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48 articles, 2016-04-19 06:01 1 Editors' Picks: 12 Art Events This Week April 18 From a chance to see Jeff Koons to the opening of Mary Bauermeister's newest show, we rounded up this week's best art events in the greater New York area. 2016-04-18 17:48 8KB (2.00/3) news.artnet.com

2 Guggenheim Suspends Talks with Gulf Labor Gulf Labor wants to ensure safe, just working conditions on Saadiyat Island, site of the Guggenheim's Abu Dhabi location. The museum says it wants the same. 2016-04-18 12:52 5KB news.artnet.com (2.00/3)

3 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a... 2016-04-19 02:06 11KB www.walkerart.org 4 From Archive to Art House: Two Ruben/Bentson Films Mark Metrograph Opening In March 2016, a new independent movie theater opened its doors on New York City’s Lower East Side with two films from the Walker Art Center's collection among its initial screenings. A two-screen c... 2016-04-19 02:06 940Bytes blogs.walkerart.org 5 AART architects to extend oslo's new viking age museum danish firm AART architects has been awarded first place in architectural contest to design a viking-themed museum in norway. 2016-04-19 00:20 3KB www.designboom.com 6 konstantine gricic's ETTORE mule emblem for magis at salone del mobile 2016 konstantine gricic designs a mule emblem named ETTORE for magis' 40th anniversary at salone del mobile 2016 that reflects the company's spirit. 2016-04-18 21:01 1KB www.designboom.com 7 Massive CGI Crowd Simulation + Swords = Total Chaos You, too, can make your own videos with the software used to make 'Lord of the Rings' battle sequences. 2016-04-18 20:55 1KB thecreatorsproject.vice.com 8 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-04-18 21:12 1KB gdusa.com 9 dan lam's drippy sculptures ooze a curvaceous anatomy of spikey neon matter artist dan lam has formed a series of vibrant, free-standing 'drippy sculptures' that resemble organic matter found on another planet. 2016-04-18 20:01 1KB www.designboom.com 10 A Slice-of-Life Stop-Motion Set During an Argentine Dictatorship Guilt, psychology, and politics swirl in Santiago 'Bou' Grasso's gritty short film, "Padre. " 2016-04-18 19:20 2KB thecreatorsproject.vice.com 11 Tim Burton, David Cronenberg, and More Inspire an Art Exhibition Film art inspires the multimedia works in ‘FADE IN: INT. ART GALLERY – DAY,’ the Swiss Institute’s latest exhibition. 2016-04-18 19:15 6KB thecreatorsproject.vice.com

12 a look at zaha hadid's unfinished projects 36 projects in 21 countries by zaha hadid remain in development, with four highly- anticipated schemes completing later this year. 2016-04-18 19:02 4KB www.designboom.com 13 The Lumineers’ ‘Cleopatra’ Debuts at No. 1, No ‘Ho Hey’ Required The folk band from Denver scores a big Billboard debut, proving the success of its breakout single wasn’t a one-off. 2016-04-18 18:45 1KB artsbeat.blogs.nytimes.com 14 sir peter blake paints bentley's latest continental GT V8 S convertible art car for charity best known for designing sleeves for the beatles, sir peter blake bright clearly defined colors to the powerful twin-turbo V8 bentley continental. 2016-04-18 18:15 1KB www.designboom.com 15 Pen Drawings of Hellspawn | Monday Insta Illustrator Coffee zombies and indecisive demons live in Shirley Dark's Tim Burtonesque sketches. 2016-04-18 17:55 2KB thecreatorsproject.vice.com 16 karim rashid + pepsico reveal full line of premium bottles with bar accessories the collaboration with karim rashid developed a sleek alumnium form and complementary barware accessories - an ice bucket, bottle opener, deluxe display packaging and aperitif tray. 2016-04-18 17:30 1KB www.designboom.com 17 Elisabeth Hase at Robert Mann Gallery, New York Pictures at an Exhibition presents images of one notable show every weekday 2016-04-18 17:18 2KB www.artnews.com 18 Shanghai Museums Grow Up: At the Long Museum and the Yuz Museum Installation view of "Alberto Giacometti: Retrospective," 2016, at Yuz Museum, Shanghai. ALESSANDRO WANG/©2016 YUZ MUSEUM, SHANGHAI; FONDATION GIACOMETTI, PARIS 2016-04-18 17:13 6KB www.artnews.com 19 Gitman Vintage Makes Shirts for Graduate Hotels’ Guest Service Staff The new shirts will be introduced at Graduate Ann Arbor later this month. 2016-04-18 17:04 1KB wwd.com 20 HBO's Exclusive Game of Thrones Art Show HBO recently announced plans of hosting a private art exhibition titled "Art of the Throne" inspired by their hit series 'Game of Thrones.' 2016-04-18 16:51 2KB news.artnet.com 21 Amanda Ross-Ho on OMEGA and Her Creative Origins For her contribution to Ordinary Pictures , Amanda Ross-Ho worked with movie industry prop fabricators to create a large-scale, hand-made... 2016-04-18 15:15 926Bytes www.walkerart.org 22 Josh Tyrangiel Puts Together His Team at Vice Tyrangiel has added a slate of new hires to work on Vice’s daily HBO newscast. 2016-04-18 16:42 2KB wwd.com 23 the canvas project depicts figures from famous paintings in ordinary modern day settings the canvas project gives life to well-known personages of famous paintings by placing them in different modern day settings around the world. 2016-04-18 16:30 2KB www.designboom.com

24 A Blade of Grass Names 2016 Fellows for Socially Engaged Art This year's fellows. COURTESY A BLADE OF GRASS A Blade of Grass, the organization devoted to art that promotes social change, has named its 2016 ABOG Fellows 2016-04-18 16:22 2KB www.artnews.com 25 Take a Bite into Fetish Culture with 'BRKFST Magazine' 'BRKFST Magazine' founder Paul-Simon Djite talks kink, sexuality, and his new publication. 2016-04-18 16:00 6KB thecreatorsproject.vice.com 26 A Narrative for the Body: Shahryar Nashat’s Present Sore Artist Shahryar Nashat recently made Present Sore (2016), a composite portrait of the 21st-century body mediated by substances both organic and fabricated. In this new interview, Walker Bentson Mo... 2016-04-18 16:23 967Bytes blogs.walkerart.org 27 Talking to the Founder of "Shazam for the Art World" New iOS app Magnus gives you all the information you could ever want about a work of art. All you need to do is point your smartphone camera at it. 2016-04-18 15:35 3KB thecreatorsproject.vice.com 28 Art Demystified: Why Galleries Don't List Prices Why are galleries so reluctant to openly display prices? We explain what determines price and how first time buyers can navigate art pricing. 2016-04-18 15:32 2KB news.artnet.com 29 Herzog & de Meuron, Ian Schrager Make Waves in New York’s West Village Pritzker Prize winning architects break ground at 160 Leroy, Ian Schrager’s $350 million condominium. 2016-04-18 15:17 4KB www.blouinartinfo.com 30 Longjourney and Stephen Kenn Hammer Out Furniture Collaboration Longjourney’s Alonzo Ester and Alex Carapetian used excess fabric from their men’s line to design a sofa and an armchair with Stephen Kenn. 2016-04-18 15:00 2KB wwd.com 31 A Virtual Reality Dive with the Ocean's Largest Predatory Mammals A new virtual reality film by VRSE.works puts you side-by-side with sperm whales and dolphins. 2016-04-18 15:00 3KB thecreatorsproject.vice.com 32 Ann Freeman Breaks Her Silence Disgraced art dealer Ann Freedman spoke to the Art Newspaper about Knoedler's legendary fraud trial. Find out the five most important things she had to say. 2016-04-18 14:51 2KB news.artnet.com 33 Demon Guts and Future Guns: Designing the New 'DOOM' “There’s a fair bit of humor in tearing demons apart with your bare hands or slicing them in half with a chainsaw” says DOOM exec producer Marty Stratton. 2016-04-18 14:35 5KB thecreatorsproject.vice.com 34 China Cracking Down on Children on Reality TV In new guidelines issued by the State Administration for Press, Publication, Radio, Film and Television, children — especially children of celebrities — have been banned from participating in reality TV shows. 2016-04-18 14:28 5KB artsbeat.blogs.nytimes.com

35 Modern Visionaries Mix Grotesque Cartoons, Glass Architecture at Berlinische Galerie “Modern Visionaries” at Berlinische Galerie presents the works of three German artists, whose sketches, architectural designs and drawings mix inspirations and styles. 2016-04-18 13:51 2KB www.blouinartinfo.com 36 Breaking Records at Art+Feminism's Wikipedia Edit-A-Thon For a record-breaking year of editing 1,500 pages and creating 2,000 pages in support of women in the arts, Art+Feminism supported 2,500 participants for 175 events in 6 continents. 2016-04-18 13:20 4KB thecreatorsproject.vice.com 37 Russian Museum Hires Cat, Snowden Makes Techno: Last Week in Art The fat and orange cat, Maray, has his own name plaque at the Serpukhov Historical and Art Museum and Snowden's track, produced with Jean-Michel Jarre, is over 6 minutes long and is called "Exit. " 2016-04-18 13:10 5KB thecreatorsproject.vice.com 38 Ginnifer Goodwin, Gene Simmons, Tony Goldwyn and Jeremy Piven Rock Out at John Varvatos’ Stuart House Benefit For his 2016 fund-raiser, John Varvatos closed down a West Hollywood block and turned up the volume with Sammy Hagar and Cheap Trick. 2016-04-18 13:08 3KB wwd.com 39 dolce&gabbana transforms smeg's FAB28 refrigerator into a work of art six artists took the refrigerator’s sinuous lines and retro form and hand-painted them with images the reference the island like lemons, the trinacia symbol, cart wheels, medieval knights, and battle scenes. 2016-04-18 12:58 2KB www.designboom.com 40 In Dialogue With Reality: Jacob Wren’s “Rich and Poor” The artist and writer's latest novel abounds with questions of the nature of political action and how you can change the world. 2016-04-18 12:49 4KB www.blouinartinfo.com 41 Sponsored: 7 Hidden Treasures for Sale at a 104-Year-Old New Orleans Art Gallery M. S. Rau Antiques is a New Orleans French Quarter landmark and one of the leading art galleries in the United States today. 2016-04-18 12:10 3KB www.blouinartinfo.com 42 From Planet Haturn Gypsy Sport / New York The newfound visibility of fashion label Gypsy Sport comes at just the right moment. From the outside, Gypsy Sport strokes our current delectation within contemporary art for a bespoke revivalism,... 2016-04-18 11:26 4KB www.flashartonline.com 43 Sculpture Meets Photography at Rodin Museum Sculpture Meets Photography at Rodin Museum 2016-04-18 10:55 2KB www.blouinartinfo.com 44 Tour The 2016 Coachella Art Installations Tour the Coachella Valley Music and Arts Festival, which saw some of the largest art installations in the event's history. 2016-04-18 10:46 1KB news.artnet.com 45 Hollywood Agency WME Has Big Stake in Frieze- It's official: Hollywood agency William Morris Endeavor Entertainment (WME) buys major stake in the popular Frieze Art Fair. 2016-04-18 10:22 2KB news.artnet.com 46 Art16, London's Global Art Fair, Reveals List of Exhibitors Art16, London’s global art fair, has announced the list of exhibitors for its fourth edition in 2016 from May 20-26 at Olympia London. 2016-04-18 10:21 5KB www.blouinartinfo.com

47 Morning Links: Knoedler Gallery Edition Must-read stories from around the world 2016-04-18 08:54 1KB www.artnews.com

48 A Sachin Watch, And Stunning Jewels at Saffronart Auction A ‘Sachin’ Watch, And Stunning Jewels at Saffronart Auction 2016-04-18 08:00 4KB www.blouinartinfo.com Articles

48 articles, 2016-04-19 06:01

1 Editors' Picks: 12 Art Events This Week April 18 (2.00/3) Through Saturday, April 23: 1. William Wegman , " Postcard Paintings " at Sperone Westwater Gallery William Wegman may be best known for his photographs featuring Weimaraners, but his skill as a painter is on full display in Nolita. The artist, an avid collector of vintage postcards, uses them as the focal point of inspiration at Sperone Westwater, vastly expanding on scenes ranging from San Francisco's Golden Gate Bridge to a salon-style lesson in art history. Wegman copies and expands on the imagery in each card to build an entrance into an entirely new world. Location: 257 Bowery Price: Free Time: 10:00 a.m.–6:00 p.m., Tuesday–Saturday —Eileen Kinsella Through Sunday, May 22: 2. Group Show: “ So Much, So Little, All at Once " at Regina Rex Gallery This group show at Regina Rex gallery, tucked between Chinatown and the Lower East Side, features a wealth of works by eleven artists, including Mike Cloud , Melissa Brown , and EJ Houser. Max Warsh , an artist and one of the gallery's founders, told artnet News that the exhibition, whose press release contains curator Yevgeniya Traps' poem involving Her Highness Marianne Faithfull, is dedicated to "materiality and figuration. " Location: 221 Madison Street Price: Free Time: 12:00–6:00 p.m., Thursday–Sunday —Kathleen Massara Wednesday, April 20: 3. Artist Talk: Jeff Koons in Conversation with Glenn Fuhrman at the FLAG Art Foundation On the occasion of FLAG's current group exhibition, " Cecily Brown, Jeff Koons, Charles Ray" (through May 14), the foundation's founder, Glenn Fuhrman, will chat with artist Jeff Koons on the show's "themes of youth, nostalgia, and intimacy," and the "jarring disconnect between innocence and subversion," according to the event description. Location: 545 West 25th Street, 9th Floor Price: RSVP Time: 6:00–8:00 p.m. —Sarah Cascone Thursday, April 21: 4. Beatriz Santiago Muñoz in conversation with Patricia Gherovici at the New Museum As the artist's first solo exhibition at a New York museum launches, Beatriz Santiago Muñoz will speak with psychoanalyst Patricia Gherovici about feminist utopias and "post-patriarchal future[s]. " (Gherovici is the author of Lacan on Madness and Please Select Your Gender: From the Invention of Hysteria to the Democratizing of Transgenderism, among other books with intriguing titles.) Location: 235 Bowery Price: $15 Time: 7 :00 p.m —Kathleen Massara 5. Tom Sachs , " Boombox Retrospective, 1999—2016 " at the Brooklyn Museum Tom Sachs pays tribute to the boombox with a sound and sculpture installation in the Rubin Pavilion at the Brooklyn Museum of Art. The artist has transformed everyday materials into 18 sculptural boomboxes that will play music and activate the space. The show includes Presidential Vampire Booth (2002), a work that comes with a presidential seal and a stocked bar. Location: 200 Eastern Parkway, Brooklyn Price: $16 suggested Time: 11:00 a.m.–6:00 p.m., Wednesday and Friday–Sunday; 11:00 a.m.–10:00 p.m., Thursday —Rozalia Jovanovic 6. Rashaad Newsome , " Stop Playing in My Face! " at De Buck Gallery If Rashaad Newsome's exploration of voguing as a dance form at the Studio Museum in Harlem left you hungry for more, then his upcoming exhibition at De Buck Gallery in Chelsea might serve as a complementary companion. In "Stop Playing in My Face! " (which opens this Thursday), Newsome offers us new inquiries into pop portraiture with a return to his Baroque-bling collages. Location: 545 West 23rd Street Price: Free Time: 10:00 a.m.–6:00 p.m., Tuesday–Saturday —Rain Embuscado 7. Mary Bauermeister , " Omniverse " at Pavel Zoubok Gallery Multi-media artist Mary Bauermeister hasn't had a solo show in New York since 1972, shortly before she moved back to her native Germany. The 81-year-old has remained busy in the decades since, and will show a combination of new and historical works. Don't miss her “howevercalls"—stunning relief sculptures made from smooth, rounded beach stones collected in Sicily and painstakingly stacked and glued according to size. Location: 531 West 26th Street 2nd Floor Price: Free Time: 6:00–8:00 p.m. —Sarah Cascone 8. Group Show: " Untitled (Affection) " at Parenthesis Art Space According to curator Luis Martin , the six artists included in the show take cues from Felix Gonzalez-Torres's body of work, which, with emotionally-charged pieces like Untitled (Perfect Lovers) and Untitled (Portrait of Ross in L. A.) , serves as a natural reference point to a show on affection. The artists in the exhibition include photographer Katherine Finkelstein , Ryoichi Nakamura , and Matthew Eck, who launched Miami's X Contemporary fair in 2015. Location: 203 Harrison Place 3rd Floor, Brooklyn Price: Free Time: 6:30–9:00 p.m. —Rain Embuscado Friday, April 22: 9. Artist Talk: Ramiro Gomez at the New York Academy of Art Los Angeles-based artist Ramiro Gomez sneaks in portraits of undocumented laborers, such as maids and gardeners, into the sun-soaked scenarios of David Hockney paintings. On Friday, he'll be at the New York Academy of Art to present Domestic Scenes: The Art of Ramiro Gomez , with an introduction by author Lawrence Weschler. Location: 111 Franklin Street Price: Free Time: 6:30 p.m. —Christian Viveros-Fauné Friday, April 22: 10. Artist Talk: A Conversation with Adriana Varejão for " Kindred Spirits " at Lehmann Maupin Before she takes on the Aquatic Stadium at the upcoming Rio Olympics, Adriana Varejão is exploring how Native American art has influenced 20th-century minimalism in her sixth show at Lehmann Maupin. In the 29 self-portraits that make up Kindred Spirits , sparse lines coexist with a variety of Native American face paintings, while her Mimbres series consists of a series of oil paintings that reference designs of the Mimbres people who once dwelled in the American Southwest. Both series pay tribute to overlooked influences, and the need to recognize origins. Location: 201 Chrystie Street Price: Free Time: 5:00 p.m. —Rain Embuscado Saturday, April 23 and Sunday, April 24: 11. Tobias Madison and Matthew Lutz-Kinoy , " Rotting Wood, the Dripping Word " at MoMA PS1 MoMA PS1 has invited Swiss artist Tobias Madison and Los Angeles-based artist Matthew Lutz-Kinoy for a two-day performance piece in homage to Japanese playwright and filmmaker Shūji Terayama, which takes place on Saturday, April 23 and again on Sunday, April 24. Their collaborative venture is part of the museum's ongoing commissions-based series, Sunday Sessions. Location: 22-25 Jackson Ave, Long Island City Price: Free Time: 4:00 p.m —Rain Embuscado Sunday, April 24: 12. International Sculpture Day at Mana Contemporary Sunday is International Sculpture Day , and Mana Contemporary is teaming up with the International Sculpture Center to celebrate. The festivities will include artists' open studios, sculpture shows by Anthony Quinn and Ben Keating , and the opening of the group exhibition, “ Wake the Town and Tell the People ," featuring a slew of works made "from porcelain to plywood and bronze to balloons," according to Mana's website. As part of the show, performer and printmaker Jamezie will engage with the participatory work …But Will the People Listen? from 3:00–5:00 p.m. Location: 888 Newark Avenue, Jersey City Price: Free Time: 1:00–6:00 p.m —Sarah Cascone Follow artnet News on Facebook. 2016-04-18 17:48 artnet News

