Announcement

64 articles, 2016-07-29 12:00 1 Yanyan Huang at Tomorrow, New York Installation view of "Yanyan Huang: Giardino del Tempo," 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND

(1.04/2) TOMORROWPictures at an Exhibition 2016-07-28 18:01 2KB www.artnews.com 2 Ireland’s Biennial Announces Inti Guerrero as Curator for 2018 Edition Inti Guerrero, currently curator of Latin American Art at London's (1.02/2) Tate, will select artists through an open call for the 2018 biennial. 2016-07-29 04:09 3KB news.artnet.com 3 Gregg Albracht, 2016 Spotlight Artist Fine art photographer Gregg Albracht's passion for photography started in the summer of 1969 when he saw a portfolio of fine art photos. "I was mesmerized by their richness and beauty," Albracht (0.02/2) says. "It was in that moment that photography took a hold of me and... 2016-07-29 12:00 1KB artexponewyork.com 4 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 Saturday at Artexpo marked the show's busiest day yet, drawing (0.01/2) thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for... 2016-07-29 12:00 1KB artexponewyork.com 5 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 (0.01/2) stores.’”[1] ―Phyllis Johnson It was while attending th... 2016-07-29 11:56 891Bytes blogs.walkerart.org 6 Close-Up: The Walker Remembers Abbas Kiarostami — Crosscuts — Walker Art Center Martin Scorsese once praised Abbas Kiarostami as representing 2016-07-29 11:56 757Bytes blogs.walkerart.org (0.01/2) 7 Datebook: Lok Kerk Hwang at ION Art Gallery Singapore As part of “SouthEastAsiaS.pE. A.k,” Lok Kerk Hwang will present his (0.01/2) collection “The Magic of Light II” at ION Art Gallery from August 5-14. 2016-07-29 01:18 1KB www.blouinartinfo.com

8 DAY 2 AT ARTEXPO: SPECIAL KEYNOTE, LIVE ART DEMOS & MORE Friday at Artexpo brought throngs of visitors through the gates of Pier 94 to see artwork from over 400 exhibitors from around the world, comprising more than 1,000 artists in total. The doors opened early for the event's Keynote Presentation by Pam Danziger, "Marketing Art... 2016-07-29 12:00 1KB artexponewyork.com 9 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... 2016-07-29 12:00 2KB artexponewyork.com 10 From Startup to Industry Star: Litsa Spanos, President and Owner of Art Design Consultants Founded in 1992, ADC, Art Design Consultants, Inc. has grown from a one-woman operation started in a 500-square-foot basement to a successful multi-team-member venture running in a gorgeous gallery space with stunning views. The woman who made it all happen... 2016-07-29 12:00 4KB artexponewyork.com 11 AENY 2016 – Art Talks & Seminars Planning your trip to the show? Be sure to attend one of our Art Talks or Seminars! Here are some highlights from our Education Schedule. For the full schedule click here. THURSDAY, April 14th 1pm-2pm | A Cautionary Tale: Protecting Your Artwork... 2016-07-29 12:00 3KB artexponewyork.com 12 360 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... 2016-07-29 10:41 897Bytes blogs.walkerart.org 13 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... 2016-07-29 10:41 1KB blogs.walkerart.org

14 vagelos education center in NY by diller scofidio + renfro the vagelos education center is a medical and graduate education building at new york’s columbia university medical center. 2016-07-29 10:02 3KB www.designboom.com 15 xl muse ripple hotel in qiandao lake, china the project is derived from a fully ecological design sense that integrates local materials, textures, fabric and ambiance. 2016-07-29 08:45 3KB www.designboom.com 16 design indaba speaker erik kessels on the importance of making errors the dutch creative's goal is to make every piece of work social-- something that can engage and become part of a community, rather than just rack up 'likes'. 2016-07-29 06:15 9KB www.designboom.com 17 brazilian artists rework classic covers in vinyl vandals in NYC each artit was given selection of an existing record cover, then asked to remix it -- in the spirit of hip-hop sampling -- to produce an entirely new work. 2016-07-29 04:05 1KB www.designboom.com 18 Kawaii’s Comedown: Japan’s Culture of Cute Sports Up Kawaii’s shift out of the pink is cut with the same sense of sportiness that is pervading the U. S. and European markets — albeit for a different rationale. 2016-07-29 04:01 8KB wwd.com 19 Four Major London Institutions Renew BP Sponsorship as Activists Vow to Escalate Protests Campaigners from the Art Not Oil coalition have condemned the decision of four UK arts institutions to renew their BP sponsorship deals. 2016-07-29 03:55 4KB news.artnet.com 20 Datebook: Mehmet Ali Uysal at Galerie Paris-Beijing “Concrete Solutions” will be showcased at Galerie Paris-Beijing from September 8 to October 29, featuring Turkish artist Mehmet Ali Uysal. 2016-07-29 03:26 1KB www.blouinartinfo.com

21 Experience the Cosmos at Mori Art Museum This summer, Mori Art Museum will attempt to answer the ultimate question of life, the universe, and everything in a comprehensive exhibition. 2016-07-29 03:20 3KB www.blouinartinfo.com 22 Hillary Clinton Shows Her True Colors in Historic DNC Acceptance Speech As the first woman to be nominated by a major party to run for president, Hillary Clinton addressed a global audience with her signature style. 2016-07-29 02:34 3KB wwd.com 23 Not That Different: Yung Ma on Bringing East and West Closer at Centre Pompidou A month after Yung Ma’s appointment as a curator at Centre Pompidou, ARTINFO caught up with him to find out why he left M+, his first upcoming program, and the challenges of collection building. 2016-07-29 02:21 5KB www.blouinartinfo.com 24 AZPML proposes masterplan for sejong national museum the future museum by AZPML will be embedded into the landscape in hopes to become a major attraction in the korean city. 2016-07-29 02:15 2KB www.designboom.com 25 T Galleria Fall Campaign Stars Tory Burch, Influencers The ads also feature the likes of French music producer Caroline de Maigret and blogger Susie Bubble. 2016-07-29 01:00 1KB wwd.com 26 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... 2016-07-29 00:45 14KB www.pollenmidwest.org 27 nimble by version 22 places a convenient blade at your fingertips utilizing a tiny ceramic blade, 'nimble' can slice through tough materials, but is safe to human skin, effectively removing accidents. 2016-07-29 00:15 1KB www.designboom.com 28 White Cube’s Laura Zhou on Abstraction and Chinese Contemporary Art White Cube’s Laura Zhou on Abstraction and Chinese Contemporary Art 2016-07-28 23:37 3KB www.blouinartinfo.com 29 Tehching Hsieh to Represent Taiwan at Venice Biennale 2017 The Taipei Fine Arts Museum (TFAM) has announced Tehching Hsieh as the sole artist representing Taiwan at the 57th International Art Exhibition, Venice Biennale 2017 2016-07-28 23:32 1KB www.blouinartinfo.com 30 Ralph Lauren Changes Spring 2016 Runway Show Time and Date He’s moving from the morning to the late show. 2016-07-28 23:26 1KB wwd.com 31 Elie Top Shows Jewelry at Maxfield in L. A., Post-Lanvin Paris-based jewelry designer Elie Top shows his latest collection at Maxfield in Los Angeles and talks designing post-Lanvin on his first West Coast trip. 2016-07-28 23:17 3KB wwd.com 32 real-life LEGO will ruin your merry memories of building blocks tested has created this real-life lego with yellow, skin-like texture, giant claw-shaped hands, and black beady eyes. 2016-07-28 23:06 1KB www.designboom.com 33 Google Ad Revenues Jump 19 percent Google saw its advertising revenues increase to $19.14 billion in the second quarter. 2016-07-28 22:53 2KB wwd.com 34 laura bin portrays dynamic between earth + fire in rising balance candleholder as the candle burns, it becomes lighter, allowing for a circular movement that brings the stone downwards. 2016-07-28 21:01 1KB www.designboom.com 35 The Artist with No Medium | City of the Seekers Michael Dee is the living embodiment of what happens when you switch majors from aerospace technology to art. 2016-07-28 19:40 5KB thecreatorsproject.vice.com 36 museum of london appoints stanton williams + asif khan the museum of london has selected stanton williams and asif khan to design its new institution at west smithfield. 2016-07-28 19:35 3KB www.designboom.com

37 Graffiti Queen Lady Pink Still Reigns Supreme Lady Pink’s new exhibit is full of magic, supernatural women, and classic New York grit. 2016-07-28 19:10 5KB thecreatorsproject.vice.com 38 Is Cara Delevingne Engaged? It appears as if Cara Delevingne and St. Vincent may be taking the next step in their relationship. 2016-07-28 18:44 2KB wwd.com 39 Code Your Way to Woven Photographs Discover a whole new way to knit—using computer algorithms. 2016-07-28 18:30 2KB thecreatorsproject.vice.com 40 Sotheby’s to Auction the Steven and Ann Ames Collection—Guaranteed Above $100 M.— During the November Sales Gerhard Richter, A. B., Still, 1986. COURTESY SOTHEBY'S Sotheby's has announced that it has secured one of the major estates to be auctioned in November during 2016-07-28 18:30 4KB www.artnews.com 41 ME dinner set by moak and emma eijkeren combines dutch and colombian design 'ME dinner set' is a selection of food containers created by moak and emma eijkeren, which can be assembled to form a portable carryall. 2016-07-28 18:25 2KB www.designboom.com 42 The 10th edition of SP-Arte/Foto in São Paulo The fair hosts an eclectic mix of works exemplifying the diverse platforms enabling photography to develop as a medium open to engaging with other forms of creative expression. 2016-07-28 17:57 3KB www.blouinartinfo.com 43 Right Before a Leap: ‘Philip Guston: Painter, 1957–1967’ at Hauser & Wirth in New York Is a Stunner Through July 29 2016-07-28 17:48 4KB www.artnews.com 44 Datebook: Hans-Peter Feldmann’s New Work at 303 Gallery, New York The seventh solo exhibition of German artist Hans-Peter Feldmann will run at 303 Gallery, New York from September 15 through October 29. 2016-07-28 17:34 1KB www.blouinartinfo.com

45 renzo piano + alvisi kirimoto set sails in sardinia renzo piano and alvisi kirimoto + partners have added a vibrant and ever-changing installation to the rustic piazza faber in sardinia. 2016-07-28 17:15 3KB www.designboom.com 46 Meet 'Slumpie,' the Sculpture That Snuggles You While You Text Jillian Mayer’s Wifi-emitting soft sculptures comfortably support your body while you obsessively use your smartphone. 2016-07-28 16:15 4KB thecreatorsproject.vice.com 47 Anderson Ranch, Where Art Stars and Just Plain Artists Play on a Level Field Welcome to Anderson Ranch, the Aspen institution that, for 50 years, has brought together every kind of artist—amateur or professional, formally educated or not. 2016-07-28 16:02 7KB www.blouinartinfo.com 48 Last Chance: 'See sun, and think shadow’ at Gladstone Gallery The pieces in the exhibition exploit the tension between an object or idea and the counterpoint that delineates it. And they do so with a great deal of subtle humor. 2016-07-28 15:59 4KB www.blouinartinfo.com 49 Dark Political Cartoons Show How Technology Is Our New Master Pawel Kuczynski's drawing has resonated with millions who are starting to feel Poké-fatigue. 2016-07-28 15:50 3KB thecreatorsproject.vice.com 50 Gorgeous CGI Paint Swirls in Mesmerizing Animations Ari Weinkle celebrates artistic mediums in his strange and beautiful 'Paintwaves' animations. 2016-07-28 15:30 2KB thecreatorsproject.vice.com 51 Tom Hanks to Be Honored at MoMA Film Benefit Tom Hanks. COURTESY MOMA. Tom Hanks, the Oscar-winning actor and star of Saving Private Ryan, Big, Cast Away, and many other modern classics, will be honored 2016-07-28 15:14 1KB www.artnews.com 52 A Rorschach-Worthy Fashion Line Wants to Protect You From Air Pollution Designer Nikolas Bentel designed a reactive line of clothing that changes colors in the presence of toxic pollutants. 2016-07-28 14:55 2KB thecreatorsproject.vice.com

53 Artists Flip the Script on Viral Culture with 3D GIFs Watch a recap video of Post Vision, GIPHY and Superchief Gallery collaborative exhibition of 3D art GIFs. 2016-07-28 14:40 4KB thecreatorsproject.vice.com 54 See Cate Blanchett Play 13 Roles at the Park Avenue Armory Actress Cate Blanchett takes on a baker's dozen of roles for German artist Julian Rosefeldt’s multi-channel video installation "Manifesto. " 2016-07-28 14:21 2KB news.artnet.com 55 Hidden Treasures in Greenwich Village: A Visit to the Renee & Chaim Gross Foundation The studio with wood sculptures by Chaim Gross at the Renee & Chaim Gross Foundation. COURTESY SOTHEBY'S Is there a better time than summer in the city 2016-07-28 14:14 6KB www.artnews.com 56 Review: 'The Plough and the Stars' at the National Theatre London’s National Theatre finds itself in Easter Rising-era Ireland for Sean O’Casey’s tragicomedy, which is playing at the Lyttelton Theatre from July 28 through October 22. 2016-07-28 14:10 3KB www.blouinartinfo.com 57 You Need to Be Looking at 'Pokémon Go in Syria' Put your phone down: photographer Khaled Akil places Pokémon characters in destroyed Syrian streets as a reminder for a world lost behind the screen. 2016-07-28 14:10 3KB thecreatorsproject.vice.com 58 Bacteria Genome Dresses and Judgmental Robots Probe Tech Boundaries Artificial insanity, biophysical music, and psychotic apps feature in 'The Games Europe Plays.' 2016-07-28 13:55 6KB thecreatorsproject.vice.com 59 A High Tech Enchanted Forest Awaits You teamLab’s latest interactive installation is a colorful art pilgrimage. 2016-07-28 13:30 3KB thecreatorsproject.vice.com

60 jade signature by herzog & de meuron nears completion jade signature is a beachfront tower in florida, designed by acclaimed swiss architecture firm herzog & de meuron. 2016-07-28 13:24 3KB www.designboom.com 61 19th century theatre converted into a bookstore in buenos aires francesco manzone lead the refurbishment of the 2,000 m² (21,000 ft²) performance venue, removing all of the seating and installing shelves in their place. 2016-07-28 13:20 1KB www.designboom.com 62 Street Artist Paints Giant Murals of Children Playing with Their Cities Ernest Zacharevic's improvised artworks are unique in each country he visits. 2016-07-28 13:20 2KB thecreatorsproject.vice.com 63 artnet Asks: An Interview with Min Oh Korean artist Ming Oh discusses her current exhibition, creative process, and the intersection between art and music 2016-07-28 13:06 7KB news.artnet.com 64 The Frick Collection Elects Two New Members to Board of Trustees The Frick Collection. COURTESY THE FRICK COLLECTION The Frick Collection has announced the election of two new trustees to its board: Bradford Evans and 2016-07-28 12:55 1KB www.artnews.com Articles

64 articles, 2016-07-29 12:00

1 Yanyan Huang at Tomorrow, New York (1.04/2) Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Yanyan Huang: Giardino del Tempo” is on view at Tomorrow in New York through Friday, August 5. The solo exhibition, organized with Hester’s Alex Ross, presents new work by the artist. Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW Installation view of “Yanyan Huang: Giardino del Tempo,” 2016, at Tomorrow, organized with Alex Ross. COURTESY THE ARTIST AND TOMORROW 2016-07-28 18:01 The Editors

2 Ireland’s Biennial Announces Inti Guerrero as Curator for 2018 Edition (1.02/2) Ireland’s biennial of contemporary art, EVA International, has selected Colombian curator Inti Guerrero to curate its 38th edition in 2018. Since its inception in 1977, EVA International has worked with guest curators every two years to generate a 12-week program of exhibitions and events that engages with the city and people of Limerick, where it is held. Projects for Ireland’s Biennial will be selected this year through an international open call for proposals that will be launched in September. Guerrero is currently curator of Latin American Art for the Tate in London. After studying History and Theory of Art and Architecture at the University of Los Andes in Colombia and the University of São Paulo in Brazil, Guerrero became a fellow at De Appel’s Curatorial Programme in Amsterdam. He previously served as Associate Artistic Director and Curator at TEOR/éTica, a not-for-profit art space in Costa Rica. Related: UK Government Issues First White Paper on Arts Since 1965 Guerrero has a diverse portfolio, having curated exhibitions at Tate Modern (London), Para Site (Hong Kong), the Museum of Modern Art of São Paulo- MAMSP (São Paulo), MARCO (Vigo), FRAC-Lorraine (Metz), Minsheng Musuem (Shanghai), Kadist (San Francisco), Carrillo Gil Art Museum (Mexico City), Fondazione Sandretto Re Rebaudengo (Torino), Museum of Art of Rio-MAR (Rio de Janeiro), CA2M (Madrid), among other institutions in Latin America, Europe, and Asia. His writings have also been published in Afterall , ArtNexus , Metropolis M , Nero , Manifesta Journal , and Ramona , among other publications. Guerrero will be taking over from Koyo Kouoh, who curated this year’s Biennial and was featured on artnet news’ list of game-changing female curators . Related: 16 Female Curators Shaking Things Up in 2016 Director and CEO of EVA International,Woodrow Kernohan, said in a statement to the press: “We are delighted that Inti has accepted our invitation to be the Curator of the 38th edition of EVA in 2018 and very much look forward to working with him.” Guerrero commented “I am deeply honored to have been invited to be the Curator of the 2018 edition of EVA International – Ireland’s Biennial; a groundbreaking exhibition that has contributed to reimagining internationalisms. I look forward to working with artists and the EVA team to develop the Biennial program for the city, its audiences, and continuing the dialogue with previous appointed Curators whom I hold in great regard.” The 38th edition of EVA International will open to the public on 14 April and run until 8 July, 2018. 2016-07-29 04:09 Naomi Rea

3 Gregg Albracht, 2016 Spotlight Artist (0.02/2) Fine art photographer Gregg Albracht’s passion for photography started in the summer of 1969 when he saw a portfolio of fine art photos. “I was mesmerized by their richness and beauty,” Albracht says. “It was in that moment that photography took a hold of me and I discovered what was to become my life’s work.” Starting decades ago with black-and-white images, he has evolved his craft over time and, today, uses all means of photographic technology to adapt his images for his new Dream Series. Many of Albracht’s photographs are considered a window to the west—a timeless place where human beings live in deep connection to the animals and the land. He’s not after a uniform look, which would tie his photographs together, but rather approaches each new image as if it’s the first he’s ever done. Albracht has had more than 80 shows all over the west and has won more than 25 regional and national awards. His photographs are exhibited in museum collections throughout the country including collections in Montana, Santa Fe, Nebraska, and Washington, D. C. A much-anticipated programming element of Redwood Media Group’s other art shows, the Spotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 and will continue to be a highlight at the show in future years. Gregg Albracht is one of four esteemed artists selected for this year’s Spotlight Artist Program. 2016-07-29 12:00 lmullikin

