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44 articles, 2016-08-06 00:01 1 Morning Links: Record-Breaking Metropolitan Museum Attendance Edition Must-read stories from around the art world 2016-08-05 08:47 2KB www.artnews.com (1.08/2)

2 Close-Up: The Walker Remembers Abbas Kiarostami — Crosscuts — Walker Art Center Martin Scorsese once praised Abbas Kiarostami as representing 2016-08-05 15:59 757Bytes blogs.walkerart.org (0.01/2)

3 Merce Cunningham and Aspen 5+6 (1967) — Untitled (Blog) — Walker Art Center “In calling it a ‘magazine’ we are harking back to the original meaning of the word as a ‘storehouse, a cache, a ship laden with (0.01/2) stores.’”[1] ―Phyllis Johnson It was while attending th... 2016-08-05 15:59 891Bytes blogs.walkerart.org 4 3D printed candleholders for OTHR 3D printed candleholders digitally printed grains reflect the process of their creation. 2016-08-05 19:15 2KB www.designboom.com 5 Skateboarding Is Officially an Olympic Sport | GIF Six-Pack Forget Rio, our minds are wandering to Tokyo 2020. 2016-08-05 17:30 958Bytes thecreatorsproject.vice.com 6 Jamie Dornan Premieres World War II Thriller ‘Anthropoid’ in New York Dornan costars in the film with Cillian Murphy. 2016-08-05 17:05 2KB wwd.com 7 Adriana Lima, Gisele Bundchen, Lenny Niemeyer Amped up for Rio Olympics Adriana Lima was one of 12,000 people who helped to carry the Olympic torch from Greece to Brazil. 2016-08-05 17:02 3KB wwd.com 8 Mandy Moore Discusses Her New Show ‘This Is Us’ and Life Post-Divorce Former teen pop star-turned-actress Mandy Moore opens up about her NBC TV show “This is Us” and life post-divorce from musician Ryan Adams. 2016-08-05 16:45 1KB wwd.com

9 ninkipen! courtyard house in osaka, japan with a limited available site area, ninkipen! uses different heights in attempt to integrate a yard space and a driveway. 2016-08-05 16:30 1KB www.designboom.com 10 The Tear-Catcher / Tel Aviv What catches my eye first upon landing at Ben Gurion International Airport, and after having been asked twice if I hold an Israeli passport, is a selfie station with sand... 2016-08-05 16:19 5KB www.flashartonline.com 11 360 Degrees of “Race for the Prize” — The Green Room — Walker Art Center Smoke guns and confetti cannons were out in full force during the final set of Rock the Garden 2016—and videographer Chuck Olsen of Visual was there to capture the experience in immersive, 360- deg... 2016-08-05 15:59 897Bytes blogs.walkerart.org 12 These Magical Murals Invoke Jewish Mysticism | City of the Seekers Bunnie Reiss’ bewitching and enchanted murals are all around the City of Angels. 2016-08-05 14:40 5KB thecreatorsproject.vice.com 13 A Center for Majestic Experiences Rises in the Middle of Montana How sculpture, architecture, landscape and music come together in the middle of nowhere to form an unforgettable experience. 2016-08-05 14:15 4KB thecreatorsproject.vice.com 14 [Premiere] Virginia Woolf-Inspired Film Explores Female Identity in the Virtual Space A woman's identity is as fluid as the line between the ocean and the beach. 2016-08-05 14:10 2KB thecreatorsproject.vice.com 15 '30 Under 30ish' Art Show Sends Up Arbitrary Lists “X under X” lists finally get their comeuppance in a group exhibition of emerging artists at VICTORI + MO. 2016-08-05 13:55 4KB thecreatorsproject.vice.com 16 New Berlin Art Brewery to Open in Fall with Ceal Floyer, Jeppe Hein, Manfred Pernice, and Eberhard Havekost KINDL – Centre for Contemporary Art has announced the opening of its former brewery Power House with over 1,200 square meters of exhibition space in fall. 2016-08-05 13:53 2KB www.blouinartinfo.com

17 Meet the Zine-Maker Behind Cult Classic 'Truckface' Nobody tells a heart-rending personal story like LB. 2016-08-05 13:30 5KB thecreatorsproject.vice.com 18 alexis dornier sustainably designs bali vegan restaurant minimizing material use was one of alexis dornier's main aims whilst designing the alchemy restaurant in ubud. 2016-08-05 13:05 1KB www.designboom.com 19 Alex Hubbard at House of Gaga, Mexico City Pictures at an Exhibition presents images of one notable show every weekday 2016-08-05 13:02 2KB www.artnews.com 20 Art Dealer Says Peter Doig ‘Can’t Draw’ and That This Painting ‘Proves it’ A Chicago dealer suing Peter Doig over a painting the artist says he didn't create says the artist disavowed the work to hide he can't draw. 2016-08-05 13:01 3KB news.artnet.com 21 See and Spin #19: 3 Things to Read, 3 Things to Hear A rainforest mystery. Warpaint gets funky. Death row for robbery. See and Spin, where Real Arters dish on what to read and listen to this week. 2016-08-05 12:48 3KB realart.com 22 VIDEO: Carrie Mae Weems Speaks at Anderson Ranch During her speech, Weems reflects on her career, her inspiration, and what it means now, amid such a complex social landscape, to make the kind of work she does. 2016-08-05 12:29 1KB www.blouinartinfo.com 23 terra grass armchair by nucleo is now available on kickstarter the terra grass armchair by nucleo, is a living product that grows into it's surrounding landscape. 2016-08-05 12:19 2KB www.designboom.com 24 nissan bladeglider 3-seater electric vehicle debuts in rio the driver sits in a novel arrowhead formation slightly in front of two passengers, who enjoy extended legroom. 2016-08-05 11:30 5KB www.designboom.com

25 ‘He Told Me About My Success’: A Brief History of the Women of Abstract Expressionism Lee Krasner on the misogyny of the New York School, Irving Sandler on Grace Hartigan, and more 2016-08-05 11:30 9KB www.artnews.com 26 Turner Works Return to Tate Britain for New Display Following an international tour, works by J. M. W. Turner have returned where they belong, in a newly rehung Clore Gallery. 2016-08-05 11:17 2KB www.blouinartinfo.com 27 Painting For Gold Medals: When Art Was An Olympic Discipline Painters, sculptors, and poets competed alongside athletes. 2016-08-05 11:15 3KB news.artnet.com 28 Ai Weiwei and Palestinian Artist Eid Hthaleen Present New Show in Berlin Following his major survey “Transalocations” at Vienna’s 21er Haus, Ai’s next project brings him back to his current residence of choice Berlin. 2016-08-05 11:01 2KB www.blouinartinfo.com 29 scarcity and creativity studio's pocket farm in nes, norway a group of students who make up the scarcity and creativity studio have realized a series of four timber cabins outside of oslo. 2016-08-05 10:57 3KB www.designboom.com 30 90-Year-Old Vandalizes Crossword Artwork, Then Claims Copyright on the Result Hannlore K., the retired dentist who vandalized an artwork by Arthur Köpcke that contains a crossword, now claims copyright on the result. 2016-08-05 10:30 2KB news.artnet.com 31 Simply the Best: Martin Creed Is Triumphant at the Park Avenue Armory in New York Martin Creed, “Work No. 2497: half the air in a given space, at the Park Avenue Armory, New York. JAMES EWING/COURTESY PARK AVENUE ARMORY If Martin Creed had 2016-08-05 10:30 6KB www.artnews.com 32 Superman’s Debut, the ‘Holy Grail’ of Comics, Sells for Nearly $1 Million Superman first hit newsstands in 1938's "Action Comics No. 1. " A rare copy of that historic volume just sold for almost $1 million. 2016-08-05 10:02 2KB news.artnet.com

33 ‘The Last Taboo Is the Penis’: John Cheim on ‘The Female Gaze, Part II: Women Looking at Men’ at Cheim & Read Installation view with works by Louise Bourgeois, Diane Arbus, and Alice Neel. BRIAN BUCKLEY/CHEIM & READ “The Female Gaze, Part II: Women Looking at Men 2016-08-05 10:00 6KB www.artnews.com 34 Carlo Carrà’s Metaphysical Mastery at Blain “Metaphysical Spaces” at Blain|Southern in London is an exhibition of paintings and drawings by Italian avant-garde artist Carlo Carrà – one of Italy’s most famous 20th century painters. 2016-08-05 09:38 2KB www.blouinartinfo.com 35 Meeting This Artist Could Be the Best Thing to Happen to You on the Subway In 15 years, Orin, an artist who draws impromptu portraits of subway commuters every day, estimates he's drawn over 500,000 New Yorkers. 2016-08-05 08:35 2KB news.artnet.com 36 For Andy Warhol’s Birthday, an Unknown ‘Self’ Portrait of the Artist Read THE DAILY PIC on an image Andy Warhol shot of himself that isn't 'by' him. 2016-08-05 07:53 4KB news.artnet.com 37 Aspen Art Museum’s Heidi Zuckerman on Why Artist John Outterbridge Is Key to LA Scene The director of the Aspen Art Museum, and curator of the John Outterbridge exhibition currently on view there, speaks about the artist. 2016-08-05 07:01 6KB news.artnet.com 38 Super X-Ray Technology Reveals Mysterious Edgar Degas Portrait A long hidden work by Edgar Degas has been revealed by scientists in Australia through the use of advanced x-ray technology. 2016-08-05 06:36 2KB news.artnet.com 39 Moscow’s Garage Museum Announces Pop- Up Exhibition in St. Petersburg Dasha Zhukova's Garage Museum of Contemporary Art is staging a pop-up show featuring emerging Russian artists in St. Petersburg. 2016-08-05 06:00 2KB news.artnet.com 40 White Haze and Gold Coins: Kei Takemura Perceives Things Falling From the Sky Kei Takemura returns to Tokyo-based Taka Ishii Gallery for another solo show after four years. 2016-08-05 05:37 2KB www.blouinartinfo.com 41 Tracey Emin, David Shrigley, and Sam Taylor-Johnson Create Posters for Team GB at Rio 2016 Are you ready for the start of the Olympics tomorrow? See the posters that top British artists including Tracey Emin have created for Team GB. 2016-08-05 05:30 2KB news.artnet.com 42 Gallery Hopping: Kris Martin at König Galerie, Berlin While other galleries close for the summer, or stage group shows, König Galerie Berlin triumphs with a solo show by the Belgian Kris Martin. 2016-08-05 05:00 1KB news.artnet.com 43 Freaky Ventriloquist Dummies Populate an Oddball Norway in 'Prungen' [Premiere] The music video for band Jaga Jazzist's “Prungen" features Nazis, puppets, and unpleasant Norwegians. 2016-08-05 04:00 3KB thecreatorsproject.vice.com 44 silvia allori self-designs studio apartment in florence constructed in the 1970s, allori's efforts are detail-oriented, ensuring maximum efficiency of space and utility in the limited spatial allowance. 2016-08-05 00:15 1KB www.designboom.com Articles

44 articles, 2016-08-06 00:01

1 Morning Links: Record-Breaking Metropolitan Museum Attendance Edition (1.08/2) The Metropolitan Museum of Art. VIA WIKIMEDIA COMMONS Museums Though it recently faced layoffs and a $10 million deficit, the Metropolitan Museum of Art can boast a record-breaking year for attendance, with 6.7 million visitors in the fiscal year that ended on June 30. [ The New York Times ] “The Vacuum Cleaner Museum in St. James, Mo., might be the only place where having a collection that sucks is considered a compliment.” [ NPR ] Shows Around America Are there enough biennials and triennials in the world? Apparently not, because now there will be the Cleveland Exhibition for Contemporary Art, a triennial that Randy Kennedy calls “a rust-belt rejoinder to venerated European art gatherings.” [ The New York Times ] Technology Magnus Resch on the claims that his app, Magnus, may have stolen data from participating galleries: “I don’t see any gallery asking Instagram to take down images.” [ The Art Newspaper ] X-rays have revealed that there is a face underneath Edgar Degas’s Portrait of a Woman . [ The Guardian ] The California Scene Here’s an in-depth look at why the art scene in Los Angeles’s Boyle Heights has come under fire recently by activists protesting gentrification. [ Los Angeles Times ] Elsewhere in the World A woman in a British airport was detained because she read a book about Syrian art in public. [ BBC News ] Extras Alex Hubbard at House of Gaga in Mexico City. [ Contemporary Art Daily ] Amy Taubin writes about Robert Frank’s little-known films, calling them “characteristic of having been made by someone who stubbornly insists on walking out on a high wire without a net.” [ Artforum ] 2016-08-05 08:47 The Editors

2 Close-Up: The Walker Remembers Abbas Kiarostami — Crosscuts — Walker Art Center (0.01/2) Martin Scorsese once praised Abbas Kiarostami as representing “the highest level of artistry in the cinema.” Responding to those words several years ago, the Iranian director replied, “This admiration is perhaps more appropriate after I am dead.” Sadly, it now is: Kiarostami passed away in Paris on July 4, 2016 at the age of 76. In celebration […] 2016-08-05 15:59 By

3 Merce Cunningham and Aspen 5+6 (1967) — Untitled (Blog) — Walker Art Center (0.01/2) “In calling it a ‘magazine’ we are harking back to the original meaning of the word as a ‘storehouse, a cache, a ship laden with stores.’”[1] ―Phyllis Johnson It was while attending the Aspen International Design conference in 1964 in Aspen, Colorado, that editor Phyllis Glick (1926–2001) came up with a groundbreaking idea for an art […] 2016-08-05 15:59 By