2 Guggenheim Suspends Talks with Gulf Labor (2.00/3) The Solomon R. Guggenheim Museum has brought an end to talks with the Gulf Labor Artist Coalition, an activist group that has been critical of the museum's planned location in Abu Dhabi , and the living and working conditions of those responsible for its construction. "Gulf Labor continues to shift its demands on the Guggenheim beyond the reach of our influence as an arts institution while continuing to spread mistruths about the project and our role in it," wrote the museum's director, Richard Armstrong, in an e-mail sent to curators, critics, and artists on April 17, claiming that "direct discussions [with Gulf Labor] are no longer productive. " Official talks between the two groups commenced in June 2015, following the one-day occupation of the Peggy Guggenheim Collection in Venice organized by the related group G. U. L. F. (Global Ultra Luxury Faction) one month earlier. Subsequent in-person meetings with museum officials took place in September and February, with G. U. L. F. voluntarily suspending all public demonstrations while talks were ongoing. "Since the Guggenheim has unilaterally broken off negotiations with Gulf Labor, G. U. L. F. considers that its self-imposed moratorium has ended," wrote Gulf Labor member Andrew Ross , a New York University professor who has been banned from the UAE, in an e-mail to the New York Times. "It will resume direct actions against the museum in New York and elsewhere. " Guggenheim spokesperson Tina Vaz offered the Times the following statement in response to the prospect of renewed demonstrations: "This threat is more proof of their singular focus on the Guggenheim rather than a sincere attempt to deal with an issue of global complexity that involves many players. " Earlier this year, Gulf Labor proposed beginning biweekly meetings with the Guggenheim and representatives from the Tourism Development & Investment Company in Abu Dhabi to improve employment issues relating to wages, debt, worker representation, and monitoring, among other issues. "The museum's decision, while regrettable and short-sighted, will not affect the Gulf Labor Coalition's efforts to ensure fair working conditions," artist Walid Raad told artnet News in an email. "We will continue our research, publish our findings, interviews workers, builders, contractors, and others involved in the building of the Guggenheim in Abu Dhabi. " Raad and Ross joined Noah Fischer, Tania Bruguera , and other artists in signing a Gulf Labor statement condemning the museum's decision to break off talks. The museum sees the decision in a different light, however. "We did offer to stay in communication with them around project milestones and developments," Guggenheim spokesperson Tina Vaz told artnet News in a phone conversation. "It's really a reassessment of the specifics of the engagement as opposed to cutting off all communication with them. " She continued, "We are committed to ensuring and safeguarding the welfare of workers who will build the future museum. " In 2011, the museum hired Price Waterhouse Coopers as an independent monitoring firm; four years later, it released a report on labor conditions on site. The firm interviewed 880 workers on Abu Dhab's Saadiyat Island and noted that they have access to on-site medical care, and live in "a modern housing complex that meets global standards," according to the 2015 report. In addition, employees stated that they "are in possession of their passports or had deposited them with employers willingly for safe-keeping. " Armstrong stands behind such findings. "The Guggenheim Abu Dhabi continues to be maligned by some critics as a symbol of aggressive commercial expansion and as a perpetrator of grave abuses against foreign migrant workers. We would like to set the record straight," he writes. "There are currently no workers on the Guggenheim Abu Dhabi and there is no construction on the site because a contractor has yet to be selected. " Despite the Price Waterhouse Coopers report, and the Guggenheim's insistence that it is adhering to fair labor practices, the lack of transparency and continued reports of abuse still offer considerable cause for concern. Years later, journalists are reportedly still not allowed to visit without government minders. "The Guggenheim is pursuing a self-destructive path, putting institutional hubris, and PR needs, before any pursuit of migrant labor rights," Gulf Labor wrote. "This is institutional power that treats the labor force building museums, and the artists' involved in museums, as disposable and replaceable. " Follow artnet News on Facebook. 2016-04-18 12:52 Sarah Cascone

3 3 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a vanguard artist. As a composer of sound, movement, and film, Monk is one of the most innovative American artists of our time. Her expansive body of work, anchored by her trademark, three-octave voice, transcends definition; it is simultaneously contemporary yet timeless, deeply personal yet universal. Since the beginning Monk has pushed boundaries within her practice, and she continues to do so today. But her explorations of sound, time, and space, in whatever form they take, all bear her unmistakable signature. Meredith Monk and the Walker share a long, rich history that has spanned the majority of her career. Since 1974, the Walker has supported Monk’s artistic activity across a variety of mediums, including commissioning five key works, presenting an array of her creative output over 11 visits to the Walker, hosting six artistic and community residencies, featuring her in a prominent exhibition in the Walker galleries, and acquiring her iconic 16 Millimeter Earrings, 1966/98 for the Walker’s visual arts collection. What follows is a chronological history of Meredith Monk’s legacy with the Walker, one that’s sure to continue far into the future. The Walker first presented Meredith Monk’s work in 1974 with Act II from Education of the Girlchild , a theatrical opera, which, in this version, incorporated local artists, alongside her intimate solo work, Our Lady of Late. Each performance happened in a converted Masonic lodge, reflecting Monk’s early and longstanding interest in non-proscenium spaces (a section of her influential work Juice: A Theatre Cantata in Three Installments was the first live performance to happen at the Guggenheim, in 1969). Education of the Girlchild (1973) consisted of three sections at the Masonic Lodge, beginning and ending with the artist performing alone and featuring local performers in the middle section. Monk described the themes of the work as “seeing the process of aging, but backwards … show[ing] the change of time through gesture and through sound.” Likewise, Our Lady of Late (1971) featured Monk alone onstage, this time accompanied by the sound of a wine glass. Taken together, these two performances showcased the artist’s adventurous treatment of both time and sound, making it a fitting introduction for Walker audiences to her early work. Three years later, Monk returned to the Twin Cities with Quarry , her 1976 Obie Award–winning opera music/theater piece set during World War II. With 40 performers, the multidisciplinary work was performed in the Great Hall at the University of Minnesota’s Coffman Memorial Union. In describing the inspiration behind Quarry , Monk asked herself: “How could I make a piece, an abstract, poetic documentary about World War II that had some historical references, but at the same time was free of that and dealt with cycles of war and cycles of dictatorship. How could I do that in a really honest way?” In contrast to the large scale production of Quarry , Monk also performed her unaccompanied solo Songs from the Hill , a work originally composed on a hill in New Mexico in 1975 and 1976, showcasing the dynamic range of Monk’s singular voice. Continuing her site-specific exploration of the Twin Cities, Monk and Ping Chong filmed their collaborative theater piece Paris , a live performance originally created in 1972, over five days in an abandoned grain factory on the Mississippi River. This adaptation was supported by the Walker and KTCA-TV (now TPT or Twin Cities Public Television) and aired on national public television to wide acclaim; Paris was also performed in front of a live audience in the Walker auditorium during a 1982 residency. In celebration of the 20th anniversary of her career, the Walker presented a selection of performances from Meredith Monk’s expansive catalogue, including vocal arrangements from her landmark works Solo Excerpts for Voice and Piano , Turtle Dreams: Waltz , and Dolmen Music. A screening of the documentary film version of Quarry contributed to the evening at Hamline University. Alive from Off Center , a creative collaboration between the Walker and Twin Cities Public Television, was a 1980s broadcast TV show that featured contemporary performing artists across a range of genres. Meredith Monk’s short film Ellis Island (1981) was featured in the third season of the show, in an episode hosted by Laurie Anderson. Ellis Island explores the American immigrant experience through music, dance, and imagery, examining history through a contemporary lens. ATLAS: An Opera in Three Parts was the first work by Meredith Monk that the Walker commissioned—and the artist’s first full-scale opera. The critically acclaimed performance includes a 12-piece orchestra, seven soloists, and a full chorus trained in Monk’s extended vocal technique. The story revolves around Alexandra Daniels, a female explorer based upon the life of Alexandra David-Neel, the first western woman explorer to visit Lhasa, Tibet. The work was performed at the O’Shaughnessy Auditorium at St. Catherine’s University. In 1994, Meredith Monk returned to the Walker auditorium for an early work-in-progress showing of the Walker co-commissioned work Volcano Songs , which deals with themes of aging and the miracle of human transformation and features Monk’s characteristic vocal range. Describing the Walker’s support of Volcano Songs , Monk stated that “they gave me the chance to do what an artist strives to do: to create a new work without knowing what the result will be; to take the risk of starting from zero, cutting through preconceptions and artistic habits to allow the piece to grow organically, so that eventually it will have a life of its own.” In 1994, the Walker also co-commissioned American Archeology #1 , a site-specific work performed only on Roosevelt Island, New York, in Lighthouse Park and Renwick Ruin. The 1998 Walker exhibition Art Performs Life: Merce Cunningham/Meredith Monk/Bill T. Jones documented the Walker’s longstanding relationships with three key innovators who approached multidisciplinary creation in distinct ways. Monk’s gallery included a new set of interactive, memorable installations (which the artist worked closely with Walker curators to create) as well as scores, storyboards, drawings, sets, props, costumes, and sound and film excerpts representing the range of her artistic output, including landmark works like 16 Millimeter Earrings (1966), Juice (1969), Quarry (1976), and ATLAS (1991). Monk’s role in Art Performs Life also included performances, an artist talk with Curator Philip Bither, community residency activities, and an exhibition catalogue. The Meredith Monk gallery in Art Performs Life included an installation of her breakthrough music/performance/film 16 Millimeter Earrings. Created very early in her career, 16 Millimeter Earrings was the first time the artist worked with film and consequently became a watershed moment for Monk. Combining voice, guitar, audio loops, performance, film projections, and sculpture, the work is mesmerizing and unforgettable. In 2010, the Walker acquired 16 Millimeter Earrings , 1966/1998_ , the video/installation version of the work created for Art Performs Life for our visual arts collection; it is currently on view in the Walker exhibition Less Than One. Another key element of the Art Performs Life opening was a moving performance of A Celebration Service (1996) at the First Unitarian Society Church next to the Walker, involving Monk, her Vocal Ensemble, numerous community members, and a post-concert processional. Monk also sang a solo work from the organ loft at the Basilica of St. Mary, also near the Walker, following Sunday mass. In conjunction with the opening weekend of Art Performs Life , Meredith Monk and Vocal Ensemble performed a full concert featuring excerpts from two Walker co-commissioned works: ATLAS (1991) and The Politics of Quiet (1996), which Monk describes in the Art Performs Life exhibition catalogue as a “musical-theater oratorio.” She went on to say, “I am always interested in discovering new forms between the cracks. … In The Politics of Quiet the music was the continuity. I didn’t want to illustrate the music; I wanted images that were a counterpoint to the music. Eventually, the piece revealed itself to be an abstract, nonverbal oratorio, or you could think of it as a ceremonial.” Meredith Monk and visual artist Ann Hamilton worked together for the first time on their 2001 music/performance work mercy. With visual installations by Hamilton and sound and movement by Monk, the work was a true collaboration between the two artists from start to finish. In 2008, Monk said “[ mercy ] ended up being a manifestation of the creative process of two human beings. The first image of the piece—the two of us sitting at opposite ends of a table—was what the piece was about.” The New York Times called mercy “an extraordinary collaboration. … Together, they created a multitude of visual and sonic wonders.” The work was performed at the O’Shaughnessy Auditorium at the College of St. Catherine. When the Walker held a grand opening celebration for the McGuire Theater in 2005, Performing Arts curator Philip Bither invited Meredith Monk and her longtime collaborator, Theo Bleckmann, to inaugurate the space in a series of performances that also included Philip Glass, Mugiyono Kasido, Steve Tibbetts with Choying Drolma, and Rizwan-Muazzam Qawwali. As Bither remembers : “After Meredith Monk and Theo Bleckmann flawlessly performed three excerpts from Monk’sFacing Northto a hushed, reverent crowd, they began their deceptively simple but truly complex vocal work Hocket. A few seconds in, Theo started on a wrong beat and Meredith waved her arms and then faced the audience with a smile: ‘Hold it. Start over.’ Warm laughter flooded the room; rigid shoulders lowered as the relieved audience seemed to settle comfortably into their seats. It was like hanging out with friends in your living room, or being with family and playing music together, or experimenting with something and realizing it was time to start over. The theater had, in a matter of seconds, been transformed from a temple of excellence to the kind of artist-centered, audience-friendly place we’d dreamed of.” Songs of Ascension (2008) combined Meredith Monk’s composition and choreography with Ann Hamilton’s visual elements to create a music/theater work exploring spirituality, ritual, community, and time. Monk was inspired, in part, by Hamilton’s 60-foot spiraling tower located in Geyserville, California, where the work was later performed as a site-specific version. The Walker co-commissioned Songs of Ascension , presented three preview performances, and hosted a 15-day production residency in the McGuire Theater, which helped Monk, her performers, and her artistic collaborators bring the work to life. To honor Meredith Monk’s rich history as a pioneer in contemporary performance, Meredith Monk and Vocal Ensemble performs The Soul’s Messenger, Celebrating 50 Years of New Music on Friday, April 15, 2016 at The O’Shaughnessy Auditorium. Meredith Monk will join Director and Senior Curator of Performing Arts Philip Bither for a conversation about her evolution as an artist on Thursday, April 14, 2016, in the Walker’s McGuire Theater. 16 Millimeter Earrings, 1966/1998 is on view in the Walker galleries as part of the exhibition Less Than One through December 2016. 2016-04-19 02:06 www.walkerart

4 From Archive to Art House: Two Ruben/Bentson Films Mark Metrograph Opening In March 2016, a new independent movie theater opened its doors on New York City’s Lower East Side with two films from the Walker Art Center’s collection among its initial screenings. A two-screen cinema complemented by a restaurant, candy shop, and bookstore, Metrograph will present a wide palette of curated selections—from French New Wave to American […] 2016-04-19 02:06 By