4 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 (0.01/2) Saturday at Artexpo marked the show’s busiest day yet, drawing thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for everyone. Visitors to the show were captivated by live demonstrations from artists hailing from around the globe, and enjoyed Art Talks such as “The Journey of a Working Artist” by Crista Cloutier, “Six Spheres of Success” by Michael Joseph, “Stewardship: Insuring the Legacy” by Jeannie Stanca, and a discussion with three successful artists—Tristina Dietz Elmes, Julia Carter, and Jeanne Bessette—about their respective careers. Showgoers will get one last chance today until 6 p.m. to peruse the fine art displayed at this world-renowned show. Here’s the lineup of events scheduled for Sunday. Not in New York? No worries—you’ll get an inside look at what it’s like to be at the show with our exclusive videos. Check them out here! Last but not least, make sure to check out Artexpo New York on Facebook, Twitter, and Instagram for fun tidbits throughout the show and leading up to next year. And check back soon for a full show roundup, including top sales, a full list of award winners, and more! 2016-07-29 12:00 lmullikin

5 Merce Cunningham and Aspen 5+6 (1967) — Untitled (Blog) — Walker Art Center (0.01/2) “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 […] 2016-07-29 11:56 By

6 Close-Up: The Walker Remembers Abbas Kiarostami — Crosscuts — Walker Art Center (0.01/2) 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 […] 2016-07-29 11:56 By

7 7 Datebook: Lok Kerk Hwang at ION Art Gallery Singapore (0.01/2) As part of “SouthEastAsiaS.pE. A.k,” Lok Kerk Hwang will present his collection “The Magic of Light II” at ION Art Gallery from August 5-14. Utterly Art has put together a collection that features four solo exhibitions and a small show entitled “SouthEastAsiaS.pE. A.k.” The exhibit will celebrate the 49th ASEAN Day (Association of Southeast Asian Nations) which is on 8 August. The first solo show in this program will be that of Malaysian watercolor master Lok Kerk Hwang, with the collection highlighting his iconic textures in painting, which include rusted metal, distressed wood, and rippling water. The artist employs these to create distinctive still lifes of fruit, tableware, and other everyday objects. 2016-07-29 01:18 BLOUIN ARTINFO

9 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. 2016-07-29 12:00 sdalton

10 From Startup to Industry Star: Litsa Spanos, President and Owner of Art Design Consultants Founded in 1992, ADC, Art Design Consultants, Inc. has grown from a one-woman operation started in a 500- square-foot basement to a successful multi-team- member venture running in a gorgeous gallery space with stunning views. The woman who made it all happen? Litsa Spanos. In the last 24 years, Spanos has not only built ADC to be the booming business that it is today, helping clients select the perfect artwork for their corporate or residential spaces, but she has also received several honors along the way, including the Cincinnati USA Regional Chamber of Commerce & WE Celebrate’s “Woman-Owned Business of the Year” award in 2013. The accolades couldn’t go to a more deserving person— Litsa gives back as much as she receives, supporting numerous regional non-profit organizations and causes in addition to nurturing her clientele, ADC team, and family. Always with her finger on the pulse of what’s next in the art market, Litsa provides a valuable perspective for trade buyers and artists alike. We got to talk with her about her path to success as well as her tips for those rising in the industry: What have been some of the challenges in your career, as well as some of the highlights? The challenges are similar to what all small businesses face—finding new clients or talent and then bringing everyone together in an impactful way. Highlights of my career include being named “Woman-Owned Business of the Year”; publishing a beautiful art-filled book (Blink Art Resource); landing incredible new corporate, healthcare, and residential projects; and being able to work with creative and talented people every day. Any pleasant surprises or memorable experiences on your path to success that you’d like to share? A pleasant surprise was finding our incredible location in downtown Cincinnati during the recession. It’s a light-filled, 10,000-square-foot gallery with sweeping views of the city. It beautifully showcases all types of art, from paintings and sculpture to photography and mixed media. Our clients never want to leave, and we are all inspired every day! What do you think are the most essential qualities one must have to succeed in the art world? Perseverance, the willingness to take risks, honesty, and ethics. What do you see coming up in the art market, trendwise? Many of our clients want something different, unusual, and unexpected. Artists need to think outside the box and create works that no one else has. Whether it’s a new way to print photographs or painting on unusual surfaces, think fresh, new, and exciting. Starting a conversation and creating an interesting dialogue between the buyer and seller is what makes sales happen! ADC has several exciting things coming up this year, starting with the launch of the 2016 Blink Art Resource at Artexpo New York. This stunning, image-rich guide for designers, galleries, and consultants features work from hundreds of exceptional artists in a wide variety of mediums for sourcing work with ease and efficiency. Ask Litsa about it at while you’re at the show, or check out the details at blinkartresource.com. In addition, ADC will be hosting the Artist Success Summit this June 3–4, an inspiring two- day conference and networking event that equips artists with everything they need to succeed in today’s competitive art market. For more on the Summit, visit http://adcfineart.com/success-summit-2. ADC also proudly sponsors Art Comes Alive (ACA), an annual fine art contest and exhibit that awards over $250,000 to the brightest and best artists working in North America. For more information, visit adcfineart.com/selling-artists-works. 2016-07-29 12:00 lmullikin

11 AENY 2016 – Art Talks & Seminars Planning your trip to the show? Be sure to attend one of our Art Talks or Seminars! Here are some highlights from our Education Schedule. For the full schedule click here. Award-winning photographer Doug Menuez will share his cautionary tale about taking a personal project and making it into a lasting legacy through print and exhibitions. Joining the conversation will be fine art photographer and gallery owner Michael Joseph of Artblend. In this talk, Cory Huff of The Abundant Artist will explain the difference between the ways that artists think art is sold and how artists who make a living from their work actually do it. Speaker, author, and market researcher Pamela N. Danziger is internationally recognized for her expertise on the world’s most influential consumers: affluent Americans. Join Jennifer Townsend from Larson-Juhl as she reviews the essential design elements for creating memorable rooms. As home building trends have evolved over the past few decades, home furnishings and design have kept pace. Custom frames have also adapted to relate to those changes. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of three fine art photographers. Generate sales, increase awareness, and brand your business as the premier destination for art and framing. Litsa Spanos, President of Art Design Consultants (ADC), will share creative marketing ideas that can take your art gallery to the next level. Crista Cloutier explores the journey of the artist, how one finds a voice, develops it, and uses it to create a professional career as a working artist. Cloutier uses her own background as an arts dealer, curator, publisher, writer, and artist to illustrate her message of the importance of practice, authenticity, and the coupling of tenacity with audacity. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of three artists. The “Six Spheres of Success” is a fact-proven concept in attracting art buyers and each of the elements that makes up a successful art career. The strategic plan is designed to help artist build a brand, nurture a long sustaining career, add value, and increase art sales. Get the scoop from an expert on what is needed in today’s world to protect your artwork collection. What is personal property? What is stewardship? And what is needed to protect your art investment? Stanca will answer all those questions in this informative seminar. Learn the data backup strategies, tools, and copyright protections necessary to ensure that your artwork is protected and available decades from now. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of five artists. To license or not to license—that is the question. How do you decide if licensing is right for you? In this seminar, we’ll cover where to begin in today’s fast-paced licensing world. Art is important; it challenges the status quo and leads to innovation and change. Crista Cloutier of The Working Artist encourages artists to claim their rightful role as leaders. 2016-07-29 12:00 lmullikin

12 360 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 […] 2016-07-29 10:41 By

13 13 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 […] 2016-07-29 10:41 By

14 vagelos education center in NY by diller scofidio + renfro vagelos education center by diller scofidio + renfro nears completion in new york the vagelos education center is a medical and graduate education building at new york’s columbia university medical center. the structure, designed by diller scofidio + renfro in collaboration with gensler as executive architect, forms a 100,000- square-foot, 14-storey glass tower that incorporates a range of classrooms and collaboration spaces, as well as a modern simulation center to reflect how medicine is taught and practiced in the 21st century. interior view of the cheryl and philip milstein family lobby under construction all images by nic lehoux, courtesy of diller scofidio + renfro an important part of DS+R’s design is the ‘study cascade’, a network of spaces distributed across oversized landings along an open 14-storey stair — a single, interconnected vertical space that extends from the lobby to the top of the building. these areas open onto south-facing outdoor spaces and terraces. other aspects of the building include ‘academic neighborhoods’ — groups of classrooms that can be easily be reconfigured — and a 275- seat multi-purpose auditorium. the building also integrates a range of sustainable features, including locally sourced materials, green roof technologies, and a mechanical system that minimizes energy and water use. even the façade features ceramic ‘frit’ patterns, baked onto the exterior glazing to diffuse sunlight. the vagelos education center works toward the goal of minimizing CUMC’s carbon footprint and reducing greenhouse gas emissions by 30% by 2025. exterior view at dusk of the south façade and study cascade ‘space matters for structured and informal learning,’ said elizabeth diller, founding partner at diller scofidio + renfro. ‘to support columbia’s progressive medical education program, we designed a building that will nurture collaboration. its defining feature is the study cascade — a 14-story network of vertically linked spaces in a variety of sizes, both focused and social, private and communal, indoors and out.’ the scheme will open to faculty and students on august 15, 2016 for the start of the fall term. see designboom’s previous coverage of the project here. structural engineer: leslie e. robertson associates (LERA) MEP engineer: jaros baum & bolles (JB&B) landscape architect: SCAPE/landscape architecture curtain wall consultants: buro happold consulting engineers P. C. lighting consultants: tillotson design associates acoustic / audio / visual consultants: cerami & associates, inc. building code consultants: milrose consultants, inc. elevator consultants: jenkins & huntington, inc. (JHI) graphic designers: 2×4 and gensler civil / geotechnical engineers: thornton tomasetti, weidlinger transportation practice security and IT consultants: jaros baum & bolles (JB&B) sustainability consultants: vidaris inc. foodservice consultants: cini-little international, inc. construction managers: FJ sciame construction co., inc. owners representative: group PMX 2016-07-29 10:02 Philip Stevens

15 xl muse ripple hotel in qiandao lake, china located in the qiandao lake in china and surrounded by the myriad mountains, this hotel designed by xl-muse is derived from a fully ecological sense. it integrates local materials, textures, fabrics and ambiance into its architecture by only using wood and bamboo. the furniture, which is the protagonist, was custom designed in an elegant, simple, and sensitive way creating new atmospheres that derive from the landscape. completed in just seven months by xl-muse, the architectural style is contemporary and simple, where the starting point was a pure and clean base. the white floors and the whitewashed walls straightforwardly brings out the interior and exterior dialogue. in the lobby, two leaf boats have been carved out of real wood; one of them has been suspended from the ceiling and serves as the reception desk. another key element of the design is a suspended weaved canopy made of a locally produced thin bamboo, through which the light casts shadows. two leaf boats were carved out from real wood and float in the space like in water image © hu yi-jie for each guest room, the design team aimed to recreate the moment where pebbles touch the water, embodying it in the form of the sofa and spreading around several rounds of arcs. the overall wood-and-bamboo room highlights its tranquil notion while revealing a contemporary fashion. the result is a dynamic state that is mixed and integrate with a static one. a bamboo canopy has been suspended from the ceiling image © hu yi-jie the tranquil rooms aim to portray the moment when the water hits the pebbles in a river image © hu yi-jie wood and bamboo are the principal materials on a white base image © hu yi-jie the bed has been suspended on a wood platform image © hu yi-jie trees are an element of the design and can be seen as coathangers or in the art pieces image © hu yi-jie project name: ripple hotel – qiandao lake client: union developing group of china – udc qiandao lake jinxian bay international resort design director: li xiang design team: fan chen, liu huan, tong ni-na, zheng min-ping design company: x+living (www.xl-muse.com) area: 3300 m2 location: qiandao lake, hangzhou, china rooms: 27 from design to completion: 7 months completion time: 2015.01 photographer: hu yi-jie 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. 2016-07-29 08:45 Li Xiang

16 design indaba speaker erik kessels on the importance of making errors design indaba conference speaker erik kessels on the importance of making errors design indaba 2016: as a curator of amateur photography, erik kessels has elevated images from flea-markets to galleries, finding beauty and insight in pictures that often go unnoticed. at last year’s rencontres d’arles, he printed off every single image uploaded to flickr in a 24-hour period, filling a room with an avalanche of indigenous photographs. more recently, he created the comeback campaign for the XXI triennale international exhibition di milano, where he conceived a totally ‘useless’ object that captured the imagination of the art community. his studio’s goal is to make every piece of work social, in the very origins of the word (society), something that can engage and become part of a community, rather than just rack up ‘likes’. the content is human and aims at taking risks—relevant yet irreverent communication that aims to build loyal communities and reshape mindsets while blurring the boundaries between culture, commerce, content and collaboration. designboom spoke with the dutch creative about his design methods, and the importance of making errors. designboom: could you talk about the beginnings of your agency kesselskramer? erik kessels: we started in 1996, when both johann kramer and I worked in several agencies in holland and the UK. but, when we were in london, both of our girlfriends were still in amsterdam so that was a good reason to go back. we started in amsterdam, and I think that was the time when a lot of clients were quite willing to work with people that directly make the ideas rather than with business people, where there are often interventions. we were working as creators directly with clients, which is now quite common but at that time was quite different. DB: how does your work at kesselskramer differ from your personal projects? EK: the big difference is of course you make money with the things you do in the office, hopefully, which doesn’t mean we make work for money. we have been practicing for 20 years, and all of the work that ever went out of the door I am happy with. some of it wasn’t necessarily good, but at that time it was the best we could do. for us it is very important to be independent with our ideas, and my personal work also fuels my passion in my professional work. ‘in almost every picture 11′ follows what kessels describes as ‘a wet fun adventure’ DB: how does your approach to photography differ from that of the traditional photographer? EK: my personal interest is in the photographs that other people make and how they make them. in my work as an art director and designer I work with other people’s photos. I get really frustrated sometimes on how ‘perfect’ images need to be nowadays, so I’m generally interested in the work of amateur photographers that I can find either online or at fleamarkets. amateur photographers are also willing to make a mistake as they can be very naive, in a good way. they are very intuitional, and they sometimes make really strange mistakes that some professionals can learn from. so I started to collect those kinds of images and use those mistakes that amateurs do and I started to use those in my work, and later I also started to make books of the series of photographs I had found showing certain patterns. for instance, when a man photographs his wife in the beginning he takes pictures of her very close up and very ‘in love’, but when he does it for 12 years the physical distance between them (the couple) grows, so they actually stand further away from eachother. and sometimes when he has been doing it for over 20 years, the wife is very far in the background, making her very small in the picture. so it almost like a history when you go through the images — the woman is very big and slowly she becomes smaller and smaller — which is something quite sad, but it is something you will find in peoples’ behavior with a camera and how they photograph eachother. DB: how important do you think printed photographs are in this digital age? EK: a lot of people maybe five years ago had thought, for instance, photobooks or printed materials were almost dead. you would actually see most of these things in a digital format. the funny thing is, this has totally not arrived and it’s almost like ‘over the hill’. you see now more than before, artist have books coming out that are printed into physical objects, there are more photography books than ever before because people self-publish them — like the photobook has almost taken the role of the portfolio. It’s funny because you see it in society also, for instance, people thought that cinemas would also close, but in the last few years there have been more cinema visits than before. or, for instance, music festivals are very popular nowadays and vinyl is coming back, so people have a need to have this physical and tactile object and they hark back to them. DB: as you have a strong interest in photography what made you pursue other design related fields? EK: working in the creative field I am not tied to anything in particular. I am raised as more of a graphic designer so I have a similar interest in design, photography, art — I am not tied to one specific subject. nowadays, a lot of these disciplines cross over and there is a blur between them which is really nice that we can jump from one to the other. DB: where do you think the future of photography is heading? EK: I don’t know exactly where the future of photography will go, but what I think is that nowadays many, many pictures have been taken and they are published online where you’ll see that we copy each other a lot in how we behave with the camera. also, we now see more images before lunch than somebody had seen during their whole life during the 18th century, so we live in a renaissance of imagery and there is an overload, but the most important thing for the future is the story behind the photograph. the XXI triennale international exhibition campaign invoked much curiosity with the ‘thing’ DB: can you tell us about your communication design for the XXI triennale international exhibition in milan? EK: for the triennale in milan we recently had a project where we did the communication for a new exhibition called ‘design after design’. we were asked to make a campaign which was also a work in itself that was exhibited in the exhibition as well. it was a really nice challenge they gave us and, for us, it is hugely to work for a client who also ‘teases’ you and gives us a really nice challenge to work on. we made this campaign with this ‘yellow thing’ which is totally, in a way, nothing, but also gets people interested e.g. ‘what is this?’, ’what is this exhibition?’. during that period of time in Milan you would see it everywhere and it was also a quite nice to approach an exhibition, in a mass media way. DB: your book ‘FAILED IT!’ looks at accidents and errors made by designers and amateur photographers; what interests you in mistakes and imperfections? EK: we have so many applications, computers and technology nowadays that is totally ‘perfect’ — when we use a navigation system in our car it brings us exactly to where we want to be, it makes no mistake. computers make no mistakes and the photographs that we take with the cameras on our phones are so ‘perfect’ that they sometimes need applications to mess them up again and make them look more authentic or poorer again, everything is just ‘perfect’ in a way. but this ‘perfection’ thing isn’t really the best component for work, for a creative person they really need to look for certain mistakes; or take a certain side-step; or do something wrong, so that way they can find something new and end up somewhere else. I don’t mean like ‘learning from your mistakes’ that is something different, but it is more about deliberately making a mistake in the way you do things, and that is a very nice way to enter creative thinking for coming up with new ideas. DB: what advice can the book offer to designers and creatives? EK: you should not always take yourself so serious, often I say that you have to behave like an idiot at least once a day or also, for instance, confidence; to be very confident in your work is often seen as overrated, whereas it is beneficial to not be so confident and more willing to make mistakes and have stupid ideas. an idea process is something where you need to be totally open and you need to keep an eye on the strange, stupid, or even impossible things which is something very good to do, even though society teaches us not to not do these things.creatives should be different and they must find these new ways of doing things. design indaba is a multifaceted platform committed to a better world through creativity. the south-african online publication hosts an annual festival and social impact do tank in cape town. the design indaba festival has been created by ravi naidoo in 1995, with focus on african and global creativity, through the lens of the work and ideas of leading thinkers and doers, opinion formers, trendsetters and industry experts. design indaba conference 2016 is a three-day event (february 17 – 19) in cape town and is all about illustrating how design, creativity and innovation can positively impact the world. so much more than a ‘how-to’ conference, this is a forum fueled by inspiration that breeds ideas, ingenuity and innovation. the conference is an opportunity to listen to the world’s foremost creatives, entrepreneurs and trendsetters. it’s the not-to-be-missed creative event in africa. 2016-07-29 06:15 Martin Hislop

17 brazilian artists rework classic covers in vinyl vandals in NYC ‘vinyl vandals’ brazilian edition is an upcoming exhibition that blends the worlds of music, graffiti, and vinyl collectors. a diverse range of brazilian artists were invited to the event, including: panmela castro, fernando chamareli, pia malingua, grupo OPNI, feik, graphis AR, snek ar crew jb, sérgio amorim, faip, erasmo, márcio sick, andré lopes dek SUAVE, aroe77, penabranca, siss, maiara viana, vivi cunha, viviane laprovita, J lo borges, priscilla rooxo, stran jah, and more. ‘vinyl vandals’ opens august 12th, 2016 at c’mon everybody in bed-stuy images © vinyl vandals, top work by marina ancona each participant was given selection of an existing record cover, then asked to remix it — in the spirit of hip-hop sampling — to produce an entirely new work. ‘vinyl vandals’ brazilian edition officially opens august 12th, 2016 at 7pm at c’mon everybody in bed-stuy, brooklyn, NYC. the reception will feature music from DJ’s quantic, danny akalepse, eduardo brechó, pablo77, zuzuka poderosa, and anom. 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. 2016-07-29 04:05 www.designboom

