VARAL Museum ofPossibilities DAILY TOUS LES JOURS DAILY TOUS LES JOURS / STOICISM /  YEARS OF GREEN BOX / NOLA / AT WORK: WAYNE COYNE SUMMER  CONTEMPORARY ARTS, PERFORMANCE, ANDTHOUGHT THE FRENCH 75

from Arnaud’s in New Orleans

In a shaker filled with ice, briefly shake 1½ ounces of cognac, 1 teaspoon lemon juice, and a ¼ teaspoon of simple syrup. Gently pour this into a chilled tulip glass, top with champagne and a lemon twist. SUMMER  O N T HE DA ILY FRENCH IMMERSION ON THE FRONT RANGE

IT SEEMS UNLIKELY that a Quebecois design group and a small-town American art

festival would want much to do with each other. But the artists known as Daily tous les

jours and the Green Box Arts Festival in Green Mountain Falls, Colorado, found out four

years ago that they were exactly what the other needed. BY RYAN STEADMAN

DAILY TOUS LES JOURS The Swings (2014) ARTDESK 01 n 2010, artists Mouna An- spaces, and I wanted to see how technol- draos and Melissa Mongiat ogy could be used in a way to connect co-founded the Montre- people.” al–based studio group with The Swings, an interactive artwork CONSIDERING TECHNOLOGY Ian odd French and English name comprised of ten light-and-sound pro- which translates to “daily everyday.” ducing swings—which premiered at AS A vehicle FOR SOCIAL Just a year before, Green Box Arts the Green Box Arts Festival in 2014— Festival began in the Rocky Moun- achieves exactly that. The swings are a change IS AN IMPORTANT The Swings (2014) tains with an eye toward interna- joyful experience out of synchronicity, Photograph by Cushy Creative tionally relevant installation art. but when people use them precisely in PART OF OUR APPROACH. Over the last eight years, Daily tous tandem, their rhythms create melodies les jours has honed its specialty act, through technology and cooperation, one that mirrors its founders’ artistic almost as if by magic. The experience strengths. Andraos’s focus has always is transcendent. been on using cutting-edge technology “The idea was to work between arts with help from scientist and biology for social change, while Mongiat, who and science to explore the concept of professor Luc-Alain Giraldeau and holds a master's degree in narrative envi- cooperation,” Andraos says. “It’s a game musician Radwan Ghazi-Moumneh. ronments, brings knowledge of partici- where, from the start, you need to adjust The piece was an unexpected hit in patory design to the interactive studio. to the actions of others.” Montreal’s popular entertainment “Considering technology as a vehicle The artwork came out of a similar district, Quartier des spectacles. for social change is an important part of piece from 2011 installed in Montreal, Andraos and Mongiat had already our approach,” Andraos says. “[Mongiat] 21 Balançoires (21 Swings). Daily tous les created many interactive games using was looking at participation in public jours created the swing installation light and sound technology, but they

TheCaption Swings (2014) Giant Sing Along (2011) Photograph courtesy of Daily tous les jour Photograph by Steve Dietz

02 ARTDESK SUMMER 

Score (2018) Courtesy of Daily tous les jours

were •oored by the popularity of 21 National Forest and Green Moun- American Ballet Theatre to outdoor Balançoires. For several years, the piece tain Falls, Colorado. installation works by well-known became a local springtime landmark. “It is a part of our mission to artists such as Spencer Finch and Andraos and Mongiat have pro- bring world-class art to our com- Tomás Saraceno. duced others works that embrace munity,” Keigwin says, “and [The Andraos and Mongiat chalk the audience participation, including Bloc Swings] was particularly interesting work’s popularity up to the rela- Jam, a building that produces music because it was so interactive and tionships that it creates. and colored lights at the command of engages the community in a play- “Wherever it goes, the project a passerby's cell phone directive. Giant ful and lighthearted way.” sparks connections and conversa- Sing Along is a –eld of microphones The Swings was such a big hit tions between people of all ages Mesa Musical Shadows (2016) that inspires auto-tuned singalongs; that the installation will be back and backgrounds,” Mongiat says. Photograph by David Drury Mesa Musical Shadows is an interactive by popular demand for the 2018 “At the Green Box Festival, we were courtyard piece in which participants’ festival. Celebrating its tenth surprised by how the swings also shadows trigger a variety of singing anniversary (see page 12 for more connected participants to their en- voices from di˜erent •oor tiles. on the –rst ten years), Green Box vironment, the astounding moun- Larry Keigwin, Christian Keesee, has since hosted a diverse and elite tains, taking the experience to a and Blake Keesee co-founded the group of arts productions, from magical, meditative level.” Green Box Arts Festival in 2009, hoping to “provide artists and visi- tors with an opportunity to nurture Daily tous les jours will participate in an ArtDesk Conversation on Saturday, June 30, 2018, the creative process and explore at the Green Box Arts Festival in Green Mountain Falls, Colorado. The Swings will be free and new artistic directions” within the open to the public from Thursday, June 28 to Saturday, September 22, 2018. dramatic natural setting of the Pike greenboxarts.org dailytouslesjours.com

Museum of Possibilities (2010) Photograph by Varial

ARTDESK 03 NECESSITIES

SUMMER 2018

NecessitiesWHAT TO SEE, WHAT TO READ, AND WHAT’S HAPPEN NG WHERE

KING SIZE ON VIEW NOW—The King's Mouth has taken over a portion of FLOAT bar + cafe at Meow Wolf’s House of Eternal Return in Santa Fe, New Mexico. Conceptualized and constructed by Wayne Coyne—better known as the lead singer for The Flaming Lips—the giant metallic sculpture of a king sits with a mouth agape, inviting visitors to crawl inside and immerse themselves in a fantastical light and music show. (Please see page 24 for Coyne’s artdesk.)

WAYNE COYNE Meow Wolf’s inaugural permanent installation, House of Eternal Kings Head (2018) Return, and the adjoining FLOAT bar + cafe are located at 1352 Ru­ na Photograph by Kate Russell, courtesy of Meow Wolf Circle in Santa Fe. Open daily, except Tuesdays. meowwolf.com

04 ARTDESK SUMMER 

THE EXPERIENCE is building and constantly altering a series AHHA / Tulsa, Oklahoma of explorable caves, creating an exuberant three-dimensional archive of black life in INSTALLATION South Central Los Angeles. As with the artist’s Tulsa is getting its own immersive art recent Hieroglyph Project, with Egyptian-like environment with THE EXPERIENCE, “a large- hieroglyphics that visitors could carve into scale, fully immersive art installation that invites blank walls, the sculptural caverns grandly participants to explore a fantastical, multimedia commemorate local stories and history. environment through sight, sound, movement, Through September 3. moca.org and touch,” on the second oor of the Hardesty Arts Center. The artists behind the multimedia HEAVENLY BODIES: Fashion and the art adventure are sculptor and movie-prop Catholic Imagination maker David Reed James, installation artist Metropolitan Museum of Art / New York, Laurie Keeley, €lmmaker Jeremy Lamberton, New York drawing and installation artist JP Morrison Lans, MEL CHIN: All Over the Place and painter and musician Daniel Sutli . Queens Museum / Queens, New York EXHIBITION Opens June 30. ahhatulsa.org The mitres, the silk stoles, the pope’s red SURVEY shoes—the Catholic Church has style. And that In preparation for this exhibition, the people pomp has, in turn, inuenced haute couture. of Flint, Michigan—where the water has been This exhibition is spread across two of the and Space movement, Mary Corse is €nally contaminated with lead since 2014—were Met’s Manhattan branches, the main museum getting her due. This €rst solo museum survey asked to send more than 90,000 water on FiŽh Avenue and the medieval gardens showcases the breadth of her career going back bottles to a textile manufacturer. Those and Gothic chapels of the Cloisters, uptown. to the 1960s, when she started experimenting bottles were then made into textiles for It contrasts medieval art with high fashion, with the qualities of light through reecting rain and swim gear, which became one of such as the gilt radiance of a Byzantine and refracting materials like plexiglass, several new interventions by Mel Chin in this processional cross with the ornamentation on ceramic tiles, and metallic akes. Visitors to exhibition that considers the environment a 1990s Versace evening dress, and features the Whitney may want to complement this and our socioeconomic systems. This survey, loans of papal robes and accessories, some on exhibition with a brief train ride up to Beacon, encompassing four decades of Chin’s career, view for the €rst time outside the Vatican. New York, where Dia: Beacon opened a focused includes an augmented-reality installation in Through October 8. metmuseum.org gallery on her paintings in May. Times Square, which simulates a ood around Through November 25. whitney.org the skeletal hull of a shipwreck, and a sound piece created from €eld recordings on the I WAS RAISED ON THE INTERNET ISABELLE DE BORCHGRAVE: New York subway. Museum of Contemporary Art Chicago / Fashioning Art from Paper Through August 12. queensmuseum.org Chicago, Illinois Oklahoma City Museum of Art / Oklahoma City, Oklahoma

