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35 articles, 2016-03-26 12:02 1 Attend General Admission Thursday April 14th (VIP Opening Night Preview Party, 4PM–7PM — Open to all attendees) Friday April 15th – Sunday April 17th • Multi-Day Pass: $40.00 each. Valid for entire event: Thursday’s VIP Opening Preview Party and Friday through Sunday... 2016-03-26 12:02 1KB artexponewyork.com 2 A Showcase of Independent Artists Education, Events & Awards A Showcase of Independent Artists offers established and emerging independent artists the opportunity to showcase their work on an international stage in NYC. Over the decades, has become the ultimate venue for independent artists to be discovered—not only by gallery owners and art publishers—but by collectors and enthusiasts... 2016-03-26 12:02 1KB artexponewyork.com 3 lyric speaker it visualizes music and lyrics automatically in harmony via a bluetooth connect smartphone app which accesses a database. 2016-03-26 04:15 1KB www.designboom.com 4 GG loop showcases modular ever-changing furniture during milan design week 2016 the pieces are conceived to be transformed over time, according to the evolving needs of the user. 2016-03-26 01:30 3KB www.designboom.com 5 How Hot Reggae and a Fiery Pepper Made Johnny Rotten Cool: Photographer Dennis Morris Show in London How Hot Reggae and a Fiery Pepper Made Johnny Rotten Cool: Photographer Dennis Morris interviewed by Mark Beech about his London ICA show 2016-03-25 23:13 5KB www.blouinartinfo.com 6 Laurie Anderson at the Fitzgerald Theater: Danny Sigelman on The Language of the Future To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and op... 2016-03-25 22:02 1007Bytes blogs.walkerart.org 7 mohammad domiri documents iran's natural and architectural treasures mohammad domiri has continued to journey around his native country of iran and document its natural and architectural treasures. 2016-03-25 22:20 1KB www.designboom.com 8 Richard Beckman Departs Vice Media Beckman, who served as chief revenue officer, left Vice after less than a year of employment there. 2016-03-25 21:43 2KB wwd.com 9 Fun Accessories Shine at Première Classe Retailers sought novel and playful items in jewelry, hats. 2016-03-25 19:38 4KB wwd.com 10 ‘Shuffle Along’ Schedule Adjusted for Illness and Tweaks Four performances were canceled because Audra McDonald, the show’s star, was ill. 2016-03-25 19:30 2KB rss.nytimes.com 11 samsung brainBAND facilitates research about concussions samsung brainBAND houses sensors at the back of the head that measure the force of an impact and relays real-time all the information via an app to medics, referees and coaches. 2016-03-25 19:15 2KB www.designboom.com
12 Artist Jonathan Yeo Talks About His New Muse, Cara Delevingne The artist debuted nine portraits of Delevingne at the Danish Museum of National History over the weekend. 2016-03-25 18:58 3KB wwd.com 13 Honest Company Faces Another Lawsuit in False Advertising Row Another complaint, again seeking class action status, was filed against the company in Missouri District Court. 2016-03-25 18:53 2KB wwd.com 14 Brussels Graphic Designers Respond To Terrorism With Humor In the aftermath of the Brussels attacks, Instagram, Twitter, and Facebook, have been flooded with works from artists, illustrators, and graphic designers. 2016-03-25 18:48 1KB www.blouinartinfo.com 15 Inside the Art Selfie Palace George R. Martin Funded | Insta of the Week Santa Fe art collective Meow Wolf's House of Eternal Return looks like a whole new goddamn dimension. 2016-03-25 17:50 2KB thecreatorsproject.vice.com 16 Batman, Superman, Hip Hop Family Tree, Welcome to Typhon: This Week in Comics #10 This week, dig into the history of Run-DMC, the Caped Crusader, and more. 2016-03-25 17:45 5KB thecreatorsproject.vice.com 17 Kenny Schachter on Art Basel in Hong Kong Our man on the scene Kenny Schachter goes deep into the weird and wild world of collecting at Art Basel in Hong Kong this year. 2016-03-25 16:49 18KB news.artnet.com 18 Internet Gives Us Video Game Art Mashups In the latest art history mashup to surface on the web, an online community designed fascinating works of video game art. 2016-03-25 16:40 1KB news.artnet.com 19 Nina Zimmer To Be Director at Swiss Museums 43-year-old German art historian Nina Zimmer has been appointed as the first female director of the Fine Arts Museum Bern and the Zentrum Paul Klee. 2016-03-25 16:15 2KB news.artnet.com 20 Artists' First GIFs | GIF Six-Pack Everybody's gotta start somewhere. 2016-03-25 16:10 1KB thecreatorsproject.vice.com
21 proposal to build 1,000-foot walls around excavated central park conceived by yitan sun and jianshi wu, the 'new york horizon' proposal was awarded first place in eVolo's annual skyscraper competition. 2016-03-25 16:01 2KB www.designboom.com 22 Desire and Advertising Create a "Plasti-Saccharine- Hallucinatory" Dreamscape There's virtual reality, there's actual reality, and then there are the paintings of Brian Willmont. 2016-03-25 15:50 5KB thecreatorsproject.vice.com 23 Hope Gangloff: Painting From Life Gangloff’s paintings—many hyper-contemporary, moody portraits of her friends, set against vibrant patterned interiors—are imbued with a sense of motion. 2016-03-25 15:44 1KB www.blouinartinfo.com
24 Can You Decode This Mysterious Visual Journey? Visual artist Artem Tarkhanov fuses the history of mathematics and art in a new video known as 'beweistheorie I.' 2016-03-25 15:35 3KB thecreatorsproject.vice.com 25 The Week in Art: Asia Arts Awards and Solange This week's hottest art happenings include the Asia Arts Awards in Hong Kong and the Contemporary Art Center, New Orleans's Harlem benefit hosted by Solange 2016-03-25 15:31 5KB news.artnet.com 26 5 Experiential Artists to Elevate Your Consciousness in 2016 On the horizon: meditative installations, jarring VR stunts and illuminating public art. 2016-03-25 15:15 6KB thecreatorsproject.vice.com 27 Google Makes $150 Photo Editing Software Free The Nik Collection is a powerful tool in the arsenal of any professional-grade photographer. 2016-03-25 14:45 2KB thecreatorsproject.vice.com 28 One Sexologist’s Quest to Stimulate Las Vegas’ Art Scene Dr. Laura Henkel showcases her passion for being passionate at '12 Inches of Sin,' an immersive art experience in Sin City. 2016-03-25 14:00 4KB thecreatorsproject.vice.com 29 Eduardo Lopez’s “Natural Life” Vivifies a Condemned Woman Guinevere Garcia, a convicted murderer whose case has drawn attention from the likes of Amnesty International, is the subject of the off-Broadway play "Natural Life." 2016-03-25 13:36 4KB www.blouinartinfo.com 30 L. A. Habitat: Henry Taylor L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the city 2016-03-25 13:23 3KB www.artnews.com 31 construction of jean nouvel's louvre abu dhabi well underway new images of jean nouvel's anticipated cultural institution shows its sculptural, latticed dome canopy nearing completion. 2016-03-25 13:20 2KB www.designboom.com 32 konstantin grcic explores role of the pedestal in kunsthalle bielefeld exhibition konstantin grcic puts the spotlight on the pedestal — exploring its function and challenging its traditional form -- in his kunsthalle bielefeld exhibition. 2016-03-25 12:45 8KB www.designboom.com 33 In the Mix: Quintessa Matranga and Rafael Delacruz on ‘Dizzy World,’ Their Show at Kimberly Klark in Queens Quintessa Matranga Ask The Dust (installation view), part of "Dizzy World" at Kimberly Klark. KIMBERLY KLARK Quintessa Matranga and Rafael Delacruz made most 2016-03-25 12:36 5KB www.artnews.com 34 Matthewdavid’s “Unfolding Atlantis” Video is a Deep Sea Dream Feel the relaxation in Adam Ferriss' music video for a song described by its composer as his own “ambient opus.” 2016-03-25 12:15 3KB thecreatorsproject.vice.com 35 This Easter, Pierre Tachon Creates Geometric Hen Shaped Egg French designer Pierre Tachon has created an Easter egg shaped like a chicken, with the fine chocolatiers Alain Ducasse. 2016-03-25 12:13 1KB www.blouinartinfo.com Articles
35 articles, 2016-03-26 12:02
1 Attend Thursday April 14th (VIP Opening Night Preview Party, 4PM–7PM — Open to all attendees ) Friday April 15th – Sunday April 17th Children aged 12 and under get in FREE. For groups of more than 12, a group rate of $15.00 per person is available. Please Note: Above tickets include VIP Opening Preview Party but DO NOT include TRADE DAY Hours on Thursday, April 14, 12PM–4PM. If you have any questions regarding tickets please contact us at [email protected] . After April 9, 2016 if you are PRESS or MEDIA please contact Jaclyn Acree at [email protected] to RSVP for media access. Trade attendees must bring the following identification to Artexpo New York: 2016-03-26 12:02 artexponewyork.com
2 A Showcase of Independent Artists Education, Events & Awards [FOTO SOLO] offers established and emerging independent artists the opportunity to showcase their work on an international stage in NYC. Over the decades, [SOLO] has become the ultimate venue for independent artists to be discovered—not only by gallery owners and art publishers—but by collectors and enthusiasts in search of exciting new works. Artexpo New York’s Topics & Trends Education Program adds the expertise of [FOTO SOLO]’s industry partners Digital Photo Pro and Outdoor Photographer to the slate of programs, making the four days of seminars a must for artists and photographers wanting to get expert perspectives on subjects ranging from art and the economy, small business management, art marketing, to social media for artists and more. In addition, at each show, prestigious awards are given to artists with exceptionally innovative works. 2016-03-26 12:02 artexponewyork.com
3 lyric speaker speaker uses translucent LCD screen to display lyrics in harmony speaker uses translucent LCD screen to display lyrics in harmony all images courtesy of SIX corporation when listeners are stuck figuring out lyrics to songs, the only way find out what they are, is through a smartphone or personal computer. ‘lyric speaker’ wants to change that, with a translucent LCD display directly on the surface of the device. it visualizes music and lyrics automatically in harmony via a bluetooth connect smartphone app which accesses a database. the speaker will be available for pre-order starting in june 2016. the companion app can change the fonts to match the rhythm 2016-03-26 04:15 www.designboom
4 GG loop showcases modular ever-changing furniture during milan design week 2016 GG-loop‘s furniture design is informed by natural processes, mathematical systems and harmonic proportions. during milan design week 2016, they will showcase the first three pieces of the modular ever- changing furniture series: vibrio (sofa), diatom (table) and zephyrus (cabinet) at ventura lambrate. all of them are conceived to be transformed over time, according to the evolving needs of the user. as in nature, these pieces organically modify, interact and respond thanks to basic natural principles of duplication and aggregation. these pieces belong to a family born while developing their main project of 2015, the interiors of ‘the infection’ (find our coverage here.) ‘vibrio’ is a modular furniture piece motivated by the relentlessly changing multitude of primary organic shapes created through molecular aggregation. the piece is developed based on the symmetry of mandalas, cymatic imagery, the healing properties contained in the principles of sacred geometry. its inherent harmonious form resonates within the space it inhabits, questioning its status quo to reflect the eternally transformative aspect of life. the sofa can be accommodated to any space thanks to its modularity different modular possibilities, although they are infinite ‘diatom’ is the first table of the modular furniture series designed by GG-loop, informed by the relentlessly changing multitude of primary organic shapes, created through molecular growth processes. its frame is composed of extremely light elements forming a rigid and almost invisible structure. the circular table has no front or back side, allowing a different view as the user walks around it. the weight of the round glass top resting on the delicate diatomic cells creates a sculptural tension. the table’s frame is composed of extremely light elements forming a rigid and almost invisible structure. ‘zephyrus’ is a cabinet with a polymorphic form that reflects the quality of the butterfly as a symbol of life as transformation. its dynamism evokes the beauty and elegance of that transformation in a space. as a butterfly, it is composed of a body and two wings: the main core of 3 drawers and two wings of 2 drop-front drawers each. mirroring and rotation around the symmetric core create an ever transformable furniture piece. the cabinet doesn’t have a front and back, but rather two front sides that can be rearranged at wish and extended or reduced over time. teaser from the seed of time video courtesy of no water for whales 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. 2016-03-26 01:30 www.designboom
