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71 articles, 2016-04-01 06:02 1 Fashion Industry Remembers Zaha Hadid The architect died at age 65 in Miami of a sudden heart attack. 2016-03-31 23:17 11KB wwd.com (8.07/9)

2 Star architect Zaha Hadid dies aged 65 from heart attack World-renowned British architect whose designs include the Olympic Aquatic Centre has died 2016-03-31 16:49 4KB www.theguardian.com (8.07/9)

3 Frankie Previews Fall Collection in Frankie — the revamped, Los Angeles-based brand formerly known as denim label Frankie B — previewed its fall collection to editors. 2016-03-31 21:29 1KB wwd.com (3.01/9)

4 Sotheby’s Contemporary Art Head Cheyenne Westphal Out After 25 Years Westphal in front of a Hirst. COURTESY SOTHEBY'S Cheyenne Westphal, the worldwide head of contemporary art at Sotheby's, is leaving after 25 years in what is 2016-03-31 12:59 (2.00/9) 1KB www.artnews.com 5 Ricardo Lowenberg, 2016 Spotlight Artist Gleaning artistic influence from an amalgam of art history’s greatest painters, Mexico-born painter Ricardo Lowenberg transforms the canvas with his skillful manipulation of shape, color, texture, and rhythm. In his portrayal of the everyday world, Lowenberg transforms scenes of the mundane into spiritually... 2016-04-01 06:02 2KB artexponewyork.com 6 Show Guide Ad Upload AENY 2016 Show Guide Ad Upload Form 2016-04-01 06:02 602Bytes artexponewyork.com 7 Official Logos Proud Sponsors Exhibitor Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Logo for... 2016-04-01 06:02 877Bytes artexponewyork.com 8 Free Freight Program Take advantage of our special year-round Free Freight Program for exhibitors! It's simple: When you send your artwork to any of our shows to exhibit, we'll transport it to the next show... and the next ... and the... 2016-04-01 06:02 1KB artexponewyork.com 9 Directions & Parking Show Address Pier 94 711 12th Ave (55th Street & the West Side Highway) New York, NY 10019-5399 View Piers 92/94 in a larger map Parking On-Site Parking At Pier 92, 900 on- site parking spaces are available for cars, and... 2016-04-01 06:02 2KB artexponewyork.com 10 Hours & Location VIP Opening Night Preview Party • Thursday April 14th: 4PM–7PM — (Open to all attendees) Show Hours • Thursday (TRADE ONLY DAY), April 14th: 12PM – 7PM • Friday, April 15th: 12PM – 7PM • Saturday, April 16th: 10AM... 2016-04-01 06:02 2KB artexponewyork.com 11 Lululemon Gets in Beyoncé Fans’ Crosshairs The yoga-pant-proprietor learned the hard way on Thursday not to throw shade at the popstar. 2016-04-01 00:52 2KB wwd.com

12 Andrew Blauvelt's Superonda Sofa , Superstudio, 1966. Courtesy of Dario Bartolini (Archizoom Associati)... 2016-04-01 01:00 6KB bombmagazine.org 13 Public Art Saint Paul names new city artist Aaron Dysart starts his new job in April. 2016-04-01 01:00 2KB www.startribune.com 14 Raw Material: An Interview with Google Design The SPAN Reader, a book released by Google Design in conjunction with its SPAN conferences in New York and London, is an eclectic collection of design thinking that investigates a variety of co... 2016-04-01 01:00 905Bytes blogs.walkerart.org 15 Journalism and Art: Complementary and Collaborative Storytelling Carrie Roy saw it in her head before the conversation was even over—a giant wooden sculpture of the back half of a cow, atop … 2016-04-01 01:00 26KB niemanstoryboard.org 16 contacto office in guadalajara, mexico designed by IX2 arquitectura the interior program is organized around a central space, referred to as the diamond, that serves as a primary conference room and architectural element. 2016-04-01 00:15 1KB www.designboom.com 17 First Look: Erin Markey - Magazine - Art in America Ignoring boundaries between drama, comedy and performance art, Brooklyn-based Erin Markey writes and acts in works of outrageous theatricality—including a recent musical about a Michigan girl in love with her family’s pontoon boat. 2016-04-01 00:00 3KB www.artinamericamagazine.com 18 Treble—Bright—Daylight Savings: Michael Gallope on Tristan Perich and Vicky Chow 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... 2016-04-01 01:00 1015Bytes blogs.walkerart.org 19 The Best 25 Chunky-Heeled Shoes for Fall 2016 WWD rounds up the best chunky-heeled shoes for fall 2016 from the New York, London, Milan and collections. 2016-03-31 22:49 1KB wwd.com 20 Commando Introduces Capsule Collection of City-Themed Underwear The innerwear and sleepwear brand is experimenting with photo real prints for the first time and has launched a collection of city-themed thongs. 2016-03-31 22:46 1KB wwd.com 21 Houghton’s Spring Bridal Event to Feature Buy-Now-Wear- Now Element For her upcoming presentation, Katharine Polk will shake things up with a buy-now-wear- now event hosted in a private, four-story town house. 2016-03-31 22:20 1KB wwd.com 22 studio davidpompa combines traditional mexican crafts in cupallo lamp the pendant lamp uses 100% recycled and hand-shaped glass for the lens, resulting in an irregular surface with surprisingly tiny air bubbles enclosed. 2016-03-31 22:01 2KB www.designboom.com 23 Cara Delevingne on Saint Laurent Return: ‘I Never Quit’ The day after her Saint Laurent couture campaign was released, Cara Delevingne took to Twitter to address her modeling return. 2016-03-31 20:28 2KB wwd.com 24 dominique perrault completes renovation of pont de sèvres towers in paris following a complete re-structuring, dominique perrault has renovated the building to the future needs of different programs such as offices, and commercial. 2016-03-31 18:30 4KB www.designboom.com 25 Our Favorite Enamel Pins of the Week #9 Featuring new pins from Dropped Pin, Weirdo Weapons, This Might Hurt, Good Hustle Co., a patch from Ziero Muko, and an exclusive 20% off discount code from Strike Gently Co. 2016-03-31 18:30 4KB thecreatorsproject.vice.com 26 Dance, Transportation, and Glitter Cross Paths in ‘Motions’ at Ota Fine Arts The group exhibition “Motions,” opening this weekend, features seven artists from across Asia whose works intersect in a number of ways. 2016-03-31 18:08 2KB www.blouinartinfo.com 27 Columbia Students Protest Henry Moore “PLEASE! PLEASE! PLEASE sign this petition to keep this gargantuan metal garbage heap off of our lawn,” demand organizers. 2016-03-31 17:22 4KB news.artnet.com 28 Jute-Sack Case Heats Up: Ibrahim Mahama Countersues Simchowitz, Ellis King Artist's lawyer alleges the dealers 'made him sign these works' 2016-03-31 16:50 11KB www.artnews.com 29 Stella McCartney to Open Second Paris Store The British designer is joining the Rue Saint-Honoré juggernaut with a 2,000-square-foot location slated to open by year’s end. 2016-03-31 16:47 1KB wwd.com 30 Wessel Huisman Explores Light in the City at Fabrik Gallery Dutch artist Wessel Huisman brings his depictions of light in the modern metropolis to Hong Kong’s Fabrik Gallery in the exhibition “The Color of Light.” 2016-03-31 16:45 2KB www.blouinartinfo.com 31 Tommy Hilfiger Sponsors Rolling Stones’ First Exhibit “Exhibitionism,” opening at Saatchi Gallery in London on April 5, will feature more than 500 rare and original band artifacts. 2016-03-31 16:43 1KB wwd.com 32 DVF to Receive Honorary Degree from The New School Other speakers who will receive honorary degrees include Laverne Cox, DeRay Mckesson Anita Sarkeesian, David Miliband, and Mercedes Doretti. 2016-03-31 16:34 1KB wwd.com 33 Zalando Teams With Beyoncé’s New Ivy Park Label Online giant to launch Ivy Park in with an exclusive campaign. 2016-03-31 16:30 2KB wwd.com 34 Aby Rosen Anoints ‘The Most Interesting Street In ’ The lobby of 11 Howard. Art collector and developer Aby Rosen has opened a hotel in called 11 Howard, which my press release calls "an incredible 2016-03-31 16:17 2KB www.artnews.com 35 An Experimental Horror Film Marries Grotesquery and Feminist Poetry [Premiere] Filmmaker Leila Jarman and artist Chelsea Bayouth's film 'A Dream of Paper Flowers' creates a surreal portrait of the female experience and stars a "giant lactating tit slug. " 2016-03-31 16:15 3KB thecreatorsproject.vice.com

36 PayPal Exec on Consumers’ Financial Health, Making Credit a ‘Democratized Process’ Kathleen Pierce-Gilmore is vice president and general manager of credit for the Americas at PayPal. 2016-03-31 16:09 4KB wwd.com 37 Colin Furze Demos His DIY Thermite Launcher You are legally obligated to not try this at home. 2016-03-31 16:05 2KB thecreatorsproject.vice.com 38 Ordinary Pictures teaser trailer https://www.youtube.com/watch?v=nDigBm_h8RI Here is the teaser trailer for our exhibition Ordinary Pictures, cut by our videographer Andy Underwood-Bultmann. The show, curated by Eric Crosby, surveys... 2016-03-31 18:57 860Bytes blogs.walkerart.org 39 Writhing, Sweaty, and Ecstatic: The Realist Paintings of Dan Witz What do mosh pits, raves, and one small orgy have in common? 2016-03-31 16:00 7KB thecreatorsproject.vice.com 40 See and Spin #3: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. 2016-03-31 15:56 4KB realart.com 41 Barkley Hendricks Is King of Living Portraitists Christian Viveros-Fauné goes deep into the work of artist Barkley L. Hendricks, whose explosive show is on view at Jack Shainman Gallery until April 23. 2016-03-31 15:35 6KB news.artnet.com 42 Museum Attendance 2015 Survey Released A new survey of the top museum exhibitions and attendance figures reveals the world's most popular institutions. 2016-03-31 15:30 3KB news.artnet.com 43 Forget 'Batman v Superman,' the Original Superman Cartoon Rules It's gorgeously animated, the rotoscope was invented to make it more realistic, and its influence spans Godzilla to Ghibli. 2016-03-31 15:30 2KB thecreatorsproject.vice.com 44 Versace Kicks Off Bag Contest The luxury brand invites participants to take part in the customization of the Palazzo Empire bag. 2016-03-31 15:26 1KB wwd.com 45 "Marilyn Monroe” Music Video Features Sevdaliza Becoming a Cyborg Hirad Sab and Sevdaliza team up for a dark journey into our relationship with technology. 2016-03-31 15:25 1KB thecreatorsproject.vice.com 46 Fitbit’s On Fire – Ships 1 Million Blaze Units Fitbit says it has shipped 1 million units of its Blaze fitness tracker in its first month of availability. 2016-03-31 15:17 2KB wwd.com 47 Gallery Hopping: Sam Messenger at Davidson Davidson Contemporary presents "13 Cycles," a show of strictly regimented, mathematically-inspired works on paper by British artist Sam Messenger. 2016-03-31 15:15 4KB news.artnet.com 48 The Healing Scars of Land Art How land art learns not only to shape landscapes, but understand them. 2016-03-31 15:00 6KB thecreatorsproject.vice.com 49 The Origins of Visionary Art in Los Angeles | City of the Seekers Our new column, City of Seekers examines how creative freedom has enabled LA artists to make spiritual work as part of their practices. 2016-03-31 14:55 3KB thecreatorsproject.vice.com 50 More Than Gaming, Playstation VR Provides an Experience Submerge yourself into other worlds with VR. 2016-03-31 14:00 4KB thecreatorsproject.vice.com 51 A Network of LED Antennas Brings a Neighborhood Together Umbrellium's 'VoiceOver' converts people's voices into an interactive channel of light and sound, connecting up a neighborhood. 2016-03-31 13:35 3KB thecreatorsproject.vice.com 52 A Day with California's Stoned Nuns [Photos] We caught up with Shaughn and John, photographers who spent the day with the pot growing “Sisters of the Valley.” 2016-03-31 13:30 5KB thecreatorsproject.vice.com 53 Behind the Scenes of Adam Green’s Debauched ‘Aladdin’ Fantasy Adam Green's "Aladdin" will be screening at the Hole in New York April 7-14. 2016-03-31 13:17 6KB www.blouinartinfo.com 54 5 April Fool's Pranks Inspired by Art Take inspiration from these jokey artists, and create the most high-brow pranks your friends have ever seen. 2016-03-31 13:01 3KB news.artnet.com 55 ninkipen! plants jabuticaba tree inside organic café in osaka blending with the green exteriors, the interiors by ninkipen! have been realized to complement its menu. 2016-03-31 12:55 1KB www.designboom.com 56 Here’s the Exhibitor List for Spring Masters New York 2016 The 2015 edition of Spring Masters New York. LEANDRO J./BFANYC. COM Spring Masters New York announced the exhibitor list for its 2016 edition today. This 2016-03-31 12:30 2KB www.artnews.com 57 franck bohbot's cinematic photos of new york form a sentimental study of storefronts franck bohbot forms a sentimental study of storefronts through a series of expressive and cinematic architectural 'portraits'. 2016-03-31 12:26 1KB www.designboom.com 58 Soft Sounds: Ben Vida Rethinks the Boundaries of Composition An exhibition of Vida's work opens at Lisa Cooley on April 3. 2016-03-31 12:01 6KB www.blouinartinfo.com 59 Margarete Hahner Explores Vision in “Smaller Than Life” at Zwinger Berlin Margarete Hahner’s paintings at Zwinger Galerie in Berlin explore the concept of “vision.” The show is titled “Smaller Than Life.” 2016-03-31 11:37 1KB www.blouinartinfo.com 60 perkins + will winds bicycle track through SRAM's chicago HQ global architecture and design firm perkins + will has completed an office in chicago's fulton market district that features an indoor bicycle track. 2016-03-31 11:15 2KB www.designboom.com

61 São Paulo Art Guide March 2016 This week's guide includes Henrique Oliveira, Antonio Dias, and more. 2016-03-31 11:00 2KB news.artnet.com 62 Elisabeth Murdoch Creates Artist Award Rupert Murdoch's daughter Elisabeth has created a $150,000 award for mid-career female artists. 2016-03-31 10:59 2KB news.artnet.com 63 Amanda Levete to Redesign Galeries Lafayette in Paris British architect Amanda Levete and her studio AL_A have been selected by Galeries Lafayette to completely remodel its famous building on Boulevard Haussmann. 2016-03-31 10:41 6KB www.blouinartinfo.com 64 Don't Miss Out on the Affordable Art Fair The Affordable Art Fair held its latest edition at the Metropolitan Pavilion in New York, and there are a lot of deals to be had if you're savvy. 2016-03-31 10:35 5KB news.artnet.com 65 ICI Founder Susan Sollins New York Apartment- Contemporary art pioneer Susan Sollins co-founded ICI and produced acclaimed PBS series "Art 21. " Her Madison Square Park apartment is on sale for $5.3 M. 2016-03-31 10:33 1KB news.artnet.com 66 The Cyborg Anthropologist: Ian Cheng on His Sentient Artworks Ian Cheng, Emissary in the Squat of Gods (still), 2015, live simulation and story. COURTESY THE ARITST Last February, shortly after the opening of the 2016-03-31 10:15 9KB www.artnews.com 67 Trump Says Nothing on Cultural Policies— A candidate willing to stake out positions on seemingly any issue suddenly becomes shy when asked about his administration's cultural policies. 2016-03-31 09:55 2KB news.artnet.com 68 Cao Fei Escapes in Her MoMA PS1 Show Artist Cao Fei makes her US debut at MoMA PS1, with a focus on alternative realities, and the way people use imagination to survive modern life. 2016-03-31 09:35 4KB news.artnet.com 69 Red Dot 2016 Product Design Winners Announced The winners of the world's most prestigious award for Product Design, Red Dot Awards, have been announced. 2016-03-31 09:17 4KB www.blouinartinfo.com 70 Morning Links: Most-Visited Shows of 2015 Edition Must-read stories from around the art world 2016-03-31 08:52 2KB www.artnews.com 71 Kanye West Under Fire for Jacket Design Magnum photographer Jim Goldberg has accused Kanye West of copying a jacket design and selling it for $400 in a pop-up shop. 2016-03-31 07:01 2KB news.artnet.com Articles

71 articles, 2016-04-01 06:02

1 Fashion Industry Remembers Zaha Hadid (8.07/9) More Articles By Hadid had contracted bronchitis earlier this week and died of a sudden heart attack while being treated in a hospital in Miami, according to her company. The Baghdad native, whose work stood out for its advanced spatial concepts and innovative use of technology, had been commissioned to create distinctive, flowing and often Space Age-y structures around the world, including the London Aquatics Center for the 2012 Olympic Games and the MAXXI: Italian National Museum of 21st-century arts in Rome. The first woman to receive the Pritzker Architecture Prize in 2004, she was twice awarded the Riba Stirling Prize, the most prestigious architectural prize in the U. K. Started in 1979, her London-based firm employs more than 400 people and her numerous buildings include BMW’s Leipzig, Germany, factory, the Dubai Opera House, a 90-meter ski jump in Innsbruck, Austria and 1,400 acres of industrial space in Istanbul. One of her most talked-about works in fashion was the project in 2007 dedicated to Chanel ’s classic quilted handbag. Hadid’s “contemporary art container” made its debut in Hong Kong in 2008 and traveled to Tokyo and New York, showcasing 15 contemporary artists — from Daniel Buren to Yoko Ono — who created works inspired by Chanel’s iconic 2.55 handbag. Reminiscent of the Starship Enterprise or a UFO, the toroidal building has a gridlike surface that vaguely evoked the bag’s quilted surface. Chanel’s resort show in Seoul last year was held at the DDP, a modernistic space designed by Hadid with the Korean studio Samoo. Karl Lagerfeld , a frequent collaborator and longtime fan of Hadid’s avant garde work, credits her with making a visual “break” from the Bauhaus principles that have defined architecture for decades. He told WWD, “She liked the idea of this kind of container. I never saw a project realized so quickly. “One genius less in the world. There are few people I admired as much as her. I am devastated. Her influence was immense and will last. I am beyond sad. She was a friend with a huge sense of humor,” continued Lagerfeld. In addition to her work as an architect and furniture designer, Hadid also channeled her creativity through fashion. “There exists much more fluidity now between art, fashion and architecture,” she told WWD last year. Hadid often stood out for wearing dramatic jewelry and outerwear by Comme des Garçons, Issey Miyake and Prada to match her signature all-black ensembles and was a regular fixture at industry events. Although fashion and architecture operate on two cycles — one permanent, the other perishable — she found a correlation between the two and was always expanding her creative scope through collaborations with designers such as Chanel, Louis Vuitton, Melissa, Georg Jensen, United Nude, Lacoste and Atelier Swarovski . “I do think fashion gives you an immediate idea about the time things happened,” she told WWD. “Even when [clothes] are retro, it’s always different.” In fact, Hadid confessed she had toyed with the idea of a career in fashion instead of architecture, fascinated by the original stark Joseph boutique in the Eighties designed by Eva Jiricna and its mix of designer and indie labels. “I would like to do fashion, but there are some really great people out there who do it better,” she said. Donna Karan on Thursday described Hadid as someone she admired “enormously — as a foremost leader in architecture, a creative visionary and as a woman I called my friend.” The designer added, “Her spirit, passion and brilliance were evident in everything she did. Her uncompromising devotion to her art, the lessons she taught us all, and the extraordinary vision she brought to all that she did in life. She was unique inside and outside. Whether it was how she dressed or the remarkable buildings she created and put out there to the world, Zaha left a lasting impression that will not be forgotten. To me, Zaha was a woman and an artist of her time — and yet she was very much ahead of it, too.” Design Miami chairman Craig Robins said Hadid helped to put that event on the map by getting involved the first year out in 2005. Whether designing a capsule collection of Lacoste footwear, signature furniture or a Chelsea residential tower, Hadid “approached them all the same. I don’t think they were necessarily different to her. They were just creative challenges or ways to express herself in a different genre. She’s definitely going to be remembered as an architect, but her desire and willingness to play in different areas was especially inspiring,” Robins said. The “generous” and “spontaneous” Hadid liked to do whatever appealed to her regardless of the medium, he said. A few years ago while dining with Robins and his wife at their Miami home, the architect was asked to take a look at the couple’s plans for new bathtubs. The following day Hadid phoned Robins to say, “Those bathtubs are rubbish” and offered to draft them herself. “Two days later she called again to say, ‘I’ve been thinking about it. I have to do the whole bathroom,'” Robins said. “Of course, now it’s a nightmare because whenever anyone comes over to our house, they’ll want to go hang out in our bathroom.” Earlier this month at Baselworld, Hadid had unveiled an eight-piece jewelry collection in collaboration with Georg Jensen. Inspired by Beijing’s Wangjing Soho complex, a recent project she had designed, Hadid created rings and cuff bangles resembling interweaving mountains. Inspired by the Danish house’s designs and links to nature, Hadid also created an installation used as a lounge at the Swiss watch and jewelry show. “By working with Zaha over the past years, we got to know a woman of extraordinary vision who inspired all of us — myself included — to think bigger, do better and try harder. The world has lost a luminous and transformative talent,” said David Chu, Georg Jensen’s chairman and creative director. The Jensen collection wasn’t the first time Hadid had created jewelry; in 2013 she also designed a limited-edition ring and bracelet for the Swiss brand Caspita. The same year, she was commissioned by Atelier Swarovski to create an installation paying tribute to her original drawings for the Vitra fire station, as well as a chandelier for the house’s Crystal Palace. “ Zaha Hadid has been an incredible mentor to me and a fantastic collaborator to Swarovski. Her outstanding vision enabled innovative and impactful creations, truly leading a new spirit and aesthetic in design. We have been so honored to have had the chance to work with her on various projects, all of which reflect her spirit so poignantly. The strength of her contribution to the world of architecture was truly groundbreaking. She is, and always will be, a great inspiration and will remain in our thoughts,” said Nadja Swarovski. A self-confessed shoe addict, the architect also dabbled in footwear. In 2008, she explored the concept of fluidity with a capsule collection of pumps for Brazilian footwear label Melissa and later on, she worked alongside Rem D Koolhaas of United Nude to create a haute couture metallic platform that aimed to “reinterpret the classic shoe typology, pushing the boundaries of what is possible without compromising integrity.” Retail was another area Hadid was always keen to get involved in. Her signature curving designs are featured in Stuart Weitzman’s stores, as well as in the Beirut-based luxury retailer Aishti and Neil Barrett’s boutique in Tokyo and in London’s Harrods. Barrett was drawn to Hadid’s monochromatic aesthetic and ability to combine the fluid with the linear. He said, “Zaha had an incredible, charismatic presence and she was unique in verbalizing her vision in a powerful and pure way. From her words you could instantly envisage her design concept. Her contribution to contemporary architecture is phenomenal and will stand the test of time.” At the opening of his Hong Kong boutique, Weitzman told WWD : “Zaha always seems to be at the forefront of breaking every architectural rule. She comes up with these structures that are really quite amazing.” After the 2008 economic crisis cut short the multicity tour planned for Chanel’s futuristic pavilion, the company ultimately donated the building to the Arab World Institute, the - designed museum in Paris. Bruno Pavlovsky, president of Chanel fashion, described Hadid’s design as “a futuristic work at the forefront of architecture and design” that will be “remembered for its originality and audacity at its various stops around the world.” Fendi was another fashion house that blended its traditional codes with Hadid’s futuristic vision. Sylvia Venturini Fendi met Hadid when she came to Rome to inaugurate the MAXXI museum in 2010, pleased to encounter a fiercely intelligent woman of few words and an affinity for creativity of all stripes. She went on to invite Hadid to customize a Peekaboo bag for a London charity auction in 2014. “I have so much respect for her. Her work is so personal,” Venturini Fendi said. “She achieved so much, especially in a field like architecture where there are few women. I’m sure she had to work double.” The designer said Hadid’s MAXXI had an “enormous impact” on Rome, which is “quite conservative, especially when you talk about culture.” What’s more, Hadid’s ergonomic and amorphous shapes influenced architecture, fashion and other design realms. “If you look at her forms, with all the curved surfaces, they’re very powerful, but at the same time you can see a woman’s hand at work,” she said. In addition, being one of the few women of Middle Eastern origin in the male-dominated world of architecture, Hadid’s success stood as an inspiration that empowered other women. She had been featured in the Design Museum’s “Women in Power” exhibit and last year she was the subject of De Beers’ “Moments in Light” shot by Mary McCartney campaign in support of the Women for Women charity. At an event during spring London Fashion Week celebrating the campaign with De Beers, Hadid told WWD she found the experience of being shot for the campaign “enjoyable and easygoing,” given that she was a longtime friend of McCartney’s. Even though her busy schedule would not allow her to attend too many shows that season, she had been trying to make time to attend the Gareth Pugh show. A champion of young talent, Hadid often provided her gallery space in East London for designers — including women’s wear designer Thomas Tait and jeweler Noor Fares — to present their collections and supported them by being a regular client. “Zaha was a visionary with a talent that to this day continues to baffle me. I have always felt both lucky and extremely proud to count Zaha not only as a loyal client, but also as a friend. I cherish the time I have spent with Zaha, especially the moments we spent in her bedroom trying on my collections and discussing the wonders and the challenges of our respective businesses,” said Tait. “Zaha has always been an inspiration to me. The curvilinear lines in her work continue to influence my approach to pattern-cutting and creating silhouettes.” Perhaps Hadid’s boundless drive is best described in her own words, which her firm tweeted Thursday — “I will never give myself the luxury of thinking, ‘I’ve made it.'” 2016-03-31 23:17 WWD Staff

