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55 articles, 2016-05-13 12:01 1 Remembering Martin Friedman (1925–2016) — Magazine — (1.03/2) Walker Art Center Martin Friedman, the director of the Walker Art Center from 1961 to 1990, passed away May 9, 2016, at age 90... 2016-05-13 11:03 15KB www.walkerart.org 2 Christie’s Imp-Mod Auction Totals $141.5 M., Secures Record (1.02/2) With $8 M. Frida Kahlo Claude Monet's Le bassin aux nymphéas, 1919, estimated at $25 million to $35 million, sold for $27 million. COURTESY CHRISTIE'S In the last of the New York 2016-05-12 23:36 7KB www.artnews.com 3 More or Less Than One: C. Spencer Yeh’s Sound Horizon To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of (1.00/2) independent voices and o... 2016-05-12 22:58 941Bytes blogs.walkerart.org

4 Fall 2016 Trend: Shirts With a Twist When it came to shirts, designers had a few tricks up their sleeves this fall. 2016-05-13 04:43 680Bytes wwd.com (0.01/2)

5 sand & shopping are steps away from the dream inn by CDP arquitectos made for family, but oriented towards the excursion market as well, the inn is conveniently located between the tourist zones of el condado and isla verde. 2016-05-13 08:45 2KB www.designboom.com 6 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-05-13 09:57 1KB gdusa.com 7 benedetta tagliabue's dome lamp crafted using 170 interlocking wood pieces made of a network of interlocking wooden pieces, the pendant lamp by benedetta tagliabue is influenced by the pantheon and santa maria del fiore. 2016-05-13 06:45 1KB www.designboom.com 8 ala sieradzka transforms scraps to nutrients with bono composter with the help of earthworms, bono turns bin-bound items into nutrient filled fertilizer that can be used to cultivate herbs, veggies, and fruits at home. 2016-05-13 04:01 2KB www.designboom.com 9 Men’s Eyewear Trend: Make a Splash Independent sunglass manufacturers are updating the retro styles. 2016-05-13 04:01 739Bytes wwd.com 10 Oliver Peoples to Open Permanent East Hampton Boutique The Luxottica-owned, luxury Los Angeles eyewear brand will open a permanent outpost in East Hampton this month. 2016-05-13 04:01 3KB wwd.com 11 Sonic Youth visits the Walker Before they headed to the Minnesota State Fair last night for a rain-soaked concert with the Magic Numbers and The Flaming Lips, Sonic Youth stopped by for a tour of the Walker galleries with Perform... 2016-05-13 03:21 789Bytes blogs.walkerart.org

12 MCA, Tate, Qantas Reveal First Australian Art Acquisitions The Museum of Contemporary Art Australia (MCA), Qantas, and Tate have announced five artworks by Susan Norrie, Vernon Ah Kee, Gordon Bennett, and Judy Watson as the first acquisitions in their International Joint Acquisition Program for contemporary Australian art 2016-05-13 02:11 2KB www.blouinartinfo.com 13 erwin wurm deforms domestic interior objects at frieze new york at the 2016 edition of frieze new york, lehmann maupin gallery presents a selection of new bronze works by austrian artist erwin wurm. 2016-05-13 02:01 2KB www.designboom.com 14 Christie’s Mild-Mannered Imp/Mod Closer The Impressionist and Modern market continued to show signs of weakness with a Christie’s evening sale tally of $141,532,000, just above its low estimate. 2016-05-13 01:05 11KB www.blouinartinfo.com 15 Winners of 2017 Jerwood Award Announced Patrick Hough and Lawrence Lek are the winners of the 2017 Jerwood Awards, and will receive a generous cash prize to produce new moving-image works. 2016-05-13 01:00 2KB news.artnet.com 16 Video: Lee Mingwei’s ‘Guernica in Sand’ for 20th Sydney Biennale For the 20th Biennale of Sydney, Paris-based Taiwanese artist Lee Mingwei is presenting a new iteration of “Guernica in Sand” 2006/2016. 2016-05-13 00:06 1KB www.blouinartinfo.com 17 What’s on TV Friday Steven Soderbergh takes viewers on a wild ride in “Side Effects.” And eight documentaries celebrate those struggling against the odds in “Justice For All.” 2016-05-13 00:00 3KB www.nytimes.com 18 designphase dba adds glass façade to pizza restaurant in singapore the open-plan setting provides a casual environment that aims to appeal to a younger audience who can relate to street art with its connotations of culture, music, and young hip fashion. 2016-05-12 23:45 1KB www.designboom.com 19 Sarah Jessica Parker Uncensored Sarah Jessica Parker talked frankly about her successes and failures, and how the pain sometimes feels good. 2016-05-12 23:09 2KB wwd.com 20 American Airlines Taps Cole Haan and Twin Hill for Employees’ New Accessories and Uniforms American Airlines will phase out its Kaufman Franco-designed uniforms for Twin Hill ones accessorized with items from Cole Haan that staffers can also purchase for family and friends. 