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73 articles, 2016-05-17 06:03 1 Remembering Martin Friedman (1925–2016) — Magazine — (1.04/2) Walker Art Center Martin Friedman, the director of the Walker Art Center from 1961 to 1990, passed away May 9, 2016, at age 90... 2016-05-16 21:33 15KB www.walkerart.org 2 Sotheby’s to Offer Picasso’s Cubist Masterwork ‘Femme assise’ in London Sotheby’s will offer Pablo Picasso’s seminal early cubist portrait “Femme assise” 1909, one (1.03/2) of the artist’s most important cubist works, during its June 21 Impressionist & Modern Art Evening Sale in London. 2016-05-16 19:34 1KB www.blouinartinfo.com 3 Curator’s Choice: Koyo Kouoh Koyo Kouoh is the curator of EVA International, Ireland’s Biennial. 2016-05-16 22:07 2KB www.blouinartinfo.com (1.02/2)

4 Editors' Picks: 8 Art Events to See This Week From sound artists dismantling power structures at the New Museum to Terrence Koh's art world return, we've got your itinerary covered. 2016-05-16 17:06 5KB news.artnet.com

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5 EU Withdraws Italy's Cultural Funding The EU has withdrawn $57.6 million in cultural funds after several southern regional authorities failed to spend the money. 2016-05-16 15:49 3KB news.artnet.com

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6 anglepoise scales-up its 1930s desk light with giant lamp collection anglepoise debuts the 'giant collection' of triple scale desk lamps during new york design (1.00/2) week 2016 at ICFF. 2016-05-17 00:15 1KB www.designboom.com 7 Jonathan Saunders Named Chief Creative Officer at DVF Saunders takes up first official role after shuttering business. 2016-05-16 13:40 5KB wwd.com

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8 university of iowa's new visual arts building by steven holl designed by steven holl architects, the new visual arts facility for the university of iowa‘s school of art and art history is nearing completion. 2016-05-17 04:04 3KB www.designboom.com 9 lehel kovacs world of stadiums illustration project composed of sixty illustrations, kovac has an ongoing kickstarter campaign to print the series in a postcard format. 2016-05-17 02:15 1KB www.designboom.com 10 Listening Mix: Devendra Banhart & Friends LISTENING MIX provides a musical preview for artists visiting the Walker. Combining their work with sounds from a variety of contextual sources, LISTENING MIX can be experienced before or after a pe... 2016-05-16 21:03 941Bytes blogs.walkerart.org 11 What is a Contemporary Collection? Thoughts on the Walker Moving Image Commissions and the Ruben/Bentson Moving Image Collection The Walker Moving Image Commissions is an online series in which five artists responded to selections from the Ruben/Bentson Moving Image Collection. Premiered in the Walker Cinema and released for a... 2016-05-17 01:15 1KB blogs.walkerart.org

12 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-05-17 00:33 1KB gdusa.com 13 CEW Announces 2016 Beauty Insider Awards Winners The year’s best beauty products were selected from a pool of 812 entries. 2016-05-16 23:26 2KB wwd.com 14 A Sea of Sameness at the Digital NewFronts: Top Trends Publishers rolled out video offerings to advertisers for 2016 — many of which looked a bit similar. 2016-05-16 23:19 6KB wwd.com 15 H50 apartment block by 314 architecture studio exposes raw marble through triangular curved faces 'H50' is an apartment block by 314 architecture studio which exposes and contrasts rough and smooth surfaces of marble. 2016-05-16 23:05 2KB www.designboom.com 16 Rihanna, Beyoncé, Lady Gaga Ready for Guo Pei’s Designs Guo Pei talks Rihanna and new strategy at China Institute. 2016-05-16 22:30 3KB wwd.com 17 Tip of the Iceberg: Unpacking Felix Gonzalez-Torres’s Storied Legacy Felix Gonzalez-Torres 2016-05-16 22:17 2KB www.blouinartinfo.com 18 Venus, Remixed: The Cult of Botticelli Thrives at the V&A Just what is it about this 15th-century Florentine that continues to produce such powerful reactions, half a millennium after his death? 2016-05-16 21:57 4KB www.blouinartinfo.com 19 Monday at Cannes: Kirsten Dunst in Custom Dior, Kate Moss in Vintage Halston Kirsten Dunst continued her custom Dior streak, while Kate Moss marked her first Cannes appearance in 15 years with vintage Halston. 2016-05-16 21:31 1KB wwd.com 20 Shows That Matter: Leslie Hewitt at SculptureCenter “Leslie Hewitt: Collective Stance” is on view at through August 1 at SculptureCenter in Queens. 2016-05-16 21:24 2KB www.blouinartinfo.com 21 Affable Experimentation: Steve Lehman Octet at the Walker To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opi... 2016-05-17 00:32 935Bytes blogs.walkerart.org 22 Artists Installing: Lee Kit Hong Kong artist Lee Kit spent the past two-and-a-half weeks in the gallery working on his site-specific installation for his first solo museum exhibition in the US, Lee Kit: Hold your breath, dance... 2016-05-17 00:32 835Bytes blogs.walkerart.org 23 This is What Pong Would Be Like in VR You’ll scream 'Blarp!' everytime you swing the paddle in Isaac Cohen’s new game. 2016-05-16 21:14 3KB thecreatorsproject.vice.com 24 At Cannes, Female Directors Favored for Top Prize Maren Ade’s “Toni Erdmann” and Andrea Arnold’s “American Honey,” two of the three films directed by women in the main competition at Cannes, are favorites for the Palme d’Or. 2016-05-16 21:07 5KB www.blouinartinfo.com

25 caminade la grande motte by jean gabriel causee combining both soft mobility and electric power for tomorrow’s transportation needs, the caminade la grande motte's curves and circles symbolize dynamic shapes like the constantly evolving urban areas. 2016-05-16 21:01 2KB www.designboom.com 26 China Flexes Its Gold Muscle China has made yet another move as the country continues to assert its power in the gold market. 2016-05-16 21:01 3KB wwd.com 27 UCLA's Design Grad Show Breaks Post-Digital Boundaries Students search for a smooth transition from a digitally-oriented life into a digitally-driven one. 2016-05-16 20:48 3KB thecreatorsproject.vice.com 28 True Fit’s Cofounder on the Challenges of Optimizing Retail Data Retailers and brands generate reams of data, but is it being used the right way? 2016-05-16 20:47 3KB wwd.com 29 Artist Floods a Former Cathedral with Rainbows Over 700 colored mirrors create a miraculous effect in Liz West's latest installation. 2016-05-16 20:45 3KB thecreatorsproject.vice.com 30 Dealer’s Notebook: Vincent de Sarthe of de Sarthe Gallery, Beijing Vincent de Sarthe, of Hong Kong's de Sarthe Gallery, answers our "Dealer's Notebook" questions. 2016-05-16 19:48 733Bytes www.blouinartinfo.com 31 Escapist Drawings of Technicolor Weirdos | Monday Insta Illustrator Scrolling through Matthew Houston's improvised characters is addictive as hell. 2016-05-16 19:33 1KB thecreatorsproject.vice.com 32 The Duchess of Cambridge Dons Boxing Gloves The Duchess, alongside Princes William and Harry, tried her hands at boxing today at the launch of Heads Together mental health campaign. 2016-05-16 19:23 2KB wwd.com 33 W. A. G. E. Calls for New Museum to Fully Compensate Artists Artist advocacy group Working Artists and the Greater Economy (W. A. G. E.) is calling for the New Museum to receive certification to ensure all its artists earn fair pay as the building plans for exp… 2016-05-16 19:20 3KB hyperallergic.com 34 PETA behind the leather campaign shocks shoppers courtesy of PETA asia and ogilvy & mather bangkok, shoppers were shocked to find beating hearts inside bags, as part of the campaign 'behind the leather'. 2016-05-16 19:15 1KB www.designboom.com 35 Age Ain’t but a Number, Says Julianne Moore In Cannes, the L’Oréal ambassador pondered the concept of age and how to make gun control appeal to everyone. 2016-05-16 18:43 4KB wwd.com 36 New-York Historical Society Plans ‘Summer of Hamilton’ Over the July 4 weekend the New-York Historical Society will kick off its “Summer of Hamilton.” 2016-05-16 18:35 2KB artsbeat.blogs.nytimes.com

37 Ivyrevel Launches Swimwear Collection Ivyrevel, the H&M-backed digital fashion house, has expanded its offering to include swimwear. 2016-05-16 18:30 1KB wwd.com 38 meizu gravity wireless speaker by hironao tsuboi meizu gravity wireless speaker uses a complex optical reflection formula to present the album art and track information. 2016-05-16 18:10 1KB www.designboom.com 39 Fusion Hires Ex-Condé Nast Publisher Jason Wagenheim as Head of Revenue The Univision-owned Fusion has hired the former Teen Vogue publisher, along with Gawker’s Megan Gilbert to head up branded content. 2016-05-16 17:57 3KB wwd.com 40 When Artists Take the Piss Out of Christ, It's Complicated Jesus as a skinned lamb’s head, holding guns, and other controversial renditions. 2016-05-16 17:55 6KB thecreatorsproject.vice.com 41 Steal This Fork: An Artist Spent 15 Years Stealing Silverware Used by the 1% Hillary Clinton and Prince Harry are but a few nobles whose spit and food crumbs show up in Van T. Rudd’s readymades. 2016-05-16 17:40 7KB thecreatorsproject.vice.com 42 machado silvetti opens new center for asian art at the ringling designed by boston-based firm machado silvetti, a new center for asian art has opened at the ringling, the state art museum of florida, located in sarasota. 2016-05-16 17:28 3KB www.designboom.com 43 Mangelos at Peter Freeman, New York Pictures at an Exhibition presents images of one notable show every weekday 2016-05-16 17:22 1KB www.artnews.com 44 Arts Charity Closes After Lye Attack Healing Arts Initiative has shut down after firing director D. Alexandra Dyer, who was attacked with lye while investigating embezzlement at the charity. 2016-05-16 17:18 3KB news.artnet.com 45 The World's Blackest Black Meets the Vacuum of Space Anish Kapoor's exclusively-owned color is currently helping satellites see the universe. 2016-05-16 17:10 2KB thecreatorsproject.vice.com 46 Glenn Branca Brings the Noise to the Red Bull Music Academy On May 16, a group of 10 guitarists will perform a number of Branca compositions at the Masonic Hall in Manhattan. 2016-05-16 17:02 5KB www.blouinartinfo.com 47 Ballet Legend Baryshnikov Dances a Descent into Madness Vaslav Nijinsky’s personal diary, as performed by Mikhail Baryshnikov, is a glimpse into artistic psychosis. 2016-05-16 16:55 7KB thecreatorsproject.vice.com 48 Van Gogh Meets Glenn Brown in Arles Van Gogh Meets Glenn Brown in Arles 2016-05-16 16:49 3KB www.blouinartinfo.com

49 Finally, the Art World Gets a Bootleg Video Store Art hub Kunstraum’s booth at NADA New York revisited the golden days of Blockbuster Video. 2016-05-16 16:35 3KB thecreatorsproject.vice.com

50 Friend Sues Peter Beard Sued For $200,000 A woman who says Peter Beard and his wife improperly took back a diary they gave her three decades ago wants $200,000. 2016-05-16 16:26 2KB news.artnet.com 51 Tomás Saraceno Turns Spiders Into Artists at Esther Schipper Berlin Tomás Saraceno Turns Spiders Into Artists at Esther Schipper Berlin 2016-05-16 16:19 2KB www.blouinartinfo.com 52 au workshop's columns collection is made of PVC tubes and concrete PVC tubes are considered non-displayable in architecture because of its texture and profane function, but by polishing its surface the studio has created a new material experience. 2016-05-16 16:01 2KB www.designboom.com 53 Panama Papers Reveal Art Worlders' Accounts Art world insiders including dealer Dominique Lévy and magazine publisher Louise Blouin are revealed in the Panama Papers as having offshore accounts. 2016-05-16 15:56 3KB news.artnet.com 54 Think You Know the Next James Bond? Don’t Bet on It British bookmakers have suspended betting on the identity of the next Bond after the odds on the actor Tom Hiddleston shortened sharply in recent days. 2016-05-16 15:53 2KB artsbeat.blogs.nytimes.com 55 How 'Game of Thrones' Designed Last Night's Fiery Set Piece The architectural inspiration behind Vaes Dothrak was, well, unlikely. 2016-05-16 15:40 5KB thecreatorsproject.vice.com 56 Second Thoughts: Fred Sandback and the Virtual Line How does an exhibition accrete meaning, gain relevance, or shift shape over time? In the 2016-05-16 17:19 858Bytes blogs.walkerart.org 57 You're a 'Servant To Infinite Distraction' at This Exhibition The pseudonymous Los Angeles Pop artist Desire Obtain Cherish is after the pleasure principle. 2016-05-16 15:20 7KB thecreatorsproject.vice.com 58 Cannes Review: Kirill Serebrennikov’s 'The Student' Screening in the Un Certain Regard section at the Cannes Film Festival, 2016-05-16 14:34 4KB www.blouinartinfo.com 59 Buy Miley Cyrus's Planned Parenthood T-Shirt Marc Jacobs has released two $50 t-shirts designed by pop star Miley Cyrus and artist Marilyn Minter to benefit Planned Parenthood. 2016-05-16 14:22 3KB news.artnet.com 60 Journey Through the Past: Stephen Kaltenbach, a Forgotten Conceptual Master, Makes a Comeback in New York Installation View, Stephen Kaltenbach at Marlborough Chelsea MARLBOROUGH CHELSEA In the late 60s, the artist Stephen Kaltenbach spent three manic, productive 2016-05-16 13:30 6KB www.artnews.com 61 Donna and Donald Baumgartner Donate $8 M. To Endow New Directorship At Milwaukee Art Museum Milwaukee Art Museum. VIA WIKIPEDIA COMMONS The Milwaukee Journal Sentinel reported today that Donna and Donald Baumgartner, longtime donors to the Milwaukee 2016-05-16 13:22 1KB www.artnews.com 62 Z4Z4's casa tobogan in madrid offers contrasting environments in madrid, architecture studio Z4Z4 has completed a 'casa tobogan', a multifaceted property that juxtaposes different living styles and environments. 2016-05-16 13:20 2KB www.designboom.com 63 $40 Jeff Koons, "Vagina Artist" Fined: Last Week in Art Last week was filled with record-breaking (and downright mysterious) art sales, news- worthy selfies, and the artist f.k.a. George W. Bush. 2016-05-16 13:20 5KB thecreatorsproject.vice.com 64 weiss / manfredi sets residence in tuxedo park as a sequence of terraced levels the first contemporary building located on the country park - a former country resort in new york state – embraces its natural lake setting. 2016-05-16 12:34 3KB www.designboom.com 65 Artist Condemns Mexican Drug Violence Some 28,000 Mexicans have repotedly disappeared due to drug violence. The worn out shoes of families who have searched for them make up a new art exhibition 2016-05-16 12:20 2KB news.artnet.com 66 Prince Guitar Under the Hammer at Heritage Custom-designed for the artist in a shape that would be incorporated into the glyph he assumed as his name, the guitar will bear a $30,000 opening bid. 2016-05-16 12:12 2KB news.artnet.com 67 W. A. G. E. Issues Open Letter to New Museum About the Institution’s Planned Expansion The New Museum. COURTESY NEW MUSEUM W. A. G. E., the New York organization devoted to ensuring sustainable labor practices at arts institutions, issued an open 2016-05-16 11:14 5KB www.artnews.com 68 May Auctions In New York Totaled $1.2 Billion, About Half of November Haul Christie's New York headquarters at Rockefeller Plaza. COURTESY CHRISTIE’S The May sales of Impressionist, modern, and contemporary art in New York 2016-05-16 11:11 2KB www.artnews.com 69 hyundai exoskeleton hyundai exoskeleton can lift up to 50 kilograms over long distances to help infuse robotics into everyday tasks. 2016-05-16 11:10 1KB www.designboom.com 70 Sotheby's Contacted Helly Nahmad About Modigliani- Newly revealed court documents show Sotheby's communicated with Nahmad family over a disputed $25M Modigliani portrait, 2016-05-16 11:05 6KB news.artnet.com 71 Northern Exposure: Steve Martin Resurrects Lawren Harris at the Museum of Fine Arts Boston Through June 12 2016-05-16 11:03 6KB www.artnews.com 72 Getting Skewed at Storm King With Dennis Oppenheim and Josephine Halvorson Works by Dennis Oppenheim and Josephine Halvorson will be on view at the upstate New York arts center until November. 2016-05-16 09:23 4KB www.blouinartinfo.com

73 Town Refuses Loan of Della Francesca Gem The town of Monterchi has engaged in years of legal dispute over the ownership of a priceless fresco and won, yet locals still fear it will be snatched. 2016-05-16 08:51 3KB news.artnet.com Articles

73 articles, 2016-05-17 06:03

1 Remembering Martin Friedman (1925–2016) — Magazine — Walker Art Center (1.04/2) Martin Friedman, the director of the Walker Art Center from 1961 to 1990, passed away May 9, 2016, at age 90. In commemoration of his pivotal role in shaping the Walker’s values, vision, and future, curator Joan Rothfuss shares her perspective on Friedman’s life and legacy. When I first met Martin Friedman, I didn’t realize that, in a sense, I already knew him. I had moved to Minnesota in 1974 to attend the Minneapolis College of Art and Design. I’d come from Dayton, Ohio, which had no contemporary art museum, so the Walker was a revelation for me. On one of my first visits, I encountered Robert Irwin putting the finishing touches on a scrim and light installation. Out of practically nothing, it seemed, Irwin had made light feel palpable—a near magical feat that stopped me in my tracks. In 1978, I was dazzled by Noguchi’s Imaginary Landscapes , a gorgeous exhibition that introduced me to an artist whose practice ranged from studio sculpture, lamps, and tables to décor for dance and designs for urban parks and playgrounds. I spent some of my meager student dollars to buy a copy of the show’s catalogue, which is still on my shelf, now well thumbed. In 1979, I was in the audience for the world premiere of Trisha Brown’s Glacial Decoy , which was danced in front of a shifting photographic backdrop designed by Robert Rauschenberg. And in 1983, I splurged on tickets for the opening of Hockney Paints the Stage. I was by then out of college and working as a freelance theater set designer, and Hockney’s re-creations of his designs for the opera both enchanted and inspired me. It wasn’t until 1988, when Martin asked me during a job interview to talk about my favorite Walker moments, that I learned he had been behind them all. During his 31 years at the Walker, Martin, as most everyone called him, conjured memorable moments for hundreds of thousands of visitors. Under his leadership, the Walker presented the best in contemporary painting, sculpture, dance, music, film, and performance; brought dozens of artists to the region for commissions, residencies, lectures, and performances; and nurtured a generation of collectors and arts patrons who continue to vigorously support the Walker and other local arts institutions. Martin oversaw the construction of a new building and developed a beloved new public space, the Minneapolis Sculpture Garden. It is, in fact, hard to overstate his contribution to the quality of cultural life in the Twin Cities, although he himself gave much of the credit to the traditions and aspirations of his audience. “In Minneapolis, the great mass of the public is tolerant and interested, and there is a layer, an informed intellectual layer, we could look to,” he said. “I came on the scene at a propitious time.” Martin Friedman arrived in Minneapolis in 1958 after being recruited by Walker director H. Harvard Arnason for a curatorial post. At the time, Martin was just finishing a fellowship at the Musée royal du Congo Belge (now the Musée royal de l’Afrique central) near Brussels. He had studied art history at UCLA and become deeply interested in what was then called primitive art; in Brussels, he immersed himself in the museum’s holdings of African art, later publishing several scholarly papers on objects in the collection. African sculpture, in particular, remained a lifelong passion. When I met him, he still had a large, rather intimidating Senufo mask from Ivory Coast on display in his office. But by the time Arnason called in 1958, Martin already knew that contemporary art was his true vocation. Although he had no curatorial experience when he arrived at the Walker, Martin distinguished himself immediately. His first major exhibition, School of Paris 1959: The Internationals (1959), presented new work by eight abstract painters based in Paris. This was followed by The Precisionist View in American Art (1960), which looked at homegrown painters who worked in pared-down, semi-abstract styles, including Ralston Crawford, Stuart Davis, Georgia O’Keeffe, and Charles Sheeler. The show earned high praise from the critic Hilton Kramer, who pronounced it an eye-opening reassessment that “significantly altered our perspective on American art between the two World Wars.” Martin was at work on his next big project, a survey of new art from Brazil, when Arnason announced that he was leaving the Walker for a post at the Guggenheim Museum. Martin was appointed his successor, and he became, at 36 years of age, one of the youngest museum directors in the country. One of his first priorities was to streamline the exhibition program by focusing on solo shows with living artists and group shows built around a strong thematic framework. During his first decade as director, the Walker mounted solo exhibitions devoted to dozens of contemporary painters, sculptors, photographers, and architects, including Charles Biederman, Marcel Breuer, Lucio Fontana, Adolph Gottlieb, Jerome Liebling, Matta, Katherine Nash, George Ortman, Michelangelo Pistoletto, Robert Rauschenberg, and Tony Smith. Group shows included London: The New Scene (1965), which featured David Hockney, Bridget Riley, Joe Tilson, and other young British artists; 14 Sculptors: The Industrial Edge (1969), a look at minimalist tendencies in recent sculpture; and Light/Motion/Space (1967), the first major show to present light and motion as artistic media, with works by Chryssa, Nam June Paik, Julio Le Parc, and Otto Piene. Martin continued the practice of putting the Walker’s exhibitions on the road, a strategy that both expanded their audiences and raised funds to offset the expense of mounting them. The scholarly catalogues produced for many of these exhibition are essential historical documents of the period, and they helped to establish Martin, who authored essays in several of them, as a rare type: a museum director who was also a first-rate curator and scholar. During the 1970s and 1980s, the Walker’s exhibitions became even more ambitious. Martin himself curated American Indian Art: Form and Tradition (1972), Naives and Visionaries (1974), and The River: Images of the Mississippi (1976). With his wife, Mickey , he organized Tokyo: Form and Spirit (1986), an enormous and rather quirky presentation of historical Japanese art objects and their contemporary descendants. There were solo shows featuring Jean Dubuffet, Claes Oldenburg, George Segal, Jan Dibbets, and Jasper Johns, and scholarly projects such as De Stijl: 1917–1931, Visions of Utopia (1982), on the Dutch art and design movement, and Marcel Broodthaers (1989), the first retrospective of the important Belgian conceptualist. For emerging artists, there was the exhibition series Viewpoints , which presented dozens of artists during its 18-year run, from 1977 to 1995. Martin’s curatorial eye was superlative, but he also was probably the best exhibition designer of any director or curator of his generation. His imaginative use of architecture, color, lighting, exhibition furniture, and multimedia made walking through his exhibitions like being transported to another world. Even when a touring exhibition came to the Walker, he made sure to put his stamp on the installation. (The staff called it “Martinizing.”) The spectacle of his exhibitions had a purpose beyond visual pleasure, however. He was passionate about making contemporary art accessible to everyone, even people who thought they didn’t know enough to understand it. “Contemporary art can be a thrilling experience,” he said. “You don’t need a course if you’re just not afraid.” He never pandered, but he was not averse to using extravagant installations to seduce those wary viewers, all in the name of sharing that thrill experience with everyone. Martin’s commitment to education extended to personally mentoring his staff. He was known for training young curators for a few years and then gently pushing them out of the nest, thus populating dozens of American museums with Walker alumni. (Another staff aphorism: “No one ever dies at the Walker.”) One of Martin’s pet initiatives was the Arts Museum Education Training Program, a curatorial/education internship program he started in 1973. That was the position he hired me for in 1988, when I was fresh out of grad school and as callow as I could be. We interns did some photocopying and filing, of course, but most of our time was spent on work that was far more substantive. We assisted some of the best curators in the business on complex exhibition projects, and along the way we did a lot of writing: gallery labels, calendar copy, press releases, and scripts for the introductory slide shows that contextualized each exhibition. Martin especially enjoyed helping his interns improve their writing skills. He often summoned me into the office common area, where I would stand next to him and watch as his red pencil flew over my text. “You’re not writing for Artforum ,” he would say, meaning that he had no use for the dense, theoretical writing that filled art journals and graduate school theses during the 1980s. He wanted texts that illuminated rather than obscured the art on view. I learned a lot during those editing sessions, and Martin’s own lucid prose became my personal gold standard for graceful, perceptive writing about art. Martin’s most lasting gift to this community might be the two brick-and-mortar projects he completed during his tenure. The first was a new museum building designed by architect Edward Larrabee Barnes, which replaced the structure that had been the Walker’s home since it opened in 1927. Barnes’s building is an elegant, red brick tower containing a series of white- cube galleries inspired by the spacious loft studio spaces of the day. The building opened in 1971 and immediately garnered international acclaim. “Barnes’s building is no architect’s oppressive ego trip,” wrote the art historian and critic Barbara Rose. “It is rather a building designed on a human scale for people to move through at a leisurely pace and for artists to show works in without having to compete with the architecture… The Walker is one of the few new museums genuinely adequate to current needs.” To open the building, Martin commissioned 21 artists, including four from the Twin Cities, to respond to Barnes’s architectural design with new, site-specific works. The resulting exhibition, Works for New Spaces (1971), looks in retrospect like a bold, even intrepid signal that, from that point on, the Walker’s primary commitment would be to the art of the moment. As soon as the Barnes building opened, Martin began planning his next building project, a sculpture garden to be situated on 11 acres of undeveloped parkland across the street from the museum. The Minneapolis Sculpture Garden , a collaborative project between the Walker and the Minneapolis Park & Recreation Board, opened to the public in 1988 with 14 classic bronze artworks from the Walker’s collection and 11 newly commissioned works. It has since become one of the region’s top destinations for tourists and locals alike. They come to stroll its art-lined gravel walkways, watch outdoor performances and film screenings, play on artist-designed mini golf courses, or snap a self-portrait in front of Claes Oldenburg and Coosje van Bruggen’s beloved Spoonbridge and Cherry. The Garden is open, accessible, and free, the fulfillment of Martin’s goal to make the Walker a welcoming place in which to experience the art of our time. The Walker’s collection—deep, broad, and robustly interdisciplinary—was shaped in large part by Martin’s vision. Already by 1969, he was working toward a collection that was not merely a visual index of current art activity, but one built on deep holdings of pieces by major artists. Faced with a limited budget, he bought affordable artwork by living artists at the beginning of their careers and fostered relationships with many who are now well-represented in the collection, including Chuck Close, Jasper Johns, Roy Lichtenstein, Louise Nevelson, Claes Oldenburg, George Segal, and Frank Stella. Long associations with performing artists such as Trisha Brown, Merce Cunningham, and Robert Wilson were built on commissions, a practice that turned the Walker into a laboratory for artists. In 2004, in the course of preparing a new handbook on the collection, I asked Martin about what I called the “risky” practice of commissioning art. “I never thought of it as a risk,” he told me. “It just seemed to me that giving artists opportunities to make new work was something the museum should do. I never knew how things were going to work out—I was just as curious as the next person, and it was an adventure for all of us.” Not surprisingly, artists adored Martin. Claes Oldenburg regards him as a collaborator who inspired with his enthusiasm and “complex vision.” Another longtime friend, Chuck Close, credits Martin with launching his career in 1969 with the purchase of Big Self- Portrait , and he thinks of the Walker as a rare kind of institution: an “artists’ museum” whose staff is deeply committed not only to art but also to the people who make it. Friedman left the Walker in 1990, but he did not retire from the art world. Almost immediately, he was hired by Nelson Atkins Museum of Art in Kansas City to assist them with acquisitions for their new sculpture park. He also served as art advisor and curator for the art program at New York’s Madison Square Park. (He liked to joke that he had become the art world’s “yard man.”) In 1994, he curated Landscape as Metaphor: Visions of America in the Late 20th Century for the Denver Art Museum, and in 2000 he organized an outdoor exhibition, Joel Shapiro: Sculpture , for the Spoleto Festival in Charleston, SC. Among his post-Walker publications is the book Close Reading: Chuck Close and the Artist Portrait (Abrams, 2005). He has been much honored for his lifelong dedication to the arts. The Walker’s Friedman Gallery was named in honor of both Martin and Mickey in 2005 by an anonymous couple who had made a major gift in support of the institution’s capital campaign at that time. In 1989, Martin was awarded the National Medal of Arts from President George H. W. Bush, and in 2012 the Madison Square Park Conservancy created a permanent, endowed curatorial post named in his honor. One of Martin’s former curators, Richard Koshalek, has called him a “shaman.” It’s a strong metaphor, and one Martin would not have liked, but I’m not sure it’s an overstatement of his powers. We all looked to him for leadership and stood in awe of his vision. He will be deeply missed. Joan Rothfuss is an independent writer and curator based in Minneapolis. From 1988 to 2006 she was a curator at the Walker Art Center, where she organized exhibitions on Joseph Beuys, Bruce Conner, Jasper Johns, and Fluxus, among others. Her many publications include the books Time Is Not Even, Space Is Not Empty: Eiko & Koma (Walker Art Center, 2011) and Topless Cellist: The Improbable Life of Charlotte Moorman (MIT, 2014). She holds a BFA from the Minneapolis College of Art and Design and an MA from the University of Minnesota. All photos courtesy the Walker Art Center Archives 2016-05-16 21:33 By Joan

