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57 articles, 2016-07-16 00:00 1 Contemporary Austin Launches $100,000 Art Prize, Christian Marclay Wins SF MoMA's Contemporary Vision Award, and More (1.02/2) A daily round-up of must-read news from the art world and beyond. 2016-07-15 10:42 745Bytes www.blouinartinfo.com 2 Gregg Albracht, 2016 Spotlight Artist Fine art photographer Gregg Albracht's passion for photography started in the summer of 1969 when he saw a portfolio of fine art photos. "I was mesmerized by their richness and beauty," Albracht (0.02/2) says. "It was in that moment that photography took a hold of me and... 2016-07-16 00:00 1KB artexponewyork.com 3 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 Saturday at Artexpo marked the show's busiest day yet, drawing (0.01/2) thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for... 2016-07-16 00:00 1KB artexponewyork.com 4 For the Diary: Fondation Beyeler Presents Kandinsky, Marc, and Der Blaue Reiter Fondation Beyeler presents the works of the Der Blaue Reiter group from September 4 onward. 2016-07-15 09:46 1KB www.blouinartinfo.com (0.01/2)

5 AENY 2016 Recap: Highlights from an Incredible Year That's a wrap! Artexpo New York has taken the fine-art scene by storm yet again, and we've got the sales, stories, and gorgeous collection of photos and videos to prove it. We'd like to extend a huge thank you to everyone... 2016-07-16 00:00 2KB artexponewyork.com 6 From Startup to Industry Star: Litsa Spanos, President and Owner of Art Design Consultants Founded in 1992, ADC, Art Design Consultants, Inc. has grown from a one-woman operation started in a 500-square-foot basement to a successful multi-team-member venture running in a gorgeous gallery space with stunning views. The woman who made it all happen... 2016-07-16 00:00 4KB artexponewyork.com

7 AENY 2016 – Art Talks & Seminars Planning your trip to the show? Be sure to attend one of our Art Talks or Seminars! Here are some highlights from our Education Schedule. For the full schedule click here. THURSDAY, April 14th 1pm-2pm | A Cautionary Tale: Protecting Your Artwork... 2016-07-16 00:00 3KB artexponewyork.com 8 DAY 2 AT ARTEXPO: SPECIAL KEYNOTE, LIVE ART DEMOS & MORE Friday at Artexpo brought throngs of visitors through the gates of Pier 94 to see artwork from over 400 exhibitors from around the world, comprising more than 1,000 artists in total. The doors opened early for the event's Keynote Presentation by Pam Danziger, "Marketing Art... 2016-07-16 00:00 1KB artexponewyork.com 9 present architecture plans a cedar-clad home in the hamptons new york-based practice present architecture has conceived a home for a retired couple in the springs neighborhood of east hampton, new york. 2016-07-15 19:14 2KB www.designboom.com 10 the long-awaited toyota ‘supra’ resurrection is set to happen in 2018 this is signalling the return of one of toyota’s emblematic sports car names. 2016-07-15 17:08 2KB www.designboom.com 11 Gen Art Announces Fresh Faces in Fashion L. A. Designers Gen Art announced five L. A.-based designers for the West Coast return of its Fresh Faces in Fashion event. 2016-07-15 16:25 3KB wwd.com 12 N: Philanthropy Hires Elsa Hosk as Face Two-and-a-half-year-old contemporary brand N: Philanthropy is investing in its first advertising campaign. 2016-07-15 16:20 2KB wwd.com 13 John Varvatos Launches Dark Rebel Rider in Rock ‘n’ Roll Style Travis Mills and Dale Moss came out for a performance by Tyler Bryant & The Shakedown. 2016-07-15 16:16 2KB wwd.com 14 Ryan Reynolds, Michael B. Jordan Attend Piaget Watch Unveiling In the hours before Piaget’s unveiling of its new Polo S watch style, news of the Bastille Day atrocities in Nice were boiling on social media – but the show went on nonetheless. 2016-07-15 16:10 1KB wwd.com 15 Japan’s Best New Photographers are in their 70s A group exhibition at Onishi Project highlights photographers enlivening the medium in their golden years. 2016-07-15 16:00 2KB thecreatorsproject.vice.com 16 Watch M. I. A's Explosive Video for the First Single of Her Last Album "Go Off" featuring Skrillex and Blaqstarr is one of M. I. A.'s more upbeat tracks, but she still finds space to plug environmental issues. 2016-07-15 15:45 2KB thecreatorsproject.vice.com 17 Cath Kidston Creates Capsule Ranges for Disney’s Winnie-the-Pooh, Mickey and Minnie Mouse The 38-piece Winnie-the-Pooh collection will launch on September 26, while the 73-piece Mickey and Minnie Mouse range will be available on December 5. 2016-07-15 15:43 2KB wwd.com 18 This Digital Loom is More Than Just a Desktop Fabric Printer—It's the Future of DIY Fashion An artist is developing a desktop loom to make fabric production hands on. 2016-07-15 15:30 5KB thecreatorsproject.vice.com 19 Will Virtual Reality Bring the End of Mediums? Viceland's 'Beyond the Frame' explores the future of storytelling in VR with Chris Milk. 2016-07-15 14:50 5KB thecreatorsproject.vice.com 20 Ceramic and Beaded Creatures Mark an Absurd and Welcomed Design Renaissance The Haas Brothers make works with fur, cast bronze, and intricate beading to push notions of liberty and autonomy in design. 2016-07-15 14:00 4KB thecreatorsproject.vice.com 21 Huge Floating Lantern Will Carry Refugee's Memories from the Korean War South Korean artist Ik-Joong Kang's 'Floating Dreams' will sail down London's Thames with 500 miniature drawings lit from within. 2016-07-15 13:30 3KB thecreatorsproject.vice.com

22 interview with louis vuitton's kim jones on his collaboration with NIKE fashion designer kim jones collaborates with nikelab for 'summer of sport collection' in the run up to the rio olympics. 2016-07-15 13:21 7KB www.designboom.com 23 OLA architecture studio extends garth house for family of five in melbourne OLA architecture studio have completed an elegant and restrained black timber extension, while restoring the former dilapidated victorian dwelling. 2016-07-15 13:19 2KB www.designboom.com 24 All the Museums Welcoming the Pokémon Epidemic | Insta of the Week The best art museums in the world are embracing our new Pokémon overlords. 2016-07-15 13:00 1KB thecreatorsproject.vice.com 25 Exhibition Mirrors Uncertain Future for United Kingdom A collaborative arts project makes Brexit more relevant than ever. 2016-07-15 12:30 3KB thecreatorsproject.vice.com 26 construction begins on foster + partners' slussen masterplan developed by foster + partners, with C. F. møller as local architects, construction has begun in stockhlom at the site of the city's new slussen masterplan. 2016-07-15 12:29 3KB www.designboom.com 27 For the Diary: Museum Ludwig Celebrates 40 Years Museum Ludwig is celebrating its 40th anniversary with an exhibition from August 27 2016-07-15 12:06 1KB www.blouinartinfo.com 28 6 Self-Portraits Celebrate Rembrandt's Birthday | GIF Six-Pack Four centuries after Rembrandt revolutionized the self-portrait, GIF artists are doing the same. 2016-07-15 12:00 1KB thecreatorsproject.vice.com 29 peca studio's lava shelves reveal the material's volcanic properties peca studio's 'lava shelves' is an extention of their previous experiment with molton rock, which looks at a series of adaptable furniture pieces. 2016-07-15 11:54 1KB www.designboom.com 30 ‘Bold Colors, Odd Shapes, Squiggly Lines’: The Changing Reputation of Alma Thomas Alma Thomas, Apollo 12 "Splash Down", 1970, acrylic and graphite on canvas. COURTESY MICHAEL ROSENFELD GALLERY LLC, NEW YORK Yesterday the Studio Museum in 2016-07-15 11:00 5KB www.artnews.com 31 ajax lee turns nine iconic outfits into paper doll portraits taiwan-based photographer and art director ​ajax lee has 'flattened' a series of iconic outfits into paper doll fashion portraits. 2016-07-15 10:45 1KB www.designboom.com 32 Artist Attempts to Present David Cameron a Portrait of Himself as a Pig Artist Talia Golchin tried to present the ex-Prime Minister an image portraying his "pig-headedness" over migrants, the NHS, and education. 2016-07-15 10:30 2KB www.blouinartinfo.com 33 10 Great Artists to See at the SITE Santa Fe Biennial SITE Santa Fe's 2016 biennial spotlights 36 artists from throughout the Americas. Here, 10 of them discuss their work. 2016-07-15 10:02 6KB news.artnet.com 34 Driver Indicted on a Dozen Charges After Fatally Striking Art Curator in Fort Greene Marlon Sewell has been indicted on 12 separate charges over an incident in December that killed an art curator and injured two others. 2016-07-15 09:31 2KB news.artnet.com 35 The Diary of Mark Flood, Part Four: Opening Night The opening of CAMH's Mark Flood show. PHOTO BY PATRICK BRESNAN Editor’s Note: This is the final installment in a multipart series about Mark Flood’s 2016-07-15 09:30 17KB www.artnews.com 36 New Balance Unveils Sneaker Freaker Limited-Edition Shoe Australian fans will be able to buy the shoe designed by Sneaker Freaker publisher Simon Wood at a popup within Melbourne men’s wear store Up There– a week ahead of July 23 international launch. … 2016-07-15 09:11 2KB wwd.com 37 Uncountable Youth / Moscow International Biennale for Young Art While state-run art institutions in Russia experience uncertain times due to funding cuts and the dismantling of existing infrastructures, the fifth Moscow International Biennale for Young Art opened in all... 2016-07-15 09:01 6KB www.flashartonline.com

38 France Reels From Attack in Nice On Friday morning, the city’s seaside walk, the Promenade des Anglais, remained closed. 2016-07-15 08:49 2KB wwd.com 39 rawhiti beach bach new zealand the family beach retreat by studio pacific architecture has been designed to last and be passed down to future generations. 2016-07-15 08:45 2KB www.designboom.com 40 5 Things Artists Should Never Do When Trying to Win Over Collectors In the art world, as in life, relationships are everything. For artists personal connections with collectors can open doors to new opportunities and chances, such as introductions to dealers, curators, or other collectors. With that in mind its important to remember to conduct yourself... 2016-07-15 08:43 3KB news.artnet.com 41 12 Must-See Summer Photography Shows in New York See what attention-grabbing photography exhibitions you shouldn't miss this summer, from Diane Arbus to Gordon Parks. 2016-07-15 08:31 5KB news.artnet.com 42 The LA Gallery Scene, Perfectly Summed Up in Five Neighborhoods An overview of the Los Angeles gallery scene neighborhood by neighborhood. Who are the key players? 2016-07-15 08:01 7KB news.artnet.com 43 For the Diary: Group Exhibition ‘MirrorMirror’ Opens at Eric Firestone Gallery, New York Eric Firestone Gallery is presenting a thematic group exhibition from July 15 through August 4. 2016-07-15 07:13 1KB www.blouinartinfo.com 44 dorothy's illustration reveals a hidden world within an analog mimimoog synthesizer studio dorothy’s cutaway print imagines a miniature world of musicians hidden inside the 'minimoog.' 2016-07-15 06:35 1KB www.designboom.com 45 New Study Claims that Rembrandt Used Projection Technique to Create His Masterpieces A new study claims that the master painter used a sophistication system of mirrors and lenses to create his much-loved self-portraits. 2016-07-15 06:15 3KB news.artnet.com 46 “The Camera Exposed” at the Victoria & Albert Museum, London The Camera Exposed at V&A, London 2016-07-15 06:01 3KB www.blouinartinfo.com 47 Martin Creed: Blasting a Hole in the Ramparts of Art Read THE DAILY PIC on Martin Creed at the Park Avenue Armory: He opens a door onto New York's passing scene. 2016-07-15 06:00 1KB news.artnet.com 48 Interview: Sally Tallant on Liverpool Biennial 2016 The ninth edition of the UK’s largest contemporary art festival features new works by 44 international artists as well as 10 associated artists working in the North of England. 2016-07-15 05:48 3KB www.blouinartinfo.com 49 For the Diary: Singapore Symphony Orchestra’s Inaugural ‘VCH Presents’ Series The Singapore Symphony Orchestra’s inaugural “VCH Presents” at the Victoria Concert Hall brings together a diverse group of musicians and programs. 2016-07-15 05:30 1KB www.blouinartinfo.com 50 For the Diary: Crossroads Art Show presents ‘Let’s Be Ironic’ Crossroads Art Show presents its new exhibition “Let’s Be Ironic” from October 6. 2016-07-15 05:08 1KB www.blouinartinfo.com 51 Bavarian Parliament Will Investigate Claims Looted Art Was Returned to Nazis Bavarian Parliament to investigate state museums following bombshell report showing stolen paintings were returned to Nazis after war. 2016-07-15 04:57 4KB news.artnet.com 52 For the Diary: Neue Pinakothek‘s Exhibition ‘Three Colours Black’ “Three Colours Black” at the Neue Pinakothek will be open from October 5. 2016-07-15 04:45 1KB www.blouinartinfo.com 53 ‘Antar Yatra – The Journey Within’ Drama With Indian Dances in Delhi AIM for Seva is organizing a dance drama ‘Antar Yatra - The Journey Within’ on July 27 at the Kamani Auditorium in New Delhi. 2016-07-15 04:10 2KB www.blouinartinfo.com 54 The Most Subversive Work at the 9th Berlin Biennale Is a Secret Intelligence Agency Philosopher Armen Avanessian spoke to artnet News about DISCREET, the "Intelligence Agency for the people" at the 9th Berlin Biennale. 2016-07-15 04:00 7KB news.artnet.com 55 kristián mensa adds fruit to give his illustrations an extra punch illustrator kristián mensa uses everyday objects to add another layer to his pen and ink art work. 2016-07-15 03:15 1KB www.designboom.com 56 Ryan Gander’s ‘The Connectivity Suite (and other places)’ at Esther Schipper The constituent parts of the multi-media artist's exhibition befit a magic show, including theatrical curtains, trick coins, and a continuous stream of performative airs. 2016-07-15 03:00 2KB www.blouinartinfo.com 57 Abramović, Arcangel, Alÿs Celebrate Moving Image at Lisson Gallery Lisson Gallery explores the history of video art at its London space and in an extensive online exhibition. 2016-07-15 02:02 2KB www.blouinartinfo.com Articles

57 articles, 2016-07-16 00:00

1 Contemporary Austin Launches $100,000 Art Prize, Christian Marclay Wins SF MoMA's Contemporary Vision Award, and More (1.02/2) Related Venues San Francisco Museum of Modern Art Irish Museum of Modern Art Artists Christian Marclay Robert Mapplethorpe Dennis McNulty Arthur Kopcke Annie Leibovitz 2016-07-15 10:42 Taylor Dafoe

2 Gregg Albracht, 2016 Spotlight Artist (0.02/2) Fine art photographer Gregg Albracht’s passion for photography started in the summer of 1969 when he saw a portfolio of fine art photos. “I was mesmerized by their richness and beauty,” Albracht says. “It was in that moment that photography took a hold of me and I discovered what was to become my life’s work.” Starting decades ago with black-and-white images, he has evolved his craft over time and, today, uses all means of photographic technology to adapt his images for his new Dream Series. Many of Albracht’s photographs are considered a window to the west—a timeless place where human beings live in deep connection to the animals and the land. He’s not after a uniform look, which would tie his photographs together, but rather approaches each new image as if it’s the first he’s ever done. Albracht has had more than 80 shows all over the west and has won more than 25 regional and national awards. His photographs are exhibited in museum collections throughout the country including collections in Montana, Santa Fe, Nebraska, and Washington, D. C. A much-anticipated programming element of Redwood Media Group’s other art shows, the Spotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 and will continue to be a highlight at the show in future years. Gregg Albracht is one of four esteemed artists selected for this year’s Spotlight Artist Program. 2016-07-16 00:00 lmullikin

3 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 (0.01/2) Saturday at Artexpo marked the show’s busiest day yet, drawing thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for everyone. Visitors to the show were captivated by live demonstrations from artists hailing from around the globe, and enjoyed Art Talks such as “The Journey of a Working Artist” by Crista Cloutier, “Six Spheres of Success” by Michael Joseph, “Stewardship: Insuring the Legacy” by Jeannie Stanca, and a discussion with three successful artists—Tristina Dietz Elmes, Julia Carter, and Jeanne Bessette—about their respective careers. Showgoers will get one last chance today until 6 p.m. to peruse the fine art displayed at this world-renowned show. Here’s the lineup of events scheduled for Sunday. Not in New York? No worries—you’ll get an inside look at what it’s like to be at the show with our exclusive videos. Check them out here! Last but not least, make sure to check out Artexpo New York on Facebook, Twitter, and Instagram for fun tidbits throughout the show and leading up to next year. And check back soon for a full show roundup, including top sales, a full list of award winners, and more! 2016-07-16 00:00 lmullikin

4 For the Diary: Fondation Beyeler Presents Kandinsky, Marc, and Der Blaue Reiter (0.01/2) Related Venues Fondation Beyeler Artists Franz Marc Wassily Kandinsky Fondation Beyeler presents the works of the Der Blaue Reiter group from September 4 onward. On display will be artworks of Wassily Kandinsky and Franz Marc , the founders of the group. This will be the first Swiss exhibition in some 25 years about the movement which forged new ground in modern art. The exhibition will display an almanac of the same title produced by the artists containing 140 artworks, and 14 articles. Although Der Blaue Reiter lasted only for three years, it left a mark on artists for years to come. 2016-07-15 09:46 Atrayee Sengupta