4 3D printed candleholders for OTHR everything elevated 3D prints candleholders with digital grains for OTHR everything elevated, the oslo and NYC studio, reveals the ‘ee candleholder’ — a graphic collection of friendly shapes that aptly make use of 3D printing technology across materials. crafted in 3D printed bronze, gloss black porcelain, and matte black porcelain, the candleholders are available in varying sizes that hold one; two; or three candles; or a single tea light. the design is crafted following the way that growth is expressed in nature. the result is an object whose digitally printed layers tell the story of how it came to be — like rings in a tree, or layers of rock, the process of its creation is inherent to the object. given the pair’s everything elevated’s work ethic, it is no wonder that everything elevated is so soon reprising their work for OTHR. ‘we’re usually content for a couple of hours when we achieve a goal, then it’s onto the next thing,’ commented the studio. ‘we don’t want to have any regrets.’ since its arrival in 2014, the studio has won accolades and praise, including the international iF award and nominations for the bo bedre newcomer of the year 2015 and best lighting 2014. the company has experienced continual growth ever since; adding to its line of objects at a radical, biweekly pace, and onboarding worldclass designers to its roster. their collection of objects ranges from a bronze bottleopener to a porcelain planter, with items crafted in unexpected materials that push the boundaries of form and design. its team of international designers, both wellestablished and emerging, include fort standard (brooklyn), brad ascalon (new york), sebastian bergne (london), claesson koivisto, rune (stockholm), jonah takagi (washington, d.c.), philippe malouin (london), todd bracher (new york), everything elevated (oslo), michael sodeau (london), paul loebach (new york), and OTHR founders doucet and clabots. in the forthcoming months, OTHR will introduce products created in collaboration with some some of the world’s leading architects, graphic designers, and fashion designers, further extending the possibilities of 3D printing. 2016-08-05 19:15 Martin Hislop

5 Skateboarding Is Officially an Olympic Sport | GIF Six-Pack Inside the Quest to Make Skateboards 100% Recyclable The Year’s Most Beautiful Skate Film Takes Place on a Frozen Beach in Norway A Skateboard Team Hits the Road to the 2020 Olympics 2016-08-05 17:30 thecreatorsproject.vice

6 Jamie Dornan Premieres World War II Thriller ‘Anthropoid’ in New York More Articles By On Thursday night, everybody wanted a piece — or for the fans outside of AMC Loews Lincoln Square, a glimpse — of Jamie Dornan. “Jamie’s amazing,” began Charlotte Le Bon , his costar in the Sean Ellis-directed film “Anthropoid,” which was holding its New York premiere. “He’s obviously really handsome, but he doesn’t come across as an ego person. He has no vanity to him, which is really nice, and he has a great sense of humor. He made me laugh a lot on set.” And what about Cillian Murphy, the film’s other Irish lead? “You’re the first person asking me about Cillian. Everybody’s asking about Jamie.” The cast’s ability to keep things light off-set is in sharp contrast to the film’s subject matter. Dornan and Murphy costar in the historical thriller as Jozef Gabčík and Jan Kubiš, two Czechoslovakian soldiers who carried out “Operation Anthropoid” during World War II, a mission to assassinate third- in-command SS officer Reinhard Heydrich in Prague. Despite the operation’s significance in the war, it’s an unfamiliar tale for many. “The script and the story blew me away,” explained Dornan, snacking on popcorn. “It’s one of the lesser-known events within the Second World War — I didn’t know anything about the mission or this particular part of history [before filming].” He revisited history to glean background for his character. “I think both Cillian and I had a good grip on who these guys were and why they find themselves in the position they did,” he continued. “[Gabčík and Kubiš] are true heroes, but they’re true heroes just because they’re young men. There’s nothing superhero about them, and that’s why I think the story is so relatable.” The movie shot on-location in Prague, which added extra weight to the project. “I could never say no to this film. It’s one of the biggest stories in the world history in Czech Republic — they’re heroes,” said Czech star Anna Geislerová, who had the added weight of being involved with depicting one of her country’s pivotal historical moments. “The Czech audience, they’re very critical about everything. I didn’t feel any pressure before, but now I think they want to see how [the movie handles] our history.” Back to Dornan. “I had a lot of fun with Jamie Dornan,” said Murphy, blue eyes blazing. “I never want to see him again in my whole life, obviously… he’s a great guy. I think naturally when you’re making a film like this where the topic is quite heavy, you have to have the [joke].” 2016-08-05 17:05 Kristen Tauer

7 Adriana Lima, Gisele Bundchen, Lenny Niemeyer Amped up for Rio Olympics More Articles By BRAZIL’S HOMEGROWN TALENT: As tourists and sports fans continue to descend on Rio hotels in anticipation of tonight’s Olympics, Adriana Lima got a jump on the festivities Thursday night by carrying the Olympic torch. The Brazilian-born model “even got choked up when she proudly held the torch before lighting a cauldron in Praça Mauá on Olympic Boulevard,” according to a spokeswoman for Lima. Growing up in Salvador, Bahia Brazil, Lima was only 13 when she signed up for the Ford Supermodel of the World Contest and wound up in second place. Three years later she was living in New York as an Elite model , modeling first for Anna Molinari before moving on to Guess, Anna Sui and Victoria’s Secret. As part of the Olympic torch relay, Lima was one of 12,000 who made their way from Greece to Rio. “She flew both her mother and her aunt to [Rio to] be with her for the Olympics. It was a proud moment for not only her, but also her family,” Lima’s spokeswoman said. As a special correspondent for NBCUniversal for the first half of the Games, Lima has been filming a few segments for Ryan Seacrest’s “Late Night Show” that will air on NBC throughout the Olympics. Her broadcasts will include beach activities, shopping, dining and a hike up to the Corcovado. Her fellow Brazilian model Gisele Bundchen is also amped up for tonight’s Opening Ceremony. Bundchen was seen dancing up a storm in the crowd during Wednesday’s pre-Olympics festivities. Her NFL quarterback husband Tom Brady has also had athletic commitments – the start of this year’s training camp with the New England Patriots. (In between scrimmages Wednesday, his teammates sang “Happy Birthday” in honor of his 39th.) Bundchen has had her own practice sessions to worry about in advance of tonight’s Opening Ceremonies. She will return to the runway in her native Brazil on what is said to be the world’s longest runway. The recently-retired model is supposed to hit the catwalk to the bossa nova song “The Girl from Ipanema,” a tune that will no doubt stick with many of the millions who tune in or livestream NBC’s three-hour spectacle. The Brazilian Olympic team will march into Maracana Stadium wearing designs created by Rio-based Lenny Niemeyer, who has 19 stores in Brazil and exports to more than 12 countries. The team’s female athletes will wear her vibrant green printed dresses with navy blazers, and the male athletes will also wear the blazers with white button down shirts and khakis. Niemeyer’s designs are meant to evoke the ‘carioca’ lifestyle, meaning one who lives in Rio. Neimeyer isn’t just known for her signature ready-to-wear and swimwear. She recently partnered with Best Western to help design its upscale Premier Barra resort, located on Rio’s Barra Beach. While not directly related to Brazil’s breakout architect Oscar Niemeyer, a forefather of Modern architecture, the designer’s husband is his nephew. 2016-08-05 17:02 Rosemary Feitelberg

8 Mandy Moore Discusses Her New Show ‘This Is Us’ and Life Post-Divorce Mandy Moore, once a teen pop star in the same milieu as Hilary Duff, Britney Spears and Christina Aguilera, has since chosen to focus on her acting career and has remained relatively low-key since her public split from musician Ryan Adams. Now 32, Moore is back on the scene with the NBC drama “This Is Us,” costarring Milo Ventimiglia. She plays Rebecca, a pregnant woman whose life changes after a tragedy. Moore sat down with WWD at Thursday’s Hollywood Foreign Press grant banquet to talk about why she’s excited to portray a mother, her hopes to return to the recording studio and life after her divorce. 2016-08-05 16:45 Lindzi Scharf

9 ninkipen! courtyard house in osaka, japan located in the quiet residential area in izumi city, osaka, ninkipen! has completed a compact family dwelling where despite the limited area available, a private courtyard garden has been integrated into the site. as the client requested, ninkipen! proposed a response where different heights were established in attempt to enrich the space. the yard space and a driveway have been unified into one and with this, the home is organized in a L-shaped. the lifted garden sits adjacent to the sunken driveway and the rest of the house is planned around this. the kitchen and dining faces onto the small garden and can be accessed through sliding framed doors. the client requested for the home to contain an outdoor garden space the white rendered façade features no windows, therefore light is gained from the internal openings such as through the internal garden. the different levels within the home gives the illusion of a larger floorplan. for example, spaces such as the fully open study is placed higher than the dining area and lit from the void above. timber has been prominently used on the ceiling, frame and furnishings – adding a sense of warmth to the interiors and promoting a private, but comfortable family home. timber has been prominently used on the ceiling, frame and furnishings the study has been places on an elevated level white render has been used on the exterior the house is located in a quiet residential area in izumi city, osaka 2016-08-05 16:30 Natasha Kwok

10 The Tear-Catcher / Tel Aviv What catches my eye first upon landing at Ben Gurion International Airport, and after having been asked twice if I hold an Israeli passport, is a selfie station with sand and a fake background of tourists playing matcot , the popular Israeli paddle ball game. Back in the 1990s, when my siblings and I would visit our family in Israel, we would play matcot all day long on the beach. Our grandma used to watch us — she would sigh and complain, with her inimitable Ashkenazi sense of humor, that Israel is just a great country to dry laundry outside. The shuttle takes me directly to Jerusalem, where I am on the jury for Zoom, a newly founded art prize that distinguishes one young Israeli artist each year. Many of the finalists address their own identities as Israelis, living in a complex country with controversial politics. Some of them are Mizrahi or Sephardic or Palestinian, and their works question how to exist within an Arabic culture in a country at war with Arabs. This year’s prize recipient, Dor Zlekha Levy, mentions Andalusia as an example of a moment and place in history when Muslims, Christians and Jews lived together in peace. One of his videos depicts a Jewish cantor wearing a kippa and performing, in Arabic, a song by the iconic Egyptian singer Abdel Halim Hafez. Later that night, a performance in the garden brings on stage a charismatic Palestinian singer dressed in a full black hijab and heavy makeup, rapping like a goddess. My head suddenly feels a bit dizzy — is it the memory of a scene in East Jerusalem this morning, when I tried to enter the famous Al- Aqsa Mosque, which I had visited a few times as a teenager, and was told that access has now been banned for non-Muslims? The next day Tali Cherizli, the director of Artis, takes us for a Bauhaus architecture tour along Rothschild Boulevard. “It is our Strasse ,” she says, with a smile. The buildings are stunning, and their concrete rigidity blends beautifully with the palm trees planted along the road. The Jewish architects who fled Nazi Germany in the 1930s brought with them the Bauhaus prerogatives of functionality and accessibility, some principles that perfectly fit the original socialist ideals of the Jewish state. At lunch at the Tel Aviv Museum restaurant, a delicious labne with za’atar , the traditional Middle Eastern yogurt topped with thyme and sesame, reminds me how much I’ve enjoyed the food while traveling in Israel, Syria and Lebanon. I think about Beirut and realize how much cultural dynamism, criticism, and feeling of constant tension link the Lebanese capital to Tel Aviv, and how inconceivable it is to imagine that a young Israeli will never be able to visit Beirut, and neither a young Lebanese, Tel Aviv. In the afternoon, the taxi takes me to Bat Yam, a suburb of Tel Aviv rapidly developed in the 1960s to absorb the flow of immigrants coming to Israel. I indicate to the driver the street where my grandparents lived after they were expelled from Poland in 1968. I find the front door, but realize that I’m unable to read any of the current inhabitants’ names in Hebrew. I sit on the sidewalk and try to picture what was on my grandparents’ minds while they strolled along the modest streets of Bat Yam — after leaving behind the elegant houses of Warsaw. Did they sometimes miss the lush winter snow of the city they knew they would never see again? At a café in Jaffa, I meet with Eyal Sagui Bizawe, an Israeli filmmaker of Egyptian origin who produced The Arab Movie , a documentary on the tradition of broadcasting Arabic movies on Israel’s Channel 1 every Friday afternoon, before Shabbat. How far are we now from the multiculturalism of the region in the 1920s through ’40s, when countless famous Egyptian musicians and dancers were actually Jews, and casually traveled between Cairo, Tripoli, Jerusalem and Damascus? I walk around the neighborhood and stop by Azoulay, one of the best record stores in the country if not the region, established a few decades ago by Moroccan immigrants who missed Arabic tunes so much that they decided to start importing music from all over the region, also producing the work of Israeli singers. Back at home in Los Angeles I listen to the remarkably produced LPs of the 1970s Israeli folk-funk singer Grazia, alongside tracks by musicians Googoosh, Selda Bağcan and Fairuz. Every day I am reminded that they (we) have far more in common than that which divides them (us). by Martha Kirszenbaum 2016-08-05 16:19 Veeranganakumari Solanki

11 360 Degrees of “Race for the Prize” — The Green Room — Walker Art Center Smoke guns and confetti cannons were out in full force during the final set of Rock the Garden 2016—and videographer Chuck Olsen of Visual was there to capture the experience in immersive, 360-degree video. Watch as Wayne Coyne and the Flaming Lips perform “Race for the Prize,” off the 1999 album The Soft Bulletin. (See if […] 2016-08-05 15:59 By