2 Sotheby’s to Offer Picasso’s Cubist Masterwork ‘Femme assise’ in London (1.03/2) Related Artists Pablo Picasso Pablo Picasso's Femme Assise 1909 Sotheby’s will offer Pablo Picasso’s seminal early cubist portrait “Femme assise” 1909, one of the artist’s most important cubist works, during its June 21 Impressionist & Modern Art Evening Sale in London. Picasso painted “Femme assise” in 1909 during the months that he spent in the remote Catalonian village of Horta de Ebro (now Horta de Sant Joan) with his lover Fernande Olivier, who was the inspiration for the portrait. According to Sotheby’s, the months that Picasso spent in Horta proved to be one of the most significant periods of his career – a period during which he a radically new approach to the representation of form. Commenting on the work, Helena Newman, the global co-head of Sotheby’s Impressionist and Modern art department, told the Art Newspaper. “It is several decades since a Cubist painting of this caliber has been offered at auction, since virtually all the significant works of this period are in international museums and institutions.” “[Femme assise] is one of the artist’s greatest masterpieces to be sold in a generation,” she added. The painting will be displayed at Sotheby’s New York from May 16-18, at Sotheby’s Hong Kong from May 26-30, and then at Sotheby’s London from June 10-21. 2016-05-16 19:34 Nicholas Forrest

3 Curator’s Choice: Koyo Kouoh (1.02/2) Kouoh curated a series of lectures for this year’s 1:54 Contemporary African Art Fair./©Katrina Sorrentino None. I have no sense of ownership or collecting when it comes to artworks. I believe that works of art should be made as accessible as possible to as many people as possible. Second, for my interiors I am really more interested in furniture, textiles, and design objects than works of art per se. View your work as an important tool through which you can implement great change. Remember that an artistic project has a lot to offer, whatever its size; treat every project equally seriously and you will learn a great deal. Also, most important, keep pushing boundaries: politically and curatorially. I have been told in the past that my projects are too political, but I have always taken this as a compliment. It means that my work is provoking something. The biennial is taking place alongside Ireland’s 1916 Easter Rising centenary celebrations, so it was important to me that EVA respond to this context. Ireland is the first and foremost laboratory of the British colonial enterprise, subsequently exported across the globe. Colonialism’s physical domination, in terms of the shaping of architecture, civic spaces, and the wider landscape, is accompanied by a psychological domination through the imposition of language, social structures, religion, and prejudice. These are enduring considerations that continue to shape the world around us and are perceivable in Limerick’s landscape; mine is not an exhibition embedded in the past, but the past is always present, and the future never really arrives. I may be expected to say Africa, of course, but I have grown beyond the idea of Africa as a geographical region. Rather, I treat it as a mind-set, a mental space that can be inhabited by anyone interested in the idea of Africa. I also nourish a deep love for Brazil and Cuba, and a growing fondness for the Southeast Asian region, particularly Vietnam. 2016-05-16 22:07 Modern Painters

4 Editors' Picks: 8 Art Events to See This Week (1.02/2) Tuesday, May 17–Saturday, May 28: 1. The New York Academy of Art's MFA Thesis Show The 49 members of the Academy's 2016 graduating class of MFA students will present a show of their thesis projects, featuring figurative work in painting, sculpture, and drawing. The exhibition features artists who have work in the permanent collections of the Brooklyn Museum and the British Consulate General, and who have shown their work in New York, Paris, London, and Rome, among other cities. Location: New York Academy of Art , 111 Franklin Street Price: Free Time: Opening reception, May 17, 6:00 p.m.–8:00 p.m. —Sarah Cascone Tuesday, May 17: 2. MONTH2MONTH , " A Dinner With Developers and Real Estate Professionals " As part of MONTH2Month, a public art project in private residences, organizers William Powhida and Jennifer Dalton will discuss how ownership and property decisions can be executed with a more community-minded focus. Guests include Asher Edelman, Stefani Pace from realtor Space in the City, Robert Singer from Time Equities, and Arun Sundarajan, a professor at New York University and the author of The Sharing Economy: The End of Employment and the Rise of Crowd-Based Capitalism. Location: Address disclosed upon RSVP Price: Free Time: 6:00 p.m.–8:00 p.m. —Eileen Kinsella Thursday, May 19: 3. Whitney Independent Study Program Exhibition at EFA Project Space With intellectual and artistic heavyweights like Jenny Holzer , Glenn Ligon, and Roberta Smith counted in their ranks of alumni, the Whitney's Independent Study Program (ISP) is kind of a big deal. This Thursday, the program is hosting its annual exhibition, featuring this year's lineup of artists including photographer Sonia Louise Davis , video performance artist Damali Abrams , and photographer/film artist Carrie Schneider. Location: EFA Project Space , 323 West 39th Street, 2nd floor Price: Free Time: 12:00 p.m.–6:00 p.m. —Rain Embuscado Friday, May 20: 4. “ NON: Legacy Systems " at the New Museum Founded with the mission of challenging societal binaries and dismantling established power structures, NON Records is a collective of sound artists from Africa and the African diaspora. Three of the collective's co-founders, Chino Amobi , Angel-Ho , and Nkisi , will premiere new video work and perform, individually at first, and then as a trio for the first time ever. Location: New Museum , 235 Bowery Price: $15 members, $20 general public Time: 7:00 p.m.–9:00 p.m. —Alyssa Buffenstein Friday, May 20–Sunday, May 22: 5. Monica Mirabile and Sarah Kinlaw, Authority Figure at the Knockdown Center This two-hour performance/social psychology experiment combines choreography, sound, and installation. Authority Figure guests are encouraged to take a pre-show " Personality of Endurance " quiz, and to buy their tickets for the time slot determined by their results. Arriving in groups of 20 at 20 minute intervals, audience members, who will have different experiences based on their entry times, will be compelled to consider such issues as police brutality, big data, and surveillance. Location: Knockdown Center , 52-19 Flushing Ave, Maspeth, Queens Price: $25 Time: 8:15 p.m.–11:30 p.m., entry 8:15 p.m.–9:45 p.m. —Sarah Cascone Saturday, May 21: 6. Terence Koh , " Bee Chapel " at Andrew Edlin Gallery Terence Koh's art world return manifests in a solo exhibition at Andrew Edlin's new Lower East Side gallery. From what we can tell based on the show's press images, Koh is bringing a bit of upstate New York down with him in the form of bees, figs, and other organic materials. Location: Andrew Edlin Gallery , 212 Bowery Price: Free Time: Opening reception, 12:00 p.m.–6:00 p.m —Rain Embuscado Sunday, May 15–Sunday, June 19: 7. Anton van Dalen , “ Inside Out, Home and Place " at Sargent's Daughters and Romeo An East Village resident since immigrating to New York from Holland in 1971, Anton van Dalen has used his work in drawing, painting, collage, and performance, among other mediums, to document the dramatic cultural shifts that have taken place in the neighborhood over the years. Sargent's Daughters will present a mini-retrospective, from the 1965 film Flowers in My Eye to recent collages, while Romeo will present new work. The dual-venue show is organized in part by PPOW. Location: Sargent's Daughters , 179 East Broadway, and Romeo, 90 Ludlow Price: Free Time: Sargent's Daughters' opening reception is May 18, 6:00 p.m.–8:00 p.m. —Sarah Cascone Sunday, May 22: 8. AIRspace Open Studios at Abrons Arts Center The Abrons Arts Center is hosting their annual AIRspace Residency open studios this Sunday, and the event boasts quite a lineup. There is a photographer and performance artist Jaimie Warren , whose mischievous self-portraits made waves back in 2009 with her solo exhibition at Higher Pictures; Doreen Garner , a multimedia artist that drew crowds with her sculptures at Volta this year; and acclaimed Italian video artist Maria D. Rapicavoli. Location: Abrons Arts Center , 466 Grand Street Price: Free Time: 12:00 p.m.–6:00 p.m.; backyard party 6:00 p.m.–8:00 p.m. —Rain Embuscado Follow artnet News on Facebook. 2016-05-16 17:06 artnet News

5 EU Withdraws Italy's Cultural Funding (1.02/2) The European Union has withdrawn €51 million ($57.6 million) in cultural and tourism funding from Italy after the southern regions of Sicily, Calabria, and Campania failed to spend hundreds of millions of EU money. Citing EU documents, the Art Newspaper reported that the funds were taken back after Sicily didn't spend the money before the deadline at the end of 2015. The news is all the more disturbing considering that inefficiency and poor planning has left Italy's cultural infrastructure in a crumbling state, leading to a dependency on private benefactors and corporate sponsors. The report also reportedly reveals evidence of poorly prepared funding requests by Sicilian cultural office between 2007 and 2013, including badly written proposals, and grave oversights such as inconsistent figures, late submissions, and papers sent to the wrong email address. For example, the EU rejected a funding request for €2.4 million ($2.7 million) submitted by the Archaeological Museum of Aidone in Sicily because of incomplete documents and a missing "economic framework;" a €2 million ($2.2 million) request for the restoration of the Greek ruins of Eraclea Minoa because it was "sent to the wrong email address and for substantial shortcomings in the forms;" and a €10 million request for the restoration of a 13th century Swabian castle at the port of Augusta, because of "inconsistent figures and other bureaucratic errors. " As a result, the president of Sicily Rosario Crocetta, his predecessor Raffaele Lombardo, and four regional officials were are now under investigation for neglecting Sicilian heritage. Meanwhile, €70 million ($79.3 million) out of a total €95 million ($107.7 million) in EU grants from the European Development Fund, allocated for "major tourism events" were judged to have been misspent. According to the European Commission, events including a road race at Castelbuono and the living nativity scene at Custonaci were indicative of the "uneven and fragmented" tourism funding proposals put forward by the region. In Naples, €100 million ($113.3 million) in EU funding allocated towards the restoration of the city's UNESCO listed historic town center hasn't been spent yet. Of the 28 planned projects, only eight were completed by the 2015 deadline. The regional council of Campania's request for an extension to push back the deadline to 2020 is currently under review. Meanwhile, the long-struggling Great Pompeii Project , launched in 2012 with €41.8 million ($58 million) in EU support, will continue through the end of 2017, even though the funding was originally set to expire at the end of 2015. Despite a number of collapses and thefts at the crumbling city the conservation effort is currently looking up , with the successful restoration of the Villa of Mysteries last year. The paper stressed that funding allocation and spending in other regions across Italy, including Lombardy and Tuscany in the north and Basilicata and Puglia in the south, are in line with the rest of the European Union. However, the revelations—which come to light amid the recently announced $1.1 billion cultural investment —raise uncomfortable questions over how some Italian municipalities and local officials manage heritage preservation projects. How much of the unprecedented billion dollar cash injection will be lost because of mismanagement? Follow artnet News on Facebook. 2016-05-16 15:49 Henri Neuendorf

6 6 anglepoise scales-up its 1930s desk light with giant lamp collection (1.00/2) back in 2005, the roald dahl museum and story centre commissioned anglepoise to design a triple scale version of its iconic 1930’s desk light. now in roald dahl’s centennial year, the british brand has expanded the prototype into the ‘giant collection’, making its US debut during new york design week 2016 at ICFF. the series includes the first giant outdoor collection — incorporating marine-grade stainless steel fittings, a sealed light unit and durable silicone rubber cable; a wall-mounted light for both indoor and outdoor use; a 3-piece brass line featuring solid-brass components; and a triple-scale giant interpretation of the ‘type 75′ desk light’ — first designed by sir kenneth grange. these special additions accompany the ‘original 1227′ giant floor lamp and pendant, available in a color palette of 15 shades. the ‘original 1227′ giant floor pendant is available in a variety of colors the wall-mounted light is availble for both indoor and outdoor use 2016-05-17 00:15 Nina Azzarello

7 Jonathan Saunders Named Chief Creative Officer at DVF (0.05/2) The first collection will be spring/summer 2017. “Jonathan’s extraordinary passion for colors and prints, his effortless designs and his desire to make women feel beautiful make him the perfect creative force to lead DVF into the future,” said Diane von Furstenberg, founder and chairwoman of the company. “I could not have found a cooler, more intelligent designer and I cannot wait to watch him shine as our chief creative officer.” Saunders returned the compliments. “The wonderful thing about Diane is she’s very aware of designers in London. Diane came to one of my very early shows years ago when I was showing in London Fashion Week. She’s always been a supporter of the aesthetic of the brand that resonated with her in terms of my love of prints,” he said in a telephone interview. “I met her again at Downing Street in London, and I think we started a conversation and it went very fast.” They started talking about the position just a few weeks ago. He said he’ll move to New York as soon as he can. “It’s a decision we all made very quickly because it’s so natural,” said Saunders. His appointment marks the first time that DVF has hired someone across all categories, in terms of complete brand image. “For me, it’s about understanding the ethos for which Diane started this brand. For me, the approach that she had is thinking about what women want to wear and balancing functionality with desirability. It can never be a better moment for that ideology and that thought process in terms of designing. I love simplicity, and I love clothes that have a sense of ease. I think that print and color and optimism are all key values that are so important to the brand that I want to keep at the forefront,” he said. “What’s also really exciting that made the decision quite easy, both Diane and Paolo [Riva, chief executive officer] are really, really intelligent thinkers. They think about things and they analyze things and they’re not afraid to think about change. All of us are questioning how we can push forward the cycle to fashion and how we can give the consumer something that they want and the way that they want it. We’re still going to have lots of conversations like that. That’s what’s so exciting to me. Although the brand has such an incredible history, the company is not afraid of change and doing things in an unusual and interesting way,” he said. Asked if he plans to show in-season, he said, “What’s interesting and exciting about the industry now is we’re all talking about how we can push into the future, and how we can cross over to consumer-led decisions with creative decisions and we can keep the conversation moving so we can come up with something new.” As for their mutual affection for prints, Saunders said, “I love prints because prints tell a story and symbolize change and newness, and prints symbolizes optimism and all things I hold dear. The most important thing is color. Color is such a wonderful thing to work with. Those key elements will always be an integral part of the collection.” The designer had his own business for 12-13 years. “I’m really happy not to have it. There will always be creative projects I can work on as an individual. I’m excited about change and newness and having a definite thing to work on. Change is good,” he said. “I’m so excited about where fashion is headed. Fashion is always a reflection of what is going on in people’s minds and it reflects society. That’s so wonderful about fashion. We work in an industry where people want to challenge it and change it. People want things available to them at the moment. People want value and it’s less about pushing people into brackets and price points. What’s fascinating is that people are looking for value and respect what they’re willing and what they have to spend on the product,” he said. “We all have to work together and find a new way of doing stuff,” he continued. He said that e- commerce was a big part of his business, and from a strategic point of view, they’re exploring it at DVF. Does he have plans to take the collection in a new direction? “It’s day one. I need to immerse myself in it. I think what’s important is that we think about the values this brand has established from the beginning, and the reason why this brand started and why it began, and take it from there,” he said. As for reporting to Riva, Saunders said, “It’s a new chapter for the business. Diane is such an incredible force. She has her philanthropic work which is an inspiration for women. Both Paolo and my main mission is to think about that with everything we do. Not only is Paolo an extremely deep thinker and really understands product, but to have someone as a ceo who understands product like that is such an exciting partnership,” he said. This is Saunders’ first official role after shuttering the company he founded in 2003. As reported in December, he stepped down as creative director of his namesake brand for personal reasons. He replaces Michael Herz .who joined DVF in 2014 as artistic director and spent a little more than two years at the company. Saunders has been collaborating with fellow British brand The Rug Company , on rugs, runners and cushions and consulting quietly for a variety of brands. 2016-05-16 13:40 Lisa Lockwood

8 university of iowa's new visual arts building by steven holl the university of iowa's new visual arts building by steven holl nears completion the university of iowa’s new visual arts building by steven holl nears completion all images courtesy of university of iowa school of art and art history designed by steven holl architects, the new visual arts facility for the university of iowa’s school of art and art history is nearing completion. the structure replaces the campus’ original 1936 arts building, which was heavily damaged during a flood in june 2008. the new building is situated northwest of ‘art building west’, which steven holl’s team previously completed in 2006. the project provides 126,000 square feet of space for the departments of ceramics, sculpture, metals, photography, print making, and 3D multimedia. it also includes graduate student studios, faculty and staff studios and offices, and gallery space. the architecture aims to bring together the different art disciplines within a single 4-storey building. open plan loft-like studio spaces are illuminated with natural light, while interconnection between departments is facilitated by the vertical carving out of large open floor plates. students are able to see activities across these openings, encouraging them to interact with their colleagues and peers. further visual links are facilitated by glass partitions along the studio walls adjacent to internal circulation routes. stairways have been shaped in order to encourage engagement and discussion, while a variety of balconies offer outdoor meeting spaces, and informal work areas. externally, the building’s punched concrete frame is now complete, providing thermal mass at the exterior, while ‘bubble’ slabs ensure radiant cooling and heating. a titanium-zinc skin in weathering blue-green is perforated for sun shade on the southwest and southeast. the design aims to bring together the different art disciplines within a single 4-storey building ‘while the 2006 arts building west is horizontally porous and of planar composition, the new building will be vertically porous and volumetrically composed,’ explain the architects. ‘the aim of maximum interaction between all departments of the school takes shape in social circulation spaces.’ the visual arts facility arts will open to students in the fall of 2016. see designboom’s previous coverage of the project here. interconnection between departments is facilitated by the vertical carving out of large open floor plates the new building is adjacent to ‘art building west’, which steven holl’s team completed in 2006 the visual arts facility arts will open to students in the fall of 2016 2016-05-17 04:04 Philip Stevens

9 lehel kovacs world of stadiums illustration project lehel kovacs illustrates iconic sporting grounds in world of stadiums all images courtesy of lehel kovacs based in budapest, hungary, lehel kovacs is an award-winning illustrator whose works have appeared in an impressive array of publications internationally. kovac expands his global presence in ‘world of stadiums’, a 60-part personal project composed of illustrations of iconic sporting grounds. now completed, kovac hopes to print the series as postcards; an effort that can be supported through an ongoing kickstarter campaign here. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-17 02:15 Lehel Kovacs

10 Listening Mix: Devendra Banhart & Friends LISTENING MIX provides a musical preview for artists visiting the Walker. Combining their work with sounds from a variety of contextual sources, LISTENING MIX can be experienced before or after a performance. For his two-evening event this weekend, Wind Grove Mind Alone, singer/songwriter Devendra Banhart has gathered a group of collaborators, contemporaries, mentors, and friends. It wasn’t so long […] 2016-05-16 21:03 By

11 What is a Contemporary Collection? Thoughts on the Walker Moving Image Commissions and the Ruben/Bentson Moving Image Collection The Walker Moving Image Commissions is an online series in which five artists responded to selections from the Ruben/Bentson Moving Image Collection. Premiered in the Walker Cinema and released for a limited run online, the Moving Image Commissions were initiated in May 2015 with premieres of work by Moyra Davey and James Richards that focused […] 2016-05-17 01:15 By

12 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-05-17 00:33 GDUSA Staff

13 CEW Announces 2016 Beauty Insider Awards Winners On stage at Friday’s CEW Beauty Insider Awards luncheon, held at the Waldorf Astoria here in New York, Glamglow founder Shannon Dellimore brought her 7-year-old daughter with her to accept her award for best prestige antiaging skin-care product, the Glamglow Flashmud Brightening Treatment. “She’s been with us since GlamGlow was just an idea,” said Dellimore, who conceived of the company with husband Glenn while pregnant with her daughter. “I hope this is an inspiration to her.” The juxtaposition of mother and daughter accepting an honor onstage at the 1,200-attendee luncheon was an apt symbol for how the rest of the ceremony panned out, with smaller labels clinching trophies alongside the established behemoths. “There was a balance of the some of the classics and the [brands] who are really trending,” said CEW president Carlotta Jacobson, who noted that large parent companies like Estée Lauder are now reaping the benefits of some of their recent Indie label acquisitions. “Clinique won a lot of awards, but Glamglow has won the last two years — they also get recognized. It’s not that [just] the big [brands] get the big bounty. That’s a big change.” Another change this year was the introduction of the Best Beauty App Award, the winner of which was L’Oréal Paris for its Makeup Genius App. Also new was the Super Hero Beauty Award, a consumer choice award honoring quintessential products. Votes were collected in partnership with the subscription database of the Meredith Corporation, a sponsor of this year’s awards. The Super Hero Beauty winner for mass was Neutrogena Makeup Removing Cleansing Towelettes and for prestige, Clinique Moisture Surge Extended Thirst Relief. CEW’s more than 6,000 members selected 212 finalists from more than 800 entries. Entries were up 11 percent from last year, and the number of Indie brand entries increased between 30 and 35 percent. There was a 60 percent increase in new companies entering. Winners were chosen by the CEW Board of Governors, along with a select group of beauty industry members. The CEW Beauty Insider Awards winners are: Color Wow Jurlique Trèstique 2016-05-16 23:26 Ellen Thomas

