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46 articles, 2016-04-29 18:02 1 Muse: Life Before (and After) (and During) the Digital Revolution - Magazine - Art in America Casting a dubious eye on the new “tyranny of gadgets,” artist John Miller recalls a pre- digital childhood and his lifelong quest to make time blissfully his own again. 2016-04-29 18:02 9KB www.artinamericamagazine.com 2 Feel Like This: Sam Johnson on Luis Garay’s Maneries 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 o... 2016-04-29 14:52 946Bytes blogs.walkerart.org 3 Cushnie et Ochs Partners with Bandier, Pamela Love The label will launch a 10-piece activewear collection with Bandier and a jewelry collaboration. 2016-04-29 00:10 2KB wwd.com 4 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-04-29 12:59 1KB gdusa.com 5 In Which Hip-Hop Ends Up Saving Itself: On Charlie Ahearn’s Wild Style Considering its status as a founding document of one of the twentieth century’s defining cultural phenomena, it would be easy to forget Wild Style’s origins in the high art ferment of New York's... 2016-04-29 12:10 933Bytes blogs.walkerart.org 6 blue lake retreat texas by lake flato architects overlooking the lake, the blue late retreat by lake flato architects immerses the residents with the surroundings using balconies, terraces and expansive windows. 2016-04-29 13:24 2KB www.designboom.com 7 Indian Online Retailer Koovs.com Raises Funds for Further Growth Indian online retailer will channel funds into marketing 2016-04-29 13:22 2KB wwd.com 8 BEYOND - the veuve clicquot journey by fabrica fabrica marked the special anniversary with a full-immersive experience that brought people on a veuve clicquot journey through real and imagined landscapes. 2016-04-29 13:00 4KB www.designboom.com 9 IBM’s Watson Helps Create Marchesa Met Gala Gown Marchesa designers Georgina Chapman and Keren Craig worked Watson to create a dress that is set to appear at Monday’s Met Gala. 2016-04-29 13:00 2KB wwd.com 10 kocohedron collection by kocowisch is an ode to mathematical shapes the lamp collection consists of five basic shapes in three sizes that are available in four different finishes: gold plated, copper plated, chrome or painted in the color of choice. 2016-04-29 12:30 2KB www.designboom.com 11 Quayola Turns 'Laocoön and His Sons' into Meta-Sculptures Computer algorithms reinterpret one of the greatest artworks in the world. 2016-04-29 12:15 3KB thecreatorsproject.vice.com 12 Stay Ready: Lizzie Borden on the Post-Revolutionary Future of Born in Flames Released in 1983 during Reagan’s presidency and Ed Koch’s tenure as mayor of New York City, Lizzie Borden’s futurist, science-fiction feature Born in Flames (1983) imagines political activism t... 2016-04-29 14:52 938Bytes blogs.walkerart.org 13 leica M-D digital rangefinder leica M-D it is the first serial production model of the digital family to be made without a monitor screen. 2016-04-29 12:00 2KB www.designboom.com 14 aesop NEWoMan shinjuku by torafu architects 108 pieces of limestone was used to form this aesop store by torafu architects inside a mall in tokyo. 2016-04-29 11:33 1KB www.designboom.com 15 greg guillemin's pop-art personalities reveal the montreux jazz festival's musical lineup for the montreux jazz festival, french artist greg guillemin has been commissioned to create a collection of artworks that hint at the musical lineup. 2016-04-29 11:04 1KB www.designboom.com 16 ron arad and design(ing) museum reveals the construction of design museum holon ron arad and asa bruno (director of ron arad architects) have published a detailed journal on design museum holon's construction. 2016-04-29 10:27 2KB www.designboom.com 17 Prince's Purple Rain Jacket to Auction— If you've got $8,000 to spare, you might be able to snag Prince's motorcycle jacket from the iconic 1984 film "Purple Rain" at auction this summer. 2016-04-29 09:33 2KB news.artnet.com 18 PETA Invests in Prada to Protest Ostrich Skin Products The nonprofit organization said it aims to “end the sale of cruelly produced ostrich skin purses.” 2016-04-29 09:30 2KB wwd.com 19 Morning Links: Global Ultra Luxury Faction Edition COURTESY GULFLABOR. ORG ULTRA LUXURY "Last night, members of the artist-activist groups Global Ultra Luxury Faction and the Illuminator projected phrases 2016-04-29 08:59 2KB www.artnews.com 20 amey kandalgaonkar's dark deco series imagines noir- shanghai shot during the day using ND filters, visually striking art deco structures are re-imagined as dark, foreboding scenes. 2016-04-29 08:45 1KB www.designboom.com 21 Call for Applicants: Walker Art Center Mildred Friedman Design Fellowship 2016–2017 The Walker is pleased to announce that its 2016-2017 Mildred Friedman Design Fellowship is now open for applications. APPLICATIONS ARE DUE: MAY 23rd Since 1980, the Walker’s Design department has... 2016-04-29 11:06 3KB blogs.walkerart.org 22 MVRDV + COBE open ragnarock music museum in denmark in roskilde, denmark, the collaborative team of MVRDV and COBE has opened ragnarock, a gold-studded music-themed museum. 2016-04-29 08:00 2KB www.designboom.com 23 Clearing the Haze: Prologue to Postmodern Graphic Design Education through Sheila de Bretteville Author’s preface: At the outset, this project was defined as an intensive effort to examine and reassess the work of Shelia Levrant de Bretteville. The initial motivation was driven by the connectio... 2016-04-29 09:56 982Bytes blogs.walkerart.org

24 EU Campaign Dear Friends, I’m sure you are also following with horror the rightwards drift and anti-EU sentiment brewing across Europe. The Dutch referendum... 2016-04-29 09:56 2KB tillmans.co.uk 25 Music legend Prince dies at age 57 Prince, a multitalented musician who came out of the Minneapolis scene and changed the world of music forever, has died at age 57... 2016-04-29 09:56 10KB blog.thecurrent.org 26 LAN architecture wraps contemporary town hall in france with double façade LAN architecture's approach to the interior revolves around overlapping spaces and capitalizing on transparency, light and reflection. 2016-04-29 06:15 2KB www.designboom.com 27 Alternate Senses of Tone and Pulse: An Interview with C. Spencer Yeh For Sound Horizon, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three-part progr... 2016-04-29 09:56 946Bytes blogs.walkerart.org 28 2016 Sovereign Asian Art Prize Nominees Announced The list of 30 finalists for the 2016 edition of the Sovereign Asian Art Prize, Asia’s most established arts prize, has been announced. 2016-04-29 06:06 2KB www.blouinartinfo.com 29 Zach Gage Sings the Google Electric Read THE DAILY PIC on a show at Postmasters in which the game designer finds daily haikus in our searches. 2016-04-29 06:00 1KB news.artnet.com 30 Gallery Hopping: Georg Baselitz at White Cube Georg Baselitz's 'Wir Fahren Aus' or 'We're Off' featuring works on paper, large paintings, and sculpture, opened at White Cube Bermondsey this week. 2016-04-29 05:46 1KB news.artnet.com 31 National Gallery Director Nods Towards Europe Director of London's National Gallery has said that he is "strongly European" when pressed on the UK Referendum on EU membership, or so-called Brexit. 2016-04-29 05:22 2KB news.artnet.com 32 Filmmaker & Artist Wim Wenders Turns to Opera The German Oscar-nominated film director is making a surprise career change at the age of 70. 2016-04-29 04:30 2KB news.artnet.com 33 diego sferrazza fargo armchair & two-seat couch for spHaus intended for use indoors or out, a curvaceous stainless steel frame supports a body of dry-flex polyurethane pillows. 2016-04-29 04:05 1KB www.designboom.com 34 Trevor Noah Discusses the Met Ball, the Daily Show and Life’s Lessons Ermenegildo Zegna dressed the comedian in a midnight blue three-piece suit for Monday’s Met Gala. 2016-04-29 04:01 6KB wwd.com 35 £18M Lucian Freud Family Portrait Heads Christie’s Defining British Art Sale Christie’s has revealed three stunning highlights by Lucian Freud, Lord Frederic Leighton, and Sir Joshua Reynolds from its upcoming June 30 “Defining British Art” Evening Sale 2016-04-29 03:08 2KB www.blouinartinfo.com

36 Q&A: James Borynack, Chairman & CEO, Findlay Galleries With the rebirth of Findlay Galleries, a 50-year-old family feud comes to an end 2016-04-29 02:43 7KB www.blouinartinfo.com 37 Bollywood Actress Priyanka Chopra To Dine With US President Barack Obama National Award winner Bollywood actress Priyanka Chopra is going to dine with US President Barack Obama at the annual White House Correspondents' Dinner this weekend. Priyanka will be dining with some of Hollywood's biggest names like Will Smith, his wife... 2016-04-29 02:05 2KB www.blouinartinfo.com 38 Bonhams Breaks 10 Records for Lebanese and Middle Eastern Art Bonhams broke 10 world auction records during its April 27 Middle Eastern and Lebanese Modern and Contemporary art sales in London 2016-04-29 00:01 2KB www.blouinartinfo.com 39 With Its New Building, SFMOMA Cements a Place on the World Stage The exterior of SFMOMA, which was designed by Snøhetta. It opens to the public on May 14. HENRIK KAM Pop open the champagne and ignite the fireworks! The 2016-04-28 22:38 17KB www.artnews.com 40 The Poetry, Politics and Projects of ‘Mad Men’ Creator Matthew Weiner Mad Men creator Matthew Wiener is writing again for yet-to-be revealed television and film projects. And yes, he is still very much in the loop with Jon Hamm, Christina Hendricks, Vincent Kartheise… 2016-04-28 22:32 1KB wwd.com 41 ‘Streetease’ Brings Mr. Brainwash and Seen to Opera Gallery Hong Kong Opera Gallery Hong Kong showcases the work of two street artists, Mr. Brainwash and Seen, in its latest exhibition, “Streetease.” 2016-04-28 20:52 2KB www.blouinartinfo.com 42 ‘Angkor Wat Soviet-Style’: Christophe Malcot on Photographing Chernobyl Commemorating the 30th anniversary of the Chernobyl disaster, ARTINFO spoke to photographer Christophe Malcot, whose latest exhibitions comprises of haunting black and white images of the site. 2016-04-28 20:46 4KB www.blouinartinfo.com 43 7 Must-See Shows at Berlin Gallery Weekend It’s like an art fair, only way more spacious (and way less painful). 2016-04-28 20:05 6KB thecreatorsproject.vice.com 44 Armory Show Head Aims to Change Up Fair— The new head of the Armory Show has unveiled his plans for changing things up at the art fair, including integrating the modern and contemporary dealers. 2016-04-28 20:01 3KB news.artnet.com 45 Police Brutality in VR Proves It's a ‘Hard World for Small Things’ Filmmaker Janicza Bravo ditches dark comedy for headsets to tackle discrimination. 2016-04-28 19:40 4KB thecreatorsproject.vice.com 46 Berlin's Most Notorious Club Gets an Acoustic-Architectural Installation Berghain will become an audiovisual playground for German record label Raster-Noton’s 20th anniversary. 2016-04-28 18:45 3KB thecreatorsproject.vice.com Articles