5 AENY 2016 Recap: Highlights from an Incredible Year That’s a wrap! Artexpo New York has taken the fine-art scene by storm yet again, and we’ve got the sales, stories, and gorgeous collection of photos and videos to prove it. We’d like to extend a huge thank you to everyone who played a part, from our extraordinary exhibitors and generous sponsors to our ever-eager attendees. Read on to find out more about 2016’s show— we’re proud to say it was another phenomenal one! Moments to Remember Throughout the four-day weekend, attendees enjoyed a number of exciting events, from the VIP Opening Night Preview Party featuring the unveiling of this year’s Poster Challenge winner to inspiring Art Talks, Meet the Artist sessions, and more. Famed dance photographer Jordan Matter wowed us all with his live photo shoots, and painters from around the world gave us a peek at their creative process during live art demonstrations. On Friday, author and industry leader Pamela N. Danziger gave the Keynote Presentation to a rapt audience of exhibitors and trade attendees. 2016 Artexpo Award Winners Over a dozen artists and galleries were given special recognition during Artexpo this year for their work that went above and beyond. Here’s a full list of 2016 award recipients: Top Sales & Success Stories Here’s a sampling of some of our exhibitors’ top sales and feedback for the event. See more testimonials here ! Media Buzz Artexpo New York garnered tons of attention in media outlets in New York and beyond, with coverage including a shout-out in PAPER magazine, which dubbed our show as a “must-see,” a segment on CBS New York , and many others. We also reached tens of thousands of fans via social media, offering followers around the world up-to-the-minute event tidbits and photos on Facebook , Twitter , and Instagram. Thanks to everyone liking and following us on our social media channels—we love keeping you engaged! Exhibit in 2017 Inspired by this year’s event to give exhibiting a shot yourself, or want to return to Artexpo after having a successful show this year? Apply for 2017 here , or contact our helpful sales team —they’ll be happy to help you. 2016-07-16 00:00 sdalton

6 From Startup to Industry Star: Litsa Spanos, President and Owner of Art Design Consultants Founded in 1992, ADC, Art Design Consultants, Inc. has grown from a one- woman operation started in a 500-square-foot basement to a successful multi-team- member venture running in a gorgeous gallery space with stunning views. The woman who made it all happen? Litsa Spanos. In the last 24 years, Spanos has not only built ADC to be the booming business that it is today, helping clients select the perfect artwork for their corporate or residential spaces, but she has also received several honors along the way, including the Cincinnati USA Regional Chamber of Commerce & WE Celebrate’s “Woman-Owned Business of the Year” award in 2013. The accolades couldn’t go to a more deserving person—Litsa gives back as much as she receives, supporting numerous regional non-profit organizations and causes in addition to nurturing her clientele, ADC team, and family. Always with her finger on the pulse of what’s next in the art market, Litsa provides a valuable perspective for trade buyers and artists alike. We got to talk with her about her path to success as well as her tips for those rising in the industry: What have been some of the challenges in your career, as well as some of the highlights? The challenges are similar to what all small businesses face—finding new clients or talent and then bringing everyone together in an impactful way. Highlights of my career include being named “Woman-Owned Business of the Year”; publishing a beautiful art-filled book (Blink Art Resource); landing incredible new corporate, healthcare, and residential projects; and being able to work with creative and talented people every day. Any pleasant surprises or memorable experiences on your path to success that you’d like to share? A pleasant surprise was finding our incredible location in downtown Cincinnati during the recession. It’s a light-filled, 10,000-square-foot gallery with sweeping views of the city. It beautifully showcases all types of art, from paintings and sculpture to photography and mixed media. Our clients never want to leave, and we are all inspired every day! What do you think are the most essential qualities one must have to succeed in the art world? Perseverance, the willingness to take risks, honesty, and ethics. What do you see coming up in the art market, trendwise? Many of our clients want something different, unusual, and unexpected. Artists need to think outside the box and create works that no one else has. Whether it’s a new way to print photographs or painting on unusual surfaces, think fresh, new, and exciting. Starting a conversation and creating an interesting dialogue between the buyer and seller is what makes sales happen! ADC has several exciting things coming up this year, starting with the launch of the 2016 Blink Art Resource at Artexpo New York. This stunning, image-rich guide for designers, galleries, and consultants features work from hundreds of exceptional artists in a wide variety of mediums for sourcing work with ease and efficiency. Ask Litsa about it at while you’re at the show, or check out the details at blinkartresource.com. In addition, ADC will be hosting the Artist Success Summit this June 3–4, an inspiring two- day conference and networking event that equips artists with everything they need to succeed in today’s competitive art market. For more on the Summit, visit http://adcfineart.com/success-summit-2. ADC also proudly sponsors Art Comes Alive (ACA), an annual fine art contest and exhibit that awards over $250,000 to the brightest and best artists working in North America. For more information, visit adcfineart.com/selling-artists-works. 2016-07-16 00:00 lmullikin

7 AENY 2016 – Art Talks & Seminars Planning your trip to the show? Be sure to attend one of our Art Talks or Seminars! Here are some highlights from our Education Schedule. For the full schedule click here. Award-winning photographer Doug Menuez will share his cautionary tale about taking a personal project and making it into a lasting legacy through print and exhibitions. Joining the conversation will be fine art photographer and gallery owner Michael Joseph of Artblend. In this talk, Cory Huff of The Abundant Artist will explain the difference between the ways that artists think art is sold and how artists who make a living from their work actually do it. Speaker, author, and market researcher Pamela N. Danziger is internationally recognized for her expertise on the world’s most influential consumers: affluent Americans. Join Jennifer Townsend from Larson-Juhl as she reviews the essential design elements for creating memorable rooms. As home building trends have evolved over the past few decades, home furnishings and design have kept pace. Custom frames have also adapted to relate to those changes. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of three fine art photographers. Generate sales, increase awareness, and brand your business as the premier destination for art and framing. Litsa Spanos, President of Art Design Consultants (ADC), will share creative marketing ideas that can take your art gallery to the next level. Crista Cloutier explores the journey of the artist, how one finds a voice, develops it, and uses it to create a professional career as a working artist. Cloutier uses her own background as an arts dealer, curator, publisher, writer, and artist to illustrate her message of the importance of practice, authenticity, and the coupling of tenacity with audacity. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of three artists. The “Six Spheres of Success” is a fact-proven concept in attracting art buyers and each of the elements that makes up a successful art career. The strategic plan is designed to help artist build a brand, nurture a long sustaining career, add value, and increase art sales. Get the scoop from an expert on what is needed in today’s world to protect your artwork collection. What is personal property? What is stewardship? And what is needed to protect your art investment? Stanca will answer all those questions in this informative seminar. Learn the data backup strategies, tools, and copyright protections necessary to ensure that your artwork is protected and available decades from now. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of five artists. To license or not to license—that is the question. How do you decide if licensing is right for you? In this seminar, we’ll cover where to begin in today’s fast-paced licensing world. Art is important; it challenges the status quo and leads to innovation and change. Crista Cloutier of The Working Artist encourages artists to claim their rightful role as leaders. 2016-07-16 00:00 lmullikin

8 8 DAY 2 AT ARTEXPO: SPECIAL KEYNOTE, LIVE ART DEMOS & MORE Friday at Artexpo brought throngs of visitors through the gates of Pier 94 to see artwork from over 400 exhibitors from around the world, comprising more than 1,000 artists in total. The doors opened early for the event’s Keynote Presentation by Pam Danziger, “Marketing Art in Today’s New Luxury Style,” during which the renowned speaker, author, and market researcher provided tips for artists and gallery owners in attendance. The day was filled with inspiring Meet the Artist events and live art demonstrations, giving attendees the chance to see featured exhibitors in action and learn about their paths to becoming successful artists. Showgoers also enjoyed mingling with exhibitors and other art lovers alike at the night’s two parties: the Meet & Greet Reception sponsored by Art Brand Studios, and the Focus on Design Friday Reception sponsored by Art Design Consultants. It was another fabulous day and evening at Artexpo —and we know Saturday and Sunday will continue the trend! Don’t forget to follow Artexpo New York on Facebook, Twitter, and Instagram to stay updated on all the fun happening at the show this weekend! 2016-07-16 00:00 lmullikin

9 present architecture plans a cedar-clad home in the hamptons present architecture plans cedar-clad house in the hamptons with asymmetric roofline new york-based practice present architecture has conceived a home for a retired couple in the springs neighborhood of east hampton, new york. the clients required a large house with nearly all of the program accessibly situated on the first floor. consequently, this resulted in a larger than usual footprint. to make construction affordable on a limited budget, the design team reused the previous home’s existing concrete foundation, which directly informed a number of the project’s design features. the façade is clad with durable red cedar planks, a material commonly used throughout the area all images courtesy of present architecture to comply with strict zoning setbacks, present architecture designed the roof as a series of three non- parallel gables that descend toward the southwest corner of the plot. according to the architects, these skewed peaks bend the rules of the traditional house, while simultaneously creating a contextual relationship with the region’s vernaular architecture. as part of a low-cost construction strategy, the house is stick built with CNC-cut lumber assembled off-site in panels. the façade is clad with durable red cedar planks, a material commonly used throughout the area. the gabled roof is expressed internally as a folded ceiling of white oak boards internally, the gabled roof is expressed as a folded ceiling of white oak boards that unites a bright double-height communal space for cooking, eating, and entertaining. the master bedroom is contained within a perpendicular wing, creating an L-shaped property that embraces a secluded backyard. large glass doors completely open up the house during the warmer months, visually connecting the interior to a terrace which includes an elongated lap pool. 2016-07-15 19:14 Philip Stevens

10 the long-awaited toyota ‘supra’ resurrection is set to happen in 2018 the long-awaited toyota ‘supra’ resurrection is set to happen in 2018 toyota has been working on the model since 2015, but has now begun to move development further forward with the fastback coupé set to arrive in 2018. the next-generation ‘supra’ will come as the long-awaited successor to the japanese manufacturers emblematic coupé, which was discontinued in 2002. the new ‘supra’ draws its influence from the ‘FT-1 concept’ of NAIAS 2014 and will sit above the ‘GT86’ in toyota’s line-up. the new ‘supra’ will translate design elements from the ‘FT-1 concept’ that positioning tallies in concurrence with the return of one of toyota’s classic sports car names. in june 2016, a trademark application for the ‘supra’ nameplate was filed with the european union intellectual property office, signalling the manufacturers wish to showcase the car throughout europe. while the ‘celica’ badge has traditionally been used for models of the ‘GT86’s’ size, the ‘supra’ name would give the firm a mainstream sports car flagship. the new sports car is expected to be considerably more expensive than the popular ‘GT86’, reflecting what is likely to include a more complex powertrain and high-tech construction. the ‘GT86′ is set to make way on the fast-car podium at toyota the ‘supra’s’ form will draw its influence from the ‘FT-1 concept’s’ design language incorporating curved, expressive body forms shaped by the wind; inlets, air ducts, and vent features help reinforce its aggressive track stance with airflow management and highly aerodynamic elements. the ‘FT-1 concept’ includes a retractable rear wing to create additional downforce the toyota ‘supra’ resurrection is set to happen in 2018 2016-07-15 17:08 Martin Hislop

11 Gen Art Announces Fresh Faces in Fashion L. A. Designers Gen Art’s Fresh Faces in Fashion event will return to Los Angeles Aug. 4 to showcase five L. A.-based emerging labels. The fashion, music and entertainment incubator has chosen the men’s wear labels Bristol and Elliott Evan, the women’s collection 34N 118W, jewelry line Legier and shoe brand Rafa for the event, which will commence with a 7 p.m. cocktail reception and accessories presentation at Willow Studios in downtown L. A.’s Arts District, followed by an 8 p.m. runway show and a 9 p.m. performance by Faarrow. The two-year-old Bristol, cofounded and designed by Luke Tadashi, wholesales in 10 retailers worldwide including American Rag, Revolve, Wish ATL, Maidens Shop Japan and Fred Segal. Academy of Art graduate Elliott Evan Giffis founded his namesake line in 2012 and has since presented at New York and Los Angeles Fashion Weeks. Women’s line 34N 118W, named for the coordinates of Los Angeles, is casual everyday apparel designed by a collective led by Kate Anlyan. Jewelry brand Legier was founded last year by Legier Biederman, Ph. D., an art historian and curator who was inspired by California’s midcentury paintings and post-Minimalism movement. Taghrid Zorob founded Rafa, a sustainable shoe company that uses non-animal products, last year. In October, Gen Art will select one of these companies for its one-year incubator program. At last year’s New York event, Daniel Silverstain was awarded the prize , which provides brand development strategy, mentorship, financial, marketing and sales resources. The collections will also be shoppable online via shopspring.com beginning on Aug. 1, with exclusive items added on show day. The clothes presented at Fresh Faces won’t necessarily be from the current season; the designers were invited to present an edit of their “best of” the last couple of seasons. Gen Art was one of the early innovators of the consumer-friendly fashion event, offering paying members and press access to its runway shows and presentations, and tickets on sale for film festival screenings. The Los Angeles Fresh Faces event is also open to the public: a $50 general admission ticket buys access to the entire evening plus standing room at the runway show and complementary beverages. Rather than the more elaborate tiers of IMG’s Made L. A. event last month, the next level of access comes with a $1,000 lifetime membership, which guarantees reserved seats, designer meet-and-greets and behind-the-scenes access at all events (that’s still less expensive than a VIP-pass to Coachella for a single year). Founded in 1995, the Fresh Faces program has singled out Zac Posen , Rebecca Taylor, Phillip Lim, Duckie Brown and Rodarte over the years. The organization, now owned and run by former Gen Art staffer Keri Ingvarsson, has since also launched its own women’s fashion label , Openhouse. 2016-07-15 16:25 Marcy Medina

12 N: Philanthropy Hires Elsa Hosk as Face N: Philanthropy, a two-and-a-half-year-old contemporary brand that will be sold at Bloomingdale’s in the fall, is embarking on its first advertising campaign. Elsa Hosk, a Swedish model and Victoria’s Secret angel, will appear in the campaign, which is being shot by Adam Franzino, who has worked with Victoria’s Secret, Urban Zen, Moncler and Natori. Yvonne Niami, founder and chief executive officer of N: Philanthropy, liked Hosk’s look, which she described as “a little bit of the girl-next-door-blonde look. She’ll have natural makeup and natural hair. It will be the girl next door, but sexy.” Niami also liked Hosk’s charitable involvement. “She’s very philanthropic as well,” Niami said. As its name implies, N: Philanthropy turns over 10 percent of sales to charity. Niami’s beneficiaries of choice are the Children’s Hospital of Los Angeles and SPCALA. “Elsa does a lot of work with Fair Girls in Africa,” Niami said. “We thought she’d be a really good fit.” The organization works toward preventing the exploitation of girls worldwide and provides direct care to young women survivors of all forms of sexual exploitation and human trafficking. “We’ve even given back to that cause,” said Niami, who is donating $200,000 to the charity. “Sex traffic of children is horrific.” N: Philanthropy specializes in updated essentials, faux furs, vegan leathers and deconstructed sweaters. The clothing is designed for comfort and wearability and blurs the lines between work and weekend. The company, which saw growth of 300 percent last year, expects to do $15 million in sales in 2017. With brand recognition as a goal of the campaign, “we’ll be bringing traction to our web site where we actually sell products,” Niami said. “The idea is to expose the brand and push it out there a lot more than we have been. “This is our first big shoot,” Niami said. “This is more expensive than anything we’ve ever done. But the brand is ready to have that big push.” The campaign will appear on billboards, magazines and N: Philanthropy’s web site, where a behind-the-scenes video of the shoot will also be available. Franzino will photograph Host outdoors in downtown L. A., on Broadway and in the Arts District. “We are a very L. A. brand,” Niami said. “About 80 percent of our product is made in L. A. and we have a design studio in L. A. We want to get that gritty L. A. look, with palm trees in the background.” 2016-07-15 16:20 Sharon Edelson

13 John Varvatos Launches Dark Rebel Rider in Rock ‘n’ Roll Style More Articles By New York Fashion Week: Men’s wrapped up with a bang, or at least one relative to the rest of the week. A young crowd gathered inside of John Varvatos ‘ Bowery store — once the venue of famed concert hall CBGB — to toast the brand’s newest fragrance launch, Dark Rebel Rider, and rock out to a very high-voltage performance by the band Tyler Bryant & The Shakedown. A few of the season’s roving notables made their way over to sip drinks from plastic cups and mingle for the last time of the week. A rapper by the name of Machine Gun Kelly had even come wearing the Varvatos look: pinstriped pants and suit jacket, breezy scarf around his neck, and no shirt (better to show off the tats.) “I don’t want to leave. I had so much fun,” said Travis Mills, a CFDA ambassador for the week. “It’s like, this can’t be the end of it, you know? I can’t get away from it.” Fortunately enough, he won’t be away for very long: he has another fashion week to look forward to in September. But before then: vacation and work. “I’m going to Cabo for, like, three days — take a little mini-vacation. Then I’m back to working on my album and shooting a show,” he said. Dale Moss, a pro footballer who’s ventured into modeling and is currently represented by Wilhelmina Models, is eyeing the coveted ambassador gig for next year — and has a strong campaign for it given the rounds he’s been making this week. “I love fashion — just how it brings different things together,” he remarked. Strolling into his store straight from the Roxy Hotel where he held his men’s runway show, the very last of the week, Varvatos seemed calm, cool and collected. “I felt good going in, I feel great going out. It’s always good to get it over with, too,” said the designer. “It’s an honor in a way to kind of wrap it up for the week.” He’d tapped Tyler Bryant & The Shakedown, one of the bands signed to his record label, to perform. “They just opened for Guns N’ Roses the other night, they just came here to play, and in the fall they go back out with ACDC,” Varvatos explained. “They’re these…kids who are playing these huge places, and they’re unbelievable. These guys are young, and they’re just cool.” Young, cool and up-and-coming: an apt summary for New York Fashion Week: Men’s . 2016-07-15 16:16 Kristen Tauer

14 Ryan Reynolds, Michael B. Jordan Attend Piaget Watch Unveiling More Articles By Piaget chief executive officer Philippe Léopold Metzger explained of the decision: “The problem is that those guys are going to make terror anywhere and one of challenges we all have now is to continue to live like before. What you don’t want is to play the game and be worried everywhere you go. We had a huge event in Paris last week with the jewelry collection and decided to keep it there, because we said, ‘OK, we cannot decide to do where you do because those guys are crazy.’” With the bar cut, guests herded into the un-airconditioned greenhouse for the watch’s presentation – marking the unveiling of Piaget ’s nine “game changer” spokesmodels. They are led by actor Ryan Reynolds, who attended Thursday night along with another face, actor Michael B. Jordan, and also include British polo player Malcolm Borwick, Swiss novelist Joël Dicker, Chinese actor and singer Hu Ge, Belgian tennis player David Goffin, Emirati artist Mohammad Sultan Al Habtoor, multihyphenate entertainer Miyavi and French chef Jean-François Piège. Speaking to WWD about the merits of the new $9,350 Polo S timepiece, Reynolds said: “There are very few items that men carry throughout their lives in terms of accessories, and a watch is one of them. And this is one of the things I hope to pass along to my kids — I got my daughter’s initials on the back of this.” 2016-07-15 16:10 Alexis Noelle

