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54 articles, 2016-06-18 06:00 1 audemars piguets art basel lounge (2.06/3) drawing from geographical ice formations and snow-covered landscapes, sebastian errazuriz has envisioned the lounge for luxury watchmaker audemars piguet. 2016-06-17 16:43 3KB www.designboom.com 2 See the Tate Modern Opening in Photos As the new Tate Modern opens its doors to the public, after six years of work on the Herzog & de Meuron-designed Switch House, (1.02/3) art lovers take to Instagram. 2016-06-17 10:43 2KB news.artnet.com

3 Bill Berkson Dead at 76, Menil Collection Receives Major Donation of Drawings, and More A daily round-up of must-read news from the art world and beyond. (1.02/3) 2016-06-17 10:31 863Bytes www.blouinartinfo.com 4 A Single Stone Becomes Meditative Alcove at Design Miami/ Basel Masatoshi Izumi and Koichi Hara's Stone Tea House (0.01/3) Meditative Alcove re-interprets the elements of the tea house. 2016-06-17 16:04 4KB www.blouinartinfo.com 5 local motors olli powered by IBM's watson platform local motors olli can carry up to 12 people, is equipped with 30 advanced sensors to improve the passenger experience and allow natural interaction with other vehicles. 2016-06-17 22:30 1KB www.designboom.com 6 They Are Wearing: Royal Ascot 2016 Ladies’ Day is known for its colorful showcase of hats and fascinators ranging from the quirky, and sometimes outlandish, to classic understated styles. 2016-06-17 21:52 1KB wwd.com 7 From the Archive: Remembering Gene Cavallero Jr. and The Colony Cavallero passed away earlier this month at 92. 2016-06-17 21:39 1KB wwd.com 8 Beyoncé and Tina Knowles Help Lift Jerome LaMaar’s South Bronx Business Jerome LaMaar has two key clients, Beyoncé and Tina Knowles to thank for strengthening his 5:31 Jérôme business. 2016-06-17 21:06 3KB wwd.com

9 elena manferdini's 'inverted landscapes' wins PAN award for best public art project the installation challenges the relationship between space and painting, updating the viewer's classical notion of 'still nature' and public engagement. 2016-06-17 21:00 2KB www.designboom.com 10 June Leaf Discusses Art, Whitney Show and Living With Photographer Robert Frank Drawing, painting, sculpture, collage — June Leaf is an artist of many mediums and she has two New York shows to prove it. 2016-06-17 20:52 8KB wwd.com 11 British Designers Create Silks for Qatar Goodwood Festival Ladies’ Race in July Vivienne Westwood, Jasmine Guinness and Amanda Wakeley are among the participating designers. 2016-06-17 20:26 1KB wwd.com 12 dominique perrault completes dufour pavilion at palace of versailles dominique perrault has completed an extension to the dufour wing at the palace of versailles in france. forming a bold addition to the existing structure, ‘pavillon dufour’ aims to facilitate and simplify the visitor entrance via a single access point. 2016-06-17 19:14 3KB www.designboom.com 13 Meet the Street Artist Spray Painting Faces and Forgotten Landscapes Christina Angelina brings expressive faces to unlikely landscapes. 2016-06-17 18:50 3KB thecreatorsproject.vice.com 14 Liquid CGI Skulls Make Death and Taxes Actually Look Appealing Artist Chadwick Makela got his start in ceramics. Now, he makes visuals for Coachella and A$AP Rocky. 2016-06-17 18:15 4KB thecreatorsproject.vice.com 15 A $10 Art & Music Festival Series Joins Long Island City SculptureCenter’s 'HOLDING SPACE' promises experimental experiences—and a complimentary drink 2016-06-17 17:45 2KB thecreatorsproject.vice.com 16 Weird Detective, The Beauty, The Sixth Gun, Descender: This Week in Comics #22 A Lovecraftian detective story and a supernatural western make the cut in this week’s comic roundup. 2016-06-17 17:15 4KB thecreatorsproject.vice.com

17 Kenny Schachter Declares Basel the New Art Hajj Kenny Schachter goes rogue at Art Basel this year, and finds the yearly trip to the art mecca is worth it, despite the obstacles. 2016-06-17 17:02 19KB news.artnet.com 18 Architecture's Sprawling Influence Manifests Itself in an Exhibit Cardboard buildings, recreated domestic interiors, and collages of architectural façades come together for group exhibition ‘Ecco Domus.’ 2016-06-17 16:55 3KB thecreatorsproject.vice.com 19 Yo, ROY G. BIV! | GIF Six-Pack This article is a rainbow 'Voltron': each color more powerful together than they would be apart. 2016-06-17 16:40 1KB thecreatorsproject.vice.com 20 Anotherview Gives Your Home a Window Into Another City Welcome to Anotherview, a design start-up that produces window views. 2016-06-17 16:29 5KB www.blouinartinfo.com 21 Here's Why Contemporary Art Is Obsessed with Basketball "Ball is life" for many of today's artists. Eric Yahnker, Victor Solomon, Bill McRight, and Mark Whalen give us their insights into why. 2016-06-17 16:20 6KB thecreatorsproject.vice.com 22 Renzo Rosso Unveils ‘Radical Renaissance 55+5’ Book and Exhibition in Milan Written by Dan Thawley, the tome collects interviews and photos that illustrate the past 10 years of the entrepreneur. 2016-06-17 16:17 2KB wwd.com 23 Christo and Jeanne-Claude's "Floating Piers," Just 40 Years Late Starting Saturday, visitors to Christo’s latest installation, “The Floating Piers” on Italy's Lake Iseo, will learn what it’s like to walk on water. 2016-06-17 16:16 5KB www.blouinartinfo.com 24 MoMA PS1 Extends Free Admission Through 2017 MoMA PS1 celebrates its 40th anniversary this weekend with a series of new performances, and extended free admission. 2016-06-17 16:00 1KB news.artnet.com 25 "High Is a Place" and This Dispensary Wants to Take You There The aviation-themed Airfield Supply Company offers a first-class experience in the clouds. 2016-06-17 16:00 4KB thecreatorsproject.vice.com 26 What's the Weirdest Sculpture at Art Basel? | Insta of the Week We sorted through Instagram's most captivating and bizarre image of Art Basel so you don't have to. 2016-06-17 15:50 2KB thecreatorsproject.vice.com 27 Dayton Mini Maker Faire and Real Art’s Boneyard Build-Off: Coming July 16th, 2016 The Gem City of Dayton, Ohio will be hosting its very own Maker Faire event with the first ever Dayton Mini Maker Faire on July 16th, 2016 at Carillon Historical Park. As part of the event, Real Art is thrilled to announce our sponsorship for the... 2016-06-17 15:31 2KB realart.com 28 Real Art Hosts GE Aviation for Hacking Wonder Workshop Putting a unique twist on a team building exercise, Real Art hosted GE for a one-of-a-kind "Maker Workshop" at Proto BuildBar. 2016-06-17 15:30 2KB realart.com 29 Newark Museum Highlights African- American Art-artnet News Outsider artists like Thornton Dial hang alongside painters like Norman Lewis as the Newark Museum highlights its holdings of African-American artists. 2016-06-17 15:18 3KB news.artnet.com 30 Salvatore Ferragamo to Help Restore Fountain of Neptune in Florence The Florence-based company has pledged to donate 1.5 million euros, or $1.7 million at current exchange, to fund the restoration of the historical monument over a three-year period until 2018. 2016-06-17 15:03 2KB wwd.com 31 Jessica Alba Celebrates InStyle July Cover with Dinner at La Sirena Prabal Gurung and the Baja East boys came out to La Sirena to toast Alba’s July InStyle cover. 2016-06-17 14:47 2KB wwd.com

32 Cafe Medi Opens in the Hotel on Rivington Cafe Medi is the latest restaurant to join the rush to the Lower East Side, now open in the Hotel on Rivington. 2016-06-17 14:45 4KB wwd.com 33 Sound Art Imagines a Different Kind of Zen Garden Does it still rock if a Japanese rock garden has no rocks? We investigate. 2016-06-17 14:20 2KB thecreatorsproject.vice.com 34 Is Corneliani Seeking an Investor? Speculation is mounting in Milan that Investcorp may be looking at investing in Corneliani 2016-06-17 14:08 1KB wwd.com 35 Cyberpunk Meets 'Slow TV' in These Self- Generating Music Videos [Premiere] Journey through uncanny soundscapes while taking in themes of supercomputers and artificial intelligence in electronic musician Crypt Thing's debut EP. 2016-06-17 14:00 4KB thecreatorsproject.vice.com 36 See and Spin #12: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. 2016-06-17 13:29 3KB realart.com 37 azuma architect & associates capitalizing on the trend of ‘glamping’, a series of minimalist cabins by azuma architect and associates offer guests a luxury outdoor experience. 2016-06-17 13:19 2KB www.designboom.com 38 A Journey to the 'Epicenter' of Sweden's Creative Tech Boom RFID implants and robotic smoothie machines make Stockholm's first "House of Innovation" the workspace of the future. 2016-06-17 13:15 4KB thecreatorsproject.vice.com 39 Going Natural: Diamond Stingily on Her Queer Thoughts Show Diamond_Stingily, Kaa, 2016, Kanekalon hair, knockers, barrettes in six parts. COURTESY THE ARTIST AND QUEER THOUGHTS, NEW YORK At this point in her short 2016-06-17 13:06 4KB www.artnews.com

40 Marc Fichou at Chimento Contemporary, Los Angeles Pictures at an Exhibition presents images of one notable show every weekday 2016-06-17 12:51 1KB www.artnews.com 41 The “Thingness” of Contemporary Art at 21er Haus in Vienna “The Language of Things: Material Hi/Stories from the Collection” at the 21er Haus Museum of Contemporary Art in Vienna explores the material aspects of contemporary art. 2016-06-17 12:46 2KB www.blouinartinfo.com 42 Ford ready for 24 hours of le mans race with all-new re-designed, aerodynamic, carbon fiber Ford GT the all-new Ford GT40 merges the considerations typically seen in race car development, with those of production car development. 2016-06-17 12:30 2KB www.designboom.com 43 Then and Now: Cindy Sherman, Photography Pioneer A look at the master's career, from 1983 to 2012 2016-06-17 12:23 10KB www.artnews.com 44 Adrien Brody, ‘Artist,’ Charms Pace Gallery, Others Amid Perplexing Art Basel Ubiquity Adrien Brody at Art Basel Miami Beach in 2015. COURTESY FILM MAGIC Usually the token Hollywood star to grace this stately Rhineland town with its presence 2016-06-17 11:35 2KB www.artnews.com 45 Viennacontemporary Art Fair Announces 2016 Galleries and Program The viennacontemporary international art fair returns to Marx Halle Vienna for its second edition from September 22-25, 2016. 2016-06-17 11:26 2KB www.blouinartinfo.com 46 ‘Zoom Pavilion’ at Unlimited Gives Art Basel a Real-Time Look at Surveillance Installation view of Rafael Lozano-Hemmer and Krzysztof Wodiczko, Zoom Pavilion, 2015, at Unlimited at Art Basel. ARTNEWS When I finally got wifi Friday 2016-06-17 11:04 3KB www.artnews.com 47 Nan Goldin's "Ballad of Sexual Dependency" Lights Up MoMA The celebrated work is a chronicle of history that feels of the present. 2016-06-17 10:47 5KB news.artnet.com

54 articles, 2016-06-18 06:00

1 audemars piguets art basel lounge (2.06/3) sebastian errazuriz sets an icy landscape within the audemars piguet lounge at art basel drawing from geographical ice formations and snow-covered landscapes, artist and designer sebastian errazuriz has envisioned the interior design for luxury watchmaker audemars piguet’s lounge on the occasions of art basel in hong kong, basel and miami. water and ice are the concurrent themes that gives ‘ice cycle’ its characteristic interior. using the cycle of water and ice as a metaphor of time, there are three elements which anchor sebastian errazuriz’s design: the icicle as an organic form, accumulating over time; the water drop; and ripples in the water. each of these action are symbolic to time and reflect the ticking of a clock. designed as a place of reflection, a ‘ice tank’ sits as the façade to audemars piguet‘s lounge, composed of illuminated acrylic rods which illuminate to mimic the regular rhythm of a heartbeat. in addition, a soundproof room serving as a private vault is enveloped with custom- designed panels illustrating icicles, stalactites, and stalagmites and feature a series of timepieces on display. with water and ice as its main thematic elements, the new stand will give form to the concept of the ice cycle audemars piguet has previously invited designers and artists to creatively interpret their heritage and brand into a lounge during art basel; they are known for their high-end and intricately detailed watches and a selection of ten will be on display around the space. ‘I was humbled by the craftsmanship and ingenuity of the audemars piguet watchmakers in le brassus. the work they have been doing for almost two centuries is so incredible that any creative person who visits their installations will feel inspired to hold themselves to a higher standard of gravitas, beauty, and precision. the new lounge will hopefully become an experience for its visitors, managing to steal their attention and offering them a space to take a moment to think about time.’ – sebastian errazuriz the theme draws from the ice formations and snowy winters of audemars piguet’s home in le brassus sebastian errazuriz was invited by audemars piguet to design their lounge for art basel hong kong, miami and basel ten watches will be on display the ice tank, composed of illuminated acrylic rods which will flash to mimic the regular rhythm of a heartbeat the lounge will also showcase visuals by photographer dan holdsworth named continuous topography sebastian errazuriz at the lounge in art basel hong kong close up of the acrylic icicles 2016-06-17 16:43 Natasha Kwok

2 See the Tate Modern Opening in Photos (1.02/3) The Herzog & de Meuron- designed Tate Modern opened to the public on Friday, June 17 , and it has been generating buzz on social media in the days leading up to its debut. The new wing, a 212-foot-tall pyramidal tower dubbed the Switch House, has been under construction for six years. "As we have been building the new Tate Modern, the curators… have been building the collection," Tate Modern director Frances Morris told reporters at a press preview earlier this week. "You will find more international art, more art by women and great new installations. " In its new iteration, the Tate Modern, which first opened in 2000, is looking to expand its collection and represent a greater range of artists and cultures —but for now, the first visitors to the space are understandably overcome by the spectacle of a new temple to contemporary art, and all the art selfie opportunities that come with it. The opening festivities this weekend include live performances from Tania Bruguera , Tino Sehgal , and Peter Liversidge. Amid the galleries, well known names on view include Lynda Benglis , Carl Andre ( which included a protest ), and Louise Bourgeois , plus the museum's newest acquisition, Ai Weiwei 's Tree 2010. However, the Guardian reports that Bob and Roberta Smith has already become the first artist to donate work to the expanded institution, a group of placards reading All Schools Should be Art Schools , that the artist duo handed to some of the 3,000 school children as they entered the museum for a special preview day. Here's a few Instagram photos showing what the world has to look forward to at the new Tate Modern in the years to come. Enjoy! https://twitter.com/Tate/status/743491723565891584 Follow artnet News on Facebook. 2016-06-17 10:43 Sarah Cascone

3 Bill Berkson Dead at 76, Menil Collection Receives Major Donation of Drawings, and More (1.02/3) Related Artists Kenneth Koch Helen Frankenthaler Arshile Gorky Eva Hesse Jasper Johns Ellsworth Kelly Franz Kline Lee Krasner Brice Marden Robert Motherwell Barnett Newman Claes Oldenburg Jackson Pollock Robert Rauschenberg Cy Twombly van Gogh Dani Karavan 2016-06-17 10:31 Taylor Dafoe

4 A Single Stone Becomes Meditative Alcove at Design Miami/ Basel (0.01/3) Related Events Design Miami Basel 2016 Venues Design Miami/ Basel Messe Basel Artists Isamu Noguchi Nothing is as representative of the Japanese way of uniting design, spirituality, and lifestyle – if we may use such Western terms in this context – as the concept of chashitsu, or tea house. A small, separate structure designed for cha-no-yu (tea ceremony), the tea house is more than an architectural typology. It is a place with a defined aesthetics, in which each element has a defined spiritual function. At Martina Mondadori’s Design at Large, the program of large-scale architectural installations on the ground floor of Design Miami/ Basel, Masatoshi Izumi and Koichi Hara’s Stone Tea House Meditative Alcove expressly re-interprets the elements of the tea house to achieve something of the same soul-lifting effect. A space that has quickly become popular with visitors, it is a rectangular shell of a large stone slab – 18 tons of stone have been removed from the middle, leaving only the sides – with a wooden bench inside that lends the visitor a calming view of a minimalist forest, the work of Enea Landscape Architecture. “The effect of weight and lightness is created through the excavation of a single stone,” says Hara, the owner of the Gallery Japonesque. “It started with a 30-ton stone, we took out 18, and we were left with 12 tons of stone. Too much design is surface design. I wanted to design, but something without design. Without surface. We need beautiful things that aren’t only for the eyes: something that involves all senses.” The design of the ZaZen alcove stretches outside the small stone enclosure, to include Izumi’s tsukubai, a reference to water basins provided at the entrance of temples for a ceremonial purification for visitors before entering. A close collaborator of Isamu Noguchi for the past 25 years, Izumi creates his stone sculptures entirely by hand. Four artworks by Atsushi Takeda, resembling bowls of still water, but created in a mixture of materials (plaster, silver, glass), add a grounding element to the work. The bench in the alcove is a piece of untreated wood that protrudes through the wall, creating a space for the preparation of tea outside of the ‘tea house.’ A stepping stone at the entrance is important part of design: “One step on it, and even though we’re still outside, we are already going into another world,” says Hara. “And sitting inside, even though it is open at the front and back, gives you a sense of enclosure, of safety.” “Basically, a tea house became very popular in the 15 th -16 th period, through the work of [tea master] Sen no Rikyū. It was a time of battles, and the samurai needed a place for spiritual rest. The next day, they might die. This is why the ceiling – of the Stone Tea House, as well as of the traditional tea house architecture – is a bit lower than the average human height: you have to be humble to enter. The doors were also so small, that the samurai had to leave their swords outside. Inside the tea house, they could keep no worldly paraphernalia.” Though not the inventor of the concept of wabi-sabi (the beauty of simplicity and imperfection), so closely associated with the Japanese aesthetics today, Sen Rikyū was one of its most important popularizers. His Tai-an, the only existing chashitsu designed by Sen Rikyū, is today located at the Myōkian temple in Ōyamazaki, Kyoto, and designated a National Treasure in Japan, as one of the purest representations of wabi in the context of tea. “This is basically almost philosophy as design. It is simple: a single piece of stone.” says Hara. “Many things today are made that aren’t necessary – what can I make that we really need? We need this, I thought. A place where you can return to yourself.” While the elements around the small alcove ground it in a wider space, creating a feeling of largeness, Hara says these are not necessary parts of the design: “Having nothing there would also be fine: nothing but the moon, an ocean… The original design had nothing in front except one single bamboo tree. It’s just the starting point: to pull you in, outside yourself. Life needs to be not just ‘me, me. me.’ And after that, you are balanced, grounded.” 2016-06-17 16:04 Jana Perkovic

5 local motors olli powered by IBM's watson platform vehicle technology integrator local motors introduced a self driving vehicle with IBM’s ‘watson’ advanced cognitive computing platform, dubbed ‘olli’. the electric car, which can carry up to 12 people, is equipped with 30 advanced sensors to improve the passenger experience and allow natural interaction with other vehicles. ‘olli’ is the first vehicle to utilize IBM’s cloud-based computing to analyze and learn from high volumes of transportation data. using local motor’s open vehicle development process, more sensors will be added and adjusted continuously as passenger needs and local preferences are identified. passengers will be able to interact conversationally with ‘olli’ while traveling between destinations, discussing topics about how the vehicle works, where they are going and why the car is making specific driving decisions. these interactions are designed to create more pleasant, comfortable, intuitive and interactive experiences for riders as they journey in autonomous vehicles. 30 sensors allows the car to naturally interact with other vehicles 2016-06-17 22:30 Piotr Boruslawski

6 They Are Wearing: Royal Ascot 2016 During Royal Ascot — June 14 to 18 — held at the Ascot Racecourse in Berkshire, statement headwear is a must for all — especially on Ladies’ Day. The attendees were off to the races with hats ranging from the architectural and sculptural to the loud and lavish, and festooned with flowers, butterflies, lace or feathers. To go with, ladies wore floral, lace or graphic-patterned dresses, or classic trousers suits; gents looked dapper in morning suits, complete with the requisite black or gray top hats. RELATED STORY: British Royal Family Attends Royal Ascot >> 2016-06-17 21:52 Lorelei Marfil

7 From the Archive: Remembering Gene Cavallero Jr. and The Colony More Articles By During the Fifties and Sixties, The Colony served as a lunch haunt for New York high society. WWD’s John B. Fairchild frequently stationed the paper’s photographers outside the restaurant to document the socialites and celebrities who went there to dine — inspiring him to coin the phrase “Ladies Who Lunch.” Regulars at The Colony included Jacqueline Kennedy, Aristotle Onassis, Diana Vreeland, Jean Smith, Truman Capote and Babe Paley. Gene Cavallero Jr., who took over the restaurant from his father, ran the institution until it closed in 1971. He died earlier this month at age 92, but the memories of The Colony live on. As one former patron recalled recently, “It was like a club — a very fun club.” Here, some photos from the WWD archives of The Ladies of The Colony. 2016-06-17 21:39 WWD Staff