14 A Sea of Sameness at the Digital NewFronts: Top Trends Advertisers will have their pick of virtual reality one-offs: loud, snarling car videos; sleek cooking shows; confessional relationship videos; beauty and style hacks, and various shows on female empowerment this year. Media companies hoping to capture digital advertising dollars spent the last two weeks at the Digital NewFronts in New York unveiling their slate of videos for 2016, many of which either came from the shared brains of publishing executives or shared production companies. While there certainly was a fair amount of originality and entertaining videos, the largesse of sameness was a bit comical, so much so that WWD ranked the top 10 trends, in no particular order. • Virtual reality: It seemed like every publisher had to have a video shot in VR, despite overwhelming consensus that the technology is not yet up to snuff. The New York Times led off with a slate of VR projects, including projects for its Sunday Magazine and T Magazine. Refinery29 went as far as to open a VR production studio, followed by AOL, Buzzfeed and National Geographic upping their offerings. Even Time Inc. is trying to resuscitate Life, which closed in 2002, with a VR platform called “Life in VR.” The publisher called the platform a “natural extension” of the long dormant brand since it targets mobile and thus, younger, consumers — many of whom likely have no clue about Life’s legacy. • Refugees: Time Inc. and Condé Nast are either pulling from the same production company or they are taking cues from Millennial favorite Vice when it comes to video — or both. Perhaps the most striking and strange offering was Vanity Fair’s video on the Syrian refugee crisis. An image of a refugee and her children clinging to stay on a raft flashed before the crowd of potential advertisers at Cipriani on Wall Street as Condé Nast Entertainment president Dawn Ostroff called the target for such videos “ cultured Millennials.” • She shall overcome: There was no shortage of videos on women battling adversity — a topic one rarely encounters for men’s titles. Without getting too political, the biggest proponents of such videos came from the magazine publishers, which carry a hefty load of female-centric titles. Women need to be inspired, after all. Hearst offered up a short documentary for Cosmopolitan on a female veteran whose leg was amputated after her helicopter crashed. The women’s glossy has another video series called “All In,” which shows female athletes, dancers and cheerleaders who try to turn professional in her given profession. Time Inc.’s InStyle followed a pregnant editor who tries to remain fashionable as her pregnancy persists. The first-time mom- to-be gets guidance from celebrities on clothing and what to expect leading up to the birth. Aside from VF’s refugee story, Condé Nast showed a Self video on female athletes, including soccer player Alex Morgan and ballerina Misty Copeland. • Put an idiot in a weird situation: There was a lot of this — more of it at Buzzfeed than anywhere else. In fact, this may be the secret to Buzzfeed’s viral video success. • Hey we have lots of data and we invented an index to prove it!: Every publisher touted their insightful data-mining capabilities. This was some not so thinly veiled code that publishers can help advertisers get the biggest bang for their buck. A few publishers even decided to launch an index for consumers to provide their insights. The two most prominent examples were Bloomberg’s “Gender Equality Index,” which seemed a bit humorous, considering the organization is dominated by males. Playboy stuck to what it knows best by inventing “The Play,” which measures sex and relationships. • For the guys: loud cars, tattooed chefs chopping things, grilling, booze, weed and talk of being a man today. This was a catch-all for the guys and pretty much sums up what most men’s magazines view as the extension of their brand in some form or the other. • The Hacks — Fashion/Beauty Videos: Here’s how you wear your makeup and clothing; do your hair, or find a wedding dress in under two minutes. Culprits: We’ll be here all day. • Celebrities: From Channing Tatum and his strippers (Hearst) and Bravo’s Luis Ortiz ( Vox ) to Jenna Bush Hager , Kobe Bryant, Morgan Spurlock (all Time Inc.) and Steven Soderbergh (Bloomberg), publishers were dropping names and bringing talent on stage who had appeared in their videos to entice advertisers. • The Influencer: Far less costly and usually easier to wrangle are the social media stars or social influencers. Time Inc. is trading off its Sports Illustrated swimsuit models’ travels and using their social media for advertising opps, and it’s developing a new show called “Meet the New Famous,” devoted to the next social media stars. Condé Nast also developed a social media- centric beauty offering called #TheLookIs. • TV is better than digital video: Hearst ’s Cosmopolitan isn’t the only brand with shows in development, one with Freeform and the other with E! Rolling Stone is developing a pilot for Showtime, The New York Post’s Page Six is coming to Fox and Condé Nast Entertainment is looking even bigger, to the silver screen with a handful of feature films. Meanwhile, digital natives Vox, Buzzfeed and Mashable all unveiled some sort of distribution deal with broadcast partners. And don’t forget Vice , which didn’t need to talk about its offerings—which include TV and video. Instead, in a somewhat unsurprising move, a tipsy chief executive officer Shane Smith shouted obscenities during his presentation, as he had the prior year , before heading for the bar. 2016-05-16 23:19 Alexandra Steigrad

15 H50 apartment block by 314 architecture studio exposes raw marble through triangular curved faces ‘H50′ is an apartment block located in petralona – a low height building in the oldest district of athens. built within an 118 m2 plot close to ‘filopappou hill’ – a well-known archaeological park of the city – the two storey house contains a set of apartments, a roof garden and an open space situated at ground level. the concept by 314 architecture studio, was based on the idea of an monolithic structure, made from a single piece of stone such as marble. the aim was to expose and contrast the rough and smooth surfaces of the metamorphic rock through the sweeping triangular curves of the exterior. the concept is based on the idea of an monolithic structure the patios are mounted at the southeast side of the plot, where all of the apartments face the street. metal folding shades protect the courtyard and the rooms from the sun, as well as emphasizing the monolithic aspect of the block and the required privacy of the residents. modular elements are embellished upon the design, inside and outside of the building, expressing a unified visual language. the irregular, yet complete form of the structure introduces a pure vision emphasized through the use of raw marble. the aim was to expose and contrast the rough and smooth surfaces of the metamorphic rock metal folding shades protect the courtyard and the rooms modular elements are embellished upon the design the inside and outside of the building expresses a unified visual language designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-16 23:05 Pavlos Chatziangelidis

16 Rihanna, Beyoncé, Lady Gaga Ready for Guo Pei’s Designs As the latest cultural center to move downtown, the China Institute personified the “Old China /New China” theme at its spring luncheon Sunday. Guo Pei and Yeohlee Teng were the more established designers mingling with supporters at the TriBeCa Rooftop. Away in Shanghai, Han Feng could not attend as planned, but her designs were represented, as were those of Lancy Style designer Lan Shi and Fashion Institute of Technology students Merry Wu and Jiyeon Lee. Trustee Sophia Sheng spelled out the reason for the design-focused event. “We’re expanding downtown because we want to do things that are more cultural, more modern and more exciting,” she said. “We’re getting into design, fashion, food, music and sports. We already have a solid reputation for traditional things regarding history and art exhibits. We also want to help out students from FIT.” The Chinese-born, Paris-based Pei, one of Time magazine’s 100 Most Influential people, will return to New York this fall to receive the China Institute’s Blue Cloud award at its Sept. 27 gala. On Wednesday, she will be honored at the United Nations for her innovation. Many may be familiar with her creations thanks to the canary yellow, staircase-sweeping gown Rihanna wore to last year’s Met gala. The pair are talking about collaborating for another memorable look, but it remains to be seen whether that will be for one of the musician’s performances or a red-carpet turn. Beyoncé and Lady Gaga are also in line for some special attention from the designer, according to Pei’s husband Jack Tsao, who oversees the branding and business side of her label. “Usually, my wife wants to make a design for the person for the occasion. Usually, they like to borrow. In the past, Beyoncé and Lady Gaga borrowed. But my wife said to them, “listen, it’s better for a special occasion if I design something for you.'” During their whistle-stop New York stay, Pei and Tsao planned to hit the museums with “Manus x Machina: Fashion in an Age of Technology” at the Costume Institute being at the top of the list. Plenty of people watching and canvassing the stores were also in order, since the couple are trying to get a better read on the American market. Opening a store in Manhattan is not currently in the cards. “We need to understand what our next move in New York is,” Tsao said. With the majority of her customers in China, Pei also has strong followings in Russia, the Middle East and the U. K. She will sit out showing during the next round of haute couture shows. She is considering developing a more accessible collection. “It would still be couture but easier for people to understand,” Tsao said. Teng had two of her strongest supporters by her side — longtime models Sam Xu and Lexa Shevchenko, one dressed for spring and the other for fall. Ettore Sottsass and other architects are often integral to her design inspiration. She and other guests had the chance to talk shop with one well-known architect, Chien Chung “Didi” Pei, who is not only chairman of the China Institute’s board but also the partner of the firm that is designing its new 100 Washington Street location. 2016-05-16 22:30 Rosemary Feitelberg

17 Tip of the Iceberg: Unpacking Felix Gonzalez-Torres’s Storied Legacy Related Venues Andrea Rosen Gallery Hauser & Wirth Massimo De Carlo, Milan Artists Felix Gonzalez-Torres “Felix Gonzalez-Torres’s work never feels historical, per se, because it’s always sort of living,” says Andrea Rosen of the late installation artist, who had the inaugural show at her New York gallery in January 1990, six years before his death from AIDS-related causes. “He is probably the most influential person in my life, and the backbone of the philosophical mission of my gallery.” On May 5 Rosen will open one part of an international three-venue exhibition celebrating the artist, along with Massimo De Carlo in Milan, on May 20, and Hauser & Wirth in London, beginning May 26. As Rosen points out, “one aspect of Gonzalez-Torres’s work is that, by nature, it’s constantly reinventing itself. Whoever installs it has the freedom to make decisions about the work that can alter it.” In this case, Julie Ault and Roni Horn—“probably the two artists closest to Felix in his lifetime,” says Rosen, noting his involvement in Group Material alongside Ault and his intense artistic dialogue with Horn, the subject of a 2005 show at Rosen’s gallery— were tasked with curating across the trio of spaces. For this show, Rosen will display a number of his text-based portraits, which portray their subjects through a timeline of events written on the wall. The gallerist notes that as new scholarship emerges around Gonzalez-Torres’s brief but potent career, the issue at hand becomes, in some sense, how to be more open-ended in curatorial and academic approaches to his work: “It always feels like we’re at the tip of the iceberg with Felix.” 2016-05-16 22:17 Thea Ballard

18 Venus, Remixed: The Cult of Botticelli Thrives at the V&A Related Venues Victoria & Albert Museum Gemäldegalerie Artists Sandro Botticelli Lucian Freud David LaChapelle Cindy Sherman Bill Viola Sandro Botticelli, "Portrait of a Young Man," ca. 1480 (detail) / Courtesy of the National Gallery of Art, Washington “It is difficult to speak adequately, perhaps even intelligibly, of Sandro Botticelli .” So wrote Henry James in 1909. Nonetheless, such qualms did not prevent him from having a go. Nor was art historian Bernard Berenson daunted by the tricky question he set himself: “What is it then that makes Sandro Botticelli so irresistible that nowadays we may have no alternative but to worship or abhor him?” More than a century later, that fascination still lingers. In the church of Ognissanti, near the plaque that marks Botticelli’s grave, there is a wickerwork basket in which visitors can leave messages for the painter. One morning early this year, half a dozen pieces of mail were nestled there. On top was one fan’s note, which began, simply, “I have loved your work all my life, ever since I first saw it.” No other Renaissance artist seems to exercise such posthumous allure. The great Michelangelo is entombed in Santa Croce beneath a monument splendid enough for a prince, but there aren’t any timid, fawning messages to the deceased scattered around it. On the other hand, as Berenson noted, those who do not adore Botticelli’s work are inclined to loathe it. I once brought up the subject in conversation with Lucian Freud ; I’d guessed he was not a big admirer of Botticelli’s art. “It’s sickening,” Freud responded, with feeling. So it’s still worth asking, in the 21st century: Just what is it about this 15th-century Florentine that continues to produce such powerful reactions, half a millennium after his death? That’s the question posed by “ Botticelli Reimagined ,” an exhibition organized by Berlin’s Gemäldegalerie and London’s Victoria and Albert Museum, on view through July 3. ( Click here to watch ARTINFO’s video on the exhibition.) This is a survey in two parts. Half of it, around 50 works, is devoted to the output of the artist and his workshop. The rest of it tracks his legacy up to the present, ending with still-living figures such as David LaChapelle , Cindy Sherman , Bill Viola , Dolce & Gabbana (for a Venus dress), and the French body artist Orlan (who at one point had herself surgically reconfigured on Botticelli-esque lines). While the selection of actual Botticellis, though somewhat Madonna- heavy, is likely to be the main draw for many visitors, it is the show’s focus on the artist’s continuing influence that is, in some ways, more intriguing. Only shreds of evidence survive to suggest what Botticelli himself was like. From old studio anecdotes, there emerges the impression of a man who had a characteristically Florentine taste for boisterous practical jokes and sharp back talk. Despite his reputation, then and later, as a painter of naked women, Botticelli was not in person a ladies’ man. The real Botticelli seems to have been a hardworking, disputatious leg-puller with a preference, in common with many of his contemporaries, for same-sex relationships. Forty years after Botticelli’s death, in 1550, Giorgio Vasari published a brief biography of him, containing words of praise and descriptions of some important pictures—but no more space than he accorded to numerous also-ran painters and sculptors whose efforts led up, in Vasari’s opinion, to the supreme achievements of Leonardo, Raphael, and especially Michelangelo. For Pater, Botticelli was “before all things a poetical painter.” The melancholy mood of his figures, “that look of wistful inquiry on their irregular faces which you see in startled animals,” truly matched the mood of the late 19th century and was picked up in Britain by the Pre-Raphaelites. Rossetti owned a Botticelli, now in the V&A’s collection, and used it as a basis for his own work; his contemporary Edward Burne-Jones did the same. 2016-05-16 21:57 Martin Gayford

19 Monday at Cannes: Kirsten Dunst in Custom Dior, Kate Moss in Vintage Halston Monday was another busy day in Cannes as “Hands of Stone,” “Hell or High Water,” “Loving” and “Paterson” all premiered at the festival. The openings naturally drew the films’ stars, as well as those in town for other premieres — or the famed Cannes party scene. Kirsten Dunst turned out in a custom-made Dior gown at the “Loving” premiere; Kate Moss made her first Cannes appearance in 15 years at “Loving,” wearing vintage Halston, and Chloë Sevigny attended the premiere of “Paterson” in Chanel pre-fall 2016. Dunst is having a customized Dior moment at the festival, stepping out in a pale yellow shirtdress worn with a gold belt last week, and appearing in the brand again on Monday, this time in a custom white thin-strap gown. The “Loving” premiere dress was inspired by the late founding designer himself. 2016-05-16 21:31 Leigh Nordstrom

20 Shows That Matter: Leslie Hewitt at SculptureCenter Related Venues Sculpture Center The Menil Collection Hewitt explores these limits, both within the photograph itself and in the broader context of the photographic archive, in two film installations that she created in collaboration with Bradford Young (the cinematographer behind Academy Award- winner “Selma”) and that appear, along with the five metal sculptures and some recent lithographs, in her new exhibition at SculptureCenter, in Long Island City. In 2010, the Menil Collection invited Hewitt and Young to comb through 230 photographs shot by such Magnum photographers as Elliott Erwitt and Bruce Davidson during the civil rights ferment of the 1960s. In response, the two revisited pivotal locations in the Arkansas Delta, Memphis, and Chicago captured by those lensmen, to film the spots, many now empty but still freighted with historical memory, occasionally inserting actors, like specters, in the frame. The result is a split-screen video loop of quiet details overlooked in the predominantly white Magnum photographers’ original framing. Hewitt and Young’s camera zooms in on a luscious square of red carpet at Memphis’s First Baptist Church on Beale Street, for instance, and on a patch of gem-like light cast by the stained glass. Elsewhere, it pans through the austere offices of the Universal Life Insurance Company, an African American-owned insurance company in Memphis that was a center of civil rights activism. These lingering shots are nearly still — intensely immobile — until they aren’t, recalling the effect of the last scene of Chris Marker’s “La Jetée,” 1962. A pair of patient, clasped hands shifts imperceptibly, a strand of hair blows across a woman’s face, leaves rustle, and the stillness of history that Hewitt and Young picture unsettles and awakens. 2016-05-16 21:24 Noelle Bodick

21 Affable Experimentation: Steve Lehman Octet at the Walker To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Sam Segal shares his perspective on last Saturday’s performance by the […] 2016-05-17 00:32 By

22 Artists Installing: Lee Kit Hong Kong artist Lee Kit spent the past two-and-a-half weeks in the gallery working on his site-specific installation for his first solo museum exhibition in the US, Lee Kit: Hold your breath, dance slowly. The installation features new videos and paintings, as well as everyday objects sourced from Home Depot and IKEA: cabinets, lamps, rugs, chairs, […] 2016-05-17 00:32 By

23 This is What Pong Would Be Like in VR All images courtesy the artist This weekend I lost my virtual reality virginity. I finally got the chance to don some VR goggles. Their aesthetic alone is so damn cyberpunk; they offer great visuals before you even see what's inside them. Once I slid the HTC Vive over my eyes to preview Isaac Cohen's new Blarp! game, I blurted outloud like every novice must have also done. The goal of Blarp! is to wield a ball around like a lasso, flicking it at other objects, collecting points and moving onto other stages, while avoiding your own flying tool. I admittedly didn't get very far; not because I'm new to VR, but really because I'm a pretty terrible gamer. I felt unsure of my footing and moved carefully, gripping the controllers in my hands tighter than necessary. A gridded cube wraps itself around me, making things somewhat claustrophobic as I'm dodging flying objects and trying not to hit my head on a fictitious ceiling. The feeling is very physical; the harder you fling stuff, the farther it goes. And the more velocity they have, the farther they bounce off your shield. As otherworldly as the experience was, the wiry design, limited color scheme, and low-bit aesthetic is evidence of how far things yet have to go. It's a bit like looking at how Pong must have seemed and understanding that we were just getting started. "I always thought of the mechanics of Blarp! a bit like Snake or Pong , not as iconic or precise, but still maybe what I'm thinking about is just scope of project," Cohen muses. "I feel like we need to be working on some haikus before we finish a novel. I hope that we try and learn to be poetic and precise before we make the massive objects. " The comment elaborates on the scope of understanding still ahead of us, but is also reflective of Cohen's general outlook toward technology. His personal projects, Rainbow Membrane and Enough , were more about making the digital space more human and comfortable. Many of them are mostly unfinished and are even a means of finding peace within himself. He can meditate on coding and find reprieve from the physical world with them. Escaping into VR experiments are definitely valuable digital haikus for today. While the majority of the population doesn't even have access to the hardware needed to experience VR projects, and many of the products we see now are really built for other developers. Cohen thinks this is a necessary progression, "It's a very important thing right now to be building objects for other developers, to help sort of make mistakes so other people don't have to, or to find little nuggets of truth or interaction that other people can use. However, I deeply hope that in this medium, the difference between developers and the general public becomes less and less of a distinction. " More of Isaac Cohen’s works can be found on his website. Related: Enter 'Spirited Away,' 'Howl's Moving Castle,' and 'My Neighbor Totoro' in VR Peek Inside Second Life's Virtual Reality Successor, 'Project Sansar' Play a Virtual Reality Synthesizer With Your Real Hands 2016-05-16 21:14 Mike Steyels

24 At Cannes, Female Directors Favored for Top Prize Related Events Cannes Film Festival 2016 Venues Cannes Film Festival Artists Wim Wenders Peter Simonischek as 'Toni Erdmann" / © Komplizen Film The midway point of the Cannes Film Festival is almost here, and among the critics, a consensus seems to be forming that Maren Ade’s “Toni Erdmann” and Andrea Arnold’s “American Honey,” two of the three films directed by women in the main competition, are favorites for the Palme d’Or. “Toni Erdmann,” the first German entry in the running for the Palme d’Or since Wim Wenders’s “Palermo Shooting,” in 2008, received rapturous reviews after reported ly inspiring applause midway through its press screening. Most critics are having trouble nailing down a plot synopsis for the 162-minute film, but Mike D’Angelo, writing for the A. V. Club, gave it a shot : “Winfried Conradi (Peter Simonischek), [is] a middle-aged German divorcé with a penchant for playing practical jokes. Winfried has one adult daughter, Ines (Sandra Hüller), who works in Bucharest for a consulting firm, and he decides to pay her an impromptu visit after his beloved dog passes away. When his constant gags (even around her colleagues and important clients) prove alienating, Winfried agrees to head home, and the film shifts its focus to Ines, … who’s soon being constantly greeted in public by a ‘life coach’ named Toni Erdmann, who’s just her father wearing fake bad teeth and a terrible wig.” Those familiar with Ade’s work had high hopes for this follow-up to her 2009 “Everyone Else,” which won the Grand Jury Prize at the Berlin Film Festival and remains one of the best films of that decade. Even so, its reception has been both surprising and refreshing: It scored the highest rating ever on Screen International’s Jury Grid, which compiles critics’ responses to each film at the festival, and Sony Pictures Classics has already picked up the US rights. If it wins the Palme d’Or, it will be the most ambitious film to do so since a Tim Burton-led jury crowned Apichatpong Weerasethakul’s “Uncle Boonmee Who Can Recall His Past Lives” in 2010. Which isn’t to say that “Toni Erdmann” will take top honors, of course. So much depends on the makeup of the jury, and we have no clue to their responses, although we might be able, albeit pointlessly, to make some kind of prediction based on their own bodies of work. As for Andrea Arnold’s “American Honey,” a road movie starring Shia LaBeouf and newcomer Sasha Lane, Jessica Kiang wrote in the Playlist that the filmmaker “distills the very essence of youth, and along with a never-better Robbie Ryan as her cinematographer, serves up golden image after golden image as though dispensing amber shots of hard liquor.” Arnold, who previously directed “Fish Tank” and the latest adaptation of “Wuthering Heights,” has shown an acute sensitivity in working with younger actors, but the instant reviews for “American Honey” are her most ecstatic and explosive. The film “is a jaggedly beautiful aesthetic object,” Justin Chang wrote in the Los Angeles Times. “[A]nd at two hours and 42 minutes, its accumulation of immersive details is meant to frustrate your sense of time passing. The subculture being examined here is a fascinating one, but long stretches of tedium, we come to understand, are also a significant part of the characters’ journey.” Chang added that “both [‘Toni Edrmann’ and ‘American Honey’] have their detractors, but you’d be hard-pressed to find two Palme d’Or contenders that feel more thrillingly, urgently and cinematically alive.” Critics have generally liked many of the other Palme d’Or contenders that have screened, including Jim Jarmuch’s “Paterson,” Alain Guiraudie’s “Staying Vertical,” and Park Chan-wook’s “The Handmaiden.” Outside the main competition, films grabbing attention are Pablo Larraín’s “Neruda,” screening in Director’s Fortnight, a parallel festival, and Kirill Serebrennikov’s “The Student,” in the Un Certain Regard sidebar of the main festival. At this point, negative opinion seems focused on another aspirant to the Palme d’Or, Nicole Garcia’s “From the Land of the Moon,” starring Marion Cotillard. The film, based on Italian author Milena Agus’s 2006 novella of the same name, is “the least-ambitious film this year’s competition has to offer,” according to Rory O’Conner, of the Film Stage. Jessica Kiang, writing in Variety, added that its “initially progressive inclination to explore the self-actualization process of a woman repressed by a loveless marriage and the social mores of 1950s France” never comes to fruition. “Instead we get this borderline pastiche of the French romantic melodrama.” There is still time, though, for a flat-out bomb to displace “From the Land of the Moon” at the bottom of everyone’s list. Will the audience turn on Cannes Golden Boy Xavier Dolan’s “It’s Only the End of the World”? What about Sean Penn’s “The Last Face”? Nicolas Winding Refn has yet to screen his latest, “The Neon Demon,” but the last time he was here, his “Only God Forgives” was received with a chorus of boos. The timid response thus far of the notoriously impolite foreign critics, who will reportedly scream and shout during screenings and make a scene of exiting the theater early, might just mean they are sharpening their knives, readying a vicious attack. We have a week to find out. 2016-05-16 21:07 Craig Hubert

25 caminade la grande motte by jean gabriel causee jean gabriel causse combines circles in attuned colors for caminade’s city bicycle all images courtesy of caminade shaped by designer jean gabriel causee, the ‘la grande motte’ for caminade is the french company’s first foray into city bikes. the entry is heavily influenced by the southern french town’s architecture it’s named after. combining both soft mobility and electric power for tomorrow’s transportation needs, the bike’s curves and circles symbolize dynamic shapes like the constantly evolving urban areas. ‘no matter how a bicycle is designed, the circle will always be its basic geometric shape,’ explains jean gabriel causse. ‘the circle is the most harmonious shape. in collaboration with the french bike company caminade, we wanted to honor this shape by combining multiple circles in harmonious colors.’ the electric ’la grande motte’ is setup with a zehus motor made in italy – an all in one system with the electronics and battery inside. the pedal system uses a carbon gate belt drive system. ‘what I find fascinating about jean balladur’s architectural work is his constant and committed pursuit of blending complementary masculine and feminine qualities,’ continues causse. ‘I wanted to honour this approach by designing a bike with feminine lines, but which retains a masculine character, resulting in a clean and stylish design. when designing la grande motte, jean balladur dedicated more than two-thirds of the land area to green space, pedestrians and cyclists! that was ground-breaking at the time. so this bike, the fruit of my partnership with caminade, invites everyone to discover and enjoy this incredibly visionary urban space. as for the lime green, this is a nod to the awning color that jean balladur chose for certain pyramids and shows how he inspired even the smallest of details.’ the bicycle will come in multiple colors 2016-05-16 21:01 Piotr Boruslawski