46 articles, 2016-04-29 18:02

1 Muse: Life Before (and After) (and During) the Digital Revolution - Magazine - Art in America John Miller: Untitled (01-22-15) , from the series “The Middle of the Day,” color photograph, 6½ by 9 inches. Courtesy Metro Pictures, New York. Advertisement On a recent trip, I picked Nancy Meyers’s new film The Intern as my in-flight movie. It includes a scene that’s become an obligatory trope for feel- good stories about seniors learning to cope with their diminished role in the social order: a millennial shows an aging boomer how to use Facebook. We in the audience are supposed to cheer, “Great! Now you’ll be with it! Problem solved!” I thought to myself, “The opposite is true.” Don’t get me wrong. I’m not a Luddite. Rather, it’s because I’m so irrevocably immersed in various electronic technologies that I reject them—at least as a symbolic gesture. I know this is only a small, hypocritical protest, just like that of friends who refuse to use Microsoft products or to carry the latest smartphone. Now, the tyranny of gadgets always wins. But to put it in other, more positive terms, what inspires me is the continuity of time or, more precisely, the experience of this continuity. And, as various metrics increasingly dominate everyday life, the shared understanding of unbroken time is diminishing. I grew up in a small village in Ohio, one with an unusual name: Chagrin Falls. (It turns out that it’s an anglicization of the Native American place name Shaguin, meaning “clear water.”) For much of my childhood, our family, headed by a single mother, had very little money. We spent several years on “relief,” which would later be called welfare. But my brother and I never felt deprived. Instead, because our mother had to work outside the home, most days we were left to our own devices. This was an incomparable opportunity. Back then, large parts of our township had not yet been developed. We were free to roam, not only the streets and backyards but also the woods and fields, completely untrammeled. Mornings typically began with us heading down to the Triangle—which was the town square—to watch the village come to life. A day might be spent walking up the Chagrin River (on the lookout for water moccasins, of course) or building a structure out of branches and rocks, scrounging for forgotten change in parking meters and telephone booths or hunting for arrowheads (still to be found) or salamanders. Playing with sticks and mud gave me a good sense of “materials.” In fact, this was my first—and most influential—lesson in sculpture. Most important, however, was the unhindered expanse of time and space that lay before us. During the summer I experienced this most intensely. As soon as school was out, I discarded my shoes for two or three months. It took about a week or two for my feet to toughen up for going barefoot. With the Fourth of July came trepidation. Summer was already half gone! My most hated school assignment ever was the insect collection due the first day of school. I hated killing bugs in jars with lighter fluid–soaked cotton balls. I hated sticking them on pins and labeling them. Most of all, I hated that the demand to do these pointless things (why not look at live bugs under a tree instead?) encroached on my summer. As the years passed, the magnitude of summer became relative. Deadlines began to loom. I was required to manage things and realized that others were required to manage me. I found ways to compensate. I finished all of my graduation requirements before my senior year in high school. That way, I could spend most of my time in the art room. When the assistant principal noticed, sensing a scam, he called my mother immediately. Luckily, she backed me up. No rules were broken, so there was nothing Wade G. Roby could do about it. At the same time, I was reading the Yippie Jerry Rubin’s book Do It! “We know what freedom is when we hear the bell dismissing school. ‘School’s out, I’m free at last!’” Now I’m a teacher. The summer before I entered college, I worked on the Chagrin Falls Township road crew. The monotony was overwhelming. It was my first encounter with dead time. I had had other jobs, like a paper route—where I could do as I pleased—but here I was stuck, eight hours a day, under the watchful eye of a foreman. My next summer job was working in a plant that produced injection- molded plastic parts, mostly for Mr. Coffees. I circled a row of machines, all operated by women, climbing ladders and pouring plastic pellets into hoppers on one side and sealing the parts into boxes stacked on pallets on the other. The interior of the factory was gray cinderblock. I would glance longingly out the open door in the back at the hazy bushes slowly swaying in the August heat. Going to art school represented another attempt to reclaim time on my own terms. I entered the Rhode Island School of Design in the fall of 1972. No one cared about grades. Financial aid was plentiful. A merciful dysfunction prevailed. Artistic training was a kind of mummery. I decided to major in video art. I worked with a Sony Portapak on half-inch, open-reel videotape. But my medium was time. Like everyone else then, I made “real time” videos. I started wearing a watch and regularly encoded “time” onto magnetic tape. Thus, I became complicit in my own repression. My point, I suppose, is that technology inevitably overtakes experience, and there’s no going back. Perhaps the clock, by seeming to cut time into interchangeable units, was the first device to do this. Upon graduating with an MFA from the California Institute of the Arts in 1979, I quickly discovered I had no marketable job skills. So I taught myself to type and parlayed that into what was then a brand new skill: word processing. I registered with a temp agency that sent me to law offices, advertising firms, and banks. The machine I used was called a Vydec, produced by the Exxon Corporation: a Star Trekian console that threw off considerable heat. It was also the first system to use magnetic floppy disks, produced by IBM, to store data. Companies typically call in temps when their work flow is jeopardized: “Our word processing technician has arrived!” If temp work served as a way to convert time into money, at least I didn’t have to do it full-time. In 1994 I started a series of photographs that is ongoing: “The Middle of the Day.” I shoot these between noon and 2 p.m., which is my least favorite time of day. These pictures can depict anything, but the subject is time, an apictorial abstraction. But they don’t capture time; they are husks, the shed-off skin of time. Concerning photography, the camera, and apparatuses, Czech philosopher Vilém Flusser wrote, “Nothing can resist the force of this current of technical images —there is no artistic, scientific or political activity which is not aimed at it, there is no everyday activity which does not aspire to be photographed, filmed, videotaped. " 1 The photo, the camera, the apparatus, etc., destroy time—or at least the experience of its continuity. The first smartphones went to market in 1994. Such phones gradate time into ever finer interstices. They are constant. They are cybernetic devices par excellence. Yet if the mobile phone once appeared as a status symbol, as in Oliver Stone’s 1987 Wall Street (where Gordon Gekko, played by Michael Douglas, carries one the size of a quart of milk), the ubiquitous smartphone now seems a bit proletarian. Everyone uses one. They’ve also reconfigured a whole genre of critical discourse: that of the cyborg. I see three phases in this discourse. In the first, typified by Dada and sci-fi images, the cyborg is a violent hybrid, produced under an Orwellian regime. The image of grafting skin onto metal captures the shock of this. In the second phase, typified by Donna Haraway’s “A Cyborg Manifesto” (1985), this incipient violence is reclaimed under the banner of liberation. Only the mutant is truly free. In The Cyborg Handbook (1995), for example, academics of all persuasions proudly lay claim to the honorific title of cyborg. Here, the expectation is that technological mutation will transcend gender, and thus sexual repression. In the third phase, characterized by handheld devices, the term, along with any recognizable mutation, disappears. Instead, the masses enter a cybernetic relationship to the world without even being aware of it. Desire is automatic, as are the effects of the sought-after technology. It is no longer necessary to transform the subject’s body to produce this cybernetic relationship; it is only necessary to insert that subject into a functional network. For this reason, we repeat the phrase “in search of lost time” ever more poignantly. Sticks and clay. Go for it! “I Stand, I Fall,” at the Institute of Contemporary Art, Miami, through June 12. 2016-04-29 18:02 by Anri

2 Feel Like This: Sam Johnson on Luis Garay’s Maneries 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, performance-based artist Sam Johnson shares his perspective on Maneries by Luis Garay in the […] 2016-04-29 14:52 By

3 Cushnie et Ochs Partners with Bandier, Pamela Love More Articles By Cushnie et Ochs is expanding beyond its ready- to-wear , branching into activewear with a collection for Bandier and a limited-edition jewelry collection designed by Pamela Love. The jewelry will be available for pre-order on Monday, while the Bandier project will launch May 25 at Bandier’s five stores in New York and Dallas, and the company’s e-commerce shop, which ships globally. Branching into activewear isn’t a quantum leap for designers Carly Cushnie and Michelle Ochs, whose collection is defined by body-con dressing. The Bandier line includes 10 performance pieces — three leggings, three bra tops, two tank tops, a track pant and a jacket — made from an eight-way stretch fabric. The collection is being billed as luxury activewear, and includes double-face techniques as well as laser cut, cut-out details that tie back to Cushnie et Ochs ready-to-wear. “The realization that prompted this collaboration is that both Bandier and Cushnie et Ochs are dressing the same woman — a woman who now demands much more from her wardrobe,” said Bandier founder Jennifer Bandier. “Carly and Michelle, with their exceptional grasp of the female form, are the perfect partners to help move activewear into the fashion world.” Last year, Cushnie and Ochs sold a minority stake in their business to Farol Asset Management and a group of fashion insiders, including Gary Wassner, who is chief executive officer of industry factor Hilldun, and made a personal investment. As part of the transaction, Peter Arnold was installed as chief executive officer. At the time, Cushnie and Ochs said that they planned to use the funds to expand their brand and raise its profile. The Bandier and Love projects are the two most notable steps in that direction yet. 2016-04-29 00:10 Jessica Iredale

4 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-04-29 12:59 GDUSA Staff

5 In Which Hip-Hop Ends Up Saving Itself: On Charlie Ahearn’s Wild Style Considering its status as a founding document of one of the twentieth century’s defining cultural phenomena, it would be easy to forget Wild Style’s origins in the high art ferment of New York’s 1980s Downtown scene. Sampled and interpolated for decades by everyone from “conscious” rap standard bearers Black Star to commercial giants like the […] 2016-04-29 12:10 By

6 6 blue lake retreat texas by lake flato architects lake|flato architects constructs vertical lakeside retreat above treeline in texas images © andrew pogue / courtesy of lake flato architects american firm lake|flato architects have established a wide range of private residences that merge sustainable architecture and distinctive mid-to- south western landscapes. the project named ‘blue-lake retreat’ located in marble falls, texas, is as its name suggests; a lakeside respite that rises vertically with its steep hillside topography. the residence is composed of three storeys and defined by its framed structure and oversized, asymmetric timber roof. circulation runs externally with an open stairwell connecting all three levels the living programs have been arranged on the top floor, set above the tree line and provides an expansive view of the flourishing nature and lake. instilling an industrial aesthetic on the exterior with the choice in materials, the metal framed building features a combination of wood paneling and corrugated metal sheets that have been punctured with openings. meanwhile, the generous rooms inside have been furnished in a light and contemporary manner with four separate bedroom tucked below on the lower two floors; all of which are welcomed by large windows and views of the outdoors. all circulation runs externally with an open stairwell connecting all three levels and outdoor patios together. this cantilevered deck reaches out toward the lake while a bridge anchors into the hillside, connecting the house to its surrounding landscape. d the living programs have been arranged on the top floor and set above the tree line rooms have balconies on each side with the rugged hillside behind and lake on the other four separate bedroom retreats are tucked below on the lower two floors D the interior decoration instills a comfortable and welcoming atmosphere the getaway is located in the city of marble falls in texas 2016-04-29 13:24 Natasha Kwok

7 Indian Online Retailer Koovs.com Raises Funds for Further Growth More Articles By The new capital comes from existing shareholders and new institutional investors, including Ruffer LLP, and will be used to build up and promote the site. Starting in May, Koovs’ multi- channel “Step into Koovs” marketing campaign will expand. Among the new investors are Lord Waheed Alli, a British media mogul, Labour party figure, and former chairman of Asos.com; Baroness Gail Rebuck, the British publisher and chair of Penguin Random House’s British division, and Ruffer LLP, the British fund manager and investment company. The funds will also be used for working capital and to acquire the remaining 38.6 percent stake in Koovs India, giving the parent company 100 percent ownership of the subsidiary. The company said it has authority to raise up to an additional 8.1 million pounds, or $11.8 million, at 25 pence an ordinary share prior to June 30. The company has a market capitalization of 12.5 million pounds, or $18.2 million, and is listed on the smaller AIM division of the London Stock Exchange. The share price was down 1.2 percent to 28 pence, or 41 cents, in afternoon trading. Mary Turner, chief executive officer of Koovs, said India’s online fashion market is expected to increase five-fold by 2020, to 1.5 billion pounds, or $2.18 billion, and management has a clear strategy to accelerate Koovs’ growth in this market. “Our near term priority is to continue to build the brand. Our ambition remains to become India’s number one Western fashion destination by 2020 and today’s announcement marks a next significant step towards that goal.” Koovs carries clothing and accessories brands for men and women, with brands mostly in the high street and contemporary arenas. Brands include Guess, Ray-Ban, Lipsy , Maybelline and Michael Kors watches. 2016-04-29 13:22 Samantha Conti

8 BEYOND - the veuve clicquot journey by fabrica BEYOND - the veuve clicquot journey by fabrica BEYOND – the veuve clicquot journey by fabrica on the occasion of milan design week 2016, veuve clicquot appointed the unconventional creativity of fabrica, the communication research centre of the benetton group, to celebrate the 200th anniversary of its first design invention that revolutionized the méthode champenoise: the table de remuage — the forerunner of today’s riddling table in which bottles are tilted and turned to obtain a clear, pure wine. above all, the special affair payed homage to the intelligence and determination of veuve clicquot’s inventor, madame clicquot, who, widowed at 27, took over the reins of her husband’s business, becoming one of the first female entrepreneurs of the modern age. ‘BEYOND’ explored three environments of crucial to the success of veuve clicquat, starting with the abyss… fabrica makred the special anniversary with a full-immersive experience that brought people ‘BEYOND’ — taking them on a veuve clicquot journey through real and imagined landscapes in an exclusive setting that was located within the royal pavilion of milan’s central station. and into the crayères – the chalk caves where veuve clicquot’s bottles are placed in repose the ambience of ‘BEYOND’ took visitors from the depths of the abyss to the majesty of a starlit universe, by way of the stunning chalk caves of the champagne region in france. through these three environments, influenced by the visionary madame clicquot and her desire for exploration, fabrica realized an atmosphere that recalled the places, moments and facts that have made veuve clicquot one of the most important champagne houses today. ‘the abyss’ furnished with contemporary versions of veuve clicquot’s riddling table ‘the abyss’ has a direct link to veuve clicquot’s foundations, when philippe clicquot established a ‘négoce de vins’ that would go beyond frontiers; choosing the anchor, a symbol of hope, as the trademark for the corks of its bottles. the sea was crucial to the house’s success in russia, when in 1814, madame clicquot bravely challenged the trade embargo of the time and managed to bring her wines to the court of the tsar in st. petersburg. then in 2010, the sea cast up bottles of veuve clicquot that had been lost in a shipwreck off finland’s aland islands. despite having been on the seabed for almost two centuries, the bottles were in an excellent state of conservation, proving the exception quality of veuve clicquot’s wines from the earliest days. ‘BEYOND’ was delivered through experiences, performances and sound view from ‘the abyss’ into ‘the crayères’ entering into ‘the crayères’ — the heart of the champagne house next, visitors took a walk through ‘the crayères’ — the chalk caves which were created between the gallo-roman era and the 18th century which serve as the underground cellars for veuve clicquot. today, a UNESCO world heritage site, 24 km underneath the soil of champagne, they are the heart of the house, and the place in which the bottles repose, and where the ‘table de remuage’ is located. ‘the crayères’ is where veuve clicquot’s bottles aree placed in repose the veuve clicquot vault situated within the chalk caves the majestic universe — the repesentation of a yet-to-be explored territory, a future to be discovered finally, one reaches ‘the universe’, a yet-to-be explored territory. referencing the comet that crossed the sky of champagne in 1811, a harbinger of an excellent harvest. from it, madame clicquot produced an exceptional vintage, the ‘vin de la comète’, which carried her fame worldwide, bearing witness to her motto ‘only one quality, the finest’. ‘the universe’ 'the universe' reference the comet that crossed the sky of champagne in 1811, harbinger of an excellent harvest the majestic university represents a future to be discovered by veuve clicquot the depths of 'the abyss' which have a direct link to the company's foundations and symbolic anchor the sea was crucial in the house's triumphant success in russia when madame clicquot managed to bring her wines to the court of the tsar in st. petersburg 'the crayères' are where veuve clicquot's bottles are placed to age, and where they are turned methodically fabrica transformed the royal pavilion at milan's central stating into a veuve clicquot journey 'BEYOND' - the veuve clicquot journey by fabric was set within the royal pavilion of milan’s central station 2016-04-29 13:00 Andrea Chin

9 IBM’s Watson Helps Create Marchesa Met Gala Gown Can a robot create art? More specifically, can a “cognitive system” create couture? IBM says yes. The computer giant gave the task to its Watson cognitive system, which is known for winning “Jeopardy” in 2011. Watson worked with Marchesa designers Georgina Chapman and Keren Craig to create a dress that is set to appear at Monday’s Met Gala. The finished product is called the Cognitive Dress, and it was created to coincide with this year’s Metropolitan Museum of Art Costume Institute exhibition theme, Manus x Machina , devoted to fashion in the technology age. While the final creation, and the person wearing it, won’t be revealed until it hits the red carpet, IBM did share details on how it was made, starting with the color. Marchesa provided hundreds of images of past designs and celebrities wearing Marchesa to Watson Color Theory, which identifies emotional ties to color. They were then able to land on a color palette that the team thought reflected the brand and triggered the emotions the designers hoped to inspire. Then, in selecting the fabric, Marchesa used a combination of seven Watson services: keyword extraction, concept tagging, taxonomy, sentiment analysis, relationship extraction, linked data and entity extraction. These services, which are part of a platform created by IBM developer partner Inno360, helped the designers weigh various material compositions, weights and qualities. Finally, the Cognitive Dress was imbedded with LED lights that change colors in response to the online conversation surrounding the Met Gala. It’s powered by Watson Tone Analyze, which uses social sentiment from Twitter. The process, which is more performance art than practical, shows what can be done. The look will join other tech-friendly dresses on the red carpets and runways. In 2010, Katy Perry arrived at the Met Gala wearing an LED dress made by London’s CuteCircuit, and Zac Posen recently worked with Google’s Made with Code on an LED dress that Coca Rocha wore during New York Fashion Week. But it’s not all LEDs, all the time. Designer Francis Binonti, in 2013, made a 3D-printed dress for Dita von Teese. 2016-04-29 13:00 Maghan McDowell