8 Beyoncé and Tina Knowles Help Lift Jerome LaMaar’s South Bronx Business Jerome LaMaar was getting ready to call it a night recently, when Beyoncé texted to invite him backstage to her concert at Citifield. “It was very cool. I was at home getting ready for bed when I got the text. I had to get my energy going again and get over there. It was about 15 minutes before the show. It was amazing,” LaMaar said. “Miss Tina had seen some of the pieces I’d done for Beyoncé backstage. She fell in love with it and wanted to know if it was possible to turn that into a jumper.” That would be “yes.” And Knowles repaid the favor, so to speak, by Instagramming a photo of herself wearing Jerome 5:31 and suggesting fans “check out this young talented designer.” They have and, as a result, LaMaar has been fielding e-mails, orders and calls. He added, “That Bey, I have to say just changed everything.” Beyoncé has been commissioning pieces from Lamaar for a few years. Stylist Zerina Akers connected them after checking out the 5:31 Jérôme collection in his store 9J in The Bronx’s emerging Port Morris area. After Beyoncé was photographed wearing one of his coats to the Billboard Awards and a Taylor Swift party on the same day, Patricia Field caught a glimpse of it, contacted Lamaar and later hooked him up with Dover Street Market for a collaboration. Staging a show in Dubai for a client has created a following there. And U. S. stores are showing more interest, but LaMaar is moving forward with measured steps. “The important thing is that we don’t overextend. We want the brand to grow at a steady rate,” he said. A fifth-generation New Yorker, LaMaar raced into fashion at the age of 15, joining Kimora Lee Simmons at Baby Phat for a seven-year run. After a stint at Chado Ralph Rucci, he got into trend forecasting with Promostyl. In spring 2014, he launched 5:31 Jérôme, a name that borrows from his birthday. In April, with his business partner Adam Pichirilo, he opened the South Bronx design studio and shop, which also sells art and fashion from Joe by Joe, David Cavaliero, John L. Goodman, John Paul O’Grodnick, Ron Draper and Prince Franco of Miny. LaMaar will show again during New York Fashion Week in September, as he did in February through MilkMade. In October, he will present the collection in Paris to try to build the international base of stores. He also has collaborated with Samsung for the “Next Big Thing” project, an ad campaign which ran across print, digital and TV outlets. “I’m in the South Bronx so how girly can you get? But my space is so polished it relays to people what I’ve been trying to say for a long time,” he said. “We keep pushing ‘Streetglam for the Hyperfemme’ — you know, the hair is done, nails are done, looking pretty, smelling good, feeling good.” 2016-06-17 21:06 Rosemary Feitelberg

9 elena manferdini's 'inverted landscapes' wins PAN award for best public art project public art news: the zev yaroslavsky family support center in los angeles sees architect elena manferdini bring two dynamic art installations to its lobby. ‘inverted landscapes’ is comprised of two multi- layered collages, realized with the los angeles county art commission, each one detailing hyper realistic depictions of nature, juxtaposed against colorful geometric forms. ‘inverted landscapes’, which has won the PAN award – as best public art project 2015 in the USA – uses stainless steel reflective disks and 3D scanned flowers, leaves and insects to form a complex visual pattern. these analogue geometries are then brought into the virtual space of a computer, repainted and scripted into colored stripes bursting through these depictions of nature. these motifs are translated onto the floor using pastel ceramic tiles, creating a ‘red carpet’ for visitors entering the building. the large-scale works by elena manferdini, who is a mentor of the annual LEXUS DESIGN AWARD co-hosted by designboom, combine geometrical gradients, perforations and inlays as a way to introduce depth, transparency and an immersive quality to a flat picture plane. the 12 feet x 44 foot sculpture inside of the center uses protruding inserts, with cloud shapes and reflective disks that project a textured effect upon its surface. the piece follows a similar theme to the exterior detailing photorealist orchids, leaves and butterflies forming a harmonious collage across the space, with optical effects layered with material finishes. the work insinuates that contemporary paintings nowadays have an unprecedented ability to be embedded simultaneously with sensorial affect and cultural associations. the aim of manferdini’s ‘inverted landscapes’ is to challenge the relationship between space and painting, updating the viewer’s classical notion of ‘still nature’ and public engagement. the real value of the artwork occupies the invisible space between artistic production, and the awareness of the beholder; implying a dynamic relationship between the visitors that experience the building on a daily basis and the artwork. geometrical gradients and perforations create a complex pattern added inserts introduce depth to the flat picture plane colored stripes mimic broken pixel glitches 2016-06-17 21:00 Hollie Smith

10 June Leaf Discusses Art, Whitney Show and Living With Photographer Robert Frank Everyday is a day worth working for the artist June Leaf. Her studio’s dilapidated, paint-stained floorboards are proof of decades spent toiling there. Draftsman tables are strewn with cranks, tools, eggbeaters, hand-operated sculptures and antique sewing machines. In a back room, scads of drawings, paintings, prints and sketches are stowed away in a rusty filing cabinet. “Are we still in New York?” is a legitimate question for visitors to consider, but Leaf makes clear that her version of the New York artist’s life is counter to the stereotypical, Champagne-flute-clinking one. Low-profile about her wide-ranging body of work, Leaf’s identity is often boiled down to three words “Robert Frank’s wife.” But two New York shows of her complex work stand to change that — “June Leaf: Thought Is Infinite” at the Whitney Museum of American Art , and “June Leaf: A Survey, 1949- Present” at the Edward Thorp Gallery. Both are a melange of painting, sculpture and drawings on view through July 15. “I thought today I should talk about it. I should announce it. I should not run away and say, ‘Oh, she’s married to Robert Frank. Yes, she’s married to Robert Frank and she’s still going.’” “Many people said, ‘God, that was courageous of you not to be part of the choosing of the work.’ Then courage is part of being an artist. Isn’t it about taking chances? Where would we be if we didn’t take chances? We wouldn’t be who we are,” she said. Asked for her own critique of the Whitney show, Leaf said, “There’s a lot that goes into my drawings and that’s what I saw. I thought, ‘Well, if all else fails this is a person who is looking for something, and it takes her a long time to get there but she gets there.’ There’s nothing decorative about it. It’s a search. You can see that I’m searching. I realize that I don’t see that often in paintings. You see it in writing. Or maybe sometimes in the choreograph in a dance where the dancers are portraying some evolution of their souls. I thought if all else fails this person is searching.” She’s not kidding. During a lengthy interview last week, Leaf repeatedly sprang up from a wobbly wooden chair to dig up a painting, photo or widget to better illustrate her points. Lugging an antique Singer sewing machine across the room, Leaf said her physical therapist thinks she moves like someone who grew up on a farm. (She didn’t, but she does.) That physicality helped her rebound quickly from a broken hip in November, Leaf said. Grasping how the body moves was something she took to, studying ballet as a child. Movement and flight recur in her work, always drawing her figures in space, which means they can move. “So when I draw I am dancing,” Leaf said. The work ethic of her mother — the family breadwinner who wasn’t above hauling cases in her father-in-law’s tavern and liquor store — seems instilled in her. “My mother was a working woman and she worked really hard throughout my life. My father was a very wonderful man, but he just wasn’t practical. He just couldn’t manage to work hard, so his father appointed my mother to take his place,” Leaf said. Leaf met Frank through his first wife, Mary, a fellow artist who had asked Leaf for help finding a new gallery. Invited to a housewarming event for the couple’s daughter, Andrea, Leaf said of that first exchange, “I looked at him and I thought, ‘Oh, there he is. He’s more raggedy than I thought he would be; he’s more arrogant than I thought he would be. He’s married, and I am so happy that he’s married because that is a very difficult man.’ That’s exactly what I thought. I just walked away from him. He tried to talk to me. I just didn’t like the way he approached me as a woman. This is kind of private. It’s nice, it’s true and it’s life.” The reality of being married to perhaps the seminal photographer of our time comes with a certain amount of invisibility and fortitude. Steidl has published his book “The Americans” eight times, and the couple was recently in Switzerland for a pop-up exhibition that was shredded afterward so as not to be too precious. “When we sit outside, people walk by and practically get on their knees. And I understand. I think I understand better than anyone. We are at these crossroads in time. It’s like when they invented the printing press. All of a sudden people could read books and they didn’t have to listen to what the priests said. Everything was accessible to people. Well, photography is the same revolution. All of a sudden everybody is empowered, and they need it, in the way they needed books. And Robert is the one that elevated that creative process to the level of art.” Leaf continued, “I’m up to it. I guess that’s what I want to say. He doesn’t make it less for me. He puts right under my nose — the kind of challenge a painter is facing everyday. It’s right there. And I feel really good. I’m strong enough to be empowered by it but not threatened by that. I feel that’s fate.” Asked if they discuss their work, Leaf said, “Never. It’s like, it’s not important.” They are more inclined to talk about the blue jays building a nest in the ailanthus tree of heaven outside her studio window, or the “who’s healthy, who’s not” game that inevitably comes with age. But at 86, Leaf is looking forward, as she always has. Holding a collage from 1949, she said, “I was only 18 years old. It’s the Chicago Tribune and I see it as a castle.” Certain of her calling, she was up-and-out of the Bauhaus School after only three months, moving to Paris for five months of self study, gleaning from Paul Klee, Mark Tobey and others. She met Buckminster Fuller in her school days. She took to graffiti in the Forties, started drawing robotics in the Seventies including the 1975 watercolor “Computer Woman in Landscape.” When Frank was working on a film about the Rolling Stones’ 1972 American tour, “Cocksucker Blues,” she gave him a small Polaroid camera and he started writing on the photographs as she is known to do. Asked about the legal dispute around the unreleased documentary, she said, “I guess they didn’t like that drugs were shown.” Another Frank-shot film, “Keeping Busy,” featured Richard Serra and a battery of other artist friends was shot in Cape Breton and unknowing to the cast was meant to be a spoof. The one-pub town of Moab is home, despite buying a former four-floor flophouse on The Bowery for $40,000 decades ago. Determined not to be typecast as summer people, Leaf said she insisted they live there full-time. “I had seen what happened in East Hampton,” she explained. “When I met Robert, it was like we started a new life, and we left New York. I felt like I was finally with the love of my life. I don’t know how advanced he was along those lines, but I had enough for both of us. Art was behind me. It was like, ‘Now maybe from this you make art.’ This is the right person. It’s not from art that you make art.” Gesturing toward a black-and-white photo of a waterfront salt box, she said, “That was the day we bought it. I’m on the roof making a new one.” Tough as it was to adjust from the fast-paced city life, Leaf said becoming enmeshed in the community made all the difference and their art flourished. The Swiss- born Frank was ready to cast aside the tough wildness he’d learned as a Beatnik. (Chalking up her own non-Beatnik status to “I’m from the Midwest!” she laughed recalling how she has “a very good painting” of Allen Ginsberg in the buff. “He wanted me to and I wanted to.” she said.) Her own standing in the art world, and influence on others, is something that she doesn’t consider. “Maybe I don’t want public acclaim. I want to survive with that integrity that is so precious to me. The fact that I could make that drawing [gesturing toward an easel with “On the Pain of Growing a Wing”] made me think ‘Oh good, you’re still a scientist who can invent something that goes with your life,’” Leaf said. “I guess I just want to live right. Living right is very important — loving right. It’s not that I’m such a great humanitarian or lover, but in my world, there is a right way to live with someone. That’s all.” 2016-06-17 20:52 Rosemary Feitelberg

11 British Designers Create Silks for Qatar Goodwood Festival Ladies’ Race in July Vivienne Westwood , Amanda Wakeley , Beulah, Jasmine Guinness, Kate Halfpenny and British online retailer ME+EM, whose pieces are often worn by the Duchess of Cambridge, are among the labels taking part. Each label has incorporated its signature aesthetic onto the silks — the Vivienne Westwood one features bright turquoise and contrasting floral patterns; ME+EM used classic Breton stripes, and Amanda Wakeley used a soft, feminine palette and graphic prints. Following some of the British men’s wear designers, who presented their spring 2017 collections in London earlier this month, Jasmine Guinness using her design to make a statement about the upcoming European Union referendum, incorporating the European flag onto the silk. (The race will take place more than one month after the June 23 referendum.) The riders, who will be wearing the bespoke designs as they race for charity, include Shadi Halliwell, creative director of Harvey Nichols; BBC presenter Alexis Green, and Charlotte Hogg, chief operating officer of the Bank of England. Taking place as part of the festival’s Ladies’ Day on July 28, the race is expected to raise more than 1.2 million pounds, or $1.7 million. 2016-06-17 20:26 Natalie Theodosi

12 dominique perrault completes dufour pavilion at palace of versailles dominique perrault has completed an extension to the dufour wing at the palace of versailles in france. forming a bold addition to the existing structure, ‘pavillon dufour’ aims to facilitate and simplify the visitor entrance via a single access point. the redevelopment creates two new public spaces, with administrative offices making way for a reception area between the cour royale (royal courtyard) and the cour des princes (princes’ courtyard), as well as a large staircase leading to the gardens. the reception area between the ‘cour royale’ and the ‘cour des princes’ image © andré morin / dominique perrault architecture / adagp the reception starts in the galerie des lustres (chandeliers gallery) on the ground floor of the old wing. this high-ceilinged space, which opens on to the adjacent courtyards, is the first room visitors see as they make their way into the palace. after completing their tour, guests follow a lower path at garden level — underneath the cour des princes — which leads through a sequence of new rooms, including a bookstore, restrooms, and a cloakroom. a gold-colored glass corridor brings natural light into the new subterranean space image © andré morin / dominique perrault architecture / adagp the project’s focal point is a gold-colored glass corridor that brings natural light into the new subterranean space. acting like a large prism, glass panels reveal the façades of the old wing and the connecting wide marble staircase. dominique perrault has also revived the pavilion and existing building on their upper storeys, where a restaurant and adjoining tea rooms now welcome visitors. meanwhile, the uppermost level hosts an auditorium, surrounded with ancillary rooms on either side. the high-ceilinged reception is the first room visitors see as they make their way into the palace image © andré morin / dominique perrault architecture / adagp designed to accommodate nearly six million annual visitors, the reception provides control and security measures, ticket allocation, luggage storage and the distribution of audio guides. the scheme also offers guests with additional understanding of the site’s historical context, accommodating new educational facilities. importantly, the project also provides better services for visitors with disabilities. see designboom’s previous coverage of the project here. the museum shop is set within the museum’s former cisterns image © patrick tourneboeuf / tendance floue / oppic 2016-06-17 19:14 Philip Stevens

13 Meet the Street Artist Spray Painting Faces and Forgotten Landscapes Wynwood, Miami, FL. All images courtesy the artist. All photos by Jay Kantor. For anyone visiting Los Angeles, Venice Beach is a two-and-a-half-mile pedestrian boardwalk stringing together a motley group of vendors, bodybuilders, psychics, medical marijuana advocates, and other offbeat characters. For Christina Angelina , however, the beachfront tourist attraction has always been home. The artist describes her spray painted creations as "expressive, large-scale, figurative, site-specific, public work," mostly populated with photorealistic portraits of faces reflecting a range of emotions such as pathos, fear, hope, and serenity. With a studio still based in Venice, Angelina continues to draw inspiration from her hometown, as well as from other lesser-known, far-flung destinations far off the beaten path. A prolific street artist, Angelina created more than 80 murals last year alone, and since graduating UCLA with a BFA in Fine Art back in 2008, she's painted murals in Asia, South America, Europe, and all over the United States. Angelina is particularly attracted to locations with a unique spirit and strong creative energy like Venice, as well as more isolated locales like the Salton Sea. Arts District, Downtown Los Angeles, CA Angelina's artworks have evolved from the smaller-scale wheatpastes she created as a teenager and young adult, into the large-scale spray-painted murals they are today. She describes her own painting style as "physical and performative," and the process is fairly straightforward and unencumbered, beginning with Angelina's onsite arrival where she creates her design, followed by relentless, nonstop painting until she's completely done. "My work is emotional, intuitive, reflective, and I try to always consider the location, both aesthetically and energetically," she says. "I am mostly inspired by personal experience: people and places and artwork that I come in contact with. " Slab City, Niland, CA (collaboration with Ease One) As a street artist, Angelina strongly believes her type of work is important to society because it has the potential to reach and inspire much larger, more eclectic audiences. She sees urban art as a type of mirror that serves to remind audiences that absolutely anything is possible. For Angelina, painting a mural can be a liberating experience with plenty of room for boundless creativity. "It’s done without limitations [and] rules," Angelina says. "It’s completely free. " Wynwood, Miami, FL (collaboration with Fanakapan) Mar Vista, Los Angeles, CA (Collaboration with DJ Neff) Arts District, Downtown Los Angeles, CA (collaboration with Fanakapan) Salton City, CA Hollywood, CA (collaboration with Kevin Ledo) East Jesus, Niland, CA Follow Christina Angelina on Instagram , Twitter , Facebook , and visit her website here. Related: How to Subvert the Art World and Get Away with It Who's Afraid of a Banksy & Co. Street Art Exhibition? [NSFW] New York Graffiti Artist Speed-Hacks City Wi-Fi 2016-06-17 18:50 The Creators

14 Liquid CGI Skulls Make Death and Taxes Actually Look Appealing Still from A$AP tour visuals. Images courtesy of the artist When cover art is striking enough, it can become a large part of a legend. Think of A Tribe Called Quest, or early Ninja Tune imprints. One young artist who's creating the visual identities for many of today's artists— and in the process, making a name for himself—is Chadwick Makela. With a distinct, balanced style, he's been climbing the ranks of the EDM elite and is now branching out into digital group shows—like Digital Madrid —and collaborations with rappers. None of this was planned, though. What started as a hobby blossomed into a career. Makela actually earned a degree in oil painting and ceramic sculpture, and that was all he really did until a few years ago. But his gravitation towards music proved strong enough: looking to collaborate, he began hitting artists up to see if they needed help with branding or artwork. Eventually, he found himself a few powerful unions. Artwork for Slander Makela's main tools are the ones you'd expect, like Cinema 4D , Photoshop, and Illustrator, but he also dabbles in ZBrush and After Effects. Procreate is the go-to for all his digital illustrations. When asked if he uses pre-designed models (raw models like cars or TVs), the 25-year-old is pretty up-front about doing so. "A lot of artists would probably get to this question and lie, but I think if you do a lot of 3D art, it's pretty obvious that models are your friend," he tells The Creators Project. "I try and do all original stuff, but for the sake of time—and how quick the music industry works—it would be a huge crippling factor to model everything from scratch because of how long it takes. " Still, he's created a personal brand that no model could account for. Skulls and skeletons are a prevalent theme in his catalogue, one that presents a strong combination of tactical textures and cold sleekness. Luxury and death coexist regularly in scenes of gold and grayscale. From Makela’s the Digital Madrid group show But there's always a danger of slipping into a formula, one Makela regularly pushes back against. When working with regular clients, he takes the approach of creative director, building on the brand they've already built, purposefully reutilizing past imagery to pursie their themes. But with newer clients, it's more collaborative, and they brainstorm what the final project will look like. "The biggest obstacle," the Seattle native says, "is they usually want a similar look to what I've done. So my goal is to always push them further and try and do something different to stand out. " Artwork for Dr. Fresch Animation was the obvious next step. Makela, alongside Sus Boy , created the visuals for DJ Mustard and RL Grime in the Sahara Tent at Coachella this year. The duo also just wrapped up tour visuals for A$AP Rocky. But Makela's already got his eyes set on even bigger things: "My next dream would be doing visuals for a dome venue. Creating and rendering all original content in 360 degrees would be my ultimate dream project. " Check out more of his work below: Artwork for Q Artwork for UZ Artwork for Hucci For more from Chadwick Makela, visit his Instagram. Related: [Exclusive] Decrypting Rihanna's Braille Album Art Meet the Artist Behind Ta-Ku's Gorgeous Floral Album Covers CGI Mastermind Beeple Takes on China—U. S. Cyber Warfare 2016-06-17 18:15 Mike Steyels

15 A $10 Art & Music Festival Series Joins Long Island City Images courtesy the artist, unless otherwise noted For three summer Saturdays of experimental music and art, Long Island City is the place to be. Tomorrow is the second installment of HOLDING SPACE , the outdoor event series which is one of the many facets of SculptureCenter ’s 2016 summer program. The concerts are organized by Sam Hillmer , who is the co-founder and director at Trans-Pecos, as well as the creator of ZS, a Brooklyn-based chamber ensemble and noise band. Hillmer, who is also known as Diamond Terrifier, is a visual artist in addition to being a producer and musician. Photo by Joanne O’Connor SculptureCenter’s 2016 summer program also includes a public art project at Hunter’s Point South Park, a conversation between artists Leslie Hewitt and Leah Meisterlin, the fifth annual LIC Block party , and a 'first Saturdays' family art workshop series. The artists performing at HOLDING SPACE all reflect SculptureCenter's zeal for experimental and interdisciplinary creativity. Tomorrow's show begins at 5 PM tomorrow—the lineup includes Abdu Ali, Das Audit, Cayman, and Gooddroid B2B Quest? onmarc. Tickets are $10 and include a drink. To buy tickets for the concert this (or next) Saturday's festivities, click here. To learn more about other SculptureCenter events, visit their website. Related: Bring Your Luck – Not Your Money – To This Art Auction Electronic Music Festivals Hire Art Curators Now Building Art Boats for a Music Festival on a Lake 2016-06-17 17:45 Francesca Capossela