5 How Hot Reggae and a Fiery Pepper Made Johnny Rotten Cool: Photographer Dennis Morris Show in London Related Events Dennis Morris: PiL - First Issue to Metal Box Venues Institute of Contemporary Arts London (ICA) The newspapers were quick to declare that it was all over, after a short infamous career, for singer Johnny Rotten when the Sex Pistols broke up. A new visual show at London’s Institute of Contemporary Arts by photographer and designer Dennis Morris helps to explain – as punk celebrates its 40th anniversary – how the star reverted to his original name John Lydon, discovered new music and an original visual style with a little help and inspiration from his friends. Morris had started young, at the age of 16 taking one of the most famous photographs of reggae musician Bob Marley smoking. He went on to become a confidante of the Sex Pistols, later visiting Lydon’s duplex flat in London’s Guenther Grove and capturing the first photographs of his new group with guitarist Keith Levene, bassist Jah Wobble and drummer Jim Walker. Morris speaks in an interview about the work. As you said, he’s a bit of a Jack the Lad character in some ways. He’s always been very cool with me. I think he realizes I’m not someone to play around with, if you see what I’m saying. John (Lydon, formerly Johnny Rotten) came back to London and he was in a bit of the state. He wasn’t sure what the future would hold for him. Later I got a phone call from (Virgin bosses) Richard Branson and Simon Draper asking for a meeting, so I went down to (the company base’s) Vernon Yard. They were going to get involved with reggae music in a big way and they were to go to Jamaica and they wanted me to do photos for press and promotion. I said, ‘Yes, of course, and why don’t you take John because he is a huge reggae fan.’ Three of us jetted off to Jamaica. We arrived in Kingston and we came out of the airport and some Rastafarians saw John and started singing (Jamaican accent imitation of ‘Anarchy in the UK’) ‘God save da Queen, man.’ From that moment on, we knew he was going to be cool. I already had quite a lot of contacts in Jamaica from working with Bob Marley, so when we were there I took John to see people like Big Youth, U-Roy and Lee ‘Scratch’ Perry. We went to the studios and heard how the music was made and from that the idea of Public Image was made. Yes, when John was in Jamaica he could hear reggae music from its source. When we came back, we spent lots of days and nights in his flat listening to dub reggae but also a lot of (German prog-rock band) Can - and when you listen to PiL can hear some of that with the influences. The first single design came about because John was getting a lot of flak from the press. From this kind of piss-take of the media, the natural progression was to a magazine, using the same typefaces. We put the track listing on the cover in the same way a magazine would have the contents. I knew that John basically wanted to kill the bumpkin image. I had that in mind when at the same time I was doing work with Rose Royce, who had a massive hit with “Car Wash” and they were over touring in England. I got my first exposure to the big American supergroup sort of system where they had a wardrobe unit and a make-up unit. I was backstage and was fascinated by the make-up artist in particular, so I said to her that I was helping a band called Public Image Ltd and she said she hadn’t heard of them and I said, ‘Well, you know it is that singer from the Sex Pistols.’ And she said, ‘Yes, Johnny Rotten!’ ‘So would you be interested in it?’ and she said, ‘yes, definitely.’ I wanted to change the persona of what people thought John and each member of the band should look like. John wanted to call the album “The Metal Box” and it suddenly dawned on me that close to my old (Hackney, London) secondary school there was a place called The Metal Box Factory, and I never knew what they did. So the next day I went down to the factory and it turned out that they made film canisters which were exactly the same size as vinyl, so I had a meeting with them and asked how much it cost to buy X thousand of them and how much it would cost to emboss a logo on them and they gave me a price. I went to see Virgin and they said, ‘you’ve got to be mad.’ I said ‘it’s actually quite feasible’ and I gave them the price and they said. ‘okay, fine.’ A lot of the designs I do work with the subliminal, for instance the PiL logo (looking like a breakable medicine tablet) is based on the aspirin. Well, the album covers, if they were for a band today, would still be seen as unique. I always tried to produce something that is timeless. It’s the same with my photograph of Bob Marley, where people say it is like he is still here: they don’t get the feeling that he’s past. There was a time when John was with me in Jamaica and I had taken him to see my grandmother. It was really funny: we sat down to eat Jamaican stew which always comes with a whole lethal hot pepper. John mistook it for one of those peppers you get in England, so he just ate it and he was running around like a madman going ‘Argh! Argh! Argh!’ and he couldn’t get enough water, My grandmother was saying, ‘what is wrong with the boy?’ 2016-03-25 23:13 Mark Beech
6 Laurie Anderson at the Fitzgerald Theater: Danny Sigelman on The Language of the Future To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, artist, DJ, musician, and writer Danny Sigelman shares his perspective on Laurie […] 2016-03-25 22:02 By
7 mohammad domiri documents iran's natural and architectural treasures back in 2014, designboom first featured the work of persian photographer mohammad reza domiri ganji, whose hypnotizing images shone a light on iran’s incredibly rich history. since then, domiri has continued to journey around his native country and document its natural and architectural treasures. while his first explorations focused primarily on places of religious worship — highlighting their kaleidoscopic colors and rich ornamentation — the artist’s recent work extends to both urban and natural landscapes. photographs of city scenes, like men working in a carpet repair workshop, reveal a glimpse of everyday life, while an image of the badab-e surt natural springs shows iran’s stunning geographical terrain. see a selection of images from domiri’s collection below, and a full series on his website here. 2016-03-25 22:20 www.designboom
8 Richard Beckman Departs Vice Media
More Articles By Richard Beckman, who joined Vice Media last May , is leaving the company. Vice confirmed the news Friday, but declined to provide further details. When Beckman joined the Brooklyn-based firm as chief revenue officer, the news was met with wagers on how long he would last by sources who had worked with the colorful former Condé executive. Many whispered that his management style would likely clash with Vice’s culture. At Condé, Beckman held the roles of publisher of Vogue, then president of Condé Nast Media Group, the publisher’s group sales operation, and later served as chief executive officer of WWD parent company Fairchild Fashion Media, which he left in 2010 after a year. Penske Media Corp. acquired Fairchild from Condé Nast in 2014. Prior to Vice , Beckman served as ceo of branded production firm Three Lions Entertainment , which was in the headlines in the fall due to a buzzy lawsuit waged by CBS. In the suit, CBS sued “Fashion Rocks,” a show produced by Three Lions, for breach of contract. CBS claimed that Three Lions never paid the network the $2.5 million it owed after it aired the fashion/music show, which was a concept Beckman developed for Vogue when he was at Condé Nast. According to reports, Three Lions was facing liquidation at the time. The case, which was filed in November 2014 in New York Supreme Court, was disposed in September 2015. Before Three Lions, Beckman served as ceo of Prometheus, owner of The Hollywood Reporter and Billboard. He exited that company after a stormy tenure, however. At Vice , Beckman oversaw advertising sales, and he reported to company copresident Andrew Creighton. 2016-03-25 21:43 Alexandra Steigrad
9 Fun Accessories Shine at Première Classe More Articles By Popular items ran the gamut, from knitted rainbow hats with fake fur pompoms at Florence- based Grevi and glitter belts by heritage French belt brand Maison Boinet to polka-dot Lurex socks by L. A.-based Hansel from Basel. “Business isn’t stable in China, like everywhere else, but customers still want new things,” said James Hu, director of multibrand store Mika Bana, eyeing up the quirky leather and porcelain offerings at Andrés Gallardo. Arnaud Delcambre, sales manager at French costume jewelry brand N2, whose bestsellers included a Red Riding Hood-themed collection, said demand is for “pieces that provoke an emotion.” Organizers declined to provide visitor numbers, but reports of slow traffic contributed to a patchy mood among vendors. “We’ve gotten a lot of interest but we’re following everybody up with line sheets so it seems slow, and we’re hearing from other accounts it’s slow,” said newcomer Nicole Parker King, creator in chief of the New York- based jewelry label Jet Set Candy. The vintage look is a key direction for jewelry, according to Jennifer Cuvillier, Le Bon Marché’s group style director, detailing “crystal details, antique forms, novelty chokers, long earrings and stacked rings.” Despite it being “a great handbag season,” the fair’s offer lacked novelty, she lamented. Kimberley Hugonnet, who heads up Paris-based trend forecasting agency La Parisian, said the micro bag is still a force. “It’s still something I’m seeing across the board with touches of novelty, be it patches, fur or some kind of detail on the strap.” For jewelry, “the main thing I’ve seen is the idea of the modern collar, simple designs inspired by Northern Europe — Danish-style, Swedish-style — with mixed metals: gold, copper and silver.” Satoshi Otsuki, director of Japanese distributor Bigi, said rabbit fur was a big trend, with Muun’s fur-lined basket bags among his top picks. Valerie Gerbi, a buyer at Paris-based concept store Merci, lauded “the overall dynamism and creativity” of the collections. She went for Muun’s unlined leather totes; Anthony Peto’s caps in boyfriend fabrics; 5 Octobre’s romantic, vintage-style pieces; Feidt’s ultrafine modern jewelry creations, and Jojoba’s oriental-style pieces in brass. “For me, the salon lacked in direction and interesting new brands,” said Ayaka Fukiage, accessories buyer at United Arrows, lauding selections at independent showrooms like Rainbow Wave, Paper Mache Tiger and Valery Demure. She noted that United Arrows is placing a lot more emphasis on the fine jewelry category, which has seen an increase in sales. Nicola and Orlando Reindorf, cofounders of multibrand boutique The Standard Store, which has sites in Melbourne and Sydney, were frustrated by the dearth of cross-seasonal product. “Everyone marvels about the wonders of the Internet and selling to a global audience. The reality is designers are still very much stuck in a North European, North American, Northern Asian mind-set. Winter is incredibly wintry,” bemoaned Orlando Reindorf. Busy stands included woven leather goods brand Dragon and Catherine Osti, who launched her namesake line of decorative cuffs, collars and mittens after a decade spent working in Chanel’s couture ateliers. “They are so beautiful and the presentation is gorgeous,” said Roisin Donnelly, owner of Belfast-based concept store Real. An eclectic range of fledgling lines displayed their wares. D’Estrëe, cofounded by sisters Géraldine and Victoire Guyot, presented minimalist made-in-Paris hats with bicolor ribbons. Heritage milliner Poupard et Delaunay, founded in 1811, which started out as the official supplier of Napoléon Bonaparte’s bicornes, recently relaunched. Its director and designer Charlotte Langlois-Dalili presented made-in-France berets and felt hats with details inspired by the bicorne’s braids, military buttons and rosettes. Atelier Paulin, meanwhile, a specialist in bespoke message jewelry made from precious-metal wires looped by hand to form words, had an on-site artisan sculpting personalized bracelets. The brand is planning an atelier for New York’s Museum of Arts and Design in April and has collaborated with Causse on a capsule of black leather mittens decorated with words inspired by palm reading such as “love,” “luck” and “destiny.” 2016-03-25 19:38 Katya Foreman
10 ‘Shuffle Along’ Schedule Adjusted for Illness and Tweaks “Shuffle Along,” among the more anticipated shows of the spring season on Broadway, canceled four preview performances this week, citing the illness of its star Audra McDonald, and is taking an unusual, but long- scheduled, four-day hiatus next week to make revisions. The historical musical, which is costing as much as $12 million to mount, brings together an accomplished creative team (George C. Wolfe and Savion Glover), a starry cast (Ms. McDonald, Brian Stokes Mitchell and Billy Porter among them), and the most prolific stage producer of the moment (Scott Rudin). The show began previews on March 15. While it sold strongly, grossing $640,453 for six performances, audience response expressed on theater websites has been mixed. “Shuffle Along” initially ran more than three hours — long for a contemporary Broadway musical — but it has already been trimmed somewhat. The jazz-and-tap-heavy show, with the full title of “Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed,” is about the cast and creative team behind one of the first all-black musicals on Broadway. The production describes the show as a revival, because it uses the same score as the early- 20th-century original, but the story includes narrative material that was not part of the original production, and it will be up to the Tony Awards administration committee to decide, after the show opens April 28, whether it is designated a new musical or a revival (a distinction that matters for awards consideration). A spokesman for the production, Philip Rinaldi, said that the show canceled performances this week because Ms. McDonald, a six-time Tony winner, had a bad cold and was unable to sing. Mr. Rinaldi said that Ms. McDonald’s understudy was not yet ready to go on at this early stage in the preview process. The show is planning to resume performances Friday night and to continue through the weekend. There will be no performances next Monday through Thursday, a break planned before the show started selling tickets. The show plans to start up again next Friday, a day earlier than previously scheduled, to make up for some of the cancellations. 2016-03-25 19:30 By
11 samsung brainBAND facilitates research about concussions samsung looks to facilitate real-time concussion stats with connective sports headband samsung looks to facilitate real-time concussion stats with connective sports headband all images courtesy of samsung samsung looks to facilitate research aimed at high risk concussion circumstances with a wearable device called the ‘brainBAND’. neuroscientist dr. alan pearce teams up with industrial designer braden wilson to create a wearable prototype that can track impacts to the head in contact sports in real-time, with the aim to use this data to better understand concussions and the ongoing impact on the brain. a specially designed headband houses sensors at the back of the head that measure the force of an impact and relays real-time all the information via an app to medics, referees and coaches. a series of LED lights indicate the level of impact of a hit: yellow, orange and red for high alert, meaning a player should be taken off the field for assessment. samsung’s ‘brainBAND’ connects directly to personnel on the field in real-time ‘we had a number of design challenges for this project,’ explains designer braden wilson. ‘our initial target audience, footballers, are generally not early adopters so we needed to create something that wouldn’t be seen as a gimmick or a sign of weakness. we had to create a wearable that was seen as a crown, not a bandage, something that would be worn with pride would be seen as a symbol of strength. the headband form is a design language already understood and accepted in rugby and contact sport so it seemed like a logical form to adopt to house the technology. it also addressed the functional need to hold the tech pack securely to the head to ensure accurate sensor readings.’ the prototype has been developed through samsung’s ‘launching people’ program – an initiative that beings together experts from different backgrounds to demonstrate how technology can investigate and help solve real challenges facing society. an entire team can be outfitted with the band to ensure thorough concussion detection fitted according to the size of the athlete, the ‘brainBAND’ stays secure during a hit LEDs change color depending on the impact 2016-03-25 19:15 www.designboom