18 Kawaii’s Comedown: Japan’s Culture of Cute Sports Up More Articles By Japan’s long-standing culture of cute, known as Kawaii, is toning down its froth. The style was once entirely focused on girlish femininity: encouraging women to exude a childlike sweetness through their wardrobe, restaurant preferences, and even their tone of voice, to an often-unsettling effect. But as observed by WWD in cities including Fukuoka, Okayama, Hiroshima, Nagoya, Osaka and Tokyo, the frilly, youth-centric style is now imbued with an athletic context, proposing a stronger feminine ideal. Its recent shift out of the pink is cut with the same sense of sportiness that is pervading the U. S. and Europe — albeit for a different reason. In its truest form, Kawaii was a subculture that saw women of all ages piling on ruffled ephemera to flamboyantly express their individuality. The tradition began its rise in the Seventies with the establishment of cartoon houses like Sanrio, creator of Hello Kitty. It took a sharp commercial turn in the last decade, becoming one of Japan’s most lucrative style exports, and is reflected nationwide with cutesy characters, embellishments and sounds dotting the country’s cultural landscape. But now, countering this juvenile femininity, style-conscious teens and young women have begun layering athletic clothes into their outfits. Hair bows and knee socks may still be sold in spades, but a cool girl would no longer wear them with a petticoat and lacy backpack. Rather, the knee socks may be of the Nike soccer varietal, tucked into platform Teva sandals, worn with a tennis skirt, an ironic T-shirt, and a vaporwave holographic visor — pigtails peering out from underneath. An after-school- hours stroll through Tokyo’s Harajuku, Osaka’s Shinsaibashi, or Fukuoka’s Daimyo neighborhoods would yield glimpses of cliques in do-it- yourself athletic gear — some with panniers of neon tulle sewn onto oversize Reebok T-shirts, creating something of a free-form dress. But the Japanese are not looking to athletics for sartorial inspiration with the same exercise-induced mentality that Western consumers are. While many Americans may wear workout clothes for a tangential association to the current health craze, the Japanese do so in a reaction against the frilliness that came before. TOKYO Emanuel Hoodie #labrat#2016aw A photo posted by @labrat_tokyo on May 18, 2016 at 9:10pm PDT “I don’t think it’s to appear to be healthy, it’s purely a style statement,” Tokyo-based French fashion designer Julien David said of activewear’s rise in the country. “The biggest shift in Kawaii is that it’s less creepy than it used to be,” said fashion designer Anne Ishii, a co-founder of label Massive Gay who splits her time between New York and Tokyo. “It used to be cuteness predicated on youth, and now it’s just cute.” Said model, photographer and avid Japanophile Marcel Castenmiller: “The [original Kawaii] generation is growing up — you can’t dress like that and have kids. The generation has been fading out and the new generation isn’t interested [in Kawaii] as much — a lot of people are creeped out by it.” When layered with tulle, handkerchiefs and hair clips, these new athletic clothes act as a balancing act — toning down the froth and expressing a new, stronger feminine ideal that in many ways mimics the sense of entrepreneurialism and independence rising amongst Japanese women. According to data mined by Japan’s largest crowdfunding company, ReadyFor?, the number of entrepreneurial and nonprofit projects uploaded to the site by women has spiked by 50 percent in the last year. According to fashion consultant, floral designer and Nikkei contributor Rie Ehara, the shift in Japanese women’s understanding of cute could have something to do with the liberating effects of social media. “Now, more women challenge their dreams because of social media. I think entrepreneurialism is growing among women — especially as side projects. That’s a big change. But there are still not many female entrepreneurs because there is a fear of failing — which is very shameful here. Japan is still a man-centered society.” Female athletes — and their associated wardrobe — are themselves uncharacteristic in a culture that generally values neo-romantic ideals of physical fragility. Aina Yamada @aina_yama #streetstyle#droptokyo#tokyo#japan#東京#日本#nike Photography: @cazumax A photo posted by Droptokyo Offical Instagram (@drop_tokyo) on Jun 3, 2016 at 8:37pm PDT Kawaii’s sportier mood can be felt at a spectrum of retailers: the high-end (like Isetan’s contemporary floors), the DIY (gritty stalls within Koenji’s Kitakore building) and the mainstream (booths within Shibuya 109 and the many micro boutiques lining Jingumae). While just a few years ago hyper-girly brands like Marc Jacobs’ Louis Vuitton provided knock-off inspiration for the Japanese high street, it is now edgier labels like Marques’ Almeida and J. W. Anderson — both of which often toy with gender constructs — that are the most heavily referenced. At Harajuku, Tokyo store Nadia Corazon, peasant blouses constructed of old Nike T-shirts are sold for $55. The Kitahorie, Osaka shop named Kitty sells dresses made of old Adidas T-shirts, with pink tulle cascading from the hem — priced at $65. Such Adidas reinterpretations have become commonplace. In fact, the German firm has instated a craze among young shoppers, who clamor to its many sizable retail outposts across the country for athletic garments to mix in to their wardrobes. Releases at the Adidas department inside Isetan’s Shinjuku flagship are known to draw long lines akin to Supreme. Consumer appetite is so strong that many secondhand stores have begun stocking vintage tracksuits in now-hard-to-find color ways and outdated tin-foil-weight tech materials. This tomboyish shift is not exclusive to apparel. From changes in makeup motifs to TV cartoons, a toning down of girlish aesthetics is taking shape nationwide. ダアァァア A photo posted by marina kikuchi (marippe) (@marippeda) on Apr 23, 2016 at 8:30am PDT A photo posted by marina kikuchi (marippe) (@marippeda) on Jun 10, 2016 at 12:30am PDT While Japanese grooming standards once placed an emphasis on pink color tones, red hues are beginning to take their place — with cool girls wearing matte red lips and a sheer wash of rouge just above their cheekbones. Popular cartoon characters issued by Sanrio and San-X are toning down their saccharine context. An egg yolk character named Gudetama (meaning ‘lazy egg’) — has caught fire in a market that used to pine for pouty teddy bears and lopsided bunnies. Gudetama’s popularity lends itself to male and female fans, food, housewares and tchotchke memorabilia. Owing to his egg form, the character now has a national TV show aired each day at breakfast. Beyond just virtual, human media figures have also begun exhibiting a less overtly feminine sentiment. Just a few years ago, cutesy personas like Kyary Pamyu Pamyu were regarded with demagogue status. But now, a new, sassier wave has taken their place. Instagram star BopMappy , DJ and fashion designer Mademoiselle Yulia, and model Rola exemplify this stronger ideal. But according to Ishii — whose brand looks challenge gender conventions through graphic imagery — athleticism could be Japan’s way back to pre- Nineties female understanding. “There was virtue in being a strong woman, before the Nineties. [The early 2000s bubblegum pop girls’ group] AKB48 just wreaked so much havoc [in the larger culture], but I do think that this [Kawaii moment] is a [historical] exception. There was stuff before it, and after it. What’s happening now is more consistent with the way Japanese female values existed before this past decade-and-a-half obsession with a juvenile sense of sexy.” 本日！ ViVi全国発売ーカバーは"えまなな"こと、 emmaと小松菜奈ちゃんです可愛すぎる表紙、すでにUPしてくれてる人もたくさんいますね今月号も盛りだくさんの内容になってますおしゃれに値段は関係ないっ！！ #ViVi#9月号#発売です #おしゃれに値段は関係ない #ViViモデルズの夏私服 #今どきソウル #秋のトレンドJOURNAL #えまなな徹底解剖 #EXO #石原さとみ #西野カナ #EXILEAKIRA #青柳翔 #WINNER #健太郎 A photo posted by ViVi (@vivi_mag_official) on Jul 22, 2016 at 8:03pm PDT 2016-07-29 04:01 Misty White

19 Four Major London Institutions Renew BP Sponsorship as Activists Vow to Escalate Protests Four major cultural institutions in London, including the British Museum, the National Portrait Gallery, the Royal Opera House and the Royal Shakespeare Company, have committed to signing a new 5-year, £7.5 million ($9.8 million) sponsorship deal with BP, provoking the ire of protesters desperate to transition away from reliance on fossil fuels. The decision comes just weeks after the Art Not Oil coalition published an extensive damning report on BP’s “corrupting influence” over the institutions it sponsors. The report, which accuses institutions of letting the oil giant interfere with curatorial decisions, is currently being considered in an ongoing ethics investigation by the Museums Association. Related: Activists Gatecrash BP-Sponsored Exhibition at British Museum Not every institution chose to renew the controversial sponsorship, however. In March, Tate finally announced it was severing ties with the company when its current sponsorship deal comes to its close in 2017. This decision might explain why the total amount of money that BP has pledged to cultural sponsoring has decreased from £10 million ($13 million) in the previous deal to £7.5 million ($9.8 million) in this renewal. Related: Oil Giant BP To End Controversial 26-Year Tate Sponsorship in 2017 Art collective Liberate Tate spent six years in the lead-up to the landmark decision carrying out performance-based interventions to challenge the notorious sponsorship. Yasmin Da Silva, one of the performers with Liberate Tate, has said of the renewed sponsorship agreements in a statement: “The news that a number of cultural institutions have decided to renew sponsorship with BP comes after 14 consecutive months of record global temperatures. […] By providing BP with a veneer of cultural respectability, institutions like the British Museum and the Royal Opera House are actively aligning themselves with those who seek to trash the climate. They can expect a renewed wave of creative intervention from the many groups who are pushing back against the destructive power and influence that oil companies are exerting in our society.” “This will be a hugely unpopular move and wildly out of touch with the mood across the cultural sector,” Chris Garrard said on a statement on behalf of BP or not BP?, an activist theater troupe that has voiced its determination to overturn the sponsorship agreement. “Just weeks ago, BP’s corrupting influence over these cultural institutions was exposed in a damning report, uncovering the way the company uses sponsorship to keep drilling, spilling and costing up to corrupt regimes.” “At a time when the world needs to urgently shift away from fossil fuels, the idea that these institutions will still be promoting an oil company into the 2020s is deeply irresponsible. As the devastating effects of climate change become ever more apparent, this decision will look more shortsighted with every passing day,” he added. Garrard and other members of the Art Not Oil coalition call on the cultural world to “creatively and vocally” condemn BP’s involvement with cultural institutions. In April, a letter signed by almost 100 cultural figures calling on Hartwig Fischer to end BP’s deal with the British Museum was published, and there have been many other high-profile protestations of the partnerships. Related: Vivienne Westwood and Bianca Jagger Urge British Museum to Drop BP Sponsorship “BP is ripping off our cultural institutions—their sponsorship provides less than 0.5 percent of British Museum’s budget. With this pocket change, BP buys legitimacy, access to invaluable advertising space, and masks its role in destroying indigenous lands, arming dictatorships, and wrecking our climate. The museums help BP do that. That’s why art interventions and protests against BP will go on. The new deals will not last five years,” Anna Galkina from Platform, another organization that has campaigned for the sponsorship deals to be dropped and that has forced Tate to disclose historic sponsorship fees and documents in court, warned in a statement. 2016-07-29 03:55 Naomi Rea

20 Datebook: Mehmet Ali Uysal at Galerie Paris- Beijing Related Events Concrete Solutions (To Your Most Abstract Problems) Venues Galerie Paris-Beijing “Concrete Solutions” will be showcased at Galerie Paris-Beijing from September 8 to October 29. Curated by Yann Perreau, it will feature Turkish artist Mehmet Ali Uysal, and will aim to intrigue viewers and help break out of the conception of an art gallery. Uysal highlights how the gallery plays a major role in the creative process, and has a strong influence on an artist’s vision along with a viewer’s perception. Through his work, the artist brings a new perspective to the conceived image of a gallery space by deconstructing its walls — proving that walls do not always create a boundary, and can be peeled and wrapped as if they were flesh and skin. 2016-07-29 03:26 BLOUIN ARTINFO

21 Experience the Cosmos at Mori Art Museum Related Events The Universe And Art Venues Mori Art Museum Artists Wolfgang Tillmans Patricia Piccinini Hajime Sorayama This summer, Mori Art Museum will attempt to answer the ultimate question of life, the universe, and everything in a comprehensive exhibition. Entitled “The Universe and Art: Princess Kaguya, Leonardo Da Vinci and teamLab, ” the exhibition opens tomorrow and will run through January 9, 2017. A diverse range of objects, materials, and installations will be on display, spanning from the Renaissance to today’s most contemporary, high-tech immersive creations. In a first for Japan, this exhibition will be an exhaustive presentation of over 200 items collected from around the world — from meteorites, fossils, and mandalas to handscrolls of Japan’s oldest sci-fi novel and the latest from the frontline of space development. Additionally, contemporary artists showcase their work in response to the universe’s enigmas, which is bound to please history and science buffs as well as art lovers. The show is divided into four sections exploring past discoveries pertaining to outer space over millennia, from both Eastern and Western empirical research, its future developments, and space travel. Exhibition highlights from the first section (“How have Humans through the ages viewed the Universe”) include Leonardo da Vinci’s sheets from “Codex Atlanticus,” as well as Japan’s legendary meteorite sword, which fell on Toyama prefecture during the Meiji period, and is forged from meteorite iron. Priceless astronomy objects are also on view, such as Japan’s first astronomical telescope. Perceptions of space and time are unveiled as artworks in the show’s second section, “The Universe as Space-Time.” This features Wolfgang Tillmans’ photographs of deep space stars captured by an ultrasensitive telescope, such as “Transit of Venus.” Another star attraction includes the collaborative duo Semiconductor, known for melding art and science, who will present their three-channel video installation “Brilliant Noise,” showing thousands of overlapping images of solar activity that indicate the sun’s intensity and sound. The representation of the universe wouldn’t be complete without aliens. Acclaimed artists Patricia Piccinini and Hajime Sorayama, among others, will present strange and beautiful creatures made from fiberglass, iron or silver, including Sorayama’s “Sexy Robot” and Piccini’s “The Rookie.” A definite crowd-pleaser will be the presence of popular Japanese collective teamLab’s immersive installation “Crows are Chased and the Chasing Crows are Destined to be Chased as well, Blossoming on Collision – Light in Space.” It plunges the viewer into a galaxy of light in the exhibition’s fourth section, “Space Travel and the Future of Humanity.” The show will be accompanied by talks and symposiums delving into the subject matter in depth, which will take place throughout the duration of the exhibition at the museum. 2016-07-29 03:20 Claire Bouchara

22 Hillary Clinton Shows Her True Colors in Historic DNC Acceptance Speech More Articles By Always on message, Hillary Clinton stayed the course Thursday night at the Democratic National Convention, keeping voters’ focus on her words and not her white pantsuit. And why not? Fans, delegates and even former Bernie Sanders supporters had waited all week to witness her historical acceptance speech as the democratic party’s presidential nominee. More than 15 months after she announced her candidacy, Clinton was center stage at the Wells Fargo Center in the suit with coordinating crewneck shell top to state her case to become the 44th president of the United States and the first female one. While the former first lady of Arkansas went with a Little Rock designer, Sarah Phillips, for Bill Clinton ’s first inaugural festivities, the second time around she counted on her friend Oscar de la Renta. More partial to pantsuits in her Secretary of State days, Clinton has worn versions from de la Renta, Armani and Susanna Beverly Hills, among others. Anticipating Thursday night’s acceptance speech, one New York designer said, “I hope Hillary will wear something nice like a dress. But she will probably wear a pantsuit.” Several designers including Diane von Furstenberg have voiced their support of Clinton in recent months. A bevy of designers including von Furstenberg, Tory Burch, Marc Jacobs, Georgina Chapman, David Neville and Marcus Wainwright, Joseph Altuzarra, Monique Péan, Eva Fehren, Pamela Love and Tanya Taylor have pitched in by designing Made for History unisex T-shirts for Clinton’s campaign. Sellouts for the $45 shirts include Prabal Gurung’s design and one from Public School’s Maxwell Osborne and Dao-Yi Chow. Visitors to the Clinton campaign’s online shop will also find testimonials from the aforementioned designers and a $30 statement tank top imprinted with “A Woman’s Place is in the White House.” Perhaps inspired by the always-polished First Lady Michelle Obama , who delivered her own opening-night address in a striking blue Christian Siriano dress, Chelsea Clinton dressed to impress wearing a red sleeveless dress — a curious color choice for a die-hard Democrat — for her primetime speech. Earlier in the week, the former first daughter was photographed carrying a Bergdorf Goodman garment bag while packing her car for the drive to Philadelphia. At the DNC, the younger Clinton reportedly vowed her friendship with Ivanka Trump will weather the campaign’s political storm. Team Trump held their own at last week’s Republican National Convention in terms of fashion. Ivanka Trump shrewdly wore her own label for her public appearances in Cleveland. While the narrative of Melania Trump’s opening-night speech wandered, her style message stayed centered. The Republican candidate’s wife wore an ivory-colored Roksanda dress for her first appearance and a similarly designed Fendi one for the closing night. 2016-07-29 02:34 Rosemary Feitelberg

23 Not That Different: Yung Ma on Bringing East and West Closer at Centre Pompidou Related Venues K11 Foundation Centre Pompidou It’s been over a month since Yung Ma was appointed a curator within the Contemporary and Prospective Creation Department at Centre Pompidou. Formerly the Curator of Contemporary Art and Moving Image as well as Associate Curator at M+ in Hong Kong, he is now tasked with conducting extensive research into the development of contemporary Chinese art for his new tenure at the French institution. This three-year partnership between K11 Art Foundation (KAF) and Centre Pompidou came about during a casual meeting between Adrian Cheng, the founder of KAF, and Bernard Blistène, the Director of the Musée National d’Art Moderne at Centre Pompidou. KAF’s mission to increase international exposure for contemporary Chinese artists complemented Centre Pompidou’s wish to establish stronger ties with the contemporary Chinese art scene. The purpose of the partnership is to strengthen global connections and broaden international opportunities for Chinese contemporary artists. Described as “a visionary curator” by KAF, Yung Ma was selected owing to his extensive experience and expertise in art from the Greater China region, not to mention strong connections with major artists. “It was imperative that the selected curator had the level of nuanced expertise and knowledge as evidenced by Yung Ma’s background and experience,” KAF told ARTINFO by email. On account of this, his understanding of Chinese art and networks will facilitate the introduction of innovative Chinese artists and increase international dialogue and exchange, enriching Centre Pompidou’s program. ARTINFO caught up with Yung Ma to find out why he left M+, his first upcoming program at Centre Pompidou, and the challenges of collection building. The wonderful thing about M+ was that I knew a lot of the curators before I started working there. We all knew each other beforehand and some of us are friends, which was great. We were able to have certain conversations you wouldn’t be able to have with your colleagues otherwise. It was a great experience in terms of being able to be part of something that massive and that ambitious from the beginning. It has really helped me understand more of what I want in terms of my own curatorial practice as well. Partly personal, but I also wanted to learn something else. Aside from working with artists and filmmakers, I am also quite interested in institutional structures. So when this opportunity came along, I thought it’d be great to understand more about the French structure, considering it is probably one of the biggest in the world — I thought it’d be great to learn from them in that sense. I’m going to be in and out. I’m going to be focusing on this region so I’ll be in between Europe and Asia, going back and forth — half in Paris, half in Hong Kong. The idea at M+ was that we had an Asian and East Asian focus. I’m hoping I’ll be able to bring a different perspective. One that’s not just entirely regional but part of international conversations — that’s what I hope to do. I think it’s about time that we try to emphasize the fact that we are not that different from each other. A lot of the time when it comes to more regional- focused programmes or exhibitions, people talk about how different it is. I’m hoping that we can move away from that a little bit and try and understand each other (East and West) from points of view that we actually share. I believe artistic language is something that is universal. We talk about locality as something quite important but that’s just context to try and understand the work better. I think it goes beyond that. I’m actually hoping I can highlight that as well. I think that’s given me a really good foundation in terms of how to focus my research. I think that’s the most important part. I’ll be able to tap into the networks that I’ve got towards building the programs and the collection – it may be the most obvious but it is also the most important aspect of it. We are still talking and coming up with different proposals and so on. It is too early to have anything concrete, but I am presenting a screening program in September with a Taiwanese artist, so that will be my first public program. A part of my job is to expand the collection, and that can be challenging because I’m going to be coming up with strategies and road maps to incorporate works to inform the community but also inform the collection. When it comes to collection building, people look at it as something quite one-dimensional — as in you have a plan and you go forward with it. But that’s not the case. Once you have a plan then you have to see whether you have the chances and opportunities to fulfil it. I think those choices I’ll have to make will be quite challenging. I think all institutions are inheritably bureaucratic. I enjoy navigating those kinds of structures and bureaucracies. In terms of challenges, even if I identify something that’s really important to have in the collection to expand the narrative or conversation, it doesn’t necessarily mean that I will get hold of it. So that will be challenging — moving from the idea I have in my head to actually achieving it. 2016-07-29 02:21 Claire Bouchara