2016-05-12 22:51 3KB wwd.com 21 Art Fair Tokyo 2016 Calls For More “Asian Friendship” With 157 galleries participating, Art Fair Tokyo ushered in its largest edition ever during its “First Choice” preview on Wednesday afternoon with quiet fanfare. 2016-05-12 22:41 4KB www.blouinartinfo.com 22 Susan Sarandon Is on a Roll The actress talks about her new beauty deal with L’Oréal, aging in Hollywood, girl power and the joys of producing. 2016-05-12 22:33 5KB wwd.com

23 A Portrait of the Artist as a Young Philosopher | City of the Seekers Artist Rives Granade loves all the things about Los Angeles that everyone else hates. 2016-05-12 21:15 8KB thecreatorsproject.vice.com 24 Second Thoughts: Fred Sandback and the Virtual Line How does an exhibition accrete meaning, gain relevance, or shift shape over time? In the 2016-05-12 21:54 858Bytes blogs.walkerart.org 25 Ivanka Trump and Kate Hudson Share Insights at Forbes Women’s Summit The two shared stories about their lives as entrepreneurs and celebrities. 2016-05-12 21:09 4KB wwd.com 26 Calvin Klein Stirs Up More Controversy With Its Spring 2016 Campaign The ad features Danish actress Klara Kristin from a revealing angle. 2016-05-12 21:01 2KB wwd.com 27 Artists Installing: Lee Kit Hong Kong artist Lee Kit spent the past two-and-a-half weeks in the gallery working on his site-specific installation for his first solo museum exhibition in the US, Lee Kit: Hold your breath, dance... 2016-05-12 21:54 835Bytes blogs.walkerart.org 28 What is a Contemporary Collection? Thoughts on the Walker Moving Image Commissions and the Ruben/Bentson Moving Image Collection The Walker Moving Image Commissions is an online series in which five artists responded to selections from the Ruben/Bentson Moving Image Collection. Premiered in the Walker Cinema and released for a... 2016-05-12 21:54 1KB blogs.walkerart.org 29 Listening Mix: Devendra Banhart & Friends LISTENING MIX provides a musical preview for artists visiting the Walker. Combining their work with sounds from a variety of contextual sources, LISTENING MIX can be experienced before or after a pe... 2016-05-12 21:54 941Bytes blogs.walkerart.org 30 Elizabeth Arden to Buy Christina Aguilera Fragrance Business Originally part of P&G’s sale to Coty, Christina Aguilera Perfumes dropped out of that deal in January. 2016-05-12 20:43 2KB wwd.com 31 Here's a New Model for Selling Art with Bitcoin Eric Barry Drasin and Benton C. Bainbridge inaugurate their Moving Pictures Gallery project with a performance by audiovisual artist Jonas Bers. 2016-05-12 20:25 9KB thecreatorsproject.vice.com 32 Giant Fluorescent Totems Rise in the Nevada Desert No, you’re not hallucinating: A massive installation by Ugo Rondinone is the Southwest’s latest roadside attraction. 2016-05-12 19:50 4KB thecreatorsproject.vice.com 33 A Melancholy Tale About the Father of Cinema, Eadweard Muybridge Get ready to feel bad for the famous artist's less-famous kid. 2016-05-12 19:25 3KB thecreatorsproject.vice.com 34 aesop opens snøhetta-designed store in singapore snøhetta has continued its ongoing collaboration with aesop with the opening of its second store in singapore. 2016-05-12 19:22 2KB www.designboom.com

35 Charles Pétillon Engulfs Gallery Magda Danysz in a Balloon Vortex “Invasions,” the artist’s debut exhibition in China, features a site-specific installation of thousands of balloons arranged in a spiral around the 1,000-square-meter gallery. Visitors to the show will be enveloped in this vast creation, giving them the experience of entering what the... 2016-05-12 19:16 2KB www.blouinartinfo.com 36 Let Fairy Tale Slackliners Teach You the Art of Falling Slackliner Louis Boniface knows how to make the most of any fall. 2016-05-12 18:25 2KB thecreatorsproject.vice.com 37 Scott Anderson at CES Gallery, Los Angeles Pictures at an Exhibition presents images of one notable show every weekday 2016-05-12 18:20 1KB www.artnews.com 38 san francisco approves foster + partners' oceanwide center the new oceanwide center in san francisco, designed by foster + partners in collaboration with heller manus, has received approval from local authorities. 