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45 articles, 2016-03-29 00:02 1 Show Guide Ad Upload AENY 2016 Show Guide Ad Upload Form 2016-03-29 00:02 602Bytes artexponewyork.com 2 Hours & Location VIP Opening Night Preview Party • Thursday April 14th: 4PM–7PM — (Open to all attendees) Show Hours • Thursday (TRADE ONLY DAY), April 14th: 12PM – 7PM • Friday, April 15th: 12PM – 7PM • Saturday, April 16th: 10AM... 2016-03-29 00:02 2KB artexponewyork.com 3 Official Logos Proud Sponsors Exhibitor Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Logo for... 2016-03-29 00:02 848Bytes artexponewyork.com 4 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... 2016-03-29 00:02 1KB artexponewyork.com 5 Raw Material: An Interview with Google Design The SPAN Reader, a book released by Google Design in conjunction with its SPAN conferences in New York and London, is an eclectic collection of design thinking that investigates a variety of co... 2016-03-28 19:18 905Bytes blogs.walkerart.org 6 Eerie and Sinister Worlds: RONiiA on Their New, Walker- Inspired EP The Minneapolis-based trio RONiiA—Fletcher Barnhill (Joint Custody, FUGITIVE), Nona Marie Invie (Dark Dark Dark, Fugitive), and Mark McGee (Father You See Queen, Marijuana Deathsquads)—will relea... 2016-03-28 22:14 920Bytes blogs.walkerart.org 7 NOMA* transforms tiny corner tenancy into standby espresso bar packed within a footprint of only 11m2, the compact design by NOMA* places a refined interior in contrast with an exterior wall defined by a mural by local artist daek william. 2016-03-28 18:30 1KB www.designboom.com 8 Seth Meyers and Alexi Ashe Welcome Baby Boy The Late Night host and his wife became parents on Easter Sunday. 2016-03-28 16:55 1022Bytes wwd.com 9 WNBA Marks 20th Anniversary With New Uniform Design The WNBA, which celebrates its 20th-anniversary season starting May 14th, unveils its redesigned uniforms to mark the occasion. 2016-03-28 16:13 1KB wwd.com 10 -Worthy Psychedelics | Monday Insta Illustrator 18-year-old Swedish artist Jens Dåversjö, a.k.a. Burdco, gets it. 2016-03-28 16:00 1KB thecreatorsproject.vice.com 11 Delightful Facial Tracker Turns Smiles into Music Artist and musician Ben Vida experiments with sonification in his new exhibition '[SMILE ON.] ... [PAUSE] ... [SMILE OFF.]' 2016-03-28 15:55 4KB thecreatorsproject.vice.com
12 Monumental 'Golgotha' Sculpture Casts the Crucifixion in Coat Hangers Artist David Mach captures the agony of Christ in an unconventional medium. 2016-03-28 15:20 4KB thecreatorsproject.vice.com 13 PopSugar Taps Geoff Schiller as Chief Revenue Officer Schiller comes to PopSugar from Evolve Media where he served as chief revenue officer. 2016-03-28 15:14 2KB wwd.com 14 E-Tailer Bri Holloway Aims to be Go-to Place for Luxury Brands The multi-brand site, based out of West Hollywood, stocks its online boutique with emerging and under-the-radar designers and just launched its spring offering. 2016-03-28 15:10 3KB wwd.com 15 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... 2016-03-28 18:46 1007Bytes blogs.walkerart.org 16 Donald Trump Looks Like 'They Live!' Aliens, Thanks to DeepDream This explains everything. 2016-03-28 14:45 2KB thecreatorsproject.vice.com 17 Madewell Adopting Buy-Now Press Strategy The brand will hold off on publicizing the fall collection until it’s in stores. 2016-03-28 14:31 2KB wwd.com 18 Glitch Video Game Nightmares Can Be Beautiful [Music Video] Sam Rolfes' video for Amnesia Scanner's "AS Chingy" makes no sense, but it's awesome. 2016-03-28 13:45 3KB thecreatorsproject.vice.com 19 studio FH realizes ross langdon-designed health education centre the 'ross langdon health education centre' is a small community hall located in the village of mannya in rakai, south-western uganda. 2016-03-28 13:14 3KB www.designboom.com 20 Seth Price at 356 S. Mission Rd., Los Angeles Installation view of 'Seth Price: Wrok Fmaily Freidns,' 2016, at 356 S. Mission Rd., Los Angeles. BRICA WILCOX/COURTESY THE ARTIST, PETZEL GALLERY, NEW YORK, AND 2016-03-28 13:10 2KB www.artnews.com 21 ‘I Want to Make Africa Digestible in a Different Way’: Aida Muluneh on Her Show at David Krut Projects Aida Muluneh, Sai Mado / The Distant Gaze, 2016, archival digital photograph. COURTESY THE ARTIST AND DAVID KRUT PROJECTS Ethiopian photographer Aida Muluneh 2016-03-28 13:00 6KB www.artnews.com 22 Dealers Report Strong Sales at Art Basel Hong Kong Sales appeared to be strong at the fourth edition of Art Basel Hong Kong, despite concerns about the impact of the recent economic slowdown in China on the international art market. 2016-03-28 12:20 3KB rss.nytimes.com 23 Consumer Reports: Erin Jane Nelson Erin Jane Nelson. SARAH MCMENIMEN Erin Jane Nelson is an artist living and working in Atlanta. She directs the space Species with Jason Benson and their dog 2016-03-28 12:00 9KB www.artnews.com 24 fabien dumas designs aForest lamp series for B.lux the lighting objects share a common, petal-shaped lighting element which, in the case of the wall version, emits indirect light. 2016-03-28 11:45 1KB www.designboom.com 25 Syria to Rebuild Palmyra After Retaking City- Syrian troops and Russian warplanes recaptured the ancient city from ISIS fighters, and authorities plan to rebuild the UNESCO World Heritage site. 2016-03-28 11:26 1KB news.artnet.com 26 Beauty and Awkwardness: Dan Attoe’s Landscapes Attoe might consciously tip his hat to the Hudson River School, but his mountainous visions of the sublime secret an unexpectedly comedic (and often perverse) undercurrent. 2016-03-28 11:13 2KB www.blouinartinfo.com 27 9 Art Events to Attend in New York City This Week A guide to the next seven days 2016-03-28 11:08 7KB www.artnews.com
28 8th Asia Pacific Triennial Q&A: Nakamura Yuta on “Tiles, Small Shrine and Tourism” In the interview below, Japanese artist Nakamura Yuta discusses his APT8 work “Tiles, Small Shrine and Tourism” 2014–15 2016-03-28 11:03 5KB www.blouinartinfo.com 29 Cai Guo-Qiang Asks “What About the Art?” At Qatar Museums Gallery “What About the Art?,” focuses on creative value over capital value in the work of 15 living artists and artist collectives from Mainland China. 2016-03-28 10:59 2KB www.blouinartinfo.com 30 “Yang Yongliang: Fall into Oblivion”at Pearl Lam Galleries, Singapore “Yang Yongliang: Fall into Oblivion” at Pearl Lam Galleries, Singapore 2016-03-28 10:52 2KB www.blouinartinfo.com 31 Charles Schwab 'Fires' Artist stock trades- Artist Sarah Mehoyas, whose recent show of paintings was based on trading stocks, was suddenly dropped from her Charles Schwab brokerage account. 2016-03-28 10:27 3KB news.artnet.com 32 Architects Win Prize for Plan to Pit Central Park Architects Yitan Sun and Jianshi Wu won first place in eVolo magazine's skyscraper competition for their plan, which calls for gutting Central Park. 2016-03-28 10:24 1KB news.artnet.com 33 OLO 3D printer the OLO 3D printer uses daylight resins, which harden under white light of a smartphone screen. 2016-03-28 10:15 1KB www.designboom.com 34 Donald Trump's Tombstone in Central Park A renegade artist erected Donald Trump's tombstone in Central Park. Unfortunately, it was removed hours later. 2016-03-28 10:12 2KB news.artnet.com 35 Museum to Feature Bill Cosby in Exhibition The National Museum of African American History and Culture, which will open this fall, is already attracting controversy over a show including Bill Cosby. 2016-03-28 10:08 3KB news.artnet.com
36 Is Artist's Detroit House Project Ruin Porn?— Though artist Ryan Mendoza hopes to use his work to funnel money to Detroiters to buy and rehab homes, some are calling his work ruin porn. 2016-03-28 09:58 2KB news.artnet.com 37 Streamlined table lamp lights up all layers of plywood more from Studio Roex home accessories Staying true to its material, the Streamlined table lamp emphasizes and reveals all the layers of plywood that has been used to make the curvilinear form of this home accessory. 2016-03-28 12:47 1KB www.designboom.com 38 Untitled Art Fair Expands to San Francisco The inaugural edition of Untitled San Francisco is slated for January 2017 in the city’s Pier 70 development. 2016-03-28 09:48 2KB www.blouinartinfo.com 39 people's architecture office proposes tubular living inside three lane crawford stores, people's architecture office have realized installations that show how tubular living can be adapted for the future. 2016-03-28 08:45 2KB www.designboom.com 40 Pierre Marcolini Teams With Peter Pilotto on Chocolate and Macaron Box It will be sold at Selfridges, Harrods and Pierre Marcolini stores. 2016-03-28 08:00 1KB wwd.com 41 Studio Job Crashes Through Good Taste- Read THE DAILY PIC on a show at the Museum of Arts and Design where Job out- Koonses Koons – by bringing him into your living room. 2016-03-28 06:00 4KB news.artnet.com 42 foster + partners' slender luxury new york residential tower soars at 61 storeys with units starting at over $3,000,000, take a look inside foster and partner's 100 e 53rd street manhattan development. 2016-03-28 05:15 3KB www.designboom.com 43 It’s Difficult to Pigeon-Hole Nadia Kaabi-Linke, And Her Work Nadia Kaabi-Linke at Experimenter, Kolkata 2016-03-28 04:49 6KB www.blouinartinfo.com 44 Video: Sudarshan Shetty for the Rolls-Royce Art Programme As part of their Art Programme, Rolls-Royce presented an art talk by Sudarshan Shetty on his 20th Biennale of Sydney work at the Art Gallery of New South Wales. 2016-03-28 02:55 3KB www.blouinartinfo.com 45 fkb arquitectos' casa en santa monica formed of intersecting concrete volumes two simple concrete forms intersect to provide a living space marked by panoramic views of the surrounding site and provide for an energy efficient home. 2016-03-28 02:30 2KB www.designboom.com Articles
45 articles, 2016-03-29 00:02
1 Show Guide Ad Upload Please include your gallery name on all files. Files larger than 15MB can be sent to: [email protected], using one of these free services: • Dropbox: www.dropbox.com • WeTransfer: https://www.wetransfer.com/ • Hightail: https: https://www.hightail.com/ 2016-03-29 00:02 artexponewyork.com
2 Hours & Location At Pier 92, 900 on-site parking spaces are available for cars, and an additional 15 spaces are available for commercial trucks and shuttle buses. Open rooftop parking at Pier 92 is $35 for 10 hours or $40 for 24 hours. Please access Pier 92 parking via the automobile ramp at the intersection of 55th Street and the West Side Highway. All vehicles should follow signs for the NYC Passenger Ship Terminal parking. Please note that height restriction is 8’6”. *Parking spaces are dependent upon cruise activity. Click here to see additional nearby parking options. Take George Washington Bridge to 178th Street (Truck Route). Turn right onto Broadway. Follow Broadway to 55th Street. Turn right onto W 55th Street. Cross over the West Side Highway and turn left into the Passenger Ship Terminal – Pier 94. Lincoln Tunnel (from 95) – take 40th St. to 10th Ave. and a left on 55th St. George Washington Bridge – From NY Side take Rt. 9A, Henry Hudson Parkway south/downtown. Proceed south on Henry Hudson Pkwy to last exit at 56th St., stay right for thru traffic. Passenger Ship Terminal is 1 block ahead on right. Paid parking on roof. Rt. 80 or Palisades Parkway – to George Washington Bridge to NY side and follow directions for Henry Hudson Parkway. Proceed south on Henry Hudson Pkwy to last exit, at 56th St, stay right. Passenger Ship Terminal is 1 block ahead on right. Garden State Parkway – To exit 153 or N. J. Turnpike to Exit 16E (better). Then Rt. 3 E to Lincoln Tunnel, follow signs for Lincoln Tunnel. Exit tunnel and make left turn, travel north on 10th Ave., and left onto 55th St. Cross 12th Ave. and follow signs to Passenger Ship Terminal. Drive up the Ramp. Paid parking is on the roof. Holland Tunnel – follow signs for “Uptown” right on Hudson, left on Canal. Proceed four blocks to West St. and turn right. West St. becomes 12th Ave. Follow “Thru Traffic” signs. Continue north on 12th Ave. and follow signs to Passenger Ship Terminal. (Left at 55th St.) Queens Midtown Tunnel – when exiting bear right to 34th St. Go west on 34th to 12th Ave. Make right turn, go north to 55th St., make a left at 55th St. and follow signs to Terminals. Triborough Bridge – Follow signs to “Manhattan” and FDR Drive South. Take FDR S to 53rd St. Exit. Take 53rd St. crosstown to 11th Ave. Turn right, go two blocks (55th St.). There are several options for using public transportation to access Piers 92/94. 2016-03-29 00:02 artexponewyork.com
3 Official Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Use this HTML code to add the banner to your website: 2016-03-29 00:02 artexponewyork.com
4 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. 2016-03-29 00:02 artexponewyork.com
5 Raw Material: An Interview with Google Design The SPAN Reader, a book released by Google Design in conjunction with its SPAN conferences in New York and London, is an eclectic collection of design thinking that investigates a variety of contemporary issues, such as the ethics of interface design, the implications of smart homes regarding privacy, the nature of time in digital space, the WYSIWYG paradigm, handmade computing, the haptic joy […] 2016-03-28 19:18 By
6 Eerie and Sinister Worlds: RONiiA on Their New, Walker- Inspired EP The Minneapolis-based trio RONiiA—Fletcher Barnhill (Joint Custody, FUGITIVE), Nona Marie Invie (Dark Dark Dark, Fugitive), and Mark McGee (Father You See Queen, Marijuana Deathsquads)—will release a new EP, Sisters, this Friday, March 25. Filled with richly atmospheric music, it derives its hypnotic power through its intricate dance between subtle intimation and emotional verve. On tracks […] 2016-03-28 22:14 By
7 7 NOMA* transforms tiny corner tenancy into standby espresso bar located on a nondescript corner in mount lawley, northern perth, australia is ‘standby’, a small coffee and bagel shop. packed within a footprint of only 11m2, the compact design by NOMA* places a refined interior in contrast with an exterior wall defined by a mural by local artist daek william. a large, north facing window opens to reveal a bench counter, where patrons can enjoy their drinks under the shade of a tree and a black-aluminum canopy. NOMA* views ‘standby’ as a worthy example of the versatility that small, under-utilized spaces offer and their ability to engage with the local community. 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. 2016-03-28 18:30 www.designboom
