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60 articles, 2016-08-04 00:00 1 Public Art Canceled in Rio Ahead of Olympics, Recent Studies Reveal Stark Lack of Diversity in US Museums, and More (2.04/3) A daily round-up of must-read news from the art world and beyond. 2016-08-03 10:32 829Bytes www.blouinartinfo.com 2 Summer in the City: 5 Shows to See in Vienna Out and about in Vienna this summer and planning to see some (1.02/3) shows? Here’s a selection of highlights. 2016-08-03 13:08 1KB www.blouinartinfo.com 3 Top 8 Shows at Edinburgh Fringe 2016 Here is a pick of some of the best events opening from August 3 onwards at the Edinburgh Fringe. 2016-08-03 11:31 947Bytes www.blouinartinfo.com (1.02/3)

4 Yet Another High-Level Staffer Leaves Christie’s Contemporary Art Department Lori Hotz has been global managing director in Christie’s postwar

(1.00/3) and contemporary art department since 2012, and leaves amid a sales slump. 2016-08-03 09:54 2KB news.artnet.com 5 Gregg Albracht, 2016 Spotlight Artist Fine art photographer Gregg Albracht's passion for photography started in the summer of 1969 when he saw a portfolio of fine art photos. "I was mesmerized by their richness and beauty," Albracht (0.02/3) says. "It was in that moment that photography took a hold of me and... 2016-08-04 00:00 1KB artexponewyork.com 6 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 Saturday at Artexpo marked the show's busiest day yet, drawing (0.01/3) thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for... 2016-08-04 00:00 1KB artexponewyork.com 7 DAY 2 AT ARTEXPO: SPECIAL KEYNOTE, LIVE ART DEMOS & MORE Friday at Artexpo brought throngs of visitors through the gates of Pier 94 to see artwork from over 400 exhibitors from around the world, comprising more than 1,000 artists in total. The doors opened early for the event's Keynote Presentation by Pam Danziger, "Marketing Art... 2016-08-04 00:00 1KB artexponewyork.com

8 AENY 2016 Recap: Highlights from an Incredible Year That's a wrap! Artexpo New York has taken the fine-art scene by storm yet again, and we've got the sales, stories, and gorgeous collection of photos and videos to prove it. We'd like to extend a huge thank you to everyone... 2016-08-04 00:00 2KB artexponewyork.com 9 From Startup to Industry Star: Litsa Spanos, President and Owner of Art Design Consultants Founded in 1992, ADC, Art Design Consultants, Inc. has grown from a one-woman operation started in a 500-square-foot basement to a successful multi-team-member venture running in a gorgeous gallery space with stunning views. The woman who made it all happen... 2016-08-04 00:00 4KB artexponewyork.com 10 AENY 2016 – Art Talks & Seminars Planning your trip to the show? Be sure to attend one of our Art Talks or Seminars! Here are some highlights from our Education Schedule. For the full schedule click here. THURSDAY, April 14th 1pm-2pm | A Cautionary Tale: Protecting Your Artwork... 2016-08-04 00:00 3KB artexponewyork.com 11 A Escola Livre (Brasil) Asterisk Summer School (Estonia) Escola Aberta (Brasil) Maybe a School, Maybe a Park (Canada) Parallel School Registration School (UK) Van Eyck Summer Academy: Digital Campfire Series (Netherlands) The Ventriloquist Summerschool (Norway) Still of Mark Harmon, Courtney Thorne-Smith, Fabiana Udenio, Dean Cameron, Kelly Jo Minter, Gary Riley, and Shawnee Smith in Summer School (1987). –––––– Never Not Learning (Summe... 2016-08-03 21:49 1KB blogs.walkerart.org 12 In Memoriam of Philando Castile In loving memory of Philando Castile, Pollen presents a community portrait of grief, protest, power, and love contributed by 25 artists... 2016-08-03 21:49 14KB www.pollenmidwest.org 13 alex dornier proposes tennis club in bali defined by its dynamic roof canopy, the club's main building acts as a spine for spectators alongside two red clay courts designed by alexis dornier. 2016-08-03 21:01 1KB www.designboom.com

14 china's elevated bus soars over cars in first test drive in china, the world's first elevated bus has taken its first test drive in qinhuangdao, hebei province this week. 2016-08-03 19:18 1KB www.designboom.com 15 mercedes benz urban eTruck is first completely electric truck mercedes benz urban eTruck is expected to be brought to market at the beginning of the next decade. 2016-08-03 18:45 2KB www.designboom.com 16 How Action Bronson Ended Up Getting High and Watching 'Ancient Aliens' On-set stories from the producers of the epic new VICELAND series, 'Traveling the Stars: Action Bronson and Friends Watch Ancient Aliens.' 2016-08-03 18:15 5KB thecreatorsproject.vice.com 17 Yves Salomon Is on the Move The French furrier is set to inaugurate a 5,380-square-foot showroom on Paris’ Rue de Castiglione. 2016-08-03 17:51 2KB wwd.com 18 Anyone Who's Been Heartbroken in a Big City Will Understand This Film The perils of young love get animated in Giles Pates' first short film, 'AOMI.' 2016-08-03 17:35 9KB thecreatorsproject.vice.com 19 Anna Wintour, Marc Jacobs and the Fashion Set Toast Amy Astley, New Editor of Architectural Digest Astley talked about her first issue as editor, as well as the direction she’s hoping to take Architectural Digest. 2016-08-03 16:59 3KB wwd.com 20 Sarah Jessica Parker, Julianna Margulies Attend the ACE Awards Hot-button industry topics roiled on at the glitzy event, where celebrities and designers celebrated accessories. 2016-08-03 16:57 4KB wwd.com 21 Dreamy Music Video Turns London Dancers into Demons Dancers become otherworldly creatures in Fx Goby’s music vide for The Ramona Flowers’ “Skies Turn Gold.” 2016-08-03 16:35 2KB thecreatorsproject.vice.com

22 perezochando provide a quiet space for reflection with the ara armchair for missana perezochando have designed an all-encompassing, circular 'ara' armchair for spanish furniture retailer missana. 2016-08-03 16:30 1KB www.designboom.com 23 Los Angeles’ Museum of Contemporary Art Draws Chloé, Margiela, Céline and More Los Angeles’ Museum of Contemporary Art, or MOCA. is a draw for fashion design houses, including Chloé, Maison Margiela, Céline and more. 2016-08-03 16:27 2KB wwd.com 24 New Designer Spotlight: Stephanie Rad Rad’s namesake label, which launched this week on Moda Operandi, offers elegant, relaxed separates and suiting. 2016-08-03 16:26 3KB wwd.com 25 Pepe the Frog's Creator Talks Making Zine History “Zines are a great way to do whatever the hell you want,” says Matt Furie, creator of Boy’s Club. 2016-08-03 16:25 5KB thecreatorsproject.vice.com 26 Giant Olympic Athlete Sculptures Soar Over Rio Street artist JR immortalizes those not competing in this year's Olympic Games. 2016-08-03 15:50 2KB thecreatorsproject.vice.com 27 Crack This Cypher to Reveal Alternate Universes The new project from Bedtimes tells a hidden story through stunning photographs and a code. 2016-08-03 14:50 2KB thecreatorsproject.vice.com 28 Garry Marshall Will Live On in the Broadway Musical ‘Pretty Woman’ Tony-winner Jerry Mitchell will direct and choreograph the musical, with songs to be written by Jim Vallance and recording artist Bryan Adams. 2016-08-03 14:43 3KB www.blouinartinfo.com 29 A Navajo Artist Breaks Down His Tribe’s Urban Outfitters Lawsuit Lehi Thunder Voice Eagle Sanchez explains how people can buy proper Native arts and crafts. 2016-08-03 14:30 13KB thecreatorsproject.vice.com

30 Greece’s Art and Culture Flourish at an Inspiring New Cultural Center At the Stavros Niarchos Foundation Cultural Center, music and art empower citizens in the midst of an economic crisis. 2016-08-03 14:05 4KB thecreatorsproject.vice.com 31 Mohamad Al Roumi Shows a Different Syria at Berlin’s Pergamon Museum A series of photos by the Syrian photographer show the true Syrian lives behind the political rhetoric. 2016-08-03 13:50 2KB www.blouinartinfo.com 32 [Exclusive] A Group of Teenage Girls Built VR Worlds with Tilt Brush For Pioneer Works' week-long Art x Code workshop, 10 high school girls learned the basics of VR world-building. 2016-08-03 13:50 3KB thecreatorsproject.vice.com 33 6 Must-Hear Classic Albums That Reveal Hidden Gems Here is a pick of albums of 2016 so far by rock artists who have been trawling the vaults to discover previously unheard music as good as their best. 2016-08-03 13:33 6KB www.blouinartinfo.com 34 mork ulnes architects turns barn into artist studio + workshop mork ulnes architects has added an ‘ameoba-like pavilion’ extension to this contemporary barn renovation serving as a spacious home and artist studio. 2016-08-03 13:23 3KB www.designboom.com 35 MoMA/MoMA PS1 Records Releases ‘The Thoughts of Gilbert & George’ on Vinyl Gilbert & George on vinyl. COURTESY MOMA MoMA/MoMA PS1 Records—yes, the institutions have a record label—has released a special vinyl edition of The 2016-08-03 13:17 1KB www.artnews.com 36 Leonardo da Vinci Drawings Tour the UK 10 drawings by Da Vinci, including a study for his final painting, come to Nottingham and Swansea as part of a four-stop tour of the UK and Ireland. 2016-08-03 13:00 2KB www.blouinartinfo.com 37 weston williamson hyperloop connects australia 90 minutes the effect could be positive for australia's growth and allow new communities to flourish along the route. 2016-08-03 13:00 2KB www.designboom.com

38 artnet Asks: The Artist Marcos Amaro Amaro discusses his found object sculptures, foundation for Brazilian artists, popular Instagram account, and more. 2016-08-03 13:00 4KB news.artnet.com 39 adrian labaut hernandez manual for a radical architect adrian labaut hernandez has developed a 'manual for a radical architect' that places abstracted shapes onto historical maps of cities in america. 2016-08-03 12:29 2KB www.designboom.com 40 Intimate Impressions: ‘But a Storm Is Blowing From Paradise’ Offers a Nuanced View of Middle Eastern Art at the Solomon R. Guggenheim Museum in New York Through October 5 2016-08-03 12:18 5KB www.artnews.com 41 Artist Mariko Mori Unveils Stunning Olympics Waterfall Art Installation The Rio Olympics start Friday, but torchbearer Mariko Mori has already unveiled a striking waterfall art installation created for the occasion 2016-08-03 12:14 2KB news.artnet.com 42 Erin Fetherston Designs Furniture Collection With Fragments Identity Having adapted to a new life on the West Coast with her husband and infant son, Erin Fetherston goes for a relaxed but polished feel in her first-ever furniture and home decor collection. 2016-08-03 12:00 5KB wwd.com 43 Scottish National Gallery Draws Together 100 Joseph Beuys Works on Paper Drawings from four decades of Joseph Beuys' career go on display at the Scottish National Gallery of Modern Art in Edinburgh. 2016-08-03 11:56 2KB www.blouinartinfo.com 44 Occupational Hazards: Manifesta 11 Employs the Working Class Manifesta 11's Pavillion of Reflections. COURTESY MANIFESTA Bernini may have once shared a sketchbook with Pope Alexander VII in the gardens of the Vatican, 2016-08-03 11:12 11KB www.artnews.com

45 cyclists can take a ride into 21st century with multifunctional shoka bell the bell sends alerts alert when approaching problem areas with a visible series of 72 LED lights on the top of the device. 2016-08-03 11:00 1KB www.designboom.com 46 Masterpieces of Japanese Buddhist Sculpture on Display in Rome 35 rare pieces from Japan highlight the development of sculpture and Buddhism in Japan from the 7th to the 14th century. 2016-08-03 10:33 2KB www.blouinartinfo.com 47 Ronald Lauder Says a Work at the Neue Galerie Has Disputed Provenance The Neue Galerie, co-founded by Ronald Lauder, has a work in its collection whose provenance indicates it may have been looted by Nazis. 2016-08-03 10:28 2KB news.artnet.com 48 torafu architects design aesop sendai in japan aesop's first retail store in the tohoku area, torafu architects' interior uses material and texture to invite customers into a warm atmosphere. 2016-08-03 10:24 1KB www.designboom.com 49 Christie’s ‘Secret Weapon’ Xin Li to Marry Music Mogul Lyor Cohen in Hamptons Big-time music executive Lyor Cohen proposed to Xin Li of Christie's auction house six months after they met. The couple weds this weekend. 2016-08-03 10:13 2KB news.artnet.com 50 Carbombz, Motorheads, and That Time Keith Haring Chose a Land Rover as a Canvas How often does Mario Andretti get brought up at a VIP art opening? 2016-08-03 10:00 4KB news.artnet.com 51 Artiquette: 14 Tips on How to Take a Killer Art Selfie There's a lot to consider when crafting your perfect art selfie; artnet News is here to help with our "how to" Artiquette guide. 2016-08-03 09:28 8KB news.artnet.com 52 Roberto Burle Marx Jewish Museum / New York Absent from Roberto Burle Marx’s monographic exhibition in New York are materializations of what he was known to create: abstract geometrical parks and gardens. Faithful to its title, “Roberto Burle... 2016-08-03 09:15 3KB www.flashartonline.com 53 do.do. designs playful house-is residence in tokyo the compact, three story home is separated by floor: work, living, and leisure, with small details placing emphasis on creativity and playfulness throughout. 2016-08-03 08:45 1KB www.designboom.com 54 David Bowie’s Revealing Portraits at Espronceda Barcelona The Espronceda Center for Art and Culture in Barcelona is presenting an exhibition of photographs of the late David Bowie by Berlin-based British photographer Gavin Evans. 2016-08-03 08:44 2KB www.blouinartinfo.com 55 LACMA Opens Window to a Lost World With Tsao Family Art Collection From August 7, the Los Angeles County Museum of Art (LACMA) will present over 120 paintings and calligraphy works from the art collection of the late Jung Ying Tsao. 2016-08-03 08:14 4KB www.blouinartinfo.com 56 Datebook: Albert Tucker Photographs of ‘Artists at Leisure’ at Heide Museum of Modern Art Heide Museum of Modern Art, Melbourne presents images of artists photographed by Albert Tucker at the Museum’s Heide III: Albert & Barbara Tucker Gallery location from March 12 through November 13. 2016-08-03 07:15 1KB www.blouinartinfo.com 57 Teenie Harris Shot Donald Trump’s Roots as a Fearmonger Read THE DAILY PIC on a Teenie Harris photo at the Carnegie Museum of Art that records Donald Trump tactics back in 1949. 2016-08-03 07:02 2KB news.artnet.com 58 Juergen Teller Curates Robert Mapplethorpe Exhibition Opening in London This Fall Juergen Teller is curating an exhibition in London of works by Robert Mapplethorpe, offering a unique perspective into his revered oeuvre. 2016-08-03 05:00 2KB news.artnet.com 59 Interview: Janelle Reiring on Cindy Sherman at GOMA Brisbane BLOUIN ARTINFO caught up with Reiring on the occasion of the exhibition at GOMA and asked her a few questions about the artist and her work. 2016-08-03 04:50 3KB www.blouinartinfo.com 60 Why Are Antiques Fairs Bringing in Contemporary Art? With the addition of contemporary art and modern design to London's Art and Antiques Fair, we ask the fair director what this means. 2016-08-03 04:30 4KB news.artnet.com Articles

60 articles, 2016-08-04 00:00

1 Public Art Canceled in Rio Ahead of Olympics, Recent Studies Reveal Stark Lack of Diversity in US Museums, and More (2.04/3) Related Artists David Smith Jean Arp Keith Haring Robert Motherwell Robert Rauschenberg Grace Hartigan Sol LeWitt George Rickey Louise Nevelson Tracey Emin David Shrigley Sam Taylor-Johnson Eddie Peake Anne Hardy 2016-08-03 10:32 Taylor Dafoe

2 Summer in the City: 5 Shows to See in Vienna (1.02/3) Related Venues Secession Belvedere 21er Haus Kunsthalle Wien Wien Museum Artists Sterling Ruby Franz von Stuck Nathalie du Pasquier Valerio Adami Valie Export Martin Parr Out and about in Vienna this summer and planning to see some shows? Here’s a selection of highlights currently on view, from Ai Weiwei at 21er Haus to Franz von Stuck at Lower Belvedere, and from Memphis Group co- founder Nathalie Du Pasquier at Kunsthalle Wien and Italian Pop Art Star Valerio Adami at Secession to Sterling Ruby at Winterpalais. Also on the agenda in Vienna this summer: ImPuls Tanz, one of the largest festivals for contemporary dance and performing arts worldwide (find the full program here ); 9th Chamber Music Festival Schloss Laudon in a beautiful moated castle, more info here ; “Tip of the Hat! A Social History of the Covered Head” at Wien Museum ; “Martin Parr – A Photographic Journey” at Kunst-Haus Wien ; Berlinde de Bruyckere at Leopold Museum ; an intervention by Yan Pei-Ming in the Palace Chapel at Belvedere ; and an intervention by VALIE EXPORT at the Jewish Museum ). 2016-08-03 13:08 Lisa Contag

3 Top 8 Shows at Edinburgh Fringe 2016 (1.02/3) Top Lists 10 Best Films of 2016 So Far Red Hot Chili Peppers, Mumfords Take Risks With New Music See All » Related Events Edinburgh Art Festival 2016 Venues Edinburgh Festival Fringe The world’s largest arts festival starts this week in Edinburgh. The Edinburgh Fringe has more than 3,000 events alongside many other events under the Edinburgh Festival banner. Here is a pick of some of the best events opening from August 3 onwards. 2016-08-03 11:31 Mark Beech

4 Yet Another High-Level Staffer Leaves Christie’s Contemporary Art Department (1.00/3) Lori Hotz, global managing director in Christie’s postwar and contemporary art department since 2012, is leaving the house amid dropping sales, she tells Bloomberg. The auctioneer has seen declining sales, as it indicated in a July 20 report showing a 33 percent decline in sales from the previous year in the first half of 2016, owing to a drop in high-value consignments. Related: Christie’s Reports Steep Drop in Sales for First Half of 2016 Hotz was previously chief operating officer at Lazard Wealth Management, before which she served in the same position at Barclays Wealth Americas Product Office and at Lehman Brothers’ hedge fund business, managed account platform, and portfolio advisory group, according to her LinkedIn page. “I have had a wonderful four-year run at Christie’s, where we have built a leading global postwar and contemporary art department and achieved significant growth,” Hotz told Bloomberg. “It’s now time for me to help build and develop other opportunities.” Last last month, three other Christie’s executives—Paul R. Provost, senior vice president and director of trusts, estates & appraisals; Nicholas Hall, international head of old master paintings and 19th-century art; and Cathy Elkies, head of Christie’s 20th- and 21st-century design—all departed. Related: Three Top Christie’s Executives Leave Amid Market Instability Christie’s main rival, Sotheby’s, has also seen an exodus of high-level staffers since turmoil roiled the board and a new CEO Tad Smith took over in March 2015. The 272-year-old auction house was also reeling this month when Chinese insurer Taikang took on a 13.5 percent stake —the largest of any shareholder. 2016-08-03 09:54 Senior Writer

5 Gregg Albracht, 2016 Spotlight Artist (0.02/3) Fine art photographer Gregg Albracht’s passion for photography started in the summer of 1969 when he saw a portfolio of fine art photos. “I was mesmerized by their richness and beauty,” Albracht says. “It was in that moment that photography took a hold of me and I discovered what was to become my life’s work.” Starting decades ago with black-and-white images, he has evolved his craft over time and, today, uses all means of photographic technology to adapt his images for his new Dream Series. Many of Albracht’s photographs are considered a window to the west—a timeless place where human beings live in deep connection to the animals and the land. He’s not after a uniform look, which would tie his photographs together, but rather approaches each new image as if it’s the first he’s ever done. Albracht has had more than 80 shows all over the west and has won more than 25 regional and national awards. His photographs are exhibited in museum collections throughout the country including collections in Montana, Santa Fe, Nebraska, and Washington, D. C. A much-anticipated programming element of Redwood Media Group’s other art shows, the Spotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 and will continue to be a highlight at the show in future years. Gregg Albracht is one of four esteemed artists selected for this year’s Spotlight Artist Program. 2016-08-04 00:00 lmullikin

6 DAY 3 AT ARTEXPO: CROWDS CONVERGE ON PIER 94 (0.01/3) Saturday at Artexpo marked the show’s busiest day yet, drawing thousands of attendees eager for artistic invigoration to the halls of Pier 94. Boasting booth after booth of extraordinary paintings, sculpture, glassworks, and photography, the 38th annual Artexpo New York offered something for everyone. Visitors to the show were captivated by live demonstrations from artists hailing from around the globe, and enjoyed Art Talks such as “The Journey of a Working Artist” by Crista Cloutier, “Six Spheres of Success” by Michael Joseph, “Stewardship: Insuring the Legacy” by Jeannie Stanca, and a discussion with three successful artists—Tristina Dietz Elmes, Julia Carter, and Jeanne Bessette—about their respective careers. Showgoers will get one last chance today until 6 p.m. to peruse the fine art displayed at this world-renowned show. Here’s the lineup of events scheduled for Sunday. Not in New York? No worries—you’ll get an inside look at what it’s like to be at the show with our exclusive videos. Check them out here! Last but not least, make sure to check out Artexpo New York on Facebook, Twitter, and Instagram for fun tidbits throughout the show and leading up to next year. And check back soon for a full show roundup, including top sales, a full list of award winners, and more! 2016-08-04 00:00 lmullikin

