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49 articles, 2016-04-23 12:01 1 former gearwheel factory in amsterdam converted into loft residences in association with architect donald osborne, ronald janssen architecten renovated the space in amsterdam's old centre into twelve independent homes. 2016-04-23 08:30 2KB www.designboom.com 2 Upcoming Opportunities for Choreographers Momentum: New Dance Works 2017 Proposals are now being accepted for Momentum: New Dance Works 2017. This long-standing annual dance series provides innovative emerging choreographers support for art... 2016-04-23 06:39 972Bytes blogs.walkerart.org 3 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a... 2016-04-23 09:35 11KB www.walkerart.org 4 Becoming American: Fionn Meade on Less Than One The first in a series of entries exploring Less Than One, on view through December, “Becoming American” begins with a consideration of author Joseph Brodsky (1940–1996), whose essay provides th... 2016-04-23 09:35 865Bytes blogs.walkerart.org 5 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-04-23 05:29 1KB gdusa.com 6 Music legend Prince dies at age 57 Prince, a multitalented musician who came out of the Minneapolis scene and changed the world of music forever, has died at age 57... 2016-04-22 18:20 10KB blog.thecurrent.org 7 From Archive to Art House: Two Ruben/Bentson Films Mark Metrograph Opening In March 2016, a new independent movie theater opened its doors on New York City’s Lower East Side with two films from the Walker Art Center's collection among its initial screenings. A two-screen c... 2016-04-23 08:24 940Bytes blogs.walkerart.org 8 piero lissoni's commodore storage unit for glas italia expresses a clear simplicity piero lissoni's commodore storage unit which was presented at salone del mobile 2016 uses striped or checked printed glass. 2016-04-23 04:15 1KB www.designboom.com 9 Facetime With Mark Werts Mark Wertz is expanding American Rag’s retail and manufacturing businesses and has written “America’s Simple Solutions,” a self-help book for business and society. 2016-04-23 04:01 2KB wwd.com 10 PUTPUT gives paint rollers preposterous purposes with atypical objects paint rollers are given preposterous purposes in this latest photographic series by copenhagen-based studio PUTPUT. 2016-04-23 01:30 1KB www.designboom.com 11 Feel Like This: Sam Johnson on Luis Garay’s Maneries To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and o... 2016-04-23 02:21 946Bytes blogs.walkerart.org

12 artec 3 experiments with light & perception in llumversació placed within a gallery setting, the pieces hope to reassess perception of an object through use of light, as well as experiment with color interaction. 2016-04-22 23:15 1KB www.designboom.com 13 Brands, Organizations Criticize ‘Fashion Transparency Index’ Livia Firth among the speakers at Houses of Parliament. 2016-04-22 23:01 8KB wwd.com 14 ‘American Psycho: The Musical’ Makes Its Broadway Debut After showing in London, the U. S. version of the play has made its way to Broadway and Mr Porter is the exclusive men’s wardrobe partner. 2016-04-22 22:51 2KB wwd.com 15 Review: Sony World Photography Awards 2016 at Somerset House From migrants to meat landscapes to everything in between, the 2016 Sony World Photography Awards exhibition returns to London’s Somerset House. 2016-04-22 22:50 1KB www.blouinartinfo.com 16 Bjarke Ingels Named One of TIME Magazine's 100 Most Influential Rising Danish architect Bjarke Ingels, of architecture studio BIG, has been listed as one of TIME Magazine's 100 Most Influential People of 2016 today. 2016-04-22 22:29 2KB www.blouinartinfo.com 17 Fashion Designers, Brands Appear in ‘Slowing Down Fast Fashion’ British Documentary The documentary is narrated by the British musician — and cheese-maker — Alex James. 2016-04-22 22:28 6KB wwd.com 18 With Broadway Stars, ‘An American in Paris’ Will Play London Next Year The show will open in the West End in March 2017. 2016-04-22 22:18 1KB artsbeat.blogs.nytimes.com 19 Young Royals Host Dinner at Kensington Palace for the Obamas The Duke and Duchess of Cambridge along with Prince Harry hosted a dinner for President and First Lady at Kensington Palace. 2016-04-22 22:01 2KB wwd.com 20 PS• + secondome curate ‘ladies & gentlemen’ exhibition hosted within historic milanese house PS• and secondome design gallery curated 'ladies & gentlemen' — an exhibition that presented designs expressing an interaction between the past and present. 2016-04-22 20:30 13KB www.designboom.com 21 Axel Vervoordt Rediscovers Yuko Nasaka at Art Brussels Belgian gallery Axel Vervoordt is bringing the work of Japanese sculptor Yuko Nasaka to the nation’s capital this spring for Art Brussels. 2016-04-22 20:19 2KB www.blouinartinfo.com 22 Romania Expelled From Eurovision Song Contest Romania has been expelled from the Eurovision song contest for failing to pay debts. 2016-04-22 19:28 2KB artsbeat.blogs.nytimes.com 23 My Brain Hurts, Novelty Song, Calypso, and Captain America: This Week in Comics #14 A heartfelt coming of age LGBT story, music thieves, Captain America, and more in this week’s comic roundup. 2016-04-22 19:15 4KB thecreatorsproject.vice.com

24 The Biggest Joint in the World | Insta of the Week It's a monster. 2016-04-22 19:00 1KB thecreatorsproject.vice.com

25 Davidoff Art Initiative Names Natalia Ortega Gamez for FLORA Residency Dominican artist Natalia Ortega Gamez has been announced as the first artist selected for the Davidoff Art Initiative’s (DAI) new residency program at FLORA ars+natura in Bogotá, Colombia. 2016-04-22 18:50 1KB www.blouinartinfo.com 26 Artists Pay Tribute to Prince’s Life and Legacy From celebrity cats to hand drawn album covers, these artists have created work in memory of Prince. 2016-04-22 18:30 2KB thecreatorsproject.vice.com 27 Rosita and Angela Missoni Detail the Designer Company Through the Years at 92Y Founded in 1953 by Rosita and Ottavio Missoni, the Italian designer label is widely known for its zigzag knitwear and family approach to business. 2016-04-22 18:21 1KB wwd.com 28 Our 11 Favorite Works from the Dallas Art Fair From all-too-realistic babies, to not-so-superflat Murakamis, here are our selects from this year's Dallas Art Fair. 2016-04-22 17:40 9KB thecreatorsproject.vice.com 29 Does Having a World Record Make You an Artist? We Asked Guinness From the biggest bottle cap sculpture to the most expensive painting ever made by an elephant... 2016-04-22 17:35 6KB thecreatorsproject.vice.com 30 john pawson's serene life house for living architecture john pawson offers visitors to holiday in the ‘life house’, the cascading scheme unfolds as a place of calm and solace - influenced by japanese design. 2016-04-22 17:04 2KB www.designboom.com 31 Art to Love the Earth By | GIF Six-Pack It's Earth Day. Prove you care by sharing these GIFs with all of your friends. 2016-04-22 17:00 1KB thecreatorsproject.vice.com 32 Sponsored: Invaluable Gears Up for Spring Auction Season With Prints and Multiples The platform's curatorial director offers insight into the upcoming auctions. 2016-04-22 16:40 3KB www.blouinartinfo.com 33 See Albert Kriemler's Fujimoto-Inspired Designs Albert Kriemler's sharp designs were inspired by world-famous architectural sites, such as the airy buildings of Sou Fujimoto. 2016-04-22 16:39 5KB news.artnet.com 34 Sketching Is Prohibited at V&A Museum Show London's V&A Museum is enforcing a photography and sketching ban on visitors to a new temporary exhibition dedicated to a (brief) history of underwear. 2016-04-22 16:36 2KB news.artnet.com 35 L. A. Habitat: Amanda Ross-Ho Amanda Ross-Ho in her Skid Row studio on December 12, 2015. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their 2016-04-22 16:24 5KB www.artnews.com

36 Chiming Cuckoos: Chadwick Rantanen at Essex Street Through May 15 2016-04-22 16:13 3KB www.artnews.com

37 kengo kuma plans new hans christian andersen museum in denmark, the city of odense has revealed plans drawn up by japanese architect kengo kuma for a new hans christian andersen museum. 2016-04-22 16:10 3KB www.designboom.com 38 ‘Can Computers Be Programmed to Appreciate Art?’: The Machine as Viewer, in 1977 COURTESY MAGNUS With Magnus, an app that can recognize artworks using visual data, being released to the public recently, we turn back to the Summer 1977 2016-04-22 15:52 4KB www.artnews.com 39 Art-Focused 21c Museum Hotels Releases Statement About North Carolina Law Restricting LGBTQ Rights Peregrine Honig's sign for 21c Museum Hotels. COURTESY 21C MUSEUM HOTELS 21c Museum Hotels, the art-centric North Carolina–based chain, spoke out today 2016-04-22 15:46 3KB www.artnews.com 40 Castles in the Sky: Adam McEwen on ‘Harvest,’ His Show at Petzel Gallery Adam McEwen, IBM Blue Gene 1 and IBM Blue Gene 2, both 2016. COURTESY THE ARTIST AND PETZEL, NEW YORK For the past few years I have had a poster in my living 2016-04-22 15:02 8KB www.artnews.com 41 At Tribeca, Documentaries Focus on Chris Burden and Maurizio Cattelan At this year’s Tribeca Film Festival, two of the more interesting films were about two artists from different periods and with very different work. 2016-04-22 13:38 5KB www.blouinartinfo.com 42 ghidini 1961 - a new collection of brass designs curated by stefano giovannoni ghidini 1961 brings together diverse creatives to consider the properties of brass, through new and innovative contemporary designs for mass consumption. 2016-04-22 13:25 8KB www.designboom.com 43 Odd Nerdrum Barred From Leaving Norway Painter Odd Nerdrum is not permitted to travel to the US for a solo show due to his involvement in an ongoing tax fraud case in Norway. 2016-04-22 13:07 4KB news.artnet.com 44 curved/labs’ concept restores apple’s egg-shaped iMac for today’s computer education the concept ‘eMac’ by curved/labs includes an all-glass front with a touch screen and stereo speakers, in today's anodized aluminum colors. 2016-04-22 12:38 1KB www.designboom.com 45 Light Art Makes the Far Side of the Moon an Interactive Experience Montreal-based studio, Iregular, gives audiences a chance to dance with the shadows of synthetic moonlight. 2016-04-22 12:30 2KB thecreatorsproject.vice.com 46 Was Stonehenge an Ancient Burial Ground? Archaeologists have discovered cremated human remains at Stonehenge, leading to speculation that the mysterious ruin served as an ancient cemetery. 2016-04-22 12:23 2KB news.artnet.com

47 Black-and-White Op Art Visualizes Energy, Oscillations, and Frequencies Aleksander Drakulic's visuals take inspiration from modern science and classical geometry. 2016-04-22 12:20 2KB thecreatorsproject.vice.com 48 Review: Fifty Years On: “Funny Girl” Back in London Sheridan Smith provides a cracking turn in the title role at The Savoy. 2016-04-22 12:15 2KB www.blouinartinfo.com 49 kensaku oshiro's hole table for kristalia features a large oval cut-out kensaku oshiro's 'hole' table for kristalia which was presented at salone del mobile, features a large oval cut-out inspired by natural forms. 2016-04-22 12:04 2KB www.designboom.com Articles

49 articles, 2016-04-23 12:01

1 former gearwheel factory in amsterdam converted into loft residences former gearwheel factory in amsterdam converted into loft residences former gearwheel factory in amsterdam converted into loft residences all images courtesy of ronald janssen architecten a former gearwheel factory, located in the old center of amsterdam, has been transformed into twelve residences by the dutch studio of ronald janssen architecten in association with architect donald osborne. titled ‘nieuwe ridderstraat’, the original warehouse is an example of classic early 20th century architecture featuring a sawtooth roof, and plain brick walls overgrown with ivy. large planters replace the ivy that had overgrown the structure under commission by real estate developer buro amsterdam, a series of 12 lofts — organized back to back — were inserted into the space. each has its own entrance from the street, defined by large sliding gates made of perforated steel. all twelve have a distinct door, which utilize various patterns found in old photographs from the factory interior. behind the gates are sheltered loggias that can be used as private gardens, or bicycle storage, as well as provide access to the interior. inside, is a clear and simple organization of functions. the bathroom and technical areas are bundled in a zone near the entrance. bedrooms are located on a raised loft level, with access to a view of the roof. the rest of the space is left open and undefined, exempting the kitchen, allowing for residents to assemble the interior to their own tastes and needs. view of entrance to one of the twelve residences much like the interior, the exterior is left as little changed as possible. only seven new openings were cut through the façade, and windows no longer necessary were evenly covered with cement. the latter are viewed as ‘scars’ and are left as indicators for the building’s rich history. existing vegetation was removed from the masonry; in its place, are large planters positioned in the street, and various roof sections planted with sedum. interior of ‘cruger house’, the only residence to be completed fully by the architects loft floor with view of green roof in ‘cruger’ residence designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-04-23 08:30 Ronald Janssen

2 Upcoming Opportunities for Choreographers Momentum: New Dance Works 2017 Proposals are now being accepted for Momentum: New Dance Works 2017. This long-standing annual dance series provides innovative emerging choreographers support for artistic development and a professional presentation of a new evening-length work. Since 2001, Momentum has highlighted Minnesota’s groundbreaking contemporary dance artists–many of whom are now nationally and internationally recognized–and […] 2016-04-23 06:39 By

3 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a vanguard artist. As a composer of sound, movement, and film, Monk is one of the most innovative American artists of our time. Her expansive body of work, anchored by her trademark, three-octave voice, transcends definition; it is simultaneously contemporary yet timeless, deeply personal yet universal. Since the beginning Monk has pushed boundaries within her practice, and she continues to do so today. But her explorations of sound, time, and space, in whatever form they take, all bear her unmistakable signature. Meredith Monk and the Walker share a long, rich history that has spanned the majority of her career. Since 1974, the Walker has supported Monk’s artistic activity across a variety of mediums, including commissioning five key works, presenting an array of her creative output over 11 visits to the Walker, hosting six artistic and community residencies, featuring her in a prominent exhibition in the Walker galleries, and acquiring her iconic 16 Millimeter Earrings, 1966/98 for the Walker’s visual arts collection. What follows is a chronological history of Meredith Monk’s legacy with the Walker, one that’s sure to continue far into the future. The Walker first presented Meredith Monk’s work in 1974 with Act II from Education of the Girlchild , a theatrical opera, which, in this version, incorporated local artists, alongside her intimate solo work, Our Lady of Late. Each performance happened in a converted Masonic lodge, reflecting Monk’s early and longstanding interest in non-proscenium spaces (a section of her influential work Juice: A Theatre Cantata in Three Installments was the first live performance to happen at the Guggenheim, in 1969). Education of the Girlchild (1973) consisted of three sections at the Masonic Lodge, beginning and ending with the artist performing alone and featuring local performers in the middle section. Monk described the themes of the work as “seeing the process of aging, but backwards … show[ing] the change of time through gesture and through sound.” Likewise, Our Lady of Late (1971) featured Monk alone onstage, this time accompanied by the sound of a wine glass. Taken together, these two performances showcased the artist’s adventurous treatment of both time and sound, making it a fitting introduction for Walker audiences to her early work. Three years later, Monk returned to the Twin Cities with Quarry , her 1976 Obie Award–winning opera music/theater piece set during World War II. With 40 performers, the multidisciplinary work was performed in the Great Hall at the University of Minnesota’s Coffman Memorial Union. In describing the inspiration behind Quarry , Monk asked herself: “How could I make a piece, an abstract, poetic documentary about World War II that had some historical references, but at the same time was free of that and dealt with cycles of war and cycles of dictatorship. How could I do that in a really honest way?” In contrast to the large scale production of Quarry , Monk also performed her unaccompanied solo Songs from the Hill , a work originally composed on a hill in New Mexico in 1975 and 1976, showcasing the dynamic range of Monk’s singular voice. Continuing her site-specific exploration of the Twin Cities, Monk and Ping Chong filmed their collaborative theater piece Paris , a live performance originally created in 1972, over five days in an abandoned grain factory on the Mississippi River. This adaptation was supported by the Walker and KTCA-TV (now TPT or Twin Cities Public Television) and aired on national public television to wide acclaim; Paris was also performed in front of a live audience in the Walker auditorium during a 1982 residency. In celebration of the 20th anniversary of her career, the Walker presented a selection of performances from Meredith Monk’s expansive catalogue, including vocal arrangements from her landmark works Solo Excerpts for Voice and Piano , Turtle Dreams: Waltz , and Dolmen Music. A screening of the documentary film version of Quarry contributed to the evening at Hamline University. Alive from Off Center , a creative collaboration between the Walker and Twin Cities Public Television, was a 1980s broadcast TV show that featured contemporary performing artists across a range of genres. Meredith Monk’s short film Ellis Island (1981) was featured in the third season of the show, in an episode hosted by Laurie Anderson. Ellis Island explores the American immigrant experience through music, dance, and imagery, examining history through a contemporary lens. ATLAS: An Opera in Three Parts was the first work by Meredith Monk that the Walker commissioned—and the artist’s first full-scale opera. The critically acclaimed performance includes a 12-piece orchestra, seven soloists, and a full chorus trained in Monk’s extended vocal technique. The story revolves around Alexandra Daniels, a female explorer based upon the life of Alexandra David-Neel, the first western woman explorer to visit Lhasa, Tibet. The work was performed at the O’Shaughnessy Auditorium at St. Catherine’s University. In 1994, Meredith Monk returned to the Walker auditorium for an early work-in-progress showing of the Walker co-commissioned work Volcano Songs , which deals with themes of aging and the miracle of human transformation and features Monk’s characteristic vocal range. Describing the Walker’s support of Volcano Songs , Monk stated that “they gave me the chance to do what an artist strives to do: to create a new work without knowing what the result will be; to take the risk of starting from zero, cutting through preconceptions and artistic habits to allow the piece to grow organically, so that eventually it will have a life of its own.” In 1994, the Walker also co-commissioned American Archeology #1 , a site-specific work performed only on Roosevelt Island, New York, in Lighthouse Park and Renwick Ruin. The 1998 Walker exhibition Art Performs Life: Merce Cunningham/Meredith Monk/Bill T. Jones documented the Walker’s longstanding relationships with three key innovators who approached multidisciplinary creation in distinct ways. Monk’s gallery included a new set of interactive, memorable installations (which the artist worked closely with Walker curators to create) as well as scores, storyboards, drawings, sets, props, costumes, and sound and film excerpts representing the range of her artistic output, including landmark works like 16 Millimeter Earrings (1966), Juice (1969), Quarry (1976), and ATLAS (1991). Monk’s role in Art Performs Life also included performances, an artist talk with Curator Philip Bither, community residency activities, and an exhibition catalogue. The Meredith Monk gallery in Art Performs Life included an installation of her breakthrough music/performance/film 16 Millimeter Earrings. Created very early in her career, 16 Millimeter Earrings was the first time the artist worked with film and consequently became a watershed moment for Monk. Combining voice, guitar, audio loops, performance, film projections, and sculpture, the work is mesmerizing and unforgettable. In 2010, the Walker acquired 16 Millimeter Earrings , 1966/1998_ , the video/installation version of the work created for Art Performs Life for our visual arts collection; it is currently on view in the Walker exhibition Less Than One. Another key element of the Art Performs Life opening was a moving performance of A Celebration Service (1996) at the First Unitarian Society Church next to the Walker, involving Monk, her Vocal Ensemble, numerous community members, and a post-concert processional. Monk also sang a solo work from the organ loft at the Basilica of St. Mary, also near the Walker, following Sunday mass. In conjunction with the opening weekend of Art Performs Life , Meredith Monk and Vocal Ensemble performed a full concert featuring excerpts from two Walker co-commissioned works: ATLAS (1991) and The Politics of Quiet (1996), which Monk describes in the Art Performs Life exhibition catalogue as a “musical-theater oratorio.” She went on to say, “I am always interested in discovering new forms between the cracks. … In The Politics of Quiet the music was the continuity. I didn’t want to illustrate the music; I wanted images that were a counterpoint to the music. Eventually, the piece revealed itself to be an abstract, nonverbal oratorio, or you could think of it as a ceremonial.” Meredith Monk and visual artist Ann Hamilton worked together for the first time on their 2001 music/performance work mercy. With visual installations by Hamilton and sound and movement by Monk, the work was a true collaboration between the two artists from start to finish. In 2008, Monk said “[ mercy ] ended up being a manifestation of the creative process of two human beings. The first image of the piece—the two of us sitting at opposite ends of a table—was what the piece was about.” The New York Times called mercy “an extraordinary collaboration. … Together, they created a multitude of visual and sonic wonders.” The work was performed at the O’Shaughnessy Auditorium at the College of St. Catherine. When the Walker held a grand opening celebration for the McGuire Theater in 2005, Performing Arts curator Philip Bither invited Meredith Monk and her longtime collaborator, Theo Bleckmann, to inaugurate the space in a series of performances that also included Philip Glass, Mugiyono Kasido, Steve Tibbetts with Choying Drolma, and Rizwan-Muazzam Qawwali. As Bither remembers : “After Meredith Monk and Theo Bleckmann flawlessly performed three excerpts from Monk’sFacing Northto a hushed, reverent crowd, they began their deceptively simple but truly complex vocal work Hocket. A few seconds in, Theo started on a wrong beat and Meredith waved her arms and then faced the audience with a smile: ‘Hold it. Start over.’ Warm laughter flooded the room; rigid shoulders lowered as the relieved audience seemed to settle comfortably into their seats. It was like hanging out with friends in your living room, or being with family and playing music together, or experimenting with something and realizing it was time to start over. The theater had, in a matter of seconds, been transformed from a temple of excellence to the kind of artist-centered, audience-friendly place we’d dreamed of.” Songs of Ascension (2008) combined Meredith Monk’s composition and choreography with Ann Hamilton’s visual elements to create a music/theater work exploring spirituality, ritual, community, and time. Monk was inspired, in part, by Hamilton’s 60-foot spiraling tower located in Geyserville, California, where the work was later performed as a site-specific version. The Walker co-commissioned Songs of Ascension , presented three preview performances, and hosted a 15-day production residency in the McGuire Theater, which helped Monk, her performers, and her artistic collaborators bring the work to life. To honor Meredith Monk’s rich history as a pioneer in contemporary performance, Meredith Monk and Vocal Ensemble performs The Soul’s Messenger, Celebrating 50 Years of New Music on Friday, April 15, 2016 at The O’Shaughnessy Auditorium. Meredith Monk will join Director and Senior Curator of Performing Arts Philip Bither for a conversation about her evolution as an artist on Thursday, April 14, 2016, in the Walker’s McGuire Theater. 16 Millimeter Earrings, 1966/1998 is on view in the Walker galleries as part of the exhibition Less Than One through December 2016. 2016-04-23 09:35 www.walkerart