8 Seth Meyers and Alexi Ashe Welcome Baby Boy Seth Meyers and Alexi Ashe welcomed a baby boy over the weekend. The “Late Night” host, 42, and his wife of three years became parents on Easter Sunday. This is the first child for the longtime couple. Alexi, 32, is a human rights lawyer. “Thank you everyone for the kind words. Mom and baby are doing great!!!” the new daddy tweeted Monday morning. “I can also confirm that when you have a baby in New York you pretty much just sing ‘The Schuyler Sisters’ for the first 12 hours,” he wrote in a second tweet. https://twitter.com/sethmeyers/status/714446691932512256 https://twitter.com/sethmeyers/status/714447605519015936 2016-03-28 16:55 Taylor Harris
9 WNBA Marks 20th Anniversary With New Uniform Design The new uniforms will be in primary and secondary colors for 10 teams, in theme with each team’s colors, as opposed to the white-for-home-games and color-for-away-games format. The WNBA was founded in 1996, with the inaugural season playing out in 1997. The league opened with eight teams: the Los Angeles Sparks, the Phoenix Mercury, the Sacramento Monarchs, the Utah Jazz, the Charlotte Sting, the Cleveland Rockers, the Houston Comets and the New York Liberty. Currently, there are 12 teams in the league. The season runs through September. Three of the original teams, the Liberty, the Mercury and the Sparks, will receive a team-specific 20th-anniversary season patch on their jersey. A special game ball, from Spalding, will feature the 20th-anniversary logo and will be on the WNBA’s official online store site. The uniform redesign is not the only recent design change for the WNBA. In 2013 the association’s logo was redone and relaunched. The uniforms were redesigned previously in 2011. In addition to new uniforms, other special 20th- anniversary items include limited-edition Adidas sneakers. Adidas, currently the outfitter for the WNBA, will bow to Nike, who takes the position starting with the 2017-18 NBA and WNBA season. 2016-03-28 16:13 Leigh Nordstrom
10 -Worthy Psychedelics | Monday Insta Illustrator Rainbow aliens and distorted Simpsons characters are commonplace in the imaginative worlds of 18-year-old Swedish artist Jens Dåversjö, a.k.a. Burdco. While his work looks at home on a t-shirt or a pin, it's perhaps most appealing on paper, where you can dive right into the innate trippiness of his ideas. You can see the evolution of Burdco's priestly sadboys, mysterious spaceboys, and skeletal skullboys, each decked out in their own kind of color spectrum, across his Instagram feed. He taps into fan favorites like the characters of Adventure Time , and integrates them into his own work in a way that reads as compelling, rather than simple fan art. I actually want to know what their drug-fueled adventures through Burdco's mind would be like. Enjoy some of our favorite examples of Burdco's work in the Instagrams below. See more of Burdco's illustrations on Instagram . Related: This Illustration Took 300 Hours to Draw, Dot by Dot The Hyperreal Heart by Trafart | Monday Insta Illustrator Iconic Buildings Find Their Spirit Animals in New Illustration Series Parody Patent Drawings Highlight Silicon Valley Greed 2016-03-28 16:00 Beckett Mufson
11 Delightful Facial Tracker Turns Smiles into Music Images courtesy the artist Before technology like the talk box and vocoder, most musical instruments required either the movement of either extremities or the lips and breath, usually not both. Software, with its keystrokes and touch-based gestures, changed the nature of sound generation. More recently, facial and motion tracking have been changing the sound game, as we recently saw with Eye Conductor, an eye-tracking music app. Artist Ben Vida , of the band Town & Country, is exploring similar sonification territory in his upcoming exhibition, [SMILE ON.] ... [PAUSE] ... [SMILE OFF.] . The exhibition features two new videos and text- based wall works that dig into the dichotomy of internal narratives versus external communications. Soft Systems Music (Video #1) will be projected in the main space of Lisa Cooley gallery, and Speech Act Video will be on a monitor in the back. The text pieces, which are on paper and panel, accompany Speech Act Video. Vida tells The Creators Project that these works were inspired by concrete poetry—that is, poetry or words as visuals or patterns. “It’s pleasurable to receive language stripped of its basic function—to reduce it back to sound,” he says. “This opens up new avenues for the voice in performance and for the text on the page.” In the video Soft Systems Music (Video #1) , Vida sonifies a smile. To do this, he asked nonprofessional actors to repeatedly smile and frown repeatedly for a set amount of time. Vida then transformed their facial gestures and “microexpressions” into what he calls "soft system”— a method of composing by introducing a human into a series of decisions that constitute the composition, which then creates a “disturbance in the algorithm.” So any facial moment—a blink of an eye or a faint grin—can alter the musical composition. “It is a simple process of watching and decoding the micro-expressions of the performers,” Vida tells The Creators Project. “As I watch video playback of their performances, I tap MIDI messages into a sound program by hand.” “Once the rhythms of the expressions are captured as digital data, I can feed that data as control commands into a synthesizer which produces the audio content,” he adds. “Some of the most basic compositional decisions fall into the hands of the actors and that disrupts a lot of my own subjective formal choices—which I like.” The other video, Speech Act Video , is based off of the Speech Act texts, another set of works in Vida’s exhibition. These works are call-and-response composition that mix sounds with few words, and they appear to be a person struggling to communicate. Each wall piece is a separate work, with each being used during a performance at the gallery, to be turned into yet another video. “The texts act as the loose script that Mary Manning and I perform in the video,” he explains. “Since the script is more impressionistic than concrete it often slip between textual and textural and makes for a video piece that hints at narrative but often dodges meaning.” In past projects, like Slipping Control , Vida explored language as gesture and language as tempo and rhythm. There was no linguistic content. Initially, Vida thought that the works in exhibition would take that form, but they slipped back into having linguistic content, and lost some of their abstraction as they began to resemble scripts and scenes and conversations. “Aurally it's kind of a short distance from ‘eh, itz tah’ to ‘ah, um oh’ to ‘well, okay so’, but within this distance the function of the language changes and so the compositional logic begins to change as well,” Vida says. “It becomes a completely different engagement in terms of what is being communicated. And for me, to have a text piece play with this and to oscillate between sense and nonsense creates a wide open space to compose within.” Ben Vida’s [SMILE ON.] ... [PAUSE] ... [SMILE OFF.] runs at Lisa Cooley from April 3 to May 15, 2016. Click here to see more of Ben Vida’s work. Related: Your Eyes Make Music with This Face-Tracking Production App Getting Up: The TEMPT ONE Story Is A New Doc About The EyeWriter Marshmallows, Vodka Syringes, and Lasers, Oh My 2016-03-28 15:55 DJ Pangburn
12 Monumental 'Golgotha' Sculpture Casts the Crucifixion in Coat Hangers Image courtesy of Chester Cathedral This Easter, Scottish-born sculptor and RCA graduate David Mach will see his monumental Golgotha sculpture installed within the 14th century walls of Chester Cathedral. Commemorating the 400th anniversary of the Jacobean translation of the King James Bible, Golgotha is a unique visual interpretation of the crucifixion. With its bold visual stylings, it’s a sculpture that evokes a strong personal reactions. Mach, who’s previously been nominated for the Turner Prize is heavily influenced by consumerism and known for taking mass produced pedestrian objects and moulding them into unorthodox creations. In previous projects he’s used match sticks, old cars, magazines and even teddy bears to explore the relationship between materialism and morality. Following this, Golgotha is formed from hundreds of coat hangers and steel girders. Mach is also known for introducing religious connotations to his work, including Jesus Christ for the Precious Light Exhibition in 2011. Made from hundreds of matchsticks, these were set alight during the performance, creating a visually striking piece. Image courtesy of Valérie Hamill Image courtesy of Chester Cathedral As Mach tells Chester Cathedral, “I work in so many different ways with so many different materials using so many different processes in order to feed the need of my themes - excess, extravagance, individuality, survival. I want blood and guts in my work... jealousy, rape, mayhem, pestilence, famine and flood. Love, peace, hope, sex and lust!” Image courtesy of Valérie Hamill Image courtesy of Chester Cathedral Also named "Place of the skulls" (due to its skull-like geography) Golgotha was originally suggested to be the area outside ancient Jerusalem where the crucifixion of Jesus Christ is said to have occurred. But Golgotha is more than just a name; by viewing this installation you’re transported to witness the crucifixion at its most violent. It’s sculpture in gut-wrenching agony. Depicting a very slow and painful execution, Jesus and the thieves beside him appear asphyxiated and semi-naked as Mach manages to capture the sheer agony of the scene. Regardless of its audience’s religious convictions, it forces us to question historical and present day morality in an unconventional format. Golgotha shows us how contemporary sculpture can be used as an inventive tool for revisiting and reliving a significant story in our cultural and religious history. Image courtesy of Valérie Hamill The use of recycled coat hangers and steel girders is, admittedly, unusual for the depiction of Christ's figure, a subject usually crafted in luxurious metals, like marble and gold. The several hundred coat hanger spikes are inserted into each of the sculptures, making for a raw depiction of a profoundly violent act. The spikes give another aura, energy and life, as if the figures are alive and moving, trembling in pain. In doing so, Mach has made the crucifixion even more violent and vivid. He’s turned an ordinary object into an aggressive medium, transforming something relatively harmless into a significantly threatening material. Image courtesy of Valérie Hamill Golgotha shows us the value of contemporary sculpture in reimagining a significant moment within the Christian story. It allows us to see Christ’s crucifixion in an unconventional light giving a fresh, vibrant outlook with its use of unorthodox materials, capturing us on all levels of emotion and attention. Image courtesy of Valérie Hamill Related: Science Gives Jesus a New Face What's Wrong with White Jesus at the Met? A Sculpture of a Fallen Angel Is Stopping Beijing in Its Tracks 2016-03-28 15:20 Anna Marks
13 PopSugar Taps Geoff Schiller as Chief Revenue Officer PopSugar Inc. , which publishes PopSugar and digital shopping site ShopStyle , has hired Geoff Schiller as chief revenue officer for the media brand. Schiller will report to PopSugar Inc. chief executive Brian Sugar . In the role, Schiller will lead the brand partnership team and be responsible for global media advertising revenue. According to the company, he will be charged with “accelerating the company’s stated goal of shifting from display to content marketing, as well as an increased emphasis on providing brands best-in-class integrated marketing solutions via PopSugar’s content studio The Bakery.” Schiller comes from Evolve Media, where he served as its first chief revenue officer. There, his responsibilities included oversight of revenue operations, marketing, brand positioning and partnerships across Evolve’s three business units: CraveOnline Media, TotallyHer Media, and Martini Media. Prior to Evolve, he worked at Hearst Magazines’ digital division as chief sales officer. “Geoff comes to us with more than 15 years of digital sales and management experience, and his clear and innovative leadership will help us to navigate our continued growth and further global expansion,” company ceo Sugar said. “He is an ideal fit for us. Geoff is a star in the digital space. His savvy and keen knowledge of media and sales will be a valuable asset for the brand moving forward.” As of late there has been some movement at PopSugar as the company continues to grow. In November, Lisa Sugar , cofounder of the company, grabbed the reins as president, and in December, chief business officer Jen Wong left for Time Inc. where she took the reins as president of digital. Wong had been in charge of company’s growth strategy for media and commerce. 2016-03-28 15:14 Alexandra Steigrad
14 14 E-Tailer Bri Holloway Aims to be Go-to Place for Luxury Brands More Articles By Recent Los Angeles transplant Bri Schulz finally felt like a local after stumbling upon Book Soup at Sunset Boulevard and Holloway Drive. So when she was choosing a name for her new venture, an online luxury shop, she fused Holloway to the end of her own name for Bri Holloway. The multibrand store — carrying lines such as Edit, Allude, Amen and Rocio — launched in the fall with Schulz set to hold a marketing event at her home in West Hollywood next month to generate buzz for her spring collection. Schulz explained her move from New York to L. A. as strategic, wanting to be near the energy surrounding the city’s fashion, art and restaurant scenes. “There’s been an explosion with not only the fashion scene, but also the art scene with The Broad and then Hauser Wirth & Schimmel opening downtown as well. Then you have the culinary scene…and then of course the fashion contingent here is nothing to look down upon,” she said. “So for me, with my company, the geography is actually quite beneficial because everything is spread out and the landscape encourages a great deal of collaboration.” Schulz previously worked in the marketing departments of companies such as Calvin Klein and Vince before embarking on her own business, taking what she learned at established houses in the curation of her own site. The idea, she said, is to make going to her site much like “searching the world for the most original luxury fashion.” So where an established player in the market such as Net-a-porter offers the brands consumers already know, Schulz wants her site to be a treasure trove of new designers for shoppers to discover. Her criteria for merchandise selection are based on a set of three factors, she said: originality, sense of discovery and quality. “Sophisticated shoppers have already bought the bags and must-have pieces, but because of the fashion consolidation and retail sameness out there, it’s extremely difficult to find original pieces that no one has in their social circles,” she said. The site, which recently released offerings for spring, features 11 designers. Fall will carry 13 and Schulz said she hasn’t set a ceiling on the number of designers she’ll ultimately offer. Schulz bootstrapped for the start-up funding for Bri Holloway and said she just about sold out on what she offered on the site for fall — her first season in business. Sales are projected to be under $500,000 this year. 2016-03-28 15:10 Kari Hamanaka
