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62 articles, 2016-05-07 06:04 1 VIDEO: 60 Works in 60 Seconds at NADA New York 2016 Take a brief look at the contemporary works on view at NADA New York, taking place at Basketball City, on New York’s Lower East Side, through May 8. 2016-05-06 16:46 778Bytes (3.85/4) www.blouinartinfo.com 2 See Highlights From Frieze Week New York We’ve rounded up images of some of our favorite works on view at the Frieze art fair, NADA, Collective Design, Spring Masters, 1:54, Context, and Art New York. (3.80/4) 2016-05-06 18:36 1KB www.blouinartinfo.com 3 1:54 Contemporary African Art Fair Returns, Refreshed and Renewed, to Red Hook This year's edition features a larger, and more assured, assembly of international (2.06/4) galleries and special projects. 2016-05-06 15:42 3KB www.blouinartinfo.com 4 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-05-07 04:31 1KB gdusa.com (1.02/4)

5 Santa Monica Museum of Art Moves Downtown The Santa Monica Museum of Art's move to LA's Arts District accompanies a name change to the Institute of Contemporary Art, Los Angeles. 2016-05-06 12:34 2KB news.artnet.com (1.02/4)

6 Morning Links: Housing Lottery Edition Must-read stories from around the world 2016-05-06 08:08 1KB www.artnews.com

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7 kit del legname by giacomo moor contains a unified family of tools 'kit del legname' by giacomo moor is a collection of carpentry tools handcrafted by artisan giordano vigano. 2016-05-07 02:30 1KB www.designboom.com 8 Crime | Summer 2016 The art world can occasionally bring out the best in people, but with a seemingly endless flow of money and notoriously light regulation,... 2016-05-07 04:32 796Bytes www.artnews.com 9 Summers of Rock — Magazine — Walker Art Center Launched in 1998, the Walker’s now-annual Rock the Garden festival has gone through plenty of changes—from its inception as an intermittent, on... 2016-05-07 03:24 12KB www.walkerart.org 10 The Shape of Doo-Bop to Come: Steve Lehman and HPrizm On Saturday, May 7, the Steve Lehman Octet will bring its spectral harmonies and cascading rhythms to the McGuire Theater. Lehman is a jazz stalwart, guided by algorithms and an abiding musical in... 2016-05-07 03:24 881Bytes blogs.walkerart.org 11 Opening Ceremony Hosts Breakfast to Discuss Fashion Calendar Humberto Leon and Carol Lim assembled a group of editors, buyers and show producers at their Little Italy headquarters on Friday morning. 2016-05-06 23:31 1KB wwd.com

12 Hungarian Orchestra to Protest Municipal Grant Cuts The city of Budapest reduces funding to its musical pride, the Budapest Festival Orchestra; political motives may be at play 2016-05-06 22:40 1KB artsbeat.blogs.nytimes.com 13 neri & hu construct a neutral backdrop for kvadrat's textile range at salone del mobile 2016 neri&hu were commissioned to capture the spirit of textile manafacturer kvadrat at salone del mobile 2016 in an subtle and intuitive fashion. 2016-05-06 22:30 2KB www.designboom.com 14 Aquazzura Celebrates First U. S. Flagship The luxury Italian shoemaker drew a mix of socials and celebs to the Carlyle Thursday night. 2016-05-06 22:00 1KB wwd.com 15 Karen Walker Will Skip Runway Shows Walker plans to expand her social media presence. 2016-05-06 21:17 1KB wwd.com 16 Pratt Institute Annual Runway Show Honors Harold Koda Pratt Institute’s 117th annual graduate runway show, held at Spring Studios on Thursday night, honored Harold Koda and 18 seniors. 2016-05-06 19:17 3KB wwd.com 17 BORGMAN | LENK hangs 'boulder' within a monastery inside the monastery church grimma, berlin-based studio BORGMAN | LENK has suspended an enormous 'stone' from the site's historic ceiling. 2016-05-06 19:01 1KB www.designboom.com 18 Huang Yong Ping Brings ‘Empires’ of Globalization to Paris The Chinese-French conceptual artist will bring a series of works to the Paris Monumenta art show, which begins on Sunday and runs through June 18. 2016-05-06 19:00 4KB artsbeat.blogs.nytimes.com 19 The Outnet.com Partners With Designers on Exclusive Capsule Ranges, Launches Summer Shop Net-a-porter’s sister discount site will launch a summer shop with exclusive designer collaborations later this month. 2016-05-06 18:54 3KB wwd.com 20 On Style / Chloé Elizabeth Maratta LA-based artist Chloé Elizabeth Maratta’s work reflects her participation in everyday life. In 2015, Maratta’s solo show “Vintage Clothing” at Ladybug was primarily situated around three arresting spaghetti-strap-tattered dresses hung... 2016-05-06 18:29 6KB www.flashartonline.com 21 Perricone MD Unveils Pre:Empt Series to Combat First Signs of Aging The new collection launching at Sephora is geared toward consumers just starting to get serious about skin care. 2016-05-06 17:52 4KB wwd.com 22 FIT’s Graduating Seniors Strut Their Stuff on the Runway Attending the show were such industry heavy-weights as Calvin Klein, Francisco Costa, Dennis Basso, Elie Tahari and Stacey Bendet 2016-05-06 17:47 3KB wwd.com 23 Stacey Cartwright Isn’t Returning to Burberry Column in Financial Times had mooted the idea amid reported shareholder discontent. 2016-05-06 17:24 3KB wwd.com 24 Gucci Apologizes for Asking to Stop Selling Branded Paper Copies as Funeral Offerings Kering and Gucci said they “would like to reiterate their utmost respect with regards to the funeral context” and “regret any misunderstandings.” 2016-05-06 17:21 2KB wwd.com

25 Elie Tahari to Launch Eyewear Designs will hit retailers this June. 2016-05-06 17:17 735Bytes wwd.com

26 Vente-Privée.com Strikes Again With Two More Acquisitions New purchases form part of the long-term vision of the company 2016-05-06 16:45 2KB wwd.com 27 3XN exhibition opens at berlin's aedes architecture forum a new exhibition at berlin’s aedes architecture forum has opened, celebrating the 30th anniversary of danish firm 3XN. 2016-05-06 16:44 2KB www.designboom.com 28 Mark Bradford Blasts Auction Houses Artist Mark Bradford made his dislike of auctions clear, at an event hosted by Christie's. 2016-05-06 16:20 4KB news.artnet.com 29 Punisher, The Bunker, Dreamland, The Nowhere Man: This Week in Comics #16 Terrorist doppelgangers from the future, rude alien investigators, a grim Punisher, and more in this week’s comic roundup. 2016-05-06 16:10 5KB thecreatorsproject.vice.com 30 London Parties Embrace Venice, Argentina Toto Bergamo Rossi, Maria Hatzistefanis host parties in London 2016-05-06 16:02 2KB wwd.com 31 Pace Gallery Celebrates Frieze With James Turrell and Richard Tuttle Dinner Pace Gallery honored their artists Richard Tuttle and James Turrell with a dinner timed to Frieze week. 2016-05-06 15:58 2KB wwd.com 32 The Met Gala Was Lit... By One Dress | Insta of the Week The Met was full of stars on Monday night, and so was Claire Danes' dress. 2016-05-06 15:40 2KB thecreatorsproject.vice.com 33 The Experience of Meeting Gerhard Richter Christian Viveros-Fauné catches up with artist Gerhard Richter on the eve of his Marian Goodman Gallery show in New York. 2016-05-06 15:18 4KB news.artnet.com 34 Twitch Streamer Curates Album for Millions TheSyndicateProject talks mixtapes and gaming. 2016-05-06 15:15 5KB thecreatorsproject.vice.com 35 L. A. Habitat: Enrique Martínez Celaya Enrique Martínez Celaya in his Culver City studio. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their 2016-05-06 14:54 4KB www.artnews.com 36 Bottega Veneta Beverly Hills Maison Festivities Draw January Jones, Kate Beckinsale, Maggie Gyllenhaal Stars packed themselves into the store on Rodeo Drive for cocktails before heading to the Sunset Tower for dinner to celebrate Friday’s opening. 2016-05-06 14:41 3KB wwd.com 37 Phillips Bulks Up Specialist Team- As auction houses continue to see major staff shakeups, Phillips is strengthening its contemporary team by snapping up ex-Sotheby's and Christie's staffers. 2016-05-06 14:39 2KB news.artnet.com

38 The Fire Still Burns: Danièle Huillet and Jean-Marie Straub at MoMA A retrospective of the duo's work opens May 6 at the Museum of Modern Art. 2016-05-06 14:36 4KB www.blouinartinfo.com 39 Freud Would Have Analyzed This | GIF Six-Pack Tell these GIFs about your mother... 2016-05-06 14:25 2KB thecreatorsproject.vice.com

40 10,000 Stacked Photos Create Insanely Detailed Insect Portraits Photographer Levon Biss magnifies tiny insects into hugely detailed and stunning prints for new exhibition 'Microsculptures.' 2016-05-06 13:30 4KB thecreatorsproject.vice.com 41 dominique coulon stacks montpellier school complex in france architect dominique coulon and his strasbourg-based team has completed a three-storey school in montpellier, which comprises a series of stacked volumes. 2016-05-06 13:25 3KB www.designboom.com 42 paulo mendes da rocha awarded venice architecture biennale's golden lion lifetime achievement brazilian architect paulo mendes da rocha has won the prestigious award for his 'extraordinary quality of its architecture that resides in durability'. 2016-05-06 13:21 2KB www.designboom.com 43 Brutalist Architecture Informs a Series of Sound Sculptures Sound artist Mo H. Zareei finds poetic beauty in blocky buildings. 2016-05-06 13:15 3KB thecreatorsproject.vice.com 44 jasper morrison unveils first kitchen design with 'LEPIC' for schiffini influenced by italian, nordic and japanese design, jasper morrison's versatile kitchen system can be explored with different materials and compositions. 2016-05-06 13:01 1KB www.designboom.com 45 90s Art Has a #Throwback Moment at MoCA Like 90s-era TV, politicians, and fashion, the decade’s art is back, too. 2016-05-06 13:00 4KB thecreatorsproject.vice.com 46 Here's Visual Proof That Sleep Deprivation Feels Like Hell Filmmaker Kevin McGloughlin attempts to visualize the restlessness and confusion brought on by anxiety and sleep deprivation. 2016-05-06 12:30 3KB thecreatorsproject.vice.com 47 de architekten cie builds sustainable swimming pool complex in amsterdam the 'noorderparkbad' stands out as an elegant free-form pavilion in a park, binding the multi-ethnic community of the northern part of the city. 2016-05-06 12:21 3KB www.designboom.com 48 Marseille Will Host Manifesta in 2020 Marseille. VIA WIKIPEDIA COMMONS The southern French city of Marseille will host the 13th edition of Manifesta, the traveling European contemporary art 2016-05-06 11:56 1KB www.artnews.com 49 Cilla Black’s Lowry Paintings May Fetch $1.2 Million at Sotheby’s Cilla Black’s Lowry Paintings May Fetch $1.2 Million at Sotheby’s 2016-05-06 11:43 3KB www.blouinartinfo.com

50 zaha hadid architects' masaryk railway station prague zaha hadid architects' will seamlessly reconnect the city’s transport networks with a series of buildings that vary in scale and composition. 2016-05-06 11:42 2KB www.designboom.com 51 Galerie Perrotin Paris Stages Heinz Mack Revival Exhibition Galerie Perrotin Paris has launched an ambitious and highly significant exhibition that attempts to revive German artist Heinz Mack from the history of abstract art and reestablish his presence on the French artistic scene 2016-05-06 11:28 2KB www.blouinartinfo.com 52 ‘Dinosaurs Among Us’ at American Museum of Natural History, Selected by Mark Dion Pictures at an Exhibition presents images of one notable show every weekday. This week's shows are selected by Mark Dion 2016-05-06 11:00 9KB www.artnews.com 53 Steven Mnuchin To Be Trump's Money Man Art patron and son of art dealer Robert Mnuchin, Steven Mnuchin will be Trump’s new campaign chair, it was announced Thursday. 2016-05-06 10:32 2KB news.artnet.com 54 Tom Sachs Is Proud to Work With Jeffrey Deitch Tom Sachs's show "Nuggets," which opens at Jeffrey Deitch's space Thursday May 5, is the first solo show by the artist at the gallery. 2016-05-06 10:31 5KB news.artnet.com 55 volkswagen celebrates 40 years of the golf GTI with three racing editions the star of the celebration is the volkswagen golf GTI clubsport S, whose 300 hp crushed the front-wheel drive record on the north loop of the nurburgring. 2016-05-06 10:30 3KB www.designboom.com 56 See and Spin #7: 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. 2016-05-06 10:26 4KB realart.com 57 Julian Schnabel Returns to Pace Gallery Artist and filmmaker Julian Schnabel is returning to the Pace Gallery, leaving the Gagosian in search of a "more human relationship" with his gallery. 2016-05-06 10:20 2KB news.artnet.com 58 Chance the Rapper Debuts ‘Blessings’ on ‘Tonight Show’ Chance the Rapper often saves the big stuff for late night shows. He premiered "Angels" on The Late Show With Stephen Colbert and performed "Somewhere in Paradise" on Saturday Night Live. Perhaps Chance's biggest late-night reveal came during last night's episode of The Tonight Show Starring Jimmy... 2016-05-06 09:44 1KB www.spin.com 59 Baccarat Crystal Shines in Bordeaux Showcase “Baccarat: Legendary Crystal” at the Bernard Magrez Cultural Institute in Bordeaux, glimpses at the manufacturer’s rise to becoming the crown jewel at some of the most distinguished tables. 2016-05-06 09:32 3KB www.blouinartinfo.com 60 ‘My Work Can Make People Say Stupid Things’: A Talk With Richard Tuttle Richard Tuttle. PHOTO BY GARY MANKUS/COURTESY PACE GALLERY Bill Powers: You were telling me about your town house on Vandam Street. Richard Tuttle: Aaron 2016-05-06 09:30 6KB www.artnews.com

61 Q&A: Ulay On His Upcoming New York Performance, Marina Abramovic, and That Infamous Moment at MoMA The German artist will stage his first New York performance in 30 years this Saturday at Kustera Projects in Red Hook, Brooklyn. 2016-05-06 09:19 8KB www.blouinartinfo.com 62 ibda design completes contemporary mosque in dubai al warqa’a mosque is designed with the concept of the mosque as a house of worship as well as a social space for gathering in the community. 2016-05-06 08:45 5KB www.designboom.com Articles

62 articles, 2016-05-07 06:04

1 VIDEO: 60 Works in 60 Seconds at NADA New York 2016 (3.85/4) Related Events NADA New York 2016 Take a brief look at the contemporary works — many by up-and-coming artists — on view at NADA New York, taking place at Basketball City, on New York’s Lower East Side, through May 8. 2016-05-06 16:46 BLOUIN ARTINFO

2 See Highlights From Frieze Week New York (3.80/4) Related Events Frieze New York 2016 NADA New York 2016 Collective Design 2016 Spring Masters 2016 1:54 Contemporary African Art Fair New York 2016 Art New York Venues Frieze Art Fair NADA Art Fair Collective Design Fair 1:54 Contemporary African Art Fair Art New York As Frieze Week New York nears its final days, we’ve rounded up images of some of our favorite works on view at the Frieze art fair , NADA , Collective Design , Spring Masters , 1:54 , Context , and Art New York. Click on the slideshow to take a tour. 2016-05-06 18:36 BLOUIN ARTINFO

3 1:54 Contemporary African Art Fair Returns, Refreshed and Renewed, to Red Hook (2.06/4) Related Events 1:54 Contemporary African Art Fair New York 2016 Venues 1:54 Contemporary African Art Fair Pioneer Works Another notable addition to this year’s iteration of 1:54 is an upstairs showing of Mickalene Thomas photographs, “Muse,” appearing courtesy of the artist and her New York gallery, Lehmann Maupin. The fair is once again hosted by the capacious Pioneer Works warehouse — the Red Hook art funhouse backed by Jackie Yellin, a Hawaii-based real estate investor — and the backyard is put to good use with a pop-up café by Pierre Thiam. (On the menu: Fonio, a West African grain enthusiastically described by the café’s staff as “the next quinoa.”) Rounding out the fair’s ancillary offerings are special broadcasts by Clocktower Radio, and, upon opening the fair’s ample catalogue, one also discovers a sweet gesture of memorialization: This year’s edition is dedicated to the memory of the late Leila Alaoui, the photographer killed in Burkina Faso earlier this year. As for the gallery cohort, it’s a larger one than last year’s , with 18 participating galleries. Art fair dynamics are perhaps partly responsible for the bump — one European newcomer told ARTINFO it switched over to 1:54 after three years at Frieze New York due to the latter’s climbing booth costs and the fact that the bulk of its client base, and presales, were European, making the access to Frieze’s collector base less important. But the influx of new exhibitors brought a better-rounded selection of international artists, with the predictable William Kentridge (David Krut Projects, Booth 11) offset elsewhere by a host of emerging, mid-career, and older practitioners, from Edson Chagas to Meschac Gaba. Highlights included the generative Nigerian-born artist Otobong Nkanga, whose research-based practice retains an inventiveness with form and medium, shown at In Situ/Fabienne Leclerc of Paris. One tapestry by Nkanga, depicting a human figure astride a Namibian mine, “Infinite Yield,” 2015, was a knockout, and it’s shown across from a photograph (“In pursuit of Bling — Desire,” 2014-16) also related to the same body of work on resource extraction she produced for the 2014 Berlin Biennial. The early New York Afrofuturist Al Miller has several works across a variety of media at Axis Gallery, from a tapestry made with rolled up 2008 Obama campaign literature, pairing traditional African craft with political branding, to a stunning large-scale work on canvas, “Quantum Blue,” whose kaleidoscopic machinic imagery opens onto an aquamarine portal at the center of the picture. And at Afronova Gallery of Johannesburg, a pair of arresting textual tapestries of kanga and embroidery by Lawrence Lemaoana — titled after the all-capitals text they bear, “Democracy - the main ingredient is derision,” 2016 and “The Rat King,” 2016 — seem to outdo Mike Kelley’s sloganeering banners at their own defiant game. 2016-05-06 15:42 Mostafa Heddaya

4 2016 American Package Design Awards (1.02/4) Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-05-07 04:31 GDUSA Staff

5 Santa Monica Museum of Art Moves Downtown (1.02/4) The Santa Monica Museum of Art has announced a move from its current Century City location to a new, 12,700-square foot space in downtown Los Angeles, designed by architecture firm wHY. Accompanying the move is also a name change: The museum will hereby be known as the Institute of Contemporary Art, Los Angeles. Of course, this also comes with a handy initialism: ICA LA. Kulapat Yantrasast, wHY's founder and creative director, will oversee the design. wHY has worked on numerous other exhibition spaces, including the Worcester Art Museum , the Speed Art Museum , and the Grand Rapids Art Museum. The new building, an industrial space at 1717 E. 7 th Street, is located in LA's Arts District, with 7,000 square feet devoted to exhibition space. "Our name and location may be changing, but what remains constant is our goal to reveal the vibrant, untold stories and pivotal moments in the history of contemporary art," says Elsa Longhauser, executive director of the ICA LA, in a press release. "A burgeoning epicenter of artistic and cultural energy has recently emerged in downtown Los Angeles; ICA LA is thrilled to be part of this seismic shift. " To fund the move, the institution has already secured $1.9 million in pledges. This contributes to a campaign to raise $5 million for the relocation, future exhibitions, and public programming. The institution remains committed to its status as a kunsthalle , neither maintaining a permanent collection nor charging admission. Laura Donnelley, ICA LA's Board of Directors' President, says that the move is "to reinvent and redefine our organization the way that only a non-collecting museum focused on innovation, diversity, and discovery can. " Follow artnet News on Facebook. 2016-05-06 12:34 Alyssa Buffenstein

6 Morning Links: Housing Lottery Edition (1.02/4) Gramercy Park, one of the neighborhoods offered in the housing lottery. VIA WIKIMEDIA COMMONS FEELS LIKE HOME Artists William Powhida and Jennifer Dalton have organized a lottery that will allow eight winners to spend four nights each at either “affordable” or “luxury” housing in New York. [The Art Newspaper] Julian Schnabel is leaving Gagosian for Pace. Why? “Ultimately, it’s about friendship. You want somebody to be on the other end of the line, which Arne always has been,” Schnabel said. In a statement, Gagosian Gallery said it never actually represented the artist. [New York Times] PROFILES AND INTERVIEWS An interview with George Condo. [CNN] “Meet the Instagram Duo Giving Art Fairs a Run for Their Money.” [W Magazine] A profile of folk-art collectors Kendra and Allan Daniel. [New York Times] GPS Ai Weiwei is planning his first trip to the United States since his passport was returned to him last year. [The Art Newspaper] SFMOMA’s new app “uses your phone’s location-sensing tech to precisely triangulate your position in the museum based on a hi-res virtual map created for the museum by Apple. That way it knows exactly where you are and where you’re going—and adjusts its audio accordingly.” [Wired] THE ARTIST’S WAY The modern impact of the classic self-help guide The Artist’s Way. [New Yorker] 2016-05-06 08:08 The Editors