4 Becoming American: Fionn Meade on Less Than One The first in a series of entries exploring Less Than One, on view through December, “Becoming American” begins with a consideration of author Joseph Brodsky (1940–1996), whose essay provides the exhibition title, and Flags (1965), a painting by Jasper Johns included in the exhibition. At an early age Joseph Brodsky experienced much of what it […] 2016-04-23 09:35 By

5 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-04-23 05:29 GDUSA Staff

6 6 Music legend Prince dies at age 57 Prince, a multitalented musician who came out of the Minneapolis scene and changed the world of music forever, has died at age 57. According to a statement from Carver County Sheriff Jim Olson, “on April 21, 2016, at about 9:43 am, sheriff’s deputies responded to a medical call at Paisley Park Studios in Chanhassen. When deputies and medical personnel arrived, they found an unresponsive adult male in the elevator. First responders attempted to provide lifesaving CPR, but were unable to revive the victim. He was pronounced deceased at 10:07 am. He has been identified as Prince Rogers Nelson (57) of Chanhassen.” We are continuing to follow this story and will add updates as they become available. One of the greatest stars in rock history, Prince bridged rock and R&B to fuse a “Minneapolis Sound” that helped define the music of the 1980s. With over 100 million albums sold worldwide, Prince is one of the best-selling artists of all time, widely cited as an influence by artists from the worlds of pop, R&B, rock, hip-hop, and beyond. Born Prince Rogers Nelson in Minneapolis in 1958, Prince remained a lifelong Minnesotan and had a profound impact on the community here. With the hit movie and soundtrack Purple Rain , he turned First Avenue from a hot local club to an international music landmark. Artists including Jimmy Jam and Terry Lewis went from Prince collaborations to performing and producing chart- topping hits that spread the “Minneapolis Sound” across the musical landscape. Prince’s genius seemed to arrive fully formed, almost as if by magic: he released his debut album ( For You , 1978) at the age of 19, and its eponymous follow-up, released the following year, made him a breakout success with instant classics like “I Wanna Be Your Lover” and “I Feel For You.” He wrote, played, sang, and produced the entire collection himself, adding to the sense that somehow lightning had struck in Minneapolis. It had, but recently released compilations like Purple Snow: Forecasting the Minneapolis Sound (Numero Group) and Twin Cities Funk & Soul (Secret Stash Records) shone a long-overdue spotlight on the small but tight-knit and inventive local R&B scene that spawned Prince. Once Prince was out of the gate, there was no stopping him. Prince was made for the ’80s, and the ’80s were made for him. Seriously funky but also pop-friendly, Prince was at the forefront of artists who deployed synthesizers and samplers in conjunction with traditional rock instrumentation to create music that felt completely liberated — sexy and fun. “Sexy” was part of Prince’s playbook from day one: he knew how to tease his fans into a frenzy on record, on stage, and, crucially, on screen. His provocative antics earned priceless condemnation from the voices of conventional morality (“Darling Nikki” inspired Tipper Gore to found the PMRC ), and Prince — dressing as flamboyantly as the decade demanded, with a regal flair he might have learned from James Brown — played his bad-boy/pretty-boy role to the hilt. Purple Rain represented Prince in full flower. While some fans and critics argue that Sign “O” the Times (1987) represents an even greater artistic triumph, Purple Rain ‘s vast commercial success was not incidental to its epochal achievement. “When Doves Cry” epitomized the unique power of Prince; at decade’s end, critic Dave Marsh wrote that it “may have been the most influential single record of the 80s.” A stripped-down, percussive track with a vocal that’s so understated it’s sometimes half-spoken and — to the astonishment of music insiders who thought they knew how to make a record — no bass track, “When Doves Cry” seemed to break all the rules of pop songcraft, and yet Prince turned it into such an intoxicating single that it shot to number one for five weeks, holding even Bruce Springsteen’s “Dancing in the Dark” at bay. Simultaneously, Albert Magnoli’s gloriously shameless film defined Prince’s personal mythology and made him one of the greatest pop icons of a decade that had more than its share. Set in Minneapolis, the film depicted First Avenue as a hot spot on the order of Studio 54; instead of driving along Highway 1 as they might have done in an L. A. movie, Prince and his costar Apollonia hopped on a purple motorcycle and cruised out into the Minneapolis suburbs to get “purified in the waters of Lake Minnetonka.” To this day, touring acts are visibly thrilled to discover that First Ave actually is a great club, that it actually does look like that (okay, not the dressing rooms), and that it remains the center of a thriving music scene. Though he never had another smash album as big as the Purple Rain soundtrack, Prince remained a dominant commercial force throughout the ’80s and early ’90s, producing #1 hits ranging from the hard-flirting “Kiss” (1986) to the novelty “Batdance” (1989) to the sparkling “Cream” (1991) while cycling through various band configurations and sounds. The early ’90s marked a crucial point of transition in Prince’s career. He formed a fresh band — the New Power Generation — and released music that increasingly delved into hip-hop, meeting with a mixed reception. If some fans started to sense an identity crisis, they were affirmed by Prince’s 1993 decision to change his name to the unpronounceable glyph (“Love Symbol #2”) that had served as the title to the 1992 album ironically containing the single “My Name is Prince.” The 1993 release of a two-disc greatest hits collection also served to cap a remarkable run on the charts that ended with 1994’s #3 hit “The Most Beautiful Girl in the World,” Prince’s last single to date to crack the American top ten. The mid-90s marked the end of Prince’s relationship with his label Warner Bros. — after releasing a quick series of low-selling albums to fulfill his contractual obligations, he broke from the label in 1996 — and the beginning of his famously tumultuous relationship with the Internet. The iconoclastic perfectionist saw the Internet’s potential as a tool to allow him to independently manage his own fandom and distribute his own music, but he also grew increasingly concerned about the danger of having his material freely bootlegged. Prince was the first major artist to release an album on the Internet (1997’s Crystal Ball ) and from 2001-2006 ran the pioneering NPG Music Club to sell his music online by membership; but following the closure of that site, he became increasingly negative about the Internet, complaining that other sites (notably, YouTube) were benefiting by unauthorized circulation of his material. In an infamous 2010 statement, the online pioneer declared that “the Internet’s completely over.” Releasing music both independently and through various short-term deals with major labels, in the late 90s and the first decade of the 2000s Prince released a flood of new material ranging from the obscure (the instrumental N. E. W. S. in 2003) to the consciously commercial (1999’s Rave Un2 the Joy Fantastic and 2006’s 3121 ). He reclaimed his given name when his Warner Bros. publishing contract ended in 2000, and his widely-praised Super Bowl halftime show in 2007 proved to the largest possible audience that he was still a fiery live performer. In the 2010s, Prince stepped back into the public eye in a way rarely seen since the ’90s. He formed another new band — the all-female 3RDEYEGIRL — and played rapturously reviewed shows with them at venues ranging from Minnesota casinos to London living rooms. He “took over” an entire episode of Arsenio Hall’s talk show , and duetted with Zooey Deschanel on a new song he premiered on a post-Super-Bowl episode of New Girl. Perhaps most surprisingly, Prince re-signed with Warner Bros. Media coverage of the deal focused on the promised new music and Purple Rain reissue, but a telling detail of the press release is that the deal gave Prince ownership of his Warner Bros. masters. The artist who wore the word SLAVE on his cheek during a 1993 legal battle with his label was a free man. Most recently, Prince released a pair of HITNRUN albums recorded at Paisley Park, and was performing solo “Piano & a Microphone” shows at venues around the world. He debuted the format with two intimate performances at Paisley Park in January. “I forgot,” he said as he momentarily became overcome at one show, “that sometimes music is emotional.” He was writing a memoir , which was expected to be published next fall. Artists associated with Prince are still active. Revolution drummer Bobby Z holds an annual benefit concert at First Avenue, childhood friend and collaborator André Cymone just released his first new music in decades , NPG drummer Michael Bland is a busy performer and producer…the list goes on. A new generation of local performers are exemplifying the ’80s-era spirit of cross-genre fertilization and collaboration, now with a strong and adventurous hip-hop scene that’s produced the area’s best-known current artists. Prince remained aware and supportive of what’s going on. In a classic Prince moment, he showed up backstage when the local supergroup GAYNGS played First Ave in 2010. Prince picked up a guitar and played a little, but ultimately declined to take the stage; some reported hearing him make a comment to the effect of, “Looks like they’ve got it under control.” Prince’s legacy in Minnesota is multilayered — from his early collaborations with neighborhood bands, to his towering hits that put Minneapolis on the world’s music map, to the venues he founded (Paisley Park and the former downtown club Glam Slam), to the enduring contributions of musicians he played with, to the example the Minneapolis Sound set for the dynamic scene of today. Perhaps most importantly, though, Prince’s music is evidence — to the world, and to Minnesotans ourselves — of the diversity of our state, and of our music. When you listen to Prince, you hear the influences of all the artists he grew up with: black, white, funky, rocking, groovy, prickly. It’s not the sound of Minnesota’s lonesome prairie, it’s the sound of our dense cities. This utopian artist proved that music truly can break barriers — if u want it 2. Portions of this article were previously published here . We’re gathering your thoughts: What do Prince and his music mean to you? Visit this page to send us your thoughts and memories of Prince . 2016-04-22 18:20 Jay Gabler

7 From Archive to Art House: Two Ruben/Bentson Films Mark Metrograph Opening In March 2016, a new independent movie theater opened its doors on New York City’s Lower East Side with two films from the Walker Art Center’s collection among its initial screenings. A two-screen cinema complemented by a restaurant, candy shop, and bookstore, Metrograph will present a wide palette of curated selections—from French New Wave to American […] 2016-04-23 08:24 By

8 piero lissoni's commodore storage unit for glas italia expresses a clear simplicity piero lissoni’s ‘commodore’ storage unit for glas italia which was displayed at salone del mobile 2016, uses a striped and checked printed glass, tempered and glued 45° with mirror lacquered details. the sliding doors run in plexiglass tracks, to reveal extra light shelves inside. the transparent appearance of the modular furniture piece showcases the different layers of glass, highlighting various shades and textures. the check and striped patterns act as the only form of ornamentation upon the surface. the unit contains no handles, but instead small circular openings which one can use to slide across. the simplicity of the design reflects a classic elegance, that expresses a pure vision in line with the designer’s signature style. the sliding doors use circular openings which one can use to slide across close up detail of the checked glass image © designboom 2016-04-23 04:15 Shuhei Senda

9 Facetime With Mark Werts

Wertz has logged 45 years in the apparel industry, and struck his first deal in China in the Seventies. He’s now expanding American Rag’s retail and manufacturing businesses, opening a store in Shanghai and denim production in Dubai. He’s written “America’s Simple Solutions,” a self-help book for business and society, to be published in July by Cool Titles. J. Crew ceo Millard “Mickey” Drexler praised it for “digestible yet insightful solutions to some of our biggest issues with no agenda and no BS.” It was kind of burning in my guts for a long time. I’m busy all over the world and have been for years. I see things that work and things that don’t work. We have people telling us to do things that absolutely don’t work. It becomes more difficult every year. In America, the government’s approach to business — unlike other places in the world that are successful — the regulations and [punishing] taxes drive business away, drive international business away. And then they wonder why there are no jobs. The intentions are always good and it’s very important to have good intentions. But it’s more important to see what actually results. To me, the best form of welfare and good intentions is a job, is an income, is employment. Benjamin Franklin said, “The happy man is the working man.” I’m too old. Very difficult. First of all, it’s in transition, tremendous transition, from the stress on mobile devices and online shopping to brick and mortar. To me, the businesses that are going to survive are going to be either vertical — they produce their own goods — or they will [emphasize] entertainment. It’s very much alive outside of America. No, because we’re strangled with regulations. Success is not rewarded. We have penal taxation. Without free speech, China is adopting the growth-oriented, capitalistic, laissez-faire economy that America had post-World War II. America was very successful. The late Chinese leader Deng Xiaoping said: “Be the cat black or white, does it catch the mouse?” With the exception of free speech, which is an important one, China has more economic liberty than the U. S. in business, without any question or doubt. 2016-04-23 04:01 Khanh T

10 PUTPUT gives paint rollers preposterous purposes with atypical objects paint rollers are given preposterous purposes in this latest photographic series by copenhagen- based studio PUTPUT. the collection of images forms a vast catalog of 60 different handles paired with a quirky selection of everyday items that mimic the tubular form. vegetable skewers, corn, a sex toy and a cigar are only a few of the atypical objects that replace the function of the roller, each attached to a plastic handle and photographed simply on a plain grey backdrop. ‘we have been painstakingly collecting paint rollers and objects for an extended period of time in order to complete this series of images in an exhaustive and all encompassing manner,’ stephan friedli and ulrik martin larsen of putput say. in a meeting of the practical and the purely decorative, PUPUT gives a mundane task a new expression and fictional typology for an imagined purpose. 2016-04-23 01:30 Nina Azzarello

11 Feel Like This: Sam Johnson on Luis Garay’s Maneries To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, performance-based artist Sam Johnson shares his perspective on Maneries by Luis Garay in the […] 2016-04-23 02:21 By

12 artec 3 experiments with light & perception in llumversació artec 3 experiments with light & perception in llumversació all images courtesy of artec 3 studio ‘llumversació’ is a collection of light-based artworks from artec 3 and maurici ginés, the studio’s creative director. placed within a gallery setting, the pieces hope to reassess perception of an object through use of light, as well as experiment with the roles and interaction of colors. ‘llumversació’ uses analog techniques and materials to create wonderful images, and start a unique dialogue between artifact and audience. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-04-22 23:15 www.designboom