12 Artist Jonathan Yeo Talks About His New Muse, Cara Delevingne “The more I work with her, the more ideas I have,” he told WWD following the opening of his biggest solo show at the city’s Museum of National History last weekend. “From that point of view, she’s more of an old-fashioned muse to me.” The artist was introduced to Delevingne by the interior designer David Linley at a Christie’s charity auction organized by Kevin Spacey in aid of the Old Vic theatre. Spacey had served as artistic director there until last April. Yeo’s portrait of Spacey as his devious “House of Cards” character, Francis “Frank” Underwood, was unveiled last month at the Smithsonian National Portrait Gallery, which also contains portraits of some of America’s past presidents. The Delevingne portraits appear as a kind of show-within-a-show in the context of a larger retrospective. They are the result of an experiment whereby Yeo set out to create a series of portraits of one person showing different sides of their personality. “Someone had mentioned to me that Cara was interested in my work, and I was aware that she has one of the most interesting faces in the world right now,” he said. “She is beautiful — but she doesn’t mind if she doesn’t look beautiful. You can sense that genuine openness, which is not always the case with people in that line of business. She’s bright and articulate; she doesn’t take things too seriously but she is very quick to grasp concepts and ideas.” Delevingne started sitting for Yeo at his studio shortly afterwards, and it was then that he realized that she would be the subject of this exploration in portraiture. “The first time she came to the studio, she walked around picking up props like masks, wigs and eyewear, putting them on and clowning around, which is the opposite of what most people do. She was not at all precious or trying to control her image,” he said. In one painting, she looks out at the viewer from behind a comical mask of Groucho Marx’s nose, moustache and big eyebrows, a nod to one of Delevingne’s most recognizable features. In another, she is shown holding her mobile phone aloft taking a selfie of herself while wearing an old-fashioned optometrist’s testing phoropter. “I am happy to have bumped into her early enough to keep working together for some time to come. She will be an exciting subject for quite a long time to come as her career and life evolves,” Yeo said. Other subjects featured in the retrospective include former British Prime Minister Tony Blair, Damien Hirst, Jude Law, Stephen Fry and Rupert Murdoch. Next, Yeo plans to explore the concept of ideal beauty for his next series that will link with his continued work with his new muse, Delevingne. 2016-03-25 18:58 Julia Neel
13 Honest Company Faces Another Lawsuit in False Advertising Row Class action law firms appear to have suited up against Santa Monica consumer products brand The Honest Company Inc., now facing yet another legal complaint. A lawsuit filed Thursday by Margo Smith in Eastern Missouri District Court is seeking class action status for what Smith’s complaint alleged as deceptive marketing on Honest’s liquid laundry detergent, dish soap and multisurface cleaner among other products. Smith’s claim: Honest says its products are free of sodium lauryl sulfate, which she insists is false. A spokesperson for the company could not be immediately reached for comment. Jessica Alba and serial entrepreneur Brian Lee launched the fast-growing firm, focused on selling a wide range of eco-friendly products, in 2011. Last year saw the company launch its Honest Beauty line. Keane Law LLC, a firm based out of Missouri with a specialty in class action litigation, filed the lawsuit on behalf of Smith. The suit could be fallout from a Wall Street Journal report published earlier this month that tested the Honest detergent and found SLS. Alba answered that article with a post on the company’s blog, called Honestly, expressing disappointment in the report, which she wrote was “full of misrepresentations” about the company. Alba goes on to say in the post that the company’s detergent uses sodium coco sulfate, which Smith’s lawsuit argued always contains the chemical SLS. The filing comes a week after a complaint was brought on against the company by Staci Seed in the Central District of California, also seeking class action status and also claiming misleading advertising with respect to the company’s detergent, dish soap and surface cleaner being free of SLS. The pair of lawsuits follow a couple class action complaints filed last year that placed the company’s SPF 30 sunscreen in the hot seat , alleging the product was ineffective. Last month industry chatter bubbled over after it was reported the company was exploring an initial public offering. The firm’s most recent raise in August, a $100 million Series D round, valued Honest at $1.7 billion. 2016-03-25 18:53 Kari Hamanaka
14 Brussels Graphic Designers Respond To Terrorism With Humor “We can't find the words anymore”, wrote New Europe , one of the Brussels-based political newspapers. The recent attacks on the airport and a metro station in Europe's political capital comes on the heels of a prolonged state of high alert after similar attacks in Paris in November 2015, in which the main suspects were identified as Belgian nationals. Belgium is a nation of frites, beer, and chocolate. It is also, however, a nation renowned for its graphic novels (think Tintin), comics, and a gentle humor. In the aftermath of the attacks, Instagram, Twitter, and Facebook, were flooded with works from artists, illustrators, and graphic designers. Appearing under the hashtags #JeSuisBruxelles, #JeSuisBelge, #Jesuissickofthisshit, #stillpissing, and #PrayforBrussels, these visual expressions of grief, solidarity, and resilience have not shied away from a rude, sometimes graphic, humor. 2016-03-25 18:48 Jana Perkovic
15 Inside the Art Selfie Palace George R. Martin Funded | Insta of the Week Last week Santa Fe, New Mexico became host to a multimillion dollar art selfie palace created by local art collective Meow Wolf and partially funded by Game of Thrones creator George R. R. Martin. The 20,000- square-foot art space, a former bowling ally, is now called the House of Eternal Return , and is saturated with psychedelic patterns, light shows, sculptures, and high concepts perfect for elevated minds. It's also ideal for selfies, replete with James Turrell-inspired glowing backdrops, nerd nods to Dr. Who's TARDIS and the Iron Giant, and plenty of weird doorways within which to frame yourself. Meow Wolf raised $2.5 million dollars for House of Eternal Return on Kickstarter and benefitted from a $3.5 million dollar purchase by Martin of the building which it now occupies. When the collective first made contact with Martin, they asked for pure financial assistance, Meow Wolf member David Enoch McPherson tells VICE. "He was like, 'How about I just buy the building, and that'll be my contribution?'" he says. "And he's leasing it to us for a super, super great deal. " See the space and read about VICE 's Skype tour here , and check out some of the sweet, sweet selfies that The House of Eternal Return 's thousands of visitors—including Neil Gaimon and Martin themselves—managed to snap. See more of the House of Eternal Return on Instagram. Check out more of Meow Wolf's work on their website. Follow The Creators Project on Instagram here . Related: Brain-Shaped Light Installation Feeds on Your Thoughts Light Behaves Like Fire and Water at New teamLab Installation The James Turrell Skyspace Experience Step Inside A 5,000 Square Foot Rainbow 2016-03-25 17:50 Beckett Mufson
16 Batman, Superman, Hip Hop Family Tree, Welcome to Typhon: This Week in Comics #10 Panel section from Superman: Lois and Clark #8. Illustrated by Lee Weeks, Scott Hana, and Jeromy Cox. Screencap by the author. Photo courtesy of DC Comics. Whenever comic book blockbusters like Batman v Superman: Dawn of Justice hit theaters, they leave comic fans in a strange position. Sure, we're excited anytime the hobby makes it to the big screen—but there’s always a sense of questioning. Most ask questions like, “Will it be true to the comics?” Maybe that’s not even a fair question. Even though the reviews coming in for BvS are cool (to put it kindly), one wonders how much of that is due to the fandom that surrounds it. Could it have been a better movie if it wasn’t tied to comic conventions? Or would that have made it worse? Is it receiving poor reviews because it’s not living up to cinema expectations? Or are those reviews in some way colored by a dedication to characters who have existed for well over 60 years? This week’s comic roundup takes a look at (appropriately) a Batman comic and a Superman comic, then dives into indie territory with some hip-hop history and a story about a schoolteacher getting shipped off to a man-made moon. Cover for Batman #50. Illustrated by Greg Capullo, Danny Miki, and FCO Plascencia. Photo courtesy of DC Comics. Written by Scott Snyder, pencils by Greg Capullo, inks by Danny Miki, colors by FCO Plascencia. Batman #50 signals the return of the caped crusader. The tenth part in the “Superheavy” arc, this issue sees Bruce Wayne finally don the mantle of the bat again and help James Gordon (who was pretending to be Batman) take on a giant plant monster named Mr. Bloom. This is a sprawling, chaotic, fast-paced issue that does a nice job of wiping the slate clean for future, more traditional Batman narratives. Capullo, Miki, and Plascencia give this issue a messy, urgent feeling. If you’re a Bat-fan but haven’t been following along, you can probably catch up via context clues and jump right in with this issue. And you should, it’s full of action, nice panel construction, and promises a steady future for the Caped Crusader. Cover for Superman: Lois and Clark #6. Illustrated by Dan Jurgens and Hi-Fi. Photo courtesy of DC Comics. Written by Dan Jurgens, pencils by Lee Weeks, inks by Scott Hana, colors by Jeromy Cox. It only seems right to take a look at the worlds of both Batman and Superman this week. While DC released a free Batman/Superman team-up comic, perhaps it’s better to see what the character’s up to in his native comics. Superman: Lois and Clark features a bearded Clark Kent and Lois Lane living in San Francisco with their son, Jon. Superman dresses in black, and because of weird continuity stuff, there’s also the classic red and blue Superman flying around Metropolis. But don’t worry about that... It would take too long to get into. This issue really delivers on the promise of the title: We see Lois as almost as large a character in this work as Superman himself, even though she falls into the "damsel in distress" role by the end of the comic. Still, she’s an anonymous reporter blowing the whistle on a huge gang, and that gang’s out to get her. In the end, this is a very traditional Superman story, even if Supes is sporting a dadbeard. And fans of the hero, or fans left wanting after the movie, could do worse than to sink their teeth into this story. Cover for Hip Hop Family Tree #8. Illustrated by Ed Piskor. Photo courtesy of Fantagraphics. Written and illustrated by Ed Piskor. Each issue of Hip Hop Family Tree tells the tangled story of the birth of hip-hop in an easy-to- approach, visually grabbing way. This issue starts with a short story about how Jean-Michel Basquiat produced a rap record, and goes on to (generally) chart the influences, rise, and early mistakes of Run-DMC (they wore leisure suits before finally settling on their iconic look). Other great moments include Steve Stein and Douglas DiFranco’s creation of the Payoff Mix , and the creation of the song “Rockit.” Illustrated to look like a weathered 1970s Marvel comic, Hip Hop Family Tree is one of the best, most informative, innovative comics being made today. Cover for Welcome to Typhon. Illustrated by Jim Lawson. Photo courtesy of Ærolith Dynamics. Written by Adam Bash, pencils by Jim Lawson, inks by Colin Panetta. The Typhon of this comic’s title refers to a man-made second moon of earth. At the start of this comic, we meet a schoolteacher being rocketed to Typhon. Her assignment: to work with and teach an artificial intelligence that’s refusing to learn and is acting like a child. This is a short-ish comic, but it holds a lot of promise and potential for future installments. This is also a part of a deeper web of stories, hosted on the Sayer Podcast series, which features an artificial intelligence that goes rogue/evil/deadly. With a beautiful cover and a light, airy feel inside, this comic could lead to great things to come. What were you reading this week? Let us know @CreatorsProject or in the comments below. Related: #9 #8 #7 #6 #5 #4 #3 #2 #1 2016-03-25 17:45 Giaco Furino