12 These Magical Murals Invoke Jewish Mysticism | City of the Seekers The Adventure, private collection (from The Cosmic Child). All images courtesy the artist, unless otherwise noted In the late 19th century, Southern California attracted misfits, idealists, and entrepreneurs with few ties to anyone or anything. Swamis, spiritualists, and other self-proclaimed religious authorities quickly made their way out West to forge new faiths. Independent book publishers, motivational speakers, and metaphysical-minded artists and writers then became part of the Los Angeles landscape. City of the Seekers examines how creative freedom enables SoCal artists to make spiritual work as part of their practices. Urban folk artist Bunnie Reiss ' works are magical offerings, protection charms, and visual incantations that seek to remind viewers to focus on the good, despite the bad. Her large-scale murals and painted installations are scattered across unexpected pockets of Los Angeles, imbued with vivid and enchanting tales of magic culled from a neverending sketchbook full of random lists, strange stories, and intricate drawings. Amara Kitchen, Highland Park, Los Angeles. Photo: Marnie Sehayek Raised in Colorado by way of Maryland, Reiss comes from a Polish and Russian family. She describes her upbringing in a conservative Jewish household as being full of hearty meals, lively conversation, and a strong sense of community. Early on, the artist inherited an appreciation for the traditional customs, strong beliefs, and imaginative stories that her Eastern European forebears passed down by word of mouth. "I continue to nurture that part of my brain by developing intricate stories and characters from my everyday life," she tells The Creators Project. And though she rebelled against the organized aspects of Judaism, she acknowledges, "I rely on the mysticism part of it to guide my adult life. " Little Tokyo, Los Angeles After earning an MFA from San Francisco Art Institute, Reiss relocated to a small French town in Brittany to study formal drawing and painting. Eventually, she returned to California and found herself in Los Angeles in order to work on a larger scale. "You can spend a lifetime exploring LA and never really see all of it," Reiss describes Los Angeles. "It’s like a strange country with many different states. As a muralist, it’s incredible how many walls there are! I get really excited every time I drive to a new part of town and see more and more potential areas to paint in. " Besides putting up murals in different LA neighborhoods, Reiss also recently published a children's book called The Cosmic Child , which features 15 of her paintings. She works primarily with water-based materials, but depending on the surface, she's been known to use enamel and spray paint as well. "I’m also a secret quilter, and sometimes make huge quilts that look just like my paintings," she admits. The Luxelust Life, Highland Park, Los Angeles. Photo: Spencer Harding Reiss' inspirations range from animals, folk art, and old woodcut illustrations, to magical symbols and the stars. "I want people to feel they have the right to look at beautiful things, to feel good—even for just a quick moment—when walking by one of my murals," she explains. "There’s a kind of freedom one gets from just letting it all go. I believe strongly that what I am doing is part of a larger 'job' and that getting up to create and release every day keeps a small part of this giant universe moving along like an inchworm. I keep things simple, so my work can continue to grow. " The Donut Farm, Silver Lake, Los Angeles As part of a ritual to develop her personal and creative growth, Reiss immerses herself in nature and camps in her VW van as much as possible. If nothing else, it enables her to simply marvel at the elusive, intervening spaces between the natural and man-made. "I love being in a huge, bustling city that is literally surrounded by mountains and the ocean," she says. "There’s nature all around us, and that’s super unusual to have both options. I can be Downtown around all the noise and then just drive 30 minutes and be in the Angeles National Forest. It’s pretty incredible. " Tree of Life, private collection Though Reiss feels that the world can sometimes seem like a dark place full of bad news, she believes that individuals have the power to personally transform reality. "You can take a stab at changing the world by changing someone’s mood," she explains. "It sounds silly, but feeling good can lead to better decisions, less fear, more openness, more understanding. There’s something really amazing about being impacted by a painting or installation in a public space, or in your neighborhood. You get a sense of something bigger than yourself, and that you are somehow part of it. It’s reassuring, motivating, and just makes you think. " Magic Owl, Manila, Philippines Studio setting. Photo: Marnie Sehayek Little Trucky I call David Bowie. Photo: Marnie Sehayek Bunnie Reiss’ work is featured in a group show at La Luz de Jesus in Los Angeles from August 5 - August 28. Follow her on Instagram and visit her website here. Related: Meet the Soft-Sculpture Artist Making Beaded Paintings | City of the Seekers "You’ll Be Back in the Next Life, So Don’t Stress Out" | City of the Seekers Worship the Ceramic Booty | City of the Seekers 2016-08-05 14:40 Tanja M

13 A Center for Majestic Experiences Rises in the Middle of Montana A new art center in Montana, Tippet Rise , is pushing the recent resurgence of interest in land art forward. While sculpture parks have been around for some time, Tippet Rise is not merely an hour outside of New York City, or stashed in a less-frequented neighborhood of Los Angeles. Instead, it is two hours from Bozeman, Montana, located on a working sheep ranch. The Tiara at Tippet Rise Art Center, Design by Alban Bassuet and Willem Boning, with Arup Engineers. Lead Architect: Gunnstock Timber Frames. Image courtesy of Tippet Rise. Photo by Willem Boning. Peter and Cathy Halstead founded the Center, which just opened in June of this year. They didn't just throw a dart at a map of the continent either, instead choosing the site very deliberately. Director Alban Bassuet described their thought process: "They fell in love with the canyons on the property (7 of them), lush prairies, large mountain ranges surrounding the property, the untouched and pristine natural environment, and its wildlife. Their dream has been to create a place that would be a pilgrimage or journey for people to experience art and nature, and I believe we have achieved this. " Domo, designed by Ensamble Studio(Antón García-Abril and Débora Mesa), installed at Tippet Rise Art Center. Photo by Andre Costantini. Courtesy of Tippet Rise Art Center. The mission of the Center is very experience focused, very much about the individual and their path across the landscape. The Center—which consists of two music performance spaces , as well as a number of site-specific sculptures by a variety of artists —chose the locations of the particular installations very deliberately, designing an experience in which visitors could roam the landscape, discovering the work in concert with its surroundings, as well as observing music performances within the line of sight of these awesome vistas. Says Bassuet: "Our goal at Tippet Rise is to erase the traditional boundary between art or architecture and nature. We are trying to convey a sense of discovery and personal connection with the artwork, the facilities, the music and performers, and how nature and human creativity enhance and magnify each other. " While all the sculpture and architecture is visually impressive, blending high design with natural materials, some of the most jaw dropping constructions are the enormous casted concrete installations of Ensamble Studio , three of which are on site. This notion of "experiencing" the landscape spoke to Ensamble Studio as well. Débora Masa, one of the two principals at Ensamble along with Antón García-Abril, described the process of coming up with their installation plan: "There was no preconception and we were given great freedom to design. With [Tippet Rise founders Cathy and Peter Halstead], we developed a masterplan and decided that instead of concentration all functions in one spot, in was worth strategically spreading the spaces of the art center all over the land, to help navigate and experience its different moments. " Ensamble Studio (Antón García-Abril and Débora Mesa), InvertedPortal (right) and Beartooth Portal (left), 2015. Image courtesy of Tippet Rise/Iwan Baan. Photo by Iwan Baan. The Studio don't describe their work as land art, but do see it as transcending categorical descriptions of sculpture, architecture, or art, overlapping those notions, much as their gigantic concrete shells come together precipitously over the landscape. "They have strong architectural properties: they create space, they provide shelter and shade, they change the thermal and acoustical properties of the surrounding context and thus they enable new activities and programs to take place. But also, they can live empty without looking like empty buildings, they do not require maintenance, they support extreme weather and wildlife, they will change over time as nature takes over. " Click here to learn more about the Tippet Rise Art Center. Related: The Healing Scars of Land Art Aerial Footage Makes Remote Locales Look Like Other Planets 2016-08-05 14:15 Adam Rothstein

14 [Premiere] Virginia Woolf-Inspired Film Explores Female Identity in the Virtual Space Images courtesy the artist Marrying Virginia Woolf's stream-of-consciousness poetry with experimental visuals, a new film from director Marta di Francesco interprets Woolf's classic, The Waves , with a unique aesthetic developed over the course of several years. Drawing on technology artists and engineers are using to teach computers to see, just as Woolf questions the beginnnigs and ending of consciousness in her writing, di Francesco asks where our own digital selves begin and end. Di Francesca's process starts with a Kinect depth sensor. She captured the voice and visage of reader Adele Orcajada with both the sensor and a DSLR camera. The footage you see in her short film The Waves comprises every single point where the depth sensor data and the digital footage overlap, called a point cloud. The result is a mesh-like effect that appeals to di Francesca's curiosity about how we perceive ourselves in the internet age. "The poem explores the theme of the female identity. Identity is usually connected to the body, but in the virtual space, there is no body and the sense of self is not anchored but fluctuating," she says. "The line dividing those identities fades and disappears like the line that divides the sea and the land. " Her visuals address that duality by sitting on the edge of abstraction. The Waves offers a vantage point at the crossroads of digital and physical identity. Each pokes holes in the other until all that remains is a mesh that exists in both realms at once. The artist has previously explored the Sumerian myth of Ishtar and Sufi traditional dance using the point cloud technique. She feels Woolf's poem speaks both to her aesthetic and the ideas troubling her today. "I love the tension between the flux of The Waves and the pulsing textures of the background. Like the hypnotic shimmering of the sea, the texture never rests, resembling Woolf's unsettling state of the mind and its stream of consciousness. The sense of being lost at sea, engulfed by the waves, marries the disorientating 3D space. " Check out an exclusive premiere of di Francesco's The Waves below. See more of Marta di Francesca's work on her website . Related: Watch a Digital Dancer Whirl Through the Underworld 2016-08-05 14:10 Beckett Mufson

15 '30 Under 30ish' Art Show Sends Up Arbitrary Lists Snort Your Leg Off. Save Money on Shoes, 2016, Del Hardin Hoyle. All photos courtesy of the artists and VICTORI + MO. The '30 under 30' lists by publications like Forbes and Time Magazine are perhaps the ultimate demarcations of status for young professionals and leaders. Although these lists were once focused on entrepreneurs, activists, and tech innovators, they now branch out to categories that are arguably more difficult to concretely quantify success in, like art and style. To highlight both the absurdity of creating these lists for artists and also the contradictory desire within young artists to be part of them, Brooklyn gallery VICTORI + MO has organized a 30-person group exhibition cheekily titled 30 Under 30ish. 30 Under 30ish Installation View, 2016 The exhibition includes artists both under 30 and in their mid-30s, a looseness in inclusion that is in direct opposition to the strict hierarchy of age imposed by the satirized lists. Rather than focusing on artists who are household names and have already hit large strides in the careers, most of the artists in the show are at the start of their journey as artists, individuals to look out for in coming years but not necessarily the ones hogging the spotlight at this moment. 30 Under 30ish Installation View, 2016. “We wanted to focus on artists that have just begun to build their exhibition history and they all vary in that regard. Our mantra for curating this exhibition was, 'Truly and simply to seek out and visit young artists who were making great work.'” Tells Ed Victori, one of the founders of VICTORI + MO, to The Creators Project. 30 Under 30ish Installation View, 2016 Different than your standard group exhibition, the works in 30 Under 30ish are not brought together by a cohesive curatorial theme. The only unifying thread amongst the works is the age range of the artists who made them, resulting in an exhibition that is almost disorienting in its wide stylistic and thematic breadth. Although wall works make up most of the exhibition, they share very little else in common. The overwhelming figurative detail of Virginia Wagner’s Wake brazenly sticks out next to a subdued, almost monochromatic painting by James Case-Leal. 30 Under 30ish Installation View, 2016 Although there is clearly a degree of parody in the exhibition’s premise, the show’s curators emphasize that they do not bode any hostility towards these types of lists. “At the end of the day, it’s a colorful summer show meant to expose a wide-range of talented artists that we feel passionately about and are beginning to work with,” explains Victori. “I never challenge the validity of who is casted on these lists about art professionals, but rather wonder about the arbitrary creation of them, and so we wanted to do the same and highlight the artists we think are doing great things in the arts.” 30 Under 30ish Installation View, 2016 “I wouldn’t say that the hierarchies of these lists are useless because they do represent a certain opinion and to say that it doesn’t matter is counterproductive,” Celine Mo, another founder of the gallery and curator of the show, elaborates. “However, I do think that they are just that, one opinion, and we have to acknowledge that there are other people who are just as deserving to be on those lists.” 30 Under 30ish will be on display at VICTORI + MO until the end of this month, July 31st. Related: A New Exhibition Probes the Frightening Field of Neuromarketing Air Travel Anxieties Get a Group Show Japan’s Best New Photographers Are in Their 70s 2016-08-05 13:55 Andrew Nunes

16 16 New Berlin Art Brewery to Open in Fall with Ceal Floyer, Jeppe Hein, Manfred Pernice, and Eberhard Havekost Related Artists ANETTA MONA CHIŞA & LUCIA TKÁČOVÁ Ceal Floyer Jeppe Hein Manfred Pernice Michael Rakowitz Eberhard Havekost David Claerbout Roman Signer Philip Akkerman Berlin’s art scene will be extended by a new private exhibition space this fall – in an old brewery. KINDL – Centre for Contemporary Art has announced the opening of its former brewery Power House. It will have more than 1,200 square meters of space, across three floors, for monographic and thematic exhibitions featuring international contemporary art. Two inaugural exhibitions are scheduled to open on October 22. First, there is a group show titled “How Long Is Now.” This will have works by Philip Akkerman, Anetta Mona Chisa & Lucia Tkacova, Ceal Floyer, Andrea Geyer, Jeppe Hein, Uriel Orlow, Manfred Pernice, and Michael Rakowitz. In addition, there will be a solo show with works by German painter Eberhard Havekost titled “Inhalt” (“Content”). Located in the former Kindl brewery in Berlin’s Neukölln district, the building complex will also host ample space for other cultural events, including the former Brew House with six giant copper vats, a café, and beer garden. In the Boiler House a site-specific work by David Claerbout will be titled “Olympia (The Real-Time Disintegration into Ruins of the Berlin Olympic Stadium over the Course of a Thousand Years).” The latter is scheduled to open on September 11. The Boiler House was already inaugurated in 2014. Claerbout is the second artist to have been invited to participate in the site-specific exhibition program, following Roman Signer’s show “Kitfox Experimental.” The former brewery, a listed Berlin red-brick edifice built between 1926 and 1930, belongs to German-Swiss couple Burkhard Varnholt and Salome Grisard, who bought the premises in 2011 and began refurbishing them for the purpose of creating a new space for contemporary-cultural production in 2012. Swiss curator and art critic Andreas Fiedler currently serves as the Artistic Director of the KINDL – Centre for Contemporary Art. 2016-08-05 13:53 Lisa Contag