SCULPTURE With paper and paint, Belgian artist Isabelle de Borchgrave sculpts tributes to historical fashion. This survey is the €rst to unite her four main collections: Papiers à la Mode, which contrasts HAPPENINGS the ru s of Elizabeth I with the simple elegance NEW AND NOW IN ART & DESIGN | BY ALLISON MEIER of Coco Chanel; the World of Mariano Fortuny, on twentieth-century Venice; Splendor of the Medici, on the ceremonial garb of Florence; and Les Ballets Russes, on the ballet company’s costume JASON MORAN EXHIBITION designs. Ka‘ans based on Silk Road textiles Walker Art Center / Minneapolis, Minnesota In a short amount of time, the internet has will join the assembly, but don’t be fooled by changed our daily lives, from our perception their tactile appearance: every single textile is a INSTALLATION of ourselves and others to how we understand trompe l’oeil of paper. At the 2015 Venice Biennale, artist Jason the world and communicate. This exhibition Through September 9. okcmoa.com Moran re-created architectural elements of two concentrates on 1998 to the present and what JEFFREY GIBSON: Like a Hammer shuttered Manhattan jazz venues—the Savoy it means to grow up and live with this digital HAROON MIRZA: stone circle Denver Art Museum / Denver, Colorado Ballroom and Three Deuces—and composed existence. Among the the hundred or so works Ballroom Marfa / Marfa, Texas the looping piano music playing in each space. from across media, including computer art EXHIBITION For his €rst museum show at the Walker, those and virtual-reality pieces, are several new INSTALLATION The oldest works in this exhibition are installations are on view, as is a new sculptural commissions. The DIS artist’s collective’s video For the next €ve years, on the night of the from 2011, but artist Je rey Gibson has commission inspired by a lost 1960s New York environment skewers the “edutainment” of TED, full moon, the grasslands east of Marfa will been proli€c in a short amount of time. jazz hub. Drawings and other media from his artist Porpentine Charity Heartscape’s video come alive with sound and light. Stone circle Mixing contemporary inuences with Native collaborations with artists like Glenn Ligon and game reects upon her online childhood, and by Haroon Mirza—recognized for his mystical American traditions—drawn from his Choctaw Theaster Gates contextualize his explorations of Jeremy Bailey’s project involves four Chicago experiments with technology—is Ballroom and Cherokee heritage—he paints abstract improvisation in sound and art. artists who pitch their interactive products and Marfa’s biggest public commission since forms on rawhide, adorns punching bags with Through August 26. walkerart.org services to a live audience. Elmgreen & Dragset built their perpetually beads, and creates vibrant kachina-like €gures June 23 to October 14. mcachicago.org closed Prada store in 2005. The circle of black with a counterculture edge. OŽen his themes CARY LEIBOWITZ: Museum Show boulders is inspired by megalith contractions are strength, community, and living in the Contemporary Arts Museum Houston / MARY CORSE: A Survey in Light like Stonehenge, with embedded LEDs and wake of colonialism. One tapestry is woven Houston, Texas Whitney Museum of American Art / New York, speakers powered by solar patterns and the with a quote from James Baldwin: “American New York adjacent “mother stone” responding during the history is longer, larger, more various, more SURVEY full moon. A series of events are planned at the beautiful, and more terrible than anything “I just got a pair of Gucci for Bergdorfs loafers SURVEY installation, drawing visitors out to the futuristic anyone has ever said about it.” for 50% o and I really do feel better,” reads one Long overlooked compared to her male experience with ancient ritual. Through August 12. denverartmuseum.org of Cary Leibowitz’s self-deprecating paintings. contemporaries in the West Coast Light Through 2023. ballroommarfa.org In scrawled text on canvas, as well as in VAIL DANCE FESTIVAL installations, multiples of objects like footballs Various Venues / Vail, Colorado labeled “Candyass Sissy,” and other ephemera, the New York artist draws on autobiography and DANCE simple materials to mix the high and low in art. The Vail Dance Festival is marking its thirtieth Organized by the Contemporary Jewish Museum anniversary with two weeks of celebrating in San Francisco, this is the €rst comprehensive collaboration. Stars like American Ballet Theatre career survey of his work, with more than 300 principal dancer Misty Copeland and Lil Buck of pieces dating from 1987 to the present. Memphis Jookin street-dance fame are joined by Through August 26. camh.org both emerging and established performers and choreographers, with appearances from Ballet LAUREN HALSEY: we still here, there Hispánico and the Alonzo King LINES Ballet. For Museum of Contemporary Art, Los Angeles a more intimate audience experience, take in a (MOCA) / Los Angeles, California rehearsal-style performance that will showcase new works that €nd connections between dance INSTALLATION and music, featuring a composition by Pulitzer In her labyrinthine installations, Los Angeles Prize winner Caroline Shaw with accompanying native Lauren Halsey uses architecture and choreography by Justin Peck of the New York an excess of found objects to celebrate City Ballet. working-class neighborhoods. Over her six- July 28 to August 11. vaildance.org month residency at MOCA Grand Avenue, she

ARTDESK 05 NECESSITIES ON VIEW NOW

CHIYOKO MYOSE Gi (2017)

CONNECTIVI TY CH YOKO MYOSE AT OKLAHOMA CONTEMPORARY BY ALL SON ME  ER locations, or cultures. Myose grew structures. Initially, she didn’t think accustomed hand movements.”The up in Wakayama, Japan, and in 1995 about the relevance between the exhibition will also feature a SUSPENDED LIKE A web spun by a moved to Wichita, Kansas, where material and living in the United chamber music performance colossal spider, Chiyoko Myose’s A she continues to live and work. States. As the pieces evolved, composed by Daniel Racer. Thread X (Meets) A Thread is a tactile “One aspect of her work is about she saw a resonance in making Pieces of Thread premiered at archive of human encounters. Since her personal feelings of being an these networks of thread, where her 2017 solo show at CityArts in the installation debuted in 2013, outsider, leaving the home and the connections are sometimes Wichita and responds to the links it has toured eight art spaces in family and culture she grew up with securely knotted and sometimes and tangles in the work. Sojourning has Kansas, Missouri, and Japan, where and journeying to someplace new,” frayed, just as our relationships a debut of its own: an introspective people have added knots to its says Jennifer Scanlan, curatorial and form and fall apart. space where origami cranes shaped lattice of colorful thread. exhibitions director at Oklahoma Sojourning has four distinct from steel rods and white cotton “I hope this piece will go to Contemporary. “At the same time, installations, including Bloom, with thread hover in the darkness. many places to meet more people,” the work connects to feelings that used dryer sheets shaped into „owers “The thread’s characteristics—its Myose says. “I’m asking the viewers we all can relate to: having threads that burst with yellow thread, and thinness and sensitivity—look like to participate by adding pieces of that tie us to the places and people Gi, with discarded clothing sewn it’s re„ecting the vulnerability of thread, which represents a notion we grew up with and also wanting and braided together. Myose’s large- living as a foreigner,” Myose says. “At of treasuring the moments of to establish connections with other scale installations transform galleries the same time, its hidden strength meeting people. The work remains human beings.” into immersive experiences—an and length and its so—ness and in progress whenever it has viewers Myose studied painting at elevation of humble materials with a gentleness tell me the possibility to in the space.” Wichita State University, her dash of Japanese art traditions. live positively and „exibly, even if I Its newest home is Oklahoma canvases layering expanses of color “Japanese culture is rich and face a change in the environment.” Contemporary in Oklahoma City, with geometric shapes and echoing multifaceted; it’s hard to explain it which is hosting a solo show of the contrast of Kansas’s sprawling in one word, but acts of wrapping, Sojourning is on view at Oklahoma Myose’s art from June 2 to August landscapes to the patterns of tying, and folding are parts of Contemporary Arts Center through August 12. Called Sojourning, the exhibition Japanese life that are her foundation. the everyday customs in Japan,” 12. Free and open to the public, Oklahoma re„ects on what it means to be About ‹ve years ago, she was given a Myose says. “Perhaps it was Contemporary is located at 3000 General constantly traveling through large number of spools of thread and natural for me to start using fiber Pershing Boulevard in Oklahoma City. life, whether between identities, began experimenting with looser art techniques because of these oklahomacontemporary.org