5 AART architects to extend oslo's new viking age museum AART architects to extend oslo's new viking age museum with crescent-shaped structure AART architects to extend oslo’s new viking age museum with crescent-shaped structure all images courtesy of AART architects danish firm AART architects has been awarded first place in an architectural contest to design a viking-themed museum in norway. once complete, oslo’s ‘new viking age museum’ will form an extension of the city’s ‘viking ship museum’ — one of the country’s most visited cultural institutions. the competition brief called for a new forward- looking setting that focused on preserving and disseminating the museum’s collection of historic artifacts. AART’s winning design employs a bold circular structure that adds a new dimension to the museum’s experience, which at the same time integrates with arnstein arneberg’s 1926 viking ship building. visitors enter the museum through the original building the extension forms a natural continuation of the east and west wings of the existing building. the scheme provides floor space for an intuitive flow of exhibitions, and preserves the viking ship building as a prominent and integral part of the complex as well as its surrounding countryside. visitors enter the museum through the original building, while the extension reaches out towards the countryside. the ridge of the roof converges with the gables of each wing, thus creating an inner courtyard. this enclosed space allows for open-air exhibitions and serves as a new focal point around which the museum’s activities take place. a courtyard allows for open-air exhibitions and serves as a new focal point ‘the extension will continue the calmness and clarity of the viking ship building and transform it into a dynamic, coherent sequence of exhibition spaces and dissemination possibilities,’ say the architects. ‘accordingly, the museum will be linked together in a simple, but highly distinctive architectural statement, creating a flow of movement through the rooms and a fluctuating journey through the viking age.’ double-height rooms enable visitors to experience the impressive viking ships from a new perspective along the sequence of open corridors, while wide seating steps allow onlookers to descend to the same level as the ships. together, the two levels provide an experience of the museum that remains flexible depending on each visitor’s individual desires. the scheme provides floor space for an intuitive flow of exhibitions an enclosed outdoor space sits at the center of the extension location: oslo, norway competition: first place in open international architecture competition for norway’s new viking age museum. size: 13,000 sqm of which 9,300 sqm is new building architect: AART architects client: statsbygg which has been commissioned by the norwegian ministry of education and research to undertake the planning of the new viking age museum 2016-04-19 00:20 Philip Stevens

6 konstantine gricic's ETTORE mule emblem for magis at salone del mobile 2016 because it’s humble, it’s not conceited, it doesn’t show off, because it’s a tireless worker, because it never gives up, when it falls it picks itself up, because it doesn’t look for the easy way out, because it loves a challenge, because it’s innately, intensely curious and therefore continuously explores new paths konstantine gricic has designed an iron mule named ‘ETTORE’ for magis’ 40th anniversary at salone del mobile 2016. the emblem reflects the spirit of the company in being hard working and tireless, gricic states that ‘ETTORE turned out a real mule, its legs firmly on the ground, determined and strong. but it is also a beautiful thing, loveable and playful. just like magis’ the mule was designed for the company’s 40th anniversary image © magis the emblem has been cast in iron image © magis 2016-04-18 21:01 Hollie Smith

7 Massive CGI Crowd Simulation + Swords = Total Chaos Screencap via A demo of the same software once used to generate the massive battles from The Lord of the Rings now lets you make your own wars about whatever you want on a single computer. It's called Massive , and say you've always wanted to visualize the less-discussed War for the One Nipple Ring to Rule Them All? Easy. The Battle for Grandma's Pot Brownie Recipe? Done. The Battle to Get Donald Trump to Stop Making Creepy Comments About His Daughter? Fine. Even for the casual observer, it's incredibly mesmerizing to watch two tiny hordes of digital people, each thousands upon thousands strong, clash and begin hacking each other to death. The process by which every line on every map was drawn is taking place completely within the mind of a computer, rendered in real time. It's like the CGI demo Dave Fothergill blessed us with a couple years back, but more morbid. Enjoy watching thousands of digital people march in formation and erupt into a giant wall of death in the video below. See more on the Massive Software website . Related: CGI Test Footage Pits A Tiny Crowd Against A Massive Swinging Arm [Music Video] This CGI Circle Pit Puts Real-Life Moshing to Shame The Physics Of The Mosh Pit Could Help Design CG Crowd Scenes Here's How Disney Built Its Biggest World Ever for 'Big Hero 6' 2016-04-18 20:55 Beckett Mufson

8 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-04-18 21:12 GDUSA Staff

9 dan lam's drippy sculptures ooze a curvaceous anatomy of spikey neon matter artist dan lam has formed a series of vibrant, free-standing ‘drippy sculptures’ that resemble exotic organic matter seemingly sourced from another planet. placed on shelves or mounted on walls, the neon-hued artworks form elongated, stretched shapes that ooze off the edges of these surfaces. the sculptural blobs are covered in skin of hard spikes — gradating in color and size — that wrap around the curvaceous anatomy of each object. from her studio in dallas, lam begins by sculpting polyurethane foam on top of a metal framework. these first compositions are informed by motifs and geometries found throughout the human body, flesh, foods and nature. while lam begins with a loose idea of the sculpture’s physical structure, the unpredictable nature of the foam generates unexpected outcomes guided by gravity, causing the material to form drippy deposits as it settles. the artist then adds many layers of acrylic paint and occasionally resin, depending on the desired finish — matte or gloss. while these seductive objects are just begging to be touched, held, and closely examined, their uneasy spikes form a dual sensation that both invites and repels viewers at the same time. see the ‘drippy sculptures’ below, and documentation detailing the making-of ‘thigh gap’ in the gallery at the bottom of the page. 2016-04-18 20:01 Nina Azzarello

10 A Slice-of-Life Stop-Motion Set During an Argentine Dictatorship Screencap via We could wax eloquent on the exquisite attention to detail Argentine filmmaker Santiago 'Bou' Grasso puts into stop-motion short, Padre , recently released on his production company's opusBou Vimeo account. We could laude the foley work, the way the camera moves around the set with so much subtlety that you forget it's an intricate miniature. We could list the 90 awards Padre has won at 265 International Film Festivals, or delve into the three-year production process, outline the simultaneously grotesque and realistic character development, the soothing portrayal of life's daily rituals, the jarring depiction of routine gone awry. Above all, the formal innovation that makes every second of Padre a pleasure to watch—each of which would make the film worthy of sharing in and of itself—is the fact that Grasso has put together a really good story. Sans dialogue, via the sparse few words written in subtitles or newspapers, or heard over the radio, we learn that the film takes place in 1982, the twilight of a long and bloody series of military dictatorships ruling Argentina. We follow a woman taking care of her father, an officer in the military, who isn't coping well with reality. Grasso's films focus on the dark side emotions and mundane daily life, such as an love through a man's relationship with his bird , or captitalism through a dystopian portrayal of employment. These films delve into a very appealing surreality, but Padre takes place entirely within the realm of possibility to tackle the mature themes of family relationships, coping with change, and struggling with insanity. Watch the film below, and learn more about Grasso's individual processes in the making-of featurette. See more of Santiago 'Bou' Grasso's work on his website . Related: Perfectionists Will Relate To This Incredible Stop-Motion Short Film Band Ignites 400 Photos for Fiery Stop-Motion Music Video Making "Guacamole": A Stop-Motion Guide Land Art Animations Piece Life Itself Together 2016-04-18 19:20 Beckett Mufson

11 Tim Burton, David Cronenberg, and More Inspire an Art Exhibition Amie Siegel, 9 ½ Weeks (2016). Color video projection, speakers, stool, chair, lamp. Courtesy of the artist and Simon Preston Gallery. A film or television series frame is full of all manner of space, objects, light and shadows, special effects, actors and props: Mis-en-scène , in the language of cinema. Every detail that builds the artificial reality of filmic storytelling. This stuff goes largely unnoticed by audiences— unless the spectacle is the point—because that is what is meant to happen when it has been done well. In the Swiss Institute’s latest exhibition, FADE IN: INT. ART GALLERY – DAY , 25 artists have sourced, reproduced and created artworks in response to a history of art seen across classic movies, science fiction, pornography, musicals, and soap operas. All of the works are inspired by artworks that appear on-screen in the form of props, set design, plot devices, or character cues. Dora Budor, A woman passing on the street said, 'a decongestant, an antihistamine, a cough suppressant, a pain reliever.’ (2016). Tempered glass, steel, polystyrene foam, aqua resin, rocks, soil, sand, epoxy resin, acrylic polymer with pigment suspension, replica of ‘Instruments for Operating on Mutant Women’ from “Dead Ringers” (1988), medical threads from surgical suture on artist’s left hand. Courtesy the artist and New Galerie, Paris. “The depiction of art in film and television, not to mention the relationship between all of these mediums, is a topic that comes up continually with artists, but it is a relatively underexamined subject in exhibitions (though there has been some very interesting work on this in film studies and other academic fields),” the Swiss Institute tells The Creators Project. “Art in mass media is part of a constellation of ideas and cliches about what an artist is, what an artist does, and what the artist's role in society is.” The show’s curators believe TV and film can guide individuals towards art just as easily as they can suggest that artists are a criminal and amoral underclass. Every artist they talked to had favorite examples that had remained with them for years. Carissa Rodriguez, ‘La Collectioneuse’ (2016). Glazed ceramics, razorblades. Courtesy of the artist and Karma International “We loved collecting examples of this everywhere, from haunted portraits of film noir, to Clive Owen shoot-em-ups in the Guggenheim (in The International , 2009),” the Swiss Institute says. “Part of the thrill and comedy of setting a destructive scene in the Guggenheim, where weak shadowy video installations stand in for a kind of ivory tower of contemporary culture, comes from a deep-seated fantasy to blow this all up. Popular culture is a place where these sorts of anxieties and desires are explored.” Artist Dora Budor, for instance, created a sculptural installation based on a series of “speculative instruments for performing gynecological experiments on mutant women,” featured in David Cronenberg’s film Dead Ringers (1988). Not only do the objects appear in the film as medical instruments, they function as artifacts or “art objects” in a museum. Working with these ideas, Budor creates a sculpture of fossilized remains of these objects that pre-exist the events of Cronenberg’s narrative as relics of an “imagined past.” Budor presents them as though they might be ancient artifacts in a museum of natural history. Heman Chong, I WANT TO BELIEVE (2016). Digital file, freely distributed. Courtesy of the artist and Wilkinson Gallery Mel Chin and GALA Committee’s In the Name of the Place is also featured in the exhibition. GALA committee, formed at the University of Georgia and California Institute of the Arts (“GA” for Georgia and “LA” for Los Angeles), created props and made slight script revisions as “product placements” for Melrose Place. These covert art insertions weren’t made in service to commercial interest. “The southern California television studios have dramatically shaped the face of global cultural consumption and attitude through the embedded promotion of U. S. goods and lifestyles,” the art collective said back in 1997. “The GALA Committee sought to work with commercial television by actively approaching it as a proper site in which to develop possibilities for education, to generate the transfer of information, and to layer narratives and poetic constructions. In the Name of the Place can be considered a blueprint for the development of the geography of culture on multiple levels.” Installation view In La Collectioneuse , artist Carissa Rodriguez creates several versions of a sculpture from Eric Rohmer’s film 1967 film of the same name. In it, a young and free-spirited woman disrupts the vacation of an artist and his dealer. “The sculpture in question—a paint tin with razor blades attached to it—is gestured to in a conversation with the artist and dealer, as they discuss the violent nature of the artist and his presence in society,” the Swiss Institute says. Rodriguez created four replicas of this sculpture for her show, also called La Collectioneuse. These are only a few of the dozens of works at FADE IN: INT. ART GALLERY – DAY. The exhibition runs until May 19th at the Swiss Institute. Click here for more info. Related: Why Cinematographer Roger Deakins Is the Master of Light & Shadow VR Takes Center Stage at Tribeca Film Festival 2016 Somebody Meticulously Recreated 1920s Berlin in Second Life 2016-04-18 19:15 DJ Pangburn

12 a look at zaha hadid's unfinished projects a look at zaha hadid's unfinished projects to be completed in 2016 a look at zaha hadid’s unfinished projects to be completed in 2016 image © zaha hadid architects at the end of march 2016, zaha hadid passed away suddenly leaving a legacy of acclaimed buildings around the globe. however, 36 projects in 21 countries remain under construction or in detailed design development with four highly-anticipated schemes completing later this year. below, we take a look at the projects in more detail starting with antwerp’s port house, which open this autumn. the port of antwerp is europe’s second largest shipping port image © zaha hadid architects with 12 kilometers of docks, the port of antwerp is europe’s second largest shipping port, handling more than 15,000 sea trade ships and 60,000 inland barges each year. the new port house preserves and repurposes an abandoned 95-year-old fire station into a new headquarters for the port, consolidating the 500 employees who currently work in many separate buildings, giving them views to the port’s docks and berths. . the new port house preserves and repurposes an abandoned 95-year-old fire station images courtesy of interbuild the project is strategically located between the city and harbor, offering views over both the center and the port. its articulate glass walls – some transparent, others reflective – reference antwerp’s diamond trade. see more of the project on designboom here. the center rises above the desert landscape, emerging as a cluster of crystalline forms image © zaha hadid architects in october, the king abdullah petroleum studies and research center will complete in riyadh, saudi arabia. KAPSARC is a non-profit institution that brings together people from around the world to research and tackle energy challenges for the benefit of society and the environment. built with sustainable construction methods and materials to LEED platinum certification, the new center has been designed to work with its natural environment to ensure comfort for employees alongside minimizing energy and resource consumption. the center has been designed to work with its natural environment to ensure comfort for employees image © zaha hadid architects composed of a network of three-dimensional six-sided cells, the project is based on the concept of connectivity. the center rises above the desert landscape, emerging as a cluster of crystalline forms which evolve in response to environmental conditions. see designboom’s previous coverage of the project here. the new terminal has been designed to enable large ferries to dock in salerno image © zaha hadid architects to be inaugurated later this month by the italian prime minister matteo renzi, this new terminal has been designed to enable regional, national and international ferries, as well as cruise ships from around the world, to dock in salerno for their passengers to visit the historic towns and villages on the amalfi coast. fluid interior elements are contained within the building’s ‘oyster-like’ envelope image © zaha hadid architects the terminal building echoes the form of an oyster – its hard shell enclosing soft, fluid elements. key focal points steer passengers from the ground level to the upper deck boarding points. by night, the terminal takes on a radiant glow, appearing as a lighthouse for the ancient port city. the project was first discussed in 1999 image © zaha hadid architects the design and layout is defined by mathematical equations image © zaha hadid architects in december 2016, the new mathematics gallery at london’s science museum will open its doors to the public, serving as a pioneering new space that explores how mathematicians have helped shape the modern world. the gallery’s design and layout is defined by mathematical equations that determine the three-dimensional curved surfaces representing the patterns of airflow that would have streamed around an historic 1929 aircraft at the center of the exhibition. see more of the project on designboom here. the new gallery will complete in december 2016 image © zaha hadid architects 2016-04-18 19:02 Philip Stevens

13 The Lumineers’ ‘Cleopatra’ Debuts at No. 1, No ‘Ho Hey’ Required Four years ago, the Lumineers, an earnest indie-folk band from Denver, scored a left-field pop hit with the song “Ho Hey,” which went to No. 3 with help from its placement on TV shows and commercials . But the arrival of the band’s new album, “ Cleopatra ” (Dualtone), shows that the song’s success was not a fluke. “Cleopatra” opened at No. 1 on the Billboard chart with 108,000 sales and 17.4 million streams, according to Nielsen, making it the band’s first time at the top of the chart; the band’s self-titled first album rose to No. 2 and eventually sold 1.7 million copies. (“Cleopatra” is also No. 1 in Canada and Britain.) Also this week, the metal band Deftones opens at No. 2 with “Gore” (Warner Bros.), which had 69,000 sales and 2.9 million streams. Chris Stapleton’s “Traveller” (Mercury Nashville) fell one spot to No. 3, while Kanye West’s “The Life of Pablo” (Def Jam) — last week’s No. 1, which reached the top primarily on the strength of streaming — dropped to fourth place. Rihanna’s “Anti” (Roc Nation) is No. 5. 2016-04-18 18:45 By

14 sir peter blake paints bentley's latest continental GT V8 S convertible art car for charity bentley has teamed up with british pop art creator sir peter blake (best known for designing sleeves for the beatles), to produce an one-of-a-kind ‘continental GT V8 S’ convertible. the unique car will be auctioned for charity by bonhams at the goodwood festival of speed on june 24, 2016. the ‘continental’ is covered in bright pop art colors throughout the exterior of the car, the use of collage demonstrates bright but clearly defined color. ‘st luke’s blue’, a bespoke color introduced by the artist, dominates the cars iconic rear haunches, doors and boot lid with a ‘british racing green’ lower body, and a fuchsia pink-colored radiator shell. together they compliment the black exterior brightware and a black hood, incorporating a darker sub-tone while allowing the bright exterior colors to flourish. sir peter blake next to the one-of-a-kind bentley sir peter blake’s signature is incorporated onto the panelling and embroidered on all four seat headrests. to finish, storage cases feature a ‘piano black’ veneer outer but with ‘continental yellow’ and ‘st james red’ internal linings to reflect the bonnet color theme. a treadplate, signifying that this is a sir peter blake design, labelling ‘no. 1 of 1’ finishes the car. bentley has donated the car to the care2save charitable trust, which provides palliative and hospice are around the world. 2016-04-18 18:15 Piotr Boruslawski