17 Meet the Zine-Maker Behind Cult Classic 'Truckface' Selection from the cover of It’s Alright: A Truckface Anthology Volume Two by LB. Photo courtesy of LB. The Creators Project is hosting a digital zine making competition called The Offensive. From now through August 17, you can enter by creating a zine and tagging it #TCPOffensive using the all-new zine- making platform, Zean.it. For more information, click here. Zines can take innumerable forms, from art and comic zines to political pamphlets, but some of the most moving work comes from the “perzine.” A perzine, or personal zine, is an author’s attempt to journal their life and times and make it into something tangible, something that can be held, passed around, and shared. There’s an interesting dichotomy at play with the perzine, it’s at once intensely personal, and distributed out into the public. Few perzines are as personal, or have had as lasting an impact on the underground scene, as Truckface. Made by LB, Truckface is a chronicle of their life and times from high school forward. In a rare interview, LB spoke with The Creators Project about the history of Truckface , their thoughts on creating public works so young, and what they’re up to now. Cover and back cover to Truckface #14 by LB. Photograph by the author. The Creators Project: How did Truckface first come about? LB: I started making Truckface in high school. They were short zines mostly focused on feminism and activism. When I first started making zines it felt special and secretive. Zines felt like the only way that I could connect or disrupt the heavily dude based punk scene around Chicago. For me, reaching out and connecting to others about our experiences of sexism, injustice and abuse was a method of survival. Truckface has become a cult-classic in the zine world, but did it feel that way when you were in the middle of it? Definitely not. Zines now can be very isolating. You complete it on your own. Spend hours editing; spend hours with glue sticks for the layout; spend hours copying and cutting and stapling. Even as it being a "known" zine, very few people have read it since very few people read zines. Zines are made in isolation and most people who write zines are incredibly shy and awkward. Can you talk about the style and content of Truckface ? Truckface is a text-heavy zine that is only interrupted by my janky drawings or re-creations of student work. I try to divide it up with drawings to give the reader some breaks from the extensive amount of reading. I always try to make the reader care about the status of public education and how its destruction contributes to continued classism, racism, segregation, gentrification and ableism within the country. Covers for Truckface #10 and Truckface #8 by LB. Photo by the author. How do you feel about your past work? Do you look back on it with nostalgia? Does any of it make you cringe? Woof. Some of my past exploits were quite embarrassing. I drank heavily and revealed too much personal information. I sometimes re-read old zines and think, "Holy shit, I wrote that? " Oh, and now as I am older, the title makes me cringe a little bit. I picked it when I was 17 and now I am stuck with this 17 years later. Thanks a lot teenage LB. Do you feel like you put yourself on a semi-public stage at a young age? Yes, I was very much about writing honestly when I was younger. I revealed way too much about myself and I felt that the vulnerability made me a stronger writer. I didn't care if I was seen as a mess because I knew I was a mess at the time. The older you get you try to pretend to be somewhat composed even though you still don't know what the fuck you are doing. Interior pages from Truckface #8 by LB. Photo by the author. What are you up to now? Are you still working on zines? I'm entering my 9th year of being a Chicago public school teacher. I'm fucking old as shit. I also paint a lot and play drums for feminist and queer bands. I still work on zines, or at least I've been procrastinating on working on a new zine. My job has taken up so much more of my energy and time that it's gotten harder to write. Also, things at CPS with budget cuts, lead water, and filthy working conditions have gotten worse. I'm at a loss as to how to frame it without it being overly depressing, but, hey, this is fucking depressing that our city has allowed this to happen. My goal was to have my 18th of Truckface done this summer. But, I've been sidetracked with painting and trying to rest up after a stressful school year. It's OK; I'll do it; I know I have to in order to have that release. Cover for It’s Alright: A Truckface Anthology Volume 2 by LB. Photo courtesy of LB. To read LB’s work, pick up Truckface Anthologies Volume One and Volume Two from the incredible Mend My Dress Press . Like zines? Check out Zean.it , a new platform for zine-making. Make your own zine, tag it #TCPOffensive, and you'll be in the running to get printed and included as an insert inside the September Issue of VICE Magazine. Click here for more information. Related: Submit Your Work to Our DIY Zine-Making Competition We Talked To The Artists Who Made A Pokemon Glitch Zine Prison Zine 'Tenacious' Offers Female Prisoners a Chance to Speak Out 2016-08-05 13:30 Giaco Furino

18 alexis dornier sustainably designs bali vegan restaurant located in ubud, bali, the alchemy is a raw vegan cafe & juice bar, organic health food store conceived by alexis dornier which simultaneously blends nature, context and sustainable architectural design. during its construction, the aim was for as little material to be used as possible. the existing restaurant based in a concrete-clad volume and has been completely opened to its exotic surroundings and extended with a two level structure on each end. materials such as recycled telephone poles were used as pylons to provide structural support for the suspended roof decks. meanwhile, its external envelope is the scheme’s defining characteristic; tiered levels fabricated from bamboo and grass separate each level. the natural cladding serves as the openings for air circulation, while sheltering people inside from the sun and rainfall. a light and green-filled cafe and retail area is located on the ground floor concrete and bamboo has been used throughout the bamboo and grass shelter the open levels from direct sunlight during its construction, the aim was for as little material to be used as possible 2016-08-05 13:05 Natasha Kwok

19 Alex Hubbard at House of Gaga, Mexico City Alex Hubbard, Horse And People Bar Painting , 2016, mixed media. COURTESY THE ARTIST AND HOUSE OF GAGA Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Alex Hubbard: El Cafecito” is on view at House of Gaga in Mexico City through Saturday, August 6. The solo exhibition presents new works by the artist. Installation view of “Alex Hubbard: El Cafecito,” 2016, at House of Gaga, Mexico City. COURTESY THE ARTIST AND HOUSE OF GAGA Installation view of “Alex Hubbard: El Cafecito,” 2016, at House of Gaga, Mexico City. COURTESY THE ARTIST AND HOUSE OF GAGA Installation view of “Alex Hubbard: El Cafecito,” 2016, at House of Gaga, Mexico City. COURTESY THE ARTIST AND HOUSE OF GAGA Installation view of “Alex Hubbard: El Cafecito,” 2016, at House of Gaga, Mexico City. COURTESY THE ARTIST AND HOUSE OF GAGA Installation view of “Alex Hubbard: El Cafecito,” 2016, at House of Gaga, Mexico City. COURTESY THE ARTIST AND HOUSE OF GAGA Alex Hubbard, European Female , 2016, mixed media, installation view. COURTESY THE ARTIST AND HOUSE OF GAGA Alex Hubbard, European Female , 2016, mixed media, installation view. COURTESY THE ARTIST AND HOUSE OF GAGA Alex Hubbard, Itchy Chaps , 2016, mixed media, installation view. COURTESY THE ARTIST AND HOUSE OF GAGA Alex Hubbard, Horse And People Bar Painting , 2016, mixed media. COURTESY THE ARTIST AND HOUSE OF GAGA Installation view of “Alex Hubbard: El Cafecito,” 2016, at House of Gaga, Mexico City. COURTESY THE ARTIST AND HOUSE OF GAGA Alex Hubbard, Yellow Bar Painting , 2016, mixed media. COURTESY THE ARTIST AND HOUSE OF GAGA Installation view of “Alex Hubbard: El Cafecito,” 2016, at House of Gaga, Mexico City. COURTESY THE ARTIST AND HOUSE OF GAGA 2016-08-05 13:02 The Editors

20 Art Dealer Says Peter Doig ‘Can’t Draw’ and That This Painting ‘Proves it’ The plaintiffs suing Peter Doig for blocking the sale of an artwork have some strong words for the artist on the eve of a major trial. The case against Doig will take place on Monday in United States District Court for the Northern District of Illinois, where the artist will have to prove that he didn’t create the disputed desert landscape below. Related: Artist Peter Doig Says Plaintiffs Threaten to Reveal His Secret ‘Criminal Past’ In 2013, a Canadian former corrections officer named Robert Fletcher and the Chicago art dealer Peter Bartlow, to whom Fletcher consigned the work, filed a lawsuit against the artist for denying the canvas was his own. Fletcher claims that he bought the 1976 work for $100 from Peter Doige (spelled with an ‘e’), which the artist painted while he was incarcerated at the Thunder Bay Correctional Center in Northwestern Ontario. Doig, however, told the New York Times in July that the pair have the wrong man: He didn’t paint the artwork, was never imprisoned, and has never even been to Thunder Bay. The artist was born in Edinburgh in 1959, and moved to Canada when he was seven years old. He claims he grew up in Toronto. In order to paint the landscape, the artist would have been a teenager at the time, and almost 900 miles from home. Fletcher and Bartlow remain unfazed, however. Bartlow, who helped bring the case against the artist, told artnet News in a phone interview that he believed Doig’s motive in disavowing the work is not to deny a criminal past but to disguise the fact that “he can’t draw.” The Chicago dealer insists that Doig relies on using projections on the canvas. “No critic has ever written this about it,” he acknowledged. “The only reason I did is that I have this book of his by Phaidon of the painting in the Canadian National Gallery, and I was looking at it upside down. There’s a couple of shapes in it that are the same shapes located in our painting. I could see what he did.” Related: Court Orders Artist Peter Doig to Prove He Didn’t Create This Canvas Barlow goes on to describe Doig as a “sociopath,” and added that “his paintings play on words for LSD. I think he doesn’t care if anybody knows he got busted for drugs. It’s all about his art.” In his closing remark he said, “I like his work though.” Meanwhile, the plaintiffs’ attorney, William F. Zieske, has denied the artist’s recent accusations of threats he says were made against him, as reported by the German daily Die Zeit. “The allegation is untrue,” Zieske simply told artnet News in an email. Fletcher and Bartlow will face Doig in court on Monday, and are seeking “damages of at least $7 million,” says Bartlow. A representative from Doig’s gallery was not available for immediate comment. 2016-08-05 13:01 Kathleen Massara

21 See and Spin #19: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. An Isolated Tribe Emerges from the Rain Forest (Jon Lee Anderson / The New Yorker) In Peru, an unsolved killing has brought the Mashco Piro into contact with the outside world. Jeff Wood Didn’t Kill Anyone, But Texas is About to Execute Him Anyway (Jordan Smith / The Intercept ) Texas is among five states that approve “actively” pursuing the death penalty for an accomplice who lacked intent to kill. This is Jeff Wood’s story. How One Colorado Man Disappeared While Hunting For Hidden Treasure (Robert Sanchez / 5280 ) Randy Bilyeu thought he’d located Forrest Fenn’s infamous cache of gold and jewels. Then he went missing in New Mexico’s high desert. Inside the hunt for Fenn’s riches—and the search for the man who vanished looking for them. Warpaint / “New Song” / Heads Up (2016) Sidestepping the powerful psychedelia of 2014’s self-titled sophomore effort, the badass broads of L. A.’s Warpaint have given us the first taste of Heads Up with a dance track that manages to still be undeniably Warpaint. The band’s Facebook post announcing the single and track described both as “funky,” and in the case of “New Song” that is no lie. It’s a certified rump shaker where a vibrant, bobbing bassline manages to bouncily blend into Warpaint’s trademark off-kilter percussion and blissful harmonizing. Accessible without being remotely derivative, “New Song” should have intrigue in Heads Up roaring, especially with the producer of their 2008 debut Exquisite Corpse back on the boards. Mat Kerekes / “The Clubs / The People’s Attention” / Luna & The Wild Blue Everything (2016) Mat Kerekes has a story to tell. Kerekes’s primary role as the vocalist of the midwestern post-hardcore/emo band Citizen has given him a stage to showcase “The Clubs / The People’s Attention.” Kerekes’s voice and instrumentation twists and bends between quiet, whisper-like moments and gritty, emotion filled junctures which guide the listener through the story being told. With such dynamics and honesty sweeping throughout the song, Kerekes is able to evoke comparisons to emo/indie singer/songwriters Conor Oberst (Bright Eyes), Jesse Lacey (Brand New), and Tim Kasher (Cursive). With a support spot on an Anthony Green led tour this fall, Kerekes seems poised to continue his march towards national recognition as a solo artist. “The Clubs / The People’s Attention” comes from Kerekes new record Luna & The Wild Blue Everything , which will be released August 26th. ( Geoff Stump ) Cub Sport / “Sun” / This Is Our Vice (2016) We’re gonna go where it is warm / Leaving with everything you took / Heading into the sun / Cause we will never belong. Good vibes to find the place you belong, preferably in the sun, this weekend. 2016-08-05 12:48 realart.com

22 VIDEO: Carrie Mae Weems Speaks at Anderson Ranch Related Venues Anderson Ranch Arts Center Artists Carrie Mae Weems On July 21, Carrie Mae Weems accepted the 2016 National Artist Award at Anderson Ranch Arts Center’s 50th Anniversary celebration. During her touching speech, she reflected on her career, her inspiration, and what it means now, amid such a complex social landscape, to make the kind of work she does. For the last 30 years, Weems has worked with photographs, text, fabric, audio, installation, and video to explore issues of racial identity, gender roles, familial relationships, class dynamics, and much more. Weems is just one in an impressive list of artists, curators, and critics to participate in Anderson Ranch’s 2016 Summer Series of art talks. Other speakers this summer include Theaster Gates, Massimiliano Gioni, Hank Willis Thomas, Ryan Trecartin & Lizzie Fitch, Alec Soth, Arlene Shechet, Liza Lou, Alex Prager, Charles Ray, Ann Philbin, and Jerry Saltz. This year’s Summer Series will come to a conclusion next Thursday, August 11, with a presentation by the Haas Brothers. BLOUIN ARTINFO, in partnership with Anderson Ranch, is pleased to present video of each talk in its entirety throughout the coming weeks. 2016-08-05 12:29 Taylor Dafoe

23 terra grass armchair by nucleo is now available on kickstarter terra grass armchair by nucleo is now available on kickstarter the ‘terra grass armchair’ by nucleo, is a living product that grows into it’s surrounding landscape. the design is made from cardboard frames which are assembled on top of the ground. soil is then fed into the construction to create a small mound on top of the earth. the last ingredient are the seeds which are scattered heavily onto the surface. the only thing then left to do is to let nature take its course, and watch the armchair evolve into its form. the ‘terra grass armchair ‘was first introduced at milan salone satellite in 2000, and was selected for the xix compasso d’oro as a ‘product for the community’ award in 2001. the following year it was shown at the pompidou center in paris, in 2004 at the triennale in milan, and then in 2012 at biennal of belo horizonte, brasil. nucelo have now decided to launch the product again on a smaller scale, using new technologies and graphics in order to reach out to a wider audience. you can find the project on kickstarter here. the terra grass armchair was first introduced at milan salone satellite in 2000 the structure is made from cardboard frames which are assembled on top of the ground a ‘terra’ sofa is also available soil is fed into the construction once the seat is assembled the only thing left to do is to let nature take its course seeds are the final ingredient to be added 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. 2016-08-05 12:19 www.designboom