WOMEN IN PERFORMANCE “Through three very dierent shows, the resurrected the memory of Nannerl Mozart, in partnership with the Oklahoma City– The new downtown location of Oklahoma series gives our community a chance to experi- who was once a musical prodigy on par with based Fresh Paint Performance Lab and Contemporary Arts Center will feature a ence the amazing contemporary performances her famed brother but whose career was directed by Katherine Wilkinson. Finally, theater named for Chickasaw storyteller being created by women artists,” says artistic sti†ed when she became an adult, and her opening on October 18, Kerry Ipema and Te Ata. For seven decades she toured the director Jeremiah Davis. “With every show, au- compositions were lost. TJ Dawe’s One Woman Sex and the City world, performing a one-woman show of diences will also have the opportunity to learn Also at Oklahoma Contemporary, the condenses the entire run of the popular storytelling, music, and dance. Appropriately, more about how each performance was made sensory experiment Honey is an immersive television show into a comedic send- Oklahoma Contemporary is bolstering its through our artist conversation series.” piece involving material sourced from up—with all the characters performed performing arts programming with a new Women in Performance launched with real-world interviews, examining intimacy by Ipema—as a celebration of female series called Women in Performance. Sylvia Milo’s The Other Mozart, which between strangers. This work is developed friendship.ALLISON MEIER

06 ARTDESK SUMMER  YOUNG ARTISTS

ABOVE TIEN TRAN, 12th grade he STUDENT Noodle Duo FROM LEFT YUKON HGH SCHOOL | YUKON, OKLAHOMA CLAIRE CAUTHAN, 10th grade Animal Collage ART TEACHER BRIAN Payne is the head of the fine arts HENRY ASHBY, 12th grade department at Yukon High School.“ My goal is to foster The Stoop the students' passion for art, increase their knowledge of art history, and to equip them with a technical skill set that would allow them to work at a post-secondary or professional-level upon graduating high school.”

GIVING Oil Man NATHAN EL HARD  NG D VERS F  ES

NATHANIEL HARDING WILL tell you Harding and his wife, Amanda, that he’s just a regular guy from a rural support the organization in three neighborhood outside of Norman, ways: through a fund in their name Oklahoma, who loves his city and the at the Communities Foundation of quest for oil and gas. A board member Oklahoma, through his company, and for Oklahoma Contemporary with personal gi—s. Arts Center, the Antioch Energy "Oklahoma Contemporary is founder and president is anything among our highest priorities for but your typical thirty-something. giving, since we believe so much He graduated cum laude from in what they are doing in our the University of Oklahoma with community," he says. "With new degrees in mechanical engineering ways to approach art, the new and Russian. He then served in the campus will literally transform Air Force Reserves, deploying to the community. It will feature Afghanistan, and later began a political contemporary artists, provide consulting ‹rm. educational opportunities, and will "I want to live in a cool city," says bring in the community to discover Harding, who is a regular donor to the things they never knew existed.” arts center. Inspired by his newfound love When he’s not making oil and gas of collecting, Harding is especially plays, Harding says, he is enjoying life excited about Antioch Energy's with his wife and children, serving on new artist-in-residency program, the Oklahoma City Streetcar over- currently featuring sculptor sight committee, and helping the gov- Morgan Robinson. ernor with economic-development “It’s a ‹ve-month residency,” initiatives. His dedication to improv- Harding says. “We’re doing ing the quality of life in Oklahoma innovative things simply because City ultimately led him to Oklahoma we are open to meeting new people Contemporary. Harding admits he in the community and saying yes to didn’t know much about art, but he an opportunity.”KELLEY BARNES immediately felt welcome among the diverse and inclusive community of At his Oklahoma City oce, Nathaniel Harding arts patrons. He has since become an sits among works by artists J. Nicole Hat­eld avid art collector. and Steven Grounds. JERNIGAN JOHN

ARTDESK 07 PRIMER

A PHILOSOPHY FOR OUR TIME by Ryan Holiday EUGÈNE DELACROIX Liberty Leading the People

we can’t control or rely on anything outside what EVERYTH NG OLD  S NEW AGA N Epictetus called our “reasoned choice”— our ability to use our reason to choose how we categorize, respond, and reorient ourselves to external events. LET’S CONSIDER THE private diaries of one of Rome’s greatest emperors, the Certainly, many of history’s great minds not only understood Stoicism for what it truly is personal letters of one of Rome’s best playwrights and wisest power brokers, and but sought it out: George Washington, Walt Whitman, Frederick the Great, Adam Smith, the lectures of a former slave and exile turned in‰uential teacher. Against all odds Immanuel Kant, Thomas Je”erson, Matthew Arnold, Ambrose Bierce, Theodore Roosevelt, and the passing of some two millennia, these incredible documents survive. Ralph Waldo Emerson. Each read, studied, quoted, or admired the Stoics. Eugène Delacroix, the French Romantic painter, took it further, saying that Marcus Aurelius’ Meditations was his “consoling religion of resignation.” And while resignation sounds negative, it was undoubtedly this philosophy which guided him through the a‡ermath of his famous painting Liberty Leading the People, which the French government banned for eighteen years. Delacroix would repay his debt to the Stoics with perhaps his ‚nest painting, Last Words of the Emperor Marcus Aurelius, which now sits in the Musée des Beaux-Arts de Lyon. Similarly, the ancient Stoics themselves were no slouches. As we saw above, the three most prominent names—Marcus Aurelius, Epictetus, Seneca—belonged to, respectively, a Roman emperor, a former slave who triumphed to become an influential lecturer and friend of the emperor Hadrian, and a famous playwright and political adviser. All three were pragmatists and focused on a series of questions not unlike the ones we continue to ask ourselves today: “What is the best way to live?” “What do I do about my anger?” “What are my obligations to my fellow human beings?” “I’m afraid to die; why is that?” “How can I deal with the difficult situations I face?” “How should I handle the success or power I hold?” By controlling our perceptions, the Stoics tell us, we can ‚nd mental clarity. In directing our actions properly and justly, we’ll be e”ective. In using and aligning our will, we will ‚nd the wisdom and perspective to deal with anything the world puts before us. It was their belief that by strengthening themselves and their fellow citizens in these disciplines, they could cultivate resilience, purpose, and even joy. “The person who has practiced philosophy as a cure for the self becomes great of soul, ‚lled with con‚dence, invincible—and greater as you draw near,” Seneca wrote. He called philosophy both a practice and a cure, two words that invoke ODIRES MLÁSZHO getting better but also overcoming resistance Caesar 17 (2/3) (1996/2008) and struggling to improve each and every day. Image courtesy of Saatchi Gallery, London Any bold creative endeavor will inevitably face setbacks. Every artist knows the struggle of facing the blank page or canvas each day, and uncertainty, pain, and the unexpected are part What do they say? Could these ancient and in the West, practiced by the rich and the and parcel of what they do. It’s why, for an artist, obscure pages really contain anything relevant to impoverished, the powerful and the struggling, the Stoic way of life is a must-have in their tool modern life? The answer, it turns out, is yes. They alike in the pursuit of the Good Life. But over the kit—it’s the path to that place of inner con‚dence contain some of the greatest wisdom in the history centuries, knowledge of this way of thinking, once and greatness of soul that Seneca talked about. of the world. essential to so many, slowly faded from view. Now the mantle is ours to pick up and carry Together these documents—Marcus Aurelius’ Except to the most avid seekers of wisdom, and do what we can. Meditations, Seneca’s letters, and Epictetus’ Stoicism is either unknown or misunderstood. lectures—constitute the bedrock of what is Indeed, it would be hard to ‚nd a word dealt a greater known as Stoicism, an ancient philosophy that injustice at the hands of the English language than was once one of the most popular civic disciplines “stoic.” To the average person, this vibrant, action- In their writings—oen private letters or diaries— oriented, and paradigm- shi‡ing way of living has and in their lectures, the Stoics struggled to come become shorthand for “emotionlessness.” Since the up with real, practicable answers to life’s questions. mere mention of philosophy makes most people They ultimately framed their work around a series nervous or bored, Stoicism on the surface sounds of exercises in three critical disciplines. like the last thing anyone would want to learn about, let alone urgently need in the course of daily life. The Discipline of Perception: How we see In fact, it is exactly what we need. This philosophy and perceive the world around us asserts that virtue (meaning, chie‰y, the four cardinal virtues of self-control, courage, justice, and The Discipline of Action: The decisions and wisdom) is happiness, and it is our perceptions of actions we take—and to what end things—rather than the things themselves—that cause most of our trouble. Stoicism teaches that The Discipline of Will: How we deal with the things we cannot change, attain clear and convincing judgment, and come to a true EUGÈNE DELACROIX understanding of our place in the world Last Words of the Emperor Marcus Aurelius