7 kit del legname by giacomo moor contains a unified family of tools kit del legname by giacomo moor contains a unified family of tools ‘kit del legname’ by giacomo moor is a collection of carpentry tools handcrafted by artisan giordano vigano. the tool kit showcases the cabinet maker’s skill and creative ability through a display of modular wooden instruments. the project combines traditional techniques with contemporary features including contrasting light and dark wood with small conjoining brass elements. the unified family of objects are made from olive, italian walnut, leather and brass. the set folds up neatly into a wooden box, each utensil has its designated place which has been specifically made to hold the object. ‘kit del legname’ re-organises the typical carpentry tool box into a compact, functional, beautifully crafted collection. the collection has been crafted by artisan giordano vigano 2016-05-07 02:30 Giacomo Moor

8 Crime | Summer 2016 The art world can occasionally bring out the best in people, but with a seemingly endless flow of money and notoriously light regulation, it can also be rotten to the core. Herewith, an investigation into some of the more colorful art-related indiscretions in recent years, as well as a look at the aesthetics of crime and punishment. 2016-05-07 04:32 www.artnews

9 Summers of Rock — Magazine — Walker Art Center Launched in 1998, the Walker’s now-annual Rock the Garden festival has gone through plenty of changes—from its inception as an intermittent, on-the-street jam to a 10,000-fan party on the Walker hillside, a two-day festival to, in 2016, a one-day, two-stage affair at Boom Island Park. Here’s a look back at the varied and vibrant history of what’s traditionally been considered the launch of the Twin Cities’ summer concert season. The Jayhawks headlined the inaugural Rock the Garden—preceded by the Steve Millar Band and the Hot Head Swing Band —in an event that was deluged by rain, sending scores of fans into the Walker lobby to await a break in the clouds. Returning to the stage, Gary Louris, in a green Lacoste windbreaker, a Flying V strapped around his neck, enthusiastically fronted the band for this historic first-ever RTG. After a year off, the fledgling festival returned, with a killer lineup: Sonic Youth headlined, with Stereolab and Sunship Sextet opening. Walker senior performing arts curator Philip Bither’s recollection of the show: “Kim Gordon’s hair blowing in the wind, stoically beautiful in the midst of Thurston Moore and Lee Ranaldo’s sonic squall storm force of Sonic Youth playing a blistering set.” Band members would return several times: Gordon gave a talk on Yoko Ono’s influence in 2001; Ranaldo performed in 2004 as part of the group playing a live score for Stan Brakhage’s films; and, in town to play the 2006 Minnesota State Fair, the entire band stopped by the galleries to check out a solo show by their friend, Cameron Jamie. Medeski Martin & Wood got top billing in a year that saw Iffy (a side project of the late Run Westy Run co-founder Kirk Johnson) and Marc Ribot and Los Cubanos Postizos open the show. “Beloved—and missed—locals Iffy, along with Ribot’s ‘fake Cuban’ band, nearly stole the show from MMW,” recalls Performing Arts associate curator Doug Benidt. Jazz trio The Bad Plus —featuring drummer Dave King —heated up the stage in a year when Andrew Broder, aka Fog , opened and Wilco , fresh off the release of their heralded album Yankee Hotel Foxtrot (which earned a perfect-10 rating from Pitchfork ), headlined. The array of bands, especially Wilco’s performance, is “perhaps my best musical memory of all Rock the Gardens,” says the Walker’s Bither. David Byrne ’s attire matched his RTG 2004 set, which Bither calls “masterful” and “elegantly thrilling.” The former Talking Heads frontman arrived for an afternoon soundcheck on a bike wearing knee socks and pinstriped overalls. Later, when he hit the stage, he wore white and brown saddle shoes and matching gray work pants and shirt, embroidered with a quote from Martin Luther King, Jr.—from King’s 1967 book Where Do We Go from Here: Chaos or Community? —on the back. Byrne headlined, preceded by local opener Barb Cohen (co- founder of Brother Sun Sister Moon) and Brooklyn’s Antibalas Afrobeat Orchestra. Touring around the album Who Is This America? (Ropeadope), Antibalas ’s horn-heavy brand of Afropop stirred crowds with numbers like “ Pay Back Africa ” and its sharp-edged commentary on American politics, “ Indictment .” Remembers Benidt, “The Fela-riffic Antibalas groove really set the stage nicely for the globally eared David Byrne performance.” Bither remembers Byrne , with full funk-adept rock band plus the New York–based Tosca String Quartet , “wailing into the setting sun his own very moving version of Verdi’s ‘Un Di, Felice, Eterea,’ and soon after kicking it with a blistering version of ‘Burning Down the House.’” Four years before winning dual Grammy awards, Bon Iver opened Rock the Garden as the “local” act. Bither remembers the singer-songwriter “mesmerizing everyone within hearing distance.” After the set, Bither spent time hanging out with Bon Iver’s Justin Vernon backstage, “discovering what a regular, sweet guy he was. We talked about everything, including basketball and Eau Claire, and he reminisced about the mind-opening shows he’d seen at the Walker as a young guy.” Vernon was in good company: on the bill with him were Cloud Cult , The New Pornographers , and Andrew Bird . 2008 also marked the first year of the Walker’s ongoing partnership with 89.3 The Current to copresent Rock the Garden. When an epic squall appeared on the horizon—complete with lightning, no friend of the electricity-conducting stage and equipment—2008 Rock the Garden coordinator Ellie McKinney nervously signaled to Andrew Bird that she needed the microphone to announce a rain delay. “As soon as I finished, I looked out into the crowd for the first time and realized a man in the front row was screaming ‘NOOOO!’ in slow-mo. Then I heard the boos,” McKinney says. “I was being booed. Booed by 10,000 people. As I walked off that stage—my first and only time onstage in front of 10,000 people—Andrew said to me, ‘I forgot my shoes up there.’ And then came a call on the radio: ‘I think your fly was down.’” Soon after, as Bither recalls, “The dramatic dark clouds broke open for a fantastic sunset behind the city skyline as Andrew returned to the stage.” By reorienting the stage to face the Walker hillside for its 2009 edition, Rock the Garden’s capacity increased by around 3,000 fans. “Turning the stage toward the grassy amphitheater really made the event feel more natural and convivial,” says Benidt. The lineup: Solid Gold , Yeasayer , Calexico , and headliners The Decemberists. Betsy Carpenter’s top Rock the Garden moment came in 2009 when The Decemberists performed Heart’s “Crazy on You.” “The female lead singers were wearing white business suits with peplum jackets and were belting out the lyrics while enacting the most bizarre stage moves,” the former Walker visual arts curator recalls. “The audience was going crazy with the requisite head-banging and hand gestures, and the band seemed to be having a blast. It was just so surprising and incongruous.” OK GO hit the confetti cannon in 2010, a year that saw the LA-based foursome play in the biggest RTG lineup yet, along with Retribution Gospel Choir (featuring Low’s Alan Sparhawk), Sharon Jones & the Dap-Kings , and MGMT . “2010 was my favorite Rock the Garden to date,” says Benidt. “The blend of sounds and killer performances really made for a long and oh so beautiful day.” In a sequined aquamarine dress with white fringe, Sharon Jones , along with her Dap-Kings, was a crowd-pleaser, especially so for one audience member. Minneapolis’s then-Mayor RT Rybak took to Twitter , punning: “Sharon Jones, former prison guard, has Rock the Garden crowd in custody. Love her sound!” Rain—drenching, all-morning rain—nearly put the kibosh on this year’s concert. But the show went on, as the Walker hillside turned to mud as Tapes ‘N Tapes , Booker T. Jones , Neko Case , and My Morning Jacket wrested the stage away from the dreary weather. Yeti boots: check. Scarf: check. Cape: check. In proper rock star attire, My Morning Jacket front man Jim James “put the ‘rock’ into Rock the Garden,” as Bither put it, “in both great and ridiculous ways.” With 2012’s nearly all-local lineup— Howler , tUnE-yArDs , Doomtree , Trampled by Turtles , and The Hold Steady — the tenth edition of Rock the Garden didn’t disappoint. “It’s great to be home, and in such a beautiful part of our city,” THS’s Minnesota-raised front man Craig Finn told the crowd of more than 10,000. At the 2011 concert, he was in the audience, but this year he was on stage: “Thanks for making another of my dreams come true,” he said. Right out of the gate, Rock the Garden 2013 was met with bad weather, but we made the most of it, and spectacularly so. Facing a rain- (and lightning-) delay, opening act Dan Deacon had a suggestion, “I can play in the garage.” As Benidt later wrote, “What ensued in the depths of the parking garage is one of the most spontaneously joyous performance moments I have witnessed. Electro Pied Piper Dan Deacon led an ecstatic dance party with thousands of wet and ponchoed people—all dancing, drinking, and feeling the relief of being dry just for a moment.” Yet, Deacon’s buzzed-about underground rave wasn’t the only landmark moment of 2013’s concert. Back outside after the weather cleared, the Duluth trio Low used its entire 27-minute set to play one song, a drone version of 1996’s single “Do You Know How to Waltz?” Front man Alan Sparhawk concluded the set with three now-infamous words: “Drone, not drones.” More than a few angry fans immediately went online to share their reactions. Afterwards, an unapologetic Bither took to the Walker blog to compare the set to Stravinsky’s riot-inducing premiere of The Rite of Spring in 1913, noting that the annual concert event “grew out of a 50- year old Performing Arts program at the Walker dedicated to new sounds, new movements, and new forms of theater and interdisciplinary art, where traits like innovation and audacity rank high.” RTG 2013 also marked a homecoming for Bob Mould , who co-founded the punk band Hüsker Dü here in 1979. His rousing set included classics from both his 1990s band Sugar and his solo work, including the new song, “ The Descent.” Blazing through their sets, Silversun Pickups and alt-rockers Metric wrapped up the 2013 festival in memorable fashion . In 2014, Rock the Garden expanded into a two-day festival , kicking off on Saturday with sets by Lizzo (whose single “Batches and Cookies” became the festival’s unofficial anthem ), Jeremy Messersmith , Best Coast , Matt and Kim , and, headlining, hip-hop pioneers De La Soul Memphis-based Valerie June opened up Sunday’s concert, bringing her distinct brand of “organic moonshine roots music.” Following her were Kurt Vile and The Violators , Doomtree emcee Dessa , the ever-prolific Guided by Voices , and Spoon . Local favorite Lizzo said that being a part of Rock the Garden made her feel like a “ gift- wrapped package with glitter coming out of the top .” May we suggest a cherry on top as well? With Spoonbridge and Cherry just across the street in the Minneapolis Sculpture Garden, it’s only fitting that the 2014 edition concluded with headliner Spoon . Again presented as a two-day festival, RTG15 saw a momentous first day: the reunion of 1990s Minneapolis punk trio Babes in Toyland , as well as showstoppers by young St. Paul phenoms thestand4rd , followed by Lucius , Courtney Barnett , and Conor Oberst. All the way from Glasgow, headliners Belle and Sebastian regaled audiences with tales of their trip to Minneapolis—including a dip in Cedar Lake—and wrapped the night with an on-stage dance party/singalong to their classic, “The Boy With The Arab Strap.” Before taking the stage at Rock the Garden 2015, the members of Lucius took a private tour of the Walker’s International Pop exhibition, stopping to spend a bit of extra time with a particularly inspiring work, Evelyne Axell’s Ice Cream (1964), which graces the cover of the band’s 2014 album Wildewoman . The final day of RTG15 aimed for diversity of styles and geographies: New York’s The Ghost of a Saber Tooth Tiger (with Sean Lennon) , Oklahoma roots rocker JD McPherson , Lagos-based Seun Kuti & Egypt 80 (the son of, and band that backed up, Afrobeat sensation Fela Kuti), seminal punk band Babes in Toyland , and Washington State indie band Modest Mouse . This year’s festival brings eight bands to the Mississippi riverfront for one unforgettable day of music. Due to renovations at the Walker and Minneapolis Sculpture Garden, we’re moving to Boom Island where, backdropped by the downtown skyline, we’ll hear from LA punk quartet Plague Vendor , local hip-hop supergroup GRRRL PRTY (Lizzo, Sophia Eris, Manchita, DJ Shannon Blowtorch, and Quinn Wilson), Missouri’s Nathaniel Rateliff & the Night Sweats , Hippo Campus , M. Ward , Poliça (fresh off their United Crushers album), Chicago’s Chance the Rapper (whose highly anticipated release Chance 3 comes out May 13), and headliners The Flaming Lips. One day, two stages, eight bands. We hope to see you on the island , and back on the newly renovated Walker campus for Rock the Garden 2017. 2016-05-07 03:24 www.walkerart

10 The Shape of Doo-Bop to Come: Steve Lehman and HPrizm On Saturday, May 7, the Steve Lehman Octet will bring its spectral harmonies and cascading rhythms to the McGuire Theater. Lehman is a jazz stalwart, guided by algorithms and an abiding musical intuition which carried the Octet’s most recent release, Mise en Abîme, to the top spot on the 2014 NPR Music Jazz Critic’s Poll. At the same time, […] 2016-05-07 03:24 By

11 Opening Ceremony Hosts Breakfast to Discuss Fashion Calendar At one point, conversation shifted to retail delivery schedules — and how absurd it can seem, from a consumer standpoint, for stores to stock summer clothes when the weather outside feels firmly wintery. “Truly, as a human being, what do you want in January?” Leon said, referring to the duo’s approach to Opening Ceremony ’s flagship stores. “Summer doesn’t hit until June. It’s about thinking as a shopper and thinking about the product that delivers in the right season….[At Opening Ceremony], we got rid of the pre- and resort speak. We’re looking at just spring, summer, fall and holiday, which is truly what those deliveries really are.” Throughout, questions were raised regarding the relevancy and timing of press previews and fashion shows, but the consensus seemed to be that there isn’t a one-size-fits-all solution for designers. At Opening Ceremony, Leon and Lim are known for putting on larger-than-life fashion shows, which in recent seasons boasted elaborate set designs and elements of performance, and the duo shows no signs of stopping them. Leon said their seasonal runway show is meant to be a celebration of the collection. “There is not one recipe for everybody,” he said. 2016-05-06 23:31 Kristi Garced

12 12 Hungarian Orchestra to Protest Municipal Grant Cuts Members of the Budapest Festival Orchestra, which under the leadership of the conductor Ivan Fischer has become a world-class ensemble and one of Hungary’s most important cultural exports, is planning a demonstration on Saturday to protest a steep cut in funding from the city of Budapest. While the orchestra gets most of its support from the state, it also receives aid from the city. The orchestra said that its municipal aid was reduced by more than three-quarters last month, cutting its overall budget for the current year by 7 percent. The orchestra said that it planned to cancel some concerts in Budapest and community and education projects. Mr. Fischer has emerged as an outspoken figure in Hungary as the country has drifted rightward in recent years. In 2013 he performed his opera “The Red Heifer” there that served as a rebuke to what some saw as a growing tolerance for anti-Semitism in the country. In The Times of London this week, Richard Morrison raised the possibility that there was “a more sinister reason than austerity” behind the recent cuts. He quoted a statement from the mayor of Budapest, Istvan Tarlos, that warned that if Mr. Fischer “is not capable of putting a stop to his demanding hysterics, threats and troublemaking, we shall have to rethink our support.” 2016-05-06 22:40 By

13 neri & hu construct a neutral backdrop for kvadrat's textile range at salone del mobile 2016 from poetic japanese woods to scandinavian fjords and suspended architectural structures, kvadrat created a stand out display at salone del mobile 2016. chinese design duo neri&hu were commissioned to capture the spirit of the textile manufacturer by constructing an emotionally charged space that would affect visitors on a subtle and intuitive level. the exhibition titled ‘the cut’ consisted of numerous fabrics displayed in various formats, through furniture, rugs, and modular wooden storage units. kvadrat aimed to create an emotionally charged space that would affect visitors on a subtle and intuitive level the framework of the stand was constructed entirely from wood, creating a harmonious backdrop to the vibrant patterns displayed in the exhibition. colored inserts contained within the surface of the roof established an abstract composition overhead. furniture pieces were presented in an orderly fashion, including chairs and rugs that used a neutral palette. the textiles were neatly stacked on glass shelves, which acted as small burts of color upon the peaceful setting. the space was intentionally made to act as primitive and suppressed, in order to celebrate the exceptional colours and textures that define kvadrat. colored inserts contained within the surface of the roof established an abstract composition overhead the framework of the stand esbtalblished a harmonious backdrop to the vibrant patterns displayed in the exhibition the fabrics displayed in various formats, through furniture, rugs and modular wooden storage units 2016-05-06 22:30 Shuhei Senda

14 Aquazzura Celebrates First U. S. Flagship The term “intimate” gets thrown around quite a lot these days when it comes to fashion dinners. “I thought this was a 20-person get together,” one editor disclosed to her tablemates. She was perched on a leather banquette in the back room of the Carlyle, packed with about 90 people milling about. They were there to toast Aquazzura creative director Edgardo Osorio on the Italian footwear brand’s first U. S. flagship, just around the corner on Madison Avenue. The 2,221- square-foot space was designed by Ryan Korban. “We didn’t want to do a boring store on Madison Avenue. We wanted something that was going to make people stop and go ‘what is that?’” Korban said before taking a seat between his dates Anna Ewers and Kasia Struss. Guests, most of whom had gotten a good buzz on at the pre-dinner store cocktail, poured into the restaurant, the space filigreed in a pretty gothic motif. Osorio roamed the floor, making sure his attendees — a mix of editors, socials and celebrity fans — were tended to. “What time is it?” a guest asked rhetorically before noting it was nearly 10 p.m. on their wristwatch. “And dinner hasn’t been served yet?” she asked, again, rhetorically. “Italians,” she shrugged. 2016-05-06 22:00 Taylor Harris

15 Karen Walker Will Skip Runway Shows “There are so many things in the toy box in ways to show and talk to our customers,” said Walker, citing initiatives such as direct digital marketing, celebrity dressing and expanding her social media presence. “You can have a constant dialogue with your customers rather than every six months. Walker, who was reached in London where she was doing a shoot, said she shoots new content every two weeks. “Digital advertising is so powerful now,” said the designer, who in addition to producing ready-to-wear collection has jewelry, eyewear, home, paints and collaborations on handbags and footwear. For the past six or seven seasons, Walker has had a runway show at Pier 59 in New York. “We’re finding over the last five years, technology has changed so much and how we engage with it. The traditional fashion show model isn’t the most important thing in the tool kit,” said the designer, who spends 130 days on the road and sells in 38 countries. In addition to her wholesale distribution of 1,000 doors, the designer has five freestanding stores and an e- commerce site. 2016-05-06 21:17 Lisa Lockwood

16 16 Pratt Institute Annual Runway Show Honors Harold Koda More Articles By For someone due to receive a Lifetime Achievement Award in a matter of moments, Harold Koda was the essence of calm at Pratt Institute’s 117th annual graduate runway show at Spring Studios on Thursday night. “It’s so mind- boggling,” said Koda, who stepped down from his position as curator in charge at the Costume Institute at the Metropolitan Museum of Art back in January. “Because, why me? I keep thinking that most people who have really great careers have done it with intention and focus. But [my path] was so wishy-washy…I thought I was going to become a civil liberties lawyer.” As it turned out, Koda’s self-described “hippie, leftist” heart kept him from the “dispassionate way of thinking about the law” required to be a lawyer — he found himself getting too attached to the human stories in each of his cases — and he retreated into the world of aesthetics instead, going on to curate renowned exhibitions such as “Charles James: Beyond Fashion” and “Schiaparelli and Prada: Impossible Conversations” during his 15-year tenure at the Met. Simon Doonan, Barneys New York creative ambassador at large, had the honor of presenting his longtime friend Koda with the award. “Harold has always been a deliciously humble dude,” Doonan told the crowd. “Harold once said to me, ‘When I sit with friends in New York and listen to their banter, I always feel like an eunuch because I don’t have the edge that they have. I was raised in Hawaii, where there are no threats and no natural predators.'” During his thank-you speech, Koda offered some advice to the budding fashion designers in the room. “The one thing that every student should know or feel at this moment — when the whole fashion industry is undergoing some extraordinary seismic shifts…is that if you look back, you should be able to say that at every moment in your career, you were doing something you loved — or if you weren’t doing something you loved, you were doing something that you didn’t love, but that was positioning you to do the thing you love,” he said. “Fame, fortune are very nice. A really glamorous Instagram account is really nice. But what you’re going to find satisfying is that your career has been based on passion. Surprisingly, when you get that, you might get fame, you might get fortune and you might get a selfie with Kanye…but that’s all gravy.” At about 6:30, the guests — including Adam Selman, Mel Ottenberg, Fern Mallis, Lynn Yaeger, Alina Cho and Andrew Bolton, the Met’s new curator in charge — took to their seats as the lights dimmed. And though it ran somewhat longer than the average five-minute fashion show, the thumping music and progressive styles kept the crowd energized throughout the 40-minute presentation. Titled “Amazin,'” the 2016 edition of the annual show displayed the designs of 18 fashion department seniors: Francesca Longo, Victoria Aguilar, Nicholas Andreadis, Camerin Stoldt, Terese McCoy, Lauren Moseley, Maydelle Li, Dajung Lee, Youngeun Won, Moon Jung Chang, Lizanne Brown, Sylvan Shan, Isabel Hall, Isabella Spataro, Kristin Mallison, James Palmisano, Jihyun Kim and Margaret Burton. Sporty looks prevailed, styled with platform sandals and kicks. Kim and her fellow seniors already have their fans, though. “I just appreciate all the work that goes into [the show],” said Thom Browne , who had a front-row seat. “It’s so refreshing and it’s so charming to see.” 2016-05-06 19:17 Kristi Garced