15 Japan’s Best New Photographers are in their 70s COOL JAPAN I, Koizumi Sumio. Images courtesy the gallery and the artists Drawing on Japan's rich history as a bastion of photography, an exhibition called Recent Photography highlights four photographers from the homeland of Canon, Nikon, and Fuji. Each of the photographers on display at Chelsea’s Onishi Project , joined the tradition of legends Daido Moriyama, Hiroshi Sugimoto, and Noboyushi Araki after the year 2000. The catch? The average age of the artists on display is a cool 75 years old. Sumio Kuzomi, Yoshiko Ehara, Michio Kumagai, and Motoo Saito had separate and unrelated careers for years, discovering photography as a second occupation in the last decade-and-a-half. Their work is surprisingly untraditional, with no “straight-on” photography to be found, and feels more contemporary and of-the-moment than you would expect from photographers of a certain age. Photoshop, digital collaging techniques, and highly conceptual motivations form the backbone of the work on display. Recent Photography Installation View “Artists who have changed their career late in life have seen so many exhibitions and have so much knowledge of art that they have a better grasp of what art is good,” Onishi Project founder Nana Onishi tells The Creators Project. “They also have already found out who they are and what they want to express through their art—they are ahead of young people in terms of ‘life’.” Despite their late arrival to the medium, the photographers display a surprisingly youthful eagerness regarding their newfound passions. “[The photographers] are about 70 years old, but they told us that they are still learning and are ready for the next 20 years of their artistic careers!” Onishi adds. FREEDOM I, Kumagai Michio Portrait of Artist Saito Motoo LOVE I, Ehara Yoshiko Learn more about Recent Photography on the Onishi Project website . Related: Japanese Photographers Reflect on Fukushima Postcards from Tomorrow: Julie Watai's Manga-Inspired Photography Photographer Uses The "Light Of Japan" To Capture Radiant Long- Exposures 2016-07-15 16:00 Andrew Nunes

16 Watch M. I. A's Explosive Video for the First Single of Her Last Album GIF and screencap via The track is a banger, but the video is literal dynamite for M. I. A.'s latest single, "Go Off," a self-directed montage of explosions rupturing the earth in what appears to be a massive strip mine. Her collaboration with Skrillex and Blaqstarr is decidedly more upbeat than her refugee-centered " Border" videos , but she still slips an environmental message into a film that's as satisfying to watch as it is horrifying to think about. Cinematically captured via drone, the explosions are gorgeous but they're still a reminder that strip mines are objectively terrible. This is M. I. A.'s fifth and reportedly final studio album, which will be called A. I. M. On BBC 1 Radio last night, she told host Annie Mac, “It’s my last record so I wanted it to be happy. There’s no complains on it. [It’s] another side to me completely. I don’t know if people know [about] that.” To clarify, she will still make music, she simply imagines leaving the album format behind. That's fine by us, if it frees her up to record, shoot, and direct more amazing audiovisuals like "Go Off," which you can watch and hear below. Follow news about A. I. M. on M. I. A.'s website . Related: New M. I. A. Tracks Debut Swordfighting Indian Girls and African Street Dancers 36,000 Kung Fu Kids Star in M. I. A. and GENER8ION's Video How Artists Are Addressing the Syrian Refugee Crisis 2016-07-15 15:45 Beckett Mufson

17 Cath Kidston Creates Capsule Ranges for Disney’s Winnie-the-Pooh, Mickey and Minnie Mouse The characters will be created into prints for accessories, homeware, kids’ and fashion. The 38- piece Winnie-the-Pooh collection will launch on Sept. 26, while the 73-piece Mickey and Minnie Mouse range will be available on December 5. The Winnie- the-Pooh line will be available exclusively in Cath Kidston stores in the U. K. and online. Prices range from 5 pounds or $6.60 for a Bramley Sprig and Friends luggage tag to 75 pounds or $100 for a dress. The Cath Kidston team delved into the Disney archives including original illustrations for inspiration. Cath Kidston marketing director Sue Chidler incorporated Winnie-the-Pooh and the cast of characters onto the brand’s signature print designs; Button Spot and Bramley Sprig. In addition, the label took cues from the Hundred Acre Wood for a new print. “We’ve thoroughly enjoyed marrying the storytelling elements of classic Disney characters with our signature prints,” said Chidler. “Winnie-the-Pooh is a perfect start for the collaboration, embodying the cheerfulness of the Cath Kidston brand. The fusion of Disney’s Winnie-the-Pooh characters with our classic designs makes for an exciting, creative collection filled with personality that we believe our customers will love to collect. We’re looking forward to bringing to life our second collection, centered around Mickey Mouse and Minnie Mouse. We decided to make the range limited edition to make it feel truly unique and special for our customers.” RELATED STORY: Fashion Designers Take Part in Capsule Collections for Disney’s ‘Alice Through the Looking Glass’ >> 2016-07-15 15:43 Lorelei Marfil

18 This Digital Loom is More Than Just a Desktop Fabric Printer—It's the Future of DIY Fashion The Doti Loom. What if, instead of going shopping for new clothes, you can just download fabric patterns and weave clothing from your home computer? That’s one of the possibilities suggested by the open-source desktop, Jacquard loom that artist Pamela Liou is currently developing, but the project has the potential to be much more than just a fabric printer. The term “Jacquard” comes from the name of the man who invented the process of using perforated cards to input pattern designs into the first automated looms, just like the punch cards used to input data for the first IBM computers. Jacquard looms are considered one of the earliest computing devices, and it seems only natural that in the age of portable digital devices we should have an equally portable digital loom. According to Liou, the only computerized Jacquard looms available are “very expensive, and difficult to get access to.” So, to bridge the gap between traditional hand-weaving looms and their unobtainable, automated cousins, the Dot-Matrix Loom , which Liou lovingly nicknamed “Doti,” was born. An early version of Liou’s Loom that she made for her thesis project in NYU’s Interactive Telecommunication Program. Liou tells The Creators Project, “I see Doti as a prototyping tool, analogous to the desktop 3D printer for its ability to rapidly produce a wide variety of designs. " It’s not just the size of the Doti loom that sets it apart from commercial Jacquard looms, it uses an entirely different mechanism as well. The Doti loom uses electric motors instead of the hydraulics used by commercial Jacquard looms. The advantage of this from Liou’s perspective is that it makes the loom more flexible because “you can add as many motors on your machine as you’d like, in multiples of four.” The process of using the Doti loom is also much more hands-on than a commercial loom, since the mechanism that creates the pattern is automated, and the loom itself is not, the user must pass a strand of fiber back and forth across it as she works. Traditional weavers might balk at the notion of a motorized loom being compared to a desktop printer, but Liou doesn’t necessarily intend for Doti users to just make their own clothes with it. “Doti doesn’t produce traditionally commercial-grade Jacquard wovens yet—nor is that the goal, really—but it can help a textile production house iterate through different designs, and really dial in their draft patterns without having to send out tech packs and samples overseas, a process that takes months,” Liou explains. An automated mechanism creates the pattern, but the loom itself is not automated and requires the user to pass a strand of fiber back and forth as she works. Liou’s thinking is that in the past, when more clothing had to be made at home, the general population was more conscious of garment quality and able to make informed purchases. Now that so much garment manufacturing takes place overseas, our understanding of textile and garment production have become increasingly abstract, and it can be difficult for us to know exactly what the value of a garment is supposed to be. These circumstances serve to benefit the commercial textile industry more than anyone, which is why Liou emphasises the importance of Doti as a tool to empower garment consumers. “A hands-on machine like this really forces the user to confront that objects are made rather than conjured from thin air,” says Liou. She finds this is especially true when it comes to teaching children to use the loom, “When kids see the connection between what they design with a computer interface and how the machine physically reconciles that design in a material—a lightbulb goes off.” Liou at work on her open-source desktop Jacquard loom. All images courtesy of Pamela Liou. Doti is still in development, and although Liou is currently working on making finished garments with it, it seems that Doti isn’t so much a DIY fabric printer as a key to unlocking the barriers to the commercial fashion kingdom, or a crowbar for prying open the gates! The focus of the project is on social fabric, rather than woven fabric, and as Liou explains, “I’m far more interested in building communities than building a company.” Liou is featured in a video about her recent residency at Eyebeam Art and Technology Center , and she is currently a resident artist in the Open Studios Program at The Museum of Arts and Design in Manhattan. Stop by and see her and Doti in action on Sundays throughout the summer. Related: The Thread Wrapping Machine Creates Furniture By Wrapping Its Parts In A Cocoon Of String Weaving the Future of Textiles with Google's Project Jacquard Haute and Heavy: Exploring the Possibilities of Computational Fashion 2016-07-15 15:30 Andrew Salomone

19 Will Virtual Reality Bring the End of Mediums? Vibrations. Ando and Pyare. Video stills courtesy of Viceland for Beyond the Frame. Beyond the Frame: Storytelling in Virtual Reality is an ongoing TV series with musicians, artists, and directors creating the future of storytelling in VR on Viceland. We will explore the power and capabilities of these new technological opportunities through a series of profiles and features. The virtual reality pioneer Chris Milk, founder and CEO of With.in , sees the future of VR as not just a blurring of the lines between art and life, but an indistinguishable blending of the two. Milk is out to end artistic mediums as we know them. For thousands of years we’ve been telling stories about people over there , we look through these frames,” Milk tells The Creators Project. “The frames can be a movie screen, it can be a television show, it can be a book or a play.” This framing of a work or experience creates what Milk calls “a translation gap” that requires a suspension of disbelief to feel fully immersed in a performance or to fully experience it. Valens Reef. © Conservation International Foundation 2016. Video stills courtesy of Viceland for Beyond the Frame. If that sounds grandiose, Milk suggests looking at how far we’ve already come. It was just 130 years ago that Eadweard Muybridge dazzled the world with his series of horse photos that paved the way for motion pictures. He grants that “there’s a tremendous amount of hype around virtual reality,” but that its potential should not be underestimated. Normally new mediums have a long time to evolve before the spotlights of the world are put on them,” says Milk. “People thought that the nickelodeon was pretty awesome, but they didn’t have a Twitter account or a Google Alert for ‘moving pictures.’ It grew naturally.” The Source. charity:water. Video stills courtesy of Viceland for Beyond the Frame. Take, for example, the experience of listening to music. For much of human existence, there was only one way to enjoy it: be in earshot of performing musicians. But then the wax cylinder allowed music to be captured on an object that could be listened to in one’s home—though no one listening to it would mistake it for an actual orchestra performing in the living room. As the ways to enjoy music have evolved, from LPs to high-definition sound, the distance between a recorded song or symphony and the real thing has shrunk. Milk sees VR as the means to finally bridge this Uncanny Valley. "The medium ceases to exist,” says Milk. “It lives within us and we live within the stories that the medium makes possible.” He emphasizes that the benefits of blending art and life in this way go beyond entertainment. It can serve as a means for not just seeing the lives of other people, but literally step into their shoes. Image coutresy of 360heroes. Video stills courtesy of Viceland for Beyond the Frame. “[VR] is really bottled human experience, right?” he says. “We can record a Syrian refugee camp and distribute it around the world and people can live that human experience and what it’s like to be there first-hand.” (While he acknowledges that this does not yet allow for one to also experience touch, taste, and smell, “it’s early days.”) Within’s eight-minute film Clouds Over Sidra , offers a sense of what this might look like, allowing viewers to join a Syrian girl as she moves through her temporary home in Jordan’s Zaatari refugee camp. Milk sees this as representative of the “second stage” of VR, in which “we’re essentially still employing the same techniques” of traditional film. His team is working on the “third stage” in which “you look around, inside of it, rather than just [follow the] chosen frame from a director.” Milk and team have made three of their VR films available on the Samsung VR app My Mother's Wing , Waves of Grace , as well as Clouds Over Sidra . But while he expects VR to end the need for distinctive mediums, he does not predict existing mediums to go extinct. “In the same way that there’s different genres of filmmaking—like going to a horror movie is very different from going to an adult drama love story—I think some people will want to interact, but some people won’t. Check out Beyond The Frame: Point Of View : A Samsung x VICELAND documentary here: To get the full Samsung VR experience click here. To learn more about With.in click here . Related: Vrse to Drop "VR" Name, Opts to Look 'Within' Virtual Reality Journalism Puts You Inside the Refugee Crisis Chris Milk's The Treachery of Sanctuary How It Works: Chris Milk's The Treachery Of Sanctuary 2016-07-15 14:50 The Creators

20 Ceramic and Beaded Creatures Mark an Absurd and Welcomed Design Renaissance Collective Accretion, Image Courtesy of Joe Kramm / R & Company Traditional vases are disguised behind trunks of bronze; their ceramic base manipulated to resemble feather-clad creatures. A dining room table and chairs transforms into a scene out of Where the Wild Things Are— complete with fur and cast bronze to match. Since founding the Haas Brothers back in 2010, Nikolai and Simon Haas' creations are as innovative as they are absurd. Their most recent project, Afreaks , was included in this year’s Cooper Hewitt Design Triennial , signaling the brothers' autonomy from aesthetic and functional norms. The Haas Brothers' philosophy is that their pieces eradicate the notion that a division between art and design could exist in the first place. There is little sense in the works, as functionality is maintained at its minimum threshold. Unique Hex Lamps in Brass Tile, With Slumped, Fused Plexiglass Shades, 2013, Image Courtesy of Joe Kramm / R & Company Many of their works carry an obviously sexual aesthetic, deviating from the home decór status quo. Titles such as Fungus Accretion for a series of vases, and a daybed named after Anna Nicole Smith give the audience room to take the pieces seriously or not. A few short years after launching, the team is a perfect storm of technical experience, ingenuity, and Hollywood connections and has partnered with the likes of Lady Gaga, Versace, and Peter Marino. Raised in Austin, Texas, the fraternal twins grew up learning traditional stone carving methods from their father. After leaving home, the two parted ways; while Nikolai pursed music, Simon studied dance and culinary arts before landing at the Rhode Island School of Design. The twins developed complementary talents, which have proven to be a major asset since formally establishing their company. Unique Hex Table and Beast Chairs, Image Courtesy of Joe Kramm / R & Company A lot has happened since the brothers’ early Los Angeles days. During a recent visit to Cape Town in South Africa, they were inspired by the work of a local women’s beading collective in the Khayelitsha Township. The Haas Brothers partnered with the collective quickly for the collaborative Afreaks series, later renaming themselves the Haas Sisters. With the widespread success of Afreaks , the Hass design team has begun developing an intricate mathematical beading process, an experiment that incorporates theories from linguistics and the natural sciences. Afreaks Series, Image Courtesy of Joe Kramm / R & Company There is a deep social mission embedded in their designs. In conversation with Interview Magazine , the brothers explain that they, “really believe that every single piece we make has potential to change people's minds about what's acceptable.” Their openness transcends the physicality of the pieces, creating a space of greater freedom beyond their immediate reach. Their designed works change how we look at an object as simple as a chair. The Haas Brothers and The Haas Sisters series Afreaks is taking part in the Beauty—Cooper Hewitt National Design Triennial at Cooper Hewitt, Smithsonian Design Museum through August 21st. To see more of the Brother’s work, visit their website , Facebook , and Instagram. Related: Algorithmic Design Digitizes Fabrics of the Future IKEA Furniture Gets Infected with Drippy Organisms Glowing Chairs That Communicate With Each Other Will Light Up Any Music Festival 2016-07-15 14:00 Alison Roberts

21 Huge Floating Lantern Will Carry Refugee's Memories from the Korean War Artist's rendering of the piece. Image courtesy of the artist Come September London's river Thames will welcome a three-story high giant lantern that will share the tidal river along with the usual tugboats, tourist cruisers, and the odd seagull bobbing along. The lantern will be a new installation, titled Floating Dreams , from South Korean multimedia artist Ik-Joong Kang and will be part of the annual Totally Thames festival. Although it will look spectacular, featuring 500 miniature drawings lit from within, the artwork comes from a place of tragedy. The artist, who currently lives in New York, returned home to tour the country and collect drawings from the generation that fled North Korea to South Korea during the Korean War. These refugees are now octogenarians or older and Kang asked them to draw their hometowns on pieces of paper measuring around three-by- three inches—many of them brokedown while doing it, Kang noted. The artist then transferred these emotion-filled images onto Hanji, pieces of traditional Korean rice paper, which will then be brought together and built into the artwork. Although the piece reflects upon the breakup of families, homes, and communities, presenting these parts as a unified structure points to hope for the future. It also nods to the plights of the many refugees around the world who are forced to flee their homes. “I have three principles in mind when doing public art, which is healing, connecting, and embracin," Kang told The Korean Herald. "The project’s subject is the displaced, but the bigger theme here is unification. Dreaming about unification is not enough. We also have to consider what we will do after unification. One of the essential roles of an artist is asking questions and I am doing it (through my art).” The piece is similar to an upcoming installation by the artist called The North in My Dream , which also explores the idea of reconnecting North and South Korea. For that piece 15,000 drawings by people forced to leave North Korea have been turned into a mosaic which will be displayed on the border of the two countries in August. Elderly Koreans creating their pictures. via Yonhap news Some of the artworks created by the Koreans. via Yonhap news Visit the Totally Thames website here for more details. Related: In South Korea, Fingerprints Are Symbols of Protest Biohacker Lisa Park Has Art on the Brain Four Horsemen of the Environmental Apocalypse Arrive in London 2016-07-15 13:30 Kevin Holmes