15 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 […] 2016-03-28 18:46 By
16 16 Donald Trump Looks Like 'They Live!' Aliens, Thanks to DeepDream
Screencap via Without giving too much away, the denouement in John Carpenter 80's sci-fi cult classic They Live! is electric. It makes sense why the world is terrible: the world's elite, controlling the population through advertising, just might have ulterior motives. The film's influence permeates pop culture, from Shepard Fairey's apparrel to Duke Nukem video games, and it's the first thing that comes to mind when watching this terrifying video of a Donald Trump speech run through Google's DeepDream artificial neural network, Trump Deep Nightmare , by artist and technologist Eric Cheng. We've seen the effect DeepDream has on famous artworks , Cronenberg films , and the world's most disturbing images , but it takes on new meaning when fused with the unsettling narrative of Trump's rise to prominence. Seeing Trump turn into a psychedelic Chewbacca (with worse hair) and covered in puppyslugs gives the mind a half second of release. Surreal Trump makes it seem possible that this whole uncomfortable situation proving our system is a sham could be a dream—or nightmare—that's possible to wake up from. It makes the Donald seem silly, separate, irrelevant to reality, and it's less agressive than the other anti-Trump art making headlines today: a tombstone with Trump's name and the epitaph, "Make America Hate Again," anonymously embedded in Central Park. The alien-ness of Trump Deep Nightmare makes even more sense when Cheng reveals the source image he used to create the video: the iconic, tentacled face of Cthulu. Watch Trump Deep Nightmare in full below. See more of Eric Cheng's work on his website . Related: Deepdreamed Cronenberg Is the Cronenberg of Deepdreaming Dive into Deep Dream Infinity in These Trippy Music Videos [Premiere] This Is What Computers Dream of When They Look at Art Google's Psychedelic AI Art Takes Twitter by Storm 2016-03-28 14:45 Beckett Mufson
17 Madewell Adopting Buy-Now Press Strategy Thought the buy-now-wear-now conversation had gone quiet for the moment as the fall season winds down? Wrong. It’s many vertical retailers’ turn to show their collections and Madewell is getting in on the schedule shift. The company’s fall press day tomorrow is for long-lead purposes only. WWD was invited, but just to browse, and all editors are asked to take a scout’s honor approach to refraining from social media. “The team and I have been watching the industry evolve into a ‘buy-now-wear-now’ environment where immediacy is more and more important to customers,” Joyce Lee, Madewell ’s head of design told WWD. “With that in mind we’ve decided to hold the release of our fall collection to the public until the product is available in stores. With this shift, we’re allowing our customers to both be involved in the excitement that surrounds the release of a collection and to shop it, all at a time when the clothes are seasonally relevant.” Lee was appointed to her post last June, amid a series of job cuts and design team changes at Madewell’s parent company J. Crew Group, and presented her first collection for the label in October. At the same time, Lee’s predecessor at Madewell, Somsack Sikhounmuong, was promoted to head of women’s design for the J. Crew brand, which had suffered from lagging momentum and decreased sales. Madewell, meanwhile, has been a steady source of positive growth for the company and is especially strong in dresses and denim. Last week, J. Crew Group reported a 26 percent sales increase fourth-quarter sales increase to $92.5 million for Madewell. J. Crew sales decreased 3 percent to $604.5 million. J. Crew presented its fall men’s and women’s collection during New York Fashion Week last month, per the traditional fashion schedule. No word if the buy-now-wear-now press strategy would extend to J. Crew going forward. 2016-03-28 14:31 Jessica Iredale
18 Glitch Video Game Nightmares Can Be Beautiful [Music Video] Images courtesy the artist We don't exactly know what's going on in Sam Rolfes' music video for Amnesia Scanner 's "AS Chingy"—and he won't tell us. It looks like some sort of mind-destroying video game, or an alien invasion into our own brains. It feels like a video game with mechanics designed by a chipmunk on acid. Like that GIF of Donald Trump's sincerity meter malfunctioning. These impressions are as much due to Amnesia Scanner's spastic music style, which goes from danceable to incomprehensible and back at the drop of a pin- studded, sweat-soaked hat. "'AS Chingy' is and remains gut-wrenching to listen to," Rolfes confesses to The Creators Project. AS dives headfirst into the mysterious Berlin producer duo trope, successfully creating a confusing yet intriguing vibe. Their website is all but incomprehensible and their AS EP is spread throughout hyperlinks accross the web. We know they've worked with the likes of Holly Herndon and Mykki Blanco, but not much else. "The assorted Amnesia Scanner tracks that I manage to find littered around the web, hidden on cryptic pages, resonate with a very particular kind of psycho-digital neurosis in me," Rolfes continues. As such, he agreed to a gag order preventing him from saying too much about the process behind his video for "AS Chingy. " Here's what he could tell us: "This is a live recording of an Amnesia Scanner performance done a few weeks ago, capturing the slow and violent progression of a colossal music festival stage taking on the role of the performer. The performance was recorded and captured live, the recording team consisted of myself and one other manning the camera, deploying survival measures, and attempting to survive the ordeal. The choreography was more or less written in ulcers across my stomach lining. We also asked Rolfes how we're supposed to even feel after watching this thing. He responded, "I'd feel petty dictating how people should respond to the performance, but if it hurts, then you're at least viewing it from as similar perspective as I did. " Watch the full video for "AS Chingy" by Amnesia Scanner below. See more of Sam Rolfes' work on his website. Click here to try to learn more about Amnesia Scanner. Related: Sex Symbolism in Hip-Hop Gets Interactive Create Your Own Net-Art GIFs With Club Rothko Builder Olia Lialina's Most Famous Net Art Piece Turns 15 Dive into a Rainbow Alien Disco in D∆WN's “Calypso" Music Video 2016-03-28 13:45 Beckett Mufson
19 studio FH realizes ross langdon-designed health education centre studio FH realizes ross langdon-designed health education centre in uganda all images by will boase the ‘ross langdon health education centre’ is a small community hall located in the village of mannya in rakai, south-western uganda. the centre was designed by ross langdon, a young australian architect who, together with his wife and unborn child, was among the victims of the 2013 westgate shopping mall attack in nairobi, kenya. in his short career spanning across australia, the UK and east africa, ross left behind a multitude of designs, all specifically tailored to location, climate, materials and users, and driven by a passion for ‘chameleon architecture’. the small community hall is located in the ugandan village of mannya following ross’ death, the client, the cotton on foundation from australia, approached uganda- based studio FH architects to complete the design in-keeping with langdon’s vision. felix holland, principal architect at studio FH and personal friend of ross, assembled a group of dedicated designers and builders who set about deciphering the original design intentions. ‘as good as we can tell in his absence, ross envisioned the health education centre as a small pavilion, entirely inward-looking and made of the most basic of building materials available in southern uganda: eucalyptus poles as the main structure with clay brick infills and clay tile floors,’ says felix holland of studio FH. the building provides space for about 150 people, who sit on simple clay tile steps, and a speaker, who stands on a small elevated platform. adjacent to the main hall is a room for private meetings and a store. at the front of the structure, a walkway covered by a pergola provides shade for both informal gatherings and relaxation. ‘there are no windows, and instead the building envelop filters light in various ways; perforations in the brickwork, a gap between walls and roof, a high-level roof vent with skylight and ‘liters of light’ illuminating the stage area,’ continues holland. ‘the roof cover is made of zinc-al roof sheets supported by eucalyptus trusses, and the ceiling is made of purpose-designed handmade ‘mukeka’ reed mats.’ perforations in the brickwork bring light inside the design the building provides space for about 150 people adjacent to the main hall is a room for private meetings design architect: ross langdon implementing architect: studio FH architects structural engineer: MBW consulting quantity surveyor: dudley kasibante and partners contractor: CMD investments developer: cotton on foundation photography: will boase location: mannya, uganda area: 260 sqm project year: 2016 2016-03-28 13:14 Philip Stevens
20 Seth Price at 356 S. Mission Rd., Los Angeles Installation view of ‘Seth Price: Wrok Fmaily Freidns,’ 2016, at 356 S. Mission Rd., Los Angeles. BRICA WILCOX/COURTESY THE ARTIST, PETZEL GALLERY, NEW YORK, AND 356 S. MISSION RD., LOS ANGELES Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “ Seth Price: Wrok Fmaily Freidns ” is on view at 356 S. Mission Rd. in Los Angeles through Sunday, April 10. The solo exhibition presents recent works in a large-scale installation. Installation view of “Seth Price: Wrok Fmaily Freidns,” 2016, at 356 S. Mission Rd. BRICA WILCOX/COURTESY THE ARTIST, PETZEL GALLERY, NEW YORK, AND 356 S. MISSION RD., LOS ANGELES Seth Price, Mascot Test Scrap , 2015, screen printing, acrylic paint, and pigmented polymer on board, installation view. BRICA WILCOX/COURTESY THE ARTIST, PETZEL GALLERY, NEW YORK, AND 356 S. MISSION RD., LOS ANGELES Seth Price, Bob , 2015, dye-sublimatoin print on synthetic fabric, aluminum, and LED matrix. BRICA WILCOX/COURTESY THE ARTIST, PETZEL GALLERY, NEW YORK, AND 356 S. MISSION RD., LOS ANGELES Seth Price, Waste Assembly , 2015, UV transfer on anodized and CNC routed aluminum, cardboard, wood, and sawhorses. BRICA WILCOX/COURTESY THE ARTIST, PETZEL GALLERY, NEW YORK, AND 356 S. MISSION RD., LOS ANGELES Seth Price, Waste Pipes (detail), 2016, printed vinyl on PVC waste pipes, foam blocks, cinch strap, and metal stand. BRICA WILCOX/COURTESY THE ARTIST, PETZEL GALLERY, NEW YORK, AND 356 S. MISSION RD., LOS ANGELES Seth Price, Skin Surface Test , 2015, UV-cured print and acrylic polymers on board. BRICA WILCOX/COURTESY THE ARTIST, PETZEL GALLERY, NEW YORK, AND 356 S. MISSION RD., LOS ANGELES 2016-03-28 13:10 The Editors
21 ‘I Want to Make Africa Digestible in a Different Way’: Aida Muluneh on Her Show at David Krut Projects Aida Muluneh, Sai Mado / The Distant Gaze , 2016, archival digital photograph. COURTESY THE ARTIST AND DAVID KRUT PROJECTS Ethiopian photographer Aida Muluneh has lived the majority of her life in the Northern Hemisphere. Having left Ethiopia at a young age, Muluneh spent her early years bouncing between Yemen, England, and Cyprus before moving to Canada and later the United States, where she took up a position as a photojournalist for the Washington Post. Muluneh developed her skills as a documentary photographer at the Post , but found herself gravitating toward a more artistic mode of expression as she simultaneously nurtured a growing desire to reconnect with the land of her birth. Nine years ago, Muluneh moved back to Ethiopia to satisfy both urges. She has since created several exhibitions’ worth of work and founded the Addis Foto Fest , Ethiopia’s first biennial exhibition of photography from around the world. Muluneh also established DESTA (Developing and Educating Society Through Art), a cultural development organization that runs workshops, exhibitions, and creative exchanges. Muluneh describes her return to Ethiopia, in a statement, as “a lesson in humility, and what it means to return to a land that was foreign to me.” For her latest solo show, “ The World is Nine ,” on view through April 16 at David Krut Projects in New York, Muluneh further expounds upon the insights she gained from repatriation, borrowing the show’s title from an expression her grandmother often used: “The world is 9; it’s never complete and it’s never perfect.” The title’s origin also mirrors the sense of reflexivity present in the exhibition. “Some of these images are like a personal diary,” Muluneh said of her series of vivid, almost surrealistic portraiture. That isn’t to say the works are autobiographical, however. Muluneh describes this show as a “symbolic” attempt to delve into the many layers of her uniquely multifaceted diasporic culture, and through that complicate both her and our own ideas about how we live “as people, as nations, as beings.”In our conversation below, which has been lightly edited and condensed, Muluneh discusses the significance of these themes in her photographs as well as the motivations behind their creation. ARTnews: What draws you to such bold color palettes in your photography? Aida Muluneh: Subconsciously, it probably has to do with the fact that I tend to be an aggressive person, and I like extremities. When I do something, I do it passionately. I want a passionate color—something that’s both beautiful and disturbing at the same time, like a car accident you can’t help but look at. When I did a show in