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27 articles, 2016-07-31 00:01 1 Jonathan Brender, 2016 Spotlight Artist Born in Caracas, Jonathan Brender has felt passionate about the arts since he was a young boy, growing up in a unique cultural (0.02/1) melting pot of native Venezuelans and Europeans. Jonathan started drawing comics, cars, and boats until he moved on to study ceramics and... 2016-07-31 00:01 2KB artexponewyork.com 2 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 Saturday at Artexpo marked the show's busiest day yet, drawing (0.01/1) thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for... 2016-07-31 00:01 1KB artexponewyork.com 3 Close-Up: The Walker Remembers Abbas Kiarostami — Crosscuts — Walker Art Center Martin Scorsese once praised Abbas Kiarostami as representing 2016-07-30 16:41 757Bytes blogs.walkerart.org (0.01/1)

4 Merce Cunningham and Aspen 5+6 (1967) — Untitled (Blog) — Walker Art Center “In calling it a ‘magazine’ we are harking back to the original meaning of the word as a ‘storehouse, a cache, a ship laden with (0.01/1) stores.’”[1] ―Phyllis Johnson It was while attending th... 2016-07-30 16:41 891Bytes blogs.walkerart.org 5 DAY 2 AT ARTEXPO: SPECIAL KEYNOTE, LIVE ART DEMOS & MORE Friday at Artexpo brought throngs of visitors through the gates of Pier 94 to see artwork from over 400 exhibitors from around the world, comprising more than 1,000 artists in total. The doors opened early for the event's Keynote Presentation by Pam Danziger, "Marketing Art... 2016-07-31 00:01 1KB artexponewyork.com 6 AENY 2016 Recap: Highlights from an Incredible Year That's a wrap! Artexpo New York has taken the fine-art scene by storm yet again, and we've got the sales, stories, and gorgeous collection of photos and videos to prove it. We'd like to extend a huge thank you to everyone... 2016-07-31 00:01 2KB artexponewyork.com

7 folly de swoaistee installation by huting & de hoop 'folly de swoaistee' draws imaginary sight lines to historical buildings in the former maritime hub, seated directly in a once crucial vessel turning point. 2016-07-30 18:30 1KB www.designboom.com 8 Singapore Designers Visit New York for CFDA Fashion Futures Program Max Tan, Elyn Wong and Danielle Woo touched down in New York this week for the second installment of the CFDA’s Fashion Futures program. 2016-07-30 17:00 3KB wwd.com 9 A Escola Livre (Brasil) Asterisk Summer School (Estonia) Escola Aberta (Brasil) Maybe a School, Maybe a Park (Canada) Parallel School Registration School (UK) Van Eyck Summer Academy: Digital Campfire Series (Netherlands) The Ventriloquist Summerschool (Norway) Still of Mark Harmon, Courtney Thorne-Smith, Fabiana Udenio, Dean Cameron, Kelly Jo Minter, Gary Riley, and Shawnee Smith in Summer School (1987). –––––– Never Not Learning (Summe... 2016-07-30 16:38 1KB blogs.walkerart.org 10 360 Degrees of “Race for the Prize” — The Green Room — Walker Art Center Smoke guns and confetti cannons were out in full force during the final set of Rock the Garden 2016—and videographer Chuck Olsen of Visual was there to capture the experience in immersive, 360- deg... 2016-07-30 16:38 897Bytes blogs.walkerart.org 11 doherty design studio constructs children's cubbyhouse for charity the design by doherty design studio mimics the frontage of a nomadic gypsy wagon with common garden materials used to realize the bold and playful forms. 2016-07-30 14:15 2KB www.designboom.com 12 In Memoriam of Philando Castile In loving memory of Philando Castile, Pollen presents a community portrait of grief, protest, power, and love contributed by 25 artists... 2016-07-30 12:44 14KB www.pollenmidwest.org 13 [NSFW] Photographer Turns Her Subjects into Androgynous, Erotic Dolls Models are sophisticated mannequins under the gaze of Polish artist Joanna Grochowska. 2016-07-30 12:05 2KB thecreatorsproject.vice.com

14 Artists Flex Their Curating Chops in Massive Warehouse Show The artists-turned-curators duo of Dylan Kraus and Rose Salane curates an eclectic group show in Hudson, New York. 2016-07-30 12:00 3KB thecreatorsproject.vice.com 15 Superheroic History Comes Alive in a New Comic Book Exhibition Drawing the line from the Golden Age of Comics to the present, an exhibit offers a historic look at the medium. 2016-07-30 11:55 3KB thecreatorsproject.vice.com 16 A Word Game Hides Within This Surreal Quasi-Museum Found Studio and Esteban Diácono create a museum walk filled with larger-than-life sculptures and some wordplay. 2016-07-30 11:50 1KB thecreatorsproject.vice.com 17 If Jeff Koons Collaged Internet Porn, It Might Look Something Like This Multimedia artist Aline Alagem creates a series of eye-catching paintings during a six-month residency in Berlin. 2016-07-30 11:45 5KB thecreatorsproject.vice.com 18 Hands-On: As a Video Game, Sign Language Becomes Something You Can Hack Israeli design student Yael Weiser wants to make sign language appealing and accessible to all. 2016-07-30 11:40 2KB thecreatorsproject.vice.com 19 Sonorous Metal Shapes Ring an Ode to Eternal Life Watch an eerie metallic ballet spin a narrative that transcends time. 2016-07-30 11:35 2KB thecreatorsproject.vice.com 20 There's Something About These Portraits of Aristocracy Hans-Peter Feldmann finds the lighter side to fine art’s reverent portraiture. 2016-07-30 11:30 2KB thecreatorsproject.vice.com 21 lim sungmook's modibag can be folded into multiple shapes and forms modifiable in size, shape, and form to embrace one’s taste, ‘modibag’ is composed of a wooden canvas covered in leather that can be weaved together to create the different configurations. 2016-07-30 10:30 1KB www.designboom.com

22 From Dawn to Dusk: Robert Irwin’s Installation Captivates at Any Hour Robert Irwin's latest installation at the Chinati Foundation in Marfa, Texas, takes place on a decommissioned military base. 2016-07-30 10:01 5KB news.artnet.com 23 Interview: Edmund Clark on the Spectacle of Terror and His IWM Show Artist-photographer Edmund Clark tells ARTINFO about the spectacle and secrecy of the War on Terror, and how he has explored it in an exhibition at London's Imperial War Museum. 2016-07-30 09:23 6KB www.blouinartinfo.com 24 The Week in Art: Lia Chavez’s Stunning Light Performance and the LongHouse Gala From LongHouse Reserve's moonlight serenade to an electrifying performance on Isabella Rossellini's farm, this week was full of surprises. 2016-07-30 07:01 3KB news.artnet.com 25 haruka misawa forms paper flowers from 'pencil' shavings haruka misawa reproduces the delicate forms of a flower through the simple act of sharpening a pencil. 2016-07-30 06:15 1KB www.designboom.com 26 Bortolami Pushes Art Beyond NY and LA The project pairs the gallery's artists with nontraditional exhibition spaces across the country, where they install artworks for a year. 2016-07-30 03:00 3KB www.blouinartinfo.com 27 ventricle installations by SOFTlab at festival of love massive, light-weight aluminum structures clad in 3M solar-mirror film hang on either side of the southbank centre's royal festival hall in london. 2016-07-30 02:30 2KB www.designboom.com Articles

27 articles, 2016-07-31 00:01

1 Jonathan Brender, 2016 Spotlight Artist (0.02/1) Born in Caracas, Jonathan Brender has felt passionate about the arts since he was a young boy, growing up in a unique cultural melting pot of native Venezuelans and Europeans. Jonathan started drawing comics, cars, and boats until he moved on to study ceramics and sculpture for three years at the renowned Arte y Fuego. Feeling the need to expand his knowledge, culture and skills, he eventually moved to the U. S. to pursue the art of canvas painting with a unique modern style. Inspired by a two-month trip he took to Australia’s back country, Brender began to study the Aborigines’ art of pointillism. He started modifying that art into portraits of modern icons and found immediate success at exhibitions with his new style. With each piece of artwork containing up to 180,000 painted dots, Brender caps his artistic output at 10–12 paintings a year because the process is so time-consuming. Brender’s unique cultural and artistic background, along with his experience, vision, and personality, makes his work one of a kind. He’s exhibited his work in places such as Israel, England, Venezuela, Brazil, Panama, and the U. S. Some of his work can be seen at prestigious five- star hotels in Venezuela, Commercial Buildings in Miami, and private collections around the world. A much-anticipated programming element of Redwood Media Group’s other art shows, the Spotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 and will continue to be a highlight at the show in future years. Jonathan Brender is one of four esteemed artists selected for this year’s Spotlight Artist Program. 2016-07-31 00:01 lmullikin