13 13 Brands, Organizations Criticize ‘Fashion Transparency Index’ A report that called out leading luxury and fast-fashion brands for a lack of visibility in their supply chains has been roundly criticized by the companies themselves as well as other nongovernmental organizations involved with workers’ rights and supply chain issues. The study by the London-based group called Fashion Revolution and Ethical Consumer, which is a nonprofit magazine and Web site, created a Fashion Transparency Index that ranked more than 40 global retail companies based on their level of transparency and support of workers’ rights. Based on its own rankings, the group criticized luxury brands including Chanel, Hermès, Prada and Louis Vuitton for what it claimed was a lack of transparency, while praising Levi Strauss, Inditex, Nike, H&M and Adidas. The group’s critical study was reported online by Vice and also picked up by Vogue.com. But the index was based on methodology that immediately stirred criticism. WWD contacted a series of industry organizations that work on sustainability initiatives but they declined to comment. A spokesperson from one of the organizations said “it is really hard to comment on research that is so poorly executed and tells us nothing.” The group said in the report that it received 10 questionnaires from brands and retailers out of a total of 40 that were sent to companies. While 10 of the companies received scores based on their replies to the questionnaires and other publicly available information, the other 30 companies were scored based solely on publicly available information on Web sites and in annual reports, from which the group’s researchers drew their own conclusions. “For the companies that did not reply, it is impossible for our researchers to know anything beyond what they are communicating publicly online,” the report said. “Therefore these companies may have received lower scores while companies who did fill out the questionnaire had the opportunity to tell us more and thus potentially score higher,” the report said. The group said companies could have their scores “updated” if new information is made available to its “research team.” In a statement, a Chanel spokesman questioned the report, stating that it only highlights how well companies communicate their sustainability initiatives. “This index in no way measures actions regarding social, societal and environmental responsibility, but only evaluates the communication policies of brands relative to these topics. Like three-quarters of the companies questioned, if Chanel chose not to answer the questionnaire, it is because the reality of our actions seems more important to us than any related media coverage. Chanel’s ready-to-wear products are manufactured exclusively in France, Italy and Scotland; this proximity allows us to be extremely familiar with our partners, most of whom have been working with us for many years. Furthermore, we perform regular audits of our subcontractors’ social, societal and environmental responsibility policies and actions. Chanel is extremely vigilant with regard to all ethical, social, societal and environmental issues in all of its fields of activity, even though this is not part of our communication strategy,” a company spokesman told WWD. A Fendi spokesperson said, “Fendi is committed to promoting responsible relations with its partners, suppliers and subcontractors. It monitors, audits and evaluates its suppliers and constantly aims at improving situations that are suboptimal. Fendi shares common tools and organize training courses for suppliers in Asia, the U. S. and Europe. We are compliant with the Suppliers Code of Conduct of LVMH and all its Maisons, available on The Group Web site as are the details of the relations with third parties [notably on pages 84-86 of the 2016 Document de reference].” Fashion Revolution is a nonprofit organization based in the U. K. and was founded by Carry Somers and Orsola de Castro following the 2013 collapse of the Rana Plaza. Before launching the organization, Somers operated her own sustainable label Pachacuti, as did de Castro who began upcycling in 1997 with her label From Somewhere. De Castro had also launched Esthetica under the British Fashion Council in 2006 which aimed to promote designers who worked sustainably. Fashion Revolution said it selected brands with an annual turnover of more than 400 million pounds, or $575 million, at current exchange, as “those brands have the most to lose through lack of transparency, and the most to gain through better practice,” according to a Fashion Revolution spokeswoman. The group said it took more than a year to put together the research. According to the organization, the survey revealed an absence in long-term thinking in brands’ sustainability strategies, with only 40 percent of the companies surveyed having a system in place to monitor labor standards. According to the group, the survey takes a “bold brushstroke approach” to illustrate how much brands reveal about their supply chains. Some of the criteria used as part of the assessment include the standards and goals a company sets for the protection of workers, its engagements with NGOs or unions, and the ways a company checks its supply chains for compliance with international standards and local laws. “The public do not have enough information about where and how their clothes are made. Shoppers have the right to know that their money is not supporting exploitation, human rights abuses and environment destruction,” Somers said. Fashion Revolution said it plans to continue publishing the Fashion Transparency Index and will be including up to 100 brands as part of next year’s ranking. As part of Fashion Revolution Week last week to mark the three-year anniversary of the Rana Plaza factory collapse, the British MP Mary Creagh hosted a talk at the Houses of Parliament in London to discuss garment workers’ rights. Speakers at the event included Livia Firth , the creative director of Eco-Age; Roberto Ridolfi, director of the European commission for sustainable growth and development; Jenny Holdcroft, policy director at global union IndustriALL; Mike Cain, shadow minister for international development, and Allanna McAspurn, chief executive officer of the nonprofit organization Made By. The discussion quickly turned to the Brexit referendum, which will take place on June 23, and how Britian’s role in the EU impacts its support of workers’ rights. “I believe we should remain in the European Union because it’s a world leader in advancing worker’s rights and protections. We heard last year that the EU has worked closely with the government of Bangladesh to change employment laws and improve factory standards and inspections after the Rana Plaza tragedy. It is vital for the U. K. fashion industry to understand how we can achieve change and improve the lives of garment workers around the globe,” Creagh said. Firth shared a similar view. “United we are stronger, the matter is as simple as that for me,” she said, adding that garment workers’ rights would only be reinforced with robust legislation. “Otherwise it’s difficult for brands to start talking about human rights,” Firth said. “Countries need to start speaking to each other and set transnational wages. In Bangladesh at the moment this is impossible because the factories are not communicating, they are being put against each other by the brands.” The panel commended Hennes & Mauritz for its sustainability initiatives and for being transparent regarding issues such as workers’ rights. Last week, H&M announced its aim to become 100 percent circular and only use ethically sourced materials by 2020. Firth added that a change in consumer attitudes is also essential. “Fashion is a feminist issue, as women of the West, why do we shop with this bulimia to constantly get something new and make a disservice to women on the other side of the world? Why do we want to wear the unhappy stories of other women?” 2016-04-22 23:01 Luisa Zargani

14 ‘American Psycho: The Musical’ Makes Its Broadway Debut Mr Porter has partnered with “American Psycho: The Musical,” which debuted Thursday on Broadway at the Gerald Schoenfeld Theatre. Guests attending the opening night included Christian Slater, Calvin Klein, Tituss Burgess and Molly Ringwald. Benjamin Walker, who plays Patrick Bateman, was also in attendance and wore a suit from Mr Porter ’s Kingsman collection , a bespoke line inspired by Arianne Phillips’ costume design for the film “Kingsman: The Secret Service.” “We like to partner with projects that are clever, entertaining and will appeal to our customers. This one just happens to be a musical,” said Jeremy Langmead, Mr Porter’s brand and content director, who added that the Kingsman line is one of Mr Porter’s top 10 selling brands. The wardrobe partnership coincides with a content collaboration that includes themed editorials on its newly launched section, The Daily , and an exclusive editorial featuring Walker that will appear in Mr Porter’s weekly online magazine, The Journal, on May 12. The retailer also supported the world premiere of this play in 2013 when it debuted in London. In the play Walker wears bespoke suits and other cast members wear vintage designer styles that stay true to the Eighties aesthetic, but Katrina Lindsay, the play’s costume designer, incorporated shoes, ties and accessories from Mr Porter’s offering. “Bateman and his social circle, at work and play, are obsessed with the surface value and status of everything around them. It is an obsession which highlights the void that enables Bateman to kill and enhances the dark humour within the piece,” said Lindsay. “To create a real sense of this and the period it felt important to be able to place within the costume world key pieces that are true to everything Bateman is focused on.” In terms of what Bateman would wear today, Langmead said it wouldn’t be too far off from his uniform in the Eighties. “Patrick Bateman is a creature of habit, so he would probably still stick to the brands he was fond of in the Eighties including Ralph Lauren and Valentino,” Langmead told WWD. “Bateman and his ilk viewed their clothes as uniforms and battled dress and perhaps the trend for bomber jackets, sweats and sneakers would be seen as a modern-day version of that — for off duty at least.” 2016-04-22 22:51 Aria Hughes

15 Review: Sony World Photography Awards 2016 at Somerset House Related Venues Somerset House From migrants to meat landscapes to everything in between, the 2016 Sony World Photography Awards exhibition returns to London’s Somerset House. As with any exhibition of this nature, annual events accepting submissions from across the world, the subjects or themes people choose to photograph tell us a lot about what preoccupied these photographers particularly and us as a world more generally in the last twelve months. 2016-04-22 22:50 Samuel Spencer

16 Bjarke Ingels Named One of TIME Magazine's 100 Most Influential Rising Danish architect Bjarke Ingels, of architecture studio BIG, has been listed as one of TIME Magazine's 100 Most Influential People of 2016 today. Ingels joined the list of select world leaders, artists, sportspeople, and celebrities, that also includes Bernie Sanders, Caitlyn Jenner, Yayoi Kusama, and Adele. “Bjarke is the first major architect who disconnected the profession completely from angst,” writes Rem Koolhaas, Ingels's former boss at OMA. In an introduction to the (no longer that) young architect, Koolhaas compares Ingels' visionary thinking, and proactive entrepreneurialism to the thinkers of Silicon Valley, but not to any other architect in history. “On the contrary,” says Koolhaas, “he is the embodiment of a fully fledged new typology, which responds perfectly to the current zeitgeist.” Ingels worked for Rem Koolhaas at the Office for Metropolitan Architecture (OMA) in Rotterdam from 1998 to 2001, before founding PLOT with Belgian architect (and OMA colleague) Julien de Smedt. In 2006, the two parted ways, and Ingels went on to form the massively successful Bjarke Ingels Group (BIG), which has since grown to more than 300 employees. The recognition from TIME complements what has already been an impressive list of achievements for a year that has barely started. In 2016, BIG has been invited to design the 16 th annual Serpentine Gallery Pavilion in 2016 , and has proposed an unorthodox building compared to “an unzipped wall”, and has just about completed VIA , a giant residential tetrahedron that is its first building in New York. The firm has also announced the completion the Honeycomb building in the Bahamas, and been commissioned to design the new stadium for the Washington Redskins. The TIME 100 List is not known for regularly honoring architects: in 2015 and 2014, none were included in the list. In 2013, the list included Chinese architect and Pritzker Prize winner Wang Shu. There are no hard and fast criteria for the selection of the 100 most influential people in the year. In the words of Nancy Gibbs of Time Magazine: “One way or another, each embody a breakthrough: they broke the rules, broke the record, broke the silence, broke the boundaries to reveal what we're capable of.” 2016-04-22 22:29 Jana Perkovic

17 Fashion Designers, Brands Appear in ‘Slowing Down Fast Fashion’ British Documentary More Articles By “Cheap doesn’t always mean good value in whatever you’re buying. As a food producer, I have to understand the entire process from soil to Sainsbury’s. I love fashion, too. I wanted to make this film because I think the better we understand where our clothes come from, how they are made, what they are made from and where they end up when we’ve finished with them, the savvier we can be on the high street,” he told WWD at the screening of his film, “Slowing Down Fast Fashion,” in London. The 60-minute film will make its global premiere at the Berlin Fashion Film Festival in early June and will launch to consumers later this year to tie in with Wool Week. In the film, James, the bassist for Blur who also has a cheese-making business on his family’s farm in the Cotswolds, in southwestern England, is on a mission to learn about fast fashion, which began in the Nineties when high-street stores began copying trends from the runways, and the possibilities offered by sustainable fashion. He interviews the reformed shopaholic Elizabeth Klein, and together they visit various shops looking at labels. They point to the materials the clothing is made from; the various countries it comes from, and the low price points, and address low wages earned by garment workers. “We’ve been trained to think that to pay more is a rip off, when really the only reason that they are able to sell for this little amount of money is because they sell so much of it and the garment workers are paid so little,” Klein says. James compared fast fashion to food. “So when you buy a top for the same price as a burger and you think you’ve got yourself a bargain, ask yourself, how can it be so cheap?” he says in the film. He also raises the issue of retailers looking for faster and more cost-effective ways to produce clothing as they incorporate cheaper fabrics and labor into their products. James also interviews various shoppers in the film, asking them if they knew where their clothing was manufactured or what the materials were made of. A majority claim they don’t know or they are not sure. He speaks with Pamela Nell, a psychology expert who sees retail therapy as “an instant fix, like a drug, and it will work for a little while and then it will stop working, and then we have to go buy something again to get that quick fix.” He takes the issue to various brands, including Primark, which declined to participate in the film. James said he feels that if similar companies such as theirs would take a responsible approach to materials, it just might make a difference. James also performs an experiment with two sweaters, one made from wool, the other made from acrylic. He sets fire to both and only manages to burn a hole in the wool sweater, while the acrylic garment bursts into flames because it’s made from oil-based plastic materials that are not biodegradable. James talks about natural fibers versus man-made fibers, and notes that while cotton is a natural fiber, it still takes more than ten thousand liters of water to make a pair of jeans. In terms of the areas where cotton is grown, water is an important resource that can cause strain in a region if large quantities are used. He also touts wool as an ideal material for clothing as it is bio- degradable and speaks about NASA’s astronaut’s uniforms, which are made with wool and don’t smell even after months in space. The documentary features footage of Prince Charles, a patron of the Campaign for Wool, taking part in a biodegradable wool test in 2004. He buried two sweaters in a flowerbed at his London home, Clarence House. One was made of wool while the other was of synthetic fibers. In the film, James unearths the sweaters and sees that the wool has naturally decomposed, while the other synthetic sweater remains intact. In the documentary, James also talks with fashion industry figures including Vivienne Westwood , Christopher Raeburn , British Fashion Council chief executive officer Caroline Rush , Condé Nast International president Nicholas Coleridge and executives from Marks & Spencer , Topman and John Lewis . “We contacted H&M and Zara but sadly they never replied,” a spokesman from Chief productions, which made the film, told WWD after the screening. “We tried multiple times to get in contact but we couldn’t either get through to the right person or an email wasn’t replied to. To Primark’s credit at least they replied and declined to take part. “Our hope for the film is to get as many people as possible to think about what they are wearing,” the spokesman added. “Not just if it looks good but what it’s made of, what is its life span, and is it environmentally worth it. We’d like people to open their eyes to what they are wearing. They might think it’s a natural fiber, but they should assume it’s not. This will hopefully make people think about investment dressing and buying quality whatever its age.” Raeburn, who attended the screening, said he was “very impressed, actually, that someone of the caliber of Alex had just taken the initiative. He has brought a different perspective to something that is clearly very important. With his background as well, it makes it so much more relevant, for so many people. I think it’s important to realize the role that you have in this type of conversation is to be honest,” said Raeburn of working on the film. He added that he is moving from his Poplar and Limehouse studio to Hackney Central. “We’re moving to the old Burberry textile factory,” he said. “It’s a purpose-built, architect design space, but it obviously has real soul to it. And actually the focus for the entire company is very much seen in this film. It’s about being less, but better, and really working a lot more with key partners as well to bring as much sustainability and design merits to what we do. That is our everyday practice.” The Campaign for Wool and Fashion Revolution, a nonprofit organization founded after the Rana Plaza disaster that wants companies to be more transparent about their sourcing, were both named as supporters of the film. 2016-04-22 22:28 Lorelei Marfil

18 With Broadway Stars, ‘An American in Paris’ Will Play London Next Year “An American in Paris,” the Tony Award-winning Broadway musical, will open in London next year, starring Robert Fairchild and Leanne Cope, who originated the lead roles on Broadway. Inspired by the 1951 Vincente Minnelli film, in which Gene Kelly and Leslie Caron danced to the music of George and Ira Gershwin, the musical adaptation of “An American in Paris,” began life in Paris in December 2014 and opened on Broadway to rave reviews last march. The show subsequently received 12 Tony nominations and won four awards, with Christopher Wheeldon, who also directed, taking the best choreography award. It also won for best scenic design, lighting design and orchestration. “Gershwin, Broadway, dance: They are all things that do very well in London, where there are fantastic dance and theater audiences,” the British-born Mr. Wheeldon said in a telephone interview from Stockholm, where he was staging his full-length ballet “Alice in Wonderland.” Mr. Fairchild, a principal with New York City Ballet, left the Broadway production in March. Ms. Cope, a former Royal Ballet dancer, remains in the show. The London production will open at the Dominion Theater, in the West End, in March 2017. 2016-04-22 22:18 By

19 Young Royals Host Dinner at Kensington Palace for the Obamas More Articles By The President and First Lady were greeted by Prince George , who was dressed in a white robe, pajamas and slippers. The duchess played with Prince George on the rocking horse gifted by the President and First Lady. She donned a pink and blue printed L. K. Bennett dress with Rupert Sanderson shoes while the First Lady wore an ensemble of a camel coat with a beige blouse, lace skirt and Jimmy Choo shoes. Earlier in the day, the President joined British Prime minister David Cameron for a press conference. He stated his appeal for the U. K. to remain in the European Union. The Obamas met with Queen Elizabeth and Prince Philip for lunch to celebrate her 90th birthday at Windsor Castle. RELATED STORY: Michelle Obama Wears Oscar de la Renta in London >> Their visit to the U. K. is part of a tour, which includes Saudi Arabia and Germany. During the First Lady’s last visit to the U. K., she traveled with daughters Sasha and Malia and mother Marian Robinson last June for a weeklong tour of Britain and Italy to support her Let Girls Learn initiative. During her two-day stay, she promoted her campaigns for girls’ education, where she spoke at a roundtable discussion and unveiled a new partnership between the United States and the United Kingdom to improve education for adolescent girls, as part of her Let Girls Learn initiative. 2016-04-22 22:01 Lorelei Marfil