22 interview with louis vuitton's kim jones on his collaboration with NIKE interview with louis vuitton's kim jones on his collaboration with NIKE interview with louis vuitton’s kim jones on his collaboration with NIKE in the run up to the rio 2016 olympics, NIKElab have teamed up with a number of designers for the ‘summer of sport’ celebration, including louis vuitton’s art director kim jones who has collaborated with the atheltics brand on a ‘packable sport style’ collection. the selection blends NIKE’s distinct style with the british fashion designer’s passion for travel. the partnership looks towards the upcoming games, and focuses on the complimentary items an athlete would pack in order to make a trip effortless. kim jones first started his career in 2003 after graduating from the prestigious graduate program in fashion at central saint martins in london. he then went on to work at a number of brands including uniqlo, umbro, topman, alexander mcqueen, hugo boss, and dunhill, before landing the role as artistic director at louis vuitton. his collaboration with NIKElab is just another example of his ability to work with a well-loved brand, in which he turns his ideas and insights into new, contemporary, transformative designs. jones draws on what he would describe as having been a ‘rather nomadic childhood’, incorporating influences from the diverse cultures he has experienced, paired with his distinct streetwear aesthetic for this capsule collection. designboom met with kim jones in london to discuss his collaboration with NIKE, what influenced his creative process in developing the collection, and why he decided to pursue a career in fashion. designboom: what originally made you to pursue fashion fashion? kim jones: fashion I felt I could make a whole world around it. I don’t think about things, I don’t ever have plans, I just do them. I like things to be organic and at the right time. time is really key to me. I’ve been really fortunate to do all these amazing things in my career. you close one chapter you start another, and that keeps me excited about what I do. DB: can you tell us a bit about your collaboration with NIKElab? KJ: when I was about 13, perhaps even younger, I was obsessed with having a pair of NIKEs and I remember nagging my parents to buy them for me. I knew immediately that I wanted them… so since a very young age, I’ve wanted to work with NIKE and when they approached me it was the perfect time. I wanted to use NIKE’s technology, so we found something old and made it into something that was very new. I didn’t want the collection to look retro. I wanted it to be modern and to speak to youth today. there were a few items I had a personal connection to including the windrunner. I used to cycle around on my BMX when I was 14 wearing that, so it became a sentimental piece for me as it has a lot of memories associated with it. the idea of working on that was a dream come true. racking my brain on how to bring it up to date, making it relevant for now. it looks like a wind runner, but actually the way it was designed was very technical. it is rendered flat almost in an origami way, and when it is laid out it is a big check. it looks simplistic, but actually is very technical. DB: what trends or themes influenced your collaboration with NIKE? KJ: the idea of ‘packables’—travel adaptability, functionality were the main themes were explored; and of course looking at the DNA of what NIKE stands for. so, I was looking to design garments with the least amount of seams as possible to ensure lightness and compactness. I looked at what NIKE does best, and extracted key elements and their technology to create these pieces. for example, the windrunner is constructed from a single piece of fabric. so, the biggest challenge was looking at how it would need to be cut, and how it would be graded. it features water-resistant woven fabric and can be rolled into a pouch for easy packing. the NIKElab air zome LWP x kim jones footwear take influences from the 1995 nike air zoom LWP which was the first running show that featured NIKE’s zoom air technology, and the shoe’s upper references the original design. DB: what is it about sneakers and footwear that interest you? KJ: I have a collection of more than 500 sneakers in my personal archive, and I keep them all in my house in east london, and many in my cupboards in paris. I have a lot of jordans, and huaraches because when they originally came out, I bought them in bulk because I loved them so much. back then it was about aesthetics, now I am interested in these designs because of the particular NIKE technology that goes into them. I really like seeing how the tech-side leads into fashion, and ultimately lifestyle. for the collection we have the two classic colorways, and the bright color- way is to celebrate rio. whenever I go to rio or brazil there is a lot of color and energy and I thought that would be nice to incorporate in the collection. all the colorways are derived from old air maxes. there’s one from a classic, original, and air max 95 colorway; and then we added another color palette is more futuristic. designing the footwear was about taking NIKE’s DNA, mixing it together, and combining it with all of the different things I like. DB: you traveled a lot when you were young. how has this influenced your work? KM: I love discovering new things, seeing new places, and nature is a big part of my interests. you go and search far for things, but if you don’t go there you don’t know what you’re missing and what you could see. sure, you can find anything you want on the internet, or read it in a book, but I am a very sensorial individual, and I like to see, touch, look at things and be inspired by culture, wildlife, people… I find when I’m traveling I get really sick sometimes of the packing and unpacking process. I thought for this project I what would make it easier for an athlete. I wanted to keep them in their zone of feeling comfortable and ready to perform. it is the athletes that are going to wear this for the olympics, which thinking about it is actually a really stressful time for them. what is key for them is to focus on their performance. I wanted to make it really easy for them to feel comfortable and center in on their goals. time is their luxury, so I wanted to make it so simple that they just have to take one bag. DB: do you have any advice for young designers who are looking to pursue fashion? KM: be prepared to work really hard. think about the work before the fame or the pay. think about what you are and what you stand for. think for yourself. if you want to work with a brand understand the brand. keep focus on what your doing and make it yours. DB: do you have a personal motto which you live by? KM: just be yourself. that’s all. ‘NIKElab x kim jones air zoom LWP’ detail ‘NIKElab x kim jones air zoom LWP’ detail preview presentation in london of kim jones’ ‘summer of sport’ collection for NIKElab image © designboom the ‘NIKElab x kim jones windrunner’ is constructed as a single piece of fabric image © designboom portrait of kim jones 2016-07-15 13:21 Hollie Smith

23 OLA architecture studio extends garth house for family of five in melbourne OLA architecture studio extends garth house for family of five in melbourne once a dilapidated victorian dwelling dating back to the ninetheeth century, OLA architecture studio has completed the restoration with the addition of an elegant and restrained timber extension in melbourne to accommodate the daily lives of a young family of five and two dogs. devoid of unnecessary detail, both the addition and the existing building share a similar scale of footprint and mass; sitting side-by-side embodying ‘a calm air of confidence and presence within their landscape.’ the original house is visualized as one solid form with all the rooms organized within a single volume, and on a high level when OLA studio considered the approach on how to add to what was already there, a conscious decision was made to approach the design with architectural contrasts and similarities. the kitchen is organized to the rear and faces the garden landscape on the other hand, the new build adopts the rectilinear forms of the old, but varies their sequence and size to create a series of intimate internal and external spaces. externally the new addition is wrapped in a black timber envelope. this reads as a reserved collection of rigid forms stacked on top of, or next to one another, while the internal circulation functions as a seamless transition from one defined space to the next. the timber slats from the façade hang halfway down over the windows the home serves a family of five and their two dogs the sculptural steel staircase provides circulation to the programs upstairs located in northcote, garth was once a dilapidated nineteenth century italianate victorian masonry dwelling 2016-07-15 13:19 Natasha Kwok

24 All the Museums Welcoming the Pokémon Epidemic | Insta of the Week Love ‘em, hate ‘em, or gotta catch ‘em, Pokémon are still making headlines more than a week after the launch of Nintendo and Niantic Labs' new app, Pokémon Go. With more downloads than Tinder, more active users than Twitter, and more engagement time than Facebook, the app has become an overnight behemoth—but not without making a few Poké-faux pas. When one visitor made the distasteful discovery of the poison gas Pokémon Koffing at the Holocaust Museum in Washington, D. C. , it seemed like developers Nintendo and Niantic Labs had been too careless for their own good. Yet, many museums have seen an uptick in foot traffic due to players searching for Pokestops—landmarks that supply them with Pokeballs and other items—within their hallowed walls. Art museums in particular have been welcoming, including pictures of their new digital residents on their official Instagram and Twitter accounts. Here are some of the best art museums in the world, fully embracing our new mixed-reality world on social media for all to see. Read more about Pokemon Go’s unexpected effects on the real world here . Related: 10 Totally Unintentional 'Pokémon Go' Effects on Society I’m the First (and Maybe Final) Professional 'Pokémon GO' Trainer The Wild Pokémon Fighting Game of Our Dreams Appears 2016-07-15 13:00 Beckett Mufson

25 Exhibition Mirrors Uncertain Future for United Kingdom Sir Thomas Moore’s influential Utopia was published in 1516 and celebrates its 500th anniversary this year. The text aimed to reform English politics with the creation of an imaginary, self-contained island where all social structures and living conditions were perfect. Now a new exhibition titled Paths to Utopia at Somerset House in London aims to trigger debate about what a perfect society looks like. “Moore’s Utopia is essentially an essay, highlighting possibilities and failings with societal structures. Paths to Utopia is a 2016 version of this essay—a project with hundreds of people involved—a reality mixed with hopes and dreams,” says the show’s producer Andy Franzkowiak. Image courtesy of Le Gun Collective Paths to Utopia involves a range of exhibitions and performances including Temple of Perpetual Myth , a hand painted installation covered in creation stories, anarchist evening classes, and an installation examining ideals of materiality and economic security titled Discord . “There are representations of many cultures, not just London in 2016,” Franzkowiak tells The Creators Project. “Mythology from around the world, dancing monks from India, masks from Africa, and Navajo weaving—make the exhibition globally relevant.” Image courtesy of Bruce Atherton The exhibition tackles complex contemporary issues from stem cell research, IVF, and economic stability and merges them with the utopian theme. “We wanted to take audiences through a 2016 landscape of ideas, technology and issues,” Franzkowiak explains. “We were particularly interested in giving a snapshot of what is arguably the most utopian endeavor that humankind pursues that of unconditional healthcare and the ongoing understanding of the body and brain.” In doing so, the project encourages viewers to question their mortality and dreams in relation to the future scientific and economic developments. Image courtesy of Jessica Sarah Rinland The installations, exhibitions, and performances all describe Utopia as not being a blueprint for the future, but instead placing the importance of dreaming in the now. Future planning is more relevant than ever to the residents of the United Kingdom given the recent political changes. Image courtesy of Caitlin Shepherd As Franzkowiak says, “The now has grown immeasurably in importance given the current political and societal place the UK has rolled itself into in the last few weeks. With Paths to Utopia we wanted to allude to the idea that perhaps everyone’s days might have a moment of utopia held within them—a meeting, a meal or a walk, simple moments that really are as wonderful as we might want to imagine, without hitting the realms of fantasy. “ Image courtesy of Gray's Anatomy (circa 1887) Paths to Utopia is open through October. To read more about the project, click here. Dream As You Cruise Inside This Stained Glass Driverless Car How Brexit Could Affect Britain's Artists: Last Week in Art We Talked to the Archaeologist from the Future About His New Show 2016-07-15 12:30 Anna Marks

26 construction begins on foster + partners' slussen masterplan construction work is underway in stockhlom at the site of the city’s new slussen masterplan. developed by foster + partners, with C. F. møller as local architects, the project forms one of the largest urban transformation projects in sweden. working in collaboration with city authorities, the SEK 12 billion ($1.4 billion USD) scheme seeks to create a dynamic urban quarter that responds to its historic context. a series of new public spaces enhance connectivity between södermalm and gamla stan all images courtesy of foster + partners constructed in 1642, ‘slussen’ is the lock that separates the sea from the fresh water of lake mälaren. in 1935 the lock was covered by a concrete road structure that is now dangerously eroded. the new masterplan offers an opportunity to readdress balance between road vehicles, pedestrians, and cyclists while enhancing the public realm. foster + partners’ design attempts to preserve the city’s character, ensuring the protection of existing views and sightlines. a series of new public spaces — an accessible quayside, pedestrian, and cycle routes — enhance connectivity between södermalm and the 18th century buildings of the old town — gamla stan. the plan establishes pedestrian connections between these two districts that have long been separated by roads and concrete passages. the scheme also expands the existing infrastructure to minimize the threat of flooding by expanding the lock’s capacity. a central feature of new slussen is the ‘water plaza’, a pedestrianized public space animated with restaurants, cafés, and cultural amenities. model indicating the scale of the masterplan on the södermalm side, the area around the existing city museum is extended out over the new below-ground transport interchange to create a series of additional communal zones. a range of mixed-use buildings are brought together, enhanced by a new street and pedestrian bridge. a dedicated cycle crossing is also planned as part of the site’s future development. the project currently has a targeted completion date of 2020. ‘the city of stockholm has truly embraced a wonderful opportunity to re- establish and reinforce the vital link between stockholm’s central islands of södermalm and the heritage site of gamla stan, rehabilitating the historic fabric of the city while creating a lively new urban destination for all,’ says spencer de grey, head of design at foster + partners. ‘this is a once in a life time undertaking in a uniquely significant and spectacular setting. we are honored and very proud to be a part of this incredible and visionary project.’ 2016-07-15 12:29 Philip Stevens

27 For the Diary: Museum Ludwig Celebrates 40 Years Related Venues Museum Ludwig Artists Diango Hernandez Meschac Gaba Ai Weiwei Bodys Isek Kingelez Gerhard Richter Museum Ludwig is celebrating its 40 th anniversary with an exhibition from August 27, titled “We Call It Ludwig” and featuring 25 artists and artist collectives. The artist selection, from every corner of the world, goes hand-in-hand with Peter and Irene Ludwig’s global approach to the collection. The exhibition has been kept open-ended in an effort to provide a kaleidoscopic view of what the museum means to the artists. 2016-07-15 12:06 Atrayee Sengupta

28 6 Self-Portraits Celebrate Rembrandt's Birthday | GIF Six-Pack G1ft3d If Rembrandt van Rijn were alive, today would be his 410th birthday and he'd probably be pretty freaked out by GIFs. On the other hand, he might have loved the GIF'd version of his Self-Portrait with Beret and Turned- Up Collar (1659) by G1ft3d. N ew research reminds us that Rembrandt was a scientist and inventor himself. Painter and optical researcher Francis O'Neil suggests that the Dutch Master may have employed a system of concave and flat mirrors to create traceable projections. This technique could be what made his accurate mid- laugh portraits of himself possible. In honor of the man who put so much effort into capturing the perfect selfie, we've gathered self-portraits from some of our favorite GIF artists, including Leandro Estrella, Sam Cannon, and Cari Vander Yacht. Petra Švajger James Neilson Sam Cannon Leandro Estrella Doctor Popular Cari Vander Yacht See more GIFs on GIPHY . Related: "Idiot" Artist Takes a Selfie Every Day for 16 Years Intricately Embroidered Self-Portraits Explore Anatomy and Physics You Can Finally Be An Artist With This Self-Portrait Machine 2016-07-15 12:00 Beckett Mufson

29 peca studio's lava shelves reveal the material's volcanic properties mexican based peca studio, have created a selection of versatile handcrafted home accessories including marble organisers and volcanic plates. their project ‘lava shelves’ is an extention of their previous experiment with molton rock, which looks at a series of adaptable furniture pieces. the shelf can be placed over a table or desk to organize objects peca studio’s ‘lava shelves’ can be arranged to form a bookshelf, an alter or even a small shrine. the adaptable components express a grounded quality, through the fiery impressions made upon the surface. the series allows the individual to construct their own assemblage to their specific taste, by using the volcanic rock pieces. the components can be assembled in various formats the shelves allow one to construct their own assemblage 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. 2016-07-15 11:54 www.designboom

30 ‘Bold Colors, Odd Shapes, Squiggly Lines’: The Changing Reputation of Alma Thomas Alma Thomas, Apollo 12 “Splash Down” , 1970, acrylic and graphite on canvas. COURTESY MICHAEL ROSENFELD GALLERY LLC, NEW YORK Yesterday the Studio Museum in Harlem opened a large Alma Thomas retrospective , the artist’s first solo New York museum show in more than 40 years. The last one was in 1972, when the under-appreciated abstract painter had an exhibition at the Whitney Museum, making her the first black artist to receive an exhibition at that institution. The show received some positive notices (one is reprinted below), and Thomas’s colorful, minimal abstractions lingered with critics and historians for a few years. But after Thomas died in 1978, at the age of 86, her legacy faded. In recent years, though, she has received new attention, in no small part because the Obamas decided to hang one of her pieces in White House. Below are excerpts from the ARTnews archives that bring to light the painter’s changing critical reputation. “Alma W. Thomas at Whitney Museum” By Phyllis Derfner Summer 1972 Alma W. Thomas [Whitney Museum] presents a series of vibrant primitivist abstractions. Inspired by such events as the flight of Apollo 12, she creates a forceful mosaic effect with her placement of wide brushstrokes in highly saturated colors. Circles within circles, horizontal and vertical streaks and stripes pulsate with an air of celebration. “The 20th-Century Artists Most Admired by Other Artists” By Grace Glueck November 1977 ALMA W. THOMAS Cézanne’s unfinished painting of a landscape at the Phillips Collection gave me the idea of using color to structure a painting. Painting all over the canvas rather than just drawing, he gave an architectural structure to color. Alma Thomas, Untitled , ca. 1960, oil on canvas. COURTESY MICHAEL ROSENFELD GALLERY LLC, NEW YORK “Critics Nix Obama’s Pix Mix” By Robin Cembalest November 2009 This just in: “bold colors, odd shapes, squiggly lines have arrived” in the White House. So reported the Associated Press in early October, when the First Lady’s office released a list of 45 artworks borrowed from national museums for mostly private areas of the White House. It was, the AP claimed, nothing less than a “quiet cultural revolution.” The choices, including modern and abstract classics by such artists as Josef Albers and Mark Rothko, along with works by edgier names like Jasper Johns and Ed Ruscha, made news around the world—and launched the latest skirmish in the culture wars at home. Political writers suddenly became art critics, and art writers became critics of the president, all of them scouring the selections for clues about the personal tastes of the Obamas and the political tone of the administration. The debates and close readings continue to percolate—about the role of race and gender, the appropriateness of appropriation, and what the meaning of “maybe” is, among other issues. […] Alma Thomas, Breeze Rustling Through the Flowers , 1968, acrylic on canvas. ARTHUR EVANS/THE PHILLIPS COLLECTION, WASHINGTON, D. C., GIFT OF FRANZ BADER, 1976 The most unlikely villain here is Alma Thomas (1891–1978), who spent her career teaching children, only starting to paint later in life, and became the first black artist to show at the Whitney Museum. To Holland Cotter, she is an ideal symbol for the Obama White House: “forward-looking without being radical; post-racial but also race-conscious.” To right-wing bloggers, however, she is nothing more than a plagiarist and a fraud. Their evidence is her 1963 composition Watusi (Hard Edge) , which she appropriated, as we in the art world might say, by flipping around a late Matisse and changing the colors. According to critics of the president, he was too clueless to notice the deception, turning a blind eye because the artist was black. And then, by late October, there had been another quiet cultural move in the White House. Watusi (Hard Edge) , which had been the only painting listed for the East Wing—and reportedly destined for Michelle Obama’s office— was no longer on the list. The Hirshhorn confirmed that it had been sent back, but no one involved with the White House loans would say why. In the end, perhaps, the story behind this painting may also presage the cultural politics of the Obama administration. “Here’s a Photo of an Alma Thomas Painting in the White House” By Andrew Russeth April 15, 2015 [I]t just feels like the right time to share this photo, which has Alma Thomas’s Resurrection (1966), a stunner of a painting, presiding over a Passover seder in the White House’s family dining room. (This photo was shot during Passover, and shared by the official White House photographer, Pete Souza. Thank you to Greg Allen for bringing it to our attention.) Michelle Obama unveiled the painting, which was acquired by the George B. Hartzog, Jr. White House Acquisition Trust, back in February at the unveiling of the renovation of the family dining room. There are also two paintings from the 1960s by Josef Albers, a rug from 1950 by Anni Albers, and a 1978 Robert Rauschenberg hanging there. Pretty impressive lineup. 2016-07-15 11:00 The Editors