7 7 DAY 2 AT ARTEXPO: SPECIAL KEYNOTE, LIVE ART DEMOS & MORE Friday at Artexpo brought throngs of visitors through the gates of Pier 94 to see artwork from over 400 exhibitors from around the world, comprising more than 1,000 artists in total. The doors opened early for the event’s Keynote Presentation by Pam Danziger, “Marketing Art in Today’s New Luxury Style,” during which the renowned speaker, author, and market researcher provided tips for artists and gallery owners in attendance. The day was filled with inspiring Meet the Artist events and live art demonstrations, giving attendees the chance to see featured exhibitors in action and learn about their paths to becoming successful artists. Showgoers also enjoyed mingling with exhibitors and other art lovers alike at the night’s two parties: the Meet & Greet Reception sponsored by Art Brand Studios, and the Focus on Design Friday Reception sponsored by Art Design Consultants. It was another fabulous day and evening at Artexpo —and we know Saturday and Sunday will continue the trend! Don’t forget to follow Artexpo New York on Facebook, Twitter, and Instagram to stay updated on all the fun happening at the show this weekend! 2016-08-04 00:00 lmullikin

8 AENY 2016 Recap: Highlights from an Incredible Year That’s a wrap! Artexpo New York has taken the fine-art scene by storm yet again, and we’ve got the sales, stories, and gorgeous collection of photos and videos to prove it. We’d like to extend a huge thank you to everyone who played a part, from our extraordinary exhibitors and generous sponsors to our ever-eager attendees. Read on to find out more about 2016’s show— we’re proud to say it was another phenomenal one! Moments to Remember Throughout the four-day weekend, attendees enjoyed a number of exciting events, from the VIP Opening Night Preview Party featuring the unveiling of this year’s Poster Challenge winner to inspiring Art Talks, Meet the Artist sessions, and more. Famed dance photographer Jordan Matter wowed us all with his live photo shoots, and painters from around the world gave us a peek at their creative process during live art demonstrations. On Friday, author and industry leader Pamela N. Danziger gave the Keynote Presentation to a rapt audience of exhibitors and trade attendees. 2016 Artexpo Award Winners Over a dozen artists and galleries were given special recognition during Artexpo this year for their work that went above and beyond. Here’s a full list of 2016 award recipients: Top Sales & Success Stories Here’s a sampling of some of our exhibitors’ top sales and feedback for the event. See more testimonials here ! Media Buzz Artexpo New York garnered tons of attention in media outlets in New York and beyond, with coverage including a shout-out in PAPER magazine, which dubbed our show as a “must-see,” a segment on CBS New York , and many others. We also reached tens of thousands of fans via social media, offering followers around the world up-to-the-minute event tidbits and photos on Facebook , Twitter , and Instagram. Thanks to everyone liking and following us on our social media channels—we love keeping you engaged! Exhibit in 2017 Inspired by this year’s event to give exhibiting a shot yourself, or want to return to Artexpo after having a successful show this year? Apply for 2017 here , or contact our helpful sales team —they’ll be happy to help you. 2016-08-04 00:00 sdalton

9 From Startup to Industry Star: Litsa Spanos, President and Owner of Art Design Consultants Founded in 1992, ADC, Art Design Consultants, Inc. has grown from a one- woman operation started in a 500-square-foot basement to a successful multi-team-member venture running in a gorgeous gallery space with stunning views. The woman who made it all happen? Litsa Spanos. In the last 24 years, Spanos has not only built ADC to be the booming business that it is today, helping clients select the perfect artwork for their corporate or residential spaces, but she has also received several honors along the way, including the Cincinnati USA Regional Chamber of Commerce & WE Celebrate’s “Woman-Owned Business of the Year” award in 2013. The accolades couldn’t go to a more deserving person—Litsa gives back as much as she receives, supporting numerous regional non-profit organizations and causes in addition to nurturing her clientele, ADC team, and family. Always with her finger on the pulse of what’s next in the art market, Litsa provides a valuable perspective for trade buyers and artists alike. We got to talk with her about her path to success as well as her tips for those rising in the industry: What have been some of the challenges in your career, as well as some of the highlights? The challenges are similar to what all small businesses face—finding new clients or talent and then bringing everyone together in an impactful way. Highlights of my career include being named “Woman-Owned Business of the Year”; publishing a beautiful art-filled book (Blink Art Resource); landing incredible new corporate, healthcare, and residential projects; and being able to work with creative and talented people every day. Any pleasant surprises or memorable experiences on your path to success that you’d like to share? A pleasant surprise was finding our incredible location in downtown Cincinnati during the recession. It’s a light-filled, 10,000-square-foot gallery with sweeping views of the city. It beautifully showcases all types of art, from paintings and sculpture to photography and mixed media. Our clients never want to leave, and we are all inspired every day! What do you think are the most essential qualities one must have to succeed in the art world? Perseverance, the willingness to take risks, honesty, and ethics. What do you see coming up in the art market, trendwise? Many of our clients want something different, unusual, and unexpected. Artists need to think outside the box and create works that no one else has. Whether it’s a new way to print photographs or painting on unusual surfaces, think fresh, new, and exciting. Starting a conversation and creating an interesting dialogue between the buyer and seller is what makes sales happen! ADC has several exciting things coming up this year, starting with the launch of the 2016 Blink Art Resource at Artexpo New York. This stunning, image-rich guide for designers, galleries, and consultants features work from hundreds of exceptional artists in a wide variety of mediums for sourcing work with ease and efficiency. Ask Litsa about it at while you’re at the show, or check out the details at blinkartresource.com. In addition, ADC will be hosting the Artist Success Summit this June 3–4, an inspiring two- day conference and networking event that equips artists with everything they need to succeed in today’s competitive art market. For more on the Summit, visit http://adcfineart.com/success-summit-2. ADC also proudly sponsors Art Comes Alive (ACA), an annual fine art contest and exhibit that awards over $250,000 to the brightest and best artists working in North America. For more information, visit adcfineart.com/selling-artists-works. 2016-08-04 00:00 lmullikin

10 AENY 2016 – Art Talks & Seminars Planning your trip to the show? Be sure to attend one of our Art Talks or Seminars! Here are some highlights from our Education Schedule. For the full schedule click here. Award-winning photographer Doug Menuez will share his cautionary tale about taking a personal project and making it into a lasting legacy through print and exhibitions. Joining the conversation will be fine art photographer and gallery owner Michael Joseph of Artblend. In this talk, Cory Huff of The Abundant Artist will explain the difference between the ways that artists think art is sold and how artists who make a living from their work actually do it. Speaker, author, and market researcher Pamela N. Danziger is internationally recognized for her expertise on the world’s most influential consumers: affluent Americans. Join Jennifer Townsend from Larson-Juhl as she reviews the essential design elements for creating memorable rooms. As home building trends have evolved over the past few decades, home furnishings and design have kept pace. Custom frames have also adapted to relate to those changes. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of three fine art photographers. Generate sales, increase awareness, and brand your business as the premier destination for art and framing. Litsa Spanos, President of Art Design Consultants (ADC), will share creative marketing ideas that can take your art gallery to the next level. Crista Cloutier explores the journey of the artist, how one finds a voice, develops it, and uses it to create a professional career as a working artist. Cloutier uses her own background as an arts dealer, curator, publisher, writer, and artist to illustrate her message of the importance of practice, authenticity, and the coupling of tenacity with audacity. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of three artists. The “Six Spheres of Success” is a fact-proven concept in attracting art buyers and each of the elements that makes up a successful art career. The strategic plan is designed to help artist build a brand, nurture a long sustaining career, add value, and increase art sales. Get the scoop from an expert on what is needed in today’s world to protect your artwork collection. What is personal property? What is stewardship? And what is needed to protect your art investment? Stanca will answer all those questions in this informative seminar. Learn the data backup strategies, tools, and copyright protections necessary to ensure that your artwork is protected and available decades from now. In just five key questions, we’ll uncover the strategies and secrets behind the successful careers of five artists. To license or not to license—that is the question. How do you decide if licensing is right for you? In this seminar, we’ll cover where to begin in today’s fast-paced licensing world. Art is important; it challenges the status quo and leads to innovation and change. Crista Cloutier of The Working Artist encourages artists to claim their rightful role as leaders. 2016-08-04 00:00 lmullikin

11 11 A Escola Livre (Brasil) Asterisk Summer School (Estonia) Escola Aberta (Brasil) Maybe a School, Maybe a Park (Canada) Parallel School Registration School (UK) Van Eyck Summer Academy: Digital Campfire Series (Netherlands) The Ventriloquist Summerschool (Norway) Still of Mark Harmon, Courtney Thorne-Smith, Fabiana Udenio, Dean Cameron, Kelly Jo Minter, Gary Riley, and Shawnee Smith in Summer School (1987). –––––– Never Not Learning (Summer-specific) is a series of 4 blog posts (to be published here, on The Gradient) reflecting on the (not-so) recent wave of self-initiated graphic design workshops which have been […] 2016-08-03 21:49 By

12 In Memoriam of Philando Castile In loving memory of Philando Castile, Pollen presents a community portrait of grief, protest, power, and love contributed by 25 artists mostly from Minneapolis and St. Paul, Minnesota. Could we please give the police departments to the grandmothers? Give them the salaries and the pensions and the city vehicles, but make them a fleet of vintage corvettes, jaguars and cadillacs, with white leather interior. Diamond in the back, sunroof top and digging the scene with the gangsta lean. Let the cars be badass! You would hear the old school jams like Patti Labelle, Anita Baker and Al Green. You would hear Sweet Honey in the Rock harmonizing on “We who believe in freedom will not rest” bumping out the speakers. And they got the booming system. If you up to mischief, they will pick you up swiftly in their sweet ride and look at you until you catch shame and look down at your lap. She asks you if you are hungry and you say “yes” and of course you are. She got a crown of dreadlocks and on the dashboard you see brown faces like yours, shea buttered and loved up. And there are no precincts. Just love temples, that got spaces to meditate and eat delicious food. Mangoes, blueberries, nectarines, cornbread, peas and rice, fried plantain, fufu, yams, greens, okra, pecan pie, salad and lemonade. Things that make your mouth water and soul arrive… The day’s gonna come when I won’t march no more The day’s gonna come when I won’t march no more But while my sister ain’t equal & my brother can’t breathe Hand and hand with my family, we will fill these streets “And you are not the guy and still you fit the description because there is only one guy who is always the guy fitting the description.” Claudia Rankine, “Stop and Frisk” It’s Okay She is made of Diamonds. She is four years old and wears pink and blue beads, sometimes barrettes, in her braided hair. Maybe chewing bubblegum is her favorite, and possibly she likes the swings best of all at the park Her voice certainly glitters Her voice has always glittered, it has never needed your permission, your invitation your blessing Last Wednesday night, she sat buckled in the car’s backseat on the way home from the grocery store. Maybe she was chewing bubblegum. Her bedtime routine most likely would have been next in the order of weeknight things But a nearby police car slowed its suburban patrol when the car she was riding in passed One of the officers noticed how the other car’s driver had a wide-set nose He fit the description In less than two minutes, she listened as police officers pull the car she was riding in over and give orders. She saw the driver and her mother follow those orders. Might be the officer, now pointing his gun at the driver, didn’t see her in the backseat. He therefore never would have noticed the colorful beads in her hair. He definitely knew nothing about the driver, a man who just shopped for groceries, a man who just had a family dinner and got his haircut earlier that evening. In less than two minutes she, four years old, watched one of the police officers shoot the driver again and again, then begin screaming at her mother. It must have felt like forever The driver fit the description He was following orders He was not the man Make no mistake, she still has a glittering voice. Possibly it won’t shine as bright for a minute. Certainly it glittered as clear and big as it could for her mother while fear worked a crooked mess last Wednesday night. Her voice a devotional from the car’s backseat: It’s okay Mommy I’m right here with you For Philando, Diamond, and Dae’Anna I don’t want to overstate or downplay the importance of the mural we created together. The power of any piece of art is self evident and not for the creators to decide. But what I think was undeniably good about it, was it created a new point of entry (or departure?) for people who need another way to protest. It’s not an alternative, it widens the scope of the protests. It assists the marches and occupations. It heals, because we know that while marching is important, it depletes people. The mural turns protesting into an ecosystem instead of an act. —Jeremiah Bey WHAT DO WE TELL OUR CHILDREN WHEN… EDUCATION DIDN’T MATTER. COMPLIANCE DIDN’T MATTER. AGE DIDN’T MATTER. YOUR GUILT / INNOCENCE DIDN’T MATTER. OUR OUTRAGE DIDN’T MATTER. STRAIGHT UP HD EVIDENCE DIDN’T MATTER. THE TRUTH IS OUR LIVES DO MATTER. I can’t sleep. Again. My jaw hurts. The eye tic replaced with clenching my teeth— Even in sleep. Images. Flashing lights, Police in military gear In formation on I94. A swelling crowd Whose anger, pain palpable on screen. Flashback: 1960’s Civil Rights Movement Flashback: L. A Riots Flashback. Flashback. Flashback. Flashback. Last year Last month Yesterday This election season How much more can we take? All those Facebook posts Swirling in my head: I am devastated I want to DO SOMETHING…but I don’t know how I don’t know what to say I don’t know how to help Someone tell me what I need to do to help make this stop… I will answer. I will lay out the steps. I will follow the example my ancestors laid down with their battered lives I will echo what has been eloquently written, powerfully spoken, consistently shown for generations I will say it with a new twist and in less words for our short attention span. I will… But first I must unclench my jaw, Acknowledge my rage on this never-ending journey of compressing a lifetime of trauma into capsules of resilience that are easy to swallow. So give the police departments to the grandmas, they are fearless, classy and actualized. Blossomed from love. They wear what they want and say what they please. Believe that. There wouldn’t be noise citations when the grandmas ride through our streets, blasting Stevie Wonder, Nina Simone, Marvin Gaye, Alice Coltrane, Jimi Hendrix, KRS-One. All that good music. The kids gonna hula hoop to it and sell her lemonade made from heirloom pink lemons and maple syrup. The car is solar powered and carbon footprint-less, the grandmas designed the technology themselves. At night they park the cars in a circle so all can sit in them with the sun roofs down, and look at the stars, talk about astrological signs, what to plant tomorrow based on the moons mood and help you memorize Audre Lorde and James Baldwin quotes. She always looks you in the eye and acknowledges the light in you with no hesitation or fear. And grandma loves you fiercely forever. She sees the pain in our bravado, the confusion in our anger, the depth behind our coldness. Grandma know what oppression has done to our souls and is gonna change it one love temple at a time. She has no fear. ​#​ PhilandoCastile​ , may you live again… …by us saying your name even though you belong to the ancestors now. — Dameun Strange Tryenyse Jones & Chitwood Media MISSIN’ THE MARK by TRYENYSE JONES from Chitwood Media on Vimeo . Myles Mayes, 14 years old Demar Douglas Angela Davis Jonah Blue Everhart Ara Elizabeth Schmidt Alma Sheppard-Matsuo All proceeds of sales from another print by this artist benefit Black Lives Matter Minneapolis. Quito Ziegler Nikki McComb Alexander Hage Stephanie Morris Lou, Loulure Jared Hanson Deborah Saul Jenni Undis Hannabah Blue and Jolene Yazzie CStreet Suzanne van Dyck I am a white, 49 year old woman who resides in one of the wealthiest communities in the Twin Cities. I stand in solidarity with brown and black skinned people. The house I live in, the car I drive, the land my house is on were stolen from (Native Americans) and obtained on the backs of brown and black skinned people (slavery). I am the beneficiary of others’ loss (the land I live on was owned by the Dakota Sioux Tribe) and the dehumanizing enslavement of people of color. Philando Castille’s murder…I have no words. Elana Schwartzman HEADER PHOTO: BOBBY ROGERS For a comprehensive and thoughtful guide to contributing, participating, and supporting the #BlackLivesMatter movement: http://www.guante.info/2016/07/a-few-resources-links-and-readings.html Guide collected and written by Guante. I see you. I see your Facebook posts and tweets calling for racial reconciliation in light of last week’s compounding tragedies. I see your vision for unity and peace, for America to bridge the racial divide that keeps us at odds. I hear it in your preaching and in your worship. And in the articles you write, the conversations you keep, the rhetoric you speak before an aching world. To many people, your request sounds noble. Godly even. But not to me because I have watched you over these past few years. I saw you in 2014, when Eric Garner, John Crawford, Mike Brown, Ezell Ford, Tamir Rice, Tanisha Anderson were killed. And I saw you again in 2015 when Natasha McKenna, Sandra Bland and Kindra Chapman – all black women – died in police custody. That same summer, I saw you after a white supremacist executed nine black church goers in Charleston. I saw you after the fires wrecked havoc on other black churches throughout the south. I saw you after Jamar Clark. And after #PulseOrlando. And tragedy after tragedy that targets black and brown bodies – irrespective of their occupation, education, religion, sexual orientation, or income. And I saw you last week when Alton Sterling was killed in Louisiana. And after Philando Castile was killed in Falcon Heights, not five minutes from where I live. And after each tragedy, after each loss of life you said nothing. There were no posts mourning the lives of these black men and women. No sermons preached from your pulpit urging our country to do better. No think pieces critiquing structural racism and white supremacy that leads to the continuous loss of life either by the hands of a police officer or a self- appointed keeper of the law. You did not mourn. You did not speak. You were silent. And that silence spoke volumes about how much you truly value all life. During a peaceful Black Lives Matter solidarity protest in Dallas, TX, five police officers were tragically killed and many more wounded. It brought further pain to many in our nation who were already grieving Alton Sterling and Philando Castile, and who were still processing the massacre in Orlando last month. The disregard for life in our nation is both glaring and disturbing. But I saw you after Dallas. And for the first time, I heard you speak. For the first time, I saw you take a stand on something other than gay rights and abortion. I saw your tweets and your Facebook posts. I heard your sermons. I listened to your worship. And in them, I heard your call for racial reconciliation in a broken nation. Yet your call rings hollow and it cuts the soul because you refused to see the need for reconciliation when black men and women were being killed in the streets. You did not call for justice when Sikh worshippers were killed in their temple. Or when black worshippers were killed in Charleston. How I prayed that you would! You did not lift your voice demanding change when a twelve year old – yes, a twelve year old – was gunned down for being a kid. Or when Sandra Bland was profiled, arrested, and eventually killed for driving while black. Where was your grief then? Where was your godly vision of justice then? It was absent and you were silent because speaking up about these was too costly. And so now, your vision for peace and reconciliation falls short. Your calling the people to pray and mourn only after cops were killed actually stinks. For years, for years we’ve been crying out for justice and mercy – not only did you refuse to heed that call, but you demonized those who did. For every #blacklivesmatter and #nativelivesmatter tweet there was, you insisted #alllivesmatter while ignoring the plight of the very people who were protesting. You cared more about Cecil the Lion and that dang gorilla than us! But you could not see. You refused to see it then. You refused to see the value in your black and brown siblings, you refused to defend our image. You simply can’t call for peace when you can’t stand for justice. Says the LORD, in Amos 5.21 – 24: 21 “I hate, I despise your religious festivals; your assemblies are a stench to me. 22 Even though you bring me burnt offerings and grain offerings, I will not accept them. Though you bring choice fellowship offerings, I will have no regard for them. 23 Away with the noise of your songs! I will not listen to the music of your harps. 24 But let justice roll on like a river, righteousness like a never-failing stream! If your vision of reconciliation only includes those in uniform and does not extend rights and justice to Black people and does not include LGBTQ community members, and Muslims, Latinos, Asians, and Native Americans, it falls short. If you cannot see that reconciliation is more than just peace and a “kumbaya, let’s come together and go along to get along” sort a thing, it is inadequate. True reconciliation has to take into account the history of injustice that has led to the current state of affairs. It has to address the history of genocide, colonization, slavery and profiling that consistently results in the loss of resources, land, and life. If your vision does not start with this, it not only grieves me, but it grieves the Holy Spirit too. Originally posted on Ebony’s blog on intersecting faith and justice. Photos by Adam Iverson . 2016-08-03 21:49 Rita Farmer

13 alex dornier proposes tennis club in bali german architect alexis dornier has shared his architectural vision for a tennis club located in the tropical island of bali. defined by its dynamic roof canopy, the tennis club’s main building acts as a spine for spectators alongside two red clay courts – one of which are sunken. alex dornier‘s proposal is defined by two different volumes: the lower floor being the utilitarian solid base of brick, and the three connected A-frame bridge structures connecting to the roofs upstairs. the main deck is comprised of the shower facilities, lockers, bathrooms, kitchen, office and storage spaces. meanwhile, the overhang created from each bay becomes the arches that is supported with rafters, spun of a cautionary truss hung between each of the A-frames. the bowing arches form the roof; this expressive construction giving the building an overall sense of movement and rhythm. the lower floor is seen as a solid base rendered in brick under the main deck there programs such as showers, lockers, bathrooms, kitchen, office and storage spaces the overhang of each bay become the arches – those are supported with rafters from the south the building appears entirely as a single story building there would be two red clay tennis courts – one of them sunken 2016-08-03 21:01 Natasha Kwok