17 BORGMAN | LENK hangs 'boulder' within a monastery inside the monastery church grimma — a 580-year-old structure near leipzig, germany — berlin- based studio BORGMAN | LENK has suspended an enormous ‘stone’ from the building’s historic ceiling. artists anna borgman and candy lenk have installed what appears to be a burdensome rock inside the chapel, but is actually a cleverly-concealed paper mache sculpture. made from wood and paper, the nearly four meter diameter boulder hangs from the roof truss by a 13 meter-long steel cable in the center of the room. named ‘wurf II’ (german for ‘throw’) — a title which refers to the temporal dimension of the installation — the imitation stone forms part of BORGMAN | LENK’s ‘throw project’, an overall study on the relationship between material, place and perspective. ‘wurf’ is placed inside a 580-year-old structure near leipzig germany 2016-05-06 19:01 Nina Azzarello

18 Huang Yong Ping Brings ‘Empires’ of Globalization to Paris PARIS — The Chinese-French conceptual artist Huang Yong Ping is known for fusing complex multicultural allusions into forms that are easy to recognize but hard to interpret. His latest creation, “Empires,” commissioned for the Paris Monumenta art show, which begins on Sunday and runs through June 18, will take on the realms of military history and economic globalization. If bigger is better, this should qualify as top-notch art. “Empires” will fill the main hall of the Grand Palais exhibition space with 305 shipping containers piled in eight “islands”; a mobile gantry crane partly supporting an aluminum snake skeleton that is more than 250 meters, or 820 feet, long and coiled over the boxes; and a representation of Napoleon’s bicorn hat 50 times the size of the original. If Rabelais’s infant giant Pantagruel had played with Lego bricks, his nursery might have looked like this. Putting it all together was “a labor of Hercules,” said Kamel Mennour, who represents Mr. Huang in Paris and looked after the logistics of the show. Forging the 130-ton snake alone involved five specialized metal foundries, one of them in China, Mr. Mennour said, and installing the artwork required a team of hundreds, working in shifts for more than 20 hours a day for 12 days. “It’s the biggest thing I’ve ever done,” he said. “When you are inside the Grand Palais, you will not have a global view of the installation,” Axelle Blanc, the Monumenta project coordinator, said in a joint interview with Mr. Huang, Mr. Mennour and Jean de Loisy, the curator of “Empire” and president of the Palais de Tokyo contemporary art museum, before the opening. “You will just see parts of it,” she said. “It is an artwork that initially resists global comprehension.” Napoleon’s hat is a blown-up version of one he wore at the Battle of Eylau in East Prussia. The containers, bearing the logos of international shipping companies, are avatars of the boxes that transport 90 percent of world trade. The snake, a recurrent element in Mr. Huang’s art, is an enigmatic symbol in both Chinese and Western mythology, endowed with multiple, contradictory qualities. Visually, the vertebrae of the snake mirror the delicate Art Nouveau iron ribs of the domed roof of the Grand Palais; and the rectangular arch of the gantry crane riffs on the series of arches in and near Paris, including the Grande Arche de la Défense, which was built in 1989 for the bicentennial of the French Revolution. That was the year Mr. Huang, invited to participate in a group show at the Pompidou Center, left China for France. Finding himself abroad during the protests in and around Tiananmen Square in Beijing, he chose to stay in the West, in exile. Mr. Huang, who was born in 1954 in Xiamen, had built a reputation in China as an avant-garde provocateur. In 1986, he founded Xiamen Dada, a postmodern group mixing Zen Buddhism with Dadaist surrealism, influenced by artists including Joseph Beuys, John Cage and Marcel Duchamp. Mr. Huang described his artistic practice in that period as anti-art, anti-history and anti-self- expression, a time when he created works formulated by the spin of a roulette wheel or the throw of divining sticks. In one piece, he conflated Chinese and Western art history by taking a book about each, and pulping them together in a washing machine. “He is an artist like no other,” Mr. de Loisy added. “He is an artist-philosopher, at the same time a very classical artist and a very contemporary one, both very Chinese and very European.” “Hegel, Kant — he reads a lot of philosophy; and in his work he loves to recount stories,” Mr. de Loisy said. “He is a great fabulist, and his tales are totally open to interpretation.” A lot of reading went into telling the tale that is the Monumenta show, Mr. Huang said. In “history, empires were military and colonial; today, it’s more and more about economics, trade and markets,” he said. “You have the rise of multinationals that are sometimes larger than countries. They fight against each other to be the greatest empires. It’s about delocalization, the globalization of all those powers. It’s a food chain: They eat each other.” The installation “is a commentary about that,” he added. Shipping containers are the instruments of a globalized economy and “the real measure of the world chain of values.” 2016-05-06 19:00 By

19 The Outnet.com Partners With Designers on Exclusive Capsule Ranges, Launches Summer Shop According to Andres Sosa, the Outnet’s executive vice president of sales, marketing, creative, the e-tailer has partnered with a bevy of brands on a series of ranges after the company saw that its summer collections had performed well last year. “Data wise, beachwear for us last year became the search highest category,” Sosa told WWD. “The top ones were dresses and tops, a constant on the site. So we really saw beachwear spike. Our top searched terms were caftans, maxi dresses, shorts, sunglasses and swimwear. “We saw the spike not only in April, which is normally when people see it, but it went beyond. So this ‘buy-now-wear-now’ state of mind was really what we saw. This year, rather than having a week of strong summer exclusives, we wanted to do the shop, which is throughout the summer.” According to Sosa, it was important to have an “interesting mix of designers that represented a global footprint.” This year’s roster includes Matthew Williamson , Adam Lippes, Alexis, Carbon & Hyde, Melissa Odabash and Miguelina, who have all created special ranges. Williamson will be launching a range on May 25, inspired by his travels. The 26-piece collection includes dresses, caftans and swimwear featuring the British designer’s bohemian aesthetic. There kaleidoscopic colors and mixed prints. Arizona Muse will star as the face of the campaign, photographed in Ibiza by Rokas Darulis. The limited-edition range is priced from 115 pounds, or $140, for swimwear to 350 pounds, or $435, for a dress. “The collection is an ode to the spirit of holidays and travel — an ethos that’s at the heart of my brand,” Williamson said. “The starting point therefore had to be the memories and mementos from my recent trips. The prints feature motifs like the hibiscus flowers of Bali and the mirror work and mosaics of Morocco.” Lippes, meanwhile, has designed a 12-piece summer range — which includes a chambray wrap skirt, a strapless gown and a camisole dress — priced from 205 pounds, or $245, for a top up to 850 pounds, $1,227, for a dress. The line will launch on May 19. Alexis has created 20-piece capsule of lace playsuits, dresses and separates in white and soft purple hues, which drops on May 31. It is priced from $129.50 to $495. Carbon & Hyde’s six-piece fine jewelry offering includes a ring, a necklace and ear jewelry in yellow and rose gold adorned with diamonds or turquoise. It is priced from 530 pounds, or $630, to 850 pounds, or $1,047 and is due out in June. July will see launches by Miguelina and Odabash’s line of swimwear, caftans and cover-ups while Miguelina’s 12-piece lineup will include cover-ups and jumpsuits ranging from 88 pounds, or $99, to 230 pounds, or $261. “When we first launched, we were the Outnet for Net-a-porter. That was seven years ago and all of our stock came via Net-a-porter. Now we buy directly from the brands, which makes up 90 percent of our stock. We have a buying team in New York and in London.” The L. A. celebrity stylist Ann Caruso will be curating a shoppable edit of summer apparel, beachwear and accessories for the site. The Outnet will also offer same day delivery for London, New York, the Hamptons and Connecticut. 2016-05-06 18:54 Lorelei Marfil

20 On Style / Chloé Elizabeth Maratta LA-based artist Chloé Elizabeth Maratta ’s work reflects her participation in everyday life. In 2015, Maratta’s solo show “Vintage Clothing” at Ladybug was primarily situated around three arresting spaghetti-strap-tattered dresses hung from suspended poles in the modest-sized San Francisco gallery. Chloé Elizabeth Maratta Ladybug The dresses featured ad-hoc jewelry made from found materials such as playing cards, fabric scraps and lace. The front of one of the dresses, Hme Sweet Hme Dress (For N. F. and J. B.) , carried a large beaded panel alongside a hand-drawn cardboard sign flung over the dress with a chain, giving it the look of a handbag. The sign featured a note from “DJ Dog Dick” proposing some sort of musical collaboration. These crafty materials, sourced from Maratta’s environment and tacked onto the already distressed dresses, suggested a sort of mending process. It was one of those great shows that was somehow both incredibly diaristic as well as universal in its stylistic accessibility — as if the artist’s life could be mapped via a trajectory of bric-a-brac, anecdotes, venues and social relations, all glued to unclean figures. The show literally manifested her collaged subjectivity. At this point I still hadn’t met Maratta in person, but I felt I could relate to her narrative through this symbolic dirtiness with style. I knew of Maratta through her band, Odwalla88 , in which she plays with fellow artist Flannery Silva. I was already a fan of this hardcore spoken-word noise act. When infatuated with a band, it’s a fan’s duty to start researching (or trolling) their entire obscure online existence. Their blog chronicles Odwalla88’s life on tour. I clicked through images of them playing at small bars and house shows, crashing with different punks and accumulating detritus in their car along the journey. It was through music and this sense of a fragmented countercultural community dispersed across the country that I understood how Maratta lived and negotiated the construction of her own self. Sitting comfortably alongside her music is her zine Rock&Rose. Reading this accumulation of thoughts, images, poems, interviews and flyers from within her “scene” feels like being on tour next to her while simultaneously sitting in my bedroom. Even though collage is such an obvious zine trope, it’s this cutting and pasting of experience that makes you feel at once intimate and directed by Maratta. She lets you stalk her. Odwalla88 blog When I finally met Maratta I saw just how embedded her practice is within her daily activities. She collects apparel constantly — from thrift stores, eBay and designer boutiques. Matching a shirt that is beyond disintegration with a recycled Westwood and shoes from Maryam Nassir Zadeh, she literally performs the role of a fashion-magazine editor, drawing a mood board of disparate references to coerce a style. Susan Sontag reiterates the words of Cocteau in her essay “On Style”: “Decorative style has never existed. Style is the soul, and unfortunately with us the soul assumes the form of the body.” Maratta adopts this as a political stance. Her use of subcultural imagery, mostly grunge, in both her work and life is a stylized message of dispossession from — and armor against — the mainstream. She uses the ploy of style to interrupt the transmissions of normative lifestyles through their own networks. Engaging rather than rejecting fashion and its commodities, and photographing subcultural subjects (echoing the production of muses), Maratta frustrates these paradigms through a dirty lens. For her booth at Centre for Style at Paramount Ranch 3, she presented three panels. Each panel has a photographed central figure in the frame with clippings from dated fashion magazines and craft books glued across the borders. Abrasive jewelry made from stones, twisted wire, glass shards, children’s bracelets and her own silversmithing is mounted over the figures, adding a three-dimensional collage affect. One of the photographed subjects is her own chest (her face is not visible), which shines with the visible scars of her breast-reduction surgery. Here her process of collaging identity is reified in her own flesh. The other subjects, her female friends who also play music, are similarly obscured so as to avoid a sense of palpable protagonists. Instead, she uses these characters for their stylistic qualities, or what Philipp Ekardt calls “style as technique” in his essay “Fiorucci made me normcore.” Ekardt critiques the method of appropriating socio-aesthetics for works of idolization, but champions style as a technique to address the implicit expressions of marginalization associated with whatever subculture or scene the artist is presenting. Maratta’s world is that of a female working under patriarchy, working in a macho noise scene and commanding her own image and her own weird look. Centre for Style The editors of many clickbait fashion magazines understand the cachet of identity politics: “See how this new label is redefining gender!”. No longer does subversive fashion necessarily translate a subversive politic, as Dick Hebdige’s structural analysis of subcultural style once purported. The current climate of abject aesthetics sees many young artists and fashion editors reproducing junk as a platitude. Maratta’s work offers new methods of reacting or rebelling by displacing, what Cocteau would call, her own soul. by Matthew Linde 2016-05-06 18:29 www.flashartonline

21 Perricone MD Unveils Pre:Empt Series to Combat First Signs of Aging More Articles By As women transition from universities to professional careers, their skin starts to change, and Perricone MD ’s new Pre:Empt Series tackles those changes that aren’t so welcome. Pre:Empt’s four products priced from $60 to $90 — Exfoliating Pore Refiner, Skin Perfecting Serum, Oil-Free Hydrating Cream and Brightening Eye Cream — join a growing group of skin-care launches tailored to the needs and desires of Millennials. They made their debuts this week exclusively on Sephora’s web site before rolling out to the specialty beauty retailer’s stores early next month. “When young women enter the workforce, their peer group shifts from other college students to a broader group of women, and they start to say, ‘Who do I want to look like when I reach a certain age?’” said Sharon Osen, chief marketing officer at Perricone MD. “We felt that at this tipping point was the right time to introduce something like this kind of platform. It’s really an interesting crossroads where young women are moving from just looking at breakouts and putting on makeup to really trying to understand how to take care of their skin.” Pre:Empt addresses a slowdown in antioxidant production that underlies the initial signs of aging such as fine lines, visible pores, dullness, dryness and uneven skin texture with its Nrf2 Antioxidant Support Complex. Antioxidant-boosting ingredients contained in the complex include green tea, olive leaf, turmeric and cress sprouts. “These are highly concentrated, highly pure active molecules found in plants,” said Nancy Leung, vice president of product development at Perricone MD. Osen, who noted the serum features the complex at its peak intensity, added, “This is something that’s really formulated for them [young women] at their stage of the aging process. The more advanced ingredients that we have in our more advanced products, they don’t need all of that.” Specifically, Pre:Empt was created for 24- to 35-year-olds compared to Perricone’s average customers in their Forties. Aside from the ingredients, Perricone sought to provide a Millennial-friendly buoyant consistency. “It won’t clog your pores. That is maybe what you are afraid of when you’re coming out of your acne stage. We really want someone to enjoy using it on a regular basis and not think of it as overly medicinal,” Leung said. “The Oil-Free Hydrating Cream gives what we call a rose petal finish to the skin. You’ve got a little bit of glow, not to the point where you look shiny, but you look healthy.” Leung and Osen consider the eye cream and moisturizer gateway products for customers familiarizing themselves with products in the Pre:Empt Series. “A lot of Millennials will understand moisturizer as a baseline. If they’re a little bit more advanced, have an existing moisturizer or they’re looking for an upgrade in their regimen, they’ll probably enter through the exfoliating or perfecting serum. People notice the wrinkles around their eyes first, and that’s where we think they’ll look first for a treatment product,” Leung said. Pre:Empt builds upon lessons Perricone MD learned from Super, a now defunct line the brand introduced six years ago to win over Millennials. Ingredients from nutrient-charged superfoods the likes of acai berries, melons, chili pepper and dark chocolate drove Super, and bold, colorful imagery depicted its merchandise. “It was a little bit too lighthearted and whimsical. The customer, at least today, wants us to be serious because we are a serious brand,” Leung said. “We want to be fresh and light, but maybe not as fresh and light.” Although Pre:Empt has a more serious slant than Super did, Catherine Lepetit, director of merchandising for clinical skin care at Sephora, suggested it isn’t intimidating to shoppers dipping their toes into the retailer’s skin-care selection. “The universality and approachability of the collection backed by the groundbreaking technology is a perfect introduction for the Millennial who may be younger and new to skin care but wants real results,” she said. The Pre:Empt Series is designed to guide women from spot skin-care treatments they may have depended upon previously into a multiproduct skin-care routine without overwhelming them with steps. “We don’t want to make it too difficult to get into,” Osen said. “Each product was formulated to work on its own and to work together as well. You can start anywhere, but if you use them all together there’s going to be a greater benefit.” 2016-05-06 17:52 Rachel Brown

22 FIT’s Graduating Seniors Strut Their Stuff on the Runway The Fashion Institute of Technology hosted its “Future of Fashion” runway show Thursday night, which brought out such heavyweights as Calvin Klein, Francisco Costa, Dennis Basso, Larry Leeds, Stacey Bendet, Elie Tahari and Ken Downing. Hosted by Leandra Medine, founder of Man Repeller, the show featured 91 looks created by FIT ’s top graduating Fashion Design students, including the Critic’s Awards and People’s Choice award-winning looks in sportswear, special occasion, knitwear, intimate apparel and children’s wear. The students pulled out all the stops. The runway was chock-full of highly innovative and well- constructed garments from day to nighttime ranging from boudoir ensembles, baby-doll bodysuits and lace and black chiffon jumpsuits to a patchwork hand-knit coat, brown/white trimmed patent leather coat to a snakeskin bustier gown with tulle skirt and organza drape and black sequined V-neck gown with train and hand-beaded lion motif. Naturally, the kids on the runway — a few dressed in a “moto” jacket or vest, white neoprene cape and green fur bomber jacket — stole the show with their determined struts down the catwalk. Two carried lunch boxes with Prince and David Bowie images. The Critic Award Winners were Stephanie Ali; Emily Myoung Hye Jung; Cemile Simsek; Rosemary Paone; Namibia Viera Martinez (who won a Critic Award and Best Use of Color Award sponsored by Siempre Mujer magazine); Kuanling Ko; Samju Seo; Alexis Chung and Jenny Seo. Merry Wu won the People’s Choice Award for her white and sky blue hand-ruched flowers on chiffon and organza with high-low train wedding dress. Calvin Klein Inc., together with the Calvin Klein Family Foundation, was the presenting sponsor of the runway show. “I always love the lingerie,” said Calvin Klein, who was seated across the runway from Francisco Costa. “It was done extraordinary well. It was a pleasure to be a part of it.” “I love emerging talent,” said Basso, who served as a judge and will be honored by FIT Monday night at their annual awards gala. “To see the creativity, to see the knitted garments, where the students knitted each and every piece, they are couture pieces. That’s the part that’s so exciting to see. You know you will see them in the future.” Bendet, chief executive officer and creative director of Alice + Olivia, also served as a judge. “It was great. The kids were adorable. I walked through their projects and gave them pointers on fit. It was my first time judging it,” she said before the show. “I thought there was a lot of talent there,” said Tahari. “There were a lot of great ideas. They were expressing the current fashion mood.” Leeds, too, was impressed with the level of talent. “I thought it was creative, colorful and quite different, obviously there’s enormous amount of talent at FIT,” he said. Meanwhile, Downing, senior vice president and fashion director of Neiman Marcus, can literally picture these clothes in his stores. “I thought the show was fantastic. There’s an understanding and relevance of what fashion means today. You can see those clothes hanging at retail or walking down the runway. It’s a testament to FIT and the education they give them. The students’ love of craft continues and kudos to their instructors.” Thirty of the looks will be displayed at Neiman Marcus’ Garden State Plaza store for eight days, beginning May 14. 2016-05-06 17:47 Lisa Lockwood

23 Stacey Cartwright Isn’t Returning to Burberry On Friday, the Financial Times suggested that a “senior appointment” was in the pipeline, an individual who could help support Bailey, who holds the dual title of chief creative and chief executive officer, through what is proving a challenging period for the brand. The paper said investors are concerned about disappointing trading and a sharp fall in the Burberry stock price. Separately, Jonathan Guthrie, writing in the paper’s Lombard column, speculated that maybe Stacey Cartwright, Burberry’s former chief financial officer and executive vice president, could come to the rescue. Guthrie said Bailey is “running out of time. Ms. Cartwright is running Harvey Nichols. Might she be available in extremes?” The answer is no. Asked Friday whether she would return, Cartwright told WWD: “I’m delighted with the progress we are making on revitalizing the Harvey Nichols brand, and I’m looking forward to continuing on this exciting journey at Harvey Nichols with the fabulous team.” Indeed, Cartwright is spearheading a four-year refurbishment project at the Knightsbridge store that saw the opening last month of 28,000 square feet men’s wear space. Cartwright, who left Burberry in 2013 before Bailey was named ceo, was an architect of the company’s success during her nine-year tenure. By the time she left, the company was turning over more than two billion pounds, or $3.14 billion, in revenue. The day her departure was announced, Burberry’s share price closed down 6.5 percent. A chartered accountant who has held top jobs at Egg and Granada Group, Cartwright has been at the helm of Harvey Nichols since 2014, having replaced Joseph Wan. Burberry declined to comment. According to industry sources, however, Bailey is driving all the changes that are being considered at Burberry and weighing his options. The appointment of a senior supporting figure may or may not feature as part of his strategic outline on May 18. Earlier this week, UBS analysts Helen Brand and Fred Speirs published a report saying Burberry has room to improve as a retailer, with opportunities to pump up its sales densities and leverage the brand recognition it has in China and the US. The bankers at UBS said they are waiting to see what Burberry principals have to say on May 18. They are expecting to hear details about how Burberry plans to drive a more productive retail business as well as about its cost efficiency plans. Burberry has seen revenue and profit growth wither over the past year, although UBS said it expects sales to recover in the second quarter of the current 2016-17 year, with like-for-like growth rising 4 percent. 2016-05-06 17:24 Samantha Conti