31 ajax lee turns nine iconic outfits into paper doll portraits with a keen eye for fashion and a strong sense for the history of high style, taiwan-based photographer and art director ajax lee has ‘flattened’ a series of iconic outfits into seemingly 2-dimensional compositions. nine famous ensembles — designed by the likes of christian dior, issey miyake, viktor & rolf and yves saint laurent — are reimagined as ‘paper doll’ clothes, propped up and positioned against live models. lee has flattened famous fashion pieces like issey miyake’s 1994 ‘flying saucer’ dress and pierre cardin’s ‘space age fashion’ from the 1960s. shot in an amusement park to match the whimsicality of the scheme, the images depict dresses, coats, skirts and swimsuits ‘cut-out’ from large paper sheets, where ‘tabs’ seemingly secure the garment to the model. surrounded by vibrantly hued backdrops, paper-made accessories such as dogs, cats, and surf boards complete the quirky scenes. christian dior: the new look, 1947 2016-07-15 10:45 Nina Azzarello

32 Artist Attempts to Present David Cameron a Portrait of Himself as a Pig On David Cameron’s last day in office as Prime Minister, street artist Talia Golchin tried to present him with a portrait of himself as a pig, with controversial elements of his tenure — representing what Golchin calls his “pig-headedness” — drawn in the background. With British politics currently moving at such a rapid rate, and the post- Brexit future so uncertain, hardly anyone has had time to look into the past and consider the legacy of Cameron, who resigned following the results of the British EU referendum. However, Golchin’s portrait, “Hameron,” does just that, featuring references to junior doctors and the NHS, Julian Assange and WikiLeaks, student fees and grants, the migrant crisis, and fracking. It also gives Cameron pig ears and a snout, a double entendre alluding not only to “pig-headedness,” but also to the September 2015 story that during university, Cameron took part in an initiation that involved putting what the press called a “private part of his anatomy” into a dead pig’s mouth. The artwork, which Golchin took to Westminster on July 14, is part of a new series by the artist, who usually works in textiles and fashion. Entitled “Legacy,” the series will feature “other leaders with dubious legacies,” as quoted in a press release. According to Golchin’s Instagram , she also printed the work onto stickers, which she has been placing on Whitehall buildings and in locations such as the street sign for Parliament Square. Posts on the afternoon of July 14 claim that the gift was “taken by the police.” In a final update on the subject, captioned “When your gift gets rejected!” the artist photographed the work resting against a statue in Trafalgar Square. 2016-07-15 10:30 Samuel Spencer

33 10 Great Artists to See at the SITE Santa Fe Biennial This weekend, SITE Santa Fe throws open the doors to its 2016 biennial, “ Much Wider Than a Line. ” The product of the combined vision of a team of five curators (Rocío Aranda-Alvarado, Kathleen Ash-Milby, Pip Day, Pablo León de la Barra, and Kiki Mazzucchelli), the show offers plenty to reflect on. But that takes, well, time for reflection; a review is forthcoming. In the meantime, below, 10 of the show’s 35 artists describe their contributions. 1. Pablo Helguera on the installation from his SITE Center artist-in- residence biennial commission “I’ve spent four years developing a project, the first part of which was presented at the last SITElines biennial. This is the final version. It’s a functioning little shop. You can go in there and actually buy things. I’m interested in history and I’m interested in performance. Being from Mexico, and being in Santa Fe, I think about how history is performed and interpreted. This store essentially sells objects from a play that is fictional, and will never be performed, though you can read the synopses here. It addresses the Pueblo Revolt [in which the indigenous people rose up against Spanish colonizers in 1680], and the way that over the history of New Mexico, it has been cleaned up, so that the relationship between the Native people and the colonizers has been softened by how it is celebrated.” Related: Mexican-Born Artist Pablo Helguera Sounds Off on Donald Trump Ahead of Republican Debate 2. Xenobia Bailey on Sistah Paradise’s Great Wall of Fire Revival Tent “My mother and the community of African-American women that I came from, they were all domestic workers. My mother took care of four homes, including our home. She was a powerful homemaker. But when you study design, you don’t study anything that was done to sustain a household. My mother didn’t have anything; she would remix or make what we had from nothing. This work started out from my time as an artist-in-residence at the Studio Museum in Harlem. It’s a meditation on the African-American homemaker. The first thing I could think to do was to crochet a house. This isn’t the final piece. The final piece will really start this fall, because I am doing a design class at the Harlem School for the Arts on ‘Functional Design’—spelling ‘functional’ with a K.” Related: See Xenobia Bailey’s Giant Mosaics for New York’s Newest Subway Station 3. Benvenuto Chavajay on En Guatemala hay pueblos tan pequeños que caba en la mira de un fusil (2014) “I’m from a town in Guatemala called San Pedro La Laguna, on the shores of lake Atitlán, 200 kilometers from the capital city. For me, this work is important because the United States has given or sold weapons to our country. What I am doing is bringing the weapons back, but in the form of art. We have a poem in Guatemala that says, ‘There are towns so small that they fit in crosshairs of a gun’ (‘Hay pueblos tan pequeños que caba en la mira de un fusil’). That’s the meaning of the work.” 4. Raven Chacon on his string-quartet collaborations with youth (presented as scores and audio) “I have been doing this program for 12 years where I go out to the Navajo, Hopi, and Salt River Pima reservations—I’m from the Navajo reservation— to seven different schools now. I talk to the music teacher, or sometimes it’s the art teacher, or the school principal, and find five kids who want to write a string quartet. Sometimes these kids are really smart; sometimes the principal will say, ‘This kid is a genius, but he plays his guitar in math class. He’s a bad student, he’s violent, he’s hit his parents before.’ I still say, yes, let’s do it. I have them write a three-minute string quartet. This is what these are, these scores. Some of these students, if they are fortunate, they’ll have a piano or a band at school, and then they’ll know how to read music. But there are students who are more artists than musicians, and I’ll let them do something like graphic notation. Look at this one: She knew everything, what every symbol meant. It’s very well thought out. On Labor Day weekend, all of the students go out to the Grand Canyon. They see people come out from all over the world, and world-class musicians put on their concert.” 5. Lewis DeSoto on his “Empire” series (2013-2014) “This whole thing is part of a book project I did. The alternative name I had for it was ‘All the Names of Paradise,’ because there’s an overlapping series of evidence that you can see in the picture that has to do with the relationships to Native folks, to the Spanish, to the Americans who moved in, to contemporary society. That explains the book, the overlapping of these worlds. For instance, the foreground mountain, which is all ground down, was the Hill of the Ravens, and then the Lonely Mountain, and then it was called Mount Slover. So we’re talking about the renaming of the world for people, against the notion of the spirits that are existing.” 6. Sonya Kelliher-Combs on “Remnant” series (2016) “I collect anything that is beautiful. Sometimes it happens to be an animal part or a beautiful braid or any number of these things. All of the objects in these pieces are sourced from Alaska. I collected them throughout the years, and I knew I wanted to do something with them. And this idea of encasing them in a synthetic medium, basically pure plastic, a polymer, reflects the way we are treating our planet. Everyone is talking about ’nature and man.’ Well, man is nature. Man is part of nature. Something that is important to me is not having a distinction between one and the other. Because ultimately we depend on each other.” 7. Jonathas de Andrade on his A Study of Race and Class: Bahia> 2016-07-15 10:02 Ben Davis

34 Driver Indicted on a Dozen Charges After Fatally Striking Art Curator in Fort Greene In a tragic incident in Fort Greene last December , Brooklyn resident Marlon Sewell jumped the curb on South Portland Avenue with his Chevrolet Suburban, killing art curator Victoria Nicodemus and injuring two others. Now, the father of six has been indicted for a dozen charges including second-degree manslaughter and criminally negligent homicide. According to the New York Post , Sewell initially walked away with a slap on the wrist; he was released without bail and charged with a misdemeanor of operating a motor vehicle without a license. Nicodemus’s family, however, was dissatisfied with district attorney Ken Thompson’s ruling, which found Sewell facing a maximum of 30 days in jail. Related: Art Curator Killed in Brooklyn Car Crash as SUV Jumps Curb Hank Miller, Nicodemus’s brother, organized a petition asking the district attorney to launch a full investigation , stating: “Our family has not been at all satisfied with the Brooklyn District Attorney ‘s lack of commitment to finding justice for Victoria. The office has yet to perform the procedures necessary to conduct a complete investigation in order to determine the appropriate charges.” On Thursday morning, Sewell was called into Supreme Court in Brooklyn and appeared before Justice Elizabeth Foley. Results of an investigation conducted by the NYPD Collision Investigation Squad revealed that the driver was aware of a malfunction in his vehicle that allegedly contributed to the accident. “After an extensive investigation, Marlon Sewell has been indicted by a grand jury on manslaughter, criminally negligent homicide, and related charges for causing the death of Victoria Nicodemus and physical injury to others,” district attorney Ken Thompson said in an official statement. He continued: “At trial, we will prove that the three victims were just walking on Fulton Street when the defendant, through his reckless actions, drove his car onto the sidewalk striking them all and killing Ms. Nicodemus.” According to the DA’s statement, Sewell faces a maximum of 15 years in prison if convicted of the top count alone. In the New York Post ‘s report, Sewell’s attorney, Niamh O’Flaherty, reportedly argued that Sewell was “devastated,” adding that the “hard-working, church-going family man” immediately contacted the police after the incident. 2016-07-15 09:31 Rain Embuscado

35 The Diary of Mark Flood, Part Four: Opening Night The opening of CAMH’s Mark Flood show. PHOTO BY PATRICK BRESNAN Editor’s Note: This is the final installment in a multipart series about Mark Flood’s experience organizing his first museum survey. You can read the other parts here and here and here. The diary is slightly backdated because, as mentioned, he was busy organizing his first museum survey. “Mark Flood: Gratest Hits” opened April 29 at the Contemporary Arts Museum Houston and will run until August 7. Thursday, April 28, 2016 1. I heard a rumor. One of the guests who was at my dinner last night, a local, was going to buy a huge lace painting out of my CAMH show. I said, “I’ll believe it when the check clears.” I know better. I’ve spent my life here and the general rule is, People in Houston don’t buy art. There are galleries, and lots of artists, and tons of art. There are people who, if you ask them just right, might say they are collectors. But it’s all wishful thinking. There’s no art money flowing here. Our scene is like a pretty sex doll. It has all the parts and you can do whatever you want with it. But it’s not real. There’s no money in it. You bring your own lube, because it doesn’t make its own. 2. My ignorant non-art buddies think having a museum show is some kind of cash shower, like hitting a Vegas jackpot. I gently disillusion them. The show is completely upside down for me financially. Typically, one’s galleries step in and pay the costs because museums always act like they’re broke. With this show, that’s not necessary. My show is relatively cheap, because I own almost all the work. There’s no shipping, no couriers. The benefit is that this local museum show might elevate my erratic career in New York and Europe. It also might signal to other museums that I’m not a rabid beast. 3. The local paper wants to interview me and photograph me. I said no. I’m sure the staff has all changed by now, but I don’t care. I’m holding onto grudges for things that rag wrote about me 30 years ago. Fuck them. I should be big about this, but I’m not. I’m as petty as a prison yard. They molested my career when I was young and vulnerable. Now I’m all grown up, and they want a date. Letting them photograph me would be like inviting a vampire over the threshold. 4. I had lunch with Will Boone, another Houston escapee. He told me about a dream he had. There was a giant Cornell box and he was inside, under the glass. We both get a lot out of Joseph Cornell. It reminded me how I always wanted to go behind the owl in a Cornell owl box. To go further, deeper into the magical space. Backstage. 5. I guess we should talk about some of these paintings while we still can… “Mid-Career Loser.” COURTESY MARK FLOOD MIDCAREER LOSER In 1999, I found out I wasn’t going to be able to kill myself, and that put me in the embarrassing situation of having to keep living. I had to go to 12-step meetings, and get sober, and change my lifestyle. I couldn’t kill myself, but I could kill my career. I started committing career suicide every time I picked up a paintbrush. It didn’t seem to matter much since my stillborn career was already dead and always had been. I lived in a world of fantasy. In that world, my twin brother Clark took the rejected, unstretched lace paintings and wrote terrible truths on them. Clark was the writer in the family. “Endless Column” COURTESY MARK FLOOD ALLEGED ARTISTS, BLIND DEALERS, GUTLESS COLLECTORS, WHORE MUSEUMS… This is probably the most popular text painting I’ve ever made. When it was first shown, the installation shot was reposted thousands of times. I once characterized it as an amusing look at the plight of the artist. Yet for critics with no sense of humor, it’s the prime example of my negativity. It’s typical of my invective. I’m angry, harshly critical, and I seem to hate everything! I’m lashing out, and most of all, I’m spewing my bile… Oh God, the spewed bile! It’s all over everything, and it doesn’t wash out! For the record, I love museums, collectors, dealers and artists. Where would we be without each other? This work is a portrait of our clubby little community, wherein we can all recognize each other, and ourselves, and chuckle. Who hasn’t judged that an artist’s work isn’t really art at all? Doesn’t every artist resent some dealer who didn’t appreciate their obvious genius? Doesn’t every dealer wince at some collector who sheepishly follows the collector-herd? What museum doesn’t have its fundraising fuck- hole front and center, puffy and wiggling for the corporate wad? It’s funny. Most people don’t take it personally because they always assume I’m talking about somebody else. “Mexico City” COURTESY MARK FLOOD In the late ’90s I hurt my back and couldn’t get around for six months. I crawled through my squalid studio like a giant bug, gobbling pain killers. I would look out my second-floor window at the lawn below, wondering if I would ever walk across it again. I was in no shape to whip out lots of paintings, as I usually did. But I had to do something. So I decided to paint some small, labor-intensive paintings that would take weeks or months. I visited Mexico City a lot as a kid. I made this fantasy memory of it so I could endlessly paint and repaint the architecture with experimental techniques. Mexico City is filled with fantasy architecture. In those days I created a lot of monsters out of silhouettes of human body parts. This orb made of arms was so popular that I had a small silkscreen of it made for printing on T-shirts. I used it to print the monster on this painting. My ideas about the visual forms of monsters come from the work of René Girard. After a small community has had its values turned upside down by pervasive violence, they scapegoat some individual, and blame him or her for everything. They collectively murder this victim, and everything settles down again into some new social order. The victim is remembered as a monster that almost destroyed the community. I silkscreened my monster up in the sky like a solar disc. Somewhere behind Huitzilopochtli, the sun god worshipped by the Aztecs of Tenochtitlan, there was a human victim. “Monument to the Responsible Management of the Earth’s Resources” COURTESY MARK FLOOD MILLIONS WILL DIE, BILLIONS WILL DIE, YOU WILL DIE. Not so long ago, we humans realized that meteor impacts were responsible for killing off the dinosaurs. Furthermore, such impact events have been dramatically shaping Earth for billions of years, and could easily wreck our little civilization. Our intellectual worldview shifted. Now we know we’re truly cosmically doomed, and nothing we do matters. I made this triptych to help us think about these things. I love the way it ramps up Millions to Billions, and then unexpectedly climaxes by getting intimate with You. Critics often opine that my text paintings are dashed out in the simplest, crudest, most careless manner possible. Nothing could be further from the truth. I think these three panels are beautifully painted, and I’d like to see someone try to dash them out. I particularly like the way the silver paint seeps into the DIE of YOU WILL DIE, like some sinister poison. I love the way cardboard takes acrylic paint. Know-it-all morons say things like, “Paintings on cardboard will turn into dust!” I’ve been painting on cardboard for 50 years and I know better. Friday April 29, 2016 1. Friday night was the opening. My stress beforehand was low because I knew I wasn’t going. I spent the day congratulating myself on avoiding the problem. No, I wouldn’t be attending the art opening. I wouldn’t be performing the wretched role of artist-scapegoat-sacrificial victim. I wouldn’t be seeing all those people that I never want to see. I wouldn’t have to respond to stupid things said about me and my art. If the herd needed to bleat their reactions, they could do it at the two surrogate Mark Floods, over there in the cage. Mark and Clark Flood surrogates in a cage. PHOTO BY PATRICK BRESNAN I was reminded of skipping the opening of my first show with the New York gallery Zach Feuer. There came the phone call from Zach, asking my preferences for the post-opening party. In his apartment with fewer people, or in the gallery with more people? Part of me wanted to fit in, but the stronger part of me wanted to do it my way. I said, “I guess this is the time to tell you that I’m not attending my opening. I don’t attend my openings. I send surrogates. I’m going to send these twins to represent me and soak up the negative energy. Is that a problem?” Then there was a long pause, or what felt to me like a long pause. It reminded me of the more or less eternal pause in the call to my dad after I told him that I had failed each and every one of my classes at Rice University and had been asked not to return. I had been majoring in Drugs, and then I switched my major to Punk Rock when I found out about the Sex Pistols. Then I found out I couldn’t even sit in my accounting classes anymore. To my surprise, professors called me, and insisted I make up the finals I’d skipped. But I couldn’t. I asked them to fail me. My dad eventually spluttered into the receiver, “Do you have any idea how much money you’ve wasted?” Zach said, “The only problem is that the opening is your big night to shine, when everybody pays attention to you…Why would you not want to be there?” I told him the truth. When I walk down the street, I feel like I’m shining and everybody’s paying attention to me. I don’t need any further attention. 2. An old media clipping, from the Houston Post. In the morning, I did a walkthrough of the exhibit with the CAMH staff. One of them asked me if my experience at the CAMH had softened my attitude towards working with institutions. I wasn’t aware I had a hard attitude about working with institutions. But I just took it. I asked her if she meant softened like when you soak a callous, before you sand it off. Then I answered the question. I said, “No. If anything, working at CAMH had made my attitude even harder. Bill Arning, the museum’s director, was a monster, and the staff was incredibly bitter and hateful.” Everybody had a big laugh. I reminded them that I had done time in museums and so I understood their suffering. This also got a bit of a laugh. There were a couple of questions about the meaning of the art. I said, “No comment.” I explained that I’m weary of art that comes with a bundle of words attached, like an instruction manual. I prefer just putting the art out there naked. Words will inevitably exist, but let’s let them exist away from the art, in a magazine or a book, or online, or in a press release. Anywhere except sharing space with the work, distracting you while you’re looking at it. I asked, “Is that so wrong?” Someone said, “It might be a little difficult if your job is education!” I also let the CAMH staff know, if they didn’t already know, that the curatorial walkthrough Saturday, with Mark Flood and Bill Arning, was actually going to be a concert by me and my band. I didn’t share my concerns about how bad we might sound in this giant echoing trapezoid. 3. I spent the afternoon with the surrogates, Mark and Clark. I was relieved to see they’re getting along great. Clark’s living in Seattle and he has that look, with a beard and a bun on top of his head. We discussed the cage. 4. Surrogates… I remember the first one back in 1990. I had a different name then. I took lots of pictures of that first surrogate. I recreated the settings of every photograph from my press kit, and reshot them with the surrogate posing where I had been. Today, press kits are forgotten. Back then, it was a stapled stack of Xeroxes of every article ever written about you. You made your press kit available at your exhibits. I had the surrogate appear at a show featuring my Press Kit Paintings. All my articles were silkscreened on canvas. My articles with the restaged photos of the surrogate! What a pain it was, and all for an audience of none. However crazy it sounds now, it was much crazier, in 1990, in Houston. 5. 1990. I had a different name then. Surrogate as John Peters. COURTESY MARK FLOOD John Peters. How I hate that name. It’s a sign of how much spiritual work I’ve done that I would even write it down. John Peters. That’s the sound of the IRS contacting me, and my bosses griping at me, and my mom screaming at me. When I had decided to leave this world in 1999, the one chore I made sure to do was change my name. I wasn’t gonna have fucking John Peters on my tombstone! The judge said, “We don’t get many white people in here. Just foreigners who want to change a name you can’t pronounce, to some other name you can’t pronounce.” I’m sure they appreciate your sensitivity, Judge. That’s what I wanted to say, but I was afraid! 6. For the 1990 Press Kit Paintings exhibit, I also printed 100 glossy 8-x-10 headshot photos. Headshots like actors used to promote themselves. My headshots had the surrogate’s face and my name, John Peters. At the exhibit, the surrogate sat at a table, passing out head-shots and autographing them “John Peters.” 7. Whenever I use surrogates, I get a range of reactions, just like with any lie. Some people know all about it, some people know nothing about it. Some people are in-between. In 1990, I briefly considered showing up at that opening, where the surrogate already occupied my place. I was going to put my hand in a cast, so in case anyone wanted me to autograph a headshot I could easily say no. But I realized it was complicated enough without me. Everything worked better if I stayed away. The paintings, and the headshots, and the surrogate himself, all needed my absence to function properly. Now I always stay away. I’m not even that curious. I’ve had openings before. I spare myself the disappointment that occurs when an artist examines his public. 8. While my opening was getting underway, I was driving down 290 to my favorite theater, Tinseltown. It’s cheap, and families come here to watch Hollywood trash. The lobby is garishly decorated. On the way to the seats, there are dim halls with purple carpet on the floor, walls, and ceiling. I watched Jungle Book , and ate popcorn, and mostly forgot about CAMH. Saturday, April 30 1. I’m in a band again. Dan on guitar, Alex G on drums, and Alika on keyboards. I haven’t been writing about our rehearsals because they’ve been productive and drama- free. We met up at CAMH and did our sound check at 10 a.m. I had thoughts about being too old and too fat to be onstage, and worries about having a heart attack. But I did the performance anyway because I had a vision of doing it when I read about my supposed curatorial walkthrough on Facebook. How do I explain how I’m willing to go onstage one day, when I wouldn’t be caught dead going to my opening the day before? In my mind, openings and gigs are two entirely separate concepts. 2. Dubstep and trap are my favorite music these days. I like remixes of pop tunes done in those styles. That stuff supersedes every musical idea I ever had. Consequently, the iconoclastic noise I formerly pursued doesn’t interest me now. I prefer trying to craft hooky pop tunes. I make a promotional tune and a video for almost every show. I usually come up with lyrics and some chord structure, and then work with Alika and Dan. I like collaborating with others. It gives the music a not-me quality. Not-me is a quality I enjoy. 3. The gig was at 2 p.m. I spent my time looking at Instagram pictures of my opening the night before. Nothing I saw made me have the slightest wish that I’d been there. 4. Mark Flood performing at the show. PHOTO BY JOHN CHAMPION I parked my car in CAMH’s loading zone, pointed at the street for a quick exit. I had to drive on the sidewalk to do it. I wanted to arrive just a moment before we went on. I didn’t want to interact. We went out and performed our gig. The energy of the crowd was intense. I fucked up plenty but it didn’t make any difference. I enjoyed myself. Five songs went fast. We quit, and I had some of my assistants walk me out of the building. I drove a long while after that, to the north side, and then I parked under a tree and started looking at texts. I had gotten to one of those sweet spots where I didn’t have anything to do. MF 2016-07-15 09:30 Mark Flood