14 14 china's elevated bus soars over cars in first test drive giant elevated bus straddles and soars over cars in first test drive in china the world’s first elevated bus has taken its first test drive in china’s qinhuangdao, hebei province this week. the giant vehicle spans 22 meters long, nearly 8 meters wide, and reaches almost 5 meters above the tops of cars, soaring over traffic, decreasing gridlock, and speeding up ordinary vehicular travel. accommodating more than 300 passengers, the bus straddles the road, allowing personal vehicles to pass safely underneath. developed by TEB technology, the massive bus occupies two lanes and comprises two layers: the upper is used for carrying passengers, and the lower is hollow. vehicles under 2 meters in height can pass underneath, whether ‘TEB-1′ is moving or stopped — with speeds up to 60 km/h. powered by municipal electricity and a solar energy system, TEB can be suitable for both large and medium-sized cities. china’s xinhua news agency reports that the governments of brazil, france, india and indonesia have already expressed interest in TEB. a scale model of the design first debuted at the china beijing international high-tech expo earlier this year: 2016-08-03 19:18 Nina Azzarello

15 mercedes benz urban eTruck is first completely electric truck mercedes benz urban eTruck is the world's first completely electric truck daimler trucks has unveiled for the first time an all-electric truck with a total maximum weight of 26 tons — the mercedes benz urban eTruck. with this technology distribution services throughout cities in the future will be given extraordinarily silent, heavy vehicles that produce zero carbon emissions. eTruck is the first vehicle to transport goods with all-electric traction and a total permissible weight of 26 tons daimler expects to bring this technology to market at the beginning of the next decade. since 2014, the german corporation has clearly demonstrated the suitability of a pure electric- powered truck for daily use. the development of electric trucks up to series production is a mainstay of the daimler strategy to further consolidate its technological leadership. features up to 200 km of autonomy plus has the carrying capacity comparable to a diesel vehicle wolfgang bernhard, member of the board of management of daimler trucks and buses said, ‘to date the use of electric motors on commercial vehicles has been extremely limited. today’s costs, power and charging times are improving so rapidly that it makes us predict a new trend in the world of distribution services: the time is now for the electric truck. now, with the mercedes-benz urban eTruck, electric driving has made its debut in heavy distribution services up to 26 tons. we aim to establish ourselves as pioneers in the development of electric vehicles exactly as it was for those with autonomous driving.’ series production for the distribution service is expected early next decade 2016-08-03 18:45 Martin Hislop

16 How Action Bronson Ended Up Getting High and Watching 'Ancient Aliens' Action Bronson and Friends. Photo: Mike Taing. Images courtesy of VICELAND The first time that Action Bronson got high and watched Ancient Aliens in front of a camera, VICELAND producer Hannah Gregg didn’t know what to expect. She and executive producer Jordan Kinley knew that getting to broadcast—on cable television—a show that consisted of a rapper watching cult TV, smoking weed, and talking shit with his friends was a little more than a longshot. But after the 4/20 special, Traveling the Stars: Action Bronson and Friends Watch Ancient Aliens aired, Kinley and Gregg were certain they had something unique. A love for all things experimental, as well as a group of angry Ancient Aliens fans, encouraged Kinley and Gregg to pursue the outrageous, hilarious, and often unexpectedly philosophical series. The third episode of Traveling the Stars: Action Bronson and Friends Watch Ancient Aliens airs this Thursday at 11 PM on VICELAND. The Creators Project sat down with Kinley and Gregg to discuss super expensive bongs, what Ancient Aliens has taught them, and the famous guest appearances on the show. Action Bronson in Episode 2 The Creators Project: So, how did this come about? Jordan Kinley (JK): We were looking for unique ways to introduce VICELAND to the History Channel Two audience because we were taking over the channel. We found out that Ancient Aliens was Action’s favorite show and we were told if you get Action in a room and he’s allowed to smoke weed and watch Ancient Aliens , you’ll get gold. Hannah Gregg (HG): I think we were especially interested in it because there were all these people that were really mad that History Channel Two was gone and this was a great way to address their anger in our own way. JK: A lot of the style of the show came from interstitial content we made originally as a part of Vice Lab, a new department that was charged with innovating the traditional commercial break. That’s why I was always really interested in this show—its an organic evolution of different ideas and techniques we’ve been experimenting for over a year. It’s a show that can only be made right now in 2016 by VICELAND... like, the planets aligned in such a way to birth this beautifully bizarre show. Simon Rex in Episode 3 How much weed do you go through in an episode? JK: I think the way to quantify is that my favorite thing to do after we’d shot everyday was to walk into the dressing room and there’d be weed discarded like trash on the floor. Someone [would get] frustrated rolling a blunt and just throw it on the floor. At one point, Action and friends started playing football with a giant bag of weed. HG: There were hay bales of weed rolling by. What are you most excited for fans to see? JK: I think that the season finale is a real banger. It's the culmination of the evolution of the series. Earl Sweatshirt is on fire throughout it and Too Short plays "Blow The Whistle," a song very near and dear to my heart, having grown up in the Bay Area. HG: I don’t think you get to see that many shows where somebody walks on set and we literally will not tell them what they’re supposed to do. You’re watching them authentically figure out what the fuck is going on. Eric Andre said, “What the fuck is this set?” He was like, “It’s truly experimental television.” That was the biggest compliment you could get. Action Bronson. Photo: Mike Taing What have you learned about Ancient Aliens ? HG: They love to use pictures of baby alien fetuses. JK: Seeing these counter-theories presented, you kind of realize that you have an emotional connection to the [original] theories. You feel kind of lost when someone questions the historical narrative you’ve been taught. I don’t believe much of what’s talked about in the original show but I think it’s a good time for people to realize that some of our history is manufactured. Some of it is manufactured to be accurate, and some of it is manufactured to excuse horrible things that have happened. Tyler the Creator in Episode 2 What do you think you’ll remember 20 years from now? HG: Melissa Etheridge. She came on and she just told Bronson “I admire you so much because you said this is what I wanna do and then you made a living off of it.” And that just summed up the whole show to me. JK: I think that deep down everyone is not having fun right now. People are afraid of things, the world’s fucked, no one has any money, and I think that this show is a document of friends having fun. Action Bronson and Melissa Etheridge in Episode 5. Photo: Mike Taing Big Body Bes, Action Bronson, Knxwledge and The Alchemist. Photo by Evidence. Watch the third episode of Traveling the Stars: Action Bronson and Friends Watch Ancient Aliens on Thursday August 4th at 11 PM EST. Related: Snoop Dog Launches High-End Weed Brand The By-Women-For-Women Head Shop Burning Weed Bro Culture Down This Exhibit Pairs Pot Paintings with Their Own Strain of Weed 2016-08-03 18:15 Francesca Capossela

17 Yves Salomon Is on the Move The French furrier is moving its showroom and press department to a 5,380- square-foot space on Rue de Castiglione in Paris’ 1st arrondissement, which will be officially inaugurated during the upcoming Paris Fashion Week, which begins late in September. “It was important for us to have more structured space to present our different collections, while growing our newer categories, including men’s wear, children’s wear and capsule lines,” Yves Salomon, the firm’s president, told WWD. In addition, the showroom will also include the main collection and the Army line, with a sportier take and a series of military parkas among its strongest looks. (Model Bella Hadid was recently spotted wearing a denim parka with fur from the Army summer line.) There’s also the Meteo collection, which cycles in more color to attract a younger customer and that will debut a summer range for 2017, as well as accessories. For Yves Salomon’s fall 2016 campaign, lensed by Christian MacDonald, there are seven visuals featuring model Aneta Pajak in New York. In one image, she wears a jaguar-print fox coat. The ads are slated to break later this month in magazines, starting with the September issue of U. S. Vogue. The label’s other departments, which include skin, manufacturing, style, modeling and fitting, will remain at Cité Paradis in the 10th arrondissement. Yves Salomon, whose family business dates back to 1920, currently counts around 500 points of sale. It has nine freestanding stores, including three in Paris, one in New York and one in Aspen. The furrier plans to open a boutique in Megève, in the French Alps, in December. It will present its latest collection on Oct. 2. 2016-08-03 17:51 Laure Guilbault

18 18 Anyone Who's Been Heartbroken in a Big City Will Understand This Film Images courtesy of the artist With their classic looks, granular characters, and highly curated soundtracks, the gritty retro animations of Giles Pates could have been Adult Swim bumps, but I found them on Instagram. First, the New York City native animator wrote a 52-page novella entitled Quincy And The Delicate Dandelions , a sort-of memoir that chronicles a string of his own failed relationships over a span of seven years. The story is filled with drug trips and awkward sexual encounters, and is written in a vulnerable and authentic voice that should make it accessible to all kinds of viewers. For the sake of anonymity, he uses names that reflect his characters' geographic origins, as well as elements of their personalities—The Minnesota Monarch, The Polish Paper Wasp, to name a few. The sentiments are real , neither overtly romantic nor whimsical like too many love stories today, and every now and then they contain profound existential observations about love, life, and relationships. Pates then turned his novella into a five-minute, dialogue-free short film, AOMI , which he wrote, directed, and stars in. Although the movie is based on the written story, Pates doesn't hit you over the head with references to his novella. Instead, he instead leaves it up to the viewer to find visual associations with the writing. Though it's a small production, with its fantastic score, and beautiful shooting, it perfectly captures scenes any young person living and loving in the Big City will recognize. Despite his background in animation, Pates chose to insert his graphics sparingly, as if they were reminders of their author's origins. The subtle cartoonish markers work as clues to the storyline, guide the viewer’s eye and forcing it to focus in on certain areas of the frame. It’s important to note that this story is entirely autobiographical. Pates makes this a point in the creative scrapbook he shares with the project: featuring different mementos and trinkets in the story, it almost feels like evidence. Pates also attached a color key card inside the book to assist viewers in discovering different things about the women in the story, like their ages, levels of intoxication, and whether or not they were smokers, drug lovers, or even American citizens. In addition, Pates and his production team put together a process book that follows the making of the film, from open call Facebook posts, to crumpled up screen directions. Interested in digging deeper, The Creators Project spoke to Giles Pates about his works. Watch AOMI in full, then check out our interview, below: •AOMI• from Giles Pates on Vimeo. This interview has been edited and condensed for clarity. The Creators Project: What inspired you to write something in the first person? / Did it start as a sort of diary? Giles Pates: This story is 100% autobiographical. In regard to any art form, I always find that fiction is never as powerful as something truly experienced. We live in a society of constant oversharing but its rare to see someone share the nitty gritty dark crunchy parts. There's always embellishments or abstractions. I lived this story and it became a part of me. I figured if I was going to tell my story I would leave no stone unturned. People might find this project to be slanderous, thinking to themselves “OOOOO the boy got burned and now he’s out for revenge.” This was never my intention and those who consume the project in its entirety will see it for what it is; a keepsake. One of the main reasons I did the project was to remember things soon forgot. All of us have experienced love in one way or another. We all speak on love and infatuation but we rarely pay homage or even notice to the loves of our past as if we never knew them at all. I personally didn’t want to forget the loves of my past or the lessons I learned from them. I didn’t want them to be a passing mention in a much larger conversation. I wanted to remember those from my past and who I was with them, both the salty underbelly and the warm gooey times. How do you think music contributes to the experience? I think that it is the backbone of the project. It is the glue that holds it all together, making seven years of my life feel like one moment. A little less than a year ago today, I was sitting on the windowsill of a Bed-Stuy apartment watching the rain fall onto a street I was all too familiar with. While contemplating my next creative endeavor, the song "Solace" by Earl Sweatshirt began to play in the background. "Solace" is a 10-minute experimental piece about the trials and tribulations of Earl's past, present, and future. It's essentially a collage of samples and feelings. Earl composed the track to speak more through the sound than the words themselves, so when I began this project I wanted to use the same approach—using samples and moving compositions to fill in the blanks. In regard to the film, I deliberately wrote the script without dialogue. I wanted the samples and the film to say something deeper than dialogue ever could. This also allows the audience to place themselves within the story and come to their own conclusions. The musical selections for the novella were tools to help the audience get closer to the way I intended the book to be read. In the Scrapbook, the music was a window into the essence of who these women where and how I saw them. Having synesthesia gives me great insight into describing the embodiment of these women without words or pretty pictures. In short, I wanted my audience to be as close to the project as I was. I wanted them to feel what I have felt, also leaving room for them to include themselves and their experiences as well. The only conceivable way being music. How do you see the city’s role in this story? I believe that the three cities in which my story takes place play a more vital role. Our surroundings are everything. They dictate how we feel and how we react at certain moments in our lives. My novella takes place in Chicago, New York City, and Paris. Each city changed my perspective on life and those I share it with. Ive always remembered Chicago for its nights. For its contrasting architecture, its light, the looming danger around every corner and its introspective quality. I've always seen New York for its early mornings and late evenings. Its always been a place of solace and reflection. A place for me to lay my head and bring life to the things I have seen. When thinking of Paris, I see natural light and romance. It's a place of history that brings about perspective. A perspective that reminds you that yourself and everyone around you will be just another blip in time and that the most important thing in this world is the people in it. Things may come and go, but usually the thing that will make you whole is a soft smile and good conversation. All of these perspectives blend together to create the highs and lows of this project. They all bring clarity to the complex and often convoluted nature of one's own story. You use the word sin a lot in your writing. What does that word mean to you? I find inspiration in sin. When looking back at my life, I always find moments of sin to be some of my clearest memories. I find solace in sin because oftentimes I learn so much from it. For me, sin isn’t a singular act but many in a short period of time. When I find myself in moments of sin I let it engulf me, it's not just one act or moment, but a tidal wave of it. Allowing it to highlight some of my best and worst qualities. I've learned from sin, learned about love, hate, fear and doubt. I let my most animalistic of tendencies break free and when the storm is over I see myself clearly. I think thats why I am so drawn to it, it strips me of the bullshit and shows me who I really am. You used your animations sparingly in the film, why? How do you think the subtle animated graphics enhance the film? In the start of the process, I wanted the animations to be loud. I wanted the project to be equal parts film to equal part animation. Day after day I slowly whittled it down. After finishing the entirety of the project I had drawn over 200,000 frames but only used 5,110. I realized too much animation completely detracts from the story I wrote and was a dishonest approach to my vision. I wanted people to see how we remember our feelings. In the moment, as we experience happiness or pain it consumes us. But as time goes on you can only faintly remember the feeling, Distant and yet so close. Its more about the wild actions you took because of those feelings. I knew that the best approach to telling the story I lived was to approach the animation side of the project honestly without detracting form the story I wanted to tell. You can check out more of Giles Pates’ work on his website or Instagram . Related: Minimalist Animation Pays Homage to Great 90s Pinball Machines Get Down with Cookie-Headed Dancers and a Rapper'sCartoon Belly Dark Political Cartoons Show How Technology Is Our New Master 2016-08-03 17:35 Nathaniel Ainley

19 Anna Wintour, Marc Jacobs and the Fashion Set Toast Amy Astley, New Editor of Architectural Digest Last night, Spring Place, the expansive member’s only event space in TriBeCa, had somehow turned into a congested corner with a steady stream of fashionable types paying homage to Amy Astley , the new editor in chief of Architectural Digest. It was hard to see Astley from afar, apart from the occasional parting of the crowd, which stepped aside as the editor greeted guests including Anna Wintour , Marc Jacobs , Aerin Lauder, Tommy Hilfiger, Joseph Altuzarra, Jason Wu, Ralph Rucci, Amy Fine Collins, Amanda Brooks, Simon Doonan and Jonathan Adler. The fashion-heavy group was there to toast Astley’s first full issue since taking the helm and, fittingly, it was the magazine’s September style issue. The crush of the crowd temporarily dissipated and reassembled near Jacobs, who strolled in with two dogs. “Doggies!” said a partygoer, who shrugged when it was noted that the celebrated designer was the man holding their leashes. Photographers circled Jacobs and Astley, snapping photos, while the dogs received pats on the head from guests. Perhaps it was fitting that the dogs were getting much of the attention — Neville, Jacob’s bull terrier, is the cover model of AD’s September issue. Astley featured Jacob’s home in the issue, but instead of using an image of the designer on the cover, she decided to go with Neville , who has a robust Instagram following of 190,000. (Jacobs’ personal account has 552,000, which isn’t bad for a human celebrity.) “The September issue, I think gives you a strong sense of where I’m going,” said Astley, who sidestepped the crowd for a few moments to chat. “I loved all the personality in it, and the sense of life of bringing the houses to life. I love an interesting person living an interesting life in an interesting house. I’m very much driven by that.” She offered that she wouldn’t be making a habit of using celebrities on covers — or their pets. “It’s really about a great interior — it’s Architectural Digest,” the editor said, but explained that in this instance she “wanted to have fun” and infuse the magazine with “a little humor.” Astley, who served as the editor in chief of Teen Vogue since it launched in 2003, said she has come “full circle” in her career. “I started at House & Garden and know so many of the people in this room from that world,” Astley said before turning to her mission for AD. “Now when you edit a magazine, you think, ‘what would be exciting that I can translate digitally?’ ‘How can this content live in print, live on a web site, live on a social platform?’ That’s something I did so much of at Teen Vogue. I got to really hone that.” As the night wore on, another key guest arrived: Wintour , Condé Nast artistic director and Vogue editor in chief, who dropped by after making an appearance at an earlier party. Wintour circled the bar before making her way to her protégé, whom she put in the top job at AD and Teen Vogue before that. “Congratulations,” said Wintour with a smile, as she embraced Astley. The two posed for photos and had a quick chat before Wintour was out the door and on to the next thing. 2016-08-03 16:59 Alexandra Steigrad

20 Sarah Jessica Parker, Julianna Margulies Attend the ACE Awards The ACE Awards marked its 20th anniversary with a ceremony and formal dinner hosted at Cipriani 42nd Street in Manhattan. The flagship event of the Accessories Council saw brands like Ray-Ban and Coach and entities like Kering and Bergdorf Goodman take home awards for their respective work. “It’s hard to believe that 20 years have gone by and I’m very excited to be among a handful of people who have been to all 20 ACE Awards,” said Accessories Council president Karen Giberson . The event, which is typically held in November, changed its course this year to August — as its original date fell the evening before Election Day. Nonetheless, it is presently market week in New York, with expo centers such as the Jacob K. Javits Center playing home to football fields’ worth of accessories commerce — where vendors have reported an uptick in orders. “When times get tough, people get innovative. People had to dig deep and reinvent themselves, and what you see is the result of a lot of hard work — not just trying the same old thing,” Giberson added. At ACE, the awards presentation ceremony yielded a handful of celebrities: Sarah Jessica Parker , Julianna Margulies and Debra Messing included. “A purse that holds nothing — the new industry standard,” said Margulies while accepting a minaudière statue for the Style Influencer Award alongside “The Good Wife” costume designer Dan Lawson. Her friend Narciso Rodriguez introduced her. “I forgot my bracelet and am wearing my napkin ring; you’ll never find that at another awards show,” she added, pointing to her wrist full of Swarovski friendship bracelets that had indeed surrounded napkins. Her fellow actress Parker won the Brand Visionary award, while other recipients included Stuart Vevers, creative director of Coach, for Designer of the Year; Ray-Ban for Brand of the Year; Barbara Bradley Baekgaard, cofounder of Vera Bradley, for the Humanitarian Award; Marie Claire for Media Award; MCM for Trendsetter, and factors Rosenthal and Rosenthal Inc. for Business Leadership. Industry attendees, including designers and retailers, were already exhibiting stressful signs of the approaching New York Fashion Week. Issues like delivery schedules presented themselves as more popular conversation topics than the typical August vacation fodder. “I think it’s one common theme everyone I know is talking about. There’s never been a time in my career — 25 years — that there’s been a more abrupt and radical shift. Things are moving, everything is evolving — no, not product moving, that’s probably one thing that’s not moving. There are a lot of mechanics to the industry that need to shift. That’s why I think for the next couple of years things will kind of shake out. The challenge is exciting,” said recently appointed Tiffany & Co. creative partner Reed Krakoff, at ACE to present Paul Andrew with the Brand Launch award. Proenza Schouler’s Lazaro Hernandez, there to present Bergdorf Goodman with the Retailer of the Year Award, said: “I think it’s an exciting time for fashion, to be true to yourself and do something better for the world — add something to world, not make something wasteful. We are definitely conscious of that.” His partner Jack McCollough concurred. “I think people are changing way they shop to that buy-now-wear-now mentality. They want to buy something they love and want to wear it right away.” Kering’s Head of Americas Laurent Claquin, at ACE to accept the Sustainability Award for the company, feels that the industry will evolve organically — without a sudden shift in its operating procedure. “It’s really up to the brands and the customers. I know a lot of customers already bought fall pieces, including people from Latin America. Things are evolving, it’s a case-by-case,” he said. Bergdorf Goodman president Joshua Schulman, who accepted Retailer of the Year on the store’s behalf, agreed that there are a variety of shopping mentalities today. “I think there are lots of different models — I think right now is such an exciting time, and it’s allowing customers so much more choice. There are some customers by August 15th, they want their boots and other people aren’t going to think about it until December 1. I think that’s a challenge for the brands and a challenge for us retailers. But it’s pretty exciting for retailers — we have to be everything that our customers are asking for,” he said. 2016-08-03 16:57 Misty White