2 2 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 (0.01/1) Saturday at Artexpo marked the show’s busiest day yet, drawing thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for everyone. Visitors to the show were captivated by live demonstrations from artists hailing from around the globe, and enjoyed Art Talks such as “The Journey of a Working Artist” by Crista Cloutier, “Six Spheres of Success” by Michael Joseph, “Stewardship: Insuring the Legacy” by Jeannie Stanca, and a discussion with three successful artists—Tristina Dietz Elmes, Julia Carter, and Jeanne Bessette—about their respective careers. Showgoers will get one last chance today until 6 p.m. to peruse the fine art displayed at this world-renowned show. Here’s the lineup of events scheduled for Sunday. Not in New York? No worries—you’ll get an inside look at what it’s like to be at the show with our exclusive videos. Check them out here! Last but not least, make sure to check out Artexpo New York on Facebook, Twitter, and Instagram for fun tidbits throughout the show and leading up to next year. And check back soon for a full show roundup, including top sales, a full list of award winners, and more! 2016-07-31 00:01 lmullikin

3 Close-Up: The Walker Remembers Abbas Kiarostami — Crosscuts — Walker Art Center (0.01/1) Martin Scorsese once praised Abbas Kiarostami as representing “the highest level of artistry in the cinema.” Responding to those words several years ago, the Iranian director replied, “This admiration is perhaps more appropriate after I am dead.” Sadly, it now is: Kiarostami passed away in Paris on July 4, 2016 at the age of 76. In celebration […] 2016-07-30 16:41 By

4 Merce Cunningham and Aspen 5+6 (1967) — Untitled (Blog) — Walker Art Center (0.01/1) “In calling it a ‘magazine’ we are harking back to the original meaning of the word as a ‘storehouse, a cache, a ship laden with stores.’”[1] ―Phyllis Johnson It was while attending the Aspen International Design conference in 1964 in Aspen, Colorado, that editor Phyllis Glick (1926–2001) came up with a groundbreaking idea for an art […] 2016-07-30 16:41 By

5 DAY 2 AT ARTEXPO: SPECIAL KEYNOTE, LIVE ART DEMOS & MORE Friday at Artexpo brought throngs of visitors through the gates of Pier 94 to see artwork from over 400 exhibitors from around the world, comprising more than 1,000 artists in total. The doors opened early for the event’s Keynote Presentation by Pam Danziger, “Marketing Art in Today’s New Luxury Style,” during which the renowned speaker, author, and market researcher provided tips for artists and gallery owners in attendance. The day was filled with inspiring Meet the Artist events and live art demonstrations, giving attendees the chance to see featured exhibitors in action and learn about their paths to becoming successful artists. Showgoers also enjoyed mingling with exhibitors and other art lovers alike at the night’s two parties: the Meet & Greet Reception sponsored by Art Brand Studios, and the Focus on Design Friday Reception sponsored by Art Design Consultants. It was another fabulous day and evening at Artexpo —and we know Saturday and Sunday will continue the trend! Don’t forget to follow Artexpo New York on Facebook, Twitter, and Instagram to stay updated on all the fun happening at the show this weekend! 2016-07-31 00:01 lmullikin

6 AENY 2016 Recap: Highlights from an Incredible Year That’s a wrap! Artexpo New York has taken the fine-art scene by storm yet again, and we’ve got the sales, stories, and gorgeous collection of photos and videos to prove it. We’d like to extend a huge thank you to everyone who played a part, from our extraordinary exhibitors and generous sponsors to our ever-eager attendees. Read on to find out more about 2016’s show— we’re proud to say it was another phenomenal one! Moments to Remember Throughout the four-day weekend, attendees enjoyed a number of exciting events, from the VIP Opening Night Preview Party featuring the unveiling of this year’s Poster Challenge winner to inspiring Art Talks, Meet the Artist sessions, and more. Famed dance photographer Jordan Matter wowed us all with his live photo shoots, and painters from around the world gave us a peek at their creative process during live art demonstrations. On Friday, author and industry leader Pamela N. Danziger gave the Keynote Presentation to a rapt audience of exhibitors and trade attendees. 2016 Artexpo Award Winners Over a dozen artists and galleries were given special recognition during Artexpo this year for their work that went above and beyond. Here’s a full list of 2016 award recipients: Top Sales & Success Stories Here’s a sampling of some of our exhibitors’ top sales and feedback for the event. See more testimonials here ! Media Buzz Artexpo New York garnered tons of attention in media outlets in New York and beyond, with coverage including a shout-out in PAPER magazine, which dubbed our show as a “must-see,” a segment on CBS New York , and many others. We also reached tens of thousands of fans via social media, offering followers around the world up-to-the-minute event tidbits and photos on Facebook , Twitter , and Instagram. Thanks to everyone liking and following us on our social media channels—we love keeping you engaged! Exhibit in 2017 Inspired by this year’s event to give exhibiting a shot yourself, or want to return to Artexpo after having a successful show this year? Apply for 2017 here , or contact our helpful sales team —they’ll be happy to help you. 2016-07-31 00:01 sdalton

7 folly de swoaistee installation by huting & de hoop timber-frame folly de swoaistee installation by huting & de hoop in the netherlands dutch studio huting & de hoop has been selected as one of ten winners in the folly design competition hosted by the stichting landgoed fraeylemaborg, in slochteren, the netherlands. their entry, ‘folly de swoaistee’ is a timber structure located in the slochterdiep heritage square, once the region’s maritime hub. ‘folly’ located at heritage square in slochteren, the netherlands formerly a trans-shipping (and gossip) hotspot, the location featured a turning point — ‘swoaistee’ in local dialect — where vessels could reorient in the otherwise narrow canal. as result, prominent buildings were positioned in relation to routes, a history that continues into the present. huting & de hoop’s ‘folly de swoaistee’ draws imaginary sight lines to historical buildings such as these, seated directly in the turning point. interior seat, from which visitors can see 360° designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-07-30 18:30 Gerard De

8 Singapore Designers Visit New York for CFDA Fashion Futures Program Singapore-based designers Max Tan, Elyn Wong and Danielle Woo touched down in New York this week for the Council of Fashion Designers of America’s Fashion Futures program, launched last spring in partnership with Singapore Fashion Week. The second annual initiative took the trio to designer showrooms and ateliers (including Prabal Gurung’s and Carolina Herrera’s), boutiques and Garment District factories as part of an immersive, educational program aimed at fostering fashion talent in the Southeast Asia country. To qualify for inclusion in Fashion Futures 2.0, designers were required to have at least six collections under their belts, a worldwide retail presence and solid branding. Tan, Wong and Woo are relatively established in their native Singapore but are each aiming to raise their global profiles. Self-taught designer Danielle Woo founded her dress-focused label called Aijek, currently sold online at Shopbop, Gilt and Revolve, back in 2010. She had been working in PR and marketing before designing a dress for herself on a whim to wear for an anniversary celebration with her husband. Today, that silhouette is the brand’s best-seller. “It’s about giving the everyday woman a good shape, with a focus on construction and fits,” Woo said of her collection. “When it comes to our silhouettes, they’re classic and timeless. Every woman needs a beautiful lace dress in her wardrobe that she’ll go back to again and again. This is essentially what I want to create — a classic wardrobe that’s trans-seasonal and stands the test of time.” Woo is currently rebuilding her brand’s Web site and expanding her team. Wong, who doubles as an installation artist, officially launched her women’s line, Stolen, about four years ago, although it had been a “pet project” for several years before that. She culls inspiration from art and architecture — particularly the Brutalist movement — and every piece in the collection is backless. “When you tell people it’s a backless collection, most women think its body-hugging and overtly sexy, but it’s not,” she said. “I feel that there’s a gap in the market for what I like to call alternate sexiness, for women looking for something sexy but in a different way… We do clean, simple silhouettes. Wearable pieces, all with a twist.” During their week-long visit, Tan, Wong and Woo managed to sneak in a little time for leisure, visiting the Museum of Modern Art, Dia:Beacon and various shops. “New York is a little like Singapore with its energy, mix of cultures and people, and, at least right now, the weather,” Tan said. “It’s been really great for us to see a tiny little red dot in the Big Apple — how the designers work, the development, their processes. It’s really been very helpful.” 2016-07-30 17:00 Kristi Garced