17 Kenny Schachter on Art Basel in Hong Kong Welcome to Hong Kong, where the bills are stamped with HSBC—one of three commercial banks authorized by the government to issue currency (how annoying is that?)—which is hosting the latest Basel iteration. Soon there will only be Basel fairs, along with Art Central, an Asian-focused event that remains independent, for now. The city feels removed and different, and at eleven to twelve hours from London and sixteen from New York, it's definitely that. There's Healthy Street and Happy Valley and signs not to bring animals, birds, and poultry into the subway, which is always good to know. I also participated in a debate hosted by Intelligence Squared around the idea that money has irreparably soiled art. What will surprise some, I chose to argue against the notion. It's refreshing to work in a city characterized by near-obsessive manners in an art world with next to none. A young European auction expert I had drinks with ordered with a faux Chinese accent, which he swore made him more readily understood yet I thought more resembled a Simpsons' character. The fog, which didn't relent for three days, made London look like the Canary Islands. Forget being lost in a supermarket, the omnipresent monster malls are redolent of my youth in Long Island, of Roosevelt Field and Valley Stream, but in Hong Kong they are blown to another scale. It's brand land: who knew there were so many brands? And there wasn't an empty space in any of the 647 I happened across during my short stay. You can walk across the city from mall to mall shielded from the daily downpour. There should be an art version shielding us from further fairs. Speaking of malls and branding, how about a preferred discount in all Basel booths for sporting the team Basel Ortho-shoe, which I was in need of after the excruciating pain of traipsing for hours on end like a (non-formalist) zombie. I accidentally landed in K11 mall instead of pop-up show Adrian Cheng's New World Development Company sponsored whose motto is "In Art We Live" or was it "We Live in Art? " Said to be a future model for seamlessly incorporating art into mainstream branded commercial experience, I found a bunch of shitty stores with a half dozen similarly lousy art pieces. The only standout was the relief to be in the only shopping center in Hong Kong with lowbrow goods and no Rolex or Prada outlet, which are everywhere. At which point, I popped into the Pedder Building to visit a few galleries. Dan Colen's show, “When I'm Gone," at Gagosian was like another bland brand. It was flower residue on canvas (mixed with his other favorite medium chewing gum?); if he keeps making such unstable, repetitive art he may be gone before he intended. The enterprise comes off as contrived juvenilia; presto-change-o, in five years there will be a trace of a memory—it's happened to a friend's work already. Massimo de Carlo 's new space in the Peddler has been carved out of Ben Brown's existing gallery, as propitious a time as any to shave a few dollars off rent. Yan Pei-Ming exhibited Picasso portraits at MDC and though it might appear a Chinese thing with artists like Zeng Fangzhi and many others depicting famous art historical figures for easy to feed collectors/speculators (if any left), Rudolf Stingel recently exhibited a full-length Picasso picture of his own with Gagosian at Maastricht (a soon to be Basel product?). Famous artist paintings make good fair fodder. Sadly for De Carlo's gallery sitter, the only person in the building not wearing a hygienic disposable face mask—I find those things rather creepy (what do they know?)—I walked to his desk and as he extended a press release I accidentally sneezed in his face. Whoops. Even scarier, Tracey Emin , who recently married a rock (yes, a rock), had two shows in town, at Lehmann Maupin and White Cube, and fared about the best of the lot with subdued, conservative paintings and drawings of her body like Cecily Brown drained of color, or a Dan Colen flower painting in a few years. Basel in Hong Kong This is not a fair for dime-a-dozen Western advisors and sundry others falling over themselves for the same stuff as usual; rather, it's the same stuff as usual for a wholly different audience. Since officially taken over, the Hong Kong fair is less sloppy, a more grownup global internationalism. Maybe there's a vague regional flavor, really the content is fungible, but what's clearly not the same is the distinctly Asian identity of the buyers. For such a populous city, with two slated VIP openings, the first bordered on a ghost town inhabited by a small group of big clients—why there's more than one opening is beyond me. Tumbleweeds may have been rolling down the aisles but though there weren't many, the folks that pulled the trigger were not gun shy and constitute quite a market. Listen loud and clear everyone: the art market is in rude health. Here are the stats: walking the fair it's fun to play price is right, guessing the Judd ($800,000, I had no idea) at Kukje Gallery from Seoul, vs. the Sigmar Polke at Zwirner which was $2.8 million (I was close with a guess of $3 million), both unsold at the time of this writing. But what did sell was bountiful from my estimation including a Marlene Dumas for $3.5 million also from Zwirner, a Yayoi Kusama work to a regional museum from Victoria Miro, with an asking price of $500,000. I know a dealer that formulated an average Kusama price pegged to the size of the canvas to effectuate sales with hedges. It's also a sport to clock how long gallery principals stay in town, if at all—Zwirner all the way, Larry G., Marc Glimcher, and Per Skarstedt , no shows. And, despite a monied display of Louise Bourgeois spiders on top of spiders for multiple millions, I didn't seem to see Ivan Wirth either. Venerated London gallery Sadie Coles sold a smallish $2.5 million Stingel canvas of a stag early on the first day but also introduced a mixed media tabletop installation for $45,000 by artist Uri Aran, who had a "collaborative performance" involving bagels in 2015 at Gavin Brown's Lower East Side space, that hadn't moved and probably wouldn't. She described the piece as being about circles and for the rest of trip all I saw was balls. Simon Lee from London and Hong Kong sold Sherrie Levine's cast bronze Tree Bark Mask (2010)—from an edition of 12 with three artist's proofs—for $150,000, and was paid the very next day by another local client definitely not cognizant of ins and outs of art world, i.e., endless payment terms. Imagine walking into a supermarket, negotiating the price of a quart of milk, not paying for six months then returning it because its rancid, that's the art trade. He asked me not to mention this but I'm a fucking journo, if you don't want me to write don't tell. By the way, he also said not to tell that he sold two blurry Jeff Elrod paintings (its not my photography) for $150,000 each (neither of which has been paid to date). Vanessa Carlos of Carlos/Ishikawa in London had a two-person display of Oscar Murillo and Korakrit Arunanondchai, the former an ad hoc mess of an installation and the latter, more sellable light boxes; all seven of the latter sold for $35,000 each to yet more locals. Vanessa confessed to me that she doesn't really believe art has sold out to the market, which was the position she was persuaded to maintain against me in the debate. David Kordansky from Los Angeles shouted across his booth that I instill hope in the art world, admittedly a refrain I'm not entirely accustomed to hearing. He sold a great mini Jonas Woods pencil drawing for $20,000 that I coincidentally own the equally little painting of. I loaned a two-sided painting to a gallery in the fair that had been previously hung in a major museum show with a particular orientation. Consigning pieces to fairs is like entering the convention center in a Trojan horse without the cost, headache, or politics. Sidling up to the booth my head turned sideways like a dog and I couldn't quite size up why. Without asking, he figured out the work was framed within another frame and rehung it backwards, without so much as a peep. A bit taken aback, I had to admit it looked better—the cost of letting go. It went on hold to an incredible private European institution (in reverse). Here's some news for you, not that the latest Anish dish that went for $2 million shortly after the first of the openings but the identity of the seller. None other than Larry G—a sign artist and dealer are engaged in more than a smooch. That Kapoor and Gagosian have something in the works was confirmed by a little birdie within, which can't be Happy Valley for Lisson. Lest I forget to mention, no art fair would be complete without the requisite appearance by Adrian Brody and Leonardo DiCaprio. At another Simone de Pury hosted amFAR benefit auction, a Brody dragon fetched $100,000; granted it's charity, but it just doesn't smell right— couldn't you have just cut a check? We mustn't encourage him. Leo and Co. (he rarely moves sans entourage, including New York's Helly Nahmad) , dropped by Cardi gallery and attempted to bargain down a little 1964-65 $2 million Lucio Fontana two-slasher stating he could get two individual slash paintings for the same price, but was reassured by Nahmad that was the going rate per slash (RPS price indicator) for a red one. They also had a Cy Twombly 1960s scribble painting on paper in two sheets for $10 million, both unsold as of now. Dealer Life Fraternizing, fighting, drinking, gossiping, we dealers stick together like pack rats. A group of us had Chinese food including fish stew that was so MSG infused it was like eating exploding-in- your-mouth Pop Rock candies; I thought I was having a stroke. I hope the markets aren't as wobbly as the gelatin dessert cube that was not spam but sure looked like a translucent version of it. At drinks in the lobby of the Mandarin Oriental hotel lobby bar after, Sam Orlofsky of Gagosian bum-rushed me spitting a Mike Kelley offer at my face but refusing to take my email or send me anything on it, demanding I seek out a previous exhibition catalogue. The New York Gogo squad is tight with the Barbara Gladstone-rs. Team Sadie—they should have jumpsuits or uniforms (oh right, we do Prada), were hanging in unison. One dealer had the misfortune of sending a jokey email that he'd pee in the bed of his friend to warm it up before he arrived in town but sent it to a young Asian collector as she sat down to a meal with her family, which he was about to meet. Luckily (for him) she was amused. I may have done the same thing to Marc Spiegler, head of the fair, involving tuna cheeks but I'll leave that for another time. The gallerists intermingle over work during the day and (plenty of) booze at night, they are a close knit species that cohabitate in solipsistic circles of worker bees. Even the one's that hate each other—our world is still too (relatively) small to be too picky. The next morning after the dumpling fest I was surprised to find my shirt clear of the greasy orange residue that saturated even the meal. Hong Kong Central Hong Kong Central is the Chinese version of Scope. I was surprised not to recognize a soul in the double tent, which was a refreshing palette cleanser. Some dealers attempted to physically usher me into their booths all but against my will, endlessly trying to engage; from then on it was eye contact avoidance. Does Marc Quinn have an art gallery you may want to know? Yep, he does, and it's called Marc Quinn Shop and/or Human Reproduction. A good argument itself art's sold out. Bless him, he's gone direct to market—well, more so than opening his studio to all-comers, and he was exhibiting Daniel Ashcan or was it Arsham, himself and the Chapman Brothers. The naughty brothers presented a group of cutesy, wrought iron dinosaurs for £200,000 a pop in an edition of many shapes and sizes that would make Ai Weiwei proud. Quinn, who's name and mobile was on every business card, is a new kind of culture-teer, an art-trepreneur, and a more interesting model than his recent art. There were more Kusama pumpkins than you can shake a stick at, as well as a Nara for $3 million for an oversized work on paper at Whitestone Gallery in Tokyo and Hong Kong, which specializes in Japanese art—a nice random name conjured by CEO Koei Shiraishi. Though I was expecting loads of smiley Yue Minjun 's and the bloodline paintings of Zhang Xiaogang, alas there were none. But there was a “BMW NO" painting by Wang Guangyi who made endless "NO" paintings applied to anything remotely fun. Saatchi bulked up on all of them, then dumped just as quickly. An artist I thought would live to see another fair was Zhou Tiehai, aka Joe Camel. I wonder what he's up to nowadays; perhaps he is an art advisor. The Debate I think it's reasonably safe to say cave drawings were not conceived with a quick flip in mind, since art has been created it's been coveted and revered which will continue with unprecedented ferocity (in my opinion). It's past financial asset; besides, you'd need to be more a wizard than Harry Potter to figure that angle out today. Art is not money, far from it, it's passion, expression, communication, and as innate as going to the bathroom. Some would say much new art resembles a trip to the toilet. Nowadays, who's smart enough—dealer, artist, or collector—to construct or manipulate a career in a volatile, choppy market heading down in more cases than up? Gone are the days when cabals could condition hot artists in the same way you can't manufacture a hit song, novel, film or play. We are in the most unstable economic art environment I can remember and finally connoisseurship is more vital than in years, yippee. Have you ever sold a piece of art? In the best of times it ain't easy, trust me, I've been doing it in fits and starts for over two decades. Even large inventory owning families we all know can't ultimately control what has become a diffuse global market without real, non-manipulated demand coupled with underlying quality of the art. Sooner or later crap floats to the surface, and you can't prop up poop (indefinitely). There is an inherent value of art and history is the greatest determinant of it: namely, time will tell (often, but not always, reflecting market sentiment). Revisions up and down will be made, but rarely are there big surprises. Thanks to artnet's Price Database, I found out there are well under 500 living artists who have sold for $1 million or more. I also uncovered everything you've ever searched for. Just kidding. Of those that could, only a miniscule amount of artists could be considered sell-outs. I can only think of a handful: Jeff Koons , I must say I'm no fan of his blue balls at $2.5 million at Gagosian; Damian Hirst, but as much merch as he churns, he's concurrently made a nearly 10-year commitment to his next body of work; Takashi Murakami , who continues to support young artists from the proceeds of his multi-varied practice and Yayoi Kusama—who at 87 years of age has earned the right to sell out for as much as she can. But you don't get to sell out till you've done something extraordinary, as all the artists above have, even Marc Quinn. Art and money are old pals; Rembrandt was obsessed, a fervent collector of his peers and at one stage owned the biggest house in Amsterdam before he went bankrupt from living large. Warhol wished he could have cashed in but it wasn't for lack of trying. He opened the gates for those who followed. If you ask any of the above under oath if they were insincere, they would put their hands on their arty hearts and swear they were pursing art before financial gain. Sure, some artists have been more financially minded than before, the loosely branded Zombie Formalists that made art in big series with easy-to-swallow content. But that was small beans and short lived. Most in my profession would do what we do for free, like the debate, though an honorarium or cheapo flight with pay—bathrooms would have been a welcome gesture. In the business model of small and mid-level galleries by default they are working at or near nothing. The debate was about more than money-art, it's integrity and the pursuit of the meaningful and sublime; to live among art is a gift and will always surpass the concept of another financial chip. Even a stillborn market wouldn't stop the flow and fanatics who form the social (and economic) fabric that enfolds it. Art is a lifestyle, albeit a luxury. Look how many people flew inhumanly long flights to be sitting in an Oxford rules-debate, of all places. Art chooses you rather than the other way around, and there are no shortcuts or cutting corners. It's no easy feat. When I publicly speak I switch on, trumping The Donald in my bombastic gregariousness. This makes up for the lack of a viable position or the capacity to remember what I was going to say. Maybe that was the glass of wine before. Though I lost the debate, the majority was in favor of the proposal that money rules art, I still managed to turn fully 14 percent of the crowd with my earnestness in the belief of all things art (they vote before, and after). So I guess the consensus was that we live in a Marc Quinn universe. Afterwards, a woman asked me to see the private collection she curated among the first private museums in China, then asked me to curate a show there followed by an appeal to move to China. I mustn't have been as bad as I thought. History has a, well, history of wrongheaded ideas people once resolutely believed in. I wonder if Tracey Emin's mug, emblazoned on the cover of Tatler Hong Kong magazine staring me in the face from the seat pocket on my way to the airport (you can run but not hide, it's a Starbucks universe) is such an instance. But what the hay, good luck to her (and even more so, the stone of a husband ). Here is a prognostication: May auctions in New York at Christie's and Sotheby's (assuredly not Phillips, sorry) will define the year's performance, and I have little to fear. Rocky recessionary roads, which some would say we are on, or about to be again, won't stop the locomotive that is art and the market. And they are not mutually exclusive, by the way. 2016-03-25 16:49 Kenny Schachter