24 Gucci Apologizes for Asking to Stop Selling Branded Paper Copies as Funeral Offerings Gucci ’s latest effort to protect its trademark have caused a social media flurry. Last week, parent company Kering sent a letter to six shop owners in Hong Kong asking them to stop selling paper offerings that replicate Gucci accessories. As part of an antique Chinese tradition, replicas of objects that the living feel can be desired or needed by the deceased, are burnt and sent to the spirits. Local and social media reaction was quick to follow. On Facebook, Kwong W Lee wrote: “Lol this is so pathetic. Maybe Gucci should draft a letter to send to the underworld as well.” “Gucci should burn this letter to their target receivers,” wrote Kirstyn Yau. “Wrong avenue to pursue infringement of their trademark, now leaving a black mark on their brand! Anyone [who]…buys or intends to buy those goods know[s] well that they are not real. In fact Gucci should feel proud that their ‘products’ are appreciated even in the other world!” wrote Lee Chye Ewe. Kering issued a release to apologize, underscoring that the group and Gucci “would like to reiterate their utmost respect with regards to the funeral context. We regret any misunderstandings that may have been caused and sincerely apologize to anyone we may have offended through our action.” “The letters were sent as part of our global intellectual property protection efforts. As highlighted in our letters, we trust that the funeral store owners did not have the intention to infringe Gucci’s trademark. Accordingly, we did not suggest any legal action or compensation. We remain committed to working closely within our local communities.” 2016-05-06 17:21 Luisa Zargani

25 Elie Tahari to Launch Eyewear The brand has partnered with licensing firm Colors in Optics Ltd., which also produces eyewear for Moschino, Missoni and Vince. Designs — which will retail from $185 to $285 — are handmade and have been crafted in an array of colors and fabrications. Last April, Tahari also launched a housewares license — teaming with Lifetime Brands to bring his vision to shoppers’ homes. 2016-05-06 17:17 Misty White

26 Vente-Privée.com Strikes Again With Two More Acquisitions The French flash sales pioneer has purchased outright the Spanish company Privalia, founded in 2006 by Lucas Carne and Jose Manuel Villanueva, and taken a majority stake in Switzerland’s Eboutic.ch, which was cofounded in 2007 by Arthur Dauchez and Laure de Gennes. Jacques-Antoine Granjon, founder, president and chief executive officer of Vente-Privee.com, said the acquisitions formed part of the long-term vision for the company. “This new expansion reflects our continued active approach to our European deployment, which began in 2015 with the majority stake in the Belgian company Vente-Exclusive.com. “We are very respectful of the work done by the founders and leaders of these sites, and are very pleased to have their support and expertise in the pursuit of our common European adventure,” added Granjon, who founded Vente- Privée in 2001. He noted that Privalia has expanded from Spain into Italy, Brazil and Mexico, and said the founders will be joining the management team of Vente-Privée. The founders of Eboutic.ch will remain minority shareholders in their company, along with Maus Frères. Both the Spanish and Swiss sites will continue to operate under their own names and Granjon said the consumer experience would be tailored to each market, while back-office services and expertise would be shared among the companies. In a statement, Vente-Privée cited “an increasingly competitive market with more and more specialized offline and online players.” Vente-Privée partners with more than 2,600 brands in sectors including ready-to-wear, with brands including Alexander McQueen , Marni , Joseph and Melissa Odabash, fashion accessories, homewares, toys, sports equipment, electronics, fine food, wine, theater tickets and holidays, logging a turnover of 2 billion euros, or $2.29 billion, in 2015. In September, Vente-Privée appointed Charles-Hubert de Chaudenay as general director as it expands into new markets. A former commando paratrooper in an elite corps of the French army, de Chaudenay, 48, had been on Vente-Privée’s board since 2008. Having started his career as a salesman for cosmetics firm Sisley, he moved into financial jobs with senior positions at Crédit Suisse First Boston and Crédit Agricole. 2016-05-06 16:45 Samantha Conti

27 3XN exhibition opens at berlin's aedes architecture forum a new exhibition at berlin’s aedes architecture forum has opened, celebrating the 30th anniversary of danish firm 3XN. titled ‘behind the scenes: simplicity & complexity of architecture’, the presentation takes an in-depth look at the process of creating buildings, and the creative collaborations established along the way. 3XN uses models, drawings, and photos to explore a range of themes, including: the evolution of building forms, façades, shaping space, physical connection, architectural collaboration and innovative materials. ‘we are celebrating 3XN’s 30th anniversary to demonstrate that kim herforth nielsen and his team are creating much more than buildings,’ says kristin feireiss, founder of aedes. ‘their architecture gives cities and their inhabitants an essential added value in function as well as in living quality. so it is not a coincidence that they chose the title ‘behind the scenes’ for the new exhibition. besides the fact that, like in a movie, the making of a project needs a lot of participants, partners and experts to bring it into being, all is made to have a happy ending for the partners in the building process, for the cities and places, as well as for the users of the architecture, spaces an facilities.’ the presentation takes an in-depth look at the process of creating buildings on display are recent projects like the quay quarter tower in sydney and international olympic committee headquarters in lausanne, as well as a selection of other significant schemes that represent the firm’s approach. ‘behind the scenes’ is on view until june 9, 2016 at the aedes architecture forum, before traveling to the danish cities of copenhagen and aarhus. kristin feireiss and helga retzer founded aedes in 1980 as the first private architecture gallery in europe. previous exhibitions presented at the venue include displays highlighting the work of dutch practice mecanoo, and marte marte architects. the display uses models, drawings, and photos to explore a range of themes on display are recent projects, including the international olympic committee headquarters a wide range of different themes are explored ‘behind the scenes’ is on view until june 9, 2016 at the aedes architecture forum 2016-05-06 16:44 Philip Stevens

28 Mark Bradford Blasts Auction Houses An unexpectedly hilarious instance of art worlds colliding happened at Christie's on Wednesday evening (May 4). The occasion was a lively panel discussion about process and creativity led by Studio Museum in Harlem director Thelma Golden, featuring Grammy-award winning musician/composer Robert Glasper and rock- star artist Mark Bradford. When Golden asked Bradford to "name one, single, significant influence" on his work, the LA- based artist responded: "Well, there's a lot of them, a couple are here in the room. " He gestured to works hanging nearby by Glenn Ligon, and Kerry James Marshall as he ticked their names off and then added: "Right here unfortunately in the Christie's auction house room. " On a roll, Bradford continued, "But okay… they know what I'm talking about! This is not where artists want to see themselves. We love you, but you know… It is what it is. It's a relationship that's over. " He then mimicked a hurt lover, saying plaintively: "'But I thought you said you loved me,'" again, to the delight of the crowd. "Let's just let that out," he added. He then returned to an inspired discussion of Ligon's influence on his work. The aside was a rare moment of honesty, albeit delivered somewhat humorously, in front of a packed house. It evokes a history of artists's uneasiness with their secondary market that encompasses Robert Rauschenberg 's 1973 confrontation with his collector Robert Scull, after he sold his famous collection at Sotheby's, and Chuck Close 's famous quip , “I think that for an artist to go to an art fair, it's like taking a cow on a guided tour of a slaughterhouse. " For artists, the frenetic secondary market sales can produce major anxiety, affecting both their primary market sales and reputation. This particular auction season, Bradford's work is in particular evidence, as Scott Reyburn noted in his preview. Related: Has The Market for Zombie Formalism Evaporated? The Christie's event itself was part of an unusual collaboration of many different art world venues —Christie's itself, museums, performers, and artists. The Steinway Commission is the brainchild of the piano company's CEO Mike Sweeney, along with Walker Art Center director Olga Viso, MoCA Los Angeles director Philippe Vergne, and Golden herself. The series, which is set to continue for the next three years, involves pairing up an artist and a musician, for designing a Steinway piano and performing original music on it, respectively. Christie's will auction the piano on May 11, with an estimate of $400,000 to $600,000. One hundred percent of the proceeds will be split by the three aforementioned institutions (MoCA, the Walker, and the Studio Museum). The crowded event kicked off with a champagne cocktail reception in Christie's Rockefeller Center galleries, where an estimated hundreds of millions of dollars worth of art was installed for previews ahead of Christie's major auctions next week. Glasper performed a striking original piece that he composed—for the first time ever—on the Bradford-designed piano. Not even Bradford himself had heard the piece. Bradford has ascended to art world royalty status in recent years, reaffirmed most recently by being selected to represent the US in the next Venice Biennale. His distaste for auctions aside, the artnet Price Database shows that on the whole, his work appears to have performed quite well at auction so far. There were a whopping 79 results listed. The top price was a hefty $5.8 million paid this past October at Phillips London for a 2013 painting, Constitution IV , which surpassed the top end of the $3 million to $4.6 million estimate. Presumably the fact that this painting was flipped at auction within just a two short years after its creation/acquisition is not to his liking; it shows that the interest in his work is, at least partly, speculative. The provenance lists the work at a London exhibition at White Cube gallery in late 2013-early 2014 as part of a solo show, when it was acquired for a private collection. Clearly its ownership after the gallery show was a short-lived, but profitable one. Follow artnet News on Facebook . 2016-05-06 16:20 Eileen Kinsella

29 Punisher, The Bunker, Dreamland, The Nowhere Man: This Week in Comics #16 Panel from Dreamland #4. Illustrated by James Guy Hill. Screencap via the author. Today’s the release of Captain America: Civil War and the reviews are glowing. While it’s nice to think that a rising tide raises all ships, one has to wonder what effects these huge-budget Marvel movies have on smaller, indie comics. Are fans rushing to the comic shop and Comixology to read everything in sight? Or are they honing in on their favorite heroes (like this author… who finds himself obsessed with The Vision ) and giving the rest of the comic world the cold shoulder? This week looks at three smaller comics and a big, moody, issue #1 re-tread of Marvel’s The Punisher. So while Captain America and Iron Man punch each other’s muscles, it may be worth checking out a comic like The Nowhere Man , about a man wandering in a sort of limbo until he’s beset upon by bees with ugly human heads. Remember people: there’s more variety than ever—even if, at first glance at the box office, it doesn’t feel like it. Cover for Punisher #1. Illustrated by Declan Shalvey and Jordie Bellaire. Photo courtesy of Marvel Comics. While their newest blockbuster explodes onto screens, Marvel also releases Punisher #1 on comic store shelves: A reworking of one of the nastiest, most grim comics in their stable. Frank Castle, a decorated Marine, was a good man until his family was gunned down by the mob. Now he’s gone revenge-crazy, tracking and killing crooks and criminals. He’s often considered a villain by heroes like Spider-Man and Captain America, but in his own comics he comes off like a dour killing machine. Fair warning: this is a very bloody comic, a nasty comic, a gory comic (it even has a parental advisory on the cover that clearly states “Not For Kids”)... but structurally, it’s also a bit subversive. Our titular hero does a lot of punishing, but he doesn’t speak a single word. The DEA chats amongst themselves about a big drug bust they’re planning the next day, and Punisher stomps over in that night, guns blazing. Will this comic continue to grow, and call to attention issues of gun violence? It’s hard to say from issue #1, but there’s certainly plenty of fertile ground for it, and if any major comic company is going to tackle an issue of that scale, it’s Marvel. Cover for The Bunker #17. Illustrated by Joe Infurnari. Photo courtesy of Oni Press. Written by Joshua Hale Fialkov, art by Joe Infurnari. The Bunker is the story of five friends who, on their way to bury a time capsule in the woods, find a huge bunker. Inside the bunker are letters addressed to each of them… from themselves in the future. The letters warn of an impending apocalypse that they cause, and the series shows them struggling to save the world without enough information to go on. This issue sees them all scattered, hurt, in trouble with the cops, and so on. Readers not caught up on the story will feel very lost, but it’s worth leafing through for Joe Infurnari’s scratchy, hazy artwork. There’s a depth of emotion in his work that’s more interesting than most of what’s being done in the “sci-fi” realm (although The Bunker , for its wild premise, is starkly grounded in reality). Cover for Dreamland #4. Illustrated by James Guy Hill. Photo courtesy of Working Class Press. Written by Jason Miller, artwork by James Guy Hill. Dreamland is the kind of indie comic that begs to be read. With a stark, black-and-white, blocky art style by Hill, it follows a group of government agents on the hunt for missing aliens in a small town. The nice twist on this familiar premise, aside from the catchy art, is that these agents are, for lack of a better term, a bunch of jerks. There seems, under the surface of Miller’s writing, a nasty sense of humor. And that melds nicely into this waking nightmare of a story. Cover for The Nowhere Man #4. Illustrated by Jonny Bloozit. Courtesy of Bloozit Press. Created by Jonny Bloozit. Richard is a wandering man in a sort of timeless limbo, where he encounters all sorts of mixed mythology and trouble. In this issue, his guide Anansi takes him to meet Ernie, the used-god salesman. Ernie takes bits and pieces of broken down gods and repurposes them. (This is why Satan looks like Pan, for instance.) After a nasty shift through space/time, Richard and Anansi meet the Dream Eaters, those ugly bumble bee monsters from the cover. Some of the best indie comics are one-man shows, and The Nowhere Man is an example of why. There's clearly a spring bubbling from Jonny Bloozit’s mind, and it’s best that he captures it, in all its detail. What were you reading this week? Let us know on Twitter or in the comments section below. Related: This Week in Comics #15 This Week in Comics #14 This Week in Comics #13 2016-05-06 16:10 Giaco Furino

30 30 London Parties Embrace Venice, Argentina In the book Rossi spotlights the places that are accessible to him — and his international jet-set pals — as well as secret ones that anyone can visit. “A lot of people think Venice has sunk but it’s not, it’s still there,” he said. “And the people who do go, they think it’s just St. Mark’s Square, so I wanted to show my own Venice, a beautiful portrait of private houses and the treasures that are open to the public that nobody knows about and where nobody goes.” Flipping through the book, published by Rizzoli, Rossi pointed to the sacristy at San Marco, the Canton Synagogue, the State Archives and the Santa Fosca pharmacy. “I am just utterly in love with him,” said Jenny Beavan, the Oscar-winning costume designer who was among the guests at the Royal Academy party on Thursday night. “We fell in love when we were both staying with James Ivory at his place on the Hudson just six months ago. We were calling each other ‘caro’ [dear] straight away.” They certainly had plenty to bond over: Beavan had spent six months in Venice when she was in charge of the costumes for “Casanova,” starring the late Heath Ledger. The book features lush photography by Jean-François Jaussaud of 72 properties. Most of the interiors have never been seen before by the public. Farther north, in Notting Hill, Maria Hatzistefanis and Bay Garnett hosted a small dinner at the slick Argentinian restaurant Casa Cruz, where the mostly female guests included Mary Katrantzou , Alison Loehnis, Carmen Haid, Maria Kastani, Tania Fares, Arizona Muse and Jessica Pires. Garnett talked about her new book, “Fanpages” (Idea Books), which launches later this month, and features images of singular obsessions — dog breeds, types of clothing, teenage crushes — from her pals including Stella Tennant, Katrantzou, Bella Freud, Simone Rocha, Katie Grand, Chloë Sevigny and Erdem Moralioglu. “It’s an annual, and a love list,” said the exuberant Garnett, who was inviting one and all to the launch at Dover Street Market. Hatzistefanis, the founder and owner of skin-care and makeup brand Rodial , said there was no agenda to the dinner and the crowd was more personal than professional. Conversation ranged from schools to spinning to eyebrows (of course). “Always fill them in,” said Hatzistefanis. “They’ll make you look younger.” 2016-05-06 16:02 Samantha Conti

31 Pace Gallery Celebrates Frieze With James Turrell and Richard Tuttle Dinner Lest we begin to think this first week in May is all about the Met machine , Frieze Week kicked off to remind the fashion pack that other cultural happenings are, you know, still a thing — though one wouldn’t know it from Thursday evening’s Pace Gallery dinner venue. The gallery hosted a dinner in honor of James Turrell and Richard Tuttle at — where else? — the Top of the Standard, in honor of Frieze , which drew Misha Nonoo, Prabal Gurung, Cleo Wade, Nell Diamond, Chuck Close, Julian Schnabel and Tara Donovan. “Cinco de Mayo, right?” a woman in a colorful smocked top offered in explanation of her attire. In was, in fact, Cinco de Mayo, which served as the inspiration for flying in the band Los Hijos de Frida from Sinaloa, Mexico, where Turrell’s installation “Encounter” is on display. Dan Kluger of ABC Kitchen fame prepared a thematic menu, a whetting of the appetite for his individual restaurant, which he plans to open this summer, which was the draw for some in attendance. “Enough of this chitchat, when is this all happening,” said one guest lingering by the then-empty buffet table. “Oh, it’s so terrible, but it’s my own booth,” said the Pace Gallery’s Marc Glimcher of his favorite thing at Frieze. “But right now we’re all Tuttle and Turrell crazy, as you can tell. They are two of the great living artists in the world. They both come right after minimalism. Turrell has led to so much installation art, and Tuttle goes the other way; Agnes Martin was his mentor and created what we call post-minimalism, which is such an important idea of how art can continue.” Nonoo had yet to visit the fair, but art adviser B. J. Topol spoke highly of this year’s display. “They improve it every year,” Topol said. “It’s the best galleries you want to see, then they add great food — because you can’t collect on an empty stomach — so all my clients are so happy because they eat well.” Her fashion choices this year have also upgraded the experience. “This year was the first year I wore sneakers both days, the whole time. I take my cue from her,” she said, motioning to Nonoo. “If your feet hurt, your brain hurts, and then you can’t sell art,” Nonoo added. One person less impressed with the Randall’s Island annual pop-up was Donovan. “I don’t do fairs. Fairs are not for artists,” she said. “It looks like the Costco of the art world.” 2016-05-06 15:58 Leigh Nordstrom

32 The Met Gala Was Lit... By One Dress | Insta of the Week If you follow "orgies of fashion," as CNN tastefully describes the Metropolitan Museum of Art's yearly Gala, you may have already seen the show-stealing glow-in-the-dark dress Claire Danes had to ride in a bus to wear on Monday night. Using fiber optic lights woven into silk organza and powered by 30 battery packs, the Homeland actress became more machine than woman under the eye of designer Zac Posen, who in the past worked with fashion trailblazer Madison Maxey on another illuminated dress. Posen reveals the fact that Danes had to stand up in a bus in order to be transported to the Met Gala, and that Gala officials had to saw off the back of a chair so that she could be seated more comfortably. Danes' dress is the latest in a long line of tech-infused dresses, ranging from Lady Gaga's flying dress designed by Studio X/O, to Nervous System's 3D- printed created ready-to-wear dress that was acquired by MoMA. In fact, it's not even the first light-up dress to be worn at the Met Gala, as Cute Circuit designed a light-up color changing dress for Katy Perry in 2011. However, Danes' dress ranks amongst the more elegant examples of light-infused couture—ability to sit in a normal chair aside. Below, check out some more angles of the stunning wearable artwork. Follow Zac Posen on Instagram here. Check out The Creators Project's Instagram for more stunning creative work. Related: Projection-Mapped Dresses Are Sound Visualizers You Can Wear Forget "The" Dress: These 6 Designs Actually Change Color A High Fashion Dress Meets High Tech Projections Designing Flying Dresses And The Future Of Fashion, Meet Studio XO 2016-05-06 15:40 Beckett Mufson