9 A Escola Livre (Brasil) Asterisk Summer School (Estonia) Escola Aberta (Brasil) Maybe a School, Maybe a Park (Canada) Parallel School Registration School (UK) Van Eyck Summer Academy: Digital Campfire Series (Netherlands) The Ventriloquist Summerschool (Norway) Still of Mark Harmon, Courtney Thorne-Smith, Fabiana Udenio, Dean Cameron, Kelly Jo Minter, Gary Riley, and Shawnee Smith in Summer School (1987). –––––– Never Not Learning (Summer-specific) is a series of 4 blog posts (to be published here, on The Gradient) reflecting on the (not-so) recent wave of self-initiated graphic design workshops which have been […] 2016-07-30 16:38 By

10 360 Degrees of “Race for the Prize” — The Green Room — Walker Art Center Smoke guns and confetti cannons were out in full force during the final set of Rock the Garden 2016—and videographer Chuck Olsen of Visual was there to capture the experience in immersive, 360-degree video. Watch as Wayne Coyne and the Flaming Lips perform “Race for the Prize,” off the 1999 album The Soft Bulletin. (See if […] 2016-07-30 16:38 By

11 doherty design studio constructs children's cubbyhouse for charity melbourne-based architecture practice doherty design studio has created this whimsical and playful cubbyhouse influenced by a nomadic gypsy wagon. named the ‘vardo hut’, the children’s space was initiated to help raise funds for charity and in the end, it was auctioned for $9000. taking the traditional shape of a gypsy wagon to add a sense of adventure, the aim is to ignite imagination and a sense of adventure. doherty design studio used common garden materials to realize the bold and playful forms. children are encouraged to create hanging gardens outside and further integrate the hut into its surroundings. inside, there is two levels; the upper treehouse- influenced loft area features a suspended net which adds a playful element, while inviting natural light from the clear curving roof. shelves painted in different colors allow children to bring greenery into their intimate space and ultimately, the aim is to educate and convey how to live sensitively within nature, and interact with contextual design. the designer cubbyhouse created to raise funds for the charity kids under cover a clear roof allows in natural light (while also providing a visual connection to surroundings the scheme was part of an important annual fundraising competition where entrants design and build creative children’s cubby houses the design mimics the frontage of the traditional gypsy wagon the overall design educates children on living sensitively within nature multiple points of entry and ladders engage the young mind and sense of adventure left over materials were incorporated to form the steps at the rear of the cubby the concept allows for children to create hanging gardens from the form to further integrate it within its surroundings 2016-07-30 14:15 Natasha Kwok