15 Pen Drawings of Hellspawn | Monday Insta Illustrator Shirly Dark 's illustration of an undead lady in the process of being ripped in half, entrails and inner workings laid bare before the world, caught our eye not only for the attention to detail, but for the feeling embedded within the grotesquery. "I've been going through a lot lately," reads the caption. Even if you haven't at some point felt like they've got two giant fish hooks embedded in their head, pulling them in opposite directions, illustrations like the zombie drowning in coffee are near universal. Dark's body of work goes beyond snapshots of feels translated into ghoulish visual metaphors. Her characters, from a giant zombie space whale smoking a skyscraper like a blunt, to a demon that looks fiery but is made from trees, feel like they're from a single twisted world, perhaps orbiting the same sun as one of Tim Burton's. Sometimes they're directly transposed from her dreams. With 90 posts and 194 followers, there's never been a better time to get regramming. Keep an eye on her work here. See more from Shirley Dark on Instagram. Check out more artwork on The Creators Project account here. Related: The Inner Demons of William Crisafi | Monday Insta Illustrator [NSFW] Guro: The Erotic Horror Art of Japanese Rebellion The Mexican Folk Art-Inspired Illustrations of Stacey Rozich Your Horoscope Is Horrifying Thanks to These Illustrated Zodiac Nightmares 2016-04-18 17:55 Beckett Mufson

16 karim rashid + pepsico reveal full line of premium bottles with bar accessories karim rashid + pepsico reveal full line of premium bottles with bar accessories image courtesy of karim rashid unveiled at the ‘mix it up’ event during milan design week 2016, pepsico asked karim rashid to shape new ‘pepsi premium’ bottles that elevate the beverage company to a whole new level. the collaboration developed a sleek alumnium form and complementary barware accessories – an ice bucket, bottle opener, deluxe display packaging and aperitif tray. the bottles were presented in a tall installation also designed by karim rashid. 2016-04-18 17:30 Piotr Boruslawski

17 Elisabeth Hase at Robert Mann Gallery, New York Elisabeth Hase, Zwei Gefangene (Two Prisoners), 1950, vintage silver print. ©THE ESTATE OF ELISABETH HASE/COURTESY ROBERT MANN GALLERY Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “ Elisabeth Hase: An Independent Vision ” is on view at Robert Mann Gallery in New York through Saturday, May 7. The exhibition, which is the late artist’s first solo show outside of Germany, presents photographs that span the history of Germany in transition, from the days of the Weimar Republic through the postwar era. Elisabeth Hase, Zwei Gefangene (Two Prisoners), 1950, vintage silver print. ©THE ESTATE OF ELISABETH HASE/COURTESY ROBERT MANN GALLERY Elisabeth Hase, Untitled (Tower of Sugar Cubes) , 1949, vintage silver print. ©THE ESTATE OF ELISABETH HASE/COURTESY ROBERT MANN GALLERY Elisabeth Hase, Feder (feather), 1931, vintage silver print. ©THE ESTATE OF ELISABETH HASE/COURTESY ROBERT MANN GALLERY Elisabeth Hase, Untitled (St. Paul’s Church) , 1947, vintage silver print. ©THE ESTATE OF ELISABETH HASE/COURTESY ROBERT MANN GALLERY Elisabeth Hase, Sommer alte Gasse in Frankfurt (Summer, Old Alley, Frankfurt), 1929, vintage silver print. ©THE ESTATE OF ELISABETH HASE/COURTESY ROBERT MANN GALLERY Elisabeth Hase, Musikinstrument (Musical instrument), 1931, vintage silver print. ©THE ESTATE OF ELISABETH HASE/COURTESY ROBERT MANN GALLERY Elisabeth Hase, Untitled (Down Stairs) , ca. 1948, vintage silver print. ©THE ESTATE OF ELISABETH HASE/COURTESY ROBERT MANN GALLERY Elisabeth Hase, Untitled (Sleeping Woman) , 1932–33, vintage silver print. ©THE ESTATE OF ELISABETH HASE/COURTESY ROBERT MANN GALLERY 2016-04-18 17:18 The Editors

18 Shanghai Museums Grow Up: At the Long Museum and the Yuz Museum Installation view of “Alberto Giacometti: Retrospective,” 2016, at Yuz Museum, Shanghai. ALESSANDRO WANG/©2016 YUZ MUSEUM, SHANGHAI; FONDATION GIACOMETTI, PARIS; AND ESTATE GIACOMETTI T wo years ago, when Shanghai first announced its five-year plan to develop into a cultural capital, many people were dubious about plopping museums into a metropolis overnight. But now that the West Bund Development in the Xuhui District is well under way, it appears that the two museums anchoring the site—the Yuz Museum and the Long Museum—may well become recognized as operating at international standards. This March the Yuz presented the largest-ever retrospective of the Swiss artist Alberto Giacometti, and the Long Museum opened “ Olafur Eliasson: Nothingness is not nothing at all.” The two shows could not be more different. Although Giacometti is well known among Chinese artists, his work had never been shown in China. This retrospective is extensive, including more than 250 works, ranging from paintings by the artist’s father from the early 1900s to Giacometti’s monumental sculptures slated for the Chase Manhattan Plaza in New York City at the time of his death in 1966. The exhibition was the result of an agreement between Chinese-Indonesian businessman Budi Tek, the Yuz’s founder, and Catherine Grenier, director of Fondation Alberto et Annette Giacometti , based in Paris. Both hope that the sculptor, best known to Chinese audiences through his astronomic auction prices in recent years, will now be appreciated for the power of his works, which may serve as a doorway to modern art for those less familiar with movements like Surrealism and Cubism. Installation view of “Alberto Giacometti: Retrospective,” 2016, at Yuz Museum, Shanghai. ALESSANDRO WANG/©2016 YUZ MUSEUM, SHANGHAI; FONDATION GIACOMETTI, PARIS; AND ESTATE GIACOMETTI Laid out on two floors of a former airplane hangar, the show is rife with revelations. One gallery is filled with miniature Giacometti busts that demonstrate a range of abilities extending well beyond the delicate strength of Walking Man (1961), which fetched over $103 million at auction in 2010. That work is on view here, along with many of the artist’s fanciful plaster casts, which amazingly survived in pristine condition. Speaking about Walking Man , Tek said, “He seems to move forward, against all misfortune, toward an unchartered territory of which he is not afraid…. It’s that wide freedom of movement that Giacometti’s Walking Man conveys to me.” The exhibition was designed by Adrien Gardère, the Louvre’s leading designer. The layout allows viewers to survey the monumental sculptures filling the grand hall on the first floor from the balcony on the second floor leading to the galleries holding the early works. The show also features a re-creation of Giacometti’s tiny studio at Rue Hippolyte-Maindron, with films demonstrating the artist at work and photographs taken of him throughout his career by such leading photographers as Man Ray and Richard Avedon. Costing more than $4 million to produce, the exhibition is entirely underwritten by the Yuz Foundation, which is also contributing to research at the Giacometti Foundation. Olafur Eliasson, Round rainbow , 2005, installation view at Long Museum, Shanghai, 2016. ANDERS SUNE BERG/©OLAFUR ELIASSON/COURTESY THE ARTIST; VITAMIN CREATIVE SPACE, GUANGZHOU; NEUGERRIEMSCHNEIDER, BERLIN; TANYA BONAKDAR GALLERY, NEW YORK A t the Yuz opening, the crowd walked quietly and appreciatively through the exhibition, in contrast to visitors at the Long Museum who interacted noisily with the massive installations of Olafur Eliasson that span the course of his career. Many works were made specifically for the vast spaces of the museum, difficult areas to work in. The show includes The Open Pyramid (2016), four triangular sheets of mirror suspended from the two-story-high ceiling at the museum’s entrance. They prismatically reflected the comings and goings of the throng below. While the Danish-Icelandic artist has shown in China before—he is represented there by Vitamin Creative Space—he has never been the subject of such an extensive survey. “I wanted to amplify the feeling of the cavernous museum galleries by installing artworks that invite visitors to look inward, to question how their senses work and to dream up utopias for everyday life,” Eliasson said. Answering to that aspiration are his installations Happiness (2011), a blue sea of floating bubbles seen through a slit in the wall; All your views , (2015), in which a circle of hundreds of mirrored disks provide an opportunity for selfies, as visitors line up to photograph their reflections in the work; and Still River (2016), a series of mammoth ice cubes, made specifically for the show. But Beauty (1993), a fine mist reflecting an array of colors, demonstrated how early in his career Eliasson knew how to mesmerize. Olafur Eliasson, Happiness , 2011, installation view at Long Museum, Shanghai, 2016. ANDERS SUNE BERG/©OLAFUR ELIASSON/COURTESY THE ARTIST; VITAMIN CREATIVE SPACE, GUANGZHOU; NEUGERRIEMSCHNEIDER, BERLIN; TANYA BONAKDAR GALLERY, NEW YORK Nevertheless, “Nothingness is not nothing at all” falls short of museum-quality in one respect. Nowhere in the museum can you find a wall label explaining the work or the social concerns of the artist. This is certainly needed in a country where Eliasson’s key issues—global warming and pollution—are at the forefront of public concern. In contrast, the Yuz Museum provides a timeline and scholarly inscriptions at the entrance to each gallery, calling attention to Giacometti’s innovations and concerns. There was a time when the only museum in Shanghai equipped to handle shows like the Giacometti retrospective would have been the Shanghai Museum. As the country’s foremost institution of antiquities, with strict standards for climate control and art handling, it often receives loan shows from foreign museums. Today, it seems private museums are trying to meet those same standards. If they are successful, this would presage an optimistic future for the art scene in China and would have long-range benefits for China’s emerging artists. 2016-04-18 17:13 Barbara Pollack

19 Gitman Vintage Makes Shirts for Graduate Hotels’ Guest Service Staff Graduate Hotels, a boutique hotel chain in college towns, has forged an exclusive partnership with Gitman Vintage, a division of Gitman Bros., a New York-based men’s and women’s shirt company that produces in its Ashland, Pa., factory, to outfit its guest service staff. The Graduate team collaborated with Gitman Vintage to create an exclusive plaid that will complement the hotels’ design aesthetic. The uniforms will launch April 25 at the newest hotel in the collection, Graduate Ann Arbor in Michigan. The shirts will be part of the front-of-house uniforms throughout the hotel chain. The team zeroed in on a classic plaid from the spring 1984 line and took the patterns to one of their New York- based mills to reproduce the plaid exclusively for Graduate Hotels. Guest service staff will pair the shirts with khaki pants and Tretorn Nylite Canvas sneakers. Graduate Ann Arbor is a 14-story, 204-room full- service directly across the street from the University of Michigan’s central campus. AJ Capital Partners launched the Graduate Hotels brand in fall 2014. Besides Graduate Ann Arbor, there are Graduate hotels in Athens, Ga.; Tempe, Ariz.; Charlottesville, Va.; Madison, Wis., and Oxford, Miss. Slated to open over the next year are Graduate hotels in Berkeley, Calif.; Durham, N. C.; Lincoln, Neb., and Richmond, Va. 2016-04-18 17:04 Lisa Lockwood

20 HBO's Exclusive Game of Thrones Art Show Visions of Westeros are coming to New York City courtesy of HBO—but fans are advised to curb their excitement: There's a chance you aren't invited for the view. In what HBO describes as an "immersive" Game of Thrones art experience, five artists will present their respective re-interpretations of memorable scenes from the show at an undisclosed location. Here's the catch: According to the exhibition's official page, Art of the Throne will be a private affair. Scant information about this mysterious exhibition is available. We know that it debuts this Wednesday, April 20, and that all five of the artists get their own behind-the-scenes videos that cover their creative processes on the network's Making Game of Thrones website. A video of the commissioned works is scheduled to premiere on HBO Now Thursday, April 21, according to the Observer. Until then, fans can watch Pop Chart Lab, Cyrcle, Tristan Eaton, Marcos Chin, and Jeff Nishinaka prepare for the show on the website. One of the artists, who briefly spoke to artnet News in a phone conversation and wished to remain anonymous, revealed that each of the participants were free to choose their projects— within set parameters which the artist then refused to describe, saying, "Details of the show are still unfolding. " If the exhibition remains private, it will be a disappointment to New York fans. Visitors have lined up to see the previous three editions, which showed off props, costumes, and even the imposing Iron Throne. artnet News reached out to multiple representatives at HBO for comment but did not receive an immediate response. Follow artnet News on Facebook. 2016-04-18 16:51 Rain Embuscado

21 Amanda Ross-Ho on OMEGA and Her Creative Origins For her contribution to Ordinary Pictures , Amanda Ross-Ho worked with movie industry prop fabricators to create a large-scale, hand-made replica of the photo enlarger she remembers her parents, both artists, using when she was a child. Titled OMEGA (2012), it represents the origins of her creativity: “From a very young age I had access to the idea of manipulating something—not just taking a photograph, but scaling it, manipulating it, dodging and burning, and really producing a picture.” 2016-04-18 15:15 www.walkerart

22 Josh Tyrangiel Puts Together His Team at Vice Josh Tyrangiel , the ex- Bloomberg chief content officer , is adding to his team at Vice Media. Tyrangiel decamped from Bloomberg for Vice in October to head up the company’s new HBO daily news cast. According to a memo circulated on Monday, Tyrangiel has hired Dan Fletcher as head of social for Vice News and its nightly and weekly programs. Fletcher, who starts April 25, most recently launched a start-up after working at Facebook, where he served as its first managing editor. Before that, Fletcher worked at Time where Tyrangiel had served as deputy managing editor. Vice has tapped Javier Guzman, a former Fusion producer, as senior producer for U. S. news. Ryan McCarthy will become editor in chief of Vice News, taking the place of Jason Mojica, who will head up international coverage for Tyrangiel’s nightly show. McCarthy, who will begin his new job on May 2, last served as growth editor and national editor at The New York Times. Vice poached another employee from The Times in media reporter Ravi Somaiya, who was one of the first to report on Tyrangiel’s potential move to Vice in the fall. He will take the role of tech correspondent when he begins work on May 9. Christina Vallice, a producer from NBC’s Nightly News, will be supervising producer focused on breaking news when she starts on April 25. Lastly, Jessica Weisberg joins the Brooklyn-based company today as supervising producer focusing on the nightly show’s long-lead stories. Weisberg began her career as a fact-checker at The New Yorker where she rose up the ranks before moving to Page 1, the production unit headed by Mark Boal and Hugo Lindgren with the backing of Megan Ellison. 2016-04-18 16:42 Alexandra Steigrad

23 the canvas project depicts figures from famous paintings in ordinary modern day settings the canvas project depicts figures from famous paintings in ordinary modern day settings the canvas project gives life to well-known personages of famous paintings by placing them in a different context to their previous backdrop. renaissance women find themselves draped against london taxis, and eighteenth century children pose for an iphone photo instead of a painting. the artist collages these characters against photos of different places around the world, combining two well known elements to create a new and unlikely situation. john roddam spencer stanhope’s literary muse ‘juliet’ from ‘juliet and her nurse’ (1863) looks over the river thames the collection of collages creates a new visual language, altering the viewers perception of the original artwork. gustav klimt’s famous lovers in his painting titled ‘the kiss’ (1907-1908) are merged within gaudi’s mosaic wall in barcelona, adding a new layer to the artworks original texture. john roddam spencer stanhope’s literary muse ‘juliet’ from ‘juliet and her nurse’ (1863), looks over the river thames instead of a small medieval village looking for her lover romeo. the unique compilation of peculiar scenarios causes us to look at famous works in a new light by presenting the depicted figures in a new environment. gustav klimt’s famous lovers in his painting titled ‘the kiss’ (1907-1908) are merged within gaudi’s mosaic wall a family ride their horse and cart round the city of barcelona, Spain a man looks over the city of rio de Jìjaneiro, brazil the original photo was taken in niteroi, brazil the children from renoir’s ‘rosa e azul’ (1881) pose for a photo at são paulo museum of art (MASP) the woman from ‘my lady´s garden’ (1905) by edmund leighton waters the flowers at casa das rosas, são paulo designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-04-18 16:30 www.designboom