Paris, somebody said my work had a pop element to it, which was something I hadn’t considered before. What sort of reaction would you say you are trying to provoke? I’m trying to make art digestible, no matter whether you’re a bourgeois blah blah or someone from any other spectrum of society. I also want to make Africa digestible in a different way. When people think about Africa right now, they often only think about animals, war, and famine. I’m trying to distort that impression to provoke questions in a different sense. You’ve mentioned before that your focus is on “capturing light.” What exactly does that process entail? Aida Muluneh, The Morning Bride , 2016, archival digital photograph. COURTESY THE ARTIST AND DAVID KRUT PROJECTS I start with an idea—a poem, or what have you—and I sketch it out. From that sketch, I have fashion designers make the clothes for that image. The shooting process feels like a film script. That’s how I see these painted faces—as different characters void of nationality and ethnicity, like blank slates. The sentiment behind the images are supposed to be things that exist within all of us regardless of where we come from. So, when I talk about capturing light, it’s not just about the physical light that comes into the room, but about a sense of enlightenment as well. That’s what I’m trying to show with my work. In your exhibition catalogue, there’s a wonderful essay by the poet Lemn Sissay. One line in particular stood out for me: “Our homelands are inside of us, and when we return a more truthful experience emerges.” Would you say that’s happened to you since you moved back to Ethiopia? It’s about inspiration. In that sense, if you’re drinking a [country’s] water and breathing its air, that will have an impact in itself. The validation came for me when I realized I had to stop fantasizing about my birthland of Ethiopia without being inside of it. As Ethiopians, we tend to be very nostalgic people. I see that creeping into Ethiopian artwork, which is why I wanted to understand [Ethiopia] from the inside. What prompted you to permanently move back to Addis Ababa and create art? I came back to Addis in 2007 to work on a documentary for three months. When I got here, I realized this place was too dynamic to be fantasizing about from somewhere else, so I left my life in Canada. My participation in this conversation is much more than the work you see hanging on the wall; it’s about the advocacy of cultural ownership. Africa is so rich in culture, and I don’t mean only in terms of food and fashion. I’m talking about the element of beauty. How does that sentiment relate to your work with DESTA? I’m interested in how we use culture as part of development. The activities we do through DESTA are meant to engage society, but also, because we’re a business, we try to find sustainable solutions that show it’s possible to create work through culture. On many levels, social entrepreneurship must be encouraged, as it’s way more beneficial than any NGO. The work for me is about communication, rebranding my country, and teaching other photographers. 2016-03-28 13:00 Robin Scher
22 Dealers Report Strong Sales at Art Basel Hong Kong Sales appeared to be strong at the fourth edition of Art Basel Hong Kong , despite concerns about the impact of the recent economic slowdown in China on the international art market. Works continued to sell through the last day of the five- day fair, which ended Saturday, reflecting what many say is a tendency by collectors in the region to make decisions about major purchases slowly. Of the 239 galleries featured in this year’s fair, Cardi Gallery of London and Milan notched one of the biggest sales, a work by Cy Twombly that had an asking price of $10 million. It was bought by a private European collector. Several galleries, including Tina Keng Gallery in Taipei and Beijing, David Kordansky Gallery in Los Angeles, and Pace Gallery in New York, reported sales of all or nearly all of the works they exhibited. “Before, the fair was always good, but this year it was spectacular,” said Leng Lin, regional partner of Pace Asia. “We met a lot of new collectors this year, as in the past, and the desire to buy was still very strong.” Pace sold four works by Robert Rauschenberg, including one to an important Asian museum, according to Mr. Leng. In all, he said, the gallery sold around 25 works, including pieces by Yoshitomo Nara and Zhang Xiaogang and, on the last day, Agnès Martin and Alexander Calder. Western galleries reported steady sales. Dominique Lévy Gallery of New York, London and Geneva sold an untitled Rudolf Stingel painting with an asking price of $1.9 million. Lehmann Maupin of New York, London and Hong Kong sold two works by Tracey Emin for between $56,700 and $354,000, and six works by the South Korean artist Do Ho Suh that were priced between $10,000 and $200,000. Hauser & Wirth sold a painting by Mark Bradford for $1.5 million, as well as a painting by Alexander Calder and three works by Louise Bourgeois for undisclosed amounts. David Zwirner of New York and London reported its best year at the fair, selling five works by the Belgian artist Michaël Borremans made especially for Hong Kong for up to $1.6 million, as well as a 2008 painting titled “Forever” by Luc Tuymans for $1.6 million. Tyler Rollins Fine Art in New York sold four works by the Vietnamese-American artist Tiffany Chung for $28,000 each. It also sold a large installation by Ms. Chung artist to M+, the museum of visual culture that is scheduled to open in Hong Kong in 2019. Among Asian galleries, Chemould Prescott Road of Mumbai, India, sold several works by the artist and architect Bijoy Jain of Studio Mumbai to the M Woods Museum in Beijing for $10,000 each. Ink Studio in Beijing, which was exhibiting at the fair for the first time, sold several works by Li Huasheng for between $58,000 and $120,000, while Long March Space in Beijing sold works by a number of Chinese artists, including Wang Jingwei and Zhan Wang. Many dealers, including Mr. Leng of Pace Asia, said that educating and forging links with new collectors in the region was as important as making sales. “There might be big ebbs and flows, but it’s going to stay in a growth phase for a long time,” he said. 2016-03-28 12:20 By
23 Consumer Reports: Erin Jane Nelson Erin Jane Nelson. SARAH MCMENIMEN Erin Jane Nelson is an artist living and working in Atlanta. She directs the space Species with Jason Benson and their dog Lilo Caraway. In the last year, Nelson has mounted solo exhibitions at Hester in New York and Document in Chicago. Recently, she has participated in group exhibitions at Galerie Division, Montreal; Centre for Style, Melbourne; Favorite Goods, Los Angeles; and Kimberly Klark, Queens. For Nelson, one late February week is spent attending to openings at her ATL space and speaking at Reed College in Portland, Oregon, for Reed Arts Week. While in the Northwest, Nelson takes the time to check out the Portland Art Museum and write thoughtfully about some standout work on display. All that and more—including check-ins with her dog’s Instagram account and a guest appearance from Baby Ikki himself, Michael Smith—is below. —John Chiaverina Monday, February 29 6:50 a.m. Lilo steps on my face and starts whining to wake me up. We are out of the house by 7:05 for his walk: 7:41 a.m. I log into my dog’s instagram account (@hobo.prince.atl) and look through his feed—all animals. Find this image of Sadie wearing a custom Walking Dead print dress—I too just purchased a different Walking Dead print fabric for future dog clothes. At 11 a.m., I stumble across a spread of James “Son” Thomas works in an exhibition catalog from the 1990s. The resemblance of the bust on the far left is alarming! Who couldn’t see this grubby little ladyman liberty as Führer Trump? Thomas was a gravedigger and a blues musician working out of Mississippi—most of his works are these unfired foraged clay busts with real human teeth. I’ve been thinking about them nonstop since my friend Daniel showed me one he recently acquired. At around 3:30 p.m. I check out the Met’s new website which was released earlier today and end up browsing their “ Digital Underground ” blog. How have I not heard about this Meow Met browser extension? By 3:45 I am making new tab after new tab to see all these rando-generated pussies. 4:02 p.m. I head across town to Species (the space Jason and I just opened in Atlanta) for our first opening. Brook and Jason are already here finishing up the final details. At 5:09 p.m. my mom texts me and asks if I’d like her to pick up a platter of nuggets from Chik-fil-A for the opening—I regrettably have to decline… 8:35 p.m. During the opening, my friend Alex Robbins asks if I’ve read Interspecies Ethics by Cynthia Willett, which I haven’t. He tells me the writer is a colleague at Emory—I download the ebook. Monday, March 1 7:12–8:09 a.m. Dog Jog in Piedmont Park. We stop by the Noguchi Playscape, which is the only Noguchi-designed playground completed during his lifetime. It was the High Museum’s gift to Atlanta (via NEA money) in 1976 and has been incredibly well preserved for a 40-year-old functional playground. Dawn is somehow the only appropriate time for a childless adult to spend as much time in a playground as I do here. I check my Free Will Astrology newsletter and head home. 10:54 a.m. Jason and I vote for the primaries in the gym of Grady High School. (Fun fact: this is where the Joel Dean went to high school!!!) *BREAKING* 11:49 a.m. Aria Dean’s incredible new piece “Closing the Loop” in the New Inquiry lights my social feeds on fire—as it should. It’s the best piece of art criticism I’ve read this year and I’m craving a whole book of her thoughts now. If you have not read this corrective for the endemic selfie feminism (a phenomenon I’ve utterly despised) you’re missing out. 3 p.m. I stop into Atlanta Contemporary to take another look at the shows that have recently opened and to drop off the rent check. My studio and Species are both out of their Artist Studio Program, located behind the institution. Left to right: Ebony G Patterson’s work, Daniel Fuller (curator), Robin Cameron, and Lucas Blalock’s work. 4 p.m. Filled out my dog’s application to the Georgia RenFest Cosplay/Canine weekend’s doggy costume contest. We’re thinking a combination orc/butterfly with a very elaborate leash design. 6:47 p.m. Took install views of Brook’s show. My favorite work is this carved alabaster piece titled Feelie. Here’s to hoping she carves more in 2016. 10:35 p.m. Severe thunderstorms, writing emails, dog in lap swaddled in thundershirt. Wednesday, March 2 Was underwhelmed by all my all my consumptions today and was too distracted with travel prep to log —I did watch a lot of Flipping Out season 7 after work, in case you were curious. However, I did have my favorite Meow Met tab yet: Thursday, March 3 9:08 a.m. On my flight to Portland (I’m speaking at Reed College tomorrow) reading Cesar’s Way by Cesar Millan (a.k.a. the Dog Whisperer). This book is incredible so far! For example, in his recollections immediately following a tumultuous illegal border crossing from Mexico into the United States, he points out “leashes” as the first visual difference he noticed between the countries. And spends an entire chapter describing how to effectively communicate in nonverbal languages with any pet. As an anxious flyer, I am hardly even noticing the constant turbulence as I’m hanging off Cesar’s every word. 12:15 p.m. I arrive at Reed College and my host takes me to the cafeteria for lunch. Amused, horrified, and inspired to discover “The Scrounge” where tens of unfinished plates and bowls are left for the needy and the freegan students alike to eat the scraps of their peers. I can’t think of anything more liberal arts than this. 2:20 p.m. After sitting with coffee and Cesar for a bit, I meet up with Nick Irvin, who is also in town to speak at Reed (as part of a student–organized conference of sorts called RAW or Reed Arts Week). I help Nick prep for his performative lecture scheduled for later that evening. While touring around the buildings, we see this fantastic but uncredited piece of student art: At 6 p.m., I attend Martine Sym’s talk hosted by Reed’s poetry department. I had no idea she was also going to be around this week, and I’m thrilled to see her speak. She reads from several of her published projects and I’m struck by how she’s able to make the diaristic sound so well cadenced, emotive, and urgent. I would die to have this skill. Nick’s performance, The Angriest Dog in The World , starts at 8 p.m. and it goes swimmingly. There is incidentally a dog walking around the darkened lecture room. Having only ever read Nick’s reviews and commissioned show texts, I’m both pleasantly surprised and unsurprised that his personal writing is so intense. More, please. Friday, March 4 Leave Tony and Flynn’s house by 7:30, grab coffee, and get on the bus toward downtown Portland. Arrive at the Japanese Gardens by 9:20—they don’t open to the public until 10 a.m., so I spend some time walking around the Rose Test Garden, which, at this time of year, is a well-manicured garden of vines and thorns. The roses are months away from being in full bloom. 10 a.m. They let me into the Japanese Gardens. Everyone told me these gardens were “good,” but this sloping, mossy, overgrown but also incredibly manicured space is one of the best places I’ve been all year. I spend about 30 minutes texting in the rock garden. It’s a great place to sit and text. At 11:15, I arrive at the Portland Art Museum. 11:18 a.m. The first thing I see upon entering the museum is a special Netsuke carving exhibition. Nothing dreamier to me than a room full of tiny talismanic guys and I’m reminded of the animistic glass miniatures I’ve been making for the last year. This particular one was called Rat with a Peapod and was carved by Yamaguchi Okatomo in the 1700s. 11:29 a.m. William-Adolphe Bouguereau, Nature’s Fan , 1881: This piece was glowy, impish, and pastoral—I loved it for no particular reason really (a testament to how little I think about/look at painting). 11:37 a.m. Have obviously not spent enough time looking at ancient Mesoamerican artworks because this seated figure from Mexico ca. 300 B. C. was totally ancient aliens in all the best ways. I text this picture to Jason as something about this little man reminds me of him. 11:38 a.m. More carving—this one in cedar on view on the Contemporary Native American gallery, Greg Robinson’s nsayka phik’w (2015). The whole tabletop piece is beautiful, but I most love this orca moment. 11:44 a.m. I’m so into this deflated, shiny, black cast bronze Sarah Lucas octopus that I’m willingly ignoring the sarcastic spam cans and Ikea-esque chair. My stomach turns a little bit standing tit-to-tit with this thing. 12:01 p.m. I’ve found “the winner.” There was an enormous, beloved Louise Nevelson work on the top floor of Cooper Union when I was going there (probably still there), so I always go to this young, naive, tender undergrad place when I see her work. Why don’t we hear more about Nevelson? Surely we can substitute all the institutional chatter about the Ab-Ex/modernist dudes for like…five minutes of hype about Nevelson. Her modular, dark, computational monoliths still feel so relevant to me. This one was titled End of Day Nightscape II from 1973. By 2 p.m. I’m back at Reed, giving my talk. I get to finally meet Manuel Arturo Abreu IRL. Afterward, I spend the rest of the afternoon getting drinks with Tony Chenkra, Flynn Casey, and Michael Van Horn who run Muscle Beach and Veronica , respectively. At 7:30 p.m. we head to Yale Union for the Michael Smith performance. I have seen Smith lecture before, but this is my first Baby Ikki experience. Grubby little fingers in brown cakes, selfie sticks, earnest pervert songs, cooing, and wobbling—an appropriate anti-hero semi-climax to my week: 2016-03-28 12:00 The Editors