2 2 Star architect Zaha Hadid dies aged 65 from heart attack (8.07/9) Dame Zaha Hadid , the world-renowned architect whose designs include the London Olympic aquatic centre, has died aged 65. The British designer, who was born in Iraq, had a heart attack on Thursday while in hospital in Miami, where she was being treated for bronchitis. Hadid’s buildings have been commissioned around the world and she was the first woman to receive the Royal Institute of British Architects gold medal. A lengthy statement released by her company said: “It is with great sadness that Zaha Hadid Architects have confirmed that Dame Zaha Hadid, DBE, died suddenly in Miami in the early hours of this morning. “She had contracted bronchitis earlier this week and suffered a sudden heart attack while being treated in hospital. Zaha Hadid was widely regarded to be the greatest female architect in the world today.” Leading architect Graham Morrison said: “She was so distinct that there isn’t anybody like her. She didn’t fit in and I don’t mean that meanly. She was in a world of her own and she was extraordinary.” Speaking from Mexico, Lord Rogers, the architect of the Pompidou Centre and the Millennium Dome, told the Guardian the news of Hadid’s death was “really, really terrible”. “She was a great architect, a wonderful woman and wonderful person,” he said. “Among architects emerging in the last few decades, no one had any more impact than she did. She fought her way through as a woman. She was the first woman to win the Pritzker Prize. I got involved with her first in Cardiff when the government threw her off the project in the most disgraceful way. She has had to fight every inch of the way. It is a great loss.” The London mayor, Boris Johnson, tweeted: “So sad to hear of death of Zaha Hadid, she was an inspiration and her legacy lives on in wonderful buildings in Stratford and around the world.” Hadid, born in Baghdad in 1950, became a revolutionary force in British architecture even though for many years she struggled to win commissions in the UK. She studied mathematics at the American University of Beirut before launching her architectural career in London at the Architectural Association. By 1979 she had established her own practice in London - Zaha Hadid Architects - and gained a reputation across the world for ground-breaking theoretical works including The Peak in Hong Kong (1983) the Kurfürstendamm in Berlin (1986) and the Cardiff Bay Opera House in Wales (1994). The first major build commission that earned her international recognition was the Vitra Fire Station in Weil Am Rhein, Germany (1993). Her scheme to build the Cardiff Bay opera house was scrapped in the 1990s and she didn’t produce a major building in the UK until she built the transport museum in Glasgow, which was completed in 2011. Other notable projects included the MAXXI: Italian National Museum of 21st Century Arts in Rome (2009), the London Aquatics Centre for the 2012 Olympic Games (2011) and the Keyder Aliyev Centre in Baku (2013). Buildings such as the Rosenthal Centre of Contemporary Art in Cincinnati (2003) andf the Guangzhou Opera House in China (2010) were also hailed as architecture that transformed ideas of the future. She became the first women recipient of the Pritzker Architecture Prize in 2004. She twice won the UK’s most prestigious architecture award, the RIBA Stirling Prize. Other awards included the Republic of ’s Commandeur de l’Ordre des Arts et des Lettres, and Japan’s Praemium Imperiale. She was recently awarded the RIBA’s 2016 royal gold medal, the first woman to be awarded the prestigious honour in her own right. 2016-03-31 16:49 Guardian staff

3 Frankie Previews Fall Collection in New York (3.01/9) FRANKIE’S TOMGIRLS: Frankie — the revamped, Los Angeles-based advanced contemporary brand formerly known as denim label Frankie B — previewed its fall collection with an informal model presentation in New York on Wednesday morning. The label, under new owners Kevin Chen and Jeremy Weitz and a design team that includes Chadwick Bell, offers an easy, breezy aesthetic via casual sportswear and denim , most of it done in boxy, oversize silhouettes with a tomboy flair. Outerwear came in mohair, wool and reversible shearling styles and also included motorcycle jackets in suede and leather, many of the looks styled with off-the-shoulder dresses and ribbed body-con knits. In addition to signature cropped and loose denim styles, pants came in more unexpected fabrics, such as crushed velvet and stretch velveteen. The label’s fall collection will be sold at online retailers FWRD by Elyse Walker, Elyse Walker and Revolve, and Chen plans to eventually open a flagship store for the label in downtown L. A.’s Arts District. 2016-03-31 21:29 Kristi Garced

4 Sotheby’s Contemporary Art Head Cheyenne Westphal Out After 25 Years (2.00/9) Westphal in front of a Hirst. COURTESY SOTHEBY’S Cheyenne Westphal, the worldwide head of contemporary art at Sotheby’s, is leaving after 25 years in what is another high-profile departure in the string of defections from the auction house’s upper ranks following the fall sales. Alex Rotter, her co-head of the contemporary department, left Sotheby’s a month ago. Since CEO Tad Smith announced voluntary layoffs in November, more than 80 staffers have left, including David Norman, vice chairman of Sotheby’s Americas, and Henry Wyndham, chairman of Sotheby’s Europe. During her decades at the auction house, Westphal organized such sales as Beautiful Inside My Head Forever, in which every lot was a new work by Damien Hirst, who helped create the auction. It totaled £121 million ($174 million), a record for a one-artist sale. Since 1999, she has overseen every Sotheby’s contemporary sale in Europe. In January, the house acquired the advisory firm Art Agency, Partners for $50 million upfront and a provisional $35 million, a move that some saw as risky. Last month, it announced that it would take a fourth- quarter loss of $11 million, due in part to tax charges and after-tax charges relating to repatriating foreign earnings. 2016-03-31 12:59 Nate Freeman

5 Ricardo Lowenberg, 2016 Spotlight Artist Gleaning artistic influence from an amalgam of art history’s greatest painters, Mexico-born painter Ricardo Lowenberg transforms the canvas with his skillful manipulation of shape, color, texture, and rhythm. In his portrayal of the everyday world, Lowenberg transforms scenes of the mundane into spiritually infused pieces of art. Strongly influenced by the work of Frida Kahlo, Lowenberg uses dreamlike colors, symbolic props, and textural paint application to produce a modern surrealism relevant to contemporary life in Mexico City. In much of his figurative work, Lowenberg concentrates on the human face to capture the emotions, thoughts, and subtle nuances portrayed within the telling eyes of the subject. His still life and landscape paintings portray a post-Impressionist sensibility reminiscent of those late 19th century masters of hue and light, including Cézanne and Gauguin. Using a refined and muted color palette, Lowenberg carefully models the form, to create a surprising canvas that is dually flat and three-dimensional. His work has been collected and exhibited throughout the U. S., Mexico, and Europe. A much-anticipated programming element of Redwood Media Group’s other art shows, the Spotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 and will continue to be a highlight at the show in future years. Ricardo Lowenberg is one of four esteemed artists selected for this year’s Spotlight Artist Program. 2016-04-01 06:02 lmullikin

6 Show Guide Ad Upload Please include your gallery name on all files. Files larger than 15MB can be sent to: [email protected], using one of these free services: • Dropbox: www.dropbox.com • WeTransfer: https://www.wetransfer.com/ • Hightail: https: https://www.hightail.com/ 2016-04-01 06:02 artexponewyork.com

7 Official Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Use this HTML code to add the banner to your website: 2016-04-01 06:02 artexponewyork.com

8 Free Freight Program Take advantage of our special year-round Free Freight Program for exhibitors! It’s simple: When you send your artwork to any of our shows to exhibit, we’ll transport it to the next show … and the next … and the next, saving you thousands of dollars in the process. Just imagine the convenience—after Artexpo New York this April, we’ll carefully store your artwork and ship it to whichever Redwood Media Group show you’ll be exhibiting at next. Just pick the show and we’ll make it happen! Exhibitors, don’t miss the opportunity to save big with the Free Freight Program! Call us today to take advantage of this exclusive deal. 2016-04-01 06:02 artexponewyork.com

9 Directions & Parking At Pier 92, 900 on-site parking spaces are available for cars, and an additional 15 spaces are available for commercial trucks and shuttle buses. Open rooftop parking at Pier 92 is $35 for 10 hours or $40 for 24 hours. Please access Pier 92 parking via the automobile ramp at the intersection of 55th Street and the West Side Highway. All vehicles should follow signs for the NYC Passenger Ship Terminal parking. Please note that height restriction is 8’6”. *Parking spaces are dependent upon cruise activity. Click here to see additional nearby parking options. Take George Washington Bridge to 178th Street (Truck Route). Turn right onto Broadway. Follow Broadway to 55th Street. Turn right onto W 55th Street. Cross over the West Side Highway and turn left into the Passenger Ship Terminal – Pier 94. Lincoln Tunnel (from 95) – take 40th St. to 10th Ave. and a left on 55th St. George Washington Bridge – From NY Side take Rt. 9A, Henry Hudson Parkway south/downtown. Proceed south on Henry Hudson Pkwy to last exit at 56th St., stay right for thru traffic. Passenger Ship Terminal is 1 block ahead on right. Paid parking on roof. Rt. 80 or Palisades Parkway – to George Washington Bridge to NY side and follow directions for Henry Hudson Parkway. Proceed south on Henry Hudson Pkwy to last exit, at 56th St, stay right. Passenger Ship Terminal is 1 block ahead on right. Garden State Parkway – To exit 153 or N. J. Turnpike to Exit 16E (better). Then Rt. 3 E to Lincoln Tunnel, follow signs for Lincoln Tunnel. Exit tunnel and make left turn, travel north on 10th Ave., and left onto 55th St. Cross 12th Ave. and follow signs to Passenger Ship Terminal. Drive up the Ramp. Paid parking is on the roof. Holland Tunnel – follow signs for “Uptown” right on Hudson, left on Canal. Proceed four blocks to West St. and turn right. West St. becomes 12th Ave. Follow “Thru Traffic” signs. Continue north on 12th Ave. and follow signs to Passenger Ship Terminal. (Left at 55th St.) Queens Midtown Tunnel – when exiting bear right to 34th St. Go west on 34th to 12th Ave. Make right turn, go north to 55th St., make a left at 55th St. and follow signs to Terminals. Triborough Bridge – Follow signs to “Manhattan” and FDR Drive South. Take FDR S to 53rd St. Exit. Take 53rd St. crosstown to 11th Ave. Turn right, go two blocks (55th St.). There are several options for using public transportation to access Piers 92/94. The M31 and M57 buses run close by Pier 94. Click on the Metro Bus Schedule for map & schedule details. 2016-04-01 06:02 artexponewyork.com

10 Hours & Location At Pier 92, 900 on-site parking spaces are available for cars, and an additional 15 spaces are available for commercial trucks and shuttle buses. Open rooftop parking at Pier 92 is $35 for 10 hours or $40 for 24 hours. Please access Pier 92 parking via the automobile ramp at the intersection of 55th Street and the West Side Highway. All vehicles should follow signs for the NYC Passenger Ship Terminal parking. Please note that height restriction is 8’6”. *Parking spaces are dependent upon cruise activity. Click here to see additional nearby parking options. Take George Washington Bridge to 178th Street (Truck Route). Turn right onto Broadway. Follow Broadway to 55th Street. Turn right onto W 55th Street. Cross over the West Side Highway and turn left into the Passenger Ship Terminal – Pier 94. Lincoln Tunnel (from 95) – take 40th St. to 10th Ave. and a left on 55th St. George Washington Bridge – From NY Side take Rt. 9A, Henry Hudson Parkway south/downtown. Proceed south on Henry Hudson Pkwy to last exit at 56th St., stay right for thru traffic. Passenger Ship Terminal is 1 block ahead on right. Paid parking on roof. Rt. 80 or Palisades Parkway – to George Washington Bridge to NY side and follow directions for Henry Hudson Parkway. Proceed south on Henry Hudson Pkwy to last exit, at 56th St, stay right. Passenger Ship Terminal is 1 block ahead on right. Garden State Parkway – To exit 153 or N. J. Turnpike to Exit 16E (better). Then Rt. 3 E to Lincoln Tunnel, follow signs for Lincoln Tunnel. Exit tunnel and make left turn, travel north on 10th Ave., and left onto 55th St. Cross 12th Ave. and follow signs to Passenger Ship Terminal. Drive up the Ramp. Paid parking is on the roof. Holland Tunnel – follow signs for “Uptown” right on Hudson, left on Canal. Proceed four blocks to West St. and turn right. West St. becomes 12th Ave. Follow “Thru Traffic” signs. Continue north on 12th Ave. and follow signs to Passenger Ship Terminal. (Left at 55th St.) Queens Midtown Tunnel – when exiting bear right to 34th St. Go west on 34th to 12th Ave. Make right turn, go north to 55th St., make a left at 55th St. and follow signs to Terminals. Triborough Bridge – Follow signs to “Manhattan” and FDR Drive South. Take FDR S to 53rd St. Exit. Take 53rd St. crosstown to 11th Ave. Turn right, go two blocks (55th St.). There are several options for using public transportation to access Piers 92/94. 2016-04-01 06:02 artexponewyork.com

11 Lululemon Gets in Beyoncé Fans’ Crosshairs More Articles By Public relations have not been Lululemon ’s strong suit and it appeared Thursday that the brand had yet another fire to put out. The yoga-pants-proprietor took to Twitter on Thursday morning and a cursory response to a follower’s question about Beyoncé’s new ath-leisure line, Ivy Park, took the Twitter -sphere aback. “Is ivy park supposed to be like lululemon?” @GoodGuySly asks, to which the brand replied, “@GoodGuySly They do say imitation is the best form of flattery. Maybe Beyoncé is so Crazy in Love with our brand, she made her own.” The exchange was subsequently deleted but not before the Beyhive, the name dubbed by the singer’s biggest fans, weighed in. The hornet’s nest was unleashed and the brand began issuing profuse apologies. @thatredheadfish We hear you loud and clear and have retracted our original post. We never meant any harm. — lululemon athletica (@lululemon) March 31, 2016 @lululemon you realize the mistake you've made right? the #beyhive never forgets. — amanda pls (@sailorpandaxo) March 31, 2016 @jillianbowe We heard the feedback and it's been removed. Thanks for calling us out. — lululemon athletica (@lululemon) March 31, 2016 @mynameisclay We can't deny that. We've gone ahead and deleted the original post after hearing everyone's feedback. — lululemon athletica (@lululemon) March 31, 2016 @OHTheMaryD We're fully owning this and have retracted the original post. — lululemon athletica (@lululemon) March 31, 2016 @DoreanRose You all spoke, and we listened. It's been taken down. — lululemon athletica (@lululemon) March 31, 2016 @BrianMcLight We know that this was out of line and were not meaning any harm. We're major fans of hers. — lululemon athletica (@lululemon) March 31, 2016 2016-04-01 00:52 Taylor Harris

12 Andrew Blauvelt's Superonda Sofa , Superstudio, 1966. Courtesy of Dario Bartolini (Archizoom Associati). Walker Art Center, 2015 Q Andrew Blauvelt—editor of the beautiful, vast catalogue for the Hippie Modernism exhibit at the Walker Art Center—writes in his introductory essay, "If the utopic potential of art and its integration into everyday life had been the driving force behind the modernist avant- garde of the early twentieth century, by mid-century this dream had fizzled, replaced by high modernism's successful incorporation into the very society it had once dreamed of overturning. " How did reading this make you feel about your parents and the generation they were a part of? A The Diggers' October 6, 1967 Haight Street performance, Death of Hippie, Birth of Free , declared the "Hippie, Son of Media" to be a demographic illusion constructed by mass media to disarm a restless youth of political power. Blauvelt's catalogue makes clear that the fate of radical aesthetics is to be made palatable to mainstream society, to be incorporated into and pulled under that stream, or to be made tributary to it. While the Diggers' performance was an attempt to resist this, many hippies were very open to the exhortation to, as Thomas Frank put it in 1992 in The Baffler , "commodify your dissent. " In reading this book, I was often reminded of the evolution of the Grateful Dead from a free-form, consciously experimental, countercultural project into a massive corporation selling a lifestyle product and comfortably occupying a penned-off region within mass culture for experimentation with music, drugs, and alternative lifestyles. What began as an art project with the overt purpose of confronting and confounding "straight" society ended up as something resembling a pro football game for people on psychedelics, and nearly as profitable. Funeral Notice for Death of Hippie , 1967, handbill. Courtesy of Walker Art Center, Minneapolis. Q You are avoiding talking about your parents. Why do you think hippies were bad? Were there hippies who did not ultimately sell out? A Yes, there were many hippie artists and groups who effectively resisted corporatization. Greg Castillo and Felicity D. Scott contribute essays, both of which, to varying degrees, discuss the Freestone gathering of 1970 and describe a split in hippie design culture. Castillo locates the satirical and brilliant work of the Ant Farm collective on one side of this divide, and the cyber-utopian—and increasingly libertarian—influence of Stewart Brand, a major hippie overlord and the primary force behind the Whole Earth Catalog , on the other. Scott highlights the techno-utopian affinities of both groups but describes the nuances in political and economic ideas between them, which are instructive when considering the development of corporate culture over the remainder of the twentieth century. Brand's Randian individualism and almost religious belief in technology as the source of humankind's salvation were easily incorporated into the preexisting capitalist framework. In contrast, Scott views Ant Farm's Truckstop Network as exemplary of the group's consistent skepticism of all power structures—as well as their insistence on the use of technology as a mere means to an end—and of how the collective of hippie artists and architects worked within that framework while simultaneously criticizing it. You might say that they were already practicing a form of post-hippie post-modernism. Brand, on the other hand, seems to embody the precursor of the Bluetooth-encrusted, turtlenecked TED talker of my darkest nightmares, a sort of hippie modernist Ezra Pound, in a much more comfortable cage. Truckstop Network Placemat (verso), Ant Farm, 1971. Courtesy of University of California Berkeley Art Museum and Pacific Film Archive. Q In his essay "Mandalas or Raised Fists," Simon Sadler writes: "Cybernetic hippie holism conceived of difference not as binary but as a differential state or condition, or the 'difference that makes a difference'—as feedback in the constant interactions of the whole system. " Do you think hippies—your parents' generation—wanted to make a difference? A As Sadler hints at in the essay you quote from, the holistic "Let It Be" philosophy that underlay hippie culture was predisposed to maintaining the status quo. Like the Buddhist ordering a hot dog, they wanted to be made "one with everything," including the preexisting economic system. Conversely, Sadler cites the active community engagement of the Black Panther Party, which worked within that same preexisting system with the express goal of undermining it. While running programs to provide food, ambulances, and clothing to the poor black community in Oakland, the Panthers highlighted the binary nature of the black American experience. The predominately white, middle-class hippies—children of media, but also of the postwar American economy—were not as well positioned to see that the end of history was not nearly as close as it seemed. Still from Death of Hippie , Allan Willis, 1967. Courtesy of Allan Willis Archives at East Bay Media Center. While it is interesting to think about the many ways in which the hippie failed to confront the world's most pressing problems, Hippie Modernism is valuable as a reevaluation of the incredible vitality and creativity of the period. The scope and ambition of the projects documented—from Drop City's experiments in communal living and architecture, to Superstudio and Archigram's total reimagining of the urban landscape—have exerted a profound influence not only on the cyber-utopian libertarians of Silicon Valley, but also on the decentralized revolutionaries of the Occupy movement, in addition to the art and design of the intervening half- century. Generation is a word that frequently comes up when thinking and reading about hippies. I suppose that means I think there is still something generative about them. —Clinton Krute is a writer and musician living in Oakland, California. He is a contributing editor at BOMB. 2016-04-01 01:00 by Clinton

13 Public Art Saint Paul names new city artist Public Art Saint Paul , which seeks to bring art into everyday life, has named Aaron Dysart as its new City Artist. He will join current resident City Artist Amanda Lovelee in April. Since 2005, the City Artist program has integrated art and the work of artists into the daily and long-term work of city departments. "City Artists create a new artistic, social, and civic practice. Minnesota’s capital city is sprinkled with projects dreamed up and implemented by City Artists, including Everyday Poems for City Sidewalk , Urban Flower Field and Pop Up Meeting ," according to an announcement from Public Art Saint Paul. Dysart brings 14 years of experience in visual art "focused on environmental preservation, civic engagement, and exposing and simplifying hidden infrastructure and systems," officials said. His connection with Public Art Saint Paul dates back to 2008 when he was a Sustainable Art- Making Fellow, which led him to a fellowship in the City Art Collaboratory program. Most recently, Dysart was one of four artists involved with District Energy St. Paul on the Plume Project , an idea that emerged from field trips and conversations in the Collaboratory and was funded by a Knight Foundation Arts Challenge grant. “My work stems from a fascination with how an individual relates to their surroundings and furthermore how a self-aware part of a system can understand their role in the larger interconnectivity of this system,” Dysart said. “The many projects that have come out of the City Artist program have always captivated me and this position is truly a dream come true.” He has won awards from Franconia Sculpture Park and the Minnesota State Arts Board. His work has been featured regionally and nationally at Northern Spark Festival, the Walker Art Center, Minneapolis Institute of Art and Josephine Sculpture Park. He has a BFA and MFA in sculpture and has taught sculpture and other art classes for ten years at Anoka Ramsey Community College. “Aaron brings an inventive mind to our organization and a record of increasingly complex and beautiful art projects,” said Colleen Sheehy, Public Art Saint Paul executive director. “He is a real maker, but also a strong conceptualizer. That is exactly what will propel our work forward, working inside the City of St. Paul and thinking about how we can integrate art into City systems to create a more vibrant and equitable community. I’m excited to see the ideas and projects that Aaron will propose.” 2016-04-01 01:00 www.startribune

14 Raw Material: An Interview with Google Design The SPAN Reader, a book released by Google Design in conjunction with its SPAN conferences in New York and London, is an eclectic collection of design thinking that investigates a variety of contemporary issues, such as the ethics of interface design, the implications of smart homes regarding privacy, the nature of time in digital space, the WYSIWYG paradigm, handmade computing, the haptic joy […] 2016-04-01 01:00 By