16 Weird Detective, The Beauty, The Sixth Gun, Descender: This Week in Comics #22 Panel selection from Descender #12. Illustrated by Dustin Nguyen. Photo courtesy of Image Comics. Screencap via the author. It’s always exciting to jump in on a new franchise as it opens up, whether it's a small creator-owned comic series, or a new superhero (which is very, very rare these days). Weird Detective , the first comic reviewed in this week’s roundup, hammers home that exciting feeling of discovery. Works like this, which often come from these “middle-tier” companies like Dark Horse and Image Comics, marry the high production values of DC or Marvel releases with a push to tell new, challenging stories. This week, we also explore a piece about an assassin in a world where extreme beauty is an STD, an occultish western ending its 50-issue run, and a return to Descender , a comic about persecuted robots. Cover for Weird Detective #1. Illustrated by Guiu Vilanova and Mauricio Wallace. Photo courtesy of Dark Horse Comics. Detective Sebastian Greene spent most of his life as a totally normal, by-the-books detective. Oer the past few months, however, he’s landed amazing cases—and his intuition is making the rest of the department curious. With supernatural powers, and a much-deeper story than meets the eye, this Cthulhu-inspired detective story delivers on its evocative title. This is a must-read for fans of H. P. Lovecraft’s legacy of spectral, cosmic horror. Cover for The Beauty #8. Illustrated by Jeremy Haun and John Rauch. Photo courtesy of Image Comics. The Beauty is a comic about a sexually transmitted disease that makes those who catch it beautiful. Within that framework, each issue provides a snippet of a story of people living in its world. In #8, Ezerae balances being an assassin, being accepted by society, struggling against assholes from her past who use her dead name, and finding love and companionship. Though there’s a streak of violence and a bit of objectification in this issue that might be triggering for some, there’s some good explorative work on display from this comic team. Cover for The Sixth Gun #50. Illustrated by Brian Hurtt. Photo courtesy of Oni Press. The Sixth Gun takes place shortly after the civil war, where a set of six pistols have been imbued with dark powers, giving their wielders magical abilities. Up until this massive, triple-sized final issue, all sorts of monsters, undead generals, and spirits have been vying for the weapons. Now, the good guys and gals make their final stand on a mountain made of graves. While there are 49 other issues of this series to go through, curious readers will find plenty to enjoy in this big, ten-dollar issue. Cover for Descender #12. Illustrated by Dustin Nguyen. Photo courtesy of Image Comics. Descender , reviewed for the first time on this column way back in TWIC #4 , follows a group of outlaw-robots on the run from scrappers who fear them and want to destroy them for parts. In this issue, readers learn a bit about the origins of TIM-21, a young boy robot with a lot of secrets. The plot’s fun, classic sci-fi stuff, but, as mentioned in the previous review, it's artwork by Dustin Nguyen, mostly watercolors and pencil-work, that's the real show- stopper. The best part is that it’s so gleefully out of step with what one might expect from the art of a renegade robot comic. This issue hits hard on an emotional front, giving readers some extra baggage to carry around with TIM-21. Related: This Week in Comics #21 This Week in Comics #20 This Week In Comics #19 2016-06-17 17:15 Giaco Furino

17 Kenny Schachter Declares Basel the New Art Hajj Hajj is the annual pilgrimage to Mecca, a religious duty for Muslims to fulfill at least once in their lifetimes, as long as physically and financially fit and capable of supporting their families in their absence. Basel is the art equivalent, other than the prerequisite of being physically and financially able of undertaking the journey, or for that matter supporting others in their absence. Illiquidity never got in the way of an avid collector where deals are cemented by nothing more than the exchange of a few words with payment terms always at hand. What keeps the art world afloat is the religious buying of art. Amen. Basel is bisected by the Rhine, an aggressively flowing river that when full, is fast, ferocious and has claimed many lives. Art Basel is an event not without concomitant perils due to the unparalleled intensity of the task at hand: the consumption of institutional amounts of art and alcohol at the unending string of dinners and parties. More on the extracurricular festivities later but overheard in the bar on the very first night was a rich and successful dealer and his rich and successful speculator friend contemptibly offering a random young woman $100,000 to jump into the river and be fetched fifty-feet upstream by the arrogant pair—chivalry lives. The museums in town are worth the trip alone. Two Basel based pharmaceutical companies, Novartis and Roche, comprise a disproportionate percentage of the capitalization of the German stock exchange, which helps account for why there are more masterpieces per mile in Basel than just about any other municipality it's size and beyond. Art is an emotional drug in itself for many in town this week and let us not forget the clinically proven medicinal effects of being engaged with art—less meds (sorry Novartis) and shorter hospital stays. It's true, look it up. The bank of England's chief economist said the UK's long-term borrowing costs were at their lowest level in 5,000 years, what better way to push the boat out than ramping up art acquisitions (unless it sinks). Leveraging of galleries, collectors and dealers is such a bustling trend perhaps Basel should open a finance division to help galleries pay for booths. Another development in this year's fair, now in its 47 th year, is the increased Chinese presence, of which less than 25% would be considered serious buyers of contemporary art. With a population in excess of 1.3 billion people, I guess things could only pick up. This coincided with my first deal in the region—selling an extra hotel room I had due to (what I thought was the luck) securing a coveted room in the historic Grand Hotel Les Trois Rois. Allow me an aside, only a few weeks ago I represented a BBC TV program entitled The Bankers' Guide to the Art Market (airing later this month) at the Hay Festival, a writers gathering in Wales in its 29 th year, like Glastonbury for brainiacs. The show, prominently featuring Adam Lindemann among others, is a tongue in cheek send-up of the market, feeding into popular global contempt for contemporary art prices. Though I'm barely in the show, I was little prepared for the national outcry that resulted from my seemingly innocuous comments on the panel. Oops. When I teach (at the University Zurich), I consider it an academic free port for the sheltered exchange of ideas about art. I thought I killed it discussing my role in the market, how I've involved my kids, and passion for collecting, dealing and writing about it all. And I might have mentioned an incident evincing the shenanigans involved on the trading floors of the auction houses, the still-wild frontier. Two days later, the headline on page three of the Times blared, " A hotbed of corruption": insider gives art auctions a hammering. What was meant to be “not for broadcast" was splashed all over the Telegraph, too. Had the Daily Mail delivered on their promise to detail specifics of the transaction I referred to, I shudder to think of the repercussions—so did my pal involved in the auction lot when I had to inform him of the unanticipated coverage. Professional seppuku. The Grand Hotel Trois Rois, also known as the Drei Könige or Three Kings, originated in 1681, as a stopover for itinerant merchants involved in trade along the river. Some things never change. During the fair, the hotel resembles an (exorbitantly) expensive art dorm with contiguously aligned balconies so close you can see into the good eye of many an art dealer. In the midst of my stay, my co-star Adam Lindemann checked in directly next-door; of course upon discovering this, he immediately had to barge in to ensure his was bigger, which of course it was. (For the prurient among you, I'm alluding to his room.) Basel fixture Peter Brant is an art lifer who sees a Warhol work corporeally different than the way you or I do, such is the extent of his experience since his teens. Bumping into him, in this instance at Chez Donati's, five owners ago said to have been one of the best Italian restaurants outside of Italy, is always a treat. This was no exception. Brant began railing against the recent rapid price inflation of certain relatively young artists he collects and finished excoriating the Warhol estate for their complicity in attempting to sell an ugly rejected painting he said was stolen by Andy's housekeeper (that bought-in recently at auction). Call it a Brant rant, and I count myself fortunate to have had the earful, as there's always something to learn. Back at the bar at Three Kings, where it always ends in a solid cube of bodies (this is all before the fair kicked off), scruffy Keanu Reeves was making his way through the thick crowd, perhaps he's representing Adrien Brody's latest paintings. A mega collector angrily snapped at his wife because she didn't view their collection as an investment, while a gallerist on the other side of the couch spitefully foretold the inevitable collapse of a fellow London dealer (whom I know to be solvent), due to his alleged over- leveraging. Like a ball of intertwined worms under a rock, cheers! The venal gossip, fueled by flowing booze (and other stuff I'd gather), mostly dissolves in a fog—I need a stenographer to tag along next time to transcribe all the juice. Aside from a drunken dealer, a deal may occasionally fall into your lap (if cogent enough), like the Stingel I just got an offer on. Liste is the only alternative fair I've visited with a maddening, claustrophobic layout that challenges and obfuscates instead of encouraging measured looking. Besides, I'm not sure I retain (if I ever had) the capacity to discern the criteria of good new art. What I can recognize is the general sense of elation and euphoric buzz being celebrated—how much was bought is another issue impossible to calculate with certitude. Art Basel Unlimited Do you think there is Art Fair Art (AFA), an evolutionary mutation of the practice caused by the confines of the standardized three walls of the ever- present booths? AFA is more contained and beatific than you will otherwise see in a museum or gallery, even when it's trying to be subversive; under the main tent it all comes off as innocuous and decorative, and/or investment grade. To combat this, there was the officially sponsored Unlimited section, a curated mixture of the unwieldy, media infused, politically proactive and performance driven (thoughtfully organized by New York-based Gianni Jetzer). It's an impressively staged and scaled spectacle as an antidote housed in a cavernous hall enjoining the fair. Mike Kelley's Reconstructed History , from 1989, was a series of 50 actually very small, defaced textbook pages with cartoonish, adolescent images of explicit sex and bathroom wall humor; a rather exceptional piece and outstanding that it sold on the opening for $1.5 million. Hans Op de Beeck's The Collectors House, 2016, even as it is an all-over environment not dissimilar (enough) from Sandy Skogland's extravagantly constructed tableaux since the 1970s. Wolfgang Tillmans photographic installation of nonchalant depictions of his coterie of friends combined with protesters, activists, and conceptual abstractions was made more poignant due to the worldwide social and politically irresponsible and intolerant society we reside in. He will be the Beyeler's first photographic exhibition. Another artist I don't quite get is Chris Martin; his Unlimited painting was seemingly unlimited in magnitude but better than James Rosenquist 's, which while cruise ship big, was about as interesting as something you'd find onboard. Elmsgreen & Dragset, from Denmark and Norway respectively, contributed a sound piece from 2015 simplistically entitled Secondary comprised of the voices of two auctioneers negating each others' shouting prices. As Warhol would characterize it: gee. In what amounted to nothing less than a hot-colored stucco provocation, Peter Halley threw down the gauntlet with his group of paintings boldly reclaiming territory from newcomer and market darling Alex Israel. Did someone say comeback? With the art film attention span of a flea, I didn't last long in any of the stifling rooms housing more videos than a Blockbuster (if anyone recalls the once- mighty rental chain). Main Basel Fair I always shy away from attending the very onset of any fair for apprehension of being trodden by the Prada pumps-and-loafers set intent on being first, and given to unruliness when it comes to queuing up…for anything. Stuck in the rain, with a line stretching around the block, it just as easily could have devolved into another Brexit riot à la the World Cup (thankfully, nobody seems ready to secede from art just yet). Besides, I have a fear of terrorism; with the addition of metal detectors for the first time, I'm not the only one. In fact there were a handful of works dealing with the very topic, like Kader Attia's The Culture of Fear: An Invention of Evil, 2013. Malignant behavior has been around forever, but certainly the level of dread has been exacerbated. Upon entering midday I was overcome with dizziness, from the stifling heat and stuffiness. Which reminded me of passing out in my booth of the (well named) Basel Miami design fair in Basel about ten years ago, and admitting myself into the hospital mid-event, leaving an unmanned booth— joyful memories. For a second, l felt a relapse due to the enormity of it all, the utter overload to take in as much as there is. Or maybe it was the idiots who insist on texting, Instagram-ming and downright dilly dalliers blocking passageway through some of the aisles. And I'm not sure I'd condone the use of ski poles I saw a few couples trekking with; can that a good idea? A frequent refrain I heard from acquaintances upon entering was: “You look lost. " Yes, the confused look plastered across my face like a pet gone missing was a frequent occurrence—attributable to my dismal sense of direction. Whenever I'd focus on something that caught my attention (regularly) I'd emerge as if blindfolded. Every year it's a handful of marked market movers that add to the mega wattage of the selling floor making the big contemporary booths vibrate; obvious things by obvious artists at obvious galleries, you get the picture: Zwirner, Hauser, Larry G, and Dominique Levy dominate the state of affairs. This iteration it was Sigmar Polke , Rudolf Stingel, Mike Kelley, and the Wade Guyton and Christopher Wool sideshow. Guyton has an exhibition at Le Consortium in Dijon opening next week and to test collector's mettle exhibited three identically oversized (ten feet plus) computer printed interior studio shots, all of which were sold at $600,000 a pop from Petzel, Chantal Crousel, and Gió Marconi galleries. The highly anticipated new works are self-reflexive navel gazing that I happen to be incredibly drawn to, especially the fiery light. I curated Wade in a group show in 1996 before he had printer. Having so many veritably caged dealers at your mercy, what better time to blast them with endless pricing queries. I will share a bit of a laundry list, but much has already been recorded. On the secondary front, Dominque Levy's three Stingels were priced at $2.4 million, $2.2 million and $1.75 million, and ranged from an abstract "Instruction Painting" to a pair of small semi- abstract portraits. Richard Gray sold a 50-inch square gold wallpaper painting for $2 million as well. Not to be outdone, Jay Jopling sold gloomy black-and gold-wallpaper for $2.8 million; however, it had a $3.25 million asking price. A good time for discounts. Primary dealers Sadie Coles sold her big bird painting swiftly with a $4 million asking price, Massimo De Carlo sold his distorted abstract/patterned work for $1.8 million, Gagosian sold his ginormous gold patterned work with an asking price of $3.8 million. And Paula Cooper sold a red dotty abstract triptych for $1.2 million. That's not taking into account the few I missed. I read Stingel doesn't like his prices noted; I hope he understands I'm simply a massive fan, albeit a curious one. There was no less than a Polke plethora with Zwirner making a tremendous impact with a rare, if ever to the market, group of works. The largest was widely reported sold with a €6.5 million ask, an unusual painting dealing with the French Revolution, unsold at €4.5 million, and an abstract resin painting around €2 million. And plenty of others throughout. Fergus McCaffrey had a 1983 diptych that I last saw at the Cologne fair with a $1.3 million price tag this go-round. This mucky painting has had a sordid history, an example of what I call market art : works publicly sold again and again (and again) destined to be frozen in a nether land of endless transactions à la Groundhog Day. In 1991 the Polke diptych bought-in at Christie's, with an estimate of $180- $250,000; in 1992, it bought-in at Sotheby's, estimate $80-$100,000; then it had a respite before reentering the market in 2003 at Phillips with an estimate of $60-$80k and finally sold at $75k before heading back to the block again at Phillips in 2013 with an estimate of $600-$800,000, where it bought-in for the third time in its promiscuous life. The owner(s) of this painting have at least extended equal opportunities, failing at all the major auction houses. Can someone love and rehabilitate this work? Maybe it sold and if so, I stand corrected, but I doubt it. Camille Henrot was dotted all over the place, the soup du jour of the emerging market set. But highflying Henrot seemed to have emerged, in the aggressive pricing of her many abstract dull, overproduced deco-looking pieces anyway. At €200,000 each, all in editions of eight, she was diluting her shares before our eyes. Yuck. James Cohan wins the prize for a stunning, covetous Robert Smithson display, starting at a few hundred thousand and never north of $1 million. He also had the best line asking me to characterize his booth as “an act genius" which it was and ridiculously cheap. Lisson had an Ai Weiwei “unique" iron cast of a tree root for €400,000, as long as there is more than one tree stump, I'm having a premonition we'll see more of these. In different colors, shapes, sizes, and priced accordingly. This was possibly the best-overheard conversation in an art fair or anywhere. A collector considering the paintings of Jonas Wood approached David Kordansky from Los Angeles and so began an epic exchange, which may single-handedly have encapsulated everything the general public has ever disdained about contemporary art and the gallery “system". Refusing to even entertain a discussion on the potential availability of (Gogo stablemate) Wood's in-demand, Hockney-esque, lush LA-themed paintings, Kordansky repeatedly shooed the collector away like a nettlesome bug. The guy then committed to loan a potential purchase to a museum, at which point the incredulous dealer recoiled like he stepped in shit and said: “You have to consistently buy all my artists. I sell Jonas' work to the likes of Stevie Cohen, and Leo DiCaprio", among others I couldn't make out; are they our Medicis? We get what we deserve. Kordansky wouldn't let go; he said the economic climate in no way deterred him from acting differently. I guess the buyer not knowing where the gallery was located didn't help matters. Mr. Collector spun around on his heels and said: “you're a fucking prick! " Without missing a beat Kordansky replied: “don't take it personally". What fun, like a first row seat for a performance by the renowned Chicago improvisational comedy troupe Second City. It ended with the collector I began to commiserate with, who was hilarious in his own right, stating, “I'm not offended, I find it hysterical, but you're still the biggest asshole I've ever met. " What a difference a day makes—by only the second day of the proceedings it was like leaky valve had sprung, there was a very noticeable dissipation of energy, I even spied maverick Swiss dealer Eva Presenhuber lost in state of reverie in front of a hypnotic Ugo Rondinone target painting. I was stuck, having to remain to teach my Zurich class. From one second to the next, the town went back to bed. I can't imagine it's a happy place to be if you didn't sell in the beginning; the market is less than non-forgiving if you get it wrong. By Friday and Saturday it could only be a living hell for the hapless left on. On another note, I visited an exhibit staged at Mobel Transport, a city-state in the autonomous zone known as free port land. They should have their own currency and passport. I have seen the future and this is it; its saves you the effort/bother of moving and fretting about what to store or hang, all in one go. Who needs art fairs? Cut out the middle people and go to the source where more of the world's cultural artifacts are housed than in the combined museums of the universe. After an anxious feeling in the pit of my stomach for a week, I am relieved to call it a day. In art fair (or auction) mode I find I can barely read or exercise, it's that all or nothing consuming force (literally, for some). I won't say such doings are without frustration, yet at the least, heavenly from hindsight. What's missing is the element of time and reflection, essential to the experience of actually experiencing art; fairs are not made for (too much) thinking. But there is not a more efficient manner to be exposed to the sheer quantity of what is regularly exceptionally great art (and people). We live in difficult and uncertain social, political, and economic times. The only steady job left in the art world is as Richard Prince 's lawyer; but, after another vibrant and seemingly successful edition of Art Basel, we can all breathe a sigh of relief that we're still in (big) business. Bring on the next fair. 2016-06-17 17:02 Kenny Schachter

18 Architecture's Sprawling Influence Manifests Itself in an Exhibit Pyrite Louis XV Chassis, Joy Curtis. All images courtesy of the artists and the gallery. The relationship between artist and architectural space is the point of departure for Ecco Domus , a group exhibition at Jersey City’s Art House. In collaboration with The Dorado Project , the show highlights the works of nine visual artists who, in their diverse practices, each engage with aspects of built environments. Some of the works in the show are physical and tangible manifestations of architectural space, just on a smaller scale. Joy Curtis ' sculptures originate from architectural elements sourced from commercial interiors. She casts and brings them together to create structures that are unrecognizable, despite all of them originating from the same spaces. Kirk Amaral Snow 's Conspicuous Consumption is a minimalist cardboard structure that reframes vernacular architecture and infrastructure. Conspicuous Consumption, Kirk Amaral Snow Other works reframe and represent certain elements of architecture within the limits of the artists' mediums of choice. From waiting rooms to museum lobbies, Teresa Moro creates gouache paintings that depict still lives of furniture arrangements found in organized human environments. Jeremy Coleman Smith 's Place Setting is a photograph of a recreated domestic interior scene made of wasted materials like corrugated cardboard and foam. Emily Hass ' Exile series consists of abstract renderings of Berlin building plans that, in the 1930s, were known to house persecuted Jews, artists, and intellectuals. Prouvé collector 11, Teresa Moro “The focus on architectural space, at least within the context of Ecco Domus , is intimate and personal. For example, Krista Svalbonas ' Migrant series are photo collages comprised of architectural imagery from her travels within the three locations that she general considers home; Chicago, New York City, and rural Pennsylvania,” Enrico Gomez , the exhibition’s curator, tells The Creators Project. “Be it personal, abstract, or universal, I think the qualities of architectural space are such that the artists in the show are inspired to pull from it in a variety of ways.” Place Setting, Jeremy Coleman Smith Kant Straße, Emily Hass Migrants 22, Krista Svalbonas Ecco Domus is on view through June 26th at Art House. Related: Fly Inside a Byzantine Church in this Breathtaking Drone Footage Famous Authors' Iconic Works Become Illustrated Architectures Bolivian Architecture Is Undergoing a Psychedelic Revolution 2016-06-17 16:55 Andrew Nunes