12 In Memoriam of Philando Castile In loving memory of Philando Castile, Pollen presents a community portrait of grief, protest, power, and love contributed by 25 artists mostly from Minneapolis and St. Paul, Minnesota. Could we please give the police departments to the grandmothers? Give them the salaries and the pensions and the city vehicles, but make them a fleet of vintage corvettes, jaguars and cadillacs, with white leather interior. Diamond in the back, sunroof top and digging the scene with the gangsta lean. Let the cars be badass! You would hear the old school jams like Patti Labelle, Anita Baker and Al Green. You would hear Sweet Honey in the Rock harmonizing on “We who believe in freedom will not rest” bumping out the speakers. And they got the booming system. If you up to mischief, they will pick you up swiftly in their sweet ride and look at you until you catch shame and look down at your lap. She asks you if you are hungry and you say “yes” and of course you are. She got a crown of dreadlocks and on the dashboard you see brown faces like yours, shea buttered and loved up. And there are no precincts. Just love temples, that got spaces to meditate and eat delicious food. Mangoes, blueberries, nectarines, cornbread, peas and rice, fried plantain, fufu, yams, greens, okra, pecan pie, salad and lemonade. Things that make your mouth water and soul arrive… The day’s gonna come when I won’t march no more But while my sister ain’t equal & my brother can’t breathe Hand and hand with my family, we will fill these streets “And you are not the guy and still you fit the description because there is only one guy who is always the guy fitting the description.” Claudia Rankine, “Stop and Frisk” It’s Okay She is made of Diamonds. She is four years old and wears pink and blue beads, sometimes barrettes, in her braided hair. Maybe chewing bubblegum is her favorite, and possibly she likes the swings best of all at the park Her voice certainly glitters Her voice has always glittered, it has never needed your permission, your invitation your blessing Last Wednesday night, she sat buckled in the car’s backseat on the way home from the grocery store. Maybe she was chewing bubblegum. Her bedtime routine most likely would have been next in the order of weeknight things But a nearby police car slowed its suburban patrol when the car she was riding in passed One of the officers noticed how the other car’s driver had a wide-set nose He fit the description In less than two minutes, she listened as police officers pull the car she was riding in over and give orders. She saw the driver and her mother follow those orders. Might be the officer, now pointing his gun at the driver, didn’t see her in the backseat. He therefore never would have noticed the colorful beads in her hair. He definitely knew nothing about the driver, a man who just shopped for groceries, a man who just had a family dinner and got his haircut earlier that evening. In less than two minutes she, four years old, watched one of the police officers shoot the driver again and again, then begin screaming at her mother. It must have felt like forever The driver fit the description He was following orders He was not the man Make no mistake, she still has a glittering voice. Possibly it won’t shine as bright for a minute. Certainly it glittered as clear and big as it could for her mother while fear worked a crooked mess last Wednesday night. Her voice a devotional from the car’s backseat: It’s okay Mommy I’m right here with you For Philando, Diamond, and Dae’Anna I don’t want to overstate or downplay the importance of the mural we created together. The power of any piece of art is self evident and not for the creators to decide. But what I think was undeniably good about it, was it created a new point of entry (or departure?) for people who need another way to protest. It’s not an alternative, it widens the scope of the protests. It assists the marches and occupations. It heals, because we know that while marching is important, it depletes people. The mural turns protesting into an ecosystem instead of an act. —Jeremiah Bey WHAT DO WE TELL OUR CHILDREN WHEN… EDUCATION DIDN’T MATTER. COMPLIANCE DIDN’T MATTER. AGE DIDN’T MATTER. YOUR GUILT / INNOCENCE DIDN’T MATTER. OUR OUTRAGE DIDN’T MATTER. STRAIGHT UP HD EVIDENCE DIDN’T MATTER. THE TRUTH IS OUR LIVES DO MATTER. I can’t sleep. Again. My jaw hurts. The eye tic replaced with clenching my teeth— Even in sleep. Images. Flashing lights, Police in military gear In formation on I94. A swelling crowd Whose anger, pain palpable on screen. Flashback: 1960’s Civil Rights Movement Flashback: L. A Riots Flashback. Flashback. Flashback. Flashback. Last year Last month Yesterday This election season How much more can we take? All those Facebook posts Swirling in my head: I am devastated I want to DO SOMETHING…but I don’t know how I don’t know what to say I don’t know how to help Someone tell me what I need to do to help make this stop… I will answer. I will lay out the steps. I will follow the example my ancestors laid down with their battered lives I will echo what has been eloquently written, powerfully spoken, consistently shown for generations I will say it with a new twist and in less words for our short attention span. I will… But first I must unclench my jaw, Acknowledge my rage on this never-ending journey of compressing a lifetime of trauma into capsules of resilience that are easy to swallow. So give the police departments to the grandmas, they are fearless, classy and actualized. Blossomed from love. They wear what they want and say what they please. Believe that. There wouldn’t be noise citations when the grandmas ride through our streets, blasting Stevie Wonder, Nina Simone, Marvin Gaye, Alice Coltrane, Jimi Hendrix, KRS-One. All that good music. The kids gonna hula hoop to it and sell her lemonade made from heirloom pink lemons and maple syrup. The car is solar powered and carbon footprint-less, the grandmas designed the technology themselves. At night they park the cars in a circle so all can sit in them with the sun roofs down, and look at the stars, talk about astrological signs, what to plant tomorrow based on the moons mood and help you memorize Audre Lorde and James Baldwin quotes. She always looks you in the eye and acknowledges the light in you with no hesitation or fear. And grandma loves you fiercely forever. She sees the pain in our bravado, the confusion in our anger, the depth behind our coldness. Grandma know what oppression has done to our souls and is gonna change it one love temple at a time. She has no fear. ​#​ PhilandoCastile​ , may you live again… …by us saying your name even though you belong to the ancestors now. — Dameun Strange Tryenyse Jones & Chitwood Media MISSIN’ THE MARK by TRYENYSE JONES from Chitwood Media on Vimeo . Myles Mayes, 14 years old Demar Douglas Angela Davis Jonah Blue Everhart Ara Elizabeth Schmidt Alma Sheppard-Matsuo All proceeds of sales from another print by this artist benefit Black Lives Matter Minneapolis. Quito Ziegler Nikki McComb Alexander Hage Stephanie Morris Lou, Loulure Jared Hanson Deborah Saul Jenni Undis Hannabah Blue and Jolene Yazzie CStreet Suzanne van Dyck I am a white, 49 year old woman who resides in one of the wealthiest communities in the Twin Cities. I stand in solidarity with brown and black skinned people. The house I live in, the car I drive, the land my house is on were stolen from (Native Americans) and obtained on the backs of brown and black skinned people (slavery). I am the beneficiary of others’ loss (the land I live on was owned by the Dakota Sioux Tribe) and the dehumanizing enslavement of people of color. Philando Castille’s murder…I have no words. Elana Schwartzman HEADER PHOTO: BOBBY ROGERS For a comprehensive and thoughtful guide to contributing, participating, and supporting the #BlackLivesMatter movement: http://www.guante.info/2016/07/a-few-resources-links-and-readings.html Guide collected and written by Guante. I see you. I see your Facebook posts and tweets calling for racial reconciliation in light of last week’s compounding tragedies. I see your vision for unity and peace, for America to bridge the racial divide that keeps us at odds. I hear it in your preaching and in your worship. And in the articles you write, the conversations you keep, the rhetoric you speak before an aching world. To many people, your request sounds noble. Godly even. But not to me because I have watched you over these past few years. I saw you in 2014, when Eric Garner, John Crawford, Mike Brown, Ezell Ford, Tamir Rice, Tanisha Anderson were killed. And I saw you again in 2015 when Natasha McKenna, Sandra Bland and Kindra Chapman – all black women – died in police custody. That same summer, I saw you after a white supremacist executed nine black church goers in Charleston. I saw you after the fires wrecked havoc on other black churches throughout the south. I saw you after Jamar Clark. And after #PulseOrlando. And tragedy after tragedy that targets black and brown bodies – irrespective of their occupation, education, religion, sexual orientation, or income. And I saw you last week when Alton Sterling was killed in Louisiana. And after Philando Castile was killed in Falcon Heights, not five minutes from where I live. And after each tragedy, after each loss of life you said nothing. There were no posts mourning the lives of these black men and women. No sermons preached from your pulpit urging our country to do better. No think pieces critiquing structural racism and white supremacy that leads to the continuous loss of life either by the hands of a police officer or a self- appointed keeper of the law. You did not mourn. You did not speak. You were silent. And that silence spoke volumes about how much you truly value all life. During a peaceful Black Lives Matter solidarity protest in Dallas, TX, five police officers were tragically killed and many more wounded. It brought further pain to many in our nation who were already grieving Alton Sterling and Philando Castile, and who were still processing the massacre in Orlando last month. The disregard for life in our nation is both glaring and disturbing. But I saw you after Dallas. And for the first time, I heard you speak. For the first time, I saw you take a stand on something other than gay rights and abortion. I saw your tweets and your Facebook posts. I heard your sermons. I listened to your worship. And in them, I heard your call for racial reconciliation in a broken nation. Yet your call rings hollow and it cuts the soul because you refused to see the need for reconciliation when black men and women were being killed in the streets. You did not call for justice when Sikh worshippers were killed in their temple. Or when black worshippers were killed in Charleston. How I prayed that you would! You did not lift your voice demanding change when a twelve year old – yes, a twelve year old – was gunned down for being a kid. Or when Sandra Bland was profiled, arrested, and eventually killed for driving while black. Where was your grief then? Where was your godly vision of justice then? It was absent and you were silent because speaking up about these was too costly. And so now, your vision for peace and reconciliation falls short. Your calling the people to pray and mourn only after cops were killed actually stinks. For years, for years we’ve been crying out for justice and mercy – not only did you refuse to heed that call, but you demonized those who did. For every #blacklivesmatter and #nativelivesmatter tweet there was, you insisted #alllivesmatter while ignoring the plight of the very people who were protesting. You cared more about Cecil the Lion and that dang gorilla than us! But you could not see. You refused to see it then. You refused to see the value in your black and brown siblings, you refused to defend our image. You simply can’t call for peace when you can’t stand for justice. Says the LORD, in Amos 5.21 – 24: 21 “I hate, I despise your religious festivals; your assemblies are a stench to me. 22 Even though you bring me burnt offerings and grain offerings, I will not accept them. Though you bring choice fellowship offerings, I will have no regard for them. 23 Away with the noise of your songs! I will not listen to the music of your harps. 24 But let justice roll on like a river, righteousness like a never-failing stream! If your vision of reconciliation only includes those in uniform and does not extend rights and justice to Black people and does not include LGBTQ community members, and Muslims, Latinos, Asians, and Native Americans, it falls short. If you cannot see that reconciliation is more than just peace and a “kumbaya, let’s come together and go along to get along” sort a thing, it is inadequate. True reconciliation has to take into account the history of injustice that has led to the current state of affairs. It has to address the history of genocide, colonization, slavery and profiling that consistently results in the loss of resources, land, and life. If your vision does not start with this, it not only grieves me, but it grieves the Holy Spirit too. Originally posted on Ebony’s blog on intersecting faith and justice. Photos by Adam Iverson . 2016-07-30 12:44 Rita Farmer

13 [NSFW] Photographer Turns Her Subjects into Androgynous, Erotic Dolls "Pink Play," Joanna Grochowska. All images courtesy of the artist Shot inside inoffensively carpeted rooms, underneath omniscient lights, or outdoors—only God knows where—the subjects of Joanna Grochowska 's photographs are prone, posed less like living beings than the grotesque, plastic dolls of Hans Bellmer. Under the Polish photographer's provocative gaze, the body is less a thing to be admired than probed and pushed past imaginary limits. It's a process the artist calls "sophisticated mannequinization," that is, the hardening of the human form and softening of its spirit; submission at its most consensual, for how does an object object? "The Body, composed in an anonymous space, serves as an object of voyeuristic desires," writes Grochowska, "awaiting its limitless anagrammatical recompositions imposed by the imagination of the Viewer. " Her artist's statement comes with a bibliography that reads like a who's who in transgression—de Sade, Eluard, and Foucault are obvious influences—but it's the theory, backed by Bataille, Susan Sontag, Julia Kristeva, and Hanna Segal that really shines through. Her work harks back to a particularly formative experience she had when she was only nine: "Viewing Botticelli’s The Story of Nastagio degli Onesti exhibited in the Prado Museum. The series of paintings recounting a story from The Decamero n, present a scene of the hunt in the pine forest—a young, naked woman being pursued by the dogs and chased by a horseman with a sword. When the victim falls, the knight slits open her back and rips the heart out to feed his dogs. " Writes Grochowska, "The purpose is to explore the conjunction between the play of pain and the phenomena of beauty. " Find that pressure point—and more—in the photographs below: "Foiling Olga" "The Serpent" "The Sublime Corner" "Fake Nurse" "Caroline Collared on her Face" "Plant Boredom" "The Girl Next Door" Click here to see more from Joanna Grochowska. Related: Meet the Artist Duo Using the Human Body as an Exhibition Space Literally Fuck the World Inside the 'Ecosexual Bathhouse' [NSFW] Jonathan Leder's New Polaroids of Powerful Women 2016-07-30 12:05 Emerson Rosenthal