24 AZPML proposes masterplan for sejong national museum AZPML have released their proposal for the masterplan of the national museum complex in sejong city, korea featuring a scheme embedded into the constructed landscape to form a hill-like landscape. the complex will have a linear dimension, which will mediate between the park and the riverfront landscape. this border condition, and the nature-like setting will constitute the core concept for the museum complex’s masterplan: a topography which flows between the greenery and the riverfront condition, and evolve into a more urban environment. AZPML‘s scheme would be structured to become a museum in the park. the specificity of its location -the future facility is surrounded by water on two sides- otherwise will be embedded into the future central park of sejong city. due to the absence of a neighboring urban fabric, the completed complex become an integral part of the park itself. another element of the location is that it unfolds along the riverfront as an edge of the central park. the design has been conceived so it can be built with maximum flexibility; every museum will be an independent piece that can be constructed separately, rather than being bound to build the whole complex for it to work. ‘unlike the ACC in gwangju, or the santiago de compostela cultural center in spain our proposal is that the complex can be completed at any point, regardless of how many of the museums are eventually completed, and it will work as a sophisticated park environment. these are two projects of a very large scale, which have become the victims of their own ambition.’ comments the architects 2016-07-29 02:15 Natasha Kwok

25 T Galleria Fall Campaign Stars Tory Burch, Influencers More Articles By Hong Kong-based travel retailer T Galleria by DFS has chosen a crop of nine international influences, celebrities and its own employees to star in its fall campaign. The ads, which pose the question: “What are you loyal to?” feature the likes of Tory Burch , French music producer Caroline de Maigret and blogger Susie Bubble. T Galleria will use the campaign, which features photos and video components, in store, online and on its social media channels. T Galleria by Galleria, part of LVMH Moët Hennessy Louis Vuitton , has 17 stores in downtown city centers and 17 airport DFS stores in 14 countries. The retailer just opened in Siem Reap, Cambodia, and will open a T Galleria store in Venice come October. It also just tripled the size of its store in Macau. 2016-07-29 01:00 Amanda Kaiser

26 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 . 2016-07-29 00:45 Rita Farmer

27 nimble by version 22 places a convenient blade at your fingertips nimble by version 22 places a convenient blade at your fingertips ‘nimble’, designed by UK- based studio version 22, is a fingertip device for easy opening of paper and plastic packaging. utilizing a tiny ceramic blade, ‘nimble’ can slice through tough materials, but is safe to human skin, effectively removing accidents. version 22, led by simon lyons, was aided in development by alaster yoxall of sheffield hallam university. together, their efforts help users put an end to a small, but daily frustration. ‘nimble’ was tested with the help of a diverse group of 150 volunteers 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. 2016-07-29 00:15 www.designboom

28 White Cube’s Laura Zhou on Abstraction and Chinese Contemporary Art Related Venues White Cube Gallery Artists Tang Guo White Cube Mason's Yard in London is currently presenting a group exhibition titled “The world is yours, as well as ours,” which draws on the work of nine contemporary Chinese artists to explore modes of abstraction in Chinese painting. While abstraction in the West really only began with the advent of Modernism, it has been used for longer Chinese art having developed independently through the influences of calligraphic aesthetics and Taoist philosophy. The artists involved in the exhibition span generations. This was a deliberate decision, according to Laura Zhou, White Cube’s gallery director in Hong Kong, as there can be a clear distinction of expression between those born during the 1940s-60s, who are looking at western trends but are still very much immersed in Chinese traditional culture, and those born in the 1970s onward, “whose starting point is similar to those in the very same generation in the West.” We asked Zhou for a little more detail: If abstraction in Western art is a notion with a specific context in art history, then in the context of Chinese contemporary art, abstract art seems to be a notion with no specific and fixed definitions. Chinese artists and critics tend to treat abstraction merely as a widely-spread, somewhat vague description of certain styles. In other words, the artistic practices it describes can originate from completely different points of departure and follow different development paths aimed at different purposes. Chinese traditions such as Taoism and Zen Buddhism are extremely abstract and refer to nothingness and an emptiness. This can be felt in the works by Youhan, Tang Guo, Qin Yifen, and Zhou Li’s work in the exhibition. Chinese artists do not work under a linear framework of artistic evolution. In this regard, abstraction to them is one of the many parallel styles rather than an independent and exclusive style. To put it another way, though what they create is abstract, they never consider themselves as abstract artists. Abstract art by Chinese artists is always connected to their different experiences, backgrounds, and fields of interest. They, to a large extent, take Chinese traditional arts and culture as a point of departure and strive to show traditional aesthetics through abstraction. Meanwhile, artists of the younger generations tend to establish a link between their artistic practice and today’s visual experience, as well as the context of the art history. An artist like Su Xiaobai, who works with lacquer, produces surfaces and textures that can also be found in traditional crafts and objects — something that appears very different from the purely “painterly” context of Western abstraction. In the case of Jiang Zhi’s works, from which the exhibition takes its title, he takes inspiration from the ‘system errors’ of a computer screen (where a data glitch causes a corrupted or fractured image), rendered in large-scale to create complex patterns and forms. Hovering between representation and abstraction, the paintings’ dynamic composition and palette are meticulously translated by hand from screen to canvas. Like his video and photography, Jiang Zhi’s painting also reveals his reflection upon time. In his view, time is not linear, just like the images created by system failures. His work is very Western in expression but with the inner spirit of Chinese culture. 2016-07-28 23:37 Sonia Kolesnikov

29 Tehching Hsieh to Represent Taiwan at Venice Biennale 2017 Related Venues Venice Biennale The Taipei Fine Arts Museum (TFAM) has announced Tehching Hsieh as the sole artist representing Taiwan at the 57th International Art Exhibition, Venice Biennale 2017 from May 13 to November 26, 2017. The Taiwan pavilion will be curated by British writer and curator Adrian Heathfield who co-authored the publication “Out of Now: The Lifeworks of Tehching Hsieh” with the artist. Commenting on the announcement, Hsieh said that it is a great honour to be representing Taiwan at the 57 th Venice Biennale and that he is grateful for the opportunity to collaborate with Heathfield. “This exhibition is a rare opportunity to show previously unseen early works that I made in Taiwan, and to develop new understandings of my ‘One Year Performances’ in New York,” he said. Heathfield stated that it will be a great joy to make the most extensive and in depth exhibition of Hsieh’s work to date. “The historic halls of the Palazzo delle Prigioni, the former prison of the Palazzo Ducale, are an ideal setting for the work of an artist who understands more than most, the meaning and cost of 'doing time,' and the nature of lives lived at the edges of what we call society.” 2016-07-28 23:32 Nicholas Forrest

30 Ralph Lauren Changes Spring 2016 Runway Show Time and Date After years of being the opening show on the closing day of New York Fashion Week, Ralph Lauren has shifted to an evening slot: 8:30 p.m. on Sept. 14. That slot previously belonged to Proenza Schouler, which has moved its show to 1 p.m. on Sept. 12. Per Ralph Lauren ’s traditional format, the 8:30 p.m. show will be his second consecutive runway presentation that night and it is the press show. The first will be at 7 p.m. A representative for Ralph Lauren confirmed that the company shifted its schedule to accommodate an evening show this season but declined to elaborate on details. For whatever reason, evening shows tend to carry a sexier, headliner cache than the daytime lot. Lauren is embarking on his 50th anniversary year, but a representative stressed this season’s show will not be an anniversary event. 2016-07-28 23:26 Jessica Iredale

31 Elie Top Shows Jewelry at Maxfield in L. A., Post-Lanvin Elie Top is the latest Paris-based to designer to decamp to Los Angeles over the summer. Just last week, Vanessa Seward spent time in the city to open her first U. S. boutique on Melrose Place, A. P. C. founder Jean Touitou also makes frequent visits, as does John Galliano, and Isabel Marant stays with her fashion school pal and Los Angeles designer Sunjoo Moon when she’s in town. What’s more surprising is that it was Top’s first visit to the City of Angels. The occasion: a trunk show at Maxfield , which is one of four U. S. boutiques that carry Top’s fine-jewelry designs exclusively (Ikram in Chicago, Grange Hall in Dallas and Dover Street Market in New York are the others). Top, a protégé of Alber Elbaz who designed accessories with him at Lanvin for 15 years, went out on his own last year with a fine-jewelry collection. Top’s pieces, which all feature movable parts centered around spherical stones, were not inspired by the constellations and planetary galaxies, although those references came into play later on. “I was inspired by the sugar pot in Paris cafés,” he said of the round, silver flip-top containers that hold sugar cubes and packets in restaurants. “Later on, I found some old books about the stars and galaxies, but my pieces have no astrological or scientific meaning.” Top said he was eager to design for himself, and when his mentor Elbaz was pushed out of Lanvin last year, it was the perfect opportunity to also start experimenting with precious metals and stones. “There is a lot you can’t do with costume jewelry because the metals aren’t strong or malleable enough for such precise work,” he said. Top also utilizes 3-D printing to produce molds for the articulated cages that move in all directions around the center spheres. Craftsmen put the parts together with precision handiwork and a diamond setting is done in the east of France. The collection of rings, cuffs, pendants and necklaces has been at Maxfield for a season, with new pieces brought in for yesterday’s trunk show. Some of those included convertible pieces such as a necklace that came apart to be worn as three bracelets, or one that featured two detachable pendants. “I was looking at pieces from the 18th century, like sautoirs that could come apart or be connected to brooches, or necklaces that could also work as tiaras.” Top rhodium-plated chain links and yellow gold accents have a much more heavy, industrial vibe, fitting for the rock-‘n’-roll Maxfield customer. Top is taking the whole week to explore Los Angeles and visit other retailers, before heading to Greece for holiday. “It seems everyone in Paris goes on holiday in Los Angeles or Greece,” he said. “But I avoid islands like Patmos or Mykonos because then it feels like work because you see everyone you know.” 2016-07-28 23:17 Marcy Medina

32 real-life LEGO will ruin your merry memories of building blocks real-life LEGO is the creepy childhood toy you don't want to play with this real life LEGO may forever ruin your merry memories of building blocks. ‘creepyfig’ — a play on the word ‘minifigure’ used to describe LEGO’s tiny toy people — is a human-scale plastic figurine in the form of a wearable mask and gloves. bearing a yellow-tinted skin-like texture, giant claw- shaped hands, and black beady eyes, the uncannily sculpted hybrid-human has been created to match the dimensions and facial features of the original toy — with a hauntingly lifelike twist. in collaboration with frank ippolito, an artist who specializes in makeup for film and TV, tested has created a face mask and wearable gloves that turn an ordinary man into a mobile minifig. pounds of clay have been sculpted around a human-scale form, where malleable material adds volume to a cylindrical head. for the hands, two giant claw-shaped forms sit over the human’s own limbs like gloves, where a single, giant fingernail fits. shown off at this year’s comic-con festival in san diego, the outfit has been designed, sculpted, and painted to look like a life-sized version of a tiny LEGO figurine, walking through the convention halls and frightening some unsuspecting passersby. ‘it lives at the intersection of creepy and amazing,’ the team says. last week, we featured ‘graham‘, an equally eerie, human-like sculpture of a ‘person’ designed to survive a car crash. 2016-07-28 23:06 Nina Azzarello

33 Google Ad Revenues Jump 19 percent More Articles By Google-parent Alphabet Inc. is translating well to mobile. The company’s net income shot up 24 percent to $4.88 billion as revenues rose 21 percent to $21.5 billion for the second quarter ended June 30. Google’s ad revenues made up the lion’s share of Alphabet’s top line, rising 19 percent to $19.14 billion. Ruth Porat, Alphabet’s chief financial officer, attributed the growth to “successful investments we’ve made over many years in rapidly expanding areas such as mobile and video.” Google and competitor Facebook are grabbing bigger and bigger slices of the advertising pie. ( Facebook reported second-quarter results Wednesday and showed a 59 percent top-line gain, with revenues of $6.44 billion. ) Both of the tech giants are well positioned to continue to do so as more of the market goes mobile, a trend that was most recently embodied by word from Apple Inc. chief executive officer Tim Cook that the company sold its one billionth iPhone this week. But Google ceo Sundar Pichai had some bragging to do on a call with Wall Street analysts. “We are extraordinarily well positioned to take advantage of the mobile shift, and we are already seeing strong growth in three key areas of our advertising business, mobile search, video and programmatic,” Pichai said. “All of the momentum you’re seeing is because our products are doing well in mobile and our customers are great interest from that.” Accordingly, Google is hyperfocused on improving the mobile experience. “We know that people are constantly searching for things with commercial intent and are used to swiping and tapping. Our data shows that people respond really well to that as we show. They are fresh, fast, and useful,” Pichai said. 2016-07-28 22:53 Evan Clark

34 laura bin portrays dynamic between earth + fire in rising balance candleholder the ‘rising balance candleholder’ by design duo laura bin is a piece that aims to portray the dynamic between two great elements: earth and fire. set as a balance, the candleholder consists of three brass components which were cut into its shape by water before being carefully sanded, polished and folded by hand. on one side there’s the candle and on the other there’s a circular basalt volcanic rock. while the tea light burns and becomes lighter, the circular stone follows the movement downwards. also, as the transition takes place, the two elements remain in constant equilibrium. created by laura klinkenberg and bin xu, the two designers behind the laura bin label, the ‘rising balance candleholder’ is their first entry towards accessible products. their aim is not only to create form, function, and interaction, but also to find content within their work. fits with any tea light with a maximum diameter of 39 mm 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. 2016-07-28 21:01 Laura Bin

35 The Artist with No Medium | City of the Seekers Fallen Bull, 2016 (skull, turquoise, and graphite/resin, 20"x30"x8") In the late 19th century, Southern California attracted misfits, idealists, and entrepreneurs with few ties to anyone or anything. Swamis, spiritualists, and other self-proclaimed religious authorities quickly made their way out West to forge new faiths. Independent book publishers, motivational speakers, and metaphysical-minded artists and writers then became part of the Los Angeles landscape. City of the Seekers examines how creative freedom enables SoCal artists to make spiritual work as part of their practices. "Multidisciplinary" has become a ubiquitous artworld buzzword, having crept into nearly all creative disciplines with the proliferation of digital tools. But in artist Michael Dee 's case, the work isn't so much multidisciplinary as it is trans-disciplinary. Instead of just using various materials and applications, Dee makes art that actually questions and challenges the necessity of parlance such as "multidisciplinary," "genre," and "raw material" at all. Over the course of his career, Dee has explored a wide range of techniques, from painting photos and designing flags to melting plastic and brewing ale. He's also made 3D neon and graphite/resin castings in addition to more traditionally acknowledged art forms such as abstract painting, performance art, and video installations. If it had to be defined, Dee's own style would fall somewhere between pop-surrealism and neo- conceptualism, with subtle autobiographical themes embedded throughout. Halfeti, 2016 (graphite/resin and plaster, 4"x4"x3") Originally an aerospace technology student, Michael Dee decided instead to study Art Education and Studio Arts at Kent State University. That's when he became absorbed by Kent's tight-knit punk rock scene and its DIY methodology and aesthetics, manifested not just through music, but also the accompanying art parties, xeroxed zines, and illustrative show flyers. Dee eventually earned his MFA in Sculpture at Kent and now teaches Psychology and Art History at a career college in Los Angeles. "When I was younger I always knew everything that would happen in advance, but as the years have progressed, I have been a little more experimental with materials and open to the element of chance," he tells The Creators Project. Listen, 2015 (giclee on metallic paper, 24"x30") For years, Dee was crafting glowing plastic star sculptures, but only recently learned how they fit into his larger exploration of light as a life force, as well as his growing fascination with the energy of the desert. "I love to do primary research, whether viewing stars in Joshua Tree or photographing aircraft in Burbank," Dee says. "I have been researching the contradictory concepts of the desert being the realm of the anti-life force, as Burroughs described it, or as a rich life force of electric fields, similar to the quest of other contemporary researchers. " Party Monster, 2014 (polystyrene plastic, 16"x15"x20”) As an artist growing up in Pittsburgh, Dee says Andy Warhol was a big influence. He also found himself influenced by artists such as Mike Kelley, Paul McCarthy, Martin Kersels, and Skip Arnold, which helped him decide to move to Southern California. "I viewed LA kind of romantically as the Wild West where anything could happen," he admits. "When I was coming up, LA was a more laid back, freeform, and affordable alternative to NY. " Dee’s found that his early career was defined by "dark and psychological work. " Since moving to LA, however, he says, "I have come to embrace color, life, and nature. I believe that things of beauty, creation, and healing can stand as viable alternatives to the harsh industrial areas that I inhabited for ten years after college, being focused only on my art career and financial concerns [...] If I can help the flowers, birds, bees, and tortoises through my art or teaching, that is far more rewarding and important than having a purely narcissistic focus. " Cyreus, 2016 (paint marker and wc on digital canvas, 24"x30") When it comes to his spirituality, Dee's is fundamentally entwined with nature. "I tend to prefer to be on the trails, near the waterfalls, and under the trees as opposed to the more sanctioned, overly curated meditative experiences," he says. “I’m interested in having new experiences and ongoing exploration, whether it be visiting new environments, hearing new bands, or experimenting with new materials. It is my hope that through engaging in these activities, I can create works that can promote thought about one’s life, visual pleasure, and universal experiences.” Closing In, 2016 (giclee on metallic paper, 24"x36") Hypericum, 2016 (paint marker and giclee on metallic paper, 24"x36") Follow Michael Dee on Instagram and visit his website here . Related: Goth-Inspired Paintings Blend Surrealist Dreamscapes with Nature | City of the Seekers Sisterhood and Spirituality Come Alive in Oil Paintings | City of the Seekers Welcome to the Hieroglyph of the Human Soul | City of the Seekers 2016-07-28 19:40 Tanja M