19 Yo, ROY G. BIV! | GIF Six-Pack With 256 3 colors at their disposal, it's fascinating when a GIF artist decides to explore a single chromatic neighborhood. Today we take a look at the findings of a few of our favorite artists as they dive into red, orange, yellow, blue, green, indigo, and violet. Following the acronym used to teach children the colors of the rainbow, ROY G. BIV, we'll check out sci-fi sculptures by Zolloc (who just nailed Phantogram's visuals on Jimmy Fallon ), Lucea Spinelli's golden light paintings, and Kidmograph's homage to the only man who truly wore violet well. These seven GIFs, tied together by Kyttenjanae's multichromatic #squad Vine, create a mega-rainbow GIF á la Voltron that is more powerful as a whole than each could be alone. Gaze upon the glory of pan-spectrum unity below. Zolloc Julian Glander Lucea Spinelli Carl Burton Render Fruit Hexeosis Kidmograph For more excellent GIFs, follow GIF Six-Pack on Instagram . Related: Rainbow Nudes Infused with Madness | Monday Insta Illustrator Modern Dance Meets Light Art in Olafur Eliasson, Jamie XX, and Wayne McGregor's 'Tree of Codes' A Rare Interview with Lisa Frank 2016-06-17 16:40 Beckett Mufson

20 Anotherview Gives Your Home a Window Into Another City Related Events Design Miami Basel 2016 Venues Design Miami/ Basel Messe Basel You look outside the window, and instead that dreary street you have seen so many times, there is the skyline of New York. Or the waterfront in Cape Town. Or snow gently falling on a mountain. Welcome to Anotherview , a design start-up that produces window views. “I worked for 15 years in design, and was always fascinated by how, when you buy a house, the view is one thing you have no control over,” says Marco Tabasso, from the small team of designers and filmmakers who make up Anotherview. “A beautiful house can have a poor view, or vice versa, or someone might build a building and block your view, and there will be nothing you can do. How can a view become something you can choose? How can you have a view you want to have?” The company has so far created three 24-hour long views, of the waterfront in Cape Town, Boulders Bay in South Africa, and the Upper East Side in New York. To these are added the shorter ‘study pieces’: a 10-hour view of Milan’s Duomo, a couple of rural landscapes in Italy, as well as a mesmerizing one-hour film of snow falling on the trees near Eindhoven. The young company has presented its latest work – a recording of the rooftops of New York’s Upper East Side over the course a cold, sunny day – at Design Miami in Basel. “We took a week to find a location,” says Tabasso. “Residents of New York usually have a very close view, because of the density of tall buildings. The owners of this apartment were lucky: they live in a tall building, but in front of which are two rows of low buildings, and then high-rises again.” The views are carefully selected and filmed to highlight the qualities of the place: the billowing smoke of the many chimneys of Upper East Side, the occasional car going through the gentle rolling hills in Casteggio, Italy, or the calm waters of Boulders Bay in South Africa. Watching the filmed streetscapes offer a gently meditative experience: apart from the occasional passing cow or airplane, nothing important ever seems to happen. It is like looking through any window. But does the camera ever catch an accidental car crash, a burglar, an explosion? “I’d say no, and I like the idea that nothing really important happens in the views,” says Marco Tabasso. He describes their work as a statement against the short attention span of the contemporary era: “We are so used to focusing on things for no more than five seconds. We all have a hard time just staring out the window. We are not used to looking at things slowly.” Something happens when one gets immersed in a slow, barely changing view of a landscape, or falling snow. “It completely changes your view,” says Tabasso. “In these films, every little thing, in a way, is something important: a car driving through the landscape, a bird that sits on the fence before flying away. The world is much slower than you think. Even in New York.” The panoramic view of the Upper East Side is a show-stealer: the oblique winter sun sliding gently across the brickwork, sounds of cars and ambulances (the pieces come with sound), and that recognizable skyline that, nonetheless, shows no landmark buildings. There is no centerpiece to the view: it is all urban texture. The slowness does not deter. The experience of watching a slow event is not totally unfamiliar to us: think of opera; think of soccer; think of those durational performance art pieces. It is fascinating even if only for the fact that this streetscape already belongs to the past. The recording has been made: buildings may get erect or torn down, but the view from your (purchased) window will remain the same – a slice in time. The views come complete with a window frame that can open, ranging from a rustic wooden frame for Santa Giuletta in Italy, contemporary for New York. Depending on the dimensions, they can be hung, or integrated into the wall. And the 24-hour works come complete with an app, allowing the owner to change the time of the day. The company is already starting to take commissions: the idea is that a client can order a desired view, and then decide whether their view will be exclusive to them, or can be put into Anotherview’s growing catalog – an exclusive view will be more expensive, of course. Their next commission will be a view from a private house in Italy, where a gallery owner has asked to record the day of her exhibition gala. The project Tabasso is particularly excited about, however, is a day at a natural park in Namibia, which Anotherview will film in October: “It’s the only place where the animals gather for water in the dry season. For a whole day, all you will see is animals coming and going. We will probably have to record in a tent.” 2016-06-17 16:29 Jana Perkovic

21 Here's Why Contemporary Art Is Obsessed with Basketball Eric Yahnker Space Jam, 2014, colored pencil on paper, 94 x 72 in. (239 x 183cm). Images courtesy the artist Beyond white boys betting against Bron Bron, the connection between contemporary artists and the sport of basketball has become a visual art trend that's all but impossible to ignore. Popular iconography has always been present in the art, but basketball increasingly seems to be making appearances off the court and in the exhibitions and galleries of today. In order to learn more about the sports fad with the most ups, we talked to four established contemporary artists who each reference the game in their own works. Eric Yahnker, King's Court, 2016. Colored pencil on paper, 76 x 68 in Like many cities, Los Angeles has held its own as a strong geographic location for sports, and also for art. Based in LA, Eric Yahnker speaks of his attraction to the game as such: “I think contemporary art gravitates to hoops because it has all the grace, beauty, sensuality, theatrics, and physicality of a world class ballet. It’s an art form unto itself.” “There’s an obvious innate attraction to long, lean humans maximizing their physical potential on a nightly basis," he explains. "Also, the game is incredibly fast-paced, so it’s rarely boring, and although various systems can have tons of complexity, it's fairly easy to comprehend—1.) put the ball in the damn hole 2.) stop the other guy from putting the ball in the damn hole 3.) repeat.” Yahnker recalls, “I was lucky enough to grow up in LA watching the Showtime Lakers of the 80’s. I also played competitively throughout my childhood and into high school. I attended basketball camps and practiced incessantly. At various times of my life, basketball has been a premiere obsession. I guess you could say that conceptually using the game and its icons as metaphor in some of my work is as natural a gesture as breathing.” Victor Solomon, Lemme Give You a Checklist. Stained glass ,gold-plated steel, Swarovski crystal, 44”x40”, 2016. Images courtesy the artist On the sculpture side, Victor Solomon is known for his delicate stained glass backboards, which present an interesting spin of the sport. Solomon has recently been expanding his practice within the sport, beginning with his appropriately titled Literally Balling series. Solomon tells The Creators Project, “I think basketball is just better than it has ever been, talent-wise, exposure-wise. It’s fun to watch: there’s discipline, pace, finesse and visible stars with personality and relatable physiques. I think basketball used to be this ironic vessel for artists parlaying the jocks vs. whatever narrative, but as basketball becomes part of the zeitgeist, it provides a set of common symbols to adopt.” Victor Solomon, How Can I Not. Stained glass, gold-plated steel, Swarovski crystal, 44”x40”, 2015 Solomon continues, “Basketball has a universality because it’s class-proof. I grew up in Boston in the midst of the Bird era, so basketball has always been part of my life. For me, basketball provides this perfect compound of using its symbols and mores to explore class and the irony of luxury while at the same time celebrating the subculture that’s given me agency to do so.” Literally Balling opening at Joseph Gross Gallery, February 2016 Artist Bill McRight works with the basketball theme in his fine art photograph. “I've definitely seen a lot of artists using basketball as a theme. It's not just contemporary art,” McRight explains. “I think it extends beyond contemporary art. I think this is a cultural phenomenon. Is it art imitating life or life imitating art? Who cares. Basketball is hot across the board... I think that this is an easy topic to approach for a lot of people. You can use the story of a great player, a lousy player or a player's fall from greatness.” Bill McRight, environmental photograph. Image courtesy the artist Bill McRight, environmental photograph With his iconic, intricate paintings of characters and narratives, Australian, Los Angeles-based artist Mark Whalen expresses his undying affinity for the sport in his work: “I love the game. Basketball in the 90’s had so much flare and hype to it, and I think a lot of artists now seem to be having fun using it as a powerful icon in their work. The basketball itself is a dominating object,” he tells us. Mark Whalen, UNTITLED. Acrylic, ink and gouache on board with resin. Images courtesy the artist “The NBA has always been amazing," he explains. "I think the game itself has elevated in the last three years and is now more popular than ever. A lot of new players are in it, recreating what the great legends of the 90s achieved. It’s always been there and always been popular, but the game and the skill has changed to a whole new level.” Mark Whalen ‘UNTITLED’ Acrylic, ink and gouache on board with resin Whalen tells The Creators Project, “I’ve been watching basketball since I was a young kid. I also used to play for a very long time, so for me, I’ve had a lifelong obsession for the game. I’m just as passionate about basketball as I am for the arts.” So, whether it's a personal history, a visual inspiration, or a revived appreciation for the sport, as long as the game is good, it seems, basketball art is here to stay. Victor Solomon’s first solo show in LA, Literally Balling , opens at Soze Gallery , September 8th, 2016. Related: Tyson Reeder Unveils a Basketball for Art Ballers These Stained Glass Basketball Hoops Are 'Literally Balling' This Reactive LED Basketball Court Will Teach You To Ball Like Kobe 2016-06-17 16:20 Hannah Stouffer

22 22 Renzo Rosso Unveils ‘Radical Renaissance 55+5’ Book and Exhibition in Milan Written by Dan Thawley, the tome collects interviews and photos that illustrate the past 10 years of the entrepreneur, working with some of the industry’s most influential designers. Rosso turned 60 in 2015, but, given that five is his lucky number, he admitted he “much preferred 55+5.” As for “Radical Renaissance,” in addition to containing the initials of his name, Rosso said Thawley believed he “interpreted the Renaissance in a radical way.” Rosso was speaking on Friday at the space in Milan’s arty Brera district where several of the images from the book were exhibited for a launch event that evening, followed by a day of visits open to the public on Saturday. “It’s as if the book exploded in the gallery and its contents came to life in the gallery,” explained Caroline Corbetta, who curated the artistic installation. The past 10 years have marked a different direction for Diesel’s parent company OTB, with the addition of Maison Margiela and most recently tapping John Galliano to design the brand; Viktor & Rolf; Marni , and appointing Nicola Formichetti to steer Diesel. Rosso emphasized that this past decade had allowed him to “enter the most desirable world, that of luxury,” and to work with “the biggest man,” Martin Margiela. Rosso proudly pointed to a letter by the designer sent to Rosso for his birthday and reproduced in the book. In the letter, Margiela writes of the “deep and mutual respect” the two men have for one another; Rosso’s “incredible businessman” talent and creativity, and how “Renzo happily surprised me again by choosing” Galliano. The volume, which is in English, is the third Rosso book and follows the ones marking his 40th and 50th birthdays. It will be available starting in July in Assouline boutiques and the group’s online store. It will then be carried in select fashion and design stores and Diesel, Maison Margiela and Marni flagships globally. Rosso said he was also mulling the idea of setting up a museum, after having regrouped materials from the past 38 years. 2016-06-17 16:17 Luisa Zargani

23 Christo and Jeanne-Claude's "Floating Piers," Just 40 Years Late Related Artists Jeanne-Claude Christo Christo during the construction of "The Floating Piers," Lake Iseo, February 2016 (Photo: Wolfgang Volz) For 16 days beginning on Saturday, visitors to Christo’s latest installation, “ The Floating Piers ” (June 18-July 3, 2016), will learn what it’s like to walk on water as they stroll across Lake Iseo, Italy’s fourth-largest lake, on a 16-meter-wide floating walkway that will undulate with the water’s movement. “Probably some people will be uneasy at first, walking half a kilometer across the lake,” Christo said in an interview at his SoHo studio. “But after seeing other people, they will become comfortable.” Christo, of course, is a master of transforming landscapes into monumental works that draw millions of people; in just 16 days in 2005, “ The Gates ” attracted more than 4 million visitors to Central Park in February (and generated an estimated $254 million in business for New York). The setting for his latest project may be more inherently appealing for many: Lombardy in Northern Italy’s Lake District, a region already popular with tourists for its natural beauty and cultural attractions spanning centuries, from prehistoric rock carvings and Roman ruins to Medieval castles, Romanesque churches and cliff-side convents rich in frescoes and sculptures. Christo and his wife, Jeanne-Claude, first considered the idea of floating piers on the delta of Rio de la Plata, Argentina, in the 1970s, and later on Tokyo Bay in the ’90s, but didn’t receive the necessary permits. In 2014, five years after Jeanne-Claude’s death, Christo and his team scouted the lakes at the foot of the Alps looking for a place to finally realize the project. Lake Iseo , one of the smaller and less visited of the lakes in the region, proved perfect for “The Piers” because of its tranquil waters, simple shoreline, and tall surrounding mountains that would offer bird’s-eye views of the installation. The lake also has an island—Monte Isola, or “mountain island.” No bridge connects it to the mainland, and its nearly 2,000 inhabitants use boats and ferries for transportation, but in the coming weeks Christo’s project will allow locals and visitors alike to walk across the water between Monte Isola and the town of Sulzano on the mainland. The 3-kilometer-long floating walkway is made of 200,000 high-density polyethylene cubes, carpeted in 70,000 square meters of shimmering yellow fabric that turns red when wet. A segment of the installation runs on land, covering 1.5 kilometers of sidewalk with the same fabric, helping visitors experience the contrast between solid ground and water. The installation will be open around the clock and access will be free. Visitors willing to brave the lake’s cold waters would be able to jump off the pier. There will be boats providing security and after dark portable lamps, similar to streetlights, will light the way. “Local people are very, very excited about this event,” says Milena Calzi, a representative from the Culture and Tourism Office in Brescia Province. “They are talking every day about it; they are posting on the social networks photos of the work in progress.” The floating piers are secured in place by 190 anchors made of five-ton cement blocks. To transport each of them into the lake, Christo and his team are using “balloons” that are deflated once they reach their destination. The placement of the anchors in the exact location is crucial because they ensure the lines and geometry of the installation. “All of the projects are about aesthetics—in the large sense, not just color and proportion but relation and physics,” Christo said. “[I’m] very interested in how we move our bodies, how we experience the wind and sun, hot and cold and dry—all these elements that are part of the physics of the area. This is why you cannot perceive this project only by looking at it.” You can’t take it out of context, either. The experience of “The Piers” wouldn’t be the same without the medieval villages and castles, ruins and mountains around Lake Iseo’s shores. Equally, as Christo sees it, the context will never be the same after “The Piers.” “Jeanne-Claude and I always liked to return to the site of a project,” he said, “because the space had another dimension afterwards. We did something there; we left a part of ourselves there.” The temporary installations, he points out, create “disturbances” to their locations that live on, fundamentally altering the character of the place. Central Park will always be, to some extent, the park with the orange gates; the Reichstag building will always be the wrapped parliament. On Saturday, Lake Iseo becomes the lake you could walk on. 2016-06-17 16:16 Daniela Petrova

24 24 MoMA PS1 Extends Free Admission Through 2017 In celebration of its 40th anniversary, MoMA PS1 will be offering free admission for all New York City residents through October 2017, as part of the support from Marina Kellen French and the Anna-Maria and Stephen Kellen Foundation. The celebration kicks off June 19th with an open house event from 12 – 6 p.m., accompanying a slate of new exhibitions and special projects. Among the selected exhibitions and projects include " FORTY ," which will feature works by over 40 artists from the "1970's alternative art spaces movement" and part of the early years of PS1 Contemporary Art Center, as well as the return of " ROCKAWAY!," scheduled for July 2, featuring a colorful new outdoor exhibit by German artist Katharina Grosse. Other artists on view will be Vito Acconci, Merriem Bennani, Deng Tai, and more. PS1 is also adding seven new board members: Maria Arena Bell, Adrian Cheng, George Farias, Svetlana Kuzmicheva-Uspenskaya, Lisa Roumell, Robert Soros, and John L. Thomson. As one of the largest and oldest organizations devoted to contemporary art, MoMA PS1 has been able to turn an old schoolhouse into a space for emerging and established artists to showcase their work. Free admission is extended to New York City residents until October 15, 2017; for all other visitors, the suggested donation is $10 for general admission, and $5 for students and senior citizens. 2016-06-17 16:00 Daniela Rios

25 "High Is a Place" and This Dispensary Wants to Take You There Airfield Supply Company dispensary. Image courtesy of Airfield Supply Company It often seems like an unwritten rule in dispensary branding requires an iconic green cross and an equally underwhelming name. With new businesses popping up anywhere legally possible, there are thankfully now dispensaries looking to break this mold and elevate their visual identities. With the influx of dispensaries in California, quality branding speaks of new highs. Overlooking an airport landing strip in San Jose, California, this dispensary has a modern aviation theme and aesthetic. Similar to how aircrafts transport passengers to their destination of choice, the shop aims to help all patients arrive at their destination. “ Airfield Supply Company is a blend of the best of cannabis culture and a lifestyle celebration of the golden era of aviation,” Executive Director Marc Matulich tells The Creators Project. “We believe that ‘High is a Place,’ and Airfield is exists to take you there.” Airfield Supply Company dispensary lobby window. Image courtesy of Airfield Supply Company “I feel that Airfield is a symbol of change within the cannabis industry and represents a maturing of the market,” Matulich continues. “Dispensaries are no longer underground communities. As laws become more progressive, more people enter the market and raise the standards of consumer expectation.” All of the anticipated streamlining that you expect with airline services, Airfield delivers. (Minus, of course, the TSA.) Matulich explains, “We used salvaged airplane materials for installation pieces and airport benches for seating in the lobby. Our designer, Sam Jorden from Potluck Creative , not only helped design our brand identity and packaging, but also brought brand elements into the interior design. Sam designed the runway markings in the dispensing room floor.” Airfield Supply Company dispensary. Image courtesy of Airfield Supply Company In terms of color selection and brand identity, Matulich went through a collaborative process with his wife and marketing/brand consultant, Chris Lane, to nail the aesthetic. He says, “Our focus was to create a lifestyle brand that conveyed a sense of artisanal craftsmanship and attention to detail. I wanted to move away from the purple and green colors the market is saturated with. We selected yellow and grey as our primary colors for a few reasons. To me, yellow represents positivity and new beginnings as well as the sun, which is, of course, important in our grow process.” Matulich anchored the iconography of the shop around aviation culture with subtle references to cannabis. He worked to incorporate industry taglines like First Class, Business Class, Economy Plus, and Economy to connote price points. Every last detail is accounted for in making it a holistic experience. He says, “All of our strains have a three-letter abbreviation on the package, similar to the three-letter codes that airports use. We also offer a Mileage Reward program for our regular patients. It’s fun, but it also means something for us.” Airfield Supply Company dispensary lobby. Image courtesy of Airfield Supply Company To learn more about Airfield Supply Company, click here. Related: Snoop Dogg Launches High-End Weed Brand A Day with California's Stoned Nuns This Exhibit Pairs Pot Paintings with Their Own Strain of Weed 2016-06-17 16:00 Hannah Stouffer

26 What's the Weirdest Sculpture at Art Basel? | Insta of the Week Art Basel kicked off in Switzerland this week, and the internet is overflowing with the most memorable—and marketable— modern art in the world. As an art lover today, the trick to winning at art fairs is to find all the most Instagram-friendly art as fast as possible, and then grab selfies with it before your friends do. Only then can you spend the rest of your time sifting through the rest for the real gems. Here, we've done both. We've gathered Basel's biggest installations from art stars like James Turrell, Anish Kapoor, and Ai Weiwei. We've collected this year's showstoppers, like Chiaru Shiota's forest of hanging suitcases, Donald Moffett's hyperrealistic donkeys, and Davide Balula's mimed renditions of famous sculptures. Then, we round it out with a few strange and obscure pieces we think you'll enjoy. Our personal award for "strangest sculpture" goes to Paul MacCarthy's Tomato Head (Green) , a 1994 work featuring a veggie-headed man wearing no pants on a field of geometric objects, one of which appears to be covering his extra-long schlong. Enjoy our Art Basel curation in the Instagrams below, and if you make an art discovery worth sharing, tag @Creators_Project on Instagram to share it with us. Find more photos from Art Basel on Instagram. Follow The Creators Project to discover more artists. Related: 12 Street Artists You Need To Follow on Instagram 8 Food Artists Who Are Killing It on Instagram 10 Bushwick Artists You Need to Follow on Instagram 2016-06-17 15:50 Beckett Mufson