15 Journalism and Art: Complementary and Collaborative Storytelling Alex Nabaum C arrie Roy saw it in her head before the conversation was even over—a giant wooden sculpture of the back half of a cow, atop a square brown plinth of manure. She was sitting in a bar in Madison, Wisconsin, talking over beers with Kate Golden, who at the time was multimedia director at the Wisconsin Center for Investigative Journalism. Golden was lamenting the difficulty of representing statistics in ways that get people to pay attention, like the fact that Brown County, Wisconsin is home to more than 100,000 cows (more than half a cow per acre of farmland), which each produce up to 100 pounds of manure a day. That waste threatens to pollute private wells in the area. “These numbers can have astonishing impact when you encounter them for the first time, but they don’t translate well into the story,” says Golden. “Too many numbers make people’s heads swim.” Roy, an artist who grew up in rural North Dakota and concentrated in visual and environmental studies at Harvard, creates work that helps people navigate numbers. In the spring of 2015, she and Golden packed a half-dozen artworks—including the aforementioned cow, a wool sculpture in the colors of a brook trout depicting the “fuzziness” of climate change statistics, and a farm faucet mounted on a pedestal of different-colored woods to represent pesticide contamination— into a U-Haul for a seven-city Wisconsin Center for Investigative Journalism roadshow. Roy and Golden went to Madison, Eau Claire, Green Bay, and La Crosse, among other cities, where Roy’s visualizations of the state’s water issues sparked conversations about pollution, conservation, and other environmental problems. Carrie Roy’s sculpture draws attention to the link between cow manure and water pollution Carrie Roy The exhibits brought in people who may never read through an investigative piece—or go to a typical art show for that matter. Roy and Golden found themselves talking with a retired water engineer, a veterinarian who was also a woodworker, and a beer brewer concerned about clean water, among others, each spurred by the art to talk about the issues around water use in the state. “We ended up getting a lot of people who were thoughtful about these issues,” says Golden. “I’m interested in media that people can feel and see in person because it makes things more real for them. Sometimes charts and graphs can really lack an emotional connection. When [Roy] turns them into art, it helps connect those numbers to what is really happening and affecting people.” The Wisconsin Center for Investigative Journalism project is one example of how journalists are employing the arts to get important issues off the page and screen and into people’s lives. At the same time, artists are beginning to employ reporting techniques, using interviews, public records, documentary footage, and photo captions to create work addressing social, economic, and political topics that usually fall within the purview of journalism. In the early 2000s, the Russian art collective Chto Delat (“What Is To Be Done?”) published a newspaper filled with trenchant political commentary on post-Soviet Russia. Since 2008, Chicago-based Temporary Services has produced over 100 booklets, pamphlets, and newspapers—through its publishing house, Half Letter Press —that frequently criticize the art world’s exploitation of unpaid labor. More recently, Dushko Petrovich, a surrealist painter and adjunct professor at Yale, released a one-issue satirical newspaper called Adjunct Commuter Weekly (subsequently relaunched as the webzine ACW ). The publication highlights the predicaments of legions of part-time professors who travel between campuses by plane and train to make ends meet. Through projects like these, journalists and artists alike are finding complementary ways to tell stories and engage audiences. Art and journalism began converging sometime around the French Revolution, when images representing contemporary social conditions and politics began to appear in the work of artists like Francisco Goya and J. M. W. Turner. For his 1819 oil painting “ The Raft of the Medusa ,” depicting with savage realism the wreck of a French frigate and subsequent stranding of the crew, in which all but 10 of the 150 people onboard perished, Théodore Géricault exhaustively interviewed two of the survivors. And, of course, political cartoons have been a staple of American journalism since Ben Franklin published a fractured snake with the caption “ Join, or Die, ” creating a mashup of art, satire, and politics that has been distilling complex issues down to pithy images ever since. In the 20th century, photographers Walker Evans and Dorothea Lange documented the poverty of the Great Depression for the Farm Security Administration with bleak but highly stylized images, while Henri Cartier-Bresson made pictures that are works of both art and reportage. Even Norman Rockwell—best known for his saccharine lithographs of rural Americana for The Saturday Evening Post—painted a series of canvasses in the early 1960s exploring the civil rights struggle. By the 1960s and ’70s, conceptual artists like Hans Haacke and Dan Graham were using the language and structure of investigative journalism to comment on controversial social and political topics. In a project at the Museum of Modern Art , Haacke set up two plexiglass ballot boxes and, using the language of newspaper polls, asked museumgoers to voice an opinion about the fact that New York Governor Nelson Rockefeller, who was a museum trustee, had not denounced President Nixon’s bombing of Cambodia. In another show, this one at the Guggenheim, Haacke used public records to expose the real estate and financial networks behind one of the Lower East Side’s biggest slumlords, presenting the information with photographs of buildings, captions, charts, and graphs. The museum cancelled the show before it opened, deeming it “inadequate” for an art institution. “All art bears witness in some way to history or individual experience,” says Jennifer Liese, director of the writing center at Rhode Island School of Design and editor of “Artists Writing, 2000–2015,” a collection of writing by contemporary artists due out this summer. The difference between journalists and artists, she argues, is “art does this explicitly and intentionally” while journalism tries to take a more objective, or at least dispassionate, view. “Journalists and artists in a lot of ways play a similar role in society,” says Heather Chaplin, director of the Journalism + Design program at the New School in New York. “They are both supposed to be telling us the truth about our society even if it’s truth we don’t want to hear.” While journalism in its most traditional sense may have focused on factual reportage, there has always been an artfulness to the craft, from how reporters order their material to narrative storytelling techniques. Chaplin argues that digital technology and increased competition have led journalists to employ more creative techniques to capture viewers’ attention, including multimedia storytelling, stylized visuals, and interactive techniques to create a more personal and emotional experience. “It’s no longer possible to say people are going to read this just because it’s important,” she says. To present statistics in a way that fosters public engagement, hire an artist S uch “aesthetic journalism” has dovetailed with a burgeoning activist impulse by artists to engage with politics and world events. If journalism marshals its techniques to provide a view on the world, then art provides a “view on the view,” a way to question our assumptions about how we perceive the world, says Alfredo Cramerotti, director of MOSTYN, a publicly funded art gallery in Wales, and author of the book “ Aesthetic Journalism.” “Journalism proposes a certain perspective and uses a number of elements to make it valid. The work of an artist and the value of artistic practice is in taking a perspective and shifting it slightly so it becomes something else.” In creating that shift in perspective, argues Cramerotti, artists have long assumed the tools and techniques of journalism without making them apparent—or perhaps without even realizing it themselves. Cramerotti had firsthand experience with this when, in 2003, he was commissioned to make a work about a bridge in Istanbul connecting Europe and Asia , and produced a sound installation involving interviews with residents. “I realized I was commissioned to make an artwork, but came back with a journalistic installation,” he says. The same digital technology that has allowed journalists to experiment with new artistic forms has also propelled artists to experiment with new means of documentary production and dissemination. One artist who has played with such forms is Santiago Mostyn, who was born in San Francisco, grew up in Zimbabwe, Grenada, and Trinidad, studied at Yale, and is currently based in Stockholm. Back in 2012, Mostyn was in a month-long residency in Istanbul, and asked people what places in the city were special to them. By chance, they coincided with places the Turkish government monitored via security cameras, which could be viewed online. Mostyn went to those places and was filmed himself. In 2013, he was back in Stockholm when the Gezi Park protests broke out in Istanbul. He immediately went to the surveillance websites again and began editing footage of the battles between protesters and police—then put them together in an art piece called “ Double Take: Istanbul’s Streets Then and Now ,” which juxtaposes images of relaxed crowds shopping in urban markets with riot police hosing down protesters with water cannons. As much as it foregrounds the familiar scenes of violence, the contrast equally draws the viewer’s attention to the normalcy of the previous footage, humanizing the scene in a way most media reports of the Middle East and surrounding areas don’t. He is currently at work on a project in which he rowed an open boat across the sea from Turkey to Greece, a treacherous crossing for migrants, changing the view of that area from the one we are familiar with from news footage. Mostyn’s work was commissioned by Creative Time Reports , a Web-based platform for artists to comment on national and world affairs. The publication—a project of Creative Time , an organization that has commissioned public art in for decades—has partnered with The Guardian, Foreign Policy, and Al Jazeera, among other titles, to publish articles, on everything from government surveillance to mass incarceration to racial discrimination, by artists like Ai Weiwei and Marina Abramovic. “We’ve always believed in the power of artist’s voices to weigh in on society and bring something unique and engaging to the public,” says Marisa Mazria Katz, a journalist who has been published in The New York Times, Financial Times, and elsewhere, and has edited the site for four years. Another artist the organization has commissioned is Trevor Paglen, who has used photography and filmmaking to investigate surveillance and security issues. For “ Watching the Watchers ,” Paglen flew a helicopter over the headquarters of the National Security Agency (NSA) and other U. S. government surveillance agencies to capture nighttime aerial photographs of their campuses. He published the images on The Intercept , a news site—created by Glenn Greenwald, Laura Poitras, and Jeremy Scahill—that focuses on government secrecy. Paglen’s landscapes are moody and deliberately sinister, revealing the massive size of the agencies at the same time failing to provide any glimpse at what goes on inside. The artworks present a view of the U. S. surveillance apparatus dramatically different than the one that would appear in a strictly journalistic work, says Katz: “A journalist can write about the billions of dollars these agencies are receiving and unpack a trove of rare documents, but what [Paglen] strives to do is create a visual culture around something that is so obscure.” Trevor Paglen intends to provoke questioning with his images of the NSA’s campus Trevor Paglen I n past work, Paglen partnered with investigative journalist A. C. Thompson, then with SF Weekly and now with ProPublica, to research and photograph sites related to the U. S. government’s “extraordinary rendition” program, in which suspected terrorists were held without charge and interrogated at secret locations outside the United States. That work was published in 2006 in “ Torture Taxi.” While Paglen follows journalistic ethics in fact-checking information and not misrepresenting himself during reporting, he doesn’t see himself as journalist. “Art doesn’t necessarily have to give you an answer. Images don’t explain themselves really. For me, it’s more about developing a way of seeing rather than a way of understanding,” he says. In fact, he sees his role more as raising questions in the minds of his audience than providing any kind of answer or explanation. Others have seen art photography and photojournalism as less in opposition to one another so much as on a continuum. “The image has an uncanny authority which can cut both ways,” says Susan Sterner, a former staff photographer for the Associated Press who heads the New Media Photojournalism program at the Corcoran School of the Arts & Design in Washington, D. C. On the one hand, a photo can seem like a much more authoritative vision of reality; on the other, a photograph always includes an element of contrivance that moves it toward the realm of art “through the lines you are choosing and what you decide to photograph.” Sterner’s program consciously works to break down distinctions between art and journalism, helping journalists to experiment with new ways to make their images stand out. As a successful example of that trend, she points to Washington Post journalist Dave Burnett, who shot the 2004 presidential campaign with an old-school 4×5 black-and-white camera. With the large-size negatives he was able to produce photos with much greater detail and contrast in a way that seems to slow down and isolate the subject in space. “You can create more nuanced work when you allow yourself to think outside the profession’s boxes,” says Sterner. More recently, Dallas Morning News photographer Mona Reeder set out in a photo essay called “ The Bottom Line ” to illustrate Texas’s skyrocketing youth incarceration rate and other statistics with provocative, highly stylized photos of children in prison and inmates on death row. Outside of some ethical guidelines—for example, that photojournalists in general document events as they transpire, while fine art photographers are more apt to compose and orchestrate the subjects of their images—Sterner says that the difference between the genres has much more to do with audience and intent, and sometimes, simply the venue in which it’s shown. We look at a photo very differently in a newspaper from one on a gallery wall. “When something is on the wall, the scale changes,” she says. “You have to move and approach it. It’s a more physical experience. You are meant to lose yourself in the work.” Visitors to the Laura Poitras exhibit are invited to gaze at a video of the skies over Yemen, Somalia, and Pakistan where drone wars are conducted Jake Naughton/The New York Times/Redux T hat’s certainly the feeling of a new art exhibit at the Whitney Museum of Art in New York by journalist and filmmaker Laura Poitras, who directed the documentary “ Citizenfour ” about NSA whistleblower Edward Snowden. The exhibition “ Astro Noise ,” on view through May 1, pulls viewers into the last decade and a half of the “war on terror” in a visceral way, starting with video footage of Ground Zero following the 9/11 attacks and interrogations in Afghanistan put side by side in harrowing confusion. Visitors continue through darkened hallways peering through thin slats at classified NSA and CIA documents, or lying down on a bed to stare up at the sky as drones fly by. They view images of Poitras’s own surveillance, obtained through Freedom of Information Act requests to the government. And at the end of the exhibition, they discover that they too have been subject to surveillance, as images of other museumgoers lying on the bed are broadcast to them, and coded information from their own cellphones scrolls down a screen. The end result is an experience that covers much of the ground of Poitras’s print and documentary work, but in a more physical, personal, and emotional way. An art exhibit by Laura Poitras builds on her print and documentary work, but in a more personal and physical way That’s also true of the arresting drawings of Molly Crabapple , an artist who has travelled from Gaza to Guantánamo Bay to write and illustrate pieces for The New York Times, Vice, and Vanity Fair. As a teen, Crabapple was drawn to the work of Henri de Toulouse-Lautrec, who hung out in cafes with writers and anarchists and painted the demimonde of Paris. “I always dreamed about this role for artists as very much involved in the world and as documentarians of it,” she says. “I am much less interested in art that is of someone’s internal state but impenetrable to others.” Back in 2011, Crabapple was living across from Zuccotti Park as the Occupy Wall Street protests broke out. Her apartment became an ad hoc pressroom for reporters who needed a place to plug in their laptops. “The more time I spent with journalists,” she writes in her recently published memoir, “ Drawing Blood ,” “the more their techniques rubbed off on me—like glitter, or a rash.” Her work became increasingly political, and she spent weeks researching dense allegorical works taking on topics from the Tunisian revolution to the global financial crisis. In 2012, she started practicing journalism herself, travelling to Greece with British journalist Laurie Penny to create the e-book “ Discordia ,” about the Greek debt crisis. Crabapple sketched subjects while Penny interviewed them. “It’s much easier to disarm people when you are sketching,” Crabapple says. “People feel very alienated when they have a camera shoved in their face. I am kind of quiet when I am doing a sketch, and people will really talk to me.” She also feels her artist’s eye allows her to notice details other journalists might miss—like a chart at Guantánamo Bay encouraging guards to rate their “spiritual health” on a five-color scale from red to green—and by sketching scenes she can cause a viewer to look differently at themselves and the issues. With her sketches based on a photographs, Molly Crabapple provides Vanity Fair readers with a look at wartime scenes from Aleppo, Syria Molly Crabapple. Originally Published in Vanity Fair C rabapple’s latest project for Vanity Fair involved taking cell phone photos of daily life in Syria and Iraq from an anonymous source in Raqqa and Mosul and transforming them into colorful sketches. “Usually what they are documenting is violent and graphic, and very often there is not a lot of dignity to them,” she says of the material with which she worked. By taking a fleeting image and turning it into a studied—even beautiful—work of art, she hopes to restore some of that dignity and cause readers to look longer at images from which they might ordinarily be inclined to look away. Each sketch took more than eight hours for Crabapple to make; each has only a few colors, with some parts finely detailed and other parts hastily sketched, with ink blotches scattered across the page. Since publishing the first part of the series in the fall of 2014, however, Vanity Fair story editor Kia Makarechi says the publication has been overwhelmed by the positive response, with many people sharing the images on social media. “Many people remarked on how beautiful the package was,” says Makarechi, a strange response for what is essentially a piece of war reporting. The contrast between the ugliness of the subject matter and the attractiveness of Crabapple’s art, however, helped draw readers into the package, including the accompanying text by Crabapple’s source, who wrote a heartbreaking essay about how rebel rule has transformed life in Aleppo. Jointly hiring an artist-in-residence is a first for three Alabama newspapers While artists like Crabapple, Mostyn, and Paglen use journalistic techniques to create their unique views of the world, some news outlets are using artistic techniques to change the way they connect with audiences. Hoping to expand the scope of its storytelling, the Alabama Media Group, which runs The Birmingham News, The Huntsville Times, and Mobile’s Press-Register, as well as statewide news website AL.com, hired its first artist-in-residence—Jennifer Crandall, a video journalist who produced a successful series of short profiles for The Washington Post called onBeing , featuring a diverse range of Washingtonians sharing their “musings, passions, histories, and quirks.” Each video features a person—a Muslim beauty pageant winner, a 7- year-old fan of rap and metal, a white guy in a blazer talking about his pet peeves—presented against a white background simply talking to the camera about what his or her life is like. In the aggregate, they are touching, intimate, surprising, and strangely addictive. It’s no surprise, meanwhile, to hear that, although she attended journalism school at the University of Missouri, Crandall never quite felt at home as a journalist. “I’ve always been someone who has been asked to fit within these boundaries,” she says. “I straddle them somehow.” For the Alabama Media Group, she crossed boundaries, literally and figuratively, as she traversed the state, recruiting Alabamians for a video project about their state and Walt Whitman. Participants read one of the 52 sections in Walt Whitman’s “ Song of Myself ,” which Crandall invited them to do in the way they wanted and in an environment of their own choosing —from high school football games to horse farms to living room easy chairs. Crandall chose Whitman, a white Northerner who worked as a nurse during the Civil War, to play with the contradictions and complications of American identity. “Walt Whitman is seen as the American writer, and yet he’s a Yankee,” she says. “I wanted to cheekily co-opt that.” As the Alabamians— young and old, black and white—read the words, they let down their guard revealing a more vulnerable side of themselves, at the same time the poet’s words offer a grand celebration of humanity—making the videos feel individual and universal at the same time. The Alabama Media Group plans to release the 52 sections serially over the next year, as a collaborative project among the artist, the journalists, and citizens. The project “allows this to feel so much bigger than when people narrowly speak from their own experiences,” says Michelle Holmes, vice president of content at Alabama Media Group, citing Whitman’s exhortation that his readers, “not look through my eyes” but “listen to all sides and filter them from yourself.” By asking readers to step outside their comfort zones, Holmes and Crandall hope viewers will be inspired to consider, even re-consider, what it means to be an Alabamian, an American, and a human being—something both great art and great journalism do especially well. Artists and journalists went mobile to engage with Oakland residents Bibiana Bauer While journalists have experimented with reader collaboration through citizen journalism and crowdsourced news, “social practice art”—which emphasizes working with communities, often those marginalized or disenfranchised—offers an avenue through which readers can engage with news stories on a more personal and emotional level. In many cases, the art lies as much in the process of creating the piece as in any product resulting from it. That was certainly the case with “ Eyes on Oakland ,” a collaboration between the Bay Area’s Center for Investigative Reporting (CIR) and the Oakland-based social practice art collective, Mobile Arts Platform. For several years, CIR had been reporting on the increasing use of surveillance technology at the Port of Oakland. What started as a network of cameras at the port had “ballooned,” according to CIR’s reporting, into a citywide network comprising closed-circuit cameras, license-plate readers, microphones to detect gunshot locations, cell phone calls, and social media into a unified police database, with little public debate about its use. When Mobile Arts Platform’s Chris Treggiari was invited to participate in an art exhibit at the Oakland Museum of California under the theme “ Who Is Oakland? ” the two groups saw a unique opportunity to collaborate. The team outfitted a van as a sort of mobile newsroom, parking it in locations in the neighborhood and at commercial centers. Cole Goins, a CIR senior manager for engagement and community collaborations, greeted visitors with a clipboard, asking them to take a quiz to test their knowledge of surveillance technology. Participants could also use a screen-printing station in the van to make signs reading, “Surveillance is …” and write in their responses, which included lines like “A tool that cuts” and “In my pocket.” The reactions ranged from outrage over the extent of surveillance to support in the name of public safety. Treggiari photographed participants with the signs they’d made and displayed the images as part of the “Who Is Oakland?” exhibit. “I am not advocating for whether these tools should be used or not used,” says Goins, “but the public has a right to know how they are being used and what they are being used for.” While the project was a collaboration among artists and journalists, ultimately the biggest collaboration was with members of the public. Rather than the one-way mode of transmission typical with an article, participants actively created the story as they contributed their own experiences. “We were giving people information in a way that they can process it and internalize it and create something with it,” says Goins. “We are not telling people what to create. We are providing the pieces and the platform so they can create and respond and act for themselves. If you think of journalism as the collection and dissemination of information, we were doing that. That information is going to stick with them much more than just another thing they read online.” — Michael Blanding 2016-04-01 01:00 @michaelblanding

16 contacto office in guadalajara, mexico designed by IX2 arquitectura contacto office in guadalajara, mexico designed by IX2 arquitectura all images courtesy of lorena darquea schettini located in guadalajara, in the mexican state of jalisco, is the ‘contacto’ office designed by IX2 arquitectura. the company works in communication strategy and design, and thus needed an office that encouraged open collaboration and teamwork. the program is organized around a central space, commonly referred to as the ‘diamond’, that serves as a primary conference room. surrounding the area, are a bay of open workspaces, as well as closed in offices for higher ups. the ‘contacto’ interior is heavily coated in green; which ties the office to the company’s visual identity, and significantly brightens the space. entrance (to the right) 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. 2016-04-01 00:15 www.designboom

17 First Look: Erin Markey - Magazine - Art in America View of Erin Markey’s performance A Ride on the Irish Cream , 2016, showing (left to right), Emily Bate, Becca Blackwell, Markey and Mike Marcinowski; at Abrons Arts Center, New York. Photo Maria Baranova. Advertisement Looking over my notes on Erin Markey’s A Ride on the Irish Cream , an outrageous musical comedy that premiered at New York’s Abrons Arts Center in January, I find this line in all caps and underlined (twice): “dumpster cheeseburger ass.” I can’t remember who said it or why. But reading it weeks later made me laugh out loud. The bio that the artist prefers to give—“Erin Markey makes stuff for stage and video that has music in it”—has the same effect on me. Directed by Jordan Fein, Irish Cream is wildly psychedelic despite its bare-bones set and costumes. A versatile band deftly navigated the tuneful but meandering score, written by Markey with composer Kenny Mellman and bandleader Emily Bate. Markey also wrote the obliquely mirthful lyrics and dialogue, and stars as Reagan, an adolescent girl in Michigan. Reagan is in a tumultuously passionate romance with Irish Cream, her family’s pontoon boat, which appears in her imagination as a horse. Irish Cream’s intentionally preposterous nonbinary boat-horse identity had a New York Times critic throwing his hands up in frustration. 1 Markey and Becca Blackwell, the painfully funny trans actor who plays Irish Cream, are a couple offstage. Their genuine adoration of each other pulses through the mysterious narrative; their natural chemistry sustains the show as Reagan and Cream’s relationship cyclically matures and immatures. The 90-minute musical is Markey’s most ambitious production to date, but she has been captivating and freaking out audiences for years. Puppy Love: A Stripper’s Tail (2010), which premiered at PS 122, tells the story of the artist’s post-college stint as a pole dancer. Joe’s Pub, another East Village performance stronghold, repeatedly features her in their “Our Hit Parade” series, where artists perform the top 10 songs on Billboard’s chart. Markey’s creepily intense delivery makes her an audience favorite. The same venue hosted a run of her 2013-14 self-titled production, a musical standup-routine-as-memoir. Markey blissfully ignores the disciplinary boundaries of performance art, theater and comedy. She often appears in online sketch-comedy videos. One highlight is her recurring role as Madison, a Brooklyn mom who responds via webcam to negative social media comments by snorting rails of cocaine off her baby. Like other genre-blurring comedic performers of her generation, Markey infuses performance-art traditions of tackling identity politics with gut-busting humor. This unofficial comedy movement treats diversity not as a buzzword but as a matter of fact. When I asked Markey if Irish Cream was intended, politically, to be queer, she sipped her coffee and replied, “No. It’s just queer.” 2016-04-01 00:00 by Sean

18 Treble—Bright—Daylight Savings: Michael Gallope on Tristan Perich and Vicky Chow 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, musician and assistant professor of Cultural Studies and Comparative Literature at the […] 2016-04-01 01:00 By

19 19 The Best 25 Chunky-Heeled Shoes for Fall 2016

More Articles By After season upon season of sky-high stilettos, the footwear market is finally offering a new option for fall: the low chunky heel. Often topping out around two inches, its incarnations are many. But whether it’s a pony- skin leopard-print loafer from Tabitha Simmons or a spikes-sprouting mary jane by Michael Kors or Céline’s lemon-hued pump with the new trapezoidal heel, it offers the perfect height for maneuvering through busy urban terrains or miles of suburban malls. Isn’t it nice to know that practicality is again chic? For more of the big trends in fall 2016 accessories, check out our roundups of tall boots and top- handled bags . 2016-03-31 22:49 Roxanne Robinson

20 Commando Introduces Capsule Collection of City-Themed Underwear More Articles By The thongs, which are made from Commando’s signature microfiber fabric, feature photo realistic shots of the Eiffel Tower, the New York City skyline, the Hollywood sign and Big Ben. “There has been a photo realistic trend in ready- to-wear and I’m a fashion lover. I wanted to bring this new perspective to the Commando customer,” said Commando founder Kerry O’Brien, who added that her brand’s printed thongs sell as much as her nude styles. “I love to be surprised and delighted on the floor and these just pop.” The underwear, which will be available in April and retail for $22, will be sold on Commando’s e- commerce site and retailers including Nordstrom, Bloomingdale’s and Neiman Marcus. O’Brien, who is considering expanding the line to include other cities, has also brought the photo realistic prints to other pieces for the spring 2016 collection including matching floral print camis and shorts and an antique lace print chemise. This launch follows O’Brien’s entry into sleepwear, which she introduced in 2015 when the brand celebrated its 10th year in business last year . 2016-03-31 22:46 Aria Hughes

21 Houghton’s Spring Bridal Event to Feature Buy-Now-Wear- Now Element The show will be open to the usual buyers, editors and influencers, but also to a select number of bridal customers: beginning April 6, the first 100 brides to request a ticket via [email protected] will get entry to the presentation and be among the first to shop the styles. Polk’s spring collection will include 16 gowns — each offered in customizable variations — and clients who order straight from the runway can expect a turnaround of 12 to 16 weeks, or even sooner. “We’ve turned bridal gowns around in as short as two days,” she said. “We make everything in New York…so if a girl is getting married as soon as possible and we can physically make the dress in time, we will.” Other accessories, such as bodysuits made in collaboration with intimates label Commando, hand-embroidered chokers, belts and stockings will also be available for purchase. Polk, who also opted out of a traditional runway show for her ready-to-wear during last month’s New York Fashion Week in favor of a more intimate presentation at her studio, said she’s merely reacting to the disruption within the industry. “The business changes, and you have to be nimble and think ahead in terms of what works for you and your business,” she said. 2016-03-31 22:20 Kristi Garced

22 studio davidpompa combines traditional mexican crafts in cupallo lamp studio davidpompa combines traditional mexican crafts in cupallo lamp (above) the pendant lamp uses 100% recycled and hand-shaped glass for the lens all images courtesy of studio davidpompa local-based studio davidpompa was born out of the desire to create contemporary design with a strong commitment to create contemporary design with a strong commitment to mexican identity. they work with an ethos of innovating craftsmanship and materials while respecting its heritage. ‘cupallo’ is a pendant lamp that uses 100% recycled and hand-shaped glass for the lens, resulting in an irregular surface with surprisingly tiny air bubbles enclosed. the glass creates a charming light effect and enhances the distribution of it through irregular flares. the lenses are made piece by piece in a small glass factory in hildago, mexico, while the outside shape is made of polished brass in a metal spinning process by artisans in the country’s capital. the glass creates a charming light effect and enhances the distribution of it through irregular flares the pendant lamp can be used in an elegant, horizontal arrangement, as well as in a playful way by hanging them in a disordered chandelier. because of the artisanal hand driven process, every piece shows a unique personality. ‘cupallo’ will be presented at salone satelite during salone del mobile 2016 in milan the outside shape is made of polished brass in a metal spinning process by artisans because of the artisanal hand-driven process, every piece shows a unique personality the pendant lamp can be used in an elegant, horizontal arrangement, as well as in a disordered chandelier designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-03-31 22:01 www.designboom

23 Cara Delevingne on Saint Laurent Return: ‘I Never Quit’ Cara Delevingne is back — but apparently she never left? The multihyphenate, who in the past year has expressed a desire to move away from her modeling roots and instead focus on her acting career, was revealed on Wednesday as the face of the latest Saint Laurent campaign , for La Collection de Paris. After posting several of the images to her Instagram and Twitter accounts, which boast 28 million and five million followers, respectively, she tweeted a cryptic message, writing, “I never quit.” As WWD reported on Wednesday, Delevingne has had an ongoing relationship with Saint Laurent ’s Hedi Slimane, first appearing in his campaign for the French house in 2013. She’s spoken out about her fading interest in modeling, and in the last year has appeared in films such as “ Paper Towns ,” and “ Pan.” She’ll be seen in “ Absolutely Fabulous: The Movie ” and “Suicide Squad” this summer. Of her decision to shift away from modeling, she previously told WWD , “I’m just going to be taking my time and doing things that I really care about, you know, parts that I really enjoy. But we’ll see. I don’t know. I never want to expect anything of the future, I just want to kind of try my best and see what happens.” She hasn’t been entirely absent from the fashion world. In January, she — and her dog, Leo — sat front row at Chanel’s couture show in Paris. If her recent tweet is any declaration, perhaps more campaigns and catwalks are in her future. I never quit — Cara Delevingne (@Caradelevingne) March 30, 2016 ❤ @hedislimaneworld @ysl A photo posted by Cara Delevingne (@caradelevingne) on Mar 31, 2016 at 10:08am PDT CARA DELEVINGNE FOR SAINT LAURENT WINTER 16 "LA COLLECTION DE PARIS" #HediSlimane #SaintLaurent A photo posted by @hedislimaneworld on Mar 30, 2016 at 10:03am PDT Suit me A photo posted by Cara Delevingne (@caradelevingne) on Mar 30, 2016 at 1:47pm PDT 2016-03-31 20:28 Leigh Nordstrom