18 Internet Gives Us Video Game Art Mashups Attention denizens of the digital realm: the latest Internet art history mashup has officially surfaced. It comes thanks to a forum called b3ta , which recently found one of its users challenging other members of the online community to transform images from the art historical canon into video games. The prompt, which was posted on March 17, has yielded an assortment of inventive mashups, including a hilarious riff on Banksy 's iconic "flower thrower" stencil. "Turn famous works of art into video games," b3ta user HappyToast solicited, "or classic video games into art. Space invade Mona Lisa and hang Mario in the Louvre. " Respondents quickly populated nearly seven pages worth of responses on the discussion board. One, however, would soon rule them all. The following day, HappyToast announced user Ya What's mashup as the winner. The image, as seen above, is a digital juxtaposition of Microsoft solitaire cards spilling from Katsushika Hokusai's iconic The Great Wave off Kanagawa. 2016-03-25 16:40 Rain Embuscado
19 Nina Zimmer To Be Director at Swiss Museums German art historian Nina Zimmer has been appointed as director of the Zentrum Paul Klee (ZPK) and the Museum of Fine Arts Bern , a post she will officially assume this August. Her appointment follows the recent restructuring of the ZPK and Museum of Fine Arts Bern, which saw both museums merged under a newly-formed parent foundation KMB-ZPK and resulted in directorial vacancies at both institutions. Former ZPK director Peter Fischer announced last September that he would resign in February to let a new person oversee the transition. Meanwhile, the Museum of Fine Arts Bern's former director Matthias Frehner was appointed to the four-person board of directors at the museums' newly-formed umbrella foundation. The board of directors are confident that Zimmer will refresh the creative direction and the new image of both institutions. In a statement issued by the ZKM and the Museum of Fine Arts Bern, the 43-year-old modern art specialist and current deputy director at the Kunstmuseum Basel was described as “belong[ing] to the younger, emerging museum directors of our time […] With the selection of a young, up-and-coming director, the trustees want to emphasize a new direction for the museums and the cultural region of Bern. " “In the field of modern art," the statement continues, " which is of particular importance for Bern, Nina Zimmer is very highly respected and she realized many successful exhibitions at her former workplaces. " In a conversation with Swiss daily publication Der Bund , Zimmer said: “I look forward to this very interesting and exciting task because the museum is at a moment which I can help shape. This attracted me to the new task. " She added: “We need to concentrate on and develop our strengths more than we have in the past. Now we must all pull together. " Monopol reported that the young, incoming director faces several challenges, which includes strengthening the museums' artistic profile, the expansion of the exhibition space, and saving CHF 1 million ($1.02 million) in operational costs and CHF 300,000 ($306,800) in personnel costs. Follow artnet News on Facebook. 2016-03-25 16:15 Henri Neuendorf
20 Artists' First GIFs | GIF Six-Pack GIPHY Ah, the first week of Spring. If you live in a place with meadows and flowerbeds everywhere, they're probably all colorful and beautiful and stuff. If you live in New York, enjoy the gruel-grey sky and the smell of smoke. Nevertheless, Spring is a time of beginnings, so we're celebrating the first week of Spring 2016 by revisiting the beginnings of our favorite GIF artists. Today, each artist has a uniquely developed and ever-growing style, but everybody has to start somewhere. The first GIF published on each of these artists Tumblrs may not be as effortlessly satisfying as their newer work, but the nugget of creativity and style they now possess is still present. Many of them have begun to focus on other looping mediums, like Vine or Instagram video, which have intrinsically changed their styles as well. Budding GIF artists, take note of how drastically aesthetics, form, and values can evolve in just a few years. We've presented each artist with their first and most recent work, one after the other. See more GIFs on GIPHY . Related: Meet the GIF Artist Turning His Dreams into Cinemagraphs GIF Six-Pack: Hand-Drawn Animation Is Our Salvation Female GIF Artists You Should Know 2016-03-25 16:10 Beckett Mufson
21 proposal to build 1,000-foot walls around excavated central park yitan sun and jianshi wu propose to build 1,000- foot walls around excavated central park all images by yitan sun and jianshi wu / courtesy of eVolo this ‘hybrid multi-functional megastructure’ has been designed to make new york’s central park available to more people. conceived by yitan sun and jianshi wu the proposal has been awarded first place in eVolo’s annual skyscraper competition. densely populated with skyscrapers, nature in manhattan comes in the form of a 1.3 square mile piece of land — central park. however, as a consequence of its location, only a small percentage of new yorkers are able to benefit from this vast public garden each day. a reflective glass surface surrounds the park on all sides in an attempt to make this green space available to more people, the proposed design digs down to reveal the bedrock beneath central park. in turn, this creates new inhabitable space along the exposed cliff-face. ‘the ambition is to reverse the traditional relationship between landscape and architecture, in a way that every occupiable space has direct connection to the nature,’ explains yitan sun and jianshi wu. the proposed design digs down to reveal the bedrock beneath central park the 1000-feet tall, 100-feet deep megastructure provides a total floor area of 7 square miles, which is about 80 times greater than the empire state building. wrapping around all four sides of central park, the system breaks the traditional perception of large-scale skyscrapers without taking valuable ground area away from manhattan. the soil removed from the original park is relocated to various neighborhoods, which would then be demolished and moved into the new structure. ‘this creates a new urban condition, where landscape can serve as an inherent part of the city,’ continue the designers. ‘with its highly reflective glass cover on all sides, the landscape inside the new park can reach beyond physical boundaries, creating an illusion of infinity. in the heart of new york city, a new horizon is born.’ 2016-03-25 16:01 Philip Stevens
22 Desire and Advertising Create a "Plasti-Saccharine- Hallucinatory" Dreamscape Sympathy For The Devil (Detail). Acrylic on panel 67 x 69.25 inches. Image courtesy of the artist The current state of our ever-digitized reality blurs the lines between the actual and the virtual. In Brian Willmont ’s most recent solo show, Chaos and Wild Again , at Brooklyn gallery Victori + MO , he reflects on our shift towards a purely digital culture with abstracted graphic works that reference a Pop-purloined aesthetic tenet central to the Internet Age. “Our current digital reality has changed us completely,” Willmont explains to The Creators Project. “Our attention, hearts, and libido are in the cloud, it’s ubiquitous and we’re in lust with it.” He continues, “My process has included more of a digital influence where there is a back and forth from analog painting to digital manipulations and back again.” Brian Willmont: Chaos and Wild Again at Victori + Mo. Image courtesy of the artist Willmont explores the ways in which we are consumed by the digital presentation of our phones, computers and media sources, all on digital dimensions, screens. “My digital curiosity comes out of my interest in screens. Physical screens hide, they obscure, they allure, they open and close, allow for new perspectives, allowing for shifts in reality,” Willmont expresses. “They function as masks, allowing the wearer—or whatever is behind the screen—to take on a new meaning and gain control over their perception. " “For Chaos and Wild Again , I used symbols of love, desire, and advertising to create a plasti- saccharine-hallucinatory dreamscape,” Willmont tells The Creators Project, “There are only four pieces in the show. One is a panel in the shape of a rose blossom. The rose is rendered in an eerie blue which is an inversion of the color of a pink rose and is shifting out of the frame while the surface is covered in trompe l’oeil water droplets.” He continues, “The second is a wall covered in wallpaper in which two paintings are hung on top. The wallpaper is a digital pattern created by extending the marks of the two paintings out to the edges of the wall. Sympathy For The Devil. Acrylic on panel 67 x 69.25 inches. Image courtesy of the artist Excitement and Danger and Blackness. Acrylic on canvas 60 x 80 inches. Image courtesy of the artist “The third is a painting of a field of poppies where like the wallpaper, the image is made by repeating aspects of another painting I made a year ago to create something pluralistic out of the singular. The fourth piece is a little painting of a rose bush where rough gestural lines contrast sharply with a digitally influenced color fade and more trompe l’oeil water droplets.” Become Wild Again (Detail). Acrylic on canvas in two parts on wallpaper, dimensions vary. Image courtesy of the artist Tangled Up. Acrylic on panel 20 x 16 inches. Image courtesy of the artist While heavily referencing the digital age and media, Willmont’s imagery also has an almost- nostalgic feel to it, cross-referencing a time before technology. Of his process, he tells The Creators Project, “The aesthetic of the airbrush in its classic use is synonymous with a vintage representation of the future which I’m definitely exploiting. I think this, mixed with a sappy sentimentality, gives the work a nostalgic feel.” As Willmont’s work is continuously evolving, a consistent thread that has maintained is an underlying reference to our natural environment. Willmont explains, “In this work it’s more about human nature than mother nature.” He continues, “In the paintings these symbols become decorative and overwhelming representations of longing. An emptiness that attracts love, sex, drugs, alcohol, food, shopping, social media, TV etc., and is ruled by emotion and dopamine hits.” Become Wild Again. Acrylic on canvas in two parts on wallpaper, dimensions vary. Image courtesy of the artist The impact of Willmont’s show has been felt during the exhibition over the course of the past couple of weeks. He tells us, “I brought some of my family to see the show, and when it came up that the work was for sale, my five-year-old niece burst into tears and asked how I could let go of such beautiful things. It was such a sweet moment of honest purity that only comes from kids or drugs.” Chaos and Wild Again will be on display at Victori + MO through March 27, 2016. Click here to visit Brian Willmont's website. Related: Digital Painting Asserts Its Place in Art History Artist 'Grows' Pollock-Worthy Paint Splatters Abstract "Paintings" Created Entirely By A Computer 2016-03-25 15:50 Hannah Stouffer
23 Hope Gangloff: Painting From Life Related Venues Richard Heller Gallery Artists Hope Gangloff Hope Gangloff's "Search at Suvarnabhumi Airport" 2016. Susan Inglett Gallery and Richard Heller Gallery/Photo by Donald Stahl “There is a kind of mania that I court when working,” says Hope Gangloff. “I’ll work on way too many pieces, ruining most and finding clarity in others. Decisions get made fast. I like when the brush is falling through space as fast as gravity.” Gangloff’s paintings—many hyper- contemporary, moody portraits of her friends, set against vibrant patterned interiors—are imbued with this sense of motion. 2016-03-25 15:44 Thea Ballard
24 Can You Decode This Mysterious Visual Journey? Images courtesy the artist Visual artist Artem Tarkhanov is someone who, like M. C. Escher, or experimental filmmaker Peter Greenaway, is interested in how mathematics can infiltrate art. In the first entry of a cycle of videos titled beweistheorie I, Tarkhanov explores the symmetries between the language of art and the structure which is defined by a prime number sequence he discovered. The video is a puzzle, which Tarkhanov challenges the viewer to decode. “The work represents some unexplored aesthetic ideas in context of contemporary art and math (number theory),” Tarkhanov tells The Creators Project. The prime number sequences Tarkhanov works with in beweistheorie I are: 562613, 562621, 562631, 562633, 562651, and 562663. These six prime numbers are all six-digits in length and can be presented with 1 to 6 digits. “This is the longest and single sequence of that type in math,” Tarkhanov says. “It was discovered by me as a pure aesthetic search without any spiritual subtext. It provides the logic of the video.” “In addition to math context (which is actually wider than I described above) in the work I mostly used language of art and references to art history—Malevich, Duchamp, Serra, and others,” he adds. Some of the scenes refer to the Russian geometric art known as a suprematism, while other works are nods to the video art of Richard Serra and Marcel Duchamp’s non-art interests. Other scenes reference chess, Alfred North Whitehead and Bertrand Russell’s math book, Principia Mathematica , and other complex math operations which are buried in the video’s symbolic tableaus. “The relationship between visual arts and mathematics has a long history with a lot of examples of mutual influence,” Tarkhanov explains. “But independently both of these areas have experienced a huge paradigm shift in the early 20th century—modernism in art and foundational crisis in math .” “A key result of that change could be described as inconsistency of old basis—art became able to go far away from realistic depiction and math had lost certainty of its axioms,” he adds. “Consequently, three different approaches emerged to provide their own vision on foundations of mathematics (formalism, logicism, intuitionism) and many more new directions appeared to push forward the changes in art (cubism, dada, Russian avant-garde, surrealism, etc.). These milestones in both areas constitute the main theme of the artwork beweistheorie I.” Beyond these historical inspirations, Tarkhanov simply wanted to show a “mysterious visual journey” that had some mathematical structure behind it. The video’s paintings and objects all point to the way to that mathematical structure. It’s the viewer’s task to make those discoveries —if they can. Try your hand at beweistheorie I below: beweistheorie I features music from techno producers Plaster (Stroboscopic Artefacts) and Akkord (Houndstooth). Click here to see more work by Artem Tarkhanov. Related: Projection and Dance Come Together for a Good Cause in Abu Dhabi Stunning Organic VFX Recreate the Big Bang Become a Surveillance Tourist with a Live Police Radio Installation 2016-03-25 15:35 DJ Pangburn