36 36 museum of london appoints stanton williams + asif khan stanton williams + asif khan to design new museum of london at west smithfield the museum of london has selected stanton williams and asif khan to design its new institution at west smithfield. the team was chosen ahead of five other proposals from established names such as BIG, caruso st john, and lacaton & vassal. the winning concept includes a lifted dome that creates a light-filled entrance, with spiral escalators transporting visitors down to the exhibition galleries in a vast excavated underground chamber. a sunken garden and various green spaces also form part of the plan. the proposed entrance to the new museum at west smithfield all images courtesy of museum of london / stanton williams / asif khan joining stanton williams and asif khan is conservation architect julian harrap and landscape design consultants J&L gibbons. the winning architects will now work closely with the museum of london and its stakeholders — including the GLA, city of london corporation and the local smithfield community — to develop their initial concepts into a fully-formed vision. the jury believed that the winning team presented a concept that had a strong sense of cohesion, which honored the original market buildings. evan davis, chair of the jury, said: ‘the jury knew it would be a difficult choice and that’s what it turned out to be. we had six fantastic teams on the shortlist; each had ideas for the site that were both ambitious and interesting. I would never have guessed that you could take wonderful old buildings like that and turn them into a new museum in so many completely different ways.’ spiral escalators transport visitors down to exhibition galleries below ‘we are immensely excited about being given the opportunity to work with the museum of london on this wonderfully challenging project – participating in an endeavor that will transform an area of london that has such a rich history, but sadly has been in decline for many years,’ said paul williams, director of stanton williams. ‘encountering the historic market spaces for the first time in early april this year, we were ‘blown away’ by the power and physicality already existing, and knew then, that whatever scheme we developed, this physicality needed to be harnessed, and not lost, and that initial observation has inspired our initial design proposals. this project will engage a broad community well beyond london.’ the museum is slated for completion in 2022 asif khan added: ‘to have a chance to create a new museum for london, in london, about london, at this moment in time is incredibly exciting for us. we all know the power of public spaces in changing our city and our individual lives, and this is what drives us. we want the museum of london to be a museum where everyone belongs, and where the future of london is created.’ the museum intends to submit a planning application for the west smithfield site to the city of london corporation in 2018, and to deliver the new institution by 2022. the public exhibition displaying the shortlisted design concepts for the new museum at west smithfield will remain on display until september 11, 2016. see designboom’s previous coverage of the project here. 2016-07-28 19:35 Philip Stevens

37 Graffiti Queen Lady Pink Still Reigns Supreme Photo by Lauren Thomas. Whether portraying women as provocative street warriors in the concrete jungle or as mythical goddesses placed in surrealist environments, Lady Pink , the long- reigning queen of graffiti, consistently elevates the female figure through her murals and paintings by incorporating themes of fantasy, spiritualism, her South American heritage, and indigenous iconography. These ideas come alive in her current exhibit, A Rose in Spanish Harlem , on view at urban art space Hi-ARTS in East Harlem. Lady Pink shows a selection of woodblocks, giclee prints on canvas, and acrylic on canvas pieces, which according to the artist, “is a mixture of my favorite work, and it’s a presentation of larger pieces which I have now made smaller.” Avenue A, 2008, Acrylic on Canvas. All artworks courtesy of the artist. An overall thread of female empowerment and pro-feminist messaging runs cohesively through the show. In Queen Matilda, the architectural centerpiece is sculpted to personify a woman. This gesture points to the centuries-long role women have held in society as nurturing caregivers and as the backbone of human civilization. In another striking work, ‘Pink Foliage’, intertwining vines and shrubs in an array of sumptuous garden shades illustrate her fondness for lush vegetation and botanical motifs. Pink Foliage, giclee print on canvas, 2016. Originally born in Ecuador, Lady Pink spent her early years growing up on a rainforest in the Amazon, interacting with nature at a very young age. In ‘Avenue A’, we return to more familiar ground, Lady Pink’s depiction of women in the urban context, replete with dazzling fantastical and supernatural influences. The show’s curator Carlos Mare tells The Creators Project, “What draws me to her work are the parallel threads that run through the arc of her career which are both graffiti and feminism. She manages to pull from both of these paradoxical ideas to tell her story as a woman in a man’s world.” Ghetto Pink, giclee print on canvas,2016 Her career dates back to 1979 when she was a lovelorn fifteen-year-old from Queens tagging walls to get over a breakup, but soon fell in love with the seductive thrill of illegally bombing subway cars with her signature stamp. From 1980-1985, she moved boldly and confidently in graffiti circles, carving out a niche identity for herself with her distinct lettering and visual style, within the testosterone-driven street art movement. The Butterfly Queen for the Welling Court Mural Project, 2016. Although she wasn’t the first female writer, preceded by other female artists like Eva 62 and Barbara 62, Lady Pink did hold her own as the sole woman in graffiti amongst ten thousand male writers. While attending the High School of Art and Design , Lady Pink forged lifelong bonds with graffiti greats such as Daze, Crash, Lee Quiñones, Futura, and others, who welcomed her into the male-dominated scene. Soon she began exhibiting with her peers at the iconic Fashion Moda in the Bronx and other art spaces in New York. Her ascent as the First Lady of Graffiti happened rapidly, further boosted by her starring role in the epochal hip-hop film Wild Style in 1983. She quickly transitioned into the mainstream contemporary art world, as post-graffiti became all the rage in the mid to late 80s. In 1984 she landed her first solo show at Moore College of Art & Design and has continued evolving with a slew of high-profile US and international exhibits. Queen Matilda, giclee print on canvas, 2016. Today, Lady Pink's work has entered the permanent collections of the Whitney Museum, Brooklyn Museum, Metropolitan Museum of Art and the Groninger Museum. She is still active on the street art scene today, having participated in the inaugural edition of Coney Art Walls in 2015 and contributing to the Welling Court Mural Project earlier this year. Mentorship and giving back to the next crop of artists is paramount to Lady Pink. Alongside her exhibit at Hi-ARTS, a series of thirteen street art-inspired works from the 2016 Black Book Master Class which she helped nurture are on display. For over a decade she has been teaching art at The Frank Sinatra School of the Arts, a endeavor she is monumentally passionate about and committed to. She is also being featured in two dynamic docs about women and graffiti, the recently released Girl Power and the upcoming Street Heroines. Speaking on the strength and power women graffiti artists possess, she states, “It’s not just a boys club. We have a sisterhood thing going.” A Rose in Spanish Harlem will be on view at Hi-ARTS through July 30, 2016. Related: Finally: A Documentary on Female Graffiti Artists Kabul’s Female Graffiti Master on the Power of Art [Exclusive] Meet Portugal's Gang of Graffitiing Grandparents 2016-07-28 19:10 Jasmine Hernandez

38 Is Cara Delevingne Engaged? More Articles By It appears Cara Delevingne and St. Vincent may be taking the next step in their relationship. The 23-year-old has been sporting a massive rock on her ring finger during her press tour for “Suicide Squad” and when costar Jared Leto shared an Instagram pic of the model-turned-actor on Tuesday inadvertently flashing her ring, the rumors began to swirl. Curiously, Delevingne regrammed the post to the tune of 1.6 million likes at press time. @caradelevingne A photo posted by JARED LETO (@jaredleto) on Jul 25, 2016 at 9:16am PDT Delevingne and St. Vincent (née Anne Clark) have been dating since early 2015 and have kept the relationship largely private, though Delevingne did acknowledge her relationship in her cover story for the July 2015 issue of Vogue. “I think that being in love with my girlfriend is a big part of why I’m feeling so happy with who I am these days,” she told the magazine. “And for those words to come out of my mouth is actually a miracle.” Of her sexual orientation, Delevingne said, “My sexuality is not a phase. I am who I am.” She has become noticeably more open about her relationship as it’s progressed. Just recently she posted an Instagram shot of St. Vincent, a fortune cookie in the foreground reading “Follow your heart and you will find happiness.” Delevingne simply captioned the shot with a heart. ❤ A photo posted by Cara Delevingne (@caradelevingne) on Jun 30, 2016 at 7:58pm PDT Similarly, the musician has kept her relationship with the actress very quiet. She rarely posts pictures of Delevingne, only two in the past year. The latest photo features what can be assumed is Delevingne, as the figure has their hair over their face to obscure their identity. A photo posted by St. Vincent (@st_vincent) on Feb 27, 2016 at 9:25am PST The actress is starring in one of the most hotly anticipated summer blockbusters, out Aug. 5. 2016-07-28 18:44 Taylor Harris

39 Code Your Way to Woven Photographs Using a circular loom, 1500 meters of thread, and a uniquely programed computer algorithm, Greek artist and engineer, Petros Vrellis has recently come up with a whole new way to knit. Unlike traditional knitting techniques, the thread used in Vrellis’ embroidery work isn’t actually woven but is instead knitted as straight lines contained within the circle—an assembly of intersecting and overlapping ‘chord’ lines , for those of us who remember geometry. The strings cross over from peg to peg 3000-4000 times, coming out to nearly a mile of string. When the string overlaps enough times, its density starts to black out the white wall behind the loom, allowing the artist to flesh out a portrait using the negative space within the circle. A new way to knit from Petros Vrellis on Vimeo . A recent video Vrellis uploaded to Vimeo features a timelapse of the artist weaving together a portrait of Jesus himself. The 'weave' sequence is done completely by hand, however each step is mapped out by a computer through a specially designed algorithm that converts a digital photograph into a peg-by-peg knitting pattern. In order to translate the input from the photograph, Vrellis’ algorithm has to make over 2 billion calculations in order to produce the pattern. Vrellis says his portraits are influenced by the works of 16th century Greek painter El Greco, whose dramatic and expressionistic style laid the groundwork for both the expressionist and cubist movements. Perhaps Vrellis' use of algorithms will start a movement all its own—a weaver’s revolution, enabled by technology. Check out more work by Petros Vrellis on his website . Related: Robots Weave a Carbon Fiber Forest in London 8 Textile Artists Weave a Narrative of Racial Injustice Miles of Thread and a Giant Needle Weave Indoor Rainbows 2016-07-28 18:30 Nathaniel Ainley

40 Sotheby’s to Auction the Steven and Ann Ames Collection—Guaranteed Above $100 M. —During the November Sales Gerhard Richter, A. B., Still , 1986. COURTESY SOTHEBY’S Sotheby’s has announced that it has secured one of the major estates to be auctioned in November during the New York evening sales: the Steven and Ann Ames Collection, which contains works by Gerhard Richter, Robert Ryman, Willem de Kooning, and Philip Guston. The blockbusters from the collection— which is being hailed by Sotheby’s as “The Triumph of Painting: The Steven and Ann Ames Collection “— will be sold in a standalone sequence at the start of Sotheby’s contemporary art evening auction on November 17, with other works on offer during the day sale on November 18. A Sotheby’s representative said the estimate for the entire collection will be “in excess of $100 million.” The auction house should hope it hits that mark: sources indicated to ARTnews that the Ames estate was also pursued by Christie’s, and in order to secure it, Sotheby’s had to guarantee the estate for $100 million. “This outstanding collection is exactly what the market is currently looking for, and as such we are very comfortable with the level of our guarantee,” Grégoire Billault, head of the contemporary art, told ARTnews in a statement. Sotheby’s wouldn’t comment on beating out Christie’s for the sale, but Billault added that “w e secured this collection as a result of our teamwork, with longstanding relationships between the couple and multiple people here at Sotheby’s, combined with our track record with Gerhard Richter, whose market we pioneered and continue to dominate.” Indeed, the sale’s highlights include two works from Richter— A. B., Still (1986) and A. B., St. James (1988)—that both carry a low estimate of $20 million and a high estimate of $30 million. Other expected big sellers include George Baselitz’s Ein Stück Malerei (1966), Willem de Kooning’s Untitled (1976–77), Philip Guston’s Untitled (Smoking) (1979), and Anselm Kiefer’s Dein Aschenes Haar Sulamith (1981). “Steven and Ann Ames collected with the same meticulous approach they applied to all their many and varied passions,” Amy Cappellazzo, chairman of the fine art division at Sotheby’s, said in a release. “The result is a group of paintings that stands as a testament to the possibilities of the medium that is at once intellectually rigorous and visually stunning.” After a career as a partner at Oppenheimer & Co., as well as at the New York Stock Exchange, Steven Ames started collecting, along with his wife, to follow in the footsteps of his mother’s family, the Annenbergs—the prominent philanthropists who endowed the directorship position at Los Angeles County Museum of Art and a fund at the Museum of Modern Art in New York, along with many other projects in the arts through the Annenberg Foundation. After nurturing a passion for collecting, Steven Ames completed a master’s in art history at Columbia and wrote his thesis on Richter. He went on the serve of the board of the Whitney Museum of American Art and the collector’s committee of the National Gallery in Washington, D. C., and was a trustee of the Aperture Foundation and Independent Curators International. He died in March of this year. The estate contains approximately 100 works, a Sotheby’s representative said. It is the first major estate the auction house has guaranteed since it placed a record $515 million bet on the estate of its former chairman, Alfred Taubman, in the fall of last year. 2016-07-28 18:30 Nate Freeman

41 ME dinner set by moak and emma eijkeren combines dutch and colombian design ME dinner set by moak and emma eijkeren combines dutch and colombian design ‘ME dinner set’ is a selection of food containers which can be assembled to form a portable carryall. each compartment serves a different function, combining various kitchen appliances into one singular design. the assortment is held together by a leather strap and metal structure which connects the two main ceramic bowls and complimentary items. the set can be used indoors and outdoors, as a BBQ or even a fondue set. the bowl situated at the top of the group, is made from a red stone clay which allows you to roast different foods on top of the surface. the wooden lid which is placed above acts as a chopping board. the last compartment can be used to store sauces, breads and other foods. the middle section includes space for a complimentary picnic blanket, allowing the user to bring everything they need in one single package. the collection was designed under the MTic-design project – an exchange program between the netherlands and colombia with a specific focus on product design. the program brought together designer emma vaneijkeren from the netherlands and moak studio from colombia. this unique partnership combined different methods, asthetic styles and materials from both cultures which resulted in the ‘ME dinner set’.’ the duo aimed to create a piece which would bring friends and families together to cook, and to share, creating a versatile product for any occasion. the design allows the user to bring everything they need in one single package the ‘ME dinner set’ can be used as a fondue set it can be used as a small BBQ the assortment is held together by a leather strap and metal structure 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. 2016-07-28 18:25 Moak Studio

42 The 10th edition of SP-Arte/Foto in São Paulo Related Artists Laszlo Moholy-Nagy ’Tis the season for photography festivals: PhotoIreland is in its last week, the exposition at Arles is still under way, and Perpignan’s Visa pour l’image is right around the corner. A little farther down the road and on the other side of the Atlantic, the 10th edition of SP-Arte/Foto, an offshoot of SP-Arte and one of the most significant fairs in Latin America, is slated to take place in São Paulo, Brazil, from August 24 through 28. Held in the shopping mall JK Iguatemi, the fair will host an eclectic mix of works exemplifying the diverse platforms that have enabled photography to develop as an artistic medium open to engaging with other forms of creative expression. (Major brand stores in the mall will display participating galleries’ works as a special circuit within the venue.) With attendance increasing every year, culminating in 2015’s total of 18,000 visitors, SP-Arte/Foto clearly provides what the market wants with its creative curation and programming. Among last year’s speakers was MoMA photography curator Sarah Meister, but international figures like Meister do not dominate the spotlight. Fair director Fernanda Feitosa is aware of the importance of showcasing Brazilian practitioners, especially members of the modernist school Cine Clube Bandeirante. The festival draws extensively from local galleries and talent, many of whom are from São Paulo. “SP-Arte/Foto presents fundamental names in art history and Brazilian photography to a new generation and to the world, as we can see by the recent acquisitions of Brazilian photographers by MoMA,” said Feitosa. Among the names the fair has presented to the world are those active in the contemporary Brazilian scene. The focus here is on experimental photography, as exemplified in such works as Fabiano Rorigues’s “Ratsrapus,” 2015; Leticia Lampert’s “Random City 4,” 2006; Alex Flemming’s “Body Builder, 2003; and Ayrson Heráclito’s “Série Bori.” SP- Arte/Foto also gives ample space to those Latin American photographers who, through the decades, adopted the abstract style promulgated by the legendary László Moholy-Nagy in the 1920s. And, though this fact is little known, it was the first festival to welcome photobooks, including those of Bob Wolfenson, Claudia Jaguaribe, German Lorca, and Pedro Martinelli. British photographer and photobook expert Martin Parr has visited SP- Arte/Foto, putting it firmly on the international map and paving the way for other fairs to take the photobook as seriously as they do the medium itself. 2016-07-28 17:57 Paroma Mukherjee

43 Right Before a Leap: ‘Philip Guston: Painter, 1957–1967’ at Hauser & Wirth in New York Is a Stunner Installation view of ‘Philip Guston: Painter, 1957–1967’ at Hauser & Wirth in New York. ©THE ESTATE OF PHILIP GUSTON/COURTESY HAUSER & WIRTH The praise has flowed in for Hauser & Wirth’s first Philip Guston show since it opened in April and so, with only two days left in its run, I am here merely to beseech you not to miss it, to beg you if necessary. Treat yourself. Take an extra long lunch break or cut out early. It is a glorious affair. You will regret not making the trip. It has become clear since Guston’s death in 1980, at the age of only 66, that he was not only one of the great Abstract Expressionists, not only one of the defining painters of the 20th century, but one of the rare, exemplary models for how to be a contemporary artist, right now, in 2016. He questioned everything endlessly, continually casting off established styles and comfortable success in search of something new. His story is, by now, legendary: an early period making politically engaged artworks, a conversion to abstraction mid-century, a mode he would hone into shimmering, beguiling paintings, and a radical, unexpected return to representation in the late 1960s, with depictions, both luscious and filled with dread, of hooded Klansmen, cherries, shoes, and other stuff of the world. This show, “Philip Guston: Painter, 1957–1967,” is set right before his radical, final transfiguration, as recognizable imagery was just barely beginning to coalesce in his work, somewhere within his halting, tangled grays, blues, lilacs, reds, pinks, and white marks. Beginning in the early 1960s, those brushstrokes became uniformly thick, enough so that they look distinctly un-arty, unlike anything else in the Ab-Ex sphere—all the more so because Guston often stays far back from the edge of the canvas, leaving exposed swaths of fabric. The images look tender and provisional, as if they might slide away at any minute. Philip Guston, Group II , 1964. ©THE ESTATE OF PHILIP GUSTON/COURTESY HAUSER & WIRTH The key to these paintings, particularly the pivotal ones from the mid-1960s, presented here in tour-de-force groupings, are the black blobs or clouds hovering in them. You sense, rather than see, real things in those abstract forms. You know they are there. They are faintly menacing, bringing to mind Ted Hugh’s “Ghost Crabs” poem, which was published in 1967, just as Guston was working on the last of these paintings. It reads in part: “They emerge/An invisible disgorging of the sea’s cold/Over the man who strolls along the sands./They spill inland, into the smoking purples/Of our woods and towns—a bristling surge.” A few weeks ago, an artist friend repeated an argument to me that had been put to him by a colleague, to the effect that, if Guston had not finally gone back to figuration, people would not have been so impressed by the transitional work at Hauser & Wirth. It is, of course, an opinion that is impossible to prove: he did. For what it’s worth, though, I think a lot of these ‘60s works stun, especially the super spare ones, when they are nothing more than gray fields floating over pink, looking like representatives of some alien form of Minimalism, an alternate version of the style that contains so many still-to-be-explored possibilities. But to engage a bit more with that argument, knowing the artist’s later work, yes, we do have the privilege of seeing these paintings as catalysts for his final, grand change, maybe even as “paintings beside themselves,” to borrow art historian David Joselit’s formulation. Guston was mapping out where he wanted to go—and, to be sure, building up the courage to set out for that place. He was doing something that we all do at certain points in our lives, with various degrees of trepidation, excitement, and hope—he was walking the line. 2016-07-28 17:48 Andrew Russeth