20 PS• + secondome curate ‘ladies & gentlemen’ exhibition hosted within historic milanese house each year during milan design week, historic palazzos, private homes and forgotten spaces are re-opened as venues for hosting special contemporary design events. this year, in co-production with the 5vie art + design district, consultancy agency PS• and secondome design gallery curated ‘ladies & gentlemen’ — an exhibition that took over a historic milanese house at via cesare correnti, 14 presenting designs that in someway expressed an interaction between the past and present. drawing on the past as a starting point for the future, the pieces on show in someway drew on artisanal techniques and stylistic genres of old as a source of influence; in which the memory of bygone crafts and processes were re-interpreted into contemporary objects and products. among the participants were: botteganove, .exnovo, federica elmo, francesco meda, henzel studio, hervet manufacturier, mario milana, mingardo, restartmilano, samer alameen, secondome, servomuto & .to.do, studiopepe, tommaso fantoni and valentina cameranesi sgroi. installation view of benches and stools by giorgia zanellato and coralla maiuri for secondome design gallery among exhibition’s protagonists is .exnovo — a brand leader in the realization of decorative lighting using 3D printing technologies. ‘ladies & gentlemen’ presented the latest creation signed by the american designer david nosanchuk. the ‘big louie’ pendant lamp is a celebration of innovation, design and architectural history. the heterogeneous and intriguing set of lines and points resumes, in fact, the detail of a new york building designed by louis sullivan, one of the fathers of modern american architecture. starting from the 3D scan of the building, the nosanchuk wanted to explore the idea of capturing an artifact of three- dimensional design – the capital of the bayard-condict building – and transform it, with the support of .exnovo team, into an enlightened form. giorgia zanellato and coralla maiuri‘s ‘awaiting’ project for secondome design gallery speaks to the feeling of anticipation and excitement that precedes an encounter, and is deeply linked to the purpose of the objects: benches, a vanity table and a séparé. the collaboration started as a game. the artist, coralla maiuri, provoked by pictures of her porcelain pieces, designs a collection of bold colored velvet cloth. her will to shape them into something equally bold yet refined, brought her to designer giorgia zanellato. ‘awaiting’ is a feminine and sensual collection of furniture pieces realized in golden brass and velvet that mix the classic and contemporary. HERVET MANUFACTURIER employs french cabinet-making techniques to create futuristic furniture pieces read more about hervet manufacturier on designboom here passionate about quality and design, HERVET MANUFACTURIER’s designs are influenced by the boldness and geometry of modern architecture. but, unlike most modern furniture, the company uses only age old techniques and traditions of making hand-crafted luxury furniture. all pieces are made locally in france in small quantities, using only quality woods, metals, glass and leather from around the world, ensuring the highest standards for each and every object made. the result is a collection that mixes traditional techniques with new materials and modern design. the contemporary designs visually and physically interacted within the venue of the historic milanese house the ornate wallpaper of the milanese residence is contrasted by the strict lines of restartmilano’s ‘frames’ ‘frames’ is a new product family designed by maurizio navone for restartmilano. based on a modular system, it explores multiple compositional possibilities and is, therefore, open to numerous functions. by using two construction elements from olivetti’s exhibition design project in the 1980s — a die-cast joint and metal tube structural grid — ‘frames’ unfolds in a series of three-dimensional cages that, are given specific functions, through different types of levels, storage, and accessories. the different components keep their own characteristics but, at the same time, give life to an original form of exchange. this solution enhances both the formal solidity and lightness of the system, as in the rationalist architecture of asnago and vender, some intuitions of which are indirectly evoked. the manner of construction, the versatility of the connections, and the simplicity of the plugs allow ‘frames’ to develop across a wealth of types and dimensions in true freedom. restartmilano’s ‘verticale’ shelves bring a sense of visual order to the decorative interior of the exhibition venue installation view of mingardo’s designer | faber collection of finely crafted designer limited editions in metal mingardo presented the fourth edition of their designer | faber collection: finely-crafted designer limited editions in metal. under the artistic direction of aldo parisotto, the 2016 collection combines furniture items and accessories that express a contemporary aesthetic of clean lines and a graphic presence, drawing their shared influences from the material used. metals (natural or burnished iron, steel, brass and copper) are treated with different finishes, often featuring refined contrasts between gloss and matte finishes. the collection includes: ‘sfoglia’ and ‘piega’ wall lamps by parisotto+formenton architetti; the ‘maxi-dominoes’ which play on combinations of various metals in different finishes created by antigone acconci + riccardo bastiani; the original ‘fabbrica’ stool and bench in black iron with brass details by omri revesz and damian tatangelo; ‘shapes’ mirrors in copper by leonidas trampoukis + eleni petaloti of studio objects of common interest; ‘satin’ collection of small tables and trays, designed by chiara andreatti as an homage to bauhaus design; the unusual, multifunctional jointed piece ‘asse zeta’ by marco zito; and the ironic ‘rollingin’ bar trolley and ‘tensé’ shelving system by gio tirotto, which can be reconfigured in a myriad different ways. more rigorous designs stand alongside items with a dose of irony, but all share the same contemporary research for signs and meanings to be expressed through the language of metal. the artistic boiserie of botteganove’s tiles seem at home with their shimmering lustres and elegant textures botteganove celebrates the craftsmanship of ceramic and porcelain mosaics through traditional manufacturing methods, rethought in a contemporary way; as seen in the ‘plumage’ collection designed in collaboration with the new art director cristina celestino. the production of ceramics, whose fatherland has been nove since 1700, is the basis from which founder christian pegoraro started his work. the company specializes in the production of one of the greatest italian excellences,ceramic and porcelain mosaics, in which pegoraro has developed a dynamic approach to the traditional design procedures for today’s market. the ceramic mosaic is the evolution of the craftsmanship traditionally applied to artistic pottery products. mario milana’s ‘giotto’ collection and ‘bis’ chair furnish one of the rooms mario milana presents the ‘giotto / zero’ collection composed of two pieces: ‘roto’ – a rotation room divider composed by three circular elements, that overlaps and unfolds by rolling the screens, creating a dynamic play between transparencies and materials; and ‘giro’ – a table that functions on a rotating disk system, offering a convivial experience to share and serve food. tommaso fantoni’s geometric ‘colourscapes’ add a new dimensions to the striped walls of one of the salons acting as a backdrop to maria milana’s furniture is architect and designer tommaso fantoni’s ‘colourscapes’ — an installation made up of small acrylic paintings on canvas. the artworks see interacting geometric shapes reduced to simple lines, packed with areas of bright colours. often deliberately juxtaposed with the ordinary, the result is an exploration of the world of pure colour, structured in countless variations and applied to an equally natural and artificial vision of the landscape. servomuto and. TO. DO’s display of lighting and furniture pieces servomuto and davide loddo from studio. TO. DO designed a special display presenting four new servomuto designs, together with a careful selection of unique pieces from the fifties selected by. TO. DO. the vintage furniture and the new lighting were held together by several common threads: the exploration of textiles, graphics and forms taken from the bauhaus and transferred to an exotic climate. in addition, servomuto and. TO. DO offered a preview of their ‘anarchic coverings’ made up of special pieces selected by. TO. DO, and covered by graphics made with poplin origami conceived by servomuto. detail of servomuto’s ‘meringa’ lamps that come in five different colour combinations calle henzel + henzel studio’s ‘collaborations / heritage’ showcased art rugs designed in close collaboration with some of the most prominent and influential figures in the art world including: leo gabin, helmut lang, marilyn minter, richard prince, anselm reyle and tom of finland foundation. all henzel studio rugs are bespoke and made by hand in nepal, using centuries old artisanal weaving techniques that make each rug unique and one of a kind. henzel studio uses the most luxurious wool and silk available, and is certified by goodweave, the most respected organization monitoring labor conditions and related social standards. view of ‘ladies & gentlemen’ exhibition curated by PS• + secondome francesco meda’s ‘foursplit’ table and ‘bridge steel’ light (available for purchase on the designboom shop) francesco meda’s ‘foursplit’ table is made up of four cipollino rosso luana slabs of marble from the apuan alps, joined to each other by a brass plaque which creates a geometric composition across its top. the 18 mm thick slab is resin-coated on its lower part to ensure a greater use of the veins of the marble. the metal legs are made by laser-cutting, and an 8 mm thick sheet which is joined by spacers ensures overall structural stability to the table. the aesthetic of the legs is deliberately lightweight and rational to enhance the slab of marble which is the dominant material in the design. the feature of this prized marble is its red and green colour and its tones of grey, up to black. studio pepe’s ‘out of the blue’ installation is based on relationship between form, color and light studio pepe’s ‘out of the blue’ exhibition is based on research exploring the relationship between form, color and light. the collection of ceramic sculptures investigates the correspondence between sunlight and form, through the photographic process of cyanotype (‘cyan’ is derived from the ancient greek κύανoς (‘kyanos’), meaning ‘dark blue’). the blue color in all its shades is the result of this match, and tells the story of the object itself, the time of exposure to sunlight after being brushed with the cyanotype mixture; and the conditions of the light in a certain time frame. ‘out of the blue’ is an idiom of the english language that describes an event that happens unexpectedly. the blue refers to the sky, where something unexpected is suddenly revealed. literally ‘out of the blue’ or ‘derived from the blue’, as if the blue color in this research took on a physical form. studio pepe’s aim was to investigate the possible effects of this formal incarnation with a collection of limited edition pieces (bisque ceramic). the ‘out of the blue’ ceramic sculptures investigate the correspondence between sunlight and for valentina cameranesi sgroi’s ‘superficie’, ‘le teste’, ‘tundra’ and ‘marie’ sculptural vases and jugs valentina cameranesi sgroi’s ‘superficie’, ‘le teste’, ‘tundra’ e ‘marie’ sculptural vases, jugs and a table present spring from a decorative perspective. ‘superficie’ is a round table that has a circular top, with a base whose decoration is intrinsical to the object’s shape and surface. disjointed like a series of graphic volumes and planes, it becomes a territory to explore through the use of two laminated colours — a contemporary hyper-decorative system which contrasts with the top’s almost anonymous simplicity. ‘le teste’ are two hand-thrown and decorated vase-sculptures influenced by female coiffures depicted in 15th-century paintings. like unfinished hairstyles, they display a soft ornamentation that contrasts with the material used, including cords hand-plaited by the french artist manon beuchot. like heads with uncompleted plaits, the two vases are glazed in neutral shades that reference dry grasses. ‘tunda’ and ‘maria’ are a revisitation of the traditional sardinian bride’s jug made of hand-thrown pottery. developed in collaboration with with sardinian artisan walter usai for the pretziada project, they stand (at two different heights) like two sisters. they express classic elements of sardinian pottery’s artisan decoration, but disassembled and reinterpreted, in which bold shapes contrast with classic, sensuous lines. they are finished using a hand-applied glaze. 2016-04-22 20:30 Andrea Chin

21 Axel Vervoordt Rediscovers Yuko Nasaka at Art Brussels Related Events Art Brussels 2016 Venues Tour & Taxis Axel Vervoordt Gallery Art Brussels Belgian gallery Axel Vervoordt is bringing the work of Japanese sculptor Yuko Nasaka to the nation’s capital this spring, its contribution to the new Rediscovery section of Art Brussels. Rediscovery seeks to draw attention to the work of artists the Art Brussels organizers have identified as “under recognized, underestimated, or forgotten.” The exhibition will feature works created between 1917 and 1989, from artists both living and deceased. On its website, Art Brussels states that the show will serve to “excavate and highlight surprising, unknown, and original practices that have not yet broken into the art historical mainstream.” One of the artists benefitting from this approach is Nasaka (born 1938), one of the few female members of the radical postwar artist collective known as the Gutai group. Nasaka is best known for her modular relief sculptures in wood and resin. To create these works, the artist spins resin cement on a potter’s wheel, yielding circular forms that then harden onto a wood base. Nasaka paints the hardened resin circles, frequently in bright colors. She often arranges a set of these modular pieces, yielding larger works that repeat the circle-on- square motif. Axel Vervoordt has described Nasaka’s sculptures as a window into “man’s incessant reach for the stars and his place in the unfathomable expanse of the cosmos.” Whitestone Gallery, which hosted Nasaka’s most recent solo show, in 2014, said that her work conjures up “a feeling of infinite space.” 2016-04-22 20:19 Samuel Spencer

22 Romania Expelled From Eurovision Song Contest Romania is having a bad arts week. Not long after a brouhaha over the resignation, then the reinstatement, of the international ballet stars Johan Kobborg and Alina Cojocaru, at the Bucharest national ballet company, the Eurovision song contest announced on Friday that Romania had been expelled from the annual competition for failure to pay outstanding debts dating back to 2007. The European Broadcasting Union , the umbrella organization of public service broadcasters that runs the competition, said in a statement that Romania owes 16 million Swiss francs (about $16.3 million), and had called on Televiziunea Romana, the country’s public broadcaster, to settle the debt by April 20. “It is regrettable that we are forced to take this action,” Ingrid Deltenre, the director of the European Broadcasting Union, said in a statement. “We are disappointed that all our attempts to resolve this matter have received no response from the Romanian government.” Romania has taken part since 1994 in the annual competition, and has reached the finals each year since 2004, although the country has never won the televised contest, which attracts as many as 200 million viewers. This year’s entrant, Ovidiu Anton, was selected to perform the presciently titled “Moment of Silence” at this year’s contest, which begins May 10 in Stockholm. Mr. Anton wrote on his website: “I am still the same, same honest artist, same fighter that won fair and square both from the jury and from the public’s vote, but yet, I have to declare I have been ‘defeated.’ By whom? Why? Fair? I don’t know how to put it nicely, so I abstain.” The song is on the official CD for this year’s competition and the European Broadcasting Union said it would keep the digital download available as a courtesy to the artist. “We will have to see for 2017 and onwards, how this situation develops,” Jon Ola Sand, the executive supervisor of the contest, said. 2016-04-22 19:28 By

23 My Brain Hurts, Novelty Song, Calypso, and Captain America: This Week in Comics #14 Image selection from Tales of Suspense #58. Illustrated by Don Heck. Originally printed in 1964, reprinted in this week’s Captain America: Road to War #1. Photo courtesy of Marvel Comics. Screencap via the author. This week Captain America: Road to War #1 features a reprinting of the classic Marvel comic Tales of Suspense #58. The comic, written by Stan Lee and illustrated by Don Heck, was originally published back in October 1964. While it’s wonderful to see this classic comic (which pits Iron Man against Captain America in a fun and twisty slug-fest), it’s strange that they chose to publish it in the back of this brand new Cap comic. Sure, they’re pitching a “Captain vs. Iron” storyline to lead into Captain America: Civil War , but as mentioned in detail below, this week’s new Captain America comic is very weak, and the 52-year-old comic used to pad out its length only serves to illustrate the point. It’s easy to think of “older” comics as being cotton-candy, goody-two-shoes, and without modern drama, but sometimes those comics shine because they actually told stories—a concept many modern comics, while in the throes of major arcs, often forget. Also featured this week: a comic about the hardships of growing up LGBT, a comic about music thieves, and a comic about a WWII soldier trapped in an idyllic farmhouse. Cover for My Brain Hurts Vol. 2. Illustrated by Liz Baillie. Photo courtesy of Microcosm Publishing. Created by Liz Baillie. Originally published back in 2009, My Brain Hurts Vol. 2 is now available as a digital comic on Comixology. The story, which sprawls to tell the story of several young, LGBT New York teenagers, is deeply impactful and heart-wrenching. Because of the realistic troubles these young characters face there are trigger warnings in this comic, especially for people who’ve dealt with abuse via homophobia. But Liz Baillie is an eternal optimist, and this comic serves simultaneously as a love letter and a middle finger to the hard times of growing up gay around 2001 in NYC. With over 100 pages of content, including “Where Are They Now” character roundups, My Brain Hurts Vol. 2 is an amazing deal, and a powerful work of art. Cover for Novelty Song #3. Illustrated by Brian Daly. Photo courtesy of Bee Tee Dee Comics. Created by Brian Daly. Novelty Song has a hell of a premise. If you take a song that’s already been written, and throw it into the knothole of a tree, that song will magically become yours… you’ll own it forever. That’s the jumping off point of this wild comic, which follows the band Jenny Jump as they try to make it big with a ton of stolen music. But a tree cult that’s poked out their eardrums gets involved, and people realize they can steal any concept by putting it into a tree knothole, and then things just get… weird. Novelty Song is a fast, high-flying, well-illustrated indie that will appeal to garageband impresarios and plagiarists. Cover for Omega Comics Presents: Calypso. Illustrated by Marvin Mann. Photo courtesy of Pop! Goes the Icon. Written by Russell Lissau, illustrated and lettered by Marvin Mann. Calypso tells the story of an injured US soldier during WWII who’s brought into a French cottage and nursed to health by a woman named Calypso. While there, he puts off returning to the war, and finds that all is not as it seems in his idyllic sanctuary. While the story is a bit basic, and even wades into a sort of “woman as evil witch” territory that makes this reviewer uncomfortable, Marvin Mann’s illustrations are worth bringing to attention here. Lazy and hazy, he depicts in this short tale a sort of idealized country home that makes one want to settle down and raise chickens. An interesting read, but maybe too socially old-fashioned for the discerning reader. Related: #13 #12 #11 #10 #9 #8 #7 #6 #5 #4 #3 #2 #1 2016-04-22 19:15 Giaco Furino

24 The Biggest Joint in the World | Insta of the Week There's a secret war constantly raging between the social media-savvy weed artisans of the world: the competition to make the world's largest joint. Yearly group efforts at bud-fueled baccanals like Hempfest and ragers at Oregon's Hippie Hill yield monstrous two- or three-pound behemoths that the crowd tries to suck down their lungs before the cops come and confiscate it. Blunt sculptor Tony Greenhand circumnavigated this sad situation by hosting his latest shot at the record—a whopping 4.2lb watermelon-shaped work of art—at a private party. We profiled Greenhand on Wednesday, delving into the process that allows him to create blunts shaped like Spider Man, AK-47s, and the Seattle Space Needle. Below, watch the work that went into rolling, stuffing, and smoking the largest joint in the world. Check out more of Greenhand's outrageous joints and blunts here: Check out more of Tony Greenhand's work on Instagram. Visit The Creators Project Instagram for more out-there art. Related: Artist Rolls $1,100 Joints and a Massive, Smokeable Watermelon Spend Your 4/20 at This Custom Glass Art Show Blow Your Mind with Psychedelia | GIF Six-Pack Minimalist Contemporary Stonerware Elevates an Aesthetic 2016-04-22 19:00 Beckett Mufson

25 Davidoff Art Initiative Names Natalia Ortega Gamez for FLORA Residency Dominican artist Natalia Ortega Gamez has been announced as the first artist selected for the Davidoff Art Initiative ’s (DAI) new residency program at FLORA ars+natura in Bogotá, Colombia. The Escuela FLORA Residency in Bogotá is the Davidoff Art Initiative’s fifth international residency and will take place annually at FLORA ars+natura. Natalia Ortega Gamez explores notions of duality and juxtaposition by creating what could be considered “impossible objects.” She uses artisanal processes and materials, emulating natural processes by means of craftwork. During her residency from June 1 to August 31, 2016, Ortega Gamez will expand upon her current project, “Los Tejedores,” which is described as “an investigation into traditional weaving patterns in both the Dominican Republic and Haiti.” “Working with diverse techniques has allowed my pieces to seemingly come to life as they coexist within nature,” says Ortega Gamez. “I want to create objects inspired in nature, objects that resonate with it, but that at the same time express my personal and cultural experience as a Dominican artist. I look forward to the opportunity to build upon this work during my time in Bogotá.” 2016-04-22 18:50 Nicholas Forrest

