dealt with racial and economic inequities, both in the art world and in America as a whole. Below are excerpts from articles in the ARTnews archives, starting with Hammons’s early body prints from the late 1960s and ’70s, moving through an unauthorized retrospective at Triple Candie in 2006 and on to Hammons’s plans to set up a Yonkers space in the future. —Alex Greenberger “Creating her own world” By Gordon J. Hazlitt November 1974A one-man show of the work of David Hammons opened at the not-well-enough- known Fine Arts Gallery at California State University, Los Angeles. Collectors seeking preview glimpses of the art of California’s future should not fail to be on director Josine Ianco-Starrels’ mailing list. Ianco-Starrels has the keenest and most affectionate eyes for searching out new and promising talent. Parking, the curse of our town, is the main problem in reaching this gallery within the educational factory of Cal State LA. Seek it out. David Hammons shows a series of highly intense and colorful prints combined with stencil and collage. He forms images by applying oil to his body, then imprinting the paper and applying dry color to the oiled paper. David Hammons, Untitled , 2013. ©DAVID HAMMONS/TOM POWEL IMAGING, INC./COURTESY MNUCHIN GALLERY “David Hammons at Jack Tilton and P. S. 1” By Frances De Vuono March 1991 At a time when simple social commentary is welcomed as part of art commerce, David Hammons’ pieces pack a particularly complex and satisfying punch. His style is as cool as that of Marcel Duchamp, his barbs as vitriolic as those of Amiri Baraka. With an easy sense of material, Hammons turns the neighborhood basketball hoop into political theater. He nudges the sacred liberal cows of assimilation. He critiques the patronage patterns of the poor. And he gives the public, in galleries and on the street, elegant, thought-provoking sculpture. At P. S. 1, over 20 years of Hammons’ work demonstrated his unerring eye for both formal and conceptually textured juxtapositions. Bottlecaps become as decorative as cowrie shells, a rusty plow part turns into a bodice for an antebellum petticoat. It’s offbeat, timely, idiosyncratic work. In one room he reconstructed his controversial Washington, D. C. mural of a blond Jesse Jackson. Another room was turned into a surreal chapel, with piped-in gospel music and phosphorescent statues of Jesus suspended from the ceiling. “David Hammons at Ace” By Lilly Wei March 2003David Hammons likes to tweak the hand that feeds him, from selling snowballs in winter to selling colored air at this latest exhibition. Ace, notorious for its cavernous, ever taunting, elegantly bunkerlike spaces, has bushwhacked many formidable artists’ attempts to fill it. Hammons, in his sly way, took the challenge by not filling it at all—or by not filling it in the expected way. At the opening, visitors walked through the monumental doors as if through the Gates of Hell into a murmuring darkness the wattage of most sci-fi thrillers. After a moment of adjustment, we noticed what seemed to be a font (it was actually a wok sawed in half) of luminous blue. A young woman reached into it and handed each spectator a disc the size of a quarter with a tiny blue light that could be turned on and off, like an electric firefly. Walking with light in hand was like taking a magical mystery tour through the enchantingly transformed rooms. Installation view of “David Hammons: Five Decades” at Mnuchin Gallery. COURTESY MNUCHIN GALLERY/ART: ©DAVID HAMMONS/TOM POWEL IMAGING, INC. “ ‘David Hammons: The Unauthorized Retrospective’ at Triple Candie” By Elisabeth Kley May 2006 The Triple Candie gallery fruitlessly pursued a project with the notoriously elusive artist David Hammons for several years before embarking on the brilliant, Duchampian gesture of presenting an unauthorized retrospective of Hammons’s work using reproductions taken from books and the Internet. Every available example of Hammons’s output from the 1960s to 2004 was printed on letter-size paper and taped in chronological order to plywood panels nailed to the walls. A space was left at the end in case something new appeared…In Bliz-aard Ball Sale (1983), one of Hammons’s most brilliant performances, he sold snowballs from a table on a Harlem street. And in Concerto in Black and Blue (2004), visitors provided with flashlights made their way through the enormous vacant rooms of Ace gallery, themselves the exhibition. For a reclusive artist who specializes in such ephemeral work, this made an ideal retrospective. David Hammons, Untitled , 2008–14. ©DAVID HAMMONS/TOM POWEL IMAGING, INC./COURTESY MNUCHIN GALLERY “Looking at Seeing: David Hammons and the Politics of Visibility” By Andrew Russeth February 2015 It’s anyone’s guess what Hammons has planned for Yonkers. Perhaps there is a clue in the catalogue for his 1993 show at the Illinois State Museum in Springfield, Illinois, his hometown, in which he talks about having a private museum there, a place to show his work. It might also be a place to show other artists’ work—either a fully functioning commercial gallery or a nonprofit alternative space. The week before Christmas, I made the trip to the gallery’s future site. The BxM3 bus dropped me off at Radford Street on South Broadway, the town’s main commercial strip. There’s a McDonald’s, a smattering of pizza places, a non-chain pharmacy, a few vacant storefronts. The building that Hammons bought is a 5-minute walk away, past a few modest suburban homes and a block of public housing. It’s next door to the community affairs office of the Yonkers Police Department. There’s a storefront church and soup kitchen nearby, but otherwise it’s a sleepy section of town. Hammons’s space, at 39 Lawrence Street, is a one- story brick building with tall ceilings, filling a lot that measures two-thirds of an acre, about 29,200 square feet. According to property records, an entity called Duchamp Realty LLC, which is registered to the artist’s home address in Brooklyn, bought it for $2.05 million in January 2014. Construction permits for roof repair, issued a few months before I visited and valid well into 2015, were plastered over a door. Whatever the Yonkers gallery becomes, it will join many of Hammons’s works as a marking, and