21 Dreamy Music Video Turns London Dancers into Demons Images courtesy of the artist “Don’t wake me up from this,” The Ramona Flowers insist in their upbeat and catchy new single, " Skies Turn Gold. " Meanwhile, in director Fx Goby ’s music video for the song, characters in separate locations across London dance in a sort of dream-state. As a young woman on a night bus, a young man at a bar, and a couple hanging out with their friends are seemingly possessed by the urge to dance, their physical bodies begin to change. The woman on the bus suddenly has hair falling out of her pants and sweater. The man at the bar’s face turns demonic, with crystal spikes sticking out of his forehead. The couple are covered in shimmering gauze and wound together. The entire music video was shot in a single day and night around Hackney in London. Fx Goby wanted to incorporate previously existing footage of the band, however, which proved challenging. He eventually found a way to combine the footage with the video by having characters watch The Ramona Flowers perform, throughout the video, on their iPhones and TVs, giving the sense that their magical dance-reveries are indeed inspired by the delightful track. Fx Goby explains that he wanted to represent the “state of semi-consciousness when the brain works without filters.” Check out "Skies Turn Gold" below. “Skies Turn Gold” is off The Ramona Flowers’ forthcoming album Part Time Spies , out September 9th on Distiller Records. Click here to visit the Fx Goby's website. Related: A Hybrid Video Game/Music Video Dives Inside an Underwater Alien World Dive into Deep Dream Infinity in These Trippy Music Videos [Premiere] Beyond Dreams: Arcade Fire’s New Video For ‘Afterlife’ 2016-08-03 16:35 Francesca Capossela

22 perezochando provide a quiet space for reflection with the ara armchair for missana perezochando provide a quiet space for reflection with the ara armchair for missana perezochando is a valencia based design agency who specialize in product design and art direction. the ‘ara’ armchair designed by the studio, has been crafted to suit the modern day workplace, through its all-encompassing form, that shields the individual from a hectic day at the office. perezochando developed the chair for spanish furniture retailer missana. ‘ara’ contains a long vertical backrest that wraps around the body of the seat, using textured upholstery in order to provide comfort and relaxation. the secluded area allows for privacy and reflection, supplying one with the option to gather their thoughts in a space where they can be undisturbed. the furniture piece also includes a small table, for one to place their, laptop, tablet or reading material. the chair includes a surface to place your computer or tablet designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-08-03 16:30 www.designboom

23 Los Angeles’ Museum of Contemporary Art Draws Chloé, Margiela, Céline and More Los Angeles’ art scene is enjoying its place in the worldwide limelight, and that shine comes partly from the fashion world. L. A.’s splashiest museum benefits have long been supported by major design houses. Gucci owns the Los Angeles County Museum of Art’s Art + Film gala, now in its fifth year; the brand has also sponsored the Hammer Museum’s Gala in the Garden, which has been supported by fellow Kering brand Bottega Veneta for the last three years. The Museum of Contemporary Art’s annual benefit has had fashion sponsors ranging from Louis Vuitton to Chanel to Guess’ Maurice Marciano (who is also MOCA’s co-chairman of the board). The latter museum, under the stewardship of Paris-native Philippe Vergne, is extending its reach into the fashion sphere. Last year, MOCA threw an event at the Chloé store on Melrose place (with additional support from W magazine), and this year it plans to do the same, next month timed to the big Doug Aitken “Electric Earth” show. Maison Margiela will also sponsor two dinners for artists mounting shows at MOCA: R. H. Quaytman’s “Morning: Chapter 30” and Mickalene Thomas’ “Do I Look Like a Lady?,” both in October. In addition, its diffusion line MM6 will stage a pop-up shop in MOCA’s museum store. November will see an event in conjunction with Céline, and December the museum will mount an exhibit of Rick Owens’ furniture designs. This would mean that designers Clare Waight Keller, John Galliano and of course Owens may also be making appearances in Los Angeles, and will no doubt multitask with retail, sourcing and even possibly tech-world meetings at the same time. Other companies that are said to have been circling the institution include Hermès, Burberry and Instagram. Word has it a high-profile musician may also be considering using the museum for a one-off event. 2016-08-03 16:27 Marcy Medina

24 New Designer Spotlight: Stephanie Rad Stephanie Rad could never find a great pair of pants — ones that “accentuated, lifted and tucked in the things I wanted to hide…ones that I could wear to work in the morning and go out to dinner in.” Adding that “no one wants to go home and change before they go out,” her frustration with the market led to enterprise: Rad’s namesake label, which launched this week for pre-order in a trunk show on Moda Operandi, offers seven different pant silhouettes within a greater collection of relaxed separates and suiting. “I thought, how could I create an outfit that catered to a modern woman?” she said. If her design ethos seems rather straightforward, Rad’s path to design was a bit circuitous. Growing up in Long Island, she spent her summers clocking in as a shop girl at local boutiques, eventually landing a job at denim label Rock & Republic right as it was launching in the early Aughts. After earning a degree in design and management from The New School’s Parsons School of Design, she worked for Michael Kors , where her responsibilities included licensing, brand development and public relations, and a few years later alongside Stephanie Winston Wolkoff at the SWW Creative agency. “[Wolkoff] and I took fashion brands and married them up to different industries — from entertainment to sports to technology to awards shows,” Rad said. “I was able to see how all of these different industries enhance each other.” She also spent several years working in commercial real estate: “It’s office buildings. Nothing sexy. But it gave me an amazing understanding of business, finance, accounting — a very important education for a new designer.” Rad began whipping up her first collection last April before shopping it around to retailers for feedback. “We did no p.r. I just said, ‘What are you looking for? What’s selling? Here’s what I’m looking to create. How do you think it’ll move?’” she said. “What’s happening in the sales side of our industry is so interesting right now and I wanted to listen and understand what customers are looking for.” She tweaked the looks accordingly, and her subsequent spring 2017 collection, which she considers her official debut, is marked by a sleek, minimalist aesthetic with an emphasis on fit and high-end fabrics sourced from Italian mills — most with a bit of stretch. Done in a neutral palette of black, white and putty, Rad’s first lineup features jumpsuits, dresses and separates with unexpected details, such as slits, zippers and mesh cutouts. Standouts include a hooded three-quarter sleeve tunic; pants with a sliced “car wash” hem and tomboyish, oversize suiting in textured white silk. “I think a little movement is important,” Rad said, noting the importance of fluidity, “while structure and lines convey strength.” Everything is meant to work together in a collectible wardrobe; she referenced “that old French way of dressing, with 25 pieces in your closet and 300 outfits.” The line, which ranges from $200 up to $1,400, is made in New York in Rad’s TriBeCa studio. Rad’s grandmother, who had all of her clothing tailor-made in Italy, remains one of her biggest influences. “I can still hear my grandmother in my ear: ‘Make sure your bag matches your shoes,’” she said. “All of the hardware on my clothing is silver and gold, so it reads warm and cold…It allows you to wear anything you want with it. It’s about those little details.” 2016-08-03 16:26 Kristi Garced

25 Pepe the Frog's Creator Talks Making Zine History Selection from the cover of Boy’s Club published by Fantagraphics. Photo courtesy of Matt Furie. The Creators Project is hosting a digital zine making competition called The Offensive. From now through August 17, you can enter by creating a zine and tagging it #TCPOffensive using the all-new zine-making platform, Zean.it. For more information, click here. Pepe the Frog, one of the main characters of Matt Furie’s cult classic Boy’s Club , has taken on a life of his own in viral meme infamy. But the Boy’s Club books themselves, which feature four best buds as they smoke, drink, puke, and party their way through life, started in the form of small-run zines, and have gone on to achieve immense underground success. The Creators Project recently spoke to Furie about the humble beginnings of Boy’s Club and how to succeed in the zine scene. A two-page spread from the original Microsoft Paint Boy’s Club progenitor Playtime. Photo by and courtesy of Matt Furie. The foundation of what would become Boy’s Club “started in a little zine I made on Microsoft Paint that was called Playtime ,” says Furie. “And it featured Brett and Pepe and I made a really small run of these funny little drawings.” When it was time to turn that work into something more substantial, Furie says he took inspiration from “the zine culture that I saw in San Francisco. I would go ride my bike to the Kinkos and make them [issues of Boy’s Club ] myself.” Cover for Boy’s Club #1. By Matt Furie. Photo courtesy of Matt Furie. Furie says he was surprised by the success of Boy’s Club . “It started off pretty small and a lot of the jokes, and the vibe of the comic book itself, was really just to entertain myself and my friends. They’re just little critters who represent my early-20s lifestyle. And I was doing it because I thought it would be fun and funny, and it grew from there. I handmade the first run of the first issue, and then a guy named Tim Goodyear up in Portland, Oregon published the first book through a publishing company called Teenage Dinosaur. He gave me half the run of the book, so I wound up with boxes and boxes of the book that I got to sell myself.” For inspiration into the content and creation of the books, Furie says he was “big into Paper Rad at the time, and I also like the comic book Frank by Jim Woodring , and that was pretty inspiring in terms of the look of the comic characters. The characters just evolved as I was drawing them. I had a vague idea, but there aren’t really storylines, they don’t really do anything, and it’s all just sheer absurdity and stupidity. So it was fun to just figure out the characters as I moved along.” Andy had a meltdown in the pages of Boy’s Club #1. Photo by and courtesy of Matt Furie. These days Furie works in fine art, showing original pieces at group shows in Los Angeles. But he’s interested in returned to sequential art, “I was looking at some Robert Crumb drawings and I thought it would be neat— because Boy’s Club is pretty streamlined, almost coloring book style, very minimal—so I thought it would be interesting to get into something more cross-hatched and densely detailed, more shadowed, more backgrounds. So I haven’t started that, but it’s definitely in the cards.” Pepe and Landwolf prepare for the new arrival. Selection from Boy’s Club #3. Photo by the author, courtesy of Matt Furie. Furie has advice for readers who may want to start their own zines. “Just do it for yourself, do it for fun. Half the battle is having a little creative space set up. I was working out of my bedroom for years and years, and if you have a little desk and your pens are ready, your paper’s ready, you do need a little habitat for creativity. You don’t want to get a spark, and then sit there and try to figure out where your paper is, where your pens are. You have to have a station ready. The funny thing about zines is that they can be anything you want. You don’t have to go through a publisher, or anything. Zines are a great way to do whatever the hell you want.” Matt Furie and his most famous creation, Pepe the Frog. Photograph by Betty Udesen, 2016. Photo courtesy of Matt Furie. To see more of Matt Furie’s work, check out his website. To catch up with Boy’s Club, get the collected works via Fantagraphics. L ike zines? Check out Zean.it , a new platform for zine-making. Make your own zine, tag it #TCPOffensive, and you'll be in the running to get printed and included as an insert inside the September Issue of VICE Magazine. Click here f or more information. Related: Submit Your Work to Our DIY Zine-Making Competition In Cold Love: Richie Shazam and Friends Brutalize Notions of Lust What to See, Hear, and Read at Printed Matter's LA Art Book Fair 2016-08-03 16:25 Giaco Furino

26 Giant Olympic Athlete Sculptures Soar Over Rio @JR Ever chasing a greater spectacle, street artist JR unveiled a whole new technique for his large-scale public artworks in advance of the Olympic Games in Rio de Janeiro this morning. He has revealed two towering sculptures, stretched across scaffolding overlooking the city. The first depicts 27-year-old Sudanese high- jumper Mohamed Younes Idriss soaring over a high-rise. "He missed out on qualification for the 2016 Rio Olympics but he is there some how [ sic ]," writes JR on Instagram. The other is an unnamed swimmer diving off of a cliff. Fresh off of a popular intervention in which he made the Louvre's glass pyramid "disappear," JR says that he has been working on his new technique for over a year. It combines his trademark massive wheatpastes with fabric tied to scaffolding that rises above his target. He calls the works "flying sculptures," and promises that there are, "More images and stories to come. " It's difficult to say whether these artworks are a celebration of the Olympics' international spirit, or a large-scale protest of what's shaking up to be one of the messiest Games in recent memory. With a still out-of-control outburst of the Zika virus still plaguing Rio and corruption and doping scandals breaking even before the games begin, JR's choice of an athelete not participating in the games this year could be a subtle middle finger to a sporting authority with a tenuous hold on the trust of the people. See more of JR's work on Instagram. Find your next favorite artist on The Creators Project's Instagram feed. Related: The Louvre's Glass Pyramid, Gone! JR and Darren Aronofsky Project a Silent Climate Protest Artist JR on Immigrants and How Art Can Change the World 2016-08-03 15:50 Beckett Mufson

27 Crack This Cypher to Reveal Alternate Universes Images courtesy of the artist Beautiful and strange black- and-white photos depict odd surfaces, eerie neon lights, and otherworldly objects. In one picture, an ancient bust is attached at the chest to glowing tubes, and has a shining cross stuck to its forehead. A crack runs down the side of its face. In another, these same glowing tubes create a river of light in a canyon, viewed from the sky. A typical image of natural wonder is perverted by the presences of these tubes, which recall hospitals, illnesses, and the supernatural. Several photos of skyscrapers, cast in light and shadow, accentuate angles and perspectives, making the buildings look odd and unstable. While scrolling through the project , an audio track plays, composed by the artist, Conor Grebel. Grebel, who is behind the visual art and music of Bedtimes , previously collaborated on Tycho’s music video for “see" and helped create THUMP ’s new logo earlier this year. The multimedia artist refers to the entire project as a “narrative frame piece”—a combination of images, music, and a cypher, a cryptic string of numbers placed at the top and bottom of the page. The cypher, Grebel explains to the Creators Project, tells the story of an alien satellite, hiding the narrative in a series of numbers which, when decoded, reveal the missing context of the photographs. This project was inspired by research into the possibility of multiple realities; these theories, Grebel says, drive him wild. In line with this, the project requires curiosity and skill to fully understand, but once decoded, offers a totally unique perspective. While ambiguous, the encoded story hints at other possible worlds and realities. The satellite, Grebel says came from another world—but which , is up to your interpretation. See more images from the project, and try your hand at the code, below: Click here to begin to crack Bedtimes' new cypher. Related: Tycho’s Otherworldly “See” Video Thump’s New Gunmetal Logo Dances to The Beat See How SFX Artists Shaped The Elements for Tycho’s “See” Video 2016-08-03 14:50 Francesca Capossela

28 Garry Marshall Will Live On in the Broadway Musical ‘Pretty Woman’ Last Spring, Garry Marshall told Vanity Fair that he would be in “a home for old directors” by the time “Pretty Woman,” the musical stage adaptation of his 1990 movie smash, arrived on Broadway. In fact, the legendary writer-director, who died last July, will never see the show. But he lived long enough to put in place a first-class creative team, led by producer Paula Wagner, which is fully capable of turning it into a posthumous tribute to him. Last May, Marshall announced that Tony-winner Jerry Mitchell (“Hairspray,” “Kinky Boots”) would direct and choreograph the musical, with songs to be written by Jim Vallance and recording artist Bryan Adams. Before he died, the director had been busy co-writing the libretto with J. F. Lawton, who wrote the original screenplay under the title “3,000.” That was a reference to the amount of money which corporate raider Edward Lewis, played by Richard Gere in the film, offers to street hooker Vivian Ward, the role that catapulted Julia Roberts to superstardom. The week that Vivian spends with Edward leads to a life-changing, fairytale romance. The rights to turn the film into a stage musical, controlled by Lawton and Disney, were highly sought by a number of producers before being awarded to Wagner. It’s not hard to see why it was such a hot property. The story of “Pretty Woman,” about a handsome businessman who falls for a fallen woman, contains several aspects that would point to a successful musical: a modern-day Svengali-Galatea fable mixed with elements of Cinderella. But the creators have quite a challenge on two counts: to flesh out what is a fairly thin, high-concept narrative; and to bring something original to an immensely successful film with an unforgettable star turn. Many hit films given the musical treatment — such as “Ghost,” “Lord of the Rings,” and “9 to 5” — have foundered because they have not provided compelling reasons to revisit the material at Broadway prices. This often happens if the original screenwriter is involved in the adaptation, since there is a temptation to stay too loyal to what worked in the movie. Marshall seemed aware of the necessity to deepen — and perhaps even darken — the characters of Edward and Vivian for Broadway. He told Vanity Fair that while the musical was going to be “peppy” because of Mitchell’s kinetic style, he also saw it as an opportunity to amplify his protagonists. “I always felt that creatively I didn’t do justice to Richard Gere’s character…. We wanted to get more into his background and what his relationship with his father was like.” He also noted that he wanted to make sure that Vivian was not seen as a victim in any way. “I don’t like women to be victims,” he added. “It’s time we stopped that.” Prior to Marshall’s death, the musical was aiming to be on Broadway by the spring or fall of 2017. No doubt, there will be any number of actors put forward for the lead roles. But one would think that Laura Benanti, the funny, sexy, and protean Tony-winning actor (“Gypsy,” “She Loves Me”) would be on everybody’s short list to play Vivian. 2016-08-03 14:43 Patrick Pacheco