33 The Experience of Meeting Gerhard Richter "The problem is now that all of nature, everything, is captured in photographs, so there is nothing to paint. This, for me, puts some fantasy back into it. " These words were uttered recently by Gerhard Richter — the world's most expensive living painter and our age's artistic genius, according to a 2013 straw poll Vanity Fair conducted among one hundred of the planet's "art worthies. " Though knotty, the statement captured the strange magic the artist achieves by dipping select bits of five by six-inch snapshots into mounds of oil paint. The occasion was a mid-morning viewing of Richter's latest New York show at the gallery of his longtime dealer, Marian Goodman. A major exhibition of his work is on view there starting Saturday: Twenty oil on canvas paintings, forty pencil on paper drawings, five lacquer on glass pictures, and twelve oil "interventions" on color photographs. Besides constituting a massive honey trap for high rollers—a similarly squeegeed abstract painting to those on view at Goodman sold for $46 million at a Sotheby's auction in 2015—the new work was also breakfast catnip for a clutch of avid art journalists and a smattering of collectors. The latter arrived incognito for the sort of event that, per Donna Summer lingo, the art world loves to love: a pre- pre-vernissage. One by one, the guests trooped off the gallery elevators to be introduced to the 84-year-old master, dressed informally in a rumpled gray suit, a white shirt, sans tie. Everyone shook his hand, mumbled a few phrases and quickly excused his or herself to carefully scrutinize the art. Since 2011, Richter has been on the record as characterizing American art lovers as "very direct"; ironically, most of the morning's attendees appeared simply too intimidated to speak to him. In Gerhard Richter Painting , a documentary about the artist, Richter tells an assistant how a perfect stranger approached him at one New York opening to congratulate him on some paintings, only to dismiss others as "bullshit. " "What do you say to Picasso? " I asked a colleague who seemed equally perplexed by his encounter with the famous German. A few minutes later, Linda Pellegrini, the gallery's communications director, requested I approach the great man. Inexplicably, he was alone and fidgeting in the middle of a gallery full of his celebrated paintings. After a second introduction and some small talk, I found myself by the artist's side in another room as he schooled me on the finer points of a few of his more inscrutable artworks. "I took all the photos except this one and that one," he said pointing to a pair of prints that had clearly been taken inside an art gallery. "My friend," he said, stopping himself before blurting out an actual name, "took those at my exhibition at the Drawing Center, and then mailed them to me; they're the only ones here that are not of nature. " Unlike most of the other snapshots of forests and trees with scalloped daubs of multicolored paint, the photo showed three formally dressed art professionals contemplating an object outside the picture's composition. In the space between, Richter introduced a pillar of oil paint in charcoal and titanium white. Earlier, when showing me the pictures he made by pouring and then moving colored lacquer around glass panes, Richter confessed that the results looked "perhaps too easy. " That might be so, I told him, but this painted photograph did not at all seem "too easy" to me. After screwing up the courage, I suggested that the white and gray column might be the ghost of painting. A mischievous look came into in his eye; then he laughed out loud. "I've been looking for him everywhere," he said. A few hours later, a gallerist friend from Copenhagen texted to ask what the experience of meeting the German had been like "on the Richter Scale. " My answer: " Freund , wherever great art appears, the earth moves. " 2016-05-06 15:18 Christian Viveros

34 Twitch Streamer Curates Album for Millions Tom Cassell signs merch for fans. Photo courtesy Tom Cassell. The zombies are closing in, the alien mothership just landed, the battlefield crackles with gunfire... and Tom Cassell, better known as the famous Twitch streamer TheSyndicateProject (or "Syndicate," for short), settles down for another day at the office. He’s in the business of video game streaming, and his followers and fans number in the millions. Now, he’s teaming up with Heard Well , the first record company working with social media influencers, to release Sounds of Syndication Vol. 1 a mixtape of the songs that most get him amped while gaming. The benefits of an album like this are twofold: Cassell gets to share his favorite tracks with his fans, and the indie and small-press artists who created these songs get money and exposure from the venture. Cassell speaks about how he first got into streaming, his love of music, and how gaming can, at times, get too intense for jamming out. Cassell first got into streaming as a teenager, broadcasting live from his dad’s bathroom and talking about video games and life. “I realized what I was doing was a bit pointless, and no one cared about it,” Cassell realized people just wanted to watch games, “so I got on a schedule, got several games and people just began tuning in on a regular basis to watch me absolutely suck at video games.” For those unfamiliar with the video game streaming world, the two big sites are YouTube and Twitch. Cassell explains that the real draw of streaming live games to an audience is the interactivity involved, “If I say something the audience can respond to it immediately. If I ask a question, they can reply to it immediately. It just makes it a more engaging experience overall.”

Tom Cassell streaming a reaction to a video game trailer. Screencap by the author. Cassell met the people behind Heard Well at a charity event, and after a great conversation they asked him to put together an album of his favorite songs. These tracks, each created by small or completely independent artists, are songs Cassell uses as background music while he streams. Does Cassell try to match the music to the mood and genre of games he plays? “I don't worry about it so much, I just like anything that has a good beat. I've got a very particular taste in music, but it doesn't depend on the genre. It can be rock & roll, country, R&B, or anything else. As long as the music has a good beat, then I'm a happy gamer, and can kick back, play video games, and livestream for hours on end.” Of all the songs on the album, Lisa Mitchell’s song “Neopolitan Dreams” is his favorite, for sentimental reasons. “It's one of the first ever songs that I got licensing from to be able to use on my YouTube channel and I previously used it in every single one of my vlogs. I made that song the last one on the album because it means the most for me.” Cassell says that if he could play any instrument himself, he would hands-down play the drums, “If I could Matrix -style inherit the ability to be able to play them, I would do it immediately, even if it cost $100,000. Then I would make the kind of music I love to listen to!” “As long as the music has a good beat, then I'm a happy gamer” says Tom Cassell, seen here interacting with fans of his streams. Photo courtesy Tom Cassell. In the end, Cassell’s a gamer with a lot of passion to share. His streams are lively, he’s talkative and interactive, and the music’s always pumping. Well... almost always pumping, “There have been several times where I've been playing a certain game and it comes down to the final 15 seconds of the game, and the intense action music begins to the point where it just throws you off and you can't concentrate, so I have to turn it off. As much as I love my jams, my gameplay has got to be Grade A. So, gotta get that bomb defused. Do it for the team. Succeed.” Sounds of Syndication Vol. 1 Album Cover. Photo courtesy of Heard Well. To check out songs from the album and purchase, head over to iTunes. To see Tom Cassell in action, tune into one of his streams on Twitch or watch his archived videos on Youtube. SYNDICATION Track List: Klaypex “Lights” Robert DeLong “Long Way Down" (Sean Glass Remix) Quix & Dimes “Stacked” Ricky Remedy “Bound” Jayceeoh & Woogie “Rap Don’t Work” Arman Cekin & Larcy “Taste” Valesco “Cloud 9” Illenium “Afterlife (feat. Joni Fatora) Nightcall “Dead V” SeventhWonder “Higher Love" (feat. Tokyo Megaplex & Stel Leo) Tep No “It’s Alright" (feat. Liza Kellerman NGHTMRE REMIX) TheFatRat “Unity” Lisa Mitchell “ Neopolitan Dreams" Related: Modder 'girlplaysgame' Talks Reshaping Video Games Here's How a 4D Video Game Actually Works It's the Game of Thrones Mixtape…Vol. 2 2016-05-06 15:15 Giaco Furino

35 L. A. Habitat: Enrique Martínez Celaya Enrique Martínez Celaya in his Culver City studio. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the city. This week’s studio: Enrique Martínez Celaya; Culver City, Los Angeles. Enrique Martínez Celaya was born in Cuba in 1964 and raised in Spain and Puerto Rico. “Being an undergrad on the East Coast, I hated all the Californians who boasted so much about their state,” said Celaya, in his studio in Los Angeles late last year. He initially headed west to pursue a master’s in quantum electronics at U. C. Berkeley. “When I came here,” he said, “I understood why so many people were into it.” Celaya’s sprawling studio, which he has inhabited since 2014, is situated on a nondescript street in Culver City. “It’s a city where you can be very public or very private. It’s nearly impossible not to be seen in New York if you don’t want to be seen. But in L. A., you can disappear or be completely in the middle of everything.”Celaya’s career trajectory is somewhat unusual. In addition to making paintings and sculptures, which frequently incorporate slightly surreal figures and depictions of the natural world, he is also an author and trained physicist, having originally attended college to study applied and engineering physics at Cornell. “I always have a couple of things going on at once. I like the variety, everything kind of informs each other,” he said. He continues to turn to literature and science for inspiration, and explained that he sees an unbalanced relationship between art and other disciplines. “Despite the market success of the art world in the past 20 years, it’s completely irrelevant to any other field of engagement in terms of knowledge,” he said. “The art world has become a sort of satellite, only interesting to itself.” In addition to his prolific artistic output, Celaya maintains Whale & Star Press , a publisher of art, poetry, and critical theory that he founded in 1998. Celaya is currently exhibiting work at LongHouse Reserve , in East Hampton, New York, and this summer will teach at Anderson Ranch Arts Center in Aspen, Colorado. He will be participating in the Roth Fellowship at Dartmouth University, in Hanover, New Hampshire, from August 2016 through June 2017. Below, a look around his studio. Enrique Martínez Celaya in his studio. “Paintings move slowly through a trajectory. Often the painting ends up being whatever survives the process of destruction.” Celaya has been at his sprawling Culver City space since 2014. “It’s a city where you can be very public, or very private. It’s nearly impossible not to be seen in New York if you don’t want to be seen.” Celaya told me that much of the inspiration for his paintings comes from reading. “When the painting emerges, there’s all kinds of information that tells you to not believe it as an image, and other things that tell you to believe it. That tension is not a gimmick—that’s my stance towards my imagery,” he said. “Putting that forth is the only way I find I can have an authentic relationship to the work.” Canaries that live in the studio. Celaya always listens to music while he’s working. “They seem to like Leonard Cohen and Coldplay,” he said. Celaya has collaborated on album covers with artists including the Cowboy Junkies. Pieces displayed around the studio. “When you look at the work, you’re invited into a scene. Everything else on the painting tells you it’s not a scene—that it’s just a construction, a bunch of markings. It’s important not to be painterly, but to create a certain instability in the recognition of these images. In that way, they start to act more like memories. They are elusive. They come and they go.” The studio’s back room. Celaya takes his engagement with philosophy and literature seriously. He said, “I don’t want to be a ‘dabbler’ or a guy who claims some sort of philosophical dialogue, which is derivative and uninteresting to everyone.” The Well , a piece from 2014, sits outside the studio. 2016-05-06 14:54 Katherine McMahon

36 Bottega Veneta Beverly Hills Maison Festivities Draw January Jones, Kate Beckinsale, Maggie Gyllenhaal More Articles By The Champagne flowed Thursday night from Rodeo Drive to Sunset Boulevard with Bottega Veneta ’s two-part festivities, which took guests from its new maison for cocktails in Beverly Hills to a more intimate dinner affair at the Tower Bar in West Hollywood. The evening’s celebration began at the new store as a sizable chunk of Hollywood had full access to roam the 4,828-square-foot store. Despite the space’s airiness, the store’s entrance proved popular with most guests, including Maggie Gyllenhaal, Andie MacDowell, January Jones, Camilla Belle, Ethan Gregory Peck, Ron Livingston, Rosemarie DeWitt and Selma Blair, who all packed themselves in at the front of the house. “I’ve only come through the entrance but it’s beautiful,” Jones said. “The staircase is my favorite.” The actress, who saw pictures of the store earlier in the day, said she’s enjoying her time off with “Last Man on Earth” currently on hiatus and not picking back up again until the summer, leaving her plenty of time to take some much-needed vacations. As the evening wore on, the swarm closest to the door grew larger before a seemingly sudden dissipation as the party moved outside to the curbside valet. They climbed into cars that whisked them to the Sunset Tower Hotel for a slightly more civil affair in the dimly lit Tower Bar where live jazz played softly as Kate Beckinsale, Alison Brie, Marisa Tomei and others trickled in. MacDowell was one of the few to be seated at her assigned table as the clock ticked closer to 9 p.m. and the waiters’ appeals to the rest of the guests to please start heading to their seats fell on deaf ears. The actress earlier in the evening managed a full view of the Rodeo Drive store, giving it a rave review, for surprising reasons. “I love the design of the store; it’s a beautiful store but it doesn’t distract you from the clothes, which I think are the most important part,” she said. “I think some places are noisy, the architecture feels so noisy that you have a hard time enjoying the clothes and I thought there was something very soothing about the design. Even the roundness of the railings going up the staircase, I just thought there was a softness and gentleness to it that allowed the clothes to be the show rather than the architect. And I think that’s important because that’s what they’re selling.” The actress said she just recently shot a pilot for ABC called “Model Woman.” “I don’t know if it’s going to be picked up or not but we’ll see. Hoping. Fingers crossed,” she said. Bottega’s creative director Tomas Maier found the evening’s festivities to be a welcome change of pace after arriving in town Tuesday to put the final touches on the store before heading up to Montecito to spend his Wednesday and then returning to Beverly Hills Thursday in time for cocktails and dinner. It was a fitting respite after the two years of construction the maison underwent. And even with the 70 or so guests, Maier’s choice of venue for the dinner managed to create just the right calming environment to cap the evening. “I like this place,” he mused. “I always come here when I come to town. It’s such a good place. It’s special. It has a nice ambiance.” 2016-05-06 14:41 Kari Hamanaka

37 Phillips Bulks Up Specialist Team- Phillips announced a major expansion of its international team of art specialists with the addition of three seasoned specialists to its 20th century and contemporary art department, and one new addition to its Latin American art team. The news comes amid a continued shake-up in the auction business, including major shifts at Christie's and Sotheby's $50 million acquisition of power dealers Art Agency Partners, and an extensive buyout plan that is seeing the departure of some of its most high profile, long-serving talent. In response, Phillips has been taking the opportunity to bulk up its contemporary department, particularly with the help of CEO Ed Dolman, the former CEO of Christie's, who has been mining his relationships there to bring top talent to Phillips. Related: Exodus At Sotheby's Plunges Auctioneer Into Murky Waters Blake Koh, a former Sotheby's specialist who is well-known for his roster of high-profile California clients, has been named senior vice president and regional representative for the the West Coast. He will be based in Los Angeles. Jonathan Horwich, who was formerly at Bonhams and prior to that, spent 30 years at Christie's, will be senior director and specialist of 20th century and contemporary art, based in London. Kevie Yang, who joins Horwich as his associate vice president specialist in the 20th century and contemporary art department at Phillips, was formerly a specialist at Christie's in the the postwar and contemporary department and head of the afternoon sale. Finally, Valentina Garcia is joining as a specialist of Latin American art, and will be based in Miami. Garcia was formerly at New York's Elkon Gallery, where she was gallery manager and director for over a decade, serving as the gallery liason based in Miami. Garcia previously worked in Sotheby's Latin American art department. "This senior group of specialists will be at the forefront of initiatives in the coming year in pursuit of our resolve to serve our clients across multiple regions and collecting interests," said Jean- Paul Engelen, worldwide head of contemporary art. Follow artnet News on Facebook . 2016-05-06 14:39 Eileen Kinsella

38 The Fire Still Burns: Danièle Huillet and Jean-Marie Straub at MoMA Related Venues Museum of Modern Art (MoMA) At the opening of “Machorka Muff” (1963), the first film credited to Danièle Huillet and Jean- Marie Straub, a title card reads: “A metaphorical dream, not a story.” The beginning in a series of direct, polemical statements that the pair, who made films together until Huillet’s death in 2006, would frequently attach to their films, it also serves as an easily digestible and familiarly terse maxim for their body of work as a whole. But it’s also, rather unfortunately, why their films have been routinely overlooked by anyone outside the margins of cinema. Described as impenetrable and rigorous — a criticism that is only half-true, but one that the filmmakers, through public statements, did little to reverse — much of their work has screened only sporadically, in festivals and on the repertory circuit, if at all, especially in North America. “They are sui generis — there is no way in replicating the passion to the point of obsession that they devote to each of their films,” said Josh Siegel, a curator in the department of film at the Museum of Modern Art. Siegel organized a complete retrospective of their work at the museum, comprised of 46 films — including films they made together, work Straub has made since Huillet’s death, and a documentary about the pair by Pedro Costa — opening on May 6. Many years in the making, the series coincides with an exhibition at the Miguel Aberu Gallery, where you can find stills from many of their films along with fascinating ephemera, and the publication of two new books dedicated to their body of work. “The idea that somebody could agonize over the place of the camera as if it had the gravity of a moral decision is not something most artists are vexed by today.” In “Cézanne,” according to Richard I. Suchenski, the founder and director of the Center for Moving Image Arts and an assistant professor of film and electronic arts at Bard College, there “is an attempt to circle around the various meanings of ‘Cézanne’ to arrive at a fuller understanding of his practice, to cut through layers of interpretation and affirm bedrock truths of representation and perception that they identify as paradigmatic of his art.” Huillet and Straub attempt to cut through the layers of meaning, to “reconnect it, in the deepest possible way, with the natural world,” by revisiting some of landscapes Cézanne painted with their camera, most notably in two shots filmed at Aix-en-Provence that, according to Suchenski, “ask the viewer to consider the impact a gap of a century can make in one’s reading of a landscape.” This gap also creates a tension that is present in both the work of Huillet and Straub and Cézanne, found in the gap between different ways of looking and its transformation into art. “They also don’t suffer fools gladly,” Siegel added, “and I think they gravitate toward Cézanne because he is almost virulent in his opinions toward various painters.” This is clear in “A Visit to the Louvre,” a companion to their first film about the artist and whose words are taken from the chapter in Gasquet’s book that details a visit to the famous museum with the artist, and what the writer Sally Shafto has called a “catalogue of opinions.” He is critical of Jacques-Louis David, but almost fervent about the work of Paolo Veronese and Tintoretto. And many of Cézanne’s opinions could double as those of Huillet and Straub, as when he says: “One paints bodies; and when the bodies are well painted, damn it all! The soul, if there is one, of every part of the body blazes out and shines through!” “What I think Cézanne’s getting at, and it’s something [Huillet and Straub] gravitate toward, is that there is blood in the veins of certain painters just as there is blood in the veins of certain volcanic rock,” Siegel said. “The sense of life and vitality in certain works that they find otherwise lacking in others, something static or inert.” Or, as Straub once said, expounding on a famous quote from Cézanne about the landscape of Mont Saint-Victoire: “Films have no interest unless one finds something that burns somewhere within the shot.” And the fire continues to burn. 2016-05-06 14:36 Craig Hubert

39 Freud Would Have Analyzed This | GIF Six-Pack Katie Hammett As the preeminent headshrinker of modern psychology, Sigmund Freud's name is synonymous with not just the study of the brain, but of human nature itself. Freud's teachings are evident in all kinds of artwork, from the psychoses of Hitchcock characters, to the ideas explored by modern surrealist painters. Less discussed is the effect his work has had on the GIF art community, so for his birthday we've gone ahead and identified some of his most prevelant themes within the web's favorite loops. Some concepts, such as EYEBODEGA x LAZY MOM 's phallic bananas (a banana is never just a banana), are fairly straightforward. Others, like the superego demonstrated by Scorpion Dagger's breastfeeding mom, are a little bit more subtle. The majority of Freud's theories about the way the mind works, including the triumvirate of id, ego, and superego, have been largely dismantled. But he started a long tradition of looking at mental issues as problems to be explored and solved, rather than lost causes warranting detainment in a notoriously hellish sanitarium system. While this mentality has, in part, led to the perscription med frenzy plaguing many a generation, the monumental contributions of Freud to our current understandings of humanity are undeniable. Below, find work from Peekasso demonstrating the id, Big Blue Boo's ego, Yeezus x Pusheen channeling Freud's experiments with cocaine, Pierre Julien Fieux's haunting dreams, and a bonus lurking death wish by Clemens Reinecke. EYEBODEGA x LAZY MOM Peekasso Big Blue Boo Scorpion Dagger Yeezus x Pusheen Pierre-Julien Fieux BONUS: Clemens Reinecke See more Sigmund Freud GIFs on GIPHY . Related: Free Your Mind at Australian Surrealism Exhibition The Psychology of What Makes an Image "Horror" This Tumblr Will Psychoanalyze Your Recently Used Emojis Meet the GIF Artist Turning His Dreams into Cinemagraphs 2016-05-06 14:25 Beckett Mufson