25 The Week in Art: Asia Arts Awards and Solange Though it may seem that Armory Week and Frieze Week get all the action, the reality is that there is never a dull moment in the art world. From the East Side to the West Side, there's always something happening at New York's museums, galleries, and event spaces. And, as was the case this week, with the opening of Art Basel in Hong Kong , the international art scene also provides plenty of action. Here's a rundown of this week's highlights. 2016 Asia Arts Awards: A Gala Celebration As art lovers descended on Hong Kong, the Asia Society held its annual Asia Arts Awards , with collectors, artists, and gallerists gathering on March 20 to honor contemporary artists Cai Guo- Qiang , Nalini Malani , and Yoshitomo Nara . The night included a cocktail reception, dinner, and auction, and counted Arne and Milly Glimcher of Pace Gallery ; Jinquing Caroline Cai, president of Christie's China ; artnet's Sophie Neuendorf; and Lesley Ma, ink art curator of the forthcoming M+ museum in West Kowloon, Hong Kong, among attendees. Larry Bell "Pacific Red" Opening Party Thrown by Swire Properties and United Talent Agency Fine Arts California Light and Space artist Larry Bell was on hand on March 23 at Hong Kong's Sky Lounge at the Upper House for a neon-heavy party celebrating the opening of "Pacific Red," an exhibition featuring three new red reflective glass cubes—large-scale works that the artist first created in 1969. Guests included architects Marisa Yiu and Eric Schuldenfrei , Miriam Sleeman from the art collective Miriam and Tom , and Joanna Gunn of fashion house Lane Crawford. New Yorkers for New Orleans Back in New York, the Contemporary Arts Center, New Orleans , headed to Harlem on March 23 for a cocktail party and concert benefit event at the historic Minton's jazz club. The evening's hosts were poet and artist Cleo Wade , conceptual artist Adam Pendleton , and songstress Solange Knowles. Beyonce 's sister hand-selected the night's musical acts, inviting guests to "soak in the moment of music. " Pendleton, Rashaad Newsome , Jacqueline Humphries , and other artists contributed to a benefit auction. Red Carpet Premiere of Mapplethorpe: Look at the Pictures HBO's highly-anticipated Robert Mapplethorpe documentary , Mapplethorpe: Look at the Pictures , had its premiere on March 22 at the Time Warner Center, timed to the joint retrospective at Los Angeles's J. Paul Getty Museum and the Los Angeles County Museum of Art. The star-studded evening saw the likes of actresses Parker Posey and Chloe Sevigny, gallery owner Mary Boone, and artists Ryan McNamara and Ryan McGinley walk the red carpet. Not in attendance was Mapplethorpe's good friend, Patti Smith , who has her own upcoming Showtime "Just Kids" miniseries in the works. A Woman's Bravest Weapon is Her Tongue Chelsea's FLAG Art Foundation celebrated its current Betty Tompkins exhibition, " WOMEN Words, Phrases, and Stories: 1,000 Paintings " by hosting an open mic performance night inspired by the show. Her works critique society's often misogynistic representations and perceptions of women by collecting words commonly used to describe them. The Jewish Museum 's Claudia Gould donned an Isaac Mizrahi mask (referring to the designer's " Unruly History " exhibition) to read a list of nicknames from the series starting with the word "Queen," including "Queen Bee" and "Queen Bitch," while artnet News contributor Anthony Haden-Guest composed an original text based on Tompkins' canvases, which are on view through May 14, 2016. The over-30 performers also included actor and Marlborough Chelsea co-director Leo Fitzpatrick and FLAG founder Glenn Fuhrman. Opening and Afterparty Celebrating Rashaad Newsome's Solo Exhibition at the Studio Museum in Harlem Rashaad Newsome's solo exhibition " This Is What I Want To See " opened at the Studio Museum in Harlem on March 23. A wild afterparty, hosted by Long Gallery Harlem and sponsored by Bacardi, followed at Harlem's new Caribbean haunt, Solomon & Kuff, with performances by Kevin JZ Prodigy, DonChristian, and Cakes Da Killa. BMW The Next 100 Party for New York International Auto Show Known in the art world for their art global residency , the BMW Art Journey , the German car company surprised no one by making art a prominent part of the celebration of its 100th anniversary, held at Highline Stages on March 22. ( Abigail Reynolds , Newsha Tavakolian , and Alvin Zafra were named this week during Art Basel in Hong Kong to the shortlist for the 2016 prize.) Artist Bill Patterson spent the evening creating a unique eight-by-twelve-foot work featuring a variety of BMW vehicles, while guests enjoyed an open bar, hors d'oeuvres, and new car models making their North American and world debuts. Follow artnet News on Facebook. 2016-03-25 15:31 Sarah Cascone
26 5 Experiential Artists to Elevate Your Consciousness in 2016 Liz West, Your Color Perception, 2015. Photo by Stephen Iles. Courtesy of the artist From large-scale immersive experiences, to mind-bending virtual reality exhibitions, experiential art is an open invitation to step outside of your own reality, tune in to other worlds, and reach higher planes. Artists and design studios Liz West, Rachel Rossin, Jeremy Couillard, NONOTAK, and Moment Factory have all been hard at work in recent years, pushing themselves creatively with unrelenting energy. We’ve been following their upward trajectories for some time, through collaborations with Jamie xx, to pioneering VR gallery show extravaganzas, out-of-body experiences, and more, and recently checked in with them to hear what kind of magic is in store for 2016. 2015 was a nonstop year for NONOTAK , the Paris-based design duo whose immersive, ethereal light and sound installations are commissioned internationally. Artist/illustrator Noemi Schipfer and architect/musician Takami Nakamoto can barely process their windfall: “We didn’t have time to digest what happened in 2015,” they reflect. “At some point we realized we were writing music and working on new content in different hotel rooms, in different continents, on a daily basis. Feeling like a band recording their new album on the road is great and inspiring. You get rid of all the comfort you get at home, and do something radical and spontaneous.” This year is already off to a busy start—with two installations at the Sugar Mountain festival, presented in collaboration with The Creators Project—and promises more experimentation: “[We’ll be] more focused on reflections and movements,” they say. Experience the first iteration of their new concept, PLUME , above. Liz West in An Additive Mix, 2015. Photo by Stephen Iles, © National Media Museum UK artist Liz West seems to be heading in a similar direction; she writes to The Creators Project in an email, we can expect “more mirrors and reflective surfaces” in her upcoming work, while her signature rainbow hues are here to stay. “I aim to focus more attention on investigations and works that demonstrate the science of light and color as well as placing importance on the relevance of sensory perception and natural phenomena (such as the sun),” she explains, adding that “placing the viewer at the centre of the phenomena encourages them to question their surroundings and visual perceptions.” Her installation Your Color Perception , completed early last year and pictured above, “acted as a huge platform” for her work and made her ambitions clear. The art world has responded with open arms; several major commissions and exhibitions in the UK and beyond are slated for 2016. In the lab at Moment Factory New media and entertainment studio Moment Factory celebrates its 15th anniversary this year. Headquartered in Montreal (now in a brand new studio with “more toys to play with”), the factory has since opened satellite offices in Los Angeles, Paris and London—and has its sights on Asia next. “The world is getting smaller and we need to feel the pulse of different cities in the world,” says co-founder and creative director Sakchin Bessette. This year, they’ve already presented their most ambitious concert experience to date for Muse’s Drones World Tour, and are working on a long-term installation that will illuminate the Jacques Cartier Bridge in their hometown for ten years. The latter, according to Bessette, is “one of the next big things coming.” Installation view, Lossy, by Rachel Rossin. Courtesy of the artist New York artist Rachel Rossin started off 2015 with a virtual reality space set up at Signal Gallery; by the fall, she was installing her show Lossy at Zieher Smith & Horton, bridging the traditional and the digital with a series of oil paintings and VR simulations that explored the concept of entropy. For 2016, she is busy programming and location scouting for a major VR piece, developed as part of her fellowship at The New Museum’s incubator NEW INC. “It talks about solipsism and good intentions,” she comments, before listing her other projects: “I have three new series of oil paintings, some lenticular holograms that I’ll finish this year... The next year will be a lot of work about intimate time, and I know I need to talk to Charlie Kaufman.” TOGETHER from Jeremy Couillard on Vimeo . Meanwhile, Jeremy Couillard , who gifted us with an Oculus Rift-powered refuge from reality and an out-of-body experience in 2015, just presented a new version of his latest Art Basel Miami Beach installation, this time at Art Los Angeles Contemporary . “You can interact with a plant that builds a totem in a video game space. The totem gets blasted through a portal and falls through a vortex in a VR simulation where five AI characters interact with the pieces and tell the viewer quick sci-fi stories,” he explains of the project. This year, in addition to new VR, animation, video game and other simulation projects, as well as continuing to work with real-time engines, Couillard hopes to get better at programming AI—we can expect more mind-bending absurdity from him in 2016. Which experimental artists are you looking forward to this year? Let us know @CreatorsProject or in the comments below. Related: I Had an Out-of-Body Experience at an Oculus Rift Art Show This Mirrored Rainbow Room Is a Playground for Light Artists-in-Residence: Nonotak Studio Take Montreal's Satosphere Dome 2016-03-25 15:15 Noémie Jennifer
27 Google Makes $150 Photo Editing Software Free Pixabay The list of professional-grade tools available to young artists is growing rapidly. On Monday, the animation software Toonz, preferred by Studio Ghibli and Futurama, was repackaged with a free edition. Today, Google announced that its $149 suite photo editing plugins, the Nik Collection , is now totally free to download. Aimed at sweetening widely-owned programs like Adobe Photoshop, Lightroom, and Aperture, the Nik Collection encompasses a set of precision filters for color correction and beautification, a darkroom-inspired module for perfecting the black-and-white photo, and an effects suite that adds the look and feel of different film cameras. While these plugins are limited to desktop software, downloading them is an easy way to amp up your Instagram game, as long as you don't mind shuffling them between your phone and computer. Google explains , “As we continue to focus our long-term investments in building incredible photo editing tools for mobile, including Google Photos and Snapseed, we’ve decided to make the Nik Collection desktop suite available for free, so that now anyone can use it.” Combined with Steve McCurry's excellent composition tips and Die Antwoord photographer Roger Ballen's advice on how to make photography your art , you now have everything you need to get out and snapping. The Nik Collection includes Analog Efex Pro, Color Efex Pro, Silver Efex Pro, Viveza, HDR Efex Pro, Sharpener Pro, and Dfine. Anyone who bought the collection in 2016 will be refunded. Grab the whole suite here. Related: Studio Ghibli's Animation Software Is Now Free Die Antwoord Photographer Roger Ballen's Best Art Advice 5 Photographers Who Are Hitting Big in 2016 9 Tips for Composing the Perfect Picture 2016-03-25 14:45 Beckett Mufson