24 nissan bladeglider 3-seater electric vehicle debuts in rio nissan has unveiled the working prototype of its futuristic ‘bladeglider’ vehicle, combining zero- emissions technologies with high-performance in a revolutionary sports car design. the electric vehicles, developed from concept cars first shown at the tokyo auto show in 2013, have arrived in rio, brazil to symbolize future technologies that will combine intelligent mobility, environmentally-friendly impact and sports-car driving capabilities. carlos ghosn, president and CEO of the japanese automaker said, ‘these prototypes epitomise nissan’s drive to expand its intelligent mobility strategy, where driving pleasure combines with environmental responsibility. nissan believes that enthusiasts should look forward to a zero emission future and bladeglider is a perfect demonstration of that. it’s the electric vehicle for car-lovers.’ zero-emission driving with central driving position and two passenger seats behind the debut of the ‘bladeglider’ prototypes forms part of nissan’s ongoing commitment to the development of zero-emission vehicles and new automotive technologies including autonomous drive systems and connectivity. the car manufacturer already sells the world’s highest-volume zero-emission car, the ‘leaf’, and is pioneering intelligent mobility systems that will be deployed in a range of vehicles over coming years. the rear form of the vehicle is is characterized by two elegant tail lamps nissan’s vision was for an agile, efficient EV that would provide new dimensions of driving fun and excitement – a car that would ‘glide’, thanks to the near-silent performance of its electric powertrain and aerodynamic shape. after two years of work on design, engineering and development, the ‘bladeglider’ has evolved further into an exciting, real-life study into the potential of advanced EV performance. the sporty electric vehicle epitomizes intelligent mobility, a philosophy to make its cars more exciting by redefining how they are driven, powered and then integrated into society. the demonstration models feature an advanced chassis configuration with a narrow front track and wider rear track for optimum aerodynamic efficiency and handling stability. high-waisted, rear-hinged dihedral doors provide a dramatic entry and exit to the cabin. the open roof of is reinforced with an integrated roll-over protection structure, providing the exhilaration of an open-topped race car with the safety of a coupé. wheel-mounted controls for ‘bladeglider’s’ systems feed into an advanced display showing speed, state of battery charge, regeneration mode and torque map. flanking the central display are two screens, with the images of rear-view cameras mounted just behind the front wheels. an alternative to door-mounted mirrors, this dual screen design improves aerodynamic efficiency. the driver sits in a novel arrowhead formation slightly in front of two passengers, who enjoy extended legroom. the view for all occupants is panoramic, thanks to the seamless cockpit windscreen. the driver sits in a novel arrowhead formation in front of two passengers power is 100 percent electric, with exceptional powertrain performance delivered by nissan’s technical partner for the project, uk-based williams advanced engineering. maximum speed of the demonstration models is in excess of 190km/h, with 0-100km/h taking less than 5 seconds. the rear wheels’ drive is powered by two 130kw electric motors – one for each wheel. the system features torque vectoring, controlling the torque delivered to the driven wheels, improving handling even further. with torque vectoring, if the car starts to understeer, it automatically sends more torque to the outside wheel to restore the handling balance. the system has three settings — off, agile and drift mode. power is supplied by a high performance five module lithium-ion 220kw battery. bespoke cooling systems have been developed for both the battery and the motors. rear wheels are separately driven by two 130kw electric motors the interior of the ‘bladeglider’ reflects the vehicles’ sporting intentions, with four point safety harnesses for each occupant. the seats hug the sides and legs of the driver and passengers, offering exceptional support. the seats are trimmed in a highly tactile blend of fabric and epoxy resin coating, resulting in a tough and grippy material that has the effect of comfortably adhering occupants securely in place. two screens surround the central display, showing rear-view cameras mounted behind the front wheels there are two colour trims – cyber green and stealth orange. these colours are used for the upper portions of the seat back, and framed with a silver reflective material to create an eye-catching, sporty look. the base of the seats are in black, patterned material, with a band of green and orange trim framing the cushion. stealth orange or cyber green is used for the upper portions of the seat back two ‘bladegliders’ will be presented in rio de janeiro in august. one will be on static display in rio while the second will be offering dynamic rides. ‘fantasy to reality – nissan bladeglider’ exploring the all new EV video coutesy of nissan 2016-08-05 11:30 Martin Hislop

25 ‘He Told Me About My Success’: A Brief History of the Women of Abstract Expressionism Lee Krasner, The Seasons , 1957, oil and house paint on canvas. SHELDAN C. COLLINS/©2015 POLLOCK-KRASNER FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/WHITNEY MUSEUM OF AMERICAN ART, NEW YORK, PURCHASE, WITH FUNDS FROM FRANCES AND SYDNEY LEWIS BY EXCHANGE, THE MRS. PERCY URIS PURCHASE FUND AND THE PAINTING AND SCULPTURE COMMITTEE 87.7 When people think about Abstract Expressionism, they usually think of a group of men— Jackson Pollock, Barnett Newman, Mark Rothko, and Robert Motherwell, among others. But, as a show at the Denver Art Museum this summer makes clear, women were vital to the movement, and history has yet to completely reflect this. Below are excerpts from the ARTnews archives that showcase female Abstract Expressionists and their changing place in art history. Lee Krasner reflects on the New York School’s misogyny, while Fairfield Porter, Irving Sandler, and Lawrence Campbell praise Helen Frankenthaler, Joan Mitchell, and Elaine de Kooning (the latter a frequent ARTnews contributor). “Scenes from a Marriage” By Grace Glueck December 1981 If [Lee] Krasner responded to [Jackson] Pollock’s work, he was an all- important source of support for her own. In 1951 she asked him to speak to Betty Parsons, who became his dealer that year; his intercession resulted in Krasner’s first show. In 1953, he began a new cycle, painting in a style related to Matisse, and Pollock wrote to Alfonso Ossorio, a close friend, praising the “freshness and bigness” of her work. “That was the only way he told me about my success,” she says. “He wasn’t resentful, and when in 1955 I showed a new cycle of collage paintings at the Stable Gallery, he was at the opening, proud as a peacock.” She did not, she adds, “hold him responsible for the fact that I hadn’t made it before. I felt that was due to many, many things outside of him, including the misogyny of the New York School.” And she recalls, “In each case, you knew you were threatened they were; one could physically feel the hostility. The whole culture is that way. Pollock wasn’t like that; he wasn’t threatened as the others were, especially by strong women.” Jay DeFeo, Untitled (Everest) , from the “Mountain” series, 1955, oil on canvas. ©2015 THE JAY DEFEO TRUST, ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/COLLECTION OF THE OAKLAND MUSEUM OF CALIFORNIA, GIFT OF JAY DEFEO “San Francisco: A 2,300-Pound Rose” By Thomas Albright May 1980 Occasionally, [Jay] DeFeo filled in more of her surfaces with “color,” but her pieces were most powerful when most concentrated, reduced almost to a breath. In them, the visible mannerisms of Abstract Expressionism retreated to a few crusts, erasures and smudges. Its spirit, however, seemed to be absorbed and distilled into the very essence of the images, where the potency and charisma of archetype mingled with the organic flux, the indeterminacy and refusal quite to crystallize, that were the hallmarks of Abstract Expressionist mystique. “Helen Frankenthaler at Tibor de Nagy” By Fairfield Porter February 1953 Helen Frankenthaler [De Nagy; to Feb. 14] is exhibiting for the second time. Whether abstract, done from nature or remembered, her subject is usually horizontal landscape. There is a thinness of substance and a freshness of the open air in all of these paintings. The self-portrait, the flowers and landscape sketches have a light touch and the accidental and charming virtues of beginnings. In the large pictures fresh air and good luck are not enough; she does not seem to be deeply involved, and though she uses colors at high intensity, she does not make other distinctions, so that often one color would seem to do as well to another. $75-$800. “Perle Fine at Graham” By Lawrence Campbell April 1963 Perle Fine [Graham; April 2-20], well-known abstract painter, shows recent paintings which appear radically different in form to any she has shown hitherto, yet retaining her own quality of lyricism. For her the wave of New Realism and Pop Art has cleared the air and brought the doubters off the fence. The hardening of the painters who have found the avant-garde an asylum for the untalented. To her it seems more important than ever to clear up the aura of garbage which is clinging to art, and to paint work which will express life-affirming, idealistic feelings through the construction of ordered color-spaces. Grace Hartigan, New York City Rhapsody , 1960, oil on canvas. ©ESTATE OF GRACE HARTIGAN/MILDRED LANE KEMPER ART MUSEUM, WASHINGTON UNIVERSITY IN ST. LOUIS. UNIVERSITY PURCHASE, BIXBY FUND “Grace Hartigan at Martha Jackson Gallery” By Irving H. Sandler November 1962 Grace Hartigan’s [Jackson; to Nov. 17] Action Paintings of 1962 are in process of change. The somber, raw Abstract-Expressionism that distinguishes her canvases of the late 1950s is giving way to an increasingly exultant lyricism. As in the past, she favors compacted structures varied with black calligraphic contours and a distinctive reddish- purple cast, but her painting is now thinner and looser; the color more high- keyed and luminous. The touch is lighter and the softly brushed and stained films of pigment appear to have been swept onto the surface. [. . .] In these striking and passionate canvases, Grace Hartigan succeeds in being gentle,light in spirt and even sentimental, without sacrificing the boldness, vigor and power. “Mary Abbott at McCormick, Chicago” By Lauren Weinberg Summer 2007 This show featured almost 30 paintings and works on paper made between 1945 and 1985 by Mary Abbott, who was one of the few women to infiltrate the New York School. These work, in a range of styles, offered a welcome fresh perspective on Abstract Expressionism. Abbott, now 86, completed most of these pieces in the ’50s, not long after having studied with Mark Rothko and Barnett Newman. Her best work is characterized by vivid color and an exuberant dynamism. The paths of her swooping paintbrush are visible on every square inch of Purple Crossover (1959), a riotous jumble of red, purple, white, orange, dark blue, green, yellow streaks and patches. Bill’s Painting (ca. 1951) is less dynamic, but its layered, dripping shades of pink—punctuated by wide smudges of black, orange, and burgundy—give it vitality. Elaine de Kooning, Bullfight , 1959, oil on canvas. ©ELAINE DE KOONING TRUST/DENVER ART MUSEUM, VANCE H. KIRKLAND ACQUISITION FUND “Elaine de Kooning Paints a Picture” By Lawrence Campbell December 1960 For Elaine de Kooning, the colors in these recent paintings do not have “shapes.” They are large movements, rushing, sliding, pouring, a glissade, an excitement of oranges, and a blue which, in such surroundings, takes on a shrill, loud quality, a kind of high-pitched thud, also yellows, alizarins, purples, chartreuse greens and black. Asked why her strokes of the brush were “form” rather than the strokes combining together to make form, she replied: “For me drawing is always a force which compresses whereas color seems to expand beyond its bounds and becomes decontrolled and therefore risks being trivial. But I feel I am able to control this expanding quality with my brush-strokes. Color then becomes a kind of super-drawing.” “Joan Mitchell Paints a Picture” By Irving Sandler October 1957 Joan Mitchell is a painter who hates esthetic labels. She agrees with Harry Holtzman that “the hardening of the categories causes art disease.” She finds particularly distasteful moral insinuations concerning “good” versus “bad” criteria, and insists that “there is no one way to paint; there is no single answer.” Miss Mitchell is reticent to talk about painting, so in order to approach the underlying process in her work, the Socratic method was needed, rejecting some classifications, modifying or keeping others. The catchphrase to which she objected least was “New York School,” and she readily admitted membership in that non-academy. Unlike some of the younger artists who have reacted away from the elders of Abstract- Expressionism, she sees herself as a “conservative,” although her pictures can hardly be described as hidebound. She not only appreciates the early struggles of the older painters, whose efforts expedited acceptance for those following them, but finds a number of qualities in their work will have a profound meaning for her. Those elements in New York painting to which she responds are difficult to isolate. They have little to do with technique, for although Miss Mitchell has assimilated some of the methods of Gorky, de Kooning, Kline, et al., she couldn’t pretend to know how they make their pictures. More significant is a feeling of familiarity she experiences when she looks at their work, specifically, a kindred involvement with spaces. Her concern with space is rooted in the impact of the city. “I am up against a wall looking for a view. If I looked out of my window, what would I paint?” She lives on the fourth floor of a lower East Side walk-up. Miss Mitchell has to remember her landscapes: “I carry my landscapes around with me.” They become the windows in her house; as Baudelaire wrote: “A man who looks out of an open window never sees as much as a man who looks out of a closed one.” 2016-08-05 11:30 The Editors

26 Turner Works Return to Tate Britain for New Display Related Venues Tate Britain Artists Joseph Mallord William Turner 100 works by J. M. W. Turner are back on display in London’s Tate Britain since August 3, following an international tour seen by over 750,000 people in the UK, Canada, and America. Many of these works featured in the exhibition “Late Turner — Painting Set Free,” which broke the record for most popular solo show ever held at the Tate Britain in 2014-15 before heading to the J. Paul Getty Museum in Los Angeles, San Francisco’s de Young Museum, and the Art Gallery of Ontario in Florida. Now, they have returned to their home in the Clore Gallery, which has long housed a large selection of the Turner Bequest — the world’s largest collection of the artist’s work, comprising 300 paintings and 300 sketchbooks, among many other treasures. With the return of these works to London, the Tate has arranged a rehang that brings together beloved images like “Hannibal and his Army Crossing the Alps,” 1812 and “Norham Castle - Sunrise,” circa 1845 with a selection of the artist’s works on paper. These focus on “Turner’s treatment of urban scenes from cities such as London, Paris, Naples, Rome, and Venice,” according to a Tate press release. The central gallery displays a curated selection of greatest hits by the artist, including the circa 1799 “Self Portrait,” which will be in circulation on the £20 note by 2020. Around this, four rooms feature works arranged thematically: “scenes from Turner’s travels around Britain”; works resulting from his “European tours to France, Germany and Italy”; “radical late works found in the artist’s studio; and “his most celebrated depictions of stormy seas and breaking waves.” 2016-08-05 11:17 Samuel Spencer