29 A Navajo Artist Breaks Down His Tribe’s Urban Outfitters Lawsuit All images courtesy Lehi Thunder Voice Eagle Sanchez, unless otherwise noted. The Navajo, like many Native American tribes, have a rich cultural history. One great expression of the Southwestern native culture comes through the visual arts. The Navajo or Diné, as they are also known, have always been makers of mesmerizingly geometric blankets and rugs, with a great talent for silversmithy, particularly when it comes to jewelry. So that when Urban Outfitters used the Navajo name and patterns in 2001 for a line of underwear , not to mention other products like flasks and jewelry, the Navajo were understandably upset. For the tribe, it was cultural appropriation of the most unethical, or at least the most disrespectful, sort. The Navajo, who hold trademarks on the "Navajo" name, filed a federal lawsuit in 2012, arguing that Urban Outfitters violated trademarks and the Indian Arts and Crafts Act , which makes it illegal for any individual or company to falsely imply that goods have been made by the Navajo. Digital Man sketch by Lehi Thunder Voice Eagle Sanchez. All images courtesy the artist unless otherwise specified. In December 2015, a federal judge allowed the Navajo lawsuit to proceed. The lawsuit took a bit of a hit this past April when New Mexico district court judge Bruce D. Black dismissed tribe’s trademark dilutions claims when the tribe’s lawyers were not able to prove the Navajo name was “famous.” But Urban Outfitters and subsidiaries Anthropologie and Free People still face six other counts, including false advertising, trademark infringement, and unfair competition. Navajo artist Lehi Thunder Voice Eagle Sanchez is one of the Diné watching this case closely. Sanchez isn’t just watching as a concerned member of the tribe, but as an artist very much invested in the Navajo’s visual arts legacy, and that of the wider Native American peoples. Lehi Thunder Voice Eagle Sanchez, courtesy the artist. Sanchez, a multimedia artist recognized for his work with digital designs, oil paintings, sketches and photography, says a lot of his artistic influence comes from his parents. His mother hails from the Navajo reservation, while his father is a Totonac, a tribe just south of the US-Mexico border. (Sanchez and his father Ezekial Sanchez run the wilderness therapy program Anasazi , where they teach at-risk youth wilderness survival skills.) Growing up, Sanchez’ family always had beads, jewelry, and beautiful textiles in their home. On their walls hung paintings made by native people, both from the Navajo and other tribes. Though born on the Navajo reservation, his parents moved the family off reservation for his father’s job when he was two years. Even so, they visited the reservation often, which allowed Sanchez to be raised in both worlds, thus shaping his artistic approach. “Within the culture, my mom has taught me about certain patterns and symbols that have specific meaning,” Sanchez says. “Some of these symbols can be sacred and done as a ceremony, while others are to keep records or tell stories. I know there is big concern on what is being used from our culture and how it is being used by those outside of our culture. Regardless of one’s opinion, I feel communication between Native Americans and those using Native American cultural elements is paramount.” “Many people will look at a Navajo Rug and only see patterns,” he adds. “For the Navajos they see mountains, birds, plants, animals, even the traditional Navajo bun. In the old ways, creating a rug started with a prayer and each piece was given a meaning.” Sanchez points to sand paintings, an ephemeral type of art, to emphasize how much Navajo art is imbued with symbolic meaning. At ceremonies, intricate sand paintings are created that Sanchez says might take days to complete. And once the ceremony is over the Navajo wipe the sand paintings away. “The art created is not intended to be shared outside of that particular ceremony,” Sanchez explains. “Rather, it is used to symbolize the journey and represent the uniqueness of that present moment. When a sand painting is wiped away, it is gone, but what it represents is meant to be kept and reserved for those that were in attendance. The sacredness comes in the feeling provoked in the heart at the time of its creation.” Urban Outfitters obviously had no understanding of this approach to the arts when creating a line of Navajo products. They simply did it, then stamped the tribe’s name on it. There was, as Sanchez notes, no real consideration for the “copious amounts of tragedy and trauma” from past events that still hurt the Navajo. “I will be real with you, I think sometimes our people can be overly sensitive due to triggers from our past—I have been there,” Sanchez says. “In some ways, I am still sensitive about anything appropriating our culture. It was not too long ago that we were pushed off our land and put on reservations. It was not too long ago that we were taken from our families and forced into boarding schools where they cut our hair and gave us government clothing, and where we were beaten for talking in our language or of anything traditional.” The Navajo, he says, are still working their way through healing. They are also trying to find a new beginning. And this process is not in any way helped by corporate branded Navajo underwear, or even football teams like the Washington Redskins, with people advising native peoples to just deal with how they are characterized and used. “To us, it often feels like a slap in the face in the midst of trying to move forward,” Sanchez says. “Someone mentioned that that Urban Outfitters was trying to honor us. Underwear and some whisky flasks are not the way we wish to honor our elders.” Sanchez believes that if Urban Outfitters would have named their brand “Southwestern” or even “Native-inspired” it might have eliminated many issues that arose within the ranks of the Navajo tribe. But the moment they branded those underwear “Navajo,” the Diné were tied to the product. They never asked for a co-branding opportunity, and Urban Outfitters certainly didn’t either. “We feel as though they are trying to represent us with these underwear,” Sanchez says. “We did not create the underwear, and yet we are now associated with them. For me, it is like forging a signature on a painting.” Urban Outfitters did not want to remove the Navajo name from the product, and though eventually they discontinued the line of products, Sanchez believes the Navajo deserved a public apology from the company. “It definitely rubbed people the wrong way, and was not handled appropriately,” says Sanchez. “People desire to be recognized and heard, especially when they have felt otherwise since settlers landed on this continent.” This is why the lawsuit is so important, not only for the Navajo, but for all Native American tribes. Sanchez says there is a wide awareness of this lawsuit amongst First Nation peoples. They know that the outcome will set a precedent that could come to affect all tribes. “For a lot of other tribes, they can see where we are coming from because they share in the same past experiences and struggles,” says Sanchez, who credits the internet and social media with creating strong intra-tribal bonds. “Now with technology, all tribes are talking about issues like these. It has made it easier to keep up on events and other things going on.” Noel Bennetto, an artist and maker of Native clothing and accessories who is half Chiricahua Apache and Mexican Indian, is one such person. For her, what Urban Outfitters did is wrong on a number of levels, from the complete lack of corporate ethics to people ignorantly buying from an unethical source. “[There is] exploitation for their benefit alone and in doing so [it] continues to dehumanize American Indians as ‘other’ or ‘something’ of the past,” Bennetto says. “This implies that it's free for the taking since they are no longer present, or somewhat fictitious, an icon of the West, not an existing culture.” “In general I've seen Urban Outfitters and their other company Anthropologie rip off and reproduce many designs they don't have permission to use, from small independent designers to whole cultures as is such with this case,” she adds. “They are very much not alone in doing so, unfortunately.” Ho-Chunk member and Chicago-based comedian Casey Brown says that the Navajo lawsuit will legally reinforce the Indian Arts and Crafts Act of 1990. This, he says, will protect every tribe and their own traditional artistic expression. “I’m a member of the Ho-Chunk Nation of Wisconsin and we have a particular design of appliqué that is distinctly ours,” he says. “Artisans from other tribes do not make Ho-Chunk appliqué and sell it as authentic. Just as a Ho-Chunk artist would never make a Pueblo kachina doll—you’d get run off the pow-wow vendors circuit. To see your tribe’s name and designs on a flask or a pair of panties sold by a non-native source is not only offensive but illegal.” “For many Native American artisans, it’s not just a way to express and pass on their culture but their livelihood,” Brown adds. “Providing cheaper mass- produced versions of handmade pieces of that take countless hours to create cheapens the genuine product. For Urban Outfitters to sell Navajo designs under the moniker of Navajo shows colonization still exists. Many people think of colonization as dominant forces taking over indigenous land for their own use. But intellectual colonialism is the modern manifest destiny.” For Sanchez as well as Bennetto and Brown, there is a proper way to find and purchase Native goods. Sanchez points to the Indian Market in Sante Fe, New Mexico, where over 4,000 vendors from all over the country sell a wide assortment of amazing arts and crafts. “The first time I went, I was blown away by how many artists were still making textiles, jewelry, and art and doing it the old way and others that were adding their own flare with a modern twist,” Sanchez says. If people are looking for clothing, Sanchez suggests people check out the work of native artist Bethany Yellowtail. Sanchez calls Yellowtail’s traditional Native designs exquisite, while also offering praise for her efforts in speaking out on cultural appropriation. “Sho Sho Esquiro is another clothing designer, who I have become friends with, and am highly in support of,” says Sanchez. “Her high-end pieces incorporate traditional designs with her own modern styles, all inspired by her cultural background.” “Other designers such as Orlando Dugi are making an impact in the Native community,” he adds. “DesignHouse of Darylene is a new upcoming collective that spans from traditional roots to urban native punk vibes. Yazzi is another friend of mine who designs t-shirts (OXDX), and NTVS Clothing. He shares his messages with what he prints onto the clothing. I have a shirt of his that says ‘Native Americans discovered Columbus,’ giving another perspective on the Columbus story.” For his part, Brown suggests people go to a pow-wow. They are open to everyone, Native and non-Native alike. He says it’s a great way to meet people who create art and crafts. “Indian Country Today puts out an annual pow-wow guide for North America,” Brown says. “Pow-wow happens all year long but Memorial Day to Labor Day is when the biggest ones happen throughout the country and even close or in most urban areas. Beyond Buckskin has the best database of legit artists, including more contemporary designers, a blog about Native fashion, and an online store.” Bennetto says that those interested in tribal artworks should look up the local tribal office, then either call or write them asking about Native American makers. Sanchez suggests those interested in Native visual arts and goods visit the Facebook page Natives United. “Skip the cheesy trading post or fake replica crap,” Bennetto says. “Don't wear headdresses to music festivals (or ever) or offensive stereotypes of American Indians and say you're being respectful or think it's okay because ‘it's vintage.’” The group posts upcoming events and featured artists that are worth checking out. Sanchez says that it wouldn’t hurt to acquaint one’s self with the repercussions triggered by America’s history of colonization, genocide and forced removal (signed into law by President Andrew Jackson) visited upon Native peoples. “No one hears the stories of native children loaded into vehicles like cattle and carted to concrete building where their hair was cut and took away their traditional wear,” Sanchez says. “My people and I have seen and experienced the repercussions,” Sanchez says. “Because of this, some of our communication might come across as hostile or angry. We have been through a lot; so much has been taken from us. We are passionate about our culture and are trying to protect what pieces we have left.” Click here to see more of Lehi Thunder Voice Eagle Sanchez’s work, and here for Noel Bennetto’s clothing and accessories. Related: Stunning Photos Show the Disappearing Remains of Navajo History An Indigenous Art Exhibition Examines America's Roots Kiki Smith's Massive, Electronically-Woven Tapestries Touch Down in Santa Fe 2016-08-03 14:30 DJ Pangburn

30 Greece’s Art and Culture Flourish at an Inspiring New Cultural Center Stavros Niarchos Foundation Cultural Center. Athens, Greece. Courtesy of Yiorgis Yerolymbos / SNF In the last year, Greece dealt with two elections, near bankruptcy, bailouts, the European migrant crisis, and economic instability. More recently, Brexit threatens to bring more uncertainty to the already-struggling nation. Plainly put, Greece is having a hard time, making it one of the last places you’d expect to find a rejuvenated hub for art and culture. But that’s exactly what the Stavros Niarchos Foundation Cultural Center aims to be. The Stavros Niarchos Foundation, (SNF, named for one of Greece’s most beloved entrepreneurs and a “master of ships”) is a philanthropic organization offering arts, culture, and health related grants to vulnerable societies. Over the last 20 years, they’ve provided $1.8 billion to nonprofits in 111 countries across the world. Their largest gift—of over 550 million euros—was giving back to Greece itself with the decade-long project. Stavros Niarchos Foundation Cultural Center. Athens, Greece. Courtesy of Yiorgis Yerolymbos / SNF The Cultural Center (SNFCC) was proposed in 2006 as a facility and resource for Greek education and culture. In 2008, the SNF teamed up with world-famous architect Renzo Piano to create dynamic spaces for three Athenian institutions: the renovated Greek National Opera, the National Library of Greece, and the Stavros Niarchos Park. Titan creator Piano, whose past projects include the multi-pavilion Jean-Marie Tjibaou Cultural Center in New Caledonia and the wave-shaped Kansai International Airport Terminal, describes the center in a virtual tour as a place of discovery: “We don’t celebrate power. We don’t celebrate money. We celebrate the idea that the land should breathe. The idea was to take the land—Athens—and lift it up.” In the face of economic crises, the center was completed June 2016, with the addition of the Agora, a community-oriented visitor’s center. Stavros Niarchos Foundation Cultural Center. Athens, Greece. Courtesy of Yiorgis Yerolymbos / SNF An endless calendar of events gives citizens and visitors constant opportunities to invest and immerse themselves in a hopeful environment. From opera galas and latin jazz concerts, to film screenings and yoga workshops for children, not a week goes by that the center doesn’t offer artists an outlet for thriving, and community members a place to watch it happen. One of the most popular events this summer—“Music Escapades: The Dream Makers Series”—brought celebrated performers from Greece’s English-speaking music scene to the center for illuminated, outdoor shows. The series featured Prins Obi, Nalyssa Green, and Larry Gus during the month of July. Larry Gus, performance at Stavros Niarchos Foundation Cultural Center, Visitors Center. Athens, Greece. Courtesy of SNF “It was a great show, in fact it was one of the best shows I’ve ever taken part of,” Gus tells The Creators Project. “It’s wasn’t just the usual crowd of music listeners, it was also an opening to the neighborhood.” As there is no bar at the venue, no one was drinking—yet the audience gradually grew. “It was a dream-like scenario: a sober crowd, a beautiful setting, in front of a fucking Renzo Piano building, with passers by stopping to see what’s happening and then engaging with the concert itself... I can’t even describe my actual feelings after the night came to its end.” The month of August will continue to feature public events. As SNF co- president Andreas Dracopolous puts it , “We owe it to our ancestors, we owe it to our children, to keep the light of our civilization burning... it’s an obligation to contribute to a better tomorrow.” Stavros Niarchos Foundation Cultural Center. Athens, Greece. Courtesy of Yiorgis Yerolymbos / SNF Larry Gus, performance at Stavros Niarchos Foundation Cultural Center, Visitors Center. Athens, Greece. Courtesy of SNF Click here for more information about the Stavros Niarchos Foundation Cultural Center Related: Meet Latin America's First Eco-Friendly Cultural Center Notes on the State of Architecture Today Angelo Plessas Hosts an Internet Culture Summer Camp 2016-08-03 14:05 Taylor Lindsay

31 Mohamad Al Roumi Shows a Different Syria at Berlin’s Pergamon Museum Related Events Contrast Syria Photographs Of Mohamad Al Roumi Venues Pergamonmuseum Mohamad Al Roumi shares emotive photos of his native Syria in a new exhibition at Berlin’s Pergamonmuseum, which runs until October 30. In “Contrast Syria,” Al Roumi looks beyond the worldwide rhetoric about Syria to show the country as it really is; what a press release describes as “a home to people from a variety of different ethnic and religious backgrounds,” combining “nomadic population[s] and … poverty-stricken towns.” As such, Al Roumi’s aim is to show Syria not just as a political hot potato to be debated over abstractedly by the world’s politicians, but a real place filled with real people. Real people like the presumably father and son team shown in “Armenian Auto Repair (Aleppo 2008). Shot in high-contrast black and white, they are framed by the chassis of a fairly destroyed car, with their similarly dilapidated mechanic’s shop just in view behind the two figures. Although poverty is in evidence in the image through the shabby state of the car and backdrop, the focus is on the individual lives depicted. Other images, however, take a more explicit look at deprivation. This is the case in “Gate of Poverty (Damascus 2008). In this image, the background of the auto repair becomes the foreground of the image, with two old men sitting on the ground in the street, with the rubble of a building visible in the top of the image, suggesting a possible reason for the poverty shown in the image, or perhaps paralleling the delapidation of the lives shown in the image. 2016-08-03 13:50 Samuel Spencer

32 [Exclusive] A Group of Teenage Girls Built VR Worlds with Tilt Brush Images courtesy Pioneer Works Last week a group of teenage girls got the chance to learn about game design and the future of art and technology from the best in the business. Over the course of five days, the Red Hook art space at Pioneer Works teamed up with Google's Made with Code initiative to ignite the minds of 10 young women from the tri-state area. In a workshop called Art x Code , the girls met artists and technologists who taught them about programming, game design, generative graphics, and virtual reality, and in the process, they created a slew of stunning digital worlds. The project was based on research indicating that nearly three quarters of middle school girls are interested in computer science, while less than 1% remain interested in high school. The girls began by recreating IRL games with simple code, building up to more complex tasks like programming a robot to navigate a maze, and eventually, they built virtual worlds with professional game design software Unity. We've seen artists like Glen Keane use Tilt Brush, effectively VR's answer to Microsoft Paint, but Art x Code offered a chance to see what tomorrow's artists can make with today's cutting edge tools. Ranging from wonderful interpretations of mundane scenes to the wildly surreal, these 3D drawings make flesh all the lessons learned throughout the Art x Code workshops. "The girls exceeded our expectations almost immediately," David Sheinkopf, an Art x Code teacher, and the Technology Integrator and Co- Director of Education at Pioneer Works, told The Creators Project. Sheinkopf was accompanied by a killer team of female artists and programmers, including self-proclaimed "nerd and feminist" Cassie Tarakajian, a veteran Pioneer Works resident currently researching Processing at ITP, Israeli multimedia artist Ziv Schneider, who's lately combining experimental photography and virtual reality, and the Red Hook Initiative's Katherine Ortiz, a teacher and technologist who has been supporting tech literacy in Red Hook for years. Among a vibrant community of girl-oriented hackathons and feminist tech events organized by groups like Girls Who Code and We Hack Too , Sheinkopf considers Art x Code to be particularly successful. "[The girls] were able to take abstract concepts from the games and apply them to programming—with some girls, we were eventually able to talk about coding conceptually rather than in 'this-goes-there' terms," he said. "This is a sign that they truly internalized the underlying philosophy of what we were teaching. " Below, The Creators Project presents an exclusive look at the girls' Tilt Brush drawings, demonstrating the virtual worlds young girls can build when they have the tools, the motivation, and a place to do it. Learn more about Art x Code on Pioneer Works' website . Related: Cat++' Is a Visual Live-Coding Language Based on Feline Behavior Here's Everything Awesome About Processing 3.0 Feminism And Videogames: A Look At Anita Sarkeesian's 'Tropes VS Women' Series 2016-08-03 13:50 Beckett Mufson

33 6 Must-Hear Classic Albums That Reveal Hidden Gems Related Artists Terry Allen David Bowie Here is a pick of albums of 2016 so far by rock artists who have been trawling their vaults to discover previously unreleased music as good as their best. Bruce Springsteen, Van Morrison and more have been unearthing gems which will mostly delight fans, sometimes rewrite rock history and in a few cases cost a serious amount of money to buy. Later in the year, we get a new “Live at the Hollywood Bowl” by the Beatles, an expanded “BBC Sessions” by Led Zeppelin and a mammoth Pink Floyd box set, a $700 monster with hours of new material from the band’s early years. While waiting for this trio by British bands, there are already are a lot of excellent rereleases in the first seven months to enjoy. While a classic album usually has its track listening set in stone, telling the official story of the final product, more now come with extra material added in. While there is usually a reason for a song being left off, it is increasingly clear that some decisions were based on flawed commercial thinking or a shortage of time on vinyl which is no longer a problem. Hence the vogue for bigger box sets. Springsteen has been scouring his 1970s archive to great effect. After finding impressive material for “Tracks” and then for “The Promise: ‘The Darkness on the Edge of Town’ Story,” he now mines the sessions that resulted in the 1980 double album “The River.” We hear how a planned 10-track album grew into a double LP as his band endlessly worked in the studio, often putting light-hearted songs like “Ramrod” or “You Can Look (But You Better Not Touch)” alongside deadly- serious numbers like “Point Blank” and “Drive All Night,” with its improbable chorus “I swear I’ll drive all night just to buy you some shoes.” If only there had been more space in 1980 we might have got to hear “Meet Me in the City,” a worthy single, much earlier. We do now - and it is worth the wait. While this box set was officially released in very late 2015, The Boss has been touring in support of this throughout 2016 when many sales came through. Who cares when the music is 35 years old and still sounds really fresh? The 1974 double album has long been acclaimed as one of the finest live releases. Its expansion now is as extensive as, say, that given to the Allman Brothers’ “Live at Fillmore East,” which has also grown in each reincarnation. What makes the Northern Irishman’s set all the more impressive, though, is that the new material adds so many extra song titles; such was the size of his repertoire with the Caledonian Soul Orchestra. We get everything from early songs like “Gloria” and “Brown Eyed Girl” to the long flowing classics such as “Madam George.” Morrison covers random soul by Sam Cooke and blues by Willie Dixon as if anything is possible. He simply loses himself in vocal improvisations for “Caravan,” “Listen to the Lion” and “Cyprus Avenue.” After the untimely death of David Bowie, most of his back catalogue came back into print. Most was still readily available, though this set of BBC sessions was getting hard to find. There is a 2 CD set of these tapes dating from 1968-1972, and a limited- edition 3 CD version that adds a much later concert from 2000. The latter is inexplicably not reissued and now is only seen at premium prices of $100 or more. Still, collectors have been well satisfied by a new set on 180-gram vinyl which features for the first time one of Bowie’s most-fabled performances, long assumed lost: “The Supermen,” which was recorded for a “Sounds of the 70s” show. The first two discs provide studio recreations of some of the finest material on the best albums, often sounding stripped down and refreshingly different from the all-too-familiar versions. The acoustic “Kooks,” “Changes,” and “Oh! You Pretty Things” are fey and charming - completely understated. Ryan Adams - not to be confused with the similarly-named Bryan Adams - started his solo career as one of the most prolific of artists. “Heartbreaker” was a fine opener in 2000 and “Gold” the following year was even better. The alt-country flavor of Adams’s previous band Whiskeytown remained, but he seemed freer, off the leash, throwing in spoken sections and folk-rock like mid-period Dylan or Nick Drake. He starts with an argument about Morrissey and the outtakes include a cover of Morrissey’s “Hairdresser on Fire.” Perhaps the best track, “Oh My Sweet Carolina,” now appears in three versions, showing how Adams decided on its final direction. While this 1975 album won plaudits at the time, it hasn’t had the enduring staying power on critics’ best-of lists of, say, “Forever Changes” by Love or “Grace” by Jeff Buckley. This year’s reissue puts it together at last with the artwork which was a crucial part of the LP package. Allen’s album tells a complex road story of two travelling couples heading to Colorado from California and his pictures complete the story. Allen, who is now best known for his visual art and sculpture, is like a country-tinged Tom Waits, a laid-back Warren Zevon, or a knowing Jim Carroll. Here are spoken tracks, an instrumental and plenty of revelations as the couples’ paths cross with deadly consequences. Here is something totally different to finish this roundup. This is more than four hours of music, spread over 4 discs for those who prefer CDs. Many buyers probably will go for the physical version because this is a retro set, as can be seen by its subtitle, “Formative UK Electronica 1975-1984.” Very weird and wonderful music it sometimes is too. The best example is a cover of Rod Stewart’s “D’Ya Think I’m Sexy?,” by British Standard Unit, which sounds nothing like the original and is hilariously fractured. So you think you know this seminal era of British electronica? Never mind Ultravox, Human League, Depeche Mode or whoever, there are a lot of names on this compilation to broaden your horizons. 2016-08-03 13:33 Mark Beech

34 mork ulnes architects turns barn into artist studio + workshop mork-ulnes architects bring lush foliage into artist studio and home in california attached to an ‘ameoba-like pavilion’, norwegian firm mork-ulnes architects / SFOSL have transformed and extended a dilapidated barn in sonoma county, california, into a residence- cum-artist studio. measuring at 2,500 square feet, the distinctive property features an inverted butterfly roof which accommodates a spacious artist’s studio and an office. mork-ulnes architects developed a space that seamlessly establishes an indoor and outdoor setting. in the extension and interrupting the concrete floor, parts of the floor has been filled with compost and planted with bamboo, aloes and various exotic plants. the art studio is located within the vernacular barn. the traditional gabled roof has been inverted to create a double height space for creativity and storage, with views out towards the surrounding landscape. wood is the main construction material; the 100-year old reclaimed bar siding has been re-used as the contrasting cladding seen on the home’s external envelope. the roof is an exposed wood, scissor-beam roof construction with a large skylight that brings light into the space image © bruce damonte ‘lars wanted an outdoor kitchen and dining room that he could use year- round,’ says architect casper mork-ulnes ‘the idea was to let the landscape bleed in and out of the building. he imagined it as a jungle, with exotic plants, such as papaya, banana, and mango, inside and out.’ on the outside, the contemporary extension ‘the ameoba’ visually reaches out into the landscape and inside, the open-plan kitchen and dining sits within the S-curved cement walls, which keeps the thermal mass balanced during the summer and winter. the interior embraces nature and the outdoors, capturing the landscape to create a lush landscape of taro, fig, and bamboo that softly separates the kitchen from the dining area. a 720 square feet concrete kitchen and dining space grows out from the studio image © bruce damonte for this project the architects used adaptive re-use strategies for most of the building materials, and minimized unnecessary glazing where possible. thermally broken window frames, formaldehyde-free insulation, sustainable FSC certified milled wood were recycled and used, which resulted in the reduction of waste. the structure has eight-inch-thick s-curved cement walls which helps in controlling thermal mass image © bruce damonte for this project the architects used adaptive re-use strategies for most of the building materials image © grant harder the ameoba pavilion extends and opens out into the landscape image © bruce damonte 100-year old reclaimed barn siding was used as the exterior cladding material image © grant harder 2016-08-03 13:23 Natasha Kwok

35 MoMA/MoMA PS1 Records Releases ‘The Thoughts of Gilbert & George’ on Vinyl Gilbert & George on vinyl. COURTESY MOMA MoMA/MoMA PS1 Records—yes, the institutions have a record label—has released a special vinyl edition of The Thoughts of Gilbert & George , a recording that revisits their landmark work The Singing Sculpture , discussing the process of its creation as they sit in the studio. Apparently it’s their take on an old- time radio show, which sounds fun. It’s a signed and numbered edition of 2,000, and it can be yours for $50. And while the release makes sense, given the “Gilbert & George: The Early Years” show that was up at MoMA last year, what’s really intriguing is MoMA/MoMA PS1 Records, and the existence of MoMA studios, which is a recording hub inside the museum. Prior to this the sole release on MoMA/MoMA PS1 Records was There Will Never Be Silence , which had artists and musicians respond to the work of John Cage. Who knows what hot vinyl MoMA is set to release next. 2016-08-03 13:17 Nate Freeman