40 10,000 Stacked Photos Create Insanely Detailed Insect Portraits Levon Biss. Orchid cuckoo bee. Image courtesy of Levon Biss British photographer Levon Biss ' macrophotography turns 10mm insects into massive 10' prints in new exhibition, Microsculpture, opening later this month at the Oxford University Museum of Natural History. The photos in the show feature specimens, 25 in total, from the museum's collection, magnified so that their microscopic bodies are able to be viewed in incredible detail. The photos, which range in size, are shown next to the much smaller insect specimens themselves. They were chosen from the collection for their interesting colors and shapes, the 'microsculptures' of the title referring to the contours and sculptural qualities of the insects' forms. Biss, who began photographing insects this way using specimens from his back yard, uses a 36 megapixel camera with a microscope lens ("10x microscope objective attached to it via a 200mm prime lens," he says ) to shoot the insects, lighting each section of the insect separately and tailoring the lighting to suit the specific segment. “I photograph the insect in approximately 30 different sections, depending on the size of the specimen," Biss explains. "Each section is lit differently with strobe lights to bring out the micro- sculptural beauty of that particular section of the body. For example, I will light and shoot just one antenna, then I will move on to the eye and the lighting set up will change entirely to suit the texture and contours of that part of the body. This process continues until I have covered the whole surface area of the insect.” Levon Biss. Splendid necked dung beetle. Image courtesy of Levon Biss Each picture in the show consists of around 8,000 to 10,000 individual photographs due to the very shallow depth of field of a microscope lens, with the camera "stacking" photos at different focal points, the distances of which are so small they're measured in microns. These are then processed through various techniques in Photoshop and flattened into a final high-resolution image. From beginning to end, each photo takes around two to three weeks. These result is not only stunning works of art but also photos that highlight the intricate evolutionary traits of these insects and the various ways the microstructures on their surface have allowed them to adapt, function, and thrive in their environments. "At high magnification, the surface of even the plainest looking beetle or fly is completely transformed as details of their microsculpture become visible: ridges, pits or engraved meshes all combine at different spatial scales in a breath-taking intricacy," notes Dr James Hogan, entomologist at Life Collections, Oxford University Museum of Natural History. "It is thought that these microscopic structures alter the properties of the insect’s surface in different ways, reflecting sunlight, shedding water, or trapping air. " Levon Biss. Flying saucer trench beetle. Image courtesy of Levon Biss Levon Biss. Ground beetle China. Image courtesy of Levon Biss Levon Biss. Marion flightless moth. Image courtesy of Levon Biss Levon Biss. Tiger beetle. Image courtesy of Levon Biss Levon Biss. Treehopper. Image courtesy of Levon Biss Levon Biss. Wasp mimic hoverfly. Image courtesy of Levon Biss You can learn more about how Biss created the photos in the show in the video below. Microsculpture – The Insect Portraiture of Levon Biss is on at the Oxford University Museum of Natural History, Oxford, UK, 27 May to 30 October 2016. You can learn about the exhibition and see zoomable images of the insects at the Microsculpture website. Related: 'Biophilia' Book Preserves Nature's Beauty in Mosaics and Mandalas Bugs Get Bejeweled into Crystal Critters Explore the Dangers of a Carnivorous Garden in This Gripping Biolapse 2016-05-06 13:30 Kevin Holmes

41 dominique coulon stacks montpellier school complex in france dominique coulon stacks montpellier school as an autonomous series of structures all images © eugeni pons french architect dominique coulon and his strasbourg-based team have completed a three- storey school in montpellier, composed as a series of stacked volumes. located on a relatively small, triangular plot of land, the compact ‘andré malraux’ school unit is part of the city’s ongoing regeneration. an initiative that seeks to connect montpellier’s expanding urban fabric with the mediterranean coastline. the ground floor contains a nursery, as well as a center for before and after-school activities. a primary school occupies the remaining two floors, with a playground positioned on the roof of the nursery structure below. older students can enter the first-floor classrooms directly from the playground, without having to pass through the nursery, or other areas of the building. the scheme is composed as a series of stacked volumes each volume is designed as an autonomous element, displaying a range of colors and materials. these components have then been stacked, with cantilevers providing sheltered areas below. the individual volumes have been designed according to their orientation and the level of light they require. open-ended classrooms ensure both natural light and ventilation throughout the school day. meanwhile, circulation routes receive natural illumination from the carefully positioned patios and voids. each volume is designed as an autonomous element, displaying a range of colors and materials the ground floor contains a nursery, as well as a center for before and after-school activities the color pink remains prevalent throughout the building’s interior and exterior the compact design is situated on a relatively small, triangular plot of land a playground is positioned on the roof of the nursery structure construction companies: structure, earthworks, sewerage networks and road works (BEC construction), special foundations, poles (franki fondations), metal structure (CIM massol), water proofing roofing (soprema), exterior joinery (mistral fenêtres), exterior isolation (iso therm habitat), metalworks (serrurerie delmas), exteriorworks (colas), green areas (pousse clanet), wood interior joinery (ducrot), plastering (société frontignanaise de plâtrerie), glued floors (SPC), tiled floors (art et technique du bâtiment), painting (entreprise languedoc chantier), elevator (CFA compagnie française d’ascenseurs), electricity (SPIE sud ouest), heating, ventilation, plombing and drainage (temperia) 2016-05-06 13:25 Philip Stevens

42 paulo mendes da rocha awarded venice architecture biennale's golden lion lifetime achievement brazilian architect paulo mendes da rocha will be awarded the golden lion for lifetime achievement at the venice architecture biennale 2016. the decision was made by the board of directors of la biennale chaired by paolo baratta, upon recommendation of curator alejandro aravena. ‘the extraordinary quality of its architecture that resides in durability. many decades after their construction all his projects stand the test of time, both stylistically and physically. this consistency, which may result from its ideological integrity and its ability in the structural field, paulo mendes da rocha makes a nonconformist and provocative at the same time a realist buff. his fields of interest go beyond architecture in the areas of policy, social, geographical, historical and technical . the role that he has played for many generations of architects in brazil, in latin america and everywhere else is that of a person who can join shared and collective enterprises, and also attract others to fight for the cause of improving the built environment.’ ‘cais das artes’ by metro arquitetos in collaboration with paulo mendes da rocha image © leonardo finotti the acknowledgment will be awarded to paulo mendes da rocha on saturday, may 28th 2016 at ca’ giustinian — the headquarters of the biennale — during the awards ceremony and inauguration of the 15th exhibition, which will open to the public at 10am the same day. 2016-05-06 13:21 Natasha Kwok

43 Brutalist Architecture Informs a Series of Sound Sculptures Screencaps via A series of monolithic blocks of concrete and glass comprise the Ekbatan apartment complex in Tehran, Iran. There, the current Wellington- based sound artist, Mo H. Zareei, grew up adoring the “gray Lego-like giants. " They were Brutalist structures, as Zareei explains on Streaming Museum , but he loved their "strict geometries," and the "poetry," he says, of their parallel lines. Most people, especially artists, aren’t so kind to Brutalist architecture, which has come to symbolize totalitarian bureaucracy. But for the last several years, Zareei has been working on combining his interest in Brutalist architecture with sound sculpture and noise. For him, brutalism intersects the type of sound art and music that has influenced him, particularly in his recent series of 10 sound sculptures pieces, titled machine brut(e). Zareei showcases the sound art in a new video, which features three sound sculptures— Rasper , Rippler and Mutor —playing ten distinct installation pieces. “Each piece incorporates a different combination of the sound-sculptures and is composed as a one or two-bar long pattern that goes through an endless loop,” Zareei tells The Creators Project. “Strictly metric and pulse-based rhythms are used as a sonic metaphor for the grid- based and geometric structure of Brutalist architecture. By using nonstop repetitions of one or two-bar long loops, the piece draws attention to the very essence of its constituent sonic material and every detail and nuance of their noise, in parallel to the validation of material in Brutalist architecture.” Zareei’s goal with the constant repetition is to create a “temporal monolithism” that matches Brutalism’s block-like aesthetics. The repetition is also designed to produce an “instant audible structure” that links to the imagery of Brutalist buildings. “The physical placement and distribution of the sound-sculptures in each composition has also been taken into account meticulously, abiding by the strict geometries and highly ordered visual aesthetic of Brutalism,” Zareei adds. “Therefore, each piece is developed not only as a work of sound art, but also a sculptural composition. To further highlight the visual Brutalist aesthetic, a block of raw concrete (béton brut) is emblematically featured in all ten compositions.” While the sounds heard in the ten audiovisual pieces might at first seem merely noisy and harsh, there is a hypnotic allure and a poetry to them. Much like the music of IDM masters Autechre, there isn’t simply beauty in the repetition and geometry of the audio, but in the tonal qualities of the sound. So, much like Brutalist architecture, there is a depth to Zareei’s machine brut(e) that isn’t immediately accessible, but most certainly there. Click here to see more of Mo H. Zareei’s work. Related: Springs and Coils Comprise a Handmade Analog Beatmaker Berlin's Most Notorious Club Gets an Acoustic-Architectural Installation Worship at Genesis Breyer P-Orridge's Cut-Up Altar 2016-05-06 13:15 DJ Pangburn

44 jasper morrison unveils first kitchen design with 'LEPIC' for schiffini jasper morrison unveils first kitchen design with 'LEPIC' for schiffini jasper morrison unveils first kitchen design with ‘LEPIC’ for schiffini italian kitchen producer schiffini has showcased a new collection designed by jasper morrison named ‘LEPIC’. the kitchen system is an exercise in detail and finishes, seen through the broad range of different materials and compositions that can be explored. the versatility can be identified in its capacity to be contextualized in different environments inspired by various cultures which are very different from each other but united through the project’s ambiance. LEPIC is the first kitchen designed by jasper morrison displayed during milan design week, the three kitchen compositions harmoniously mix materials such as the fenix laminate and stainless steel, alongside warm nordic woods such as douglas fir and natural oak. additionally, the styling and presentation of the kitchens symbolically represent three cities: milan, tokyo and stockholm – all tied to morrision’s experiences with the locations. LEPIC: ‘from epicurus who believed that pleasure is the greatest good, but the way to attain such pleasure is to live modestly and to gain knowledge of the workings of the world and the limits of one’s desires.’ 2016-05-06 13:01 Shuhei Senda

45 90s Art Has a #Throwback Moment at MoCA Installation view of Don't Look Back: The 1990s at MOCA, March 12–July 11, 2016 at The Geffen Contemporary at MOCA, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Everything about 2016 right now feels a lot like the 1990s. In politics, the Clintons have returned to center-stage, promising 90s-era posterity. On television, a slew of programs— American Crime Story: The People v. O. J. Simpson , HBO’s Confirmation ; Frasier is streaming on Netflix, etc.—have taken audiences back to experience some of the decade’s highs and lows. But what was art like in the 1990s? Look no further than The Geffen Contemporary at The Museum of Contemporary Art Los Angeles. Its exhibition, Don’t Look Back: The 1990s at MOCA , is a diverse survey of art created during the last decade of the 20th century. Installation view of Don't Look Back: The 1990s at MOCA, March 12–July 11, 2016 at The Geffen Contemporary at MOCA, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest All of the art featured in The 1990s at MOCA comes from the museum’s collection. “Even though collections are built slowly, they are subject to the trends of the moment,” states the exhibition’s wall text written by the show’s curator Helen Molesworth. “Indeed, museum collections are one of the important ways western societies tell history. As I acquainted myself with MOCA’s collection, I became curious what stories it might tell about the relatively recent past.” Molesworth also points out, “it is interesting to note which of these trends and events are reflected in MOCA’s collection and which are not.” Installation view of Don't Look Back: The 1990s at MOCA, March 12–July 11, 2016 at The Geffen Contemporary at MOCA, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest The exhibition seems to tell many tales about the concerns that influenced art locally, countrywide, and internationally. The show features didactic, seminal, and obscure artworks by Catherine Opie, Jack Pierson, Cady Noland, Kori Newkirk, and Felix Gonzalez-Torres. It is divided into six themes—Installation; The Outmoded; Noir America; Place and Identity; Touch, Intimacy, and Queerness; and Space, Place, and Scale—that explore the ways in which the economy, sexuality, race, politics, place, and the beginning of internet transformed the 90s. The exhibition features more than a hundred objects and covers everything from the mainstream early 90s culture wars, to the regional specifics that influenced artists’ practices during that period. Installation view of Don't Look Back: The 1990s at MOCA, March 12–July 11, 2016 at The Geffen Contemporary at MOCA, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Do-Ho Suh’s 1999 Seoul Home/L. A. Home/New York Home/ Baltimore Home/London Home/ Seattle Home , a silk and metal armature frame house suspended in the air, evokes the prevailing feeling of the decade: it speaks to the discomfort and displacement that accompanied the intrepid era. It also evokes the newness and renegotiation of power that came with the technological shifts and rise of women in politics. The work also embodies the idea that, no matter where the 90s left society, there was a yearning for safety, security, and ultimately, the remaking of time and place into home. The art exhibited, like Do-Ho Suh’s installation, is ultimately triumphant. It shows artists who are seeking to resolve visually the spirit and concern of that dynamic decade. Installation view of Don't Look Back: The 1990s at MOCA, March 12–July 11, 2016 at The Geffen Contemporary at MOCA, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Don’t Look Back: The 1990s at MOCA continues through July 11. For more information, click here. Related: Intimate 'Storylines' Go on Display at the Guggenheim A Sound Installation Makes it Rain Without Water A New Art Show Tracks Queer Life in Everyday Portraits 2016-05-06 13:00 Antwaun Sargent

46 Here's Visual Proof That Sleep Deprivation Feels Like Hell Images courtesy the artist Insomnia is one thing. Sleep deprivation is quite another. And when the days of sleep deprivation pile on top of each other, and anxiety mounts, it produces a very surreal hallucinatory state. I underwent roughly a week’s worth of it once, and my sense of time and space collapsed, as did my ability to even process the garden variety reality we all take for granted. Filmmaker Kevin McGloughlin , who regularly bends time and space in his videos, is now exploring this subject in a series of experimental self-initiated works he is calling Cathemeral. The first entry, Tram Stop , features an anxiety-producing oscillations between day and night time, as seen from the back of a tram in Poznan, Poland. As he explains, the work creates a visualization of the restlessness and confusion brought on by anxiety and sleep deprivation. “This video was shot from the back of a tram on a quiet Sunday evening [and] Sunday night,” McGloughlin explains. “The video and audio all come from the original footage shot.” “The day time footage remains entirely in real-time (both video and audio),” he adds. “Though due to the fact that the trams were travelling at different speeds, the night time footage is time remapped to match the day time footage, thus affecting the audio to become distorted in parts. There is no animation in this video whatsoever.” The video contains an extreme amount of time variations. Much of McGloughlin’s work involved stabilizing and adjusting the scale of the footage, skewing and stretching to match the underlying video as needed. “The audio was an afterthought which I hadn't planned for,” McGloughlin says. “It seems to add an extra dimension but in no way was it intended to be melodic. Funnily enough, in parts it does seem a little musical.” McGloughlin says Tram Stop is also inspired by his twin brother, the artist Páraic McGloughlin, who has been working on a moving image project wherein he photographs his travels down a country road throughout the year’s seasons. Sounds quite bucolic next to the visual and aural stresses of Tram Stop. Click here to see more of Kevin McGloughlin’s work. Related: These Kaleidoscopic Hyperlapse Effects Were Created In-Camera Digi-Cut Animation, Psychedelics, and Hot Chip’s Alexis Taylor Bokeh Timelapse Music Video Takes You on a Night Drive in Warp Speed 2016-05-06 12:30 DJ Pangburn

47 de architekten cie builds sustainable swimming pool complex in amsterdam located in amsterdam north and designed by local-based practice de architekten cie, the ‘noorderparkbad’ swimming pool is a free- standing building with an airy appearance that invites the public to step inside. by focusing on easing the transition between landscape and building, and breaking down the typically large scale of a pool accommodation, the ‘noorderparkbad’ is emphasized as a pavilion in the park. the softly shaped volumes and curved rain curtains are the mediators between building and park. two stacked volumes determine the shape of the building. by moving the upper volume to the rear, the building blends well with the scale of the park as well as the residential area. in addition, the setback enables the penetration of daylight deep into the building. the wavy rain curtain is the most striking element of the ‘noorderparkbad’. primarily an education element, it communicated how closely the swimming pool is connected to water. on a rainy day, the water flows like a waterfall trickling down the curtain and lets the visitor see how rainwater becomes bathing water. on sunny days, the curtain shimmers like a congealed cascade, while on wintry days, the ice crystals transform the building into an ice palace. also, the curtain theatrically marks the entrances to the pool: it’s pulled up and guides the visitor into the building. backside with the pools that open in the summertime the ‘noorderparkbad’ is the new public family pool for the north of amsterdam and will serve an important social function. the traditional theme of a bathhouse as a meeting place in the neighborhood is reflected in the atmosphere of the interior. intimate enclosed spaces alternate with high ceilings and skylights. the wooden rhomboid roof construction and finishes of floor, ceiling and wall in traditional materials lends the building a warm atmosphere. backside with the iron curtains that lead rainwater into gray water circuit the ambitions concerning a sustainable design for the ‘noorderparkbad’ are very high and already taken into account from the layout of the floor plan. acting like a warm blanket, the secondary functions are therefore wrapped around the three halls of the various pools, which are heated to high temperatures. only the south facing elevations of these halls have no climate buffer, allowing the sun to heat the space and visitors to enjoy the beautiful view over the park. the name of the building is sculptured in the brickwork inside three pools with different functions view to the outside pools section with the three pools lying in different heights the pool lies as a pavilion completely free within a park in amsterdam north project architects: branimir medić , pero puljiz project team: hans hammink , louis afonso , lars van hoften , paulos kinfu , rink alberda , theo martens client: gemeente amsterdam program: outside: sunbathing lawn, 25 meter pool, shallow pool with slide, toddler pool, parking area. installation advisor: deerns raadgevende ingenieurs, groningen acoustics advisor: lbpi sight, nieuwegein structural engineer: raadgevend ingenieursbureau van rossum, amsterdam date of commission: 2011 date of construction: 2013-2014 gross surface: 5.500 m² 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. 2016-05-06 12:21 www.designboom

48 Marseille Will Host Manifesta in 2020 Marseille. VIA WIKIPEDIA COMMONS The southern French city of Marseille will host the 13th edition of Manifesta, the traveling European contemporary art biennial, in 2020, the Art Newspaper reported today. The mayor of Marseille has approved funds totaling €627,000 (about $717,000) to pay for the right to hold the event, and Marseille will be contributing €2.4 million ($2.74 million) to the exhibition over the course of the next four years, which amounts to almost a third of the biennial’s budget. The article notes that this will be the first edition of Manifesta held in France. This year’s Manifesta is set to open in June in Zurich. The 2018 edition will take place in Palermo, Italy. 2016-05-06 11:56 Hannah Ghorashi

49 Cilla Black’s Lowry Paintings May Fetch $1.2 Million at Sotheby’s Related Venues Sotheby's Artists Laurence Stephen Lowry UK television personality Cilla Black’s three paintings by L. S. Lowry may fetch the equivalent of $1.2 million when they are sold at Sotheby’s in London. Black - described as a national celebrity and treasure by British newspapers when she died last year – was an admirer of Lowry, one of England’s best-loved artists. His “matchstick- men” style is shown in the trio of works for auction on June 13. They have a total estimate of £520,000 to £830,000 at hammer prices. Black, a pop star backed by the Beatles, went on to a successful television career which helped her art buying. She died suddenly at the age of 72 after a fall at her villa in Spain. She had been introduced to collecting by Brian Epstein, the Beatles manager, who showed her various artists’ works. She started to acquire them as money came flooding into her account. On such is Lowry’s “Family Group” from 1938. It has an estimate £300,000 to £500,000 and is a slice of the northern working-class life that Cilla and her manager-husband Bobby Willis had grown up with. Lowry did not paint from life, but this lifelike family conveys the problems of poverty and their steadfast desire to break free. “The Black Church” from 1964 is forecast to sell for £120,000 to £180,000. This painting was bought by Bobby for his wife’s 50 th birthday. He purchased it mainly for the title, fitting her stage name, and it was a surprise, later hanging in their living room for years. This is a trademark naïf image, with the childish spire surrounded by factory smokestacks and scurrying figures. It is recognizably a Lowry, and indeed could only be such. Black’s other Lowry, “The Spire,” from 1949 (estimate £100,000-£150,000) has meticulously- drawn though again imagined architecture. Its period figures are bent and may be fighting winter chill. The image recalls the dark overtones of his much earlier work and recalls the paintings of Adolphe Valette, who travelled from France to depict northenr English streets in similar ominous overtones. Sotheby’s specialist Simon Hucker said that Lowry drew the world known by Black, who was born Priscilla White. Black’s sons said in a statement released by the auction house that the couple only purchased pictures that they absolutely loved and related to. Each of the pictures showed family life and day-to-day scenes and the family lived with them accordingly. Their father had a good sense of appreciation and knew what his famous wife would like. They were married for 30 years until his death in 1999. The working-class culture Lowry showed in his works mirrored her own Liverpudlian background and which she deliberately never lost, right down to her catchphrases such as “All right, Chuck?” and “Lorra, lorra laughs.” 2016-05-06 11:43 Mark Beech

50 zaha hadid architects' masaryk railway station prague aiming to reinstate the central business district of prague and integrate the city’s bus and train systems, zaha hadid architects has proposed a dynamic scheme adjacent to the masaryk railway station. the existing brownfield site will be regenerated with a series of buildings that vary in scale and composition to be compatible with the city’s existing urban fabric. the resulting mixed-use development stitches together prague’s districts 1, 3 and 8, minimizing the impact of the elevated wilsonova highway which separates them. the unifying composition creates a sequence of buildings and interconnecting public spaces with the addition of a new public plaza created adjacent to the railway station. the design establishes a new central business district that integrates the city’s transport networks ‘in collaboration with our partners and the city, we have developed an urbanism for the site which draws inspiration from our analysis of the city and the site’s dynamic circulation networks, creating an architectural response that is sensitive to context, unifying in aspiration and contributes to the urban fabric of prague.’ – craig kiner, project associate, ZHA the project’s unifying composition creates a sequence of buildings and interconnecting public spaces displaying a layered façade, the vast design responds to the old town’s urbanism known as ‘the city of 100 spires’; establishing a dialogue with the city and anchoring the new public plaza at the station by dynamically transforming the project’s horizontal composition parallel with the railway lines to the vertical on the west façade facing the old town. the design offers the potential to further improve connectivity through the city with a new public space over the railway lines 2016-05-06 11:42 Natasha Kwok