24 dominique perrault completes renovation of pont de sèvres towers in paris originally built by architects badani and roux-dorlut in 1975, in 2008 dominique perrault was charged with transforming and renovating the the pont de sèvres towers located in west paris. now renamed to ‘citylights’, the vast scheme has seen the site becoming reconnected to the urban infrastructure with new connected transportation systems and ultimately, bring the architecture into the 21st century to suit program today. based by the , the towers are an integral part of paris’ recent expansion towards grand paris image © andre morin recently celebrating its inauguration, the rehabilitation of the towers has seen a new central area that anchors the building in the city. this includes a new plaza, a second entrance on the forum area, a main central hall, large terrace for the restaurant an the construction of a fourth tower – with the same petal shape – attached to the tower two overlooking the seine river. only the concrete petal shaped structure of the 3 towers has been preserved throughout the project image © andre morin the towers were originally cut off from their surroundings and with the introduction of pedestrian routes, the site is now connected to the new trapèze district. there, the wasteland of the former renault factories has now been replaced by office and residential buildings, both new and refurbished. ‘the rehabilitation process of the pont de sèvres towers, while respecting their historic value, allowed for a thoroughly new structure, in line with current norms and new sustainable development performances.’ – dominique perrault a new tower has been constructed, bearing a similar petal-like shape image © vincent fillon the form itself has been retained but illustrates a subtle and new envelope made of aluminum cladding, with a third of the building covered with a folded façade creating ‘bracelets’ around the towers. these ‘bracelets’ are organized at contrasting positions in response to the different heights. additionally, a LED lights have been installed in the folded elements resulting in a rhythm and luminous beacon. the building will be occupied with diverse programs such as commercial, office and corporate restaurants image © vincent fillon the main central hall, designed by gaelle lauriot prevost expands on three levels. this generous light-filled space, provides a unified design for the different towers. simultaneously, the atrium acts as a compass to orientate visitors and employees. the site has been re-connected to the public transport system, with a métro stop right outside the building image © vincent fillon the large albatross chandelier in the atrium is made up of 14 birds, with a 20-foot wingspan each image © vincent fillon the hexagonal floor plan,with its central core of floors of office offers 360°views of paris and natural light image © dominique perrault architecte a third of the building is covered with a folded facade creating ‘bracelets’ around the towers image © dominique perrault architecte a specific night LED lighting has been installed in the facade folded elements image © vincent fillon the rehabilitation process respected the historic value, while allowing for a new structure image © vincent fillon the towers before the renovation image © badani et roux dorlut § the original building was designed in 1975 image © badani et roux dorlut 2016-03-31 18:30 Natasha Kwok

25 Our Favorite Enamel Pins of the Week #9 Every week is a good week in the pin and patch game. Despite Instagram beginning to roll out its controversial new updates, spirits remain high and people who are really good at what they do (usually not flavor-of-the- month celebs) don’t really seem to care about the implications of Instagram’s update. But that’s old news. People who do the most interesting work tend to navigate their way around barriers rather than about them. My hat’s off to you, pin and patch game. Keep on keepin’ on. Here are my 5 favorite products of the week, all of which are about half the price of an artisanal Brooklyn cheeseburger and will help you reclaim the clothing you already own (that's priceless). If your millennial brain has the attention span to read this whopping 600 words, you’ll be rewarded with a special 20% discount code to my shop, Strike Gently Co , at the bottom of the article. You can also just scroll— Thanks to the corporatized accessibility of rap, people who have nothing to do with it really love cultural symbols like Philly blunts, 40’s, purple drank, and . I’m including myself in this category. This "40" pin is guaranteed to make you look less lame and more like a cool hip-hop person—right, kids? Dropped Pin also have a Bowie lightning bolt pin and a Bart Simpson DEVO bootleg on their site. $10 here . One of the more obscure (and funny) bootleg pins I’ve seen in awhile, Weirdo Weapons brings us Kanye and his endearing South Park counterpart. There are two variants of this pin, presumably because the first one sold so well. Weirdo Weapons also sells a pin that says PODCASTS in the Metallica font, which I can get down with. Podcasts are way cooler than Metallica. $8 here . This is run by Isabella Rotman, an illustrator with a vast portfolio of non-pin work and a pretty respectable career under her belt. The cool thing about pins is that the overhead for those who create them is relatively low, so it’s a decent product for an artist who already has a store to add to their collection. Enjoy this fat toad mermaid from Rotman, perfectly designed. $10 here . It’s (almost) the first of the month. Get your legs snapped arm twist ribs cracked wig tapped. Got the inside right from the outside. The outside get inside, ya insides be outside. It don’t matter if you three feet or eight one, you’ll get eight from me, nine and straight blown. Front, back, side to side... $12 for set (with pink Range Rover pin) BONUS PATCH Ziero Muko undoubtedly makes the best patches out of pretty much anyone on the internet. They elevate the form to actual art, producing products that are somehow both insanely high quality and low priced. I’m not quite sure how they do it, but I’m 100% for supporting what they’re doing, because they’re keeping patches legit. Instead of thinking of them as a passing trend, people like Muko remind us that any strange niche can be transformed into something actually interesting when done with care, creativity and a bit of benign psychosis. $7.00 here . This week’s discount code is DANGLE. Use it for 20% off ANY ORDER at www.strikegently.co , where I release new pins and patches every week. Thanks for reading. Check out the previous roundups below. Related: Our Favorite Enamel Pins of the Week: # 8 Our Favorite Enamel Pins of the Week: #7 Our Favorite Enamel Pins Of The Week: #6 Our Favorite Pins of the Week: #5 Our Favorite Enamel Pins of the Week: #4 Lapel Luxuries: Pins of the Week #3 Sharp Sculptures: Pins of the Week #2 Endless Enamel: Pins of the Week #1 2016-03-31 18:30 Charlie Ambler

26 Dance, Transportation, and Glitter Cross Paths in ‘Motions’ at Ota Fine Arts Related Venues OTA Fine Arts Artists Hiraki Sawa Tang Dixin CHEN Wei Hiroshi Sugimoto Exploring the majesty of movement, Ota Fine Arts Singapore’s group exhibition “Motions,” opening this weekend, features seven artists from across Asia whose works intersect in a number of ways. No show about the concept of motion would be complete without the moving image, and four of the artists in the Ota exhibition present video pieces. London-based Japanese artist Hiraki Sawa uses two screens to show the same video of a woman in a black dress dancing, but the screens are a split second out of sync with each other, creating a form of Op Art as the eye is fooled into thinking it’s seeing two different videos. Korean artist Yeesookyung’s “Twin Dance,” 2012, is also about similarity. In it, two women in identical traditional costume mirror each other’s actions. Another artist interested in traditional dance is Hong Kong’s Samson Young, whose “Muted Situations #2: Lion Dance,” 2014, shows a Chinese lion dance without its accompanying music to allow us to contemplate the missing sound. The final video is a filmed performance from Chinese artist Tang Dixin , in which he does not allow himself to touch the floor, using instead a series of books to transport himself around the room in a piece that explores space through play. Rounding out “Motions” is the work of two photographers, Victor Gui from Singapore and China’s Chen Wei. The former uses a pinhole camera to take long-exposure photographs of entire journeys, reminiscent of Hiroshi Sugimoto’s long-exposure images created in cinemas. Whereas Gui’s work considers motion as an entity, Chun’s series of photographs “In the Waves,” 2013, is geared toward capturing a moment mid-motion. In these shots, the artist also explores dance, photographing the faces of drunk clubbers in a piece the gallery says “reflects the current situation of young people in China.” Finally, the exhibition features an installation from Indonesian artist Betty Susiarjo that uses glitter inside speakers to visually represent the sound of waves, for a piece that shares Samson Young’s focus on motion and sound. 2016-03-31 18:08 Samuel Spencer

27 Columbia Students Protest Henry Moore Columbia University is once again being rocked by protest. Students are standing up and making their voices heard in a righteous showdown with the most insidious foe of the present-day political landscape. I refer, of course, to abstract art. Specifically, a vocal group of students is up in arms (on social media) about the planned installation of a sculpture by British artist Henry Moore, Reclining Figure. It is hard to think of a modern sculptor who is more pastoral and inoffensive than Moore, but evidently not everyone is buying what they are selling in "Modern Art 101. " More than 1,000 students have signed a petition decrying the “hideous sculpture," according to the Columbia Spectator. The petition asserts that “the sculpture in front of Butler Library will disrupt on [sic] an otherwise crisp, geometric, and symmetrical landscape. " The horror of asymmetry comes to Columbia! A "sit-in" is to take place tonight on the planned site of Reclining Figure. Some 200 have signed up to protest what a Facebook event invite calls Moore's “ugly, grotesque statue. " Chris Bolton, one of the creators of the event, implores his peers, “PLEASE! PLEASE! PLEASE sign this petition to keep this gargantuan metal garbage heap off of our lawn. " Word of the new addition to the Columbia campus broke on Monday, but the backlash seems to have really taken off in the last 24 hours, which saw the Spectator publish an op-ed called “ Statue of Limitations " that amped the anti-modernist rhetoric up to 11. The choicest bits: It continues with a stirring defense of the virtues of neo-Classicism, and a Sesame Street reference: Finally, the thunderous crescendo: The piece is signed by three current students, Alex Randall, Daniel Stone, and Hallie Nell Swanson, as well as alumnus Jeremy Liss, who graduated in 2013. The placement of Reclining Figure outside of Butler Library was made public in an administration blog post. The donors of the piece are David and Laura Finn (David is co- founder of Ruder Finn, the art PR agency). That post stated, “The donation of this sculpture was accepted by the Committee on Art Properties and University administration over twenty years ago, with the permanent location approved more recently," without specifying how that decision was made. The campus backlash seems to be, on the one hand, stunningly conservative for a bastion of the liberal arts, and, on the other, precisely the kind of trivial grievance-mongering that has been so often used to discredit more valiant campus activism. It is worth noting, in passing, that the rather narrow artistic tastes of the petition's authors are themselves mixed up with some bigger issues. What seems to have rallied support to the anti-sculpture cause is the perceived high- handedness of the Columbia administration, which does not have a great track record of late in responding to student concerns. In this context, the unexpected addition of the Moore in a central area on a campus where green space is in short supply has made it vulnerable to becoming a symbol of institutional tone-deafness. Not everyone, however, thinks this particular cause is the best one to defend: “If you are going to spend your time and energy protesting a piece of abstract art, why not also re-direct that focus towards serious and productive changes we need desperately on this campus," reads a somewhat exasperated rival Facebook invite , which demands the administration instead sell the Moore to fund a 24-hour rape crisis center. It directs visitors to the demands of No Red Tape , an activist group that seeks to combat sexual assault on campus. 2016-03-31 17:22 Ben Davis

28 Jute-Sack Case Heats Up: Ibrahim Mahama Countersues Simchowitz, Ellis King Installation view, ‘Civil Occupation’ by Ibrahim Mahama, at Ellis King gallery in December 2014. COURTESY ELLIS KING In the latest chapter in an ongoing feud, a lawyer for the Ghanaian artist Ibrahim Mahama has filed a lawsuit in U. S. District Court in California against dealers Stefan Simchowitz and Jonathan Ellis King, who served the artist with a lawsuit last year. The countersuit alleges that Simchowitz and Ellis King broke a contract with the artist that stipulated they would not alter works they purchased from him and sell them, and that they violated the Visual Artists Rights Act of 1990 that protects an artist from “any intentional distortion, mutilation, or other modification of the work.” Mahama is requesting an award of damages for economic losses, damage to reputation and honor, and emotional distress, in addition to punitive damages and attorney’s fees. There’s also a request for an injunction preventing them from selling his work. The lawsuit is a countersuit to legal action taken by Simchowitz and Ellis King , filed in June 2015, that alleges that Mahama’s effort to disown work he sold to the defendants for $150,000 could cost them $4.45 million—the total price the dealers believe they can sell the almost 300 works for. The thrust of the suit and counter-suit amounts to a he-said, she-said. Simchowitz and Ellis King claim that Mahama was on board with a plan to treat a larger work—a room-blanketing tapestry of jute sacks used to transport coal in Ghana—as a series of smaller individual works. Mahama claims that they never reached such an agreement, and maintains that only the full, unseparated tapestry can be considered an Ibrahim Mahama. The new suit filed by Mahama’s attorney claims that his client insisted in emails and in person that the work not be sold part and parcel, but as a complete work. “Mahama repeatedly communicated to Counter Defendants, orally and in writing, his desire to keep his works of visual art intact,” reads one section of the document. The suit filed by Ellis King and Simchowitz says the opposite: “The parties further orally agreed to create a series of smaller, unique artworks from the remaining four Lots by reducing them into three separate sizes (108”x54”, 96”x48”, and 72”x36”) and mounting the fabric over stretcher bars, which would then be authenticated by Mahama’s signature on the recto of the stretched frame (the “Individual Works”), and which Plaintiffs would have the exclusive right to sell.” That original suit also says that “On December 3 and 4, 2014, Mahama signed the 294 Individual Works at Ellis King’s gallery in Dublin.” Both parties agree that while in Dublin, Mahama signed the newly created smaller works. (Simchowitz hired an artisan named Dylan Atkins to take the jute, cut it up, and stretch and mount the material, paying him $67,000 for the labor conducted under Mahama’s supervision.) This would seem to consecrate them as Mahamas. But in a phone conversation with ARTnews , Rizwan R. Ramji, the Los Angeles–based attorney representing Mahama, claimed his client signed these works under duress, and alleged that Simchowitz—a controversial figure in the art world due to his well-documented practice of buying up an enormous number of works by young artists and reselling them at a premium—used this reputation to pressure that very young unknown West African artist. “When they met in Dublin they ambushed him—especially Simchowitz—and attacked him and made him sign these works,” Ramji said. “So he signed them under duress but that’s not what he actually does, that’s not actually his way of making his work. He’s from Ghana, and he’s in this other world, and he’s got this overbearing threatening figure saying he’s got to sign these or else.” But when reached on the phone in Los Angeles, Simchowitz noted that he was not present when Mahama was signing the work. “I’ve never been to Dublin—I’ve never been to Ireland —so it would be very difficult for me to ambush him,” he told ARTnews . “I think Ibrahim should write fiction for his next career, I think he would be very successful.” Noting the incongruous nature of Ramji’s claim that he attacked someone in a city he’s never visited, Simchowitz added, “The case has gone from insult to absurdity.” Simchowitz also stated that in no way did Ellis King coerce the artist, noting that the correspondence between him and Mahama following the meeting in Dublin was cordial. “He signed over 250 works—signed them, titled them, dated them,” he said. “He built the raw materials himself. He stayed in Dublin two days. If he was coerced and ambushed, why did he come back the next day? Frankly, it’s libel.” He also noted that the case has negatively affected Ellis King’s gallery business, and claimed that two artists canceled shows at the space do to the hubbub surrounding him. “Jon Ellis King, who’s a young dealer in Dublin, he basically had a nervous breakdown over the last few months,” he said. “This nice young kid who has taken huge risks. When you go and buy and spend over $200,000 on 200 artworks, that’s a lot of money in the real world.” When reached on the phone at 9:00 p.m. in Dublin, Ellis King declined to comment. The six complete uncut gallery-sized lots of work were purchased by Simchowitz and Ellis King in October 2013 for £90,000 ($150,000). In December 2014, Ellis King mounted an exhibition of work at his gallery in Dublin, selling 27 pieces to collectors from around the world. The following May, one of the jute sack installations was prominently featured in the Arsenale section of the 56th Venice Biennale, curated by Okwui Enwezor, where his work was draped on the walls of a long, enormous outdoor corridor. It was popular on Instagram , as most of the the 500,000 attendees who came to last year’s biennale passed through the corridor at some point during their visit. At 28, Mahama was the youngest artist chosen for inclusion by Enwezor. The artist’s newly minted global presence is brought up by both parties. Mahama’s suit uses it to bolster his status as an important, well-known artist who deserves protection: “As an artist whose works have been included in international galleries and exhibitions, including Ireland, the Saatchi in London, and Venice’s Biennial Exhibition, Mahama’s works that he sold to Counter Defendants were works of fine art and are entitled to protection under VARA.” Simchowitz uses it to boast of his status as kingmaker. “Simchowitz is a renowned cultural entrepreneur,” his suit reads. “Simchowitz has had significant success in discovering, financially supporting and promoting unknown artists, guiding them from obscurity to international prominence. Mahama is one such artist.” Documents included in the new suit also include a series of emails between Mahama, Ellis King, and Simchowitz that—in addition to providing delectable insight into how Simchowitz and his associates deal with young artists who they decide to support early on in their careers— show how Mahama was aware of the manipulation of his larger works to sell them as smaller works, even if he seemed trepidatious of the plan. It bears noting that the correspondence, on all sides, is riddled with spelling errors and mangled sentences. The notes often seem hastily composed, dashed off from disparate parts of the world. Seemingly every paragraph of the emails contains multiple sics. Also, the conversation is mostly between Ellis King and Mahama, with Simchowitz keeping quiet despite being cc’d on most dispatches. His sole quoted contribution seems consistent with his reputation: “Jonathan will discuss this and 18 other works like this sold to a person who should not have bought them and sold them to Sothebys [sic]. Jonathan and I strongly suggest that you get a handle on this on behalf of Ibrahim.” Ramji, Mahama’s attorney, said on the phone that they included the emails to show how Mahama pleaded with Simchowitz and Ellis King to not break apart the works and sell them individually. An email from the artist to Ellis King in November 2014 addresses concerns that he wished to take care of before the opening of his show the following month. “I have serious concerns regarding stretched work (the pieces you cut from the original work and stretched), as they are not part of my practice,” the email reads, before explaining how cutting the work up negates its “character and sense.” Such concerns were not addressed in the brief response. “Ok good to know your thoughts and of course I’m always open to discuss everything,” Ellis King responded, before saying he had to run to Brussels. The last quoted email is from May 2015, just after Mahama’s work appeared at the opening of the Venice Biennale, in which he claims to have never authorized the dealers to sell his work, and that because the work was not displayed and sold in its entirety, they no long can be considered authentic works, thus denying them any value. The email goes on for pages, and lists the invoices for the sales of his work from Ellis King’s gallery. “I do hope this issue may be resolved this way so we can avoid any further legal remedies,” the letter ends. No response from Simchowitz and King is included in the filing. Three weeks later, they sued the 28-year-old artist for $4.45 million. Despite that hefty figure, Simchowitz insisted in an interview with ARTnews last August that an apology would be enough to resolve everything. “I love Ibrahim Mahama,” Simchowitz said in an interview. “Ibrahim could call me tomorrow and say, ‘Simco, you know what? I’m so sorry. I’m young. I’ve made a series of absolutely borderline-fatal decisions…I’m naive and I’m young,’ and I’d be like, ‘Ibrahim, it’s fine. I think you’re wonderful. You’re an amazing artist.’ And I would support him. I would invest in him.” It appears such a reconciliation is not happening. “Behind the scenes, at least the facts show, Simchowitz was the mastermind behind it all, he was the one who wanted to take these weak artists and break them down,” Ramji said. “People hate him and they’re going to hate him even more.” Simchowitz said that with the filing of a counter claim, he will continue to use all his financial means to emerge victorious, even if that means he has to get through a messy, protracted trial by jury.“I’m looking forward very much to defending this case, and I’d like this to be a very very public outcome,” he said. “The trial is going forward and and I’m very excited for it to go to trial. Once it gets through the court system it will be very clear what’s going on here.” Ramji, however, said that, ideally, they can work out an agreement before this goes to trial, and mentioned that he’s optimistic that they can make some headway at a mediation that is scheduled to occur in April. He realizes that this ordeal is, above all, a distraction for Mahama. “He wants to work on his art,” Ramji said. “He wants to move on.” 2016-03-31 16:50 Nate Freeman

29 Stella McCartney to Open Second Paris Store McCartney opened her first boutique in the French capital in 2008 in picturesque Palais Royal, also home to such retail banners as Rick Owens, Acne Studios and Pierre Hardy. The British designer will land on one of the hottest shopping strips in Paris, which recently welcomed the first French outposts for Alexander McQueen , Coach and Tory Burch . McCartney’s new boutique is to replace the popular chocolate-maker Jean-Paul Hévin, which is to close its two-level unit, which included a restaurant, on April 2 and relocate to a nearby courtyard. 2016-03-31 16:47 Miles Socha

30 Wessel Huisman Explores Light in the City at Fabrik Gallery Related Venues Fabrik Contemporary Art Artists Vermeer Rembrandt Harmensz. van Rijn Sharing a fascination for light with his compatriots Vermeer and Rembrandt, Dutch painter Wessel Huisman brings his depictions of light in the modern metropolis to Hong Kong’s Fabrik Gallery in the exhibition “The Color of Light.” Included in the show are a number of Asian urban landscapes in major cities like Hong Kong, Shanghai, and Beijing. Each landscape is identified by a specific date, for example Huismans’s 2016 piece “Beginning of March 1962, on a Tuesday Afternoon.” With this, the artist intends to evoke what he calls “light memories.” “Light can give you back your history, not only as a thought or memory but as a vital and intense experience...it strongly influences the sentiment with which you experience your reality,” Huisman explains. Reality within the paintings is altered by the way light shines off the structures of metal and glass, confusing the architectural consistency of the pieces, drawing the viewer in as the eye jumps from architectural features to the abstract streaks and squares that Huisman paints across his cities. Though he previously preferred a grayscale palette to portray the effect of light upon the city, in the paintings that make up “The Color of Light,” the artist has begun to experiment with reds and blues to influence what he calls the mood of the light. “Mood” seems an apt word, as the artist’s work almost anthropomorphizes light. “For the artist, Hong Kong’s architecture is like a stage where light changes, reflects, and bounces off myriad surfaces and angles creating a unique light panorama,” the show’s organizers note in a statement. Light in these works has a playful quality, a life of its own that gives Huisman’s compositions their impact. 2016-03-31 16:45 Samuel Spencer

31 Tommy Hilfiger Sponsors Rolling Stones’ First Exhibit Tommy Hilfiger will be the official apparel sponsor of “Exhibitionsim” an international moving exhibition that will be unveiled at the Saatchi Gallery in London on April 5. The brand has also designed a limited-edition capsule in conjunction with the partnership. The lineup of graphic T-shirts and outerwear, laden with the band’s iconic tongue-y mouth, will launch on tommy.com. The collection features five unisex Ts as well as men’s and women’s jackets, including leather jackets with hand-painted Rolling Stones imagery emblazoned on the back; distressed and bleached jackets with vintage Stones artwork; satin bombers with embroidered tongue logos; and utility jackets with patches. “Exhibitionism” is a retrospective of sorts, a comprehensive compendium of the band’s musical heritage. It features more than 500 rare and original Rolling Stones’ artifacts, ranging from never-before-seen dressing room paraphernalia to instruments, iconic costumes, personal diaries and artwork, rare audio recordings and video footage. It’s divided into nine galleries at the Saatchi Gallery, where it will be on display until Sept. 4 when it will head out on a global tour over the next four years. 2016-03-31 16:43 Taylor Harris

32 DVF to Receive Honorary Degree from The New School Diane von Furstenberg, actress Laverne Cox and Black Lives Matter activist DeRay Mckesson are among the honorary degree recipients who will speak at The New School’s 80 th commencement exercises on May 20 at 11 a.m. The graduation takes place at the Jacob K. Javits Convention Center and will be presided over by David E. Van Zandt, president of The New School. Media critic Anita Sarkeesian, International Rescue Committee president and chief executive officer David Miliband, and forensic anthropologist Mercedes Doretti will also speak and receive honorary degrees. The event will be broadcast live on Livestream. Van Zandt said the recipients “have worked tirelessly to confront pressing issues such as racial and gender inequity, LGBT rights, and crimes against humanity.” 2016-03-31 16:34 Lisa Lockwood

33 Zalando Teams With Beyoncé’s New Ivy Park Label More Articles By The singer revealed the name of her first collection for Topshop on the Ivy Park YouTube channel. The name is a nod to the star’s young daughter Ivy and the park where the teenaged Beyoncé spent her time working out and doing sports. The brand Ivy Park is equally owned by Topshop and Parkwood Athletic, with Beyoncé and Sir Philip Green serving as business owners and co- founders. The brand’s design and management team is based in London. Further design and distribution details of the collection, which spans women’s functional sports and stylish leisurewear and will be sold in Topshop and other stores, are still under embargo. However, European online shoppers can look forward to both shopping and interacting with Ivy Park on Zalando as of April 14, Europe’s leading online fashion platform revealed a few hours later. Zalando’s latest brand collaboration is a follow-up to its successful Topshop@Zalando Wherever You Are Summer 2015 campaign featuring Cara Delevingne. As Ivy Park’s designated “premier partner,” Zalando will offer an exclusive campaign and activation called #My Park parallel to the April 14 online launch. Via #My Park, consumers will be invited to share “their park” on social media and its digital hub. The Ivy Park collaboration also underscores Zalando’s sharpened focus on ath-leisure and sports fashion, and comes on the heels of the recent spring 2016 Fashion x Sport promotion featuring Anna Ewers. “We are extremely excited to collaborate with Ivy Park for Europe,” commented Carsten Hendrich, vice president of brand marketing at Zalando. “The collection for both on and off the field embodies the vision of empowerment, strength and well-being for all women, wherever they are.” Based in Berlin, Zalando is active in 15 European markets, and generated sales of 2.96 billion euros, or $3.28 billion, in 2015. The site had 17.9 million active customers in 2015, 3.2 million more than the previous year, with 57 percent accessing the site from mobile devices, up from 42 percent in 2014. 2016-03-31 16:30 Melissa Drier

34 Aby Rosen Anoints ‘The Most Interesting Street In SoHo’ The lobby of 11 Howard. Art collector and developer Aby Rosen has opened a hotel in Manhattan called 11 Howard, which my press release calls “an incredible new hotel on the most interesting street in SoHo.” Take that West Broadway! I’m glad we cleared this up. The most interesting street in SoHo runs for just four blocks and includes a storefront for “global fashion and lifestyle curator” (sigh) Opening Ceremony, a home decor store, an apartment building with sales averaging $1,283 per square foot, and Mai Massage, where a one-hour aromatic body massage goes for $49. There’s also some other stuff, I guess! It probably is the most interesting street in SoHo! Here are some other phrases taken from the (nearly 1,500-word) release about the most interesting street in SoHo, which I have arranged into a found poem that is faithful to the overall narrative arc: A bespoke piece of furniture, a digital art-piece chosen specifically to frame the guest experience. The top of the stair neon art piece is the first signal of the blending of the old and the new. A group of inspiring young artists with mentorship from Jeff Koons drew on all of their ideas. An artisanal shop curated by creative consultant was only available to a few collectors. Relaxed attitude with a traditional bespoke look, comforting to guests. SoHo’s hottest new bar transforms into an elegant bar space, morphs into a fun, high-energy nightclub. Bed and chairs, desk, credenzas, tables and light, all designed to be functional with grace and humanity. Guests are able to personalize their mini bar experience. 11 Howard has mixed technology with the quintessential NYC method of transportation– The skateboard. There you have it, folks. That’s just how those cool cats on the most interesting street in SoHo get down. 2016-03-31 16:17 M.H