26 26 Artists Pay Tribute to Prince’s Life and Legacy GIF by Brooklyn-based illustrator Jennifer Van Meter, via jennifervanmeter.tumblr.com Following the news that pop icon Prince has passed away, the tributes have started flooding in. Google US paid their respects via a Purple Rain-themed logo ; and next week's New Yorker will honor the singer with a special edition cover created by illustrator Bob Staake. Artists around the world are also commemorating Prince's life and legacy by uploading some pretty incredible artwork on Tumblr and Instagram. Here are some of our favorites so far. Comic artist/illustrator/printmaker Fiona Avocado has already created a whole zine in homage to Prince, via fionavocado.tumblr.com Brooklyn illustrator and animator Traceloops transforms his iconic masks into Prince's iconic symbol, via traceloops.tumblr.com We love this pop art-inspired Prince piece by 23-year-old illustrator James White, via linear- thoughts.tumblr.com While they're usually dedicated to Meryl Streep, the @tasteofstreep Instagram today made a post in honor of the late, great Prince, via instagram.com/tasteofstreep A wonderful artwork by LA-based designer Robin Eisenberg, via robineisenberg.tumblr.com Kidmograph lends his space robot aesthetic to a Prince tribute called 'PVRPLE R∆IN', via kidmograph.tumblr.com This portrait by Toronto illustrator Kagan Brown was done on deadline for Friday's issue of the National Post, via kaganmcleod.tumblr.com Artist Francesco Francavilla writes on Tumblr, "The very first 2 music albums I owned as a teen were THRILLER and PURPLE RAIN. So long, Prince, we’ll miss U 4ever," via francavillarts.tumblr.com A tribute to the "I Wanna Be Your Lover" album art, via handdrawnalbumcovers.tumblr.com Digital illustration by Atlanta-based designer Cole Mitchell, via raisedcreative.tumblr.com A simple but sweet sketch by a writer from Edmonton, Alberta, via iamnickbossross.tumblr.com Celebrity cat Princess Cheeto pays her respects via a rendition of the "Purple Rain" album cover, via instagram.com/princesscheeto Related: Inside the Wes Anderson Tribute Art Show Instagram Artists Memorialize David Bowie David Bowie Writhes Through New "Lazarus" Music Video 2016-04-22 18:30 Ingrid Kesa

27 Rosita and Angela Missoni Detail the Designer Company Through the Years at 92Y Rosita Missoni has covered a lot of ground in the 63 years since she and her husband Ottavio started their namesake brand. And Thursday night, with the help of her daughter Angela, the company’s creative director, she recapped some of the company’s more memorable moments during a Q&A at 92Y with Fern Mallis. The younger Missoni described the undercurrent that runs through their lives: “Home and the factory were theism.” 2016-04-22 18:21 Rosemary Feitelberg

28 Our 11 Favorite Works from the Dallas Art Fair Rachel Lee Hovananian, Perfect Baby Showroom, 2014. Installation with wallpaper, baby dolls, extension cords, metal, acrylic, wood, neon light, foam, cotton fabric, LED lights, cereal. Dimensions variable. Courtesy of the artist and Leila Heller Gallery, New York/Dubai As electric as was this year's Art Basel Miami Beach, no doubt the biggest challenge for art lovers was intimacy. But if Basel was speed dating, the Dallas Art Fair was a several-course meal, complete with palate-cleansing digital artworks and the ever-sumptuous pigmentary soufflés that are the high-performance market-movers of Richter, Lowman, Gillick, and Meese. It was nearly a week of facetime—not facades—new and old, and the kind of impassioned, one-on-one evening art convos that really only happen with a captive audience. (Not that being put up at The Joule , which lives up to its homophone in degrees , is any kind of captivity I'm against.) It was also the inaugural year for the Dallas Art Fair Foundation Acquisition Program , a fund that promises a thunderous future for all things contemporary at the Dallas Museum of Art. As far as this list goes, it's by no means comprehensive; Oculus Rift artworks by Rachel Rossin at Zieher Smith & Horton have to be experienced in person, and Chul-Hyun Ahn's infinite mirror boxes at Grimaldis Gallery could make Michael Heizer weep. All in all, it's impossible to deny: big things are happening in the Big D. Here were some of our favorites: Rachel Lee Hovnanian, Perfect Baby Showroom, 2014. Installation with wallpaper, baby dolls, extension cords, metal, acrylic, wood, neon light, foam, cotton fabric, LED lights, cereal. Dimensions variable. Courtesy of the artist and Leila Heller Gallery, New York/Dubai Babies are weird and gross, magical little sacks of soft bones, and mostly jelly. They're some of the most beautiful, intentional things people can make, making them an awful lot like art. This is why Rachel Lee Hovnanian's array of sculpted infants, seen above, was right at home on the first floor of the Fashion Industry Gallery building, ready to be picked up ( and Instagrammed ), provided you donned a smock and some hand sanitizer. Good art makes you engage with it physically; great art makes you worry it'll barf down the back of your shirt. This was both. Takashi Murakami, Ensō: Zen, White and Black, 2015. Acrylic on canvas mounted on aluminum frame / Acrylique sur toile montée sur châssis en aluminium. 55 1/2 x 47 1/4 inches / 141 x 120 cm. © 2015 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy Galerie Perrotin Everything about this suggests an evolution of the "superflat" master's practice—not least the fact that it isn't really flat at all. You might not be able to tell it from the image above, but the entire surface, beneath the black, Zen Buddhist circle, bursts with Murakami's signature cartoon skulls. I'm hesitant to call it "you have to see it in person" art, only because if you see it in person, say goodbye to your life savings. Rinus Van De Velde, Its All About Rescheduling My Desire, 2015. Charcoal on canvas, artist frame. Courtesy the artist and Tim Van Laere Gallery, Antwerp. Thumbnail: Rinus Van De Velde, You are so dangerous, she told me, 2015. Charcoal on canvas, artist frame. 200 x 200 cm. Courtesy Tim Van Laere Gallery, Antwerp Raymond Pettibon meets Robert Longo meets Tetsuo: The Iron Man on the massive, fully covered surfaces of Van De Velde's charcoal on canvas works. Getting home to one of these would be like watching Eraserhead every night, without having to fast-forward through all the gooey bits. Elsa Zambrano, Jeff Koons, 2014. Assemblage. 31 x 45.5 x 10 cm. Courtesy of the artist and Beatriz Esguerra, Miami & Bogotá Entire worlds await in Zambrano's Imaginary Museums , shoebox-sized assemblages replete with wallet-sized masterpieces. Each one is a hermetically-sealed spectacle, meticulously crafted in a way that makes me hopeful for Rick Moranis' triumphant return in Honey, I Shrunk the Koons. Val Kilmer, Godblock (black), 2014. Acrylic paint on six wooden boxes. 72 x 12 x 12 inches. Courtesy of the artist and James Kelly Contemporary, Santa Fe One time Val Kilmer showed up at my dad's office wearing a head-to-toe chicken suit to surprise one of his friends on their birthday. He's probably the only actor in the world who could have shown the piece above, in the middle of the Dallas Art Fair, and had it looked at as contemporary art (and not just some hobby). He should have been in Highlander. Nick Lobo, Bio-foam ® Aluminum pour(Natural Ice ® version 1) 2015. Aluminum, Bio-foam ® 58 x 41 in. Courtesy the artist and Gallery Diet, Miami What I said above about "great art making you worry it'll barf down your back" also rings true in the amorphous-but-deadly-looking wall sculptures of Miami artist Nick Lobo. There's something at once familiar and uncanny in these "aluminum pour" works, something that makes me think about the alchemy intrinsic to earwax, or that gunk you scrape off the bottom of your sneakers. These are like the visual equivalent of chewing on aluminum foil; revolting but you just can't look away. David Hockney (Clockwise from left), Third Detail March 25th, 1995. Digital Inkjet Print, edition 14/45. 35 x 43.75 in (88.9 x 111.13 cm). Courtesy Robert Miller Gallery, New York. Fourth Detail March 25th, 1995. Digital Inkjet Print, edition 14/45. 35 x 43.75 in (88.9 x 111.13 cm). Courtesy Robert Miller Gallery, New York. First Detail March 25th, 1995. Digital Inkjet Print, edition 14/45. 35 x 43.75 in (88.9 x 111.13 cm). Courtesy Robert Miller Gallery, New York. Second Detail March 25th, 1995. Digital Inkjet Print, edition 14/45. 35 x 43.75 in (88.9 x 111.13 cm). Courtesy Robert Miller Gallery, New York Pure aesthetic mastery radiates out from these prints of an installation Hockey photographed back in the 90s. A little Picasso, a little Kandinsky, a little de Saint Phalle, a whole lotta' love. Faig Ahmed, Restraint, 2015 Woven rug. 150 x 200 cm / 59 x 78.75 in. Courtesy of the artist and Sapar Contemporary, New York The woven glitch textiles of the Azerbaijani artist Faig Ahmed elevate an ancient craft tradition to the internet age, but that's not just why I'm including them. Whether dripping onto the floor or bubbling out of their surfaces, they're really well-made, fine art as much as simply beautiful objects. Nabil Nahas, Untitled, 2015. Acrylic on canvas. 152 x 121 cm. Courtesy of the artist and Lawrie Shabibi, Dubai This was sort of like the blacklight-reactive VICE Magazine cover bioartists Coral Morphologic made back in 2014, but with so much surface to pore over that you could gaze at it for days and still notice increasingly fine details. Plus, they're paint, so you don't have to worry about keeping them alive with a delicate pH balance. Rebecca Ward, X (green and yellow), 2015. Oil and dye on silk, 60 x 45 in / 152.4 × 114.3 cm. Courtesy of the artist and Ronchini Gallery, London This particular fair featured far less studio-to-collector-style hybrid painting-sculptures than most, making color and shadow-based contemporary artworks like the above X (green and yellow) all the more enticing. Each piece is one-of-a-kind, the end result of a time-hardened process that fixes a feeling in physical space. If that's not something to invest in, to get to watch mature, I should probably go to business school. Jonathan Monaghan, French Second Empire, 2014. Inkjet print on Hahnemühle photo luster, Dibond. 57 x 43 in / 144.8 x 109.2 cm, framed. Edition of 3. Courtesy of the artist and bitforms gallery, New York It was a pleasure to see the wickedly ahead-of-the-game bitforms gallery in the fair's midsts, not least because of the techno-utopian, Fabergé-meets- Black Mirror amalgamations of Jonathan Monaghan. Something innately forward about these prints makes them subversive, and few who passed by the young gallery's booth could resist getting up close. If everything's bigger in Texas, I can't wait to see when they'll start building mechs. What were your favorite works at the Dallas Art Fair? Let us know on Twitter @CreatorsProject or in the comments below. Related: A Fake Art Fair Takes Aim at Contemporary Practices The Best Things We Saw at Zona Maco 2016 [Photos] Here's How NADA Keeps It Fresh 2016-04-22 17:40 Emerson Rosenthal

29 Does Having a World Record Make You an Artist? We Asked Guinness The world’s largest cheese sculpture was made by cheese sculptor Troy Landwehr and San Francisco based fast food restaurant The Melt in September 2015. Credit: Guinness World Records. Art, so often associated with inaccessibility, high brows, or market value, may be a small space that few enjoy or understand. Those "in the know" see prizes and awards like Turner, Frieze, or Bucksbaum as a way of marking these achievements, celebrating those artists who have managed to break through to a committee of people that the wider population has probably never heard of. Yet there’s another organization who holds influence in selecting the best and the brightest, or rather, the smallest to the biggest— Guinness. “We have hundreds of artwork records, covering sculptures, mosaics and paintings,” says a representative from The Guinness World Book of Records , an annual publication documenting ‘human achievements and the extremes of the natural world’. “We are constantly working to research and inspire new artistic achievements. I wouldn’t say that our records are strange but they are unique, for example, the ' largest cheese sculpture ' is of a burger.” The largest chocolate sculpture created by Namba Walk, Japan in February 2012 weighs over 589 pounds. Credit: Guinness World Records. While there’s no doubt that some pieces found in contemporary art are bizarre, at first glance, Guinness’ listed art accomplishments are equally peculiar. From the largest chocolate candy sculpture , to the largest art installation made from coat hangers , Guinness situates their 40,000-plus records over the people suggesting new ones, or from those attempting to beat already established feats. “These tend to be for artworks that are made out of everyday items, such as the largest lunchbox mosaic,” explains Guinness. “We also have researched records, which we monitor by looking at art institutions and experts to verify, like the oldest sculpture , painting, and largest displays of famous artists’ work.” Extremities seem to be the overriding theme within Guinness art, be they in size, length, or mass, but whether or not these diverse, seemingly scattered bodies of work can stand alone, outside of Guinness’ yearly print edition, makes the franchise’s definition of art a bit more complicated. “People will go to see any old nonsense if its promoted correctly and has the right 'Art Speak' to back it up,” says Garry Vanderhorne of London’s Resistance Gallery. For him, putting a Guinness Art World Record in a gallery, “depends on the art and the impetus or reach beyond the world record.” Using mackerel and nigri, the largest sushi mosaic at 41.99 m² was achieved in Japan by Young Entrepreneurs Group of The Ono Chamber Of Commerce & Industry and The Ono Chamber of Commerce & Industry in January 2015. Credit: Guinness World Records. Since its inception in 1955, Guinness has turned into a household name, noted as "the biggest selling copyright book of all time. " That sort of influence—one that gains global media attention, also reaching television screens, the internet, and a chain of museums —is a sort of channel that many artists dream of. Yet for two-time Guinness World Record holder Jonty Hurwitz , who boasts both the "smallest sculpture of human form" and the "smallest animal sculpture," the Guinness franchise was an afterthought to his artistic practice. “They’re trying to amaze and awe people, but I suppose to some extent, they look for an element of marketing value to sell their books,” says Hurwitz. “I think they contacted me because it was a world record and it would amaze people, plus it’s good photos.” 3D printed Trust by UK-based artist Jonty Hurwitz measured at 80 by 100 by 30 microns when it was inaugurated into the Guinness World Records in February 2015. Credit: Jonty Hurwitz. Hurtwitz agrees with Vanderhorne, telling The Creators Project that, “Guinness on its own isn’t enough—the art world is looking for another layer. But I suppose someone with a bit of creativity could mangle some angle that resonates with people.” That being said, some record holders don’t think they’d have obtained their achievement without Guinness, like printmaker Steven McKenzie, who in October 2013, led a team of artists to create the world’s largest monotype print . Fragile Giant, also by Hurwitz, is a tiny elephant measuring a mere 0.157mm in height. Credit: Jonty Hurwitz. “Guinness is all about the biggest, the longest, the most, whatever,” says McKenzie. “You can’t help but be attracted by that idea. In the field of arts, though, they sort of limit the category.” A narrow canvas maybe, but what Guinness does do successfully is engage a global community of artists and non-artists alike, using creative endeavors to bring people together. “A lot of the artwork records that are applied for are by small communities, talking about issues that matter to them, be it making the world a greener place or raising awareness about diseases,” says Guinness. “By working together with communities and art institutions we hope to celebrate artistic achievements in all walks of life.” Making sure things are rolling straight for the world’s largest monotype print of 137.31 m by 1.21 m in Newark, New York in October 2013. Led by Stephen McKenzie with the Newark Arts Council and Gallery 1978, Maplewood Arts Center. Credit: Colleen Gutwein. Explore the Guinness World Book of Records or try to set your own here. Related: Light Painting World Record Set by 200 Glowing Orbs Chinese Robot Wins World Record for Walking 500,000 Christmas Lights Break Guinness World Record 2016-04-22 17:35 Catherine Chapman

30 john pawson's serene life house for living architecture providing people the opportunity to holiday in residences designed exclusively by known architects and designers, living architecture is an ongoing program that aims to promote, educate and influence discussion about modern architecture in the UK. for john pawson, his ‘life house’ has recently been completed buried in the hills in tŷ bywyd, wales. the cascading scheme unfolds as a place of calm and solace, with a generous living area, large bathrooms, bedrooms and common areas that allow for both complete privacy and – when it’s desired – sociability and communion. the house’s programme is arranged as a series of self-contained folds, opening off two corridors ‘from the beginning, the thinking behind the life house was an uncompromisingly modern design where it would be possible to inhabit a different sort of architectural space. experiments with massing and orientation have produced a composition that is bedded into the fall of the land.’ – john pawson the music bedroom contains a sound system with a curated selection of transcendent and calming music the exterior of the building is constructed from black danish handmade bricks, allowing the structure to unobtrusively occupy the cascading landscape. accommodating up to six peole; the polished terrazzo floors and the light timber ceilings combine to instill a bright and tranquil ambiance. the corridors are planned as key architectural experiences, each charged with its own distinctive character continuing with the idea of serenity and restoration, there is a a bathing bedroom which provides a room-based bathing platform in which to lie and enjoy views onto the welsh valley. one of the bedrooms is integrated with a suitably generous music system and a carefully curated selection of transcendent and calming music from all ages and genres. the design, which sleeps six people, is based upon the concept of a retreat instilling serenity and contemplation the polished terrazzo floor, set against the white brick, and light timber ceilings, creates a peaceful and life calming space the scheme is constructed of danish handmade bricks; black for the exterior and white for the interior pawson’s residence is set in mid wales, near the small town of llanbister, amidst a landscape of rolling hills 2016-04-22 17:04 Natasha Kwok