36 New Balance Unveils Sneaker Freaker Limited- Edition Shoe More Articles By Melbourne-based sneaker zine Sneaker Freaker is rolling out its latest collaboration: the New Balance x Sneaker Freaker NB 997.5 Tassie Tiger. On Friday evening Australian fans will be able to buy the limited-edition shoe at a popup within Melbourne men’s wear store Up There for 250 Australian dollars or $190 at current exchange – a week ahead of July 23 international launch. Named after the Tasmanian tiger, an extinct Australian marsupial, the Tassie Tiger is Wood’s third collaboration with New Balance and a follow- up to 2013’s New Balance x Sneaker Freaker 998 Tassie Devil. The terracotta and black suede Tassie Tiger blends the upper of New Balance’s 997 model with the mid sole of the 998 and features orange and charcoal accents, padded tongue and RevLite cushioning. Designed by Sneaker Freaker publisher Simon Wood, the shoe is being released to select outlets in Australia, China, Taiwan, Singapore, Japan, Malaysia, New Zealand, the Philippines, Thailand, South Korea and South Africa only. It is at least Wood’s 20 th collaboration shoe, after similar collabs with Puma , Nike , Adidas , Lacoste , Supra , Le Coq Sportif and Saucony . Published three times a year, with a circulation of 25,000 and web traffic of more than a million page impressions, Sneaker Freaker is distributed in over 40 markets and translated into German. Distribution is via subscription, sneaker/streetwear stores and specialty stores such as Colette and Tokyo’s Tower Records. 2016-07-15 09:11 Patty Huntington

37 Uncountable Youth / Moscow International Biennale for Young Art While state-run art institutions in Russia experience uncertain times due to funding cuts and the dismantling of existing infrastructures, the fifth Moscow International Biennale for Young Art opened in all its glory, perhaps reflecting a reshuffling of the ruling elite. Moscow International Biennale for Young Art The main show features almost ninety artists from more than thirty countries, but the number of participants in collateral events scattered all around the city is practically uncountable. There is the sense that the whole of Moscow, like the town of Gatlin in Children of the Corn , has been occupied by youth. The “reverse ageism” of this edition has reached a parricidal peak: not only is “young art” exclusively promoted, but curators, commissioners and designers were also hired based on their biological age (they must be under thirty-five). It also differs from previous Biennales in that the two so- called “strategic projects” that accompany the main exhibition are tailored by foreign curators. Although they foster little dialogue with the local art scene, these three components successfully showcase three popular philosophical approaches to art making and curating. With its manifesto-like tone, curator Joao Laia’s “Hyperconnected” refers both to object-oriented ontology and theories of the Anthropocene as two ways of decentralizing the primacy of human subjectivity. Proposing a conflation of culture with nature, it also privileges relations over entities — something that modern philosophy since Descartes has strongly rejected. Colorful, bright and kitschy, this exhibition stuffs all four floors of MMOMA at Ermolaevsky Lane with different hybrids and assemblages in which the digital becomes coextensive with the natural. Neringa Černiauskaitė’s eccentric structures give these ideas a proper aesthetic expression: she puts anthropomorphic elements onto rolls of real lawn, adding LED lamps, epoxy, food dyes and microcontrollers. In somato-, techno- or biocapitalism the body is no longer integral, but is fragmented and penetrated by new technologies that, in Preciado ’s parlance, are “soft, featherweight, viscous, gelatinous.” However, such a flat ontology as proposed by Laia, in which causal relations become wanton and promiscuous, undoes the idiosyncrasy of the arrangement. Proposing attitudes rather than subject matter, and echoing the last Documenta, it does not subsume them under an authorial voice. Preciado By contrast, “Time of Reasonable Doubts” (curated by Silvia Franceschini with Valeria Mancinelli at NCCA) remains within continental tradition — its very title alludes to Cartesian skepticism. One could say the whole show spatializes “the transcendentals,” rendering them palpable and solid. Following in the tradition of Foucault, it imposes the Kantian notion of “conditions of possibility” onto the field of discourse and knowledge, foregrounding the way perception is structured by “the protocols that govern the present moment.” Compared to the more loose and open-ended “Hyperconnected,” this austere and rigorous show prefers traditional mediums, achromatic colors and endless texts. Selected artworks interrogate documents and fictions in all possible ways: juxtaposing original and remake (Urok Shirhan’s Remake of Paul Chan’s “Baghdad in No Particular Order” , 2012); erasing faces and personalities (Basma Alsharif’s The Story of Milk and Honey , 2011); or applying photo-etching techniques onto digital images (Mikhail Tolmachev, Line of Site , 2015). But a generally sterile and highly aestheticized atmosphere negates the political acuteness of the latter piece, which is perhaps the only one in the whole Biennale that tackles issues around hybrid warfare in Ukraine. The main project, “Deep Inside,” curated by Nadim Samman from an open call for entries, is situated somewhere in between these two antithetical approaches. With all his eloquence, Samman speaks of the same problems that were raised by Laia — namely how today’s discrete entities and fixed borders are being penetrated — but with anthropomorphic lenses discarded. At the same time, he goes back on his words, emphasizing that scientific knowledge allows new forms of “deep” control that may manipulate what until now remained untouchable. Nevertheless, this new political regime, like Franceschini and Mancinelli’s project, contains fractures that artists can occupy and actualize through different modes of resistance. To emphasize his statement, this huge blockbuster exhibition finds spatial analogies within the interiors of Trekhgornaya Manufaktura. For instance, Alvaro Urbano pierces a hole in a wall ( Untitled , 2015) that opens onto a fictional landscape, while Rustan Söderling’s film Eternal September (2015), with its quasi-Tarkovskian manner, drowns in the darkness of deindustrialized chambers. Still, despite reflecting new modes of surveillance, synthetic technologies and data trajectories, none of the works take into account the disposition of power that lies right on the surface. Trekhgornaya Manufaktura, the textile factory that played an important role in the 1905 Revolution, was recently bought by oligarch Oleg Deripaska and then violently purged of its workers and tenants. By hosting an international biennial, it hopes to attract potential developers and renters to make another creative cluster of young cultural prosumers. Of course, this lack of dialogue with the local context is not a drawback of any of the shows in particular, which, one must admit, differ advantageously from previous editions; it is, however, a structural problem with the “Young Biennale” itself, which since its inception has been more about networking, self-presentation and CV development. by Andrey Shental 2016-07-15 09:01 www.flashartonline

38 France Reels From Attack in Nice More Articles By A truck slammed into revelers along the city’s seaside walk, the Promenade des Anglais, following the start of the traditional fireworks display marking France’s day of independence, Bastille Day, at 10:30 p.m. He was believed to have also fired shots before being killed by police. By Friday morning, 84 people were reportedly dead and the promenade – which is peppered primarily with hotels and residences – remained closed to the public. The rest of Nice was operational. The driver was identified as a 31-year-old man of Franco-Tunisian origin. The Vigipirate anti-terror alert was raised to the highest level “alerte attentat” (or “alert attack”) for the department of Nice. France, meanwhile, has been under a state of emergency ever since the November attacks, and that was extended again right after the Nice incident. It was the third major attack in France since the start of last year, following the January 2015 attacks on satirical newspaper Charlie Hebdo and a kosher grocery store in Paris, and the November 2015 incident at the city’s Bataclan concert hall. The fallout from those events plus more recent transport strikes and demonstrations against France’s socialist government’s proposed labor law have contributed to severely denting the country’s visitor levels. In the first quarter of this year in the Paris region, the number of Japanese tourists dropped by 56 percent; Italians, 24 percent, and Russians, 35 percent. Meanwhile, the number of Chinese visitors decreased 13.9 percent, versus their 49 percent increase in full-year 2015. In late May, the Regional Tourism Committee of Paris said a near-term uptick was not expected. At the same time, in a move to promote the city as a go-to spot, the “Destination Paris” campaign was kicked off by French Minister of Foreign Affairs and International Development Jean-Marc Ayrault, Paris Mayor Anne Hidalgo and Valérie Pécresse, president of the Paris region council. 2016-07-15 08:49 Jennifer Weil

39 rawhiti beach bach new zealand designed by studio pacific architecture, the ‘rawhiti bach’ is a holiday retreat that the clients requested to be built with the intention to last and be passed down to next generations of the family. located in new zealand, the architecture would be able to cater to intimate to large number of people. surrounded by greenery and lagoons on both sides, studio pacific architecture‘s conceived the main volume to accommodate the primary gathering spaces, main bedroom, informal ‘loft’ space, and boat store. together these contain a trace of the spatial arrangements of the previous ‘bach’, leading to a form designed as an assemblage of objects, with intended misalignments and quirks. it climbs out of the ground, projecting out towards the near and distant views. the kitchen area opens out to the porch additionally, another structure has been added nicknamed ‘the sleepout’. embedded into the hillside topography, the extension offers bedrooms set away from the communal bustle of the main building. the shutters on the façade provide the inhabitants control over the privacy and views to the landscape beyond and together with the light-wells that are integrated to manipulate the movement of light and air. the buildings have been designed to be long lasting, be grounded in the site, engage with the landscape, reinforce the sense of place, and sculpt light and views. the richness comes from the choice of using a high level of craft, and bringing out the quality of the spaces using materials, texture, color, and grain. ultimately, the design looked to reinforce and provide for a multiplicity of ways to come together, and share memories. 2016-07-15 08:45 Natasha Kwok

40 5 Things Artists Should Never Do When Trying to Win Over Collectors In the art world, as in life, relationships are everything. For artists personal connections with collectors can open doors to new opportunities and chances, such as introductions to dealers, curators, or other collectors. With that in mind its important to remember to conduct yourself in a courteous and professional manner in order to leave a positive impression. To help guide you we quizzed some collectors on some of the things that really put them off supporting an artist. Here’s your guide on what not to do when trying to build relations with collectors. 1. Don’t draw attention to yourself in a negative way. German bad boy artist Albert Oehlen was part of the infamous Hetzler boys, an all-male group of artists that showed with the Cologne dealer Max Hetzler. The group engaged in what the painter called “Extreme artist behavior.” He told Art In America , “We made asses of ourselves and made everyone hate use. We climbed on tables and pulled down our pants.” Whilst it hasn’t hurt Oehlen’s career, you should probably try to emulate his art not his antics. 2. Don’t price your work too high. Collector Howard Farber told artnet News “What really turns me off is when an emerging artist with no prior auction sales prices his or her work in the world of make believe.” So remember to keep your prices reasonable and to grow your career in a sustainable way, because nobody wants to feel like they’re being ripped off. Keep in mind that most wealthy collectors make their money by routinely making astute business decisions, and they know value when they see it. 3. Don’t change your style to accommodate a collector. If a collector commissions you to do a work and they ask you to change your style, for instance to create a work that goes with the design of their living room or they want a special portrait, politely decline. “I mean can you picture a Jasper Johns with a fishing boat in it?” Farber asks. “It doesn’t make any sense.” 4. Don’t produce too much work. Always adhere to the number of editions that you have committed to. This is especially crucial if you’re a photographer or if you create prints. “I’ve been through all of this,” Farber laments. “For instance they’ll tell you theres a small edition then what the artist does is he dilutes the value by making a medium sized edition.” 5. Don’t break your word. If you’ve agreed to sell an artwork to a collector don’t turn around and sell the work to somebody else, even when offered more money. “I had once agreed to buy a work from an artist and agreed the price,” Farber recalls. “I was out of town and told him I’ll be back to pay him and pick up the work, and when I came back he sold the work for $100 more to somebody he didn’t even known. That was really nasty.” 2016-07-15 08:43 Associate Editor