24 A Blade of Grass Names 2016 Fellows for Socially Engaged Art This year’s fellows. COURTESY A BLADE OF GRASS A Blade of Grass, the organization devoted to art that promotes social change, has named its 2016 ABOG Fellows for Socially Engaged Art. Each fellow will now receive $20,000, which can be used in any number of ways to support their respective projects. They range from Simone Leigh’s Home Economics, a series of workshops intended to foster education for black girls in New York City, to Xenobia Bailey’s Paradise Under Reconstruction, which combines elements of design and urban planning. This is the third group of ABOG Fellows; the first was in 2014. The 2016 batch of fellows sees the introduction of the ABOG-David Rockefeller Fund Joint Fellowship in Criminal Justice, which is specifically awarded to artists whose work is involved with the criminal justice system. That fellowship’s winners are Rebecca Mwase and Ron Ragin, for Freedom Chamber, their collaboration with New Orleans organizations that allows for the production of sound sculptures that reflect the experiences of incarcerated people.“These are artists who are changing what art is, who it’s for, and what it does,” Deborah Fisher, the executive director of A Blade of Grass, said in a statement. “We nurture these artists in a way that is specifically geared toward increasing the effectiveness and visibility of their work, and understanding its value both within the contemporary art discourse and the broader culture.”Below is the list of fellows and winning projects. Xenobia Bailey , Paradise Under Reconstruction Black Quantum Futurism , Community Futurisms: Time & Memory in North Philly; individual artists: Camae Ayewa and Rasheedah Phillips Courtney Bowles and Mark Strandquist , People’s Reentry Think Tank Chinatown Art Brigade , Here to Stay; individual artists: Tomie Arai, ManSee Kong, and Betty Yu Joseph Cullier , The Black School Simone Leigh , Home Economics Rebecca Mwase and Ron Ragin , Freedom Chamber Rulan Tangen , Redgeneration Frances Whitehead , Fruit Futures Initiative Gary 2016-04-18 16:22 Alex Greenberger

25 Take a Bite into Fetish Culture with 'BRKFST Magazine' Photographer: Jake Jones - Image title: No# 1 - The Face. Image courtesy of BRKFST Magazine A new biannual publication expressing fashion, art, and photography, all through fetish the lens of fetish culture, emerges in BRKFST Magazine. It's a unique pressing with a point of view that represents various kinks and communities in a genuine and thoughtful way; real people, with real kinks, who present lust and vulnerability with innocence and genuine exhilaration. While fetishes are an intrinsically personal endeavor, BRKFST Magazine presents a platform to express and showcase enthusiasts amongst likeminded creatives to an openminded market. We had a chance to connect with founder and publisher Paul-Simon Djite to discuss his desires with the publication and why its topics are so timely today. “I’ve always liked fetishized imagery and have been attracted to it as a reference point for my own fashion styling work. I've always been drawn to kink, but I've never found anything that represented kink and sophistication in a way that I admired,” Djite tells The Creators Project. “Most fetish imagery is staged and I don’t think that fetish porn is a real representation of what a fetish moment looks like. I wanted to change that with BRKFST , to present something more true to life on the human level. Make it a personal journey.” Photographer: Eric T. White - Image Title: No #6 Image courtesy of BRKFST Magazine Djite explains how kink and fetish play important roles in being outlets for desire. He tells us how individual sexual preferences, especially ones society at large looks down on, still need places of acceptance. “Without the kink subculture, people may find it difficult to express and enjoy themselves fully in a sexual manner,” Djite explains. “Fetish works to mitigate the buildup of pressure that is associated with sex and sexuality in the soup of our complex brain chemistries, and thus plays a very important role in helping us to maintain the external status quo that society at large expects of us exhibit.” With BRKFST Magazine , anything is possible in the world of creativity, expression and kink. “One person’s minimum is another person’s maximum so those are hard lines to draw,” Dijite continues. “There’s a theme for every issue and this is how we try to build a framework within which our contributors should work. The first issue was about bodies and so I wanted to open up the floor to discuss any type of fetish that had to do with a body. Since the body is such an essential part of kink, any fetish could have been included in the first issue as long as a body was engaged in a fetishized way. It has to be fashionable, it has to be artistic, and it has to include a fetish. Those are the three guiding principles of BRKFST.” Photographer: Brian De Pinto - Image Title: No #7. Image courtesy of BRKFST Magazine “Everyone who I ask to shoot for BRKFST has a strong personal aesthetic that I feel could add something to the issue. One of the major things I wanted to do with BRKFST was to give the photographer full creative freedom, so I went to photographers who had quite strong voices and asked them to shoot whatever they wanted, however they wanted and just be themselves,” says Djite. The acceptance of human relations is slowly coming to terms with publications like BRKFST , allowing them to exist due to an understanding that sexuality is vast landscape and personal preferences are more subjective than deserving to be shamed. Djite explains, “I think that we're coming to understand that love is love. Regardless of gender, regardless of sex, and regardless of where you're from love is love and I think BRKFST plays into that idea in a fundamental way because a kink is a kink. It doesn't matter who you are or where you're from or how you were raised, sometimes you will develop a kink and you may not be able to explain it. “Humans are wonderful, we just need to realize that we are all born to love by default, we are not born to hate by default, I think that gets lost a lot of the time. That idea needs reinforcing.” Photographer: Stefan Rappo - Image Title: No# 2 Image courtesy of BRKFST Magazine Of course, while BRKFST offers digestible images that even the sexually modest can enjoy, we still have a long way to go until kinks are fully and widely accepted. Djite explains one of the struggles he ran into launching BRKFST : “I could not find a single printer in the USA who would print the magazine. They all found the content too sexualized to print, which I found strange and frustrating.” He explains. "The imagery is not porn, it is art and there is a difference. In the end I had to go to Europe to have the magazine printed. Die Keure printing, the same company who works with Fantastic Man and The Gentlewoman were open to our concept and loved the idea of the magazine we were trying to create. It really turned out to be a blessing in disguise.” "Once you enter the realm of kink you start to realize that being straight, gay, bisexual, or trans doesn’t really matter," Dijite expresses. "Everyone has different fetishes and preferences so it becomes one and the same. People have been really intrigued and really taken aback by the beauty of BRKFST. The quality of the paper, the smell of the ink, and the tactile experience allows it to become more of a book than a magazine. I think people see that and are really blown away by the fact that a fetish can be made to look so appealing and approachable. The biggest thing is breaking down the barriers of what everyone visualizes a fetish to be.” Click here to learn more about BRKFST Magazine . Related: Inside Sweden's Indie Feminist Porn Wave Unlock a Treasure Chest of Vintage Spanish Erotica [NSFW] Guro: The Erotic Horror Art of Japanese Rebellion 2016-04-18 16:00 Hannah Stouffer

26 A Narrative for the Body: Shahryar Nashat’s Present Sore Artist Shahryar Nashat recently made Present Sore (2016), a composite portrait of the 21st- century body mediated by substances both organic and fabricated. In this new interview, Walker Bentson Moving Image Scholar Isla Leaver-Yap and Portikus curator Fabian Schöneich ask Nashat what drives his work—the politics of the body, its digital and physical augmentations, and its obsolescence. Present Sore is presented on the […] 2016-04-18 16:23 By

27 Talking to the Founder of "Shazam for the Art World" Images: Magnus.net Joining the ranks of art world tools like Artsy and ArtRank , brand new app, Magnus , is being toted as the Shazam of the art world. Simple and to-the-point, the Magnus user only needs to point their smartphone at an artwork seen in a gallery, and instantly a plethora of information becomes available on their device. Title, artist name, medium, and dimensions are listed, allowing even uninitiated art viewer to understand to basic components of the work. Perhaps most importantly, Magnus also shows the latest market price of the work, whether this is the figure fetched at auction or if it is the gallery’s current asking price for the work. The brain behind Magnus is 31-year-old German art entrepreneur Magnus Resch , best known for co-founding Larry’s List , a database of contemporary art collectors, and for his brutally honest literary exposé on gallery inefficiency, Management of Galleries . Resch and his team have been developing Magnus since 2013, a lengthy period due, in part, to the enormous database that the app requires. At the moment, Magnus boasts the recognition of over 8,000,000 works of art across a plethora of mediums, an impressive feat that will only grow larger as the art world produces more work. The only challenge the app faces is video, which currently are not recognized by the app, but Resch tells The Creators Project that “Amazon, Google, and many other are working on advancing [the image recognition technology]. It’s just a matter of time until users can capture videos with our app.” For the creation and maintaining of the database, Resch has enlisted a popular and modern form of help: crowd-sourcing. “Our users supply us with all images; they take a photo with the app and thereby add it to the database,” Resch explains. “Our job is to keep the database clean and review prices users add. Already today, we own the world’s largest database for contemporary art—free for everyone to use.” Despite the market-mindedness of Magnus and issues surrounding commodification, Resch believes his app doesn’t contribute to this problem—it only helps those already engaged with the system: “Why is it ethically wrong to show users prices of an artwork they are interested in? If you are willing to spend $10,000 on an artwork, you should know that another gallery put the work on auction a year ago for $7,000 and it didn’t sell,” Resch explains. “Knowing this will allow the collector to make a more conscious decision.” So far, it seems that the art world agrees with Resch and is embracing Magnus and its enormous and informative archive: “I received overwhelmingly positive feedback from artists, gallerists, and collectors. Not one single gallery asked us to take down the works,” Resch enthusiastically points out. “I cannot wait to launch it in more cities.” Magnus is currently available for free download on iOS through the App Store. Click here to try it for yourself. Related: Art Trends: Artists Are Corporations, Too The Price of Art: Printed and Framed It's Art: The €1,000,000 Potato 2016-04-18 15:35 Andrew Nunes

28 Art Demystified: Why Galleries Don't List Prices Art Demystified is a series that attempts to shed light on esoteric aspects of the art world. Why are galleries so reluctant to reveal prices? The lack of price transparency is often one of the most baffling and frustrating things for art world outsiders to understand. “I think artists are uncomfortable about, and do not wish to have their work discussed in terms of prices and market value, and what is selling and not selling," art dealer Augusto Arbizo, director and partner at New York's 11R gallery, told artnet News in an e-mail. "Prices aren't openly displayed because they want the work discussed in critical terms and historical context. That is why prices are often not so public. " There are of course other motivations for keeping prices secret. As the director of a prominent London gallery told artnet News, "We don't like to speak about prices to prevent our clients' spouses or the tax authorities from finding out about their purchases. " And as the recent Panama Papers leak has shown, the super-rich routinely use art to dodge taxes and hide assets from their spouses. Arbizo, however, insists that "all the galleries I have ever worked at always had a checklist with prices printed and available to the public, and 11R has one available for every exhibition. " Nevertheless, the lack of tangible attributes often makes it difficult for first time buyers to assess the fair value of an artwork. Indeed, prices of artworks are often negotiable. Arbizo explained that in the primary market (where the gallery and artist agree and set the price for a work) the price is determined by "an artists exhibition history, sales history (if any), career level, and size of artwork. " He added that "sometimes, production costs are factored in as a cost that needs to be recouped. " In the secondary market (where retail price is determined by a third party consignor and the gallery), price is determined by factors such as condition, provenance, and the significance of a work within the artists' oeuvre. The dealer encourages first time buyers and people interested in collecting art to "ask a lot of questions directly to the gallery, and anyone who may have already done business with the gallery… I encourage dialogue with clients to help them be comfortable with any acquisition process. " Follow artnet News on Facebook. 2016-04-18 15:32 Henri Neuendorf

29 Herzog & de Meuron, Ian Schrager Make Waves in New York’s West Village About 30 or so finely tailored Italian suits turned up Thursday afternoon, some brokers, some buyers, to witness the so-called “groundbreaking” of 160 Leroy. The ceremonial hard-hat event entailed a lot of handshaking, backslapping, and posing for pictures with real estate mogul and hotelier Ian Schrager, the man behind this $350 million development. At present, 160 Leroy is a dirt-filled construction site facing Pier 40 on the Hudson River in Manhattan’s West Village. By next year, it will be an undulating, wavelike luxury condo building, designed by Swiss Pritzker Prize-winning architects Herzog & de Meuron. “I want to thank all the brokers for making the sales so great,” said Schrager, speaking into a microphone, his hair blowing in the city wind, his stonewashed jeans suggesting more power than any suit could. It’s true, according to Madeline Hult Elghanayan, director of sales at Douglas Elliman, that this future 57-unit building is already 60 percent sold, which is notable considering the prices for these apartments ranges from $2.4 million for a one-bedroom to more than $25 million for five-bedrooms. And that doesn’t count the full-floor $75 million penthouse, which will include six bedrooms, a private rooftop pool, and a private elevator. This crowd came to celebrate sales. The real drivers behind those sales, however, are the reputations of Herzog & de Meuron and Ian Schrager, who is not only the founder of Studio 54 and Morgans Hotel Group, he’s considered the creator of the boutique hotel concept. This project is their third condo collaboration, with 215 Chrystie (soon to open) and 40 Bond (2007) preceding it. Throughout his 30-year career, Schrager has tapped select boldface names such as French designer Philippe Starck and architect Arata Isozaki to create next-level structures. When he hires a visionary, it is of course for their talent — but Schrager is the first to tell you that it’s because they can take the heat. “I ’ m demanding. I like having go-to people that know my way of working,” Schrager told ARTINFO. “And I especially like [Herzog & de Meuron] because you never know what they’ll come up with. They don’t have just one way of doing things.” According to Herzog & de Meuron, 160 Leroy was inspired by Brazilian architect Oscar Niemeyer, who famously said, “I am not attracted to straight angles or to the straight line, hard and inflexible, created by man. I am attracted to free-flowing, sensual curves.” If all goes as planned, the building will appear just as Niemeyer describes: the wave-like white façade cuts an undulating silhouette on Manhattan’s waterfront. Diamond faceted floor-to-ceiling windows will reflect the sky and water. Set up on a plinth of concrete, the building will be illuminated from its base, creating the visual illusion that it’s floating. The building will stretch an entire city block, and it will be impossible to miss. But it isn’t the only one. In the last decade, new developments designed by world-class architects have risen up in record numbers in the West Village and all along the Westside Highway. For his part, Schrager is calling 160 Leroy the “last chance to own a home on the water in the West Village.” In the context of New York City, this sounds doubtful. More likely, it will be many people’s last — or only — chance to buy a $75 million penthouse with a private rooftop pool and private elevator. If you ask the architects, luxury is only a part of this. It’s the part that means they can splurge on high-end materials. It wasn’t, however, their objective. “This is a building where the whole is greater than the sum of the parts. It’s the evolution of a truly new international style,” Herzog & de Meuron noted in a press release. The “International Style” they’re referring to was an architectural movement, emerging in the 1920s and 1930s, led by greats like Le Corbusier, Richard Neutra, and Philip Johnson. They welcomed an emphasis on fluid function and technology, while rejecting superfluous ornamentation. They were creating the art of simplicity. With 160 Leroy, Schrager and Herzog & de Meuron are attempting to update these concepts for the 21st century. 2016-04-18 15:17 Jennifer Parker

30 30 Longjourney and Stephen Kenn Hammer Out Furniture Collaboration More Articles By “We buy tons of leather jackets,” said Alonzo Ester, who designs Los Angeles-based Longjourney with Alex Carapetian. “Our motto is to save everything.” Patches of black leather and suede were stitched together as covers of cushions set on dark parachute cords and leather straps buckled to blackened steel armchairs. For the olive green sofa stretching almost nine feet long, Ester, Carapetian and Kenn cut up old sweatshirts and canvas, then garment-dyed, waxed or turned them inside out before slipping them over the seats and backs resting on polished black nickel. The motifs of patchwork and mixed materials run through the sportswear produced by Longjourney, which started in 2012 and made its first shipment to stores such as Maxfield’s, Barneys New York, Webster and Matches two years later. Indeed, it introduced that particular treatment for the sweatshirt sofa in its fall 2015 collection. It’s also not the first time that Ester and Kenn have crossed paths. Kenn used to run a denim line called Iron Army, which Ester had carried a decade ago in his boutique named Hollywood Trading Co. The two reunited last year at a party at JF Chen, which will be selling the pieces along with the collaborators. More importantly, Ester and Carapetian were impressed by Kenn’s five-year-old furniture design business. “We were interested in getting chairs for ourselves,” Carapetian said. Costing almost double the price of Kenn’s main line and made in Los Angeles , the sofa retails for $11,000 and the armchair goes for $5,500. The pieces will be unveiled to the public on April 21 as part of a performance at JF Chen with dancers from Ate9 clad in Longjourney’s clothes. Kenn’s past as a denim designer eased the process for undertaking a fashion-based collaboration, not only with Longjourney, but also with Simon Miller, whom he had helped to create an indigo canvas sofa on a copper frame four years ago. He likes the meeting of the minds. “At the end of it,” he said, “you grow as a person and a designer.” 2016-04-18 15:00 Khanh T