24 fabien dumas designs aForest lamp series for B.lux fabien dumas designs aForest lamp series for B.lux (above) aForest suspension model is available in horizontal and vertical versions all images courtesy of fabien dumas berlin-based fabien dumas has designed the ‘aForest’ lamp series as part of the collection of decorative lamps by B.lux, a manufacturer of designer lamps located in the basque country founded in 1980. the lighting objects share a common, petal-shaped lighting element which, in the case of the wall version, emits indirect light. the suspension model is available in two versions: horizontal (SH) and vertical (VH). all of them are made of PUR, equipped with high- luminance LED bulbs, and are available in matte white, red or blue finishes. dumas comments on his work: ‘the inspiration for aForest takes roots in the rich nature of the polynesian island of my childhood, a seemingly infinite diversity of flora, a never ending abundance of essences and fragrances, an opulence of colors. it’s a painting by rousseau and gauguin, a poem by baudelaire, invitation to a journey: there, all is order and loveliness, luxury, calm and voluptuousness…’ the lamps are available in matte white, red or blue finishes all of them are made of PUR 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. 2016-03-28 11:45 Fabien Dumas
25 Syria to Rebuild Palmyra After Retaking City- With help from Russian warplanes, Syrian government forces re-took control of the Syrian city of Palmyra from Islamic State fighters on Sunday. According to the Syrian army the battle has dealt a “mortal blow" to militants who destroyed several ancient temples in the UNESCO World Heritage Site last year, Reuters reports. “The destruction of temples of Baal Shamin and Bel , the funeral towers and the Triumphal Arch are an immense loss for the Syrian people and the world," UNESCO head Irina Bokova told AFP , but she welcomed the retaking of the city. “For one year Palmyra has been a symbol of the cultural cleansing plaguing the Middle East," she said. Bokova pledged the UN's support in the recovery of antiquities, and will set up a team to "evaluate damage," she says, noting, "The deliberate destruction of heritage is a war crime, and UNESCO will do everything in its power to document the damage so that these crimes do not go unpunished. " Meanwhile Syria's top archaeologist has promised to rebuild the historic site. Maamoun Abdelkarim told the Guardian , “We will not leave the temples destroyed […] We will assess how much damage the stones suffered and we will re-use them in order to scientifically put back the temples. " Abdelkarim said that the plans for the reconstruction would be created by the end of April. “We will rebuild the missing portions until the temples of Bel and Baalshamin are rebuilt. " Follow artnet News on Facebook. 2016-03-28 11:26 Henri Neuendorf
26 Beauty and Awkwardness: Dan Attoe’s Landscapes Related Venues Half Gallery Artists Dan Attoe Washington-based painter Dan Attoe might consciously tip his hat to the Hudson River School, but his mountainous visions of the sublime secret an unexpectedly comedic (and often perverse) undercurrent. His beach, ski slope, and forest scenes are populated by figures so tiny that you might miss them — and they’re speaking even tinier dialogue, rendered in silver oil paint. In one painting, on view at Half Gallery in New York through April 9, several nude women are posed on a pier jutting out into an icy lake, attended by what appears to be a pair of Canadian Mounties. (“I did everything you told me to,” one of them says.) “Family at Waterfall,” 2016, shows a trio of revelers about to take a dip; something about the loaded positioning of the bodies against the grandeur of nature recalls the recent output of Gregory Crewdson, except with a sense of humor. “All of the elements are characters — light, topography, plants, rocks, people, the sky and weather and atmosphere,” Attoe said. “In this way, I see painting as composing short stories. Most of the fictitious places in my paintings are based on actual locations, but probably in the same sense that Stephen King’s characters are based on people he knows.” Part of the thrill of an Attoe painting is the way these different components combine in jarring ways. “The scale of the landscape compared to the people is a key part of the atmosphere,” he said. “Much of that does have to do with a feeling of longing for something I remember — something beautiful, peaceful, ominous, and awe inspiring. At the same time, I feel an equally important urge to disrupt this. The figures and the text pull the viewer from whatever beauty is in the landscape, and require a different kind of focus. The landscape can be enjoyed for its beauty, and the disparity between it and the figures, but it also exists in service to these contemporary people in funny or ordinary clothing saying everyday things about e-mails or engaging in interpersonal clumsiness.” 2016-03-28 11:13 Scott Indrisek
27 9 Art Events to Attend in New York City This Week Stan Douglas, The Secret Agent , 2016, still from six-channel video projection with sound. COURTESY DAVID ZWIRNER WEDNESDAY, MARCH 30 Opening: Stan Douglas at David Zwirner For his thirteenth solo show in New York, Vancouver-based artist Stan Douglas will present a new film titled The Secret Agent. Douglas has been making work about specific locations and past events since the late 1980s, and often uses both new and antiquated technologies as well as the frameworks of existing Hollywood genres such as film noir and the Western. Accompanying the exhibition on West 19th Street, the gallery’s West 20th Street location will present an overview of Douglas’s photographic career from the late 1980s to the present. David Zwirner, 519 West 19th Street, 6–8 p.m. COURTESY 56 HENRY Opening: Hanna Liden at 56 Henry The inspiration behind this exhibition, titled “No Weather Data Available,” is curbside detritus and abandoned urban material—specifically umbrellas. Two cast-concrete umbrella sculptures, colored in charcoal and orange, dangle at varying heights from the ceiling, while a third is hung from a noose attached to the ceiling. According to a press release, “Her objects are tragicomic follies, slapstick approximations of quotidian objects, or possibly fossils from an extinct civilization.” 56 Henry, 56 Henry Street, 12–6 p.m. THURSDAY, MARCH 31 Opening: Michael E. Smith at Andrew Kreps Gallery After a memorable and totally weird show at SculptureCenter last year, Michael E. Smith gets his first show at Andrew Kreps this week. It’s sure to feature more of his creepy-strange sculptures, which feature used objects, like nail guns and soda bottles, that the New Hampshire– based artist finds on the street or on eBay. Understated yet also moving, Smith’s work is evocative of Detroit, the economically strained city where he was born. And, though his largely monochromatic work is mournful, Smith’s sculptures are also beautiful—they seem to have organic matter growing on them sometimes, which might mean that, in the wake of extreme tragedy and failure, it’s always possible to start over. Andrew Kreps Gallery, 537 West 22nd Street, 6–8 p.m. SOPHIE MSMSMSM, Product , 2015. COURTESY NEW MUSEUM Panel: SOPHIE at New Museum Enigmatic artist and producer SOPHIE will host Pupture, an evening exploring synthesis in art. Joined by multi-hyphenate artists including Gerry Bibby, Travis Boyer, Hayden Dunham, FlucT, Matthew Lutz-Kinoy, and Henrik Oleson, the discussion will be punctuated by live performances and original music. The group—which offers experience in areas of dance, sound, music, video, photography, painting, and performance—will discuss the role synthesis plays in the creation, structure, and meaning of a work. New Museum, 235 Bowery, 7 p.m. Tickets $20/15 Talk: William Wegman at the Strand To celebrate the release of William Wegman: Paintings —a book that takes postcard images and constructs bizarre and humorous worlds around them—the artist will be present to discuss his career with Robert Krulwich, a Peabody Award–winning Radiolab co-host, NPR science correspondent, and general fan of Wegman’s. The Strand, Rare Book Room, 828 Broadway, 7–8 p.m. Attendees must buy a copy of William Wegman: Paintings or a $20 gift card to attend FRIDAY, APRIL 1 Still from Chantal Akerman’s No Home Movie (2015). COURTESY ICARUS FILMS Screening: No Home Movie at Brooklyn Academy of Music Last year, one day before No Home Movie had its U. S. premiere at the New York Film Festival, Chantal Akerman died at age 65. She was one of film’s greatest feminist voices, and also one of its most underrated, and now BAM and Film Forum have gotten together to give the Belgian director the massive retrospective she deserved. BAM’s retrospective kicks off with a two-week theatrical run for No Home Movie , a documentary about Akerman’s mother that relies on a Blackberry camera and other devices for its cinematography. Formally ambitious and somewhat confounding, the film was booed when it premiered at the Locarno International Film Festival and received gentle praise in America, but it’s a can’t-miss film for fans of Akerman, who once called No Home Movie “the center of my oeuvre.” — Alex Greenberger Brooklyn Academy of Music, 30 Lafayette Avenue, 2 p.m. (also screens 4:30 p.m., 7 p.m., and 9:30 p.m.). Tickets $14/$10/$7 SATURDAY, APRIL 2 Opening: Maggie Lee at Real Fine Arts At this point in her career, Maggie Lee is still known mainly for just one work— Mommy , her 2015 feature film that parallels the loss of her mother with the discovery of herself as an artist. That kind of subject matter can be treacly, but, in Lee’s hands, it’s a very stylized, smart affair. Partially a visual essay about how the Internet constructs memory, and partially a very moving documentary, Mommy has understandably been shown in a number of settings, and was even screened theatrically in New York in December. Now, Lee follows her film a solo show at Real Fine Arts. Titled “Fufu’s Dreamhouse,” the show will features a series of vitrines that act as homes for Japanese Barbie-like dolls. Each vitrine will act as a different personality and is, in a way, a self-portrait for Lee. “Think a teenage girl’s bedroom crossed with hamster cage, if you will,” a gallery spokesperson said in an email. — Alex Greenberger Real Fine Arts, 673 Meeker Avenue, Brooklyn, 7–10 p.m. SUNDAY, APRIL 3 A work from Brad Troemel’s “New and Handmade by Me.” COURTESY FEUER/MESLER AND THE ARTIST Opening: Brad Troemel at Feuer/Mesler The phrase “network of production” is thrown around a lot in press releases, but rarely ever is it as literal as when used to describe Brad Troemel’s work. Troemel has become famous for his Internet-based art about how objects get produced and consumed—he co-created a Tumblr called the Jogging, in which Troemel and others photographed quickly-made works, destroyed the objects, and left the images online to get re-blogged by others. (The rapper Gucci Mane used one the Jogging’s images as an album cover.) He continues his interest in how the Internet spurs production with this new show, titled “New and Handmade By Me,” for which Troemel used Pinterest to find techniques that interested him and learned how to make works using glycerin soap, bath bombs, handmade gingerbread houses, and other things. In a very endearing release, Troemel writes, “The idealistic hope for making a healthier world together and the nihilistic paranoia that the world will end at any second once again arrive at the same practical conclusion: doing it yourself. And for this exhibition, ‘New and Handmade by Me,’ that’s just what I’ve done!” — Alex Greenberger Feuer/Mesler, 319 Grand Street, 2nd Floor, 6–8 p.m. Opening: Sara Greenberger Rafferty at Rachel Uffner Sara Greenberger Rafferty turns her attention to external interiority in the form of plastic consumer works, specifically those which fall in the realm of shopping. Images of books, diaries, online clothes shopping, and designer dresses and underwear all serve to represent the notion of “global capitalism and so-called individuality that are worn on the body until stained, frayed, or otherwise worn-out,” according to a release. Rachel Uffner Gallery, 170 Suffolk Street, 6—8 p.m. 2016-03-28 11:08 The Editors