10 kocohedron collection by kocowisch is an ode to mathematical shapes kocohedron collection by kocowisch is an ode to mathematical shapes (above) the ‘cubu’ is a light source based on a wireframe composed out of six square faces Image © j.r hammond the ‘kocohedron collection’ is a series of aluminium lamps and jewelry based on mathematical wireframes, designed by willem schouten en koen coppens for kocowisch. when they started designing, it struck koen and willem that a big pendant lamp that is not turned on is often a big blocker of natural light. paradoxically, the object that is supposed to give you light when it’s dark makes sure that you don’t get any natural light during daytime. with this in mind, they were motivated by the openness of simple mathematical wireframes. instead of using the frame as a base for a fabric lampshade, they integrated the light source in the frame. this solution resulted in a very minimal structure, space consuming and spacious at the same time, through which natural light can pass freely during daytime and creating a floating object that casts elaborate shadows when the light is turned on. the lamp collection consists of five basic shapes in three sizes that are available in four different finishes: gold plated, copper plated, chrome or painted in the color of choice. next to the lamps in the collection, custom shapes are also a possibility. all lights are dimmable, and have a plus 90% CRI rating, making the lamps useable for mood as well as for technical lightning. the jewelry collection consists out of four gold pendants. the lamps were presented at the masterly – dutch in milano during milan design week. model: ‘cubu large chrome’. aluminium LED lamp, pendant as well as standing the ‘dodo’ is a light source based on a wireframe composed out of twelve pentagonal faces image © j.r hammond available in two sizes and multiple finishes image © blanksma&blanksma ‘rhombi’ large chrome is the biggest lamp in the collection: 1.5 meters in diameter image © blanksma&blanksma the ‘pira’ is a light source based on a wireframe composed out of four triangular shapes image © j.r hammond Dodo large white hangs over an old staircase. image © j.r hammond designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-04-29 12:30 www.designboom

11 Quayola Turns 'Laocoön and His Sons' into Meta-Sculptures Laocoön #D20-Q1. Photo: Todd White Visual artist Quayola 's work often explores classical art filtered through computer algorithms, generating new audiovisual or sculptural hybrid pieces. His latest work explores the iconic marble statue Laocoön and His Sons , a prime example of Hellenistic art that sits in the Vatican and is considered one of the world's great artworks. Quayola has taken this incomplete masterpiece and produced his own digital sculptures based on it, processing them through custom-designed softwares. The artist 3D-scanned Laocoön and His Sons to digitize the physical work, then fed the data through his programs and new surreal works were created. The larger work Laocoön #D20-Q1 was milled using robotic arms from pulverized white marble. Smaller sculptures called Laocoön Fragments —glitchy busts of the Trojan priest who, along with his sons, met his death at the hands of Athena via giant sea serpents for nearly ratting out the Greeks hiding in the Trojan horse—were 3D printed with iron-filled resin to create abstract, polygonal versions. Design iterations. Image courtesy of the artist In these versions, the sculpture’s baroque composition is partly replaced and complimented by digitized geometric forms to create what curator Adriano Aymonino calls "meta-sculpture. " Quayola's interpretations are part of a 500-year-long restorative legacy which over the years has attempted to complete the sculpture by adding new limbs. It was discovered and dug up in its incomplete form on a Roman hillside in 1506. "Quayola’s project takes up the speculative-sculptural task, deploying the full power of virtual and physical prototyping technologies. " explains curator Nadim Samman. "The result is a hybrid vision—traversing model and monument, code, the corporeal, and the hyperreal. " Laocoön #D20-Q1. Photo: Todd White Laocoön Fragments. Image courtesy of the artist Laocoön #D20-Q1 is on display in London from April 25 to June 24, 2016 in the lobby of One Canada Square , Canary Wharf. Laocoön Fragments were presented with bitforms gallery during the Art Brussels fair earlier in April. Related: Quayola Talks ‘Iconographies,’ His New Show of Algorithmic Engravings and Prints Quayola Celebrates Evolving, Incomplete Forms in 'Captives' Digital Sculpture Jamie XX Teams Up With Quayola For A Spectacle Of Audiovisual Awesomeness 2016-04-29 12:15 Kevin Holmes

12 Stay Ready: Lizzie Borden on the Post-Revolutionary Future of Born in Flames Released in 1983 during Reagan’s presidency and Ed Koch’s tenure as mayor of New York City, Lizzie Borden’s futurist, science-fiction feature Born in Flames (1983) imagines political activism ten years after a “social-democratic war of liberation.” The film was shot using somewhat guerrilla documentary techniques, includes found footage from international news and is set to […] 2016-04-29 14:52 By

13 leica M-D digital rangefinder leica M-D: a softhearted digital rangefinder that skips the rear screen all images courtesy of leica leica increases the number of digital ‘M- generation’ cameras to five with the ‘M-D’ digital rangefinder. it is the first serial production model of the digital family to be made without a monitor screen. the usual location of the screen on the back is now taken over by the ISO sensitivity setting dial. although the leica ‘M-D’ embodies the entire range of technical advantages perfected over decades, it intentionally omits all but the most essential technical features. the radical reduction promotes the user’s concentration on what is essential – the photograph. the technical qualities of the leica ‘M-D’ are based on the those of the leica ‘M’ (typ 262). just like the other digital ‘M’ cameras, this iteration features a high resolution CMOS full-frame sensor, albeit one that is dedicated exclusively to rangefinder photography and supports neither video recording nore live view. its 24 megapixel resolution ensures exceptional imaging quality and extreme sensitivity to light. exposures are saved exclusively as RAW data in DNG format, which enables photographers to apply all typical adjustments for digital images that may be desired in post-processing software. an invaluable advantage is the shutter cocking system that is particularly quite in single exposure and enables a shutter frequency of up to two frames per second. in continuous mode, the leica ‘M-D’ has the same sequential shooting speed as its sister model and shoots up to three frames per second. the camera is now on sale and includes also a leather carrying strap. the monitor has been replaced with ISO sensitivity setting dial the model has all the technical qualities based on the those of the leica ‘M’ (typ 262) 2016-04-29 12:00 Piotr Boruslawski

14 aesop NEWoMan shinjuku by torafu architects having already designed other aesop stores in japan including one in kyoto and osaka, torafu architects have completed the recent fit-out of the australian skincare brand’s latest location inside the NEWoMan shinjuku shopping mall in tokyo. the compact and square floorplan measures at a width of 4.9 meters and 9.2 meters in depth to form a three-dimensional grid. the space is sited in the core of a level with two paths on either side and surrounded by other retail shops. the floorplan has been arranged in a grid ‘in order to independent the wall-less space visually, we proposed to use limestone as a main material, which has a presence.’ comments torafu architects. the material is prominently used on the floor, columns and fixtures – appearing to be sculpted from a single mass – with a total of 108 pieces of the stone used. similar to the aesthetics of an aesop store, a large sink unit has been integrated into the adjacent column and transforms into a tiered shelving display. the store is defined by its use of limestone on the surfaces, columns and flooring a large sink unit has been integrated into the adjacent column and transforms into a tiered shelving display the range of recognized aesop products are displayed on the tiered shelving the concept of the project was for the retail space to visualize as a single mass of limestone a total of 108 pieces of limestone was used 2016-04-29 11:33 Natasha Kwok

15 greg guillemin's pop-art personalities reveal the montreux jazz festival's musical lineup for the 50th anniversary of the montreux jazz festival in switzerland, french artist greg guillemin has been commissioned to create a collection of artworks that hint at the lineup for this year’s jubilee edition. guillemin — whose ‘secret life of super heroes’ series was previously featured by designboom here — has rendered the 60 compositions in a playful pop-art style, with bold, vibrant colors and thick black outlines. the illustrations depict subtle clues about each musicians’ identity, including highlights from this year’s lineup like lana del rey, muse, sigur ros, deep purple, ZZ top, and neil young. guillemin gives each of these artists a distinct drawn personality by choosing elements of their character to exaggerate and emphasize, offering clever cues about their identity. as an artist and avid music lover, the project allowed guillemin to research the performers he wasn’t familiar with, and learn more about their musical styles, which he sought to incorporate into the series of compositions. ‘as a deep music lover, and even a musician on rainy days, I had much fun drawing these,’ guillemin says. ‘this was also a great opportunity for discovering amazing artists I did not know about, while researching for the artworks.’ see a selection from the series below, and the full collection of images here. 2016-04-29 11:04 Nina Azzarello

16 ron arad and design(ing) museum reveals the construction of design museum holon ron arad and design(ing) museum reveals the construction of design museum holon design(ing) museum editor: ron arad, asa bruno and paul madden publisher: lir and mor design: ron arad, asa bruno and noa schwartz year: 2016 format: 16.5 \ 22 cm features: 167 pages language: english ISBN: 978-965-92486-0-5 the design museum holon opened in march 2010 and has since established itself as an important centre for design and contemporary culture. housed in an distinctive building by architect ron arad, design museum holon is a vital and dynamic resource for designers, students, creative industries and the general public. to celebrate the cultural institution’s fifth year of activity, ron arad and asa bruno have published a detailed journal on the building, which traces the evolution of the project from its inception as an idea for a gallery within a crumbling local authority building, into an internationally acclaimed design museum. through an anecdotal and playful dialogue between personal observations, sketches, construction site photos, diagrams and graphics, the book structure echoes the spirit of the museum itself, and sheds light on the people and processes behind the architecture. the book has been published to celebrate the museum’s fifth year of activity coloured strips are wrapped around the cover of the book which mimics the layered steel façade found on the exterior of the building. designed as a collectible object, the volume includes a patinated steel paper knife for readers to use in the process of revealing the narrative contained within its perforated french-folded pages. one has to physically cut through the pages to reveal the text and imagery, establishing a different type of interaction between the reader and the book and the way in which they experience the construction of design museum holon. the narrative is contained within its perforated french-folded pages the reader has to physically cut through the pages to reveal the text the journal traces the evolution of the project 2016-04-29 10:27 Hollie Smith

17 Prince's Purple Rain Jacket to Auction— Got $8,000 to spare? Maybe you can put on Prince's jacket next time you go riding on your motorcycle. A California auction house is offering a black-and-white motorcycle jacket that Prince wore in his 1984 film Purple Rain , the Associated Press reports. The seller's sister received it as a gift from the megastar after working on the film as a makeup artist. Profiles in History , in Calabasas, has tagged this bit of musical and cinematic history at just $6,000 to $8,000. The auction, oddly titled “ Hollywood Auction 83 ," happens over three days, from June 29 to July 1. "Prince memorabilia in general, it just really doesn't exist," said the auction house's president, Jo Maddalena. “It seems like he controlled it all. This is the first time ever for something like this, and it might be the only time because the rest of the costumes may be in his (personal) wardrobe. " The quasi-autobiographical film constituted the musician's acting debut and was directed by Albert Magnoli, who also served for a time as Prince's manager. Prince plays “the Kid," the frontman for a Minneapolis band called the Revolution, which performs timeless tunes like “When Doves Cry" and “I Would Die 4 U" in addition to the beloved title track. The film won an Academy Award for best original song score and grossed more than $68 million in the US alone. Prince then directed the 1990 sequel, Graffiti Bridge. The iconic musician died at his Minneapolis estate last Thursday; since then, his brother-in-law, Maurice Phillips, has vowed to transform that $6.6-million estate, dubbed Paisley Park, into a museum for fans. If you can't wait to snag some Hollywood memorabilia, though, you can also check out a Hunger Games –themed auction, scheduled for May 20, also at Profiles in History. Follow artnet News on Facebook. 2016-04-29 09:33 Brian Boucher

18 PETA Invests in Prada to Protest Ostrich Skin Products MILAN – Prada Group had no comment Friday on its newest – and potentially most vocal – shareholder: PETA. On its Web site, the nonprofit organization formally known as People for the Ethical Treatment of Animals said it “hopes to help the company pull its head out of the sand” as it aims to “end the sale of cruelly produced ostrich skin purses.” PETA states that the purchase of shares in the Italian fashion group, whose amount is not revealed, “will allow for a push from inside the Prada corporation.” The move stems from “an eyewitness exposé” showing that one-year-old ostriches “are electrically shocked and have their throats slit to produce bags, shoes, and wallets.” The organization believes that by attending Prada ’s annual meetings it will be able to “officially call for an end to all exotic-skins sales.” “As documented in video footage released by PETA, the largest ostrich-skin companies in the world keep young ostriches in barren dirt feedlots until they’re trucked to slaughter at just 1 year old, far short of their natural 40-year life span,” PETA said. “At the slaughterhouse, frightened birds are turned upside down in a stunner, have their throats slit, and have their feathers plucked out to create the bumpy-textured skin used for Prada bags.” PETA also calls Hermès out to “ditch” exotic skins. On Thursday, PETA scored another victory in its campaign to ban angora wool in the fashion industry, revealing that Nasty Gal was dropping items made with the rabbit fur, as reported. Los Angeles-based Nasty Gal has joined more than 120 brands — including H&M, Topshop, Asos, Urban Outfitters and Forever 21 — in banning angora wool. PETA, which is based in Norfolk, Va., recently conducted an investigation of the angora wool industry, leading to allegations of harsh and inhumane conditions in which the rabbits used for angora are treated. 2016-04-29 09:30 Luisa Zargani

19 Morning Links: Global Ultra Luxury Faction Edition COURTESY GULFLABOR. ORG ULTRA LUXURY “Last night, members of the artist-activist groups Global Ultra Luxury Faction and the Illuminator projected phrases on the façade of the Guggenheim museum to protest the Guggenheim trustees’s decision to break off negotiations with the Gulf Labor Coalition.” [Hyperallergic] Collectors are removing their paintings and sculptures from Geneva’s free port storage facility due to the increased scrutiny following the discovery of a $20 million Modigliani painting in its tax-free vaults that was supposedly stolen by the Nazis. [Bloomberg] MUSEUMS MoMA galleries are changing their focus. Starting this June, the second-floor galleries will be divided into three different spaces, each with a major installation from the collection spotlighting a single artist. [The New York Times] The Met has announced the lineup for the fifth season of their live-performance series. Nate DiMeo, a writer and radio storyteller, has been named artist-in-residence. [Wall Street Journal] Gloria Groom, chair of the Art Institute of Chicago’s European painting and sculpture department will be honored with a distinction of Chevalier Légion d’Honneur, the highest of the five levels of the French award. [Chicago Sun- Times] MoMA’s Glenn Lowry discusses how art can solve our problems. [CNN] The National Gallery of Art announced today that it has acquired Janine Antoni’s sculptural installation, Lick and Lather (1993-94). [Washington City Paper] REAL FINE ARTS Maggie Lee at Real Fine Arts in New York. [Contemporary Art Daily] 2016-04-29 08:59 The Editors