31 A Virtual Reality Dive with the Ocean's Largest Predatory Mammals Images courtesy the artist Weighing in at an average of 32,000 pounds and 50 feet in length, the sperm whale is the largest living predator in the world. The guys who regularly dive into the ocean and see these babies up close made a virtual reality documentary called The Click Effect about these killers of the deep, and it is simultaneously artful, beautiful, informative, and a little bit frightening. The Click Effect debuted at Tribeca Film Festival's Virtual Arcade , and is now available to anyone with a smartphone through the VRSE app. Vrse.works , purveyors of fine virtual reality products like Catatonic , Clouds Over Sidra , and The Displaced , worked with Annapurna Pictures and DEEP author James Nestor to capture beauty of underwater reasearch and explain how sperm whales see, feel, and hunt using echolocation—and may constitute intelligent life. The video follows Fabrice Schnöller , founder of an organization called DAREWIN as he works to prove whales and dolphins are sentient, and free-diving fine art photographer Fred Buyle , who often works with researchers to create visuals for their work. Directed by Sundance alum Sandy Smolan , The Click Effect shows you people interacting with these creatures in their natural habitat, visualizes how sonar works, explains the brain function required to use it, and argues that this, among other evidence of higher communication, is proof that the only thing separating human beings from whales and dolphins is a communication barrier. "Fabrice and Fred believe that these animals, since they are already viewing the world through clicks and echoes, are probably able to send those pictures and sonograms to other dolphins or whales," Nestor says in the film. "Tens of millions of dollars are spent looking for intelligent life in the universe. But there's already intelligent life in the universe. And it's right here. " Aside from the fascinating message, The Click Effect is worthwhile simply for the feeling of floating in the ocean sans SCUBA gear. Vistas like an overgrown shipwreck, a pod of sperm whales cuddling, and vibrant coral outcroppings are one of the truest examples of VR's transportative effect I've felt yet. Watching it, I found myself breathing in the strong, regular rhythm ingrained in me by my own SCUBA instructor. Whether you're a diver looking for a small fix, an animal activist looking for your next cause, or a landlubber who needs to take the edge off of office life, The Click Effect is proof that virtual reality and the ocean go together like peanut butter and sriracha. Watch The Click Effect on the VRSE app or The New York Times ' VR app. See more from Vrse.works here , learn about Fabrice Schnöller and Fred Buyle's research here , and buy James Nestor's books here . Related: Virtual Reality Journalism Puts You Inside the Refugee Crisis Can Virtual Reality Make Us More Human? An Ebola Survivor's Story, Told in Virtual Reality Virtual Reality Doc Takes You Through a Mother's Grief in Gaza 2016-04-18 15:00 Beckett Mufson

32 Ann Freeman Breaks Her Silence In 2011, the venerable Knoedler gallery shuttered amid a flurry of lawsuits, after being in business since its founding in 1846. The dealers were accused of selling several fake Abstract Expressionist works, including an $8.3 million Mark Rothko painting purchased by plaintiffs Domenico and Eleanore De Sole . At the De Sole trial, expert witness Martha Parrish testified that Freedman ignored all the signs : “A reputable and responsible dealer would run like hell, because there are too many red flags flying for anyone to take the risk. " So far, nine lawsuits have been brought against the gallery and its former director Ann Freedman. Five have been settled, four are still pending, and only one has gone to court. After the epic trial earlier this year, Freedman has not spoken publicly about her involvement with the forgery scheme. Before she was scheduled to take the stand, her lawyers reached a settlement with the De Soles. Months later, she's broken her silence in an interview with the Art Newspaper. Here are the five key things that she had to say. 1. She's the victim. "I was a perfect mark, so I'm told, and my research helped them figure out their own scheme. " Freedman goes on to call Long Island art dealer Glafira Rosales and her co-conspirators, from whom she bought the forgeries, "exquisitely conspiratorial wizards. " 2. She didn't know the paintings were fake. "There has been a lot of misunderstanding […] Looking back, there can be things I didn't see at the time. " [During the proceedings in February it emerged that Richard Diebenkorn 's family expressed concerns over the authenticity of the works "found" by Rosales as early as 1994.] 3. She's not an art expert. "I always looked to scholars," Freedman said, explaining that she saw herself as a dealer and art lover rather than an authority. 4. The art world is particularly susceptible to fraud. "There's no greater ripe field for it than works of art. [Even] museums know they have questionable works," Freedman said. 5. She's really sorry. "I am terribly sorry for anybody who [says they have been] hurt or damaged […] But let me be clear, this is [about] works of art. I didn't slay anybody's first-born. We have to have some perspective on suffering. " Follow artnet News on Facebook. 2016-04-18 14:51 Henri Neuendorf

33 Demon Guts and Future Guns: Designing the New 'DOOM' All images stills from DOOM (2016). Photos courtesy of id Software and Bethesda Softworks. The airvac doors in the military base on Mars hiss open. Inside, screams and howls pierce the silence. Practically feeling the heat of Hell on their backs, players know: they’re playing DOOM. What began as a violent-for-its-time first-person shooter in 1993 has mutated into the DOOM franchise, consisting of three major games, plenty of spin-offs, novels, and a 2005 movie of the same name. On May 13th, id Software and Bethesda Softworks bring players back to Hell with DOOM , a new iteration on the classic franchise. Id Software’s Executive Producer, Marty Stratton, speaks about the inspiration for the game, designing the hellish atmospheres, and psychotic jetpack skeletons. “The game takes place roughly 150 years in the future,” says Stratton, “and begins as you wake up in a secret bunker deep below the Martian surface.” The two main settings for the game are a huge space base on Mars and Hell itself. On setting apart the style in those two settings, Stratton explains, “the visual and fictional themes across those two settings vary greatly.” The base, even when under siege, is very orderly, but “Hell is a realm of hostility—fractured and chaotic. At times there’s a vague semblance of past civilization, but clearly overrun for ages. Some of my favorite locations in Hell are part of what we call The Titan’s Realm—a zone where the world has formed around the skeletal remains of massive ancient demons.” When asked about the horror elements of the game, Stratton says they didn’t really push for proper horror, “It’s fast, improvisational and always charging forward at full speed. Yes, there is Hell and there are demons that will rip your arm off and beat you to death with it, but we always try to be so bombastic, over-the-top and fun with that stuff that it never feels serious enough to be called horror.” And how do the past incarnations of the game shape this new release? “You can’t make a game called DOOM without paying a lot of respect to the legacy, heritage, fans and community that have been built over the past 25 years. That said, we’ve never wavered from making this a modern DOOM game that, while heavily inspired by the original DOOM and DOOM II , offers players today a unique, deep and most importantly, fun experience.” Stratton says the most noticeable similarities between past games and this new entry are the demons, “ DOOM demons have so much personality and character and are such an iconic part of the brand that it was important for us to capture that timeless personality in our modern interpretations. I think a great example of this is the Revenant—for anyone that knows the franchise, his current incarnation is like what’s been in your head for years and it’s thrilling. For those that aren’t as familiar, he’s just a bad-ass 8-foot-tall psychotic skeleton demon with a jetpack and rocket launchers on his shoulders.” While developing the game, id Software truly harnessed the power of next generation systems to make everything (even the 8-foot-tall psychotic skeleton demon) more realistic. Stratton says the biggest new development with next-gen consoles was, “screen space reflections—which result in everything reflecting in the environment as you’d expect, like when a demon walks over a puddle in the environment, you can see his reflections. That alone adds a remarkable sense of realism.” Stratton and his team looked to a huge array of sources for inspiration when designing DOOM . “For movies, we love Evil Dead 2 for the over-the-top tone of the violence, Hellboy 2 for color and some tonal elements, and even Gladiator for the sense of power and strength of the DOOM Marine. Of course it’s hard to not be inspired by artists like Wayne Barlowe and [Zdzisław] Beksinski , and we’ve spent hours looking at Don Punchatz ’s original DOOM cover illustration.” Drawing all of those inspirations, and setting the game in an ultraviolent hell, could make for a truly horrific and graphic game, but Stratton says they work toward a different feel. “ DOOM allows us to create absolutely bombastic moments of violence and gore but we always make it really over-the-top and comic book. We have a bit of a rule when evaluating our blood and gore —if a player is laughing as they exclaim 'oh shit!' when something happens on screen, we’re on the right track. If they cringe and want to turn away, it’s probably too serious and not crazy enough. There’s a fair bit of humor in tearing demons apart with your bare hands or slicing them in half with a chainsaw.” Final Key Art for DOOM (2016). Photo courtesy of id Software and Bethesda Softworks. Dive into hell and see for yourself on May (Friday the) 13th. Related: Play 'Doom' with Instagram Filters and a Selfie Stick in This Amazing Mod Here's How a 4D Video Game Actually Works Meet The Real World Designers Behind The Fictional Video Games of 'Her' 2016-04-18 14:35 Giaco Furino

34 34 China Cracking Down on Children on Reality TV Children can be cute, giggly and prone to tantrums. But according to China’s top broadcast regulator, what they can no longer be is featured on Chinese reality television. In new guidelines issued by the State Administration for Press, Publication, Radio, Film and Television, children — especially children of celebrities — have been banned from participating in reality television shows. The aim of the ban, said the state-run news agency, Xinhua, which first reported the guidelines on Sunday, is to protect the children from the pitfalls of “overnight fame.” The regulations are the latest in the government’s continuing efforts to rein in the fast-growing online television industry. Last month, new rules issued by two industry associations, including one state-sanctioned organization, outlined a comprehensive policy that included a ban on depictions of gay relationships, underage romance, extramarital affairs, smoking, witchcraft and reincarnation. Some experts said the latest guidelines appeared to be aimed specifically at hugely popular shows like Hunan Television’s “Where Are We Going, Dad?” and Zhejiang Television’s “Dad Is Back,” both of which feature children of celebrities. Based on a South Korean television show with the same name, “Where Are We Going, Dad?” took off after its premiere in China in 2013. The show, which follows five celebrity fathers and their children as they travel to rural destinations and complete assigned tasks like cooking meals, attracted more than 75 million viewers for the first episode of its latest season. It has led to spinoff films, multiple parenting books and millions in advertising revenue. The former N. B. A. basketball player Yao Ming and the actor Liu Ye have both appeared on the show. Several of the children on the program have received lucrative endorsement deals. The third and most recent season ended in October. Ma Xue, a Beijing-based reality television producer, said she thought the broadcast regulator issued the new guidelines “because they don’t want people to see differences between classes.” “On these shows, if you are the child of a celebrity, then you become a celebrity by birth,” she continued. “This could have a negative social impact,” she added. “You can’t have class differences starting from childhood.” Both shows are said to have halted future production because of the new guidelines, according to Xinhua. Some experts said that the new ban might also affect shows that don’t feature celebrity children, including some imported foreign programs like Fox’s “MasterChef Junior,” which is airing on the Chinese online streaming website iQiyi. Government regulators appear to have been closing in on reality television shows for months. The broadcast regulator hinted at the new restrictions in a notice issued last July that was made public only in March. That document was broader in scope and specified general guidelines for the management of reality shows in China, calling for them to “actively incorporate socialist values” and “pay attention to the masses and avoid being overly focused on celebrities.” Minors should be excluded from reality programs as much as possible, the guidelines went on to say. The extra focus on reality television appears to be in line with the broadcast regulator’s tendency to apply extra scrutiny to video personalities who go viral or to programs with large followings. On Monday afternoon, the state-owned People’s Daily newspaper reported that a hugely popular online celebrity and comedian nicknamed Papi Jiang had been censored by the broadcast regulator for the frequent use of vulgar language in her satirical videos. On Monday evening, Ms. Jiang posted a response on her public WeChat account. “As an independent media worker, I will pay more attention to my language and image, resolutely respond and rectify and reform according to online video requirements so that I can transfer positive energy to all,” she wrote. Still, the growing hostility toward “Where Are We Going, Dad?” in recent months is something of a reversal for the government. In a 2013 op-ed published in People’s Daily, which is an official mouthpiece of the government, the commentator Liu Yang praised the show for placing “family love at its core.” “The deep affection on display in the show,” the op-ed added, “is heartwarming and ignites a desire in people to return home to loved ones.” Xuejie Zhao contributed research. 2016-04-18 14:28 By

35 Modern Visionaries Mix Grotesque Cartoons, Glass Architecture at Berlinische Galerie Related Events Modern Visionaries Paul Scheerbart Bruno Taut Paul Goesch Venues Berlinische Galerie Artists Paul Goesch “Modern Visionaries” at Berlinische Galerie presents the works of three German artists, whose sketches, architectural designs and drawings mix inspirations and styles. Paul Scheerbart, Bruno Taut and Paul Goesch exchanged ideas about ideal art and reinforced each other’s visions of architecture. The period between the end of First World War and the dissolution of the Weimar Republic in Germany was especially ripe for radical, visionary ideas such as theirs. The art of German Expressionists sought inspiration in folk traditions, the art of indigenous peoples and spiritually charged art of the previous centuries. Because of his fragile mental state, Goesch was frequently hospitalized in psychiatric institutions. His works, such as “Madonna” (1922, gouache and opaque white over pencil on paper), reveal his interest in modern mysticism. The artist renders traditional medieval subject grotesquely cartoonish, with bright colors and thin black lines describing the subject matter. While Goesch’s art veers into the area of religious vision, the other two artists remained focused on the architecture and its role in shaping the modern society. In 1914, Scheerbart published a treatise called “Glass Architecture” and dedicated it to Taut. In the same year, Taut put those ideas into practice and erected “Glass Pavilion” at the Cologne Werkbund Exhibition. The photograph of that building presented at the exhibition does not give justice to the importance that color had in Taut’s architectural scheme. The pavilion, with the dome in the shape of a crystal, presents a compromise between daring modernist architectural form and the decorative quality of colored glass. The fascination with primary colors is the element which unifies the works of Goesch, Scheerbart and Taut. While indebted to the modernist currents of the time, the three artists remain faithful to their own vision. 2016-04-18 13:51 Natalia Masewicz

36 Breaking Records at Art+Feminism's Wikipedia Edit-A-Thon All images via Wikimedia Commons and courtesy of Art+Feminism. For it’s third-annual Wikipedia Edit-a-thon , Art+Feminism supported 2,500 participants in 175 events across 6 continents for a record- breaking year of editing and creating pages for women in the arts. Organized in collaboration with the Professional Organization for Women in the Arts (POWarts) and the Museum of Modern Art, the Edit-a-thon was led by Siân Evans of Art Libraries Society of North America’s Women and Art Special Interest Group, Jacqueline Mabey of failed projects , and artist Michael Mandiberg (read: " Meet the Man Printing Wikipedia as a Book "). “We’re thrilled with this year’s results,” Evans, Mabey, and Mandiberg explain to The Creators Project. “We feel that they reflect our emphasis on intersectional feminisms, both in the content edited and the organizing efforts.” At latest count, this year's efforts resulted in an accumulated 2,000 new pages and the editing and improvement of 1,500 existing articles on Wikipedia. At a more than three-fold increase of last year’s events’ results, this incredible achievement is truly one in the spirit of March’s Women’s History Month, around which the program is organized. Apart from the actual editing, the events also included discussions and panels focusing on the implications of Wikipedia’s gender disparities , such as LGBTQ visibility, intellectual property, and the general lack of female participation in the database. “It is important to improve Wikipedia’s gender bias both because it is one of the keystones of our digital commons and because it’s becoming one of the content backbones of the Internet: many other popular sites pull in content from Wikipedia's APIs,” they explain. “Absences on Wikipedia ripple across the internet.” The additions and edits, published in full detail on Wikipedia , include a wide range and definition of artists, from Liz Magic Laser to Park McArthur , Anne Pasternak to Carrie Mae Weems —all of whom we've featured previously on our site. “More are people using Wikipedia as a platform for teaching, research and composition, more librarians are describing it as a research tool,” Evans, Mabey, and Mandiberg continue. “For example, Google search pulls its biographical sidebar information from Wikipedia, and MoMA’s website now pulls from Wikipedia content. This is the marker of a cultural shift with regards to how Wikipedia articles are viewed in the art world and in research in general, making our work more pressing.” “Art+Feminism is envisioned as an intervention [by] both feminists and artists/art workers/art lovers," they add. "It's a contribution of our specific knowledge to the Commons. Yes, it's about representation as women, but also representation of art histories.” Art+Feminism’s Wikipedia Edit-a-thon’s continue throughout this month, with more than 10 events scheduled for later in April. Find out more on Art+Feminism’s website. Related: Looking Back on 15 Years of Wikipedia and Art What We Learned from Printing Wikipedia as a Book The Art of Being Feminist and Fabulous 2016-04-18 13:20 Sami Emory