27 Painting For Gold Medals: When Art Was An Olympic Discipline The Venice Biennale is colloquially known as “the Olympics of art,” but did you know that between 1912 and 1948, painters, sculptors, architects, writers, and musicians participated at the real Olympic Games? According to the New York Times , Baron Pierre de Coubertin, the founder of the IOC, from which the modern Olympics emerged in 1896, believed that sports and the arts were inextricably linked. “He was raised and educated classically, and he was particularly impressed with the idea of what it meant to be a true Olympian—someone who was not only athletic, but skilled in music and literature,” Richard Stanton, author of The Forgotten Olympic Art Competitions , told Smithsonian Magazine . “He felt that in order to recreate the events in modern times, it would be incomplete to not include some aspect of the arts.” Related: Tracey Emin, David Shrigley, and Sam Taylor-Johnson Create Posters for Team GB at Rio 2016 However, the idea faced opposition from the get-go, and it wasn’t until the Stockholm games in 1912 that medals were awarded in artistic disciplines. The resistance was understandable, as sporting achievements can be measured in easily-understood metrics such as time and distance, but judging the arts is undeniably subjective. The arts competition also suffered from the guiding parameter that the works created had to be associated with sport, limiting the entries to tiresome imagery of athletes and odes to sporting achievement. Additionally the requirement of amateur status in the early iterations of the games barred professional artists from entering the competition. Consequently, the artistic greats such as Pablo Picasso and Frida Kahlo couldn’t compete. The resulting works were inevitably, well, amateurish. Related: Artist Mariko Mori Unveils Stunning Olympics Waterfall Art Installation According to the Huffington Post , the Olympic art events were finally struck from the competition in 1948 amid dwindling interest. Arts medals were removed from the official Olympic records and the events were demoted to a non-competitive exhibition running for the duration of the games. If nothing else, the art Olympics makes for some fascinating trivia. Did you know, for instance, that Walter Winans, a Russian aristocrat with American citizenship, was the only Olympian to win medals in sporting and arts competition? In 1912, he won silver for team USA in the shooting event “Team Running Deer—Single Shot” and gold in sculpture for his work An American Trotter. At least we still have the Venice Biannale. 2016-08-05 11:15 Associate Editor

28 Ai Weiwei and Palestinian Artist Eid Hthaleen Present New Show in Berlin Chinese artist and dissident Ai Weiwei is busily opening exhibitions this summer. Following his major survey “Transalocations” at Vienna’s 21er Haus, Ai’s next project brings him back to his current residence of choice Berlin, where he will present a joint exhibition with Palestinian artist Eid Hthaleen at Architecture Forum Aedes. The self-taught artist from the Bedouin village of Umm Al Khair in the Southern Hebron Hills will present his miniature-sized, toy-like models of jeeps, bulldozers and helicopters from plastic, iron, and other found materials. “Living under the constant threat of demolition and expulsion, the artist renders exactly these vehicles carrying out the destruction ‘back into constructive elements that can be appreciated again for their positive use’,” a text issued by Aedes for the show explains. For Ai, this new show is an opportunity to continue his investigations of humanitarian rights crises, following his various recent projects on the current refugee crisis in the Mediterranean. In an interview with Hans-Jürgen Commerel of Aedes, Ai explained he was “naturally drawn to the state of existence of anyone who’s forced to leave home“ because of his own childhood experience. His father, Chinese poet Ai Qing, was forced to relocate from Beijing to rural China with his family in Ai’s childhood due to his political convictions, an experience that made a deep impact on Ai. The exhibition will take place in cooperation with Berlin gallery Neugerriemschneider. 2016-08-05 11:01 Lisa Contag

29 scarcity and creativity studio's pocket farm in nes, norway scarcity and creativity studio constructs pocket farm on the outskirts of oslo made up of a group of students from the oslo school of architecture and design (AHO), scarcity and creativity studio (SCS) have shared their ‘småbruk – a pocket farm in nes’ project; a timber construction which focuses on the norwegian municipality of nes i akershus. the rural area is one of the principal agricultural producers of grain in the country, and scs’s project explores alternative modes of accommodating people and additional population moving away from oslo, while not losing its rural character. the entire project is designed and built by a group of AHO students during an intensive four week construction phase. the form of the barn house is an extension of the undulating topography, which the building picks up and extends, generating the volume required to house the functions of the barn. in order not to disturb the continuity of the landscape, the entrance doors are located at the back. the blending between the built scheme and nature will be most prominently seen in the autumn, when the color of the barley matches the cladding of the barn, and in the winter when fields and roof is covered in snow. the form of the barn is an extension of the undulating topography, which the building picks up and extends in addition to the design of four farm houses, SCS has built the agricultural barn that will be divided amongst the four residents and facilitate in storing agricultural produce, machinery, and animals. the building envelope is neutral and consists of 23 x 36 mm treated softwood battens with 23 mm spaces in-between. the interior is defined by the OSB sheets, with the dimensions of the structural members reflecting the fact that OSB is not a commonly used structural material. in total, the project consists of four eco- houses, an agricultural barn, and land where families can grow food and tend animals. ultimately, it will cater to residents who would favor living in a rural setting, without heaving farming but at the same time be close enough to commute to oslo. in order not to disturb the continuity of the topography, the entrance doors are placed at the back the OSB bracing and structural members can be seen in the interior the choice of OSB sheets as the main structural material was due to economic constraints and ease of building corrugated metal sheets are used in the roof and walls, covered outside by treated, spaced, softwood battens client: elisabeth and terje maarud and nes kommune size: 225 m2 (9m x 25m) materials: concrete slab, composite OSB and softwood structural frames and diagonal bracing, corrugated steel roofing sheets, and impregnated softwood cladding. construction period: 6 weeks, may and june 2016. location: dystlandhaugen farm, nes i akershus, norway. client: elisabeth and terje maarud students: alberto ballesteros barea, jon erik dybedal brekken, sara cais soler, hiu yeung amos chan, raphael fournier, ingri heggebø, jørgen joacim høy, silje loe, bao trung mai, alexandra niedermayr, sigurd strøm nørsterud, johann sigurd ruud, marc sanchez olivares, johan by sørheim, marine vincentz, vjera sleutel staff: christian hermansen and marcin wojcik structural eng.: felice allievi, dof engineers 2016-08-05 10:57 Natasha Kwok

30 90-Year-Old Vandalizes Crossword Artwork, Then Claims Copyright on the Result When a 90-year-old retiree visited the Neues Museum Nürnberg in July, she may not have been planning to create a new artwork, but now her lawyer claims that that’s exactly what she did. The woman, known only as Hannelore K., filled in an empty crossword in an artwork by German Fluxus artist Arthur Köpcke that bears the instruction “Insert words!” Ms. K. took the artist at his, ahem, word. Related: Museum Staff Horrified as Elderly Visitor ‘Solves’ Crossword Artwork The authorities call it vandalism; her attorney, Heinz-Harro Salloch,according to the Suddeutsche Zeitung , now says that Ms. K. now holds the copyright over the “augmented” work, and that when the museum repaired it, it violated her copyright. Besides, argues Salloch, Ms. K. has only increased the artist’s fame, and thus the work’s value. Salloch, of the firm Holtkamp Bongard Salloch , furthermore claims that since the Fluxus movement was all about the idea, not the precious object, K.’s act of following the artist’s instructions clearly demonstrates that her knowledge of the Fluxus movement is superior to that of museum staff. The aggressive lawyering echoes that of Cecilia Giménez, the amateur restorer who overpainted a 1930 fresco of Jesus at a small church in the Spanish town of Borja in 2012. The botched restoration of the flaking fresco was hailed and mocked worldwide under the moniker “Beast Jesus,” and ended up drawing thousands of tourists. Giménez managed to claim a cut of the profits. Related: Legendary ‘Beast Jesus’ Restoration Gets Its Own Dedicated Arts Center It remains to be seen if the city of Nürnberg will experience a similar influx of tourists in the months to come. 2016-08-05 10:30 Senior Writer

31 Simply the Best: Martin Creed Is Triumphant at the Park Avenue Armory in New York Martin Creed, “Work No. 2497: half the air in a given space , at the Park Avenue Armory, New York. JAMES EWING/COURTESY PARK AVENUE ARMORY If Martin Creed had been alive in Medieval Europe, it is easy to imagine him as an admired court jester, entertaining the royals with dashes of absurdity while at the same time speaking truth to power, gingerly prodding the monarch. Creed delights in tweaking, and even flouting, convention. He hatches harebrained schemes—usually just single, simple ideas, if we’re being honest—and executes them with absolute commitment. Against all odds, his deadpan Duchampian strategies spill over into profundity. Everyone knows Creed’s most famous work, Work No. 227, The Lights Going On and Off (2000–01). At his magnificent survey, “The Back Door,” which runs at the Park Avenue Armory in New York through August 7, it is stationed in a stately little room with a small door that is continually opening and closing, which is another Creed work (you may guess its title). His art is one of constant, extreme change: on or off, opened or closed. It is about things, situations, people that are here one minute and gone the next. It invites you to live in the moment, for a moment, between those states. Good retrospective exhibitions deftly assemble an artist’s work to tell a story that we know parts of but want to hear in full; great ones offer up myriad new tales by presenting old work in fresh ways. This is a great show. Curated by Tom Eccles and Hans-Ulrich Obrist, it marshals a solid selection of Creed’s greatest hits along with plenty of lesser-known nuggets, tucking them into the intimate and out-of-the-way sections of the Armory that are not often used in the art shows staged there. It renders familiar art and architecture deliciously uncanny. A new video by Creed at the Park Avenue Armory, New York. JAMES EWING/COURTESY PARK AVENUE ARMORY Most importantly, the exhibition leaves the grand drill hall space almost completely empty, in glorious contrast to the more maximal projects that have filled it over the years. It is dark when you walk in and it takes a bit for your eyes to adjust. The only real light comes from a large screen, hanging near the back, that shows short videos of women opening their mouths to reveal piles of food on their tongues. They are presenting their insides to the outer world, showing things that are about to disappear. After each video ends, a door at the center of the back of the Armory slides open, light floods in, and people are revealed going about their business along Lexington Avenue, unaware that they are figuring in a major artwork, that we are following their movements at a distance, rapt, watching a kind of real-life cinéma vérité. The door opens at the Armory. JAMES EWING/COURTESY PARK AVENUE ARMORY Utilitarian spaces along the drill hall are home to a number of Creed’s videos, which are projected along the walls and in makeshift little wooden spaces so that viewers must get up close and personal with them. They are as straightforward and beguiling as his sculptures—a man kicking and then attacking a bunch of flowers, a woman defecating—but sometimes come with surprising doses of emotion and politics, and a snappy soundtrack by Creed. In Work No. 1701 (2013) , a camera follows all types of people, one by one, cross a street near Gavin Brown’s old West Village gallery, walking with a hobble, a limp, or an unusual gate as Creed sings a rollicking pop song that includes lines like “In my car/In my bed/In my head/You return.” It climaxes with a man nobly pulling pulling himself across the roadway with just two gloved hands, unstoppable. And in Work No. 2530: Let Them In (2014), Creed declares in a jaunty, Sgt. Pepper’s -style number, “People/Let them in,” as marchers at a pro-refugee demonstration move across the screen. Creed is the wily, black-sheep heir to the odder inventions of 1960s and ‘70s–conceptualism and Post-Minimalism. In 1969, Robert Barry released various inert gases into the atmosphere; in Half the air in a given space , a work he has reprised in various forms over the years, Creed fills balloons with just that. At the Armory, the balloons are huge, opaque and white, and housed in another well-ornamented room, transmuting a piece that in some iterations has been a fun-house selfie machine (lines stretched around the blocks for his room of red balloons at Brown’s Lower East Side gallery last year) into an experience that takes on connotations of cleansing, self- obliteration, and death. You vanish in the whiteness, lost to yourself and to others. (Though, to be sure, people are still snapping photos.) A still from Martin Creed’s Work No. 1701 , 2013, a digital film that runs 4 minutes, 15 seconds to Creed’s tune ‘You Return.’ ©MARTIN CREED And while Fred Sandback used acrylic yarn to stage subtle perceptual mysteries, Creed delivers more direct works like Work No. 88. A sheet of A4 paper crumpled into a ball (1995) or sculptures that consist of cactuses lined up in height order in a row or chairs or cardboard boxes stacked nimbly atop one another. Reality, in Creed’s estimation, is pretty strange and wonderful as it is, and so the diverse antics of his art serve as a means for underscoring, highlighting, and testing that belief. His art that feels wonderfully at home in the world. As Creed put it in a work that used to adorn Brown’s gallery: “the whole world + the work = the whole world”. As you wander the coves and hallways of the Armory, a ragtag marching band may pass by—with a violinist, a flautist, a trumpeter, a percussionist, and a vocalist on a megaphone. They play a new Creed song, one that revels in procrastination, another in-between state. “I’m going to do something”—a long pause—“soon,” the leader sings through his megaphone. “I’m going to do something/very, very soon.” Of course, he is already doing it. 2016-08-05 10:30 Andrew Russeth

32 Superman’s Debut, the ‘Holy Grail’ of Comics, Sells for Nearly $1 Million How much would you pay for a comic book? Try nearly a million dollars, if it’s an original copy of Action Comics No. 1 , which features the first-ever appearance of Superman. The BBC reports that the rare comic sold on August 4 for $956,000 at Dallas’s Heritage Auctions. Related: $3.2 Million on eBay for Superman Comic Sets New Auction Record The price tag is all the more remarkable when you consider that the comic was sold for just 10 cents upon its original publication in 1938. The Man of Steel quickly became a hit, receiving his own comic the following year, but his original appearance is considered the “Holy Grail” of comic books. There are thought to be only about 100 extant copies of Action Comics No. 1 , which Heritage boasts as “the most important comic book ever published.” In 2014, an unrestored copy rated 9 out of 10 by the Certified Guaranty Company, which rates collectibles, sold for just over $3.2 million on eBay . The copy sold at Heritage was graded just 5.5, which accounts for its lower, if still impressive, price point. It comes from the collection of an anonymous East Coast collector, who purchased it for $26,000 in the 1990s. “This Action No. 1 is one of the best looking among the remarkably rare pool of unrestored copies in the world,” said Matt Nelson, primary grader of CGC, in a statement, noting that the mid-grade rating doesn’t reflect its fine overall appearance. Related: Nicolas Cage Returns $276,000 Stolen Skull to Mongolia Prior to the 2014 sale, the record for Action Comics No. 1 was $2.16 million, for a copy sold by actor Nicholas Cage in 2011. His historic Golden Age comic was actually stolen in 2000, and only recovered a few months before the November 2011 auction. Despite his might, Superman is surpassed at auction by a European comic fave: Tintin, Hergé ‘s boy detective, who holds the comic art record with a €2,519,000 ($3,434,908) sale from 2014. 2016-08-05 10:02 Sarah Cascone