20 amey kandalgaonkar's dark deco series imagines noir- shanghai architect-turned-photographer amey kandalgaonkar transforms shanghai buildings into noir-influenced stills in his latest series, ‘dark deco’. shot during the day using ND filters, visually striking art deco structures are highlighted against a moving sky. final effects were tweaked in post-production, resulting in a collection of evocative shots filled with mystery and darkness. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-04-29 08:45 Amey K

21 Call for Applicants: Walker Art Center Mildred Friedman Design Fellowship 2016–2017 The Walker is pleased to announce that its 2016- 2017 Mildred Friedman Design Fellowship is now open for applications. APPLICATIONS ARE DUE: MAY 23rd Since 1980, the Walker’s Design department has maintained a graphic design fellowship program that provides recent graduates the opportunity to work in a professional design studio environment. Selected from a highly competitive pool of applicants, fellows come from graphic design programs throughout the United States and abroad representing a diverse range of design programs, such as Art Center College of Design, California Institute of the Arts, Cranbrook Academy of Art, Eastern Michigan University, Ecole cantonale d’art de Lausanne, Minneapolis College of Art and Design, NC State University, Rhode Island School of Design, Royal College of Art, Werkplaats Typografie, and Yale University, among many others. WHAT WE ARE LOOKING FOR: Ideal candidates will be firmly grounded in visual design principles and the print design process with some experience in interaction design. In addition to print-based projects such as exhibition identities, wayfinding, and collateral materials, this year’s fellow will also work on select online publishing initiatives. The fellow will join an accomplished team of professionals known for creating industry-leading work. Immersed in the Design department, which includes Editorial, Photography, and Videography, fellows gain a deeper understanding of design, work on projects with rich, interesting content, and are expected to produce work to the highest standards of design excellence. See samples of previous fellow’s work here and in this video highlighting 75 years of Walker design. The fellows will also be key contributors to the Design department’s blog, The Gradient —so an interest in the discourse of graphic design and contemporary culture is highly desirable. Fellows are salaried, full-time employees and are involved in all aspects of the design process, including client meetings and presentations through production and development. Duration of fellowship: September 1, 2016 – August 31, 2017 HOW TO APPLY: For consideration, submit the following materials by PDF attachments only: 1. a letter of interest; 2. a resume, including names and contact information of 3 references; 3. a PDF portfolio containing 8–10 examples of graphic design work (total file size can be no larger than 19 MB, otherwise your file will be rejected). Email application packets to [email protected]. If you do not receive an automatic confirmation of your application, please send another note to the same email address, without any attachments. No phone calls please. For more information, visit our fellowship page. Also check out the Walker’s job listing. April 23, 2016 2016-04-29 11:06 By

22 MVRDV + COBE open ragnarock music museum in denmark in roskilde, a danish city located 30 kilometers west of copenhagen, the collaborative team of MVRDV and COBE has opened a gold-studded music-themed museum. named ‘ragnarock’, the 3,100 square meter institution acts as the gateway to a larger regeneration of the surrounding factories. the transformed site will form a music oriented district that also includes a high school and the headquarters of the roskilde festival. envisioned as a museum of pop, rock, and youth culture, the cantilevered structure also houses an auditorium, various administrative facilities, and a bar. the institution plugs into the adjacent factory buildings, standing on four legs which take visitors up into the museum and auditorium above. internally, bright red studs contrast the raw concrete, distinguishing between the new and the old. externally, the golden aluminum façade pays homage to flamboyant lead singers, while the vivid red interior is reminiscent of a guitar case’s velvet lining. ‘ragnarock is the translation of rock music into architecture; the energy, the defiance, the statement. loud and in your face!‘ says MVRDV founding partner jacob van rijs, ‘it’s not just the looks though. the relationship between ragnarock and the original halls creates spaces that will breed a new generation of rock stars in a hugely creative environment’. the design seeks to immerse visitors in the life of a rock star, combining a traditional museum format with immersive exhibitions. a red carpet greets visitors, while elevators symbolize the rise to fame, bringing guests up to a performance space suspended in the air. the inevitable fall is represented by the decent towards the bar at the lower level. the building itself also becomes an stage, with performances either facing the large public plaza on one side, or the refurbished industrial halls on the other. the cantilevered structure also houses an auditorium for live performances the design seeks to immerse visitors in the life of a rock star ‘ragnarock’ is located in roskilde, a danish city located 30 kilometers west of copenhagen 2016-04-29 08:00 Philip Stevens

23 Clearing the Haze: Prologue to Postmodern Graphic Design Education through Sheila de Bretteville Author’s preface: At the outset, this project was defined as an intensive effort to examine and reassess the work of Shelia Levrant de Bretteville. The initial motivation was driven by the connection of the rise of feminist voices in design, the Woman’s Building, postmodern design, and experimental pedagogy. We recognize that many female designers worked […] 2016-04-29 09:56 By and

24 EU Campaign Dear Friends, I’m sure you are also following with horror the rightwards drift and anti-EU sentiment brewing across Europe. The Dutch referendum should be the final wake-up call, alerting people to the real risk of the UK’s EU referendum resulting in a victory for Leave. The official ‘Remain’ campaign feels lame and is lacking in passion. It also lacks an active drive to get voters registered – and with the deadline already falling two weeks before the referendum, this should be an urgent priority. I want to get involved and actively campaign. In particular, I want to work towards maximizing turnout among younger voters by focusing on the first, crucial step: voter registration – the deadline for which is June 7! So anyone who hasn’t registered before this date has no chance of having a say, no matter how strongly they feel about the issue. So the really crucial date is June 7. Everyone’s grannies registered their vote long ago, but students no longer get automatically registered by their unis. This is because of a new law brought in by the Conservatives that makes it possible for them to disenfranchise up to 800,000 students, who as a group tend to move around a lot more and so drop off the voter register easily. I feel that we have reached a critical moment that could prove to be a turning point for Europe as we know and enjoy it – one that might result in a cascade of problematic consequences and political fall-out. Firstly, the weakening of the EU is a goal being actively pursued by strongmen like Vladimir Putin and European parties on the far-right. Brexit could effectively spell the end of the EU. It’s a flawed and problematic institution, but on the whole it stands for a democratic worldview, human rights and favours cooperation over confrontation. It could prove to be a one-in-a-generation moment. Can you imagine the years of renegotiations for undoing treaties, and all the negativity that would surround that. In the past weeks myself and assistants at my London and Berlin studios and Between Bridges worked on these texts and designs. Please feel free to share these posters, they work as print your own PDFs, or on social media, or in any other way you can think of. I consider them open- source, you can take my name tag off if more appropriate. Let’s hope for the best - but hope may not be enough Wolfgang download all posters as .pdf for home-printing HERE download all posters as .zip for social media sharing link to share this site on social media: http://tillmans.co.uk/campaign-eu 2016-04-29 09:56 Wolfgang Tillmans

25 Music legend Prince dies at age 57 Prince, a multitalented musician who came out of the Minneapolis scene and changed the world of music forever, has died at age 57. According to a statement from Carver County Sheriff Jim Olson, “on April 21, 2016, at about 9:43 am, sheriff’s deputies responded to a medical call at Paisley Park Studios in Chanhassen. When deputies and medical personnel arrived, they found an unresponsive adult male in the elevator. First responders attempted to provide lifesaving CPR, but were unable to revive the victim. He was pronounced deceased at 10:07 am. He has been identified as Prince Rogers Nelson (57) of Chanhassen.” We are continuing to follow this story and will add updates as they become available. One of the greatest stars in rock history, Prince bridged rock and R&B to fuse a “Minneapolis Sound” that helped define the music of the 1980s. With over 100 million albums sold worldwide, Prince is one of the best-selling artists of all time, widely cited as an influence by artists from the worlds of pop, R&B, rock, hip-hop, and beyond. Born Prince Rogers Nelson in Minneapolis in 1958, Prince remained a lifelong Minnesotan and had a profound impact on the community here. With the hit movie and soundtrack Purple Rain , he turned First Avenue from a hot local club to an international music landmark. Artists including Jimmy Jam and Terry Lewis went from Prince collaborations to performing and producing chart- topping hits that spread the “Minneapolis Sound” across the musical landscape. Prince’s genius seemed to arrive fully formed, almost as if by magic: he released his debut album ( For You , 1978) at the age of 19, and its eponymous follow-up, released the following year, made him a breakout success with instant classics like “I Wanna Be Your Lover” and “I Feel For You.” He wrote, played, sang, and produced the entire collection himself, adding to the sense that somehow lightning had struck in Minneapolis. It had, but recently released compilations like Purple Snow: Forecasting the Minneapolis Sound (Numero Group) and Twin Cities Funk & Soul (Secret Stash Records) shone a long-overdue spotlight on the small but tight-knit and inventive local R&B scene that spawned Prince. Once Prince was out of the gate, there was no stopping him. Prince was made for the ’80s, and the ’80s were made for him. Seriously funky but also pop-friendly, Prince was at the forefront of artists who deployed synthesizers and samplers in conjunction with traditional rock instrumentation to create music that felt completely liberated — sexy and fun. “Sexy” was part of Prince’s playbook from day one: he knew how to tease his fans into a frenzy on record, on stage, and, crucially, on screen. His provocative antics earned priceless condemnation from the voices of conventional morality (“Darling Nikki” inspired Tipper Gore to found the PMRC ), and Prince — dressing as flamboyantly as the decade demanded, with a regal flair he might have learned from James Brown — played his bad-boy/pretty-boy role to the hilt. Purple Rain represented Prince in full flower. While some fans and critics argue that Sign “O” the Times (1987) represents an even greater artistic triumph, Purple Rain ‘s vast commercial success was not incidental to its epochal achievement. “When Doves Cry” epitomized the unique power of Prince; at decade’s end, critic Dave Marsh wrote that it “may have been the most influential single record of the 80s.” A stripped-down, percussive track with a vocal that’s so understated it’s sometimes half-spoken and — to the astonishment of music insiders who thought they knew how to make a record — no bass track, “When Doves Cry” seemed to break all the rules of pop songcraft, and yet Prince turned it into such an intoxicating single that it shot to number one for five weeks, holding even Bruce Springsteen’s “Dancing in the Dark” at bay. Simultaneously, Albert Magnoli’s gloriously shameless film defined Prince’s personal mythology and made him one of the greatest pop icons of a decade that had more than its share. Set in Minneapolis, the film depicted First Avenue as a hot spot on the order of Studio 54; instead of driving along Highway 1 as they might have done in an L. A. movie, Prince and his costar Apollonia hopped on a purple motorcycle and cruised out into the Minneapolis suburbs to get “purified in the waters of Lake Minnetonka.” To this day, touring acts are visibly thrilled to discover that First Ave actually is a great club, that it actually does look like that (okay, not the dressing rooms), and that it remains the center of a thriving music scene. Though he never had another smash album as big as the Purple Rain soundtrack, Prince remained a dominant commercial force throughout the ’80s and early ’90s, producing #1 hits ranging from the hard-flirting “Kiss” (1986) to the novelty “Batdance” (1989) to the sparkling “Cream” (1991) while cycling through various band configurations and sounds. The early ’90s marked a crucial point of transition in Prince’s career. He formed a fresh band — the New Power Generation — and released music that increasingly delved into hip-hop, meeting with a mixed reception. If some fans started to sense an identity crisis, they were affirmed by Prince’s 1993 decision to change his name to the unpronounceable glyph (“Love Symbol #2”) that had served as the title to the 1992 album ironically containing the single “My Name is Prince.” The 1993 release of a two-disc greatest hits collection also served to cap a remarkable run on the charts that ended with 1994’s #3 hit “The Most Beautiful Girl in the World,” Prince’s last single to date to crack the American top ten. The mid-90s marked the end of Prince’s relationship with his label Warner Bros. — after releasing a quick series of low-selling albums to fulfill his contractual obligations, he broke from the label in 1996 — and the beginning of his famously tumultuous relationship with the Internet. The iconoclastic perfectionist saw the Internet’s potential as a tool to allow him to independently manage his own fandom and distribute his own music, but he also grew increasingly concerned about the danger of having his material freely bootlegged. Prince was the first major artist to release an album on the Internet (1997’s Crystal Ball ) and from 2001-2006 ran the pioneering NPG Music Club to sell his music online by membership; but following the closure of that site, he became increasingly negative about the Internet, complaining that other sites (notably, YouTube) were benefiting by unauthorized circulation of his material. In an infamous 2010 statement, the online pioneer declared that “the Internet’s completely over.” Releasing music both independently and through various short-term deals with major labels, in the late 90s and the first decade of the 2000s Prince released a flood of new material ranging from the obscure (the instrumental N. E. W. S. in 2003) to the consciously commercial (1999’s Rave Un2 the Joy Fantastic and 2006’s 3121 ). He reclaimed his given name when his Warner Bros. publishing contract ended in 2000, and his widely-praised Super Bowl halftime show in 2007 proved to the largest possible audience that he was still a fiery live performer. In the 2010s, Prince stepped back into the public eye in a way rarely seen since the ’90s. He formed another new band — the all-female 3RDEYEGIRL — and played rapturously reviewed shows with them at venues ranging from Minnesota casinos to London living rooms. He “took over” an entire episode of Arsenio Hall’s talk show , and duetted with Zooey Deschanel on a new song he premiered on a post-Super-Bowl episode of New Girl. Perhaps most surprisingly, Prince re-signed with Warner Bros. Media coverage of the deal focused on the promised new music and Purple Rain reissue, but a telling detail of the press release is that the deal gave Prince ownership of his Warner Bros. masters. The artist who wore the word SLAVE on his cheek during a 1993 legal battle with his label was a free man. Most recently, Prince released a pair of HITNRUN albums recorded at Paisley Park, and was performing solo “Piano & a Microphone” shows at venues around the world. He debuted the format with two intimate performances at Paisley Park in January. “I forgot,” he said as he momentarily became overcome at one show, “that sometimes music is emotional.” He was writing a memoir , which was expected to be published next fall. Artists associated with Prince are still active. Revolution drummer Bobby Z holds an annual benefit concert at First Avenue, childhood friend and collaborator André Cymone just released his first new music in decades , NPG drummer Michael Bland is a busy performer and producer…the list goes on. A new generation of local performers are exemplifying the ’80s-era spirit of cross-genre fertilization and collaboration, now with a strong and adventurous hip-hop scene that’s produced the area’s best-known current artists. Prince remained aware and supportive of what’s going on. In a classic Prince moment, he showed up backstage when the local supergroup GAYNGS played First Ave in 2010. Prince picked up a guitar and played a little, but ultimately declined to take the stage; some reported hearing him make a comment to the effect of, “Looks like they’ve got it under control.” Prince’s legacy in Minnesota is multilayered — from his early collaborations with neighborhood bands, to his towering hits that put Minneapolis on the world’s music map, to the venues he founded (Paisley Park and the former downtown club Glam Slam), to the enduring contributions of musicians he played with, to the example the Minneapolis Sound set for the dynamic scene of today. Perhaps most importantly, though, Prince’s music is evidence — to the world, and to Minnesotans ourselves — of the diversity of our state, and of our music. When you listen to Prince, you hear the influences of all the artists he grew up with: black, white, funky, rocking, groovy, prickly. It’s not the sound of Minnesota’s lonesome prairie, it’s the sound of our dense cities. This utopian artist proved that music truly can break barriers — if u want it 2. Portions of this article were previously published here . We’re gathering your thoughts: What do Prince and his music mean to you? Visit this page to send us your thoughts and memories of Prince . 2016-04-29 09:56 Jay Gabler