27 Dayton Mini Maker Faire and Real Art’s Boneyard Build-Off: Coming July 16th, 2016 The Gem City of Dayton, Ohio will be hosting its very own Maker Faire event with the first ever Dayton Mini Maker Faire on July 16th, 2016 at Carillon Historical Park. As part of the event, Real Art is thrilled to announce our sponsorship for the Faire’s most unique activity: the Boneyard Build-Off. With the support of Real Art and other local businesses, Dayton History and Make It Dayton have arranged a full-blown smorgasbord of maker-themed demonstrations, workshops, seminars, and shops for this family-friendly, interactive event. The expo will feature creators of all ages and backgrounds, inspiring the next generation of Dayton inventors. Real Art will be putting together and hosting the Boneyard Build-Off, a “Junkyard Wars” style competition pitting teams of makers against each other in the ultimate DIY battle royale. Throughout the day, two teams will design, build, and test a machine hacked together from spare parts generously provided by Mendelson’s, MCM Electronics, K&G Bike Center, 1st Street Recycling, and assorted local scrapyards. These machines will be built to accomplish a certain goal, such as a power tool-powered drag racing vehicle or a bicycle-powered can crusher. The singular goal will be drawn at random and given to the contestants the morning of the Mini Maker Faire. Spectators can watch throughout the day as the sparks (literally) fly, with trash turning into treasure before their very eyes. In addition to the Boneyard Build-Off, Real Art will team up with Proto BuildBar on other exhibits showcasing the progression of technology over time, and how more direct access to these technologies and tools allow makers to express their creativity and ingenuity in more ways than ever. The Dayton Mini Maker Faire is an event set to spur the engagement of the community and tap into the industrial spirit ingrained in the DNA of the city. Head over to the Dayton Mini Maker Faire website to learn more on how you can get involved. WHAT: Real Art’s Boneyard Build-Off at Dayton’s Mini Maker Faire WHEN: July 16th, 2016 WHERE: Carillon Historical Park 2016-06-17 15:31 realart.com

28 Real Art Hosts GE Aviation for Hacking Wonder Workshop Putting a unique twist on a team building exercise and client bonding, Real Art hosted GE Aviation for a one-of-a-kind “Maker Workshop” at Proto BuildBar. This all-day event was created and tailored specifically for this group to awaken, and inspire, the maker inside all of us. A little post-workshop happy hour and a couple of drinks to break up the work week never hurt anyone either. The creativity started flowing in the morning with a presentation and discussion on the “Maker Movement” from Real Arters Tom Immen and Alison Westfall. Real Art is a company full of makers in varying disciplines— it’s how we Build Wonder after all—but both the discussion and the workshop were meant to empower our friends at GE and remind them that everyone is capable of becoming a maker. It’s a trait inherent within all of us, and this phenomenon encompasses a wide range of skills and interests, from hackers, architects, artists, designers, and beyond. Additionally, attendees were given Maker Field Guides, designed and printed by Real Art filled with games, inspirational quotes, information on the movement and stories of creators both modern (Oculus’ Palmer Luckey and GoPro’s Nick Woodman) and classic (Nikola Tesla and Ada Lovelace). In the afternoon, it was time to experience being a maker. Real Arters John Nesbitt and Pat Murray discussed the history of coding and along with the staff at Proto led demonstrations on how to build colorful and unique 8×8 LED matrix watches. After that, it was time for Real Art and GE employees to get their hands dirty. Armed with some soldering tools and tips on programming, the group put together their pet projects. While our friends at GE walked away with some undeniably cool watches, the real takeaway on this day was internalizing the tenets of the movement: new ways of thinking critically, problem-solving, and a pride in DIY ethos and resourcefulness. 2016-06-17 15:30 realart.com

29 Newark Museum Highlights African-American Art-artnet News An exhibition opening today at the Newark Museum highlights the institution's holdings of African-American artists, with a spotlight on self-taught practitioners, who make up half the show's roster. Though it contains just a few dozen works, “Modern Heroics: 75 Years of African- American Expressionism at the Newark Museum" reaches as far back as Minnie Evans , born in 1892, and up to Shoshanna Weinberger , born in 1973. “The exhibition looks partly at the notion of the artist as a hero and at the persistence of painterly painting and heroic subject matter beyond Abstract Expressionism," the show's curator, Tricia Laughlin Bloom, told artnet News by phone. While most of the works come from the museum's own holdings, several are on loan. The show taps into the museum's long history of collecting and showing both self-taught artists and African-American artists, Bloom pointed out. A work by Henry Ossawa Tanner (not in this show) came into the collection as early as 1929, and curator Holger Cahill began showing folk art in the 1930s, making the Newark Museum among the first American museums to show this material. For Bloom, one of the show's most exciting works is Carnival (1957), a canvas by Norman Lewis that came to the museum as a gift in 2004 and hasn't been on public view in nearly six decades. Showing a procession or street festival from a high vantage point, the canvas is thought to depict the Italian festival of Carnivale, a pre-Lent festival in Italy, where Lewis traveled the year he painted the work, according to the exhibition catalogue. A Purvis Young painting, showing a central figure holding aloft what appears to be a body, might be a deposition or lamentation scene, says Bloom. The work's distinctive wooden frame is made from scraps of found wood; Young, a self-taught artist, often worked with materials he found in the street in the African-American neighborhood of downtown Miami, where he lived, and whose denizens he often depicted in scenes drawn from Renaissance and Baroque compositions. While artists like Dial and Evans will be more familiar to devotees of folk and outsider art, Bloom says artists such as Emma Amos and Claude Lawrence may be surprises even to that crowd. Amos's seven-foot-wide painting The Heavens Rain (1990) presents an apocalyptic scenario, with people, books, and even a horse plummeting down from a black sky in what Bloom calls a “startling" work. “Modern Heroics: 75 Years of African-American Expressionism at the Newark Museum" is on view through January 8, 2017. Follow artnet News on Facebook. 2016-06-17 15:18 Brian Boucher

30 Salvatore Ferragamo to Help Restore Fountain of Neptune in Florence In its latest step to give back to the city housing its headquarters, the Salvatore Ferragamo group on Friday pledged to donate 1.5 million euros, or $1.7 million at current exchange, to fund the restoration of the Fountain of Neptune. The amount will be channeled into the works over a three-year period, until 2018. “I like to think of our support to Florence’s cultural activities and the restoration of architectural assets as a virtuous partnership between the public and the private sectors, and a way for our family to thank the city and recognize the close bond forged by my father and still in place today,” said chairman Ferruccio Ferragamo. “Everything we have done over the years has been a way for us to express our gratitude to Florence for what it has given us.” Located on the central Piazza della Signoria, in front of the town hall in Palazzo Vecchio, the fountain was commissioned in 1565 by Cosimo I de’ Medici and is the work of sculptor Bartolomeo Ammannati. The city’s first public fountain, it is a symbol of Florence and points to the city’s power over the seas during the Renaissance. Made with Carrara marble, the figure of Neptune stands on a high pedestal decorated with the mythical figures of Scylla and Charybdis, in the middle of an octagonal fountain, surrounded by laughing satyrs and sea horses. Praising Ferragamo as “a prestigious label that cares about the beauty and culture of Florence,” Mayor of Florence Dario Nardella said, “The city has been looking for public and private sponsors and partners for years to help safeguard the city’s great artistic heritage.” Ferragamo has financed major restoration projects, including the allegorical statues on Ponte Santa Trinita, in 1996, the Column of Justice in Piazza Santa Trinita, in 1998, and the eight rooms in the Uffizi Gallery, in 2015. It has also established the Museo Salvatore Ferragamo at Palazzo Spini Feroni, headquarters of the brand. 2016-06-17 15:03 Luisa Zargani

31 Jessica Alba Celebrates InStyle July Cover with Dinner at La Sirena “I did everything,” joked Jessica Alba Thursday evening, overlooking the garnished tables from the terrace atop newly-opened La Sirena in Chelsea. “I did the flowers, the table…” Alba, who appears on InStyle ’s July cover, was toasted by the magazine’s editor in chief, Ariel Foxman , alongside designer friends including Prabal Gurung , Baja East ’s Scott Studenberg and John Tarragon, and Jennifer Fisher, with cocktails and dinner at the Mario Batali hotspot. “This isn’t my first cover, but we’ve actually just known each other going to shows all the time,” Alba said of InStyle and Foxman during the pre-dinner, martini-filled cocktail hour. “Sometimes editors can be intimidating, you know, but he’s really approachable and lovely.” For the cover shoot, which features swimwear-clad tropical shots, Alba flew to Hawaii in April for a short visit that doubled as a birthday party. “It was before my birthday – I turned 35, as hard as that is to say – so I just felt like I should have a big celebration,” she said. “So my mom came, and my girlfriend Lauren who does my makeup came, and then for a couple of days my girlfriend from Canada came, so we had three days of just fun girl time.” In addition to friends like Gurung, who Alba sat with during dinner and took selfies with throughout, she’d also invited beauty blogger Deepica Mutyala after a rather chance meeting a few months back. “I met her at my hotel bar, and she does all these red lipsticks under the eye things – she’s one of these really special makeup bloggers that talks about women of color, and gives tutorials from that perspective, using very unconventional things,” Alba said. “I’ve been following her on Instagram, and we ran into each other and I asked [if she wanted to come]. It’s nice to throw some girls with brown skin like us into the mix – and also, someone who is doing something different in the makeup blogger world.” 2016-06-17 14:47 Leigh Nordstrom

32 Cafe Medi Opens in the Hotel on Rivington “We wanted to do something that was not necessarily already existing in the neighborhood,” says Corey Lane, partner at the newly minted Cafe Medi, situated inside the Lower East Side’s Hotel on Rivington. The Mediterranean restaurant, which opened Wednesday, is the latest to join the surge of restaurants and hotels opening in the stretch of lower Manhattan, including a new outpost of SoHo House on Ludlow Street, the popular Hotel Indigo and a second New York location for the Ace Hotel. Lane, whose background includes Gansevoort Market, Beaumarchais, and Kiss & Fly, is partnered with Roberto Buchelli in Cafe Medi, which is helmed in the kitchen by executive chef Vincent Chirico of the Upper West Side’s Vai. Together they see it adding to the budding “it”-ness of the neighborhood. “I think that the Lower East Side is evolving and there’re a lot of wonderful things opening,” Lane says. “I live two blocks away, so I appreciate the rawness of it. It’s kind of like the last wild neighborhood of New York.” Lane was approached by the hotel’s owner Paul Stallins for his expertise in New York City nightlife, after the success of his Meatpacking hotspots. “When I got into the Meatpacking in 2006 there was Pastis, there was Tenjune and there was One,” he says. “So in the time I was open, from 2006 to 2014, I saw everything come. I saw The Standard, Avenue, Tao, Abe & Arthur’s…. I just saw the neighborhood kind of coming into its own, and I kind of feel that now.” Lane and Buchelli had originally envisioned a French restaurant in the space, but adjusted their plans as the neighborhood shifted. “I was kind of going to rally my troops and bring French here,” he says, “But I didn’t know that the Major Food Group was building Dirty French [nearby].” He shifted to Mediterranean, a cuisine with a lightness that fits in with the neighborhood’s nightlife scene. Cafe Medi, which has already played host to a dinner party for Penelope Cruz, is situated next to newly opened lounge Jia, hidden two doors down behind a red graffiti door. “We came up with the crudo bar because I wanted to have this fresh, light food that was very clean, low- calorie, high protein,” Lane says. “We have a club next door so it’s perfect for guests who don’t want to get full because they’re gonna go to a club or a lounge after.” The menu stays coastal Mediterranean, skewing toward vegetables and seafood and away from things like couscous and kebabs. Chirico has included Montauk Fluke Ceviche with lime; roasted king oyster mushrooms with white polenta and soft egg; whole snapper with spring onion, leek and niçoise olives, and charred octopus with jalapeño pesto and baby fingerling potatoes. The bar program follows suit with drinks crafted by Allen Katz of New York Distilling Company. “Again, like the ingredients in our food, everything is all- natural,” Lane says. “Nothing comes out of a can, nothing comes out of a box, nothing comes out of a jar. If it’s lime juice, it’s lemon and lime juice freshly squeezed. If it’s jalapeño syrup, it’s simple syrup reduced in the kitchen with actual jalapeño. So it’s basically cocktail ‘chefing,’ it’s not just mixology.” While some residents of the Lower East Side are less than thrilled with the idea of a blossoming of “cool” throughout their neighborhood, Lane argues that he gets it — and that this attitude is exactly what makes it appealing. “You know it’s tricky to say that it’s a new hotspot because people who are here are going to take pride in being here and they’re going to say, ‘we’ve always been hot,’” he says. “But the truth is, it’s a different layer that’s coming. It’s a little bit more upscale but on a casual level. Like, nobody is mistaking the Lower East Side for Midtown, no one’s coming here glammed out. Everybody appreciates that they can come here and be casual but you can still be chic at the same time. And I think that’s what we deliver.” 2016-06-17 14:45 Leigh Nordstrom

33 Sound Art Imagines a Different Kind of Zen Garden Screencaps via A new kind of Japanese rock garden has emerged out of a thesis show at Parsons' Design and Technology MFA program. Instead of sand, tt’s a special meditation quadrant that uses sound. Shanghai-born artist Jingying (Eric) Jiang developed the installation, Path , which lets users use perform classic raking movements with a sensor-enabled wooden rake. Its two mounted sensors measure how fast the rake is moving, as well as its spatial relationship to the rocks placed across the floor. The rake’s speed and location trigger different frequencies of an audio sample of a monk chanting. Path from Eric Jiang on Vimeo . The faster you move the rake, the higher the frequency. Every time the head of the rake gets near one of the stones, speakers ring out a loud ‘DING!’ encouraging users to experiment with different raking speeds in order to uncover their preferred sounds. Once the perfect pitch is found, users are then tasked with the challenge of preserving it. In the video demonstration above, Jiang stands barefoot in a carpeted room with three rocks scattered across it. He moves about the room experimenting with different outputs as he rakes imaginary sand. Jiang’s work looks at interactive installations and tangible interfaces: operating systems you can engage with physically as well as mentally. He hopes the installation will serve as a demonstration of how technology can be utilized as a meditative tool. Path works to cultivate a calming atmosphere and guide people’s minds towards what the artist calls the same “similar routinized levels of simplicity and tranquility” Buddhist monks cultivate in their own Zen gardens. Check out more of Jiang’s work on his website . Related: Step Inside A Digital Zen Garden Behold, The Programmable Robotic Zen Garden Disrupt Your Day with a Zen-Like "Kinetic" Sculpture 2016-06-17 14:20 Nathaniel Ainley

34 Is Corneliani Seeking an Investor? The event fuels growing speculation here that the company may be partnering with the Bahrain-based Investcorp to further develop its business. The Bahrain- based fund purchased Danish jewelry brand Georg Jensen at the end of 2012 and is the former owner of Gucci, Tiffany and Saks Fifth Avenue. The Corneliani brand is designed by Sergio Corneliani. The Cornelianis declined to comment on the speculation. However, if Corneliani does take Investcorp on as an investor, it would be the latest heritage Italian men’s wear brand to do so. Brioni is now owned by Kering and has undergone recent changes in its creative director, while Pal Zileri was acquired by Qatari-based Mayhoola for Investments in 2014 and has been making an effort to grow its profile in the U. S. 2016-06-17 14:08 Luisa Zargani

35 Cyberpunk Meets 'Slow TV' in These Self- Generating Music Videos [Premiere] Shodan artwork. Image courtesy of Crypt Thing Supercomputers, cyberpunk, and Norwegian television—all these and more inform electronic musician and artist Crypt Thing 's debut four-track EP Shodan , released today on South East London label squareglass. The EP is a concept album which, along with the complementary visuals, draws heavily from science fiction, especially the neo-noir cyberpunk strain. The music itself journeys through an electronic terrain full of uncanny unease, soothing tribal chimes, and sci-fi restlessness. "The four pieces revolve around a central theme of time and space in all their various forms," Crypt Thing explains to The Creators Project. "To me that may mean the concept of silence within music, the distance between notes, the linear way one experiences sound, as well as the wider ideas of our own spatial and temporal location within the universe or the way in which a computer functions. " Each song on the album is named after a fictitous supercomputer. The title track, "Shodan," is a nod to 1994 video game System Shock ; "Nomad," the next, is taken from manga Galaxy Angel ; "Euclid" takes its name from the supercomputer in Darren Aronofsky's film debut Pi ; and the last song, "Solace," is an AI from the stories of sci-fi author Spider Robinson. "I like the idea of existing in a constant state of flux always on the verge of some ‘next future.'" the musician notes. The EP also draws influence from Warp Record's seminal 1992 compilation, Artificial Intelligence, particularly the term it coined (and sub-heading of the album) "eletronic listening music. " Screengrab from the video for track "Euclid" They're concepts that can be felt both in the journeying, jittering soundscapes on the EP, and in the methodical, accompanying visuals. Each song has its own self-generating 3D video piece, created by Crypt Thing, that simulates the movements of planets centered around a mini- universe. When you start watching them, you'll be forgiven for thinking that they're just abstract still images—they're just moving at a glacial rate. But their meditative pace is a calculated response to the fast tempo and quick editing often found in today's music videos. The musician also cites the Norwegian concept of ‘slow television’ as an influence. It's a genre which broadcasts events like seven-hour train journeys in their entirety, or a 12- hour canal trip, or eight hours of live TV featuring a burning fireplace. "The visuals are written in code using Processing and are inspired, once again, by concepts of time and space," says Crypt Thing. "They take an initial still image and translate it into a 3D space by arranging the pixels in order of brightness. They then spin on an axis and each pixel draws a line in its wake, thus generating a new image as they travel through the virtual space. On top of this, random fragments of color circle the central image reminiscent of moons orbiting a planet. Much like how the rules of each track govern their individual styles and sounds, the way in which the code is written allows for an autonomous system to exist in which the visuals grow organically. " We're premiering all four videos today, you can check them out below. "Shodan" "Nomad" "Euclid" "Solace" You can check out Crypt Thing's website here and his Soundcloud here. You can order the Shodan EP in digital format here. And you can order a limited edition 7" of the single "Shodan" here. Related Cyberpunk Illustrations of a Dystopian Future 'Blade Runner' Meets 'Bullit' in Trailer for Indie Sci-Fi Epic Artists Control Each Other's Body Parts with Their Minds 2016-06-17 14:00 Kevin Holmes

36 See and Spin #12: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. Can Netflix Survive in the New World It Created? (Joe Nocera / The New York Times ) How the game-changing company is adapting to the rapidly shifting content and entertainment landscape it helped create. Fully Loaded: Inside the Shadowy World of America’s 10 Biggest Gunmakers (Josh Harkinson / Mother Jones ) With this investigation, Mother Jones set out to break through the opacity surrounding the $8 billion firearms industry and the men who control it. Sad! (Sam Stein / The Huffington Post ) These three campaign gurus for Jeb Bush, Ted Cruz and Marco Rubio have had some time to reflect on their loss to The Donald. And do they ever have stories to tell. Brand New / Deja Entendu (2003) The astronaut is now a teenager. Brand New’s sophomore effort and enduring emo classic Deja Entendu turns 13 today, leaving behind it a limitless trail of influence across the scene. The only shifts more jarring than the jump to Deja from 2001 debut Your Favorite Weapon is what Brand New would do on their two albums following it. Many of the landmark records from the early to mid aught’s emo wave have lost a significant amount of their luster, but Deja has managed to maintain its relevancy. Pivoting away from the angsty, faster pop-punk of Your Favorite Weapon , the Long Island quartet’s maturation is evident from meditative opener “Tautou” all the way through the wrenching acoustic closer telling the tale of shipwrecked lovers in “Play Crack the Sky.” Full of classic, endlessly quotable lyrics swinging between bitter (Die young and save yourself!) and cheeky and self-referential (Oh, we’re so / C-c-c-c-c-controversial), all these years later Deja still brings all of the feelings. This story’s old, but it goes on and on until we disappear. Classixx / “Safe Inside” (featuring Passion Pit) / Faraway Reach (2016) What sophomore slump? Tropical house-duo Classixx have followed up 2013 debut Hanging Gardens with Faraway Reach , a soundtrack for your summer full of dancefloor ready cuts with a trove of inspired guest spots, including How To Dress Well, T-Pain, Alex Frankel of Holy Ghost!, and more. Passion Pit’s Michael Angelakos and his distinct vocals enter the bouncy fray on “Safe Inside,” a bubbly banger rife with synths and bass that would not feel out of place on Manners. Though it’s undeniably sunny sonically, “Safe Inside” also features some empowering, sincere lyrics on the warmth of a valuable relationship (Darling, you know I’ll come through / Because, darling, I know what to do / Safe inside your room). A Giant Dog / “Sex & Drugs” / Pile (2016) “I’m too old to die young,” A Giant Dog lead singers Sabrina Ellis and Andrew Cashen wail on “Sex & Drugs,” which feels odd considering the song—and video, featuring a glam rock snowglobe acid trip—are so full of kinetic energy. These off-kilter harmonies from Cashen and Ellis pile on top of distorted guitars and honky-tonk piano for a jaunty pop number that continually disarms you, especially when they begin rifling off their self- destructive streak in the bridge. “All the people we fucked, and all the hippies who sucked, and all the hearts that we broke, and all the liquor and coke,” for starters. A Giant Dog rides this wave of sex, drugs “& Rock & Roll” throughout their third album Pile and the end result is addictively disorienting. Party on. 2016-06-17 13:29 realart.com