41 12 Must-See Summer Photography Shows in New York “ ECHOES: City, Society, Conflict & Self in Hungarian Photography ” at Alma Gallery The Hungarian Cultural Center looks to capitalize on the Guggenheim ’s current exhibition of work by Hungarian great László Moholy-Nagy by putting on a show of photography by 32 of the country’s modern and contemporary artists. Moholy-Nagy’s geometric cityscapes are joined by works by famed war photographer Robert Capa as well as more recent images, such as Marcell Piti and Mátyás Misetics ’s exploration of glitches in Google Earth imagery. The Hungarian Cultural Center, Alma Gallery, 625 West 27th Street, June 24–July 30, 2016. “ Dream Stages: Contemporary Photography and Video ” at the Metropolitan Museum of Art Associate curator Mia Fineman and curatorial assistant Beth Saunders have mined the Met collection for works inspired by the universal experience of dreams, selecting 30 photographs and one video by artists including Robert Frank , Sophie Calle , Fred Tomaselli , and Anselm Kiefer . The Met Fifth Avenue, 1000 Fifth Avenue, May 16–October 30, 2016. “ Andre de Dienes: Marilyn and California Girls ” at Steven Kasher Gallery Andre de Dienes , the first professional photographer ever to shoot a young Norma Jean, who famously grew up to become Marilyn Monroe , gets his first New York solo show in 10 years. The intimate Monroe photos, shot between 1945 and 1953, will share the stage with de Dienes’s avant-garde nudes. Steven Kasher Gallery , 515 West 26th Street, June 9–July 30, 2016. “ Platon: Service ” at Milk Gallery British photographer Platon’s series “Service,” shot for the New Yorker , documents the difficult journeys of the men and women serving in the Iraq War, and that of their families. His high-contrast, black and white images convey a powerful message about the devastation of war. Milk Gallery, 450 West 15th Street, June 22–July 24, 2016. “ American Champion ” at the Gordon Parks Foundation The timing couldn’t be more fitting for this exhibition of Gordon Parks ‘s photographs of boxing great Muhammad Ali , taken for LIFE magazine in 1966 and 1970. The show, which portrays Ali’s famous fighting spirit with undeniable grace, opened just days after the champion athlete died on June 3. Gordon Parks Foundation, 48 Wheeler Avenue, Pleasantville, New York, June 6–September 24, 2016. LIFE Photo Exhibition at [email protected] Spring Studios , which hosted this year’s edition of Independent fair, once again embraces art with an exhibition of iconic LIFE magazine photos of New York from the 1940s, ’50s, ’60s, and ’70s, blown up to enormous sizes —as large as 90 by 70 inches. [email protected] , 6 St. Johns Lane, June 16–August 30, 2016. Public viewing July 22–24 and 29–31. “ Public, Private, Secret ” at the International Center of Photography As photography becomes a more and more constant fixture in modern life, the boundaries between our public and private lives are constantly being blurred and redrawn. In the inaugural exhibition in its new Bowery home , the ICP explores this issue through historical and contemporary works. International Center of Photography, 250 Bowery, June 23, 2016–January 8, 2017. “ Nan Goldin: The Ballad of Sexual Dependency ” at the Museum of Modern Art , Nan Goldin ‘s deeply personal, 45-minute slideshow documents the lives of the artist and her friends during late 1970s and ’80s through almost 700 portraits. Museum of Modern Art, 11 West 53 Street, June 11, 2016–February 12, 2017. “ Diane Arbus: In the Beginning ” at the Metropolitan Museum of Art Catch never-before-seen early work by iconic photographer Diane Arbus , dating from 1956 to 1962, at the Met Breuer. Over 100 images, most taken in her native New York, track Arbus’s development as a professional photographer. The Met Breuer, 945 Madison Avenue, July 12–November 27, 2016. “ Danny Lyon: Message to the Future ” at the Whitney Museum of American Art Organized by the Fine Arts Museums of San Francisco , this Danny Lyon retrospective explores the artist’s interest in social and political issues through 175 photographs and related materials. Whitney Museum of American Art, 99 Gansevoort Street, June 17– September 25, 2016. Lillian Bassman at Edwynn Houk Gallery Lillian Bassman trained and worked under famed art director Alexey Brodovitch at Harper’s Bazaar , working as an art director with the likes of Richard Avedon and Robert Frank before picking up the camera and becoming a major fashion photographer in her own right. Edwynn Houk Gallery , 745 Fifth Avenue, May 12–July 15, 2016. “ Under the Cuban Sun ” at Throckmorton Fine Art, Inc. The natural beauty of Cuba comes to the fore in this photographic survey of the Caribbean island, with works ranging from the 1930s to the present day. Throckmorton Fine Art, Inc. , 145 East 57th Street, third floor, June 16– September 17, 2016. 2016-07-15 08:31 Sarah Cascone

42 The LA Gallery Scene, Perfectly Summed Up in Five Neighborhoods In a city as large and diverse as Los Angeles the art scene has never had a traditional center to call its home. “The art scene has always moved a lot,” Ben Thornborough, director of Regen Projects said, “it’s constantly in flux.” As such the city’s art galleries are spread across the sprawling metropolis, settling in small clusters in the neighborhoods of Hollywood, Culver City, Venice, Beverly Hills, and Downtown. Hollywood The resurgence of Hollywood as an arts district was arguably started by gallerist Shaun Regen’s decision to open a giant space in the neighborhood in 2012. “The thing about Hollywood is that it has a lot of media buildings and warehouses that are perfect for galleries,” she told artnet News. Here, blue-chip galleries like Regen Projects, representing artists such as Matthew Barney, Catherine Opie, Glenn Ligon, Marilyn Minter, and Anish Kapoor , are located close to emerging arts spaces such as Hannah Hoffman Gallery. As gallery director Ramsey Alderson put it, “Hollywood is always surviving and there’s a nice community.” According to gallerist Esther Kim Varet of Various Small Fires, which focuses on international emerging artists: “Hollywood is perfect because a lot of the original LA galleries are here. Since we’re an LA gallery we wanted to be near the OG LA galleries.” She also noted that while there was certainly a trend pointing towards downtown, she said, “a lot of the downtown buildings are owned by big real-estate companies so you could be priced out.” Nearby, Steve Turner gallery focuses on North and Latin American artists, in a city where about half of its residents identify as Hispanic. “I can visit the highest caliber of artists in Mexico, Peru, Argentina, and Colombia,” gallerist Steve Turner said. “I take these artists from South America and give them their first show in the US,” he said. Culver City As close to a proper arts district as LA has to offer, a lot of art galleries have settled in the neighborhood nestled in between auto repair shops in a convenient side-by-side format that is not dissimilar to New York’s Chelsea neighborhood, albeit with much better weather. Built around Blum & Poe, which arguably started the settlement of La Cienega Boulevard when it opened a large space in the neighborhood in 2003, followed by a move to their current location in 2009. The gallery represents a mix of mid-career and established artists, such as Takashi Murakami , Yoshitomo Nara , Pia Camil, and Julian Schnabel. “There is no center. LA’s art scene has been all around, but we wanted a historical foothold,” gallery partner Jeff Poe told artnet News. “In terms of LA what we did was radical because it’s a big box gallery,” he added. Nearby galleries also include mainstays on LA’s scene such as Cherry and Martin, China Art Objects, Samuel Freeman, Honor Fraser, Luis de Jesus, and Roberts and Tilton. Related: Inside Los Angeles’s Oddball Underground Art Scene Mid-Wilshire Whilst the neighborhood of Mid-Wilshire isn’t a huge arts center, it remains worth mentioning because it contains two of LA’s largest and most important galleries. David Kordansky moved to the area in 2014 after leaving Culver City in search of more space. He found 20,000 square feet, combining two buildings, including a former martial arts gym run by Jackie Chan. Showing an impressive range of artists including Rashid Johnson, Jonas Wood, and Sam Gilliam, its easy to see why the gallery has become such a important part of the city’s visual arts landscape. Adjacent to the space lies Kayne Griffin Corcoran , which represents the likes of James Turrell, Deanna Thompson, and David Lynch. Located in a vine covered building with a resplendent courtyard, occasionally used to display sculptures, the space is just as impressive as the gallery’s lineup of artists. Boyle Heights/Mission Road Located in LA’s an industrial neighborhood on Boyle Heights’ Mission Road, a handful of galleries have taken advantage of the abundant space between between warehouses and factories. “We’re neither Boyle Heights proper nor an arts district, so it’s a relatively new area for galleries,” Kenzy El-Mohandes of Maccarone told artnet News. “This neighborhood was populated by industry and artists. It’s a place where art is fabricated. It’s changing,” she hastened to add. Maccarone, which started in New York and represents avant-garde, mid- career artists such as Oscar Tuazon, Hanna Liden, and Alex Hubbard, settled in the district in September 2015. “A lot of our artists may not have had so much exposure in LA, so it’s nice to introduce them to this audience,” El-Mohandes concluded. Nearby the arts non-profit 365 Mission Road, a joint venture between artist Laura Owens, gallerist Gavin Brown, and bookstore owner Wendy Yao, puts on captivating non-commercial exhibitions, while down the road Adam Lindeman’s Venus LA acts as the West Coast branch of his popular Venus Over Manhattan gallery founded in New York. Related: Katherine Bernhardt’s Funky Fruit Salad Mural Enlivens LA Art Hotspot Downtown Hyped as the newest arts district of LA, Downtown is earning a reputation as a hotspot for emerging artists. William Hathaway, director of Night Gallery said, “We moved to this space about three years ago and since then it [has] exploded.” The gallery represents the likes of Derek Boshier, Samara Golden, and Anna Rosen. According to Hathaway, Night Gallery “started as an emerging gallery, but now our artists are developing into established players,” he explained. “We’re trying to build a blue-chip gallery. We want to be legit and big time, but we want to keep our street cred.” Holly Stanton, director of Ghebaly Gallery, which moved across the street from Night Gallery in 2013, described the downtown scene as “highly industrial, but changing. More and more galleries are moving in, lots of risks are being taken with the projects here and its becoming more and more important.” The gallery has a program of artists based in New York, LA, and Paris. “We work with a lot of artists who use sculpture and installations because the space allows it,” Stanton added, gesturing towards a large video installation by French-Algerian artist Neïl Beloufa. Meanwhile, the behemoth that is Hauser Wirth & Schimmel is blurring the lines between museums and galleries. “There are galleries that are going to do more museum-like work,” gallery partner Paul Schimmel told artnet News. “It is a gallery that does museum exhibitions and I do think that’s a growing area,” he said. Related: Hauser, Wirth & Schimmel Is a Gallery Built Like a Museum— What’s Really Going On? A short walk away another downtown fixture, The Box, has been in the neighborhood for four-and-a-half years and caters to artists such as Mike Bouchet, Judith Bernstein, and Wally Hendrick. “It used to be grimier, less expensive, and the food was better,” gallerist Mara McCarthy said. “But hey, that’s how it goes.” 2016-07-15 08:01 Associate Editor

43 For the Diary: Group Exhibition ‘MirrorMirror’ Opens at Eric Firestone Gallery, New York Related Events Mirror Mirror Venues Eric Firestone Gallery Eric Firestone Gallery is presenting a thematic group exhibition from July 15 through August 4. The title “MirrorMirror” is derived from the subject explored in this exhibition: reflective surfaces, the quality of a mirrored object’s reflection, and double images. The artworks presented negotiate the space between the work and the viewer, exploring how a work can create an alternate impression through a mirror image, which might differ from its absolute form. The artists featured in the exhibition are Slater Bradley, Sarah Braman, Sebastian ErraZuriz, Rogan Gregory, Sven Lukin, Ryan Metke, Josh Reames, Miriam Schapiro, Adam Parker Smith, Mimi Smith, Mia Fonssagrives-Solow, Jen Stark, Letha Wilson, and Rob Wynne. 2016-07-15 07:13 Maitreyee Bannerjee

44 dorothy's illustration reveals a hidden world within an analog mimimoog synthesizer the ‘minimoog’ is a monophonic analog synthesizer, invented by bill hemsath and robert moog in 1972. large modular synthesizers were too expensive and not ideal for live performances so the alternative was designed to include the most important parts of the electronic instrument in a compact package. billed as ‘the moog for the road’ – the design revolutionised music, acquiring a cult-like following. manchester based studio dorothy, who has previously depicted hollywood star charts, lost destinations and 3D war veterans, has used this device as a creative outlet to illustrate a miniature network within its modular form. the illustration features 28 cameo’s from some of the world’s greatest electronic music pioneers studio dorothy’s cutaway print imagines a miniature world of musicians hidden inside the ‘minimoog.’ the illustration features 28 cameo’s from some of the world’s greatest electronic music pioneers. each illustration details a different artist including sun ra, keith emerson, pink floyd, kraftwerk, brain eno, david bowie, gary numan, giorgio moroder, new order, daft punk, the prodigy mr bob moog himself. the detailed drawings express a graphic sensibility that pays homage to the disused electronic devise whilst revealing a hidden world within. 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. 2016-07-15 06:35 www.designboom

45 New Study Claims that Rembrandt Used Projection Technique to Create His Masterpieces Is there no end to the genius of Rembrandt? His paintings, revered as game- changing masterpieces, are beloved the world over in no small part for his breathtaking skill. However, a new study proposes that Rembrandt used a clever combination of mirrors to generate a reflected image which he then drew around to create his self-portraits. Related: Now You Can Check Out this Recently Rediscovered Rembrandt at the Getty Oxford-based artist Francis O’Neill undertook a study with London-based Sofia Palazzo Corner to further explore this theory long held by O’Neill. Published in the Journal of Optics , the study, which looked into the technology that might have been available at the time, demonstrates how the Dutch master may have achieved his stunning lifelike results. “ David Hockney , and a physicist, Charles Falco, first put forward the idea that the Old Masters may have used optics to help with realism and accuracy in the year 2000,” O’Neill told the Daily Mail . O’Neil supports this theory by citing Rembrandt’s use of Chiaroscuro (light and dark) stating the results achieved by the artist could only be done so with the use of a projection. The paper also makes the point that Rembrandt’s eyes are often looking out of the frame, to the side at an angle from which would have been impossible to see himself in a mirror. “He made etchings and even a couple of painted self-portraits on copper, a surface upon which projections can be seen very clearly,” O’Neill explains. “His works are known for their use of Chiaroscuro, a contrast of light and dark which would be essential for projections.” Related: French President François Hollande and Dutch Royals Visit Jointly Acquired Rembrandts at the Louvre “Furthermore, his self-portraits laughing and with wide-open eyes would require incredible physical discipline to alternate between looking at himself in the mirror and then creating the image—but he wouldn’t have had to move his eyes from the drawing surface if he traced a projection,” he emphasizes. Although O’Neil’s theory seems convincing, not everyone agrees with it. Nigel Konstam, an artist who has also been researching the use of mirrors in self-portraiture, doesn’t think that Rembrandt used the technique. Related: Dürer and Rembrandt Prints Suspected Stolen from the Boston Public Library Actually Just Misfiled “I would argue that Rembrandt was such a great draftsman the idea of tracing would not amuse him or help in any way,” Konstam stated to the Daily Mail . The jury is out on whether or not it is important if the beloved 17th-century artist used this reflective technique to produce his works, the magic he achieved with color, paint, and the emotive quality of his arts come from his own, pure talent. 2016-07-15 06:15 Contributing Writer

46 “The Camera Exposed” at the Victoria & Albert Museum, London Related Venues V&A Artists Weegee Eugene Atget The very act of holding a camera to one’s eye is a reinforcement of the photographer’s intention to intervene. The camera hides the photographer’s face like a mask, but doesn’t always make the presence invisible. This inherent voyeurism of the medium is seeing a change, given that the camera itself is becoming uncommon in the public eye. Photographs are being made more than ever, but those numbers come from smartphones and tablets. “The Camera Exposed,” at the Victoria & Albert Museum, London, will dwell on the camera as a subject through works by more than 57 known artists as well as several unidentified amateur photographers. The presence of the camera in its own produced image is not new. In the early 1900s, French photographer Eugène Atget made a photograph of a shop window in Paris, where a shadowy glint of his camera made some room for itself in the frame. In 1853, Charles Thurston Thomson, the first official photographer to the South Kensington Museum (now the V&A), photographed himself and his camera as a reflection in a decorative Venetian mirror. The mirror being a loan object, its photograph served as an educational reference to students and craftsmen, thus subverting the whole idea of the reflection being a self-portrait. Even in Atget’s photograph, the camera in the photograph is a minor detail, an element that wouldn’t mind being comfortably lost in the finer details of Parisian architecture in that century. This was in line with Atget’s other photographs of Paris, where he documented the city at the turn of the century before it changed forever. Richard Sadler’s portrait of Weegee with a camera and a cigar is as much a portrait of the camera as it is of Weegee. The details are hard to miss — the Zenit 3M, a new Russian model made by the Krasnogorsk Mechanic Factory between 1962 and 1970, is as enticing as Weegee’s handling of it. Later, Weegee even made a self-portrait that was as comparable, and eventually became one of the most popular photographs of himself. The great photographer Bill Brandt’s elusive portrait is striking as he decides to intentionally divert all attention to his newly-acquired Wide-Angle Kodak by hiding his face behind it, leaving just one eye to stare back at Laelia Goehr, the photographer. “Lily Cole with Giant Camera” by Tim Walker, a British fashion photographer, is almost larger than life. The photograph uses the camera itself as a giant prop next to the model as she leans on it. Based on Walker’s own 35-mm Pentax K1000, the camera becomes its own pursuit, in this Vogue-illustration inspired photoshoot. It is clear in this exhibition that the photographs are not just about the camera, but also a history of the instrument that has defined the medium and its complexities. Many of these photographs are meant to express the camera’s human-like trait of looking at others, while simultaneously turning the lens inward. 2016-07-15 06:01 Paroma Mukherjee

47 Martin Creed: Blasting a Hole in the Ramparts of Art THE DAILY PIC (#1592): As a rule, I’m a big fan of good art videos. But although there are a number of those on display in Martin Creed’s exhibition called “ The Back Door ”, now filling the vast spaces of the Park Avenue Armory in New York, they weren’t what touched me most. What really got my attention was the show’s titular work, although that was closer to being a non-piece: Creed has programmed a garage door at the back of the cavernous Drill Hall to open onto the street for a minute or two during the projection of his videos. (Click on my image to see a video of that moment.) There was something wonderfully generous about opening up the hermetic space of art to the passing scene outside. All the sudden, Creed’s rather arcane videos had to give way to the sight of a passing taxi or delivery van. Despite being a hoary cliché, it still gives a tiny thrill to discover that the everyday really can compete with the best of man-made artifice. Or rather, to discover that, once properly framed by an artist – but only then – everyday esthetics can command our attention. (Photo by James Ewing, Courtesy Park Avenue Armory) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-07-15 06:00 Blake Gopnik

48 Interview: Sally Tallant on Liverpool Biennial 2016 Related Events Liverpool Biennial 2016 Venues Liverpool Biennial Liverpool Biennial 2016 has continued to attract positive reviews since it opened to the public on July 9. The ninth edition of the UK’s largest contemporary art festival features new works by 44 international artists as well as 10 associated artists working in the North of England. Drawing inspiration from Liverpool’s “ past, present, and future, ” this year’s Biennial was conceived as a series of six episodes: “ Ancient Greece, ” “ Chinatown, ” “ Children’s Episode, ” “ Software, ” “ Monuments from the Future, ” and “ Flashback. ” The intriguing narrative unfolds across a series of indoor and outdoor locations throughout Liverpool, including the city’s leading art venues, as well as a range of unusual and unexpected sites such as the historic Cains Brewery and the counter of a Chinese supermarket. This year’s Biennial was developed by an international team under the guidance of Sally Tallant, the biennial's director. BLOUIN ARTINFO got in touch with Tallant t o find out more about Liverpool Biennial 2016. For Liverpool Biennial 2016, we want to take visitors on a journey through space and time. The 44 international artists have responded to six episodes that draw inspiration from Liverpool’s past, present and future. For “ Children’s Episode, ” artists such as Marvin Gaye Chetwynd have worked collaboratively with children and young people to create ambitious new projects. “ Ancient Greece ” takes inspiration from many of Liverpool’s grandest neoclassical buildings, while “ Chinatown ” acknowledges Liverpool’s heritage as Europe’s oldest Chinese community and looks at the dispersed image of China today. In “ Flashback, ” artists seek new interpretations of history; in “ Software, ” they open up new perspectives and interactions with technology. Finally, for “ Monuments from the Future, ” artists have been invited to imagine what Liverpool might look like in the future. A Curatorial Faculty was brought together to curate this year’s biennial. The curators were invited because of the work they have done and the knowledge that they have of international artists. We wanted to work with artists at the right moment in their careers, when they would be able to focus in the Biennial, and we chose artists that we hoped might be open to a collaborative way of working with us and each other. All of the 44 artists have made new commissions and some are presenting existing works. The curators are: Sally Tallant, Dominic Willsdon, Francesco Manacorda, Raimundas Malasauskas, Joasia Krysa, Rosie Cooper, Polly Brannan, Francesca Bertolotti-Bailey, Ying Tan, Sandeep Parmar, and Steven Cairns. They all do! Liverpool Biennial is underpinned by a year-round program of education, commissions, and research. We have developed a model of a biennial that uses the continuity between each edition to accumulate and develop projects with artists over time in the city. 2016-07-15 05:48 Nicholas Forrest