28 8th Asia Pacific Triennial Q&A: Nakamura Yuta on “Tiles, Small Shrine and Tourism” Related Venues QAGOMA Gallery of Modern Art The Asia Pacific Triennial of Contemporary Art (APT) is Queensland Art Gallery | Gallery of Modern Art’s (QAGOMA) flagship international contemporary art event, and the only major exhibition series in the world to focus exclusively on the contemporary art of Asia, the Pacific, and Australia. The 8th Asia Pacific Triennial of Contemporary Art (APT8), which opened on 21 November and continues until 10 April 2016, showcases the work of more than 80 established and emerging artists and groups from more than 30 countries across the two gallery spaces of the QAGOMA complex. This edition of APT emphasizes the role of performance in recent art and explores the use of the human form to express cultural, social, and political ideas as well as what QAGOMA describes as “the role of artists in articulating experiences specific to their localities.” Throughout the duration of APT8, BLOUIN ARTINFO will feature a series of interviews with participating artists. In the interview below, Japanese artist Nakamura Yuta discusses his APT8 work “Tiles, Small Shrine and Tourism” 2014–15 (more info here). Trained as a ceramicist, Yuta’s practice traverses the discourses of art history, architecture, archives and sculptural installation. “Tiles, Small Shrine and Tourism” 2014–15 comprises non-sacred versions of the small Buddhist Jizo shrines indigenous to the neighbourhoods of Kyoto in Japan. Focusing on the physical form of the shrines and the properties of their materials, Yuta’s shrines are made to hold everyday items such as books and photographs instead of sacred items. We come across a small shrine in many places like under the eaves of a merchant’s house or at an intersection. The deity Kstigarbha (Jizo-bosatsu), connected to a folk belief in the traveler’s guardian deity, is enshrined in those small shrines. Looking around the wayside shrines in Kyoto City, we find out that the foundation is mainly made of stonework or mortar, and the shrine itself is mainly made of wooden framework or stonework. However, sometimes we can come across a so-called “Tile Shrine” where tiles are partly spread over a shrine and foundation made of mortar. The Tile Shrine is the house of Jizo, which is a bricolage to match the appearance of Jizo. In the work “Tiles, Small Shrine and Tourism” shown at APT8, I extracted the elements of each shrine, such as the plasterer’s technique, and the inhabitant’s repair or diversion technique, to make a “structure” to put in articles of daily use such as books or photographs instead of Jizo. The field of craft is at the same time visual art and has function to be used in everyday life. However, when one looks over the modernization process of craft that took directions of art and industry, one realizes that the viewpoint of “daily/ everyday life,” which the term craft must have included, is often missing. In other words, the crafts that were made with local materials and techniques and have been used in everyday life contain elements that have been overlooked by a modern mind. “Tiles, Small Shrine and Tourism” is aimed at investigating such vernacular livelihood culture from the viewpoint of craft on the periphery of folk art and architecture. The process of creating “Tiles, Small Shrine and Tourism” began with researching tile shrines scattered about Kyoto City, then extracting the characteristics of each shrine, and finally producing bricolage tools based on these characteristics. In this proceeding from “looking” to “making,” it is important how a motif could be interpreted based on a research, not only how the objects are expressed. I have worked in Japan’s cultural context so far, and I am more concerned now with contextualizing a country/culture’s everyday life in relation with other cultures, or the universal. When I think of the wider Asia Pacific region, I would like to discover possibilities of relation among cultures, with a motif based on hybrid lifestyle crossing the region. My work is based on a concern to rediscover and reinterpret, from the context of the craft, the vernacular everyday culture that has long been overlooked in the modern hierarchy of the fine art and craft. Particularly, I am interested in seeing Japan’s modernization from Meiji to Taisho period (from the latter 19th century to the early 20th century) as reflected in materials such as tiles and ostracons, or potsherds. What I would like to convey is a translation of lifestyles, rather than a personal expression. 2016-03-28 11:03 Nicholas Forrest
29 Cai Guo-Qiang Asks “What About the Art?” At Qatar Museums Gallery Related Artists Cai Guo Qiang Zhou Chunya Sun Yuan & Peng Yu MadeIn Company When Chinese artist Cai Guo-Qiang heard his native art scene discussed by critics, he found it only focused on two things: the sociopolitics of China the work was part of, and the market values the work was valued at. As a response to this, he has created “What About the Art?,” a group exhibition at Qatar Museums Gallery Al Riwaq in Doha that focuses on creative value ovr capital value in the work of 15 living artists and artist collectives from Mainland China. The exhibition, which the artist has dedicated three years to researching and developing, aims to ask two questions, which the gallery released in a statement: “What about the art itself,” and “How do these Chinese artists contribute to the creativity of contemporary art?” To answer these questions, Cai draws from a wide array of genres and creative practices currently being undertaken in China. Some traditional fine art categories do feature in the exhibition, like Zhou Chunya’s oil paintings or the sculptures of Hu Zhijun, an ex-peasant who Cai commissioned to make his exhibition debut here with 500 works in clay representing famous contemporary Chinese artworks. However, as fits the theme of the exhibition, Cai presents a much larger overview of Chinese creative industries, which includes everything from the work of video game designer Jenova Chen to pieces by artist duo Sun Yuan and Peng Yu, whose controversial sculptures have used materials including human fat and live animals. 2016-03-28 10:59 Samuel Spencer
30 “Yang Yongliang: Fall into Oblivion”at Pearl Lam Galleries, Singapore Related Events Yang Yongliang : Fall Into Oblivion Venues Pearl Lam Galleries Singapore Artists Yang Yongliang Pearl Lam Galleries in Singapore will host the paintings and collages of Yang Yongliang alongside a new feature-length film that gives the exhibition its title, “ Yang Yongliang : Fall into Oblivion.” This 58-minute film, inspired by “The Peach Blossom Spring” (421), a tale written by Liu Song dynasty writer Tao Yuanming of a fisherman who stumbles upon a hidden utopia, sees a kendo armor-wearing man following a raven through what the gallery calls a “timeless dreamscape,” removed from the modern metropolis, a place where dreams and reality merge to point where existence itself seems meaningless. The film, shot in a grayscale that is Yang’s usual color palate, is matched with a number of gray works that together create an immersive experience intending to mirror in the gallery space the film’s protagonist’s uncovering of a new world that is a natural idyll in a concrete world. Among these are two new mixed media paintings acrylic paints are combined with cement to create gray, mountainous structures on the surface of the canvas. These paintings, which make mountains out of the very material that has created the modern world, maintain the binary between natural and man-made that is at the core of much of “Fall into Oblivion” the film and exhibition. These new works are featured alongside past digital collages. In these, Yang takes the natural wonders of mountains, forests and lakes that Yang had to constantly paint as part of his training in traditional “shan shui” painting and digitally manipulates them to add cranes and skyscrapers, creating what the gallery terms “fable[s] of the development of modern civilization,” full of “of psychological turmoil and uneasiness that is characteristic of the modern era.” Along with the film, paintings and photo-collages, Pearl Lam will also be displaying materials and props from the making of “Fall into Oblivion,” allowing gallery goers how this artist fascinated with the modern world deals with the modern art of film-making. 2016-03-28 10:52 Samuel Spencer
31 Charles Schwab 'Fires' Artist stock trades- Sarah Meyohas, the visual artist who drew considerable attention for a show this past January which involved trading shares on the New York Stock Exchange and then making paintings about it, was dropped by her broker Charles Schwab. Felix Salmon has a fascinating report on Fusion.net connecting the dots. It suggests that Schwab, which refused to comment or explain why it closed the artist's brokerage account, did so because of the show, which was held at 303 Gallery. Meyohas's website features a detailed description of the project, where she notes: "Once I have moved a stock price, I will redraw it on canvas with oil stick. " The artist told the Atlantic that the act was "scratching into a stock like, ‘I was here.'" Salmon points out that the stocks "were small, illiquid securities," continuing that "Meyohas bought shares as high as $29, sold shares as low as $22.05, and ended up losing money on the stock while making this painting. " Meyohas wrote that a company called "Paradise INC" was her first trade for the project, which was completed on January 12. "The broker called me up to tell me I was the only person in paradise," she writes. "I made the stock move by fully one third of its market cap. It was the smallest company I moved. " The rest of the paintings in the show were the result of trades made from a TD Ameritrade account that Meyohas set up specifically to fund the artwork. According to the letter Meyohas received in March: “During a recent review of the account referenced above, we determined that it no longer meets Schwab's business guidelines for accepting and/or maintaining accounts. Schwab is now exercising its right to close your Schwab account. " Under the terms of its broker/client agreement, Schwab was in its rights to terminate the account, Salmon writes, since it may be a case of market manipulation, as Bloomberg financial writer Matt Levine notes in his January 20 column. Despite the closure, the story has a "happy ending," as Salmon points out. "TD Ameritrade, where she did all the rest of the trades in her show, was more than happy to be her new brokerage. Indeed, a broker there loved her project and said that it was 'an honor' to have her as a client. " Meyohas also drew considerable attention and interest with her " BitchCoin " show last February in Brooklyn, where she created a cryptocurrency to offer pieces of photographic prints to collectors. artnet News reached out to the artist for comment, but she did not respond to requests by time of publication. Follow artnet News on Facebook . 2016-03-28 10:27 Eileen Kinsella
32 Architects Win Prize for Plan to Pit Central Park In an alternate universe where architects Yitan Sun and Jianshi Wu had their way with the land, the pair would pit the entirety of Central Park. The thought is certainly jarring, but it turns out architecture magazine eVolo took a liking to their project, as the proposal was selected as the publication's first place winner from over 480 submissions. The magazine's annual competition started back in 2006, and was established to scout out ambitious, large-scale architectural projects that employ new ways of using technology and space. Titled ' New York Horizons ,' the project would reveal the geological formations beneath the park. Its colossal, 1,000-foot-tall glass perimeter would be used as a "hybrid multi-functional mega structure" for public and private projects. According to the architects, the structure would be designed in so that "every occuppiable space has direct connection to the nature. " While their aim is admirable, the apartments in the enclosure are likely anything but affordable. According to eVolo, the pair edged out a bizarre (and frankly terrifying) drone skyscraper titled "The Hive" in New York City and a futuristic data tower on an unspecified arctic plot in Iceland. eVolo shared that their 21 honorable mentions count "skyscrapers that purify air, vertical cities, and sensory towers that explore our psychological relationship with space"—whatever that means. Follow artnet News on Facebook. 2016-03-28 10:24 Rain Embuscado
33 OLO 3D printer OLO uses white light from smartphones to create detailed 3D prints OLO uses white light from smartphones to create detailed 3D prints all images courtesy of OLO startup OLO has built a 3D printer around necessary light from a smartphone. the team has been hard at work for two years design the case, reinventing mechanics and reengineering microchips, which resulted in a portable, easy to use printer made of only seven plastic parts, one chip and one motor. alongside the hardware, the company introduced a line of materials called ‘daylight resins’, which harden under white light of a smartphone screen. it’s case was made specifically to filter out all harmful external light to maximize the precision of the print, where it can reach 42 micron resolution. the 3D printer can use eight different resins weighing just over a pound, the printer’s size allows users to take it with them in a bag. with 400 cubic centimeters of printing volume, it can fit almost any phone, including the large ‘iPhone 6S+’ and ‘galaxy A7’. with four AA batteries which power the motor, give it the freedom to printer anywhere that will last up to 100 prints. OLO have setup a funding campaign on kickstarter, with plans to delivery the final produc august 2016. OLO comes equipped with two sets of resin 2016-03-28 10:15 Piotr Boruslawski
34 Donald Trump's Tombstone in Central Park A renegade artist took to Central Park this weekend to express discontentment with presidential candidate Donald Trump in the form of a fake tombstone dedicated to the oft-lampooned businessman with the epitaph "Make America Hate Again. " The mysterious stone also features Trump's birth year, 1946, but includes no year of death. Despite the billionaire's popularity at the polls, Trump has been repeatedly eviscerated by artists, perhaps most memorably by Hanksy , who transposed the Republican front runner's face onto the poop emoji . Related: Who Said This—Andy Warhol or Donald Trump? "I just wanted to boil it down to the basics, make it as simple as I could. And Trump is a piece of shit," Hanksy told the Independent. The newspaper predicts the "Dump Trump" image could very well be "the definitive artistic take on the 2016 race," ala Shepard Fairey 's Obama "Hope" and "Change" posters. The equally-critical graveyard project first surfaced on social media on Saturday, but by Sunday night had been removed by the city Parks Department—much to the chagrin of anti-Trump New Yorkers. A spokesperson for the parks department told NBC that there is currently no information as to who erected the tombstone, but that it was city employees who hauled it away. No word on where, exactly, the artifact was hauled to. Renegade art installations have become a common occurrence, especially in New York green spaces. Last year, a bust of National Security Agency whistleblower Edward Snowden appeared in Fort Greene Park. The 100-pound sculpture was promptly removed , but later resurfaced at the Brooklyn Museum as part of its " Agitprop! " exhibition. Perhaps Dump Trump, Trump's tombstone, and all of the other anti-Trump art projects the 2016 election has already given way to will someday have a museum show of their own. Until then, we're just happy there are artists around to articulate what we're all thinking. Follow artnet News on Facebook. 2016-03-28 10:12 Cait Munro