2016-05-12 17:56 2KB www.designboom.com 39 2,000 Glowing Pigeons Illuminate the Brooklyn Waterfront As artist Duke Riley proves in 'Fly by Night,' LED-equipped pigeons are the new performance art. 2016-05-12 17:30 5KB thecreatorsproject.vice.com 40 Die Antwoord's "I Fink U Freeky" Director Released a Terrifying Short Film Artist Roger Ballen filmed the thriller in the old mental asylum that now houses Sydney's College of the Arts. 2016-05-12 17:10 3KB thecreatorsproject.vice.com 41 Tunick Wants to Make America Naked Again Photographer Spencer Tunick is looking for one hundred women willing to "pose nude in Cleveland during the Republican National Convention. " 2016-05-12 16:53 2KB news.artnet.com 42 turner prize 2016 shortlist revealed this year sees anthea hamilton, michael dean, helen marten and josephine pryde vying for the title, whose creative practices are linked by common mediums — sculpture and installation. 2016-05-12 16:50 5KB www.designboom.com 43 George Zimmerman Gun Auction Cancelled George Zimmerman was offering the gun with which he shot and killed Trayvon Martin, until the auction website pulled the listing. 2016-05-12 16:27 3KB news.artnet.com 44 Jan Fabre’s Art Conquers Florence With Bronze Turtle, Shiny Insects Jan Fabre’s Art Conquers Florence With Bronze Turtle, Shiny Insects 2016-05-12 16:21 3KB www.blouinartinfo.com 45 DAS INSTITUT Serpentine Sackler Gallery / London Throughout DAS INSTITUT’s latest self-titled show, currently at the Serpentine Sackler Gallery, the body is suggested, performed, dissected and expanded by the imaginative layering of Kerstin Brätsch and Adele Röder’s... 2016-05-12 16:14 2KB www.flashartonline.com 46 crisscross adaptable furniture is easy to build, take apart and move again because of its modular design, you can create almost anything to fit your space, and when you don’t need it anymore, you can change it into something new. 2016-05-12 15:54 2KB www.designboom.com

47 Mixed-Media Works Break Down Cultural and Critical Barriers Chad Wys' work is what art history would look like if it time-traveled between the past and the future. 2016-05-12 15:30 7KB thecreatorsproject.vice.com 48 Charles Gleyre’s Reputation Reexamined in Orsay Show Charles Gleyre is a painter who has often been mistreated by art history. A new show in Paris aims to set the record straight and rehabilitate his reputation. 2016-05-12 15:25 3KB www.blouinartinfo.com 49 Desiigner's Panda Mask Was Made by a Taxidermy Artist [Exclusive] We spoke to taxidermy artist Kate Clark, who made the rapper's custom mask for his "Panda" music video. 2016-05-12 14:20 3KB thecreatorsproject.vice.com 50 LINK arkitektur wraps contemporary gabled extension with kebony wood in norway LINK arkitektur establishes a meaningful dialogue between past and present seen in the farmhouse shape and the introduction of contemporary materials. 2016-05-12 13:23 3KB www.designboom.com 51 holland green residences by OMA + allies and morrison OMA + allies and morrison have constructed three limestone-clad residential blocks around london's listed commonwealth institute building, which has also been fully renovated ahead of its opening as the new design museum later this year. 2016-05-12 12:59 3KB www.designboom.com 52 Rodin Museum Settles Engineer's Injuries The Rodin Museum is settling a lawsuit leveled by an engineer who fell through the building's glass ceiling during an energy inspection in 2012. 2016-05-12 12:47 2KB news.artnet.com 53 le roi soleil by marcel wanders for baccarat is adjourned with crystal shades and cut motifs 'le roi soleil' chandelier by marcel wanders was presented as part of baccarat's 'lumières out of the box' installation at milan design week 2016. 2016-05-12 12:30 2KB www.designboom.com 54 VIDEO: Bernard Frize on Color and Serendipity The French artist talked with BLOUIN ARTINFO about the new works in his exhibition “Dawn Comes Up So Young,” on view at Galerie Perrotin in New York through June 18. 2016-05-12 12:15 1KB www.blouinartinfo.com 55 Meet BeMA: The New Beirut Museum of Art The highly-anticipated art center BeMA: Beirut Museum of Art officially opens in 2020. In the meantime, the design competition heats up. 2016-05-12 12:05 2KB news.artnet.com Articles

55 articles, 2016-05-13 12:01