08 ARTDESK SUMMER  he BOOK REPORT

Rounding up the newly released and our new favorite art books | By ALANA SALISBURY | Photography by JOHN JERNIGAN

Flying Too Close to the Sun: Justin McGuirk, chief curator of the The amount of diversity in the art The Spirit of the Bauhaus Myths in Art  om Classical to Design Museum in London, writes in the world leaves something to be desired, Edited by Olivier Gabet and Anne Contemporary foreword, “This was a country prepared with women and minority artists Monier, Thames & Hudson, $50 Introduction by James Cahill, Phaidon, $60 to invest in the most heroic feats—a man consistently under-represented. The In 2019, the highly in™ uential art The basis of modern storytelling can be in space—but not in everyday desires.” Guerrilla Girls, Linda Nochlin, and school, the Bauhaus, will celebrate its traced to mythology. The stories from Nan Goldin are a few of the activists 100th anniversary. This compendium ancient civilizations are timeless—Icarus, Misère: The Visual featured here who are looking for is masterfully designed to include more Sisyphus, Narcissus, and Odysseus, Representation of Misery in the change. Powerhouse curator and art than 250 photographs and detailed texts to name a few—and their plots can be 19th Century writer Maura Reilly examines ground- about workshops and classes o› ered at easily adapted for new audiences, over Linda Nochlin, Thames & Hudson, $35 breaking exhibitions showing how new the school before the Gestapo shut it and over again. This beautiful book, At the dawn the industrial age, great approaches are possible. down for good in 1933. with more than 200 images and easy- swaths of populations were living to-digest writings, unites the works in squalor and extreme poverty. In The Lives of the Surrealists Andy Warhol: Seven Illustrated of the Old Masters and contemporary turn, both literature and art adapted Desmond Morris, Thames & Hudson, Books 1952–1959 notables under the themes of familiar to tell the stories of child laborers $40 Andy Warhol, edited by Reuel Golden mythologies. and dangerous working conditions— This spirited book goes beyond Taschen, $200 capturing these stories before the interpretation and instead provides During his career as a successful Designed in the USSR: advent of documentary ’ lm. This a deep dive into the lives of notable commercial artist in the 1950s, Andy 1950–1989 fascinating book covers misery as a artists from the surrealist movement. Warhol created handmade books that Moscow Design Museum, Phaidon, $40 pervasive theme in early-twentieth- The usual suspects—Salvador Dalí, he distributed to woo clients and One of the few books on the topic of century art. Joan Miró, Marcel Duchamp, and expand his social circle. Taschen has Soviet design, this is a rich survey of Francis Bacon—are given a thorough, carefully reproduced seven of these rare the everyday items from pre-Yeltsin- Curatorial Activism: Towards an almost scienti’ c examination, which books, nearly replicating them—down era Russia. Posters, games, toys, cars, Ethics of Curating is not surprising since the author, to the paper stock, size, and format of and small appliances are exquisite and Maura Reilly, Lucy Lippard, Thames & Desmond Morris, is a noted zoologist each. These treasures are housed in a purposeful in design, yet quirky. As Hudson, $33 and surrealist artist himself. custom fold-out case.

ARTDESK 09 NECESSITIES

ORCHEST : FROM PIT TO PRISON A NEW YORK CITY CHAMBER ENSEMBLE CREATES A PATH TO

REDEMPTION THROUGH MUSIC EDUCATION.

Songwriting workshops, creative consultation for schools and communities, advocating for the arts, and performing at prisons, shelters, and hospitals are a few of the ways Decoda makes classical music accessible.

BY BRIANNA BAILEY BITTENCOURT CAROLINE

making music more accessible nation of the program,” Bryant says. “It through partnerships with prisons, humanizes the men in front of the staŽ . schools, health-care facilities, and They get to be seen being very brave homeless shelters. and singing these songs they wrote. It’s Since 2014, Music for Transforma- a powerful thing to see.” tion has put on collaborative, week- South Carolina Department of long music workshops with men at Corrections director Bryan Stirling Sing Sing Correctional Facility in believes programs like Music for Ossining, New York, and at Lee Cor- Transformation are the key to making rectional Institution in Bishopville, prisons safer. South Carolina. The Music for Transformation MUSIC TO THEIR EARS MAKING MUSIC AND writing lyrics When rehearsal begins, the men are participants come from Lee’s Better Inmates at Lee Correctional Institution in may be the oldest and best method of typically guarded and closed oŽ —pris- Living Incentive Community, a dor- South Carolina participate with Decoda in healing through artistic expression. ons typically don’t oŽ er a lot of safe mitory at the prison that oŽ ers classes songwriting workshops. An innovative prison songwriting places to express emotion or creativity. and other privileges as rewards for program organized by the New York “By the end of the day, they’ve got good behavior. Unlike other parts of City chamber ensemble Decoda that spark back,” Bryant says. “It’s a the prison, “the Better Living Incentive is seizing upon this idea, giving daily transformation and awakening.” Community has never had a problem incarcerated men back their sense of Musical abilities in the program with violence,” Stirling says.“Music for self through music. range from beginners to skilled musi- Transformation gives the men a posi- “Our program gives them a sense cians. This year, the men in the Music tive outlet. It’s both an incentive and a of individuality and purpose—that for Transformation program at Lee reward for the participants.” validation of who they are as a human spent a year writing and rehearsing a being,” says cellist Claire Bryant, who ninety-minute musical show called Catherine Gregory,  utist and co-artistic runs the Music for Transformation pro- Lincoln Portrait, which they performed at director of Decoda, will participate in an gram for Decoda. the prison in April. ArtDesk Conversation on July 6, 2018, at the A‚ liated with Carnegie Hall, “Performing in front of their peers Green Box Arts Festival in Green Mountain Decoda places an emphasis on and prison staŽ is an important culmi- Falls, Colorado. decodamusic.org