37 azuma architect & associates designed by azuma architect and associates, hoshinoya fuji is resort nestled among the dense forests of a japanese national park overlooking lake kawaguchi. capitalizing on the trend of ‘glamping’, the retreat offers an relaxing escape, using architecture and its location to enhance guest’s appreciation for nature, while infusing the experience with japanese culture. as well as indoor and outdoor fine dining restaurants, there are activities such as canoeing and horseback riding available. azuma architect and associates developed hoshinoya fuji‘s design concept with a minimalist approach. this led to the series of washed timber volumes -like architectural viewfinders- each with their own balcony and opening up to the landscape. within each of the cabins, the floor-to-ceiling window generate impressive external views of mount fuji in the distance. white walls maximize the amount of daylight and each private balcony serves the function of a camping chair to create a place where one can relax in peace. during the day, the balcony can be used as a sun room where guests can have breakfast, read, or relax and at night light the small fire pit – creating an outdoor camping experience within the luxury of their own suite. the cabins are based among the dense forest landscape floor-to-ceiling windows generate a private internal veranda with views of the lake and mount fuji the resort goes by the theme of ‘glamping’ guests can enjoy privacy and the views in the luxury of their own balcony activities such as horseback riding and canoeing 2016-06-17 13:19 Natasha Kwok

38 A Journey to the 'Epicenter' of Sweden's Creative Tech Boom Photo: Linus Hallsénius. Images courtesy of Epicenter A former bank building in what used to be Stockholm's red light district might be the last place you'd expect to find a bustling innovation hub, but if there's one thing Epicenter thrives on, it's changing perceptions. At just about a year-and-a-half old, the self- described "office of the future" is but a piece of the Swedish plot to become the " creative capital of the world. " But it's a significant one— with hundreds of people already milling about its 86,000 square feet, and a second, 129,000 square foot location opening in installments throughout the year, you'd be pressed to find a site outside of Silicon Valley of similar scale and scope. Photo: Linus Hallsénius You'd also have trouble finding a city with more support for its digital workforce and general population. Even as the Bay Area flirts with the idea of a basic income, it's hard to deny Scandinavia's headstart in the worlds of social welfare and creative cultural support. Epicenter is, in fact, underpinned by AMF Fastigheter, a property investment and development company that owns both its properties and provides the spaces at seriously supportive rates. Thus it should come as little surprise that, while the larger companies that call Epicenter home include Microsoft, Spotify, and Tictail, it's the smaller guys ones who benefit most. Photo: Linus Hallsénius With 24/7 access, over 100 events per year including hackathons and intimate "thought leader" seminars, and modular office spaces, Epicenter is fertile ground enough to accomodate a company all the way through its lifecycle—from its startup stage, like that of artificially-intelligent guitar education app, Zoundio , all the way up to companies with staffs of 300. Photo: Linus Hallsénius On my tour of the building, during a city-wide junket as part of Stockholm Symposium , I'm impressed not only by the creative headspace Epicenter's architecture provides—its aesthetic approach is known as "urban escape," a hybrid site outfitted for both work and play—but by its sense of personalization for its inhabitants. The people who run Epicenter have made it a point to know each and every member—all 800 of them—on a first-name basis. Of course, the first thing most people want to hear about is the implants: Between 60 and 70 Epicenter members have RFID chips under their skin, enabling them to automate everything from opening doors to quick-paying at its robotic smoothie vending machine. But what excites me most has to do with how Epicenter handles its bodies. Healthy people, after all, make healthy businesses, and to that end, not only does the site feature a pioneering, "a la minute," waste-minimizing canteen cooking program, the general philosophy, as Epicenter CEO Patrick Mesterton tells me, is literally, "We don't want to kill vibes and energy. " Photo: Linus Hallsénius Considering that Epicenter is even home to Splay , Sweden's biggest YouTube network, and Splay is populated primarily by 13 to 16-year-olds, this is policy that works. "It's much easier to invent the format than provide the innovation," Mesterton humbly admits. Thanks to Epicenter, the infrastructure exists, and it's strong. As for the rest, well, the future looks good for Sweden. Click here to learn more about Epicenter. Related: Vrse to Drop "VR" Name, Opts to Look 'Within' Silicon Valhalla: Stockholm Stakes Its Claim on the Future Explore Artist Simon Denny's Absurdist Vision of Silicon Valley 2016-06-17 13:15 Emerson Rosenthal

39 Going Natural: Diamond Stingily on Her Queer Thoughts Show Diamond_Stingily, Kaa , 2016, Kanekalon hair, knockers, barrettes in six parts. COURTESY THE ARTIST AND QUEER THOUGHTS, NEW YORK At this point in her short career, Diamond Stingily is probably known best for a work she didn’t create— Martine Syms’s video Notes on Gesture (2015), which was shown last year at Syms’s exhibition at Bridget Donahue in New York. Stingily stars in the video, acting out various gestures that are repeated over and over again like animated GIFs. “I think Martine knows I talk a lot, and she was just asking me certain questions,” Stingily said. “I would literally just have a conversation with myself, and she would just film it.” From the moment the video debuted, it was a hit, popular with art fans and critics. ( I was just one of many writers who loved it .) And then, just as quickly, people started mistaking Stingily for Syms, whom Stingily has been friends with since she was 18. Stingily described one person coming up to her and telling her she made a great video. “But then he called me Martine,” Stingily said, “and I was like, ‘I’m not Martine, I’m not Martine.’” Stingily. ALISTAIR MATTHEWS A Chicago transplant and a self-described Syms fangirl, Stingily has stepped into the spotlight this summer with a show at Queer Thoughts (open through this Sunday), a small gallery in New York’s Tribeca neighborhood. She’s also at work on show at the Lower East Side’s Ramiken Crucible gallery for the fall. This has been a big year for Stingily —“the very best!” she said. The Queer Thoughts show features a number of sculptures that Stingily calls “Kaas,” after the snake character in The Jungle Book. Pinned to the wall by knockers, the “Kaas” are long braids of Kanekalon hair that can range from one-and-a-half to 20 feet in length. (Together, Stingily and I tried to figure out the correct pronunciation of “Kanekalon.” Kan-kuh-lon? Kan-kee-lon? We decided on the former.) For Stingily, the “Kaas” call to mind fictional characters like Medusa, whose hair was made of snakes. “I feel like hair can be scary, but powerful or intimidating, if you’re not used to it,” she said. “I talked to someone before about European standards of beauty. I’m so over that shit.” I asked Stingily if she had ever seen the Chris Rock documentary Good Hair , in which the comedian looks at the cultural meaning of black hair. She has seen some of it, she said. “I remember one part. He’s walking around with an Afro. He’s like, ‘Does anyone want to buy this?’ Nobody wants to buy it. I’m like, damn, that’s bad because black hair is really versatile. You can really do a lot with thick, beautiful hair.” As a kid, Stingily worked at her mother’s hair salon. “I’m always doing stuff with my hair, like playing with my hair,” she said. “It’s really eventful for me, and I like the time and patience that goes into getting your hair done.” Though she’s an adept braider of Kanekalon hair, Stingily said that real hair is a different story. “I cannot do cornrows. But individual box braids? I got you.” Installation view of ‘Diamond Stingily: Kaas,’ 2016, at Queer Thoughts, New York. COURTESY THE ARTIST AND QUEER THOUGHTS, NEW YORK In addition to making objects, Stingily has also had some of her writing published. Through Syms’s imprint Dominica, she has reprinted diaries she wrote as an eight-year-old. “I wrote in cursive, so it was a bougie eight-year- old’s perspective,” she said. “In one of my entries, I talked about paying taxes. I was like, ‘We have to pay the taxes.’ ” Stingily looked at me quizzically. “Who is ‘we’?” Stingily’s public readings are often inspired by things from her childhood, like the death of her grandmother. So too are her “Kaas,” which often have butterfly barrettes attached to them. “I’m very inspired by my childhood,” she said. “I feel like it’s influenced me a lot, but childhood influences everybody. I think some people can look at my work, and it’s totally relatable in some type of way. We were all kids at some point.” “From when I was a baby to when I moved to New York, I was at that shop, that salon, and looking at different hairstyles,” she added. “Since a few years ago, I’ve gone natural. That’s a different realm, learning natural hairstyles. But it still translates to being in the shop. It’s still the same thing— I’m wanting to get my hair done constantly.” 2016-06-17 13:06 Alex Greenberger

40 Marc Fichou at Chimento Contemporary, Los Angeles Installation view of “Marc Fichou: Outside-In,” 2016, at Chimento Contemporary, Los Angeles. RUBEN DIAZ/COURTESY THE ARTIST AND CHIMENTO CONTEMPORARY Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “ Marc Fichou: Outside-In ” is on view at Chimento Contemporary in Los Angeles through Saturday, July 9. The solo exhibition presents new work in the form of a large-scale installation. Installation view of “Marc Fichou: Outside-In,” 2016, at Chimento Contemporary, Los Angeles. RUBEN DIAZ/COURTESY THE ARTIST AND CHIMENTO CONTEMPORARY Installation view of “Marc Fichou: Outside-In,” 2016, at Chimento Contemporary, Los Angeles. RUBEN DIAZ/COURTESY THE ARTIST AND CHIMENTO CONTEMPORARY Installation view of “Marc Fichou: Outside-In,” 2016, at Chimento Contemporary, Los Angeles. RUBEN DIAZ/COURTESY THE ARTIST AND CHIMENTO CONTEMPORARY Marc Fichou, Plastron , 2010, video sculpture, LCD monitor, neon light, two- way mirror, steel, plastic, plaster, and paint. RUBEN DIAZ/COURTESY THE ARTIST AND CHIMENTO CONTEMPORARY Marc Fichou, Panel 2 , 2016, mixed media. RUBEN DIAZ/COURTESY THE ARTIST AND CHIMENTO CONTEMPORARY Marc Fichou, Panel 1 , 2016, mixed media. RUBEN DIAZ/COURTESY THE ARTIST AND CHIMENTO CONTEMPORARY Marc Fichou, Finite Infinite , 2016, spy mirror and neon. RUBEN DIAZ/COURTESY THE ARTIST AND CHIMENTO CONTEMPORARY 2016-06-17 12:51 The Editors

41 The “Thingness” of Contemporary Art at 21er Haus in Vienna Related Venues 21er Haus Artists Benjamin Hirte Donald Judd Dan Flavin Robert Morris “The Language of Things: Material Hi/Stories from the Collection” at the 21er Haus Museum of Contemporary Art in Vienna explores the material aspects of contemporary art and the concepts of matter and materiality. Curated by Axel Köhne and Luisa Ziaja, the comprehensive exhibition — featuring more than 200 works by 67 artists from the Belvedere/21er Haus collection and the Federal Art Archives — highlights “the thingness of the exhibited objects in order to read between the lines of their material languages,” according to a media release. From the embracement of used materials by the Minimalists and the dematerialization of the Conceptualists, to the friction between the material and immaterial that is evoked in current artistic practices owing to digitization, “The Language of Things” explores it all. The exhibition spans contemporary artistic practice from the 1960s to the present, linking works by icons of contemporary art such as Donald Judd , Dan Flavin , and Robert Morris to current works by local artists such as Sofie Thorsen, Brigitte Kowanz, Judith Fegerl, Sonia Leimer, Anita Leisz, Christoph Weber, and Benjamin Hirte. In explaining their approach to the exhibition, the curators said that it was important “how artists deal with certain materials, their characteristics, and changing connotations over time; how they relate to crafts-based traditions, industrial modes of production, seemingly outdated techniques and current technologies, recycling and DiY strategies; and how artists operate between virtual and physical realities.” 2016-06-17 12:46 Nicholas Forrest

42 Ford ready for 24 hours of le mans race with all-new re-designed, aerodynamic, carbon fiber Ford GT Ford ready for 24 hours of le mans race with all-new re- designed, aerodynamic, carbon fiber Ford GT sponsored by Ford: to mark the 50th anniversary of the Ford GT40’s legendary win at the 24 hours of le mans race in 1966, the american automotive company has completely re-designed and re-engineered the race car, merging the considerations typically seen in race car development, with those of production car development. the result? a vehicle that has been simultaneously conceived as a race car and a road car. view of the all-new Ford GT‘s multifunctional buttress realized almost entirely on the computer, the race car draws its modern, streamlined aesthetic from the new Ford GT supercar—Ford’s most advanced production vehicle. made almost entirely of carbon fibre, it proves to be extremely durable and lightweight, while aluminium structures minimize the weight of the high-strength subframes. its aerodynamics can be attributed to the design of sculptural tunnels and multifunctional buttresses, with the shell’s teardrop shape minimizing drag and maximizing downforce. in addition, the exhaust—an iconic design element—has been incorporated into the midsection of the bodywork to optimize diffuser performance on the Ford GT‘s underside, while maintaining airflow over the top of the body. the Ford team’s decision to render the GT in carbon fiber was an exercise in exploring how they could potentially use the material at a reduced cost so that it could also be applied to other vehicles in the Ford line-up. the dynamic race car is powered by Ford’s ecoboost engine which is a turbocharged, direct injection gasoline engine. more specifically, the new Ford GT is charged by Ford’s 3.5L ecoboost V6 engine, quite an anomaly, as V6 engines are typically used in mainstream road vehicles, rather than for racing. the vehicle’s lightweight presence can be attributed to hits primarily carbon fiber body designed to deliver pure performance, the supercar stands as an example of what the Ford team could do with the rest of the Ford line-up, and is set to showcase its capabilities at the 24 hours of le mans race 2016. the all-new Ford GT40 is set to hit the 2016 24 hours of le mans race follow Ford’s journey—from making the decision to participate in the 2016 24 hours of le mans race, to designing the all-new supercar, to preparing for the big race in their five episode discorsories that can bee seen on the Ford performance youtube channel. 2016-06-17 12:30 Andrea Chin

43 Then and Now: Cindy Sherman, Photography Pioneer Installation view of ‘Cindy Sherman: Imitation of Life,’ 2016, at the Broad, Los Angeles. BEN GIBBS With an excellent show of new photography at Metro Pictures, a comprehensive survey of her work at the Broad in Los Angeles, and an exhibition of her large- scale photographs since 2000 at the Gallery of Modern Art in South Brisbane, Australia, Cindy Sherman has already had quite the summer. These three shows highlight just how much her work has changed since the ’70s. She’s moved from miming female characters in films, to creating grotesque scenes of violence, to pictures of mixed-and-matched dolls, to portraits of clowns, to, finally, in her latest Metro Pictures show, reflections on what it means to be a career woman. Needless to say, Sherman has changed our minds about what photography is or even could be, and she continues to in her new work. Below are excerpts from the ARTnews archives, charting how Sherman went from being a near-overnight success to one of the most important photographers of all time. 1983 1985 1987 1990 1999 2004 2012 September 1983 That Sherman’s photographs should have met with success in the art world (and they did, almost immediately) is perhaps not so surprising. For like much of today’s art, they are made strategically, with the issues raised by other art in mind. There would be no Cindy Shermans without past examples of Minimal, Conceptual and Performance art for her to react and expand upon. […] Few women artists have had more of an impact on their own generations. The irony is that Sherman’s generation has emerged as a virtual men’s club —or so it would seem from the galleries and the big shows in Europe. Sherman is not certain what she should (or can) do about this, but it is always on her mind. Leo Castelli has occasionally mentioned the possibility of having a show at his big Greene Street space in conjunction with Metro Pictures (which just moved in next door). This kind of Castelli double-gallery extravaganza has come to be something of a young-artist rite of passage. Sherman is intrigued by the possibility. “It would be great if I could use the space like that show a group of women artists or something like that,” she says. As a member of a loose-knit group of women artists that meets regularly to talk art and art politics, Sherman helped organize such a show last year at White Columns, the SoHo alternative space. “But I don’t want to do things just because the guys do them—that kind of macho competitive thing.” What Sherman says she would really like to do is “play it cool for a while.” One of the most toxic by-products of success is that pressure to keep on keeping on, to do more work and better work and have it ready by tomorrow. “Sometimes I think I’d like to go a year without showing, you know, but sometimes I just get sick of looking at myself.” —“Imitation of Life,” by Gerald Marzorati Cindy Sherman, Untitled #92 , 1981, chromogenic color print. ©CINDY SHERMAN/COURTESY THE ARTIST AND METRO PICTURES December 1985 The 14 huge color photographs in this show represent a great leap forward for Sherman, the young artist who has gained fame and critical acclaim for her photographs of herself in various guises. […] These are intense, terrifying photographs for the most part—nightmarish variations on folk legends and archetypes: an Arabian princess bares false breasts in her tent; a creature, half woman, half pig, grovels in the mud; a bald gnome rises in a wheat field; a figure clutches crazily at wet gravel; a medieval warrior lies bloodied on the ground. The ominousness that lurked beneath the surface even in Sherman’s wry “film stills” of 1977–80 here erupts in full force; these are brutal and unforgettable images of terror, desperation, victimization and deformity. While the film stills tapped into our cultural consciousness, suggesting media images of the 1950s and ’60s, Sherman has now reached into the collective unconscious, grabbing the viewer at the most visceral, elemental level. In a sense, Sherman is still shooting film stills, but she is now a more accomplished director. —“Cindy Sherman: Metro Pictures,” by John Sturman Cindy Sherman, Untitled #70 , 1980,chromogenic color print. ©CINDY SHERMAN/COURTESY THE ARTIST AND METRO PICTURES October 1987 Cindy Sherman’s latest pictures appear to have been disgorged from her psyche, not composed in front of a camera. And these gruesome, somewhat crude scenes of exhaustion and despair down at Metro Pictures seemed all the more urgent and cathartic when seen later in the context of her uptown retrospective at the Whitney. While much of the new work fails—childishly mimicking cheap horror movies without adding enough irony to compensate—some of it was surprisingly affecting. These were pictures of stricken females in daily-life- turned-nightmare situations. In big, luridly colored C-prints, taken from sharply careening angles, we come upon Sherman’s prostrate form in the dirt, staring numbly at tufts of furred flesh spotted with flies; or a sweets-and- vomit-strewn beach blanked and a pair of sunglasses, which reflect the fact of the anguished blond bulemic. In these and other shots, the ground is littered with female accessories—make utensils, sullied underthings, discarded tampon containers, a diaphragm. And Sherman herself has become little more than an accessory—as in both “to the whole” and “to a crime.” More than anything, this group of pictures seems to be about the inner female self—no longer the manifestation of some external, usually male, vision. After playing out the female role in all its media- and popular-myth- inspired guises, Sherman now explodes that mystique, in an apparent fit of disgust, to give us only its unpleasant paraphernalia. —“Cindy Sherman: Metro Pictures,” by Mary Ellen Haus Cindy Sherman. ©CINDY SHERMAN/COURTESY THE ARTIST AND METRO PICTURES May 1990 After excursions through the byways of cinema and the fairy tale, re-created with an ever-heightening emphasis on the obscene, the grotesque, and the bizarre, Cindy Sherman proves herself a chameleon yet one more time. With this new body of work, she metamorphoses herself into a collection of elegant Old Master portraits. Except for an occasional wart, bulbous nose, and (obviously) fake bosom, the physical deformities of recent personas are gone, replaced with rustling taffeta, wigs, lace collars, and ruffled shirts. With the new decorum, however, something seems to have been lost, as if even Sherman were a little horrified by the extremes of her last show. —“Cindy Sherman: Metro Pictures,” by Eleanor Heartney Cindy Sherman, Untitled Film Still #47 , 1979, gelatin silver print. ©CINDY SHERMAN/COURTESY THE ARTIST AND METRO PICTURES September 1999 Cindy Sherman is abusing dolls these days: Barbie and Ken, G. I. Joe, Disney’s Aladdin and Hercules, gay boy-toys Billy and Carlos, and many others. Dolls are in great favor lately, from vintage Hans Bellmer to Laurie Simmons to Paul McCarthy; we zing the body plastic, to paraphrase Walt Whitman. And Sherman does it with gusto. She strips them, twists them, dismembers, and burns them. Then she reassembles the parts mix-and-match—or rather, mismatch—session: an old man with a flaccid chest lying on his back like a baby equipped with a penis of startling dimensions; a hairy, bulging Mr. America body topped by a delicately androgynous face; male figures with vaginas; female figures with phalluses; and so forth. Then she arranges and shoots. —“Cindy Sherman: Metro Pictures,” by Kim Levin Cindy Sherman, Untitled #424 , 2004, chromogenic color print. ©CINDY SHERMAN/COURTESY THE ARTIST AND METRO PICTURES Summer 2004 [Sherman] portrays the clowns, who harbor their stereotypical associations (sad, typical, wise) as actors who, in turn, masquerade as both stock and ersatz characters (male, female, cat, other clowns), Masked by a mask, Sherman is no longer the principal palette, although she does let her own lips show through, like raw canvas, or a director making a cameo appearance. The extraordinary thing is the way we are forced to suspend our disbelief twice, to look beyond Sherman the artist performing other characters, and then beyond the clowns playing actors. Instead of serial shots as in a film, or in the evolving characters at once before our eyes, impersonating herself impersonating a clown, impersonating an actor playing a role. —“Cindy Sherman: Metro Pictures and Montclair Art Museum, Montclair, New Jersey,” by Barbara A. MacAdam Cindy Sherman, Untitled #512 , 2010/2011,chromogenic color print. ©CINDY SHERMAN/COURTESY THE ARTIST AND METRO PICTURES February 2012 Starting with the game-changing black-and-white “Untitled Film Stills” she created in the late 1970s, Cindy Sherman has shown herself to be the ultimate master of self-morphing, utilizing everything from old-fashioned makeup and prosthetics to digital technology, inventing and portraying extraordinary alter egos and multiple identities that brilliantly reflect our image-saturated culture—and in the process inventing her own genre. Call it the Cindy Sherman effect. Whether it’s those iconic stills of faux cinema moments or her more recent scary-funny clown series, the tragicomic coven of aging society women or the larger-than-life photographic murals that popped up at the 2011 Venice Biennale (much to the delight of visitors who posed with them), Sherman’s brilliant manipulations of her own image have mirrored—and in some cases anticipated—the zeitgeist. Now, with the major career retrospective that opens at New York’s Museum of Modern Art on February 26 (up through June 11), the full extent of Sherman’s imagination and prescient vision will be on display. “Her work has in some ways presaged the media age that we live in now and also absolutely responds to it,” says MoMA photography curator Eva Respini, who co-organized the retrospective, which includes 175 images. “A number of younger artists are very much indebted to Sherman in their exploration of not just identity but also the nature of representation. Now we all take it for granted that a photograph can be Photoshopped. We live in the era of YouTube fame and reality-TV shows and makeovers, where you can be anything you want to be any minute of the day, and artists are responding to that. Cindy was one of the first to explore the idea of the malleability or fluidity of identity.” —“The Cindy Sherman Effect,” by Phoebe Hoban 2016-06-17 12:23 The Editors