1 Remembering Martin Friedman (1925–2016) — Magazine — Walker Art Center (1.03/2) Martin Friedman, the director of the Walker Art Center from 1961 to 1990, passed away May 9, 2016, at age 90. In commemoration of his pivotal role in shaping the Walker’s values, vision, and future, curator Joan Rothfuss shares her perspective on Friedman’s life and legacy. When I first met Martin Friedman, I didn’t realize that, in a sense, I already knew him. I had moved to Minnesota in 1974 to attend the Minneapolis College of Art and Design. I’d come from Dayton, Ohio, which had no contemporary art museum, so the Walker was a revelation for me. On one of my first visits, I encountered Robert Irwin putting the finishing touches on a scrim and light installation. Out of practically nothing, it seemed, Irwin had made light feel palpable—a near magical feat that stopped me in my tracks. In 1978, I was dazzled by Noguchi’s Imaginary Landscapes , a gorgeous exhibition that introduced me to an artist whose practice ranged from studio sculpture, lamps, and tables to décor for dance and designs for urban parks and playgrounds. I spent some of my meager student dollars to buy a copy of the show’s catalogue, which is still on my shelf, now well thumbed. In 1979, I was in the audience for the world premiere of Trisha Brown’s Glacial Decoy , which was danced in front of a shifting photographic backdrop designed by Robert Rauschenberg. And in 1983, I splurged on tickets for the opening of Hockney Paints the Stage. I was by then out of college and working as a freelance theater set designer, and Hockney’s re-creations of his designs for the opera both enchanted and inspired me. It wasn’t until 1988, when Martin asked me during a job interview to talk about my favorite Walker moments, that I learned he had been behind them all. During his 31 years at the Walker, Martin, as most everyone called him, conjured memorable moments for hundreds of thousands of visitors. Under his leadership, the Walker presented the best in contemporary painting, sculpture, dance, music, film, and performance; brought dozens of artists to the region for commissions, residencies, lectures, and performances; and nurtured a generation of collectors and arts patrons who continue to vigorously support the Walker and other local arts institutions. Martin oversaw the construction of a new building and developed a beloved new public space, the Minneapolis Sculpture Garden. It is, in fact, hard to overstate his contribution to the quality of cultural life in the Twin Cities, although he himself gave much of the credit to the traditions and aspirations of his audience. “In Minneapolis, the great mass of the public is tolerant and interested, and there is a layer, an informed intellectual layer, we could look to,” he said. “I came on the scene at a propitious time.” Martin Friedman arrived in Minneapolis in 1958 after being recruited by Walker director H. Harvard Arnason for a curatorial post. At the time, Martin was just finishing a fellowship at the Musée royal du Congo Belge (now the Musée royal de l’Afrique central) near Brussels. He had studied art history at UCLA and become deeply interested in what was then called primitive art; in Brussels, he immersed himself in the museum’s holdings of African art, later publishing several scholarly papers on objects in the collection. African sculpture, in particular, remained a lifelong passion. When I met him, he still had a large, rather intimidating Senufo mask from Ivory Coast on display in his office. But by the time Arnason called in 1958, Martin already knew that contemporary art was his true vocation. Although he had no curatorial experience when he arrived at the Walker, Martin distinguished himself immediately. His first major exhibition, School of Paris 1959: The Internationals (1959), presented new work by eight abstract painters based in Paris. This was followed by The Precisionist View in American Art (1960), which looked at homegrown painters who worked in pared-down, semi-abstract styles, including Ralston Crawford, Stuart Davis, Georgia O’Keeffe, and Charles Sheeler. The show earned high praise from the critic Hilton Kramer, who pronounced it an eye-opening reassessment that “significantly altered our perspective on American art between the two World Wars.” Martin was at work on his next big project, a survey of new art from Brazil, when Arnason announced that he was leaving the Walker for a post at the Guggenheim Museum. Martin was appointed his successor, and he became, at 36 years of age, one of the youngest museum directors in the country. One of his first priorities was to streamline the exhibition program by focusing on solo shows with living artists and group shows built around a strong thematic framework. During his first decade as director, the