44 Datebook: Hans-Peter Feldmann’s New Work at 303 Gallery, New York Related Venues 303 Gallery Artists Hans-Peter Feldman The seventh solo exhibition of German artist Hans-Peter Feldmann will run at 303 Gallery, New York from September 15 through October 29. Feldmann’s body of work includes photography, sculpture, installation, drawing, and, as featured in this exhibition, painting. Feldmann's obsession with collecting images is well known in the history of conceptual art. His books and photographs lay the foundation for what we know today as Postmodernism. The images that he collects are categorically banal, and at the same time cleverly suggestive in nature. Feldmann’s idea of a painting show consists of "found paintings" that are reworked and placed in unexpected dialogues. From transforming aristocratic paintings into subtle farce to uncovering the hidden language of landscape paintings, Feldmann’s aim is to analyze and scrutinize the force behind images and its influence on our subconscious, simultaneously subverting and controlling their capacities. 2016-07-28 17:34 BLOUIN ARTINFO

45 renzo piano + alvisi kirimoto set sails in sardinia renzo piano and alvisi kirimoto + partners have added a vibrant and ever- changing installation to the rustic piazza faber in sardinia. in tempio pausania, a town of about 14,000 inhabitants in the northern part of the island, the architects have realized a series of colorful sails that fluctuate in the sky, animating overhead pedestrians and passersby to the lively public space. dedicated to the late italian singer-songwriter fabrizio de andré — whose friendship with piano became a important source of the project — the installation serves not only to celebrate the artist as ‘one the most sensitive interpreters of human nature’, but also to highlight the beauty and importance of small towns across italy. developed by alvisi kirimoto + partners and conceived in continuity with an idea by renzo piano, the project comprises 12 suspended elements set against a backdrop of historical stone buildings and the market arcade. in celebration of the light and colors of the landscape, green, gold, red and blue fabric sails fluctuate in the air as if carried by the wind, finally resting on a web of wires that stretch between the buildings. piano’s idea of a ‘spiderweb’ of color is translated into a labyrinth of wires and cloth that don’t touch the piazza, but give it a dynamic effect of shadow and color. when the sails are closed, ’12 colored pencils’ (a reference to fabrizio de andré’s great passion for faber-castell crayons) seem to be suspended between the narrow irregular streets and granite walls. ‘this intervention, with its lightness and its untamed vitality, allowed us to relate ourselves once again with small urban centers,’ architect massimo alvisi describes. ‘starting from renzo piano’s idea to ‘capture the rays of light and its colors’, we moved the action up high, above the piazza, thus forcing passers-by to look beyond the roofs, to deal with the gray buildings and the color of the sky, to transcend the angular margins of the area.’ in its construction, the installation includes an arrangement of steel cables anchored to the granite walls of the surrounding buildings. this net creates a series of suspended triangles, where each vertex acts as the starting point for other rods. the fabric geometries can be rolled up though a motorized system — similar to those used in sailing. the device allows for two distinct configurations: open sails produce triangles of shadows in the piazza; closed sails form an intricate system of cables and rolls overhead. additionally, the open composition can also host visual projections, adding another dimension to the ever-changing installation. 2016-07-28 17:15 Nina Azzarello

46 Meet 'Slumpie,' the Sculpture That Snuggles You While You Text Jillian Mayer, Slumpie 4 - Lounger Ever notice the shape your body takes on while staring at your smartphone? Whether you’re standing or prone, your shoulders hunch, your neck bends at a deep and awkward angle, and your face hovers dangerously close to a light source that could be making you temporarily blind. If you were to momentarily check yourself, you’d probably realize it’s terrible for the posture, straining on the eyes, and objectively uncomfortable. Artist Jillian Mayer , whose playful work examines humanity’s complicated and mercurial relationship with technology, has created Slumpies , a series of sculptures designed to support the texting body. Each is shaped differently, allowing users to find one that best accommodates their smartphone-fiddling postures—but the body is always somehow cradled, the neck snugly at rest. You’ll be able to try them for yourself at the upcoming 2016 Atlanta Biennial (which is returning after a nine-year hiatus). Jillian Mayer, Slumpie 3 - Q Chair The glittery, enamel-painted Slumpies are reminiscent of catalog objects with questionable utility—grown-up “toys,” designed for the sake of streamlining or fun, disguised as necessities. But the sculptures, which have so far appeared at David Castillo Gallery in Miami and LAXART in Los Angeles, are useful and comfortable, even emitting Wi-Fi in gallery settings. Given their purpose, they enable us to fully occupy that space of present- but-not-quite, physically standing in a social setting but mentally exploring cyberspace. Jillian Mayer, Slumpie 7 - Arm Hole Explains Mayer, “When I was in public, I noticed people with their chins resting against their necks and their eye gaze low, towards their phone screens, which was positioned around their sternum level. These people were all in public doing very social things, yet they needed or prefered to tend to their digital worlds. I wondered if there was a way to create an object allowing participants to do what they wanted--use their phone--while simultaneously engaging and disengaging from the environment they were physically present in.” As art pieces, Slumpies promote passive performance, too, effectively rendering anyone who sits on one part of an experimental installation. “I wondered if I could make a sculpture which asked for engagement and if people would help fulfill the sculpture’s agency,” Mayer says. “The sculpture would also serve as a stage for the person, who then would become a performer.” Jillian Mayer, Slumpie 4 - Lounger Mayer thinks a lot about the placement and purpose of the body, both performatively and biologically, particularly as it begins to accommodate new technologies. “I have recently become more aware of people’s body language and positions,” she says. “I wondered how the body, like everything else, has transformed in the last view decades alongside the innovations and devices we create in order to make our lives more comfortable and our desires more accessible. Naturally, these inventions call for our body to shift towards them in order to engage more. I constantly think about what we forfeit in order for more, what we release or submit from the past in order to access the future.” Slumpies address those unusual, sometimes awkward bodily transformations in a way that’s fully utilitarian. The best part: they’re customizable—you can order a custom-fit Slumpie sculpture or select a preferred position. Pay close attention to the way your neck hangs and how you change your posture next time you’re forced to look at your phone, and plan accordingly. Jillian Mayer, Slumpie 4 - Lounger Jillian Mayer’s Slumpies are on view at the 2016 Atlanta Biennial at Atlanta Contemporary August 27, 2016 - December 18, 2016, and at EXPO Chicago September 25, 2016 - September 28, 2016. Order a Slumpie of your own at Slumpi.es. Follow Jillian @JillianMayer. Related: 5 Experimental Video Artists to Keep an Eye On in 2016 Miami Artist Offers a VR-Inspired Guided Pool Meditation New Animation Explores the Dangers of Selfie Addiction 2016-07-28 16:15 Monica Uszerowicz

47 Anderson Ranch, Where Art Stars and Just Plain Artists Play on a Level Field Related Venues Anderson Ranch Arts Center Artists Mark Rothko ASPEN, Colo. — One morning last week, an art student here had just been loaned a pristine copy of John Baldessari’s “Pure Beauty,” the out-of-print catalogue from the artist's 2010 LACMA/Tate Modern retrospective, to get a sense of how some of the ideas that had been introduced in the photography workshop he was taking, Image and Beauty, have been successfully manifested. He set himself up comfortably on the photography building’s wood-beamed porch, shaded from the strong Rocky Mountain sun, to meditate on the printed images. Just as he turned the title page, MacArthur Foundation genius Carrie Mae Weems emerged from the rustic building, noticed the book, and said, “Ah, Baldessari. He was my teacher.” The student looked up blankly, unsure how to respond. “I went to Cal Arts,” Weems told the speechless novitiate. “Great days.” With that, she bounded off into a fully scheduled day. Fortunately for the student, the chance for additional tete-a-tetes with art stars was literally guaranteed: His class was being team taught by New York-based practitioners Dirk Westphal and Tom Sachs. Welcome to Anderson Ranch, the Aspen institution that, for the last 50 years, has sought to level the field for everyone who works as an artist — amateur or professional, formally educated or not. As an art center, the Ranch offers 150 summer workshops in two- and three-dimensional media, ceramics, metal- and woodworking, as well as furniture design and digital fabrication (that's state-of-the-art 3-D printing), to self-defined artists looking to enhance practice and skill level and engage in dialogue with fellow creatives. Artists live on site in dorm facilities and take meals in a communal cafeteria, which offers healthy spalike fare that keeps the body feeling light and the mind fresh. While teaching with Westphal, Sachs — who currently has exhibitions on view at the Brooklyn Museum of Art and the Noguchi Museum in Queens — was also at work on a project of his own: a series of ceramic tea bowls, the crafting of which he had studied under master Japanese ceramicist Takeshi on a previous visit to the ranch. (Takashi has been coming to the ranch to rest and recharge for 22 years.) “I have no business at all being here,” said Sachs of his two-week artist-in- residence stint, during an open studio he held for anyone who might want to chat with him about his work. He was referring to the nonstop activity in his New York studio and his other obligations. “But coming here breeds energy in terms of creativity, ideas, and the chance to work and think outside the pressures of New York. I can't not do it.” Sachs isn’t the only one using the ranch to experiment with unfamiliar media; photographer Catherine Opie is also currently on site using the excellent ceramics facilities. In recent years, the endless dialogue here about art has expanded beyond in-studio critiques (both formal and informal) and lively mealtime conversations. (“If you put a voice recorder under every table in the dining room, the anecdotes would make for one helluva book,” quipped painter and RISD professor Holly Hughes.) The 2016 roster of lectures and conversations by artworld luminaries includes Jerry Saltz, Liza Lou, Fred Tomaselli, Charles Ray, Ann Philbin, and Alex Prager. Even as other parts of the Aspen art-and-culture scene have grown in notoriety — the Aspen Art Museum, the Aspen Institute and Ideas Festival, the Aspen-Santa Fe Ballet — Anderson Ranch has continued to shine as a unique and special player. And it continues to expand its reach and mission, forging partnerships with local and national entities, including a new scholarship program with art schools across the country that will bring BFA and MFA students into the mix, diversifying the student body on a variety of levels, according to director Nancy Wilhelm. And word is getting out. “At Art Basel we really try our best to spend as much time as we can getting to know institutions of all shapes and sizes,” said Noah Horowitz, director of Americas for the Art Basel portfolio of fairs, who had flown in to celebrate the Ranch’s 50th anniversary at a gala and auction last Thursday. “I heard so many great things about Anderson Ranch, and it’s been a great few days getting to know this unique institution.” Clearly, taking time to think about the value of art beyond the market is as beneficial for cultural workers and patrons and it is for artists. “It's really important to take moments of pause outside the major metropolitan areas and actually spend time with people,” continued Horowitz. “There are some amazing collections here, and you’re able to get meaningful face time with people — one on one, outside the hustle-bustle of the city, in ways that are very difficult to achieve in New York and during the fairs.” Not that Horowitz was the only metropolitan type on hand for the gala, at which Weems and collectors Eleanor and Domenico De Sole were honored. Photographed on the red carpet were Mercedes Bass, Paula and Jim Crown, Toby Lewis (who sponsors the lecture series), Gael Neeson and Stephan Edlis, Amy and John Phelan, Craig Robbins, Tad Smith, and Paul and Gayle Stoffel. The evening was both glamorous and affable with wine and jokes flowing. (Introducing the De Soles, last year’s Service to the Arts Award winner David Stockman, who spoke after his wife Jennifer, confessed his man crush on the perennially chic Domenico, a business partner of Tom Ford.) While accepting their award, the De Soles did not shy away from the glare of their newfound celebrity as the first collectors to have brought suit against New York's Knoedler Gallery after being sold a Mark Rothko forgery. While Domenico humorously admitted, “I suspect we have been honored tonight because we bought a fake,” Eleanor stood proud, stating, “We've become advocates for collectors’ rights.” St. Louis collector Bunny Burson introduced Weems by describing an outing with the artist and her husband Charles to Ferguson, Missouri, where Weems, taking photographs, was angrily approached by a local who was concerned that her documentation was exploitative. Weems, Burson said, quelled the man’s fear with a distinctive brand of empathy that mixed hope and compassion. Taking the podium, Weems said, “Art is not polite. I continue to ask important questions and think about our need to address change and how to affect change.” “We all go to a lot of events for which people shuttle in and out, and it’s easy to lose the sense of the local and the passion a longstanding community of people can have for a place,” said Horowitz. “I spent time this morning with people who have been coming here for 41 years, and Anderson Ranch rewards them with an inside view into the creative mind of people like Tom Sachs, Fred Tomaselli, Carrie Mae Weems. That speaks volumes about the seriousness and rigor of the project that’s being undertaken here.” It would seem the bar in the Rocky Mountains is set very high. 2016-07-28 16:02 Deborah Wilk

48 48 Last Chance: 'See sun, and think shadow’ at Gladstone Gallery Related Venues Gladstone Gallery Artists Amy Sillman Apostolos Georgiou Jessica Dickinson An old riddle asks: What grows the more you take away from it? Answer: A hole. The hole in this riddle, defined by that which it isn’t, is a good metaphor for the works in “See sun, think shadow,” a strong group show currently on view at Gladstone Gallery. Most of the pieces in the exhibition exploit the tension between an object or idea and the counterpoint that delineates it. Curated by Simone Battisti, the exhibition takes its name from the last line of a short poem by Louis Zukofsky, “anew #21.” Zukofsky was the foremost member of the Objectivists, a loose group of second-wave modernists who sought to take the grandiosity out of poetry by focusing with sincerity on small everyday moments. Although the formal and thematic aims of Objectivism don’t seem overly pertinent to the show as a whole, most of the works in it demonstrate the sincere understatement the movement espoused. They also introduce a great deal of subtle humor. Amy Sillman’s “Triscuits” embodies all these points. The semi- autobiographical video revolves around a university faculty party to which Sillman, in residency at the school, is invited. The story, which is quite funny, uses the hole as pervasive motif: It appears as a metaphor for female reproduction and intercourse; for the missed connections between people, as in disjointed conversations at a dinner party; and finally, for a more intangible sense of something missing in individuals’ lives. The video monitor, recessed into the gallery wall, offers a formal complement to the work’s content. Elsewhere in the exhibition, the light-by-way-of-dark theme is used to represent other types of subverted dichotomous relationships. In Liz Deschene’s “Shift/Rise,” for example, a silver-toned photogram acts more like a mirror than an abstract photograph; viewers’ relationship to the piece changes as their focus quickly switches from a formal appraisal to looking at their reflection. Apostolos Georgiou’s untitled painting depicts two male figures negotiating a wall, one facing front, ready to hop down on the viewer’s side of the barrier, the other leaning over the other side, as if to throw himself over, perhaps to his death; the work ultimately resists narrative altogether. And in Nora Schultz “Window Blinds,” an oversized set of venetian blinds is suspended nowhere near a window, calling into question not just their purpose but their very identity. Hanging next to Nora Schultz’s work, Lucas Blalock’s dense photo “IIII” shows the ghostly remains of various quotidian objects on a studio table; largely —albeit lazily — Photoshopped out, the objects appear as virtual shells of their former selves. Blalock’s characteristic play between analogue photography and over-dramatic post-production dissolves the line between authenticity and artifice, demonstrating the inadequacy of this distinction in discussions of photography and replacing it with a more painterly debate about abstraction versus figuration. The show also includes two works by Jessica Dickinson, whose practice involves making gouache paintings and then “tracing” their topography to create new pieces in the form of negative images of the originals. The two pieces on view are from the same series: one a painting, the other a tracing. They are not complementary, however, introducing a tension between them. This tension is what the show is really about — not the lines that divide the sun from its shadow but whether or not such oppositions open the artistic discourse into more complex questions. For the artists in “See sun, and think shadow,” this liminal area still proves fertile ground. 2016-07-28 15:59 Taylor Dafoe

49 Dark Political Cartoons Show How Technology Is Our New Master Images courtesy the artist While you might not know his name, you've almost certainly seen the work of Polish illustrator Pawel Kuczynski. Known for political cartoons that stick in your mind as much as your social media feed, Kuczynski's work is constantly circulating Reddit, Facebook, and Instagram. Yesterday he tapped into the weariness the world is feeling with Pokémon Go in a new work, depicting Pikachu, bright and yellow and happy, perched on the bent neck of a dronelike mobile gamer. The title is simply, Control. With over 30 million views and a half million likes and shares from his page alone, Kuczynski has once again struck a nerve. The illustrator's other works address issues as diverse as authoritarianism, party politics, cruelty to animals, and social media addiction. Karolina Prymlewicz, curator of the Museum of Caricature and Cartoon Art in Warsaw, describes Kuczynski as, "deeply involved and uncompromising in his political judgements and social diagnoses. He exploits the aesthetics of surrealism, makes skilful use of visual metaphors… and black humor is definitely his element. " This combination appears to be something like social media wildfire, and is completely present in his new colored pencil and watercolor illustrations. Contextualized by the sensational stories of distracted teens being hit by cars, a girl finding a dead body , and implied government surveillance, the weariness in Kuczynski drawing is just as applicable to the game's presence in the news cycle as its own addictive qualities. The artist responds modestly to the huge response his drawing has received. His works are always based on observation to political and social conflicts plaguing Poland, the internet, and the world. It was only a matter of time before he reacted to Pokémon Go : "It's a hot subject now. It's not my best drawing and it's not my best idea. It's just my response to the big success of Pokémon," Kuczynski tells The Creators Project. As the app deploys in more and more countries, it's projected to surpass Twitter in daily active users, and more mixed-reality games are likely to emerge in its wake. That said, Pokémon Go hasn't conquered everybody's hearts and minds yet—Kuczynski included. "I don't play Pokémon Go ," he reveals. "I haven't got a smartphone. Maybe now, after I did a drawing, I'll have to check out this game? " See more of Kuczynski's haunting works below. See more of Pawel Kuczynski's work on his website . Related: Dalí and Miró Meet Digital Art in Surreal 3D Illustrations These Vintage Melting-Face Portraits Will Trip You Out "The Mondays" | Monday Insta Illustrator 2016-07-28 15:50 Beckett Mufson