26 LAN architecture wraps contemporary town hall in france with double façade paris-based firm LAN architecture has just completed a new town hall in saint-jacques de la lande, near the capital of britanny, rennes. the approach to the scheme has created an efficient and contemporary landmark for the city center and at the same time, the layout is a nod to the long architectural history of city halls. the building is wrapped in two façades the building is based on two squares, the exterior envelope is defined by two layers; each one responding to a different function. the outer layer is wrapped in steel and simultaneously provides a protection from the sun and the second, ‘thicker’ façade for thermal performance. the architecture of each side of the building creates a specific relationship with each bordering street the approach to the interior revolves around overlapping spaces and capitalizing on transparency, light and reflection. ‘the architectural project is based on an image of unity, reassurance, and clarity that fosters a strong sense of identity without falling into the cliché of emblematic representations of power.’ comments the design team at LAN. as a result, the building acts as a catalyst for social interactions. the interior was developed as a light-filled space with overlapping spaces wrapped in wood slats, a fluid sense of circulation enables people to naturally move around from one office to the full and the empty spaces surrounding the central hall make it natural and intuitive for users to move from one office to another. the hall’s double height seeks to connect the core of the building with the secondary entrance from the upper square. a fluid sense of circulation enables people to naturally move around from one office to the other the approach to the scheme has created an efficient and contemporary landmark for the commune light is filtered through to the lower teaching rooms 2016-04-29 06:15 Natasha Kwok

27 Alternate Senses of Tone and Pulse: An Interview with C. Spencer Yeh For Sound Horizon, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three-part program. While his first two pieces were informed responses to work by musicians Mary Halvorson and Vicky Chow / Tristan Perich, he concludes with an in-person […] 2016-04-29 09:56 By

28 2016 Sovereign Asian Art Prize Nominees Announced Related Venues Christie's Artists Alfred & Isabel Aquilizan Baptist Coelho Gary-Ross Pastrana Joan Ross Rosanna Li The list of 30 finalists for the 2016 edition of the Sovereign Asian Art Prize, Asia’s most established art prize for mid-carreer, has been announced. Following a change in rules in 2015 when sculptors became eligible, sculptures and other three- dimensional works make up a third of the 2016 finalists's works. Last year, Cambodian artist Anida Yoeu Ali won with her photography-cum-performance piece “Spiral Alley,” featuring the artist wearing a giant centipede-like outfit inspired by Islamic and Buddhist religious dress. The works will be exhibited in Hong Kong at Christie’s from May 9 – 12, and the Rotunda, from May 21 – 31. Winners will be announced, and works auctioned off, at a Sovereign Asian Art Prize Gala Dinner, which will take place at Four Seasons Hotel on June 3. The full list of nominees is: Latthapon Korkiatarkul, Thailand Sherman Ong, Singapore Alfredo and Isabel Aquilizan, Philippines Bani Haykal, Singapore Claire Healy and Sean Cordeiro, Australia Toshiyuki Kajioka, Japan Shakila Haider, Pakistan Miti Ruangkritya, Thailand Imhathai Suwatthanasilp, Thailand Mark Salvatus, Philippines Aditya Novali, Indonesia Cha Min Young, Republic of Korea Baptist Coelho , India aaajiao, China Ong Kian Peng, Singapore Teppei Kaneuji, Japan Pradeep Thalawatta, Sri Lanka Eiji Sumi, Thailand Gary-Ross Pastrana , Philippines Bagus Pandega, Indonesia Joan Ross , Australia Urich Lau Wai-Yuen, Singapore Piyarat Piyapongwiwat, Thailand Rosanna W. H. Li, Hong Kong José Drummond, Macao Hanifa Alizada, Afghanistan Azizullah Hazara, Afghanistan Richard Streitmatter - Tran, Vietnam Mia Wen-Hsuan Liu, Taiwan Arin Rungjang, Thailand 2016-04-29 06:06 Samuel Spencer

29 Zach Gage Sings the Google Electric THE DAILY PIC (#1539): Who knew The Great Google was a poet? Zach Gage finds Google's poetic soul in this piece, and a slew of others just like it, in his current Postmasters show. (So far, Gage has been better known, or so Google tells me, for his video games than his art.) Gage has programmed each of his tiny screens to post how the search engine auto-completes the same standard query each day of the show, indicating what topics most preoccupy Web- searchers at any given time. On one screen, on one day, the query “I'm scared of…" gets completed as “I'm scared of ISIS," “I'm scared of death" and “I'm scared of toasters". (Who knew the world suffered from mass toasteraphobia?) On another screen “Money likes…" becomes “Money likes speed," “Money likes silence“ and “Money likes Facebook. " (I frankly didn't realize that currency had predilections of any kind.) What surprised me most in viewing Gage's work is that the most prosaic, ubiquitous tool at our disposal automatically seems to have creative depths, yielding what one visitor referred to as “unstable poems" – almost-haikus that change as our search needs do. Of course, great poets have long waxed lyrical over a humble spade or axe. The difference here is that our tool now sings to us. 2016-04-29 06:00 Blake Gopnik

30 Gallery Hopping: Georg Baselitz at White Cube Outspoken art world elder statesman Georg Baselitz 's exhibition "Wir Fahren Aus" or "We're Off" opened at White Cube Bermondsey on Tuesday and comprises of his trademark upside-down large-scale painting, sculptural works, and works on paper. For the paintings, Baselitz has taken inspiration from the German expressionist Otto Dix 's work The Artist's Parents (1924) in a series that features huge white figures painted on a background of tick textured paint. In addition, Baseliz revisits his 1975 work Bedroom, of him and his wife, Elke, who is also featured in the drawings on view. "Wir Fahren Aus" is being seen as a study of sex, death, and of old age but as the artist himself approaches 78, his output is showing no signs of weakening or slowing down. Although the force with which he took on the German government recently would have left you in no doubt. See images from the exhibition below: " Wir Fahren Aus " is on view at White Cube Bermondsey until July 27. Follow artnet News on Facebook. 2016-04-29 05:46 Amah-Rose

31 National Gallery Director Nods Towards Europe New National Gallery director Gabriele Finaldi has hinted at his position in the upcoming UK Referendum on EU membership, or "Brexit," as it has become “affectionately" known. “We are very bound up with Europe because of the shows we do and the way we work. We work very closely with our counterparts in France, Spain, Italy, Germany," he told the Guardian while discussing his new post. “That will continue I am sure, whatever happens […] I can't deny that I am strongly European. It's in my genes and I feel very passionate about Europe and what we share together. The gallery is exactly about that. We are looking for connections, not highlighting differences. There is a lot that is common to all of us. " Finaldi grew up in London with an Italian father and British-Polish mother, so when he says Europe is in his genes, he is speaking quite literally. Educated between the UK and Italy, Finaldi decided he wanted to work in the arts after studying History of Art at school and spending time in front of the Girl at a Window by Rembrandt in the Dulwich Picture Gallery. “I was brought up in what was essentially an Italian home," he says. “We spoke Italian, ate Italian, supported Italy in the World Cup. We lived in Britain and we felt part of both worlds. " It is a story quite typical of the capital. Finaldi came to the National Gallery from a position as deputy director at the world famous Prado Museum in Madrid. He replaced Nicholas Penny who succeeded the much-loved Neil MacGregor who, in turn, went on to run the British Museum with great success. As the UK braces itself for what will be a game-changing vote on June 23, whichever way it goes, those in the famously international art world must be wondering what the fall out will be. Follow artnet News on Facebook. 2016-04-29 05:22 Amah-Rose

32 Filmmaker & Artist Wim Wenders Turns to Opera The German Oscar-nominated filmmaker and artist Wim Wenders is embarking on a late career change at the ripe old age of 70 and taking charge of an opera for the first time. After directing over 30 films over the course of his forty year career, including movies such as Wings of Desire (1987), and Buena Vista Social Club (1999), Wenders will direct Georges Bizet's opera Les Pêcheurs de Perles (The Pearl Fishers) at the Berlin State Opera in 2017. Wenders will work alongside star conductor Daniel Barenboim, who will lead the orchestra. Jürgen Flimm, director of the Berlin State Opera—one of Germany's most prestigious opera houses—revealed that the deal came to fruition after the organization “had a long flirt" with Wenders, DW reported. According to the New York Times , the opera—which was first performed in 1836—is a three- act performance set on the island of Ceylon in ancient times. It follows the story of two pearl divers whose close friendship risks falling apart when they both fall in love with the same woman, a Hindu priestess. Wenders was previously touted to direct Wagner's Ring Cycle at Germany's Bayreuth Festival in 2013 but negotiations reportedly fell apart when the director failed to agree on the terms with festival organizers. The multi-talented Wenders is also a successful photographer and is represented by the Blain | Southern Gallery in London and Berlin. Another well-known German art world figure who dabbled in opera is the controversial artist Jonathan Meese , who was hired to direct Wagner's Parsifal at the Bayreuth Festival. The artist was unceremoniously sacked in November 2014 following overspending and budgeting disagreements, provoking him to launch an angry tirade against festival organizers. Follow artnet News on Facebook. 2016-04-29 04:30 Henri Neuendorf

33 diego sferrazza fargo armchair & two-seat couch for spHaus minimal and elegant, the ‘fargo’ series armchair and two-seat couch are precisely executed furnishings by italian industrial designer diego sferrazza for spHaus. intended for use indoors or out, a curvaceous stainless steel frame supports a body of dry-flex polyurethane — both durable and hydrophobic. removable fabric and leather covers are available for both models. fabric and leather coverings are available for both the armchair and couch designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-04-29 04:05 www.designboom

34 Trevor Noah Discusses the Met Ball, the Daily Show and Life’s Lessons He still attended the event, though, and found himself rubbing elbows with the movers and shakers in entertainment and fashion. “Last year, nobody knew me,” Noah said during a fitting for this year’s gala at his West Side office. “The first time you go, you’re afraid. You don’t want to touch anything or bump into anyone. You’re looking at the exhibits and then Beyoncé and Jay Z walk by. So you start introducing yourself to people you already know. “Beyoncé, it’s Trevor, nice to meet you. How do you spell that? Is that French? Oui, non? It’s not normal.” Hanging out with musical royalty is a far cry from Noah’s modest upbringing in Johannesburg, where he was raised by his mother and maternal grandmother, and came to terms with his mixed race heritage — which has become a recurring theme for his comedy routines. On this day, the 32-year-old is being fitted by a master tailor from Ermenegildo Zegna, which created a midnight blue made-to-measure three-piece suit for him to wear to the Metropolitan Museum of Art gala. Upon entering his office at “The Daily Show” studios with its exposed brick walls, leather chairs and memorabilia cases, he immediately turns on four television sets tuned to different channels — potential material for that night’s show — as well as a stereo that plays soft blues tunes in the background. The “functional, gritty” office includes a workout machine that he can jump onto and do some upper or lower body resistance work when he gets a free minute or two. Hopefully by the end of the day, those stolen moments will add to 30 or 40 minutes of working out since Noah is too busy to make it to a traditional gym. Free time is a luxury Noah doesn’t have much of these days. In addition to “The Daily Show,” the comedian still keeps up a jam-packed schedule of stand-up shows around the U. S. and internationally, is writing a book and has a live-in girlfriend, the model Jordyn Taylor. Although his time for the fitting is limited, Noah is gracious, funny and endearing as he tries on the ensemble with both a navy and a white shirt, a blue or black formal tie and two different pocket squares. While his final choice was still up in the air, Noah was leaning toward the navy shirt and tie. “It’s more dramatic,” he said. And it’s different from what he wears on television everyday. For “The Daily Show,” he has a contract with Tiger of Sweden, which outfits him in his wardrobe of choice — suits. But he’d been exposed to the Zegna brand during a visit to the company’s store in Dubai and the relationship blossomed from there. “I don’t commonly wear a three-piece,” he said. “I’m used to wearing a suit more casually. I’ll wear them with sneakers. When you wear a three-piece and you say, ‘Oh this? I just threw it on,’ people know you didn’t.” He said growing up in South Africa, he always wore a suit as a uniform to school, hence the love affair. “I grew up wearing suits and I’m comfortable in them,” he said. “I actually find it liberating. When you grow up poor, you don’t have a lot of options when it comes to clothing, and wearing a uniform was the equalizer. You could never spot the poor kid or the rich kid — we were all the same.” And at the Met Gala, “We’ll all be equal again — Zegna put me on an equal level,” he said. But inspecting the custom Trevor Noah label on the inside of the jacket, he added: “This destroys the re-gifting options.” Although Zegna doesn’t have a table at the gala, it will be in attendance since it is dressing several other male celebrities including Paul Rudd, Nikolaj Coster-Waldau and Future. Even though Noah admitted he doesn’t know much about fashion, he joked: “I like clothes. I think they’re a good invention. Things get interesting without clothes.” And he admits to having Champagne taste when it comes to his wardrobe. “I have two weaknesses,” he said. “First, I have expensive taste without knowing it. If you put a row of T-shirts in front of me, I pick the $80 one. It’s a curse.” The second? “Women’s shoes,” he said. Although that might raise an eyebrow or two, Noah said it stems from growing up with a single mom who “loved shoes but couldn’t afford them. So we went to yard sales and church sales and she was very good at picking the good shoes. I learned from her. I can pick a women’s shoe quicker than a man’s shoe.” Now that he’s hit the big time, does Noah ply his mom with Christian Louboutins? “No, she has too many shoes now,” he said. “And besides, she always said if you buy shoes for a woman, she’ll use them to walk away.” Stories such as these will undoubtedly be part of Noah’s book, due out in November. He described it as a “collection of stories about growing up in South Africa” that will include some “fun anecdotes and some painful stories — the pieces of my life that have built the foundation for who I am today.” When he’s not jotting down memories, he continues to charge ahead with his “Daily Show” hosting duties and his stand-up routine. “Stand-up is not a job for me, it’s taking time off. It’s a great way to see America.” He said that until he started traveling the country with his comedy show, he didn’t realize the nuances of all the different cities and towns. “Stand-up is great for that, you travel and meet people and you get to eat in different places. In some places, they just refuse to eat healthy, but that just adds to the texture.” Noah tries to lead a healthy life but that doesn’t help solve his most vexing problem. “I have a big ass,” he said, “and it doesn’t correlate with the shape of the rest of my body. But where God cursed me with a big ass, he blessed me as a sample size on top. And then this face…” he said, admiring himself in a full-length mirror before laughing. But Noah is more than just a handsome face. Although his chosen field is comedy, his childhood experiences in apartheid South Africa make him a complex character. “My life has been funny, yes, but there’s a lot of funny in pain,” he said. “And my life hasn’t always been a joke — but I still find ways to laugh.” 2016-04-29 04:01 Jean E