Agnes Gund GOOD AMERICAN As the grandmother of six African-American Art for Justice is a newly formed nonpro‹ t children, Agnes Gund wanted to address the investing more than $100 million into eŒ orts to stark racial injustices existing in the American reform the criminal justice system. Grants are prison system. In 2017, she made headlines focused on initiatives and programs that work when Masterpiece—her beloved Roy Lichten- toward reforms in the bail systems, sentencing, stein painting—fetched a whopping $165 mil- and the re-entry barriers that ex-convicts face, lion sale price. With this sale, Gund developed with “the goal of reducing mass incarceration the Art for Justice Fund. In partnership with by 20% in target states over ‹ ve years.” the Ford Foundation and several other donors, “SUSAN EBERT artforjustice nd.org DAVE KOTINSKY / STRINGER / KOTINSKY DAVE

10 ARTDESK SUMMER 

FLOWER BOMB

Through the popularity of his smiling ¢owers and collaborations with Kanye West and fashion empire Louis Vuitton, Japanese artist Takashi Murakami’s work has become part of contemporary culture. A survey of the artist’s career, The Octopus Eats Its Own Leg, is on view through September 16 at the Modern Art Museum of Fort Worth. Mural-sized works make for excellent Instagram fodder. —ALLISON MEIER themodern.org

TAKASHI MURAKAMI Flower Ball (Lots of Colors) (2008) © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved

ARTDESK 11 12 ARTDESK GREEN BOX CELEBRATES a Decade of Art CLOUD CI T Y, BY TOMÁS SARACENO SUMMER 

GREEN BOX CELEBRATES a Decade of Art CLOUD CI T Y, BY TOMÁS SARACENO ARTDESK 13 This summer, the Green Box Arts Festival celebrates a ROCKY MOUNTAIN TIME decade of art, performance, community, and nature. Established by Christian Keesee, Blake Keesee, and Larry Keigwin in 2009, the festival offers summer cultural activities within the natural beauty of the Pikes Peak area and the town of Green Mountain Falls, Colorado. Since its founding, the festival has featured more than forty musical and dance performances, hosted hundreds of creative workshops, and nurtured influential creators and thinkers whose works will be shared for decades to come. Here, we revisit the highlights of a decade of Green Box Arts. KELLY ROGERS

Front and center The Historic Green Jason Hacken- The Waldo Canyon Tomás Saraceno’s 2009: at the inaugural 2010:Mountain Falls 2011:werth’s large-scale 2012:Fire had devastat- 2013:twenty-ton Cloud festival was Keigwin + Co., Foundation and the town balloon installations look ing e†ects on Colorado’s nat- City marked the largest and most ArtDesk dance editor Larry worked closely to build a new like something out of a sci-Š ural landscape in the summer complex installation of the festi- Keigwin’s troupe of danc- trail named for the Kirkpat- movie—equally intriguing of 2012, ultimately resulting in val yet. This grouping of geomet- ers, who have returned each rick family, whose summer and perplexing, and a perfect the cancellation of the Green ric bubbles was not just a visual year since the summer dance residence of Green Mountain match for the festival’s am- Box Arts Festival. However, marvel but an interactive one, residency program was estab- Falls has spanned more than bitious grasp on installation thanks to the brave ŠreŠghters too—visitors could climb inside lished in 2006. Other festival a hundred years. The Kirkpat- art. Hackenwerth collaborat- who “held the line” between the twenty-eight-foot-tall sculp- participants included sculptor rick Trail connects existing ed with choreographer Larry the east and west sides of ture to get a closer look at the Sean McGinnis, who created trails built by H. B. Wallace, Keigwin to create set pieces Highway 24, Green Mountain transparent and mirrored panels a work made entirely from the town’s original trailblaz- for the festival performance Falls was protected. These and the nature surrounding it. string oating in a clearing in er, with other trails around of Balloon Dance, in which ŠreŠghters were recognized From the roo“op of the Metro- the Colorado woods; contem- the town of Green Mountain dancers embodied the sway- at the Farmstand’s debut on politan Museum of Art to Green porary New York dance group Falls. In line with the festival’s ing movement of the balloons the Green Box Workshop site, Mountain Falls, the sculpture the Brian Brooks Moving e†orts to increase accessibility that surrounded them. which continues to be a gath- traveled to various stops around Company; author David to nature, the trail’s generous ering place for festivalgoers the country, including Oklaho- Lubar; and the Gospel Music views of Ute Pass and nearby and community members. The ma City’s Campbell Art Park in Workshop of America, which Crystal Falls and its “easy” following year’s festival was 2016. This festival was dedicat- launched the ocial festival walkability allow for just that. dedicated to ŠreŠghters and ed to the ŠreŠghters and victims into existence. victims of the Šre. of the Waldo Canyon Fire.

PHOTO CREDITS: ‰ŠŠ‹ AND ‰ŠŽŠ PHOTOGRAPHS BY TOM KIMMELL; ‰ŠŽŽ JASON HACKENWERTH, Reading Room ¢£¤¥¥¦, PHOTOGRAPH BY TOM KIMMELL; ‰ŠŽ‘ TOMÁS SARACENO, Cloud City ¢£¤¥£¦, PHOTOGRAPH BY DAVID LAUER; ‰ŠŽ’ DAILY TOUS LES JOURS, The Swings ¢£¤¥ª¦, COURTESY OF DAILY TOUS LES JOURS; ‰ŠŽ“ SPENCER FINCH, Back to Kansas ¢£¤¥«¦, PHOTOGRAPH BY DAVID LAUER; ‰ŠŽ” PATRICK DOUGHERTY, Footprint in Green ¢£¤¥¬¦ PHOTOGRAPH BY DAVID LAUER; ‰ŠŽ• BRUCE MUNRO, Field of Light ¢£¤¥®¦, PHOTOGRAPH BY DAVID LAUER; ‰ŠŽ– PAUL SOLBERG, Enter

14 ARTDESK SUMMER 

The 2018 Green Box Arts Festival runs from June 29 through July 7. greenboxarts.org

Fa Mi Ré Do: A me- In an e†ort to incor- Patrick Dough- Illuminating festival Celebrating 2014:lodic installation 2015:porate a live compo- 2016:erty’s Footprint 2017:grounds last year 2018:ten years, the created by Canadian design nent to the print magazine, the in Green made its mark as an were two sprawling instal- Green Box Arts Festival will Šrm Daily tous les jours invit- ArtDesk Conversation series immersive, inviting instal- lations by Bruce Munro. Up bring back its most popu- ed playful collaboration and debuted, featuring talks with lation along the creekside. close, the tangling of LED lar interactive piece, Daily community engagement with choreographers Loni Landon, Sculpting with sticks and sap- lights and Šber optics ap- tous les jours’ The Swings. this swing set. It was origi- Adam Barruch, and Austin lings from the nearby moun- peared alien-like in the natural Photography masters Paul nally constructed as a public Hartel; contemporary art tains, this artist of earthworks landscape, but once the sun Solberg and Christopher installation in the design market guru Saara Pritchard created a structure just for set, a masterpiece of lighting Makos, as the Hilton Broth- Šrm’s hometown of Montreal, elementary-school principal the festival in a successful was revealed. Munro’s main ers, will make an appearance consisting of more than twice and educational consultant (and literal) intertwining work, Field of Light, was con- in an ArtDesk Conversation. as many seats. In The Swings, Chris Briggs-Hale; and envi- of Green Mountain Falls ceptualized while backpack- Keigwin + Co. will team up this version premiered at the ronmental and animal-welfare nature and community and ing in Australia’s Northern with Ormao Dance Company festival. Each swing triggers conversations with Dr. Bernard its attention to contempo- Territory. The concept made to honor Leonard Bernstein. di†erent instrumental notes, Rollin and Wendy Keefover. rary art. Volunteers assisted its way through numerous RUBBISH, an exclusive Green opening endless possibilities On display outdoors was Spen- Dougherty in the harvesting of American botanical gardens Box Arts installation by Paul for music to be made together. cer Finch’s large-scale painting materials and in construction, across the country, Šnding its Solberg, will feature oral Back to Kansas, which draws in a conservation e†ort with way to the festival alongside subjects while emphasizing inspiration from the colorful Colorado Springs Utilities. Munro’s Tepees. creativity and resourcefulness. imagery of The Wizard of Oz The 2016 resident composer (1939) and cleverly resembles was minimalist musician, a movie screen. Adam Crystal.