26 China Flexes Its Gold Muscle More Articles By China has made another move in its strategy to assert its weight in the gold market. China’s ICBC Standard Bank has agreed to buy Barclays’ London precious metals vaulting business. With this purchase, it will be the only Chinese bank with a vault in the U. K. Barclays vault can hold 1,800 tonnes of precious metals and is one of the largest in Europe. The terms were not announced and the deal is expected to close in July. Just last week ICBC joined with the London Bullion Market Association to become a market maker to clear metals trades. In April, People’s Bank of China said it would begin setting a benchmark for the price of gold twice a day in yuan or renminbi. The Chinese are the world’s largest producer, importer and consumer of gold, yet the prices are set in London and quoted in dollars. The prices have been set in London not only for decades, but centuries. “Their strategy is really more about having a local official renminbi price,” said Will Rhind, chief executive officer of the World Gold Council. “There is concern about trade moving out of London, but this actually increases the awareness and value and importance of gold in the world.” Rhind said that, until recently, the Chinese weren’t allowed to own gold for investment purposes. “Gold is one of the best outlets available to Chinese investors. They buy gold as a form of savings,” he said. “The Chinese, Russians, Indians and several Arab nations have been aggressively accumulating gold for several years now,” said David Williams, director of Strategic Gold Corp. “Two major reasons for this are debt defense and dollar defense. Gold is being used to counter the overwhelming influences of fiat currency debt loads and the dollar dominated world trade situation.” Williams said he fully expects more of this kind of activity from China, Russia and even possibly OPEC nations. He believes it’s a positive move for the gold market. Gold prices hit a 15-month high of $1,303 an ounce in May. The Chinese demand for gold jewelry fell 17 percent in the first quarter of 2016 according to the World Gold Council. The weak economy in China began to take its toll on these shoppers. In addition, supply was constrained as a new national standard for hallmarking jewelry in China was set for May 4. Retailers had to adjust their inventories and replace it with new stocks that met the new Chuk Kam hallmark for 99 percent purity. On the investment side, the Chinese see gold investments as a way to protect and preserve their wealth. The PBOC which added 10 tons of gold in February, another nine tons in March and overall has added 139 tonnes since July 2015. At the same time, China has been selling off its U. S. Treasury holdings. The effects on U. S. jewelry companies are difficult to determine. Karat-gold jewelry equals 5.6 percent of retailers sales in the U. S. A Signet spokesperson said the company relied on the prices out of London and had no comment on China’s moves. Tiffany & Company had no comment. 2016-05-16 21:01 Debra Borchardt

27 UCLA's Design Grad Show Breaks Post-Digital Boundaries Still Life with Yumyums, Theo Triantafyllidis, 2016 custom software, live simulation, 72” HD TV, PC As we become increasingly attached to our devices, post-digital questions have become real and significant over the last few years. Neither in a strictly theoretical nor philosophical sense, but in a very real one, the latest exhibition presented by UCLA’s Design Media Arts students, Great Show! , delves into this next-next reality. “We keep looking at our phones while there is a database hack or mass leak every day now,” says curator Aram Bartholl. He tells The Creators Project, “We still like to believe computers and the internet will help us, instead they regulate our everyday behavior to the smallest detail. We need new generations of artists, coders, and anthropologists to break boundaries of thinking.” Raising issues related to the economy, geopolitics, and sociology, as well as the tech revolution (advancements in virtual reality, artificial intelligence, augmented reality, biotechnology), Great Show! displays a wide range of approaches and aesthetics to question what’s next for us. Existing within a tech-oriented era filled with data drives, wires, WiFi, and chips, the exhibit explores how we'll handle the transition into a tech-driven era. Mean Face, Adam Ferriss, 2016, dye sublimation prints on aluminum, 30x40” Bartholl says that, through a democratic curatorial process, "the works were developed individually over the last months discussed by the group and selected by the artists themselves.” Thus, students Adam Ferriss , Jesse R. Fleming , Neil Mendoza and Theo Triantafyllidis offer up a series of works that looks at “how society copes with current forms of digitalism. " Attempting to crack the post-digital dilemma, the team offers up a live, game engine-powered simulation, a hamster-powered drawing machine, and a show-within-a-show curated by Echo Theohar and that features 15 works, all to be experienced at the New Wight Gallery until May 26th. The exhibition shows that, when it comes to the future, the possibilities are boundless. Hamster Powered Hamster Drawing Machine, Neil Mendoza, 2016, hamster, wood, electronics, mechanics Neil Mendoza, 2016 foot, aluminium, acrylic, electronics, mechanics L’arrivée,Jesse R. Fleming, 2016, Three channel video installation, sound Ayes and Ohs, Adam Ferriss, 2016 marker on vellum, 30x42” Yumyums screenshot, Theo Triantafyllidis, 2016 Click here to learn more about the DMA program at UCLA. Related: This Digital Sculpture is Crawling with Simulated Life Forms The Virtual Art Gallery Levels-Up at UCLA UCLA Students Explore Memes in the Modern Era 2016-05-16 20:48 Benoit Palop

28 True Fit’s Cofounder on the Challenges of Optimizing Retail Data From vast amounts of information about their consumers and the products they buy to current inventory levels and sell-throughs on a store level, retailers amass millions of data points each day. But are they using this data in the right way? Jessica Murphy, cofounder of True Fit, a “discovery platform” that works with brands and retailers to help consumers connect to the best fit and style in the footwear and apparel, said while companies compile a lot of data about shoppers they often don’t have a “single view” of that consumer. Murphy also said many companies lack the same single view of itself and its inventory. Here, Murphy discusses with WWD some of the challenges facing brands and retailers who are looking to optimize data as well as some of the ways data can be used to mitigate costly returns. While retailers have come a long way in their efforts to connect systems and data in their systems, there are still many examples of disparate systems that exist within organizations. Some ways this affects the consumer is that it impacts a retailer’s ability to market to customers effectively or serve more relevant product recommendations to its customers. While there are some retailers that are beginning to lay the foundation for a achieving one single view of a customer, it will still be years before this is standard for all retailers. While some retailers do have small in-house development teams (relative to other organizations within the company), most legacy retailers do not have in-house data scientists. In the future, building out these organizations will be critical to extracting and connecting data across their platforms to more effectively merchandise, assort, market, test and leverage third-party technologies. Companies like True Fit help in this area since our expertise is in data and specifically in connecting the data that we receive from our retail partners for the benefit of driving more sales and delivering new insights to help retailers manage their business more effectively. To do this, customers simply answer a couple of very simple questions (no measurements required), such as “tell us about one item in your closet that you love and fits you well,” and in return we simplify the decision-making and buying process by answer two key questions for the consumer: “what size should I buy?” and “how will it fit me?” On average only 98 percent of shoppers visiting a web site buy, and the number-one reason cited for not buying is hesitancy around unsure fit. So by just providing that little bit of confidence that consumers need, True Fit is able to: drive down total returns by 10 to 25 percent; drive down size related returns by over 50 percent; and increase conversion to sale by two to three times. 2016-05-16 20:47 Arthur Zaczkiewicz

29 Artist Floods a Former Cathedral with Rainbows Liz West, Our Colour Reflection, 2016. Photo: Hannah Devereux In the Middle Ages, churches could be the most beautiful thing a European peasant would see in his or her entire lifetime. Before photography, television, and the internet, it was arching ceilings and stained glass windows that would entrance the masses. Five hundred years later artist Liz West has transformed the former St. John's Church in North Lincolnshire, UK into a miraculous new rainbow installation called Our Colour Reflection. More than 700 colored mirrors with 15 different hues of acryllic spread across the floor of the church, now occupied by 20-21 Visual Arts Centre. The reflecting glass floats around pillars and laps up against the edges of the stone floor and walls, reflecting serenely onto the centuries-old walls. While most of West's work, including the similarly-named Our Colour Perception , involves broadcasting light to manipulate a space, Our Colour Reflection lets the sunlight do the work. "It is playful, elegant, engaging, and probably my most thoughtful and quiet work," West tells The Creators Project. Liz West, Our Colour Reflection, 2016. Photo: Hannah Devereux West has been planning Our Colour Reflection for two years, researching the space, finding the perfect methods for coloring and shaping her mirrors, and convincing bureaucrats of the installation's merits. However, the installation itself was completely improvised. "I had no plan of where each mirror was going to be laid, just the idea of the work as a whole in my minds-eye," she says. "The week long install was physically very demanding and this became the biggest and most unexpected challenge for me and my assistant. " Similarly, the installation itself is somewhat improvisational, reacting to the sun's path through the sky. "The work changes constantly, depending on what time of day it is," West explains. "As darkness comes, the gallery spotlights reflect off the colored mirrors and send vivid dots of color up into the interior of the former church building, illuminating the neo-Gothic architecture. In the daytime, one visitor stood waiting for a beam of sunlight to come through the windows and hit the mirrors. They remarked that it felt like they were waiting for a rainbow to emerge, and when it did, it was brief before disappearing just as quickly but leaving a luminous and radiant imprint in their mind. " Another visitor observed that, "it felt like the stained glass had fallen out of the windows and onto the floor, shimmering in the sunlight," West says. The result is poetic and meditative. It's a rainbow that's not being beamed directly into the eyes. Inside the cave-like exhibition space, you can dive into the colors, sink to the bottom, and soak in your thoughts and feelings. Liz West, Our Colour Reflection, 2016. Photo: Hannah Devereux Our Colour Reflections is on at 20-21 Visual Arts Centre through June 25. See more of Liz West's work on her website. Related: Step Inside A 5,000 Square Foot Rainbow Rainbow Art Is the Best Way to Celebrate #MarriageEquality This Mirrored Rainbow Room Is a Playground for Light 2016-05-16 20:45 Beckett Mufson

30 Dealer’s Notebook: Vincent de Sarthe of de Sarthe Gallery, Beijing Related Venues de Sarthe Gallery Beijing Artists James Turrell Hsiao Chin Ma Sibo Wang Xin The positive is that more and more people are becoming interested in art. 2016-05-16 19:48 Samuel Spencer

31 Escapist Drawings of Technicolor Weirdos | Monday Insta Illustrator While they vary in color palette, form, and themes, the gentle drawings of Matthew Houston have an overarching pleasantness that keeps you scrolling through his Instagram feed. Some drawings evoke Picasso's cubism, some Dalí's surrealist creatures, some look like fleshy characters on Adult Swim TV, while others are drawn in the texture of a cyberpunk anime. Thin, fat, round, flat, the Mesa, Arizona-based illustrator says that his largely improvised works are, "figures and symbols to express the longing for an unknown past and the pervading rootless confusion of the present. " Check out his self-proclaimed "refuge from modernity in imagined shibboleths," in the Instagrams below. See more of Matthew Houston's work on Instagram. Find your next favorite artist on The Creators Project's Instagram feed here. Related: What If Pop Culture Icons Were Cubist Masterpieces? Maren Karlson's Illustrations Are Like Comics from Hell Dalí and Miró Meet Digital Art in Surreal 3D Illustrations 2016-05-16 19:33 Beckett Mufson

32 The Duchess of Cambridge Dons Boxing Gloves More Articles By The Duchess of Cambridge tried her hands at boxing today at the launch of Heads Together mental health campaign, which aims to provide aid for people with mental illness. As part of the campaign, the Duchess, alongside Princes William and Henry, was filmed trying out Boxercise classes, as she helped launch the campaign to end the stigma around mental health. The Duchess was wearing a Banana Republic dress and a top by Goat, as she donned a pair of red boxing gloves. The young Royals launched the mental-health awareness initiative last month. Heads Together is an organization that combines the forces of eight of the country’s leading mental health charities. RELATED STORY: Young Royals Launch Mental Health Awareness Initiative >> The Duchess, who’s also Patron of the Anna Freud Centre, which helps vulnerable children, is a committed advocate of children’s mental health care and emotional well-being. She has written a blog for The Huffington Post on children’s mental health, part of her role as guest editor at the online publication. She also made a rare public speech last year addressing the issue , took part in two videos pertaining to the subject and is a royal patron of Place2Be, a charity that provides counseling to kids. RELATED STORY: Duchess of Cambridge Becomes Guest Editor at The Huffington Post >> Yesterday evening, the Duchess attended a gala concert, part of the celebrations marking the Queen’s 90th birthday. She layered a red Zara jacket over a white lace dress. She accessorized with diamond drop earrings and had her hair pulled back in a chignon. RELATED STORY: Duchess of Cambridge Attends Birthday Concert for Queen Elizabeth >> 2016-05-16 19:23 Fabiana Repaci

33 W. A. G. E. Calls for New Museum to Fully Compensate Artists Artist advocacy group Working Artists and the Greater Economy ( W. A. G. E. ) is calling for the New Museum to receive certification to ensure all its artists earn fair pay as the building plans for expansion, funded by an ongoing $80 million capital campaign. In an open letter, the New York- based group expressed concerns that the museum will not properly compensate the people “upon whose work [its] existence is predicated,” the letter reads, as its programming naturally also grows. W. A. G. E. Certification is a voluntary program that signals an organization’s commitment to fees that meet a minimum pay standard. The $80 million will pay for the takeover of the neighboring building, currently home to museum-led incubator New INC , but it will also triple the New Museum’s endowment. The museum has so far raised over half its fundraising goals thanks in part to a gift from collector Toby Devan Lewis, who provided an undisclosed amount that represents its largest single donation in its history, as the New York Times reported. W. A. G. E. is also asking the Museum to request that Lewis provide the funds to make certification possible. Museum director Lisa Phillips noted that the millions of dollars is intended to present an opportunity “to do things that museums haven’t done yet or maybe even imagined,” according to the New York Times. W. A. G. E. cites her statement as reason for its confidence that the New Museum will be open to certification; if the museum accepts to join the program, it will become the first WAGE-certified museum. The next application deadline is June 1. Hyperallergic has reached out to the New Museum but has not received a response. Somewhat ironically, the museum was actually where the very first W. A. G. E. certification took place, in 2010, when curator Lauren Cornell invited W. A. G. E. to participate in the group exhibition Free. The group, standing not as an art collective but as an activist organization, negotiated fees for all the artists involved, which qualified the New Museum for a temporary “Exhibition Certification.” According to W. A. G. E.’s numbers, if the museum had been officially certified in fiscal year 2014, it would have spent around $301,000, which it notes was 2.2% of its total operating budget of $13,971,884 that year. That sum, according to W. A. G. E., would have paid 184 artists, “16 of whom supplied [the museum’s] exhibitions and 168 of whom provided the content of [its] public programs.” It is also apparently almost exactly half of the salary of the museum’s highest paid employee and equivalent to just 0.7% of the money raised so far for its capital campaign. The last time the New Museum heard directly from W. A. G. E. was in 2010, when the group addressed the institution as “Dad” in a written “intervention” that implored it to better allocate its funds — to refrain from spending money on white, straight, and/or male artists. “You offer nothing to artists whose work your institution-corporation depends on. You have yet to recognize your mimicking and worship of a failed, corrupt system, where profits trump people. You’re binging and purging at our family’s expense,” W. A. G. E. wrote then, before signing off as “Your deeply concerned friends and family.” The group’s latest open letter reads, in full: 2016-05-16 19:20 hyperallergic.com

34 PETA behind the leather campaign shocks shoppers visitors to ‘the leather work’ pop-up shop in one of bangkok’s hippest shopping malls were given a grisly surprise as they surveyed the store’s inventory. courtesy of PETA asia and ogilvy & mather bangkok, shoppers were shocked to find beating hearts and intestines inside bags, jackets and belts. customers trying on shoes or gloves soon realized that their hands and feet had been smeared with fake blood. although the fleshy elements have been artistically reproduced, their hyperrealistic characteristics convey the jarring message of animal cruelty clearly and emphatically. the campaign — ‘behind the leather’ — duped customers looking for animal-hide goods with a display of seemingly ordinary products that symbolically reveal the suffering behind exotic-skin accessories. caught on camera and made into a short promotional film, the customers’ unusual experience alerted them — and the video’s nearly 2 million viewers — to the suffering of crocodiles and snakes in the manufacturing of luxury leather products. shoppers were shocked to find beating hearts and intestines inside bags the campaign symbolically reveals the suffering behind exotic-skin accessories footage of the experience was caught on camera and made into a short promotional film 2016-05-16 19:15 Nina Azzarello

35 Age Ain’t but a Number, Says Julianne Moore Given the roles she has chosen in her four- decade-plus career, it seems Julianne Moore is something of a complex creature. Be it her portrayal of a struggling veteran porn star in “Boogie Nights,” or her version of an accomplished scholar who suffers from progressive Alzheimer decease in “Still Alice,” which won her an Academy Award, Moore projects as much onscreen as she does offscreen. Most recently, she has fought arduously for LGBT rights and become a powerful voice on the issue of gun control. “It’s what I feel compelled to do,” she explained during a break from the dizzying series of red carpets at this week’s Cannes film festival . “For anybody, caring about things is about having a life and being a citizen. I think my recent involvement with [Everytown for Gun Safety] really came about because I couldn’t stop thinking about the recent incidents of gun violence in the United States. I was like: ‘This is crazy. This does not have to be a divisive issue, it just doesn’t.’ It’s not something that is partisan, it’s not antiweapon, it’s not even anticonstitutional, but really talking about raising safety standards, so that we can reduce the incidents happening in the U. S.” Moore has also used her platform to fight for LGBT rights both off and onscreen — in last year’s “Freeheld,” she and Ellen Page tell the story of a female detective fighting to leave her pension benefits to her girlfriend. “These are basic human rights,” the actress says. “When you look around, you think how you’re going to be quiet when someone is being discriminated against? It’s ridiculous,” she laments, though says that her acting choices are not made to push a political agenda. “Movies reflect what is going on culturally. We are not necessarily standard bearers, but as people talk more of LGBT rights and as we’re seeing more and more diverse families, that gets reflected in the entertainment world as well,” she noted. Moore admits that this is also what she likes about L’Oréal, for which she has been an ambassador since 2012. “It salutes women all over the world, all cultures are represented. They don’t promote this singular idea of what is beautiful, you know?” Her concern for others is immediate. Asked about the secret behind her undamaged, fair skin, she replies: “I have been wearing a sunscreen every single day since I’ve been 24, and now I use Age Perfect by L’Oréal, which has a sunscreen built in.” Then she pauses, and asks this reporter: “You have fair skin, too, you should wear sunscreen every single day. Do you?” Perhaps surprisingly, the actress divulges that her fear of getting older has its limits. “The reason why people talk about it is because it’s a reminder of mortality. Am I right?” the 55-year-old muses. “And the best way to combat that is to authentically think about what it is exactly that you are afraid of and to address that feeling. If you stay in the present and find meaning, those things will have less importance.” Moore, who has been working on at least two films a year since 1996 according to IMDb, advises against blaming age or one’s failing beauty for not getting the part. “I think this idea that a lot of the great roles that are out are not available to you is a fallacy. The movie industry is an industry and their objective is to make a movie that will work all over the world, their objective is not to say: ‘How many great parts can we create for actors?’ So mainstream Hollywood is not necessarily where you will find the most compelling character work, but there are so many avenues these days — there is Netflix and Hulu, cable and independent film, but you have to be willing to kind of look all over. And this is true for everybody — young women, older women, and same thing for men.” Clearly Moore has no shortage of roles from which to choose. This spring she stars in “Maggie’s Plan,” a romantic comedy opposite Ethan Hawke and Greta Gerwig; then it’s on to finishing “Wonderstruck” with Michelle Williams. “Kingsman: 2” and the crime mystery “Suburbicon” staring Oscar Isaac, Matt Damon and Josh Brolin are also on the docket. 2016-05-16 18:43 Paulina Szmydke

36 New-York Historical Society Plans ‘Summer of Hamilton’ Alexander Hamilton already rules Broadway. Now, starting over the July 4 weekend, the nation’s first treasury secretary will also be taking over the New-York Historical Society , which has announced a museumwide “Summer of Hamilton” celebration. The event, inspired by the runaway success of Lin-Manuel Miranda’s musical “Hamilton,” will feature an exhibition of Hamilton-related artifacts like his desk and life-size statues depicting his duel with Aaron Burr. There will also be important documents from the collection of the historical society and the Gilder Lehrman Institute of American History, including a love letter from Hamilton to his fiancée; the infamous pamphlet in which he admitted to an extramarital affair with Maria Reynolds; the first federal budget printed in his Report on Public Credit; and a letter supporting Thomas Jefferson over Burr in the election of 1800. There will also be Hamilton-themed group tours, a weeklong Hamilton-themed summer camp for middle-school students, Friday-night screenings of musicals that influenced Mr. Miranda, and even appearances by a living historian dressed as Hamilton. The “Summer of Hamilton” is not the historical society’s first big bet on the man. “Alexander Hamilton: The Man Who Made Modern America,” a $5 million exhibition mounted in 2004 in partnership with the Gilder Lehrman Institute, drew some 150,000 visitors, according to the society, as well as criticisms from some scholars who thought that the show exaggerated his impact. Since then, “we never could have expected that Hamilton, the man, would have captured the popular imagination in the way that he has,” Louise Mirrer, the president and chief executive of the historical society, said in a statement. “Now admirers of the Broadway hit and those interested in learning more about one of New York City’s most influential citizens can decide for themselves, as the show says, ‘who lives, who dies, who tells your story.’” More information is at nyhistory.org/summer-of-hamilton. 2016-05-16 18:35 By

37 Ivyrevel Launches Swimwear Collection HOT CHILD IN THE CITY: Ivyrevel, the H&M - backed digital fashion house, has expanded its offering to include swimwear. The debut collection, called City Heat, features bikinis and one-pieces with crystal embroidery, gold-plated hardware and tropical prints and also includes beachwear and accessories, such as tunics, caftans, tote bags and body chains. “A capsule swimwear collection was a natural development of our assortment, which goes in line with our target audience’s global lifestyle and mind-set,” Aleksandar Subosic, the company’s cofounder, told WWD. Retailing from $28 to $96, the collection launches today exclusively at Ivyrevel.com. 2016-05-16 18:30 Kristi Garced

38 meizu gravity wireless speaker by hironao tsuboi hironao tsuboi introduces cantilever design to speaker market with meizu gravity all images courtesy of meizu meizu’s ’gravity’ by hironao tsuboi is a wireless speaker with a deceiving floating body and display while continuously providing high quality sound from a small package. what stands out the most, is the heads-up screen prism the creates the illusion of floating above the ground. ‘the concept of ‘missing design’ is to reduce the boundary and existence of an object and to blur the edges of such object, which helps the object fit in with the environment,’ explains hironao tsuboi. ‘as in gravity, the smart use of prism helps reduce the outlines of the screen, letters and symbols. as a result, music information seems to be floating in mid air. the design as a whole aims to help users forget about gravity, but keep the sense of balance.’ the small-sized speaker uses a complex optical reflection formula to present the album art and track information. meizu partnered with dirac to accumulate 20 years of experience for an ultimate acoustic experience. ‘gravity’ encompasses an amplifier and is paired with a dual passive resonance membrane for a more vigorous low-frequency output. simplified wi-fi connectivity allows users to stream directly from a smartphone or tablet through the designated app. meizu has launched an indiegogo campaign for the ‘gravity’ speaker with plans to ship to backers in december 2016. connects to smartphones via wi-fi or bluetooth 2016-05-16 18:10 Piotr Boruslawski