31 Art to Love the Earth By | GIF Six-Pack Living Stills The Earth. There's a lot on Earth that we love, like pie, Game of Thrones , and that feeling when you turn your pillow over to the cool side. More than any of those things, though, we love GIFs, and GIFs love the Earth—at least, the ones we carefully selected for this week's Earth Day edition of GIF Six-Pack do. From the bugs that keep our plants alive to the plants that help us breathe and the gorgeous vistas that make breathing meaningful, this planet sure does a lot for us. It's pretty messed up that, with all of that the Earth does for us we keep mucking it up by burning fossil fuels , razing the forests , and killing all the animals. Use these GIFs to get back in touch with what nature's all about: rolling in the dirt and being beautiful. Happy Earth Day. Sasha Katz Scorpion Dagger John McLaughlin Living Stills Psyklon Motion Addicts BONUS: What will happen if we don't take care of the Earth Kiszkilosky See more earthy GIFs on GIPHY . Related: Surreal Photographs Reveal Africa's Environment in Crisis A Spanish Artist Subverted the Scars of a Refugee Camp [Exclusive Photos] A Daring Filmmaker Shoots a Timelapse in a Forest Fire 90 Tons of Glacial Ice Melt in Front of the Paris Climate Talks 2016-04-22 17:00 thecreatorsproject.vice

32 Sponsored: Invaluable Gears Up for Spring Auction Season With Prints and Multiples Related Artists Francis Bacon Cy Twombly Albrecht Durer Andy Warhol Pablo Picasso As auction season rears its head, advisors and collectors turn their attention to the secondary market. Despite sluggish fair and gallery sales so far this year, blue-chip artists remain in high demand. Unattainable for many collectors, these prized artists become increasingly accessible through the prints and multiples they produced. From contemporary favorites like Francis Bacon and Cy Twombly to historic icons like Albrecht Dürer and Rembrandt van Rijn, the prints marketplace can be as varied as any other medium. Art enthusiasts can observe this diversity on Invaluable , a marketplace that offers sought-after works from auction houses and galleries all over the world. Operating from a privileged vantage point, Invaluable and its curatorial team are able to observe trends as they happen, like the latest upswing in the multiples marketplace. “We’re seeing more new and established collectors looking to expand their collection online,” explained curatorial head Amanda Nolan. “Prints are the perfect entry-point for scooping up works by blue-chip artists that have shaped the course of art history.” We asked Nolan what to look out for in the coming auction season, which spans from April 25 to May 12, and she shared a selection of pieces that represent the increasingly vibrant landscape. When it comes to the Contemporary and Post-War bracket, it is not surprising that Andy Warhol reigns supreme. An iconoclast in and out of the studio, Warhol’s dedicated printmaking practice demanded that a new generation consider screen printing as a serious art form. At Phillips ’ upcoming Evening Edition sale, collectors can find not one, but two noteworthy Warhol editions to take home: “Moonwalk” and “Mickey Mouse, from Myths.” Simple and striking, these prints exemplify the reason to invest in the often overlooked medium. If Pop isn’t your thing, Nolan suggests a more expressive piece by the likes of Pablo Picasso or Francis Bacon. Picasso’s recent sculpture show at the Museum of Modern Art only strengthened his market, so sanctioned editions, like his charming “Tete de Femme” at Shannon’s Fine Art Auctioneers, offer clients the ability to take home a piece of history minus the debt. The same goes for Bacon. His “Man’s Head (Portrait of George Dyer Talking)” from 1966 is available from Doyle New York and represents an important work from the late artist’s career. Both infamously unaffordable, the edition market makes the artists feel surprisingly within reach. Leaving one with the question: What to bid on first? 2016-04-22 16:40 BLOUIN ARTINFO

33 See Albert Kriemler's Fujimoto-Inspired Designs Albert Kriemler gave a new twist to the idea of “building a collection" when he began working on his minimalist designs for Akris's Spring-Summer 2016 Collection. A devotee of modernist architecture, Kriemler took inspiration from the airy buildings and structures—Zen-like in their serenity—created by Sou Fujimoto with their relationship to nature in mind. His first experience of the Japanese architect's work was seeing his 2013 Serpentine Gallery Pavilion, a cloud of white steel poles arranged in an intricate grid and forming an ascending seating terrace amid London's verdant Kensington Gardens. Embarking on a collaboration with Fujimoto, Kriemler replicated the pavilion as a red design motif evoked by Fujimoto's sketching the cloud in clustered red ink lines, which also suggested to him the red embroidery he used on pure white asymmetrical tunic, T-shirt and bag. “In Sou's work, I recognize a desire to comprehend and create volume, space and room, to intertwine nature and construction, to work with transparency and opaqueness that rings familiar to me," Kriemler has said. “He is a great integrator and he is able to express a complex virtuosity with utmost simplicity and ease. " The two men first met in 2015 through the photographer Iwan Baan in Paris, where Fujimoto was working on the Ecole Polytechnique at the Université Paris-Saclay campus south of the city. The Polytechnique building, housing six schools, will feature unconfined walkways and balconies and be organized around a light-filled atrium adorned by trees and plants. Fujimoto's incorporating of nature into a working-socializing space—or living space in the case of his 2008 House N, a structure of three white nested shells in Kyushu island's Ōita Prefecture —is mirrored in Kriemler's prints on the flowing parka pared with a tunic dress presented as part of the collection at the Grand Palais in Paris last fall. The models in the show passed through a replica of House N that connected backstage with the runway at the Palais. Kriemler was greatly moved by Fujimoto's delicate white pavilion in the harbor at Naoshima, his monumental “21st Century Oasis" design for the Taiwan Towers project, his upscale Palm Court retail complex in Miami's Design District, and the huge white mushroom-shaped canopy— dotted with apertures to allow trees to grow through it—for the House of Hungarian Music in the museum complex planned for Budapest's city park. The Naoshima pavilion's intricate diamond shape inspired Kriemler's 3D-printed rings and its mesh panels prompted the broderie anglaise that characterized the cutting-edge ensembles in this group. The Taiwan Towers gave Kriemler the idea for the bamboo-derived texture of an exquisitely diaphanous fabric used in some of the loveliest dresses; the sapphire-blue glass fins of the Palm Court's façade influenced dresses and futuristic jackets in brilliant shades ranging from navy to marine. And the different shaped apertures intended to aerate the Hungarian music hall are represented in an archipelago of geometrically shaped cut-outs on the garments. No single facet—whether cut, line, color, or fabric—is more important than any other in Kriemler's breathtaking designs, yet what doesn't meet the eye in them was clearly a defining element in their conception. The ellipses, holes, and abbreviations in many of the collection's shift dresses (an Akris icon), in its shorts, pants, tops, shirts, and accessories, are as essential to their elegance as the sublime fabrics that surround such artfully contrived voids. These are clothes for cool, sexy modern women who exude self-possession and playfulness, hence the avoidance not only of frills and fuss but the absence of convention. Kriemler sees no reason why a hemline shouldn't be two-tiered or a garment beautifully ventilated. Sometimes Kriemler's fabrics are gossamer-thin—a sensuous near-transparency complementing dresses or tops that are backless, sleeveless, or daringly riven by deep (if never immodest) V-shaped necklines. Sometimes fabric has been judiciously eliminated in small square windows that show the wearer's natural raiment. Less may, indeed, be more, but the more shimmers (literally in the case of certain fabrics) with aesthetic purity. Kriemler did not come to Fujimoto arbitrarily. His passion for architecture—including the work of Adolf Loos, Joseph Maria Olbrich, the landscape architect Robert Burle Marx, and the contemporary team of Jacques Herzog and Pierre de Meuron as well as Tatiana Bilbao—has led him organically to Fujimoto's eco-friendly masterpieces. Just as they express an ideal for living based on spatial economy, consciousness of light, and sensitivity to natural shapes and textures, so the clothes in Akris's Spring-Summer 2016 collection express an ideal for how women can dress not simply to look desirable but also for comfort, gracefulness, and in harmony with nature and modernity. Synergy between a fashion designer and an architect has never been so bountiful or exciting. Follow artnet News on Facebook. 2016-04-22 16:39 In Partnership

34 Sketching Is Prohibited at V&A Museum Show To the dismay of many, the Victoria & Albert Museum have banned photography and sketching at a new temporary exhibition titled "Undressed: A Brief History of Underwear. " The show features an assortment of undergarments and related media from the 18th century onward, and is conveniently sponsored by Agent Provocateur and Revlon. Granted, this isn't the first time the V&A implemented a ban on capturing images. According to the Guardian , the museum instated a similar rule in their 2013 David Bowie exhibition to help with the flow of visitors. But in an email to artnet News, Lucy Hayes, a press officer for V&A, revealed that these restrictions are the result of specific legal contingencies. She didn't provide further details, but did note that "visitors to the V&A are welcome to sketch within the permanent galleries," provided that "loan conditions permit. " Around 60 of the 200 objects on display are now part of the museum's permanent collection. The image above, which is included in the heavily-branded exhibition, depicts a model wearing the 'Tamila' lingerie set from Agent Provocateur's Soirée collection, where the bra alone costs $890. In addition, a pair of Floral Tie Knickers "created exclusively for the V&A exhibition" is available in the gift shop. Of course, museum policies on photography and sketching in exhibitions vary across the board —whether they are corporate-sponsored ventures or not. Museums known to ban selfie sticks , for instance, include Boston's Museum of Fine Arts, Dia: Beacon, and the Museum of Modern Art. Others, however, like Tate, the Louvre, and the National Gallery, lifted their decades-old photography bans so long as flash is suppressed. Follow artnet News on Facebook. 2016-04-22 16:36 Rain Embuscado

35 L. A. Habitat: Amanda Ross-Ho Amanda Ross-Ho in her Skid Row studio on December 12, 2015. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the city. This week’s studio: Amanda Ross-Ho; Skid Row, Los Angeles. “L. A. is one of the most fraught, anxious places that I’ve ever spent time in,” Amanda Ross-Ho told me recently. “But that motivates me.”We were strolling through her Skid Row studio, near Sixth Street in downtown Los Angeles. Ross-Ho’s workspace is located in a large former warehouse on a relatively empty street, but the Skid Row neighborhood is home to thousands of people, many of whom are homeless or living in shelters.“We’ve been watching that community get pushed out of this area while things are being pushed in from the east side. A lot of former industrial buildings are being turned into lofts. The stratification is a little stressful,” Ross-Ho told me. Before inhabiting her current studio, which she moved into eight years ago, she shared a space with ten other artists in East Los Angeles. Ross-Ho now splits her Skid Row studio with only one other artist—her partner, Eric Frydenborg. Originally from Chicago, Ross-Ho moved to Los Angeles to attend USC, where she graduated with an M. F. A. in 2006. Since that time, her relationship with Los Angeles has been in flux. “I hated L. A. for a long time. I couldn’t navigate; I was literally lost all the time,” she said. “It was pre-smartphone, so everything was stressful.” She noted that the city’s fraught nature is part of the reason it feels right for her, though. “There’s a sense of urgency and wanting to ask questions that are rigorous and inevitably lead you into murky territory that is not always about the pleasure of beauty. It leads you into places that are problematic and complicated, and this place is complicated. At least, it has been in the past,” she said, adding that she’s noticed L. A. residents becoming more self-aware in recent years. Ross-Ho told me that her creative process involves navigating what it means to understand something, which requires a process of deconstruction and a careful examination of myriad complexities. To her, a studio atmosphere that feels “readily unresolved” is the perfect setting in which to make art. “There’s something actually productive about being uncomfortable,” she said. “You can’t be passive—you have to be really intentional about everything.” Ross-Ho will have solo exhibitions at The Pit II in Glendale, California, in June, De Vleeshal in Middleburg, Netherlands, in September 2016 and Bonner Kunstverein in Bonn, Germany, next February. Below, a look around Ross-Ho’s Skid Row studio. ALL PHOTOS: KATHERINE MCMAHON Ross-Ho in her studio. “The first part of the day is admin and emails and stuff like that, and then I get a surge of energy at this weird point in the afternoon. Night is when I am particularly productive,” she said. She keeps active while she waits for a second wind. “There’s a lot of shuffling that happens around the studio. I move things, organize, or clean, which often ends up being super useful.” Ross-Ho’s studio space in downtown Los Angeles is located in a former retail distribution warehouse just off of Skid Row. Her first shared studio space was situated in a former rubber factory in the City Terrace neighborhood. “It dissolved for a number of reasons, but that was our initial workspace right out of school. It was a different time in L. A.” Ross-Ho with an in-process Black Glove wall piece constructed from stretch cotton, sateen, acrylic paint, cotton piping, and armature wire. “These are based on the idea that a glove usually comes in pairs; there’s a presumed activity between two hands. Instead, these are made forensically. Their appearance begins to distort. At some point, you may not even see the glove anymore.” “These are the fingertips of the gloves. Sometimes I’ll pull the glove off and the tip will come off, so I made these isolated fingers. I want to try to incorporate them into some other projects as well.” Latex-glove source material for some of Ross-Ho’s larger scale works. She incorporates things in and around her studio as part of her work. “I started to become interested in the value of chance and authentic marks when I started working in a studio. It’s this peripheral space where things are made, but I also realized, ‘What would happen if I recreated those accidental marks through an authentic process?’ They become fictional props of the actual space,” she said. “Would they have the same energy if they happened accidentally?” More works in the studio. Recently, Ross-Ho has been listening to podcasts like Serial and Undisclosed , both of which, in many ways, play into her practice. “I have a high tolerance for that kind of banter. I’m mostly interested in how they parse through things. Something about that is related to the insanity of what you’re doing in the studio, the extremity of focusing so intently on detail. The extremity of bringing something into the world, something that you insist needs to exist, requires precision.” Ross-Ho looks at several sculptures in the studio. “I’m the maker and the observer at the same time,” she said. “Everything is intentional, even if something is a random mark that happened accidentally. I take it and carefully recreate it using both intuition and chance. The immediacy is vital to the process of creation.” 2016-04-22 16:24 Katherine McMahon

36 Chiming Cuckoos: Chadwick Rantanen at Essex Street Chadwick Rantanen, Red Wine, Doc , 2016, ten battery-operated light up wall decorations, fourteen artist-made AA battery adaptors (plastic, metal, stickers), 43½ x 47 x 2½ inches. COURTESY THE ARTIST AND ESSEX STREET, NEW YORK C hadwick Rantanen’s “ Five Bars of Deal ” opened at Essex Street gallery on April Fools’ Day, but the show is no joke. It reveals this young Los Angeles–based artist as one to watch, with a formidable group of works that strike the right balance between dry humor and heady concepts. Rantanen is best known for sculptures that involve slit-open tennis balls like those you might find on the bottom of rolling walkers, which Rantanen attaches to eight-foot-tall poles. Like the flipped- around cuckoo clocks in this show, the sculptures are beguiling, bizarre things, yet the walker- ball works take themselves too seriously, or are too tongue-in-cheek. Rantanen’s new sculptures are an improvement. Most are from the “Battery Adaptors” series, for which the artist has refitted chintzy light-up clocks and paintings with lower-power batteries—AAA instead of AA, for example. The batteries come with plastic wings and are placed in little bays on the backs of the objects, which now face the wall rather than viewers. Chadwick Rantanen, Black Forest Swiss House with Turning Goats , 2016, battery-operated cuckoo clock, two artist-made AA battery adaptors (plastic, metal, stickers), 9½ x 8 x 4 inches. COURTESY THE ARTIST AND ESSEX STREET, NEW YORK Whatever visual pleasure the clocks and picture frames once provided is largely hidden. Instead, we see their behinds, in a sense—their dust covers, which have bar codes stuck on them and are sometimes torn, exposing LED lights. These works have a topsy-turvy quality—what is normally the front becomes the back. Likewise, in his “Fluorescent Fittings,” ceiling lights are positioned like sculptures, with their bulbs detached and plastic pieces with stickers lodged between them. The ceiling becomes like a wall: a place from which to hang art. The “Battery Adaptor” works are essentially objects pulled out of the world, tweaked slightly, and placed in a gallery. When does an object become art? Rantanen’s answer: when its purpose isn’t what it used to be. The bar codes on the back refer to how, when an object is sold as art, it becomes useless—a source of aesthetic pleasure that, in effect, does nothing. Rantanen’s next challenge will be to determine how his sculptures differ from Dada and Neo-Dada work. Surprisingly, the artist’s cuckoo clocks are functional—sort of. When I visited the show Black Forest Swiss House with Turning Goats (2016) sprang to life. Its timing was off (it chimed as if it were 1 p.m.; I visited at 5:30 p.m.), but it didn’t matter. The point was that someone had to be there to know it happened—the viewer had to complete the work. After all, if a cuckoo clock chimes in a gallery, and nobody is there to hear it, does it make a sound? 2016-04-22 16:13 Alex Greenberger

37 kengo kuma plans new hans christian andersen museum kengo kuma set to build new hans christian andersen museum in denmark all images courtesy of kengo kuma / cornelius+vöge architects in denmark, the city of odense has revealed plans drawn up by japanese architect kengo kuma for a entirely new museum dedicated to the work of hans christian andersen. the competition-winning design, which was developed alongside cornelius+vöge architects, was chosen ahead of proposals by bjarke ingels group, snøhetta, and barozzi veiga. the project was revealed on the 211th anniversary of the author’s birth, and is strongly influenced by andersen’s much-loved fairy tales. covered in lush greenery, an ensemble of curving pavilions occupy the site the 9,000 square meter scheme forms part of the city’s ongoing regeneration, and includes a cultural center for children within the ‘enchanted gardens’ of the ‘lotzes have park’. covered in lush greenery, an ensemble of curving pavilions occupy the site, their form mimicked by spiraling hedgerows that form immersive maze sequences. the building itself has a floor space of 5,600 square meters, two-thirds of which is underground, creating a series of sunken fairy tale-inspired spaces. ‘we have found a unique winning project,’ says odense’s mayor anker boye, who was also the jury chairman for the competition. ‘the fact that kengo kuma is from japan only goes to show that sometimes you have to travel abroad to find home. the proposal has a unique quality that captures the spirit of both hans christian andersen and odense, has striking international caliber and is locally embedded at the same time. it is a project that I can only imagine taking place here in odense. but at the same time, it points far beyond anything local or national.’ a competition for a combined exhibition-design concept based on the world view of hans christian andersen was won by british group event communications. according to jane jegind, odense’s alderwoman for urban and cultural affairs, the winning concept formed the basis of kengo kuma’s proposal. ‘in planning the project, it was important to us that gardens, building and exhibition design were envisaged as an interconnected whole that clearly captures the spirit of andersen and brings out the essence of the city of odense at the same time,’ explains jegind. ‘this is another reason why it is brilliant to have found such a well-integrated and well-designed project that is both ingenious and magical. kengo kuma and the danish partners cornelius+vöge and MASU planning have created the perfect setting for the future presentation of hans christian andersen where we need a keener focus on his enchanting universe than on his personal life.’ the museum is now in the process of securing funding, with further announcements expected later this year. 2016-04-22 16:10 Philip Stevens