PHOTO CREDITS: ‰ŠŠ‹ AND ‰ŠŽŠ PHOTOGRAPHS BY TOM KIMMELL; ‰ŠŽŽ JASON HACKENWERTH, Reading Room ¢£¤¥¥¦, PHOTOGRAPH BY TOM KIMMELL; ‰ŠŽ‘ TOMÁS SARACENO, Cloud City ¢£¤¥£¦, PHOTOGRAPH BY DAVID LAUER; ‰ŠŽ’ DAILY TOUS LES JOURS, The Swings ¢£¤¥ª¦, COURTESY OF DAILY TOUS LES JOURS; ‰ŠŽ“ SPENCER FINCH, Back to Kansas ¢£¤¥«¦, PHOTOGRAPH BY DAVID LAUER; ‰ŠŽ” PATRICK DOUGHERTY, Footprint in Green ¢£¤¥¬¦ PHOTOGRAPH BY DAVID LAUER; ‰ŠŽ• BRUCE MUNRO, Field of Light ¢£¤¥®¦, PHOTOGRAPH BY DAVID LAUER; ‰ŠŽ– PAUL SOLBERG, Enter

ARTDESK 15 RICHARD SEXTON RICHARD SEXTON MARCOS BARBERY LOVE, Red Blue(1966–1997) ROBERT INDIANA The Crescent Cityatsunset GOLDEN HOUR The Sydney andWalda Bestho SculptureGardenisacontemplative stopinthisfestive, clamourouscity. NEW ORLEANSMUSEUMOFART 16 ARTDESK

RICHARD SEXTON RICHARD SEXTON Standing Manwith OutstretchedArmsŽ‘’“”• STEPHEN DE STAEBLER Monkeys (1998-2001) RONA PONDICK

RICHARD SEXTON Reclining MotherandChild(1975) HENRY MOORE SUMMER 

SLIVER BY THE RIVER AS NEW ORLEANS CELEBRATES YEARS, ONE RESIDENT ADDRESSES ITS COMPLICATED HISTORY.

BY MARCOS BARBERY

I FIRST MOVED to New Orleans in the spring of surrounded by swamps infested with snakes During this time, the city also came 2014 to work for the Orleans Public Defenders, and disease. Law used the money he had together to do the unthinkable: it drained not as an attorney but as a mitigator. My job raised to fund his lavish lifestyle. the swamps and marshland surrounding was to tell the untold stories of kids charged In 1720, Law was chased out of Paris by the “sliver by the river”—the city’s original with crimes, humanize them before judges, a mob angry about his failed scheme. Back high ground. The steam-powered drainage and try to mitigate or lessen the potential in New Orleans, meanwhile, the small, systems were publicly funded and opened prison sentences. Until then, I worked as an dwindling colony had grown desperate up what now encompasses the greater— investigative journalist and documentary for more settlers and their labor, so France over 232,000 acres—to development at ­ lmmaker, and my new job demanded I apply decided to send male prisoners. Aƒ er they lower elevations. the same skills to uncover and document the arrived and began chasing aƒ er native According to Richard Campanella, a truth about my clients’ lives, families, and city. women—whose people had occupied the geographer at Tulane University, whites My investigations stretched back area for at least six centuries—France decided moved to new neighborhoods and excluded generations, before the city’s mayor was to send Parisian prostitutes to join them. black families through racist deed covenants. indicted on federal charges, before Katrina, France also purged its asylums, and abducted “In a rebuke of two centuries of local before a strategic shiƒ to attract tourists, before vagabonds and the homeless, forcing them in architectural tradition, new tract housing Betsy and desegregation, before the time droves onto ships to New Orleans. The tickets was built not raised on piers above the grade, when hurricanes were bestowed with female were one-way. but on concrete slabs poured at grade level,” names, before the Great Mississippi Flood and Five decades aƒ er New Orleans was he writes. My house is among them. lynchings—of African Americans and Italian founded, the sheer totality of France’s losses Those of us who choose to live in New immigrants—before emancipation, all the way on its Louisiana investments made the Orleans understand the risks. Inevitably, to the city’s founding. decision to give up its territory to Spain— the city will return to what it once was, only History casts a long shadow. and help end a costly war—a little easier. worse. The question is when. This is part The young people I got to know, like the By then, New Orleans was populated by of the city’s fleeting beauty: knowing that city they were born in, were marked by trauma American Indians, African slaves, recently what’s protecting you is eroding and under and shaped by resilience. When we consider freed slaves, and French and Canadian threat, that at any moment the levees could the choices imposed on people beyond their refugees from various wars. The Spanish break, and yet committing to the city in control, and view them through this lens, we made a series of miscalculations about spite of it. see them cast in a new, more promising light. the people of New Orleans, imposing More than anything—even the intoxi- The same may be said about a place. restrictions—like banning French wine— cating Spanish architecture that dominates Now, four years and dozens of that led to an uprising. Over the next century the French Quarter—it’s the people of New investigations later, I’m no longer a visitor. and a half, the city and its people diversi­ ed, Orleans who make it worth while, their re- New Orleans is home. I’m a part of its fabric, and battled against surging storms and fusal to be ruled, their ambivalence to power, however small, and its gentri­ cation, both ˜ oods as its sovereignty traded hands back to their artistry, and the majesty of their music, good and bad. As the city commemorates the French and, ­ nally, to the United States. sprung from slave spirituals. Artists can still its tricentennial this year, no matter what Antebellum New Orleans held our nation’s a£ ord to live and make new work here. But you know—or think you know—about New second-busiest port, becoming an economic it’s changing, and like the city itself, no one Orleans, it’s time to take another look and, powerhouse due to its African slave trade. knows how long this will last. By immersing perhaps, give it a second chance. The city fueled economic growth by selling yourself in the city’s art and architecture and New Orleans began as a crime. John Law, a forced labor up the Mississippi Delta and cuisine, you’ll be uncovering its history, tap- Scottish gambler with a penchant for losing beyond. Isaac Franklin, one the nation’s biggest ping into its throbbing vein of untold stories. big bets, arrived in France in 1714—four years slave traders, became the richest man in the My favorite haunts are included on these before New Orleans was founded on a curve American South. He acquired plantations now pages. Not shown is a looming piece of along the Mississippi River. In France, Law occupied by Angola, a Louisiana prison where neoclassical architecture: the New Orleans befriended the right people, including the several of my former clients are incarcerated. criminal district courthouse. Located at the regent of France, Philippe, duke of Orléans, Today, commitments to equality made corner of Tulane Avenue and Broad Street, who helped him launch a ­ nancial scheme to during Reconstruction have yet to be ful­ lled. it serves as the processing center for a city colonize and exploit a large swath of Louisiana As African Americans slowly gained some that’s now the incarceration capital of the owned by France at the time. freedoms aƒ er the Civil War, the white elite world. It’s worth visiting, if only, to remem- Law issued stock to ­ nance the scheme, lost power. They didn’t take it very well. They ber that to live in or visit New Orleans is a and recruited and forced 6,000 settlers and worked hard to pass racially restrictive laws. privilege. For every person who chooses to 3,000 slaves to emigrate. In France, the stock They also formed the earliest Mardi Gras come here, someone else living at a lower of Law’s company soared before collapsing krewes, such as Comus, which was founded six elevation wants out. aƒ er word spread that gold had not been months aƒ er the Civil War ended. It excluded found in New Orleans and, instead, the blacks. Mardi Gras krewes were not integrated For more information about the New Orleans area consisted of a narrow sliver of ˜ at land by law until 1992. tricentennial celebrations 2018nola.com

NOLA NOTABLES

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ARTDESK 17 he Opera Different

LOCATED IN THE LAND OF ENCHANTMENT, THE SANTA FE

OPERA INNOVATES AND EXCITES WITH ITS FRESH IDEAS.