39 Fusion Hires Ex-Condé Nast Publisher Jason Wagenheim as Head of Revenue Fusion is expanding its business team with a new head of revenue and a director of branded content. The Univision-owned company, which brands itself as an English-language digital and cable outlet targeting Millennials, said it added Jason Wagenheim, the former vice president and publisher of Teen Vogue, as head of revenue and senior vice president of partnerships. Fusion also tapped Megan Gilbert as director of branded content for Lightworks, its branded content studio. Gilbert comes from Gawker where she served as content director of the company’s branded content arm. They will both be based in New York. Wagenheim left Condé Nast late last year amid cost-cutting at the New York-based publishing house. Wagenheim’s role as publisher of Teen Vogue would be folded under the purview of Vogue publisher and chief revenue officer Susan Plagemann , who now oversees both titles. During his near-20 year career, Wagenheim served as vice president and publisher of Teen Vogue’s sibling glossy Glamour , publisher of Time Inc.’s Entertainment Weekly and various management roles at Condé Nast, including as associate publisher of Vanity Fair. According to Fusion, Wagenheim will work closely with the sales side at Univision, and lead a digital-first team focusing on “branded marketing solutions to connect brands to young, multicultural audiences across platforms.” His team will also leverage custom creative and branded content offerings from Lightworks. “Jason’s leadership and Megan’s valuable experience in branded content will enable us to deepen our relationships with brands seeking to reach young, diverse audiences. Through compelling storytelling and innovative advertising formats, our team will provide differentiated opportunities for brand partners who are eager to connect with the new, rising American mainstream where and when they consume content,”said Fusion copresident and chief operating officer Boris Gartner, to whom both hires will report. “Fusion is adept at reaching diverse audiences with content that speaks to their passions and values. Their content is not only informative, but entertaining and provocative, which fosters a valuable connection with its audience,” offered Wagenheim. “To be able to join the Fusion team at such a pivotal moment in the digital media space is a very exciting opportunity.” Last month, Univision bought out Disney-ABC’s stake in Fusion. The media companies had entered into a joint venture in 2013. The terms of Disney’s exit was not disclosed, but the company indicated in November that it hit its funding threshold in Fusion. Since it bought Disney’s stake, Univision formed an umbrella group called the Fusion Media, which includes Fusion, The Root, The Onion, A. V. Club, Clickhole, Starwipe, Flama and the company’s stake in cable network El Rey. 2016-05-16 17:57 Alexandra Steigrad

40 When Artists Take the Piss Out of Christ, It's Complicated Del Paisaje y Sus Reinos by Norton Maza. Image courtesy of Jorge Brantmayer In recent years, contemporary art has taken an exceedingly liberal stance on the iconic figure of Jesus Christ, allowing us to question not only the morality of religion, but its authority— and the current cultural associations that surround it. For many artists, depicting Christ is not only an artistic challenge, but also a theological and political one, producing provocative results that question religion's validity and the politics ascribed to it. Although controversial, these artists remind us that religious beliefes and opinions are idiosyncratic concepts, and in our Western world it is freely up to the individual to decide both what they would like to depict, and what they'll debate. Similarly to traditional Christian art, contemporary art has enabled us to recognize societal transformations over time. Many contemporary artists comment on the hypocrisy of religion and its associations with violence and politics throughout history. Take Michele Castagnetti ’s Jesus the Hunter , which shows Jesus wearing a rifle, and Norton Maza' s installation Del Paisaje y Sus Reinos , which depicts Christ as a modern-day freedom fighter. Jesus the Hunter by Michele Castagnetti. Image courtesy the artist. Russell Oliver painted Jesus as a slaughtered lamb’s head. He tells The Creators Project, “T he Monstrosity of Christ is my critique of Christianity as a cult of human sacrifice—one of scapegoating and vicarious redemption.” Similarly, Cosimo Cavallaro ’s six-foot chocolate statue of Jesus remarks on the tie between Christianity and global consumer trends. As Cavallaro tells The Creators Project, " My Sweet Lord is the symbolic representation of the intermingling of Christian religion with industry, tread, globalization, and our addiction to the sinful sweet sacrament of chocolate.” These pieces are not without their negative reactions; My Sweet Lord was described by the head of the Catholic League, Bill Donohue as “One of the worst assaults on Christian sensibilities ever.” My Sweet Lord by Cosimo Cavallaro. Image courtesy the artist Although deemed sensationalist by some, the use of unorthodox mediums and unconventional forms of expression has, and will continue to challenge rigid preconceptions. One of the most famous controversial depictions of Christ has to be Andres Serrano ’s Piss Christ , a photograph of a plastic, crucified Christ figure, submerged in the artist's urine. By using raw, human waste to represent and stand beside divine concepts, Serrano makes Biblical reference to the mortal body and blood of Christ. Since its release in 1989, Piss Christ has caused uproar —in1997 it was hammered and kicked while on display at The National Gallery of Victoria in Australia. Most recently, the Associated Press removed it from its editorial archive in the wake of the deadly Charlie Hebdo attack. Piss Christ by Andres Serrano. Image courtesy the artist Pushing boundaries to deliver spiritual and societal answers is often met with frustration from artists whose works are misunderstood. Mideo Cruz created Jesus Christ with Mickey Mouse ears as well as a sculpture of a crucifix with a penis. He says, “Some people like my work but the majority of the population is still looking for the conventional form of expression, which makes my life more difficult.” Similarly, sculptor Kendell Geers created a Jesus sculpture with the words "Fuck Only" written all over it. As Geers explained to us, “The response was both negative and positive, depending on the viewer’s prejudice. The word Fuck still has the power and strength to generate emotional responses. It's a word that has two completely contradictory meanings depending on the context. All life is created by the process of fucking and all life will be destroyed if we don't stop to fuck with the cycles of life and nature. " Image courtesy Mideo Cruz Not all reactions to controversial Christian art are negative, either: Paul Fryer ’s Pietà (The Empire Never Ended) is one such piece, which depicts Christ’s death by electrocution. Fryer says, "The piece is an updating of the crucifixion. Two thousand years later we still tie people to wooden contraptions and kill them.” Although controversial, Pieta has provoked positive debate in both religious and non-religious circles, as Fryer tells The Creators Project, “I had two people cry in front of them. That I know of. Complete strangers, that is, in my presence; though I don’t think they realized I was the artist. When the Pietà (The Empire Never Ended) was shown at the Cathedral of Gap in 2009, the response was overwhelmingly positive. I was surprised because I thought the Catholic Church was more conservative than the public-comment books portrayed them to be. The reaction on the whole though, is greater in Europe than in the UK where, it seems, religious iconography is generally taken less seriously.” Jesus Fucking Christ by Kendell Geers. Image courtesy the artist Whether you accept, understand—or even enjoy—these depictions or not, the controversial images continue to remind us that, as a tolerant society, we must protect a freedom of speech, opinions, and beliefs of both believers and non-believers. After all, artistic representation has arguably a longer history than any religion or faith. Pietà (The Empire Never Ended by Paul Fryer. Image courtesy the artist The Monstrosity of Christ by Russell Oliver. Image courtesy the artist Related: Reframing "White Jesus" A Sculpture of a Fallen Angel Is Stopping Beijing In Its Tracks Monumental 'Golgotha' Sculpture Casts the Crucifixion in Coat Hangers 2016-05-16 17:55 Anna Marks

41 Steal This Fork: An Artist Spent 15 Years Stealing Silverware Used by the 1% Images courtesy the artist(s) In a scene from David Fincher’s adaptation of Fight Club , the anti-capitalist cell led by Tyler Durden are to be the hospitality servants of the unnamed city’s elite. While the story was set in America, the city, with its wealthy and radical denizens, could exist literally anywhere. For the last 15 years, Melbourne-based artist Van T. Rudd has been waging a somewhat similar war. In that time, he's been obtaining the forks with which the uber-rich have feasted with at the five-star hotel Rudd worked at in Melbourne. The fruits of this 15-year collection process is Rudd’s The Rich Forks —40 forks as readymade objects still full of food debris and saliva. Rudd, who has also created politically-focused hyperreal street sculptures and political cartoons, has cataloged the forks almost like scientific specimens or museum relics. Among the collection are forks used by Prince Harry, Rupert Murdoch, and Richard Branson. Unsurprisingly, Democratic presidential candidate Hillary Clinton’s fork makes an appearance in Rudd’s collection. Like many creative types, Rudd has been employed in the hospitality industry for many years. In the late 90s, he ended up working as a waiter at the aforementioned well-known five star Melbourne hotel. (In addition to not naming the hotel, Rudd would also not tell The Creators Project whether or not other artists are involved in the project.) “Like some coworkers, I began to resent working long, unpredictable, shifts on low pay (we have a minimum wage here, unlike in the USA—and I'm aware that Sanders is behind the $15 minimum campaign!),” Rudd says. “We were serving high-class food and wine on many occasions, to very wealthy people and/or conservative politicians at major corporate events. We were very much invisible, but always available if you know what I mean.” “I can't reveal too much information here but to say that we pretty much handled (or had access to) every cutlery item that was used by all customers including the ultra-wealthy,” he adds. “Workers in the hotel service industry around the world generally have easy access to the environment of their workplaces. It's a day-in day-out role that goes unquestioned, really. For example, serving food to wealthy and powerful corporate clients at a big dinner function, up- close and personal is routine and mundane. You can get an idea who's in the room sometimes by word of mouth or even place names at tables, etc.” Rudd describes the work process as very mechanical, though ideas certainly came into his mind. Collecting forks used by the wealthy was never meant to be an exhibition, but it gathered its own kind of momentum from Rudd’s growing distaste of working hard to serve the elites while he went home virtually starving and paying high rent. It was at this hotel that Rudd generated the idea of “di-luting,” which he describes as “reverse looting.” For him, it was about taking back instead of stealing. “Considering the enormous amount of wealth that's been stolen from the majority of people around the world by the 1% since the GFC [Global Financial Crisis] gives this project a justification,” says Rudd. “I mean, a simple glance at the Panama Leaks gives you an idea of how many trillions of dollars gets funneled away from us, and it's still going on. So, what's a few forks?” While the collection process took place over 15 years, the decision to exhibit them took about two years of thought and planning. Rudd and others involved wondered if this type of material should even be exhibited, and if people would be interested in seeing it. They also had to consider risks in terms of the law. Rudd describes the decision to exhibit the forks as a reluctant one. And if he was going to do it, any exhibition had to be a commentary on class division in society and not a shallow display of “memorabilia.” Before sending proposals to venues, Rudd spoke with people in the creative arts industry as well as some social justice activist. What become clear is that the exhibition had to be in a space that was publicly funded or community-based, with the forks being a kind of public property and not some private gallery's property. This is how The Rich Forks exhibition found a home at The Footscray Community Arts Centre in Melbourne. “It had to somehow counter the fact that most of the art world is funded or at least indirectly influenced by the 1%,” he adds. “People really loved the idea that the forks could be exhibited.” Rudd describes The Rich Forks as an act of political and economic protest. More than that, it’s meant to drive what he calls a “little wedge” into the exclusive club of the ultra-rich that not many people know exists. “That's why it's crucial to maintain the saliva and crumbs of the forks' users,” he explains. “To take a tiny slice of their lives instead of always giving over ours. They fly in jets all around the world and eat these five-course meals as though it's a neverending stream, not even considering that the food gets to them by a long line of laborers.” “It's meant to say that those that work in industries like hospitality are living, breathing people that have lives and are often struggling to pay the rent and are in debt,” he adds. “It's meant to hopefully expose the fact that much of our future is designed by the 1% at these corporate functions and we have no say over it.” Rudd understands why some sectors of the media might be focusing on the memorabilia angle of The Rich Forks , but hopes the majority of people see past it, towards a protest action mixed with creativity. From what he can already see, some people have come away with a different notion of what is possible from artists and workers. “Maybe people are asking further questions about how the system operates and where decisions are made and the class inequality that's built into this system,” Rudd muses. “I'm not really concerned whether people think it's art or not, although that's already entered the conversations about it on social media.” “I hope that people can see that, if it is considered art, then it doesn't matter if the stuff has been swiped,” he adds. “The wealthiest states over the last few centuries have built their empires by looting the resources of underdeveloped countries, and in many cases filled their museums with stolen artefacts. This is hopefully seen as a small gesture in reverse of this fact.” Rudd is currently displaying two of the forks—one used by billionaire casino mogul James Packer, the other by Prince Harry—at The Rich Forks exhibition at The Footscray Community Arts Centre until May 21st. Click here to see more of Van T. Rudd’s work. Related: Shredded Spy Agency Documents Become Readymade Art You're a 'Servant To Infinite Distraction' at This Exhibition Airbnb's "Stolen" Logo: Successful Design Isn't Always Original, and That's OK 2016-05-16 17:40 DJ Pangburn

42 machado silvetti opens new center for asian art at the ringling a new center for asian art has opened at the ringling, the state art museum of florida, located in sarasota. designed by boston-based architects machado silvetti, the three-storey extension is connected to the existing museum building on each floor, and has been clad with a mosaic of terracotta tiles, each covered in a custom green glaze. these large panels respond to the tonality and textures of the museum setting, creating a dynamic pattern that engulfs the entirety of the façade. the three-storey extension is connected to the existing building on each floor image © anton grassl / esto the scheme includes an open loggia at ground level, with a shaded space for rest and contemplation. a gallery is positioned on the storey above, while a flexible space on the third level can be used for meetings and events. extending west, the new pavilion establishes an entry point to the museum for visitors who wish to enter from the southwest side of the 66-acre campus. gallery space is positioned at the second level image © anton grassl / esto as well as the creation of the 7,500 square-foot pavilion, the project also includes the renovation of approximately 18,000 square feet within the museum of art’s 1966 expansion. the center includes 6,800 square feet of gallery space for the display of rotating selections from the ringling’s collection of asian art, a 125-person lecture hall, a print/study room, a seminar room, and open object storage, all linked by a new bridge connecting the pavilion to the museum’s west wing. the building fosters the exploration of historical and contemporary asian cultures through a variety of research, exhibitions and programs. the pavilion has been clad with a mosaic of terracotta tiles image © anton grassl / esto ‘through the creation of this center, the ringling underscores its dedication to and investment in the arts of asia,’ says steven high, executive director of the ringling. ‘the center will allow us to cultivate strategic partnerships with individuals and institutions around the globe, making sarasota and the ringling an important site for both scholars and enthusiasts of asian arts and culture. as part of a leading research university like FSU, this center gives us the ability to engage with faculty, students and the community on a whole new level.’ ‘the project’s goal was to create an architecturally significant statement that would not be seen anywhere else,’ adds rodolfo machado, principal architect on the project. ‘we hope visitors will come away with a fresh awareness of the value of architecture and how it can inform inventive new approaches and profound responses to visual art.’ the large tiles respond to the tonality and textures of the museum setting image © anton grassl / esto 2016-05-16 17:28 Philip Stevens

43 Mangelos at Peter Freeman, New York Mangelos, Noart , 1981, chalk and tempera on wood-edged school-slate. NICK KNIGHT/COURTESY PETER FREEMAN, INC. Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Mangelos: a retrospective of exhibitions 1972-1981” is on view at Peter Freeman, Inc. in New York through Friday, May 27. The solo exhibition, curated by François Piron, looks at five exhibitions, presented in the former Yugoslavia in the 1970s, and the way in which the Croatian artist conceived them. Mangelos, U poslednje vreme (Recently…), ca. 1967–72, tempera and collage on cardstock. NICK KNIGHT/COURTESY PETER FREEMAN, INC. Mangelos, Die Energie , 1977, tempera on chipboard. NICK KNIGHT/COURTESY PETER FREEMAN, INC. Mangelos, Numberconcept Pitagoras , 1977–78, plastic letters, acrylic on globe made from wood, metal, and paper. NICK KNIGHT/COURTESY PETER FREEMAN, INC. Mangelos, Energija (Energy [in Latin and Glagolitic script]) , 1978, tempera and oil on globe made of wood, metal and printed paper. NICK KNIGHT/COURTESY PETER FREEMAN, INC. Mangelos, Noart , 1981, chalk and tempera on wood-edged school-slate. NICK KNIGHT/COURTESY PETER FREEMAN, INC. Mangelos, Sid-manifesto , 1978, silkscreen and spray paint on wood panel. NICK KNIGHT/COURTESY PETER FREEMAN, INC. NICK KNIGHT/COURTESY PETER FREEMAN, INC. NICK KNIGHT/COURTESY PETER FREEMAN, INC. 2016-05-16 17:22 The Editors

44 Arts Charity Closes After Lye Attack Scandal has rocked a Queens-based arts charity that abruptly shut down on May 11. Healing Arts Initiative (HAI), founded in 1969, offered performances and workshops for the the city's poor, disabled, and elderly, but was brought down by a $750,000 embezzlement scheme that left director D. Alexandra Dyer disfigured after she was attacked with lye while investigating the organization's finances. Hired this past July, Dyer took over an organization in turmoil. Since 2012, debt had risen from less than $100,000 to $2.2 million, and HAI had cut staff from 28 to 14, while being forced to move from SoHo to Queens. In that time, Kim Williams, hired as a payroll clerk in 2011, had been given increasing responsibilities, especially with the company's chief financial officer position sitting vacant. Prosecutors charge that Williams stole approximately $1,000 a day from her employer between November 2012 and August 2015, for a total of $750,000. In April, Dyer sued the HAI board on the charity's behalf, claiming that Williams's thefts had been enabled by managerial negligence. The director was fired last week. "If the board thinks that by firing Alexandra Dyer, who uncovered the thefts, and by putting HAI into bankruptcy, they will thwart the investigation into their incompetence, they are sadly mistaken," Dyer's lawyer, Ronald G. Russo, told the New York Times. The state attorney general's office is reportedly monitoring the organization. Upon taking the reins last summer, Dyer had begun investigating the company's finances. Williams refused to grant her access to the accounting system, so Dyer moved to hire a new chief financial officer. On August 17, the day Williams met her new future boss, credit card records show she purchased drain cleaner at a Queens supermarket. Security footage shows Williams removed a box of files from her office the following morning before calling in sick. She never returned to her job. Dyer was attacked with lye-based drain cleaner in the office parking lot outside of the HAI offices on August 19, and had to undergo multiple surgeries. Williams was arrested this April, along with Jerry Mohammed, who Dyer identified as her attacker through a photo line up, and Pia Louallen, Williams's best friend, who allegedly controlled some of the bank accounts used to embezzle HAI funds. Among its other projects, Healing Arts ran the Gallery at HAI, a gallery and studio space for artists with mental disabilities that has exhibited at the Outsider Art Fair . Follow artnet News on Facebook. 2016-05-16 17:18 Sarah Cascone

45 The World's Blackest Black Meets the Vacuum of Space A drop of water on a Vantablack-ed surface. Image: via Surrey NanoSystems While Anish Kapoor is brainstorming how he'll make artwork with his exclusive rights to Vantablack, a black material so dark it absorbs 99.964% of light, scientist are plastering their satellites with the stuff to help them see the universe better. The eerie thing about the material, developed by Surrey NanoSystems, is that it obliterates all texture from a surface, as far as the eye can tell, an effect you can see working on crinkled tin foil that looks like an endless void in the video below. Well, it turns out the material also works a bit of magic on a satellite's star tracker, a kind of sensor that tells the satellite where it is and what it's looking at based on the position of heavenly bodies. These guys are easily tricked by stray light from the sun and whatever non-star entities are floating around reflecting light into their eyes, as well as internal reflections. That's where Vantablack's super light-absorbing powers come in. Surrey NanoSystems has teamed up with Berlin Space Technology to coat a part of their Kent Ridge 1 satellite's sensors, which Tom Segert, Director of Business Development for Berlin Space Technology, says will, "reduce the effects of many common sources of error that affect the performance of star tracker systems. " Kent Ridge 1 was launched into orbit in December, so there is currently a chunk of Vantablack hurtling around our planet, enhancing our ability to know the universe. Kapoor, himself a star as far as the art world is concerned, may be able to draw from these rich themes of perception, space, and exploration in the work he creates with the stuff. Kapoor recently published photos of himself handling the material on Instagram, including a close-up of an intense black void captioned, "Kapoor Black. " It looks like nothing, a universe with no Earth, no life, no stars, no debri, not even a hint of chaos. Vantablack's inherent visual connection to empty space may do the thematic legwork for him. Learn more about Vantablack on the Surrey NanoSystems website , and keep up with Anish Kapoor's work on his website and Instagram . Related: Try And Stare Into The Blackest Material In The World Why Artists Might Not Want Vantablack Anyway (Yet) This Quiz Tests How Well You See Color 2016-05-16 17:10 Beckett Mufson

46 Glenn Branca Brings the Noise to the Red Bull Music Academy Glenn Branca’s performances are known for being loud — very loud. The last time his ensemble performed his “Symphony No. 12,” in 2000 at the Anchorage, a now shuttered venue located at the Brooklyn Bridge, the ceiling literally began to collapse. “There were flakes of paint falling onto the audience,” Branca said during a recent phone conversation. “It’s not going to be like that [this time].” But it’s almost impossible to imagine how it could be any other way. On May 16, a group of 10 guitarists will perform a number of Branca compositions, including “Symphony Nos. 8 & 10 (The Mysteries)” and the aforementioned “Symphony No. 12 (Tonal Sexus),” at the Masonic Hall in Manhattan as part of the Red Bull Music Academy’s annual residency in New York City. “I don’t really like to go back. I like to go forward,” he said. “I would rather have had them commission a new piece of music. But this is what they wanted to do, and that’s cool. This is good music and people should hear it. Most of this stuff was only heard in Europe. I have certain pieces that have never even been performed in New York.” Soon enough, Branca was composing pieces on his own that were based around small clusters of guitarists and combined the theoretical pursuits of the avant-garde with the ferocity of punk music. “The Ascension” (1981), with a striking cover by Branca’s friend Robert Longo, was his most popular early album, and featured Lee Renaldo on guitar. Renaldo, of course, would go on to be a core member of Sonic Youth, who are often credited with transforming Branca’s sound into something more palatable and commercial. As his understudies moved in one direction, Branca moved in another. His pieces became larger, more interesting and complex. He began composing symphonies, mainly based around guitars (some built specifically for the performances). By 1983, he was moving away from his early work, composing pieces for harpsichord in between his guitar experiments. “Starting around 1986, I started getting orchestral commissions,” Branca said. “That was really very interesting to me and something I’d always wanted to do. Throughout most of the late-1980s, and most of the 1990s, the music I wrote was for a conventional symphony orchestra. And very often it would get heard once in Europe and then nobody would hear it again.” Branca had moved on, but people didn’t always realize. “A lot of people thought I dropped off the face of the earth,” he recalled. “In fact, I was writing my ass off. I was holed up in my studio continuously writing my music. But in New York, I wasn’t gigging around, playing the clubs. Every once in a while I would get a commission for a guitar piece, so I would write one. But my main interest wasn’t in guitar music at the time. I wanted to see how I could incorporate some of the ideas I was working on with orchestras into the guitar ensemble.” “Symphony Nos. 8 & 10 (The Mysteries)” was the product of this period, and was originally a commission, the first in 1992 and the second in 1994. “Symphony No. 12 (Tonal Sexus)” represented another return to guitar work. (The apex of his guitar work up to this point is “Symphony No. 13 (Hallucination City),” written for 100 guitars and first performed at World Trade Center Plaza in June of 2001.) It was around this time that Branca met his wife, the guitarist Reg Bloor, who has become an integral part of his ensemble and an important collaborator. “We’ve been together for about 17 years now,” Branca said. “When we do the 100-guitar piece, for instance, she’s the concertmaster. She takes care of dealing with the musicians, questions they have about the parts, and any other questions they have. She basically takes care of all the dirty work that a conductor doesn’t deal with.” For the performance at the Masonic Hall, Bloor will be performing along with guitarists such as Randy Randall (No Age), Hunter Hunt-Hendrix (Liturgy), and others. Branca said that he rewrote some of the pieces, but aside from that has nothing to do with the planning of the Red Bull show, leaving the performance in the hands of Bloor and John Myers, a member of his ensemble who will be conducting the piece. Despite the influence Branca has had on both popular and avant-garde music, and a recent surge of renewed recognition, his mind is on other things. He was writing a memoir that he thinks won’t get past the lawyers of a major publisher without resulting in him getting sued for defamation, but has stopped for the moment while he’s writing music. He laughed when I asked him about a video that supposedly shows him crashing last year’s opening of the new Whitney Museum of American Art, telling me that he had a few drinks that night and sometimes he “gets a little giddy.” He’s more interested in talking about Mozart and Bruckner, and the way harmony has changed over time. But when I asked Branca if he feels aligned with those composers, he scoffed. “I don’t write in any particular style or system or key. I don’t even think of my music as 12-tone. It’s just whatever the fuck I want to do.” 2016-05-16 17:02 Craig Hubert