14 Artists Flex Their Curating Chops in Massive Warehouse Show TOO MUCH OF A GOOD THING, installation view, 2016. All photos courtesy the artist and Basilica Hudson The artist-as-curator is a longstanding tradition that cuts out the middleman to bring an exhibition to its bare essentials: artists working with other artists while showing art. Dylan Kraus and Rose Salane, two young artists recently emerging from the depths of art school, take on the role of curators in the show TOO MUCH OF A GOOD THING , exhibited at nonprofit art center, Basilica Hudson. The curating artist duo took the expansive industrial space on the bank of the Hudson River and filled it with artists who have affected their lives on some level. TOO MUCH OF A GOOD THING, installation view, 2016 “Dylan and I wanted to bring artists that have both influenced our practice and have been in our lives for reasons that extend beyond art,” Salane explains to The Creators Project. “The theme of the show has to do with principals we see in people’s works. I’m interested in art as it relates to the entire history of art and humanity, beginning with cave paintings all the way up to internet memes,” elaborates Kraus. Ry Fyan TOO MUCH OF A GOOD THING is unrestrained yet calm. The works of each artist, ranging from Ry Fyan ’s gentrification-condemning wall works, to William Stone’s lamps embedded with hieroglyphics, occupy their own territories throughout the enormous space, allowing for an individual contemplation somewhat unusual for a group exhibition. Taking a step backwards reveals a mass of works that feel almost akin to a graduating MFA class: disparately focused entities that come together with the shared end goal of condensing culture into a series of objects. These are not individual works finding different ways to say the same thing, but a cultural snapshot-at-large. William Stone Kraus, who was previously the artist-in-residence at Basilica Hudson , is no stranger to assuming the artist-as-curator role, having curated In Bloom , a group show in a defunct LES storefront, early last year. “I think curating is a great exercise. The artworks become part of a larger work; curating a show presents the opportunity to see beyond single works,” Kraus tells us. “One is searching for connections between things rather than just what they are in and of themselves. Curating is like writing a poem with works of art.” Tauba Auerbach Salane feels similarly: “I think we ultimately learn so much about what each piece means; its strengths and weaknesses in a space, how the dots connect through works that were never made with the intention to be shown together. When artists are curating you can feel the spirit more because there is a lot of weight taken off from the ego of curating. It feels like a huge dinner party where everyone has brought their own meal and traded it with someone they are sitting in front of.” TOO MUCH OF A GOOD THING, installation view, 2016 TOO MUCH OF A GOOD THING ended its two-week run on July 9th, but more information on the show can be found here. Related: Let These Rorschach Clocks Bend Your Notions of Time 27 Artists Invaded a Hamptons Barn, And This Is What Happened 29 Artists Explore Abstractions of the Color Black 2016-07-30 12:00 Andrew Nunes

15 Superheroic History Comes Alive in a New Comic Book Exhibition Jason Garcia, Tewa peoples, American (1973–) Tewa Tales of Suspense, no. 4: Behold, Po’Pay!, 2014. Serigraph, 11 3/4 x 8 1/2 in. All images courtesy of UIMA School Programs Collections Comic heros crackle off the page in an exhibit designed to educate the youth about the history of panel and speech-bubble storytelling. The University of Iowa Museum of Art showcases a series of comics and graphic novels that encompases several eras of comic book history. Featuring the familiar faces of superheroes, as well as more wry pop culture cartoons, the form of a comic strip has gone through many stages of evolution and reinvention. In an effort to recompense the presence of a water-damaged building in 2008, the museum administration hoped to rally the community through an art education program surrounding, as well as encourage youth engagement. The Curator of Education and Silver Linings: Comics and Graphic Novels , Dale William Fisher, spoke to The Creators Project about the unique dimensions of the exhibit: “The artwork in the UIMA School Programs Collections show a wide range of subjects from short- and long- form stories, superheroes, and historical figures. Works include The Avengers , Batman , Captain America , Alley Oop , Red Ryder , and Dr. Martin Luther King , as well as many contemporary works.” He also explained the relevance of both comics and graphic novels in the collection, “The basic definition of a graphic novel is that it is a series of comics in a book length form. A graphic novel can contain a single narrative (linear or nonlinear) or comprise multiple vignettes.” See some of the comics, along with their dates and creators, right here: Wyatt Rowland (American, b. 1981- , Untitled, 2015, pen and ink Jessica Abel (American, 1969–), Artbabe, vol. 2, no. 1, As I Live and Breathe, pg. 4, Fantagraphics Books, 1997. Pencil, ink, paper, 17 x 12 in Matt Madden (American, 1968–),Odds Off, pg. 117, Highwater Books, 2000, Pencil, ink, paper, 14 1/4 x 11 in Jeff Lemire (Canadian, 1976– ), Tales from the Farm, pg. 41, Top Shelf Productions, 2007, Pencil, ink, paint, paper, 22 x 15 in UIMA’s exhibit Comics and Graphic Novels shows until September 30 in Iowa CIty. Learn more about the exhibit and the UIMA education initiatives here. Related: Buffy, Merry Men, Dark Horse Presents, and Faith: This Week in Comics #27 Dissecting the Classic 9-Panel Grid in Comics Street Artist Conzo Throb Illustrates Stella’s "BURN" Music Video [Premiere] 2016-07-30 11:55 Diana Shi

16 A Word Game Hides Within This Surreal Quasi- Museum All GIFs via Sparse and chilling, the plasticine-like structures in Mondegreen , a short video, causes a viewer to draw in a sharp breath at the sight of towering and sometimes moving installations. An opening clarifying phrase explains the odd-sounding title: A “mondegreen” is defined as “a misunderstood or misinterpreted word or phrase resulting from mishearing. " The video is the original idea and creation of Found Studio and Esteban Diácono. From beginning to end, Mondegreen is visually-inclusive, slowly bringing the viewer’s POV from behind one wall to the next, giving the impression that every new chamber is an individual piece in a larger puzzle. A caveat to the video is what each sculpture represents; as noted in the video description, each realistically-rendered structure is made to correspond with a word which rhymes with “found.” After watching the video, we were able to spot representations of “wound,” “hound,” and “drowned.” See how far you can get, while simultaneously enjoying the uberly dreamy score by Echoic Audio : Find more visually interesting works from Found Studio on their Vimeo page, here . Related: Architectural Renderings Form Dreamy Getaways in ‘Sun Lounger’ [Premiere] A Surreal World Evokes Ai Weiwei’s Sculptures This VFX Reel Takes You From Early to Final CGI Renderings 2016-07-30 11:50 Diana Shi

17 If Jeff Koons Collaged Internet Porn, It Might Look Something Like This Aline Alagem, Day Dreaming (white painting) (2016). All images courtesy of the artist. Surrounded by elegant white swans and crystal-clear cascades of water, a porn actor engaging with a fellow actor doesn’t seem so sleazy. This is the beauty of Israeli artist Aline Alagem’s newest series, Skin, Tone , created in the first half of 2016 during a six-month residency at Künstlerhaus Bethanien in Berlin. The multimedia artist’s paintings appropriate images from mainstream porn and erotica and juxtapose them against imagery of flora and fauna, creating compositions that can potentially be called Pop art’s third wave. Literally meaning “artist house,” Künstlerhaus Bethanien is dedicated to supporting contemporary art by providing studio space to artists working in a wide range of media, as well as exhibiting their works. A goal of the Kreuzberg-located institution is also to encourage dialogue between artists working in different media, and besides large-scale paintings, Alagem also works in video animation. “Being a resident artist at the Bethanien allowed me to have less boundaries in my work process. Having a very clear, autonomous territory that, for me, is target oriented with no distractions,” she tells The Creators Project, explaining that the live/work space allowed her increased freedom and flexibility. Still Life (2016) Alagem’s paintings hark back to the sensual Pop art of Tom Wesselmann 's Great American Nudes , in which the artist reduced nude female forms into their basic shapes, in other words, objectifying them. In fact, in her show at Künstlerhaus Bethanien, Alagem showed a hanging sculpture of a disembodied mouth, similar to mouth studies by Wesselmann. Alagem’s work also has obvious visual connections to certain brightly-colored, large- scale, neo-Pop paintings by Jeff Koons, like abstracted versions of his Made in Heaven paintings, sharing the same attention to color and light as certain paintings in his Celebration series. Bringing the aesthetics of Pop art into 2016, and doing so with a female gaze, Alagem’s objectification of the female body reads slightly differently, not to mention the fact that they’re not studies of women’s bodies, but examinations of wide-spread cultural imagery. Rather than Pop artists of the past, Alagem tells us her artistic inspirations lie more among the likes of artist Betty Tompkins , who paints blown-up, zoomed-in, hyper-realistic pictures of genitals (link NSFW, duh) participating in sex acts. The late-18th century French Romantic painter Théodore Géricault inspires the arist's compositional approach, as well as the hyperealism of the “elegant, neurotic, detailed scenes” of Swiss painter Franz Gertsch. Altogether, these influences collide to create surreal, visually stimulating painterly collages. Some of Alagem’s imagery is staged; for example, she painted pieces of a broken vase based on a real one, which she smashed and photographed herself. But for her pornographci pictures, it’s important for the artist that the body parts are appropriated found images, and not imagined or manipulated bodies. “It's pretty extreme that I have to look for the exact body part that would fit the composition in my head,” she says. “It takes so much time and in the process I become a consumer of these images myself.” Landscape (2016) As is the case for many young, contemporary formalist artists—particularly those working in Berlin—behind Alagem’s beautiful painting series is a complex theoretical concept. While visually, the paintings in Skin, Tone are lush, fragmented human and animal forms overloaded into one composition, the artist is interested in the concept of the "void. " According to her artist statement , Alagem is thinking about the gap between her images’ original contexts and the decontextualized meanings they assume when morphed by the painter’s hand. Like the endless number of images we scroll past every day on social media or through advertisements, she is interested in “the desperate attempt to accommodate images that have already lost their source,” creating what she calls a “too-much-yet-never- enough restless sensation... [one of] constant and emptied climax.” When viewing Skin, Tone , it is hard to think about anything but the striking beauty of these tessellated pictures. Even if modern attention spans are constantly tempted with hundreds of images, artistic expressions like this exhibit create a new, captivating reality. Red Painting (2015) See more of Aline Alagem’s work on her website . Related: NSFW: Marilyn Minter and Betty Tompkins on Censorship, Art, and Being Embraced by Millennials Porn-on-Porn Photos and A Scuba Diver Shock Viewers at New Berlin Exhibit Murakami Protégé Mr. Invites You into the Dark Depths of Neo-Pop 2016-07-30 11:45 Alyssa Buffenstein