35 Museum to Feature Bill Cosby in Exhibition As the Smithsonian's National Museum of African American History and Culture , founded in 2003, prepares for its long-awaited opening, slated for this fall, the new institution is already attracting controversy for its plans to feature disgraced comedian Bill Cosby without including any mention of the scores of women who have accused him of sexual assault. "If they just speak about the contributions, there will be this enormous presence that is not talked about," alleged Cosby victim Patricia Leary Steuer told the New York Times . Currently, the museum plans to include Cosby's 1964 record I Started Out as a Child ; video clips from television shows "I Spy" and "The Cosby Show," with accompanying wall text describing it as "one of the best-loved American TV shows;" and an "I Spy" comic book. Given Cosby's pioneering work in television, the curators felt his inclusion in the museum was a necessity. "It is hard to identify anyone who had a stronger impact on the representation of African-Americans on television in the 20th century," Kathleen M. Kendrick told the Times. Kendrick curated the museum's "Taking the Stage" exhibition. The museum's Cosby conundrum is just one of the difficult decisions involved in presenting African American history. How do you tackle the issue of slavery, with all of its inherent violence? How much emphasis do you place on the election of Barack Obama, versus, say, the Black Lives Matter movement? It's a delicate balancing act that Kellie Carter Jackson, a professor of 19th-century African American history at New York's Hunter College, told the Times is "probably one of the most difficult tasks in curatorial history. " Ultimately, director Lonnie G. Bunch III decided to largely leave the task of telling the story of the country's first African American president to Obama's forthcoming presidential library. There will be just one full display case dedicated to his presidency, and a visit to the museum will end instead with video interviews with Black Lives Matter activists, exploring issues of race, activism, and identity in 21st-century America. The museum is funded by a combination of government funding and private donations; Microsoft pledged $1 million to the institution last week. President Obama is expected to mark the opening of the museum with a ribbon-cutting ceremony on September 24. Follow artnet News on Facebook. 2016-03-28 10:08 Sarah Cascone
36 Is Artist's Detroit House Project Ruin Porn?— An art project by expatriate American artist Ryan Mendoza , who brought the façade of an abandoned Detroit home to Europe as an installation, has raised hackles and generated debate about ruin porn. It's also left behind what some locals call an eyesore, reports the Detroit Free Press. When the 45-year-old Mendoza, a Pennsylvania native who has for years lived in Germany and Italy, was looking for an abandoned house to airlift to Europe for an installation at the Art Rotterdam fair, he was simply looking for a symbol of home and family. But finding that building in Detroit made his project much more controversial than he initially planned. When city officials declined to collaborate with him on the project, feeling it wouldn't burnish the city's image, a friend of the artist bought the house and gave it to him. The fact that it came from Detroit, Mendoza told the Detroit Free Press , only deepened the meaning of his undertaking. He now hopes to bring more facades of disused Detroit homes to Europe, where he'll auction them off, then sending the money to locals to help them buy or rehabilitate homes in the Motor City. But some Detroiters are less than pleased. "A Berlin-based artist has taken ruin porn to a whole new level," wrote Colleen Kowalewski on the website of the Detroit Metro Times. Brian Farkas, special projects manager for the Detroit Building Authority, told WDIV Detroit , "You can't do this in Detroit anymore. This is not everyone's canvas. These are neighborhoods, people live here. " Mendoza poured about $50,000 of his own money into the project, funded by selling his own paintings, and his fans kicked in $16,000 via a crowdfunding initiative. It will take up permanent residence at the Verbeke Foundation, in Antwerp, Belgium. However, local resident Vincent Thomas, who had grown up in the house but lost it to the city over unpaid taxes, is supportive of Mendoza's effort. "I'm glad that somebody is doing something with it," he told the Detroit Free Press. "But I hope something positive comes out of it for the city. That still needs to happen. " Follow artnet News on Facebook. 2016-03-28 09:58 Brian Boucher
37 Streamlined table lamp lights up all layers of plywood more from Studio Roex home accessories The Streamlined collection reflects the true character of the everyday material of plywood. Due to its structural value, plywood usually serves a purely functional purpose. “Its a real shame,” comments Studio Roex, “because its multiple layers of bonded wood veneer is what makes it so unique.” Streamlined aims to reveal the true identity of plywood by emphasizing and highlighting the various wood layers that are usually only marginally visible. By CNC milling the two- dimensional plywood sheet material, a three- dimensional material can be produced. As a result, the pattern of layers flare out, creating a subtle interplay of lines. The Streamlined collection consists of a table lamp and a chair. The products feature organic stylistic elements and transparent constructions. All products within the Streamlined collection are composed of individual parts. This results in fragmented lines, i.e. lines that flow in different directions in every part. The lamp is available in both a transparent and anthracite version. The anthracite version is semi-transparent, so that the line pattern remains visible. General conditions BNO apply General conditions BNO apply 2016-03-28 12:47 www.designboom
38 Untitled Art Fair Expands to San Francisco Related Events Untitled Art Fair Venues Untitled Art Fair Untitled The Untitled art fair, which has operated in Miami Beach during Art Basel since 2012, is expanding to San Francisco, the fair’s organizers tell ARTINFO. The inaugural edition of Untitled San Francisco is slated for January 2017 in the city’s Pier 70 development. Between 40 to 60 galleries are expected to participate, according to Untitled, and an architect will be brought on to temporarily modify the cavernous structure in the Dogpatch neighborhood of San Francisco. “We’re going to begin with [Untitled San Francisco] being much smaller than Miami Beach,” Jeffrey Walkowiak, a spokesperson, said. (One hundred and twenty-seven galleries participated in the most recent Untitled Miami Beach.) “We want to make it manageable, we want to focus on quality, we want to make a very strong program,” Walkowiak added. “This will be an opportunity for us to work with galleries we haven’t been able to work with before because of Art Basel in Miami.” The Pier 70 site is currently being redeveloped by Forest City Enterprises, a $10 billion real estate investment firm based in Cleveland, Ohio. A website for the project describes the Dogpatch neighborhood as “experimental, artistic, constantly changing, quirky, resourceful, and unpolished.” This image perhaps suits Untitled, which is joining two other recent commercial commitments to San Francisco: Gagosian Gallery’s landing across the street from a soon-to-reopen SFMoMA and Pace Gallery's settling in Palo Alto. (Not to mention two existing fairs: Art Silicon Valley and Silicon Valley Contemporary.) “We had been looking for a second location, and we looked at a lot of different cities but we kept coming back to San Francisco because it has a long history of being a center for a lot of artists and different kinds of progressive thinking,” Walkowiak said. Asked how the new effort will plug into the city’s cultural systems, Walkowiak explained that conversations with municipal and private organizations, as well as galleries and collectors, were still in the early stages, but praised the Bay Area’s “strong infrastructure” and compelling collector base. 2016-03-28 09:48 Mostafa Heddaya
39 39 people's architecture office proposes tubular living inside three lane crawford retail locations — beijing, shanghai, and hong kong — people’s architecture office (PAO) have realized a series of installations that propose and demonstrate how ‘tubular living’ can be adapted for the future. in this imagined architectural scheme, people can occupy large metal ducts, typically found in buildings’ structural core. informed by hidden ventilation shafts and mechanical systems that support the comforts of modern life, PAO turns architecture inside out by exposing these devices to public view, and offering them as a place of habitation. inside the shanghai store, the installation demonstrates how vertical habitation can be adapted for the future in the system of ‘tubular living’, horizontal spaces are suspended in the air, branching off from vertical towers. metallic cylinders house staircases that lead to upper levels, become occupiable rooms, and turn into tunnels that offer views from above. additionally, internal spaces can be used as oversized speakers, while tubular knots serve as seating and furniture. inside, areas are populated by lighting pieces, tables and chairs designed by people’s industrial design office, a branch of PAO. in its making, the installation used factory-made standardized parts, assembled on site, whose raw industrial surfaces contrast the pristine interior of the upscale retail store. spiral staircases lead to the upper levels of the tubular ‘dwelling’ the architectural material is turned into a system for future living tables and chairs have been designed by people’s industrial design office horizontal spaces are suspended in the air, branching off from vertical towers in this imagined scheme of ‘tubular living’, people can occupy large metal ducts the installation in hong kong is adapted to a smaller setting raw industrial surfaces contrast the pristine interior of the upscale retail store the installation is constructed from factory-made standardized parts, and assembled on site 2016-03-28 08:45 Nina Azzarello
40 Pierre Marcolini Teams With Peter Pilotto on Chocolate and Macaron Box More Articles By London-based designers Peter Pilotto and Christopher de Vos have designed a multicolored box that houses the chocolatier’s treats. Using bright graphics from their previous collections, the designers fused a crossword puzzle design with bold colors in a palette of grass greens, indigo and sunshine yellow. “The collaboration was a very natural and exciting process,” Pilotto told WWD. “The possibilities for the design of the box were really open, so we wanted to do something fun and playful that reminds you of a board game, using some of our signature colors and graphic layouts.” The colorful box contains chocolate treats, pralines, Maison Pierre Marcolini Grand Cru chocolates and macarons including lemon, passion fruit, pistachio praline, nougat praline, salted caramel and raspberry. “I like to work with designers who are not expected in the chocolate world,” said Marcolini of working with Pilotto. “It’s really inspiring and rewarding to gather two brands that have the same sensitivity and desire for creation. It’s always a real pleasure to work with fashion designers with the same creative boldness and with respect for each other’s unrivaled expertise.” The price is 29.90 pounds, or $42, for a box of 12 macarons to 39.90 pounds, or $56, for a box of chocolates. It will be sold at Selfridges starting March 28 and at Maison Pierre Marcolini and Harrods on April 8. 2016-03-28 08:00 Lorelei Marfil
41 Studio Job Crashes Through Good Taste- THE DAILY PIC (#1520) : This train-crash coffee- table (the flat top of the smoke is where you put your drinks) is one of the centerpieces of the new survey of the Antwerp design atelier called Studio Job, now featured in a big way at the Museum of Arts and Design in New York. I published a whole page on Job in yesterday's New York Times , but I wonder if I got across just how much the studio's work would be hated by any design lover with a shred of good taste. I myself can't imagine that there are many of their pieces that I'd ever want to have in my living room. But that simply shows that Studio Job is at last helping design catch up with fine art, where for many decades now the most important pieces have been totally unsuited to home use. Who can imagine having an Anri Sala video projection or Jeff Koons porn painting over the sofa? And yet a certain aggressive tastefulness is still the main criterion for “good" design, as it has almost always been. Compared with the cast-bronze pieces by Studio Job, even the most kitsch- aspiring works of 1980s postmodern design still seem built on a scaffolding of modernist elegance. The truth is, the whole issue of domestic taste is pretty much irrelevant to understanding Studio Job, since its pieces aren't really design objects at all, so much as pictures of imaginary design objects that happen to executed in 3D, at a scale of one-to-one to the imagined chairs, tables or dressers that they represent. "If we show a bucket, it's an image of a bucket," said Nynke Tynagel, who founded the studio alongside Job Smeets. After spending a few hours with her and Smeets, and studying a vast pile of Job clippings and videos, I think something similar could be said about the two designers: They are all about crafted images – of themselves. Photos have shown them standing at attention in tailored black suits and waltzing barefoot in slinky white; they've appeared as workers in paint-slathered coveralls and as farmer's with apple-red cheeks. (In a pair of goofy portraits on the surface of Job-designed porcelain cups.) When I met him at MAD, Smeets looked as though he was trying on a new persona as a hard-rock roadie from the 1970s. Inhabiting roles, the pair agree, is central to what their art and career are about, the way it was for Warhol and Dali and maybe even for Picasso and Bourgeois. When the duo founded a display space called “Studio Job Gallery" in Antwerp, it was much more about “playing gallery," as Smeets put it to me, than attracting collectors or having exhibitions or going to art fairs. Their “Studio Job Suite" in Amsterdam was never supposed to be a real apartment for them to live in so much as an image of an “apartment" that would come to life in magazine photos, and the new Job brewery they are working on now seems more about trying on a brewer's rubber boots than turning out beer. (Beer will be brewed, they say, but they have no particular opinion about what it ought to taste like.) I have a feeling that their role as “designers" is just as much part of the necessary artifice that shapes the meaning of their work as it is a natural product of their object making, or a precondition for it. They only need to take their place in the world of design in order for their work to fully register as the antithesis of design's exhausted standards of good taste. Because if Nynke and Tynagel simply got counted as “artists", their works would then have to be “sculptures", and not much more extreme, even in their bad taste, than many others that are out there in the art world. (Photo by Adrien Millot, courtesy Carpenters Workshop Gallery ) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-03-28 06:00 Blake Gopnik