35 An Experimental Horror Film Marries Grotesquery and Feminist Poetry [Premiere] A Dream of Paper Flowers from Leila Jarman/Mad- as.hell on Vimeo . A “giant lactating tit slug” serves as the star of the short film A Dream of Paper Flowers , which premieres today on The Creators Project. The slug and the film are the creations of filmmaker Leila Jarman and puppet artist and poet Chelsea Bayouth. Jarman and Bayouth have teamed up with artist and producer Luka Fisher , artist MRK , digital artist Mike Leisz , and electronic musician and head of Proximal Records Sahy Uhns to create a work that combines puppetry and poetry, black-and-white filmmaking, and electronic sound design, into a surreal portrait of the female experience. The film is utterly abject. Close-ups of the film’s “star” pan across leaking conic growths, patches of rough hair (human hair?), and hills and valleys of uneven, alien skin. And yet, these images are also clandestinely beautiful: filmed in black-and-white, their harshness becomes softened and the precise detailing of their designs comes to the fore. As the film progresses, Bayouth’s beast begins to pulsate with greater intensity and, with a final, natal push, MRK emerges, naked like a newborn and covered in a tangling of material that harkens strongly of the organic gore of childbirth. Screenshots by the author Behind the action runs a score and sound design produced in collaboration with Leisz and Uhns. Inspired in part by the first ever completely electronic film score composed for cult favorite Forbidden Planet , Uhns uses his own generative synthesis sound system, a.k.a. “Little Devil,” as the voice for the film’s abject protagonist. Built upon this narration is a score of sounds produced by Uhns from the recording of organic phenomena, “such as the warping of burning wood submersed in water.” As Fisher describes, “It was important to remove the vocal of its relatable contexts so that the source of the vocal felt somewhat fluid, as if it was sometimes emanating from the beast and sometimes sounding like a thought within the character's head.” See all these elements of A Dream of Paper Flowers collide in the film, shown above. Click through to visit the websites of Leila Jarman and Chelsea Bayouth . Related: Trip into a Dark Sci-Fi World in ‘Checkpoint Charlie’ [Premiere] An Astronaut and a Neanderthal Walk into an Experimental Short Film [Premiere] Meet Calder Greenwood, 'The Cardboard Artist' 2016-03-31 16:15 Sami Emory

36 PayPal Exec on Consumers’ Financial Health, Making Credit a ‘Democratized Process’ As income inequality increases and wage growth remains under pressure, household spending is tight for many families. Some turn to debt — especially credit cards — to make ends meet. Last year alone, there was a $71 billion net increase in credit card debt, according to research from CardHub. And why analysts expect consumers to use tax refunds this season to whittle down that debt, what often occurs is a cycle that is anchored by too much reliance on debt to manage expenses. In 2004, Congress anointed April as Financial Literacy Month with the intention of educating consumers on the topic of reducing household debt. The topic is close to the heart for Kathleen Pierce- Gilmore, vice president and general manager of credit for the Americas at PayPal. Pierce- Gilmore, a veteran in the financial services industry, is deploying strategies aimed at helping consumers address their finances and create better fiscal health as a result. Here, Pierce-Gilmore discusses these strategies and how it also benefits retailers. Even if I was not entirely conscious of it at the time, my upbringing seated in me a deep passion for financial discipline and independence. After several years in the financial services industry, first at American Express then at Capital One, I realized this personal passion could be best expressed in helping people who are in vulnerable financial situations use their money more wisely. Fast forward a few years, and I started hearing the things [PayPal chief executive officer] Dan Shulman was saying about reimagining money, financial inclusion, and making it less expensive for people access, manage and move their money. The message simply hit home. As luck would have it, an opportunity opened to lead the company’s credit business in the Americas, and I instantly saw it as a way to bring my personal mission around financial fitness to a platform that is real. And here I am. In practice, it’s more about common sense. Did you miss or need to delay payment on any of your debt obligations in the past year? If so, you probably aren’t as financially healthy as you might hope. PayPal Credit products are designed to help people see not only what credit can do for them in their particular situation, but more importantly to understand, through transparency, how to manage credit use more wisely. PayPal’s technical prowess and merchant relationships allows us to “short-circuit” the traditional process of applying for and using credit. We are able to offer credit to people who may not qualify under purely traditional underwriting rules, more quickly, and more simply. Most customers can be approved for instant-use credit within minutes, without leaving the checkout process. That’s certainly a unique twist we bring to the experience. When our ceo talks about financial inclusion, this is one of the things he’s getting at: making credit a democratized process, especially for those at the lower end of the financial spectrum who traditionally have been subject to the most burdensome fees and expenses. Even those who have ready-access to credit don’t necessarily see it as way to improve their financial position. Rather, credit so often gets viewed with skepticism and confusion. PayPal is working to change that dynamic. But more than that, PayPal Credit provides a very unique checkout experience and helps merchants build trust with customers. Many merchants are specifically working right now to grow their Millennial customer base, and doing so requires some new approaches. PayPal Credit is a perfect match for this prized demographic, with Millennials moving away from plastic credit cards and showing preference for “digitally native” payment methods. 2016-03-31 16:09 Arthur Zaczkiewicz

37 Colin Furze Demos His DIY Thermite Launcher GIF and screencap via It's tempting to call the work of YouTube star Colin Furze "functional art," but then you'd have to think of a rational reason to use his latest invention, a thermite launcher, besides, "It's so coooool! " A combination of DIY craftsmanship and filmmaking has earned the Brit over two million subscribers, who have seen him create IRL X- Men powers , a jet fuel go-cart , a motorized toilet , and a fully-equipped underground apocalypse bunker. He's been on a launcher kick recently. He built a bazooka for fireworks not long ago, and his newest piece looks like a minigun but it shoots handmade thermite shells. Watching him decimate wheelbarrows, gas tanks, and even a load of fireworks with the heavy weapon fires a quick shot of dopamine right into your inner 14-year-old, but is also informative in case a robotic uprising ever happens. Based on what Furze does to a washing machine in this video, this information will come in handy. Unfortunately, you'll have to wait for the implosion of the government in order to make one of your own. Furze got special permission to make a thermite shell launcher, but if you tried this at home you'd almost certainly be arrested. Look, don't touch, in the video below. Watch the making-of videos here and here. See more of Colin Furze's work on his YouTube channel. Related: Introducing: Colin Furze's Bread Toasting Knife Stand Inside A Fireworks Spectacle With This DIY Suit Of Armor Watch 300 Rockets Explode to Dirty British Punk 2016-03-31 16:05 Beckett Mufson

38 Ordinary Pictures teaser trailer Here is the teaser trailer for our exhibition Ordinary Pictures, cut by our videographer Andy Underwood-Bultmann. The show, curated by Eric Crosby, surveys a range of conceptual picture- based practices since the 1960s through the lens of the stock photograph and other forms of industrial image production. You can take a walkthrough of the exhibition here. […] 2016-03-31 18:57 By

39 Writhing, Sweaty, and Ecstatic: The Realist Paintings of Dan Witz This article contains adult content. Dan Witz, Brite Nite II. All photos courtesy of the artist Sweaty, writhing bodies caught in the heat of the moment: Dan Witz is a voyeur. His academic paintings of mosh pits, and now raves and orgies, capture people at their most intense, ecstatic, and animalistic. While his previous subject matter has included mainly subjects he shot in the mosh pits of hardcore shows, his latest series, Mosh Pits, Raves, and One Small Orgy expands his oeuvre to include different settings, but similar groups of strangers gettin’ down in various ways. To find out more about his process and his relationship to mosh pits and painting, The Creators Project talked to Witz in advance of his show, which opens April 2 at Jonathan LeVine Gallery. On the way, we also stopped on topics like ditching your tour mates to visit art museums, Donald Trump rallies, and Walt Whitman. Byronesque 3 The Creators Project: First off, can you tell me about the origins of your Mosh Pits paintings? Dan Witz: I’m a little reluctant to admit this, but the greatest single influence on my painting hasn’t been any fancy art-smart aesthetic theory. It comes from the music I’ve grown up with. The artists I most admire have almost always been musicians, and most of my best ideas come from the transgressive energy of rock'n'roll. In my early 20s I played in post punk New York noise bands. I was never much of a musician but it was a lot of fun, and as important a part of my education as art school. While on tour in Europe, during the day, I’d sneak out and visit art museums. I’d usually be sleep deprived and hungover, a raw, exposed nerve from my nightly escapades over-romancing the punk lifestyle, but in that dilated condition the bizarre sense of space and presence in those old master paintings completely cracked me open—I mean it left me totally dumbstruck. It took awhile to process those two worlds colliding, but eventually it occurred to me to paint hardcore shows in an academic realist style. Can you walk us through your process, from show, to studio, to show? The whole thing starts long before the actual putting of brush to canvas. It all begins at the right kind of hardcore show (crowded, unregulated), where I photograph the mosh pit for source material. The painting lives or dies on the level of chaos and abandon I find at the concert—and my ability to get in there and capture it. That’s why I prefer old school bands like Agnostic Front or Vision of Disorder—the audience really lets themselves go for those guys. After I start photographing I slip into the moment and improbable amounts of time passes without me. Which is something I dearly love—a state of flow similar I imagine to what athletes describe. Drained and sometimes a bit bruised, I drag myself home and hole up with Photoshop, which is another lovely lost world for me. Puzzling together the compositions can take months. Each grouping is made up of separate photos, which requires a lot of fiddling and minute adjustments if it’s going to look natural. Then comes the long hard slog of the actual painting, a gestational feat which, to be honest, is frustrating and difficult but never becomes routine. Somewhere in my youth I had the misfortune of picking up the cliché that great art involves suffering. It’s hard for me to accept that I’ve consciously set myself out to suffer, but this process, although very rewarding, seems to qualify as that. These shows can last for several hours—how do you choose which moments you want to depict? After photographing in the mosh pits for a while the musician in me began to get familiar with patterns in the songs. Eventually it got to the point where I could sense the moment coming when the crescendo is building and the crowd will go totally berserk. I keep the camera on a pole so I count down with the bass player and lift the camera over the eye of the pit hoping the shutter will click at the optimum moment. It’s mostly luck but when I nail one it’s as satisfying as performing. Sick of it All Your work shows a definitive Baroque influence, both naturalistic and theatrical. Do you see a connection between the violent imagery of Baroque paintings and the contained aggression of the pit? While I’ve looked long and hard at the baroque artists, and use a lot of their methods, I‘m actually not a huge fan of their work (except for Caravaggio and some of his followers). The other day I was admiring some photos of those spiky, obstreperous wild-style graffiti murals, and thinking that those are an excellent visual corollary to the experience of a hardcore concert (and that contained aggression you’re referring to). Rubens and all those theatrical Baroque painters were chiefly concerned with their narrative, always circling back to it. Mosh pits defy all conventions: by definition they’re going to fly off the handle. Concerning my actual painting technique, I’d have to say that my attitude is much less dramatic than the Baroque painters—more like 19th century academic painting. I’m not exactly sure why, but I’ve found that an approach of quiet observation better captures the barbaric yawp and roar of the pit than if I worked fast and tossed paint around. Amid the chaos, your work also depicts humans in varying states of vulnerability; the agony and the ecstasy. Can you talk a bit about this paradox? Yes, I never get bored with this. I’ve been watching clips of these crazy, violent Trump rallies and really want to go photograph one. There’s something extremely wrong there of course, but I feel that if I was to explore it, in a similar way to these concerts, it would be revealing on many levels. When I quit playing music and devoted myself exclusively to painting I was concerned that I’d lose my edge. But making art has turned out to be a pretty crazy life, full of challenges. Every time I think I’m done with the chaos thing, and it’s time to move onto a new topic, something like Trump comes along and I’m back to feeling like I’m barely scratching the surface. A Small Orgy Finally, what are you working on right now? In the studio, I’m working on some big rave canvases, based on some pretty insane photos I’ve taken. And I’m about to embark upon some major street art installations. The working title for the hardcore series is, YAWP! -- after that Walt Whitman quote, “I sound my barbaric yawp over the rooftops of the world.” For the rave paintings I’m using, WOMP! which is a similar type evocation, this time for that primal body slamming bass sound at those concerts. Brite Nite I For more on Dan Witz, visit his website. Mosh Pits, Raves, and One Small Orgy is on view at Jonathan LeVine Gallery from April 2 - 30, 2016. Related: Hyperrealism Thrives at Jonathan LeVine Gallery This is What a Cardboard Box Moshpit Looks Like The Physics of the Mosh Pit Could Help Design CG Crowd Scenes 2016-03-31 16:00 Alyssa Buffenstein

40 See and Spin #3: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. In The Land of Missing Persons: The Mystery of Why People Go Missing in Alaska (Alex Tizon / The Atlantic ) Two families, two bodies, and a wilderness of secrets. Death By Gentrification: The Killing That Shamed San Francisco (Rebecca Solni / The Guardian ) Alejandro Nieto was killed by police in the neighbourhood where he spent his whole life. Did he die because a few white newcomers saw him as a menacing outsider? Drugs You Don’t Need For Disorders You Don’t Have (Jonathan Cohn / The Huffington Post ) Inside the pharmaceutical industry’s campaign to put us all to sleep. Foals / “Two Steps, Twice” / Live at Glastonbury (2013) Now in its 46th year, Britain’s Glastonbury Festival dropped its preliminary 2016 lineup this week and it is unsurprisingly full of must-see artists from top to bottom. Britian’s own Foals will once again command a primetime slot, riding a high from the mixed bag that was 2015’s What Went Down. While the quality of What Went Down is up for debate, the performing prowess and unrelenting live energy of the group is beyond dispute, and no video encompasses their mastery of the stage quite like the closing of their 2013 Glastonbury set with “Two Steps, Twice” from 2008’s Antidotes. A song that represents the group at their most math and dance rock-y, the live version traditionanly features the addition of an elongated build-up that serves as a showcase for Foals’ chemistry and craft. Jimmy Smith and Yannis Philippakis trade off slow building guitar riffery, combining with Jack Bevan’s relentless fills to bring “Two Steps, Twice” to an awe-inspiring crescendo ( 6:31 in the video ), complete with over 100,000 Glastonbury attendees jumping and screaming in unison. Fingers crossed for Glastonbury to stream Foals this year for the many that can’t make it to Worthy Farm. White Lung / “Kiss Me When I Bleed” / Paradise (2016) At the warped intersection of love and lust comes the new single “Kiss Me When I Bleed” from Vancouver punk quartet White Lung. “It’s a song about a little rich girl who falls in love with a garbage man who lives in a trailer park,” White Lung lead singer Mish Barber-Way told St. Vincent’s Annie Clark in an interview. “‘Kiss Me When I Bleed’ is about pride. That kind of steadfast, I-don’t-give-a-fuck-I’m-in-love pride in that we all wish we had for someone.” White Lung sound ferocious as ever, with driving riffs and pounding drums accented by a curious, but welcome, melodic streak that signals new album Paradise may have some subtle pop sensibilities in tandem with bizarro subject manner, While some of the song’s lyrics (“I will give birth in a trailer / Huffing the gas in the air / Baby is born in molasses / Like I would even care”) sound absurd on paper, on record its the most addictive romance novel you’d never want to read. PUP / “If This Tour Doesn’t Kill You, I Will” / The Dream is Over (2016) Keeping it north of the border, Toronto punks PUP have released yet another fantastic music video this week, following up on the ticklishly inventive twist on the lyric video they put out with “DVP” in February. Foregoing that video’s nostaliga for outright nausea, “If This Tour Doesn’t Kill You, I Will” is an ode to the claustrophobia, insanity and in the end, inseperable cameraderie that relentless touring breeds. Shifting gears seamlessly across a two-and-a-half minutes that veers from chaos into catharsis, the gory video sees the members of PUP attempting to kill one another and examining the wounds of shows past. By the time the gang vocals (“Why can’t we just get along!?”) take over and the battered bandmates storm the stage still in hospital garb, you know that the destination of playing music for people is always worth the journey for PUP. PUP’s second album, The Dream is Over , will be dropping on May 27th. 2016-03-31 15:56 realart.com

41 Barkley Hendricks Is King of Living Portraitists Before Kehinde Wiley patented his slick likenesses of black aristocracy or Titus Kaphar foisted painted images of Ferguson protesters onto the cover of Time Magazine , there was Barkley L. Hendricks—the originator of painting's cool school. Scoping out his wide-ranging influence, it seems inconceivable that this pioneer of Pop-inflected portraiture ever worked in obscurity. A terrific exhibition of new paintings at Jack Shainman Gallery in New York serves as a reminder of why Hendricks remains, for contemporary painting and painters, the undisputed godfather of soul. The tag “The Birth of the Cool" was originally coined to baptize Miles Davis's 1950s sound. But the phrase fit Hendricks' timeless paintings so naturally that, in 2008, it titled the artist's only survey to date. The exhibition, organized by current Nasher Museum of Art Chief Curator Trevor Schoonmaker, was a traveling revelation for those not yet acquainted with Hendricks' achievements (I caught the show, like an epiphany, at the Santa Monica Museum of Art). In the words of LA Time s critic Christopher Knight, “Hendricks explored the intersection of the black experience and painting history. " Most important, Hendricks' multi-museum exhibition delivered an artistic tour de force that appeared to emerge, full-blown, from within America's racially wounded psyche. If the key experience for the young 23-year-old Hendricks, circa 1968, was a grand tour of European museums—it mixed direct lessons in Old Master paintings with first-person schooling on the black figure's historical invisibility—the 70-year-old artist has lately become a leading portraitist of Obama-era America. Where his figures once chronicled the defiant stylings of 1970s blackness, today they occupy a far more central place—much like black culture does in the national discourse. Now as then, Hendricks' canvases galvanize whole fields of visual stimuli that include sports, politics, music, fashion, and, of course, painting. His iconic portraits—nine of which grace Jack Shainman's West 24 th Street space—plug modern ways of seeing into thousands of years of art history, revealing correspondences, incongruities and, as often as not, yawning gaps. Though all of Hendricks' latest oil and acrylic on canvas works jibe with the most prominent paintings in his oeuvre—he is best known for realistic portraits of fashionable black people against flat, single-color backgrounds—several take a hard turn toward the political, echoing slogans from newspaper headlines and the Black Lives Matter movement. This development is, to say the least, uncharacteristic in an artist who much prefers entertaining eccentric figure and ground arrangements to espousing overt social commentary. (If you don't believe me, see Hendricks' contentious March interview with Karen Rosenberg at Artspace .) But whatever Hendricks' past preferences, there's no avoiding his current views on American politics at Shainman. Among other works, the paintings Crosshairs Study and In the Crosshairs of the States —both of which consist of multiple canvases—feature a young man in a hooded sweatshirt with upraised hands whom the artist places squarely in a gun's sights. If the image appears crude or unusually straightforward, consider Manet's three versions of Emperor Maximilian's execution—pictures that also used deadpan depiction to describe a very public martyrdom. The largest of Hendricks' two Trayvon Martin-as-Jesus pictures uses the confederate battle flag as background; his grayscale “study" includes a stenciled adaptation of Eric Garner's last words: “I No Can Breathe. " Other Hendricks' portraits also wear their own politics openly, but do so characteristically on their chest. There's Roscoe , a large circular canvas featuring a rainbow background with a centrally located player in jeans, shades, and a blue t-shirt that bluntly reads “Fuck Fox News. " And then there is Manhattan Memo , a full-length portrait of a black man in Timberlands, paint- flecked jeans, a baseball cap, and dark t-shirt; it's slogan repeats the legendary f-bomb cluster from Spike Lee's 2002 film 25th Hour : “Fuck You You Fucking Fuck. " Despite the harshness of the expression, Whistler or Bronzino unavoidably come to mind. Like Hendricks, both precursors were expert at projecting their subjects' aristocratic bearing—what we call “coolness" today. But not everything reads political in Hendricks' new show; conversely, those paintings that propound politics are never reducible to mere slogans. Take, for instance, the square and rectangular canvases the artist turns on their axes to suggest movement or instability. In keeping with this minor innovation, the paintings Anthem and Passion Dancehall use their frames' tilt to underscore the energy of their dancing, singing and partying subjects. A third portrait, featuring a spindly Chris Rock look-alike Hendricks has ironically titled John Wayne , uses the diamond format of its hand-made frame to echo the bling its subject gleefully sports on his left ear. Ultimately what animates Hendricks' paintings is an eye for the public impostures that attire private selves, with a specialty in the attitudes inflamed by America's ongoing racial dilemma and, by extension, the insecurities attendant to stubborn power dynamics. Oscar Wilde, a dandy like Hendricks and most of his portrait subjects , once said the following about the art of painting people's likenesses: “Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. " In Hendricks' case his portraits are also frank, unsparing glimpses into the American- born, globalized, self-expressive phenomena called soul. "Barkley L. Hendricks" is on view at Jack Shainman Gallery in New York from March 17-April 23, 2016. Follow artnet News on Facebook. 2016-03-31 15:35 Christian Viveros

42 Museum Attendance 2015 Survey Released Which museums draw the biggest crowds? The Art Newspaper revealed the answer to this question and other pressing ones in its annual exhibition and museum attendance survey. According to the statistics—which each institution supplied to the magazine— the remained the world's most-visited museum in 2015, attracting a staggering 8.6 million people and a hefty €15 general admission fee. Not even the November terrorist attacks on the French capital could unseat the powerhouse museum from its place at the top. A dip in attendance by 600,000 visitors (compared to 2014's numbers) was attributed to the tragedy, which resulted in the closure of several French museums and discouraged scores of tourists from visiting the city and its sites. London's , which is free, remained in second place, pulling in 6.8 million visitors last year, increasing its attendance by 100,000 visitors compared to 2014. Strikes at London's National Gallery , which led to partial closures, resulted in a decline in visitors and relegated the museum from third to fifth place. Leapfrogging the National Gallery, New York's Metropolitan Museum drew in 6.5 million visitors, helping the venerable institution to jump to third place, and making it the most visited museum in the US. Asia's most popular institution, Taipei's National Palace Museum, recorded 5.2 million attendances, with the majority of visitors making the trip from mainland China. Meanwhile, London's Tate Modern suffered a sharp decline in attendance. Drawing only 4.7 million visitors, almost 1 million attendances less than it recorded in 2014. It is noted, however, that the Tate Modern's extension is likely to provide a significant boost to figures in 2016. In terms of exhibitions the Art Newspaper reported that Matisse , Monet , and Picasso were all trumped by nine exhibitions at Taipei's National Palace Museum. Over 12,000 visitors a day flocked to Asia's most popular museum, while the remaining top performing global exhibitions were primarily driven by big-name loans from western institutions. An exhibition of Monet's late works loaned from Paris' Musée Marmottan Monet attracted 10,000 visitors a day to Tokyo's Metropolitan Art Museum. Nearby, a show of depictions of everyday life with works by Vermeer , Rembrandt , and Titian , loaned from the Louvre, attracted 7,640 visitors daily to Tokyo's National Art Center. Benefitting from culturally similarity, a survey of Spanish artists including Picasso , Dalí and Miró loaned from Madrid's Reina Sofia attracted scores of people to Rio de Janeiro's Centro Cultural Banco do Brasil, the show tallied over 9,500 daily visitors. Meanwhile, over 1 million people saw a Brazilian tour of Kandinsky 's works loaned from the State Russian Museum in St Petersburg, which was exhibited in Brasilia, Rio de Janeiro, São Paulo, and Belo Horizonte. The biggest surprise is undoubtedly the success of British artist David Shrigley. The artist's exhibition at Melbourne's NGV International museum tallied a stunning 5,602 daily visitors. He eclipsed Jeff Koons , whose shows at the the Guggenheim Bilbao and Centre Pompidou attracted 5,182 and 5,000 visitors, respectively; and Ai Weiwei , whose exhibition at London's Royal Academy brought in 4,300 visitors a day. Follow artnet News on Facebook. 2016-03-31 15:30 Henri Neuendorf

43 Forget 'Batman v Superman,' the Original Superman Cartoon Rules Screencaps via The first Superman cartoon was a masterful, essential portrayal of the most iconic Superman there is, rivaling the prowess of Walt Disney and essentially founding the genre of animated action adventure series. At least, that's the conceit of a new video by indie film essayist Kaptainkristian. Superman - The Golden Age of Animation argues that Max Fleischer, whose name you recognize from iconic cartoons like Popeye and Betty Boop, injected a professionalism and attention to detail into the series that continues to outperform the superhero's most recent iterations. Fleischer was exploring the intersection of art and technology even back in the 1940s. His invention of the rotoscope, a tool used even today to capture human movements and convert them into animated frames, lends the original series a sense of life unmatched by some actual live-action movies. "Every element in these films, from the movement to the color to the sound design worked so synergistically that sometimes you forget these cartoons were made in the 40s," Kaptainkristian says in the video. "Even the lighting is realistic. It looks almost like an oil painting, being dark and shadowy while maintaining that beautifully saturated color. " Kaptainkristian also dissects the impact Fleischer's series had on popular culture, with apparent influence on titles as diverse as Godzilla and Hayao Miyazaki's Castle in the Sky. With Batman v Superman earning mixed reviews, now's a great time for casual fans to investigate the classic series, and hardcore superhero connoisseurs to revisit it. See more of Kaptainkristian's work on his YouTube channel . Via Devour Related: How Sci-Fi Invented the Superman Memory Crystal Superman, Stray Bullets, Guardian of the Forest, Usagi Yojimbo Batman, Superman, Hip Hop Family Tree, Welcome to Typhon Watch A Dreamworks Animator Turn His Son Into A Superhero 2016-03-31 15:30 Beckett Mufson