47 Ballet Legend Baryshnikov Dances a Descent into Madness Images courtesy the artist A collaboration that spans time itself has finally been realized. Two of the greatest male dancers of the 20th century come together in Robert Wilson’s Letter to a Man , a one-man production in which Mikhail Baryshnikov portrays Vaslav Nijinsky 's diary entries as the dancer and choreographer descended into madness. Last weekend in Madrid, and next month in Monte- Carlo, avid audiences can see the existential brutality of Nijinsky’s deterioration, depicted through intense theatricality and the one-of-a-kind movement of Baryshnikov. Nijinsky gained worldwide fame as a dancer and choreographer in Serge Diaghiliev 's iconic Ballet Russes and is still largely considered to be the best dancer of the first part of the 20th century. In the theater academy in St. Petersburg, he stood out from an early age and his teachers used to complain that he never came down from a jump in time with the music. His ballón was otherwordly: not only could he jump high, but he seemed to hang in the air for an unnerving amount of time. Unfortunately, this was never captured on film. After graduating, he immediately started working at the Mariinsky Ballet. He was part of the generation that tried to “modernize” ballet, whose ranks included Anna Pavlova and Mikhail Fokine. All of Fokine’s early ballets, such as Les Sylphides , Petrushka (perhaps Nijinsky’s most famous role), and Le Spectre de la Rose , were created specially for Nijinsky. His own choreography later in his career was risqué, erotic, and intensely modern. His Rites of Spring , choreographed to Igor Stravinsky’s score, caused a riot on both sides of the curtain. At the beginning of the 20th century, critic and patron Serge Diaghilev started promoting European visual art in Russia by organizing exhibitions of Impressionism and other artistic movements of the day. Diaghilev himself was no artist, but he was an impresario with the uncanny ability to put artists to work. In 1909, he took his first troupe of dancers on tour to Paris. Nijinsky was one of those dancers, and became the star of these tours. This was the beginning of the legendary Ballets Russes. Diaghilev took to Nijinsky immediately. Despite his physical brilliance, Nijinsky was derided by some, and Diaghilev took it upon himself to educate him. He gave him books to read, took him to museums and theaters. As he had done with others, Diaghilev eventually coerced him into a romantic and sexual relationship. This experience would haunt Nijinsky far after it was over— their relationship lasted about a decade, until Diaghilev planned a tour to South America in 1916. When he was young, a gypsy had told him that he would die on water. Thus, he sent his dancers alone, afraid of setting foot on a boat. On tour, though, Nijinsky married one the corps dancers and, although it’s unclear whether it was true love or career opportunism, Romola Nijinsky spent the rest of her husband’s life caring for him. When they returned to Europe with the news of their marriage, Diaghilev was so furious he fired them both in disgrace. Diaghilev eventually did die on water, in Venice, in 1929. In 1919, jobless and stranded in Europe after the war, Nijinsky's mental health had started to decline. Thus, he began his diary. The writing is filled with religious imagery, musings on good and evil, sexual confusion, and guilt. Always an erotic person, his relationship with Diaghilev undoubtedly did damage. As well as troubling self-reflection, the diary is filled with compulsive drawings of circles made with a compass. It is an unparalleled glance into an artist entering psychosis, with occasional rays of sanity giving light tallowing the reader in. At moments, he is lucid, then suddenly he is lost again. Soon after, Nijinsky forgot his own name and identity, and was committed to an asylum for his schizophrenia. His old dance partner Tamara Karsavina came to visit him once with an old costume. She writes in her memoirs how she thought she saw a momentary glimpse of recognition, but then he returned to an empty vessel, no longer the great Vaslav Nijinsky she had danced with. His diary remains an intriguing work on human suffering. Henry Miller described it as “a communication so naked, so desperate, that it breaks the mold. We are face to face with reality, and it is almost unbearable…” The rest of Nijinsky’s life was spent in existential silence. He died in England in 1950, his wife by his side. Mikhail Baryshnikov, a dancer of equal fame and legend, had also garnered fame for his charisma, stage presence, and jump. In 1974, he caused his own scandal by defecting from the Soviet Union to the United States where he continued to dance and even acted in films and television ( White Nights , Sex and the City ). Also from the St. Petersburg school, Baryshnikov is inarguably the greatest dancer of the second half of that century. In his first school performance, he danced a scene from Petrushka , and later on, other ballets that Fokine had made for Nijinsky became Baryshnikov’s favorites as well. Though they both came from the provinces, trained in St. Petersburg, danced at the Mariinsky, then left and never came back, the similarities end there. Nevertheless, Baryshnikov has been begged to portray Nijinsky countless times. Finally, he finally agreed to do it for Robert Wilson in Letter to a Man. The performance is intentionally less about Nijinsky himself and more about one man’s descent. It is made up of quotes from the diary, repeated ad nauseam by voices both male and female, over a loudspeaker in English and Russian. Phrases like “I am not Christ. I am Nijinsky,” or, “I understand war because I fought with my mother-in-law,” take on mantra-like qualities that reverberate around the room and around Nijinsky’s head. Instead of attempting to imitate Nijinsky’s steps, Baryshnikov uses his own powerful stage presence to revive Nijinsky’s deteriorating sanity. Still, the performance includes some unmistakable allusions to Nijinsky’s life. Baryshnikov is made up like a clown, a Petrushka of a different era. A tall, imposing window, meant to be an asylum cell in the play, is clearly an allusion to La Spectre de la Rose , a ballet in which Nijinsky entered and exited the stage by jumping through a large window to deafening applause. Finally, we are wished an intimate adieu from a puppet show tent also evocative of the setting in Petrushka. Baryshnikov’s Nijinsky is crazed, confused, in pain, but forever and always brilliant. For more information on Letter to a Man , visit the director’s website. Tickets to the performance in Monte-Carlo can be bought here. Related: [Exclusive] 'Bolshoi Babylon': A Look Inside Russia's Greatest Ballet Watch Famous Ballet Dancers Do Their Hardest Moves In Slow-Motion Life-Sized Photographs Expose the Brutality of Ballet Bodies 2016-05-16 16:55 Anya Tchoupakov

48 Van Gogh Meets Glenn Brown in Arles Related Venues Fondation Vincent van Gogh Arles Artists Vincent van Gogh Glenn Brown Vincent Van Gogh’s drab early-career paintings are often overlooked for the bright charm of those he produced later in Provence. The exhibition “Van Gogh in Provence: Modernizing Tradition” at the Fondation Van Gogh in Arles shows the painter’s journey from darkness to light and finally his blending of tradition and newfound style. Completing a three-part cycle, the exhibition’s 31 works spanning Van Gogh’s career chart his discovery of his own voice through color and experimentation from early work to his time in southern France. The 1886 “Self-Portrait with Pipe” from Paris shows a stern attempt at realism in dark hues next to “Self-Portrait with Gray Felt Hat” from just a year later. Van Gogh still appears somber, but uses bold individual brushstrokes in lighter hues. Next to the gloom of “Farm with Stacks of Peat” from 1883, a noticeable hesitance in using color in his landscapes appears in the brighter “Behind the Moulin de la Galette,” painted just as he begins to experiment four years later. A heavy focus on the walking path allowed Van Gogh to avoid being too bold, but in 1888, when he moved to Arles, his work explodes bravely with a sense of contented liberation in “Trees and Undergrowth,” “Pollard Willows at Sunset” and “Orchard Bordered by Cypresses.” Even though Van Gogh’s returned to solemn scenes of autumn and winter during his time in the Saint-Rémy hospital, he retained lighter hues in “Snow Covered Field with a Harrow,” and greens fade in “Ears of Wheat” from 1890 as though longing for his time in Provence but unable to push past melancholia to a brighter tone. Alongside “Modernizing Tradition,” the foundation shows a series of ethereal drawings, paintings and sculptures by Glenn Brown in “Suffer Well.” Just as Van Gogh copied Jean- Francois Millet and Demont Breton, Brown has found inspiration looking to and reinterpreting canonized masters. The title piece references Van Gogh’s “Head of a Skeleton with a Burning Cigarette” and a Depeche Mode song. Discussing his intricate work at the opening, Brown said he liked to think of the “slow art movement.” “Contemporary art has become too quick to make and to consume. I want to slow people down to appreciate the work,” he said. Nodding to Van Gogh’s flowers, a drooping fountain of dried paint in a series of sculptures could be a bust of someone’s head bursting into color, or a melting bouquet pulled directly from a still- life painting and feeling out of place in reality. “Song to the Siren” is a cutout figure of a woman falling upside down painted in broad, bright brushstrokes similar to Van Gogh, but which Brown says were made through meticulous, fine movements. Mounted to hover off the wall, the piece seems between worlds. “I like things existing in a world without gravity,” Brown said. In “Misogyny” Brown transports Van Gogh’s “Torso of Venus” to a green, romantic Delacroix background, which he calls “a dream world that cannot be escaped.” Brown’s work plays between reality and imagination, abstract and figurative, and expresses uncertain fluid transformation. If his figures are between two worlds, it is sometimes uncertain if they are materializing into this one or dissipating into the next. “Suffer Well” is a bold contemporary compliment to Van Gogh, an artist – a conflicted man – who himself was caught between tradition and changing styles of modern times. 2016-05-16 16:49 Jake Cigainero

49 Finally, the Art World Gets a Bootleg Video Store Amidst rows of whitewalled spaces filled to the brim with art, there was a booth at this year’s New Art Dealers Alliance (NADA) New York art fair that took a very different, but familiar approach to their setup. Recalling simpler times when Blockbuster had yet to file for bankruptcy, gallery and artist hub Kunstraum presented their booth as a makeshift video store, with rows of DVDs, a larger-than-life cinema poster, and a series of monitors playing loops of the videos on the racks. The concept was executed with such precision that the booth was awarded the inaugural Artspace Fairgoer Award for "most compelling booth. " Video Shop isn’t some subversive critique of Hollywood culture, and beyond the layout, you’ll find no further relationship to the movie industry here. Instead, the DVDs on the wall and playing on the monitors are a series of artist editions, each for sale for $75 (or $1,000 for the full collection). Video Shop, 2016 © Kunstraum LLC; courtesy of the Video Shop artists and Kunstraum LLC, New York, photographed by NVM. The project consists of an eclectic mix of 16 artists, including "mattress girl" Emma Sulkowicz and provocateur Alex McQuilkin , who were each invited to make a video rendition of their practice or a specific project. With running times varying from two minutes to 365 days, and projects ranging from Romeo and Juliet recreations to animatronic old men, each video is a vastly different experience, and undoubtedly a work of art. Video Shop is more than just a refreshing approach to making an art fair booth. On a conceptual level, the project is an attempt to combat the monster that is the current art market. Nadja Marcin , one of the founders of Kunstraum tells The Creators Project, “In Video Shop , artists meet that are culturally more and less significant and sign onto the idea. This togetherness highlights the meaning of art. It breaks down the traditional hierarchies of the market and it becomes a social sculpture. Video Shop serves as a memory of the days when the big artists were not ‘art stars’ yet, but producing the same genius work in the shadowland.” Video Shop Poster. Image courtesy of Kunstraum LLC. Although NADA New York has already ended, Video Shop extends outside of the fair’s confines. Each of the edition-of-50 DVDs are available for purchase online through Kunstraum’s eShop. Find out more about Clinton Hill-based Kunstraum here. Related: The 17 Sexiest Works of Art at NADA 13 Must-See Artists at NADA New York Tyson Reeder Unveils a Basketball for Art Ballers 2016-05-16 16:35 Andrew Nunes

50 Friend Sues Peter Beard Sued For $200,000 Acccording to a Page Six report, a woman who claims she is a friend of photographer Peter Beard is suing him and his wife, Nemja, claiming they stole back a diary Beard had gifted to her more than three decades ago. The woman, Judith Young-Mallin (who appears to be erroneously referred to in the New York Post story as Judith Malin Young), is a Surrealist art collector and author. She is seeking $200,000. She claims Beard gave her the diary, which contains photos and other ephemera, as a gift in exchange for letting him store some of his possessions in her apartment while he was going through a divorce in 1986. Related: Artist Index: Peter Beard In 2015, Young reportedly decided to donate the work to a museum. But, this past December, according to her claim, when she brought the diary to Nejma for authentication, as required by the museum, Nejma allegedly used the opportunity to take back and keep the work. While it's not clear whether the diary is in fact worth $200,000, Beard does has an extensive track record at auction as far as his distinctive safari-and African wildlife-themed photos are concerned. The artnet Price Database lists over 860 results. The record for a Beard work at auction is $662,500, set in 2012 at a Christies photograph sale, for Orphan Cheetah Triptych (1968/printed in 2003). The Daily News profiled Young-Mallin in a 2014 interview about her book and art-filled Greenwich Village apartment, which at the time was for sale for $3.8 million. The report called her apartment a "surrealist wonderland" because of her design aesthetic and the abundance of surrealist artwork, noting that some of the art was destined for the Philadelphia Museum of Art, where it would be donated following the sale. Follow artnet News on Facebook . 2016-05-16 16:26 Eileen Kinsella

51 Tomás Saraceno Turns Spiders Into Artists at Esther Schipper Berlin Related Events Tomas Saraceno Aerocene Venues Esther Schipper Artists Tomás Saraceno Tomas Saraceno Science meets art in Tomás Saraceno’s second solo show at Esther Schipper Gallery in Berlin. The Argentine artist is interested in the natural world and especially spiders. He tries to recreate their web intricacy within the space of an art gallery. Saraceno is passionate about arachnology and spider web as a spatial construct. He uses spider silk in his installations to create complex yet delicate structures. While seemingly incapable of sustaining any weight, they prove to be quite durable, allowing spiders to travel in the air, using quickly released threads and wind streams. One such work is titled “Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble.” The 2016 piece is made of Nephila senegalensis silk on a carbon frame. The other materials are listed as “light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector.” The result puts a spotlight on the unique nature of the spider web. Saraceno explores not only the architectural quality of the silk construction, but also the sound effects it produces. The artist’s involvement with his work is limited; it is the spider that is at the center of attention as the ultimate creator of incomprehensible symphonies. Saraceno’s organic installations draw attention to the overlooked microscopic universes, coexisting with the anthropocentric world. The artist uses his fascination with arachnoids as a point of departure in exploration of the relationship between people and their environment. 2016-05-16 16:19 Natalia Masewicz

52 au workshop's columns collection is made of PVC tubes and concrete au workshop's columns collection is made of PVC tubes and concrete au workshop’s columns collection is made of PVC tubes and concrete (above) the effluent consolidated concrete makes it easy to handle for the items all images courtesy of au workshop PVC tubes are often used at small scale constructions as concrete shuttering for columns. if the joint elements are not connected properly, concrete bulges occur as a result of the error. budapest-based au workshop has used these errors consciously to create a collection of objects, where the effluent concrete acts as the meaning and the character of the whole concept. the objects can be varied with wooden elements to form shelves the controlled random outflows of the concrete form the footing and the capital of the columns. the studio made lots of different heights and diameters from these elements during the experimental process that together form a diverse group of objects. the project took into consideration that PVC tubes are often invisible in architecture, wanting to show them but with a different texture. the surfaces were polished, achieving a unique stone-like effect which comes from the two kinds of different colored layers of the material itself. there are plenty of variations in function the amount of effluent concrete forms the objects footings and capitals PVC itself is a very strong material, and combining with concrete it can bear a lot of weight usually PVC tubes have two layers of material each with a different color, this is why this special looking texture appeared after polishing the surfaces designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-16 16:01 Au Workshop

53 Panama Papers Reveal Art Worlders' Accounts The other shoe may have dropped with regard to the art world and the Panama Papers. Despite initial speculation that Mossack Fonseca—the Panamanian law firm at the heart of the Panama Papers scandal—worked with few American clients, several news outlets are now reporting that they have established connections between art world A-listers and various offshore companies. Among those named are art collectors Ella Fontanals-Cisneros and Denise Rich, Canadian- born magazine publisher Louise Blouin, and art dealer Dominique Lévy. All are identified as having parked cash offshore or set up companies in island nations to shelter their holdings. Offshore companies are often created in tax havens such as the British Virgin Islands and the Cayman Islands and used to hide assets from tax authorities or to maintain privacy. The information about these offshore accounts was made available by the International Consortium for Investigative Journalists (ICIJ) last week when the organization made public a trove of 11.5 million documents. The leak has been billed as the largest-ever disclosure of information about shadowy offshore companies and the people behind them. ICIJ cautions on its website that there are “legitimate uses for offshore companies and trusts" and that they “do not intend to suggest or imply that any persons, companies or other entities included in the ICIJ Offshore Leaks Database have broken the law or otherwise acted improperly. " Yet the group says at least 36 Americans accused of financial crimes appear in the data. In April, U. S. Attorney Preet Bharara sent a letter to the ICIJ saying he had opened a criminal investigation regarding the Panama Papers. The Miami Herald has identified Fontanals-Cisneros, a Miami art collector, as being connected to Elmaguri Shipping Ltd., a company set up with the help of Mossack Fonseca. Through Elmaguri Shipping, Fontanals-Cisneros bought and sold a 156-foot yacht worth $14.9 million. Isabel Vincent and Melissa Klein of The New York Post have named nineteen New Yorkers , ranging “from moguls to art-world luminaries," whom the reporters found listed in the trove of new documents. Among the art-world boldface names mentioned by the Post are Denise Rich, the collector and philanthropist (and widow of fugitive financier Mark Rich), who is linked to two offshore companies, DTD Limited and The Dry Trust; Paola Milei, an art lecturer and professor at the School of Visual Arts, named as the beneficiary of the offshore Claudius Trust; and collector and Blouin, publisher of magazines including Art + Auction and Modern Painters , who appears as a shareholder of the British Virgin Islands-registered company Kirkswood Ltd. Lévy owns eponymous galleries in New York, London, and Geneva. According to the Post , “the 48-year-old Levy is a shareholder of Aldabra International Ltd., which was incorporated in the British Virgin Islands in 2012. " A gallery spokeswoman told the Post that Aldabra International is "a personal holding company put in place for estate planning and is fully disclosed in the United States. " Follow artnet News on Facebook. 2016-05-16 15:56 Christian Viveros

54 Think You Know the Next James Bond? Don’t Bet on It LONDON — You can get odds on almost anything here. But Coral, the British bookmakers, have suspended betting on the identity of the next James Bond after the odds on the actor Tom Hiddleston shortened sharply in recent days. Ever since Mr. Hiddleston played a hotel-manager-turned-spy this year in the BBC series “ The Night Manager ,” rumors have been swirling about his potential move to the Bond franchise. After the Mirror newspaper reported on Thursday that Mr. Hiddleston had been seen with the Bond producer Barbara Broccoli and the director Sam Mendes at Soho House here, a flurry of bets moved Mr. Hiddleston’s odds from 2-1 to 1-2. “We’ve had no choice but to pull the plug on the market,” Nicola McGeady, a spokeswoman for Coral, which suspended the betting on Mr. Hiddleston on Sunday, said in a BBC report. “There is no smoke without fire,” she said. Close behind Mr. Hiddleston in the Bond sweepstakes were Aidan Turner, the star of the BBC series “Poldark,” at 3-1, and Tom Hardy (“Mad Max: Fury Road”) at 4-1, with Idris Elba at 9-1 and Damian Lewis at 14-1. (Showing the fickleness of fashion, the bookmakers Ladbrokes suspended betting on Mr. Hardy in February, before Mr. Hiddleston entered the picture.) The recent flurry of betting comes without confirmation that Daniel Craig, who has played Bond since 2005, will leave the role, although he memorably told “Time Out London” in October that he would rather “slash my wrists” than reprise the part. His representative later denied that he was leaving. “The position isn’t vacant as far as I’m aware,” Mr. Hiddleston said on “The Graham Norton Show” on May 6. “I think the rumors have come about because in ‘The Night Manager’ I play a spy, and people have made the link.” 2016-05-16 15:53 By

55 How 'Game of Thrones' Designed Last Night's Fiery Set Piece This article contains spoilers for Game of Thrones Season 6 Episode 4, "The Book of the Stranger. " Image courtesy HBO The incendiary finale to last night's powder keg of a Game of Thones episode reminded us of the "fire" part of Daenerys Targaryen's (Emilia Clarke) constant threats of "fire and blood. " With her dragons locked up or 90% MIA since Season 4, we haven't gotten a good roasting from the Mother of Dragons in awhile. “It’s so exciting, very tingly-making. Every season I get at least one spine-chilling moment. I just stand up and I go, ‘I’m hearing what you’re all saying, but funny thing, I’m going to kill you all. I forgot that I have an ace in my back pocket and now I win,’" Clarke told Entertainment Weekly. We doubt there could have been more satisfied recipients than the Bro-thraki Khals who have spent several episodes threatening to rape and imprison her for the rest of her life. In watching last night's episode, you basked in the warm glow of female empowerment (and dead Khals), but you also witnessed the destruction of a unique set piece courtesy of production designer Deborah Riley . “The great thing about Vaes Dothrak is that we were able to try a completely different kind of architecture to anything else that I’ve explored on the show," she tells The Creators Project. While the general aesthetic and attitudes of the Dothraki seem to evoke the conquering cavalry of Genghis Khan, their holy city is actually a combination of African and Canadian arcitecture. "I managed to find a really fantastic-looking tiny African village. The references to it are brilliant. It’s called Benin, and their style of architecture is nothing like anything I had seen before. We drew very heavily from the roof lines they use and their style of mud finish and that sort of stuff," Riley says. By repurposing a village used in Ridley Scott's 2014 biblical epic, Exodus , with elements taken from Benin's architecture, the production design team was able to create a setting completely foreign to both Western and Westerosi visual sensibilities. "The thing that I was really proud of is that these buildings look like they could have existed in that landscape," Riley continues. "They match the mountains beautifully and really look like they were embedded into that environment. " The Canadian architecture comes in through the (now former) temple at Vaes Dothrak, which drew from Arthur Erickson's distinctive mezzanine at Vancouver's Simon Fraser University. "The rhythm of the exterior of the temple is set up exactly the same way as his building," Riley says. "I took the building and turned his rhythm upside-down. " These details help us view the Dothraki in a new light. Doesn't it kind of make sense that they're a mixture of an African tribe and inside-out Canadians? Sure, their culture is built on violence, but they basically play the Game in socks, sarongs, and sandals. Pictured: Emilia Clarke as Daenerys Targaryen Credit: Helen Sloan/HBO We won't be seeing the temple again, as it's been razed to the ground by Daenerys the Unburnt's latest power play, itself a prime example of Game of Thrones ' magic. We've seen actors walking amongst this much fire on this show before, though under different circumstances. The burning of Mance Rayder (Ciarán Hinds) at the stake required similar visual wizardry. "The big special effects issue there was the fire," says Paul Ghirardani in a Season 5 featurette. "We're constantly setting the fire, then constantly exinguishing it. " Adds stunt coordinator Rowley Irlam, "We burn him at the stake by stacking up the flames, the camera, and Ciarán, we create the illusion that he's on fire. " Knowing Game of Thrones ' creators David Benioff and D. B. White's dedication to using real fire whenever possible on this show, including massive dragon-sized flamethrowers, we suspect that this scene was a hot one for Emilia Clarke, especially since she confirms to EW that it's actually her in that conflagration. "This is all me, all proud, all strong. That ain't no body double," she says. The scene contradicts statements that A Song of Ice and Fire author (and Game of Thrones producer) George R. R. Martin has made in the past, that Daenerys' immunity to fire when she entered Khal Drogo's pyre in Season 1 was, " unique, magical, wonderous, a miracle ," and would probably not happen again. Meanwhile, showrunner Weiss calls it "her superpower," in EW , though he quickly qualifies the statement by says, "But this isn't that type of show. " Nevertheless, this scene had something for everybody who watches Game of Thrones : killer effects, an empowering female kicking ass, a brutal power play gone right, nudity, and niche architecture trivia. Pictured: Emilia Clarke as Daenerys Targaryen Credit: Courtesy HBO Game of Thrones airs on HBO Sundays at 9 PM EST. Related: Witness the Lengths 'Game of Thrones' Will Go for Killer VFX How 'Game of Thrones' Pulled Off Melisandre's Shocking Twist The 'Game of Thrones' Google Map Makes Navigating Westeros a Breeze I Spent 4/20 at a 'Game of Thrones' Art Party 2016-05-16 15:40 Beckett Mufson

56 Second Thoughts: Fred Sandback and the Virtual Line How does an exhibition accrete meaning, gain relevance, or shift shape over time? In the “Second Thoughts” series, Walker curators reconsider earlier presentations of art, articulating new or refined conclusions. Here, Jordan Carter writes about how the discovery of a 1977 book of line drawings by American artist Fred Sandback (1943–2003) prompts new thinking about the artist’s sculptures made using yarn or elastic cord. […] 2016-05-16 17:19 By