28 One Sexologist’s Quest to Stimulate Las Vegas’ Art Scene This article contains adult content. Yongshin Jo, Mandrak Body. All images courtesy of Dr. Laura Henkel/Sin City Gallery If there's still a taboo around erotic art in Las Vegas, rest assured: Dr. Laura Henkel is breaking it. The curator and specialist in human sexuality helms the Sin City Gallery , which is preparing for an upcoming show of Hajime Sorayama paintings. She also runs 12 Inches of Sin , an annual juried erotic art exhibition. Now, for the competition’s fifth year, an immersive art experience will accompany the annual competition. For the April 9 event, Dr. Henkel is taking over the entire Arts Factory complex , the converted warehouse where Sin City Gallery is located, amongst other fine art studios and commercial galleries. She hopes to encourage Las Vegas’ downtown arts scene, and from 1 PM to midnight, the complex will be filled with visual and performance art, lectures, and live entertainment. “Sin City Gallery is dedicated to providing a serious professional forum, exhibit space, and series of publications for practitioners of provocative art who have too long been marginalized or excluded from so much of the art world,” reads a press release for the event. Sebastian Rut, Double Event The only criteria for entering the competition is that the art explore eroticism and sensuality, and not exceed one square foot in size. 5 years ago, 12 Inches of Sin received 40 submissions. This year, that number has grown to over 300 from around the world. The art, which ranges from sensual oil paintings of pomegranates, to images that could belong on the Look at this Pussy instagram, to Cock A Doo , a digital painting of the Chik-Fil-A logo stylized into a, yep, you guessed it, will be judged by a diverse and powerful panel. From Oscar Goodman , former Mayor of the City of Las Vegas; to Will Roger Peterson , founding board member and board chairman of the Burning Man Project; Steve Diet Goedde , a photographer whose work delves into the erotic; and Henry S. Rosenthal, producer of, amongst many others, Jeff, Embrace Your Past , the documentary on Jeff Koons that Jeff Koons didn’t want to see, and Blood Orgy of the Leather Girls , a 1988 movie about a leather-clad gang of murderous women. Even more judges with expertise in the obscene will be announced in the coming weeks. think tank ART, Bus Stop “This truly has been a labor of love for me... and a bit nerve-racking as I want to this to be the first of many annual events to come. I want it to be 'the Armory in New York meets a smidgen of Folsom Street Fair in San Francisco,'” Dr. Henkel tells the Creator’s Project. The event will benefit the Sisters of Perpetual Indulgence , a charitable organization of genderfucking nuns, founded in 1979 in San Francisco, that promotes safety amongst queer communities, while also raising money to support AIDS research and LGBT-related causes. A portion of the proceeds of the event will go to the Sisters’ community outreach and educational programming. Additionally, a Kickstarter-funded exhibition text , 12 Inches of Sin: So Much Art You Can Barely Fit It All In, Volume I , will be available to visitors. The five-volume book includes images of art from all previous editions of 12 Inches of Sin. Ann Davis Mulford, Miss Behaving Azadeh Ramezani, Chick John Hofstetter, Hippotlya 5 Gaspar Marquez, Pink Tights Sin City Gallery ’s 12 Inches of Sin Immersive Art Experience will take place on April 9 from 1 PM to midnight. For more info, click here. Related: A Rare Work of Japanese Erotic Art Hits the Auction Block [Best of 2015] The Year in Erotic Art (NSFW) Bang on a Canvas to Make Art with This Sex Paint Kit 2016-03-25 14:00 Alyssa Buffenstein
29 29 Eduardo Lopez’s “Natural Life” Vivifies a Condemned Woman F. Scott Fitzgerald’s observation that there are no second acts in American life has been refuted by innumerable comebacks of business titans, celebrities, politicians, and sports figures. Now, thanks to playwright Eduardo Ivan Lopez, Guinevere Garcia, who is none of those, is enjoying a third act through the world premiere of his off-Broadway play “Natural Life,” at the T. Schreiber Theatre through April 2. Garcia’s first act was the misfortune of having been born Guinevere Swan into a poor and horrific Illinois family. By age 5 she was serially abused by an uncle; at 14 she was a street prostitute; and at age 21, she walked into a police station to confess that she had murdered her child, Sarah, and began serving a 10-year jail sentence. Garcia’s second act began in 1994 when she was convicted of murdering her violently abusive husband, George Garcia, who unfortunately happened to be the brother of the chief of police of Cicero, Illinois. After a botched defense by a court-appointed neophyte lawyer, she was sentenced to death by lethal injection. Thus began a death penalty case that drew the attention of Bianca Jagger and Amnesty International, who petitioned for a commutation of the sentence from then Illinois governor Jim Edgar. The only problem? Garcia wanted nothing to do with their help. She wanted the state to put her to death and conveyed that through a close relationship with Carol Marin, a reporter and anchor for a local Chicago news station. Garcia’s third act, as the thinly-veiled protagonist of “Natural Life,” was seeded when Lopez became aware of the story in 1999 at an event in Pittsburgh at which Marin was honored with the Marie Torre Award. The award is named for the heroic newscaster and mother of Roma Torre, the present NY1 anchor and Lopez’s spouse. “I was fascinated by the story and I asked Carol Marin to put me in touch with Guin,” recalled Lopez, an ex-Marine and author of several successful plays including “Lady With a View,” “Spanish Eyes,” and “Fireflies.” After an initial four-hour meeting, the playwright won over a skeptical Garcia, who agreed to cooperate on only one condition: The collaboration had to be kept secret as it was against prison rules. From his correspondence with Garcia, which continues to this day, Lopez has created a fascinating portrait of two women in “Natural Life”: One, now named Claire, is a battered woman who has consistently drawn an unlucky hand; the other, Rita, is a well-heeled and professional news reporter inexorably drawn into the life of her subject. While in real-life Marin remained objective as she reported on the story, Rita becomes an advocate for Claire, one of the few liberties taken by Lopez in what is essentially a docudrama. “I told Guin that I wasn’t out to champion her cause,” said Lopez. “But I soon realized that she was bright, and smart, and a good person who’d had some tough breaks. People do horrendous things but she was still a human being and I wanted to tell that other side of her.” That humanity and empathy comes through in a first-rate production, directed by Jake Turner and starring Holly Heiser as Claire and Anna Holbrook as Rita. Most absorbing is how Lopez manages to interweave three different strands: Claire’s harrowing back story; the satiric machinations of a newsroom fighting for ratings; and a political hot potato that has a governor worried about his re-election as he weighs a tough-on-crime reputation versus being responsible for the first state execution of a woman in 50 years. “Edgar did commute Garcia’s sentence to life imprisonment,” said Lopez. “And lost his re- election.” As in the play, Garcia became despondent after the commutation and shortly thereafter tried to take her life by slitting her wrists with a broken light bulb. However, as she lay bleeding in her cell, she called for help. “She had become religious and was convinced that she was committing an act against God,” said Lopez. “It was O. K. to be executed by the state but not to take your own life.” Now 57, Garcia is a model prisoner, said Lopez, who has studied law and has helped her fellow inmates. She is currently sentenced to remain incarcerated to the end of her natural life. The playwright said that if Garcia could petition for anything, it would be to be given a term sentence, whether it be five years or 50 years. “Whether it’s out of reach or not, it gives her a simple hope,” said Lopez. “That’s all she wants now. Hope.” 2016-03-25 13:36 Patrick Pacheco
30 L. A. Habitat: Henry Taylor Henry Taylor at his Chinatown studio on December 11, 2015. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the city. This week’s studio: Henry Taylor; Chinatown, Los Angeles. Last December, I circled the block around Henry Taylor’s studio for 20 minutes looking for a empty space and finally paying $5 to park in a nearby lot. We approached the studio on a cul-de-sac in Chinatown—which is flanked by big red double doors —at roughly the same time, though he arrived in the back of an Uber. “I was so pumped, I just started three paintings yesterday,” he said, leading me into the cheerful, lived-in space that nicely matched his charisma. Originally from Oxnard, California, Taylor, 58, has lived and worked near downtown Los Angeles for decades. His studio is evidence of this. Scattered with canvases and painting materials, it is anchored by a couch at the center, where subjects often pose for portraits. Some installation work and more supplies live in the outdoor space at the back end of the studio. We sat down, and as I took a few test photos, Taylor put on Kendrick Lamar’s To Pimp a Butterfly , which played in the background as he talked about his art, his workspace, and Los Angeles. “Let me tell you something, I know so many people moving out here right now!” he said. “I go to New York quite a bit, but it’s the weather out here.”Before Taylor started painting, he worked as a psychiatric technician at Camarillo State Mental Hospital. He went on to attend CalArts in 1995. “I didn’t start painting until I was 40 years old,” he said, recalling his early dream of becoming a baseball player. “I was a jock, but I grew up with [comic artists] the Hernandez Brothers. In the seventh grade, they were already professionals, and I was intimidated. I couldn’t draw like that.” Now Taylor paints indefatigably on a wide range of materials, creating vibrant portraits of friends, family, acquaintances, and strangers. “I’ll snatch someone off the street and say ‘Come here, let me paint you,’ ” he said. Currently Taylor is hosting an exhibition titled “ Camarillo State Hospital ” at his other studio/open gallery on 3rd Street in Los Angeles, and has work featured in the group exhibition “ A Shape That Stands Up ,” organized by Jamillah James at the Hammer Museum in Los Angeles in conjunction with Art + Practice. When I visited the studio in December, he was also busy preparing for a solo show at the Mistake Room in Guadalajara, Mexico, which opened on January 30 and runs through April 2. Below, a look around Taylor’s Chinatown studio. An in-process photo of Look, 2015. “I knew both of these guys from Oxnard,” Taylor said, referring to his hometown. Taylor’s workspace, with a taxidermy hyena hanging above the entrance. “I killed it with a slingshot,” he told me. Taylor holding a portrait of Deana Lawson, who asked Taylor to paint her while pregnant. A work in progress— Why Look When you can See? , 2015. “This is a portrait of Deana Lawson at Oloffson Hotel in Haiti. Supposedly the Rolling Stones wrote ‘Goats Head Soup here,’ ” he said. Taylor’s studio. “I painted this guy at Jack Tilton’s house.” Taylor in the back of his studio with an installation piece. Taylor tends to work in acrylic paint. “The colors aren’t real thick, so I just leave the tops off sometimes,” he said. “Sometimes it’s easier to paint big paintings.” A view of Taylor’s studio. Taylor often wears these shoes while he paints. A drawer containing Taylor’s supply of paint at the studio. A view of Taylor’s studio. A source photo for Look . 2016-03-25 13:23 Katherine McMahon
31 construction of jean nouvel's louvre abu dhabi well underway new images reveal pritzker-prize winning architect jean nouvel’s anticipated louvre building in abu dhabi is in its developed stages of construction. located in the heart of the saadiyat cultural district, the expressive design of the museum is defined the references to arabic culture and architecture. the geometric domed roof – measuring at 180 meters in diameter – features approximately 7,000 tonnes of steel and is supported by only four concrete piers. internally, the canopy’s intricate latticed perforations not only serves as a decorative element encouraging dappled light, but will create a microclimate without excess solar gain. the pedestrian areas and the nested artworks are roofed by a large dome measuring at 180 meters in diameter the institution developed by the tourism and development & investment company (TDIC) will encompass 9,200 square meters of art galleries and become UAE’s first museum conveying a dialog of culture, history and openness. the permanent gallery will journey from ancient to contemporary artworks from different civilizations. additionally, the temporary gallery will be a dedicated space presenting international exhibitions enriched by loans from notable french museums including musee du louvre, musee d’orsay and center pompidou. for designboom’s previous coverage of the ‘louvre abu dhabi’, see here and here. cranes emerge from the construction of the lattice dome roof the geometric dome references the interlaced palm leaves traditionally used as roofing material the roof has four external and four internal layers, which is an arrangement that gives it its latticed delicate form there will be 9,200 square meters of permanent galleries and 2,000 square meters reserved for temporary exhibitions the development was born of an agreement between the respective governments of abu dhabi and france 2016-03-25 13:20 Natasha Kwok
32 konstantin grcic explores role of the pedestal in kunsthalle bielefeld exhibition konstantin grcic explores role of the pedestal in kunsthalle bielefeld exhibition all images courtesy of kunsthalle bielefeld in his solo exhibition at the kunsthalle bielefeld, konstantin grcic puts the spotlight on the pedestal, exploring its function and challenging its traditional form as a display. thus, ‘abbildungen’ should neither be considered a survey or retrospective of the german creative’s practice, but rather an opportunity in which he presents his work — a combination of industrial aesthetics with experimental, artistic elements that are functional, yet occasionally cumbersome, and sometimes deliberately disturbing — in a way that considers the architecture and context of the museum space. in his exhibition at the kunsthalle bielefeld, konstantin grcic puts the spotlight on the pedestal on this occasion, grcic takes the formal grammar of the pedestal and uses this as the foundation of his show. a typically monolithic block used for displaying objects and sculptures, the presence of the plinth is often an overlooked element of the gallery space that has continuously been brought into question by sculptors, ever since auguste rodin’s design for the ‘burghers of calais’ (1884). in part, what has fueled this proposition is grcic’s design of a new stand for rodin’s ‘la douleur’ (part of the kunsthalle bielefeld’s collection). in his rendition of the pedestal, grcic places the classic marble sculpture in juxtaposition with today’s industrial aesthetic in the form of a lightweight construction made from metal shelving elements, contrasting the heavy stone artwork. similarities are seen with the companionship of grcic’s best-known piece of furniture, ‘chair_ONE’, placed next to it. in this case, the design is presented with a concrete base that supports the metal grid-like seat shell, in a way placing it aloft in a distinct way much like a sculpture on a pedestal, while simultaneously anchoring it in place. some works are displayed without a pedestal, without any distance between them and the ground today, the pedestal continues to be a theme in art discourse whereby artists are still very much aware of its significance and function. in its long tradition, the pedestal has become an integrated component of the work — a conceptual