44 Versace Kicks Off Bag Contest TAKE YOUR SHOT – Versace launched a competition called “7 bags for 7 cities” on Thursday, asking participants to help customize limited editions of the brand’s Palazzo Empire bag model, taking inspiration from seven cities around the world. To join in on the opportunity, participants have to photograph an iconic building or unique moment in their respective cities — Beijing, Hong Kong, Milan, New York, Paris, Sao Paolo and Tokyo — and submit the image on the contest’s Web site palazzoempire. versace .com by May 16. The brand’s design team will then pick one standout image from each city, which will be used to create seven personalized Palazzo Empire bags that are limited to ten pieces each and will be sold in Versace stores in the seven cities. The seven chosen contestants with the winning submission will win a trip to Milan in September and attend the Versace women’s fashion show for spring 2017. Current uploads to the Web site include multiple shots of the Eiffel tower in Paris, the Statue of Liberty and the Empire State Building in New York and a view of Milan’s Piazza Duomo. 2016-03-31 15:26 Lucie Janik

45 "Marilyn Monroe” Music Video Features Sevdaliza Becoming a Cyborg Screencaps via Sevdaliza , the dark, minimal songstress based out of Rotterdam, has been making waves since her debut EP The Suspended Kid was released last year. Her video for "That Other Girl" tapped experimental CGI artists Pussykrew to create a lavish world of Neo-Baroque imagery and cyborg technoshamanism. Of the album, “Marilyn Monroe” is a standout, and now the airy ballad is brought to life through the directorial vision of Iranian artist Hirad Sab. Sab’s 3D digital art in the video is highly structural and precise, which is an impressive feat for a self-taught artist. In the video, Sevdaliza metamorphs into a sort of cyborg statue of herself, dripping in a fluid silver and coated in TRON -like glowing wireframes. It's hard to tell where the technology ends and the human begins—kind of reminds us of having a smartphone. Watch the video for “Marilyn Monroe” below. To hear more of Sevdaliza’s The Suspended Kid , check out her SoundCloud , and stay up to date with new work from her Facebook . Related: Illustrating a Migrant's Experience in 3D Art [Music Video] A Lavish Trip Inside an Empress' 3D-Scanned Palace Virtual Organisms Writhe in Generative Music Video "Tehraj" 2016-03-31 15:25 Annie Armstrong

46 Fitbit’s On Fire – Ships 1 Million Blaze Units More Articles By Fitbit Inc. said it has shipped more than 1 million units of the Fitbit Blaze device in its first month of availability sending the stock higher by more than 6 percent to trade at $14.30. This number has exceeded the company’s internal sales forecasts and captured the number- one ranking as best-selling device in the smartwatch and heart monitor categories on Amazon. The product has received 1,200 customer reviews giving it a 4 or 5 star rating. The Blaze at $199 and is more expensive that the Fitbit Alta , which retails for $129. The Blaze has more features like heart rate monitoring and music control causing the price to be higher. The Alta device is one of the top selling fitness tracker and pedometer devices on Amazon. Fitbit Blaze will begin shipping to Asia later this spring and is currently available in North America, Europe, Africa and the Middle East. Fitbit Alta is available in North America, Hong Kong and Japan. It will begin shipping to Europe, Asia and Africa later this spring. Coverage on Fitbit was initiated with at Longbow Research with a Buy rating and a price target of $20. Fitbit stock has had a rough year. It has dropped 51 percent , plunging from a 52 week high of $51.90 down to a low of $11.91. Fitbit competes against Nike’s Fuel band and Jawbone’s Up device. There are also products from Samsung and Lumo Body Tech and the Apple smartwatch. A recent report from Argus Insights found that consumers are happier with their devices, than they are with the fitness apps that work with the device. The Fitbit app rated low consumer satisfaction, while the Nike and Jawbone apps received high praise. Along with this tough competition comes lawsuits. Jawbone and Fitbit have been suing each other over trade secrets and patents. So far, Fitbit has defeated four of Jawbone’s six claims, but the bad blood isn’t over between the two and more suits are expected. 2016-03-31 15:17 Debra Borchardt

47 Gallery Hopping: Sam Messenger at Davidson A dense network of intersecting lines forms an intricate, almost lace-like pattern in British artist Sam Messenger 's most recent body of work, on view at Chelsea's Davidson Contemporary gallery. Though they appear deeply textured, each piece uses only ink and paper. Their creation, however, is "very process-driven, with a lot of attention to detail," Charles Davidson, the gallery's senior director, told artnet News during a recent tour of the exhibition. Messenger, who often begins his work from a mathematical premise such as the Fibonacci sequence, was inspired in this case by an issue that has plagued artists for centuries. "I've been interested in…ways of drawing a perfect circle with only a straight edge and a pen," he told artnet News in a phone interview. Messenger fills each page with parallel lines spaced either two or three millimeters apart, then rotates his straight edge by either 10 or 20 degrees, and covers the page yet again. "Having these kind of parameters is a good starting point, so you're not just staring at the blank page," he explained. "Each layer you do, something else emerges," Messenger added. When he's made it all the way around, the work is completed, and the field of circles is fully formed. The works vary based on how much ink winds up on the page, which is in turn determined by three variables: The thickness of the pen tip, the spacing between the lines, and what angle is used. Although Messenger denies that his process is particularly meditative, he admits that he does "become aware of how the pen is touching the paper," he says, "and all these little details you wouldn't normally notice. " The series' title, "Nimbus," evokes the halo, which is visible in Messenger's work in the naturally occurring circles that arise from his regimented process. The word has another, equally apt meaning, however. He describes the appearance drawing's delicate patterns as "rain hitting the surface of the water. " Careful examination reveals the subtle details: slight irregularities in the spacing, areas where the ink is less heavily applied, or where the pen tip scratches the paper. "All these things are what interest me most," said Messenger. "Where the rules fall apart. " The exhibition spans two floors at the gallery, with black and white drawings on the first level, and colored works upstairs, some created by overlaying multiple colors, such as red and yellow, to create to what appears to be a uniform orange field. Expanding the color palette for "Nimbus" was for Messenger a "direct way of representing the same works, but showing how their presence and atmosphere changes with just one simple color use. " Messenger "does no do color very often," noted Davidson, adding that when the artist chooses to, he does so "very intentionally, usually very subtly. " The works only become more appealing when one considers the awe-inducing amount of labor that goes into the creation of each one—especially given the tight deadline Messenger gave himself to prepare for this exhibition. "I wanted everything in the show to be fresh, new work," he said, admitting that he began in early December, and worked up to 20 hours a day to get everything done in time. The "unusually intensive" process was quite draining, says Messenger. "My eyesight suffers. " See more works from the exhibition below: " Sam Messenger: 13 Cycles " is on view at Davidson Contemporary, February 25–April 9, 2016. Follow artnet News on Facebook. 2016-03-31 15:15 Sarah Cascone

48 The Healing Scars of Land Art Robert Smithson - Spiral Jetty, via Wikimedia Landscapes speak to us. Soaring mountains, deep canyons, wide seas—all fodder for song lyrics. But what is it that these expanses of natural space say to us? In the 1970s, a number of artists attempted to discover the answer by venturing out into that space, moving from the realm of representation into manipulation. There was something monumental to these works. Artists like Michael Heizer and Robert Smithson crafted on massive scale, human attempts to transfigure the landscape into an ideal image, to replicate the environment in an orthogonal direction, cutting it with marks not unlike the Nazca lines in Peru, or building upward like the pyramids of Central America and Egypt. By positioning projects in the outdoors, these artists broke outside of the limiting confines of the museum, to consider the world, in its totality, as the situating place for art. As Smithson wrote: “Museums are tombs, and it looks like everything is turning into a museum.” Outside of those walls, monuments could move, the wind and rain could blow through them, and the art could connect with the world again. Artists like Nancy Holt and Charles Ross created work aligned to the heavens, to the motion of the stars and sun, seeking to connect to something larger than avant-garde movements, planetary motion as their guiding principle. Nancy Holt, Sun Tunnels. Photo by the author But these works were detached from the landscape at the same time. They connected on an aesthetic level, matching the world’s outrageous distance, its scale, and range, but with revelations about anthropogenic climate change comes a new picture of land art. Some work, like Smithson’s Monuments of Passaic New Jersey , ironically celebrates the anthropocene’s effects as a non-museum form of sculpture, documenting human’s environmental legacy. But as much as Smithson wanted to break out from the tomb-like museum and seek those vagaries of nature, that irony came around to bite him, as Spiral Jetty became one more tourist destination for land art fans. As Robert Louis Chianese writes: “Little environmental consciousness seems involved in Spiral Jetty. It’s inert and quite drab, isolated, somewhat elegant in its blunt simplicity, but essentially pointless, though it does somewhat humanize the remote and desolate site.” Lucy Lippard, one of the foremost scholars of the environmental art movement, notes, “Earthworks play their part as the myth of the Old West gives way to the mundane real estate realities of the New West in a region where the land itself is more compelling than any museum; or, more pessimistically, where protected land and beauty strips are 'museumized' in a landscape marred by extraction and greed.” She hints at the similarity of land art and mining industry, noting that many land artists used the scars left by human resource extraction as models, “readymade” versions of the effect an artist might have on the blank canvas of the Western United States. Edward Burtynsky, Mines #22, Kennecott Copper Mine, Bingham Valley, Utah 1983 To treat the earth as a canvas for one’s own creation is little different than to treat its minerals as cash pouring from a natural ATM. Lippard, in her 2014 book Undermining , suggests the gravel pit, a depression where rock has been removed and crushed for concrete or road-building, is perhaps as significant a signature of our species’ actions as the pyramids. As ruins, gravel pits are decidedly unspectacular. Their emptiness, their nakedness, and their rawness suggests and alienation of land and culture, a loss of nothing we care about. Gravel pits transform the incomprehensibly distant geological past into dubious futures. For many, gravel pits represent pure financial potential as the bedrock of skyscrapers and the backbones of highways. Other artists have taken note of this as well. Edward Burtynsky ’s photographs of freeway interchanges, quarries, mines, and dams catalog the devastation we have wrought upon the earth, harnessing the spectacle as artwork. But other artists considered the earth as more than simply an aesthetic canvas. Ana Mendieta’s Silueta Series , for which the artist used her body to form shapes in grass, sand, and dirt, connects the impermanence of the human form with the natural world of which we are all an element. Her works, documented with photography, eventually faded in time as the landscape’s own biological motion took over—unlike the pits of Kennecott Copper’s mines, which Burtynsky photographs, or Smithson’s Spiral Jetty , which will remain for unknown lifetimes, perhaps outliving us all. Ana Mendieta, Silueta Series, 1973 The ecology of a landscape is what exists below the spectacle, on the microscopic level, or even in plain sight, but obscured through time. Works like Patricia Johanson ’s Fair Park Lagoon specifically combine sculpture and biology, in this case restoring native species to create a functional ecosystem out of a neglected, algae-ridden lake built for Dallas’ 1936 Centennial Exposition. Basia Irland ’s Ice Books take river water and native seeds, and create an ephemeral sculpture that is then released back into the ecosystem from where it came, decomposing back into natural material as the ice melts. Patricia Johanson, Fair Park Lagoon. Photo via the artist's website Interacting with the earth has been our task even since we became a species, but it is only very recently that we have become conscious once again of the implications of this exchange. How are we to live upon the surface of a planet fraught with unknowns, as we unlearn the habits of history? Environmental art, as much as the science of building cities, should continue to evolve with us. Art’s chances for survival are the same as any of our human bodies'. Perhaps Mendieta’s Siluetas , then, are the perfect image of earthwork's future—the shape of a human body, impressed upon the soil, until the weather we have wrought comes to wash our mark away forever. Basia Irland, Geleenbeek Text. 2015. Photo: Derek Irland Related: An Artist In Prague Wants To Artificially Grow Gigantic Caves Aerial Footage Makes Remote Locales Look Like Other Planets For $6500 You Can Visit James Turrell's Unfinished Observatory 2016-03-31 15:00 Adam Rothstein

49 The Origins of Visionary Art in Los Angeles | City of the Seekers From “The Marriage of Heaven and Hell” by William Blake, 1790 (via WikiCommons) In 2009, the Los Angeles Conservancy and its Modern Committee examined LA’s unique religious heritage with a one-day tour of five spiritual institutions. The self-driving sojourn was called City of the Seekers: LA's Unique Spiritual Legacy , and it brought much-needed attention to Southern California's role in the founding of 20th-century fringe religious institutions. It also helped shed light on the way spiritual freedom in Southern California has enabled artists to make visionary work as part of their creative practice. Inspired by the Los Angeles Conservancy's project and a spiritual-themed bus adventure from LA’s own offbeat tour company, Esotouric , "City of the Seekers" is a column about how Southern California has enabled creative people to make art as an expression of their spiritual practices. Saitic Isis by J. Augustus Knapp, 1926 (WikiCommons) In 1928, mystic, lecturer, and occult book-collector Manly P. Hall published The Secret Teachings of All Ages , a dazzling encyclopedic compendium of ancient texts, esoteric traditions, and musings on metaphysics that became an instant bestseller, in part because of the incredibly detailed and visually striking illustrations by J. Augustus Knapp. Due to the book's success, Canada-born Hall moved to LA and opened the Philosophical Research Society in the 30s. It has become one of the stops on the “City of the Seekers” tour. Illustrator Knapp also relocated from his home in Kentucky to continue making art in LA, creating a tarot deck with Hall in the meantime. Through the artful marriage of images and words, the seeds for the derided but nevertheless important New Age movement was planted in Southern California. Secret Teachings of All Ages by Manly P. Hall; illustrated by J. Augustus Knapp (via WikiCommons) After Hall made his way out West in the 30s, many other broad-minded people did, too. Most of them settled north, as LA was still just known as a frenzied free-for-all feeding off the nascent film industry. Nonetheless, captivating orators such as Charles Webster Leadbeater and Annie Besant—theosophists who espoused groundbreaking notions such as women's rights— established centers in Hollywood and inspired the likes of Aldous Huxley. Like Hall, Huxley moved to LA in the 30s and fell in love with the freedom that the rapidly developing area offered. Mirroring Hall's DIY approach to crafting his own credo, Huxley set out to find his own brave new world in the City of Angels, quoting a line from the late-18th century artist and writer William Blake's " The Marriage of Heaven and Hell " in his slim volume, The Doors of Perception , published in 1954. The book describes Huxley’s experience with mescaline, which would in turn inspire the name of the band, The Doors. Huxley Over William Blake's Urizen Praying, by Tanja M. Laden (originals via WikiCommons) Left to right: Vedanta Swamis Ramakrishna, (1836 – 1886); Sarada Devi (1853 – 1920); Vivekananda (1863 – 1902) and Brahmananda (1863 – 1922) (all via WikiCommons) 2016-03-31 14:55 Tanja M

50 More Than Gaming, Playstation VR Provides an Experience Scavenger’s Odyssey Just like the internet back in the day, VR isn't a trend that the public can just sit back and expect to pass. It's here to stay — and grow, and develop — and while no one knows for sure what form or medium VR/AR will take in the end, it's safe to say that there's a lot of noise out there concerning headsets, cameras, programs, gaming systems, and accessibility. Recently at SXSW, I had the chance to experience Sony PlayStation VR, and as someone who's tried her hand and head at countless different kinds of VR gear, I was just as impressed as I was when I tried out Project Morpheus at E3 2015. It didn't come as surprise, then, when I learned that Morpheus was actually PlayStation VR's codename at the time. Full disclosure: I am a major PlayStation fan, because it's the only console I've been able to experience gorgeous casual games like Journey , or compelling story-driven games like Life is Strange. I'm not a fan of first-person shooters, and a puzzle game has to be really clever in order for me to reach the end. But for me, gaming is a form of relaxation more than anything else. Danger Ball What makes PlayStation VR different than other headsets is that the games themselves automatically come with PlayStation's awe-inspiring resolution and high attention to detail, and since many are designed with VR in mind, there's no weird distortion, blurred vision, motion sickness, or any of the obstacles that come with the increasing array of other VR headsets out there. That's not to say there probably weren't major challenges while developing PlayStation VR, it's just that they've paid extra-careful attention to the hurdles, studying the neuroscience of VR in order to apply their findings to the product. In traditional games, obstacles and enemies are often taken for granted as a type of necessary evil. Vanquishing or defeating them becomes almost a job — a repetitive task that is part of the end goal of the game itself. But for casual gamers like me, VR offers an increased sense of scale, as well as a more visceral relationship to the environment. Instead of just electronically controlling components of a computer program on a screen, I'm participating, not just playing. So even for those who aren't gamers by definition, PlayStation VR affords opportunities just to experience something that may not be otherwise possible. Into The Deep (working title) When trying out Into The Deep (working title), I had the chance to become a professional diver, submerge myself deep underwater, and in a cage while a large, very realistic-looking and menacing shark ripped the metal railings off my cage, slowly tearing apart the only barrier between myself and the sea. There was no gameplay involved: I did not control the cage or the shark. I only turned my head in terror as I waited to see what would finally happen. (Take a guess.) This ability to look around, interact, and just take in the environment, rather than trying to rush through a game in order to achieve some sort of unspecified end goal, is exactly what affords VR designers the unprecedented opportunity to pay more attention to detail in order to enhance the player's experience. It's also what gives the player the "experience" itself, thereby elevating the practice of gaming into a type of newfound metaconscious activity that relies on inherent human curiosity, which isn't exactly encouraged in the real world — at least not for adults. 2016-03-31 14:00 Tanja M

51 A Network of LED Antennas Brings a Neighborhood Together Photo: Lee Dobson A network of light and sound let people engage with their neighbors in the town of East Durham last weekend, a symbol of connection in a place increasingly deprived and isolated due to pit closures in the mining industry in the 1980s and 1990s. The residents of a couple of streets in England's north east were able to communicate thanks to a public art installation called VoiceOver , commissioned by Forma Arts and created by Umbrellium for East Durham Creates. Participants readily admitted they don't often talk to their neighbors. After talking with the locals, Umbrellium , who specialize in working with urban communities, created VoiceOver to bridge the distances between the people who live there. "We were very much inspired by the Hands Across America project from the late 80s, that achieved the seemingly impossible task of getting millions of people to hold hands across the USA at the same time," artist and co-founder of Umbrellium, and also the Wifi-Camera , Usman Haque tells The Creators Project. Photo: Richard Kenworthy Haque calls the installation a "participatory cultural infrastructure" and says residents were interested in sharing stories of the old mining days, singing, speaking on political or religious matters, and reading bedtime stories. To build the piece, the group designed a "mesh network" which involved connecting up custom built "light antennas" and "radio boxes. " The antennas were made using frosted acrylic tubes and LED strips connected to suction cups, the radio boxes each had a Raspberry Pi and speaker, enabling a signal conversion and bridge to the antenna. These were placed on various houses. "It means that each device is a node in a shared network carrying data for other nodes," Haque explains. "Such technologies are sometimes used to help deliver internet or phone coverage to areas that have very little signal/coverage. " Photo: Richard Kenworthy The result was an interactive channel of people's voices transformed into light and sound that lit up the neighborhoods and got people out of their homes and into the streets to wander and wonder through the night. "The project has been very much about using technology to connect people together in ways they may never have been connected before, and using the 'visual spectacle' as both a call to action and as an excuse to talk with each other," Haque notes. "Rather than simply being an ‘efficient’ communication tool, the aim has been to get as many people as possible together at the same time communicating with others they might not even know, and meaningfully involved in creating, installing, supporting and bringing to life a cultural infrastructure, one that actively encourages performance, sharing, and storytelling. " Photo: Richard Kenworthy Click here to learn more about VoiceOver. Related: Immerse Yourself In Reactive Pools Of Light With This Interactive Installation Picture This—Reinventing The Camera As A Social And Anti-Technological Object In South Korea, Fingerprints Are Symbols of Protest 2016-03-31 13:35 Kevin Holmes

52 A Day with California's Stoned Nuns [Photos] All photographs from the “Sisters in the Valley” series. Photographed by Shaughn and John, 2016. Photos courtesy of Shaughn and John Photography duo Shaughn Crawford and John DuBois of Shaughn and John know a good photo op when they see one. After watching a local California news story about a pair of nuns growing pot in the valley they realized this wasn’t just a good opportunity, it was a drop-everything, must-shoot, once-in-a-lifetime event. The duo just released a stunning set of photographs of these “Sisters of the Valley” on Booooooom and speak to The Creators Project about their process, the nuns, and the temptations of the devil’s weed. Shaughn explains that this whole series started when he was home with family over Thanksgiving, and saw a local news story “I was like ‘what the fuck, this is crazy’ and I immediately hit them up because we always have our ear to the ground looking for weird stories.” After a bit of searching, Shaughn and John finally connected with the nuns, and “they were totally stoked on our photos, and the idea we had to come and do a more documentary- style project. John and I are really curious about people, and we’re always looking for subcultures within subcultures. We’re very curious about the world.” Though they wear a habit similar to a catholic nun, Sisters Kate and Darcy have their own set of beliefs and their own system of faith. Even their look, white habits with denim skirts, are uniquely their own. As John explains, “They were really open with us, as far as what their beliefs are, and what kind of nuns they are. They, right off the bat, said ‘oh back in 2009 I ordained myself’ and they were very open about the fact that they’re not affiliated with the catholic church.” The nuns went on to explain that they hold ceremonies, burn sage, and make their products by the cycles of the moon. “It’s kind of more spiritual than religious,” says John. The nuns have just opened a GoFundMe page to help save their business after Etsy shut them down. During Shaughn and John’s visit, the nuns were very candid about the legality of their work. Even though medical marijuana is legal in California, and they claim the CBD Oil they create doesn’t contain anything that gets people high, they still don’t run a legal business because of permit and license issues. As Shaughn explains, the nuns “didn’t care, or didn’t worry about it, she was just going to see what happens.” Does that lack of worry about repercussions stem from their faith? John doesn’t think so, “They don’t seem to operate with assumptions based in any spiritual belief. They’re just headstrong women who are really passionate about what they’re doing and believe in the cause.” Shaughn adds that, “A lot of their ‘religion’ has to do with helping people. They’re very into the idea of helping people with their medicine. That’s one thing they talk about non-stop.” “That and politics,” says John. “They have political opinions that they’re very open about. A lot about social justice, and they’re big Bernie Sanders fans.” John says the nuns don’t just care about legalizing cannabis, but that they’re interested in a whole host of other progressive social issues. How did the duo make the nuns feel comfortable before shooting? Shaughn says “With all of our projects we try to get to know the people. We don’t just run in there and start shooting. Sometimes John and I will shoot two cameras separately, but in the case of this project we worked together and went slower than some of our jobs, and were just really focused on finding a few amazing shots instead of covering tons of shots.” John says that they spent the first hour just sitting and talking with the sisters. From there the most important shots became clear, as he explains, “Sister Kate, when she gave us the tour of the house, she opened up this refrigerator that was just full of bags of weed. We immediately were like ‘Okay, we’ve got to get a great shot of that.’” So, the big question is: did the duo get to smoke with the Sisters of the Valley? “No,” says John, “They offered. But we were there to do a job, so we politely declined and focused on the task at hand. We let them do the smoking.” What fortitude! As Shaughn explains, “It was definitely a tough one to turn down.” John concurs, “It’s hard when a nun is sitting there holding a joint up to, but you’ve got to do what you’ve got to do.” Check out more of Shaughn and John’s work at ShaughnAndJohn.com . And donate to the Sisters of the Valley via their GoFundMe page . Related: Shakespeare Smoked Pot | The Creators Project A Pot-Themed Art Show Heads to California: Last Week in Art Stimulating Photos of a New Campaign for Pot Products 2016-03-31 13:30 Giaco Furino