36 Leonardo da Vinci Drawings Tour the UK Related Venues Nottingham Castle Glynn Vivian Art Gallery Artists Leonardo da Vinci An exhibition featuring 10 drawings from the Royal Collection has made the third stop of its UK and Ireland tour at Nottingham Castle, where the scientific and artistic drawings of the great Italian master will be displayed until October 9. The exhibition is a small selection from over 600 Da Vinci drawings owned by the Royal Collection, which have toured Britain as part of touring exhibitions (of which this is the fifth) since 2002. However, this exhibition provides a neat overview of the work of the great polymath, featuring “works [that] have been selected to show the extraordinary scope of the artist's interests, from painting and sculpture to engineering, zoology, botany, mapmaking, and anatomy, as well as his use of different media – pen and ink, red and black chalks, watercolor, and metalpoint,” according to a press release. Among the images are studies of natural subjects made for artistic or zoological reasons, such as a sheet featuring cats, lions, and Da Vinci’s imagining of a dragon. It contains notes written in the artist’s reversed handwriting, which he could famously do while simultaneously writing in a different language in the other direction. More drawings show natural studies of branches and berries, plus a treatise comparing the human heart to the growth of a seed. Most exciting, however, are Da Vinci's studies for his paintings, be they a life drawing of a male nude or the face of St. Anne for his painting “The Virgin and Child with St. Anne,” which is housed in the Louvre and believed to be the artist’s final work. For those unable to make it to Nottingham or Swansea, click through to our slideshow to see all 10 works in detail. 2016-08-03 13:00 Samuel Spencer

37 weston williamson hyperloop connects australia 90 minutes weston williamson propose a hyperloop track between adelaide–melbourne– canberra–sydney–brisbane with a total journey time of just 90 minutes between melbourne and brisbane. the architectural firm believe the development typology of australia makes it the most efficient way of travelling and see the large commercial urban centers with clear routes as ideal for the highspeed technology. the effect could be positive for australia’s growth and allow new communities to flourish along the route. the numbers of travellers flying between these 5 cities is significantly high so the hyperloop will have a vast effect on australia’s climate change targets as well as demonstrating an important lesson worldwide. hyperloop routes are currently being planned in california and other parts of USA and in europe, but the practice believe proposals for australia provide the most benefits in terms of economic boost and ecological benefits. the hyperloop is a conceptual high-speed transportation system proposed by entrepreneur elon musk, incorporating reduced-pressure tubes in which pressurized capsules ride on an air cushion driven by linear induction motors and air compressors. hyperloop technology has been explicitly open-sourced by musk and spacex, and others have been encouraged to take the ideas and further develop them. to that end, several companies have been formed, and dozens of interdisciplinary student-led teams are working to advance the technology. designs for test tracks and capsules are currently being developed, with construction of a full-scale prototype 5-mile (8km) track scheduled to start in 2016. in addition, a subscale pod design competition on a very short, 1 mile (2km), test track is underway, with test runs expected later in 2016. musk has likened the hyperloop to a ‘cross between a concorde and a railgun and an air hockey table‘, while noting that it has no need for rails. he believes it could work either below or above ground.’ the technology means it is incredibly energy efficient and will substantially reduce air and noise pollution. transport accounts for 26% of global co2 emissions and weston williamson believe the hyperloop concept will significantly reduce this. in order to entice the travelling population out of their cars and away from air travel the hyperloop must be safe, reliable, efficient and be good value for money. map view of the entire route proposed to be covered 2016-08-03 13:00 Ww P

38 artnet Asks: The Artist Marcos Amaro The expression, “one man’s trash is another man’s treasure,” may be a cliché, but there’s truly no better way to describe the medium employed by contemporary Brazilian artist Marcos Amaro. The 31-year-old salvages airplane parts from boneyards in order to create unique works. Rudders, propellers, and mechanical parts are all re-purposed into sculptures such as Passagem para um tempo presente (2016), metamorphosing from debris to a complex reflection of the artist’s emotions. Though self-taught, Amaro has quickly risen to fame in the art world, amassing an impressive following on Instagram. He’s also a business mogul, though sculpture is now his main focus. However, the artist doesn’t just create art for art’s sake—the raw materials he utilizes make social commentary on urban waste. And his foundation, Fundação Marcos Amaro, helps fellow artists find their identities and promote their work. We recently sat down with the artist to learn about his current exhibition, the connective power of social media, and his plans for the near future. Tell us about your current solo show, “After Destruction & Compilation,” at Nina Torres Gallery in Miami. I’m really happy with the exhibition, it was such a great experience preparing for it. For this particular exhibition, I found the airplane scraps in a boneyard in Missouri. You work in several mediums and incorporate different materials in your sculptures. What is your favorite medium to work with? I enjoy making sculptures with airplane scraps I find in American aircraft boneyards, that’s my main material. I also like to play with other materials such as textiles. What was it like growing up with a fashion designer and pilot as parents? Would you say they are among your biggest influences? My parents are my most relevant influence. When I grew up, artists like Robert Rauschenberg , Tom Sachs, Joseph Beuys , and Leonardo da Vinci also started to influence my work. You have 17.7k followers on Instagram (great posts, by the way). What would you say are the advantages and disadvantages of social media as a platform for artists to promote themselves? Social media opens up a whole new door in connecting with and approaching people who follow my work. It’s a bridge that allows people to see and better understand my art. My main focus, however, is to develop my work through depth, life, and face-to-face contact—something that social media currently lacks. Why did you decide to start the Fundação Marcos Amaro? What is the foundation’s mission? The mission of the foundation is to support dreams and develop artistic expressions. Through that, I am able to contemplate the work of international and national artists, and of course, support art development in Brazil. Art dealer Helly Nahmad bought a work of yours at Andrea Rehder Arte Contemporânea ’s SCOPE Basel booth. How was that experience for you? Where were you when the gallery informed you? I’m flattered to be in his collection. I was actually at the booth when he bought it and was really excited! We are developing a close friendship. I’m really happy that he likes and supports my work! What has been the greatest challenge you’ve faced so far? My existence is my greatest challenge. I deal with a significant amount of feelings and complex emotions from my childhood in my day to day life—my work reflects this greatly. What’s your next exhibition? What are you working on at the moment? My next exhibition will be in New York, “When Visual Guidance Isn’t Enough,” I’m developing it with New Minds Studio and the curator Alexander Clark. If you could have dinner with any person, living or dead, who would you choose? I would have dinner with Nietzsche to get to know more about his life and work. The artnet Gallery Network is a community of the world’s leading galleries offering artworks by today’s most collected artists. Learn more about becoming a member here , or explore our member galleries here. 2016-08-03 13:00 Artnet Galleries

39 adrian labaut hernandez manual for a radical architect adrian labaut hernandez has developed an architectural manual that places abstracted shapes onto historical maps of cities in america. the cuban- born, milano-based architect and artist has previously explored fictional projects including his dystopian ‘lighthouse‘ series and ‘epoch of other space‘ – an investigation which questions both the past and future of architecture. hernández’s recent collaged images, reference a number of well known buildings, placing them in different locations, in order to provoke the viewer into questioning the ‘radical’ or ‘non-radical’ nature of the original design through an alternative slant. the project titled ‘manual for becoming a radical architect’ explores ideas relating to beauty and idealism and pokes fun at the term ‘radical’ – a word often used to describe monumental buildings. adrian labaut hernandez states ‘architecture does not need to say anything, it doesn’t need to talk, doesn’t need to express anything specific, and it doesn’t need, overall, to be needlessly ‘radical’. architecture always has a meaning when it is created based on strong conceptual work, the project is there, a body of matter, showing itself immortal, personal, superior because of its inner qualities, those that can not be seen from outside and sometimes even from inside. you need to look at it, speak with it, interact, explore, touch, and at the end, for sure, admire. it is not done for a magazine page, and neither to hang in an exposition room and amaze everybody around because it is ‘beautiful’. architecture justifies its own existence, it will emerge to create and show its own values, which at the end are completely rooted in life on this earth.’ designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-08-03 12:29 www.designboom

40 Intimate Impressions: ‘But a Storm Is Blowing From Paradise’ Offers a Nuanced View of Middle Eastern Art at the Solomon R. Guggenheim Museum in New York Rokni Haerizadeh, But a Storm Is Blowing from Paradise , 2014, gesso, watercolor, and ink on inkjet prints, 11⅞ x 15¾ inches. RAMIN HAERIZADEH/©ROKNI HAERIZADEH/SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK, GUGGENHEIM UBS MAP PURCHASE FUND, 2015 W hile the world has its attention trained on ISIS and the traumatic events erupting in the Middle East, the Solomon R. Guggenheim Museum is taking a longer view of the region with its excellent exhibition “ But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa ,” curated by Sara Raza. It is the third iteration of the Guggenheim UBS MAP Global Art Initiative, which aims to add art to the museum’s collection from various underrepresented regions. Focusing on 17 artists from throughout the area, the exhibition manages to convey the importance of history behind contemporary conflicts, mostly through videos and installations that eschew ethnic stereotypes and avoid simplistic resolutions. The exhibition takes its haunting title from a 1940 essay by German philosopher Walter Benjamin, which is in turn referred to by two works on view. The first is a series of works on paper of that same title by Iranian artist Rokni Haerizadeh, who is now living in exile in Dubai. Appropriating images from headline news photographs, Haerizadeh applies paint and gesso to transform them into fables populated by mythological creatures. Israeli artist Ori Gersht also refers to Benjamin in a two-channel video installation Evaders (2009) that conveys the philosopher’s futile attempt to escape apprehension by the Nazis and flee to the United States, all of which led to his suicide in 1940. His is a tale of migration that echoes today’s refugee crisis. Hassan Khan, Bank Bannister (Banque Bannister) , 2010, brass, 82¼ x 81⅛ x 8⅝ inches. ©HASSAN KHAN/SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK, GUGGENHEIM UBS MAP PURCHASE FUND, 2015 Many of the artists in the exhibition focus on architecture as a reflection of the history of colonialism in the region and as a metaphor for the rapid urbanization that has been taking place in recent decades. Kader Attia, who grew up in Paris and Algiers, has fashioned out of couscous a scale model of Ghardaïa, the Algerian World Heritage site whose geometric buildings influenced Le Corbusier. In another reference to that modernist architect, Kuwaiti artist Ala Younis built an installation composed of photographs, archival material, and a model peopled with miniature comical figures titled Plan for Greater Baghdad (2015), around a gymnasium in Baghdad designed by the architect in 1957 as part of Frank Lloyd Wright’s overall conception. It later opened as the Saddam Hussein Gymnasium in 1980. Fast-forward to present-day Saudi Arabia, Ahmed Mater’s Disarm and Disarm 1–10 (both 2013) display photographs and video footage shot from the cockpit of a military helicopter capturing the city of Mecca with its urban sprawl around the sacred site. Most frightening is that such technology is used regularly to track unauthorized pilgrims to the site. One work that makes terrific use of the somewhat difficult architecture of the museum’s Tower Gallery where the exhibition is installed is Flying Carpets (2011) by Tunisian-born artist Nadia Kaabi-Linke. Composed of a stainless-steel grid hanging from the ceiling, it casts shadows resembling carpets stacked up on the floor. According to the artist, the work is a reference to the scores of undocumented migrants who lay out their wares on the streets of Venice, ready to quickly snatch them up when police arrive. Similarly, Ergin Çavuşoğlu’s installation, Dust Breeding (2011), transformed an obscure hallway looking out on Fifth Avenue with a tangle of two- dimensional lines that appeared to be a three-dimensional maze when viewed on a nearby monitor Rather than providing viewers with easy souvenirs and tourist snapshots of an imagined Arabia, this exhibition fills the museum with intellectually challenging conceptual-art projects worthy of the time they take to comprehend. It does not pretend to survey all that is happening in the Middle East right now or to draw a list of the best artists from the region. Instead, it manages to convey in a cool, steady manner the way that this troubled part of the world is inspiring a few artists who may in turn inspire viewers to reconsider their impression of the Middle East. 2016-08-03 12:18 Barbara Pollack

41 Artist Mariko Mori Unveils Stunning Olympics Waterfall Art Installation As Brazil gears up for the Rio Olympics, artist Mariko Mori is unveiling a new permanent art installation at Cunhambebe State Park. The piece took more than five years to create. Related: Public Art Projects Cancelled Ahead of Rio Olympics Launch Titled Ring: One With Nature , the piece, a 10-foot-wide acrylic ring perched above the nearly 200-foot-high Véu da Noiva or “veil of the bride” waterfall, has been installed by the artist’s environmental nonprofit, the Faou Foundation. In honor of the christening of the work, which is intended as an addition to the Olympic’s iconic five-ring logo, Mori held a performance on August 2 at the foot of the falls. Faou Foundation advisory board member Marcus Vinicius Ribeiro noted that the piece “highlights an example of the beauty found throughout Brazil’s natural environment,” and “will contribute to the legacy of the Olympic Games.” Related: See the Winning Art Posters of Rio’s 2016 Summer Olympics Suspended at the peak of the falls, Ring: One With Nature is designed to change in color throughout the day, based on the angle of the sun. At times, it will be an icy blue, at others, a radiant gold. “I hope Ring will inspire viewers to create a ring within their own hearts and connect with others to create a chain of rings across the world in the spirit of oneness,” said Mori in a statement. Curator Marcello Dantas called the piece “an audacious initiative that converges artistic vision, technical challenge, and political articulation in order to create an intervention in nature and in the imaginary.” In Rio, the artist will take part in the torch relay on August 5, leading up to the lighting of the Olympic flame at the opening ceremonies. Mori will also collaborate with the upcoming 2020 Tokyo Olympic Games to create a related work in Japan. Ultimately, she hopes to create one monumental environmental artwork for each of the six habitable continents. See photos of the work and the inaugural performance below. 2016-08-03 12:14 Sarah Cascone

42 Erin Fetherston Designs Furniture Collection With Fragments Identity More Articles By Erin Fetherston, walking through her living room warmly lit by the afternoon sun in Los Angeles , pauses a second to expound on the direction of her latest design project. “It’s playing with white and something neutral but isn’t precious,” she said. Her choice of the last two words is telling, as she is easily recognized for her doll-like face and big blue eyes framed by straight blonde bangs as much as for her feminine dresses that can be described as precious. “It has a casual elegance to it but also a year-round feeling,” she continued. “It’s great for summer but I can also imagine styling it for holiday.” Instead of a flirty frock accentuated with ruffles, the designer is referring to a rectangular mud-cloth ottoman, which doubles as a plush coffee table, and some plump pillows, which are printed with black and white geometric shapes. Fetherston is enjoying her new life in L. A. so much that she’s creating her first-ever furniture and home decor collection with Fragments Identity to allow others to partake in the domestic bliss. “As a fashion designer, I’m influenced by my environment and surroundings,” she said. She’s also under pressure to ship 12 collections a year to retailers such as Neiman Marcus, Nordstrom, Lord & Taylor and various boutiques. Thus, she said, “with the fast cadence of fashion, there’s something appealing about interiors. It feels more lasting.” While new to Los Angeles , Fetherston is a native when it comes to the laid- back California lifestyle. She grew up in Oakland, Calif., and pursued interdisciplinary course work that emphasized fashion, at the University of California, Berkeley. After graduating from college, she spent more than a decade away from the West Coast, first studying design in Paris, opening a small atelier in her French apartment, and then building her namesake fashion company in New York. She still maintains her business operations in Manhattan and presents her latest collections during New York Fashion Week. With her husband, former Cobra Starship singer Gabe Saporta, and their five-month-old son, Simon, Fetherston is back in the Golden State. In contrast to her Parisian apartment, which she decorated with French antiques and Pop Art, and her Tribeca pad, which resembled a chateau transplanted to a loft, she now lives in a Paul Williams-designed home, complete with a pool, not too far from the Chateau Marmont, at the foot of the Hollywood Hills. “I wanted something comfortable,” she said. “I didn’t go too pink. It shows a more mature, sophisticated point of view.” A decision in February to commission Tammy Price, the founder and designer of Fragments Identity, to build furniture for her traditional five- bedroom house led to the 50-piece collection. “Almost everything was custom and gave birth to this line,” Fetherston said. She particularly loves the mud cloth, which was loomed by hand in Africa out of cotton in a natural tint. In addition to the large ottoman, which retails for $1,895, Fetherston and Price offer, for $295, a smaller circular one whose top pops off to reveal a storage bin. There are also Shandong stools made from elmwood and natural French linen, dog beds sewn from garment- washed linen and blankets trimmed with fluffy pom-poms. For al fresco entertaining, a macramé-inspired hammock is woven loosely from cotton and nylon; it sells for less than $200. As a new mom, Fetherston also designed a $295 miniature rocking chair out of mud cloth and alderwood. Until her son is big enough to preside over it, her two little white dogs have monopolized the tiny seat. Aware of some people’s hesitation with using a light-colored palette around pets and babies, Price said that “if they’re the right textiles, they launder well.” Describing herself as “a very monochromatic designer,” Price started Fragments Identity in 1989. She has jointly designed projects with home- design showrooms and retailers but never with someone from the fashion industry. Everything is made in her factory in Westlake Village, Calif. Fetherston and Price plan to begin selling the collaboration, called Erin Fetherston x Fragments Identity, on Fetherston’s Web site, through Domino’s media and e-commerce platform and at Consort Design in Los Angeles, in late August. Eventually, they want to expand with table linens, towels, bedding, outdoor furniture and gray hues that complement the black and cream base. “I wanted to create something that never looked wrong. If someone is napping and you throw a pillow on the floor, it’s fine,” Fetherston said. “That gives it the casual elegance,” Price added from the alcove in Fetherston’s house, reinforcing the perception that the two, both dressed in black and white, think on the same wavelength. “It still looks like it was meant to be,” Fetherston responded. “That’s good design,” Price said. 2016-08-03 12:00 Khanh T

43 Scottish National Gallery Draws Together 100 Joseph Beuys Works on Paper Related Venues Scottish National Gallery of Modern Art Artists Joseph Beuys More than 100 drawings and works on paper from Joseph Beuys' career have been brought together in a new exhibition that will run until October 23 at Edinburgh’s Scottish National Gallery of Modern Art. A part of the “ARTIST ROOMS” collection, co- managed by the National Gallery of Scotland and Tate, “The Drawings of Joseph Beuys” covers his entire career as a draughtsman, from 1945 until his death in 1986. This includes Beuys' early, fairly figurative images of women and folklore animals, as well as his bold, monumental “Braunkreuz” works from the 1960s. Works on paper that illustrated his later, socially conscious political work are also featured, including scores for his performances and blackboard drawings in which the artist “explained his social and political ideas,” according to a press release. Visitors to the exhibition therefore get to see the whole gamut of Beuys’ creative practice, beginning with the first post-war drawings in which the artist struggles, as so many did, with what role art should play after such mass atrocities. After the masculine violence of WWII, Beuys turned to femininity, painting images raw with female sexuality, such as “Pregnant Woman with Swan” — a work that takes a new symbolist approach to the myth of Leda and the Swan. From here, visitors can see Beuys’ characteristic ideas begin to take shape, with a work like “Energy Field,” 1962 showing what the museum calls “a movement between dynamic chaos and rigid form, between warm and cold, intuition and reason” that would eventually become his signature style. This piece also sees the artist begin to use fat in his work, another trademark. Later works show evidence of Beuys' ideas as well as his political engagement. 2016-08-03 11:56 Samuel Spencer