50 Gorgeous CGI Paint Swirls in Mesmerizing Animations Images courtesy of the artist Blobs of paint, in rainbow shades, explode out of nothing and twist into beautiful shapes during a series of short animated videos. The 20-second clips are playful and aesthetically pleasing; thick paint oozes or slides smoothly across the screen, sometimes quickly, sometimes so slow it seems to not be moving at all. There are six videos in Paintwaves , and each of them has a different background, different color palette, and a differently shaped paint blob. Ari Weinkle 's playful, computer-animated experimentation mixes mediums in a delightful and simple way, bringing to virtual life the beauty and tactility of oil paint. No stranger to reimagining the physical through animation, Weinkle is interested in disassembling and re-imagining shapes, especially natural ones. He devoted one series, called Feelers , to re-animating animal appendages. Other works play with classic geometrical shapes, like the series Spirals. But the theme of reanimating artistic mediums is perhaps Weinkle’s most interesting pursuit. In Tides , the artist depicts typography underwater. Constructing fascinating and strange letters, he then lets the letters dissolve, with certain shapes and patterns mimicking marine life. Playful and mesmerizing, Weinkle’s works are simple and beautiful meditations on artistic mediums. Check out some Paintwaves in action below: To see more of the series, click here. Related: Abstract Animation Created by Painting on Rotating Tin Cans An Out-of-Body Experience Inspired By These Weightless Photos of Paint Strokes These Paintings Look Like Strokes From The World’s Largest Paintbrush 2016-07-28 15:30 Francesca Capossela

51 Tom Hanks to Be Honored at MoMA Film Benefit Tom Hanks. COURTESY MOMA. Tom Hanks, the Oscar-winning actor and star of Saving Private Ryan , Big , Cast Away , and many other modern classics, will be honored at this year’s MoMA Film Benefit, which will be held in New York this November. Past honorees include Quentin Tarantino, Tilda Swinton, Tim Burton, and Kathryn Bigelow. “Tom Hanks is a true force in cinema,” said Rajendra Roy, the Celeste Bartos Chief Curator of Film at MoMA, in a press release. “ His work as an actor has brought him both movie stardom and the deep respect of his peers. Together with his work behind the camera as a writer, director, and especially a producer, he has been an essential figure in American storytelling for more than 35 years. We are thrilled to honor him this year.” For those unable to pay for a $75,000 table at the benefit, there will be series of his works screened at MoMA’s Roy and Niuta Titus Theaters from November 8 to 14. For those uninterested in that, here’s the opening credits to Bosom Buddies . 2016-07-28 15:14 Nate Freeman

52 A Rorschach-Worthy Fashion Line Wants to Protect You From Air Pollution GIF and screencaps by the author, via We’ve written about a lot of the remarkable innovations happening in the world of fashion today and are constantly learning more about the utilitarian potential of our clothing. A new line of clothing changes its pattern based on the amount of pollution in the air. Created by designer and engineer Nikolas Bentel , who previously wowed us with his digestible jewelry , the clothes in the Aerochromics line respond when they detect increased levels of pollutants in the air like radioactivity, carbon monoxide and particle pollution. Bentel’s 100 percent cotton shirts are dyed using a ‘Aerochromic’ dye that starts to turn the fabric from black to white at 60 AQI ( Air Quality Index ), the point at which air becomes dangerous to breathe. The shirt’s full design is revealed at when 160 AQI is reached. Bentel says he believes that 30% of the people living on this planet are breathing in air that is 60 AQI or higher. Now more than ever, metropolitan areas around the world need to be monitored closely to ensure safe living conditions. But therein lies the issue: the facilities built to collect and monitor data concerning our air quality, are immobile. Bentel’s shirts allow you to measure the air you are breathing anywhere you go. The Aerochromics website writes, “We see Aerochromics as the first step in creating an ecosystem of interconnected objects that will help us better understand, navigate, and protect our world.” Thus it's a strong creative effort in the fight against pollution, akin to Greg McNevin’s light mapping portraits of Chernobyl. Check out Aerochromics in the video below: Check out Aerochromics online , and for more works by Nikolas Bentel, head over to his website. Related: Cutting-Edge Fashion Pieces Showcased as Art Objects in This Exhibit A High Fashion Dress Meets High Tech Projections Designing Flying Dresses And The Future Of Fashion, Meet Studio XO 2016-07-28 14:55 Nathaniel Ainley

53 Artists Flip the Script on Viral Culture with 3D GIFs via GIPHY Randy Cano: Bae + Love "Viral culture" at once puts users into contact with more artists and their works, but in the process artists can (and do) lose ownership. Hoping to remedy this in their small way, artists Nicole Ruggiero and Tighe Rzankowski formed the internet collective Post Vision , a place where artists could exhibit together and “re-attach” to their works. When GIPHY recently reached out to Ruggiero to commission a few pieces, she instead asked if they would be willing to do an exhibition with Post Vision instead. The result is a three-way collaboration between Post Vision, Giphy and Soho-based new media art gallery Superchief, in which 19 artists exhibited works in reaction to the “anonymity of the meme generation.” Among the various pieces are the pastel cyber-worlds of Josefin Jonsson’s Alien Twerk , the molten beauty of Randy Cano’s Bae + Love , and Render Fruit’s humorous Pizza DJ , amongst others that can be seen in Post Vision’s recap video. via GIPHY Blake Kathryn & jmckeehen: Sexy Savage “The concept is internet art and the individual—we strive to reattach the artists to her or his artwork,” Ruggiero tells The Creators Project. “The GIPHY-commissioned pieces have their own theme which is Social Technology & Phraseology: The Culture Around Meme Culture. The idea for this was to create something that could be virally successful based on influential cultural topics around the web.” For this exhibition, Ruggiero, Rzankowski and co-curator Franziska Von Guten went with 3D artists because that was the common starting point. In the future, however, they are looking to expand outside of this particularly medium to include photography, sculpture, painting, styling and so on. via GIPHY Josefin Jonsson (Pastelae): Alien Twerk “A lot of pieces in this show have 90s-to-modern-day nostalgic themes because that is when the internet started and continues to be used very heavily,” Ruggiero explains. “You’ll see things like Tamagotchis and Solo cups as well as iPhones and laptops scattered throughout the pieces. Other artists focus on using digital-feeling characters to express very human emotion.” The exhibition’s opening also featured performances by Abbi Press and Dirty Chocolate, both artists who create music that is influential within the internet art world. via GIPHY Render Fruit: Pizza DJ “It was very strongly felt during each of their performances just how involved they have been in the scene, as they naturally provide sound that accompanies the artworks so strongly,” says Ruggiero. “Both are very close to numerous artists and continue to collaborate with them to create fully- engulfing experiences.” VJ Abi Laurel provided visuals for Abbi Press and Dirty Chocolate’s respective sets. Laurel herself is also established in the internet art scene, with Ruggiero saying that her visuals added another dose of the aesthetic to the opening. via GIPHY Nicole Ruggiero & Truulo: Woke Coffee Though the exhibition reconnecting internet artists with their artwork, Ruggiero also insists it was an opportunity to see the internet outside of mobile devices. “I want people to be able to experience URL, IRL,” she says. “Meaning, I’d like people to take away a bit of the internet and sustain that connection. Even when the Wi-Fi is down.” via GIPHY Sasha Katz: Boys’ Tears Giphy + Post Vision | SUPERCHIEF GALLERY SOHO from SUPERCHIEF TV on Vimeo . Click here to see more works from the Post Vision exhibition. Related: Virtual Chemicals Morph in a Mesmerizing 3D Video Greetings from a Cyber Pastel Dream World Play Voyeur Inside an Artist’s 3D Selfie Archive 2016-07-28 14:40 DJ Pangburn

54 See Cate Blanchett Play 13 Roles at the Park Avenue Armory Fans of Oscar winner Cate Blanchett, take note. You can catch the Australian actress in not, one, not two, but 13 separate roles in German cinematographer and video artist Julian Rosefeldt ’s acclaimed film installation Manifesto , which will make its North American debut at New York’s Park Avenue Armory this December. Related: Cate Blanchett Plays Different Roles in a New Exhibition The project takes advantages of Blanchett’s chameleon-esque nature; she was previously the only women among six actors who portrayed different facets of singer-songwriter Bob Dylan’s career and public persona in the 2007 bio-pic I’m Not There . “It’s an empathetic connection,” Blanchett told NPR about acting. She continued, “It’s about, you know, the joy of living many, many different lives.” At the Armory, viewers will be surrounded by a baker’s dozen of massive screens. Blanchett takes on a different role on each channel, from news anchor to ballet dancer. Each character recites a manifesto, quoting more than 50 artists from the last century, including Claes Oldenburg , Elaine Sturtevant , and Sol LeWitt , in poetic monologues. Related: Martin Creed Ranges from Scatalogical to Magical at the Park Avenue Armory The work premiered last year at the Australian Centre for the Moving Image, and made artnet News’s list of 20 Great Exhibitions in Europe We’re Excited About in 2016 for its thoughtful pairing of historical text composed mainly by male authors with a dynamic female performer. “ Manifesto is a singular work of creative vision, which furthers the Armory’s tradition of mounting multidisciplinary projects that defy categorization,” said Park Avenue Armory artistic director Pierre Audi in a statement . In New York, Rosefeldt will adapt the installation into a site-specific presentation for the Armory’s drill hall. Tickets will be $20, and the show will stay open until 10:00 p.m. on Friday nights. “ Julian Rosefeldt: Manifesto ” is on view at the Park Avenue Armory, 643 Park Avenue, December 7, 2016–January 8, 2017. 2016-07-28 14:21 Sarah Cascone

55 Hidden Treasures in Greenwich Village: A Visit to the Renee & Chaim Gross Foundation The studio with wood sculptures by Chaim Gross at the Renee & Chaim Gross Foundation. COURTESY SOTHEBY’S Is there a better time than summer in the city to hunt for new, treasure-filled places to visit? This year, the Renee & Chaim Gross Foundation’s House and Studio flew to the top of my list. If you have never been there, you are in for a treat. If you have been there, but not recently, you will want to return for another look. When it opened to the public in 1994, visitors to the 1830s townhouse at 526 LaGuardia Place in Greenwich Village mostly had access to the ground floor studio. It’s a wonderland unto itself, bursting at the seams with scores of Chaim Gross’s carved wood sculptures, his tools, worktables, vertical files, and an unfinished figure still held in a vise. A memorial exhibition of Gross’s work was mounted in 1994 on the second floor as well. Since 2009, however, the temporary exhibition gallery, library, and archives have been upgraded and now the family quarters on the third floor that are chockablock with paintings and sculptures by almost 300 artists that either hang salon-style or rest on windowsills and tabletops can be visited, too. Chaim Gross in his studio at 63 East 9th Street with his lignum vitae sculpture Strong Woman , 1935, now in the collection of the Hirshhorn Museum and Sculpture Garden. LEWIS JACOBS There is not a better place in Manhattan to immerse yourself in American art of the 1930s as well as sculptors whose works are often kept in storage, out of view, at the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum. Plus there’s the additional benefit of display cases and stairwell walls featuring hundreds of examples of African art. And you can’t beat the price of admission: it’s free. You just need to make an appointment. Chaim Gross’s biography resembles the story of many artists whom art historians identify as prominent American sculptors of the first third of the 20th century. Like Gaston Lachaise, Elie Nadelman, William Zorach, Robert Laurent, and several others, Gross spent his childhood in Europe before coming to New York as a teenager. He was born in March, 1904, in an Austro-Hungarian village that became Ukraine. One of ten kids, he first studied art in Budapest on a scholarship and then went to art school in Vienna. During the years 1921–27, when he attended the Educational Alliance Art School on the Lower East Side, Gross became friends with a fascinating mix of painters, including the brothers Moses and Raphael Soyer, Peter Blume, and Ben Shahn, and the future Abstract Expressionists Adolph Gottlieb and Barnett Newman. Nadelman was his teacher at the Beaux-Arts Institute of Design; Laurent, at the Art Students League. In 1932, Gross held his first solo show. At a gallery on West 13th Street, he exhibited 31 sculptures. Later that year, he married his wife Renee; they were together until he predeceased her in 1991. During the 1930s, Gross taught; was a member of the New York division of the Public Works of Art Project (a WPA project); and, with Zorach, founded the Sculptors Guild and became its first president. Gross continued to teach, mount solo shows, win awards and competitions, and even published a book, The Technique of Wood Sculpture. Yet, he was never financially secure. He and his family—he had a son and a daughter, the artist Mimi Gross—lived on West 105th Street while Gross maintained a studio at 63 East Ninth Street, from which he was evicted after 30 years. Then he had a place on 12th Street, just east of Broadway. Next, he lived at 48 Horatio Street, where Mimi Gross remembers the rent climbing from $80 to $400. After that, he moved to 41 Grand. Finally, after years of stretching a dollar, the sculptor and his wife were able to settle down in 1963 at 526 LaGuardia Place. Tenants occupied one floor. The living room at the Renee & Chaim Gross Foundation. COURTESY SOTHEBY’S When you visit the house and studio near Washington Square and see the number of his sculptures that Chaim Gross kept around and the many works he owned by his friends, you may have a hard time picturing him lugging them place to place. But that’s what he did. And this thought adds a certain poignancy to your being there, as does knowing that Gross himself installed the spectacular skylight in his studio. A number of years ago, I became a fan of Gross’s carved wood sculptures when I discovered Tumblers , an enchanting 42-inch-high work from 1942 at the Art Institute of Chicago. One of many verticals featuring multiple figures that the artist executed, it belongs to a category of sculpture that’s barely remembered today (Jacques Lipchitz also was a master of this genre). Then, about a year ago, the Metropolitan Museum put East Side Girl , an almost 3-foot-high work carved from lignum vitae in 1928, on display. With her fashionable cloche hat, open jacket, and chic shoes, she could not be more charming. Again and again, in the studio, the temporary exhibition space, and the living quarters, you are going to find wood sculptures by Gross that are best described with adjectives you don’t often find in art writing today. It’s refreshing. As for the many paintings by his friends that are stacked salon-style, they almost all elicit a rousing wow. I particularly admired a vase of flowers on a creased purple cloth, set off by a red ground, by Marsden Hartley, a forceful portrait of Gross sculpting whirls of wood from 1944 by Milton Avery, an echt-Cubist still life by Stuart Davis, and two women expressionistically rendered by Louise Nevelson, who was one of Gross’s students. There are also memorable works by the Mexican muralist José Clemente Orozco, John Graham, and Willem de Kooning, among so many others. The sculptures scattered around the residence are equally amazing. How about a graceful dolphin by Lachaise, a compelling portrait of Dame Myra Hess, the British pianist, by Jacob Epstein, as well as works by Nadelman, Laurent, Zorach, and John Flannagan? I should mention the great drawings and prints, but you can see these for yourself. 2016-07-28 14:14 Phyllis Tuchman

56 Review: 'The Plough and the Stars' at the National Theatre Related Events The Plough and the Stars Artists Sean O'Casey London’s National Theatre finds itself in Easter Rising- era Ireland for Sean O’Casey’s tragicomedy “The Plough and the Stars,” which is playing at the Lyttelton Theatre from July 28 through October 22. The word “tragicomedy” goes a long way in describing the main problem with this play. Sean O’Casey’s aim in this work — and in other plays such as “Juno and the Paycock” — was to bring to the stage, for the first time, the Irish working classes, with the delightful cadences and poetry of their unique sayings and idioms. This is admirable on paper, and does lead to some fascinating language, but in trying to capture the full range of Irish working class accents, the play goes through some major tonal shifts — from one of the hammiest displays of comedy drunkenness ever to baby death, insanity and senseless slaughter — and is not quite able to fully take us with it. Sure, some of the greatest plays from Shakespeare onwards have managed to combine comedy and tragedy to great effect, but unlike O’Casey, the Bard never had Falstaff and Ophelia sharing the same scene. Here, what is meant to be a deeply upsetting ending does not quite land, despite the hard work of all the actors involved (even if some of the dialects do slip from time to time). Despite these problems with the source text, the National Theatre manages to expertly stage what is actually an incredibly confined story, taking place in three rooms and outside the third room in a way that is far more pleasing to modern playgoers than the early 20th century source material. Little touches like staging all of the main political action off stage, just about visible through windows, is a simple but effective approach. Another aspect that stands out is the juxtaposition of one character holding her husband in one scene, begging him not to go fight with a soldier holding his dying comrade, with the two groups divided by a bloodied step. Hopefully it won't feel like damning with faint praise to say that their pyrotechnics and makeup teams deserve major respect for some really excellent work with the bangs, bleeding, and wounds of this battle-based play, including a pyrotechnic effect so unexpected that the theater was warning people in the front row before the play began. So despite the strong acting and occasional funny and dramatically effective moments, one can only wish there had been a few more bangs than just the sound effects. 2016-07-28 14:10 Samuel Spencer

57 You Need to Be Looking at 'Pokémon Go in Syria' Images courtesy of the artist. Background photos from AFP A young boy stands on a pile of rubble, a gaunt look of worry on his face. A car is on fire in the background, smoke billowing around it. On a concrete fragment, a Pikachu with sad eyes sits, ears drooping. This strange and striking juxtaposition comes from Pokémon Go in Syria , a photography series in which creatures from the now-notorious game are placed amidst Syrian streets. Photographer Khaled Akil contrasts the lighthearted fun of the addictive game with the oft-forgotten tragedy and horror of the civil war in Syria. Born in Aleppo, Akil now lives in Istanbul, but still has family members in his home country. Talking to Al Jazeera earlier this week , he explained that Pokémon Go in Syria was not meant to blame those who have forgotten about the conflict in Syria, but rather to serve as a “gentle reminder-poke.” The background images in Pokémon Go in Syria , from AFP, show everyday scenes in the wreckage of the city. In one photograph, boys play in a muddy puddle in the middle of the street, surrounded by debris, while a Pokémon, Crawdaunt, sits in a broken pipe. In another image, a Vaporeon accompanies a young boy as he walks his bike down a destroyed street; here, the accompanying Pokémon emphasizes the young boy’s isolation. A tiny Charizard roars atop a tank, alongside members of Daesh. These haunting and bleak images are shown to be even more stark alongside the colorful and carefree Pokémon. Akil’s work insists upon self-reflection, overlaying a virtual world with the real one, and in doing so, contrasting the everyday horror in Syria with the comparative luxury of the Pokémon Go - playing world. Khaled Akil: Watching the news of Syria along with the news of this game forced me to think about how it would look like to hunt for a Pokémon character among the rubble in Syria, In a country where only the sound of war is hearing and killing is the only thing to hunt for. Were there other ideas for your approach? I was working on my regular art project which is different [in] technique and idea from Pokémon Go in Syria when I did these photographs, it was a quick statement on what taking place in Syria. What do you hope people will learn from this series? First to think twice before supporting any war, and for game lovers to realize that war in virtual games is much different that reality, and then for Pokémon Go players I wanted them to pause and know that somewhere else on this planet there are many things worth to pay attention to. What does your series specifically add to the #PokemonInSyria social media campaign? Are you planning to create a part two? I was planning to work on part two, but another idea came which I just published, it's a project called Hate Loves Hate and it is also a statement about hatred and extremism. I'll work on part two and I hope that I can cooperate with any agency to provide some photos from Syria since it wasn't easy to find high resolution photos online. To see the series, click here. You can also check out Khaled Akil on Instagram. Related: Artist Fills Gallery with Rescued Animals and Debris from Syria To Fight ISIS, Art Dealers & Archaeologists Join Forces 10 Totally Unintentional ‘Pokémon Go’ Effects on Society 2016-07-28 14:10 Francesca Capossela