42 foster + partners' slender luxury new york residential tower soars at 61 storeys scheduled to open by 2017, international practice foster + partners‘ ‘100 e 53rd street’ luxury residential tower will rise at 61-storeys on the corner of lexington and 53rd street in midtown manhattan. developed in partnership with chinese developer vanke and aby rosen of RFR, the slender building explores the dynamic between its urban context and its skyline. formally, it responds to the precedent set by two neighboring twentieth-century modernist icons – som’s 21-storey lever house of 1952 and mies van der rohe’s 38-storey seagram building of 1958. the scheme will rise at the corner of lexington and 53rd street in midtown manhattan exploring the ethos of modernist architect mies van der rohe’s of philosophy of rationality, simplicity and clarity, the tower’s minimalist geometric form is a result to blend with its distinguished neighbors. access is marked by a recess beneath a canopy that sits harmoniously alongside the entrance and pavilion of the seagram building. a smaller building will host a bar and restaurant, a spa and swimming pool. ‘from the floor of the atrium, the tower rises up like a soaring vertical blade, the view up creating a sense of drama and reinforcing the connection between the summit and the ground.’ to preserve the smooth appearance of the facade, opening vents in the glazing flap is positioned inwards an innovative glazed skin wraps around the building, concealing the structural elements which are further masked beneath integrated shadow boxes. to preserve the smooth appearance of the facade, opening vents in the glazing fold discreetly inwards. the pricing of the units 94 spacious units; starting at $3,350,000, with the larger apartments occupying the entire floor area of the higher levels. complementing its sleek exterior, the space utilizes luxury materials, finishes with large glazing in all directions framing a constant view of the vibrant city scape. expand the gallery below to see images of the sales showroom of 100 e 53rd street. another project by foster + partners office tower ‘425 park avenue‘ is currently construction some apartment units take up an entire level of the building the narrow footprint allows the interior spaces to be flooded with daylight rooms are presented with views of cosmopolitan cityscape the tower contains a total of 94 units at 61 storeys the tower will host an array of facilities such as a spa and pool the entrance is recessed beneath a canopy that sits alongside the entrance and pavilion of the seagrambuilding 2016-03-28 05:15 Natasha Kwok
43 It’s Difficult to Pigeon-Hole Nadia Kaabi-Linke, And Her Work Related Venues Gallery Experimenter Artists Nadia Kaabi-Linke Nadia Kaabi-Linke/ Experimenter If you are familiar with the Indian way of life, you would know what this means – deewaron ke bhi kaan hotey hain (walls too have ears). It’s a phrase used to warn people discussing things of vital importance, to tell them that they really cannot take even a vacant room for granted. That’s just to indicate that cultures, indeed, give walls an importance that may not seem obvious on the surface. After all, when everything fades away, walls remain as repositories of evidence of all that took place. All one has to do is scratch the surface, or may be just look behind the peeling wall paint, and stories hitherto hidden will start revealing themselves. This surface – a seemingly unimportant entity – along with the passage of time, is the subject of Nadia Kaabi-Linke’s solo exhibition at Kolkata’s Experimenter gallery, on view through the end of April. With this new enquiry, the Berlin-based artist departs from her printmaking activity to go behind the metaphysics of intangible concepts of surface and time. Considering the fact that Kaabi-Linke has had an atypical upbringing, I’m tempted to ask her if her own life’s experiences reflect in her work somehow. “Probably... a very large part of my work is biographical, it may talk about me indirectly,” she says. It’s not difficult to understand why. Because, Kaabi-Linke cannot be pigeon-holed into one water-tight identity that the world may easily understand. She was born in 1978 in Tunis, to a Tunisian father and a Russian mother. She studied in Tunis, Dubai and Paris, has exhibited all over the world, is married to a German and now lives in Berlin. Obviously, to get to her core, one would need to go beyond the surface, one would need to peel a bit. “Since I finished my PhD in France (from Sorbonne University, Paris, 2008), and finally got down to work, I’ve been largely concerned with ‘the surface.’ I need to go to the depths,” she says. And precisely because of her rich experience as a global citizen, Kaabi-Linke feels drawn to the issues and crises of people who move across cultures, such as the recent large-scale immigrations from Syria into Europe. “Perhaps, because of my different background, I feel drawn to study the issues of immigrants, I very well understand their concerns. However, my enquiry does not concern with just the local surface. It is global and therefore, anybody can understand my work. For instance, the workers helping me instal my works at Experimenter could understand it totally, which was so heartening. I always hope my work concerns tout le monde (the entire world) and is not restricted just to specialists from the art world. It has to be free of categories, to be able to speak to everyone,” she elaborates. Kaabi-Linke’s desire to make her work “talk to many people” may also be subconsciously born out of the experience that pigeon-holing has not really worked in her case. That can be quite a personal crisis if one is not mature enough to process it. As she says, “I’m not considered from Russia, and I’m a problematic Tunisian. They just can’t seem to fit me simply from one region. That’s why Mr & Mrs Everyone understand my work better than specialists,” she laughs. The artist takes the phrase ‘scratching the surface’ quite literally in her work “Color of Time.” This comprises canvases painted with unique pigments created by the grinding of paint chips collected by scraping paint from old walls that have been painted and repainted over time, from all over the world. It literally is a reflection of how time has been colored, chipped away, restored and re-chipped away over walls through paint. While scratching the surface has helped Kaabi-Linke reveal many stories for her audiences, the metaphysics of time has helped her enquire into its passage and how silently it changes everything, absolutely everything. It is beautifully expressed at the Experimenter show through her work “Salt and Sand,” 2016 where the duration of her exhibition is used as the defining tool. A weighing scale is balanced exactly with salt on one side and sand on the other, and hangs from the ceiling in the gallery. Over the course of the exhibition, the set-up changes its balance with the salt absorbing water through the humid air and becomes heavier. Through this simple piece, Kaabi-Linke talks about the passage of time, the shifts and imbalances that occur over the period, making it a nuanced reflection of what is ephemeral and what is not. Another intereseting work that will develop during the course of the Kolkata exhibition is “Laissez le temps au temps (Kolkata, March 2016)”. The painting – a continuation of another work by the same name made in Tunis – is being created by letting dust settle on the canvas, and fixed everyday for the duration of the exhibition. In translation, the title means, “Let time take its own course.” It lies exposed in Kolkata, and by acquiring dust particles it is taking impressions of time as it moves from one hour to the other, and the final shape will depend on how chance played its role on this canvas. What makes Kaabi-Linke’s work so cutting-edge is that it is deeply entrenched in her thoughts, defying all attempts to classify it on the basis of material used. That makes her a truly global contemporary artist as the freedom to go beyond the boundaries of a material also indicate that she has the freedom to let her thoughts breach whatever boundaries there may be. “Lost and Found” is on view at Experimenter, 2/1, Hindustan Road, Kolkata, through April 30. Follow@ARTINFOIndia 2016-03-28 04:49 Archana Khare
44 Video: Sudarshan Shetty for the Rolls-Royce Art Programme Related Events 20th Biennale of Sydney 2016 Venues Biennale of Sydney Artists Sudarshan Shetty Sudarshan Shetty is recognized as one of the most innovative contemporary Indian artists working today. Based in Mumbai, Shetty is best known creating engaging sculptural installations and multi-media works that explore themes of death and renewal, desire and entropy, subtlety and spectacle. 2016 has been a big year for Shetty. He was appointed the Artistic Director and Curator of the 2016 Kochi Muziris Bienniale, presented an exhibition of his work at the National Gallery of Modern Art (NGMA) in New Delhi, and is one of 83 artists participating in the 20 th Biennale of Sydney. On show at the Art Gallery of New South Wales as part of the Embassy of Spirits, Shetty’s 20 th Biennale of Sydney presentation, titled “Shoonya Ghar” (Empty Is This House) 2015, comprises an hour-long film and an architectural model of one of the buildings in the film. Taking inspiration from a work by the 12th century poet Gorakhnat, the film combines scenes of building and construction with dramatic scenes enacted by a range of characters representing birth, death, dance, play, music, and violence. As part of their innovative Art Programme, Rolls-Royce presented an art talk by Shetty on his 20 th Biennale of Sydney work at the Art Gallery of New South Wales. Commenting on the talk, a spokesperson for the Rolls-Royce Art Programme said: “Rolls-Royce has been delighted to present an art talk with Indian artist Sudarshan Shetty as part of the Rolls- Royce Art Programme, in celebration of his work currently featured in the 20th Biennale of Sydney. “The Rolls-Royce Art Programme comprises new works commissioned in situ, partnerships with leading organisations, art talks with emerging and established artists, art drives, art walks and art receptions around the world. “Rolls-Royce is pleased to have featured Shetty as part of the programme as one of the rising stars of the art world from the Asia-Pacific region.” Launched in 2012, the Rolls-Royce Art Programme has comprised of a series of art talks, in situ projects and artistic partnerships highlighting the craftsmanship and iconic character of the Rolls-Royce brand with renowned artists such as Isaac Julien, Erwin Wurm, Will Cotton, Marie- Jo Lafontaine, Tomàs Saraceno and Karl Lagerfeld – to name a few. To find out more about “Shoonya Ghar” 2015, BLOUIN ARTINFO caught up with the artist while he was in Sydney for the Rolls-Royce Art Programme talk. See what he had to say in the video above. 2016-03-28 02:55 Nicholas Forrest
45 fkb arquitectos' casa en santa monica formed of intersecting concrete volumes ‘casa en santa monica’ is a single family residence meant for temporary use but fitted to accommodate permanent living for a family with two children. located in cordoba, argentina, and designed by local studio fkb arquitectos, the home departs from the vernacular present in the suburban setting and explores a markedly different approach to designing an energy- passive, low maintenance home. board form concrete was chosen as the primary structural material for its durability and strength, requiring very little maintenance and also able to negotiate the sloping site without the need for reinforcement. two volumes comprise the design, oriented to traverse the natural grade of the site facing a river which delineates the extend of the property. image © federico cairoli the vertical form begins at grade, extending a green roof born from the ground that extends towards the sky which houses the private bedrooms. projecting horizontally from this form hovering slightly above the ground two slender concrete planes frame an open terrace connected to the social living areas. shaded by the deep eave and operable steel screens and glass walls, the interior of this space acts as a buffer area which helps to maintain steady temperatures. the home is oriented to take advantage of sunlight to heat the spaces but also contains calculated openings in order to cross ventilate and naturally cool the inside. a wood burning fireplace in the living area utilizes the structures thermal mass to efficiently warm the space as well. view from the river image © federico cairoli retracted steel screens open the living areas to the exterior image © federico cairoli interior of living area enjoys panoramic views of its surroundings image © federico cairoli the seep eaves shade the terrace protecting the conditioned space from excessive solar heat gain image © federico cairoli view towards the kitchen and bedrooms beyond image © federico cairoli a green roof extends the entire length of the rooftop deck image © federico cairoli 2016-03-28 02:30 Danny Hudson
Total 45 articles. Created at 2016-03-29 00:02