53 Behind the Scenes of Adam Green’s Debauched ‘Aladdin’ Fantasy Related Venues The Hole “My first wet dream was that I won Super Mario Bros. and they introduced me to the princess, and I ejaculated in my sleep as I won that level. To me, that’s how deeply Nintendo is embedded in my consciousness,” says Adam Green, walking me through his Williamsburg painting studio dressed in bell-bottoms, a striped button- down, and white tennis shoes. While that may not sound like your typical explanation for a sustaining artistic inspiration, to hear the 34-year- old folk rocker tell it, the Japanese video game company’s early eight-bit graphical interfaces have pervaded nearly every facet of his creative life for the past two decades. “I want to excavate that material and transform it into artwork, and I’m almost entitled to do it because this corporation took over my childhood brain.” “I had an insatiable appetite for drugs and sleep deprivation, and I was trying to write as much as I could on ketamine,” says Green, who would hand his actors index cards of dialogue the day of each shoot. “This is also probably whereI got obsessed with technology and this iPhone.” After premiering the film in 2011 at the Anthology Film Archives, Green displayed his painted papier- mâché sets (which were made at Culkin’s loft, where numerous scenes were also shot) the following year at an art fair on the Lower East Side. Dealer Kathy Grayson happened to see them and offered Green a solo show that summer at her gallery, the Hole, where he screened the film, exhibited the sets, and unveiled his “Houseface” series of trippy Dubuffet-meets-De Stijl sculptural abstractions of Elmo, Big Bird, and Garfield, which evoke everything from video game graphics and the jagged lines of Friedensreich Hundertwasser’s art and architecture to the design motifs of Persian tapestries. “I guess I set out to be a noise painter at some point,” says Green, whose earliest artistic influences came courtesy of the now-shuttered Exile on Main Street record store in his hometown of Mount Kisco, New York. It was there he met Kimya Dawson, his future bandmate in the Moldy Peaches, and Matt Valentine (of the Tower Recordings), who introduced him to Skip Spence, Pearls Before Swine, the Incredible String Band, the Sea Ensemble, Amon Düül, and the No-Neck Blues Band. “I started taking psychedelics, and I related to all those things deeply,” he recalls. “It was the introduction of the concept of noise—noise music, noise in art. I began to see sounds as fibrous textures, and my line evolved as I tried to draw noise. Pressing hard on the paper so that I could feel the tension in my wrist appealed to me as a musician.” “I was drawn to the piece because it is so immersive and a total work of art. It takes a lot of creative power to get so many people to join, and to hold it all together is a real feat,” says Grayson, who participated in the “dada absurdity” as a ruff-and-tutu-wearing extra during the summer 2014 shoot. “The props were my favorite part,” she says. “The movie has so many amazing sculptures in it.” “I was on an airplane with my wife when we thought of Francesco. He was visually the most genielike person I could imagine,” Green recalls. Shawkat, who had interviewed Clemente for L. A. MOCA’s YouTube channel, sent Green over to the artist’s massive SoHo studio: “You go up in this elevator and the door opens, and he has these big eyes and he was just being really intense. It felt intimidating because he was not saying a lot and there were all these huge paintings and it was pretty dark. He took me over to this couch and I felt like I was 11 years old. I told him everything about the movie. I showed him the storyboard, we read through each of his lines, and 20 minutes into it he laughed, one time. At one point I was like, ‘I should go.’ So I walk over to the elevator, and as the elevator is going down, he says, ‘I will be your genie.’ ” While casting choices like Clemente and Ling feel inspired, they certainly have to compete for attention onscreen with the 30 hand-painted sets (and hundreds of papier-mâché props) Green created for the film. To accommodate his fragile viral world, Green rented out photographer Charlotte Kidd’s warehouse in Red Hook and worked with set designer Tom McMillan to devise an installation system using 4-by-4-foot Uline cardboard tiles that could be Velcroed to the walls during shoots and then broken down and stored inside an 80-foot-long filing cabinet. “It was crazy,” says Green, whose video game sets illuminate (via special effects) when touched, while his props elicit smoke signals, Pop-y Lichtenstein-esque graphics, and Nintendo-like sound effects. The filmmaker arrived at his pixelated aesthetic after seeing Paul Thek’s “Technological Reliquaries,” wax sculptures made to resemble cubes of flesh. “The more I thought about digitized flesh, the more it seemed like a potent image—this pixel that has a skin element. You see it with 3-D printing, people using biological cells to make 3-D grids, and I even think that people who are looking at Internet porn are really just jerking off to cubic mosaics of pornography.” “The turning point for me was thinking that the lamp could be a 3-D printer,” says Green, who once had a daydream of making a movie about people who lived in the 1960s and used an analog version of the Internet. “It’s this weird transitional world that never existed. You’d have to go to the post office so they could print out your e-mail for you. From that idea, I started to think about this equation where you take the Internet, plug it into the 3-D printer, press Go, and it prints out the entire Internet.” In the hands of Green’s Aladdin, a wish-printing machine that allows you to “mainline your dreams” leads to Blakean excess. After suffering a momentary twinge of materialist guilt, the singer is soon turning himself into a prince (with golden laptop dowries), printing luxury goods and piles ofcash, indulging in various drug and sex benders (with paid professionals and the princess), even printing himself a baby named Gizmo. Emily sums it up best: “Prints are like martinis; one is fine, two is too many, three is not enough.” “A lot of the early Christian paradises deal with wheels that are turning and jewels,” says Green, pointing to similar motifs in some paneled works on paper scattered about the Williamsburg studio floor. “I was thinking I could use that language to make an ice cream–colored papier- mâché paradise.” 2016-03-31 13:17 Michael Slenske

54 5 April Fool's Pranks Inspired by Art Just in time for April Fool's, we've rounded up a list of artists whose playful works remind you that can't always trust your eyes. Don't be tricked by what you initially thought you saw— slow down, and take the time to appreciate these altered perceptions of reality. While your friends are busy saran wrapping your toilet, take your own pranks to a more sophisticated level by channeling the following artists. Take a close look at Yrjö Edelmann 's photorealistic paintings, such as his compelling A More Powerful Way of Defining Trompe L'Oeil. His works many be contemporary, but they notably employ techniques used by Old Masters to achieve an illusionary 3-D effect. At first glance, viewers may question whether this piece is a sculpture or a painting—use this to your advantage by telling your significant other that you left a gift for them in the bedroom. Sit back and enjoy their confusion while they try and unwrap it, and pat yourself on the back for an excellent execution of a prank. Not into paintings? Strategically place these Sarah Oppenheimer sculptures around your house to create a disorienting maze. Invite your pals over to admire your latest art acquisition, and silently laugh as they trip over it (because you're a good friend and laughing out loud would be mean). From afar, Oppenheimer's works are translucent, and their lighting and positioning allow them to totally disappear from certain angles. Just make sure the joke isn't on you and no one breaks anything. Photographer Cindy Sherman is well known for tricking her viewers with a range of costumes and characters, most notably her landmark Film Stills series. For this April Fool's, take a page out of her book and assume a new identity, then pretend like nothing happened. If anyone questions your appearance, don't break character! Sherman's attention to detail and setting are what convinces viewers that they are looking at an authentic scene. Even if you can't fool your friends, you'll be sure to fool others on the street, and that counts as a prank, right? What do you see when you look at this painting? A father and son? A bachelor in coattails? An animal on its hind legs? Similar to Rorschach tests, Latvian artist Janis Avotins leaves the interpretation of his works up for debate. Enjoy an eerie April first, and put this painting in a dark room and scare the living daylight out of your unsuspecting guests. For a truly a dedicated prankster, we suggest hosting a dinner party with furniture by Franz West and putting up signs that read: “Installation: Do Not Sit. " West defines his furniture as sculpture and plays with the question, what is design and what is art? He succeeds at blending both disciplines by making something that is normally straightforward into something abstract and ambiguous. See if your friends play into the trick and ask where the installation is, then watch them struggle to eat dinner while standing. Flawless joke. Pour yourself a drink. 2016-03-31 13:01 artnet News

55 ninkipen! plants jabuticaba tree inside organic café in osaka aiming to foster a harmonious balance between inside and outside, this cafe in osaka is designed by local japanese studio ninkipen!. complementing the organic ingredients offered at the eatery, the space uses greenery to highlight its menu. at the entrance, a jabuticaba tree has been planted and serves as a main focus in the interiors. the ito-biyori café is illuminated by the large entrance looking out towards the landscaped outdoors the intimate café uses the large glazed entrance as its source of natural light – illuminating the simple, but refined material palette. a combination of wood, brick and concrete is used on various surfaces and with the introduction of greenery, this has culminated a welcoming atmosphere. a jabuticaba tree has been planted at the entrance furthermore, a sense of geometry is achieved with the straight lines, angles, careful organization of tables. this is interrupted by a large circular mirror that hangs on the concrete wall. the materials and theme is consistent in the outside of the café; the continuation of concrete,stone paved paths and plants creates a clear progression of inside and out. simple and clean, the interiors aim to reflect the café’s organic menu the detail of the simple bulb pendant lamps used inside 2016-03-31 12:55 Natasha Kwok

56 Here’s the Exhibitor List for Spring Masters New York 2016 The 2015 edition of Spring Masters New York. LEANDRO J./BFANYC. COM Spring Masters New York announced the exhibitor list for its 2016 edition today. This year’s fair opens on May 6 and will include 48 exhibitors from Europe, America, and Asia. Now in its third year, Spring Masters is focused on connoisseurship, and it tends to skew less contemporary in its offerings than most other fairs during Frieze week. Next year Spring Masters codirectors Michael Plummer and Jeff Rabin will refocus their efforts on a joint venture with TEFAF, which recently announced that it will bring two fairs to New York , the first of which will be in October. The exhibitor list follows in full below. Abellán , New York ACA Galleries , New York Armand Bartos Fine Art , New York Bernard Goldberg Fine Arts , New York Boulakia & Co. Limited , London Bowman Sculpture , London Cahn International , Münchenstein Chowaiki & Co , New York Colnaghi , London and Madrid Daphne Alazraki Fine Art , New York David Benrimon Fine Art , New York Didier Aaron , New York Didier Ltd. , London Dolan/Maxwell , Philadelphia, PA Drucker Antiques , Mount Kisco, NY Erik Thomsen , New York Galerie Lefebvre , Paris Gerald Peters Gallery , New York Hammer Galleries , New York Heather James , Palm Desert, CA Jerome Zodo , London and Milan John Martin Gallery , London Lillian Nassau , New York Long-Sharp Gallery , Indianapolis, IN Maison d’Art , Monaco Martin du Louvre , Paris Michael Pashby Antiques , New York Opera Gallery , New York Osborne Samuel Gallery , London Phoenix Ancient Art , New York Primavera Gallery , New York Richters of Palm Beach , Palm Beach, FL Robert Simon Fine Art , Tuxedo Park, NY Ronald Phillips LTD , London Rosenberg & Co , New York Schillay Fine Art , New York Simon Teakle , Greenwich, CT Sladmore , London Sladmore Contemporary , London Soraya Cartategui , Madrid Sundaram Tagore Gallery , New York, Hong Kong, and Singapore Sylvia Powell Decorative Arts , London Taylor | Graham , New York Thomas Colville , Guilford, CT Tomasso Brothers Fine Art , Leeds and London Trinity House , New York, London, and Broadway, England Vojtech Blau , New York Waterhouse & Dodd , London and New York Yufuku Gallery , Tokyo 2016-03-31 12:30 Alex Greenberger

57 franck bohbot's cinematic photos of new york form a sentimental study of storefronts franck bohbot's cinematic photos of new york form a sentimental study of storefronts franck bohbot’s cinematic photos of new york form a sentimental study of storefronts all images © franck bohbot while the new york city landscape is a seemingly endless sprawl of sights and spectacles, brooklyn-based photographer franck bohbot hones in on specific facets of urban life. for the series ‘light on – the color of the night’, bohbot forms a sentimental study of storefronts through a series of expressive and cinematic architectural ‘portraits’. shot over the course of two years, the collection highlights these commercial spaces nearly devoid of the human activity that usually populates them, turning the storefront into a stage for both nostalgia and modernity. some of the boroughs’ hidden gems — the sunshine cinema, veniero’s italian bakery, midtown comics — are animated through a hazy fog of subdued pastel fluorescence and a wash of dimly lit neon. theaters, delis, peep shows, corner stores, and hotels display marquees from a time past, or contemporary exterior façades, further illustrating the diversity and complexity of manhattan’s perpetually buzzing landscape. 2016-03-31 12:26 Nina Azzarello

58 58 Soft Sounds: Ben Vida Rethinks the Boundaries of Composition Related Venues Lisa Cooley Gallery Artists Ben Vida Ben Vida, “S. C.356 (Blue/Pink),” 2015 / Photo: Brica Wilcox, courtesy of 356 S. Mission Road In his 2008 essay “Resisting Language,” Nicholas Bullen—a writer and artist who was a founding member of U. K. band —works to situate the “grindcore voice,” or “death growl,” alongside the arc of avant-garde experiments with language in the 20th and 21st centuries. In doing so, he also defines the voice more broadly, positing it as a site onto which we project coherence, making it a locus, then, of cultural anxiety: “In a textual culture,” he writes, “the voice occupies the position of primary communicator. It is the facilitator for creating meaning, operating as a form of social adhesive by creating cohesion through a communication structure which conjoins individuals in a shared whole. Cultures which validate visual concepts through a mesh of phoneme and syntax (a mesh which assigns language a value as a repository of meaning) implicitly fear the breakdown of this system of communication, particularly at its most primal level—the voice.” This makes it vulnerable to experimentation—Bullen’s work with Napalm Death representing one possible approach, an act of near destruction through extremity and illegibility. The artist trained as a musician—his mother was a piano teacher, and he grew up playing that instrument, and later trumpet and guitar. After studying music at Webster University in St. Louis, he was involved in Chicago’s improvisational scene in the mid 1990s, playing in a number of ensembles including the all-acoustic Town and Country and recording for labels like Kranky, Thrill Jockey, and Drag City. “I was never interested in being an instrumentalist, first and foremost,” he says. “I was always interested in sound, in form and content— and concepts, too, frameworks that you would improvise within or compose within.” His recent compositions have employed a mix of analog synthesizers and electronics, the choice influencing the composition. “If I use an old Buchla synthesizer,” he offers, “I’m in some way in dialogue with Don Buchla himself, the way he thought an audio path should work. And with analog synth, my decision- making process changes: A generative system produces a lot of content without my being hands-on with it. But, ultimately, I want the tools to disappear.” At a certain point, Vida’s experiments in what he thinks of as “expanded composition” led him to consider how nonmusical media might carry his ideas. He recalls an initial experiment with “applying a logic system from a different medium to help decide how to make edits.” Vida used a skateboarding video as a springboard for sound: “I sonified what I was seeing on the screen,” he says, “really corny stuff, like squishing sounds as someone dropped onto a half-pipe. Then I decoupled the soundtrack from the imagery, and I thought, man, I wouldn’t have made any of those formal decisions before. That was such a liberating moment.” While Vida still essentially identifies as a composer, his practice is now liable to manifest in text, image, video, or nonmusical performance, with the conversations among all these processes perhaps generating new systems. Vida’s new body of work for Lisa Cooley starts from an interest in sociality and conversation, at the microlevels of intonation, affect, and inflection. Drawing once more from phonetic language and concrete poetry, his minimalistic black-and-white, text-based wall works are made to resemble scripts, with emphasis loosely on stage direction—the physical actions and internal monologues that accompany speech. Text operates somewhere between narrative and texture. “In the most basic sense, these are impressionistic narratives, or character studies, or snapshots of a little bit of conversation,” Vida explains. Words stretch, and so does coherence: “I think there’s something to it” becomes “ahyeeeeeethinkthrrsss sumthng tuh eht,” in response to stage directions instructing the speaker to utter the phrase such that it’s, alternately, “drifting,” “blurry,” or “dead drunk.” That the works are written out by hand lends, he thinks, “a certain amount of intimacy,” and also encourages viewers to spend more time with the text, rather than reacting to the works solely as images. “Once you start reading them,” he says, “that’s where the content exists.” Occasionally, Vida seems to locate an oddly transcendent moment when banality melts into abstraction. This negotiation speaks to a particular relationship with abstraction resulting from Vida’s background in sound; after all, in its most dis- tilled form, “sound is sort of a functional abstraction,” he says. Returning to Bullen’s brief history of the voice and the fundamental instability it might represent, one could say that in Vida’s hands, the voice—so burdened with carrying language, and consequently meaning—becomes a site of play. One might wonder what Vida actually expects of his audiences—especially given that his work is presented in a variety of contexts, from a European experimental music festival like Unsound to a white-cube contemporary art space. He recognizes that the points of reference that drive his compositions might remain elusive for some: “I don’t worry about communicating something concrete,” he says. Human relation, after all, is in his work characterized by unpredictability— and he consistently uncovers pleasure in that volatility. And ultimately, what Vida does is rooted in his personal interactions with sound and language. Does working on a piece intended to recalibrate a listener’s relationship to time slow him down too? “I want it to,” he says. “I like the idea of my work going out into the world, but I’m also living through everything I do. I want to be able to occupy that presentness, and I want to be able to access it more readily, every day.” 2016-03-31 12:01 Thea Ballard

59 Margarete Hahner Explores Vision in “Smaller Than Life” at Zwinger Berlin Related Venues Zwinger Galerie Margarete Hahner’s paintings at Zwinger Galerie in Berlin explore the concept of “vision,” as a synonym for both the physical ability to see, as well as the artistic sensibility. Titled “Smaller Than Life,” the exhibition examines the weight of its subjects, scrutinized by the artist’s penetrating gaze. There is a degree of historicism in the way Hahner executes her works, which are stylistically reminiscent of German Expressionism and New Objectivity. The subjects are painted with broad, sketchy brushwork and muted, earthy colors. The subjects’ and, by proxy, the creator’s vision is never completely objective, always obstructed by one object or another. Hahner examines the distortion produced on our vision of the world by hopes and despairs, symbolized in “Voll Leer” (2015, oil on wood panel) by two glasses, one full of water and the other one empty. The artist’s attitude is likewise poised between two extremes, self-mockery and earnestness. In another example Hahner draws the gaze inwards, as the subjects of her paintings examine themselves. The modern, fragmented self multiplies in front of the viewer, as in one of the untitled works (2014, oil on canvas, monoprint) which portrays a therapy session. Hahner’s style is invariably linked to the subjects they represent, with the emphasis placed on heightened emotions, strong, subjective vision and the use of the grotesque. 2016-03-31 11:37 Natalia Masewicz

60 perkins + will winds bicycle track through SRAM's chicago HQ global architecture and design firm perkins + will has completed an office in chicago that features an indoor bicycle track. located inside a former cold storage warehouse in the city’s fulton market district, the 72,000- square foot facility promotes collaboration among employees through a light-filled, open floor plan. commissioned by SRAM, one of the world’s largest manufacturers of bicycle components, the brief called for an interior that connected staff by providing a range of collaborative spaces. an additional component of the design is the integration of the firm’s product development spaces, including a working lab and a machine shop. the 1/8 mile test track winds through the office, connecting each area of the plan. along the route are several types of open and enclosed meeting spaces that provide multiple options for collaboration. a café functions as an all-day work space — offering a venue for casual meetings as well as facilitating larger gatherings, such as viewing stages of the famous tour de france. informal meetings also occur on the outdoor terrace, which wraps around the office and overlooks the city. corporate functions that require confidentiality are still connected to the rest of the office with glazed meeting rooms that open out onto public spaces. SRAM executives had several objectives for their new headquarters: increased flexible space for communal collaboration; privacy for human resources, legal, and product development; workspace for machining and testing parts; and support features, such as a bicycle cleaning station, locker rooms, showers, tire air-filling stations, a bike repair shop, and bike racks for the more than 100 employees who cycle to work each day. ‘we believe in the power of bicycles to transform lives, and, in this new space, our culture celebrates that,’ explains david zimberoff, vice president of marketing for SRAM. ‘people are really stoked. how could you not walk a prospect or a new employee through here and not have them want to work here?’ the track connects each area of the plan along the route are several types of open and enclosed meeting spaces the bicycle theme is evident in all areas of the scheme areas are provided for casual meetings as well as larger gatherings 2016-03-31 11:15 Philip Stevens

61 São Paulo Art Guide March 2016 We should warn you: 2016 will be a busy year for Brazil. Very soon, Rio de Janeiro will be at the center of the world's attention with the launch of this year's Summer Olympic Games on August 5. But for art lovers, the upcoming São Paulo Biennale and SP-arte are what we're most looking forward to: from April 7 until April 10, the 12th edition of SP-arte, Latin America's leading art fair, will bring together over 120 galleries from Brazil and beyond to present the very best in contemporary and Modern art. Ranked as the most populous city in the country, São Paulo has plenty to offer in terms of entertainment, finance, and arts. Just take a look at the number of local art galleries—if you want to find some quality time outside the art fair, you'll be spoiled for choice. Whether you favor tapestries, paintings, sculpture, or installations, we gathered the very best exhibitions to see in São Paulo throughout April. Print out the list and get moving, since the most difficult part will be trying to decide between all these exciting shows. It might be impossible to see it all, but as Pierre de Coubertin once famously declared, “The most important thing […] is not winning but taking part. " Exhibition: “ Montez Magno " When: March 30–May 21, 2016 Where: Galeria Pilar, Rua Barão de Tatuí 389, São Paulo, Brazil Exhibition: “ Glowsticks: David Batchelor " When: March 15–April 23, 2016 Where: Galeria Leme, Av. Valdemar Ferreira, 130, São Paulo, Brazil Exhibition: “ Di Cavalcanti " When: March 18–May 28, 2016 Where: Almeida e Dale, Rua Caconde 152, São Paulo, Brazil Exhibition: “ Iran do Espírito Santo: Fuso " When: March 19–April 30, 2016 Where: Galeria Fortes Vilaça , Rua Fradique Coutinho, 1500, São Paulo, Brazil Exhibition: “ Antonio Maluf: Construções de Uma Equação " When: March 29–May 28, 2016 Where: Galeria Frente , R. Dr. Melo Alves, 400 – Cerqueira Cesar – SP, São Paulo, Brazil Exhibition: “ Emmanuel Nassar | Henrique Oliveira " When: April 2–April 30, 2016 Where: Galeria Millan, Rua Fradique Coutinho, 1360, São Paulo, Brazil Exhibition: “ Papéis do Nepal 1977–1997: Antonio Dias " When: April 2–June 4, 2016 Where: Galeria Nara Roesler, jd Europa, São Paulo, Brazil Exhibition: “ Ester Grinspum: Fausto " When: April 4–May 28, 2016 Where: Galeria Raquel Arnaud , Rua Fidalga, 125, São Paulo, Brazil Exhibition: “ sp-arte " When: April 7–April 10, 2016 Where: Baró Galeria , Pavilhão Ciccillo Matarazzo, Parque Ibirapuera, Portão 3, São Paulo, Brazil 2016-03-31 11:00 Audrey Fair

62 Elisabeth Murdoch Creates Artist Award Philanthropist Elisabeth Murdoch aims to boost mid-career women artists with a big new cash prize. The Tate trustee, philanthropist, and daughter of media mogul Rupert Murdoch has created the Freelands Artist Award , an annual £100,000 (approximately $150,000) prize. The award will provide its winner with a solo exhibition at one of six regional arts institutions, to be named this summer. Besides the gender specificity, the award sets itself apart from Tate's Turner Prize in two key ways: there is no maximum age restriction, whereas only artists under fifty are eligible for the Turner, and the purse is four times as large. The inauguration of the award follows a 2015 report that Murdoch's Freelands Foundation commissioned from Charlotte Bonham- Carter, who heads the master's program in arts and cultural enterprise at London art and design school Central Saint Martins. The report studied the representation (or lack thereof) of female artists in Britain. Among its findings are that in 2014– 15, just 25 percent of solo shows at major London institutions went to women. The selection committee includes artist Phyllida Barlow , Camden Arts Centre director Jenni Lomax, writer and independent curator Teresa Gleadowe, and Bergen Kunsthall director Martin Clark. The winner will be announced in the fall of 2016. "Women artists in mid-career are still woefully under-represented in the art world and this award aims to raise their profile," Murdoch said in a press release. "Of course it is a challenging place to be for all artists but, as our research has shown, this is particularly the case with women. I want this award to be about pushing boundaries and helping regional arts organisations fulfill their potential. " Bonham-Carter's report found that while female art and design grads outnumber men, once women reach the mid-career mark, their representation in galleries and at museum exhibitions dwindles. "Indeed, in major career highlights, such as representing Britain at the Venice Biennale, men substantially outnumber women," Bonham-Carter writes. "When I began to have informal conversations with female artists, I found that a surprising number of them voiced concerns about attitudes towards female artists. . . particularly during the mid-career stage. " Follow artnet News on Facebook. 2016-03-31 10:59 Cait Munro

63 Amanda Levete to Redesign Galeries Lafayette in Paris Related Venues Galeries Lafayette Artists Amanda Levete British architect Amanda Levete and her studio AL_A have been selected by Galeries Lafayette to completely remodel its famous building on Boulevard Haussmann. Levete beat both Rem Koolhaas’s OMA, and Farshid Moussavi. “The great poem of display chants its stanzas of color”, wrote Balzac in the first half of the 19th- century, describing the emerging landscape of affordable luxury shops that would mark Paris as the capital of the industrial revolution. Enclosed shopping arcades, magasins de nouveautés, culminated in the development of department stores, the grand magasins of Paris. For the first time in European history shopping became entertainment, and the grand magasin a “phantasmagoria which a person enters in order to be distracted”, as Walter Benjamin wrote in “The Arcades Project.” Benjamin would place the Parisian department store as the cathedral of an emerging new social order, re-articulating the relationship between people and goods. If today we take it for granted that our clothes, home furnishings, and decorations, must be a reflection of our taste and sensibility, and not simply the things we need to stay warm and dry, this is an emotional exchange that was invented in the department stores of Paris, the cultural center of early capitalism. Galeries Lafayette is a relative newcomer among the grands magasins – it started off as a small haberdashery in 1893 only – but the spectacular architecture of its home, the 1912 building on Boulevard Haussmann, has made it one of the best-known. Dreamed up as a luxury bazaar that would consolidate a number of small buildings in the possession of the owner Théophile Bader, designed by Georges Chedanne in 1907, and decorated by the great artisans of the École de Nancy in the style of Paris Art Nouveau, the Galeries Lafayette flagship building is today one of the great historical examples of luxury retail architecture. It has a grand staircase by Louis Majorelle, inspired by the Opera House, Neo-byzantine stained glass windows by Jacques Gruber, a rooftop terrace, and a dome that reaches 43 meters in height, filtering golden light on the merchandise below. “This store is an institution that has a special place in the life and identity of the city of Paris,” says Levete . “The exquisite craftsmanship of the original building and its location in the heart of Haussmann’s city are both elements we seek to celebrate, as we move forward.” Today, the Boulevard Haussmann building is the second most popular tourist attraction in Paris, second only to the Eiffel Tower. It makes more than €2 billion in sales annually, with only a third of this amount coming from French pockets (the remaining two thirds are evenly divided between the Chinese tourists, and everyone else). The company wants to reimagine the building for the 21st century, offering a total shopping experience in which architecture will play a key component. “Amanda has demonstrated her talent for radical thinking and imagining built heritage,” says Nicolas Houzé, CEO of Galeries Lafayette, and belonging to the fifth generation of the family that founded the business. AL_A has been involved in a number of projects to reinvent emblematic historical buildings in Europe, currently working on an extension of London’s Victoria & Albert Museum. Levete has also worked on a number of flagship retail projects: its previous studio, Future Systems, is responsible for the ‘blubitecture’ of the Selfridges department store in Birmingham, while AL_A is currently working on a new lifestyle mall in Bangkok’s trendy Thong Lor, 72 Courtyard. “We are delighted to start this collaboration,” says Houzé, “to conduct the reinvention of the iconic “Cupola” building, which is also the soul of the Galeries Lafayette brand.” The remodeling of the 40,000 square-meter store will start in early 2017. Like many department store giants, the group has been on a quest to move away from the image of the grand magasin as a monument of a glorious past. The future of retail is complex: mail delivery, specialist retail, on-line sales, and discount shopping, as well as the rise of the ‘total lifestyle’ shops, have led to a decline in department store sales that has now been trending for over two decades. “The department store is dead, long live the multi-specialist lifestyle retailer,” said Houzé’s father, Philippe Houzé, in 2013. The “Cupola” may be the soul of its brand, but with 62 stores in France and overseas, including Beijing to Dubai, and new stores planned for Istanbul, Doha, and Milan, the Galeries Lafayette brand has to delicately balance its historical luster with its contemporary reality. In accompanying news, in February, the Galeries Lafayette announced the opening of a new flagship store on the Champs Élysées. Danish architect Bjarke Ingels has been selected to lead the design of the Art Deco building, which previously housed a Virgin Megastore, and was briefly in the ownership of Théophile Bader, who intended to build a second department store in the building in the 1920s. With architectural plans yet to be unveiled, it is too early to assess how the ‘focus on architecture’ will move the grand magasin into the 21st century. Ingels’s firm BIG is known for its radically disruptive architecture, rather than sensitive historical renovation. With 7,000 square meters of retail space, the new flagship will be approximately one tenth of the size of the building on Boulevard Haussmann, and it may mean a move away from the ‘cathedral of consumption’ look. As of the “Cupola,” while AL_A has a mandate to carry out a “visionary metamorphosis” of the building, its heritage architecture is likely to remain respectfully preserved. As Levete says: “Our commission is a fantastic opportunity to build on tradition, to make a living contribution to the cultural life of Paris.” 2016-03-31 10:41 Jana Perkovic