THIS SUMMER, DOCTOR ATOMIC DOES JUST THAT.

By MICHAEL DUTY

THIS SUMMER, THE audience for Doctor through its apprentice program. When creative team will adhere to the same Atomic at the Santa Fe Opera will be he founded the opera, Crosby noted balanced approach in craŒing new able to see beyond the stage to the there were scant opportunities for seasons, but they will also bring in twinkling lights of Los Alamos, New young singers to develop their talents, their own ideas. “They will have new Mexico. Surrounded by a timeless and and he established the apprentice interesting ideas but still retain a majestic landscape, opera patrons will program to remedy the situation. connection to our traditions,” he says. gaze upon the past, the present, and Santa Fe seemed an unlikely While the management structure the future of the modern age, an age setting for the establishment of a new of the organization is changing, its that began with the explosion of the opera festival in 1957. Situated in the artistic philosophy will remain true rst atomic bomb. The weapon that mountains of northern New Mexico, to Crosby’s vision of mixing the old ended World War II and ushered in the capital city of the state was home with the new. The 2019 season will a new era was created by scientists to only 38,000 people when the opera include yet another world premiere, working in Los Alamos under the was founded and was a long way from The Thirteenth Child, by composer Poul direction of Robert Oppenheimer, the both performers and patrons. Ruders and librettists David and Becky “Doctor Atomic” of the opera’s title. Crosby’s vision, however, was to Starobin. The opera, which is based Peter Sellars, the director and use that isolation and the beautiful on a little-known fairy tale by the librettist of Doctor Atomic says, “We landscape to the benet of the Brothers Grimm, was commissioned live in a world that the Los Alamos festival.“In addition to the quality of by the Santa Fe Opera and the Odense scientists could not imagine but which the productions, our setting has been Symphony Orchestra in Denmark. It they created. Our world changed perhaps the most important factor in is designed to appeal to both children forever the night the bomb exploded.” our success,” says Charles MacKay, the and adults, according to MacKay. Doctor Atomic is Sellars’s attempt to general director of the Santa Fe Opera. The choice of a new work, based on tell the story of the last two months For sixty-one seasons, opera a source from long ago, stays true to of the Manhattan Project leading up viewers have sat under the vast the mission the opera has pursued for New Mexico sky to revel in world- more than sixty years. Over time, new class performances of traditional works have touched on a wide variety “THE SANTA FE OPERA was conceived with and contemporary work. What ties of subjects and eras. In 2015, the opera each season together is the Santa Fe premiered Cold Mountain, which was the purest artistic values that exist.” Opera’s unwavering commitment to based on the best-selling novel set quality in each facet of the operation, during the Civil War, and last year, the from the selection of the works to opera staged the world premiere of The to the detonation of the rst atomic the many details of costuming and (R)evolution of Steve Jobs. bomb in July 1945. It is also his staging. Frederica Von Stade, who The Santa Fe Opera has always attempt to shine a light on the world has performed at the Santa Fe Opera chosen to produce new works that that created the bomb and the world on many occasions, says the opera delve into the complexities of the the bomb created. It incorporates the has succeeded because of Crosby’s modern age. Santa Fe’s majestic and viewpoints and experiences of many original vision. “The Santa Fe Opera ancient lands provide the perfect people involved with the project, was conceived with the purest artistic setting for works that highlight the including the oŒen overlooked values that exist,” Von Stade says. notion that change is inevitable. wives of the Los Alamos scientists. Crosby guided the Santa Fe Opera Works that explore the birth of the Sellars also incorporates information for more than forty years and was atomic age or the life of a pivotal gure gleaned from interviews with modern succeeded in 2000 by Richard Gaddes, in the digital age showcase the opera’s scientists and with the native people who was succeeded by the present ability to explore the past, present, and of the surrounding pueblos. general director, Charles MacKay, in future with equal artistry. Sellars says he wants to include 2008. MacKay, who has literally grown those insights because he believes that up with the Santa Fe Opera, attended For more information about the Santa Fe opera presents a unique opportunity his rst performance there at the age Opera's 2018-2019 season, visit to tell such stories: it is a medium that of nine. The audience, according to santafeopera.org brings many communities together in MacKay, has been equally supportive one place in an immersive experience of both the traditional and the modern. that goes beyond the rational. “It has been very rewarding to see how FROM TOP In many ways, Sellars’s comments strongly our audience has responded The Crosby Theater at the Santa re’ect the philosophy of the Santa to new work, even among our most Fe Opera, an open-air theater Fe Opera’s founder, John O. Crosby. traditional patrons,” MacKay says. surrounded by the Jemez Mountains Crosby conceived the opera as an MacKay will retire aŒer the 2018 to the west and the Sangre de Cristo ongoing summer festival that would season and his successor, Robert Mountains to the east. feature both classic and cutting- Meya, will take the reins in October. edge contemporary works in each Meya has already named the Santa Contemporary composer John Adams season. Since the opera’s rst season Fe Opera’s rst artistic director, wrote the opera, Doctor Atomic. in 1957, Santa Fe has been the site Alexander Neef, who will also His creative process is depicted in of Œeen world premieres and continue in his role as the general Wonders Are Many, a documentary forty-ve American premieres by director of the Canadian Opera about the making of the opera. Doctor world-renowned composers and Company. Harry Bicket will round out Atomic, pictured here at its world librettists. The opera has also nurtured the creative team as music director. premiere at the San Francisco Opera, the careers of many young singers MacKay believes that the new makes its Santa Fe Opera debut in July.

18 ARTDESK SUMMER 

he Opera Different ROBERT GODWIN ROBERT HIROYUKI ITO ITO HIROYUKI

ARTDESK 19 TERRENCE MCCARTHY TERRENCE TERRENCE MCCARTHY TERRENCE ArtSocietyFROM OKLAHOMA TO NEW YORK, THE BEST ART EVENTS

Frieze ART FAIR NEW YORK CITY | The seventh iteration of Frieze New York, held from May 4 through 6, brought together 197 galleries on Randall’s Island. Visitors could walk the beautiful grounds and visit installations  lled with art and request guided tours based upon varying interests—from expanding an art collection to learning more about the emerging and established artists represented at this annual art fair.

ABOVE: New York artist Josh Sperling’s vibrantly painted elements from Chasing

PHOTOGRAPHY COURTESY OF FRIEZE NEW YORK NEW FRIEZE OF COURTESY PHOTOGRAPHY Rainbows, his exhibition premiered earlier this year at Galerie Perrotin Paris. DANIEL DRIENSKY DANIEL Dallas ART FAIR DALLAS, TEXAS | The Dallas Art Fair 2018 celebrated its tenth anniversary with the addition of thirty new galleries from around the world. Almost thirty cities are now represented at this event.

ABOVE Whitestone Gallery of Tokyo, Japan, hosted visual artist Miwa Komatsu's  rst-ever live painting performance in the United States to kick-oŽ the Dallas Art Fair Preview Bene‰ t. This annual event, held at the Fashion Industry Gallery, raised funds for the Dallas Museum of Art, the Nasher Sculpture Center, and Dallas Contemporary.

20 ARTDESK SUMMER 

ICE COLD CLOCKWISE FROM TOP LEFT: Su ragette City, a performance art piece created by Lara Schnitger and staged by Anton Kern Gallery, paraded throughout the grounds as part of the Frieze Live booth. An arts patron admires Merrill Wager’s Yellow from Zürcher Gallery. The Focus Prize, awarded to a noteworthy up and coming gallery at Frieze New York, was awarded to Nuno Centeno (CENTER).