58 Bacteria Genome Dresses and Judgmental Robots Probe Tech Boundaries Ivor Diosi's Molding the Signifier. Image courtesy of artist Virtual reality, biofeedback devices, and artificial intelligence: all rapidly developing industries and areas that involve a human- computer relationship. How that relationship will evolve is an intriguing question that's currently being played out at the hands of big tech firms and startups. It's also the focus of an exhibition, The Games Europe Plays , currently on at the Stephen Lawrence Gallery at the University of Greenwich, London. The show has been curated by Ghislaine Boddington, creative director of body>data>space , and a lecturer in the Digital Art department at the uni. Boddington has a particular interest in the body and its relationship to technology and the exhibition looks at some of the many ways artists, scientists, and game developers from Europe are seeking to understand and develop that interconnection. It also looks at what happens when there's a disconnect. Artist Marco Donnarumma 's XTH Sense , for example, explores a very immediate and intimate connection with the body. The open source wearable instrument uses bioacoustic sounds from the body—heartbeat, blood flow, muscle movement, breath—to create music and sound FX. Donnarumma uses it for intense performances by strapping it to his arms or legs so it becomes a complex body instrument. "A bit like a one-man band but the future way of doing that. " notes Boddington. The sounds are then sampled in real-time creating "biophysical music" like in his Corpus Nil , which he'll be performing live at this year's FutureFest. As an experiment in social robotics, he'll soon be heading to the Berlin University of the Arts to work with and develop, over two years, an intimate relationship with a developing robot. Grendal Games' Gryphon Rider. Image courtesy of Grendal Games Another piece looks at not wearables but how motion tracking technology and video games interact with the body, specifically a Kinect. This isn't for entertainment, though—using the aesthetics of commercial video games Dutch company Grendel Games have developed Gryphon Rider which is used to aide physical therapy, for equilibrium and balance, in children who have suffered brain damage. A physiotherapist collates data, remotely, through the game on their physiotherapeutic progress. It's effectiveness as a treatment can be measured by the fact that, in the Netherlands, it's soon to be made available through health insurance. In The Sequence Dress from Anna Dumitriu and Alex May , a projection- mapped dress' pattern features the sequence of the whole genome of some Staphylococcus aureus bacteria taken from Dumitriu’s body. The dress itself is also injected with the bacteria, which is a human pathogen and in different circumstances could be deadly. Dumitriu, a scientist and artist, is exploring the inside of us and bringing it outside to emphasize our ignorance of our own bodies. “The bacterium I have studied is one of millions which go to make up my microbiome. " Dumitriu notes. "The detailed knowledge of this one organism only serves to highlight how little knowledge we have of the workings of our own bodies, as we reflect on the sublime microbiological worlds we carry with us.” The bacteria can also be experienced as VR visuals. Sequence Dress. Image courtesy of The Games Europe Plays A kind of reverse of this piece is Slovakian artist's Ivor Diosi 's Molding the Signifier. In his installation, he's bringing the outside in by infecting three computer avatars with a biological agent. The avatars respond to visitors through eye contact and speech, but this slowly disintegrates as they become infected. The infection comes from a "contaminated bioculture," basically various species of mold. The mold is grown in the installation and digital sensors monitor and measure it. The data is then digitized and transferred in real-time to the logic that governs the AI simulation of the avatars and the facial recognition they use to "see," turning them crazy. In effect, he's not creating artificial intelligence but artificial insanity. "We use the word virus in computing, so this is obviously a play on that," says Boddington. "But this is also like taking an outside virus from the physical world and infecting the virtual world. " Blast Theory's Karen. Image courtesy of the artists It's a twisted reversal of augmented reality, a terrifying Cronenberg movie yet to be made. Complimenting this in terms of our technology going insane on us is Blast Theory 's Karen. It features a self help guide, called Karen, in the form of an app. She starts off interacting with you pleasantly, asking you about yourself and trying to understand and help you. The questions atually come from psychological profiling questionnaires, but then each time you reopen the app she appears more desperate and disturbed, becoming increasingly needy. If you open the app after three days she demands to know where you've been, before eventually going full-on psychotic on you the longer you leave her. It's a case of technology saying it's going to do something, but actually doing something else enitrely, fueling our anxieties rather than soothing them. It's the flipside of the technological coin to, say, Grendel Games' piece. But that's the aim of the exhibition: to highlight, in a playful manner, both the ills and the benefits that our interactions with technology can take. "What I’m really interested in is how we reflect ourselves into technology, into gaming, into interactive art—what comes from our bodies and what can be used towards interactivity," explains Boddington. "So what data we can transmit from our bodies: sound, touch, biofeedback, but what also can come back to us as different types of data—a feedback loop between ourselves and into technology and back again, with the living body in the centre of it. " The Games Europe Plays will b e on display through August 26, 2016. To find out more about the exhibition, click here. Related Artificial Intelligence Controls These Surreal Virtual Realities This Guy Just Spent 48 Hours in Virtual Reality Futuristic Body Armor for Police Violence Activists 2016-07-28 13:55 Kevin Holmes

59 A High Tech Enchanted Forest Awaits You All images courtesy of teamLab In every bottle of Perrier, there are countless bubbles. Together, #ExtraordinairePerrier and The Creators Project celebrate "the extraordinary" behind some of the most fascinating artists pushing boundaries through their chosen medium, technique, and perspective. This is an ongoing series exploring those artists. Japanese art collective teamLab’s Light Festival in Tadasu no Mori uses light, sound, and luminous balloons to focus visitors on the Shinto Shimogamo Shrine in Kyoto. Shinto, a Japanese religion which was first recorded in the 8th century, translates into English as “the way of the gods.” While “the way” in Shinto can be read broadly as the everyday practice of the religion, teamLab wants visitors to think literally about their pathway to the sanctuary. Though the temple looks much the way it did when it was built in the 6th century, it is in fact new. Every 21 years the temple is rebuilt to maintain its stance as one of Japan’s oldest and a UNESCO World Heritage site. Ritual renewal is highlighted when visitors begin their approach to the temple, which lies in the Tadasu no Mori, a stand of primeval forest. The trees that line the pathway pulse and change color as visitors and animals encounter them. Like the shrine itself, this forest looks much as it did hundreds of years ago. Light is an important element for the conceptual side of the installation, it is also a practical choice for material. “Since the entire forest is a religious space as well as a World Heritage Site, it was our duty to not damage any parts of the venue,” Takashi Kudo, communications director of teamLab, tells the Creator’s Project. “By using non-material tools like light, sound, and sensors, we turned the forest’s walking path into the installation space without physically changing the venue.” teamLab uses what they call “resonating spheres” or lantern-like balloons that hover or lightly touch the space. These luminous orbs serve the project’s larger goal of connecting visitors to the surrounding space by changing color, emitting a tone when touched and syncing with the resonating trees beyond the gate. In this way, visitors are tied to the nature around them—a longstanding objective of teamLab’s artwork. Like the practice of Shinto, teamLab’s work keeps the past alive through observations of nature and use of modern materials. Kudo says, “This ancient Japanese sense of spatial recognition has been lost in modern times. With our work, we explore whether the world itself has changed spatially, or if people have lost sight of how they once saw things.” The Light Festival in Tadasu no Mori runs from August 17th through August 31st at Shimogamo Shrine in Kyoto, Japan. For more on teamLab visit their site here. To learn more about Thirst for the Extraordinary click here . Related: Light Behaves Like Fire and Water at New teamLab Installation teamLab Brings 20,000 Square Feet of Digital Art to California teamLab’s Interactive Christmas Lights Will Put Your House to Shame 2016-07-28 13:30 The Creators

60 jade signature by herzog & de meuron nears completion jade signature is a beachfront tower in florida, designed by acclaimed swiss architecture firm herzog & de meuron. construction began in 2013, with the structure in the miami region now nearing finalization ahead of its slated completion in 2017. residences within the 57- storey building include 192 units, from 1-bedroom apartments to penthouses — in addition to six guest suites. amenities include a private pool and beach, while an exclusive clubroom with outdoor terrace is also provided alongside a health and wellness center. construction work is currently at the 50th floor image © aerial photography inc the building has been designed by herzog & de meuron, with pierre-yves rochon responsible for the scheme’s interiors. landscape architect raymond jungles has conceived a lush ‘botanical journey’ that surrounds the tower’s base, with three levels of car parking positioned underground. jade signature’s parallelogram footprint was derived from an extensive study of the sun’s movement throughout the day. strategically positioning the building at an oblique angle to the ocean maximizes exposure to the sun, allowing daylight to have an extended presence on the beachside landscape and residences. the development is located in sunny isles beach, florida image © aerial photography inc residences offer sweeping views both eastward over the ocean and westward over the bay and city. natural ventilation is provided by ‘flow- through’ layouts for all units with three or more bedrooms. curated by pierre- yves rochon, the two-story penthouse shown is only available for the upper penthouse buyer, and includes a $100,000 USD lalique glass table, as well as wall accents by baccarat. ‘jade signature’ is being developed by fortune international group. the tower’s completion is slated for 2017 image © aerial photography inc rather than designing yet another glass tower, a greater emphasis has been placed on the building’s structural qualities. ‘jade signature is very much about bringing the structure to the fore, so glass is protected from the sun and the heat and large terraces are provided throughout. that is what really works well in the miami climate,’ says herzog & de meuron. ‘the project uses structure in the most basic way, a structure that you have anyway, and turns it into something sculptural. this sculptural effect is not decorative; it comes from a combination of desired views and necessary visual protection. it is almost like an alphabet that we developed for the building: which wall can do what, which slab can do what, which column can do what. the structure is the architecture.’ see designboom’s previous coverage of the project here. interiors throughout the building have been curated by pierre-yves rochon image © jade signature the two-story penthouse offers views both eastward over the ocean and westward over the bay and city image © jade signature jade signature has been designed by swiss firm herzog & de meuron image © jade signature 2016-07-28 13:24 Philip Stevens

61 19th century theatre converted into a bookstore in buenos aires ‘el ateneo grand splendid’ in buenos aires opened in 1919 as a palatial theatre and has since been converted into a bookstore. originally designed by architects peró and torres armengol for empresario max glücksmann, it features expansive ceiling frescoes painted by italian artist nazareno orlandi, and caryatids sculpted by troiano troiani, resulting in a ecclesiastical structure. image courtesy of david in 2000, the building was leased by grupo ilhsa who decided to renovate the space, converting the 1,050 seat theatre into a book and music shop. local architect francesco manzone lead the refurbishment of the 2,000 m² (21,000 ft²) performance venue, removing all of the chairs and installing shelves in their place. much of the architectural splendour of the original structure, including artistic and sculptural details, as well as the auditorium lighting has been maintained, with thousands of books lining the walls of the mezzanine levels that offer views of the entire interior. the theatre boxes remain intact and offer a private space for patrons to delve into a good book; while the former stage, where tango artists francisco canaro, igancio corsini, roberto firpo and carlos gardel once performed, has now been transformed into a café. so even though ‘el ateneo grand splendid’ no longer functions as a theatre, one still experiences the grandiose feeling of one. 2016-07-28 13:20 Andrea Chin

62 Street Artist Paints Giant Murals of Children Playing with Their Cities Ernest Zacharevic, POW! WOW! Long Beach, 2016. Photo by Brian Shigeta Drawing on the architecture and communities of cities all over the world, street artist Ernest Zacharevic captures moments of childlike wonder and joy in massive murals that interact with the architecture they're painted onto. Just last week, the Lithuanian artist was hard at work painting a giant kid fixing crooked windows on a three-story stucco apartment building. Zacharevic chose a wall many artists might have passed over, obstructed by windows and protrusions. "I liked the vibe of the building and it had plenty of elements for me to play around with," he tells The Creators Project. The muralist enjoys blending these features into his work for a spontaneous result that authentically reacts to the neighborhood. His work has taken him to the Nuart Festival in Norway, Living Walls in Atlanta, and multiple iterations of POW! WOW!, and he's dropped independent murals all across the Americas, Europe, and Asia. Although the faces of his figures change to look like the locals, his watercolor stylings and commitment to emotional realism remain constant. "I like to see my work more as the reflection of local ambiance rather than invasion of the foreign ideas," he says. "I try to create something that speaks universal language and is relevant to the viewer regardless of his or her background or situation. I expect my viewers to look, think and react. " Check out more of Zacharevic's work below. Art Is Rubbish, Penang, Malaysia. Images courtesy the artist New York, NY The Young Offender, Kaunus, Lithuania Lithuania, Vilinius Atlanta, Georgia POW! WOW! Hawaii, collaboration with Polish Textile artist Olek Hawaii, USA Georgetown Singapore Norway Kuala Lumpur, Malaysia See more of Ernest Zacharevic's work on his website. Related: Honolulu's 'Graffitification' Problem Can't Stop the POW! WOW! Art Festival 30 Street Artists Invade Long Beach, Furniture Flies Check Out These New Water-Focused Murals from a Paddleboarding Street Artist 2016-07-28 13:20 Beckett Mufson

63 artnet Asks: An Interview with Min Oh For Korean artist Min Oh, the auditory qualities of music and the visual aspects of videography are not as dissimilar as they seem— they both represent a structure, a pattern that can be melded together to create something else entirely. After discovering the art of video while studying in the United States, Oh realized she could experiment with the medium and simultaneously exercise her passion for playing the piano. By taking the structure of a song, known as ABA, and dividing it into sections, the artist makes a time lapse, using the music as a template for the video. Each tune corresponds to a form or shape in the visual, using storytelling, light, sound, and images to create a dynamic multi-sensory experience for the viewer. Through these projects, Oh hopes to explore the nature of human instinct, and if you’re looking to see her work in action, you’re in luck. Currently, ABA Diagram , along with several of Oh’s other works, are on display at a group exhibition called “ wellknown unknown ” at the Kukje Gallery in Seoul, which runs until Sunday. To further explain her projects, Oh was kind enough to sit down with us and discuss “wellknown unknown,” the intersection of art and music, and her creative process. When did you know you wanted to be an artist? Perhaps not long after I moved to the United States to study at Yale. It was the first time for me to live far from my home country, and the new environment helped me to keep distance between me and my surroundings and realize who I am and what I am interested in. Luckily, I also encountered video at that time, and I thought that video would be the perfect medium to develop and present my ideas where all the elements that I have been intrigued by—narrative, time, structure, image and sound—come together. Many of your video and performance projects incorporate sounds, images, and symbols rather than written or spoken words. Can you explain why? I am interested in investigating fundamental human drives. I look for traces of them that can be observed by sense, not defined by language. In my videos, I usually juxtapose several layers of sensory information such as seeing, hearing, and touching that can be independent and at the same time work together. You are a professionally trained pianist—in your opinion, how do art and music relate to each other? Music means structure for me. I also see video as a time structure. Since musicians elaborately developed diverse musical forms, I often borrow them while constructing the structure of videos or performances: rondo for Daughter (2011), suite for Suite 1 (2012) and Marina, Lukas, and Myself (2014), and this year I am focusing on sonata form. For early work, I sometimes re-arranged a music piece and played the piano, but in 2011 I stopped using music that works as a background, since I realized that I am more interested in highlighting ordinary sound that has musical attributes. Even though I move my interest from music to visual art, I still keep a musical performer’s attitude. I don’t believe in a shortcut, rather I chose a persistent training to reach the perfection. Describe your creative process. Do you have any kinds of patterns, routines, or rituals do you have? It is often a combination of different levels of socializing. During planning I am usually very well connected to the world, but perhaps only through the Internet. During filming I work tightly together with real humans, the collaborators, and during editing I almost isolate myself in the studio and don’t communicate with anyone. However, in every step of the process I often make diagrams on what is the current idea, how it looks, where it heads towards, how it is connected with other ideas, or what other problems it has. Sometimes some of them become independent work as drawings, like ABA Diagram (2016). You are currently showing at a group exhibition with Kukje Gallery called “ wellknown unknown .” Can you tell us about the exhibition, and your new works ABA Video Score and ABA Diagram ? ABA is a series of four independent yet interconnected works that is prompted while exploring new ways to make time structures for videos. It is an outcome derived from a research process investigating how musical structures that have elaborately developed for a long time can be applied to other time-based media. As well as a study on musical structures, ABA includes questions on the origin of them, their expandability, the relationship between a musical interpretation and the performance, and forms of scores and how to read them. ABA focuses on sonata form, which is one of the most influential musical forms in the western music history, more specifically on the 1st movement of Rachmaninoff Piano Sonata No. 2 Op.36 (1931–2nd version). Though this piece embodies the standard sonata form, I found it unique that the two contrasting motives ‘a’ and ‘b’ in the introduction work as the crucial materials to formulate the whole structure through competing, collaborating, influencing, and blending into each other. ABA Diagram is the first part of ABA series that interprets a musical structure. As the next step, ABA Video Score transforms the diagram into sensory signs, which is a bridge between the diagram and the video since they use very different languages. As the further step, ABA Video transposes them into concrete scenes, and ABA Performance experiments on how the musical structure can be redefined and reconstructed through a live performance which is restricted by limited time and space. In coming October in Doosan Gallery in Seoul, ABA Video will be premiered. What has been your greatest challenge so far? I normally expand techniques, size of production, and ideas quite gradually, and haven’t had any dramatic difficulties so far. However, I feel more challenged when I meet a situation that I can hardly be in control of. For example, I was trying to make specific lighting while filming Suite 2 (2012) in a park in Amsterdam, where you cannot really calculate the weather. For a week before actual filming, I tried to get familiar with the movement and the amount of lighting of the sun from a specific location. But in the end, I had to film the same take more than 30 times to find the most similar take with what I had planned. Do you ever experience artist’s block? What do you do to overcome it? Not a big one, yet many small ones. I believe that a good idea makes balance with boredom. I try to make myself bored when I need fresh ideas. Nowadays it is very difficult to be bored since I am always with my smart phone, or perhaps the opposite? How do you feel your work is viewed in Korea, versus in other cities around the world? I hope the same, since, as I mentioned above, I am interested in universal human instinct that can be observed in any place. The artnet Gallery Network is a community of the world’s leading galleries offering artworks by today’s most collected artists. Learn more about becoming a member here , or explore our member galleries here. 2016-07-28 13:06 Artnet Galleries

64 The Frick Collection Elects Two New Members to Board of Trustees The Frick Collection. COURTESY THE FRICK COLLECTION The Frick Collection has announced the election of two new trustees to its board: Bradford Evans and Bernard Selz. Both Evans and Selz will bring “strong leadership backgrounds and financial acumen,” according to a press statement from trustee chairman Margot Bogert. Evans, a senior advisor at Morgan Stanley, has been a member of the Frick since 2000 and will serve on the investment and capital campaign committees. Selz is a managing partner of the hedge fund Selz Capital and sits, as of March, on the board’s acquisitions committee. In the same release, museum director Ian Wardropper commented further on the pair’s appointment. “While we look to both Evans and Selz for their financial and nonprofit leadership counsel, we also welcome them for other skill sets and areas of expertise. Evans has been a supporter of our special exhibitions as well as our efforts to reach a broader public through educational initiatives, including our Free Nights program. Selz is a knowledgeable enthusiast of eighteenth-century decorative arts and through committee involvement at the Frick, is well positioned to oversee and support related activities and acquisitions at the museum and library. He is one of several funders of the upcoming special exhibition focusing on French royal chaser-gilder Pierre Gouthière, which opens in November.” 2016-07-28 12:55 Robin Scher

Total 64 articles. Created at 2016-07-29 12:00