49 For the Diary: Singapore Symphony Orchestra’s Inaugural ‘VCH Presents’ Series The Singapore Symphony Orchestra’s inaugural “VCH Presents” at the Victoria Concert Hall brings together a diverse group of musicians and programs. The season will showcase talents such as SSO Principal Harp Gulnara Mashurova on October 30. SSO Principal Cello Ng Pei- Sian and twin brother Ng Pei-Jee will present a selection of works for two cellos on February 3, 2017. The Stradivari Quartet will take center stage on February 14, 2017. Lovers of Chopin’s music can look forward to “Magic Piano” & “The Chopin Shorts” on June 10 and 11 2017. The last performs music alongside a collection of short films based on Chopin and his music. Click on the slideshow for a sneak peek of the series. 2016-07-15 05:30 Atrayee Sengupta

50 For the Diary: Crossroads Art Show presents ‘Let’s Be Ironic’ Related Artists Bruce Nauman Piero Manzoni Crossroads Art Show presents its new exhibition “Let’s Be Ironic” from October 6. The exhibition of artists from different cultures looks at intelligent irony in the contemporary world. Irony gained prominence through the works of Duchamp and others such as Marcel Broodthaers, Bruce Nauman and Piero Manzoni. In recent times, such use of irony has been reflected by Carlos Aires in his work “Copia and Meyer Peter.” The artworks tease with subtle humor, play with emotions and encourage criticism that allows us to question things that we usually take for granted. 2016-07-15 05:08 Atrayee Sengupta

51 Bavarian Parliament Will Investigate Claims Looted Art Was Returned to Nazis Following a shocking report last month proving that paintings stolen from Holocaust victims were returned to Nazis and their families after World War II, the Bavarian Parliament’s art committee, Kunstausschuss, unanimously agreed that the state government must publish a report on works of art, with the assistance of the state paintings collections

(Staatsgemäldesammlungen). The findings were released by the Commission for Looted Art in Europe (CLAE). Among other information exposed, in some cases, artworks were sold at far lowered prices to the families of Nazi officials rather than being restituted to families of victims. In other instances, the state of Bavaria simply kept the artworks. State-owned museums in Munich profited in particular from art looted by the Nazis at least until the 1990s, the study shows. Related: Report Reveals Germany Returned Nazi-Looted Artworks to Nazi Families Instead of Victims CLAE co-chair Anne Webber said in a statement: “We welcome the swift action taken by the Bavarian Parliament and the seriousness of their response. We look forward to a speedy, transparent, and comprehensive investigation of these transactions and the way they have been concealed.” Webber specified, however, that “The investigation must include clarification of the provenance of the artworks so that the rightful owners of any works that were looted can be identified and assured of restitution or compensatory justice.” Webber further said that the Bavarian government “must also ensure that all documents from the State Paintings Collection and other relevant government bodies are published and made fully accessible.” Related: Art Experts Blast Bavarian Museums’ Attempt to Rebut Nazi Loot Claims CLAE also announced the immediate resolution of the restitution claim that had led to the larger probe in the first place. The CLAE investigation began after the rightful heirs of collectors Gottlieb and Mathilde Kraus, who are trying to recover some 160 artworks stolen from the Krauses, had good reason to believe two of their paintings would be in the state-owned museum in Munich. “Records show they were handed over to Bavaria by the US in 1952 for the purpose of restitution,” the report reads. “To their shock, they found they had instead been given by the Bavarian State in the early 1960s to Henriette Hoffmann-von Schirach, daughter of Hitler’s close friend and photographer, Heinrich Hoffmann, and wife of the notorious ‘Gauleiter’ [Hitler’s district governor] of Vienna, Baldur von Schirach.” One small painting, Jan van der Heyden’s Picture of a Dutch Square, was sold by the Bavarian State Galleries to von Schirach for 300 Deutschmark, who then auctioned it off for 16,000 Deutschmarks to the Xanten Cathedral Association; it was on display in the cathedral until 2011, the same year that CLAE submitted a restitution claim for the painting on behalf of the Kraus family. The chairman of the Dombauverein, responsible for the Xanten cathedral, has now issued a statement acknowledging the history of the painting and of the family, and saying they are willing to return the artwork. “We welcome the publicly stated commitment of the Dombauverein to restitute the painting”, said Anne Webber. artnet News has reached out to the press office of the Alte Pinakothek art museum in Munich, one of the Bavarian state galleries, which was the source of an emailed four-page statement, responding point-by-point to the CLAE’s explosive report. artnet News had not heard back as of publication time. 2016-07-15 04:57 Senior Market

52 For the Diary: Neue Pinakothek‘s Exhibition ‘Three Colours Black’ Related Venues Pinakothek der Moderne Artists Edouard Manet Johann Heinrich Fussli Bartolome Esteban Murillo “Three Colours Black” at the Neue Pinakothek will be open from October 5. The show will focus on paintings from second half of the 19th century, including 15 paintings from the Pinakothek’s own collections. The theme is the use of the color black in paintings and the various connotations it has carried through changing times. Paintings by 19th-century artists such as Johann Heinrich Füssli, Édouard Manet, and Franz Xaver are placed alongside masterpieces by Vouet, Diego Velázquez, and Bartolomé Estéban Murillo, taken from the currently closed Alte Pinakothek. 2016-07-15 04:45 Atrayee Sengupta

53 ‘Antar Yatra – The Journey Within’ Drama With Indian Dances in Delhi Related Venues Kamani Auditorium The inner journey of the soul is a travel from the apparent to the real, from the tangible to the ineffable, from the known to a world of possibilities, imaginations and more. Antar-Yatra is about this tentative journey of conflicting thoughts and emotions in the magical world they believe in and create. AIM for Seva is organizing a dance drama ‘Antar Yatra - The Journey Within’ on July 27 at the Kamani Auditorium in New Delhi. AIM for Seva is an integrated community development program reaching out to rural and tribal children across India. Some of the dancers who will perform are Amrita Lahiri (Kuchipudi), Lakshmi Parthasarathy Athreya (Bharatanatyam), Sashwati Garai Ghosh (Odissi), and Srijan Chatterjee. Chatterjee is disciple of Guru Arun Bhaduri and will provide a crucial support for work on Odissi music for this performance. Amrita Lahiri, who is widely recognized as one of the foremost young performers of Kuchipudi, has been described as ‘gifted with a radiant stage presence.’ She has toured across continents, presenting Kuchipudi from its traditional origins to its contemporary forms. Performing Bharatanatyam for over 25 years, Lakshmi Parthasarathy Athreya is a senior disciple of Guru Chitra Visweshwaran. Refreshing artistry coupled with positive energy, Laskhmi is a front-ranking dancer of the younger generation who consistently gives an impressive performance on each stage that she takes. A powerful Odissi dancer with elegance and accuracy, Sashwati Garai Ghosh fascinates the audience with her moves leaving them spellbound. For her, dance reflects life, and it is through the prism of dance that she views the world around her. A disciple of Guru Arun Bhaduri, Srijan Chatterjee provides a very crucial support for work on Odissi music for this performance. 2016-07-15 04:10 Bibhu Pattnaik

54 The Most Subversive Work at the 9th Berlin Biennale Is a Secret Intelligence Agency Some critics of the 9th Berlin Biennale perceive the DIS Magazine-curated exhibition to be apolitical, but for the past three weeks, one project has been proving that criticism wrong. DISCREET is a collaborative project that set out to build an “Intelligence Agency for the people,” an organization that could learn from, but work against, opaque agencies like the NSA. Fifteen participants were selected based on individual project proposals for the three-week long workshop, on topics from e-waste to immigration patterns. Together, they took part in tours, workshops, and intelligence- collecting missions, like being sent outside of Akademie der Künste— where the green-screen-enclosed set and workspace, designed by the critical architects of Studio Miessen , was based—on missions like getting strangers’ home addresses, or convincing tourists to come inside to see the Hito Steyerl installation, When DISCREET was at work, and while they brought in guest speakers, like hackers and activists, for training sessions and “Insecurity Counseling,” a live stream was viewable online, and visitors to their headquarters at the Biennale could stop in and observe in person. If a visitor was so inclined, they could also use the Dial-a-Spy Booth, and call one of over 30,000 leaked telephone numbers belonging to real spies around the world. Related: The 9th Berlin Biennale Revels in Doomsday Scenarios and Secret Spaces DISCREET was commissioned for the 9th Berlin Biennale, and lead by the writer and theorist Armen Avanessian and Alexander Martos in collaboration with filmmaker Christopher Roth. Avanessian, who is on paper a philosopher and political theorist, spoke to artnet News on the last day of DISCREET’s work to get us up to speed on what the project was able to accomplish in its short time. After only three weeks of collaborative work, there are few concrete answers, but sitting in MINT, Débora Delmar Corp.’s juice bar installation, Avanessian explained his interest in DIS and their generation of digital natives, what it takes to begin to build a real intelligence agency for the people, and why he thinks that might be the only way to effect political change. What were DISCREET’s original goals? DISCREET is an experiment, but the goal to build this intelligence agency was always real. I think it’s a necessary institution, but I can’t do it alone, so we invited hackers, financial experts, and very different kinds of people in order to see what happens. It was the idea that, under the gaze of the public, not top-down, but together with others, we were going to work together on the framework, rules, targets, goals, different departments, and orientations of this agency. We also wanted to provide a kind of matchmaking; for example, if someone is a hacker, he might need some financial advice about the blockchain. We can help each other. How did you create this platform? I think art is important for giving people a space to talk to each other. What kind of stage can one build so that people who might find answers to these questions, and provide solutions, can talk to each other? So we built a strange setting, by Markus Miessen and Studio Miessen, that is at once safe, and helps us to talk to each other with some kind of intimacy. But on the other hand, it is transparent, not hidden away in the desert in a top-down way. So the whole setting is really trying to play with the tension between transparency, the basis of democracy, and secrecy, how intelligence agencies work. Related: See the Standout Performances of the 9th Berlin Biennale Why is an intelligence agency for the people necessary? Data and information are the most important resources of the 21st century, and we are actively, constantly producing information. We are confronted with an excess of data. Like with every media revolution in the past, all of a sudden we have so much new data that we are freaking out. We have to grasp it and find a new way of ordering our society. So intelligence agencies have an incredible potential, if they would not just work together with Google, or declare a war on terror, or spy on the people. Intelligence agencies provide information that leads to change. Mostly in an evil way, but wow, it’s a technique that we should learn. How did you begin to conceptualize DISCREET’s intelligence agency? It was pretty clear from the beginning that we wouldn’t work for three weeks and then know the answers. We are still discussing very basic steps, like whether this is an agency, an institution, a school, or a company. We thought about being a company; maybe that is a better way to gain information and access to certain positions. A lot of things in the intelligence business are given away to private companies. We discussed whether we needed a global network of informants, and asked who the sovereign is for whom we want to provide information. We discussed what the people can learn from intelligence agencies like the NSA, and how we could give them another, democratic, agenda. Why do this in the context of art, rather than philosophy or theory? I would feel uncomfortable to say it’s only an art project, and I don’t want to be put in the “art” box that might exclude this from the realm of politics. I wanted to do this as a performative artistic project that could achieve certain goals I couldn’t achieve elsewhere. In academia, I might be obliged to do a seminar on sovereignty from, let’s say Machiavelli to Hanna Arendt, but that doesn’t necessarily help you with the NSA. In an art context, usually a theory person like me is asked to write a catalog text about why a certain work of art is so critical and good, or to provide a short theory conference. I’m doing neither, I’m trying to really be an artist, and to appropriate the tools and knowledge of art people to find out about how the distribution of images and information today works. I hope DISCREET doesn’t fit into the realm of contemporary art; it’s what I would call post-contemporary art. Instead of strengthening the existing institution of art by criticizing them, it’s inventing a new one. It’s using the art world to do something that cannot be done in a political think-tank, nor in a political theory seminar, and at the same time hopefully works as an alternative to the usual procedures of contemporary art. How does DISCREET fit within the Berlin Biennale? I’m interested in people like DIS, and this post-internet generation. I’m not convinced in how this generation thinks politically, but I’m intrigued by their tacit knowledge of technology, the internet, how they deal with attention, distribution of images, memes, and so on. Artists of this age are criticized a lot for giving in to the market, but I’m interested in their capacity for providing something else than the usual, pseudo-critical contemporary art market. Related: A Brief History of the Berlin Biennale I think there’s a generational paradigm shift going on, and we don’t know yet where the criticality or subversiveness is. Digital natives like DIS and their generation have tools, knowledge, and practices that I—being an academic of a certain age—don’t have access to. But I have a certain political interest and I want to give it that spin. That’s where the future is, if we manage to change things for the better. 2016-07-15 04:00 Alyssa Buffenstein

55 kristián mensa adds fruit to give his illustrations an extra punch kristián mensa adds fruit to give his illustrations an extra punch illustrator kristián mensa uses everyday objects to add another layer to his pen and ink art work. the tongue-in-cheek designs feature various locations and scenarios, using fruit, flowers, dominoes and even toilet roll. kristián mensa depicts edvard munch’s famous ‘scream’ painting using toilet roll as eyes, and places a zen monk peacefully above a pretzel. his other designs feature a screw used as a trumpet and a tomato as a punching glove. these charming designs illustrate another way of incorporating a 2D format with everyday objects in a fun and comical way. 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. 2016-07-15 03:15 Kristi N

56 Ryan Gander’s ‘The Connectivity Suite (and other places)’ at Esther Schipper Related Venues Esther Schipper Artists Ryan Gander Ryan Gander, "Other Places," 2016 [Courtesy of the artist and Johnen Galerie, Berlin Photo: © Andrea Rossetti] Lining the gallery from ceiling to floor are wispy gray curtains, pulled away in one section to reveal “Elevator to Culturefield” (all works 2016) — a façade of life-size elevator doors in metal relief. In the foreground, a lone balloon is depicted accompanying two decorative frames with a landscape view of a school far off in the woods, peeking out from behind the clouds. This is “Culturefield,” the unrealized art school of Gander’s dreams, imprinted on an elevator whose static doors cannot open. Gander presents the portal to this idealized space for creativity, but withholds the key to unlock it. In “General Studies,” an inlaid vent set low on the adjoining wall expels a constant flow of air, causing the curtain to billow as if a phantom child is playing behind it. Transformative processes of inanimate and animate and tangible and intangible objects are recurring themes in Gander’s work: the liminal spaces that give rise, with a childlike innocence, to creativity, imagination, and self-realization. Gander’s process notes, which read as poetic lists, are written on a business directory light box titled “The Connectivity Suite.” A litany of “Acts” and “Treatments” cover sections like “The Baggage,” “Labour,” and “Morathics.” Is creativity also an order of business? Connecting the tedious aspects of artistic labor with unencumbered perspectives on creativity, Gander enlists his young daughter Olive for the short film “Portrait Of A Colour Blind Artist Obscured By Flowers.” The artist is seen hiding behind flower arrangements, compiling images in groups in front of a wall of A4 papers with printed notes for future project ideas like “Cultivate errors” and “Post Life Romantic.” Close-ups of colored wooden blocks, sculptures, and paintbrushes are followed by a blue screen and voiceover of Olive’s voice critiquing the film; she asks, “Your film makes me think it must be lonely to be an artist, but is it?” The sentimental film pulls back the guise of creative magic — the laborious effort it takes to try and make dreams come true. 2016-07-15 03:00 Arielle Bier

57 Abramović, Arcangel, Alÿs Celebrate Moving Image at Lisson Gallery Related Events Performer/Audience/Mirror Venues Lisson Gallery Artists Marina Abramovic Francis Alys Cory Arcangel John Akomfrah Dan Graham Art & Language Hans Berg Ryan Gander Jennifer Allora and Guillermo Calzadilla Sean Snyder John Latham A new exhibition, on view both at Lisson Gallery’s London space and online until August 27, will celebrate the gallery’s relationship with video art across its nearly 50 year history. The exhibition includes work by Marina Abramović, Cory Arcangel, and Francis Alÿs. “Performer/Audience/Mirror” — which takes its name from a Dan Graham video piece from 1977, in which he commented on an audience sitting in front of a mirror — will feature work by 18 artists in the gallery space. Of these, 12 works will also be available in full online , with the first half of the roster announced on July 14 and the second in early August. According to a press release from the gallery, extending the show online was crucial to its development, allowing “users to virtually experience the wealth of moving image on display while calling into question the accessibility of video art.” Meanwhile, the gallery show will take the three elements of Graham’s piece as its sections. The first of these is “Performer,” which will “explore our understanding of performance in film both within a conventional contemporary art setting and within the broader cultural context of theater, comedy and narration.” This looped selection of films will include Abramović’s “Art Must Be Beautiful, Artist Must Be Beautiful,” 1975, in which she repeats the title while aggressively brushing her hair for 13 minutes, as well as the most recent work in the exhibition, “Worship,” 2016, featuring Nathalie Djurberg and Hans Berg’s characteristic claymation grotesques. In the next section, “Audience,” the oldest piece in the show will be shown — “Speak,” 1962 by John Latham, a work that offers an interesting contrast to the spray-paintings that the artist is best known for. Also featured are works by Cory Arcangel, Art & Language, and Ryan Gander, displayed within a pavilion created by Graham in 2001. The final section, “Mirror,” will feature works commenting on film specifically, and society and culture in general. Artists in this section include John Akomfrah (who is also currently showing at Lisson New York), Allora & Calzadilla, Francis Alÿs, Wael Shawky, and Sean Snyder. 2016-07-15 02:02 Samuel Spencer

Total 57 articles. Created at 2016-07-16 00:00