37 Russian Museum Hires Cat, Snowden Makes Techno: Last Week in Art Via A lot went down this week in the weird and wild world of Art. Some things were more scandalous than others, some were just plain wacky—but all of them are worth knowing about. Without further ado: + In an April’s Fools joke gone wrong (or right?), a fat cat named Maray has been hired at the Serpukhov Historical and Art Museum. [ Mashable ] + Edward Snowden released a 6-minute techno track with electronic music producer Jean-Michel Jarre. Listen to “Exit” here. [ The Next Web ] + Siyuan Zhao, the Art Basel stabber who attacked a woman who she allegedly believed to be in collaboration with ISIS, is being deported to China for mental health rehabilitation in her home country. [ Miami Herald ] + The artist behind the controversial Kanye-kissing-Kanye mural in Chippendale, Australia, sold his work for AUS$100,000 to an unknown buyer. He has since painted over the mural, leaving only a single, godlike pinky. [ The Telegraph ] Via + Saddam Hussein’s abandoned mansion is becoming a museum. [ National Geographic ] + Dream boss Mariah Eichborn will give her staff a super-long vacation for her next show in London, 5 weeks, 25 days, 175 hours : the exact time her employees' holiday. [ Art News ] + Harvard students are speaking up against sexual assault with guerrilla art installations. [ The Crimson ] + Coachella was this weekend. The annual music festival boasted another round of massive sculptural feats from artists Phillip K. Smith III, Date Farmers, Alexandre Arrechea, and more. [ Los Angeles Times , Instagram ] Via + The Lucas Museum of Narrative Art may have finally found a home in Chicago in the lakespot location of the soon-to-be demolished McCormick Place East. [ Chicago Tribune ] + The Natural History Museum of Los Angeles county is going to train a volunteer force of “citizen scientists” to collect wildlife data for the museum. [ Los Angeles Times ] + Undressed: A Brief History of Underwear opened at London’s Victoria and Albert Museum last Saturday. The show celebrates a more than 200-year narrative of undergarments for men and women, starting in the 18th century and extending into the modern-day. [ The Daily Mail ] + The Manchester Museum has established what may be the world’s first “Inflatable Museum.” The blow-up building is touring the city’s public spaces and schools to promote free museum education in every context. [ Manchester Evening News ] Via + What appears to be a lost Caravaggio painting, estimated at roughly $135,000,000 in value, was found in an attic in Toulouse. [ The Guardian ] + The FBI is now involved in the ongoing search for the stolen Andy Warhol paintings in Missouri and is offering a $25,000 award for any information on the missing works. [ Raw Story ] + These are the designs for Iraq’s new museum of Kurdish culture. [ Dezeen ] + 100% of the profits of 50 limited-edition portraits of Miley Cyrus, shot by Marilyn Minter, are going to support Planned Parenthood. Cyrus has also teamed up with Marc Jacobs to create “Miley Hearts Planned Parenthood” and “Pro Choice Miley” T-shirts as a further fundraising venture for the organization. [ Refinery 29 ] Via + Last month, Colombian artist Oscar Murillo destroyed his British passport mid-flight on his way to Sydney as a public stand against Western privilege. He later commented on a panel at Art Basel Hong Kong, “from a Western context, the West is a salivating penis, you know, pretty much ready to penetrate the rest of the world, as it has been for 500 years or more.” [ Art News ] + The only museum dedicated to the Tiananmen protest in 1989 is being forced out of its location in Hong Kong over a legal issue. [ The New York Times ] + Here's a William Shakespeare sculpture the size of the eye of a needle, made by micro- sculptor William Wigan in honor of the Bard’s 400th anniversary. [ The New Zealand Herald ] + Cornelia Parker has recreated the Bates Motel from Hitchcock’s 1960 film Psycho —at two- thirds scale—on the Met’s roof for her current Roof Garden Commission. [ The New York Times ] Via Did we miss any pressing art world stories? Let us know in the comments below! Related: Poop Museums & Panama Papers: Last Week in Art Who Killed Trump?: Last Week in Art ¡Artistas, Arrested! : Last Week in Art [Cuba Edition] Kanye Kissing Kanye: Last Week in Art North Africa's Biggest Street Art Ever: Last Week in Art Bansky DOXED?: Last Week In Art Leo Got a Statue: Last Week in Art [Oscars Edition] Liquid Meth Found in Bras & Art Supplies: Last Week in Art Valentine's Day Hangover? Try Hoverboard Porn: Last Week in Art Rainbow Bagels and Death-By-Selfie Statistics: Last Week in Art 2016-04-18 13:10 Sami Emory

38 38 Ginnifer Goodwin, Gene Simmons, Tony Goldwyn and Jeremy Piven Rock Out at John Varvatos’ Stuart House Benefit For his 13th annual block party benefiting Stuart House, John Varvatos proved that the family that rocks together, stays together. Gathering the extended clan that he has formed over the years through blood and business, the New York-based designer welcomed Cheap Trick and Kiss frontman Gene Simmons, who respectively modeled for his ad campaigns in 2008 and 2014 , to the block party staged in front of his store on Sunday in West Hollywood, Calif. Plus, his 7-year-old daughter, Thea, tried her hand at entertaining the crowd, which included Tony Goldwyn, Ginnifer Goodwin, Josh Dallas, Isabelle Fuhrman, Stella Maeve, Jesse Metcalfe, LeVar Burton and Paige Adams-Geller among the more than 1,500 guests. In the Hasbro Studios-sponsored tent, Peter Facinelli guided his daughter by the kid-size cardboard Jenga game and My Little Pony-inspired hair extensions before taking off his leather jacket in the 88-degree heat. Families shopping for a minivan got a chance to sit inside an eco- version from Chrysler, which joined Varvatos’ circle when they designed a car together years ago. Thea Varvatos broke the ice during the live auction when she did an impromptu stand-up routine, asking the audience if they knew why Cinderella is a bad football player. (The punch line: Her coach is a pumpkin.) The auction heated up when two men tried to outbid each other for a shopping spree with Varvatos. Party emcee Bill Bellamy tempted them further when, in front of the sheriffs and firemen on duty, he spoke in code about certain illicit amenities. “John will bring organic…food,” he said. “I’m bringing lots of organic, OK?” Varvatos confirmed on stage. “Not only will you look good, you’ll feel amazing,” Bellamy said. Sure enough, Varvatos ended up doubling the shopping package so that each bidder was able to buy one for $17,500. The fun and fund-raising continued with an ear-busting concert by Sammy Hagar, Vic Johnson, Michael Anthony from Van Halen and Chad Smith from The Red Hot Chili Peppers. Simmons stayed stone-faced in mirrored aviators and a black shirt embroidered with a skull and roses, even when bombarded by fans, who stopped him and requested selfies as he walked through the shindig. But he broke from his too-cool-for-school stance by playing air drums during Hagar’s performance of “I Can’t Drive 55.” After more tunes, including a cover of Led Zeppelin’s “Rock and Roll” that featured Cheap Trick’s Rick Nielsen on guitar, the band auctioned off Hagar’s guitar, Smith’s drum kit and a lesson from Smith for a total of $12,750. The event raised a bundle for Stuart House, which aids child victims of sexual abuse. The figure is bound to go higher since the online auction, which includes a pair of autographed jeans that rocker Steven Tyler had worn on stage, doesn’t end until April 26. Jeremy Piven proved how much he was a fan of Varvatos’ by not only staying through the end of the concert but also sporting his designs from head to toe, starting with his brown-tinted shades all the way down to his matching boots. For the TV series “Mr. Selfridge,” the actor steeped himself in the retail industry for his portrayal of Harry Selfridge, the brash American who founded the London department store bearing his name in 1909. When asked if he’d pay homage to Varvatos by playing him in a biopic, Piven didn’t miss a beat. “I think it’d be the only role I have too much hair for,” he said. 2016-04-18 13:08 Khanh T

39 dolce&gabbana transforms smeg's FAB28 refrigerator into a work of art dolce&gabbana transforms smeg’s FAB28 refrigerator into a work of art (above) the frigorifero d’arte exhibition was presented during milan design week 2016 image courtesy of dolce&gabbana italian companies dolce&gabbana and smeg have collaborated to create 100 limited-edition refrigerators that celebrate the decorative richness of sicilian traditions. six artists took the FAB28’s sinuous lines and nostalgically retro form and hand-painted them with images the reference the island like lemons, the trinacia symbol, cart wheels, medieval knights, and battle scenes. all these pay a tribute to the sicilian cart, or carretto in italian, that is also part of the exhibition held at the metropol theater in viale piave 24, during milan design week 2016. the whole exhibition aimed to highlight sicilian traditions image courtesy of dolce&gabbana embellished with classic floral motifs, the result of this collaboration showcases the attention to detail of two brands that clearly represent the ‘made in italy’ flag, combined with smeg’s quality and technology and dolce&gabbana’s creativity and artisan workmanship. the exclusive refrigerator collection aims to keep alive the tradition of the sicilian cart, renewing its colors and taking it to new horizons. the motifs used in the refrigerators are based on the chivalric tales, mythology, religious devotions, and italian opera image © designboom dolce&gabbana’s metropol theater was filled with rotating refrigerators and light compositions image © designboom detail of the collaboration between two italian giants image © designboom the sicilian cart, or carretto, present at the exhibition image © designboom exhibition view of the refrigerators with the carretto siciliano in the end image © designboom sicilian traditions have been part of dolce&gabbana’s work, and with this collaboration, they have succeeded again image © designboom this mood board showcased the references used to paint the refrigerators image © designboom 2016-04-18 12:58 Juliana Neira

40 In Dialogue With Reality: Jacob Wren’s “Rich and Poor” Related Venues Film Society of Lincoln Center Artists Abbas Kiarostami Courtesy BookThug “A lot of people were talking about Occupy Wall Street,” the author and artist Jacob Wren said of the time he began writing his latest novel, “ Rich and Poor ,” published by Bookthug this month. He mentioned that, specifically, his reading of David Graeber’s “Debt: The First 5,000 Years,” a book that was published only a few months before the Occupy movement’s official inception, and whose text was a powerful motivator of its chief aims, provided the first impulse for his own novel’s reflections of class and capital. “[It provided] this idea that capitalism wasn’t just some abstract postmodern machine that was operating on all of us, but there were actual concrete individuals getting very rapidly much richer off of it. What do you do about them?” In “Rich and Poor,” the answer is: kill them. The novel, structured around two narrating voices — one a billionaire, the other a former pianist turned dishwasher who decides to murder the other — that eventually collide, abounds with questions of the nature of political action and how you can change the world. It asks: Can one person change anything? “I think I would be an activist if I had any talent for it,” Wren said. “But I only have talent for art.” In addition to his fiction writing, Wren is a member of the Montréal-based collaborative performance group PME-ART , and often writes about contemporary art for different publications and on his own blog. “At one point at my life I had a strong desire to keep the writing and performance separate,” he said. “I have a strong belief in collaboration but at the same time I find it personally very difficult. Writing novels was an attempt to escape all the collective dynamics and do something where I could take full credit for it, which is maybe not the noblest desire. Over time I’ve really seen how they are really connected.” One of the links between Wren’s performance work and writing, he said, is the relationship between structure and spontaneity. “In the performances we make there is a structure but we do it differently every time; we’re trying to surprise ourselves,” he explained. “When I’m writing a novel there is a structure I have in mind at the beginning, but in the act of writing I’m trying to surprise myself, and have as much freedom within the structure as possible.” What he’s outlined sounds like a description of Abbas Kiarostami’s “Close-Up” (1990), which Wren will present at the Film Society of Lincoln Center on April 18 as part of its Print Screen series. Kiarostami’s masterpiece, a hybrid-documentary about the arrest and trial of a man who impersonated the filmmaker Mohsen Makhmalbaf, appeared in Wren’s previous novel, “Polyamorous Love Song” (in a sequence based on a real-life incident at the 2002 New York Film Festival), and acts as a progenitor for a whole section of art across various mediums that are exploring questions of reality in their work. Wren first encountered Kiarostami in the early 1990s during a series dedicated to Iranian Cinema in Toronto, and was struck by “Close-Up” in particular. “You’re constantly wondering what is true and what is fiction,” he said of the film. “At that moment it was so much what I was searching for in art, the question of how to bring reality into art, and what reality is, isn’t, or could be in art.” He noted that a similar blending of fiction and non-fiction has become the literary zeitgeist at the moment, but is clear that his book is different from what other writers are trying to do. “My book is definitely not reality,” he stressed. “It’s much closer to a parable or a fable, and even that doesn’t quite get at what it is. But it’s in some dialogue or conversation with reality.” 2016-04-18 12:49 Craig Hubert

41 Sponsored: 7 Hidden Treasures for Sale at a 104-Year-Old New Orleans Art Gallery Related Venues M. S. Rau Antiques Artists Vincent van Gogh Henri de Toulouse-Lautrec Claude Monet Giovanni Boldini Norman Rockwell Willem de Kooning Marc Chagall If you thought New Orleans was just about decadent food, jubilant jazz, and the world’s most raucous celebrations, think again. This unique gem among the great American cities is also home to one of the finest collections of fine art in North America. But you won’t find this visual treasure trove on just any Big Easy street corner. Much like the secret courtyards nestled behind French Quarter historic homes, only those “in-the-know” can enjoy these stunners. To admire this collection, you have to step behind the “secret door” at M. S. Rau Antiques , a French Quarter landmark for more than 104 years and one of the leading art galleries in the United States today. That secret door leads to a 5,000-square-foot space that houses innumerable paintings one might expect to find in the high-end galleries of New York, London, or Paris. Bill Rau, third generation owner, has made it his mission to amass this highly important selection of works, which range from Renaissance masterpieces to contemporary canvases of the 21st century. Following the creed that has helped his gallery survive for over a century, Rau procures only the very best of artworks, and that quality is reflected in the remarkable collection in this space. The list of great works continues as one room opens into another behind the secret door. Works by William Bouguereau , John William Godward , Peder Monsted , John Grimshaw , Fritz Wagner , Achille Laugé , two remarkable Pieter Brueghel the Younger paintings and even an oil on canvas by one of the most important statesman of all times, Winston Churchill , are all on display. For those who enjoy collecting 21st century art, M. S. Rau Antiques offers a Pop Art composition by Tom Wesselmann , a poignant scene of immigrant life by Martha Walter , a moonlit walk in a Surrealist cityscape by Paul Delvaux , and a larger than life Queen of Sheba from Cuban-Spanish master Federico Beltrán-Masses. Over the years, M. S. Rau Antiques has offered remarkable works by Pierre-Auguste Renoir, Montague Dawson, Rosa Bonheur, Paul Gauguin and Jean-Leon Gerome, among many others. The rooms behind the secret door are available for viewing 6 days a week. All one needs to do is ask for a tour and a Fine Art consultant will happily take your breath away. M. S. Rau Antiques is located at 630 Royal Street in the French Quarter, New Orleans, LA 70130 and by phone at 877-352-4721. No plans to visit New Orleans? Many works from M. S. Rau’s Fine Art collection will be on view at the annual Aspen Fine Art Fair July 2-10, 2016. 2016-04-18 12:10 BLOUIN ARTINFO

42 From Planet Haturn Gypsy Sport / New York The newfound visibility of fashion label Gypsy Sport comes at just the right moment. From the outside, Gypsy Sport strokes our current delectation within contemporary art for a bespoke revivalism, with material qualities emphasized in the handmade textiles and quilts, one-off garments and small-scale jewelry-inspired works coming out of many artists’ emerging or rediscovered productions (everyone seems to be sewing or at least interested in sewing). Gypsy Sport Take Susan Cianciolo ’s recent exhibitions (a version of the artist’s solo show at Bridget Donahue Gallery recently closed at 356 S. Mission Road in Los Angeles). Cianciolo’s quilts and garments, crafted and hand-stitched to reveal the personal idiosyncrasies of both wearer and maker, embed identity within themselves — an effect that resonates on an atelier-scale with Gypsy Sport designer Rio Uribe. For both Cianciolo and Gypsy Sport, the formation of an identity along a garment’s folds and textures is slippery; it may contain a constellation of references that both cohere and rub against one another. Elements are physically and metaphorically sewn together in fluid ways that manage to establish a healthy sense of humanistic openness to error or complication within that process. For Uribe, this humanist attitude or ethos is symbolized by Planet Haturn, a fictional place of universality, openness and timelessness, where Gypsy Sport was born. Planet Haturn is futurist in orientation and positive in outlook, but nonetheless aware of the complexity in that position, always taking into account its past. Susan Cianciolo Uribe grew up in LA’s Koreatown, an area whose mixed demographics run opposite to the city’s typically sharp lines of segregation. A clear influence on his collections’ blends of colorful and grunge multiculturalism, K-town nevertheless possesses an historical underbelly of social upheaval, as one of the centers of the 1992 Rodney King riots. Through the brand, Uribe manages to speak to this friction, offering up utopian, unisex and distinctive designs that reflect our racial melting pot while also, not unlike Miuccia Prada, taking from readymade, mass- industrial designs, utilizing them as a socioeconomic ground. You see this in the styling of women in their FW 2016 presentation, in pulled-up calf-length hosiery and orthopedic shoes — a look of mid-century hospice care — to the wide cuts of layered unisex garments in vertical green stripes, sagged down to reveal Gypsy Sport–brand underwear in earth tones. Blue-collar and street. Gypsy Sport’s collections are broadcast in buoyant, elementally fun and entertaining runway shows and edited videos, looking like a successor to the spectacle-laden showmanship of Miguel Adrover in the late ’90s and early ’00s. At a Gypsy Sport show, weight is given to its irreverent post-sexual attitude and look, which also strays toward earth-laden and familial, with the brand sending out a model carrying her newborn for the finale of their latest presentation. Adrover, also an apparent influence on the more singular, destroyed garments from previous Gypsy Sport seasons, struggled to keep his brand alive after losing financial backing in 2012. Uribe was working merchandising at Balenciaga at that time, and only two years after that designing a line of hats that would end up at Opening Ceremony. The label owes its meteoric rise to that accessories line, which would prompt a studio visit with Anna Winter and a CFDA award only last year. Displaying an acumen that seamlessly blends design and business, Uribe and Gypsy Sport build a unique look that also emphasizes a heavy brandedness on par with a label like Hood by Air. Gypsy Sport’s destroyed beachcomber forms and cuts become more organically sci-fi with the incorporation of the Planet Haturn logo, featured prominently not only on accessories but also in patchwork coats and shorts, stitched into reverse seams amid variously skin-colored and sheep’s-fur squares in a line from FW 2016. Saturn as a symbol means business, but it also means life-affirming joy and grounded freedom, a Gypsy Sport mentality that blazes forward with rose-tinted glasses, fearlessly looking toward the past while butting up against all of the apocalyptic potential of the present and future. by Paul Soto 2016-04-18 11:26 www.flashartonline