18 Hands-On: As a Video Game, Sign Language Becomes Something You Can Hack Screencap via Sign languages are incredibly expressive and beautiful, but unfortunately remain insular, as the majority of the world’s population is neither versed in nor willing to learn its unique means of communication. Israeli design student Yael Weiser hopes to change this with new app, SIGNS , which teaches users sign language through games and animations. Weiser tells The Creators Project that SIGNS is her graduation project at Israel’s Bezalel Academy of Design. Her goal is to make sign languages, in different dialects, appealing and accessible to a much wider audience. “I’ve always found the world of sign language beautiful and fascinating, but when I tried to learn it, I found that it wasn’t accessible enough, and I couldn’t find a learning tool that motivated me,” Weiser says. “Through this project, I tried to create a visual identity that shows sign language as I see it—creative, intriguing and fun to learn. I was looking to create a different learning experience with gamification and animations.” The games and animations, created by Weiser with help from Asaf Mendelovich, are clean, minimal and visually appealing. The stylized photography by Weiser, Avi Naim, Dan Deutsch and Tomer Zmora also lends the app an attractive air, which should keep things interesting for users as well. See in action below: Click here to see more design work by Yael Weiser, and here to learn more about SIGNS. Related: Interactive Installation Turns Hand Gestures Into GIFs Hands That Talk: Virtual Reality Gloves Can Translate Sign Language into Spoken Words Control A Virtual Orchestra With Just The Flick Of Your Wrist 2016-07-30 11:40 DJ Pangburn

19 Sonorous Metal Shapes Ring an Ode to Eternal Life GIF via When you first watch Eternity , there is the feeling as if you are in a magnetic world, situated inside a perpetual motion machine but picking up the sonic repercussions of each metal element slicing through the air. The video's main conceit focuses on “eternal life”—quite a large narrative to set in motion, take it that the majority of the video features the movement of slim metallic rings, constantly curving and rotating. The short video's creator, Ihsu Yoo, who collaborated with London-based audio studio, Box of Toys , as well as Giant Step , a consultancy firm for creatives, shares with The Creators Project that Eternity “contains religious context about after life, the life without the flesh.” It meditates on a elements of faith and theories of afterlife, Yoo describing the flow of the video’s symbolism as such: “The metal rings that appear in the beginning are representation of people that are stuck in void of darkness where they [are] dark, inactive and seemingly dying. A triangle representing [the] Holy Trinity slowly shines on the metal rings which gives them life and vitality to escape the darkness with joyfulness.” The video's conclusion features the spectacle of the spinning rings dancing about within the illuminated space, representing what Yoo says is representative of “eternal worship of joy.” Watch Eternity in full, below: Find more works from Ihsu Yoo on his Vimeo, page, right here , and his website, here . Related: A 4K Timelapse Shows the Harmony of the Universe A Microscopic Look at the City of Lights Speed Through Hyperspace in this Mirrored Video Installation 2016-07-30 11:35 Diana Shi

20 There's Something About These Portraits of Aristocracy Two Girls with Red Noses. Oil on canvas, framed, 36 5/8 x 42 1/2 in. All images courtesy the artist and 303 Gallery Avid fans of fine art are aware that art is no laughing matter—though even the most aristocratic and prized work has an element of comedy to it. No stranger to the tool of subversion, the German visual artist Hans-Peter Feldmann makes high-brow art a little more approachable, though not necessarily “fine.” Feldmann is a conceptual artist and a former painter who did not feel his work passed muster under his own standards. A new interpretation on the 1920 Baroque portrait, Magdalena und Jan Baptist de Vos is a reflection of Feldmann’s style of using auctioned pieces and repurposing and manipulating them into new, slightly more humorous works. The series of portraits of perfectly- coiffed aristocrats and their children are shot through with a dose of whimsy via clown noses and jarring streaks of makeup, though the results are not so much shocking as they are lighthearted pranks. Even the most critical eye cannot help but chuckle at the ungainly sight of a classic piece of portraiture brought down to the humbling level of a jester act. Child with Red Nose. Oil on canvas, framed. 16 1/2 x 13 3/4 in Woman with Lipstick. Oil on canvas, framed. 29 1/2 x 24 7/8 in 4 Children with Red Noses. Oil on canvas, framed. 56 x 45 1/4 in Hans-Peter Feldmann's solo exhibit shows from September 15 to October 29, 2016 at 303 Gallery in New York. To see more from the exhibit, including more works by Feldmann, click here. Related: Watercolor Pixel Art Portraits Remix Pop Culture & Classic Paintings Studio Roso’s Palace Chandelier : Baroque Art for the 21st Century See NYC Landscapes As Pointilist-Inspired Photo Paintings 2016-07-30 11:30 Diana Shi

21 lim sungmook's modibag can be folded into multiple shapes and forms lim sungmook's modibag can be folded into multiple shapes and forms korean designer lim sungmook has developed ‘modibag’, a bag that can be transformed into many different shapes and forms. motivated by wrapping clothes and just like LEGO, users can customize it freely, depending on their taste and the objects they want to carry inside. the project started with one word: platform which encompasses infinite potential as well as bigger value. lim sungmook called it ‘modibag’, creating wordplay between ‘modify’ and ‘bag’, suiting it perfectly because of its adjustable characteristics. modifiable in size, shape, and form to embrace one’s taste, ‘modibag’ is composed of a wooden canvas covered in leather that can be weaved together to create the different configurations. designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-07-30 10:30 Lim Sungmook