Walker mounted solo exhibitions devoted to dozens of contemporary painters, sculptors, photographers, and architects, including Charles Biederman, Marcel Breuer, Lucio Fontana, Adolph Gottlieb, Jerome Liebling, Matta, Katherine Nash, George Ortman, Michelangelo Pistoletto, Robert Rauschenberg, and Tony Smith. Group shows included London: The New Scene (1965), which featured David Hockney, Bridget Riley, Joe Tilson, and other young British artists; 14 Sculptors: The Industrial Edge (1969), a look at minimalist tendencies in recent sculpture; and Light/Motion/Space (1967), the first major show to present light and motion as artistic media, with works by Chryssa, Nam June Paik, Julio Le Parc, and Otto Piene. Martin continued the practice of putting the Walker’s exhibitions on the road, a strategy that both expanded their audiences and raised funds to offset the expense of mounting them. The scholarly catalogues produced for many of these exhibition are essential historical documents of the period, and they helped to establish Martin, who authored essays in several of them, as a rare type: a museum director who was also a first-rate curator and scholar. During the 1970s and 1980s, the Walker’s exhibitions became even more ambitious. Martin himself curated American Indian Art: Form and Tradition (1972), Naives and Visionaries (1974), and The River: Images of the Mississippi (1976). With his wife, Mickey , he organized Tokyo: Form and Spirit (1986), an enormous and rather quirky presentation of historical Japanese art objects and their contemporary descendants. There were solo shows featuring Jean Dubuffet, Claes Oldenburg, George Segal, Jan Dibbets, and Jasper Johns, and scholarly projects such as De Stijl: 1917–1931, Visions of Utopia (1982), on the Dutch art and design movement, and Marcel Broodthaers (1989), the first retrospective of the important Belgian conceptualist. For emerging artists, there was the exhibition series Viewpoints , which presented dozens of artists during its 18-year run, from 1977 to 1995. Martin’s curatorial eye was superlative, but he also was probably the best exhibition designer of any director or curator of his generation. His imaginative use of architecture, color, lighting, exhibition furniture, and multimedia made walking through his exhibitions like being transported to another world. Even when a touring exhibition came to the Walker, he made sure to put his stamp on the installation. (The staff called it “Martinizing.”) The spectacle of his exhibitions had a purpose beyond visual pleasure, however. He was passionate about making contemporary art accessible to everyone, even people who thought they didn’t know enough to understand it. “Contemporary art can be a thrilling experience,” he said. “You don’t need a course if you’re just not afraid.” He never pandered, but he was not averse to using extravagant installations to seduce those wary viewers, all in the name of sharing that thrill experience with everyone. Martin’s commitment to education extended to personally mentoring his staff. He was known for training young curators for a few years and then gently pushing them out of the nest, thus populating dozens of American museums with Walker alumni. (Another staff aphorism: “No one ever dies at the Walker.”) One of Martin’s pet initiatives was the Arts Museum Education Training Program, a curatorial/education internship program he started in 1973. That was the position he hired me for in 1988, when I was fresh out of grad school and as callow as I could be. We interns did some photocopying and filing, of course, but most of our time was spent on work that was far more substantive. We assisted some of the best curators in the business on complex exhibition projects, and along the way we did a lot of writing: gallery labels, calendar copy, press releases, and scripts for the introductory slide shows that contextualized each exhibition. Martin especially enjoyed helping his interns improve their writing skills. He often summoned me into the office common area, where I would stand next to him and watch as his red pencil flew over my text. “You’re not writing for Artforum ,” he would say, meaning that he had no use for the dense, theoretical writing that filled art journals and graduate school theses during the 1980s. He wanted texts that illuminated rather than obscured the art on view. I learned a lot during those editing sessions, and Martin’s own lucid prose became my personal gold standard for