44 Occupational Hazards: Manifesta 11 Employs the Working Class Manifesta 11’s Pavillion of Reflections. COURTESY MANIFESTA Bernini may have once shared a sketchbook with Pope Alexander VII in the gardens of the Vatican, but the German-born artist Christian Jankowski sought a more sensational collaboration when he alighted on the Holy See some centuries later. His 2011 reality television-style video work Casting Jesus enlisted Vatican staff as jurors selecting an actor to play the role of Christ. Relieved of the cassock of ideology, Jankowski’s is an art of deftly constructed capers that trade in an element of surprise. So it is with the artist’s first curatorial effort, the 11th Manifesta Biennale, in Zürich (on view through September 18), for which he commissioned 30 “joint ventures” between contemporary artists and the working professionals of Switzerland’s largest city. Titled “What People Do for Money: Some Joint Ventures,” Jankowski’s turn at the helm of Europe’s itinerant biennial of contemporary art occupies four main locations in Zürich—three sprawling floors of galleries at the Löwenbräukunst complex in the deindustrializing Zürich-West neighborhood, the entire Helmhaus center in the city’s Old Town, a pavilion constructed of unpainted wood floating on Lake Zürich, and Dada birthplace the Cabaret Voltaire, as well as numerous satellite locations, where participating artists have embedded their projects in the working spaces of their professional collaborators. The first two venues, the biennial’s largest, display the outcomes of the collaborations as well as a parallel selection of historical art, organized by Francesca Gavin around the relationship between art and work. All told, there are 130 artists: 100 in the historical section (covering the past century, though heavily weighted toward postwar and contemporary work), plus those 30 commissioned by Jankowski. These dispersed “joint ventures” form the biennial’s core, and through them Manifesta’s artists express assorted guises of art’s interdisciplinary, or at least inter-occupational, possibilities. Some treat the professions of their chosen collaborators as one might a spice rack in an unfamiliar kitchen, adapting new ingredients to existing artistic recipes, like photographer Torbjørn Rødland bringing his eye for tightly composed disequilibrium to a dentist’s office for the prints in Intra- & Extraoral. Others cede considerable ground to the domain of their professional interlocutor. Santiago Sierra’s intervention laid siege to the exterior of the Helmhaus venue, which, following the recommendations of “security advisor” Marcel Hirschi, he fortified with enormous sandbags, plywood, and barbed wire for the self- explanatory work Protected Building. (On a second visit to Zürich, in mid- July, this work had been taken down, apparently at the behest of local authorities who were concerned about pedestrian traffic.) In The Zurich Load , a day’s worth of the city’s human waste was processed for safe public display and arranged into a gridded rectangular expanse by artist Mike Bouchet and water treatment engineer Philipp Sigg. The gallery housing the resulting 80 tons of scatological minimalism delivers a maximalist olfactory thrill, industrial-scale ventilation notwithstanding. Mike Bouchet in the Zürich sludge storage hall in 2015. ©MIKE BOUCHET “Ideologies have no part to play in my preparations; I trust in the artists and the art,” Jankowski writes in the catalogue’s introduction. The notion of unfettered play that Jankowski favors, particularly in the context of a European biennial enlisting the participation of white and blue-collar workers in Switzerland, emits more than a whiff of ideology. As The Zurich Load demonstrates, the constraints of the biennial mean these collaborations have little breathing room to explore the durational aspects of “what people do for money,” let alone the negation of doing in refusal or strike. Despite being a yearlong project and an impressive logistical feat, Bouchet’s project dead-ends with an auratic object. Unlike Mierle Laderman Ukeles’s decades-long engagement with the New York City Department of Sanitation in the name of what she terms “maintenance art,” Bouchet’s assimilation of technical expertise, like much of the work in the biennial, enforces an artistic authorship at arm’s length from so-called specialized labor. And no matter how fun or interesting, these agreeable transactions between artists and professionals have undeniable advantages in terms of satisfying a general audience’s desire for relatable novelty while pleasing governmental and institutional patrons eager to see art orchestrate harmonious social encounters. This isn’t an accusatory observation. The catalogue does, after all, include a tract by the Marxist theorist Franco Berardi, who notes that “the social order based on salaried work is already vanishing” and argues in favor of a Swiss universal basic income, a proposal rejected by 77 percent of the electorate in a referendum that coincided with the biennial’s opening days. Nevertheless, Georgia Sagri was the only participating artist to turn her attention to the assumptions of Jankowski’s scenario. She did so both in the work she produced, Documentary of Behavioral Currencies , two identical installations (one shown in the exhibition space, the other at the office of her collaborator, a female private banker), and in her participation in the show’s catalogue and its campy “making-of” documentary, which screened daily at the lake pavilion. “I question Manifesta 11’s curatorial approach, which defines a profession as a de facto process for the construction of identity,” Sagri writes. “Work is not the decision of a free person, of a free will. On the contrary, it is a barrier to living freely.” For her own part, the banker with whom Sagri worked, Dr. Josephin Varnholt, observes that “Georgia was as organized as a chief executive. Professional, well prepared, like a businesswoman.” Sierra’s Protected Building . COURTESY MANIFESTA Sagri’s calculated disruption of Jankowski’s curatorial scheme was unique among her cohort, but it should be noted that some of the most insightful material to emerge from Manifesta at large is to be found in the organic written reflections on each “joint venture” offered by the collaborating professionals in the catalogue. Indeed, much of the biennial’s discursive force is generated not by art professionals but by the gainfully employed citizens of Zürich, some of whom have also been invited to give weekly gallery talks. Even the more anodyne commissioned efforts—like novelist Michel Houellebecq’s decision to have himself medically imaged and analyzed in “Is Michel Houellebecq OK?”—are redeemed, at least partially, by the opportunity to open the catalogue (displayed at some of the satellite venues) and read about the work from an informed critical perspective distinct from that of the artist or curator. (“Beforehand I was told that Michel is pretty special,” Dr. Henry Perschak writes. “That was hardly necessary: as a doctor I’m used to dealing with all sorts of people on a daily basis.”) Connections forged between art and specialized fields of work have come with varied and mutually incompatible effects. There has been collaboration but also antagonism, cobranding as well as critique. Employees of the RAND Corporation told John Chamberlain to “GO TO HELL MISTER!!” during his 1970 residency there, as Elvia Wilk notes in a relevant recent essay that touches on past outcomes of such encounters. This dynamic range, absent in the mostly congenial content in Manifesta 11, is sampled but not digested in the biennial’s sprawling historical component, “The Historical Exhibition: Sites Under Construction.” Sharing the galleries with the biennial’s new works in the two main exhibition venues, this element of Manifesta avers that it “eschews a fixed narrative,” which simply means that the curatorial project doesn’t reference important precedents, like Helen Molesworth’s 2003 exhibition “Work Ethic” at the Baltimore Museum of Art, and that its works are presented in only a loosely thematic way. Despite the absence of practitioners who may trouble the orthodoxy of productive labor —like Claire Fontaine and Mladen Stilinović—key works by the Artist Placement Group, Oscar Bony, Louise Lawler, Sharon Lockhart, Mierle Laderman Ukeles, Jill Magid, and Sophie Calle make the cut all the same. Torbjørn Rødland, Intraoral no. 3, Löwenbräukunst . © MANIFESTA 11/WOLFGANG TRAEGER “Artists have been in the dog salon, with the police, with the fire brigade,” Jankowski reflects in the catalogue, surveying the labors of his commissioned artists. “They have collected sewage sludge, given citizens therapy, looked for death, life, the perfect orgasm.” The late critic Leo Steinberg described the identification of art with other domains of work in his well-known 1968 essay “Other Criteria,” framing a dominant impulse in postwar American art with a fusillade of bracing declarations: “Not art but industry”; “Not art but technological research”; “Not art but objects.” What “was once an exceptional manifestation” in the polymathic interests of Renaissance artists, Steinberg stated, “has now become institutional within the field.” Neither hermetic nor “de-skilled,” artists under the influence of the postindustrial West have long mastered the flexible managerialism Jankowski espouses, what the banker who worked with Georgia Sagri observed in surprised metaphor. While Manifesta doesn’t add much to the longstanding identification of art with “non-art” subjects, it does offer a rare opportunity for those subjects to talk back. This is no small thing: that identification may be open-ended, but it still privileges the artistic, its discourse remains generally top-down. The exceptional authorial role accorded to the biennial’s “non-artists,” though relegated to the catalogue, occasionally threatens to upstage Jankowski’s entire project. Writing about the artist who had chosen to work with him, Jorinde Voigt, whose piece concerns an historical account of Rousseau meditating on freedom upon a Swiss lake, the boatmaker Melchior Bürgin delivers an elegant and devastating rejoinder: Presumably Rousseau lay in a fishing boat, not a racing boat like the ones we produce. My work has to do with competitions, with team sports, collectives who strive towards their goal. How to reconcile that with the self- imposed isolation of Rousseau is something that Jorinde will have to resolve in another work. I won’t have anything to do with that. I formulate my thoughts more prosaically: I try to build a boat. And that boat needs to float. That in itself is fascinating. 2016-08-03 11:12 Mostafa Heddaya

45 cyclists can take a ride into 21st century with multifunctional shoka bell cyclists can take a ride into 21st century with multifunctional shoka bell multifuntional ‘shoka bell’ features eight sounds, controlled by an intuitive joystick, for every bike ride. honk for a car, a polite ding for pedestrians, or even record your own message — there is automatic volume control technology to adjust the ringtone volume to the surrounding noise so it can always be heard. through the app custom ringtones can be created and even more sounds are available to download for free. every time the bell is rung, it’s shared with the ‘shoka community’ and collectively users can warn other cyclists of dangerous junctions and difficult routes. ‘shoka bell’ will send alerts alert when approaching problem areas with a visible series of 72 LED lights on the top of the device. it always chooses the safest route, by simply entering the destination in the companion app it can guide users turn by turn with clear arrow signals. bike security is also paramount if you’re a cyclist. the bell will remotely alert riders if their precious bike is moved. the clamp that is permanently attached to the bars acts as a motion sensor, if any movement is felt the ‘shoka bell’ will ring and light up to send alerts wirelessly up to 250m away. the company are currently crowdfunding on kickstarter which can be viewed here. 2016-08-03 11:00 Martin Hislop

46 Masterpieces of Japanese Buddhist Sculpture on Display in Rome For the first time in Italian history, 35 Japanese sculptures from the seventh to the 14th century are being shown in a new exhibition that runs until September 4 at Rome’s Scuderie del Quirinale. In “Masterpieces of Japanese Buddhist Sculpture,” visitors can see the works — including 21 pieces in wood or bronze described as “absolute masterpieces” by the museum — which demonstrated the dual development of artistic craftsmanship and Buddhist teaching in Japan from the Asuka (7th-8th centuries) to the Kamakura (1185-1333) periods. Seeing these works together highlights the variety of sculptural practices that were prevalent throughout these periods, a fact that is often diluted in Western conceptions of Japanese sculpture as just a selection of cross- legged Buddhas. Although fine examples of these are not omitted from this exhibition, it includes everything from a startlingly lifelike maquette of a monk made from painted wood in the 13th century, to the sculpture of Tamonten — a Hindu god of war incorporated into Buddhism — shown vanquishing a foe in ornate armor, striking a pose reminiscent of many works of Classical sculpture. As can be discerned from the subject matter of these works, the exhibition is also an excellent guide to the history of Buddhism in the period, with sculptures depicting the slow evolution of Buddhism which involved codifying its iconography and incorporating figures from other rival religions. More than just a history lesson, however, the exhibition is a chance to see works that are usually impossible to view without undertaking lengthy treks to dark, faraway temples or shrines. 2016-08-03 10:33 Samuel Spencer

47 Ronald Lauder Says a Work at the Neue Galerie Has Disputed Provenance As the restitution of Nazi-looted art has become an increasingly hot button issue, Ronald S. Lauder has been one of the world’s most outspoken champions of Holocaust victims and their families looking to reclaim stolen art. Despite his advocacy, Lauder told the New York Times that a work with a disputed provenance was recently discovered at New York’s Neue Galerie , which he co-founded with art dealer Serge Sabarsky. It would seem that even Lauder, the chairman of the Commission for Art Recovery and president of the World Jewish Congress, is not immune to the challenges of collecting pre-war European art. Since opening its doors in 2001, the Neue Gallery, which focuses on Austrian and German art made from 1890 to 1940, has been the subject of close scrutiny from those who believe the institution is not transparent enough about the origins of the works in its collection, donated by Lauder and Sabarsky. Related: David Nahmad Denies Modigliani Painting Is Nazi Loot “I was told there were no questions about the pieces we had,” Lauder said of the discovery. The work’s clouded provenance arose when Lauder asked Agnes Peresztegi , the Commission for Art Recovery president, to thoroughly examine the museum’s holdings, digging into the thorny questions of provenance. For some, Peresztegi’s efforts to investigate the Neue Galerie’s collection’s provenance are overdue, considering how Lauder has led the charge for museums to part ways with Nazi-looted art . “You would think that his gallery would be the most transparent, but it provides the minimal amount of information,” University of Denver history professor Elizabeth Karlsgodt, an expert on art stolen by the Nazis, told the Times . To date, the museum has not released any details about the artwork in question, but Peresztegi says the Neue Galerie is currently evaluating the provenance information of an artwork, and discussing restitution. Related: Art Experts Blast Bavarian Museums’ Attempt to Rebut Nazi Loot Claims In June, Lauder joined Helen Mirren on Capitol Hill in presenting the case for a the proposed the Holocaust Expropriated Art Recovery Act at a Senate judiciary subcommittee hearing. The actress played Holocaust survivor Maria Altmann, who fought to get back Gustav Klimt ‘s famous portrait of her aunt, Adele Bloch-Bauer , in the film Woman in Gold , and has become a prominent spokesperson for the cause. 2016-08-03 10:28 Sarah Cascone

48 torafu architects design aesop sendai in japan torafu architects have shared their latest interior design of aesop sendai in japan. having already realized a store in osaka, this one is distinguished by the slatted timber panel system that wraps and forms the walls which have been used create a warm and inviting atmosphere to entice people inside. the store itself is compact and measures only at 6 meters by 7.8 meters wide. torafu architects left the shopfront completely open, meanwhile the product display is embedded into the panelled walls. the back subtly frames and separates the retail space and the sink. ‘we wanted the walls on both sides to characterize the space in a simple way, and thus used 30mm x 40mm japanese cedar slats to provide a deep texture with shadows.’ states the architects ‘contrary to the rafters usually seen in buildings, we chose to present the cross-grain side of the timber as the front surface, which has a more expressive texture.’ a large steel sink sits at the center of the space sitting at the floorplan’s heart -similar in every aesop around the world- is a large sink made of steel. the feature allows for private consultations between customer and staff to take place in a single shared space. overall the shop measures 6m wide by 7.8m deep with a height of 3.4m the storefront is fully opened, with the product shelves organized on the left and the right side 2016-08-03 10:24 Natasha Kwok

49 Christie’s ‘Secret Weapon’ Xin Li to Marry Music Mogul Lyor Cohen in Hamptons Xin Li, deputy chairman of Christie’s Asia , will marry music mogul Lyor Cohen this weekend in a ceremony at the record executive’s estate in the Hamptons. According to Page Six , the idyllic venue for the impending nuptials in North Haven features 170 feet of waterfront. The wedding invitation is said to have included a collection of records by “everyone from Johnny Cash to David Bowie and Madonna,” as revealed by an unnamed source. Related: Meet Xin Li, Christie’s Secret Weapon for China Sales The couple reportedly met on a beach on the exclusive Caribbean island of St. Barts in January last year and “have been inseparable since.” According to reports, Cohen proposed to Xin in the Italian city of Florence in June, only six months after their initial meeting. Xin, a former model turned contemporary art specialist, has developed a reputation as Christie’s “secret weapon ” for helping the auction house rake in hundreds of millions from wealthy Asian clients at contemporary sales. Her deep connections to a core base of Asian billionaires has made her an indispensable asset to the auction house. Cohen, on the other hand, was headed the Warner Music Group before co- founding the independent label 300 Entertainment in 2012, which represents hip hop artists Fetty Wap and Young Thug, among others. At Warner, Cohen mapped out the success of music stars as diverse as Run DMC, Madonna, and Metallica. In a Reddit AMA , Cohen described himself as “a creative business music executive,” who counts Kanye West as “very, very close friend.” Cohen formerly dated the British fashion designer Tory Burch for five years; the couple split up in 2013. 2016-08-03 10:13 Associate Editor

50 Carbombz, Motorheads, and That Time Keith Haring Chose a Land Rover as a Canvas Mario Andretti doesn’t get brought up much during a VIP art opening, unless it’s to say how fast you had to drive on the 10 freeway to make it there. But there he was, dangling from the lips of Adam Langsbard, Chief Marketing Officer of the Petersen Automotive Museum, on July 28 to an audience seated around a canvas-covered object. The object was later revealed to be a 1971 Series III Land Rover painted by late street artist Keith Haring in 1983, and covered in lettering that suggests that it was painted for the Montreaux Jazz Festival. Langsbard introduced a two-man panel starring street artist Kenny Scharf and Adam Lindemann, collector of automobiles—including a 1965 Shelby Mustang, he would tell the audience. “My other car is an Uber,” he would quip to a snickering audience. Related: Kenny Scharf Smoked a Bong Inside a Richard Serra Sculpture Lindemann is also a collector, an art writer, and the owner of the Venus Over galleries in Manhattan and Los Angeles. Lindemann and Scharf— Haring’s former New York roommate—discussed the early ’80s in New York. “Me and Keith and Basquiat were kind of a little bit of a trio,” said Scharf, explaining why cars and/or walls could be canvases. “We were anti-elitist. We thought that art is not some secret club that only those who went to college and studied art history could enjoy. We didn’t want to alienate those people either, but to take art to both. It was very socialistic.” Related: David LaChapelle Parts with Painting Created in Keith Haring’s Final Days Lindemann and Scharf considered the Land Rover. The hulking, army green beast is covered in Haring’s figures like tattoos on a sailor’s body. During a question-and-answer session, an audience member asked Scharf just what Haring’s figures and scribbles were getting at. “He tacked very many subjects—the culture of television, the idea of the end of the world and nuclear annihilation—but the thing to remember,” said Scharf, “is that even before everyone knew his characters, they were iconic; they were symbols. He was using symbolism. He studied semiotics. I think he was trying to create his own language. Anyone from any culture can read it.” Lindemann then drew a distinction between Haring’s Land Rover, which he viewed as “non-commercial in any way,” and the BMW Art Cars by David Hockney , Alexander Calder , and Robin Rhode that are currently on view at the Petersen. “BMW was hiring those artists,” said Lindemann. “I doubt [Haring] chose this car,” Scharf piped in. “The car probably presented itself to him as a canvas.” Scharf himself has spray-painted over 200 cars for his “Carbombz”—which he offers to anyone for free as a reaction to “the boring beige car design of the past 40 years”—he told me after the talk, and made 10 custom cars that are further augmented into fully realized artworks. One such work will be on view at Lindemann’s Venus Over Los Angeles during “Piston Head II: Artists Engage the Automobile,” which will also feature vehicle-inspired work (or literally carworks) by dudes like Matthew Day Jackson, Richard Prince , Sterling Ruby, Lawrence Weiner, Haring, and Scharf—as well as dudette Katherine Bernhardt. Scharf pines for the days when cars had personality. He himself drives a 1959 Cadillac Fleetwood “about once a week, but for a daily driver, it’s a Prius that I’ve carbombed, and an old Miata I’ve had since ’92.” After the talk, the demographics of the audience became clear when I heard one woman, referring to Keith Haring’s work, say, “It reminds me of the Soulcycle logo.” Another woman, speaking to Scharf about his free Carbombz, was a bit confused. “When you say bombing…” Scharf assured her that meant painting in street art parlance. A few people did rock Haring products, including a stylish gentleman in a puffy vest adorned with colorful Haring people. But generally, the crowd milling about was much more automotive-minded, really bringing into perspective the collective hush that fell when Scharf admitted to the crowd of mostly motorheads that he tends to be anti- automotive industry. “I like batteries,” he said about his Prius, something of a controversial statement in the museum. “I love car culture, but at the same time petroleum is the scourge of the world.” 2016-08-03 10:00 Maxwell Williams