33 ‘The Last Taboo Is the Penis’: John Cheim on ‘The Female Gaze, Part II: Women Looking at Men’ at Cheim & Read Installation view with works by Louise Bourgeois, Diane Arbus, and Alice Neel. BRIAN BUCKLEY/CHEIM & READ “The Female Gaze, Part II: Women Looking at Men,” a group show that runs at Cheim & Read through September 2, is as ambitious in scope as it is in ideology, showcasing work by a wide range of artists–including Tracey Emin, Alice Neel, Diane Arbus, and Jenny Holzer– who have applied a nontraditional lens to viewing and depicting the male figure. Organized by John Cheim, the show comes seven years after the first edition of the show he put on at his gallery, and tracks a history, from the early 20th century to the present, of representations in which men and the rigid concept of manliness are notions to be turned on their head—and ultimately even laughed at. Several times in the exhibition, the male nude is pared down to its essential parts, a move Cheim likened to the framing that occurs in Gustave Courbet’s Origin of the World (1866). I recently met with Cheim at his gallery to hear about curating the show, the function of genitalia in art, and why Tracy Emin reminds him of Amy Schumer. An interview, edited and condensed, follows below. ARTnews: When you did “Women Look at Women” in 2009, were you already planning on a second exhibition? John Cheim: I didn’t think I was going to be doing part two. That was almost eight years ago and I just felt like doing it. It’s not like Kill Bill Vol. 1 and Kill Bill Vol. 2. Lynda Benglis, SMILE , 1974. BRIAN BUCKLEY/CHEIM & READ Many of the works have a certain cheeky, irreverent relationship with the theme. Were you interested in poking fun at the traditional concept of masculinity, or is it more a question of why these works are funny or especially charged in the first place? I would say there are a number of works that directly approach the phallus, which is basically the last taboo in Western culture—it’s very shrouded and guarded. Certainly female genitalia are commonplace in art, from Wesselmann to Jeff Koons to Picasso, from Courbet’s Origin of the World. You’re seeing younger women that deal with this in a very direct and transgressive way. Lynda Benglis, she says she’s a feminist, but she considers herself a playful feminist. The work is from 1971 and is called Smile. This is related to her famous Artforum ad, the one she did with the dildo. That caused a firestorm in its time, but it was really in a way her taking control of the phallus, as a power image, and saying, “I’m controlling it.” And Alice Neel, who I just think is a great painter, was really great early on in addressing portraiture in way that had not been done before. She did a great portrait that I wanted to use in the show, but it wasn’t available, of the critic John Perrault. And he’s splayed on the couch, genitalia completely on view. So we found this, a man in a position sometimes referred to as “manspreading,” and then there is a great Diane Arbus of a character in a similar position, which I thought was fun to put next to each other. So you have the woman here looking directly to Diane Arbus, and the man is turned away, so he’s become basically the object. Installation view with Emin’s Is This a Joke , 2009. BRIAN BUCKLEY/CHEIM & READ And this is [ Is This a Joke by] Tracy Emin, and it makes me think of the movie with Amy Schumer, called Trainwreck. If you see that movie, in it, she had that meathead boyfriend that she’s trying to–do you recall that scene? Well this makes me think of that. It’s what I think of. Nicole Wittenberg—I’ve known about her through Alex Katz—asked me to go see her and visit her in her studio. I was not aware of her work before. I think she’s a really good painter, and when I went to see her, she said, “I’ve been looking at a lot of porn lately.” Then she got all these paintings of gay male porn, and I thought it was really interesting the way she just turned it upside down. But they are beautiful paintings. Nicole Wittenberg, Red Handed, Again , 2014 BRIAN BUCKLEY/CHEIM & READ The concept of gender as it relates to authorship and viewership looms large over this exhibition. Were you curious as a curator how your own perspective shifted and molded the view of the subject? Not by design, through being attracted to their work, [I] have ended up working with a number of artists who are women. So I’ve thought about these issues. I’ve worked with Louise Bourgeois, with Lynda Benglis, with Alice Neel, Jenny Holzer, Ghada Amer. And sexuality has to be a part of it when you are working with these people because you do become aware of the history and the limitations that have been put on women historically. As I said, I see so many shows that strike me, where I’ll walk in and the show will be all male artists and the subject is the female artisan or the artist and his muse. So I couldn’t help but think about it. Jeff Koons or Tom Wesselmann or Richard Prince, the list goes on. I think people are still uncomfortable with the male nude, and it is because of the power structure. The last taboo is the penis. It is the last thing you’re not supposed to see. And why is that? Well, I think it’s about control and power. There was a collector who once told me a story, and he was a speculator collector, so [he was] looking to buy art with the investment in mind. He said, “I have two rules of art: never buy a green painting, and never buy a painting with a willy in it, because it won’t have any value.” So there you have it. 2016-08-05 10:00 Tessa Goldsher

34 34 Carlo Carrà’s Metaphysical Mastery at Blain Related Venues Blain|Southern Artists Giorgio de Chirico “Metaphysical Spaces” at Blain|Southern in London is an exhibition of paintings and drawings by Italian avant-garde artist Carlo Carrà – one of Italy’s most famous 20th century painters. Born in Quargnento (Alessandria) in 1881, Carrà is best known as one of the founders of Futurism, and for his role in the development of Metaphysical painting. Following the end of the Futurist phase around the time of World War I, Carrà began painting in a more simplified, realist style, influenced by the Italian Renaissance painters Uccello and Giotto. “Simplicity in tonal and linear relations – that is all that really concerns me now,” Carlo Carrà wrote in a letter to Ardengo Soffici in 1916. A turning point in Carrà’s practice came in 1917 when he met Giorgio de Chirico in Ferrara, and together they developed what they called “Metaphysical painting.” The Metaphysical style is characterized by dream- like scenes, surprising juxtapositions, and in the case of Carrà, a stillness and harmony found in a single perspective. According to the curatorial statement, “the artists strived to connect with the soul by focusing on quotidian objects and the built environment.” Curated by Ester Coen, an expert in Futurism, Metaphysical art, and Italian and international avant-gardes, “Metaphysical Spaces” spotlights Carrà’s artistic achievements and intellectual journey. At the center of the exhibition is an important selection of his paintings, including a key group of works that have not been shown together in more than 50 years. Highlights include “Mio Figlio,” 1916 and “ Penelope, ” 1917, as well as the artist’s seminal painting “Il Pino Sul Mare,” 1921, which is being shown in the UK for the first time. 2016-08-05 09:38 Nicholas Forrest

35 Meeting This Artist Could Be the Best Thing to Happen to You on the Subway For most New Yorkers, strange acts by fellow passengers on the subway must be endured as part of our daily commutes. However, imagine my surprise this past weekend as I looked up from a conversation with my Tetris- engrossed boyfriend to see that there was a man with a sketchbook across from us, quietly drawing our portrait in broad strokes with a black marker. That man is Orin, and maybe you’ve seen him, too. He told me he’s drawn over 500,000 portraits of people on the subway, as part of a daily project he’s been doing for the last 15 years. Born in Jamaica, Orin is a mainly self-taught artist who attended New York’s High School of Art and Design before dropping out to get his G. E. D. Since then, he’s worked a number of jobs, but nothing gets him going like drawing. “I really can’t be bothered with anything else but creating,” he told me in an email. He credits Julia Cameron’s The Artist’s Way for inspiring his current work. “In 2000, I stopped the dead-end jobs,” Orin wrote. “Since then, I have been drawing people.” Orin was almost finished sketching when I spotted him, and he smiled as I caught his eye. “Can I see it?” I asked. Related: How to Break the Internet With Your Art Seconds later, he had torn the completed page out of the book, and handed it over. “In the moment,” read a caption along the side of the drawing, which perfectly captured our quiet exchange as we rode home. “Keep it,” he said. There was a note on the back, I realized, reading “Enjoy please. Tip if you like.” (We did.) Related: Artist Combats Unwanted Google Glass Surveillance By this point, the man sitting next to Orin had hopped across the car to the empty seat next to me, eager to have his own portrait drawn. “I hate subway performers, like musicians and stuff, but this is so much cooler,” he said. I asked Orin how long each drawing takes, on average. “Someone timed me the other day!” he exclaimed. “About two-and-a-half minutes!” As he settled in on his third drawing of the ride, Orin’s pace slowed noticeably as he chatted with us. “It’s an exercise,” he told a passenger of the ongoing project. “It’s kind of, like, Buddhist for me.” In that, Orin’s work recall the spirit of William Anastasi ‘s meditative subway drawings , abstract, free-flowing scribbles which the artist does every day while he rides the 1 line downtown. Whatever it was, the subway could use more of it. 2016-08-05 08:35 Sarah Cascone

36 For Andy Warhol’s Birthday, an Unknown ‘Self’ Portrait of the Artist THE DAILY PIC (#1607): Tomorrow would be Andy Warhol ’s 88 th birthday, if only he’d lived that long. In honor of the anniversary, I’m posting this striking self- portrait of Warhol that is not by him – the kind of paradox that is at the heart of all his best art. Produced early in 1965, it is almost utterly unknown but also deeply illuminating about what he was all about as an artist. This image counts as a self-portrait of the artist because he composed himself for the image and pressed the camera’s shutter, at long distance via the bulb release he’s got clutched in his hand. On an unlikely assignment for the conservative Saturday Evening Post, the writer Roger Vaughan and photographer Larry Fried had shown up at The Factory to gather material for a profile and to take Warhol’s picture, with the idea that the image would then be silkscreened and “Warholized” for play in the magazine. They came up with the idea of getting the artist to take his own portrait with their camera, and Warhol jumped at the chance, shooting role after role of his own face. He was fascinated, Vaughan told me, by the device that made it possible: “Wouldn’t this be fantastic? You could take a picture of your own death,” Warhol said. (I guarantee he was only pretending to be new to the remote shutter release: He’d been close friends with a number of star photographers in the 1950s and had been taking his own photos since he was a kid – he would have known all the standard photo equipment.) After the shoot, however, when it came time to make the silkscreen, Warhol demanded a full $5,000 to do it – an impossibly vast sum for a magazine image at the time. The Post’ s editors promptly killed the story, no doubt with some relief. Warhol, the gay avant-gardist (notice his trademark banana) wasn’t exactly admired by their mainstream readers or owners; he may have returned the compliment by trying to bust the magazine’s budget. Vaughan wasn’t quite ready to abandon his project, however. He sold his profile to the Herald Tribune ’s Sunday magazine, and he had Warhol’s “self-portrait” photo turned into a high-contrast, Warhol-style serigraphy screen, which he himself printed “just for fun,” he told me, onto a series of canvases painted red, yellow and blue – one of which, shown in today’s Pic, has lived in his home ever since, sometimes out on the porch. I’ve tracked down a few others that survived when an employee at the Saturday Evening Post picked them out of the trash after a spring cleaning there. (One has always lived in a bathroom – “and it still looks great,” the owner told me.) There’s no doubt that the object owned by Vaughan is not by Warhol, in the sense used by connoisseurs and the art market: Its back was in fact stamped “DENIED” by the Andy Warhol Art Authentication Board when that body still existed, and it is most definitely not in the catalogue raisonné of his work. But I believe that the gesture involved in making the piece is totally Warholian – part of his lifelong and very deliberate performance as an artist, a self-fashioning that could never be contained within the covers of any catalog or sold-off at auction. Warhol chose to take his own picture knowing perfectly well it would cause confusion about what counted as a Warhol self-portrait, of which he’d just completed a series. He even chose to leave clear evidence that he had shot the picture himself, in the form of a bulb release he could have easily kept out of the frame. Warhol, well trained in the tricks and deceptions of radical modern art, reveled in disturbing our sense of what genre a picture belonged to (portrait or self-portrait; commercial or fine art) and who its true author might be (since his college days, the vast majority of his works had begun as photos by someone else.) The very idea of dubbing his studio a “factory” – which it never actually was – invoked the idea that the artist’s hand or even presence might not be involved in the making of a piece. Within months of the Vaughan (self)-portrait, Warhol happily lent the screen he’d used for a well-known flower painting to the appropriation artist Elaine Sturtevant, knowing perfectly well that, with his help, she was attacking conventional notions of authorship. Vaughan’s picture is certainly a weapon in that attack. Though clearly not an art work by Andy Warhol, it was a great prop in his act as an artist. (Image courtesy Roger Vaughan) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-08-05 07:53 Blake Gopnik