44 Adrien Brody, ‘Artist,’ Charms Pace Gallery, Others Amid Perplexing Art Basel Ubiquity Adrien Brody at Art Basel Miami Beach in 2015. COURTESY FILM MAGIC Usually the token Hollywood star to grace this stately Rhineland town with its presence during Art Basel is Leonardo DiCaprio, and when he comes, he’s actually here on business: he’s one of the world’s top 200 collectors. But DiCaprio seems to be over the fair now that he’s finally secured his Best Actor Academy Award, and so this year Basel-goers had to settle for another Oscar-winner, albeit one of slightly lesser renown: Adrien Brody. What Adrien Brody is doing here, no one is quite sure, and the fact that he has decided to call himself an artist—he had work in the Benrimon Projects booth at Art New York last month, and presented something called “Hot Dogs, Hamburgers and Handguns” at Art Basel Miami Beach—doesn’t really explain it, because, to quote John Baldessari, going to an art fair as an artist is “like watching your parents fuck.” But my lord, was Adrien Brody everywhere. Constantly at the Grand Hotel Trois Rois, for instance, and also stalking the Messeplatz. Most prominently, on Wednesday he was seated at the head of the table at dinner with Pace Gallery president Marc Glimcher, as I reported yesterday in a story on Jonas Mekas. Not much to ponder there, exactly, but then while having a conversation with someone involved with Pace Thursday night, he didn’t seem too surprised at the Glimcher-Brody bromance. Maybe there could even be an Adrien Brody show at one of the outposts of the Pace empire? The projection seems about right: Jay Z to James Franco to Adrien Brody? The person at Pace did say that, to his knowledge, Glimcher has not made any proposal regarding an Adrien Brody show at the gallery. And when approached for comment regarding the dinner meeting and a possible addition of Adrien Brody to the Pace Gallery artists roster, a representative of the gallery said that is not the case. “Adrien Brody is a friend of the gallery’s and of Alexander S. C. Rower, President of the Calder Foundation,” the representative said. Well, I guess we won’t be seeing paintings of hotdogs and hamburgers made by the co-star of Dragon Blade at Pace anytime soon. 2016-06-17 11:35 Nate Freeman

45 Viennacontemporary Art Fair Announces 2016 Galleries and Program Related Venues Marx Halle The viennacontemporary international art fair returns to Vienna's Marx Halle for its second edition from September 22-25, 2016. Following the success of the first edition of the rebranded and repositioned fair in 2015, viennacontemporary 2016 will bring together more than 100 galleries from 26 countries showcasing the work of emerging and established contemporary artists from around the world. Commenting on the new fair concept and dates, Christina Steinbrecher- Pfandt, artistic director of viennacontemporary, said in a statement: “More visitors, more international collectors and good sales of the participating galleries. All of this perfectly confirms our decision to reposition viennacontemporary. The international art fair at Marx Halle Vienna has clearly exceeded our expectations.” “I am pleased that our partners have been unanimously happy with their commitment in viennacontemporary. [...] [T]he galleries have expressed their content[ment] with our services,” added Renger van den Heuvel, managing director of the fair. “We have, thus, been able to significantly boost confidence both in viennacontemporary and in Vienna as an art market place.” Viennacontemporary 2016 is organized around three general sectors (Established, Young, and Reflections) and four Special sectors, including the new Solo Expanded sector. Curated by Berlin and Mexico City-based independent curator and producer Abaseh Mirvali, Solo Expanded will showcase solo, dual, or group exhibitions that focus on “contemporary languages.” This year’s Special sector presentations include “Nordic Highlights,” showcasing contemporary art from select galleries in Finland, Denmark, and Sweden; the “Focus: Ex-Yugoslavia and Albania” exhibition, curated by Albanian curator and writer Adela Demetja; and the Zone1 sector for solo presentations of young Austrian art, selected by Severin Dünser. Viennacontemporary’s program of accompanying events also returns in 2016 with a Cinema program developed and curated by Olaf Stüber, a contemporary art discussion series curated by Kate Sutton entitled “Public Image,” and a Collectors Forum series of talks with international collectors curated by Julien Robson. There will also be a Young Collectors Talk and a series of studio tours. View a list of participating galleries here. 2016-06-17 11:26 Nicholas Forrest

46 ‘Zoom Pavilion’ at Unlimited Gives Art Basel a Real-Time Look at Surveillance Installation view of Rafael Lozano-Hemmer and Krzysztof Wodiczko, Zoom Pavilion , 2015, at Unlimited at Art Basel. ARTNEWS When I finally got wifi Friday morning at a hotel in the middle of the Black Forest in Germany, I opened my Instagram account and saw that I was now being followed by an account by the name “l.poitras.” Now, I don’t actually know if it is Laura Poitras, the Oscar- winning documentary filmmaker and artist who makes work about government surveillance operations. The account follows over 500 accounts, but it is protected, and hasn’t yet given anyone approval to follow her back, resulting in 0 followers. A few in-depth Google searches didn’t provide any more details as to whether or not Poitras has an account with the app. But, regardless of whether or not it’s really her, it got me thinking about what it might mean that one of the world’s best-known anti- surveillance advocates was peering into my world via Instagram, and not letting me peer back at hers. Poitras and likeminded colleagues such as Simon Denny, Trevor Paglen, and Hito Steyerl all make work that directly references our Age of Constant Surveillance, but there’s scant evidence of their work at Art Basel, where, more often than not, the shiny and expensive takes precedence over work with a political bent. Which is why it was so refreshing to discover a work by Rafael Lozano-Hemmer and Krzysztof Wodiczko that goes at surveillance head-on, during a second pass at Unlimited Friday afternoon. The work, originally staged last year at the Museo Universitario Arte Contemporaneo in Mexico City, is called Zoom Pavilion. Installation view of Rafael Lozano-Hemmer and Krzysztof Wodiczko, Zoom Pavilion , 2015, at Unlimited at Art Basel. The person on the screen is the author. ARTNEWS Enter the Zoom Pavilion , and there’s a moment of complete disorientation, as on the walls there’s big, blown-up grainy security footage displaying images of people in a room, and then you see a figure that you recognize— you see yourself. On the screen, you are moving the same way you’re currently moving. And then you notice there cameras—there are 12 of them. The blown-up footage is a feed of the room in real time. Soon enough, there’s a red square that pops up around your head, similar to the square that pops up around a subject when you’re taking a picture on an iPhone. The cameras are using facial recognition technology to figure out where the heads are in the room, and then zooms in on the face when the image is put up on the wall. And while the screens on the main wall alternate between people every few seconds, on the screens in the back of the pavilion is a compete grid of faces—what colleges might have once called a face book—of everyone in the room, with a running time stamp. Above the screens showing faces is another row of screens, these showing the scene inside from a bird’s-eye view, with lines indicating how far each person is from one another, a physical vector that seems to alienate more than connect, emphasizing the distance between visitors. It’s our always-watching world in microcosm, displayed before us to see. And while this is pretty spectacular evidence that sharing tons of pictures of yourself on the internet is a bad idea, of course every person in the crowded room was snapping a ton of pictures, myself included. Plenty of them have already landed on Instagram. Maybe Laura Poitras happened to scroll over an image of Zoom Pavilion in her feed, and liked it. 2016-06-17 11:04 Nate Freeman

47 Nan Goldin's "Ballad of Sexual Dependency" Lights Up MoMA I don't remember when I first saw Nan Goldin 's The Ballad of Sexual Dependency , her 1980s East Village rendition of La Boheme , but I recall exactly what it felt like: It was as intense as an earthquake, as personal as a starter tattoo, as wrenching as a childhood bellyache. Sitting through Goldin's 700- image slideshow felt, I realized just days ago, not unlike waking up to news of another mass shooting. Virtually overnight, people whose youth had been electric with possibility were cruelly no longer in the picture. Meantime, their photographic likenesses morphed from simple snapshots into something else: portraits that turned elegiac, hopeful, monumental even. The victims of Orlando's Pulse nightclub will be in the public eye as long as certain false impasses in politics remain conveniently unresolved. The dead and wounded of Goldin's time-lapse film, on the other hand, live on in the artist's portrait of downtown New York at the height of the AIDS crisis. The Ballad of Sexual Dependency currently materializes a stubborn if unerring cliché: ars longa vita brevis. Would that every major generational tragedy had a memoirist like Nan Goldin. On view until February 12, 2017, as a dedicated installation at MoMA's second floor galleries, Goldin's latest version of Ballad —the artist has continually altered the work since its first showing in 1980 at the legendary “Times Square" exhibition—is as searing as ever. The work consists of a set of portraits Goldin took of her own and her friends' high-risk lives during the late 1970s and '80s, and their steady progress across a museum wall makes for mesmerizing viewing. Goldin once characterized the Ballad as “the diary I let people read. " It remains, she wrote in her bestselling Aperture book by the same name, “my form of control over my life. It allows me to obsessively record every detail. It enables me to remember. " Developed through multiple improvised live performances in bars, clubs, screening rooms, and galleries, Goldin's slideshow—to quote America's first female Presidential nominee—took a village. Initially, the artist sifted through slides by hand; her friends suggested tunes for the soundtrack, which currently runs from Lotte Lenya to James Brown. At the time, the work's audience was largely made up of the pictures' subjects. Twenty-six years on, the Ballad is presented in its original 35mm format at MoMA to a vastly different crowd. Gone are many of Goldin's original pals—lost to AIDS, addiction, and natural attrition. In their place stand museum tourists. To watch them avidly consume Goldin's unfolding narrative is to witness far flung strangers get junkie hooked on the heroin that is New York's last bohemia. And what a romantic time it was, that era Goldin chronicled in photos of various daredevil lifestyle experiments played out in that alternate reality called downtown. Introduced in a first room by a single row of 17 photocopied posters that once advertised the Ballad and a vitrine containing mock-up pages from the Aperture book, the exhibition opens up into a second room containing 15 matching prints from the museum collection. All of these images appear momentarily in Goldin's slideshow, but two stand out for their lovesick violence. In one, an androgynous couple locks lips with tooth-chipping recklessness. The second is a straightforward Goldin self-portrait: In it, she stares directly at the camera, lips rouged and brown ringlets framing a face ferociously punched in by a lover, Brian, who features prominently in the photo essay. “The photo of me battered," Goldin writes in the Aperture book, “is the central image of the Ballad. " And so it proves inside MoMA's black box installation, where it is painfully echoed by several more images of a bruised Goldin. But if the artist's lacerated self-portrait serves as a pivot for her celebrated carousel of snapshots, it does so, among other reasons, to trumpet the artist's shared drama of immersion: Several hundred equally fierce images swirl antically around that hinge. Since the 1980s, Goldin has organized the photos in the Ballad around certain loose visual themes. They are summarized here by the following incomplete taxonomy. There is, for starters, a section that depicts women and men getting ready to go out; another features women and men of various sexual inclinations carousing at parties; a third portrays the effects of violence meted out to them; a fourth records uninhibited sex; a fifth captures cherubic children born from these entanglements; eventually, photos of intravenous drug use flash on the screen; finally, Goldin presents images of several of her subjects in coffins, followed by two graffiti skeletons embracing. The effect is heart stopping. Goldin's flickering images are scored to songs like Screaming Jay Hawkins's "You Put Spell On Me" and the Velvet Underground's “All Tomorrow's Parties. " In the Ballad, they all sound like dirges. Rendered in vibrant color and captured with the spontaneity of a full-fledged participant, Goldin's Ballad of Sexual Dependency is a record of loss that, like Puccini's “La Bohème," contains its own partial redemption. A mix of beauty, horror, and despair, her images also reveal a lust for life rare not just in art, but in living. A better memorial does not exist for alternative scenes anywhere—from New York's faded downtown to today's battered but unbeaten gay Orlando. 2016-06-17 10:47 Christian Viveros

48 ‘The Arts Have Long Walked Us Toward Justice’: Sarah Lewis on Her Special Issue of Aperture, ‘Vision & Justice’ The two covers of Aperture #223, Vision & Justice, with photographs by Richard Avedon, left, and Awol Erizku. COURTESY APERTURE For the first time in its 64- year history, the photography magazine Aperture has tapped a guest editor to focus an entire issue exclusively on the way that photography has been integral to the black experience in America. That special guest is Sarah Lewis, the scholar of race, contemporary art, and culture who has served on President Obama’s Arts Policy Committee. She has titled her issue Vision & Justice, and has commissioned a wide-ranging group of essays, conversations, and photographic portfolios. Beginning with a piece by Henry Louis Gates Jr. on Frederick Douglass, who is a central inspiration for the issue, the magazine explores the Black Photographers Annual , Carrie Mae Weems’s “Around the Kitchen Table” series, and how the Obama presidency has been shaped by photography. It also includes lavishly reproduced art portfolios by Lorna Simpson, LaToya Ruby Frazier, Deborah Willis, and Awol Erizku, among many others. (The online version of the magazine, which will continue to be published throughout the summer, also contains several more essays.) This fall, Lewis will teach a course titled Vision & Justice at Harvard, where she is a member of the art history and African-American studies departments, and she will organize a companion exhibition to her Aperture issue at the Harvard Art Museums. I recently sat down with Lewis at her office in the New York Public Library, where she is a Cullman Fellow, to discuss her magazine. This interview has been edited and condensed. Sarah Lewis. MAXIMILÍANO DURÓN/ARTNEWS ARTnews: Let’s go through the issue a bit. The introduction begins with you telling this very inspiring story of your grandfather getting expelled from high school. Do you remember when you first heard that story? Sarah Lewis: I think I first heard the story when I was in the single digits, visiting him and my grandmother. I was struck by the central role that his studio occupied in this clapboard white house in rural Virginia. It seemed to me the house was signaling how important his artistic practice was, so I wanted to know more about it. My mother told me the story of why he became an artist, which was to be able to offer the very images of African- Americans that he sensed and knew were a part of history—the very history he wasn’t being taught in high school that led to asking the question that led to his expulsion. It had an impact on me. During the launch, both you and Michael Famighetti, Aperture ‘s editor, said that you wanted to cover a range and a spectrum of black images and imagery. Can you describe how you accomplished that? The goal is to make a collection in the magazine pages of artists, photographers, writers, poets, scholars, musicians even, whose work matches the enormity of the topic, Vision & Justice, and citizenship. I wanted to be as synoptic as possible, to work with photographers whose platform isn’t necessarily the gallery space. I also wanted to make sure we were capturing the range of responses to these images, because it’s titled “Vision & Justice,” not “Images & Justice” or “Photographs & Justice” for a reason. It’s looking at the impact that these works have on us in order to shift our vision of the world. I wanted to glean the perspectives of many on that score. Can you talk about why there are two covers—one a photo by Richard Avedon, the other by Awol Erizku? The decision was to show both the historical importance of this relationship of Vision & Justice and the contemporary urgency of the topic today by having the Avedon and the Awol Erizku images. I chose the Avedon largely because I think he has masterfully, in that image, compositionally shown through that steely gaze the way in which an image can shift our sense of what’s in front of us, our vision unto the world. I thought it was emblematic of the entire theme of the issue, and of course it’s Martin Luther King. People often think of this topic of Vision & Justice as a reflective enterprise, of looking back on history. I think the image by Awol reminds us just how urgent this topic is right now, so I think both were important. Spread from LaToya Ruby Frazier’s portfolio. COURTESY APERTURE Vision & Justice is a very poetic title. How did you pick it? I chose those words because I think the relationship of race and the history of art requires understanding what I call representational justice. It requires understanding the force that representation had for codifying and denigrating cultural and racial narratives in the 19th century, and the role that it plays in liberating us from them. That is why I think the word “vision” becomes a capacious word. Justice, with a capital J, is there because it is really an invitation for us to examine the role that the arts have played in getting us to see our blind spots that have led to social justice. The arts have long been a way to get us to walk toward justice, and this is the beginning for me of an exploration of how. In your editor’s letter you address an engaged citizen. Can you explain who that is? Being an engaged citizen requires visual literacy. I think we are actually coping with the opposite. We are dealing with more apathy than we should. I think citizenship and visual literacy are more tied today because of the platforms through technology, but I think they also require an understanding of the kind of visual analysis that we do in the art world. It requires that we look at objects and at images with both our retinal mind and our reading mind. We saw this so much in the beginning of the Obama presidency and the campaign of 2008. I think that was one of the moments where I started to understand that visual literacy was going to be key to digesting the world. The opening spread from Maurice Berger’s essay on President Obama. COURTESY APERTURE I just read the piece about the photography on Obama’s administration this morning, and it really struck me that this is very different from what I expect to read in an art magazine. It has less to do with the artistic practices of the images discussed and more to do with the cultural and political implications of these photographs. I was determined to abolish any conception that I had about what an art magazine should do regarding this topic. The issue was inspired by Frederick Douglass, so it felt urgent and important to really look at politics. I thought it was important to situate a piece about the pictures of our first African-American president alongside the work that has been done on African-American photography, so that we could understand the nuance and complication of it. In the last two years, we have hyper-visible movement and social unrest regarding racial injustice while having an African- American president. The piece is really meant to deal with this incongruous moment we are in. Since Aperture is a photography magazine, did you find that limiting regarding the range of images that you could present to the reader? The short answer is no, I did not find it limiting. I found it to be an opportunity mainly because of the relationship between the moment that we are in and the one Douglass was dealing with, as it relates to photography. A more pointed answer besides no is that I saw it as an opportunity because of the very particular and central role that photography has played in codifying racial narratives. It was at the birth of photography that people tried to actually use the medium itself for these denigrating cultural narratives, and that is in large part why Douglass was so keen to subvert that relationship with photography and race, and to use it as an ennobling enterprise, as much as it had been a denigrating one, to counteract it. One of the other essays by Carla Williams discusses the Black Photographers Annual , a short-lived journal and anthology of black photographers’ portfolios, first published in 1973. Do you see this issue of Aperture as an inheritor of that legacy? I do see it as related to the Black Photographers Annual. Here we are in 2016, and this is the beginning of sustained engagement with photographs that offer us a more inclusive look at human life. I see it as connected certainly. The work of Black Photographers Annual stood in the breach when there weren’t publications focusing on African-American photography. The opening spread from Henry Louis Gates Jr.’s essay on Frederick Douglass. COURTESY APERTURE Henry Louis Gates Jr.’s essay on Frederick Douglass is very empowering, and at the end he says, “Even a lecture about something as seemingly apolitical as photography or art in the end must by definition be engaged within and through Douglass’s state of being as a black man in a white society in which one’s blackness signifies negation.” That seems also a guiding principle for this issue. Would you agree with that? Yes. I think, primarily, the soul of this project is what animated Douglass to be as photographed as he was, to understand the political act of black bodies in front of a camera in the 19th century, and to remind people that speaking about photographs and blackness is a political act. It’s the relationship of black bodies and the lens is the politicized terrain. It is a charged relationship. In that way, Gates’s essay offers a framework for the reason that everything that follows it in the issue is about more than one artist’s singular vision or perspective but is instead about a much larger conversation that has to evolve. Correction 06/11/2015, 12:00 p.m.: An earlier version of this article misstated that Sarah Lewis was the first guest editor for Aperture ; there have been several previous guest editors throughout its history. The post has been updated to reflect this. 2016-06-17 10:21 Maximilíano Durón