51 Artiquette: 14 Tips on How to Take a Killer Art Selfie Artiquette is a series that explores etiquette in the art world. Thanks to digital photography and smart phones, pretty much anyone has a camera in their pocket, allowing all of us to document our lives in near-real time on social media. Related: 24 Billion Photos Prove Our Selfie Obsession Is Out of Control A big part of crafting one’s image is the selfie, and, for art lovers, there is no better variety than the art selfie. As perfected by Jay Z and Beyonce , the art selfie features photogenic works of art alongside the photographer’s smiling mug. It’s not as straightforward as it seems, however, as not all art selfies are created equal. While some exhibitions seem to be created with Instagram in mind, others don’t quite translate into photographs. Related: The 6 Most Popular Art Exhibitions on Instagram, Ever Luckily, artnet News has you covered with this helpful guide on mastering the art of the art selfie. 1. Set the stage. Fashion blogger Pari Ehsan has amassed 200,000 Instagram followers for her stunningly-composed photos, in which she poses with artwork dressed in complementary or matching attire. “The vision is to create a dialogue with the art, to add my own interpretive layer and cause someone to pause and look deeper into the image,” she explained to artnet News in an email. For a truly striking art selfie, it pays to plan ahead. Your clothes, hair, and make-up can take your art selfie to the next level. Related: artnet Asks: Blogger and Instagram Darling Pari Ehsan 2. The best art selfie is worth traveling for. In our increasingly global art world, it seems like there’s a new art destination to visit every week. For those of us who don’t live the jet set life, there’s nothing like living vicariously through the international art selfies of others, whether they’re at Christo’s Floating Piers or Art Basel in Basel. “I’m fresh back from Marfa/ Robert Irwin ’s new installation at the Chinati Foundation , and the pilgrimage is more than worth it,” said Ehsan, who sees her art travel photos as “all about sharing the experiences that are meaningful to you, and compelling others to have their own in-person experience.” 3. Safety first. This should go without saying, but don’t be stupid. Even the coolest art selfie isn’t worth your life, so don’t go scaling, say, Rio’s Christ the Redeemer on a whim. Poorly-executed selfies also have been known to damage artworks. Please, don’t be that guy that smashes a statues or gets trapped in a giant marble vagina in the quest for the perfect photo op. Related: New Safety Guidelines After Spate of Selfie-Related Deaths and Injuries—Will They Work? 4. Reflective surfaces are your friend. The art selfie lover has never met a shiny, reflective sculpture they didn’t appreciate. As the slightly less-tacky cousin of the bathroom mirror, the mirrored art selfie is a staple of every art fair. Jeff Koons is loving the trend. 5. Look at the overall picture. Make sure to consider the angle and how far away you are from the piece before striking a pose. Patience is also key, to ensure there’s no one walking by to ruin your perfect shot. “My advice to the novice is never upstage the art, its about balance, line, form and overall composition,” said Ehsan. “I’m constantly asking myself questions as I’m seeing art, why do I like this, what about it do I love. This informs the elements that I draw out in my pairings, ideas and visuals I want to explore.” Composition is crucial, and can be the difference between an average photo and a truly memorable art selfie. 6. Keep it classy. Artwork elevates the art selfie above your average selfie, but a “cool” painting or sculpture only goes so far toward respectability. One wrong step, be it your caption, hashtags, or facial expression, and you can quickly veer into offensive territory. “Respect the art, don’t embarrass yourself or make the artist (if dead) turn in their grave,” warned Ehsan. Related: Kara Walker’s Sugar Sphinx Spawns Offensive Instagram Photos 7. Beware the selfie stick. Yes, the selfie stick can help extend your reach and is key for taking selfies of large groups, but museums are increasingly banning them . (They are admittedly disruptive to other patrons, and can lead to accidents or damage to artworks if carelessly waved around.) Let’s face it: Even in the best of times, you look silly taking a selfie. The selfie-stick only draws more attention to yourself (although to be fair, for some selfie takers perhaps that is the goal). 8. Don’t take yourself too seriously. You’re taking a selfie. Have some fun with it. 9. Bigger is (usually) better. Some art selfies are guaranteed to be hits, at blockbuster exhibitions like Yayoi Kusama ‘s Infinity Room. Everyone may be doing it, but that doesn’t mean you don’t want your own picture with Jeff Koon’s Split Rocker. Nevertheless, don’t underestimate the appeal of the unexpected. “Something I am really struck by is when an person finds a little-known or overlooked piece in an exhibition and uses their platform to spotlight it,” Job Piston , a photographer and Performa ‘s special projects and communications associate, told artnet News in an email. “Making a picture is similar to using your finger to point at something and say ‘Look at this. Really LOOK at it.'” For Ehsan, the process of selecting an artwork to shoot is “very intuitive. I choose the works or installations that speak to me.” 10. Respect the power of the filter. A good filter can make or break a successful art filter. Go beyond Valencia and Lo-Fi and experiment with the other tools to improve color, contrast, and saturation. Or, if you’re really serious, invest in real photo-editing software to truly up your game. 11. It’s not all about you. Let your friends in on the selfie fun. Everyone loves a good group selfie, and taking one with an awesome work of art should be a #squadgoal. 12. Don’t forget the caption. Tell people what they’re looking at, and credit the artist and the institution. Not only is this good manners, it will also help give your art selfie additional exposure. “Keep it real and succinct with the hashtags, artist, work, location and the people that helped bring the image into the realization,” said Ehsan. 13. Sometimes, the best art selfies aren’t selfies at all. Looking through my Instagram, I realize there are plenty of photos of me with art, and plenty of selfies, but not a ton of overlap between the two categories. It’s not an easy task to take a flattering photo of yourself that also shows off a work of art to its best advantage. “The selfie has evolved into going with friend to an exhibition whose judgement you trust to take your photo,” said Piston, pointing out that you still make the photo your own by choosing where to shoot, how to crop the image, and handling the post-production, captioning, and tagging. Picking the right image after a long day at an art fair or museum is also key. “I usually choose 2 or 3 out of 150–200 images,” said Ehsan. Even if you’re shooting far less, don’t be afraid to let a friend (or an indulgent stranger) do the honors. More often than not, the photo will be the better for it, and, as Piston declared, “it’s the natural evolution of selfie 2.0.” Related: Pope Francis Takes First #Artselfie With the Sistine Chapel 14. Let the art speak for itself. Not every work of art is destined for selfie stardom. Believe it or not, many artists created their works without you in mind, so there’s a decent chance your followers will enjoy looking at it even if you’re not in frame. When in doubt, turn your camera back around and live to selfie another day. 2016-08-03 09:28 Sarah Cascone

52 52 Roberto Burle Marx Jewish Museum / New York Absent from Roberto Burle Marx’s monographic exhibition in New York are materializations of what he was known to create: abstract geometrical parks and gardens. Faithful to its title, “ Roberto Burle Marx: Brazilian Modernist ”, the show adopts a modernist ethos by presenting Marx more as a designer or planner than strictly an architect or artist. Roberto Burle Marx: Brazilian Modernist The exhibition’s narration of Marx’s introduction to and fascination with botany retells an old story about nationalist discovery in the Latin American modernist tradition. While Marx was studying painting as an adolescent in the Weimar Republic, he became interested in Brazilian flora after visiting the botanical garden in Berlin, which he compared to Rio de Janeiro’s gardens, in which one could hardly stumble upon a native species. The exhibition presents Marx’s turn to botany as a Brazilian awakening. Its pairing of the paintings Red Mangrove (1963), composed of organic shapes that resemble menorahs, and Still Life with Figa, Amulet and Lace Tablecloth (1933), depicting a giant closed black fist amulet, reveals an internal clash that will eventually be resolved in his landscape designs. However, by showing plans rather than plants, or by keeping things virtual rather than real, the exhibition avoids the sentimental trap it sets up. Marx not only replanted vegetation in parks and gardens but devised a graphic schema and a new language of lines, curves and colored segments to graft a new visual context onto plants that had been barred from use. The exhibition also highlights seven artists all born after 1950, among them Juan Araujo, Dominique Gonzalez-Foerster and Nick Mauss, whose work was inspired by or resembles that of Marx. If relationships with his contemporaries were in any way extrinsic to Marx’s work, or might merely be presented as nodes in a network for pedagogical purposes, their absence would be less glaring. Marx’s originality concerns the fact that his materials were literally uprooted from the soil and consist of physical stuff rather than words and images. The exhibition ultimately offers few tools to engage such an unprecedented practice. In his Brazilian Intelligence (1965), the German critic Max Bense referred to Marx’s gardens as cosmos, the work of an arrangeur whose garniture corrects the “growing disorder of tropical chaos.” This account, while marred by the rhetoric of a writer who continuously exoticized Brazil, at least proffered a hypothesis concerning Marx’s constructivist handling of nature. The extent to which his plans for parks and gardens inflected contemporary theories concerning entropy remains to be found out. by Nathaniel Wolfson 2016-08-03 09:15 www.flashartonline

53 do.do. designs playful house-is residence in tokyo japanese studio do.do., led by principal kei harada, brings together comfort and practicality in ‘house-is’, a single-family residence in nishiojima, koto-ku, tokyo. the home is three levels in total, the upper-most reserved in total for a rooftop garden. upon entering, guests and residents find themselves in a compact work space, where the client (graphic designer) maintains a small conference room and studio. up stairs, with a small pause for a stairwell kitty door that runs the ground floor ceiling periphery, is placed a square living room as well as kitchen and master suite. connection to the rooftop garden is provided via a spiral staircase. ‘house-is’ was designed by do.do. with creativity and play in mind; a light-hearted space for clients and the cat alike. built in storage to left, open connections to other areas designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-08-03 08:45 Kei Harada

54 54 David Bowie’s Revealing Portraits at Espronceda Barcelona Related Artists David Bowie The Espronceda Center for Art and Culture in Barcelona is presenting an exhibition of photographs of the late David Bowie by Berlin- based British photographer Gavin Evans. Entitled “Bowie – The Session,” the intimate and revealing exposé features 20 photographic portraits of the British music legend, including remastered and previously unseen images. Gavin Evans is renowned for his "uncompromising approach" to portraiture and his talent for unmasking the true character and personality of his subjects. In the course of his career, he has trained his lens on the likes of Nick Cave, Iggy Pop, Björk, Dusty Springfield, Morrissey, and Daniel Craig, capturing images that testify to the unique connection that he establishes between artist and photographer. Evans says that he refuses to "perpetuate stereotyped ideals" of gender or beauty, and does not believe that the portrait captures the spirit of the subject in a single image. “The subject is the manifestation of the photographer – both personalities reside within the frame,” he says. “My portraits and Biopic series refute the dogma of ‘one defining image, one decisive moment, one truth.’” The works in “Bowie – The Session” were originally commissioned in 1995 by Time Out magazine, and have since appeared on the covers of magazines and newspapers around the world. The series depicts Bowie at his unguarded and exposed best, revealing a man with a complex character in portrayals that range from playful and exuberant to brooding and melancholy, and even dark and menacing. 2016-08-03 08:44 Nicholas Forrest

55 LACMA Opens Window to a Lost World With Tsao Family Art Collection Related Events Alternative Dreams: 17th Century Chinese Paintings from the Tsao Family Collection Venues LACMA Artists Dong Qichang Ding Yunpeng Gao Cen Ma Shouzhen Dai Benxiao From August 7, the Los Angeles County Museum of Art (LACMA) will present over 120 paintings and calligraphy works from the art collection of the late Jung Ying Tsao, who was a renowned scholar and collector of traditional Chinese art. “Alternative Dreams: 17th Century Chinese Paintings from the Tsao Family Collection” is curated by Stephen Little, the Florence and Harry Sloan Curator of Chinese Art at LACMA, and will run through December 4. The exhibition will open a window to “a lost world,” unveiling artworks from the family collection dating from 17th century China, including the Ming Dynasty and Qing Dynasty. The works will showcase prominent Chinese artists as well as Buddhist monks. According to the curator, o ver 80 artists will be exhibited, enabling the viewer to “explore key aspects of Chinese culture,” highlighting “the respect for antiquity and the importance – for an artist – of transforming the past into something new and relevant for the present.” Divided into nine sections, “Alternative Dreams” will provide a chronological and geographical perspective on the development of Chinese art and its masters, in addition to examining Chinese schools of thought and art. The first section will illuminate the journey of one of the most important painters and calligraphers of the Ming Dynasty, Dong Qichang. As the founder of the Southern School, t he artist played a pivotal role in the evolution of late Ming and early Qing painting, more commonly known as literati painting – one of the highest forms of Chinese painting. Coincidentally, Dong Qichang was a Buddhist monk like many other Chinese artists during the 17th century, including Li Lufang, Ding Yunpeng, Gao Cen, Zhang Feng, Ma Shouzhen, and Shao Mi. Although they never eventually formed a group or school, the section dedicated to these artists in the show reveals the “thematic overlap” with Buddhist philosophies and traditions in their work. Two other schools, however, are highlighted in the show: the Anhui School and the Orthodox School. The former favored a distinct style of landscape painting, distinguished by dry brushstrokes and simplified forms. Artists influenced by this style include Zou Zhilin, Fu Shan, Hongren, and Dai Benxiao. The Orthodox School was formed by a group of landscape painters known as the Four Wangs in the early Qing dynasty, carrying on Dong Qichang’s legacy of literati painting. The exhibition also features seven Chinese cities which significantly contributed to the development of Chinese art history — not only as the birthplaces of influential schools such as the Wu School of painting in Suzhou, but also as major cultural and economic centers owing to their status as key points for international sea trade. These include Fujian and Jiangxi, places that lead to the rise of many innovative painters during the late Ming dynasty. Additionally, a sole section dedicated to the city of Nanjing focuses on its symbolic relevance in the 17th century as the Ming dynasty’s first capital. Subsequent to the fall of the dynasty, the city became a spiritual center with Buddhist temples. It was also the home of many Chinese painters, leading to the creation of the Nanjing School, which celebrated the beauty of the city through a dramatic use of light and dark ink. 2016-08-03 08:14 Claire Bouchara

56 Datebook: Albert Tucker Photographs of ‘Artists at Leisure’ at Heide Museum of Modern Art Related Venues Heide Museum of Modern Art Artists Albert Tucker Heide Museum of Modern Art, Melbourne presents images of artists photographed by Albert Tucker at the Museum’s Heide III: Albert & Barbara Tucker Gallery location from March 12 through November 13. Photographer Albert Tucker (1914–1999) is described as the ‘accidental historian’ of the Heide circle in the late 1930s to mid-1940s in Melbourne for his forte in capturing unselfconscious moments. Tucker’s works are his observation and documentation of his surroundings with his camera lens. This exhibition features Albert Tucker’s collection of photographs of artists from the Heide circle in their idle hours enjoying at the beach, having meals with friends, and other leisurely activities. The images are well composed with the dramatic use of light and shade. Along with these the exhibition features photographs captured by Tucker in his own leisure times experiencing wrestling matches, dances, soapbox speeches, and plays. The exhibition also includes some of his color photographs which later became the subject of paintings. 2016-08-03 07:15 BLOUIN ARTINFO

57 Teenie Harris Shot Donald Trump’s Roots as a Fearmonger THE DAILY PIC (#1605): Fearmongering has always been a political staple, but this photograph, from October of 1949, sure brings home Trumpism’s long pedigree. It was taken by a wonderful Pittsburgh photographer named Charles “Teenie” Harris, and will be in a show of his election shots that opens Aug. 13 at the Carnegie Museum of Art in Harris’s home town. The billboard that Harris photographed was the Republican party’s contribution to “informed debate” in Pittsburgh’s mayoral election in 1949 – a postwar moment in American history not exactly known for its crime wave. In fact, there was a massive drop in homicides right around then, just as there has been over the first two decades of our new century. (“Sex crimes” did register a bump in Pittsburgh stats, but only because the police department was mounting a pogrom against gay citizens, whom local judges described as “society’s greatest menace.”) In designing his image, it feels as though the billboard’s “artist” is counting on an audience primed to accept racial slurs because of the hideous anti- Japanese propaganda of World War II. The clutching fingers of his bestial predator have the long nails that Americans imagined on their Asian enemies, even though, in Pittsburgh in 1949, this image was probably meant to conjure up an African American “buck,” to borrow a slur from Ronald Reagan. But instead of blackness being the main subject of the billboard – after all, some Pittsburgh blacks still voted for the Party of Lincoln in 1949 – race gets in by the back door, in the golliwog doll the imperiled little princess is clutching. Talk about dog whistles. I’m glad to say that there was pushback against this billboard, even among Republicans – more GOP resistance than Donald Trump sometimes faces today. The Republican owners of the Pittsburgh Outdoor Advertising Co. actually refused to honor their contract to put up 100 copies of the image once they saw it. They had to be forced to do so by a reluctant local judge, who called the picture “a shocking example of bad taste.” The Republican party claimed that opposition to the image had been ginned up by their political adversaries, but in fact the local newspaper couldn’t find a single example of a Democratic operative who had mentioned the matter. Within a week of the billboard’s appearance, however, the Republicans themselves decided to replace it with a less offensive image. Back then, at least, a Republican candidate could realize he’d crossed a line and decide to step back from it. ( Carnegie Museum of Art, Heinz Family Fund) 2016-08-03 07:02 Blake Gopnik

58 Juergen Teller Curates Robert Mapplethorpe Exhibition Opening in London This Fall In a coming together which will excite many, Juergen Teller is curating an exhibition of work by the legendary photography Robert Mapplethorpe , which will go on view at London’s Alison Jacques Gallery in November. The work and life of Mapplethorpe has become the stuff of legend, particularly after his close friend Patti Smith published her 2010 best-selling autobiography Just Kids about their lives together in the 1960s and 70s. Most recently, he was the subject of the HBO documentary Mapplethorpe: Just Look at the Pictures (2016). This is, of course, in addition to his reputation as one of the greatest photographers of his generation. Related: Robert Mapplethorpe Foundation Calls $65 Million Lawsuit a ‘Frivolous Claim’ Teller, decades later, holds a similar role to Mapplethorpe’s in that he seamlessly straddles the worlds of art and commercial photography. Mapplethorpe’s work was groundbreaking not only because of his graphic documentation of New York’s gay S&M scene, but also due to his technique and ability to apply his vision to many, differing subjects. Related: HBO Gives Us the Robert Mapplethorpe Documentary We Probably Deserve “Provocative and subversive, making images which are the antithesis of conventional fashion photography and, most importantly, a key artist of his time, Juergen Teller was the only choice to curate this special exhibition of Robert’s work,” said Alison Jacques of the upcoming exhibition. “There are obvious parallels between these artists and I am excited to see how Juergen will bring his edge, energy, and unique vision to a new reading of Robert’s work,” she added. Related: Forthcoming Book of His Archive Adds to Recent Robert Mapplethorpe Fever Alison Jacques Gallery has represented Mapplethorpe’s estate for the last 17 years. This exhibition follows the dual show “Robert Mapplethorpe: The Perfect Medium” at the J. Paul Getty Museum and LACMA earlier this year. Meanwhile, German-born and London-based Juergen Teller’s 2013 exhibition “Woo” at London’s Institute of Contemporary Arts attracted the highest number of visitors of any exhibition in the history of the institution. “Teller on Mapplethorpe” will be on view at Alison Jacques Gallery , London, from November 18, 2016 – January 7, 2017. 2016-08-03 05:00 Contributing Writer

59 Interview: Janelle Reiring on Cindy Sherman at GOMA Brisbane Related Venues QAGOMA Metro Pictures Artists Cindy Sherman The work of American photographer Cindy Sherman is currently being celebrated in two significant solo exhibitions on opposite sides of the world. The Broad contemporary art museum in Los Angeles, USA, is presenting a comprehensive survey of Sherman’s work from 1975 to the present day, while the Gallery of Modern Art (GOMA) in Brisbane, Australia, is showcasing 56 of the artist’s large- scale photographs from six series, all produced since the year 2000. “I am trying to make other people recognize something of themselves rather than me,” Sherman has said of her celebrated photographic portraits. Throughout her four-decade career, Sherman has continually reaffirmed her status as one of the most relevant and important artists of her time, taking on the multiple roles of hairstylist, makeup artist, director, photographer, and model to create poignant comments on issues of representation, identity, and the role of images in society. One of the most qualified individuals to comment on Sherman’s work is Janelle Reiring, founder of Metro Pictures in New York and one of the artist’s early supporters. Metro Pictures first exhibited Sherman’s work in its opening year in 1980, and continues to represent the artist. BLOUIN ARTINFO caught up with Reiring on the occasion of the exhibition at GOMA and asked her a few questions about the artist and her work. Click on the slideshow to see images of the exhibition. It was the first survey exhibition of Sherman's work that did not begin with the "Untitled Film Stills. " Cindy has such a long and productive career that it is difficult to take in the entire trajectory of her work. So I think focusing on the later work since 2000 was a brilliant idea. It allowed the viewer to focus on the radical shifts made in each new series. As familiar as I am with Cindy's work, I saw things I had not noticed before, such as the 2007-2008 "Balenciaga" series, which is the only work Cindy has done that portrays the characters in a totally contemporary setting. Usually the era in which her characters exist is left rather ambiguous. As Sherman herself has stated, I think the new work marks a departure, in that Sherman is presenting these characters with no protective shield of irony. It is the most raw and revealing work she has done, and there is a real sense of her total empathy and admiration for these characters. And a real sense of her joy in portraying these characters. I think it becomes very clear that Cindy is an artist who is always questioning what she doing. There is no making of work to please an audience or a market. Though her means of making work are so restricted, she never repeats herself. In each new series she pushes herself to reveal something new. 2016-08-03 04:50 Nicholas Forrest

60 Why Are Antiques Fairs Bringing in Contemporary Art? It used to be that a household filled with art and antiques from a particular era was the epitome of great taste and an impressive collection. But that museum-like approach to interior design has fallen out of vogue, making way for a more eclectic and personal angle, and art and antique fairs are having to adapt to it. In the wake of the news that London’s Art & Antiques Fair had introduced a contemporary art and modern design section, called SOFA London, for its latest edition, people are asking if the days of the antique fair as we know it are numbered. But, is this a matter of evolution rather than extinction? Mary Clare Boyd, director at the Art & Antiques Fair and the Winter Art & Antiques Fair, sees it that way. “SOFA is widely known in the US for its international dealers selling one-of- a-kind masterpieces and here in London we have an elite selection of dealers who showcased original works from different arts and makers using a variety of mediums,” Boyd told artnet News via email. Related: Does TEFAF Need Contemporary Art? The trend for eclectic collecting and the rise in popularity of mid-century modern design is also a factor. Successful fairs such as Frieze Masters and Masterpiece London have been welcoming exhibitors selling a broad range of items for some time now, so the more traditional fairs could simply be following suit. According to the Guardian , many fairs have stopped using datelines and lifting restrictions on exhibitors showcasing items made in the 21st century. “Of course all trends affect market trade, but traditional art and antiques remain, and will always remain, hugely popular,” Boyd said. “For example, we recently commissioned some research which found that 72 percent of people believe that antique furniture will always be in fashion while Art Deco was revealed as the nation’s favorite style. It could be perceived that people are going for a more simpler look, but there is still a demand for art and antiques—people are, and forever will, look for quality and unique items, but the beauty is that you can combine the old with the new in your home very successfully and buyers and interior designers are capitalizing on this,” she added. Related: Masterpiece London 2016 Opens with a Buoyant Mood Post Brexit Vote It is hard to believe that such an established industry could be at risk but, looking at the figures, the overall value of antiques has fallen 45 percent since 2002, according to the Guardian. Boyd believes that, in order to adapt, dealers need to focus on quality and provenance. “Some specialist items have increased, so there is a mixed market,” Boyd told artnet News. “Pieces that are one of a kind with an unbeatable provenance will continue to soar due to their rarity, and demand for such pieces will always be high from collectors and individuals. Obviously, there are pieces that have reduced [in value], which has also made the market more affordable and has introduced new buyers to the scene.” Mid-century and Scandinavian furniture is very fashionable and is also available as brand-new items, via re-issues through UK high street retailers like John Lewis and Heal’s. But when it comes to antiques, fairs still play an important role. Related: Frieze Masters Introduces Art Advisory Service to ‘Demystify’ the Market for New Collectors “As more dealers are trading by appointment, fairs have become ever more important because that’s where buyers can see a full range of stock on offer so they need to capitalize on these as much as possible,” Boyd emphasized. “Networking, meeting potential buyers and collectors face-to- face, and keeping on top of the trade is key to success.” The increasing number of antiques fairs bringing in modern and contemporary art pieces speaks volumes, but whether this is a mere trend or a cultural shift is yet to be seen. 2016-08-03 04:30 Contributing Writer

Total 60 articles. Created at 2016-08-04 00:00