22 From Dawn to Dusk: Robert Irwin’s Installation Captivates at Any Hour I traveled to West Texas to see an expansive sky, unfettered by the dense light pollution of New York City. I wanted to experience the desert landscape as sublime and profoundly revelatory, as the artist Donald Judd had in the 1970s when he decided to move to Marfa. Since then, a lot has happened in the small Texas town. The artists Michael Elmgreen and Ingar Dragset installed a faux Prada shop 26 miles northwest of Marfa, along the I- 90, with shoes and handbags from the fall 2005 collection. Beyoncé visited, and ate tacos at a food truck called Food Shark. And most recently, Jill Soloway and her crew wrapped up filming an adaptation of Chris Kraus’s acclaimed book I Love Dick for Amazon. Much of this hype can be traced back to minimalist heavyweight Donald Judd, who founded the Chinati Foundation in Marfa in 1986, and set out to support a group of (mostly male) artists making work on their own terms. Sadly, the lineup 30 years later still skews white and male, despite the Foundation’s “radical” mission, but the works themselves are sights to behold. Guests gathered on Saturday, July 23, for a communal barbeque dinner at Chinati’s Arena to celebrate the opening of Robert Irwin’s installation untitled (from dawn to dusk). Among those in attendance were the poet Eileen Myles, artist Larry Bell, and Judd’s two children, Flavin and Rainer. At some point, I slipped out to catch the sunset, and was not alone. Event attendees ventured over one block to see the newly appointed building at dusk. In Marfa, the sunset is flecked with rose and permeated by azure tones; after dark, a series of piercingly bright stars come into view. (In New York I experience the sunset as a blinding yellow light that cuts across my computer screen.) To say the experiences were different is a laughable understatement. In a 16-year span, a committed crew transformed the four-acre site — formerly a hospital building on the decommissioned military base of Fort D. A. Russell—into an emotionally resonant monument to light and space. To preserve the architectural integrity of the site and make a gestural nod to its history, Irwin maintained the area’s specific slope: as visitors walk south down the halls, the land subtly curves higher to meet the eye. Chinati’s director Jenny Moore told me that she tends to walk through the building from dark to light sides, from a “place of compression and intimacy” into a more open space. The mutability of natural light allows for profound perceptual shifts. I visited the building three times in two days, and with each visit, I was thrilled to discover a distinct, new visual effect. Irwin’s U-shaped building is divided into black-and-white hallways and lined with translucent scrims that filter the incoming light. High-polished cement floors and a neat succession of eye-level windows enable rectangular light shadows to materialize throughout the space. In the unfurnished interior, sound travels quickly and ricochets with intensity, which seems incongruous to the otherwise enveloping calm of the space. Originally, Irwin wanted to integrate colored glass panels into the hallways, but as the work evolved, he removed elements that felt superficial, such as color, arriving at a pared-down design; Moore referred to this as “the essence of [the] site.” The final configuration frames the small strip of surrounding land and vast, expansive sky like a Dutch landscape painting. In sharp contrast to the work’s austere, monochromatic interior, the inner courtyard is vibrant—teeming with Blue Grama grass and Palo Verde trees. A collection of textured basalt columns quarried in Washington state punctuate the space, and a path surrounding it encourages circumambulation—echoing the way one travels through the work’s interior. Up to this point, Irwin’s most well-known installations have largely been temporary works, like Excursus: Homage to the Square3 at Dia: Chelsea and untitled (four walls) , which was installed at Chinati in 2006. This work’s permanent nature is therefore quite significant. The artist’s sensitivity to the surrounding landscape, interest in shifting spatial relationships, and treatment of light as material align squarely with the minimalist, light and space artists who have permanent installations at Chinati. (Works by Dan Flavin, John Chamberlain, and Carl Andre also make appearances.) The installation’s sequence of windows and corresponding shadows resonates with the Icelandic artist Ingólfur Arnarsson’s untitled works (1991- 2), an installation that includes 36 graphite drawings on paper mounted diametrically opposite a row of windows. Irwin’s work also reflects Donald Judd ’s iconic 100 untitled works in mill aluminum (1982-86) , in which two of the most significant elements are the illusory potential of light, and the interplay between exterior and interior landscapes. To take in the sky, in all its vastness—which is to say, to commune with nature—one must leave New York. Irwin’s newly-minted installation and its dynamic, surrounding environment provide an extraordinary reason to do so. 2016-07-30 10:01 Anna Furman

23 Interview: Edmund Clark on the Spectacle of Terror and His IWM Show Related Events Edmund Clark: War of Terror Venues Imperial War Museum London In a year-long exhibition open until August 28, 2017, artist-photographer Edmund Clark confronts the “War of Terror,” exploring the imagery, documentation, and censorship that has colored our views of the world from 2001 onwards. In the lead-up to the exhibition, ARTINFO spoke to the artist about his extensive installations, spectacle and secrecy, and the role the color orange has played in our views of the War on Terror. They will see storms, they will see multimedia installations. They will see photographs, documents, floor plans, architectural elevations. They will see rooms covered from floor to ceiling with tiny images, and rooms covered from floor to ceiling with giant images. They will see pieces which talk about spectacle and scale; that talk about geopolitical global events, but look at those from the perspective of the personal, ordinary spaces that people live in. They will see a piece which looks at iconic images of the War on Terror from 2001 through the present day. A section which takes some of the details of images from the “Letters to Omar” series and a multimedia installation, and combines them with the audio of one American female voice reading extracts from the Camp Delta standard operating procedures which cover the minutia of daily control exercised over individuals in prison. At the same time, a male voice reads extracts from the testimony of one particular, very unofficial interrogation process he went through, which occurred on a Saturday, during which a female interrogator used her sexuality to carry out a cultural violation on an individual. That, again, is bringing the geopolitical ideas and combining them with very personal things. You have these photographic images sent from all around the world, cards from all around the world, the aesthetic choices people made, which have been made complacent in this extraordinary event which was Guantánamo Bay. Used over the individuals, who were subjects; put in relation to the individual who was subject to these forms of control. The exhibition also looks at the experience of a man living in the United Kingdom under a control order — a form of detention without trial, or house arrest without trial, based on secret evidence. It also includes a new body of work about extraordinary rendition — the process of unlawful extrajudicial transportation and interrogation of individuals in the CIA secret prison program. I think the starting point of the series, one starting point, was probably the images which came out of Guantánamo Bay — the very early images of the men in orange jumpsuits, shackled and bound and gagged. The idea that spectacle, even if it wasn't delivered by the American administration, was, in some way, appearing as a visual revenge for the imagery which had come out of 9/11, showing how people were being treated, making a virtue of the way in which they were treated, and how they were not being given any legal process. The first British detainees came back from Guantánamo and were never tried. They came back and they stayed for a night in a police station, and then went home the next day to their British homes that they had lived in and grown up in. People who continue to be associated with guilt by association, and yet were innocent people living in very ordinary British places. The work started by contacting those people. Contacting the men who had come back on being released, and going to photograph the homes in the United Kingdom that they were living in. I was very clear that I wasn't coming to interview them, to talk about their experiences or to photograph them. I wanted simply to photograph where they were living, the places where they were coming to terms with that experience, the places that they have their ordinary lives in. Some of them were prepared to be photographed, and I did photograph some of them, but I didn't use those photographs. As to concepts, there's secrecy and spectacle. I think they both exist and have existed all the way through. I think one of the things which has characterized the global War on Terror is the nature of how people are using imagery, how the spectacle is carried out on our screens. In the exhibition, the piece I have which is looking at these images through text is called “Orange Screen, War of Images.” That relates to the idea of orange through the orange jumpsuits from the first images of people arriving at Guantánamo Bay, to the images from ISIS videos and propaganda of people in orange. There is clearly a color connection. I suppose I'm raising questions about whether there is a wider connection between these uses of orange, and what that says about how spectacle is being used in what we experience in the war of images. For every spectacle, there is also secrecy. A form of secrecy is the censorship which my work is subject to, whether it is at Guantánamo — where you are not allowed to photograph certain things, where you have to agree to have photographs deleted if they show certain things — or my work with control orders, where the material I produce has to be shown to the government and CIA. Alongside the imagery of orange, we have a visual language of the black rectangle in the strikeouts and redactions. The work I have produced in the exhibition, I have produced with the curators at the museum. It's not my role to tell people what they should think about it. It's not my place to provide people with answers. What my work does, I hope, is engage them enough to see again, to want to see differently, to feel the need to find out more. To deposit and engage; to rethink, revisit some of these themes and some of the events that we have all experienced. I think it's very important that those things, those issues and experiences, those processes — which are, perhaps, outside of the conventional narrative of conflict but are a very important part of contemporary conflict — have a place in a national museum, and therefore a place in the national consciousness. I think part of what I do as an artist is trying to bring these unseen, unthought-of processes and experiences and sites to thought. I make them visible. To have that in an institution like this, I think, is incredibly important. 2016-07-30 09:23 Samuel Spencer