51 Galerie Perrotin Paris Stages Heinz Mack Revival Exhibition Related Venues Galerie Perrotin Artists Heinz Mack Galerie Perrotin Paris has launched an ambitious and highly significant exhibition that attempts to revive German artist Heinz Mack from the history of abstract art and reestablish his presence on the French artistic scene, which according to Galerie Perrotin has diminished since the 1973 retrospective of Heinz Mack ’s work at the Musée d’Art moderne de la Ville de Paris. Curated by Matthieu Poirier, a Paris-based independent art historian, critic, and curator, “ Heinz Mack : Spectrum” brings together more than 70 works, including works that have never before been seen in public. The exhibition spans all formats, natures, and periods of Mack’s oeuvre, with the aim of documenting and tracing what Poirier describes as “the main outlines of a complex journey.” Born in 1931 in Lollar, Mack is best known for his contributions to op art, light art, and kinetic art. He attended the Academy of Arts Düsseldorf during the 1950s, earned a degree in philosophy at the University of Cologne in 1956, and in 1957 together with Otto Piene founded the ZERO movement, a “ground zero” for the development of new design principles and aesthetic ideas. The central theme of Mack’s work is light, which he explores through the creation of three and two dimensional works, including sculptures, paintings, drawings, India ink, pastels, graphics, photography and bibliophilic works. “My works only live when they have their light, the right light, because they are objects of light, instruments of light and an expression of lights energy,” he states. “From one period to another, Mack’s esthetic search has been a constant exploration – both systematic and sensual – of the lumino-chromatic spectrum and its perceptive thresholds,” says Poirier. “This immaterial goal took on a philosophical dimension for the artist, one that was paradoxically based on highly material means, and that used the raw simplicity of natural or manufactured materials.” 2016-05-06 11:28 Nicholas Forrest

52 ‘Dinosaurs Among Us’ at American Museum of Natural History, Selected by Mark Dion Oviraptorosaurs are cousins to T. rex , but closer cousins to modern birds. They are fairly small, birdlike dinosaurs, most with toothless beaks, wishbones, and skulls filled with air pockets. Some have even been found sitting on eggs, in the brooding posture characteristic of modern birds. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION Pictures at an Exhibition presents images of one notable show every weekday. This week’s shows are selected by artist Mark Dion. Read more about this week’s “Pictures” here. Today’s show: “Dinosaurs Among Us” is on view at the American Museum of Natural History in New York through Monday, January 2, 2017. The exhibition “highlights the unbroken line between the charismatic dinosaurs that dominated the planet for about 170 million years and modern birds,” according to a press release. Mark Dion writes: This exhibit coveys the amazingly positive news that dinosaurs are alive and well today, embodied by our glorious, earthly cohabitants: the birds. X-ray studies, including those done by Museum researchers, reveal that baby birds flap their tiny wings to help them climb steep slopes. The force generated by flapping pushes them forward as well as upward, improving traction as they climb. Non-bird dinosaurs might have done the same thing with their mini-wings before flight evolved. ASHLEY HEERS/BROWN UNIVERSITY XROMM FACILITY This remarkable fossil of an adult Velociraptor mongoliensis is missing only the end of its tail. This species is a member of the group called theropods, which also includes T. rex and living birds. ©AMNH/M. ELLISON These Khaan mckennai dinosaurs are similar to birds in many ways. While these animals are nearly identical, scientists suspect the specimen on the left is a male, based on the presence of large structures beneath its tail that have a triangular, spearheaded shape. Those structures are smaller in the animal on the right, and lack the triangular, or “chevron,” shape, suggesting that the larger structures could have supported the muscles used in a tail-feather display, much like those still put on by birds, including the sage grouse and peacock. ©AMNH/M. ELLISON This extraordinary fossil of a Byronosaurus nest, discovered in Mongolia, preserves a recently hatched animal atop the eggs of what would have been its nest mates. The eggs are not paired, suggesting the egg-layer had only one egg tube—the modern bird condition. The tiny animal is a troodontid, which is a group of small, feathered, non-bird dinosaurs with large brains. Had it hatched, this remarkable fossil embryo of an Oviraptorosaur would have grown into a type of theropod dinosaur. Its head is tucked toward its knees, a position found in embryos today. This dinosaur embryo, a cast of which is in the exhibition, is the first ever found in which the bones were still in place. It often goes by the nickname Baby Louie. ©AMNH/R. MICKENS This cast is of a remarkable fossil of an oviraptorid dinosaur, Citipati osmolskae , positioned over the center of its nest with forearms spread to protect its eggs. Today, many birds assume this same position when brooding their eggs. This fossil was discovered by Museum scientists in Mongolia’s Gobi Desert. ©AMNH/D. FINNIN The first Citipati osmolskae specimens were discovered by scientists from the American Museum of Natural History and the Mongolian Academy of Sciences in 1993 at Ukhaa Tolgod, Mongolia. In traditional Himalayan Buddhism, Citipati are the dancing skeletons that guard funeral pyres. The name osmolskae honors Halszka Osmólska, a Polish paleontologist who specialized in dinosaurs and was an explorer of the Gobi Desert. ©AMNH/R. MICKENS When Archaeopteryx was described in 1861, it caused a sensation. With wings and feathers, it was considered the first bird, although now scientists don’t think it could fly that well. But unlike modern birds, it also had teeth and a bony tail. Discovered not long after Charles Darwin proposed the theory of evolution by means of natural selection, Archaeopteryx provided an example of evolution in action—a fossil that showed the transition between non-avian dinosaurs and birds. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION This bizarre, birdlike dinosaur, called Microraptor gui , has feathers on both its front and back limbs. And those rear leg feathers weren’t just decorative; they show adaptations for flight. But could this creature really fly? Probably not far under its own power. But it might have glided down from trees, perhaps even flapping its front limbs. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION This giant, flightless bird— Gastornis gigantea —would have been an intimidating opponent. It’s even bigger than a Velociraptor, its not-so-distant relative. But while it might have looked frightening, scientists now think this extinct bird was actually a vegetarian related to ducks and geese. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION Khaan mckennai belonged to the group known as oviraptorids: fairly small, birdlike dinosaurs, most with toothless beaks, wishbones, and skulls filled with air pockets. Some have even been found sitting on eggs, in the brooding posture characteristic of modern birds. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION Byronosaurus was a tiny animal belonging to the troodontids, a group of small, feathered, non- bird dinosaurs with large brains. It lived in the Late Cretaceous, about 80 million years ago. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION Oviraptorosaurs are cousins to T. rex , but closer cousins to modern birds. They are fairly small, birdlike dinosaurs, most with toothless beaks, wishbones, and skulls filled with air pockets. Some have even been found sitting on eggs, in the brooding posture characteristic of modern birds. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION Yutyrannus huali , which means “beautiful feathered tyrant,” weighed 1.5 tons and was a fearsome predator like its relative T. rex. It also sported a shaggy coat of filaments called “proto-feathers.” It was discovered in northeastern China in 2012. ©AMNH/R. MICKENS Confuciusornis sanctus is considered a bird, not just a birdlike dinosaur. Instead of dinosaur teeth, it has a beak. And instead of a long, bony tail, it has a short, feathered tail. Yet it probably couldn’t fly as well as modern birds, because its breastbone could not support strong wing muscles. Skeletal features like these continued to evolve after birds first appeared. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION Lithornis is a close relative of ostriches and emus, but it could fly. It was once thought that large, flightless birds like ostriches were a separate evolutionary group from flying birds. But in fact, all birds alive today—even ostriches, emus, and other hefty ground-dwellers—evolved from smaller, flying birds. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION This dinosaur, Juravenator starki , is closely related to other dinosaurs that are completely covered in feathers, but Juravenator has a mix of feathers and scales. Different dinosaur species almost certainly had variable patterns of feathering, just like living birds: think of a flamingo’s legs or a vulture’s head, which have no feathers. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION The feathered dinosaur Sinornithosaurus millennii had feathers similar to those of modern birds —even though the animal could not fly. This species was discovered by Chinese and American Museum of Natural History scientists. ©AMNH/R. MICKENS This small, horned dinosaur is Psittacosaurus , meaning “parrot lizard.” Scientists initially named this relative of Triceratops for its parrotlike beak; later they found evidence that it had feathery fibers along its tail. These simple fibers are an early stage of feather evolution and have been found on many dinosaurs. ©AMNH/C. CHESEK The name of the theropod dinosaur Struthiomimus altus means “ostrich mimic,” and its long hind limbs do resemble those of a living ostrich. It also had a toothless beak, like modern birds. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION The name of the animal represented by this model, Mei long , means “soundly sleeping dragon,” and the little animal was either covered by an ash fall as it slept or poisoned by toxic gases from a nearby volcano. Fossils preserved in a life pose are rare, and this one looks very similar to that of a sleeping bird. ©AMNH/R. MICKENS Dating back 210 million years, Effigia okeeffeae isn’t a dinosaur—it is an archosaur more closely related to crocodiles. Still, scientists think this species, like all archosaurs, had much of the genetic toolkit for producing feathers. That’s because scales and feathers originate from the same type of thickened cells in a developing embryo. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION Gigantoraptor is one of the largest oviraptorosaurs ever found. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION This feathered dinosaur, Anchiornis huxleyi , which lived in what’s now China about 161 million years ago, embodies the gradual transition from non-avian dinosaurs to birds. Its skeleton wasn’t built for powerful flapping, but its feathered limbs could have provided enough lift to run or jump up to high perches, and flap or glide back down again. ZHAO CHUANG/COURTESY PEKING NATURAL SCIENCE ORGANIZATION 2016-05-06 11:00 The Editors

53 Steven Mnuchin To Be Trump's Money Man Donald Trump's rise to be inevitable Republican nominee for President of the United States has united broad swaths of public opinion in dismay and revulsion—up to and including the chairman of his own party, Paul Ryan, who publicly stated that he is “not ready" to back the reality TV show star. Not so for Steven Mnuchin, the son of well- known art dealer Robert Mnuchin and the scion of one of art's most powerful families. It was announced yesterday to great fanfare that Mnuchin will be Trump's new campaign finance chair, helping move him from a "self-financed" campaign to one that taps broader layers of money. Mnuchin is currently the CEO of Dune Capital Management, and formerly oversaw mortgage- backed securities at Goldman Sachs, "a line of business," the LA Times dryly remarks , "that drove the world economy into crisis in 2008. " He also has ties to the film industry. He is listed as executive producer for films including Our Brand Is Crisis , Mad Max: Fury Road , American Sniper , and The Lego Movie. For art watchers, the Mnuchin name is also somewhat mythical, since his father runs one of New York's most storied galleries. His eponymous Upper East Side space currently hosts a much- loved, critically acclaimed show of reclusive African-American conceptualist David Hammons. Here's the Wall Street Journal , explaining in 2009 the world the younger Mnuchin inhabits: Though no longer, it seems , on the Whitney board, Steven continues as a prominent art patron. He currently sits on the board of LA MOCA, a position of honor that puts him in the company of art greats like Mark Bradford, Barbara Kruger , and Catherine Opie, as well as fellow art- collecting titans of industry like hedge fund kingpin Steven A. Cohen and Ukrainian billionaire Victor Pinchuk. Those are connections, presumably, Mnuchin will bring to bear in his quest to bring us a Trump presidency. "Mnuchin said he had no experience raising money for a political campaign, but a history of doing so as part of his work on charitable boards," the LA Times reported. “Steven is a professional at the highest level with an extensive and very successful financial background," Donald Trump stated in the press release announcing the appointment. “He brings unprecedented experience and expertise to a fundraising operation that will benefit the Republican Party and ultimately defeat Hillary Clinton. " Previously, Steven Mnuchin had been a donor to Hillary Clinton, both for her Senate campaign and for her 2008 presidential run. 2016-05-06 10:32 Ben Davis

54 Tom Sachs Is Proud to Work With Jeffrey Deitch “I called him yesterday because I was having meltdown about pedestals," Tom Sachs said about Jeffrey Deitch. “It was 11th- hour formal concerns. " These concerns were related to “Nuggets," Sachs's show that opened Thursday night at Deitch's gallery space at 76 Grand Street. And though this is the first solo show of Sachs's work at that gallery, Sachs and Deitch are no strangers. “Jeffrey and I have been friends for 20 years," Sachs told artnet News. “We've done a little bit of work together but we've never found the right time for either of us. It's never lined up, for external reasons. And the timing was right. " Sachs and I were sitting in the Brooklyn Museum's café last week discussing the Deitch gallery show and two other current shows: “ Boombox Retrospective: 1999-2016 ," which runs through August 14 at that museum, and “ Tea Ceremony " which runs through July 24 at the Noguchi Museum. In his first-person announcement about the Sachs show ( a compelling read in its own right ), Deitch was effusive about the artist and explained one of the artist's early career shenanigans. “Tom amused himself by setting up a contest between three art dealers who were keen to show his work, Angela Westwater, Mary Boone, and myself," wrote Deitch. “He even published a zine about the ‘competition.'" Sachs is equally admiring of Deitch. “He's got that rare combination of being interested in business and making things happen," he said, “but also being very interested in art ideas and being enthusiastic about them. " After all these years, why did Sachs choose to show with Deitch? And why now? “I really feel like Jeffrey's in the top two or three most important people in the art world," said Sachs. In addition to Deitch, Sachs works with Sperone Westwater and Gagosian in New York, and in Europe he works exclusively with Thaddaeus Ropac. When asked which was his main New York gallery, he said, "They are different people for different things. " He added, "Right now, this show is all about Deitch. " He did, however, express an interest in working with only one gallery, but said it hasn't panned out that way. "Ever since Tom Healy and Paul Morris [of Morris-Healy Gallery in Chelsea ] closed their doors," he said, "I've never had, like, one person. " The title of the Deitch show originates in the size of the sculptures themselves—works that are "no bigger than a breadbox," per Sachs. And all but two of the dozen artworks on view were created for this exhibition, of which we were given a sneak peek earlier this week. In his announcement, Deitch singled out as his favorite work in the show the photocopy machine Sachs has recreated in plywood, which is the primary material used to create all the works on view. Another standout in the show is the vintage Arriflex film camera Sachs has deftly fabricated out of wood and a 1970s "Fat Albert and the Cosby Kids" lunchbox. In seeing the "Nuggets" exhibit and remembering Deitch's comment that Sachs's works are made with a combination of "industrial rigor and hand-made artistry that have become his trademark," it's hard not to think of the Metropolitan Museum of Art's new exhibition “ Manus x Machina" at the Costume Institute, which mines some of the same terrain but in the field of fashion. Back to that 11th-hour meltdown, Sachs says that he and Deitch both hate walking into a sculpture exhibition and seeing “a big room of white pedestals," especially when the pedestals are bigger than the works themselves. “It's a thing we just have to suck up and deal with in a museum but that's why so many artists now put sculptures on the ground," Sachs said. "Or someone like Brancusi made the pedestals. " His Brancusi reference isn't a casual one. For the Deitch show, Sachs has re-made in plywood the Brancusi masterpiece Le Coq. A version of Brancusi's work was, as early as 1924, shown in walnut, but it is best known for the bronze and marble iterations done in the 1930s. (Apparently, Sachs is such a fan of the Romanian-French sculptor that the doorbell to Sachs's studio is marked "Brancusi. ") Ultimately, it seems Deitch mitigated the artist's concerns about the pedestals. They're all made in plywood and have the same rough-hewn quality—with their seams and screws showing—as Sachs's sculptures. Sachs's show is in a space of the former Deitch Projects (the gallery was housed in two locations, one on Grand Street and the other at 18 Wooster Street, which is currently being leased to the Swiss Institute). Deitch Projects closed in 2010 when Deitch joined the Los Angeles' Museum of Contemporary Art. For Sachs, the Deitch space is a dream come true. “When I first moved to New York, I went to every gallery and thought that was the most beautiful commercial exhibition space in the whole city," Sachs says. “I still think that gallery is a gem and I have never done a show there. " About his future with Deitch, and any potential representation by Deitch, Sachs said, “I'm happy that he's back in New York doing what he does best…. I don't know what will happen, but I'm proud to be part of this next chapter in Jeffrey's life. " 2016-05-06 10:31 Laura van

55 volkswagen celebrates 40 years of the golf GTI with three racing editions volkswagen celebrates 40 years of the golf GTI with three racing editions volkswagen celebrates 40 years of the golf GTI with three racing editions all images courtesy of volkswagen for 2016, volkswagen is celebrating 40 years of it’s iconic ‘golf GTI’ hatchback with three projects at the fan-organized lake wörthersee weekend. the star of the festival is the ‘golf GTI clubsport S’, whose 300 hp crushed the front-wheel drive record on the north loop of the nurburgring. also on hand is the ‘golf GTI TCR’ race car for the TCR international series and a one-of-kind 400 hp ‘golf GTI heartbeat’ designed by volkswage trainees from saxony. volkswagen will build 400 ‘golf GTI clubsport S’ in either red, white or black – which borrows the engine genes of the ‘golf GTI TCR’, with an extensively modified chassis. included in this exclusive model is a nurburgring setting where the driver can select different profiles – comfort, normal and race. the unique configuration switches the sound, engine and steering parameters for race tracks. the edition will come in three colors: white, red or black inside, the special edition has racing bucket seats that provide the necessary lateral support while flying over apexes. also on board are ‘GTI’ insignia with ‘alcantra’ trim with red accents and honeycomb decals on the dashboard and doors. the ‘golf GTI clubsport S’ design offers improvements in air supply to the engine, aerodynamics and downforce at the front. At the rear, the roof-edge spoiler that was aerodynamically perfected in the wind tunnel. there is a narrow air gap between the roof area, that is completely black, and the wing-like spoiler placed above it. The two-part roof edge spoiler extends upward above the roof line. at the sides, the spoiler merges into the black flaps on the boot lid. multi-part spoilers of this type are complex components that perfectly fulfill the aerodynamic tasks assigned to them: to significantly increase downforce on the rear axle. the result is a car that can go from 0-100 km/h in just 5.8 seconds. 12 trainees from volkswagen also heavily modified the ‘golf GTI’ with an 1,360 watt advanced sound system, a honeycomb design and heartbeat symbols for the 40th anniversary. in less than nine months, they managed to paint a silver metallic roof and front end covered in a contrasting dark grey foil. ‘GTI’ honeycombs in bright tornado red with contrasting dark and light grey provide further design accents on the bonnet, the closed roof and on the wings, marking the transition from dark to light. in addition, an individual high-gloss body kit and 20-inch wheels featuring wide tires on BBS aluminum rims with exclusive paintwork accentuate the car’s sporting presentation. 2016-05-06 10:30 Piotr Boruslawski

56 56 See and Spin #7: 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. “You Want a Description of Hell?”: OxyContin’s 12-Hour Problem (Harriet Ryan, Lisa Girion, Scott Glover / The Los Angeles Times ) The first in a five-part investigative series by The Los Angeles Times examines how OxyContin’s deception on 12 hours of pain relief has fueled $31 billion in revenue for its maker—and an epidemic of addiction and death for its users. How Facebook Plans to Take Over the World (Olivia Solon / The Guardian ) Facebook went from digital directory for college kids to communications behemoth—and it’s planning for prosperity with its global takeover. Madness (Eyal Press / The New Yorker ) In Florida prisons, mentally ill inmates have been tortured, driven to suicide, and killed by guards. The Hotelier / “Soft Animal” / Goodness (2016) Worcester, MA’s The Hotelier have a tough act to follow. The group’s sophomore LP, 2014’s Home, Like Noplace Is There, was an instantaneous, indisputable classic for its scene that brought the (ugh) “emo revival” to an almost unreachable peak. Alas, hype and expectation sustain , with Goodness’ second single “Soft Animal” showing The Hotelier only continuing to refine their genre-blending sound. Highlights abound, specifically in the ever-changing chorus, which mixes choir and gang vocals with piercing snare hits. The track is framed by Holden observing a deer outside of a cabin, and a revelation on the connections between his struggle with mortality and life’s enduring mysteries vis-à-vis the deer’s fight against hunters (Make me feel alive / Make me believe that there’s a god sometimes). As Holden hears the deer rustle away and tries to ignore its likely demise, it’s the timeless understanding that sometimes the smallest moments loom the largest. Radiohead / “Burn the Witch” / Burn the Witch (2016) It’s been a peculiar and exciting week for Radiohead fans. First, UK fans received eerie leaflets in the mail which included the phrase “we know where you live.” Then the band attempted to erase itself from the internet. And then came (at long last) the release of the “Burn the Witch,” the band’s first piece of music since 2011’s The King of Limbs. Both the track and its video are disarming in their duality. The claymation video recalls the gee whiz laughs of Wallace & Gromit from the outset, but instead acts as a retelling of The Wicker Man —complete with the infamously morbid ending—that the creator claims may be an analogy for the refugee crisis taking place in Europe and the Middle East. Sonically, Thom Yorke’s falsetto is angelic as usual, but its encased in brooding, pulsing orchestral swells that play off the song’s dark lyrics to create a perfectly unnerving listen. So yeah, it’s safe to say that Radiohead’s definitely back. EDIT: And “This Week in Radiohead” gets crazier. The band dropped new song and video “Daydreaming” today, and announced that their new album will be released digitally this Sunday, May 8th. Local Natives / “Past Lives” / Past Lives (2016) Much like Radiohead, Los Angeles’ Local Natives have been relatively quiet since the release of 2013’s Hummingbird and the extensive touring and festival spots that followed. The band’s trademark lush harmonies permeate the track, with busy, kinetic drumming giving the yearning a sense of boundless energy. When the pleading “Save me from the prime of my life” comes in at around 2:40, the track departs for a blissful, soaring hyperspace with an extended breakdown. “The world is not static, it’s made new over and over again. But we tend to live the same patterns in a loop, loving the same way, wrestling the same demons, the same dynamics playing out around us again and again,” band member Taylor Rice said in a statement on the song. “Untangling every moment and decision that led us to where we are now can make fate feel concrete, inescapable. But our world is not fixed, it’s constantly reemerging, and we can change it into whatever we want.” 2016-05-06 10:26 realart.com