35 £18M Lucian Freud Family Portrait Heads Christie’s Defining British Art Sale Related Venues Christie's Artists Lucian Freud Lord Frederic Leighton Frederic Leighton Christie’s has revealed three stunning highlights by Lucian Freud , Lord Frederic Leighton , and Sir Joshua Reynolds from its upcoming June 30 “ Defining British Art ” Evening Sale in London which will mark the launch of the auction house’s 250th Anniversary Celebrations. The three major figurative paintings, all from major private collections, include Lucian Freud ’s “Ib and Her Husband” 1992, Lord Frederic Leighton ’s “Golden Hours” 1864, and “Portrait of Lucy Long, Mrs George Hardinge” by Sir Joshua Reynolds, P. R. A. Lucian Freud ’s intimate family portrait is being offered with an estimate in the region of £18 million, Lord Frederic Leighton ’s masterpiece of British Aestheticism, appearing at auction for the first time in 100 years, has an estimate of £3-5 million, and the Sir Joshua Reynolds an estimate of £2-3 million. These three paintings will be included in a Loan Exhibition presenting outstanding British art works that have been handled by Christie’s in the last 250 years. The “Defining British Art: Loan Exhibition” will open free to the public from June 17 to July 15. Commenting on the sale, Jussi Pylkkänen, Global President of Christie’s International, said: “On the night of 30 June here in London we will hold a landmark sale of major paintings and sculpture to celebrate our 250th year.” “The auction will be the first sale of its kind to span four centuries of great British painting from Sir Joshua Reynolds to Frederic, Lord Leighton and Lucian Freud. Our specialists from across the globe have worked together to curate what promises to be a fascinating overview of the very best of British Art.” For more information visit the Christie’s website here 2016-04-29 03:08 Nicholas Forrest

36 Q&A: James Borynack, Chairman & CEO, Findlay Galleries Related Venues Wally Findlay Galleries International, Inc. Wally Findlay (left) & French post-impressionist artist Édouard Cortès/ Archives Founded in 1870 in Kansas City as Findlay Art Rooms and renamed the Findlay Galleries after expanding to Chicago and beyond, the venerable art dealer was split into two in the 1930s as the result of a family falling out. Now, with Wally Findlay Galleries having acquired David Findlay Jr. Gallery, the two are once again one. Last year, David B Findlay Jr. approached James Borynack, chairman and CEO of Findlay Galleries, to explore a possible merger. David Jr. died before it could be realized. But Borynack, who has a long history with the Wally Findlay Galleries, having worked there as an executive before buying and owning it from 1980 through 1985, selling it back to the family and becoming owner again in 1998, finalized the deal this year. He shares his story with BLOUIN ARTINFO. You were a longtime employee and executive of the company when you acquired the Wally Findlay Galleries in 1998. Could you share the details of this development? I joined WFG in 1972, and by 1980 acquired the New York Gallery as a franchise from the parent company, Wally Findlay Galleries International, with an option to acquire the other five galleries in Palm Beach, Beverly Hills, Chicago, Paris, and Tokyo. However, by 1985 the parent company was moving in a different direction with its representation of art and I sold WFG New York back to Mr. Findlay. That same year I joined Phillips Son & Neal, now Phillips Auction House, as its North American President. When Wally died in 1996, his estate approached me about a potential sale of the business, and after considerable evaluation, I acquired the business for the second time, closing the transaction in 1998. David B. Findlay Jr. approached you for a merger last year though his family didn’t know about it. Could you share the story? David (Jr) and I had been casually acquainted for more than 35 Years. When it became a very real possibility that we might move Wally Findlay Galleries into the same building as his gallery, I called David to ask if he had any objections. His perfect response was, “I think it’s great, we need more Findlays in the building.” Ever the gentleman! A few weeks later he stopped by WFG on 57th Street and we opened a dialogue about merging the galleries with the acquisition of David Findlay Jr Gallery by Wally Findlay Galleries. I have known the Findlay family of art dealers throughout my 44 years in the art business. I believe David felt I had the capacity and foresight to make a steady and successful merger of their 34-year history of specializing in American art with our expertise in a mix of European, Modern and global contemporaries. At 82, David was thinking about the next phase for the continuation of his gallery’s distinguished reputation in the art world. Needless to say, he was also eager to see that his daughter and partner in business was happy in her continuation as Director. Unfortunately in early September, David died peacefully in his sleep and his well-laid- out plans never got to the family table. What was the reaction of Lee Findlay Potter, daughter of David Jr., to the proposed merger? Lee was somewhat surprised to hear about her father’s discussions with me when she and I first talked. Unaware that David had kept our discussions to himself, I believed a family representative might contact me to further the acquisition of his gallery. When I heard in confidence that Lee was considering her options with regard to how to move forward after David’s passing, I reached out to her. Things happen for a reason. It is quite obvious that there was full support for Lee to complete the discussion and we all agreed on every aspect of the acquisition and merger. In regard to addressing concerns, we put considerable effort into working through integration-related questions and were able to agree on a clear integration and growth plan. Employees left who had to and others are in business as usual. The gallery is one again though the ownership is no longer with the family. Would you like the name to reflect the change? It may seem unusual, but as we discussed I have owned Wally Findlay Galleries twice. The first time was from 1980-1985. The second time began in 1998 and will continue until a very long time from now when it will pass to my family. Though we may be the second family to steer the business, it will always be Findlay Galleries. With 146 continuous years in the art business, there’s no need to reinvent a winning marriage. Lee Findlay Potter, daughter and senior colleague of her father, David Jr, will retain the position of Director and Artist Liaison, focusing on the development of new artists and estates. This will be in addition to her ongoing and outstanding camaraderie with our current stable that she has been so instrumental in developing. Lee is a highly recognized name in the scope of American Art and our collaboration is paramount for the future of Findlay Galleries. What are your plans for the gallery now? Our plans are to continue with most of the artists we currently represent and to increase our emphasis on building our contemporary stable of artists and estates. Importantly, we will continue to build and represent our collection of period works from the 19th and 20th centuries, including the masterworks of European and American artists. Our unity will enable Findlay Galleries to provide a level of diversification that has been a mounting call from the many thousands of both our collectors and potential first-time purchasers. We are now prepared to provide those options to our clients. What genre of art would the new gallery focus on? This is a merger of expansion, not consolidation. We will continue to represent the mix of schools, genres, and periods that each gallery had been known individually for. Together we will perhaps introduce exciting new areas that we feel will enrich and benefit our clientele. With our newly designed two floors of 12,000 square feet of exhibition space in New York and our 22,000 square foot gallery in Palm Beach, we have the ability to manage considerable growth. If necessary, perhaps there’s another expansion in sight for the near future. Could you share something about the grand opening of the gallery? We are currently in the replanting stages for the main opening in mid-September 2016. Our combined spaces in New York are still in somewhat of a flux with construction nearing completion on the 7th floor. Although the 8th floor is totally functioning as a gallery, renovations will begin there in June as we then occupy the newly completed 7th floor. By mid-September, both floors will be fully operating as one. Of course, we are open for business until then nonetheless. Follow@ARTINFOIndia 2016-04-29 02:43 Archana Khare

37 37 Bollywood Actress Priyanka Chopra To Dine With US President Barack Obama National Award winner Bollywood actress Priyanka Chopra is going to dine with US President Barack Obama at the annual White House Correspondents' Dinner this weekend. Priyanka will be dining with some of Hollywood's biggest names like Will Smith, his wife Jada Pinkett Smith, Kerry Washington, Shonda Rhimes, Kim Kardashian's model sister Kendall Jenner among others. The non-profit White House Correspondents' Association, whose members include the reporters, producers, camera operators and other journalists regularly covering the White House, traditionally hosts this annual dinner to raise money for journalism scholarships. Priyanka, who found the global recognition with her character Alex Parrish in the American TV series "Quantico", was invited to the annual White House Correspondents' Dinner with US President Barack Obama and First Lady Michelle Obama. The international star has now bagged a place in 2016 Time magazine's 100 most influential people's list alongside Oscar-winner Leonardo DiCaprio, Facebook founder and CEO Mark Zuckerberg, and singer Nicki Minaj, among others. In a recent interview with TIME, Priyanka explained that as a young actress, she was treated as a dime a dozen. "I don't want to be called an actor, I don't want to be called a star. I think that the movies that I do, I'm irreplaceable and the boys are replaceable," says Priyanka. Follow@ARTINFOIndia 2016-04-29 02:05 Bibhu Pattnaik

38 Bonhams Breaks 10 Records for Lebanese and Middle Eastern Art Related Venues Bonhams Artists Farid Aouad Ayman Baalbaki Kahlil Gibran Bonhams broke 10 world auction records during its April 27 Middle Eastern and Lebanese Modern and Contemporary art sales in London, reflecting the ever-increasing global demand for Middle Eastern modern and contemporary art. The combined sales broke 10 world records for 7 artists from the Art of the Lebanon sale and 3 from the Middle Eastern Modern and Contemporary Art sale. “It’s been a ground-breaking sale,” said Nima Sagarchi, head of Modern and Contemporary Middle Eastern art at Bonhams. “Despite the fact that many of the artists are well-established, both in Lebanon and elsewhere, this is the first time that many of them have come to the market. “A number of pieces have been purchased by Lebanese buyers and in many ways it’s a great homecoming for the country’s modern and contemporary masterpieces. But it also marks a turning point in the importance of Middle Eastern art on an international stage.” The top lot of the Middle Eastern sale and the highest price achieved overall was Egyptian artist Hussein Bicar’s “Nubian House,” which sold for £319,300 against an estimate of £70,000- 100,000, setting the record price for a modern Arab painting sold in London. Lebanese artist Kahlil Gibran’s painting “Portrait of Mrs Alexander Morten” was the top lot of the Lebanese sale, selling to a Lebanese institution for an impressive final price of £182,500, almost 10 times the original estimate of £20,000-30,000. Other highlights included the sale of Lebanese artist Farid Aouad’s “Opera Garnier” for £74,500 against an estimate of £40,000-60,000, and contemporary Lebanese artist Ayman Baalbaki’s “The Beirut City Centre Egg” for £86,500. 2016-04-29 00:01 Nicholas Forrest