NIGHT MOVES CLOCKWISE FROM TOP LEFT: Filmmaker Dallas Sonnier and Shannon Sonnier, and real estate developer Bill Hutchinson. Marlene Sughrue and Jessica Nowitzki, in front of Trudy Benson’s Night Creatures

With Ed Fornieles’  berglass sculpture, Mother, Cindy and Howard Rachofsky, director of the Dallas Museum of Art, Agustín Arteaga and director of the Nasher Sculpture Center, Jeremy Strick

ARTDESK 21 AARON GILLILAND AARON

SPRING DINNER OKLAHOMA CITY | The 2018 Spring Dinner took place in the Eleanor Kirkpatrick Gallery of Oklahoma Contemporary Arts Center. This private dinner is an annual fund-raiser, ensuring that exhibitions at Oklahoma Contemporary continue to be free and open to the public.

RIGHT Guests of the Spring Dinner enjoyed live harp music as they mingled before dinner. Barry Switzer and Richard Clements were in attendance.

STRING THEORY

Chiyoko Myose's Sojourning opened on Saturday, June 2, at Oklahoma Contemporary Arts Center. Guests of the opening were some of the first to add their threads on to A Thread X (Meets) A Thread. In the hands-on Learning Gallery, adults and children tapped into their creative sides.

On Saturday, July 14, Oklahoma Contemporary will host a Make + Take event. Daniel Racer, Cindy Thompson, and Kay Buskirk will perform Sojourning Threads, a musical piece written in response to Myose's work.

Sojourning will be on display through August 12. For more information about the artist, Chiyoko Myose, please see page 06. BRANDON SEEKINS BRANDON

22 ARTDESK Contributors SUMMER 

RYAN HOLIDAY | Ryan Holiday is the author of Trust Me, I'm Lying; The Obstacle Is the Way; Ego Is the Enemy; and other books about marketing, culture, and the human condition. He lives in Austin, Texas. His website includes a widely read newsletter delivered daily to subscribers. To read more about Holiday and Stoicism visit: dailystoic.com.

MARCOS BARBERY | Marcos Barbery is a journalist and documentary filmmaker, whose work has appeared in Vice on HBO, PBS, the Los Angeles Times, The Huffington Post, and This Land Press. He directed By Blood, a feature-length documentary on a civil- rights battle waged by black Native Americans, or Freedmen, to regain their tribal citizenship.

SARAH SULLIVAN | The Tulsa ber artist, a.k.a. Sullystring, graduated from the University of Kansas with a BFA in textile design. Sarah Sullivan’s work creates an escape from the hard, digital world through an abstract confetti of color and texture. She draws inspiration from pasta noodles, children’s books, and reinterpreting memories of geometry class. sullystring.com

PUBLISHER ...... Christian Keesee EDITOR IN CHIEF ...... Louisa McCune DANCE EDITOR ...... Larry Keigwin MANAGING EDITOR ...... Alana Salisbury ART DIRECTOR ...... Steven Walker ASSISTANT EDITOR ...... Susan Ebert

DESIGN, EDITORIAL, AND CIRCULATION ASSISTANCE Kathy McCord, Jim Cholakis, Jerry Wagner, VIOLET HOUR Kelly Rogers, and Tiffany Kendrick The signature color for the 2018 Spring ARTDESK TYPOGRAPHY Dinner was violet, echoed among the place settings, a Violet Cosmo cocktail, Austin | Novel Pro | Unit OT and in the purple calla lilies ¤oral arrangements, and macarons. KIRKPATRICK FOUNDATION BOARD OF TRUSTEES CHRISTIAN KEESEE, Chairman CLOCKWISE FROM TOP: Oklahoma Contemporary trustee Amie Harlow GEORGE BACK, ROBERT CLEMENTS, and collector Peter Hošman. Also in ELIZABETH FARABEE, MISCHA GORKUSCHA, attendance, Rich and Lauren Johnson, DAVID GRIFFIN, REBECCA M cCUBBIN, David Sutter, Nancy Anthony, Jane MARK ROBERTSON, GEORGE RECORDS, Sutter, and Bob Anthony, Sue Ann GLENNA TANENBAUM, MAX WEITZENHOFFER, Arnall, Steven Agee, and Laurie and AND ELIZABETH EICKMAN  ADVISOR Charlie Givens. LOUISA McCUNE, Executive Director

Please enjoy the poster, Planetari-yum, by artist Sarah Sullivan. Carefully remove the cover and back cover of this issue from the staples.

THIS ISSUE IS DEDICATED TO DONNA RINEHARTKEEVER, WHO WILL RETIRE AS EXECUTIVE DIRECTOR OF OKLAHOMA CONTEMPORARY IN THE FALL.

The following Champion-level donors have supported Oklahoma Contemporary Arts Center and its mission of arts access for all.

Leigh Ann and Paul Albers, Annie ABOUT THE PUBLISHER Bohanon, Josephine Freede, Leslie and Kirkpatrick Foundation—founded by John and Eleanor Kirkpatrick in Eli Hellman, Susan and E. Peter Hoffman, 1955—is an Oklahoma City philanthropy supporting arts, culture, John Kennedy, Kathleen McClendon, Kelly education, animal well-being, environmental conservation, and Gray and Amy McLaughlin-Gray, Polly historic preservation. and Larry Nichols, Donita and Russell Curtis Phillips, Susan and Steve Prescott, CONTACT US Kim and Jon Shirley, Richard Sias, Please direct letters to: [email protected] or Editor, c/o ArtDesk, 1001 and Douglas Sorocco. West Wilshire Boulevard, Oklahoma City, Oklahoma 73116.

oklahomacontemporary.org/donate ArtDesk is a quarterly publication. Electronic documents can be sent to o[email protected]. Kirkpatrick Foundation, ArtDesk, and its assignees will not be responsible for unsolicited material sent to ArtDesk. Please note: ArtDesk is published by the Kirkpatrick Foundation; no donations to Oklahoma Contemporary Arts Center or Green Box Arts are used in the creation of this magazine. Copyright 2018. All rights reserved. Visit us at readartdesk.com and @readartdesk. Please be kind to animals and support local art. Mark your calendars for the ANIMAL Conference, Skirvin Hotel, October 21”23, 2018.

ARTDESK 23 AT WORK | The artdesk of a leading artist, architect, author, or performer in the contemporary arts KATY WEAVER KATY

Furry Fwends

“We have a big spider-looking ceiling light in the kitchen. It has, like, twenty really bright lightbulbs (digital), and I think this “super-bright” atmosphere kicks in my obsession with painting and drawing. I like being in the middle of everything—being in the kitchen as opposed to being in some secret corner. The dogs and cats constantly jump all over me, and everyone is always eating and drinking and talking while I’m sitting there doing my thang.”—Wayne Coyne

Wayne Coyne is the frontman for The Flaming Lips. He is also a prolic artist, having painted nearly all of the band’s album covers. His installation, The King’s Mouth, opened in Portland, Oregon, in January 2018, and will be on view at Meow Wolf’s FLOAT bar + cafe in Santa Fe, New Mexico through October 2018.

24 ARTDESK Laissez les bons temps rouler.

SARAH SULLIVAN Green Box Arts Festival Where Great Art Is Created and Experienced

VISIT GREENBOXARTS.ORG FOR LOCATIONS AND A MAP Friday, June 29 - Saturday, July 7, 2018 Green Mountain Falls, Colorado Join us for these ARTDESK CONVERSATIONS.

FRIDAY, JUNE 29 SATURDAY, JUNE 30 SUNDAY, JULY 1 FRIDAY, JULY 6 FRIDAY, JULY 6 SATURDAY, JULY 7 1pm Edwina Sandys 12pm Daily tous les jours 1pm The Hilton Brothers 12pm Catherine Gregory 5:30pm Dr. Apryl Steele 12:30pm Larry Keigwin & Jan Johnson

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