64 Don't Miss Out on the Affordable Art Fair The Affordable Art Fair held its latest New York edition, featuring 72 galleries from six continents, on March 30 at the Metropolitan Pavilion. (Now in its 15th year in New York, the fair holds 15 editions each year, in cities including London, Stockholm, Seoul, and Singapore.) The art on offer all ranges from $100 to $10,000, and at least half of the work on sale at each booth is required to be less than $5,000. Throughout the week, Affordable Art Fair staff will be offering tours with themes like "Female Voices," "Photography" and "Finds Under $500. " "The Affordable Art democratizes art," New York fair director Cristina Salmastrelli told artnet News. "The idea that art can be for anyone is our mission and our motto. " Here's what you can find at various price points below. $100 and under You'd be forgiven for mistaking the booth of Tel Aviv's Mika Gallery for a grocery store, thanks to the work of Lucy Sparrow. Using felt, cotton, and acrylic paint detailing, she perfectly has created fluffy facsimiles of supermarket staples. Although she takes a page out of 's book with Campbell's soup and Brillo boxes, Sparrow impresses most with the sheer variety of products, which include everything from moon pies to instant grits. Individual pieces are priced at $100 each, and you can also get a full set of shelved and framed items for $4,000, if you don't want to buy à la carte. Under $500 At London's Panter and Hall , Orson Kartt has on offer a number of mixed media prints on view, which are layered on top of literary texts, for $250 each. Storm in a Teacup , with a massive tsunami arising from a presumably soothing cup of tea, features Shakespeare 's Much Ado About Nothing. Small glazed ceramics by Steve Gayler are just $250 a piece at London's Tag Fine Arts. His artwork, Gayler told artnet, is "a hobby," and the quirky elephant is the last of its kind, as he sadly managed to break the mold. Under $1,000 French illustrator Serge Bloch 's joyful drawings feature a delightful economy of line at New York's Michele Mariaud Gallery. The simple, effortless prints can feel like elegant Parisian fashion sketches, but these witty cartoons get their splash of color from carefully places vegetables, like a snap pea mouth in Bloch 's Pea Smile , or the single piece of red leaf lettuce in Red Salad Skirt. Under $2,000 Brilliantly blue, large-scale floral cyanotypes by Tessa Shaw bring Anna Atkins into the 21st century at Tag Fine Arts. Grab Out of a Bed of Love , displayed in a bespoke white wash box frame, for just $1,300. Under $5,000 Art meets vintage cartography in Elisabeth Lecourt 's cheerful " Le Robes Geographiques " series, which transforms antique maps into gorgeously-pleated girlish little pinafores. You can buy Petit Coquillage Rose et Pierre Bonheur , which features the streets of Paris, for just $4,500 at Cambridge-based Byard Art. At the same price point, and of a similarly fashion-oriented bent, you can snap up Célia Pardini 's My Beige Destroyed Converse , crafted from cardboard and painted and varnished to perfectly mimic your favorite kicks, at Paris's Envie D'Art . Under $10,000 Brussels's Vogelsang Gallery has a number of large-scale painting and photographs by artists including Soraya Doolbaz and Irene Mamiye , but the showstopper is a larger-than-life $20 bill, crumpled and tacked to the booth's wall. Part of Yann Guitton 's "Outsized Artifacts" series, the careworn bill appears to date from the 1980s, but Andrew Jackson's familiar face is replaced with that of abolitionist Harriet Tubman. Guitton was inspired by the Women on 20s campaign, which aims to have a woman honored on American currency , and selected Tubman as voters' preferred pick. (Ultimately, it is Alexander Hamilton 's place on the $10 bill that looks to be phased out.) For the artist, Guitton told artnet News, the $9,000 work of art represents "a kind of bent reality that could be plausible," where the switch took place some 30 years ago. Under $10,000 The Affordable Art Fair is not the place you expect to find blue-chip artists, but London's Manifold Editions features a selection of prints from mainly British artists including Damien Hirst , Anish Kapoor , and Marc Quinn. From the latter, you could walk with a $3,000 digital print of neon flowers titled Icelandic Lava Plane. Hirst topped out the fair's $10,000 upper price limit with The Wonder of You , a set of six polymer-gravure etchings with lithographic overlay, although he also had slightly cheaper offerings on hand, including Perillartine , a $7,500 print from his spot paintings series. Follow artnet News on Facebook. 2016-03-31 10:35 Sarah Cascone

65 ICI Founder Susan Sollins New York Apartment- The late Susan Sollins, founder of Independent Curators International and the acclaimed PBS series " Art 21 ," was a tireless promoter of contemporary art. Now, a piece of her history—a sleek apartment in Manhattan's fast-growing Madison Square Park neighborhood—is about to hit the market for a cool $5.3 million asking price. According to a report in the New York Post , the 14th-floor apartment has two bedrooms, two-and- a-half bathrooms, a home office, and 11.5-foot- tall ceilings. It also boasts views of "the nearby green space," presumably a reference to Madison Square Park? Other attractive amenities include a spa-like bathroom, an open chef's kitchen, dual-zone wine storage and Brazilian walnut floors. Sollins thought of the nonprofit ICI as "a museum without walls," as the Post noted, producing traveling art exhibits and bringing avant-garde work to small cities and college towns across the country and overseas. Sollins passed away in 2014 at the age of 75. A New York Times obituary described the Art 21 series as being "aimed at demystifying and popularizing contemporary art. " According to the Times , Art 21: Over 100 artists have already been profiled by the show, including art stars such as Ai Weiwei , Maya Lin , Sally Mann , Laurie Anderson , Richard Serra , Susan Rothenberg , and Fred Wilson. Follow artnet News on Facebook . 2016-03-31 10:33 Eileen Kinsella

66 The Cyborg Anthropologist: Ian Cheng on His Sentient Artworks Ian Cheng, Emissary in the Squat of Gods (still), 2015, live simulation and story. COURTESY THE ARITST L ast February, shortly after the opening of the Hirshhorn Museum and Sculpture Garden’s show of recent computer-generated art, called “ Suspended Animation ,” Ian Cheng received an urgent text message. Cheng’s work in the show, Emissary in the Squat of Gods (2015), is about a prehistoric girl trying to decide how to respond to the threat of a volcanic eruption. But there was a problem—the girl had been idling and staring at an ash particle for two hours. Was that supposed to happen? It was, and it wasn’t. Cheng makes what he calls “live simulations,” and each one, he says, is something like “a video game that plays itself.” He doesn’t know what will happen in his works because they are infinitely mutating, never finished, and quite literally evolving. Cheng may not have intended for the girl to get stuck for two hours, but if she did that, he accepted it. The girl’s actions were no longer up to him. The work wasn’t under his control anymore.“I can’t fully hone in on the emotion that it should capture because I honestly don’t know what it’s going to do,” Cheng told me on a chilly February day in his small, one-room office in New York’s Chinatown. “You can resolve that into something really elegant or beautiful. But it is, in fact, in a feeling of confusion.”Describing Cheng’s simulations can be a challenge. The characters in them look like computerized versions of real-life animals and humans, but, because Cheng is working with a video-game engine that keeps creating new combinations, the figures can smash into each other and break into overlapping geometric planes. Though what the work will do is left up to chance, Cheng has a narrative in mind before he starts working, and his works loosely follow it. When I met him, Cheng had just returned from Zurich, where he had opened a solo show at the Migros Museum für Gegenwartskunst, and he was still jetlagged. Cheng had also recently overseen the installation of his simulation at the Hirshhorn, and another work of his had just gone on display in MOCA Cleveland’s “ Stranger ,” which surveys artists who depict humans in odd, new ways. All three shows opened in the past three months, and all speak to the way Cheng creates scenarios in which humans have to rethink their relationship to technology. What if software updates and new models aren’t the only way technology is evolving? What if technology is evolving us, rather than the other way around? Ian Cheng’s Emissary Forks at Perfection (2015–16), as installed at the Migros Museum für Gegenwartskunst, 2016. NICOLAS DUC In his studio, Cheng had a white desk with two computer monitors and a flat-screen television. He wore all black. The only object that stuck out in the room was a copy of Julian Jaynes’s The Origin of Consciousness in the Breakdown of the Bicameral Mind , Cheng’s favorite book. Most of Cheng’s work happens in the computer, opening what seems to be a highly organized space into something random and uncharted. Raphael Gygax, the curator of Cheng’s Migros Museum show, said that this randomness even extends to how Cheng’s work is displayed. “As soon as you have technology as a partner at your side, unforeseen things can happen,” he wrote in an email. “Loss of energy, loss of Wi-Fi signals, updates, conversion problems. A new set of problems—but nothing that can’t be resolved.” When he was growing up in Los Angeles, Cheng’s mother took him movie-hopping on Saturdays. They sometimes saw six and a half movies in one day. After he graduated from UC Berkeley in 2006 with a dual degree in art and cognitive science, he worked at Industrial Light & Magic, which has done special effects for the Star Wars and Transformers movies. Then, after a year of doing visual effects, he later went back to school and received a M. F. A. from Columbia University in 2009. “It’s a little bit weird because I love movies, and I sometimes love movies more than I love art,” Cheng (who has also written speculative fiction based on the structure of Game of Thrones ) said. Ian Cheng, Thousand Islands Thousand Laws , 2013, live simulation. COURTESY THE ARTIST But Cheng also mourned the fact that films have fixed narratives—in a theater, you can’t change how they’ll play out. Video games, he explained, put narratives in the hands of players. Cheng loves The Sims , a computer game in which the player controls a person, and guides him or her through life. The genius of The Sims , Cheng said, is “this idea that intelligence is not just in your head. It’s distributed between you and all the objects and other people that are around you,” so by having a Sim interact with an environment, players create stories. In a sense, Cheng’s work is movies plus video games: they can be watched like a film, but the film progresses seemingly through its own willpower. Gianni Jetzer, the curator of “Suspended Animation,” compared Cheng’s simulations to bird-watching. “It’s not really a Frankenstein moment where the figures walk off-screen,” Jetzer said, but viewers come to see the live simulations “as a form of reality. That’s an important part of Ian Cheng’s work—that you really get into the skin of a cyborg anthropologist, that you watch this strange digital tribe, which reflects the history of human evolution, basically.”For instance, in his simulation Thousand Islands Thousand Laws (2013), an urban soldier with a gun, who is appropriated from a real video game, stands in a white landscape that also has birds and plants. The birds keep attacking the soldier, something Cheng never even anticipated. The soldier, the birds, the plants, “They each have their own laws,” Cheng said, “but in overlaying them, the idea was that some kind of implicit law would emerge in how they organize themselves, how they negotiate being together with conflicting scripts.”Since then, Cheng’s narratives have become more intricate—he’s now conceiving the third work in a trilogy of simulations about cognitive evolution. The trilogy begins in the distant past and ends in the far future, in a scenario that Cheng described as an “abstract” ecology that is “definitely not human.”The first, Emissary in the Squat of Gods , the one in “Suspended Animation,” is set in prehistoric times and follows a shaman, who gets hit on the head after an earthquake. The seismic shift is the result of a volcano, but the shaman doesn’t know it yet—he’s never seen an eruption. Should he uproot the community or not? He and his apprentice disagree. “It’s precisely in this moment where it’s the threat, and not the actual disaster, that humans find the most anxiety-provoking and the most stressful,” Cheng said. “You don’t actually know which way to go. It’s an uncertain moment, and so the shaman’s bias is roughly toward wanting to stay, and then the emissary apprentice character’s bias is toward wanting to convince everyone to leave.” Ian Cheng, Emissary Forks at Perfection (still), 2015, live simulation. COURTESY THE ARTIST In the semi-sequel, Emissary Forks at Perfection (2015), which is now on view at the Migros Museum, a dog character named the Shiba Emissary, a descendant from the first simulation, appears 3,000 years later. The landscape is the same, but now it’s populated by artificial animals that resurrect a dead celebrity from the 21st century. The dog, Cheng said, is “a means of talking about where consciousness can go, without eradicating powerful emotions like fear and anxiety, which can be very useful.” (The artist is currently working on an app for the Serpentine Galleries called Bad Corgi , in which users play as a dog herding sheep.) Cheng has been known to describe his work as a “neurological gym,” and Jetzer said that it’s this quality of Cheng’s work that intrigues him. “His work makes people more fit, more adept to dealing with digital relations,” Jetzer said. A large part of Cheng’s Migros Museum show is devoted to a new installation that uses Google’s Project Tango devices, which can sense where a user is in a room. Museum visitors can use the tablets to follow the Shiba Emissary. The dog will say “Follow me” to viewers, and, once viewers move close to it, the dog will make the clicking noise animal trainers make to reinforce good behavior. “It’s a virtual dog quite literally forcing your physical behavior to become different,” Cheng explained. In other words, as he later clarified, “You are its pet.” 2016-03-31 10:15 Alex Greenberger

67 Trump Says Nothing on Cultural Policies— Though Republican presidential frontrunner Donald Trump has expressed opinions on many things, he is seemingly wary about taking a stance on arts and culture. He is the first presidential candidate this election season to respond to Washington Post blogger Alyssa Rosenberg's recent questionnaire on these subjects, however. Rosenberg's questions, which she sent to five candidates (Hillary Clinton, Ted Cruz, John Kasich, Donald Trump, and Bernie Sanders), touch on important issues like the United States' positions on defending artists and writers abused by repressive governments; policies to foster economic growth in the arts sector; government funding for the arts; and the candidate's priorities for the Smithsonian Institution, which runs an extensive nationwide network of museums. In most cases, Trump uncharacteristically declines to take a position, at times deferring to Congress, an institution he has often described as ineffectual. For example, asked about whether he would promote arts education, he mostly defers to the states, though he does say that “a holistic education that includes literature and the arts is just as critical [as reading, writing, and math] to creating good citizens. " Trump has shown he's perfectly willing to talk about potential legislation, saying in a February speech that his administration would “ open up our libel laws " so that politicians and candidates can sue newspapers that write about them critically. But when the Post asks about copyright law, Trump replies, “Your questions seem to imply that the President can make law. Even though some Presidents have acted that way, I will not. " In other cases, he dodges the questions entirely. For example, when asked how the US would defend artists and writers persecuted abroad, he shifts to address only the US's defense of American citizens. And when asked "How should the United States respond to Internet censorship by foreign governments? " he leaves the question blank. For those interested in learning more about positions the candidates have actually taken, and what their past policies have been, the Americans for the Arts Action Fund has published a guide. Vermont Senator Bernie Sanders, for his part, has promised to be “ an arts president. " Follow artnet News on Facebook. 2016-03-31 09:55 Brian Boucher

68 Cao Fei Escapes in Her MoMA PS1 Show When people in New York talk about Cao Fei, it's usually in terms of her identity. She's Chinese. She's from an industrial city. And she's living in a country governed by communism, or at least whatever of it remains in the People's Republic. All these things are true, but this is not the point. The 37-year-old Beijing-based, Guangzhou-born artist's concerns aren't localized—she tackles an internally relevant topic: the numbing state of modernity in the era of globalization. Her upcoming show at MoMA PS1 in Queens will be the first museum solo exhibition for the artist, and it is an ambitious one, involving multiple media, and identities. In her 2004 work COSPlayers, for instance, Cao immersed herself in a community of anime devotees in her hometown, observing how the fans dressed as idealized characters from Japanese movies and comics amid a jarring industrial backdrop. Three years later, she developed the character China Tracy, an avatar in the role-playing game Second Life, for RMB City , which presents a futuristic Chinese city in the middle of the ocean. And in her 2006 video Whose Utopia? , the artist enlists lighting factory workers to present strange and wonderful fantasy lives under florescent lights and Taylorist machine set-ups. "When it comes to alienation, this is not a temporary reaction," she writes in an email to artnet News, "it is a continuous, long, and gradual process. We are in the stalemate. The highest grossing Disney animated film Frozen— that's what we present [as] a perfect description of the times. " This alienation is only becoming more evident as technology advances, and retreats, at a rapid pace. Microsoft's fun teen chat bot, Tay, aka "AI Experiment Fail," was unleashed on the public March 23, and was taken out of commission the same day, after trolls taught the artifically intelligent being how to post racist garbage online. Cao is more interested in how we create utopian situations on and offline, however. She notes that when she created RMB City in Second Life, she wanted it "without impurities and conflict. " But "now is the era of VR, augmented reality," she writes, "and the 'virtual world' cannot satisfy people's senses anymore. " "There's this idea of resisting the circumstances of the everyday through this immersion in a fantasy life," says Jocelyn Miller, assistant curator at MoMA PS1, in a phone interview with artnet News. Capturing cosplayers in their element is just one example of this process of moving beyond the drudgery and circumscription of our daily lives. In Mangatopia: Essays on Manga and Anime in the Modern World , Frenchy Lunning speaks of cosplay as "therapeutic," and quotes Gary Genosko as stating that it is "radically open. " Cao's work echoes these sentiments, as she drills down into the muck of everyday life, going beyond what is expected in the current contemporary art conversation. "Art works [are] getting weak, [and] cannot grasp our real feeling anymore," she writes. "Universal Studios theme park seems to be more perfect than all the immersive art works. " There are numerous ways to cope, and to escape, as Cao teaches us time and time again. This weekend at MoMA PS1's Sunday Sessions , the artist will perform Straight out of Times with the New York-based Asian American rap group Notorious MSG. She first came across their music in 2006, and they quickly ended up in her video work Hip Hop: New York , which appeared at Lombard Freid Gallery in New York that same year. "They carry themselves with a gangster sensibility, born out of the lower echelons of society, or built from the alternative cultural imagination of Chinatown itself," Cao writes. "Chinatowns give rise to modalities of social organization not quite the same as the mainstream order of their 'host' countries. They run according to an underground order, providing a safe haven for Chinese and other similarly situated immigrants as well as the disadvantaged generally. Out of this grows a kind of resistant power. " This "resistant power" is what drives Cao's work, whether she's immersing herself in cosplay, or hip hop, communities. For the artist, there is always a way out, even if it is an imaginary one. Follow artnet News on Facebook. 2016-03-31 09:35 Kathleen Massara

69 Red Dot 2016 Product Design Winners Announced Related Venues Red Dot Design Museum Artists Philippe Starck The winners of the prestigious Red Dot Awards 2016 have been announced in the category of Product Design. “It is inspiring to see designs from all over the world,” said Danish fashion designer David Andersen, one of the jurors. Notable winners of the Best of the Best Award in furniture are Philippe Starck ’s Uncle Jack sofa for Kartell, the world's largest sofa made from a single piece of molded polycarbonate, and Patrick Norguet’s Kayak Chair for Italian brand Alias Design, a chair designed to create an impression of extreme lightness. Ikea won Best of the Best award for the bicycle Sladda. It is only the second time the Swedish mass manufacturer has won a Red Dot, after its PS 2014 light pendant received an Honorable Mention in 2015. The collaboration between Montblanc and Marc Newson, the Montblanc M Collection, won in the Fashion category. The other category winner is Bluesmart Carry-On Case , a piece of carry-on luggage that doubles as a USB charger, has a built-in scales, and offers a digital lock, location tracking, and a distance alert should it be left too far behind the traveler. Indeed, the integration of smart technologies into consumer objects is a big feature of this year’s awards. Some of the other winners include Automist Smartscan , a residential fire protection system that features a heat detector, an in-built infra-red sensor to detect the seat of the fire, and fills the air with fine fog to keep the overall temperature down, and Microsoft Hololens , a first- generation holographic computer. The wristwatch winners were the ultra-thin Minimatik watch by NOMOS Glasshütte, and RB 14 PANAMA take five by Rainer Brand, both German brands, while independent jeweler Johanna Otto and KISSdesign won Best of the Best for jewelry. China and Taiwan topped the awards in interior design. The winners are A’tolan House, a coastal residence built by Create + Think Design Studio with the rocks excavated during the construction of the house; Blue Lake Restaurant in Beijing, by Fenghemuchen Space Design Center; and Bright, Open Space, by Tien Fun Interior Planning Co, in Taiwan. The award is non-hierarchical: all objects deemed to achieve high quality in design are awarded the Red Dot – this year, the sought-after label has been awarded to 1,304 products. Only 79 among those have been given the top award, Red Dot: Best of the Best, assigned to outstanding products in a category. The Honorable Mention, given to products with a well- executed design, was given to 107 entries. “The huge diversity of the entrants and the sheer number of products, devices, and designs, that have been entered, goes far beyond any other award I’ve ever seen,” said Chris Bangle, former Chief of Design for the BMW group. “Almost everything had to have a deep discussion about it.” This year, the jury has included Alexander Neumeister, the designer of the German ICE trains, as well as the Japanese Shinkansen “Nozomi 500”; Hideshi Hamagushi, the inventor of the USB flash drive; and Raj Nandan, founder of Indesign Media Asia Pacific, a highly regarded design and architecture publishing company. The Red Dot Design Awards, organized by the Design Zentrum Nordrhein Westfalen in Essen, Germany, are given annually to the best design in three distinct disciplines: product design, communication design, and design concept. Considered one of the most prestigious design award globally, and one of the biggest in the world, the award has been bestowed since 1955 by a jury of freelance designers, design professors, and specialized journalists. Designers employed at companies potentially participating in the awards are not allowed to take part in the jury. 2016-03-31 09:17 Jana Perkovic

70 Morning Links: Most-Visited Shows of 2015 Edition ‘America Is Hard to See.’ ARTNEWS WHAT EVERYONE SAW LAST YEAR An average of 5,352 people saw the Whitney’s show “America Is Hard to See” each day of its run last year, but the reopened New York museum didn’t rank among the top-visited museums from last year. The most-visited museum of 2015 was the Louvre, with 8.6 million visitors. The National Palace Museum in Taipei didn’t fare too poorly either—it came in at number 6, and nine of its shows were among last year’s most-visited exhibitions. [ The Art Newspaper ] GRANTS AND PRIZES Elisabeth Murdoch, a philanthropist and a Tate trustee, is starting a £100,000 ($143,730) prize that will be awarded annually to a mid- career U. K.-based female artist. [ The Art Newspaper ]The Getty Foundation has awarded $8.45 million in grant money to 43 institutions based in Southern California for its second Pacific Standard Time initiative. [ Artforum ] MARGINALIZED NEW YORK ARTISTS DEPARTMENT Holland Cotter on why Robert Mapplethorpe still matters: “For an artist with ambitions for big-time success in a still-closeted art world, [his] was an unusual direction to take, and Mapplethorpe took it even further.” [ The New York Times ]Olivia Laing, the author of a book on New York artists and loneliness, visits NYU’s Fales Library and looks through David Wojnarowicz’s archive. [ The New Yorker ] LESS MARGINALIZED NEW YORKERS A 14th-floor Madison Square Park apartment that once belonged to Susan Sollins, the creator of Art21 , is now on the market. It costs $5.3 million. [ New York Post ]Elmgreen and Dragset discuss a new sculpture based on van Gogh’s ear, which can now be seen near Rockefeller Center. “We thought it would be interesting to put that symbol of the good, middle-class leisure life out in that environment,” Elmgreen said. [ The Guardian ]B. Wurtz at 83 Pitt Street in New York. [ Contemporary Art Daily ] AND IN LOCAL NEWS… A vandal ran off with a statue remembering orphans who went to New York at the Louisiana Orphan Train Museum in Opelousas. [ Opelousas Daily World ] 2016-03-31 08:52 The Editors

71 Kanye West Under Fire for Jacket Design Magnum photographer Jim Goldberg is up in arms, as a jacket worn by one of his most famous young homeless subjects has been recreated as a fashion item and worn by Kanye West, who in turn has copied and sold his own version of the jacket at a price of $400. West, who has just launched a very popular clothing line in conjunction with his recent The Life of Pablo album, was photographed during New York Fashion Week this past February wearing a replica of a jacket customized by Goldberg's subject, the late Tweaky Dave. Dave wore the jacket in a well-known photograph taken by Goldberg for his 1995 book Raised by Wolves , which documented young homeless people living on the streets of Los Angeles. A very similar jacket, inscribed with the track listing from The Life of Pablo , then went on sale at West's pop-up store, which has caused Goldberg great upset. "For the jacket to become sold as fashion—it really put me over the edge," Goldberg told i-D. "The spirit and intention of Kanye could be right, but the manner in which he is presenting it is wrong. All meaning has been lost. [He's] forgetting history—not acknowledging where that design came from is wrong. " Tweaky Dave ran away from home aged nine and lived on the streets of Los Angeles working as a child prostitute; he eventually became addicted to heroin before dying of liver disease. His charismatic personality lead to him becoming a key member of the street scene in Los Angeles, and he even appeared on the Jerry Springer Show, speaking to the studio audience about the plight of young homeless people. Goldberg is now considering legal action as he thinks that West should at least acknowledge Dave in some way, which given his tragic circumstances is hard to argue with. “Ultimately all I would want from them is acknowledgement of Dave, and maybe they give something to homeless kids," Goldberg told i-D. "I don't know how to achieve that, but that's what I would want to achieve. " Meanwhile, West took to Twitter— after claiming his tweets were contemporary art —to announce how strong his sales at the pop-up store had been. So perhaps a donation to a charity for homeless children is in order? Follow artnet News on Facebook. 2016-03-31 07:01 Amah-Rose

Total 71 articles. Created at 2016-04-01 06:02