49 Art Reduces Stress Regardless of Skill Level Overwork got you down? Anxious about your financial situation? A new study indicates that art-making can help, even if you've got no skills at all, says a new study, reports Science Daily. A paper from the College of Nursing and Health Professions at Philadelphia's Drexel University, published in Art Therapy , the journal of the American Art Therapy Association , suggests that just 45 minutes at the easel may reduce levels of cortisol, a hormone released in response to stress. The paper was authored by Girija Kaimal, EdD, assistant professor of creative arts therapies; Kendra Ray, a doctoral student under Kaimal; and Juan Muniz, PhD, an assistant teaching professor in the department of nutrition sciences. Some 75 percent of the participants in the study had lower cortisol levels after their brief stint as artists. As part of the study, 39 adults between 18 and 59 years old put on their berets and picked up markers, modeling clay, and collage. An art therapist was on hand to help. Half of the participants reported limited experience in making art, and the results didn't indicate that those with less art-making skill benefited any less. "It was very relaxing," one participant wrote. "After about five minutes, I felt less anxious. I was able to obsess less about things that I had not done or need[ed] to get done. Doing art allowed me to put things into perspective. " So if your massive to-do list is getting you down, get out your smock, paintbrushes, and palette, and head to the studio. You might not turn out a masterpiece, but you'll probably feel better. Follow artnet News on Facebook. 2016-06-17 10:00 Brian Boucher

50 Brian Belott’s Stone Calculators Have Their Star Turn at the Gavin Brown’s Enterprise Booth at ARt Basel Brian Belott, Untitled , 2014-2016. ARTNEWS On Wednesday night at the Grand Hotel Trois Rois in Basel, Switzerland, Gavin Brown was sitting with the collector Richard Chang, the artist Dustin Yellin, and Nelson Mandela’s son, Kweku Mandela. At a certain point, the conversation turned toward Brown’s booth in the fair, which was once again at its usual perch, on the second floor right by the escalators. I told him that I really liked the works by Brian Belott. “I know, right?” Brown responded. “He’s fantastic, we’ve just started working with him.” Belott is now on the Gavin Brown’s Enterprise artist roster, despite a long- time affiliation with so-called Donut District pioneers 247365 in Brooklyn. When that gallery released a roster last March, Belott was the first on the list (OK, it was alphabetical) and he remains on 247356’s website. But the prominent placement of a Belott work in the middle of the Gavin Brown’s Enterprise Art Basel booth—a big table covered chockablock with his signature stone calculators, stone remote controls, and other stone doohickeys—could mean he’s transitioning to a new gallery. He also has work in “All Summer and a Day,” the group show open on the weekends at Unclebrother , the Thai restaurant in Hancock, New York, that’s owned and operated by Brown and the artist Rirkrit Tiravanija. What’s more, he’s curating the summer show at Brown’s third-floor space on Grand Street in Chinatown, which features work by cohorts such as Darren Bader, Jamian Juliano-Villani, Josh Kline, Ajay Kurian, and Katherine Bernhardt. It opens June 30. On Thursday afternoon at Art Basel, a friend was inquiring about the Belott work, which is untitled and dated 2014-2016. The big display of stone calculators and other stone devices is priced at $65,000, and as of Friday it had yet to find a buyer. Perhaps Belott’s appearance Saturday on the Artists’ Artists panel, a talk in the Conversations sector hosted by Hans Ulrich Obrist , will help sell the work. 2016-06-17 09:38 Nate Freeman

51 The Top 300 Artist Searches in May Every month thousands of users visit the artnet artist pages searching for information about their favorite artists. artnet News analyzed the results for the month of May to see what they reveal about the state of the art market, and what it says about today's popular artists. Those who made it to the top 10 are hardly surprising. They include three photographers known primarily for their depictions of female nudes, including the number one most- searched artist Nobuyoshi Araki , the Japanese photographer who revels in bondage imagery. Michael Dweck occupies the number two spot, and is known for his erotic Americana photography. New entrant Randall Slavin inched to the fourth slot after he made headlines in May for his nude photographs of Entourage actress Emmanuelle Chriqui. The popular and mysterious British street artist Banksy took the number three spot, British pop artist David Spiller occupied number seven, and the popular American photographer Diane Arbus takes eighth place. She is the first woman to make the top 10 list this month. Meanwhile, popular blue-chip artists such as Andy Warhol (5th), Pablo Picasso (6th), Roy Lichtenstein (9th), and Jean-Michel Basquiat (10th) fill out the remaining spots. Outside the (somewhat predictable) top 10 some interesting trends emerged. Grayson Perry jumped from 77th to 18th place after making headlines for his latest not-so-subtle criticism of the British financial services industry, where he employed a new phallic ceramic artwork featuring banknotes and the face of the British finance minister George Osborne. After being absent from the list between December and April, French 18th century painter Hubert Robert likely experienced the jump to 174th place after the National Gallery of Art in Washington DC announced a major survey of his work, which opens on June 26th. The record $17.2 million sale of Maurizio Cattelan 's sculpture of a kneeling Adolph Hitler at Christie's "Bound to Fail" curated sale may have propelled the Italian artist onto the list (after not even making it on the previous five months). The sale of the sculpture was apparently so inspiring that someone in Basel pulled a stunt and placed a copy of the figurine bearing the likeness of Donald Trump in the bar at the swanky hotel Les Trois Rois. Elsewhere, Mark Bradford made the list (in 296th place) after having been excluded for five months. Searches increased after the painter was selected to represent the United States at the 2017 Venice Biennale. François Morellet was extensively searched after dying at the age of 90 on May 11, rising to 136th place after having been absent from the list between December and April. And interest in Malian photographer Malick Sidibé spiked at 34th place following his death in April , but subsided again in May. So, in sum, ruling the month of May for user searches were erotic photography, blue-chip artists, and major exhibition announcements, along with deaths, and high-priced auction lots. See the list of top artists below: 1. Nobuyoshi Araki 2. Michael Dweck 3. Banksy 4. Randall Slavin 5. Andy Warhol 6. Pablo Picasso 7. David Spiller 8. Diane Arbus 9. Roy Lichtenstein 10. Jean-Michel Basquiat 11. Keith Haring 12. Nan Goldin 13. Jock Sturges 14. Robert Mapplethorpe 15. Marc Chagall 16. Helmut Newton 17. Salvador Dalí 18. Grayson Perry 19. Francesca Woodman 20. Fernando Botero 21. Joan Miró 22. Yayoi Kusama 23. KAWS 24. Victor Vasarely 25. David Hockney 26. Andy Goldsworthy 27. Liu Bolin 28. Wayne Thiebaud 29. Damien Hirst 30. Alexander Calder 31. Shepard Fairey 32. Gerhard Richter 33. Alec Monopoly 34. Takashi Murakami 35. Joel-Peter Witkin 36. Cindy Sherman 37. Bruno Richter 38. Mr. Brainwash 39. Frank Stella 40. Jim Dine 41. Albert Marquet 42. Thomas Ruff 43. Sally Mann 44. Jeff Koons 45. Tanja Playner 46. Bernard Buffet 47. Wolfgang Tillmans 48. Andreas Gursky 49. David Hamilton 50. Alex Katz 51. Sebastião Salgado 52. Christo and Jeanne-Claude 53. Tom Wesselmann 54. Robert Rauschenberg 55. Henri Matisse 56. Francis Bacon 57. Raoul Dufy 58. Niki de Saint Phalle 59. Milo Manara 60. Bettina Rheims 61. Tracey Emin 62. Anselm Kiefer 63. René Gruau 64. Paul Klee 65. Harland Miller 66. Sigmar Polke 67. Emil Nolde 68. Rufino Tamayo 69. Yoshitomo Nara 70. Vik Muniz 71. Fernand Léger 72. Giulio del Torre 73. Peter Max 74. Philip-Lorca diCorcia 75. Robert Longo 76. Ed Ruscha 77. Pierre Soulages 78. Chuck Close 79. William Kentridge 80. Peter Doig 81. Jean Dubuffet 82. Agnes Martin 83. Maurice Utrillo 84. Candida Höfer 85. Josef Albers 86. Konstantin Razumov 87. Kehinde Wiley 88. Georg Baselitz 89. René Magritte 90. Cy Twombly 91. Markus Lüpertz 92. Julian Opie 93. George Grosz 94. Bernd and Hilla Becher 95. Sam Francis 96. Ellsworth Kelly 97. David LaChapelle 98. Lucio Fontana 99. Sol LeWitt 100. Christian Boltanski 101. Tony Cragg 102. Yves Klein 103. Gerda Wegener 104. Joseph Beuys 105. Gregory Crewdson 106. Antoni Tàpies 107. Wassily Kandinsky 108. Swoon 109. Patrick Hughes 110. Egon Schiele 111. Günther Uecker 112. Peter Blake 113. Richard Prince 114. Anish Kapoor 115. Christopher Wool 116. George Condo 117. Thomas Struth 118. Duane Hanson 119. Karel Appel 120. Marina Abramovic 121. Grandma Moses 122. Julian Schnabel 123. Man Ray 124. Peter Beard 125. Bridget Riley 126. Arman 127. Niclas Castello 128. Friedensreich Hundertwasser 129. Robert Motherwell 130. Nick Brandt 131. Bert Stern 132. Lyonel Feininger 133. Raymond Pettibon 134. Pierre-Auguste Renoir 135. Robert Indiana 136. François Morellet 137. Louise Bourgeois 138. Willem de Kooning 139. Alberto Giacometti 140. Otto Dix 141. John Baldessari 142. Helen Frankenthaler 143. Hans Hartung 144. Erwin Wurm 145. Maurice de Vlaminck 146. Henri Cartier-Bresson 147. Claude Monet 148. Barbara Kruger 149. Wolf Kahn 150. Jasper Johns 151. Jean Prouvé 152. Duane Michals 153. Käthe Kollwitz 154. Garry Gross 155. RETNA 156. Jenny Saville 157. Kiki Smith 158. Adrian Ghenie 159. Margaret Keane 160. Max Ernst 161. Ettore Sottsass 162. Mel Ramos 163. Gustav Klimt 164. Saul Leiter 165. Irving Penn 166. Lucian Freud 167. Hiroshi Sugimoto 168. Kees van Dongen 169. Georges Braque 170. John Kacere 171. William Klein 172. Joan Mitchell 173. Shirin Neshat 174. Hubert Robert 175. Massimo Vitali 176. Leng Jun 177. Imi Knoebel 178. Francis Picabia 179. Ernesto Neto 180. James Rosenquist 181. Julie Mehretu 182. Will McBride 183. Miquel Barceló 184. Slim Aarons 185. Basil Blackshaw 186. Janet Fish 187. Deborah Butterfield 188. Milton Avery 189. Herb Ritts 190. Jenny Holzer 191. Andres Serrano 192. Maurizio Cattelan 193. Marisol Escobar 194. Beatriz Milhazes 195. Jackson Pollock 196. Isa Genzken 197. Jean Cocteau 198. Martin Parr 199. Richard Estes 200. Robert Doisneau 201. Igor Mitoraj 202. Kara Walker 203. Daniel Richter 204. Per Kirkeby 205. Yaacov Agam 206. Zao Wou-Ki 207. David Lynch 208. Hans Zatzka 209. Edward Weston 210. Günther Förg 211. Eduardo Chillida 212. Ernst Ludwig Kirchner 213. Erwin Olaf 214. Le Corbusier 215. Marilyn Minter 216. Erich Heckel 217. Pierre Bonnard 218. Wifredo Lam 219. Roberto Matta 220. Vernon Ward 221. Donald Judd 222. Ai Weiwei 223. Kazuo Shiraga 224. Heinz Mack 225. Peter Paul Rubens 226. Jacques Adnet 227. Antony Gormley 228. Yue Minjun 229. Pierre et Gilles 230. Olafur Eliasson 231. Gabriel Orozco 232. Walton Ford 233. Ken Price 234. Arnulf Rainer 235. Jeremy Mann 236. Andrew Wyeth 237. James Rizzi 238. Piet Mondrian 239. Otto Piene 240. Daido Moriyama 241. Max Bill 242. Henry Moore 243. Harding Meyer 244. Paul Jenkins 245. Romero Britto 246. Jean Tinguely 247. Itzchak Tarkay 248. Lucien Clergue 249. Richard Serra 250. Malick Sidibé 251. Max Pechstein 252. Neo Rauch 253. Sean Scully 254. Amedeo Modigliani 255. Gio Ponti 256. Oskar Kokoschka 257. Richard Diebenkorn 258. Franz Kline 259. Mark Ryden 260. Stephan Balkenhol 261. Frida Kahlo 262. Karl Schmidt-Rottluff 263. Cecilia Paredes 264. A. R. Penck 265. Charlotte Perriand 266. Annie Leibovitz 267. Brice Marden 268. Allen Jones 269. William Wegman 270. Thomas Hart Benton 271. Bill Henson 272. William Eggleston 273. Georges Rouault 274. Russell Young 275. Walasse Ting 276. Jesús Rafael Soto 277. Jean Paul Riopelle 278. Eric Fischl 279. Eugène Boudin 280. Lee Ufan 281. Giorgio de Chirico 282. Edgar Degas 283. Rosemarie Trockel 284. Marino Marini 285. Elger Esser 286. Joseph Kosuth 287. Elliott Erwitt 288. Gordon Parks 289. Elizabeth Catlett 290. Rainer Fetting 291. Jörg Immendorff 292. David Nash 293. Louis Majorelle 294. Marie Laurencin 295. Franz West 296. Mark Bradford 297. Philip Guston 298. Alvar Aalto 299. Max Le Verrier 300. Manolo Valdés Follow artnet News on Facebook. 2016-06-17 08:35 Henri Neuendorf

52 Out of the Shadows: The Collaboration Between Ralph Ellison and Gordon Parks Related Artists Gordon Parks © Invisible Man: Gordon Parks & Ralph Ellison in Harlem, Published by Steidl/Gordon Parks Found./Art Institute of Chicago In the August 25, 1952, issue of Life magazine, a photo spread titled “A Man Becomes Invisible” featured an image of remarkable clarity and power: a black man emerging from a manhole onto the street, glancing at the right side of the frame as if nervous that someone might be watching. The camera is at eye level with its subject, refusing to look down or up at him, both respectful of and realistic about his position in the world. The photographer was Gordon Parks , working in collaboration with the writer Ralph Ellison. The photo essay — spread across three pages, with four images and captions — was meant to encapsulate some of the themes of Ellison’s recently published novel, “Invisible Man.” In fact, the piece that appeared in the magazine was a severely truncated version of what the two friends had envisioned, as described and shown in “Invisible Man: Gordon Parks and Ralph Ellison in Harlem,” published by Steidl in partnership with the Gordon Parks Foundation and the Art Institute of Chicago, which are currently mounting an exhibition of the work, on view through August 28. “A Man Becomes Invisible” was the second collaboration between the men, who met in 1946, not long before Ellison began writing his most famous novel. Ellison, like many writers of the period, was interested in the possibilities photography offered for strengthening the written word, and for recasting the visual history of black life being reproduced in newspapers across the country. He was not alone: In the same period, James Baldwin worked on an abandoned project with the photographer Richard Avedon, and Langston Hughes created “The Sweet Flypaper of Life” with Roy DeCarava. But unlike many of his peers, Ellison reportedly was enthusiastic about taking his own pictures. Some examples of his work are included in the book, enough to wish that he had had more time to dedicate to the practice. He considered it a hobby at first, but eventually, according to an essay by Michal Raz-Russo included in the book, took on photography jobs, mostly portraits, to supplement his income as a writer. “You know me,” Ellison wrote to his friend the writer Albert Murray. “I have to have something between me and reality when I’m dealing with it most intensely.” The first project Parks and Ellison worked on together was “Harlem Is Nowhere,” an essay by Ellison that was supposed to be published in the 1948 issue of the Magazine of the Year alongside photos taken by Parks. The magazine collapsed weeks before the issue went to press. According to Arnold Rampersad’s biography of the writer, to create the project, Ellison and Parks had spent weeks roaming the streets of Harlem. Both were unhappy that the work was not seen by the public. Ellison sent the “Harlem Is Nowhere” essay to Harper’s Magazine, which rejected it. It remained unpublished until 1964, when it appeared in Ellison’s essay collection “Shadow and Act.” Despite the publication difficulties, the images for “Harlem Is Nowhere” are some of Parks’s most commanding, adhering to a photo-realist style that he was exploring in depth at the time. After working for the Farm Security Administration (FSA) and, later, shooting fashion projects for Condé Nast, Parks created one of his most famous photo-essays: “Harlem Gang Leader.” Published in Life on November 1, 1948, it followed Red Jackson, the 17-year-old leader of the Midtowners, a gang in Harlem. The emotional complexity of the work made Parks as one of the most highly regarded photographers of the past century, and the project earned him a staff position at the magazine, where he remained until the early 1970s. He was the first African-American hired by the magazine. Ellison and Parks’s second collaboration took place four years after the demise of the first one. In it, you can see the influence each had on the other. “In these projects, Parks, like Ellison, abandoned documentation of facts and evidence in favor of a psychological view,” writes Raz-Russo. “By capturing the daily life of Harlem’s citizens and its mostly ‘ordinary’ landscape, and juxtaposing those images with Ellison’s symbolic imagery, Parks conveyed — in photographs and, as he originally planned, in one of the most powerful magazines of the time — the same ideas that were meant to permeate the images and text of [the ‘Harlem Is Nowhere’ project].” Ellison reportedly smuggled sections of the captions he wrote for their first collaboration into the text of “Invisible Man.” His prose, in turn, fueled the images Parks made for Life magazine, not to mention his own writing. The last known photographic collaboration between the two was on a portrait of Ellison for the cover of a 1972 issue of the Atlantic Monthly. But their work, hidden in the shadows for so long, is finally out in full view. It’s about time. 2016-06-17 08:17 Craig Hubert

53 M+ Acquires Artworks by Rasheed Araeen from Rossi & Rossi Related Venues Rossi & Rossi Artists Rasheed Araeen M+ art museum, which is set to open in 2019 in the West Kowloon Cultural District in Hong Kong, has recently acquired several artworks by British minimalist Rasheed Araeen from Rossi & Rossi. This significant purchase comprises of a seminal sculpture entitled “Sculpture No. 2, ” 1965-2015, and a series of early paper works executed between 1958 and 1962 named “Boats: Towards Abstraction.” Gallery director Fabio Rossi describes this acquisition as “both a bold move in redefining the role of Asian artists in a global art history, and a prescient act of embracing one of the greatest critical minds of the past century.” “Sculpture No. 2” is considered one of Araeen’s ground-breaking minimalist sculptures. Conceived in 1965 and first realized in 1987, the work is made up of 12 girders cut into four lengths and stacked in four layers to form a cube. It was initially exhibited at Hayward Gallery in London for the influential exhibition “The Other Story: Afro-Asian Artists in Post-War Britain” in 1989- 1990. The Sharjah Art Foundation possesses another version of “Sculpture No. 2” in its collection. Araeen’s earlier paintings purchased by M+ depict scenes and moments from the artist’s everyday life. The paper works primarily represent views of sailboats on the sea, which the artist translated into lines and colors. “Boats: Towards Abstraction” is a pivotal series from Araeen’s career as it reveals his progression and development towards Minimalism. Rasheed Araeen is regarded as a pioneer of minimalist sculpture in 1960s Britain. Originally from Karachi, Pakistan, his work was eschewed for decades, perceived as “Islamic” or “postcolonial” by the prevailing Western art establishment. But today, important acquisitions by leading international art institutions — such as the Tate, Sharjah Art Foundation and Guggenheim Abu Dhabi — have formalized Araeen’s contribution to the 20th century’s chief artistic movement. Rasheed Araeen will have his first institutional retrospective at the Van Abbemuseum in Eindhoven, Netherlands from December 2017 to April 2018. 2016-06-17 07:35 Claire Bouchara

54 Artists' Union England Officially Certified Back in 2014, a group of artists sick of being exploited organized a de facto union. Three years on, Artists' Union England (AUE) has finally been formally recognized in a landmark decision that will make it the country's first official union for professional visual and applied artists, the group has announced. The average annual income for visual artists is between £5,000-£9,000 ($7,000-$12,000) and yet, time and again they are misused and asked to work for free, often given the excuse of being offered “exposure" in exchange for their work. According to their website, AUE was founded to “redress the fact that all other cultural workers had independent representation from a Trade Union. " The organization hopes to combat the ramifications of austerity measures and cuts to arts organisations, local authorities, galleries, and publicly funded bodies. The formal “certificate of independence" was finally granted after the group raised the £4,500 cost of the certification, which acknowledged the union as a democratic operation. The bulk of the fee was covered by donations, including several generous contributions from established unions such as Scottish Artists Union, Musicians Union, and the General Federation of Trade Unions. The Government website states that the Certification Office grants the accreditation in recognition that the union is not under the domination or control of employers, and is not liable to influence arising out of financial or material provision. “A new landscape for artists now exists," the AUE said in a statement. “These core workers now have a trade union to represent them, which will work for better pay and conditions across England; where they can work together to challenge exploitative practice, be represented independently and democratically and raise the bar for artists. " Follow artnet News on Facebook. 2016-06-17 07:25 Naomi Rea

Total 54 articles. Created at 2016-06-18 06:00