57 57 You're a 'Servant To Infinite Distraction' at This Exhibition

Detail on Neuro Girl. All images courtesy of Unix Gallery The genius of our post-modern economy, from products to digital media, is that it has trained us to think—with a lot of help from advertising—that everything we consume should be fast, easy, and disposable. As LA-based artist Desire Obtain Cherish (an alias of Jonathan Paul) reminds us in his second solo exhibition, Servant To Infinite Distraction , it’s an endless procession of shiny new toys designed to distract us from the black hole of unfulfillment behind it all. The show, which opened during Freize Week at Unix Gallery in Chelsea, was pure visual seduction. Visitors understood this almost immediately, with the front room’s canvases full of swirling gobs of technicolor paint, and the androgynous white Neuro sculpture engulfed by masses of paint that had become felt-like through some electrostatic process. And Desire Obtain Cherish only reinforced the critique of instant gratification and almost criminal abundance with two works made with his signature arrays of pill gel caps, which depict beautiful flowery scenes of chemical-induced happiness. After The Cathartic Discourse “As people in a technologically advanced society, we are constantly bombarded with things to distract us. We’ve become modern junkies of sorts,” Desire Obtain Cherish tells The Creators Project. “We have Uber as our personal chauffeur, endless food delivery services, always sitting comfortably switching between the same three apps for hours, texting with friends and strangers worldwide never having to see anyone for days on end, wirelessly streaming every song ever made throughout all of time, and continuously imagine ourselves in situations that will never exist.” “Happiness it seems, is always one click away,” he adds. “ Servant To Infinite Distraction swims in this exhaustion without shame. These works are a dynamic response to this over stimuli and excess, exploring a the contemporary search for happiness amongst a sea of potential outlets for happiness that always seem to fall short. I have, we have, become servants to the distraction.” Desire Obtain Cherish knows a thing or two about crafting desire. Though his early artistic works were installations on sidewalks, billboards and walls, he was originally a creative director at an advertising agency. It was in this role that he became acutely aware of the power of a posted billboard, and the message it conveys, as well as the restrictions media outlets have with what they can get away with. Feast Of 1000 Likes “Having many of my ideas banned by various magazines and outdoor agencies for a message they deemed too controversial might have added to the slight ridicule that I've been accused of having in some of my works,” Desire Obtain Cherish says. “Either that or simply an understanding that quite simply, we like to get sold to. Sold to. Told to. I didn't used to believe it, but it seems undeniable to me now.” “My early work was outdoor... everywhere I looked, it seemed, all the pictures on the streets in LA were unregulated ads with relentlessly repeated corporate images and slogans promising all of us infamy, status and a lot more flavor,” he adds. “The words DESIRE OBTAIN CHERISH, woven into this over abundant advertising landscape, spun these messages back at us, laughing at the absurd nature of our constant over-saturation of our corporate marketing brothers.” As Desire Obtain Cherish's work moved into gallery exhibitions, he began exploring desires and obsession with sex, gender, drugs, commerce, media and fame. He is often moved by the simplest of conversations he has with people, picking up on the high levels of programming and naïveté in most people. For the artist, their stories generate different perspectives from which he can create work. Installation view. Rather fittingly, the artist easily gets bored with his materials. To keep things interesting, he habitually has to seek out new materials and applications. For the canvas works in the exhibition, Desire Obtain Cherish spread over 100 pounds of oil paint across ten canvases, up to an inch thick in some parts. The prep for what he calls the “exploding flower pill pieces” involved the artist and his team photographing hundreds of flowers dipped in liquid nitrogen, then capturing them shattering like glass at the moment of impact. “Each work is then comprised of 12,500 individually wrapped gelatin capsules that I purchase in bulk by the tens of thousands every month and I’ve probably used hundreds of thousands of pills in dozens of different artworks over the last few years,” Desire Obtain Cherish says. “Each pill has tiny paper squares that are cut, inserted, capped then glued to acrylic. Always a mathematical challenge and very laborious. 10,000 pills can take three months or so to perfect.” Detail on painting. And to prep for this show, as well as another in Los Angeles later this year, Desire Obtain Cherish upgraded his studio. The space is just shy of 7,000 square feet, so he added a paint booth, wood shop, and a plastic and mold-making facility to create works in resin. “Everything is created here,” he says. “The sculptures of the Neuro children in this show were flocked. We electromagnetically adhere rayon fibers to an adhesive that covers the mannequins in a velvet like texture. It’s super messy but the flat colors we get feel very lux and compliments the super flat under paintings of the canvases.” Desire Obtain Cherish insists that the sentiment for his series of oil paintings is that they desire nothing profound. They exist simply as a cathartic emotional response, with a significance that is lost to distraction. He sees the floral photographic still lifes as reminiscent of early Dutch paintings of bounty. Servant To Infinite Distraction “Thousands and thousands of pills magnify the obsessive ostentatiousness that is still common today in our society where affluence means everything, and status prevails of possessing the desire of others,” he says. “Intoxicating images of indulgence and gorgeous still-lives [ sic ] of gluttony. A prescription for affluence. The sculptures of the children are consumed with a beautiful, velvety, luscious growth that they are seemingly unaware of. The wifi attached like a luxurious parasite.” Despite this artistic dedication to themes of distraction, short attention spans and the pursuit of happiness, Desire Obtain Cherish endeavored to present these concepts loosely and in beautiful and seductive ways. “I’m not trying to wake anyone up to change, or create works that show ugliness—there’s enough of that out there at the moment,” he says. “I guess if anything it's the feeling that all of the smallest moments that seem to pass us by can be the most beautiful and perhaps should be appreciated rather than expecting a big prize to fulfill us.” Servant To Infinite Distraction is on display at Unix Gallery through June 18, 2016. Click here to see more work by Desire Obtain Cherish. Related: Ritual, Fetish and Infinity Collide in a Memory Theater These Digital Collages Are Panoramic Landscapes Kevin Beasley's Moment Is Yours | Studio Visits 2016-05-16 15:20 DJ Pangburn

58 Cannes Review: Kirill Serebrennikov’s 'The Student' Related Events Cannes Film Festival 2016 Venues Cannes Film Festival Russian writer-director Kirill Serebrennikov’s “The Student (Uchenik),” screening in the Un Certain Regard section at Cannes, is a satirical black comedy hell-bent on demonstrating that, at the core of establishment religion, lies a zealous heart fuelled by dogma beamed down from God-knows-where — crazy talk and even crazier behavior, in other words, meant to be defining characteristics of those who would separate the flock from the herd. The teenaged Venya — played with skillful ruthlessness by Petr Skvortsov, whose brooding appearance recalls a young Michael Shannon — comes to possess a fanatic’s dependence on Biblical scripture as a blueprint for living, teasing then tormenting classmates and teachers into second guessing the moral trajectories of the curriculum, while exposing institutional hypocrisies that pit the faculty against the very system which enables them. In no time, the wannabe Apostle has the dress code at the high school swimming pool changed to something a lot less risqué than the girls’ accustomed bikini, and has the Principle pondering the notion of the world having been a week-long construction. As Venya lobs one holy hand grenade after another, reciting Mark or Matthew or John, only biology teacher Elena (Victoria Isakova) has the guts to take his gloomy pronouncements to task as the scientifically improbable non-sequiturs they are, often to the detriment of her career. It’s a tragicomic relationship that would have seemed prescient only a short time ago, before the rise of social justice-branded hysteria culminated in trigger warnings, safe spaces, and Ivy League resignations. Adapted from German playwright Marius von Mayenburg’s “Martyr,” Serebrennikov’s film fantasizes scholastic revolt in the tradition of films like Lindsay Anderson’s “If…” (1968) and Gus Van Sant’s “Elephant” (2003), but weirdly reduces the spiritual quest for autonomy that “The Student” hints at to bratty characterizations and a woeful, academic drag of battling ideologies. Serebrennikov wants us only to see religion as politicking indulgence and divisional force; trendy New Atheist suspicions turned snide and smug. As Venya’s preaching grows more and more inflammatory, and his actions become violent, “The Student” attempts to dupe the audience into Dawkins-approved self-congratulation for pointing to religion, as opposed to a mentally ill protagonist, as the allegorical culprit, here, for societal disintegration. Paul Dano’s sickly preacher in “There Will Be Blood” (2007) may have been the avatar for similar ills, but his motives were rotted adherents to human, not spiritual, travails. There are implications made here, too, about the source of Veniamin’s born again soon, but they remain vague and Freudian superficial. When his only disciple, a disabled teen played empathetically by Aleksandr Gorchilin, expresses sexual attraction for the unholy delinquent, we’re expected to buy into the old canard of libidinal impulse as justification for self-imposed, self-loathed indoctrination. Where their relationship ends, on the rocky shores of Russian exclave Kaliningrad — here portrayed as a post-Soviet Paradise — is beautifully, majestically photographed by cinematographer Vladislav Opelyants, whose handheld camera sweeps and glides in and out of the classroom with Ophulian elegance. But there seems to be little room these days, exemplified by the success of “Spotlight” (2015), for films that speak deeply of Christian spiritualism, like Rossellini’s “The Flowers of St. Francis” (1960) and Andrei Tarkovsky’s “Andrei Rublev” (1966). It’s become all too fashionable and pedantic for filmmakers to gnash their teeth at the religious right, rather than concern themselves with an empathetic portrayal of the Individual’s struggle in distinguishing the tangible from the immaterial. 2016-05-16 14:34 Gabriella Daris

59 Buy Miley Cyrus's Planned Parenthood T-Shirt For fifty bucks, you can now pick up a Marc Jacobs t-shirt featuring a collaboration between Miley Cyrus and Marilyn Minter. What's more, proceeds will benefit Planned Parenthood , which offers sexual and reproductive health services for women. The images on the two t-shirts, shot by Minter, show the singer behind a steamy pane of glass. In the first, Cyrus, largely obscured by steam, has traced the words "pro choice" and a heart in the fog, and plants a big pink kiss on the glass, her lips forming the "O" in "choice. " The second shows Cyrus licking the window pane. In a phone interview, with artnet News Minter noted that many brands would avoid such messages for fear of a boycott, but said that "people are starting to make noise! " The shots resulted from a March portrait shoot to support Planned Parenthood. One of the photos, a comparatively angelic image, has been released as a $5,500 limited-edition print, announced at the organization's annual spring luncheon. "The t-shirt project came about accidentally; I was shooting for a portrait," Minter told artnet News in a phone conversation. It was her dealer, Jeanne Greenberg Rohatyn of New York's Salon 94 gallery, who suggested creating a shirt as well, to help young people get involved. Her team approached Marc Jacobs, who threw together a mock-up design in only four or five days. "I don't know how to do fashion at all," Minter admitted, noting that the t-shirts designs were "just from the outtakes" from the original photo shoot. The t-shirts aren't the end of Minter's and Cyrus's efforts, the artist said. "We have a secret plan," Minter said, hinting at participatory project that will be unveiled in June, timed to the Supreme Court's decision on Whole Woman's Health V. Hellerstedt , a case over legal restrictions that Texas has imposed on abortion providers. Minter assured us that "word will get out really quickly. " At last month's luncheon, Minter revealed that she had taken additional photos of Cyrus dressed in accessories crafted by the two women and featuring the Planned Parenthood logo. The props were made in the style of the pop star's surprisingly well-received assemblage works , colorful sculptures inspired by glittery, furry, and otherwise kitschy items she receives from fans during concerts. "Planned Parenthood of New York City is so grateful to have the support and partnership of fearless creative individuals, such as Marc, Miley, and Marilyn," said Joan Malin, president and CEO Planned Parenthood of New York, in a statement. "We are excited to raise awareness, enthusiasm, and funding for the essential sexual health care services and education we provide, and for individuals to have the opportunity to wear the support on their sleeves, literally. " Follow artnet News on Facebook. 2016-05-16 14:22 Sarah Cascone

60 Journey Through the Past: Stephen Kaltenbach, a Forgotten Conceptual Master, Makes a Comeback in New York Installation View, Stephen Kaltenbach at Marlborough Chelsea MARLBOROUGH CHELSEA In the late 60s, the artist Stephen Kaltenbach spent three manic, productive years in New York City before decamping to California, where he still lives and operates as a “regional artist” of sorts. In his three New York years, Kaltenbach produced a diverse body of work that traced the contours of the city’s emerging conceptual and post-Minimalist art movements, all carried out with an enigmatic prankster spirit that has continued to govern his practice. On view now until June 18, Marlborough Chelsea’s small Viewing Room sub-gallery is exhibiting a mini- retrospective from the artist, focusing primarily on the work he made during his concentrated time in the city. The day before the show’s opening, Kaltenbach gave me a tour of the exhibition alongside the space’s director, the artist and actor Leo Fitzpatrick. “I had a number of issues when I came to New York that I wanted to investigate, one them was Minimalism, and I had been doing simple objects pretty much like Donald Judd and felt that I could go a lot further than that,” Kaltenbach told me. A text written by the artist called A Short Article On Expression 1969-2016 could be a seen as a centerpiece of the exhibition. The writing contains a series of abstract proclamations and questions, things like “the manipulation of perception is a valid goal of art expression” and “is it important for an artist to be able to distinguish between manipulation of perception as a means for art expression from its manipulation as a result?”A sprightly 76, Kaltenbach has short hair and a gray beard. He wore a light blue hoodie with a shirt under it that was an even lighter shade of blue. He took me through a thorny, conceptual body of work that at times yielded more questions than answers. At one point he told me that he had converted to Christianity from Buddhism, telling me it was “one of the most counterintuitive things that can happen to a person. I was a Zen Buddhist because I didn’t have to deal with the God reality at all, that’s not what they do. So, I’m in the position of saying things that people don’t believe and I think it’s a logical extension of my work.” I asked him if he expected people to take him at face value. “Some do, some don’t. It’s all interesting to me,” he said. “I’m not your boss, you are.”The exhibition weaves through a variety of materials and approaches, many of which were pioneering for the era (Kaltenbach was included in the renowned 1968 show “Nine” at Leo Castelli alongside artists including Richard Serra and Bruce Nauman. He also staged a solo show at The Whitney in 1969). There’s some early stencil graffiti and a series of starkly conceptual ads taken out in Artforum that include statements like “Perpetuate a Hoax.” There is the blueprint for a “wall painting” whose trace was so subtle that although it was shown at The San Francisco Art Institute for over two decades, art was frequently hung over it. There is a number of bronze text works that are only fully completed when inserted into nature. There are Minimalist time capsules intended to be sawed open, though few actually get that treatment. “I think it would be quite a bit of fun, yeah,” Kaltenbach responded when I asked if he would want collectors to do so. “I’ve been very interested in losing track of art,” he said. “It started with having things stolen, and I was thinking that those people were my first collectors. I had a work stolen before I sold anything.” Kaltenbach told me he hoped his art could be found in junk shops. Viewing Room director Fitzpatrick discovered Kaltenbach through second hand sources of a different nature. “I find a lot of my shows more through reading than through anything else,” he said. “I’m constantly reading and doing research and a lot of what I was reading, Steven’s name kept popping up. And so I slowly started doing research and looking into it, but it was this kind of Pandora’s box or Russian doll or whatever you want to call it, where there were these layers and layers and layers, and for me that’s intriguing.”Over the years, Kaltenbach has had several art alter egos, many of which were represented at his Viewing Room show. One was Es Que, who made bad paintings initially intended for a Lord and Taylor department store. Kaltenbach donned a suit and fake mustache to become the sculptor Clyde Dillon, who initially traded in gaudy bronze abstractions. Then there’s Kaltenbach the author (his book The End is on display here in a glass case alongside, among other things, the artist’s own blood) and Kaltenbach the regional artist, known in Sacramento for accessible works like Portrait Of My Father, which displays a painterly command that deviates wildly from his more conceptual pieces. Looking at the show—its contents run far beyond what can simply be contained in this article—within a larger context, Fitzpatrick told me he is interested in “this idea of overnight success as opposed to a slow burn, especially in this day of the Internet and people are Instagram famous and then they’re gallery famous and then they’re rich and then they’re forgotten. I think with the Internet an artist’s career turns over so much faster nowadays, just because there’s more information out there, there’s more art out there.”With the exhibition, Fitzpatrick wanted to “show people that it’s OK to take your time. People have to do this the rest of their lives, they signed up for a life long commitment to be an artist, so why rush to get all the success.”“He understood that I decided on the long game,” Kaltenbach interjected. 2016-05-16 13:30 John Chiaverina

61 Donna and Donald Baumgartner Donate $8 M. To Endow New Directorship At Milwaukee Art Museum Milwaukee Art Museum. VIA WIKIPEDIA COMMONS The Milwaukee Journal Sentinel reported today that Donna and Donald Baumgartner, longtime donors to the Milwaukee Art Museum, will be gifting the institution with $8 million for the purpose of supporting a new director position. In the past, the Baumgartners have made significant contributions to the capital campaign for the museum’s expansion. Donald Baumgartner has served as a board president and as a member of the selection committee that chose architect Santiago Calatrava to design a building addition that opened in 2001. At the moment, Baumgartner is a trustee. The Milwaukee Art Museum’s current director, Dan Keegan, will be leaving the position this week after seven years in the role. The museum is now conducting a search for his successor, who will be called the Donna and Donald Baumgartner Director. 2016-05-16 13:22 Hannah Ghorashi

62 Z4Z4's casa tobogan in madrid offers contrasting environments in madrid, architecture studio Z4Z4 has completed a multifaceted residential property that juxtaposes different living styles and environments. named ‘casa tobogan’, the dwelling has been designed for a client who wanted a home that reflected their trips around the world, and offered a range of external living spaces. in response, the design team created two almost separate residences — a subterranean domain that spills out onto an outdoor terrace, and an elevated structure that contains plentiful sleeping accommodation. these two levels are connected via a spiral staircase that bridges an intermediate void used to channel light into the areas below. take a tour of casa tobogan in madrid, spain video by imagen subliminal the two environments offer a stark contrast in terms of materiality, shape and weight. the sunken level — with its natural vegetation and long concrete walls — feels embedded within the terrain, with a central courtyard conceived as a scaled-up greenhouse. the superstructure appears almost cloud-like in form, suspended in mid-air. corrugated iron curtains wrap around the three cylinders that make up the elevated building, while inside are nine rooms with a total of five bathrooms. carefully positioned apertures and terraces overlook the remainder of the property, while airy curtains and bright white walls continue the sense of lightness. two living levels are connected via a spiral staircase that bridges an intermediate void the storey at ground level is used for car parking and channeling daylight the subterranean domain spills out onto an outdoor terrace with its natural vegetation and long concrete walls, the lower level feels embedded within the terrain the two environments offer a stark contrast in terms of materiality at night, the dwelling glows from within 2016-05-16 13:20 Philip Stevens

63 $40 Jeff Koons, "Vagina Artist" Fined: Last Week in Art Via A lot went down this week in the weird and wild world of Art. Some things were more scandalous than others, some were just plain wacky—but all of them are worth knowing about. Without further ado: + The vulva-shaped sculptures of Japanese "vagina artist" Megumi Igarashi, who was arrested last year for allegedly breaking the country's anti-obscenity laws with her work, were excused as "Pop art" by a Tokyo court. The artist still incurred a $3,700 fine, however, for the data she generated from a 3D scan of her own genitals. Ctrl+Alt+Del. [ ABC News ] + Own a Koons for $40: the artist teamed up with Google to design a limited-edition case for their new Nexus phone. The cases are adorned with images of three of Koon's Gazing Ball series and come with an animated wallpaper of Koon's first live-action video art piece, The Gazing Ball Ballet. [ Vogue ] + Your bedroom could be Yayoi Kusama's next masterpiece, thanks to her partnership with the Tate Modern and Airbnb. [ i-D ] + Maurizio Cattelan's Hitler sculpture, Him , sold for a record-breaking $17.2 million at Christie's and Sotheby's "Bound to Fail" sale. The piece, which depicts a child-like Hitler on his knees in prayer, was purchased by an unknown buyer. [ The Telegraph ] Via + The media artist f.k.a. George W. Bush. [ Hyperallergic ] + Man takes selfie, destroys 126-year-old statue. [ Reuters ] + A piece valued at $50,000 by an Antiques Roadshow appraiser, and believed to be reminiscent of the work of Pablo Picasso, was revealed to be a ceramics class project by a high school student. [ The Guardian ] + Meanwhile in an impressive feat of accidental art flipping, a London taxi driver sold a $58 yard sale painting for $133,500. The piece is thought to be the work of the Sikh artist Baba Bishan Singh. [ Artnet News ] + And, a mechanic in France snagged a Renoir online for a mere $790. [ The Local ] Via + Huang Yong Ping is occupying the Grand Palais with a giant, skeletal snake, curving through stacks of 305 shipping containers and sporting a super-sized Napoleon hat. The work is meant as a metaphor for political power. [ The Art Newspaper ] + The New Museum, the "scrappiest sibling in the bursting family of contemporary art museums in New York City," is expanding its Bowery building to the tune of $43 million. [ The New York Times ] + Here is the 2016 Turner Prize shortlist. [ ArtForum ] + There's going to be a Zaha Hadid retrospective at this year's Venice Architecture Biennale. The show will be the first following the architect's death. [ Curbed ] + Japanese art collector Yusaku Maezawa spent nearly $100 million this week at Christie's and Sotheby's, purchasing a Jean-Michel Basquiat, a Richard Prince, a Jeff Koons, and more. ArtFCity calls Maezawa "The Art World's New Favourite Collector. " [ Financial Times , ArtFCity ] Via + The French painter François Morellet passed away at the age of 90. [ Artsy ] + The New York arts charity for the disabled, poor, and elderly called the Healing Arts Initiative was shut down Wednesday. The charity was recently the subject of scandal when, after investigating the missing money that has been devastating the organization's finances, the executive director of Healing Arts was violently attacked with lye. [ The New York Times ] + The Shah of Iran's famed collection of art, from artists such as Monet, Bacon, Picasso, and Pollock, is coming to Berlin to show outside of Iran for the first time. [ Artnet News ] + Millie Brown: the contemporary artist who has mastered the contemporary art selfie. [ Vogue ] Via Did we miss any pressing art world stories? Let us know in the comments below! Related: Art Fair Asses and New Radiohead: Last Week in Art NYC Art Activists Tackle Guns & the Guggenheim: Last Week in Art Prince: Tears and Tributes | Last Week in Art Russian Museum Hires Cat, Snowden Makes Techno: Last Week in Art Poop Museums & Panama Papers: Last Week in Art Who Killed Trump?: Last Week in Art ¡Artistas, Arrested! : Last Week in Art [Cuba Edition] Kanye Kissing Kanye: Last Week in Art North Africa's Biggest Street Art Ever: Last Week in Art 2016-05-16 13:20 Sami Emory

64 weiss / manfredi sets residence in tuxedo park as a sequence of terraced levels weiss / manfredi sets residence in tuxedo park as a sequence of terraced levels image © albert večerka/esto flanked by three lakes and surrounded by forestry, ‘the mccann residence’ by weiss / manfredi is the first contemporary build located on tuxedo park–a former country resort in new york state and established in 1885. the character of the building embraces its natural setting, while radically departing from the vernacular-style architecture that already exists. the scheme is located on a former hunting-and-fishing preserve oriented around three glacial lakes image © albert večerka/esto the site is defined by two cast granite escarpments and metered by a series of retaining walls quarried nearby that simultaneously echo the historic stone walls prevalent throughout the park. the architecture is partially dictated by the plot’s steep topography; the sequence of outdoor terraces organized in an ascending route and the sectional development of the house. two cast granite escarpments is metered by a series of retaining walls quarried on site image © albert večerka/esto internally, there are three levels with a garden room and exterior entry courtyard based on the lowest floor. an exterior stepped ramp effectively becomes the house’s main entry level, which includes a foyer, library, and guest bedroom. furthermore, a double-height stair in the atrium connects the main level to the upper garden level—a loft-like glass pavilion with panoramic vistas of tuxedo lake. the arc-like floor plan gently rises with the length of the same installed with glazing image © jeff goldberg/esto the terraced gardens create open-air ‘rooms’ defined by the arc of the house and the granite outcropping. the material palette is intended to weather over time – exemplified by the custom bronze screens that filter light and maximize privacy and the granite walls, sourced from the quarry nearby. the overlapping of programs from exterior to interior to courtyard blurs the boundaries between them. three enclosed living levels and a sequence of outdoor terraces are organized in an ascending route image © jeff goldberg/esto the garden level features a sequence of platforms for living, kitchen and dining, and a master bedroom image © jeff goldberg/esto the terraced gardens create open-air spaces defined by the arc of the house and the granite outcropping image © albert večerka/esto the material palette used on the exterior is intended to weather over time image © albert večerka/esto the ‘mccann residence’ embraces its historic setting by introducing a new inhabitable topography image © albert večerka/esto 2016-05-16 12:34 Natasha Kwok

65 Artist Condemns Mexican Drug Violence Alfredo Lopez Casanova is shining a light on the issue of drug-related violent crime in his native Mexico in a new exhibition, "Hellas de las Memoria (Memory Tracks)" at the Museo Casa de la Memoria Indomita , or Museum of Untamed Memory, in Mexico City. The artist has hung 86 pairs of shoes from the ceiling, each one belonging to a family member of someone who has gone missing at the hands of the drug cartels. According to Agence France Presse , 28,000 Mexican citizens have disappeared over the past decade. The shoes are a reminder of how far the families of those lost have walked in their search for their loved ones. "These shoes symbolize the fight for the truth and the denunciation against the state-sponsored crime that are disappearances," museum director Jorge Galvez told ABC News . The donor of each pair of shoes has painted the soles green and inscribed a message about the victim. One pair of shoes is from a nine-year-old boy whose father was one of the 43 college students who disappeared in Guerrero in September 2014 on their way to a protest rally in Mexico City. The mass kidnapping is still under investigation, as reported last month in the New York Times. In February 2015, photographer Édgar Olguín released a series of nude photographs of young men and women protesting the abduction, and the one-year anniversary of the incident was marked with various works of protest art. Virginia Herrera, whose son disappeared six years ago and whose shoes are part of Casanova's display, told AFP that the exhibition "helps make people aware. " The exhibition is scheduled to run through June 25. Casanova hopes the show can travel to other venues in Mexico and the US. Follow artnet News on Facebook. 2016-05-16 12:20 Sarah Cascone