39 With Its New Building, SFMOMA Cements a Place on the World Stage The exterior of SFMOMA, which was designed by Snøhetta. It opens to the public on May 14. HENRIK KAM Pop open the champagne and ignite the fireworks! The staff of the San Francisco Museum of Modern Art deserves to celebrate. Their $305 million expansion and renovation project, designed by the Norwegian firm Norwegian firm Snøhetta, is a triumph. They have completed a building that can compete on the world stage, bolstered the museum’s finances with a $610 million capital campaign, and added more than 3,000 works to its collection. Its opening on May 14 will mark the start of a new art era for the City by the Bay. Let’s not get carried away, though: when the celebrations are over, some tough work will have to begin, because even as the building delights, its initial hang is uneven and, in places, awkward. There are resplendent, gilded shows of forces, masterpieces to make you swoon, but there are also missed opportunities, oversights, and disappointments. It may take some time to figure it all out. An interior view of the building, with a wall drawing by Sol LeWitt. First, though, the magnificent building. It is gigantic, with a total of 235,000 square feet of space spread across floors—170,000 of that, over seven floors, is devoted to exhibitions. That is two and a half times the 70,000 that SFMOMA had before the renovation, and it is just about equal to the combined exhibition space of two New York big kahunas: the Museum of Modern Art (125,000) and the new Whitney Museum (50,000). A museum space race is afoot across the United States. SFMOMA is now billing itself as the largest museum of contemporary art in the country. And they’re not wrong. In terms of gallery space, its only real rivals are MASS MOCA (200,000 square feet) and Dia:Beacon (240,000), but both of those are very different beasts, concerned with the long-term display of very large works rather than collecting. Soon, MoMA’s planned Diller Scofidio + Renfro–helmed expansion will add another 50,000, just barely edging out SFMOMA’s figure. The new SFMOMA is not only huge; it is also grandly scaled. This is architecture that can elegantly handle the massive crowds that will no doubt materialize, not least because locals have been without their museum for nearly three years as construction took place. There are roomy lobbies and wide hallways, and ample space around and between pieces. But thankfully—blessedly—this is also architecture that stays almost entirely out of the way of the art. Galleries are varied, sensible sizes and rectilinear. The lighting is superb. There are warm, blond wood floors, and staircases that are positioned wisely, narrowing slightly as they ascend the slightly curved building. Walking up and down them, one curses MoMA’s mall- like crisscrossing escalators. With this structure, Snøhetta joins the ranks of the world’s top museum designers. Lichtensteins in the Fisher Collection. And the art? The initial hang of SFMOMA’s holdings is a shock-and-awe performance— exhilarating in its run of big names, and occasionally baffling in the way it has been spread about. Patrons provide the unifying curatorial theme, with many sections displaying the collection of Gap founders Doris and Donald Fisher, and others highlighting works donated or promised to the museum by more than 200 collectors as part of a Campaign for Art. About a third of the 1,100-work Fisher Collection, heavy with American and German postwar art, is on view. After mulling the option of establishing a private museum, the couple decided in 2009, before Donald died, to place it on loan to the museum for 100 years. They have also given a substantial, undisclosed sum for the construction of the museum. It is an intensely (almost hilariously) blue-chip selection of work—big money, male, and white, in other words. The Fishers collected quite a few artists throughout their career, amassing deep holdings, and at SFMOMA many pivotal figures get a room (or two or three) to themselves. There are glorious rooms, one flowing into the next, of Ellsworth Kellys, two for Andy Warhol (one of early paintings, including a primo 1963 Triple Elvis [Ferus Type] and another of late portraits, with two classic “fright wig” self-portraits), two for Chuck Close (one would have been more than enough), two for Anselm Kiefer, two for Gerhard Richter (one of abstractions, the other of photo-realistic works), and one each for Carl Andre, Frank Stella (later work, looking wonderfully out of place after galleries of Minimalism), mid-to-late Philip Guston, a key Bruce Nauman flashing neon, Brice Marden, Alexander Calder, Andrea Gursky, Dan Flavin, Sigmar Polke, Agnes Martin, and more. Works by Willem de Kooning in the Fisher Collection. If you think you are spotting a trend here, you are correct: the only woman getting a room of her own in the Fisher section, which ranges across large parts of four floors, is Martin. The Martin room is beautiful, a quietly stunning chapel of a gallery, with seven flat walls angled in almost a complete circle, each one holding a single masterwork, covering decades of her work. But the overall male-centric display is a shame. The Fisher loan is undeniably generous, providing SFMOMA with the caliber of art that is well beyond the reach of even the most well-funded institutions these days (the figure of $1 billion has been bandied about as to its worth), but shown on its own it becomes a portrait of the tastes of two collectors, and the upper-echelon of the art market, rather than an exhibition that meaningfully engages history or makes nuanced connections. Thankfully, the terms of the Fisher loan state that a monographic display of the collection must be organized only once a decade. The rest of the time, Fisher works can be augmented by pieces from the rest of SFMOMA collection and a richer tale of postwar art can be told. (The loan agreement states that Fisher-designated galleries must always contain at least 75 percent Fisher works.) To just scratch the surface of possibilities: the Fishers bought very strong Joan Mitchells, which could be united with another in the collection for a very solid room of her art, ditto for Lee Krasner, and the museum’s Eva Hesses could join the party in the 1960s. At left, two works by Puryear. At right, a Therrien. And even in the relative monoculture that is the Fisher Collection, there are a few canny curatorial moments, like the pairing of Robert Therrien and Martin Puryear, the former’s red, jagged shaped canvas Untitled (Bent Cone) (1989) rhyming perfectly with the latter’s smooth, curving 1990 untitled sculpture, both riffing on Phrygian caps. (That match was also made in SFMOMA’s 2010 exhibition of the Fisher collection.) And just off the Kelly rooms, there is a gallery showing Days on Blue (1974–77) , a delicate and ice-cold sculpture made with propped planes of steel and glass by Christopher Wilmarth, who is less than a household name. Déjà vu strikes in the nearby galleries of works coming to the museum through its Campaign for Art— more Kiefer, more Polke, more Richter, and the like, plus little groups of Bay Area figuration (Joan Brown, Wayne Thiebaud, and David Park among them, but not nearly enough), of Jasper Johns and Rauschenberg, and of Abstract Expressionism. (Again, it is going to be a breath of fresh air when that work can be hung with the Fisher material.) The Martin room, with seven works from the Fisher Collection, dating from the 1950s to the 1990s. In another tiny room sit works by European greats, like Picasso, Bacon, and Léger, though prewar modernism is not a strength at SFMOMA, and judging by the prices being recorded in the field and absent a kind donor, it may never be. There are a few showstopper moments in these Campaign for Art rooms. Two galleries of prime 1960s Richard Serra prop pieces provide one. (Though it would be great if the wire stanchions were a touch more discrete.) Ed Ruscha’s modestly sized red painting Evil (1973) provides another—its title is spelled out in sharp, angled block letters painted by the artist with his blood. It is on the seventh floor, focused on recent art acquired through the Campaign for Art, that things turn disastrous. One arrives to the sight of Richard Prince’s infamous Spiritual America rephotograph of a young, nude Brooke Shields, Martin Kippenberger’s crucified wooden frog, a Jeff Koons equilibrium tank, a Cady Noland cut-out sculpture, and a Christopher Wool abstraction, among others. This is a grouping that could be found anywhere in the world—the house of a wealthy collector without any real defining taste (beyond an interest in investment-grade art), an auction house, or an art fair, but it is here in SFMOMA, in the opening show, apparently representing the best the museum has to offer. Works collected through the Campaign for Art, on the museum’s seventh floor, including pieces by Larry Clark, Richard Prince, Mike Kelley, Cady Noland, Martin Kippenberger, and Jeff Koons. It gets bleaker. The great Charlie Ray’s admittedly impressive, 2012 solid steel sculpture, tranquil and disturbing, of a woman asleep on a bench (an affecting sight in a city in the midst of a housing and homelessness crisis), leads into what would seem to be a very obvious configuration of art concerned with identity, made by minorities, with Glenn Ligon (his stately neon sign glowing “America”), Mark Bradford, Felix Gonzalez-Torres, David Hammons (a basketball drawing propped on bricks), Nicole Miller, Brad Kahlhamer, and Ai Weiwei, among others. That leads into a lackluster room of market-favored, process-leaning abstract painters like Tomma Abts, Raoul De Keyser, Garth Weiser, Mark Grotjahn, and Sergej Jensen, among others, and the great sculptors Ron Nagle and Vincent Fecteau, all crammed together. Grotjahn pops up again a few steps away in a slightly more intriguing context, a duel with Bradford, each of them grabbing two walls. Later on we are shown minor pieces by Doug Aitken, Rachel Harrison, and Dana Schutz. Again and again throughout the museum, I kept waiting for the funk and weirdness to show up. Even casual art fans—the types that go to a few museums a year, and maybe take in the odd art fair—will be well-acquainted with most of the work on the seventh floor. So why show it all again in such a bland way? Richard Serras. In contrast, the Whitney presented a remarkable model for a collection hang last year, when it inaugurated its new building in Manhattan’s Meatpacking District with “America Is Hard to See,” a ranging group show that set red-meat masterpieces, obscure side dishes, and little-known treats side by side. It still skewed white and male, but it assembled a broader look of 20th- and 21st-century art, one populated by fruitful detours and forgotten episodes. It was electric, and it invited you to return repeatedly, to become acquainted with other rare episodes. The SFMOMA display mostly invites you to genuflect before its greatness. There are, at least, promising hints of more-inventive approaches down on the second floor, as in a juicy room on the human figure that leaps from hometowners Robert Bechtle and David Park to Romare Bearden and Njideka Akunyili Crosby. Elsewhere, the Bay Area shapeshifter Joan Brown, who transitioned in her too- short career from thick, brushy figurative paintings to tightly outlined Pop-inflected portraits, meets the mad collagist Jess. Another gallery champions, in high style, the underrated California conceptualists. But here, too, the déjà vu sets in. An area with works given to the museum in the past by the Anderson family has Rauschenbergs and Johnses, Oldenburgs and Warhols, whom we have seen up above, in both the Fisher and Campaign for Art sections, and there is more Ab-Ex, which would have looked rather nice with the paintings up above. A view from the seventh floor of the building. If one wanted to get indignant about this patron-focused approach, one might say that it exemplifies a core problem of the art scene at the moment, as collectors exercise outsize influence on institutions. But these scattered hangings can be fixed. A newly great museum collection is aching to be shown in its greatest form, and it will be, once the patrons’ wishes are shrugged off and works are hung alongside one another. Enough grumbling. The new SFMOMA really is an embarrassment of riches. At one point, I happened upon a fellow writer from New York in a jewel-like exhibition of Paul Klee paintings and we marveled that, after each walking around for a few hours, briskly, we had yet to see the whole building. It just kept going! There was not another person in sight, and new surprises seemed to await around every corner. That is a wild feeling, one that I have only ever had inside the vast MASS MOCA. Speaking of those riches, there are also significant, sprawling photography galleries. And there are cozy outdoor spaces where you can take in views of the city or tap on Snøhetta’s rippling fiberglass façade. And there are black-box spaces, which show video works by artists like William Kentridge and Shirin Neshat to very fine effect, a state-of-the-art “white-box” performance space, and, frankly, sexy bathrooms whose walls and floors are painted an ecstatic red. The old lobby at SFMOMA, with a new staircase and a Calder mobile. Besides the thematic shows, the second floor is also home a compact history of modern and contemporary art from 1900 titled “Open Ended.” Altogether, it is work the new ticket price of $25, which is the going rate at MoMA, as well. Having said that, and acknowledging that this is probably a losing battle, I would beseech museums to chill out on the price hikes, which make it increasingly difficult for even well-off families to visit. Peg admission to the price of a matinee movie ticket or, better, make it suggested—maybe knock a floor or two off of expansions to create an endowment to subsidize fees. Working our way down, this brings us, finally, to the first floor. In the entrance area of the old building, designed by Mario Botta and finished in 1995, Snøhetta has axed the grand staircase, replacing it with a much-lower-key wood one, to move the masses up more smoothly into the museum’s new lobby. Richard Serra, Sequence , 2006. Over on the first floor of the new building is Richard Serra’s looping Cor-Ten steel sculpture Sequence (2006). It stands 13 feet tall and weighs 200 tons, and it is so hulking that the expansion had to go up around it, after it had been installed. It is pretty much set there for all time, and has been extensively written about in the press. Visible from the street, it is now the defining symbol of the new SFMOMA—august, brand-name, big, and expensive. Joan Brown, After the Alcatraz Swim #1 , 1975. However, if the museum is to become a lasting and vital member of the city’s diverse community, and not just its moneyed patrons, it needs to become the opposite of that Serra: nimble, quick-thinking, and open to change. I would propose as a role model Joan Brown’s punchy 1975 painting After the Alcatraz Swim #1 , on view on the museum’s second floor. Perhaps fresh from a swim in the frigid waters of the San Francisco Bay, a woman is standing next to a fireplace. A fire is burning, and she has one arm across the mantle, and the other on her hip, akimbo. She is staring upward—daydreaming, maybe. There’s no telling what she will get up to next. A slide show of the newly renovated SFMOMA follows below. Richard Serra, Sequence , 2006 A 1975 Joan Brown. Design works from the collection. A view from the seventh floor of the museum. A Serra. Richard Serras. A view from the seventh floor of the building. The museum’s conservation space. A Rachel Harrison and a Doug Aitken. A Brad Kahlhamer. Richters in the Fisher Collection. Computers in the design galleries. Richters from the Fisher Collection. Matthew Barney. Works collected through the Campaign for Art, on the museum’s seventh floor, including pieces by Larry Clark, Richard Prince, Mike Kelley, Cady Noland, Martin Kippenberger, and Jeff Koons. Kiefers. Polkes. Richters. British sculpture from the Fisher Collection, including work by Richard Long, Anish Kapoor, Antony Gormley, and Richard Deacon. An interior view of the building, with a wall drawing by Sol LeWitt. Later Stellas in the Fisher Collection. Stella, Andre, and LeWitt in the Fisher Collection. Carl Andres with Dan Flavins glowing in the distance. LeWitt. George Segal and Wayne Thiebaud. Lichtensteins in the Fisher Collection. The Martin room, with seven works from the Fisher Collection, dating from the 1950s to the 1990s. Christopher Wilmarth, Days on Blue , 1974–77. Ellsworth Kellys in the Fisher Collection. The old lobby at SFMOMA, with a new staircase and a Calder mobile. Chris Johanson. Kellys in the Fisher Collection. Calders from the Fisher Collection. LeWitt. At left, two works by Puryear. At right, a Robert Therrien. Works by Willem de Kooning in the Fisher Collection. 2016-04-28 22:38 Andrew Russeth

40 40 The Poetry, Politics and Projects of ‘Mad Men’ Creator Matthew Weiner “Mad Men” creator Matthew Weiner is crackerjack at character analysis and capturing the cultural zeitgeist, but a poet too? At Lincoln Center to read a little Mark Strand for the Academy of American Poets’ “Poetry & the Creative Mind” event, the Emmy-winning writer- director-producer spoke about studying poetry with Christopher Reeve’s esteemed father Frank at Wesleyan University. Weeks away from a “Jeopardy” appearance, Weiner talked trivia, time travel and social progress (or the lack thereof) — although the father of four remained mum about his current writing projects for film, television and prose. 2016-04-28 22:32 Rosemary Feitelberg

41 ‘Streetease’ Brings Mr. Brainwash and Seen to Opera Gallery Hong Kong Related Venues Opera Gallery Hong Kong Artists Seen UA Mr. Brainwash Opera Gallery Hong Kong showcases the work of two street artists, Mr. Brainwash and Seen, in its latest exhibition, “Streetease.” Together, these artists highlight two distinct strands of gallery-level street art, with Seen representing a history of the movement stretching back to its beginnings as a clandestine youth movement in New York in the 1970s, while Mr. Brainwash represents the post-millennium and post-Banksy movement of street art. Seen (Richard Mirando), like many of the early graffiti artists, started in the movement painting on New York City subways trains in his very early teens, becoming part of the first group of graffiti artists (alongside Keith Haring and Jean-Michel Basquiat) to start working with galleries. The Seen works appearing at Opera Gallery show the influence of another figure whose work featured in those early street art gallery shows in the 1980s, Andy Warhol. In works such as “Popeye” and “Wonder Woman,” Seen combines the obsession with American comic books that can be seen in Warhol’s early work and in series like “Myths,” 1981 with the aesthetics of the early New York graffiti movement. Mr. Brainwash (Thierry Guetta), in contrast, finds more inspiration from the more mocking and wry work that is associated with Banksy, who made a documentary on Guetta, “Exit Through the Gift Shop” (2010). Although initially dismissed as a sort of Banksy-lite, the works featuring in “Streetease” highlight the distinctive aesthetic of the artist’s work, with its splashes of brightly- colored paint and focus on mixed media works. Together, the two artist’s work offers a retrospective of current street art in miniature, the past and present of street art. 2016-04-28 20:52 Samuel Spencer