57 Julian Schnabel Returns to Pace Gallery Painter and filmmaker Julian Schnabel has left the stable of mega-dealer Larry Gagosian, and he's not afraid to burn the bridge on his way out. Schnabel announced his plans of leaving in a recent interview with the New York Times , stating that he wanted a deeper connection than the one he had with Gagosian. "I wanted to have a more human relationship with the person who was representing my work," said the artist. For an artist who recently mounted a joint-exhibition with his son Vito , personal relationships are evidently important. Schnabel is taking off and returning to the familiar arms of Pace Gallery , where he reportedly spent twenty years until jumping onto the Gagosian's ship in 2002. "Ultimately, it's about friendship," the artist told the Times. And ever faithful, Arne Glimcher, director of Pace, continued to collect Schnabel's artworks despite his departure. Pace, which boasts some ten locations worldwide, from New York to Beijing, represents major- league artists like Chuck Close , David Hockney , Robert Irwin, Agnes Martin , Louise Nevelson, and Kiki Smith. And with a new space in Palo Alto , the gallery is extending its reach. Notably, Schnabel isn't the only artist who claims to be scorned by Gagosian. Mike Kelley told Artillery Magazine in a 2011 interview that the dealer only keeps artists for as long as they make money. "Larry Gagosian, I know, doesn't care about my work…" Kelley said. "He's a businessman. It's like, you're there as long as he can make money off you. " However, with Damien Hirst making a grand return of his own to Gagosian's empire , we doubt the dealer is mourning this loss too much. Follow artnet News on Facebook. 2016-05-06 10:20 Rain Embuscado

58 Chance the Rapper Debuts ‘Blessings’ on ‘Tonight Show’ Chance the Rapper often saves the big stuff for late night shows. He premiered “Angels” on The Late Show With Stephen Colbert and performed “Somewhere in Paradise” on Saturday Night Live. Perhaps Chance’s biggest late-night reveal came during last night’s episode of The Tonight Show Starring Jimmy Fallon. After promising “ big cool things ” on Twitter, he let Fallon announce the release date for Chance 3 : May 13. He also premiered “Blessings,” another joyful number that falls in line with his prior singles. The new song features Jamila Woods’s soulful singing in the group, and gospel artist Byron Cage helps close the song in a style that’s not unlike Kirk Franklin in “Ultralight Beam.” Chance also brought Social Experiment buddy Donnie Trumpet and a backing gospel choir. Check out the rousing performance. And yeah — after a three-year wait , Chance 3 is only a week away. #Chance3 May 13 pic.twitter.com/tZBILQCVUK — Lil Chano From 79th (@chancetherapper) May 6, 2016 2016-05-06 09:44 Brian Josephs

59 Baccarat Crystal Shines in Bordeaux Showcase Baccarat Crystal Shines in Bordeaux Showcase All that glitters is not gold, and that’s all right if we are talking Baccarat, one of the world’s finest crystal manufacturers. When Baccarat is not the intended centerpiece, as a striking chandelier or an elegant vase at a dining table, the haute French house’s table service closely competes to outshine at any soirée. The exhibition “Baccarat: Legendary Crystal” at the Bernard Magrez Cultural Institute in Bordeaux, on show through September 27, glimpses at the manufacturer’s rise to becoming the crown jewel at some of the most distinguished tables. In 1764, Louis XV authorized the Bishop of Metz to open a glass factory in the Lorraine village of Baccarat. Over 250 years, Baccarat’s chandeliers and candelabras have come to light regal rooms, and its table service has adorned banquets of royalty and presidents. The small 18th-century Château Labottière is a natural jewel box to showcase some of Baccarat’s signature pieces, such as the 1841 Harcourt service. With a hexagonal foot and red crystal accent, the series was commissioned by King Louis-Philippe and holds the honor of the oldest service still in the catalogue ($575 a glass). Louis XVIII made the first royal Baccarat commission in 1823. A display of custom table service for three French kings reflects the personal characteristics of each monarch. For the obese gourmand Louis XVIII, there is masculine, tall and imposing tableware. Charles X’s crystal is curvy and elegant, befitting the ladies’ man, and the solid Harcourt includes a veritable chalice for the conservative, old school Louis-Philippe. A table set for a state dinner gives Franklin D. Roosevelt an unfussy glass emblazoned with the American flag and his initials. A queenly goblet stands for Isabelle of Spain, and Tsar Nicolas’s service is the most striking and extravagant of all, reaching skyward on a long, slender stem like a candlestick, or a scepter doubling as a glass. The exhibition also pays homage to designer Georges Chevalier who smoothed the edges of Baccarat into modernity over half a century and expanded the company’s offering beyond table service. Chevalier paved the way for today's collaborations with contemporary artists such as Marcel Wanders, whose chandelier tribute to the Sun King hangs over Jaime Hayon’s whimsical vases and Ettore Sottsass’s colorful architectural pieces. The five small rooms, each crowned by a Baccarat chandelier, are a dazzling feast but only give a limited view of the company’s evolution from glass to luxury crystal. For comprehensive insight on Baccarat’s history and its artisans’ savoir faire, crystal aficionados will have to venture to manufacturer’s château museum in Lorraine. 2016-05-06 09:32 Jake Cigainero

60 ‘My Work Can Make People Say Stupid Things’: A Talk With Richard Tuttle Richard Tuttle. PHOTO BY GARY MANKUS/COURTESY PACE GALLERY Bill Powers: You were telling me about your town house on Vandam Street. Richard Tuttle: Aaron Burr used to live on the corner. He actually left his house here and rowed across the Hudson River for his famous duel with Alexander Hamilton. The truth of it is that both Alexander Hamilton and Aaron Burr are relatives of mine. BP: That’s incredible. Somebody’s been on ancestry.com, huh? RT: My brother found out. There’s a book about the family. BP: Your house looks very much the way I imagine it might have originally. RT: I find a polarity when dealing with old houses between restoration and renovation. I’m very much of the restoration mindset. BP: I would think that an artist might naturally lean more toward renovation, you know, in the spirit of invention. RT: I personally have two sets of roots. I attach myself to the Betty Parsons Gallery, that generation of Abstract Expressionists. The other set of roots would be the concerns of my own generation. BP: Is Brice Marden considered part of your generation? RT: He’s more of a Minimalist. When people talk about the 1960s as a revolutionary period my question is always, “Where’s the bang?” Yes, there were riots on campus, but in the art world the change was so subtle. The Minimalists’ achievement was to give us form, to make the transition from space to form. Somebody like myself comes along and I saw my job to characterize form. BP: So then you would be defined as a Post-Minimalist? RT: I think I was part of a new historic cycle. In 1975–around when I had my controversial Whitney show–we switched from the experiential to the image. BP: Which makes sense given the emergence of the Pictures Generation. Can you give me another example? RT: Take someone like Agnes Martin, who made these grid paintings, and then she stopped. When she started painting again, it was different. The grid ones were about the experiential, the stripe ones were about image. Artists have their antennae up. BP: Artists can have a predictive power. Almost how some people use the term speculative fiction in place of science fiction? RT: If you really want to get it on, we can talk about speculative realism, which is taking over from the conceptual discussion. It’s very much object-oriented. Now speculation has always been a part of philosophy and realism has always been a part of the world, but no one ever thought to put them together. BP: Your show at the Whitney Museum is the one Marcia Tucker famously got fired over. RT: But if you look at what people were actually saying, they had something totally different in their minds. Like when Hilton Kramer said less has never been less. That’s not what it was about at all. My work can make people say stupid things and I’ve never liked that about it. There was a lot of confusion going on. I’ve always done things the wrong way: my work is meditative, it’s quiet, it doesn’t sell well. BP: What are you up to these days? RT: I have to give a lecture in Boulder next month, “In Praise of Islam.” I’ve done a series of lectures. The last one was “In Praise of Puritanism.” It’s at the Jack Kerouac School of Disembodied Poetics. It takes incredible research to stage these talks. BP: Can you give me a preview? RT: Well, one thing I find is how Western and Asian cultures are predominantly about the daytime. Correspondingly we are afraid of the night. When we put our kids to bed we say prayers over them. There’s a terrible fear of the night in Christianity and Buddhism and Judaism. On the other hand, Islam loves the night, maybe because it’s so hot in those countries during the day. If you read the Koran there are many revelations at night. I want people to temporarily suspend whatever issues they may have with Islam and just go for the good stuff. Look, when Islam is fused with other cultures it’s inspired some of the greatest feats of humanity: the Taj Mahal, for example. BP: Your daughter had a show at Jack Tilton gallery this year. What was that experience like for you? RT: You should look at our refrigerator; it’s covered with her reviews, announcements, and photographs. BP: Can we pinpoint other pivotal moments in American art to explain where we find ourselves now? RT: Since Jackson Pollock, New York art has been about one thing: recording movement makes space. And that space is a social space, a social space needed for the kind of democracy we’re trying to live in. Then if you look at something like the happenings of Allan Kaprow, the person inside that space actually became art. BP: How are people victimized by modernism? RT: It promises that you can have an evenly lit wall when the truth is that we see much better in half-light. Modernism wants the artwork to be in a restricted time and space, which is total crap. What’s the point? Art delivers its message over time. BP: Does nature hate a straight line? RT: Everybody operates as if there’s a straight line in front of them, even in language. It’s important to know that this line is an illusion, which is the essence of what Leonardo da Vinci was saying. The job of an artist is to contradict yourself. BP: Does your retrospective at Pace give you pause looking back? RT: Suddenly I find that I want people to see my work. I guess you could call that a position I’m taking. I feel like something good happens when people see my work. Richard Tuttle’s retrospective exhibition at Pace Gallery on West 25th Street, called “26,” opens today and runs until June 11. 2016-05-06 09:30 Bill Powers

61 Q&A: Ulay On His Upcoming New York Performance, Marina Abramovic, and That Infamous Moment at MoMA Related Artists Ulay Marina Abramovic The German artist Ulay will stage his first New York performance in 30 years this Saturday at Kustera Projects in Red Hook, Brooklyn. Ulay is best known for his 12-year partnership with Marina Abramovic , which ended sweetly in 1988 — with the couple walking from each end of the Great Wall of China and meeting in the middle for a final embrace — and more bitterly last year, with Ulay launching a lawsuit against Abramovic, claiming that she has cut him out of proceeds related to their joint works. But for this weekend, Ulay has found a new art partner in the Slovenian-born artist Jaša, who is creating a site-specific installation as part of their joint exhibition, “Watermark/Cutting Through the Clouds of Myth,” May 6-June 1, curated by Mitra Khorasheh. We spoke with Ulay about his plans for this landmark return, his touching 2010 reunion with Abramovic at the Museum of Modern Art, and the ongoing legal battle that has followed. Jaša is Slovenian and I spend pretty much most of my time in Ljubljana, the capital, where he was based. I had seen him performing and building installations and we got to know each other. Very recently for the last Biennale in Venice he was representing Slovenia, and he built an amazing installation where he and two performers performed for the entire seven months, every day. This was very impressive, of course. So we know each other from sharing the same city and sharing an interest in art — and the art scene is not very big there so we would see each other every day. He now lives in Brooklyn with Rosa Lux, the producer of the event at Kustera Projects. I was interested in water — I mean, who’s not? Everyone must be interested in water, of course. It must have been 2008 or 2009 that I started to pick up the issue of water due to the fact that I’d given up performance for some time. The body is the medium par excellence, I always say, and then I thought to substitute body with water because our bodies consist of 72 percent water, our brains are 90 percent water, and we’re living on the water planet called Earth, which is covered with 72 percent water. So water was for me a good substitute for the body. I began to invite international artists who had been working with water to contribute to a website called earthwatercatalogue.net. I think it’s still available, but I’ve been busy with my cancer ordeal for two years — but I’m good now and we will re-animate the site. Later on I did projects about water, “Waterfonie,” which comes from the words “water” and “telefonie” [or “telephone”]. I asked people to engage their cell phones to produce anything about water — it could be video, sound, or photograph, and then we would upload it on the site. Then the Willy Brandt center in Jerusalem invited me to do the “Waterfonie” project there. Jaša has been creating the site-specific installation at Kustera Projects and I haven’t seen it yet. This is not a collaboration, it’s a cooperation. The only thing we know is that his installation has to include the issue of water and my performance also includes water. It’s really an open-ended laboratorium where I emerge for a time with my performance within his installation. It’s not already made. When you look at a work of art in a gallery or museum it’s already made, but ours is a work in progress, so I don’t know yet what I’m going to do. He knows because in his part he creates the environment, so I will go and have a look now. It’s rather experimental — his intentions and mine are not really communicated, which I like. I don’t know. I first came to New York in 1970 when I was a Polaroid consultant and photographer, making Polaroid portraits of the city. Since then I’ve been coming nearly every year, but they refer to my last performance in New York as 1986 at the Brooklyn Museum. It just happened that I haven’t been invited. Then, later on, I stopped doing performance altogether and picked up experimental photography again. Whenever I was asked whether I will ever do performance again I always gave the same answer: “I’m not old enough.” Meaning, I don’t see any benefit to doing performance from a professional point of view, or to show what good shape you’re in. I like to grow old, to age; inability and aging is, for me, more important than doing superlative performances. Last year in January I did my first performance at the Stedelijk in Amsterdam. The fact is I started enjoying performance again. But my intention and what I enjoy has changed. I have been liberated from this. Legal issues are very painful and unfortunately it went in this direction. But the performance I did in Amsterdam last year indeed referred to the pink pages in my book [the blank squares Ulay used in lieu of images of the artists’ joint works, which Abramovic had prohibited]. It was a wonderful performance; it was funny. But indeed it had in the back of my head a critical attitude toward the reason why I had to pink out some of the pages. And then I did a performance in Los Angeles where I cut all the spines off of a cactus and then I embraced the cactus with my chest. But now it’s over. The pink period, I call it. I love pink, I’ve used pink for a long time — I had a website with pink and cards printed with pink. It came from a product called Oil of Olay — a beautiful pink blush. But the pink period is over. You’re not the only one. It was totally sporadic. I had an invitation as a guest of honor from the MoMA. I came from Amsterdam to attend the opening and the first thing when I came was to take some glimpses of the exhibition before I entered the atrium where M. A. was sitting at the table. It was just shortly after she started and there was a great artist [Tehching Hsieh] who had also been doing performance intensively — like being roped together with a woman for a year. As I walked there into the crowd, [Abramovic’s gallerist] Sean Kelly grabbed me by my arm and said, “Ulay, you’re next.” I was not prepared and of course it was absolutely thrilling. So the person got up and I walked there and sat opposite M. A. She didn’t expect me, I don’t think. When she saw me I broke the ice a little bit. The funny thing is, sometime maybe a year or so ago a group from Memphis called How I Became the Bomb made music to the video of us. I think the song is called “Ulay, Oh,” and it has 27 million clicks [on YouTube]. It’s maybe the most popular piece I’ve ever done in my life. But I would not call it a performance because that wasn’t my intention. I was the only person who had access to her during her sittings at the MoMA, and I saw her once or twice. I wanted to encourage her and to give some advice. As you know we have done a performance series of 90 days called “Nightsea Crossing,” in which we were sitting motionless, silent, fasting on opposite sides of a table, and she did the same performance, cutting the table in half. But after I haven’t seen her anymore. She has such an amazing career and she’s doing so well. What she’s doing now and what she has achieved was always her dream. She got there with a lot of effort, guts, charm, and charisma, and that’s fantastic. I’m different. I reminded her what we used to do, the exercises. The “Nightsea Crossing” pieces we did for one day, or sometimes 16 days, and we were keeping silent all the time, during the performance and after, and we did some exercises and meditation. We both had meditation training in Bulgaria to deal with things like pain, and we talked about this, and she did meditate to prepare herself for the next day. Nutrition is also very important because you sit there for seven hours, and what you do with peeing has to do with special nutrition, and how not to be bothered with human needs. I have on October 12 a huge solo show at the Schirn Kunsthalle in Frankfurt — my biggest solo show ever. It’s a little bit scary because I’m not exactly an exhibition artist. I will perform maybe twice or three times in Frankfurt. In the meantime I will run a workshop on the Greek island of Hydra with 80 international dancers and that will be a performance. And on May 12 there will be an opening of a solo show at my gallery in Brussels, but I will not perform. I’m not the kind of artist who takes performance out of the drawer. I have to grow towards performance, and when I’m ready and feel good, I will do it. 2016-05-06 09:19 Rachel Corbett

62 ibda design completes contemporary mosque in dubai ibda design completes contemporary mosque in dubai (above) the concept returns to a simpler design, less focused on the mosque as an icon, and more as a social space all images courtesy of ibda design designed dubai-based studio idba with the intention of capturing the historical premise of a mosque as a communal space for worship, ‘al warqa’a mosque’ is a structure that also functions as a gathering place for the community. with the proliferation of the iconic turkish central dome mosque typology in the UAE, the architects sought to return to a simpler design that is less focused on the mosque as an icon, and more as a social space. al warqa’a mosque echoes the spatial simplicity of prophet muhammad’s 7th- century house in medina, which is considered the first mosque in history. in what came to be known as the arab hypostyle typology, the original mosque structure was distinguished by an open courtyard surrounded by rooms supported by columns. the design approach behind this layout was influenced by an understanding of the mosque as a multifunctional space for the community to congregate and socialize in after prayer; in this way it is seen as an extension of its immediate environment. ibda’s integration of this concept in al warqa’a mosque can be seen in the seamless transition into the space from the outside; with no boundary wall defining the premises of the mosque, worshippers can enter the mosque from three different sides of the riwaq (hallway) surrounding the prayer hall. this increased accessibility creates an oasis-like effect that emphasizes the notion of the mosque as a communal space. defining access into the haram (holy space) through the sahn (courtyard) is designed to create a spatial shift that gradually takes worshippers from the busy street environment to the serene space of worship through a series of playful and inviting arches. the sahn also serves the functional purpose of allowing more space for people to pray during friday prayers or other high traffic seasons such as the holy month of ramadan and the two eids. seamless transition between outside and inside upon entering the sahn, worshippers are met with a striking minaret structure located at the corner of the courtyard. designed as a white free standing element that is adorned with patterns, the minaret becomes a unique amalgamation of minimalist and traditional influences. beyond the sahn, the interior of the mosque is an intimate, yet brightly lit space that is uninterrupted by columns – usually a facet of the larger mosques prevalent in the region. demarcated by a floating bridge that intersects the space, the women’s prayer hall is at once private and contained within the uniformity of the haram. the sensitive treatment of the women’s area is in contrast with many such spaces in other mosques in which the women’s prayer hall is segregated to a large degree, typically relegated to the rear mezzanine level or in closed rooms altogether. the bridge structure also insures that there is no sound obstruction or delay during congregational prayer times or khutbas (sermons). perimeter skylights reflect movement of the sun into the prayer space conceptually and spatially, the architects incorporated the theme of light both as a physical component and a spiritual element in the design of the mosque. an emphasis on natural light is created through a skylight that wraps around the entire space, producing a diffused effect that gives the interior an ethereal sense of brightness. light also plays another role. it serves to call attention to the movement of the sun as a catalyst in the changing prayer times, the constant motion becoming a visual reflection of their daily cycle. this concept of motion is additionally integrated into the pattern design in the mosque. based on an abstracted flower relief, an alternating pattern of openings on one side of the floating bridge creates an intricate play of light and shadow that further underlines the notion of movement and change in prayer times. the materiality and design of the al warqa’a mosque reflects a mindfulness to the locality of the structure. using saudi sandstone for the external façade, the mosque becomes an extension of the desert environment it is located in. the sandy outer façade contrasted with the stark white interior of the mosque reinforces the notion of the mosque as a sanctuary in the neighborhood – a type of retreat from the harsh elements of the material world. sahn serves as spillover space to accommodate more worshippers abstracted floral pattern envelopes the perimeter of the riwaq seamless transition between outside and inside 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. 2016-05-06 08:45 Lloyd Fontilla Total 62 articles. Created at 2016-05-07 06:04