66 Prince Guitar Under the Hammer at Heritage A bright yellow electric guitar custom-designed for Prince, the late musician, is coming to auction this summer, offered by Heritage Auctions. Tagged at $30,000, the guitar will be part of a sale of entertainment and music memorabilia scheduled for June 25 and 26 at the auction house's Beverly Hills sales room. The bright yellow custom-made guitar's elongated upper horn became part of the shape of the glyph that Prince briefly used as his name. He used the guitar live and in the studio for several years, says the house, until it broke during a live performance on French television in 1994; after having it repaired, he used it only for studio recording sessions. On the back of the body appears the original label, which reads "Property of PRN MUSIC CORP. PM 16644. " It comes accompanied with a letter from his guitar technician, Zeke Clark, confirming its authenticity. Related: These Fabulous Photos Capture Prince's Singular Essence Also included in the auction and tagged at just $2,000 is a reel-to-reel Prince demo tape, with a track list written by the artist himself, dating from 1976 or 1977, before he had a recording contract. The first two songs, "Just as Long as We're Together" and "My Love Is Forever," would appear in different recordings on his debut album, For You , says the house, while the third, an instrumental track titled "Jelly Jam," would later appear as part of "Just as Long…" Yet other items on offer as part of the same auction include a 1984 Recording Industry Association of America award for platinum record sales of Purple Rain and a gold record sales award for 1999 , both with opening bids of $1,000. Prince died suddenly in April at 57 years old. Since then, Calabasas, California auction house Profiles in History his announced that his leather jacket from the 1984 film Purple Rain will come to auction this summer. Follow artnet News on Facebook. 2016-05-16 12:12 Brian Boucher

67 W. A. G. E. Issues Open Letter to New Museum About the Institution’s Planned Expansion The New Museum. COURTESY NEW MUSEUM W. A. G. E., the New York organization devoted to ensuring sustainable labor practices at arts institutions, issued an open letter today about the New Museum’s expansion into a neighboring building. Citing concerns about the New Museum’s ability to pay for artists involved in future programming in the additional space, which formerly only housed the museum’s business incubator, New Inc, W. A. G. E. urges the institution to achieve certification that everyone is being paid the right amount. This is not the first open letter that W. A. G. E. has penned to the New Museum. Previously, in 2010, W. A. G. E. wrote what it called an “intervention,” asking the museum to stop showing so many straight, white, and male artists, and demanding that the museum compensate artists who made work for the museum’s robust event programming. Calling the museum “Dad,” W. A. G. E. wrote, “You present a lot, you support little.” (The organization also asked that the museum remove Gran Fury’s Silence=Death from the bathroom and put it by the front desk, “where it belongs.”)First reported by the New York Times last Tuesday, the New Museum expansion was announced after the museum had raised $43 million toward an $80 million campaign, which, in addition to funding the renovation of 231 Bowery, will triple the museum’s endowment. A portion of that money came from collector Toby Devan Lewis, who provided the museum with the largest donation in the museum’s history, though director Lisa Phillips would not disclose what Lewis’s gift was, at her request. The expansion is intended to accommodate steadily growing attendance figures, and to provide more room for the staff of Ideas City, the museum’s program that brings together artists, urban planners, and others to discuss rethinking cities. In the New York Times article, Phillips said she wanted “to do things that museums haven’t done yet or maybe even imagined,” and W. A. G. E. writes in its letter that it considers this an opportunity for the New Museum to become the first W. A. G. E.- certified museum ever. The New Museum could not immediately be reached for a comment. W. A. G. E.’s letter to the New Museum follows in full below. Dear New Museum, You recently announced expansion plans that will double the amount of space you currently occupy on the Bowery and that you have already successfully raised $43 million of the $80 million needed to do it. Congratulations – that’s big news. It could also be big news for the hundreds of artists who supply the content for your programs each year. After all, if you plan to double in size, surely there will be a significant increase in the number of programs being produced, which would surely provide income to more of the artists upon whose work your existence is predicated. If you were W. A. G. E. Certified that would certainly be the case, since you’d have committed to paying artists according to minimum standards of compensation. However, since you have not yet chosen to become W. A. G. E. Certified we recognize that you may not yet have considered how much it would cost to pay for the additional content that this new space is presumably intended to accommodate. Which is why, on the occasion of your recent announcement, we’d like to share with you some projections of our own. We hope these numbers will put in perspective what the cost of your expansion means relative to the cost of paying artists for their work. If you had been W. A. G. E. Certified in fiscal year 2014 (July 1, 2013 – June 30, 2014) and had paid minimum fees according to W. A. G. E. standards, you would have spent a total of about $301,000.$301,000 is 2.2% of your total operating budget of $13,971,884 in FY 2014.$301,000 would have paid 184 artists, 16 of whom supplied your exhibitions and 168 of whom provided the content of your public programs.$301,000 is almost exactly half of the salary of your highest paid employee.$301,000 is 0.7% of the $43 million you just raised. New Museum, do you remember the letter we wrote you back in 2010? At the time, we were so concerned that we even attempted an intervention to get you to change. Today we write to you again with a simple suggestion. We are confident of your openness to it since your director Lisa Phillips was just quoted as saying that the expansion is “about trying to do things that museums haven’t done yet or maybe even imagined.”We suggest that you imagine becoming the first W. A. G. E. Certified museum. We also suggest that you consider asking collector and philanthropist Toby Devan Lewis, one of the museum’s longtime supporters, who just provided the biggest single donation in the institution’s history, if she would be willing to provide the funds that would make it possible for you to get certified. We believe that as a collector and a philanthropist she is invested in providing direct support to working artists. We’re here whenever you’re ready. Most sincerely, Working Artists and the Greater Economy 2016-05-16 11:14 Alex Greenberger

68 May Auctions In New York Totaled $1.2 Billion, About Half of November Haul Christie’s New York headquarters at Rockefeller Plaza. COURTESY CHRISTIE’S The May sales of Impressionist, modern, and contemporary art in New York totaled just under $1.2 billion during what was hailed as a “gigaweek,” with all the auctions stuffed into a six- day period. But the total was a far cry from last November’s $2.33 billion haul—about double this May’s sales total—and less than half of the record-breaking $2.7 billion total last May. The auction world duopoly continued amid the slowdown. Christie’s posted a total of $657.7 million, edging out its rival Sotheby’s, which brought in $483.6 million. Perennial bridesmaid Phillips totaled $57.1 million over the course of two sales. All three houses saw their totals for the spring sales drop dramatically from the auctions in New York in November, as specialists curated modest sales lacking in blockbuster lots to reflect a cooling market and more selective bidding. The sales return to New York in November. Click below for individual reports. Sotheby’s Impressionist and Modern Art Evening Sale: $144.5 million Sotheby’s Impressionist and Modern Day Sale: $41.9 million Phillips 20th-Century and Contemporary Art Evening Sale: $46.6 million Phillips 20th-Century and Contemporary Art Day Sale: $10.5 million Bound to Fail: A Curated Evening Sale at Christie’s: $78.1 million Christie’s Postwar and Contemporary Evening Sale: $318.4 million Christie’s Postwar and Contemporary Day Sale: $82.7 million Sotheby’s Contemporary Evening Sale: $242.2 million Sotheby’s Contemporary Day Sale: $54.2 million Christie’s Impressionist and Modern Evening Sale: $141.5 million Christie’s Impressionist and Modern Works on Paper Sale: $10.5 millionChristie’s Impressionist and Modern Day Sale: $24.9 million 2016-05-16 11:11 Nate Freeman

69 hyundai exoskeleton hyundai develops working 'iron man' exoskeleton suit to help workers and paraplegics hyundai develops working ‘iron man’ exoskeleton suit to help workers and paraplegics all images courtesy of hyundai south korean carmaker hyundai is on a mission to manufacture fully mechanized suits that wear the user to help infuse robotics into everyday tasks. the hyundai exoskeleton can lift up to 50 kilograms over long distances, supervising super-human duties. the progress being made is part of the company’s ‘next mobility’ project which plans to help paraplegics, the physically disabled and the elderly, as well as hyundai’s workers on the manufacturing line. similar programs by suitX, berkeley bionics and lockheed martin have made the news as well. with progress being made so quickly, by so many companies, exoskeletons have the possibility to be ready for mass production in the next decade. the suit can lift up to 50 kilograms part of the ‘next mobility’ project, other branches help paraplegics 2016-05-16 11:10 Piotr Boruslawski

70 Sotheby's Contacted Helly Nahmad About Modigliani- Two letters subpoenaed from Sotheby's in April as part of a lawsuit filed in New York State Supreme court by the estate of Oscar Stettiner against Helly Nahmad and his gallery, show an executive at Sotheby's addressing the gallery as the consignor of a Modigliani painting that is at the heart of the suit. The Nahmad family has long claimed that the owner of the painting is the Panama registered company International Art Center (IAC). According to documents recently revealed in the leak of the so-called “Panama Papers" (in which hundreds of the world's superrich were connected to offshore companies established by the Panamanian law firm Mossack Fonseca), the Nahmad family has been in control of IAC for two decades. The claim was initially brought by Philippe Maestracci, the France-based grandson of Stettiner, the Jewish art dealer who, it is claimed in the suit, lost the painting, Modigliani's S eated Man With a Cane (1918), during the Nazi occupation of France. The work was put up for sale in 1996 and was purchased by IAC. Related: Panama Papers Trace Nahmad Family to Contested Modigliani Painting While the Nahmads have asserted, through their attorney, Aaron Richard Golub, that the only owner of the Modigliani in question, is IAC, the letters from Sotheby's, reveal that Helly Nahmad Gallery was communicated with, at least on those two occasions, as the work's consigner and possibly its owner. Related: What to Expect From the Release of the Panama Papers Searchable Database The two letters, written by Lucian J. Simmons, Sotheby's head of restitution and senior vice president of trusts and estates, are dated February 11, 2010 and April 28, 2010. In the February 11 letter, quoted below, Simmons tells Nahmad of the presence of the Stettiner claim: "While in London last week for the Impressionist and Modern auctions I was approached by James Palmer of the Mondex Corporation (I attach a scan of his business card), an heir finding agency which also undertakes research for families who lost artworks in WWII. “Mr. Palmer told me that he has been instructed by the heirs of Oscar Stettiner and Alphonse Stettiner. On their behalf he intends to advance a claim against the Modigliani which you consigned for us for sale on the basis that it was looted from the Stettiner family during WWII and was never recovered after the war. He did not provide me with any details of the claim or of the alleged theft of the painting… I have not, and will not, disclose you [sic] identity to him unless I am obligated to do so by order of the Court. " In the letter, Simmons additionally offers his assistance in recommending the names of "attorneys specialist in this field in Paris and New York. " In the April 28 letter, Simmons updates Nahmad to a second communication from representatives of the Stettiner heirs. "I have just received the attached letter from a lawyer in London who represents the Mondex Corporation," Simmons writes Nahmad. "Mondex in turn claims to represent the ‘Stettiner heirs.' I have acknowledged receipt of the letter and have confirmed that I will forward it to Sotheby's 2008 consignor. I have not, of course, identified you as the owner and nor [sic] have I commented in any way on the claim. " The Nahmad family has flatly denied owning Seated Man With a Cane for years. “There is no question that IAC owns the painting," Golub told artnet News in a phone call. In addition to representing Helly and David Nahmad, individually, Golub also represents Helly Nahmad Gallery and IAC. "Nobody has ever disputed that. Lucian Simmons' letter is wrong…. The painting was purchased in 1996 not by Helly Nahmad. It was purchased by IAC in 1996. Helly Nahmad was 15 years old and a student at Dalton at the time. I doubt that he was in London bidding on paintings. Helly Nahmad Gallery didn't exist then. " According to the NYS Department of State website , the corporation currently known as Helly Nahmad Gallery was initially incorporated in 1974 but the entity was known as “Davlyn Gallery, Inc. " In 2000, the entity took on the name Helly Nahmad Gallery, Inc. It has been reported that IAC bought the painting at Christie's London in 1996 for $3.2 million, when its provenance was attributed to known French collector Roger Dutilleul. Then, in 2008, the painting was relisted in the Sotheby's catalogue with a provenance of "possibly" belonging to Roger Dutilleul and "possibly" to Stettiner. The purpose of the subpoena according to a representative for the estate was to “finally peel away that shroud of secrecy" and the anonymity of the Nahmad family and "to reveal the true ownership of the painting. " In response to the question of whether or not Helly Nahmad had been communicating with Simmons about the painting, Golub said, "I have no idea. " He said that Simmons's letter was "wrong" and countered with a federal declaration by Daisy Edelson dated 2011 in which the senior vice-president and business director of the Impressionist and Modern art department at Sotheby's states that Sotheby's records indicate that IAC consigned the painting, and not Helly Nahmad Gallery. We reached out to Sotheby's for comment, but the company declined to comment citing "ongoing litigation. " Emmanuel di Donna, a former Sotheby's Impressionist specialist at the time of the 2008 sale, who now runs an eponymous gallery on the Upper East Side of Manhattan was copied in both of the Simmons letters. We reached out to him for comment but he had not responded by publication time. In April, Swiss prosecutors raided a storage space in Geneva in an effort to find Seated Man With a Cane. In a statement to Agence France Presse, Swiss authorities confirmed that they sequestered the work and opened up “a criminal procedure" within “the framework of the revelations linked to the Panama Papers. " Follow artnet News on Facebook. 2016-05-16 11:05 Eileen Kinsella

71 Northern Exposure: Steve Martin Resurrects Lawren Harris at the Museum of Fine Arts Boston Lawren Harris, Isolation Peak , ca. 1929, oil on canvas. ©FAMILY OF LAWREN S. HARRIS/COURTESY MUSEUM OF FINE ARTS, BOSTON/HART HOUSE PERMANENT COLLECTION, UNIVERSITY OF TORONTO, PURCHASED BY THE HART HOUSE ART COMMITTEE WITH INCOME FROM THE HAROLD AND MURRAY WRONG MEMORIAL FUND, 1946 H ow quickly can you name five Canadian artists? If you had some difficulty, don’t despair. Meet Lawren Harris. Born in 1885 in Brantford, Ontario, the sort of place found in short stories by the Nobel Prize-winning writer Alice Munro, this preeminent Canadian artist was a founding member of the modern-minded Group of Seven in 1920 and an active member until it disbanded in the early 1930s. Harris is now the subject of a compact, focused survey, “ The Idea of North: The Paintings of Lawren Harris ,” organized by the multi-talented Steve Martin, a Harris aficionado, that is on view at the Museum of Fine Arts Boston. Thirty paintings, resulting from multiple trips Harris made to Lake Superior, the Canadian Rocky Mountains, and the Northwest Passage region of the Arctic Ocean, are on view in the exhibition and date from between 1922 and 1930. Easel-sized, they feature stylized mountains, lots of snow, reflective lakes and rivers, and expansive skies with dramatic clouds that give William Blake a run for his money. The paintings at the MFA Boston belong to a continuum of impressive vistas stretching from Frederic Edwin Church’s 1861 The Icebergs to Torben Giehler’s more recent, colorful, and massive mountains. Lawren Harris, Mt. Lefroy , 1930, oil on canvas. ©FAMILY OF LAWREN S. HARRIS/COURTESY MUSEUM OF FINE ARTS, BOSTON/MCMICHAEL CANADIAN ART COLLECTION, PURCHASE 1975 The desolate, inhospitable nature of Harris’s locales is underscored by the absence of people. Yet there’s also an otherworldly character to these distant sites that’s enhanced by the artist’s unusual palette—blends of ivory, chilly blues, and a range of browns and grays—as well as the way landmasses, bare trees, icebergs, and other geological formations are backlit or bathed in a celestial glow. Harris’s vision, film buffs will realize, corresponds to the lost kingdoms depicted in the movies Lost Horizon and She from the mid-1930s. Trained in Berlin, where this scion of a wealthy family studied art for three years at the beginning of the 20th century, Harris arrived at his final compositions of Northern climes after working his way through a number of different stages. During his travels, he took black-and-white photographs that became tiny, two-by-four- inch prints. Many times, he also made pencil drawings of the places he visited from different vantage points, and he peppered these eight-by-ten-inch preparatory works on paper, which he referred to as notes, with comments about color, light, and shadow. On small, mostly twelve-by- fifteen-inch beaverboard panels, Harris additionally painted oil sketches. Several of these are included in “The Idea of North” and they steal the show. With its semi-abstract shapes and compelling blues and greens, Mount Robson from the Northeast (1929), one of these gems, is particularly haunting. (It’s in the collection of the Art Gallery of Ontario, which co-organized the show with the Hammer Museum in Los Angeles; the exhibition opens at the AGO on July 1.)By the time Harris finished painting the final versions of his chilly scenes, they often were as much fiction as fact. According to a wall text at the MFA, “He invented peaks, rearranged mountains, and morphed rivers into lakes.” Both the small and larger states of Isolation Peak, Rocky Mountains (1930) belong among the faux ringers. Nevertheless, they are so convincing that, if you were to walk into these panoramas, you would want to be wearing a heavy overcoat and dark sunglasses. Lawren Harris, Lake and Mountains , 1928, oil on canvas. ©FAMILY OF LAWREN S. HARRIS/COURTESY MUSEUM OF FINE ARTS, BOSTON/ART GALLERY OF ONTARIO, GIFT FROM THE FUND OF THE T. EATON CO. LTD. FOR CANADIAN WORKS OF ART, 1948 Harris’s stylizations and palette are unlike any found in the history of art of the United States. Yet he communicates with a period style that would allow many people to guess these frigid views were painted around the time Arthur Dove, Oscar Bluemner, and Georgia O’Keeffe were active during the 1920s and ’30s. In a companion show, the MFA has filled an accompanying gallery with American paintings and photographs from its own rich collection. The work closest to Harris’s oeuvre in terms of both imagery and spirit is Edward Weston’s 1937 print Lake Van Norden. More than 40 years ago, Hunter professor Eugene C. Goossen told me that if you organize an exhibition with just a few terrific paintings, everyone will assume there are many more that were not put on view. That’s true of “The Idea of North: The Paintings of Lawren Harris.” And so I wish the hardcover book that serves as the exhibition’s catalogue had discussed Harris’s long career in greater detail. I would have liked to have seen more examples of the genre scenes and landscapes he executed in Toronto after he returned at the age of 23 from Europe and a side trip to Damascus and Cairo. Why couldn’t some pages have been set aside to reproduce in sequence a photograph or two, a pencil sketch, a beaverboard study, and a completed painting? And what about the rest of Harris’s career when, as a committed abstractionist, he moved to Hanover, New Hampshire, the home of Dartmouth College, in 1934; to Santa Fe, New Mexico, in 1938; and back to Canada, albeit Vancouver, in 1940, where he died at the age of 84, in 1970? Until a fuller, more detailed account of his life and career is more readily available, “The Idea of North: The Paintings of Lawren Harris” serves as a wonderful introduction to an artist who deserves to be better known outside of Canada. 2016-05-16 11:03 Phyllis Tuchman

72 Getting Skewed at Storm King With Dennis Oppenheim and Josephine Halvorson Related Venues Storm King Art Center Artists Dennis Oppenheim Barnett Newman Mark di Suvero “Obviously these have a humor to them,” said Storm King curator Nora Lawrence, standing in the shadow cast by Dennis Oppenheim’s “Entrance to a Garden,” 2002. “We just walked through a shirt.” The sculpture in question indeed resembles an oversized men’s button-up, albeit one composed of perforated stainless steel; visitors pass through a central archway drilled in its chest. It’s a whimsical piece, in keeping with the sort of large-scale sculpture Oppenheim, who died in 2011, settled on later in his career, after experiments with Land Art interventions, Minimalism, and various performative gestures documented with films and photographs. In one iconic piece, “Reading Position for a Second Degree Burn,” 1970, he sprawled in the sun with a hardcover book open on his chest, allowing the heavy volume to affect his tan. For “Toward Becoming A Scarecrow,” on view here, he roamed the woods of Dusseldorf, gradually binding tree branches and other foliage to his body. The artist’s diverse output across several decades is comprehensively charted in “Terrestrial Studio,” a survey on view at Storm King through November 13. Oppenheim’s work changed drastically over the years, so it’s hard to be a fan of everything here. Despite a certain material affinity, there’s a world of difference between the imposing, pared-down pyramid “Dead Furrow,” 1967, (a mass of wood coated to resemble concrete, surrounded by submerged rows of PVC pipes) and the playfully funky forms of his “Architectural Cactus Grove” series, incorporating hardware store-sourced media like corrugated aluminum and roofing panels. “The tone changes a lot,” Lawrence said, as Oppenheim focused on “large-scale public artworks” aimed at a “more civic, urban audience.” Those include the artist ’ s “Electric Kiss” sculptures, one of which is sited on Storm King’s grounds: a bulbous structure, resembling the dome of a Russian Orthodox Church, that viewers are able to climb inside. Certain pieces, like “Alternative Landscape Components,” 2006, manage to combine Oppenheim’s early use of spare, industrial materials and his later fondness for bright, almost childlike constructions. If that’s not your bag, the indoor galleries showcase slickly designed documentation of early actions: placing painted wooden stars on a hillside in Missoula, Montana; chainsawing a line in ice along the Canadian border; altering how a farming field is seeded so that it cultivates an enormous “X” when viewed from an airplane. On view concurrently with “Terrestrial Studio,” and up through November 27, are three painted sculptures by Josephine Halvorson. They are less showy — one of them purposefully tries to disappear into its surroundings — but quietly stunning. Each is a John McCracken-style plank that is handpainted with acrylic. Two of them resemble measuring tapes blown up to extreme scale, but they avoid the cheap public art tactic of simply taking a small, common object and making it enormous; get up close and you see Halvorson’s delicate draftsmanship. “Measure,” a vertical faux-ruler in the center of a copse of maple trees, has a surface covered with overlapping, translucent ovals in blue, pink, yellow, and purple. “I was thinking of it as a sundial,” Halvorson offered, noting that the ruler’s notches also reminded her of a piano’s keys. Elsewhere on Storm King’s property, the artist has installed a vertical plank whose front surface is painted to resemble a gnarled, knotty tree trunk. On the back side, the trompe-l’oeil wood is interrupted by a long line of spraypaint noting the piece’s height (24 feet), as if it has already been cut down, destined for the lumberyard. The piece responds to the living forest surrounding it, of course — “you can understand the height of the actual trees around you,” the artist said — but also to the imposing majesty of Barnett Newman’s nearby “Broken Obelisk,” which is roughly a similar size. “Perspective is so skewed at Storm King,” Halvorson said, approvingly — a sentiment borne out by spending a few minutes staring at the hulking Mark di Suvero sculptures populating the institution’s sweeping fields, mountains looming in the distance. Halvorson’s simple gesture skews things even further, offering an illusion of measurement that is actually a very welcome disorientation. 2016-05-16 09:23 Scott Indrisek

73 Town Refuses Loan of Della Francesca Gem Monterchi, a small town in the Italian region of Tuscany, has turned down hundreds of thousands of dollars in revenue from Rome's Capitoline museums after refusing its request to borrow Piero della Francesca's Madonna del Parto fresco, fearing it might never be returned. The Renaissance masterpiece has been subject to dispute since World War II and its ownership is still unresolved, which made Alfredo Romanelli, Mayor of Monterchi, believe that if he lets the fresco leave, it might never come back. “We cannot lose possession of the Madonna, even for a minute," Romanelli told the New York Times . “Anyone who wants to see the Madonna has to come to Monterchi. " The storied fresco was originally painted by Francesca in the 1450s onto the wall of a local church just outside Monterchi. In the 18th century, Catholic prelates bequeathed the church containing the fresco and its grounds to Monterchi. Since that time, the town has been defending the fresco, with local legend even telling the story of townspeople chasing Nazi looters away from the church with pitchforks. “We defended it before, and we defend it now," Romanelli told the NYT . In 1991, the fresco was removed from the church and placed in a local disused schoolhouse for restoration where people began to visit it, and it has never been returned. The fresco attracts an estimated 30,000 visitors a year to the town. Over a decade later, in 2003, the local diocese launched a legal action against the town, claiming ownership and demanding the fresco be returned to the original church. Monterchi City Hall then sued the Ministry of Culture, after the ministry asked its local office to develop a plan to return the fresco to the original church. In 2009, however, the local diocese said the fresco could be displayed in a convent opposite where the fresco is currently hung, and that it would donate the convent to the town. This would involve renovating the convent to turn it into a proper museum to host the masterpiece, which created further disagreements in relation to the campaign to raise the necessary funds. After some 12 years of dispute, a court ruled in favor of the town in 2015, yet town officials are still reluctant to renovate and use the convent, as they believe that the fresco may be whisked away by the Church in a clandestine manner. “I have nothing to fight about with the people of Monterchi," Archbishop Riccardo Fontana told the NYT , suggesting crowdfunding to renovate the convent. “Nothing at all. They want to keep their Madonna, and they can keep it. " Local authorities remain unconvinced, and are demanding a concrete plan before any plans are made to move the fresco from the schoolhouse Meanwhile, the Church seems un-phased. “We are famous within Tuscany because we have horrible relations with everybody else," the archbishop joked to NYT . “We are fighting, always. " Follow artnet News on Facebook. 2016-05-16 08:51 Amah-Rose

Total 73 articles. Created at 2016-05-17 06:03