43 Sculpture Meets Photography at Rodin Museum Related Venues Musée Rodin Paris Artists Auguste Rodin Cy Twombly Richard Long Giuseppe Penone Mac Adams Photography is not an obvious medium that first pops into mind at the thought of Rodin. He was such a purist about his metier that would probably reject the idea of the two mediums ever mingling so liberally. However that’s exactly what the Musée Rodin in Paris does in the exhibition of “Between Sculpture and Photography,” which expands the boundaries of defining sculpture and photography with works from eight contemporary artists. (As a sidenote, Rodin himself collected photos: had some 7,000 prints.) Works by Richard Long at the entrance immediately smash the conventional concept of sculpture, creating the flow and feasibility for the rest of the exhibition. Photographs of a field illustrate that the action of frequent walks along the same route passively “sculpt” a path in nature. In the piece “Rabbit,” Mac Adams disassembles the elements of photography and shines a light on a clever arrangement of loose stone objects atop a cage to project the shadow of a hare inside. Images of a walking man in Markus Raetz sculpture “Circle of Polaroids – 11 Walkers” recreate the sense of movement stopped by photography, and sculpture as a physical object is completely absent in Cy Twombly’s photographs, which capture hazy illusional landscapes he formed with pea pods. If the idea of photography is that it uses light to capture in permanence an instant, a flash in time, Giuseppe Penone’s “Respirare l’Ombra” trades the medium’s material for bronze to immortalize a tree cutting. Penone makes X-ray photography indispensable to document the process of a tree encapsulating a sculpture of his hand over time. “Between Sculpture and Photography” is one of the best contemporary exhibitions currently on show in Paris at the moment. In presenting works that combine photography and sculpture and that rethink each medium’s primary elements, the exhibition offers concise revelations and sharp insight that chip away and re-sculpt our own fixed concepts and definitions. 2016-04-18 10:55 Jake Cigainero

44 Tour The 2016 Coachella Art Installations When it came to this year's art installations, the Coachella Valley Music and Arts Festival promised to do it bigger than ever —and from the looks of it, they delivered. Festival-goers were surrounded by colossal works this weekend, including four pillar-like structures called Katrina Chairs by Cuban artist Alexandre Arrechea, who New Yorkers may remember from a series of towering steel installations in 2013 titled " No Limits " at the Park Avenue Mall. There's also a series of flashy glass installations on display by Palm Desert-based artist Philip K Smith III, whose mirrored neon towers pulsed under the desert skies at Coachella in 2014. Then there's Jimenez Lai's jumbled "Tower of 12 Stories" and R&R Studio's lustful "Besame Mucho" installation to take in. See them, and other arresting artworks below. Follow artnet News on Facebook. 2016-04-18 10:46 Rain Embuscado

45 Hollywood Agency WME Has Big Stake in Frieze- In another sign that the art world's appeal has caught the eye of Hollywood bigwigs, William Morris Endeavor Entertainment, or WME-IMG, has bought a major stake in Frieze Art Fair, which will launch its fifth New York edition early next month. According to various reports, Ari Emanuel, the Entourage-esque "super-agent" who runs WME- IMG with co-CEO Patrick Whitesell, are the first outside investors in Frieze, though the size of the investment stake was not disclosed. Amanda Sharp and Matthew Slotover, who founded Frieze in 1991, will still manage the fair. WME-IMG will "expand the resources and expertise available to Frieze's clients through events, media, and technology," a press release states. The agency will also help to support the Frieze Tate Fund, which provides $200,000 to acquire art for the Tate Museum from Frieze's London edition. Sharp told the Financial Times that WME will help advise on how "digital can support live events," and said the investment would allow Frieze to "start realising innovations we have been developing over the last year. " However, she did not provide details. When asked if fairs beyond London and New York are a possibility, she responded "Never say never. " Two years ago, WME acquired IMG in a deal worth $2.4 billion, a purchase that gave the company an expanded presence in sports and fashion. Since then, WME-IMG has been busy. It acquired Global eSports Management in 2015, a talent agency focused on video game-related events. In addition, the company recently sold a stake to Softbank the Japanese group, in a deal valued at $5.5 billion including debt. The Frieze deal is the latest in a series of unusual investments, along with Professional Bull Riders and the recent acquisition of the Miss Universe pageant from Donald Trump. Until now, WME did not have a presence in the art world. Emanuel and Whitesell called Frieze "an incredible offering for the global art community. " Follow artnet News on Facebook. 2016-04-18 10:22 Eileen Kinsella

46 Art16, London's Global Art Fair, Reveals List of Exhibitors Art16, London’s global art fair, has announced the list of exhibitors for its fourth edition in 2016 from May 20-26 at Olympia London. Art16 will bring together 100 galleries from over 30 countries presenting more than 1,000 artworks, with over a third of exhibitors coming from the Asia Pacific region. The territorial diversity of the fair is further represented by exhibitors such as FIRST FLOOR GALLERY HARARE (Zimbabwe), Luciana Caravello Arte Contemporânea (Brazil), Anima Gallery (Qatar), Coburn Projects (USA) and THIS IS NO FANTASY + dianne tanzer gallery (Australia). This year’s fair will introduce a new series of talks, “Let’s talk about art,” curated by arts writer and Contributing Editor to GQ, Sophie Hastings. The series will include talks by the likes of Viv Groskop, Dylan Jones OBE, Polly Morgan and Stephen Webster MBE. Art16 will once again support young galleries through its dedicated Emerge section, curated by Jonathan Watkins (Director Ikon Gallery, Birmingham). Emerge will include presentations by SONCE ALEXANDER GALLERY from Los Angeles and PM/AM from London. Galleries who have never before participated in an art fair in London will be featured in the London First, with highlights including 418 Gallery’s exhibition of Romanian neo-Avantgarde artist Diet Sayler, and Rén Space’s solo presentation of Yu Youhan. Fair Director Nathan Clements-Gillespie said: “This year’s programme will focus on exciting and innovative contemporary practice from established, emerging and rediscovered artists across all visual art forms. “Previous years have taught us that our collectors want to make fresh discoveries, often of artists working outside the western canon, and our London First and Emerge sections in particular will be the perfect place to unearth new talent.” AKI Gallery (China, Taiwan, Thailand) Alessandro Casciaro Art Gallery (Italy) Anima Gallery (Qatar) Anise Gallery (UK) Anna Marra Arte Contemporanea (Italy) Artistique Design (Qatar) ARTITLEDcontemporary (The Netherlands) ARUSHA GALLERY (UK) Beautiful Asset Art Project (China) bo.lee gallery (UK) Circle Culture Gallery (Germany) COHJU contemporary art (Japan) Faur Zsófi Gallery (Hungary) Fehily Contemporary (Australia) Fish Art Center (Taiwan) Galería Miquel Alzueta (Spain) Galerie Alexis Lartigue (France) Galerie Ariel Sibony (France) Galerie du Monde (Hong Kong) Galerie Koo (Hong Kong) Galerie Kornfeld (Germany) Galerie La Forest Divonne (Belgium, France) Galerie Olivier Waltman (France, USA) Galerie Paris-Beijing (China, France) Galerie RX (France) Galleri Franz Pedersen (Denmark) Gallery Elena Shchukina (UK) Gallery H. A. N. (South Korea) Gallery Sumukha (India) GAMO GALLERY (South Korea) GBS Fine Art (UK) Hay Hill Gallery (UK) HDM GALLERY (China) John Martin Gallery (UK) Kálmán Makláry Fine Arts (Hungary) Kanalidarte (Italy) Klein Sun Gallery (USA) Lahd Gallery (Saudi Arabia, UK) Liang Gallery (Taiwan) LN Gallery (France) Long & Ryle (UK) Maddox Arts (UK) Mark Hachem (France, Lebanon, USA) Meno Ñisa gallery (Lithuania) Meno parkas (Lithuania) N2 Galería (Spain) October Gallery (UK) Other Criteria (UK, USA) Pearl Lam Galleries (China, Hong Kong, Singapore) Priveekollektie Contemporary Art | Design (The Netherlands) Riflemaker (UK) Rook & Raven (UK) Rossi & Rossi (Hong Kong, UK) Rothschild Fine Art (Israel) SAKURADO FINE ARTS (France, Japan) Sundaram Tagore Gallery (Hong Kong, Singapore, USA) TANG CONTEMPORARY ART (China, Hong Kong, Thailand) Tanya Ling Studio (UK) TEZUKAYAMA GALLERY (Japan) The Cat Street Gallery (Hong Kong) The Rooster Gallery (Lithuania) THIS IS NO FANTASY + dianne tanzer gallery (Australia) UNIX Gallery (USA) Waterhouse & Dodd (UK, USA) YIRI ARTS (Taiwan) 25Kadr Gallery (Russia) Affinity for ART (Hong Kong) Coburn Projects (UK, USA) FIRST FLOOR GALLERY HARARE (Zimbabwe) galerie burster (Germany) Julian Page & Joanna Bryant (UK) KNIGHT WEBB GALLERY (UK) Montoro 12 Contemporary Art (Italy) Platform-A Gallery (UK) PM/AM (UK) SONCE ALEXANDER GALLERY (USA) The Dot Project (UK) TNN ART (Georgia) 418 Gallery (Romania) Galerie 55Bellechasse (France) Flugent ART Gallery (Macau, Taiwan) Frantic Gallery (Japan) Galerie Liusa Wang (France) GALERIE Supper (Germany) GALLERY KOGURE (Japan) Luciana Caravello Arte Contemporânea (Brazil) Officine dell'Immagine (Italy) Raum mit Licht (Austria) Rén Space (China, USA) ZenkoGallery (Ukraine) Be-Part, Platform for contemporary art (Belgium) Ikon / CCVA, Birmingham City University (UK) Ikon / Plinth (UK) MARAYA ART CENTRE (UAE) Modern Art Oxford (UK) Museum Dhandt-Dhaenens (Belgium) Parasol unit foundation for contemporary art (UK) Royal Academy of Arts (UK) Ruya Foundation (Iraq) South London Gallery (UK) START (UAE) Villa Lena Foundation (Italy) The Wallace Collection (UK) 2016-04-18 10:21 Nicholas Forrest

47 Morning Links: Knoedler Gallery Edition The fake Rothko at the center of the Knoedler Gallery dispute. CRIME Ann Freedman tells her version of the events in the ongoing Knoedler Gallery forgery case. [The Art Newspaper] A Mayor de Blasio donor, real-estate investor Jona Rechnitz, “used his connections to siphon $655,000 over the past two years from the City Council to fund a law- enforcement sensitivity seminar at the Simon Wiesenthal Center’s Museum of Tolerance.” [New York Post] A THINKING MAN’S DONALD TRUMP Here’s a profile of philanthropist and art collector Nicolas Berggruen, whom one interviewee calls “a thinking man’s Donald Trump.” [The New York Times] James Franco makes a case for his art to Jerry Saltz. [New York Magazine] INDIGINEOUS ART Here’s a guide to buying indigenous art ethically. [The Guardian] A look at what may be Australia’s most remarkable museum, the Museum of Old and New Art (MONA) in Hobart, Tasmania. [Newsweek] EXTRAS A profile of Carmen Herrera. [The New York Times] Mira Schor at Lyles & King in New York. [Contemporary Art Daily] 2016-04-18 08:54 The Editors

48 A Sachin Watch, And Stunning Jewels at Saffronart Auction An Audemars Piguet’s Royal Oak ‘Sachin Tendulkar’ Limited Edition Writstwatch is one of the highlights of Saffronart’s Spring Online Auction of Fine Jewels and Watches, titled “A Season of Colour.” Pegged at $18.185 - $25,760 (Rs 12 lakh - Rs 17 lakh), it is one of the many gems on offer at the auction that begins tomorrow at 9 am IST. Though not the most expensive lot on offer, the ‘Sachin Tendulkar’ watch is likely to generate adequate interest amongst bidders, especially from India, the cricket-crazy nation that considers Tendulkar equivalent to God. The most expensive watch on offer in this auction is a Patek Philippe Women’s Gold and Diamond Wristwatch estimated at $42,425 - $57,580 (Rs 28 lakh - Rs 38 lakh). The 18k yellow gold watch has a rectangular case set with full-cut diamonds and calibrated sapphires, diamond-set hour indices, 7-jewels quartz movement and an integrated gold bracelet set with diamonds. A dazzling piece, it comes with an archival record of details and sale, dated 17 September, 1984, from Patek Philippe Geneva. The array on offer proves that a connoisseur would go to any length to get the finest piece, as superbly crafted watches are no longer used for what they were invented, but are statements made by successful people subtly to underscore their class. Superb craftsmanship is the hallmark of jewelry pieces too on offer at the auction. The highest priced jewel on offer is lot 11, a Colombian Emerald and Diamond Ring, estimated at $80,000 - $100,000 (Rs 52.80 lakh - Rs 66 lakh). A delicate piece in brilliant green, the ring consists of a cushion-shaped emerald set in prongs and is flanked by two flower-shaped plaques set with full-cut diamonds on one side, and the shoulder is channel-set with baguette diamonds mounted in platinum. The emerald weighing 12.73 carats is a natural stone that has orignated from Colombia and the diamond weighs 3.77 carats. Lot 19, another emerald and diamond piece, is the next most expensive item at the auction. It’s a set of earrings, each consisting of four well-matched pear-shaped emeralds and a cluster of three pear-shaped diamonds. The surmount too is a pear-shaped albeit inverted emerald. The stones are set in gold. The earrings are estimated at $75,760 - $90,910 (Rs 50 lakh - Rs 60 lakh). Equally stunning is lot 53, a suite of Burmese Ruby and Diamond Ear Pendants, And Ring, estimated at $70,000 - $90,000 (Rs 46.20 lakh - Rs 59.40 lakh). The earrings have two oval- shaped rubies each, with a two-tier diamond-set surround opening on the inner edge to a cascade of ruby beads, full-cut and pear-shaped diamonds, mounted in oxidised gold. The ring, on the other hand, is centred on an oval-shaped ruby with a surround of full-cut diamonds. The rubies in the suite weigh 13.62 carats while diamonds weigh 3.29 carats. Of particular interest will be lot 40, a set of unusual diamond ear pendants. Designed by Narayan Jewellers featuring Forevermark Diamonds, the pendants were worn by Dylan Penn, daughter of actor Sean Penn, at the Elton John AIDS Foundation Oscar Party in 2015. The pendants are estimated at $45,455 - $60,610 (Rs 30 lakh - Rs 40 lakh). These conical shaped ear pendants are mounted in gold. In addition to the dazzling brilliance of emeralds, rubies, diamonds and pearls, jewelry pieces in tanzanite, aquamarine and sapphire too are on offer. Absolutely regal in this category is lot 83, a set of ear pendants in tanzanite and diamond. The timeless pairing of diamond and the blue stone makes it a spellbinding evening piece. It is estimated at $34,850 - $42.425 (Rs 23 lakh - Rs 28 lakh). Tanzanite, considered the birthstone for the month of December, is available in beautiful combinations with diamonds, emeralds and peridot. Other stones that are featured across other jewelry pieces include tourmaline, rubelite, tsavorite, and onyx among others. — The auction will be held online at saffronart.com from April 19, 9 am IST to April 20, 7.30 pm IST Follow@ARTINFOIndia 2016-04-18 08:00 Archana Khare

Total 48 articles. Created at 2016-04-19 06:01