37 Aspen Art Museum’s Heidi Zuckerman on Why Artist John Outterbridge Is Key to LA Scene Rising from the Los Angeles assemblage movement in the 1960s, John Outterbridge ’s deeply political artworks and political activism propelled him to the forefront of the city’s art scene. Born in 1933 in Greenville, North Carolina, into the Depression-Era Jim Crow South, Outterbridge was confronted with culturally rich, yet segregated upbringing that defined his art and activism for the rest of his life. He went on to study painting at the American Academy of Art in Chicago, before moving to Los Angeles in 1963. There, he adopted assemblage in concert with the movement practiced by African American contemporaries such as David Hammons , Josh Riddle and Noah Purifoy , but also more broadly aligned with the likes of Robert Rauschenberg and Ed Kienholz. The Watts riots of 1965—which exposed the inequalities of blacks and whites living in the inner city—embedded a deeply political undercurrent in the artist work which remains to this day. At the Aspen Art Museum (AMM), a succinct and carefully curated survey of the artists work from the 1970s to present day explores his intricate found object assemblages. In a telephone interview with artnet News, AAM director Heidi Zuckerman, who curated the show, addressed Outterbridge, his work, and the exhibition currently on view. Tell us about the John Outterbridge show currently on view at the AAM. This is an exhibition that was actually organized for Art + Practice [in Los Angeles], and I was there in January for the association of art museum directors meeting, and we did a visit to the space. John Outterbridge is an artist who has been on my list to do a show with for a long time. This is a really succinct, not incredibly expansive, but beautifully-curated survey of work from the ’70s to the most recent work that he’s been making. He’s of a more advanced age, and I felt the timing was really vital in terms of where he is in his life, but also frankly because some of the topics that he’s addressing are relevant to our contemporary times. Outterbridge has a very direct way of addressing social issues in his work. Would you agree with that assessment? I would. I think that the idea of activist-artists and artist-activists is something that people have flirted with over time. I think people like Outterbridge, who have such profound integrity in terms of their practice and are able to have this duality where the artistry informs the activism and the activism informs the artistry, is pretty unique. Can you go into more detail about Outterbridge’s activism? I think most emblematic is his role as the director of the Watts Art Center for so many years. He has lived and worked in the community around where Art + Practice is since the ’60s. And from what I understand he’s a local hero. He first exhibited his first show in the same neighborhood at the very beginning of his career. So he’s an artist like Mark Bradford in many ways, who has been committed to his community and continued to invest both intellectually, and metaphorically, and financially in that same community over time. To what extent do you think race informs Outterbridge’s work? I never like to make assumptions about that. I think we all make life decisions based on who we are and what we know, and I think race is probably an inextricable part of who we are. But I can’t really speak on John’s behalf. How does Outterbridge fit into the assemblage movement? He’s one of the key members of the California assemblage movement. I think it’s so interesting how he talks about how his father was a rag man—which is the title of the exhibition, incidentally—and how he approached the idea of finding value and beauty in things that other people disregard. It’s not only a key insight into the work, but also a metaphorical insight into how he’s approached his life’s practice as well. How do you estimate Outterbridge’s significant within the art historical context of Los Angeles? I think he’s key to the Los Angeles artistic fabric; I think he’s a local hero. I think he existed and exists at the periphery of the commercial aspect of art. And I think that kind of integrity to that committed practice over such a long time is also emblematic of a Los Angles way of art making. Why do you think he wasn’t really accepted by the market? I mean, the work is tough. That’s one of the things I love about it. It’s an incredible reflection of our life and times, and people don’t always want to look at that. Outterbridge’s work isn’t only political, it also has a strong aesthetic quality. Certainly in the way that the objects are assembled and constructed there’s an attention to detail and care. Assemblage in the literal description of the word—an aspect of it is meditative. How have people reacted to the show? The show has been a revelation to many of our visitors, and I’ve had the fortune of taking some artists through yesterday. I took Julian Schnabel through two weeks ago, I took Richard Tuttle through, and they both were overwhelmed by the exhibition and really enjoyed it. When I told Julian that John’s father was a rag man, he laughed and said “mine was too.” I don’t know exactly what he meant, but we did talk about the idea of finding beauty in the things that others disregard. We’re actually doing an exhibition of Julian’s early plate paintings in November. Maybe people will make that metaphorical association between and time- travel between their two practices. “ John Outterbridge: Rag Man ” is on view at the Aspen Art Museum, 637 East Hyman Avenue, Aspen, Colorado, July 1–October 16, 2016. 2016-08-05 07:01 Associate Editor

38 Super X-Ray Technology Reveals Mysterious Edgar Degas Portrait Scientists in Australia have used high tech x-ray equipment to reveal a long-hidden portrait by the great post-Impressionist Edgar Degas. The striking image, thought to be of model Emma Dobigny, remained obscured since Degas painted over it over a century ago. The painting underneath Portrait of a Woman has long been known to exist, but it was previously impossible to reveal it without damaging the painting. The art historical feat has been accomplished thanks a technology called X-ray fluorescence, which employs the Australian Synchrotron, a particle accelerator that generates extremely powerful x-rays able to penetrate the layers of paint without damaging the paintings. “Each element has its own unique signature, and so that gets collected,” Dr Howard, of Australian Synchrotron, told the BBC . “And what we do is analyze that data and build up these ‘elemental maps’. And that allows us to image all the different pigments used in the panting.” Related: Leonardo da Vinci’s ‘Mona Lisa’ Has Another Portrait Hidden Underneath Using this information the scientists referred to Degas’ catalogue and identified the woman in the hidden work as Dobigny, a popular model of the day, whom Degas painted several times around the year 1869. “Previous academic works about Degas suggests it was around 1869 when he was painting Emma Dobigny,” Dr Howard said. “The current portrait is thought to have been painted about seven to 10 years later, so there is a big gap. It is possible that the painting remained in his studio for several years before he decided to paint over it,” he added. Related: New Scans Reveal More Details of Ghostly Image Beneath Centuries Old Rembrandt The work itself in currently on view at the National Gallery of Victoria in Melbourne, whose team is understandably thrilled at the discovery. “It’s always an exciting moment to behold something produced by the hand of an artist that was otherwise previously unseen,” Michael Varcoe-Cocks, head of conservation at the museum, told the BBC . “The situation is slightly different here as the image has always been partially visible in the second painting, so the process was more like revealing the other side of a half-drawn curtain,” he added. Related: Degas’s Little Dancer Inspires New Musical With the introduction of this new technique, one certainly wonders what other secrets may be lurking in the annals of art history. 2016-08-05 06:36 Contributing Writer

39 Moscow’s Garage Museum Announces Pop- Up Exhibition in St. Petersburg The Garage Museum of Contemporary Art in Moscow has announced an exhibition of work by emerging Russian artists at a brand new off-site location on New Holland Island, St. Petersburg. The man-made island, named like that because of its visual similarity to Amsterdam, is home to several 18th century buildings that underwent years of neglect following the Russian Revolution. After the successful experimental temporary program “Summer on New Holland,” which took place on the island between 2011 and 2013 and that was funded by Dasha Zhukova’s foundation, New Holland has recently undergone an extensive revamp in an attempt to transform it into a cultural hub. Related: Garage Museum To Inaugurate First Russian Art Triennial in 2017 The new exhibition space is not the first beautifying intervention made by the young institution. Founded in 2008 by Zhukova, a Russian philanthropist and mega-collector, last year the Garage Museum moved into a repurposed Soviet restaurant in Moscow’s Gorky Park, for which the architect Rem Koolhaas designed a new polycarbonate skin. Related: Dasha Zhukova Opens Rem Koolhaas-Designed Garage Museum of Contemporary Art In Moscow The institution’s pop-up show will take place in a temporary pavilion on the island, which is reopening as a public park on August 27. The exhibition, titled “Experiences of the Imaginary” and curated by Andrey Misiano, will showcase the work of nine emerging Russian artists: Nikolai Alexeyev, Aslan Gaisumov, Evgeny Granilshchikov, Ilya Dolgov, Anastasia Kuzmina, Kirill Makarov, Ivan Novikov, Alexandra Sukhareva, and Anna Titova. These up-and-coming artists were all recipients of the Garage Museum’s supporting grant. Related: Taryn Simon Goes Nuclear, Literally, at Moscow’s Garage Museum “Experiences of the Imaginary” will be on view at New Holland Island, St. Petersburg, from August 27-September 25, 2016. 2016-08-05 06:00 Naomi Rea

40 White Haze and Gold Coins: Kei Takemura Perceives Things Falling From the Sky Related Venues Taka Ishii Gallery Artists Titian Young Japanese artist Kei Takemura returns to Tokyo- based Taka Ishii Gallery for another solo show after four years. The gallery is presenting her latest series in the exhibition “Something Falling from the Sky,” which runs through September 3. Approximately 20 works exemplifying Takemura’s experimental appropriation of photographic paper have been selected from her recent body of work. Ever since the artist witnessed the Great East Japan Earthquake of March 11, 2011, Takemura has become astutely aware of her surroundings and environment – especially strange and random things that may fall from the sky – observing the drastic transformation compared to what once was. Inspired by this concept, she applied it to her new works, which demonstrate how history and culture have been recreated through people’s memories and perceptions. The works are based on moments experienced by the artist in her everyday life, expressed through her personal sensations and modes of perception. They symbolically convey a reality that “could have occurred.” In the work “Danae,” Takemura includes a reference to Titian ’s original painting of Princess Danae, in which her lounging figure is being showered with gold coins. The artist combines this with moments taken from her own memories or events, trying to instil new meaning into them. This latest project alludes to Takemura’s aim to reshape certain things that "continue to exist today despite their changing appearance or role. " The artist is recognized for her work with embroidery, wrapping broken or obsolete objects in silk. By overlapping a photograph or painting with a layer of embroidered cloth , she attempts to provide forgotten objects, places, and even memories with a tangible existence. In other words, she seeks to preserve the objects and restore their former dignity. In this, the artist took cues from her grandmother, who used to do something similar with household dishes and porcelain. 2016-08-05 05:37 Claire Bouchara

41 41 Tracey Emin, David Shrigley, and Sam Taylor- Johnson Create Posters for Team GB at Rio 2016 Eight leading British contemporary artists —including Tracey Emin , Anne Hardy, Howard Hodgkin , Sarah Jones, Eddie Peake, Benjamin Senior, David Shrigley, and Sam Taylor-Johnson—have created the official limited edition prints for Team GB at the Rio 2016 Olympic Games, which will start tomorrow. Prints and posters have been commissioned for every edition of the Olympic Games since 1912, and the tradition has longtime provided a space for the rare encounter of art and sport. Related: See the Winning Art Posters of Rio’s 2016 Summer Olympics The 2016 Team GB prints have been made by Counter Editions , the body behind the official prints for the London 2012 Olympic and Paralympic Games, the official prints for Team GB at the Sochi 2014 Olympic Winter Games, and the Baku 2015 European Games. Each artist has produced a unique image imbued with the spirit of British team and celebrating the rich culture and heritage of Rio and Brazil, and the prints range from abstract swatches of color to more literal interpretations of the brief. The good news is that they can be yours if you like them. Individual prints have prices ranging from £475 for Taylor-Johnson’s Wanderer Above the Sea of Dreams to £2,000 for Shrigley’s Life Is Fantastic. If you are feeling like splashing, however, you can buy the handsome box set containing all eight of them for £6,100. See images of the official prints for Team GB at Rio 2016 below, and get in the mood for the big opening ceremony tomorrow! 2016-08-05 05:30 Naomi Rea

42 Gallery Hopping: Kris Martin at König Galerie, Berlin While most European dealers take the month of August off, or put on group shows to test out new positions and air out available works, König Galerie Berlin is presenting a solo show by one of its leading artists, the Belgian Kris Martin. Related: Europe’s 10 Most Respected Art Dealers Martin’s work is pensive and earnest, often dealing with the big questions of the human condition, and the passing of time. However, whether working with modified found objects or with flawlessly produced surfaces, his body of work retains a certain lightness and openness that allows the viewer to apply personal experiences to their interaction with the sculptures and installations. The unique yet architecturally challenging setting of the former brutalist church-turned-gallery is a perfect fit for Martin’s work. With sculptures that resemble memento mori , set on mirrored plinths that reflect their surroundings, and a photograph created by overlaying pictures of candle light taken over one year (the work is hence titled One Year ), themes like ritual and the comfort they can offer are never far away. A towering sculpture titled Angel (2016), created in wood, is impressive in both scale and detail. Showing it in the German capital also creates an intriguing connection to the golden victory column, the Siegesäule , that watches over Berlin, famous from the Wim Wenders film Wings of Desire. See more images from the exhibition below: Kris Martin is on view at König Galerie from July 15 – August 14, 2016. 2016-08-05 05:00 Hili Perlson

43 Freaky Ventriloquist Dummies Populate an Oddball Norway in 'Prungen' [Premiere] Image courtesy of Trista Namo & Fehl Roch Whether on kids' TV shows or in horror films starring a young Anthony Hopkins ventriloquist puppets have an inherent ability to put the E. T. A. Hoffmann creeps on you. The uncanny unease they fill us with is fully toyed with in a new music video for Norwegian jazz collective Jaga Jazzist and their song “Prungen” from album Starfire on Ninja Tune. Directed by Norwegian duo Trista Namo & Fehl Roch the slightly ominous and foreboding tone of the track is echoed in the unsettlingly bizarre and escalating narrative. Using live-action puppetry and CGI it sees a German man-puppet head to Norway to scatter his grandfather’s ashes in the sublime scenery of the fjords, but things quickly spiral into weirdness. Image courtesy of Trista Namo & Fehl Roch From the moment he steps off his tour boat and falls backwards scattering his kroner into the water, nothing really goes as planned. Along the way he angers some folk dancers, sleeps on the streets, comes across a Nazi cult, gets attacked, witnesses a fight between good and evil swastikas, and learns some not-so-nice secrets about his grandfather—all soundtracked perfectly by the frantic electronica of Jaga Jazzist. “It started out as an idea about doing a story about a person on a seemingly easy mission.” Trista Namo explains to The Creators Project. “But through a series of mishaps he is spun in a downwards spiral ending at the place he wanted to go in the first place, but with his view on the original mission quite changed. " Image courtesy of Trista Namo & Fehl Roch To make the vid they created their puppets (“Made in size 104 like a 4-year old child.”) and shot them against a green screen, applied 3D- mapped photo backgrounds, CGI vehicles and CGI water. This mix of techniques makes the whole thing extra odd, something akin to the feel of Jan Švankmajer and The Brothers Quay, but a bit more anarchic and mischievous. Image courtesy of Trista Namo & Fehl Roch "There’s also a dash of Terry Gilliam’s animations from the Monty Python period in the mix. " notes Namo. "We wanted to create an unnerving world for the story, and after working with digital animation techniques for a long time we were looking for something analog that could be shot live action. Ventriloquist dummies seemed to work nicely for both purposes. " Check out the music video for “Prungen” below. Catch Jaga Jazzist on tour at the following dates across Europe: 22nd November, Santeria Social Club, Milan, Italy 23rd November - Monk Club, Rome, Italy 24th November - TBC, Turin, Italy 25th November - Bronson Club, Ravenna, Italy 26th November, Latteria Molloy, Brescia, Italy 27th November - Teatro La Claque, Genoa, Italy 30th November Fri-Son, Fribourg, Switzerland 1st December - Alte Feuerwache, Manheim, Germany 2nd December - Gretchen, Berlin, Germany 3rd December - Stadtgarten, Cologne, Germany 2016-08-05 04:00 Kevin Holmes

44 silvia allori self-designs studio apartment in florence white laminate dominates the residence and in-home office of italian architect silvia allori in florence. originally constructed in the 1970s, allori’s efforts are detail-oriented, ensuring maximum efficiency of space and utility in the limited spatial allowance. laminate is utilized to hide cabinets, a fold-out table, various lights, and other building infrastructure. the home is almost entirely white, rigidity being broken (with the exception of home décor) in only two ways: perforated wall inserts for lights, and ceiling-bound rectangular beams that run the length of the apartment. a small kitchen is separated from the rest of the home with a repurposed isothermal emergency blanket. the renovation was led and completed by architect silvia allori. the modular main room revolves around two main widths (165 cm, 195 cm) with a depth of 113 cm the ceiling — dominated by white — is accompanied by slender rectangular bars that run through the home 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. 2016-08-05 00:15 Silvia Allori

Total 44 articles. Created at 2016-08-06 00:01