38 ‘Can Computers Be Programmed to Appreciate Art?’: The Machine as Viewer, in 1977 COURTESY MAGNUS With Magnus, an app that can recognize artworks using visual data, being released to the public recently, we turn back to the Summer 1977 issue of ARTnews , in which the editors wondered if it was possible for a computer to appreciate art. “Would there be a call for computer art critics?” the editors asked. No, Magnus does not meet that description, but it is being called “Shazam for the art world,” and it can tell you titles, artists, media, and prices when viewers take pictures of the work in question with their phones. The 1977 article follows in full below. “Can computers be programmed to appreciate art?” Summer 1977 Writing in a recent issue of the British contemporary arts journal Leonardo , Wales psychologist Michael J. Apter asked the fascinating question “Can computers be programmed to appreciate art?” Well, maybe, according to Apter, if we reevaluate our notion of what art is. The idea of art as a profoundly spiritual—or, at least, emotional—undertaking is questioned by Apter, for starters: “It is possible to think of the whole artistic process mechanistically,” writes the psychologist. Apter’s strategy is arriving at such a mechanistic understanding of art involves dispensing with the question of “whether computers can be said to be creative in a human sense or feel conscious emotions,” since “these important and interesting questions have been discussed by philosophers and others.” Instead, he advises thinking of the human brain itself as a kind of computer. “It might seem that an art work should be considered as a collection of data produced by an artist’s ‘computer’ that is analyzed by an observer’s ‘computer’,” is Apter’s way of putting it. COURTESY MAGNUS He goes on to an interpretation of the “collection of data” that is an artwork as a program of the sort fed into a computer. The program, or artwork, operates on the “emotional subsystem of the observer’s ‘computer’ so that certain emotions are automatically aroused. It is as if an observer’s ‘computer’ was a musical instrument being played on by the artwork’s program.” New styles of art such as Impressionism or Cubism are not generally understood when first encountered, writes Apter, because one is not emotionally aroused. Yet soon enough the brain develops a “compiler” (a special program used by computers to decode “high level language”) responsive to these styles. For Apter, this suggests a function of art beyond emotional satisfaction: “…it exercises and develops one’s own ability to understand new and complex structures.” Apter’s “structure” gets more complex by the page. A work of art, he states, is a model—”a structure that is simultaneously an exemplar of a theoretical construct and a simplification of reality.” Models are also used in science—an airplane model used for a wind test in a tunnel, for example. Works of art such as figurative paintings “may be said to exemplify some general idea, theme or argument in a particular way and at the same time to represent in a simplified and selective manner chosen aspects of the real world,” like the airplane in the wind tunnel. Apter cites Goya’s anti-war paintings as good examples of models of “abstract religious notions,” and Rembrandt’s drawings as “simplification…of an extreme form, a few lines representing a whole complex scene.”Having cinched his arguments for the brain as a computer and the artwork as scientific model, Apter has to admit that “there are many difficulties at the present stage in converting such a mechanistic interpretation into a viable computer program.” Great strides have been taken in this direction, however, since, the author points out, computers are getting better and better at processing “natural language” and in incorporating “emotional subsystems.” In fact, as computers evolve and become more and more lifelike, they may evidence a need for an art on their own—programmed, of course. “Such programs would … be functionally equivalent to artworks; but they would be specially designed for computers… If computers themselves were used to produce such artwork, then we would have the intriguing development of computer art for computers themselves.” Intriguing indeed. Would there be a call for computer art critics, their insightful, critical printouts reading something like, “The works of Computer 352911 operated effectively on the emotional subsystem of this observer, exercising my ability to understand new and complex structures and setting my compiler whirling”? 2016-04-22 15:52 The Editors

39 Art-Focused 21c Museum Hotels Releases Statement About North Carolina Law Restricting LGBTQ Rights Peregrine Honig’s sign for 21c Museum Hotels. COURTESY 21C MUSEUM HOTELS 21c Museum Hotels, the art-centric North Carolina–based chain, spoke out today against House Bill 2, a law that requires North Carolinians to use bathrooms that correspond to their “biological sex.” And they’re not the only people in the art world to publicly come out against the law, either. Last week, Eric Shiner, the director of the Andy Warhol Museum, called off a visit to the University of North Carolina, writing in a statement, “Until that bill is revoked, I do not feel comfortable or safe coming to North Carolina.” House Bill 2 is a state law that forbids local municipalities from creating their own legislation about employment and public facilities. The bill, which passed in North Carolina’s overwhelmingly Republican General Assembly last month, makes it so that the bathroom a person uses must correlate with their “biological sex,” effectively restricting transgender rights. Unisex bathrooms are still legal, but they must be single-occupancy, according to the law. In a statement today, 21c Museum Hotels made clear that the hotel chain does not stand with the bill. Below is their statement. 21c Museum Hotel was conceived as a space where contemporary art – sometimes whimsical, sometimes inspiring, often challenging – can be transformative; a venue for exploring what is relevant today through different lenses. We cherish artists’ ability to lend unique and powerful voice to distinct perspectives on the most important issues of our time. We do not strive for unanimous acceptance of the works, but we hope the experience will facilitate conversation. Unfettered expression is the heart of our mission. Individuality is the cornerstone of our culture. It is in the spirit of these values, and with commitment to our community, our guests, our employees, and the artists whose work we display, that we share this statement: It is demoralizing that sanctioned discrimination could be a cause contemplated, let alone endorsed, by public officials elected to represent a diverse and complete constituency. We are proud that the vibrant city of Durham is home to 21c Museum Hotel, and we humbly stand with fellow North Carolinians who petition the repeal of House Bill 2. In response to the bill, 21c Museum Hotels has also commissioned the artist Peregrine Honig to design bathroom signs that combine male and female bodies. Under the figure on these signs is the phrase WE DON’T CARE. “21c feels this installation gives the community another way to engage in conversation around this important issue,” a release reads. “First and foremost, this is a human issue. 21c simply opposes discrimination. But officials should understand that this human issue does have economic implications – both in lost revenue for the state and for individual business owners.” 2016-04-22 15:46 Alex Greenberger

40 Castles in the Sky: Adam McEwen on ‘Harvest,’ His Show at Petzel Gallery Adam McEwen, IBM Blue Gene 1 and IBM Blue Gene 2 , both 2016. COURTESY THE ARTIST AND PETZEL, NEW YORK For the past few years I have had a poster in my living room of Kate Moss’s New York Times obituary. It begins, “Kate Moss, the model who died aged 33, was the most celebrated and iconic beauty of her time, possessed of a poised glamour which she translated into lasting fame and a considerable fortune.” The whole thing is beautifully written, and has a photo of Moss posing, topless, in front of dark shadows. When people first see it they usually pause suddenly, trying to remember when she passed. Sometimes I do too. Moss, of course, is still very much alive. The article is a work that Adam McEwen made in 2007 as part of a series of obituaries of living figures, including Bill Clinton, Bret Easton Ellis, and Jeff Koons. He was drawing on his years of expertise as an obituary writer for The Daily Telegraph , and they are perhaps his most famous works, but it has been a while since a new piece has appeared.“I haven’t done one since 2011, but I would do another one,” McEwen told me one afternoon at the Petzel gallery in Chelsea. “It’s hard to think of people who would really work.”McEwen talked quickly and excitedly, standing close so that he could be heard over the drills, hammers, and saws that were buzzing in the background, assembling his show, “Harvest.” He is a gangly 6 feet, 2 inches, and he towered over me. He had a crisp haircut, and with his youthful enthusiasm, he seemed a decade younger than his 51 years. Installation view of ‘Adam McEwen: Harvest’ at Petzel in New York, 2016. COURTESY PETZEL, NEW YORK “They’re homages,” he added, of the obituaries. “So they have to be somebody I really think is great, in a sense. Yet they all have this thing of, the person seems to have a flaw, and the flaw seems to be that they don’t seem to be really in control of reality.” As fanciful as it sounds, McEwen’s art can itself exercise exacting control over reality. For a quick moment, viewing his works, someone is dead, or an apparently straightforward object reveals itself as something else entirely. We were standing in front of two large, sleek, gray sculptures that resemble giant IBM servers, which would ordinarily be filled with scores of hard drives, collecting data, humming away. These, however, are hollow inside, and they are made of graphite.“I mean why? Why did they make it look like this?” McEwen said, almost laughing with good-natured exasperation. “These are cupboards! That’s all they are. But I think they’re saying, ‘If you rent these, or buy these, or use our system, we will fuck with anyone you want cause we are bad and we’re fast.’ ” The servers, he pointed out, also recall the monoliths in 2001: A Space Odyssey and classic Minimalism—Tony Smith, Brice Marden, and Donald Judd. McEwen is interested, he said, in the way “that culture sort of drips through. Really the bottom line is, this is IKEA. Judd today is IKEA.”McEwen has also made immaculate graphite sculptures of locked gates, water fountains, and ATMs. All of those subjects obscure their contents. They hold back products, water, or cash until the push of a button or the turn of a key. I asked him what makes for a good graphite sculpture. He said, “I think usually the suggestion that something might be offered and that the object can’t deliver.” Adam McEwen, Staircase , 2016. COURTESY THE ARTIST AND PETZEL, NEW YORK “They all want to offer, and they’re optimistic, I mean in the sense that they are designed to offer you something,” McEwen added. “But, what if they are restricted somehow? What if an ATM can’t deliver?” His works sit resplendently in a zone of certain failure. (He once made a version of a “Sorry, We’re Closed” sign that read, “Sorry, We’re Sorry,” which is, he told me, “another thing that can’t deliver. It’s like: Sorry, I can’t give you anything. I can’t even give you a new word, so here’s the same word. Sorry.”) One has a flash realization before his objects: these things are making promises that they can never fulfill. “I think that if you can try to find that hiccup, then in that moment, for a split second, somebody drops into a different place,” he told me. “And if you get them in that different place, then you can flip things over. That’s why you might make a drinking fountain out of graphite, because they go, ‘Drinking fountain,’ and then there’s that, ‘What?’ And just in that second—that is why very familiar things are useful, because it’s a starting point. Banal things. They kind of creep up on you.”And to that end, there would seem to be nothing quite as familiar as a letter of the alphabet. McEwen has blown up one—”K”—into a gigantic sculpture with metal beams and plywood boxing. It stands almost 19 feet tall, nearly filling one room, and has stairs and platforms that allow one to walk up inside of it. Why a K? For the first time McEwen paused and thought hard. “It’s hard to explain,” he said. “I can’t…I…partly, it comes from Kafka,” referring to The Castle (1926), whose main character is named simply K. He then launched into the story of LeFrak City, the housing complex that Samuel LeFrak built in the 1960s in Queens, which fell into disrepair in the 1980s and ’90s, coming to be known as LeCrack City, and Bomber Harris, the British Air Marshal who oversaw bombing campaigns in World War II, whom McEwen learned about in his youth.“This guy bombs cities, this guy builds cities,” McEwen said, “And in the meantime I’m thinking there’s this huge city with a castle with a K, and it just all sort of seemed hard to understand. I was interested in the way that these two stories don’t meet…And they kind of seem to talk to each other, but they don’t—the gray area in between is weird. And somehow the K, which sort of reaches out to, let’s say Kafka and The Castle , seemed to be like the link.”Once he came up with the shape of the K—in Helvetica font with a few subtle alterations—it was an easy job to build, McEwen said, simply a matter of placing in stairs and railings the only places they could logically go. “Down to the last millimeter, it completely designed itself,” he said. “You just had to iron out the wrinkles. It determined what it did. It’s very weird. Really satisfying.” And at this he took a deep breath, looking truly pleased. Visitors to the show, which runs through April 30, must sign a form stating they will not sue if injured on McEwen’s K. Which may sound a bit silly, but it is scary as hell way up on top of it. It is wobbly, and I stepped very carefully, watching where I placed my weight. Adam McEwen, TSA , 2016. COURTESY THE ARTIST AND PETZEL, NEW YORK The show, in essence, is about movement—about how information and bodies flow through space, and about how those things can be delayed or stopped. McEwen kept returning to that idea while we talked, explaining how visitors would move through the space, past graphite approximations of Heathrow security trays near the entrance and eventually ending up in a room with images of the four tunnels that flow into Manhattan (printed, improbably, on large, thin sponges) and a metal cast of a very strong Fox police lock designed to keep a door in place. Lives and careers, to be sure, also involve movement, and McEwen’s would appear to be on a steady upswing, though I think he remains deeply underrated. He was a bit of a late bloomer. After graduating from CalArts in 1991 and returning to his native London, “I failed to make an art object for about eight years,” he told me, still sounding pained. And so he decamped for New York—“a last-gasp effort to change something.” Ideas finally began to come, and he has gained a healthy amount of commercial success over the years. In January he will have his first solo museum show, at the Aspen Art Museum.“An obituary is a narrative of somebody’s decisions,” McEwen told me. “And in that narrative essentially they’re trying to do the best for themselves. You watch somebody: in 1978 she did this, and in 1983 she did this, and in 1988 she—” He cut himself off. “Clearly they’re trying to do what they want with their life, and then they die. And in a sense it’s optimistic, and in another sense it’s impossible, and that’s like making art. You’re trying to make this thing that floats, and you know that’s not going to happen, but you think it’s still worth trying.” 2016-04-22 15:02 Andrew Russeth

41 At Tribeca, Documentaries Focus on Chris Burden and Maurizio Cattelan Related Events Tribeca Film Festival Artists Chris Burden Maurizio Cattelan Maurizio Cattelan kicks a burning baby carriage in Milan / Courtesy of Maurizio Cattelan Archive Most artist documentaries are not good. Their purpose, typically, is to introduce the life and work of an artist to the general public. In their creation, there is an inherent tension between generalization and specificity. With a standardized feature-length running time — anywhere from around 90 to 120 minutes — and the intention of acting as a survey, there is need for condensing. But at the same time, for the film to appeal to an audience who might be aware of the artist and his or her work, there needs to be, in the best examples, some form of reexamination or demythologizing. At this year’s Tribeca Film Festival , two of the more interesting, not completely successful, films were about two artists from different periods and with very different work. What links them together is their desire to provoke. “ Burden ,” a documentary about the life and work of Chris Burden , presents a common hagiography of its subject. Through a tour of Burden’s career, there is an attempt by the co-directors to look behind the surface of his work, which often, at least in the earlier years, pushed situations to violent extremes. “ Maurizio Cattelan : Be Right Back” is at first similar in its approach. But as the film moves toward its conclusion, it takes a different route, becoming a collaboration with the artist in the retelling, even the obscuring, of his own biography. Chris Burden , who died just short of a year ago at the age of 69, was still alive when the film about his work was being made, and he was able to participate. These moments are the most interesting. Older and softer, the glint of danger in his eyes has now been replaced by something that is more comfortable and calm. He resembles less the artist in his twilight years than a retiree tinkering around in his garage, more interested in his tools than whatever he is building. The work he made later in his career mirrors this — after he moved away from performance concerning the body, simple, almost innocent pleasures dominated: flight, movement, light. The film presents all this rather delicately but has little to say about what the transition means in relation to his work. It is strange that the man who once staged a performance where he had somebody shoot him became a more publicly acceptable, or as the film describes him, “cuddly” figure. Does the change only seem drastic because of the way his early work is described in terms of its integrity? Should the shift be viewed as a progression, regression, or transgression? There’s no simple answer to any of those questions, but they are not even posed by the film, which reinforces the mythic bubble around Burden’s earliest work without ever attempting to puncture it. One gets the sense that the artist was running away from something as his career progressed, but what exactly that was is unclear. “Be Right Back” is also focused on an artist who is running away. Within seconds of the film, Cattelan is referred to as an “artistic conman,” and he wears that title as a badge of honor. The film about his life and work is yet another one of his cons, a biographical sketch that turns out to be as silly as much of his other work. This is intentional, of course, as becomes clear later in the film. “Be Right Back” draws the curtain in front of what we’ve been watching and reveals that much of it was in fact “false.” There is the sense that Cattelan, or at least the filmmakers, think this maneuver has something to say about the tenuous link between truth and biography in art. I’m not sure that it does. Cattelan, through his work — and by proxy through the film, which can be considered an extension of his work — plays with the question of authenticity, but has little to say about it beyond the gesture the film reveals (and if you’re familiar with his work, you’re already aware of). He’s not really engaging with the idea, just wearing another mask. This is another deflection, it could be said, another way to ignore the question. For Burden, the shift in his work can be seen as a similar movement or retreat. There is a desire for the reaction but a difficulty dealing with the consequences. Both films would have done better to ask the questions that the artists are incapable of asking — essentially, perform the role of the critic. But rarely do we see a documentary about an artist that truly takes on his or her work, which stands up to it and questions it. Instead, we get the deepening of established narratives, of art history like a hamster spinning in its wheel. 2016-04-22 13:38 Craig Hubert