part of the sculpture. grcic not only employs pedestals in his exhibition, but he explores and questions their function; taking into consideration that when something is placed on a pedestal, it conjures up a particular perception and aesthetic reception from viewers, as opposed to not being presented on one. over several gallery spaces, grcic puts forth different typologies of the pedestal, ultimately rendering each of his industrial products as cultural artifacts, their interplay with the pedestals allowing for aspects of their design to be questioned. the german designer has created different pedestal typologies in which to elevate his work in one instance, grcic reverses the pedestal’s traditional function. rather than elevating the objects on display, he places them within open boxes — two products in each — facing one another; sometimes placed on different levels. in this way, the viewer is forced to look at the pieces from above, which offers a certain level of abstraction. this means of arrangement also draws one’s gaze towards the material characteristics, the color, the interplay of positive and negative forms. in one instance the pedestal stands as part of a two-dimensional space — against it, embedded in it, rising out of it another space sees the designs of grcic standing within an environment — set against it, embedded in it, rising out of it. in this context the designer elevates a yellow version of his ‘sam son’ chair so that it has the presence of a throne, exhibited in front of a landscape with a pond in which the designer’s ‘2hands’ containers appear to be floating like lilies. in this instance, the pedestal is a serene monolith in its subdued landscape. nearby, a gallery wall features a section of le corbusier’s ‘secretariat building’ (1962) in chandigarh, india. here, the modernist architecture stands as the backdrop to wooden chairs, a hat stand, and a ladder, each of which are placed on staggered pedestals extending from its ‘façade'; so that it was as if one were looking at them three-dimensionally. elaborating on this scheme, grcic also places his work in three dimensional settings that are informed by an interplay of wallpapers and low platforms. in these contexts his furniture seems as if it has found a natural home within the kunsthalle bielefeld. general view of the ‘abbildungen’ exhibition at the kunsthalle bielefeld grcic also draws on the notion that the pedestal or plinth forms a fundamental part of the sculpture or object in which it supports, considering the display and the displayed as one entity. viewers observe the designer positioning two of his ‘pallas tables’ with their horizontal tops one over the other, thus mirroring and making extremely evident, the sculptural qualities of the furniture pieces. further playing with this idea, grcic exhibits his ‘hieronymous’ working/seating unit, which can only be fully understood when it rests on the ground, simultaneously making it object and pedestal. the designer places ‘hieronymous’ on the ground, but envelops it by its display so that in its entirety, object and pedestal appear as a monolithic block. in one instance, the designer elevates a yellow version of his ‘sam son’ chair so that it has the presence of a throne while grcic extensively investigates the formal possibilities and impressions of the pedestal, he does not forget its origins and has also conceived more traditional formulations of the display block. for example, he displays his ‘diana’ series of folded sheet iron end tables on top of white, rectangular prisms that he has designed, so that they become sculptures within the museum space. their interplay of open and closed sides, as well as their horizontal and vertical surfaces and edges, are all emphasized by the pedestals on which they sit; precisely accommodating the outlines covered by the furniture pieces. some display settings make grcic’s furniture seems as if it has found a natural home within the kunsthalle bielefeld ‘abbildungen’ concludes with a space that is completely outfitted in particle board, resembling the interior of the open box pedestals seen at the beginning of the exhibition. in this gallery, viewers physically enter the pedestal, taking in insights from the office of konstantin grcic industrial design. skilled crafts and technologies used by the studio are seen in the foreground, alongside manufacturing processes, functional testing and drawings that illustrate moments from the design process. together, they sum up the steps necessary in communicating his particular path towards realizing his industrial products. each product is ultimately an autonomous work of art set within its own spatial dimensions in developing an entire exhibition concept on the theme of the pedestal, grcic challenges its notion and its context within the gallery space to create a specific scenography for presenting his portfolio of products. the result ultimately sees each product as an autonomous work of art, existing within its own spatial dimensions, stimulating the perspective of the viewer and their interaction with the works on show — redefining the viewer’s space, and the presentational one. the designer does not forget to pay hommage to the traditional notion of the pedestal here, grcic reverses the pedestal’s function – instead of elevating the objects, he places them in open boxes placing his designs in boxes forces the viewer to look at them from above, offering a certain level of abstraction the box settings draws one’s gaze towards the interplay of positive and negative forms between object and space the juxtoposition of classic sculpture with an industrial aesthetic 2016-03-25 12:45 Andrea Chin
33 In the Mix: Quintessa Matranga and Rafael Delacruz on ‘Dizzy World,’ Their Show at Kimberly Klark in Queens Quintessa Matranga Ask The Dust (installation view), part of “Dizzy World” at Kimberly Klark. KIMBERLY KLARK Quintessa Matranga and Rafael Delacruz made most of the work for “Dizzy World,” their collaborative show at Kimberly Klark in Ridgewood, Queens, just feet from their bedroom. “[The studio is] this downstairs living room that we share with the whole house, so they walk through it all the time,” Matranga said. The area is covered with the couple’s art, hung salon style. “When we moved in it was just like their garage—they were just putting boxes and suitcases over there,” Delacruz said. “We kind of spiritually took it over and everyone knows that’s our zone now.” The two, who make work together as well as separately (Delacruz also with the collective Last Renaissance), migrated to New York from the Bay Area about a year ago. Before the move, Matranga ran the San Francisco gallery Mission Comics, located inside an actual comic-book shop of the same name. The space showed work from artists including Body by Body and Jessica Ciocci, and both Delacruz and Matranga are involved in a range of curatorial activities. (Disclosure: Matranga has contributed to these pages.)The title for the Kimberly Klark show comes from Dizzy Worldwide, the moniker of a design and animation studio whose reel Delacruz stumbled upon on YouTube. Existing primarily in the late 1990s and early 2000s, Dizzy Worldwide traded in the kind of quick-cut post-electronica video bumpers that MTV was famous for around the turn of the century. The reel reminded me of something that would’ve been shown on MTV’s late-night rave-on-TV Amp , soundtracked with a continuous stream of high-energy jungle music. Although the name “Dizzy World” conjures up images of some sort of insane multimedia art blowout—all baggy JNCOs, psychedelic VJ graphics, and chopped-up breakbeats—the reality is that the show itself is actually pretty traditional and decidedly low-key. Matranga told me that they “wanted to make a show that actually looked nothing like the music video, to throw it off.”The exhibition is comprised of three main elements. In Kimberly Klark’s gallery room, a trio of colorful paintings by Delacruz—inspired by a bout of food poisoning, they are perhaps the most “Dizzy-esque” things in the show, reminding me a bit of Phillip Guston but also of contemporary children’s cartoons—sit across from a series of black-and-white graphite- on-paper drawings by Matranga that refer to, according to the artist, everything from personal subway observations to a poster on Meadow’s wall in an episode of The Sopranos. “They’re all weird narratives and their own psychological worlds,” Matranga said. Rafael Delacruz Dizzy , part of “Dizzy World” at Kimberly Klark. KIMBERLY KLARK In a closet-like back area just behind the main gallery lay six found photographs and a primitive sculpture made by Matranga called Ask the Dust. The sculpture spins an old leather boot on a rotisserie spit, aided by white buckets and concrete. Adjacent to that, five found photographs of a mysterious cowboy figure are propped up on a wooden beam. A sixth found photo, of a tomato enclosed in glass, sticks to the wall across from the cowboy snaps. This weird Dust Bowl ambiance seems from a different world and a different age—a million miles away from the kind of late ’90s kitsch alluded to in the show’s title. In “Dizzy World,” brief moments of continuity are consistently disrupted. Flecks of narrative and environment sit next to each other in a way that feels collaged, but not for any specific aesthetic ends. Some things were found at a thrift store, some things were found on YouTube. “It’s really more jumbled and weirdly contrasting but not for any specific reason,” Matranga said. “I feel like the mix ties in the narratives more than talking about them,” she continued, alluding to the Soundcloud mix the two made along with the show. The mix in question serves as a sonic accompaniment to the visuals. It starts with a classic Ennio Morricone tune before cycling through a weird jumble of sounds and styles, moving from dusty country to deep dub and rave. It ends with a chilly piece of synthesizer music. Like the show, it merges different sensibilities together in an uneasy way. Quintessa Matranga The Flying Mohawks , part of “Dizzy World” at Kimberly Klark. KIMBERLY KLARK The duo’s process is intuitive and internal. It feels less self-conscious and more seamless, something that happens while the TV is on and the laptop is open. Delacruz talked about “multiple screens at once” being a part of the process, and at times the show feels like, thematically, it’s channel surfing. A previous collaborative exhibition at Et al. Gallery in San Francisco juxtaposed Delacruz’s drawings with stock black-and-white photos of, among other things, Elvis. The title of that show was “100% Stupid.” “We wanted it to be easy, not break your back trying to make a show,” Matranga said with a laugh, before admitting that the presentation was “maybe a little bit reactionary to other trends in New York where people are really trying to impress people. Crazier materials, crazier sculptures.” To “just do a simple drawing on paper with pencil is nice sometimes,” she continued. 2016-03-25 12:36 John Chiaverina
34 Matthewdavid’s “Unfolding Atlantis” Video is a Deep Sea Dream All photos by Theo Jemison, courtesy of Matthewdavid If you’re in need of some psychic relaxation or some new meditation music (who isn’t?), then today’s your lucky day, because we've got the new video for Matthewdavid 's “Unfolding Atlantis,” a 13-minute track off his new ambient album, The Trust and the Guide , out on Leaving Records on March 25. Directed by Adam Ferriss , the video is an abstract, psychedelic dive into the deep blue. According to Matthewdavid, “Unfolding Atlantis” was a sort of homage to by Michael Stearns’ Planetary Unfolding , the 1981 “cosmic holy grail of new age space music.” While he was conceiving the track, he was also reading the Illuminatus! Trilogy by Robert Shea and Robert Anton Wilson, and Rudolf Steiner’s essays on Atlantis and Lemuria for inspiration. “Infatuated by the legends of Atlantis in particular, and Stearns’ masterpiece in heavy rotation, I sculpted the sonic scenery conceptualized around nebulous, aqua-infused tones and textures, synthesizers in the key of hope, tickling nuances reminiscent of watery waves, and a particularly crafted sound-texture to resemble an advanced species of dolphin,” Matthewdavid tells The Creators Project. Director Adam Ferriss developed the video's visual style with the help of descriptive writing by Matthewdavid. “I received the track in its already completed state, so for me it was a matter of figuring out how to best augment the sound. I made an app in openframeworks that has about 10 different sliders for varying controls. I like to try and suss out individual sounds of a track and assign each of them a parameter. I defined one for camera speed, a few different color sliders, mesh displacement, and so on,” Ferriss explains. After creating the app, he experimented with the visuals by tweaking the app’s parameters live with the music. Once he became familiar with the song, he recorded multiple versions of the live visuals, eventually picking the one that felt right for the video you see today. “For Matthew, and lot of the other artists he's brought me on to work with, I like to record everything in one take, in real time. I think doing things this way can give you a sense of unpredictability, creative error, and spontaneity, that is sort of impossible to capture in keyframe animation,” he says. Watch the full video below, but first, make sure you’re ready to feel really, really relaxed. Listen to more of Matthewdavid’s music on SoundCloud , and see more of Adam Ferriss’ work on his website . Related: Turn Your Image Searches into Abstract Art with This Browser App Humpback Whales Record an Ambient Album That Speeding Comet We Landed on is Making Music 2016-03-25 12:15 Alyssa Buffenstein
35 This Easter, Pierre Tachon Creates Geometric Hen Shaped Egg Chicken or egg? Both! French designer Pierre Tachon has created an Easter egg shaped like a chicken, with the fine chocolatier Alain Ducasse. The French Hen / La Cocotte is designed with a modern silhouette: its angular shell is constructed from chef Ducasse’s Peruvian 75% dark chocolate, hiding a filling of crispy almond praline eggs. Priced at £38, the Cocotte weighs an impressive 300g, and is available to purchase through London's Bulgari Hotel during the Easter period only. “I have created unusual Easter eggs like the egg inspired by the potter’s wheel or the layered egg in the past years,” says Tachon. “For 2016, we wanted to work with an animal shape for a change. The Hen was a natural choice and a great association with the eggs and Easter theme.” This special edition luxury gift is not the first time the graphic designer has collaborated with Parisian superstar chef Ducasse. The same collaboration gave us a flat-packed chocolate Christmas tree in 2015. 2016-03-25 12:13 Jana Perkovic
Total 35 articles. Created at 2016-03-26 12:02