24 The Week in Art: Lia Chavez’s Stunning Light Performance and the LongHouse Gala Though it may seem that Armory Week and Frieze Week get all the action, the reality is that there is never a dull moment in the New York art world. From the East Side to the West Side (and, in the summer, out on Long Island’s East End), there’s always something happening at the city’s museums, galleries, and various event spaces. This week was no exception. LongHouse Serious Moonlight Party at LongHouse Reserve, East Hampton LongHouse Reserve took its “Serious Moonlight” theme seriously at its annual summer gala on July 23, instructing guests, who included child actor Fred Savage, media mogul Martha Stewart, and artists Eric Fischl , Cindy Sherman , and Alice Aycock , to dress in “night sky and silver” and be prepared for “interstellar garden happenings.” After performances from contemporary classical music composer Nico Muhly and dancers from NYU, led by Em Watson, the LongHouse Creative Scholarship award winner, attendees enjoyed dinner, with a menu composed by acclaimed California chef Alice Waters. A techno-infused David Bowie tribute from Nona Hendryx, followed by dancing to the tunes of DJ Donna D’Cruz, rounded out the festivities. NADA Summer BBQ at the Abrons Arts Center Dozens of art dealers gathered in the Abrons courtyard on New York’s Lower East Side on July 27 at a barbecue thrown by the New Art Dealers Alliance , which organizes the NADA art fairs in New York and Miami. Despite heat and humidity, gallerists like Bridget Donahue (one of artnet News’ Most Respected US Contemporary Art Dealers of 2015 ), Bill Powers, Gabrielle Giattino, Photios Giovanis, and many more came together for pulled-pork sandwiches and cocktails under the shade of some merciful trees. Lia Chavez’s performance of “Light Body” at the farm of Isabella Rossellini, July 23, 2016 Part of the draw to Lia Chavez’s performance the evening of July 23 was the location: The site-specific work was commissioned by actress Isabella Rossellini as the first of “a summer series showcasing some of today’s most celebrated contemporary artists” taking place at the Blue Velvet star’s Long Island farm. But the performance itself was more than worth the trip, as Chavez herself and two dancers (Troy Ogilvie and Djassi daCosta Johnson) moved through the woods in a dream-like choreography that involved whirling wands studded with multicolored lights. Designer Mary Katrantzou was responsible for the costumes, making for a truly enchanted evening. B&O Play Launches the Future Series at Aska, Brooklyn Actress Zoe Kravitz, singer Okay Kaya, artist Cleo Wade , and JiaJia Fei , director of digital of New York’s Jewish Museum , headed to Brooklyn on July 23 as headphone producers B&O Play unveiled their new arts intiative, the Future Series. B&O is partnering on the new project with Greenpoint, Brooklyn, design center A/D/O. Brooklyn-based artist Jason Krugman ‘s LED artwork, which will be included in the Future Series’ first project, a three-part performance and exhibition series called “THE NEW WAVE,” served as a backdrop for the evening, along with a custom soundscape by Kris Bowers. The night’s highlight was an 11-course dinner from Michelin-starred chef Fredrik Berselius, who will soon debut the Brooklyn outpost of his restaurant Aska. Additional reporting by Ben Davis and Brian Boucher. 2016-07-30 07:01 Sarah Cascone

25 haruka misawa forms paper flowers from 'pencil' shavings japanese designer haruka misawa reproduces the delicate forms of a flower through the simple act of sharpening a pencil. curled up in a ring-like crown, the fragile paper objects assume the shape of tiny floral petals, with colorful details radiating from within the cylindrical form. misawa first created a series of custom, pencil-like forms using layers of tightly-rolled tinted paper. on printed biotope ga-fs with a color gradation, misawa applied paste to the surface of each sheet and wrapped it around a core, forming a tube-like shape. finally, the designer — using an ordinary stationary tool — carefully sharpened the paper rods to create thin, spiraling sheets, whose delicate materiality resembles floral blooms. while these ‘pencil’ shavings measure between 15-40 millimeters in diameter, a close look reveals a sense of the textural properties of the individual paper sheets. ‘depending on how you sharpen it, the shavings may be thick and heavy, or so thin as to be almost transparent,’ the designer describes. ‘you can’t make the same flower twice. once you’ve created one, you’re bound to try again.’ 2016-07-30 06:15 Nina Azzarello

26 Bortolami Pushes Art Beyond NY and LA Related Venues Bortolami Gallery Artists Eric Wesley Daniel Buren Barbara Kasten Tom Burr Last December, Bortolami Gallery launched the project “Artist/City,” in which it helps artists from its stable install artworks in nontraditional spaces across the country for a year. So far the project has spawned two installations: Daniel Buren’s in Miami and Eric Wesley’s in St. Louis. Two more are on the way: Barbara Kasten’s in Chicago and Tom Burr’s in New Haven. The gallery’s goal is not to establish “permanent satellite locations throughout the country,” said Emma Fernberger, the Bortolami associate director who runs the program, but rather to experiment with exhibition techniques while expanding the art world beyond of the two coasts. “People from New York and LA have the tendency to be self-absorbed, because there’s so much emphasis on those two cities at the moment. But there’s the whole rest of the country where there’s still exciting things happening. There are many different art worlds. It’s great to get to know other places, see other things, and meet new people — expand our community.” The project has no set model. The artists are given free rein to find locations and use them as they choose. “Each of these projects has its own syntax,” said Fernberger. “For each there’s a process of discovering what that is.” Wesley has occupied an old Taco Bell in Cahokia, Illinois. The building, which he has named the Bell, is “replete with ersatz Spanish Colonial architecture,” according to the press release. The artist has taken a “cumulative approach” to the project: Throughout the year, he has continued to add components to the installation, hanging artworks in the gutted interior, planting a garden in the front of the building, and erecting sculptures on the roof. The Bell will also host “happenings” involving the local community throughout the year. Buren, the first artist to participate in Artist/City project, has taken a more traditional approach, occupying an event space near downtown Miami where he has curated and installed exhibitions of his own work. For Burr, the project has brought him home, in a sense. Burr is in the process of selecting a space in New Haven, Connecticut, where he was born and raised (his father was a dean at Yale). He also has a longstanding interest in Brutalist architecture, of which New Haven has some of the country’s most important examples. The artist is still planning the programming, but according to Fernberger, his installation in the space will likely be additive, evolving over time. Kasten is working with the gallery to secure a space in Chicago, which she chose in order to strengthen her connection to the Bauhaus, a huge influence on her work. (She was also born in Chicago.) To document the evolution of the program, Bortolami has established Tumblrs for each project. Those for the first two, featuring candid photos, proper installation shots, artist-shot video, sketches, and more, can be found here. The future of the project is still sketchy, but there are no plans to slow down. Fernberger is working with other Bortolami artists on securing new locations for new projects. “It’s been an incredibly rewarding experience,” she said. “It’s nice to be able to go and meet people in their own city, on their own terms. People appreciate you taking the time to get to know their city. They’re proud of their local institutions.” 2016-07-30 03:00 Taylor Dafoe

27 ventricle installations by SOFTlab at festival of love iridescent ventricle installations by SOFTlab at festival of love in london NYC-based SOFTlab presents ‘ventricle’, a two-part installation commissioned for london’s festival of love by the southbank centre. consisting of massive, light-weight aluminum structures and 3M solar-mirror film, pieces are located in double-height spaces on either side of the royal festival hall. one installation hung above main entrance in double-height space images © SOFTlab ‘ventricle’ is a stylized, physical representation of love. intertwining tubular structures serve as the heart’s chambers, while the choice of mounting is drawn from the hanging gardens of babylon, and the garden of eden. clad in 3M’s solar-mirror film, incoming light refracts, creating a diverse iridescent color range visible in-and-outside the building. like its culturally diverse setting, ‘ventricle’ is a reflection upon the power of societal collaboration, and the ability of love to surpass differences. both pieces are located inside the royal festival hall, centrally located in the southbank centre designed by SOFTlab, forms were crafted by software for optimal hanging. thousands of pieces of laser-cut aluminum pieces compose the structure, with 3M cladding to provide color. ‘ventricle’ is currently viewable at location at the southbank centre in london. the festival of love brings together music, art, dance, and performance and continues until monday, august 29th, 2016. made of precisely-cut aluminum, pieces have laser-cut detailing that accommodates 3M solar-mirror film each piece converges into a number of circular tubes that hang at various heights in the space below both installations consist of an intertwining surface that frames clear and semi-transparent views form allows light to hit at a many angles, causing 3M solar-mirror film to reflect an iridescent spectrum a wide color range represents diversity, structure represents the heart’s inner chambers — a symbol of love designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-07-30 02:30 www.designboom

Total 27 articles. Created at 2016-07-31 00:01