42 ‘Angkor Wat Soviet-Style’: Christophe Malcot on Photographing Chernobyl Related Venues The Private Museum The year 2016 marks the 30th anniversary of the Chernobyl disaster where three decades ago explosions and fire at the Chernobyl Nuclear Power Plant in Pripyat, Ukraine, brought devastation resulting in mass evacuation and radioactive matter being spread across much of Europe. To commemorate the event, Singapore’s The Private Museum and French-born, Singapore- based photographer Christophe Malcot have collaborated on “Chernobyl Today,” an exhibition of Malcot’s photos taken in 2015 in Pripyat. On April 26, the day of the 30th anniversary of the nuclear leak disaster, ARTINFO spoke to Malcot about the exhibition and his experiences photographing a nuclear ghost town. Excerpts: When I was a kid, during the Cold War, “1984” by George Orwell was required reading. And I like architecture. Put the two together and the ex-Soviet Union becomes a treasure trove of larger-than-life hubristic and propagandist monuments and buildings, some of whose excesses can be extremely photogenic. The Duga-1 early-warning radar system (featured in the exhibition) is one such amazing structure. Beyond this, I am sensitive to the dichotomy of degeneration and regeneration. And so the fact that nature after the Chernobyl disaster has been able not just to adapt but to flourish again, made the subject much more compelling. I was a student in France. Our government famously tried to reassure the population by demonstrating with the help of scientists and weather reports that the nuclear cloud had stopped at the border. It felt like a (bad) joke but when you are 20, you feel invincible. And so I remember not being unduly worried; and totally unprepared. You cannot go to Chernobyl without preconceptions: Nuclear catastrophe, ghost city, Soviet era... My first impression though was totally unexpected: Being virtually alone in Pripyat, surrounded by unkempt vegetation, immediately brought the temples of Angkor Wat to my mind. I felt like a modern-day Henri Mouhot (the French explorer who rediscovered the temples of Angkor). I spent three days in Angkor in 1994 when live minefields and the Khmer Rouge’s low- intensity guerrilla war kept visitors away. Then, 50 visitors would have been a busy day. The vegetation had again taken the upper hand and the temples were more hidden and more mysterious than they are today. Pripyat was Angkor Wat Soviet-style. The heaviness was gone. Both conceptually and visually, Chernobyl is a subject that I believe lends itself naturally to black and white, so I was already inclined to shoot in it before heading there. It was the end of May and I was actually worried about the weather, as I did not want to shoot under bright blue skies. Luckily, when I arrived it was pretty overcast, which brought out interesting shades of gray. The other important factor is that the dominant colors in Chernobyl are white, gray, brown and green. I immediately felt vindicated shooting in black and white as I was really not losing much color- wise. I think that behind these photos of ruins and decay, there is a double message: one of humility and one of revival. The trees, plants and animals overtaking the city are proof that life ultimately wins. However bad or desperate a situation may look, there is hope. But Pripyat is also a clear reminder that man cannot play the sorcerer’s apprentice at will. As in Fukushima, we were lucky, it could have been much worse. As the world is slowly awakening to the dreadful reality of climate change, I think these photos are also a reminder of our fragility. Last but not least, everybody should remember that life is short; Pripyat was 16 years old when she was evacuated and died, so make the most of it! Live your dreams! 2016-04-28 20:46 Samuel Spencer

43 7 Must-See Shows at Berlin Gallery Weekend Aleksandra Domanović, Substances of Human Origin (2015). Photo courtesy of the Varon Collection, Monaco. One weekend each April, galleries up and down Potsdamer Straße (and beyond) collectively tap their best artists, extend their hours, and stay open on Sunday, all in the name of promoting the cooperative Berlin art market. They call it Gallery Weekend Berlin , and this year, it takes place from April 29 until May 1. International collectors and art aficionados Uber around the city for a weekend trying to see it all, since they won’t be back in Berlin until mid-September for abc art berlin contemporary , Gallery Weekend’s sister event. In true Berlin style, few of the exhibitions yet have press releases, or really any information beyond the rare photograph. So, I did my best to speculate on what seem like the most exciting and worthwhile Gallery Weekend exhibitions. Petra Cortright, Bridal Shower (2013). Photo courtesy the artist and Societé, Berlin. Societé posts very little information on their website, so there’s little to know about Petra Cortright’s show—except what her studio told us, which is that the show is called Die Rose . (In German, that means “the rose” and not “die, Rose.”) The coupling of the internet artist with what might be the most esoteric gallery in Berlin is sure to pique the interest of lovers of immaterial, logged-in works. Djordjadze is fairly well-known in Berlin, especially compared to New York, where she’s only now gotten her first solo show, at MoMA PS1. She studied under the prolific German artist Rosemarie Trockel, and has since carved a name for herself with her minimal, functional design- inspired, sometimes surreal sculpture. Tomás Saraceno, Solitary semi-social mapping of SXDF- NB1006-2 by one Nephila clavipes – one week, one Tegenaria domestica – eight weeks and a pair of Cyrtophora citricola – one week (2015). Photo courtesy the artist and Esther Schipper, Berlin, © Studio Saraceno The artist’s second show with Esther Schipper, a champion gallerist of conceptual art in Berlin, Aerocene conceptually builds upon Saraceno’s earlier work, Cloud Cities , a project that imagines a utopia structured after cloud formations, soap bubbles, and spider webs. The exhibition will kick off with a spider concert to celebrate the new works, which are made of spider silk and ink on paper. The winner of the 2014/2015 ars viva prize , Domanović is interested in the de- and re- contextualization of images—like these sculptures of American celebrities in former Yugoslavian Republics. Her work also probes into the ways citizens heal from traumas of collective memory, like 2010’s 19:30 , a juxtaposition of the former Yugoslavian evening news with a different kind of collective experience: techno raves. Her Gallery Weekend show is called Bulls without Horns , and will expand on her research-based practice to look at how animals have helped to shape human understanding, “From Archaic Greece into the Anthropocene present.” KTZ’s location in a full-on, fluorescently lit office building is either an example of Berlin creatives’ ability to reuse and repurpose spaces, or the most post-internet "office aesthetic" joke ever. For Gallery Weekend, they will show American artist Rachel Harrison’s American Gothic , a sculpture made using a cast of a Native American bust she bought on e-Bay. Wolfgang Tillmans, Studio Still Life, A (2013). Photo courtesy of Galerie Buchholz, Berlin/Cologne Besides extending the hours of Between Bridges , Tillmans’ gallery turned into a forum to discuss and plan how to help the European refugee crisis. During Berlin Gallery Weekend, the artist will also have his 12th solo show at Galerie Buchholz. Entitled Studio , the show will examine the artist’s relationship with the place in which he works. Galerie Eigen + Art will present Nicolai’s reflektor distortion. The multidisciplinary artist, who produces sound under the name alva noto and founded the “archive for sound and not sound,” Raster-Noton , works scientifically to find systems of making sound visually accessible. This installation will include a rotating bowl of water hit with sound frequencies, dealing with themes of reflection, distortion, and interference. Hiwa K, This Lemon Tastes of Apple, (2011). © Hiwa KPhoto courtesy of Hiwa K and KOW, Berlin KOW is a Berlin standout for its consistently international and political focus, and for their continuous support of documentary-leaning video works. Perhaps one of the only galleries with a written, coherent, and helpful press release as of the day of writing, the gallery’s words on the joint exhibition of Tobias Zielony and Hiwa K speak for themselves: “Acting unexpectedly, becoming an unscheduled political subject, contradicting the public narratives and regimes of visibility that make some voices sound legitimate and others not—this is what KOW’s solo exhibitions of Hiwa K and Tobias Zielony are about. More specifically both artists step into moments called 'crisis,' trace places and events of political upheaval and repression, and connect to involved people, stories and bodies.” Find out more about Berlin Gallery Weekend here . Related: Virtual Pop Star Hatsune Miku Performs “Live” in Berlin The Sickest Photos from the Berlin Festival of Light The Best of Berlin Art Week 2016-04-28 20:05 Alyssa Buffenstein

44 Armory Show Head Aims to Change Up Fair— He's compared the global Art Basel fair enterprise to a generic Marriott hotel, and he's likened looking at art in a tent, as we do at Frieze art fairs, to eating chicken from a bucket. And now the new Armory Show director (and former artnet News editor-in-chief) Benjamin Genocchio has unveiled his plans to shake things up at the 22-year-old New York fair's March 2017 edition. The main change Genocchio plans is to tear down, to some extent, the wall between modern and contemporary galleries, which have for the last eight years been segregated. Contemporary dealers have set up shop on Hudson River Pier 94, while modern art dealers showing their wares on Pier 92, where foot traffic has in recent years been dramatically lower. Of the just over two hundred exhibitors at the 2016 edition, 56 were on the modern pier. A distinction between the two piers will remain, though. The main galleries section, now including both modern and contemporary offerings, will be on Pier 94, while Pier 92 will house the "Insights" section, which will be solely 20th-century works. Some of the large-scale projects will also be on Pier 92. Another step is the introduction of “Platform," a sector that will consist of large works and performances, some of them new commissions, which will take advantage of the large industrial space and will be spread across both piers. This echoes sections in other fairs international and regional, like Art Basel's “Unlimited" and Expo Chicago's “In/situ. " Some previously unused parts of the piers will be put into use, say the fair's organizers. Bid goodbye to the geographic focus of the “Focus" section next year, which the fair has devoted to a new part of the world each year for the fair's last seven editions ( Africa and Asia got the nod in recent years, for example). Instead, that section will now invite a curator to select galleries that will show “new or rarely seen artworks" by “today's most compelling artists. " While other fairs (such as Art Basel and Frieze) are set on global expansion , heightening competition for attention and top galleries, not to mention deep-pocketed visitors, Armory has remained resolutely a once-a-year, one-city affair. The previous director, Noah Horowitz , who decamped in 2015 for the position of Americas director in the Art Basel empire, strengthened the lagging fair, which its owners, Merchandise Mart Properties, had been offering for sale in 2012. The test for Genocchio is to see if he can build on Horowitz's improvements, and he has done nothing if not set the bar high. Follow artnet News on Facebook. 2016-04-28 20:01 Brian Boucher

45 Police Brutality in VR Proves It's a ‘Hard World for Small Things’ All photos courtesy of Wevr When filmmaker Janicza Bravo began researching the death of a cousin asphyxiated by Brooklyn cops in the summer of 1999, she was incensed. “I looked him up and there were two articles about the incident, one in the Daily News and one in the Post. One was a couple of paragraphs, the other was just one, but both were very much about the event. Neither was about who he was, where he came from, his life, his children, or his partner,” Bravo tells The Creators Project. “That was really heartbreaking to me, you know? That a person could live a full life and be deduced to one or two paragraphs about how they lost their life.” Bravo feeds on these feelings, tackling police brutality in her virtual reality directorial debut, Hard World for Small Things , which screened first at Sundance , then at the Tribeca Film Festival’s Virtual Arcade this year. When viewers strap on a headset, they are transported to the backseat of a convertible, cruising around Los Angeles with a group of friends who discuss their lives, dreams, and the books they have read. The film cuts to the quick by imbuing its characters with life and personality, making tragedy, when it strikes, all the more heartbreaking. A prolific young writer and director, Bravo made her filmmaking debut in 2011, with the VICE - produced comedic short Eat! , and her 2014 film Gregory Go Boom , starring Michael Cera, won the Grand Jury Prize at Sundance. For her first foray into VR, Bravo delved into unfamiliar territory, trading her signature dark comedies for a heartfelt examination of injustice. “I have no interest in making work that makes people feel bad about who they are,” Bravo says. “It’s not what I’m interested in. But I am interested in making work that challenges perceptions of oneself. I thought the most compelling way to tell this story was to introduce the viewer to a community that I don’t think most viewers have experienced. I really thought about it as a front row seat into a community.” Anthony Batt, co-founder of Wevr and an executive producer on the film, thinks the act of witnessing is one aspect that makes Hard World for Small Things incredibly moving. “People have an elevated experience in Janicza’s piece right when they get in the car and it pulls away. When you’re immersed, it feels like watching a memory or reliving part of a dream, and something happens in the brain that elevates it. When you add a tragic element or important moment, it affects you differently than it would watching it on a screen ten feet away or on a phone at arm’s length,” he says. Bravo imbues the medium with so much heart, leveraging first-person perspective to such poignant effect that it comes as a surprise that she was averse to the idea of VR filmmaking at first. “A lot of it came from feeling like this space is very technical, cold, and lacking a heartbeat. I didn’t feel like it had as much soul as I would want,” she says. But once they started work on the piece, Bravo realized VR more closely mirrored rehearsing a play than shooting a film. The process relies on blocking and chemistry to create dynamic scenes, since in a 360-degree environment, what you see is what you get. The result is a stunning, multi-dimensional glimpse into her characters’ lives. “At its core, Hard World is essentially supposed to be more than that one paragraph. It’s supposed to be a little more meat on a full life,” Bravo says. Click here to follow Janicza Bravo on Instagram. Related: LA Exhibit Traces 25 Years of Artistic Responses to Police Brutality VR Takes Center Stage at Tribeca Film Festival 2016 "Browntourage" Takes a Stand for Female Artists of Color 2016-04-28 19:40 Kara Weisenstein

46 Berlin's Most Notorious Club Gets an Acoustic-Architectural Installation Screencaps by the author Berlin’s club mecca, Berghain, might be infamous for its downstairs "orgy room" and drug-fueled techno parties, but the building is equally notable for interior architecture. With 60-foot ceilings and rows of large pillars, the industrial space seems like something out of a science fiction film—a mixture of Alien and Blade Runner. For the 20th anniversary of German record label Raster-Noton , from tonight through April 30, Berghain’s acoustic- architectural space is getting transformed into an audiovisual installation called White Circle. In collaboration with the art and technology group ZKM , Raster-Noton invited four of its artists—Alva Noto, Byetone, Frank Bretchscneider, and Kangding Ray—to contribute to the development of this audiovisual composition. Each artist’s composition is an “independent, self-contained concept,” though the works will use ambient and drone as sonic reference points. Each of the works exist as visuals as rhythmic flickers in a circular array of white tubes of light, which react to each of the artists’ audio pieces. “All works will be based on the idea of ambient music, a music that wants to make (palpably) tangible the acoustic space as well as the visual stimulus,” Raster-Noton announces. “ White Circle was exclusively conceptualized for ZKM's Klangdom (Sound Dome), which is made up of 47 speakers distributed [throughout] the room. By means of the control software Zirkonium, these speakers can be played, turning sound itself into a sculptural spatial experience.” Given the post-industrial, near-cyberpunk atmosphere that is Berghain, White Circle should give an even more futuristic feel to the whole experience. The club has always been about the marriage of sound and visuals, so the installation will conceptually distill that down into a mesmerizing audiovisual experience. white circle /// raster-noton 20 anniversary /// zkm karlsruhe from Michael Wolf on Vimeo . White Circle is part of Raster-Noton's larger 20th anniversary celebration, which includes an artist showcase in the main Berghain space, and its upstairs space Panorama Bar, on April 29th. The concerts open at 7:00 PM and run through midnight with performances from Atom™, Dasha Rush, Emptyset and Grischa Lichtenberger. There will also be performances by Alva Noto, Byetone, Kangding Ray, Kyoka, Donnacha Costello, as well Marcel Dettmann, Credit 00, Magda and Nastia. Click here for tickets and information, and click here to see more of ZKM’s work. Related: A Morphing Mural Is Changing Colors in Norfolk An Interactive Installation Lets You Manipulate Time and Space Light Art Festival Bathes Blighted Baltimore in A Sea of Color 2016-04-28 18:45 DJ Pangburn

Total 46 articles. Created at 2016-04-29 18:02