reconfiguration, of public space. Slipping just beyond city limits, it denotes a hallmark of our time: artists’ flight from the moneyed playground that New York has become. “I’ve always thought artists should concentrate on going against any kind of order…but here in New York, more than anywhere else, I don’t see any of that gut,” Hammons told the art historian and curator Kellie Jones in 1986, anticipating this moment. “Because it’s so hard to live in this city. The rent is so high, your shelter and eating, those necessities are so difficult, that’s what keeps the artists from being that maverick.” Perhaps “Duchamp Realty LLC” is another clue: one might see the gallery as an assisted readymade, a former industrial space redirected toward a new purpose. On the day I visited the site, the sound of a jackhammer was ringing through the neighborhood. It seemed to be emanating from within the building, but there was no obvious way in. The gates were down and locked, and looking through the high windows, I could see the sky peeking through sections of the roof that were missing. I bought a slice of pizza and headed back to Manhattan. “Creating her own world” copyright 1974, Gordon J. Hazlitt; “David Hammons at Jack Tilton and P. S. 1” copyright 1991, Frances De Vuono; “David Hammons at Ace” copyright 2003, Lilly Wei; “ ‘David Hammons: The Unauthorized Retrospective’ at Triple Candie” copyright 2006, Elisabeth Kley 2016-04-08 12:27 The Editors
49 Geology Gets Deep Dreamed into Georgia O'Keeffe-Like Abstractions Painter and filmmaker Kurtis Hough has filtered the landscapes of Oregon, Arizona, and Utah through Google's Deep Dream software for his latest short Painted Hills. As the title suggests, Hough has used the undulating psychedelia of Google's AI mind to turn the barren yet sculptural geology of those states into dreamy moving paintings, set to music by Colin Stetson. "The initial concept was to look at the sculptural shapes and colors of arid landscapes through the lens of a painting," explains Hough to The Creators Project. Hough camped out in the Coyote Buttes and spent hours hiking and filming video and timelapse footage of the swirling erosion that marks out the rocks and landscapes there. Once he got back home he ran each shot as an image through the Deep Dream code using Python, adjusting and layering the values until he was satisfied with the effect. "This process ended up being the most amount of manipulation I had undertook when making a short film. It went through 50 iterations before landing on the completed version," notes Hough. "Once I completed the Deep Dream layers, I wanted to go one step further. I began adjusting certain scenes in After Effects and adding 3D elements which have roots in mathematic formulas found in nature and geometric objects, like the Golden Ratio and Pi. " GIF courtesy of Kurtis Hough The result is a surreal effect caught between reality and manipulation, where the natural abstractions are further heightened by the application of Google's dreaming AI. "I wasn’t interested in the 'dog slug' images I was seeing in Deep Dream postings with furry eyeballs filling the frame. Instead, the painterly brush strokes of banding colors fit not only the layered colors found in the sandstone I was photographing, but also connected to the Georgia O’Keeffe style found in my paintings," Hough says. "That is what I found most interesting about Deep Dream, was the ability to combine styles from other mediums together to create a new image. " Image courtesy of Kurtis Hough GIF courtesy of Kurtis Hough Visit Kurtis Hough on Vimeo for more. Related: Stereoscopic GIFs Get Trippy Makeovers with Neural Network Imaging ‘Pikazo’ App Lets You Paint Neural Network Art Masterpieces If Picasso Painted 'Alice in Wonderland'... 2016-04-08 12:15 Kevin Holmes
50 Avid Art Buffs Camp Out for 'RCA Secret' Auction Think you can spot a Grayson Perry artwork when you see one? Your powers of discernment should come in handy at the Royal College of Art 's (RCA) annual auction, which offers up original postcards by renowned artists such as Perry and Anish Kapoor. This Friday, the RCA kicked off their 22nd iteration of "RCA Secret," an exhibition of nearly 2000 works which are all auctioned off at a starting price of £55 ($77). But here's the catch: The winning bidders aren't privy to the artist behind their prize until after the auction closes. Interested collectors, then, are invited to play a game of "who made what? " as they take their stabs at identifying the artists behind the postcards. (A similarly-anonymous Postcards From the Edge fundraiser from Visual AIDS takes place in New York each year .) With heavyweights like Steve McQueen , Zandra Rhodes , and Peter Blake also in the mix this year, the RCA Secret auction is arguably one of the most star-studded university-run fundraising events in the art world. Notable participants in previous years count Zaha Hadid , Paula Rego , and John Baldessari , just to name a few. But the RCA is apt to reassure collectors that even if an item wasn't made by whom they'd hoped, they may very well be holding a piece by the art world's next big star. According to the RCA's website, this year's auction has adopted a new format for the sale. Buyers may purchase their postcards during the week-long exhibition, allowing visitors to swing by and play 'guess the artist' just for fun. Those interested in placing a bid can do so at the exhibition itself or online. In a phone conversation with artnet News, Aine Duffy, head of communications for the RCA, said that eager bidders have been camping up outside with makeshift tents for the past week. The first person on cue, according to Duffy, is a man named Lee, who's spent the last 10 days living out of his tent. This is his tenth year coming to the RCA auction. "What's so unique about the event is that everyone has fun, whether making the artworks or buying the artworks," Duffy said in a follow-up email. The money raised goes to the RCA fund, which offers scholarships for students who face financial hardship. "RCA Secrets" will be on view at the Royal College of Art, Kensington Gore, London, April 8– April 15, 2016. Follow artnet News on Facebook. 2016-04-08 12:06 Rain Embuscado
Total 50 articles. Created at 2016-04-09 12:00