42 ghidini 1961 - a new collection of brass designs curated by stefano giovannoni ghidini 1961 - a new collection of brass designs curated by stefano giovannoni ghidini 1961 – a new collection of brass designs curated by stefano giovannoni image courtesy of ghidini 1961 in the province of brescia, italy one finds the unparalleled italian manufacturing excellence of ghidini bosco. a company that specializes in die casting brass, aluminium and zamak, ghidini bosco excells at combining advanced technologies with a passion for fine craftsmanship, applying their expertise to a range of products. for more than 50 years, ghidini bosco has been working with the best designers, architects and industry professionals to manufacture classic and contemporary pieces, as well as carry out custom projects. with all aspects of production taking place in-house at villa carcina, it has become known for its particular attention to detail throughout the entire production process — from concept phase to realization. it is these qualities that form the basis of ghidini 1961 — a new design brand that has been formed under the art direction of stefano giovannoni, who has brought together a group of diverse creatives to consider the properties of brass, a material often disregarded by the contemporary design industry, through new and innovative contemporary designs for mass consumption. ‘take me to miami’ collection by nika zupanc table, chair, mirror, plate polished brass various dimensions launched during milan design week 2016 at spazio rossano orlandi, the initial collection presents pieces by andrea branzi, fernando and humberto campana, richard hutten, elisa giovannoni, stefano giovannoni, studio job and nika zupanc; who have designed a diverse range of pieces — from fine jewelery boxes to tableware to furniture to industrial lighting. collectively they showcase the particular luster of brass in a way that celebrates the overlooked material. ‘kaleidos’ by the campana brothers, is composed of six hinged mirror blades that can be opened or closed. the brass base and gilded mirrors create a kaleidoscope of golden tones and reflections. ‘the piece can be used as a lamp as it is backlit‘, explains fernando campana. ‘it will be a mirror with the possibility of different sizes and colors. a geometric piece that can produce various designs. we were inspired by lygia clark’s bicho critter sculptures,’ adds humberto campana. ‘this is our first collaboration with ghidini and we really enjoyed working together. they devote great concern to achieving refined finishes.’ - campana brothers ‘giotto’ by andrea branzi hanging frame that supports photos, small containers, books and other knick knacks polished brass 45 x 25 x 180 cm andrea branzi has created three distinct pieces for ghidini 1961: the ‘giotto’ floor lamp, ‘incrocio’ shelf, and ‘porto’ console, each one an expression of geometric forms with backlit elements. ‘incrocio’ by andrea branzi hanging frame that supports photos, small containers, books and other knick knacks polished brass 204 x 12 x 134,7 cm ‘miami’ table and chair by nika zupanc table, chair stainless steel, polished brass 105 x 60 x 75 cm; 45 x 43,5 x 82 cm nika zupanc’s ‘take me to miami’ series brings forth pieces that recall old school classrooms and furniture. just when you’re feeling down, and a little bit battered or numbed by life in general, along comes the spectacularly shiny square-metre ‘miami’ table — a perfectly mad place on which to produce the blueprint of your very individualism. the ‘miami’ chair is the perfect partner to the table’s personal transformative power. lightly push it back away from the desk, step in between the two objects and take a seat on the essence of simplicity. stripped to its iconic form, on the chair you ultimately find yourself arranged, alight the peak of your super fabulous golden self. ‘flamingo’ lamp by nika zupanc table lamp polished brass 59 x 43 cm the vibrant stream of light coursing from the adjustable self-standing steel ‘flamingo’ lamp is all about brightening up even the coldest of corners. misjudgements, misguidance and misfits, they all disappear under the melting embrace of light. the round 50-inch surface of the ‘sunset’ mirror is sunk into the graphic embrace of two palm fronds. the wall-mounted design declaration of a true summer paradise. fiasco. guilt. fear of love. a place to hide all the things we secretly desire yet are too scared to utter. the luscious things the perfect lover knows are never to be told. she dreams, she wonders, where to find this place. first she thinks Heaven, then the beach; in the end she finds this place in the ‘knotted cherry’. stefano giovannoni has designed a family of precious metal objects that celebrate the form of a rabbit. in different cultures, both eastern and western, the animal is a symbol of sweetness and fertility — a sweet and auspicious object that brings good luck and good wishes, for ghidini 1961 giovannoni has translated the rabbit into salt and pepper shakers, a paperweight and doorstopper. stefano giovannoni has also designed ‘omini’ — a family of products that plays on the inclusion and the relationship between the human figure with a series of monolithic objects from geometric and minimalist design. small lilliputians attack and animate the pure forms of the pieces, referring to the natural-artificial and abstract-figurative contradictions that have always characterized the relationship between man and the object. the bell metal lamp used in industrial halls is a no-name icon — a balance between technical and functional image and memory. elisa giovannonni has developed a noble metal version of the hanging light with a smooth and reflective bell. its distinguishing features are the casting that encloses the bulb holder and the anchor hook, while polycarbonate closes the bell to diffuse the light. ‘axonometry cube’ and ‘axonometry parallelepipedo’ by elisa giovannoni serving tray in stainless steel polished brass 15 x 17.3 x 2.5 cm, 15 x 17.3 x 2.5 cm, 15 x 15 x 2.5 cm; 15 x 34.7 x 2.5 cm, 15 x 34.7 x 2.5 cm, 15 x 15 x 2.5 cm the compositional schemes elisa giovannoni’s family of small trays are axonometric isometric projections of two parallelepipeds which create a three-dimensional optical effect implemented by inclined edges and contrasting metal finishes. like in a game, you can get as many configurations as you wish, always creating different designs. ‘kaleidos’ by campana brothers sculptural wall light in stainless steel polished brass 101.4 x 93.4 cm, 46.473 x 5.13 cm ‘here (thimble)’ by studio job ice bucket cast and polished brass ø 24,75 x 24,75 cm studio job drew inspiration from tailoring traditions and care of the smallest details to realize their supreme ‘here (thimble)’. the ice bucket is represented by a gigantic thimble with etchings. ‘opera tables’ by richard hutten rectangular, square and round side tables stainless steel, polished brass 56 x 25 x 60 cm; 28 x 60 cm; 28 x 60 cm richard hutten’s side tables for ghidini 1961 were originally designed for the interior of the dutch national opera and ballet — simple yet elegant. nika zupanc’s ‘take me to miami’ series for ghidini 1961 presented at milan design week 2016 image © designboom ‘flamingo’ lamp by nika zupanc at spazio rossana orlandi during milan design week 2016 image © designboom ‘factory’ suspension light by elisa giovannoni and ‘opera’ side tables by richard hutten image © designboom 2016-04-22 13:25 Andrea Chin

43 Odd Nerdrum Barred From Leaving Norway Norwegian painter Odd Nerdrum is having his first solo show in the US in five years but he will be prohibited from attending the opening. Art dealer Casey Gleghorn, who is director of the Booth Gallery in midtown Manhattan, told artnet News that the Nerdrum show, titled "Crime and Refuge," is set to open April 30. However, he learned within recent days that Nerdrum is unable to travel to the US after unsuccessful appeals in a long-running tax fraud case that may finally land the artist in jail. The artist pleaded unsuccessfully to be allowed to serve his sentence at home since he suffers from Tourette syndrome, among other health issues, Gleghorn says. The case, which dates back at least five years , is extraordinarily complicated. Gleghorn told artnet News that the trouble started when some of Nerdrum's paintings began to re-liquify starting around 1989. Nerdrum had attempted to make his own "Maroger" medium, a mixture of cooked oil, lead flakes, and mastic, that allows for paint to be manipulated for a longer time. Apparently the component that failed was the mastic which Nerdrum "had been misguided to [use] by a Norwegian conservator," according to Gleghorn. Nerdrum attempted to repaint the compositions as replacements for those that had "melted" between 1989 and 2002. But Norweigan officials, Gleghorn says, taxed the artist for both the originals, which the artist wrote off as a loss, and the replacements. In the late 1990s, when the artist joined New York's Forum Gallery, the gallery reportedly negotiated to retain a percentage of his commission as security against the melting paintings. artnet reached out to Forum Gallery for comment. Associate director Jillian Casey wrote in an email: "We do indeed still work with Odd Nerdrum, but we do not represent him exclusively, and we know nothing specific of his travel plans, legal difficulties or exhibition prospects at any galleries. " Gleghorn maintains in an email that the "main evidence against Nerdrum is that he and his accountant did not report this check, held mutually in trust as income. A notarized agreement between Odd and the gallery was offered as evidence (and ignored). " On August 17, 2011, district courts in Norway sentenced the artist to two years in jail. The artist appealed the sentence, but in June 2012, the court of appeals increased the time to two years and ten months, after prosecutors claimed that the artist had made great efforts to hide his assets from the Norwegian government. In 2013, the Supreme Court in Oslo ruled that the evidence did not support the verdict, thanks to research from Anders Fjellberg, a journalist from Dagbladet , who retrieved Icelandic documents (where Nerdrum had moved) and to Austria, to collect statements as evidence. Fjellberg reportedly supplied documents including correspondence over an Austrian bank statement, Icelandic tax returns, and income which showed that the court had counted Nerdrum's income several times. The case then went back to appeals court, where the final decision was one year in prison and eight months of house arrest. artnet News reached out to Fjellberg for comment. He told us in an email: "I have not heard about that specific issue—regarding Nerdrum not being allowed to enter the US. But as far as I know, he is still waiting to serve time for the tax fraud case. " He continued, "His sentence was heavily reduced, but he still has to serve a year in prison. [The case] is a bit of a mess and a complicated matter. " According to the artnet Price Database, a total of 119 works by Odd Nerdrum have come up at auction over the years. Of these, 43 works, or 36 percent, have failed to sell. The highest price ever paid at auction is $231,000, set at Norwegian auction house Bruun Rasmussen in 2007, for Contra Natura (1988-90). The second highest price is just under $170,000, set at Sotheby's London in June 2007 for The Animal Stone (1987). The lowest price, however, is a mere $465, paid at Grev Wedels Plass Auksjoner AS in 2010, for a lithograph, Kjaerlighetspar. artnet News also reached out to Nerdrum's attorney, John Christian Elder, but did not receive an immediate response. 2016-04-22 13:07 Eileen Kinsella

44 curved/labs’ concept restores apple’s egg-shaped iMac for today’s computer education with apple’s world wide developers conference (WWDC) slated for june 13 2016, curved/labs asked themselves: what if apple focused on the educational market with a desktop computer? while under steve jobs, the ‘iMac’ all-in-one desktop computer was announced in 1998, and included a CRT monitor, and an enclosed colored translucent plastic case. it became widely used as school computers because it offered a complete package, including pre- installed Mac OS 8 software that was very easy to use. curved/labs thoroughly researched the product line to design a concept ‘eMac’ that includes a front facing dual camera for 3D capturing, scanning and imaging. the all-glass front incorporates a touch screen with stereo speakers. of course, the ‘eMac’ edition would be available in anodized aluminum colors as well as colors from the latest ‘iPod’ lineup: silver, space grey, gold, rose gold, and blue. the team at curved/labs has created apple concepts before, also introducing their version of the original macintosh. 2016-04-22 12:38 Piotr Boruslawski

45 Light Art Makes the Far Side of the Moon an Interactive Experience All images courtesy Studio Iregular It’s a no surprise that Montreal-based creative studio Iregular , known for mesmerizing digital wormholes , interactive light harps , and other large-scale participatory light installations , was commissioned by the internationally renowned Winter Lights in Canary Wharf, London to create MOON , an installation of lunar proportions. Seeking to provide viewers with both intimate and immersive pieces, the studio unveiled the smoky light tunnel, pushing viewers into the floating, framed point of view of the moon. “I’ve been using the frame shape a lot because it allows me to mark the interaction zone without textual instructions,” studio founder Daniel Iregui tells The Creators Project. “I’ve been experimenting and thinking a lot on this aspect and MOON was an idea I wanted to try.” Winter Lights took place back in January, but now you can experience MOON in action in the video below: MOON — London, United Kingdom from Iregular on Vimeo . Controlling both light beams and a four-voice analog synth-generated soundtrack with a motion- capture device, viewers experienced unique experiences with the synthetic moon. “The light is viewed because I am projecting on smoke, and the sound comes from an analog synth controlled in real time with the movement of your hands,” Iregui tells us. “There are four different light patterns and sound voices that are selected randomly, but also allow four people to use it at the same time. " Iregui explains that he wanted the audience to be integrated, to be active, and to contribute to work, instead of just looking at it. “I also work a lot with random visuals and sound to create a work that is always transforming and evolving,” he says. “I prefer to delegate the final result to chance and other people,” he concludes, adding that the interactive part is the best way to strengthen the random dimension. MOON 's visual documentation just came out a few days ago. Check it out in the images below: See more of Iregular's work on their website. Related: You Control the LED Lighting at This House-Sized Installation Lose Yourself Inside an Infinite Digital Wormhole Create Colors and Music by Plucking a Room-Sized Light Harp 2016-04-22 12:30 Benoit Palop

46 Was Stonehenge an Ancient Burial Ground? Every so often, someone brings forth a new theory on the purpose of Stonehenge, one of the most mysterious ruins of the ancient world. The latest archaeological study of the site, as reported by the Daily Mail , has uncovered ancient human remains, suggesting that Stonehenge was used as a burial ground. "Our research shows that Stonehenge was used as a cremation cemetery for mostly adult men and women for around five centuries, during and between its first two main stages of construction," explained the recent study, published in the April 2016 issue of Antiquity journal by archaeology professor Mike Parker-Pearson at University College London and his colleagues. Related: Stonehenge May Have Been Built in Wales First According to New Study A 2013 study led by Parker-Pearson offered the graveyard theory, and the most recent study adds to this idea. For instance, the charred skeletons were found in small "Aubrey Holes" at Stonehenge that are thought to have been part of a circle of standing stones. Each stone appears to have been a burial marker for a specific individual. The remains were cremated over a period of 500 years, between 3,100 BC and 2,600 BC, according to radiocarbon dating. After that time, the people of Stonehenge ceased cremations, instead burying their dead in a circular ditch surrounding the site. "Stonehenge changed from being a stone circle for specific dead individuals linked to particular stones, to one more diffusely associated with the collectivity of increasingly long-dead ancestors buried there," the paper concluded. The bones were first uncovered by archaeologists William Hawley in the 1920s, but he did not comprehend their significance and subsequently reburied them. Other Stonehenge revelations in recent years include the theory that the ancients used the stones like stilts supporting a raised wooden platform for performing rituals. Archaeological discoveries in the region have also included a 4,000-year-old Bronze-Age skeleton, unearthed last July some 15 miles from the site. In September, a " second Stonehenge ," just one mile away from the popular tourist destination, was discovered buried underground. Stonehenge is now understood to be just one part of a network of ancient monuments in the British countryside. Follow artnet News on Facebook. 2016-04-22 12:23 Sarah Cascone

47 Black-and-White Op Art Visualizes Energy, Oscillations, and Frequencies Image courtesy of the artist Slovenian artist Aleksander Drakulic spent ten years working with timekeeping technology, the type that helps keep precise synchronizations for industry and governments. The high-tech test equipment and systems that he worked around went on to influence what he calls his “psychokinetic art,” black and white Op art that oscillates and vibrates before your eyes. The images are Drakulic's visualizations of energy, oscillations, waveforms, electromagnetic fields, and frequencies that occur in the natural world and find form in the measuring instruments of science. "We live in a world that can be both a beautiful illusion and nightmare in our mind," the graphic designer tells The Creators Project. "Op art helps us to understand that the universe and our perception of the universe is much more complex than it might seem. " Image courtesy of the artist Drakulic, who is now based in Budapest, creates his work in vector programs like Adobe Illustrator. The work draws not only from Op art and science but also Arabic geometry, plus mathematicians and thinkers from the Ancient Greek world, like Plato, Euclid, and Pythagoras. "My work is an artistic expression, a visualization of frequencies you see on oscilloscopes, which looks like a line moving in different waveforms," explains Drakulic. "Pushing geometry to its very limits, making geometry look almost like a part of the material world means you have to use all the tools you have available. I try to manipulate graphics like a synthesizer would sounds. " Image courtesy of the artist Click here to visit Aleksander Drakulic's website. Related: David Shrigley Turns His Absurd Comic Eye to 1960s Op Art What These Artists Do with Ballpoint Pens Is Unreal Live Video Editing App Turns the World into Op Art 2016-04-22 12:20 Kevin Holmes

48 Review: Fifty Years On: “Funny Girl” Back in London Related Venues Savoy Theatre It’s got two classic numbers: “People” and “Don’t Rain on my Parade.” It’s got laughs and heartache. It’s got a zinger of a role for a comic actress. So why hasn’t there been a full UK revival of “ Funny Girl ” since Barbra Streisand helmed it in London in 1966? A lively new staging at The Savoy provides some answers: there’s no antagonist, not much conflict, and a fair bit of padding. But there are nuggets of gold too, and Sheridan Smith provides a cracking turn in the title role. The plot of Jule Styne and Bob Merrill’s musical is loosely based on the real-life story of Fanny Brice, the most successful female Broadway entertainer of the 1920s and 30s. We see the gawky, Yiddish-quipping Fanny triumph against the odds as a comedienne, and then fall for the suave and debonair gambler Nicky Arnstein (Darius Campbell). The marriage crumbles when Nicky loses his money and can’t face the humiliation of being bankrolled by his wife. It’s pretty thin as plots go: an itty-bitty conflict is stretched for two acts. But Smith compensates with bags of charm in Fanny’s revue numbers, and she makes the audience wonderfully complicit in her pratfalling with her knowing winks and rolling of the eyes. She gets the pathos just right too: when her husband leaves her, the pain is etched on her every feature. On the downside, she relies too heavily on certain mannerisms –a sudden lowering of the voice for comic effect, clutching her head in a certain way – and they come to feel repetitious. On Thursday Smith’s voice gave out, but professional that she is, she croaked and rasped her way through the numbers as best she could. Despite her efforts, they were underpowered and uncertain. No doubt things will pick up in the rest of the run. Darius Campbell, with his matinee-idol looks and silky voice, is on far more secure ground, and he provides a terrific turn as the charming but weak-willed Nicky. The rest of the cast (in mostly underwritten roles) all do a good job, and director Michael Mayer keeps the period-costume production flowing well. But they can’t disguise the flaws under the fun. “ Funny Girl ”, a transfer from the Menier Chocolate Factory, is at the Savoy Theatre. 2016-04-22 12:15 Warwick Thompson

49 kensaku oshiro's hole table for kristalia features a large oval cut-out the combination of kristalia’s technology with kensaku oshiro’s creativity has led to ‘hole': a table featuring an original base with an oval cut-out. the inverted shape made from sheet metal has been produced using a process that involves many moulding and bending phases. the table draws influence from natural forms that have been consumed by time, looking specifically at the sculpted forms of rocks and stones, moulded by wind and water. kensaku oshiro attempted to recreate these sensations found in nature, through the ‘perfection’ of industrial production, by deliberately working on the contrast between clear cut lines and sinuous and organic ones. the table expresses a single concept in its most simple form, creating an original and unique design. the inverted shape has been made using a process that involves many moulding and bending phases image by paolo contatti / contratticompany kensaku oshiro attempted to recreate natural forms found within nature image by paolo contatti / contratticompany the ‘hole’ table draws upon rocks and stones that have been consumed by time image © designboom kensaku oshiro looks at the contrast between clear cut lines and sinuous and organic lines image © designboom the oval shaped hole sits at the base of the table which supports a thin laminate or solid wood top image © designboom the designer’s sketches of the ‘hole’ table image by paolo contatti / contratticompany a foam model of the ‘hole’ table image by paolo contatti / contratticompany kensaku oshiro with his design image by paolo contatti / contratticompany 2016-04-22 12:04 Shuhei Senda

Total 49 articles. Created at 2016-04-23 12:01