graceful, perceptive writing about art. Martin’s most lasting gift to this community might be the two brick-and-mortar projects he completed during his tenure. The first was a new museum building designed by architect Edward Larrabee Barnes, which replaced the structure that had been the Walker’s home since it opened in 1927. Barnes’s building is an elegant, red brick tower containing a series of white- cube galleries inspired by the spacious loft studio spaces of the day. The building opened in 1971 and immediately garnered international acclaim. “Barnes’s building is no architect’s oppressive ego trip,” wrote the art historian and critic Barbara Rose. “It is rather a building designed on a human scale for people to move through at a leisurely pace and for artists to show works in without having to compete with the architecture… The Walker is one of the few new museums genuinely adequate to current needs.” To open the building, Martin commissioned 21 artists, including four from the Twin Cities, to respond to Barnes’s architectural design with new, site-specific works. The resulting exhibition, Works for New Spaces (1971), looks in retrospect like a bold, even intrepid signal that, from that point on, the Walker’s primary commitment would be to the art of the moment. As soon as the Barnes building opened, Martin began planning his next building project, a sculpture garden to be situated on 11 acres of undeveloped parkland across the street from the museum. The Minneapolis Sculpture Garden , a collaborative project between the Walker and the Minneapolis Park & Recreation Board, opened to the public in 1988 with 14 classic bronze artworks from the Walker’s collection and 11 newly commissioned works. It has since become one of the region’s top destinations for tourists and locals alike. They come to stroll its art-lined gravel walkways, watch outdoor performances and film screenings, play on artist-designed mini golf courses, or snap a self-portrait in front of Claes Oldenburg and Coosje van Bruggen’s beloved Spoonbridge and Cherry. The Garden is open, accessible, and free, the fulfillment of Martin’s goal to make the Walker a welcoming place in which to experience the art of our time. The Walker’s collection—deep, broad, and robustly interdisciplinary—was shaped in large part by Martin’s vision. Already by 1969, he was working toward a collection that was not merely a visual index of current art activity, but one built on deep holdings of pieces by major artists. Faced with a limited budget, he bought affordable artwork by living artists at the beginning of their careers and fostered relationships with many who are now well-represented in the collection, including Chuck Close, Jasper Johns, Roy Lichtenstein, Louise Nevelson, Claes Oldenburg, George Segal, and Frank Stella. Long associations with performing artists such as Trisha Brown, Merce Cunningham, and Robert Wilson were built on commissions, a practice that turned the Walker into a laboratory for artists. In 2004, in the course of preparing a new handbook on the collection, I asked Martin about what I called the “risky” practice of commissioning art. “I never thought of it as a risk,” he told me. “It just seemed to me that giving artists opportunities to make new work was something the museum should do. I never knew how things were going to work out—I was just as curious as the next person, and it was an adventure for all of us.” Not surprisingly, artists adored Martin. Claes Oldenburg regards him as a collaborator who inspired with his enthusiasm and “complex vision.” Another longtime friend, Chuck Close, credits Martin with launching his career in 1969 with the purchase of Big Self- Portrait , and he thinks of the Walker as a rare kind of institution: an “artists’ museum” whose staff is deeply committed not only to art but also to the people who make it. Friedman left the Walker in 1990, but he did not retire from the art world. Almost immediately, he was hired by Nelson Atkins Museum of Art in Kansas City to assist them with acquisitions for their new sculpture park. He also served as art advisor and curator for the art program at New York’s Madison Square Park. (He liked to joke that he had become the art world’s “yard man.”) In 1994, he curated Landscape as Metaphor: Visions of America in the Late 20th Century for the Denver Art Museum, and in 2000 he organized an outdoor exhibition, Joel Shapiro: Sculpture , for the Spoleto Festival in Charleston, SC. Among his post-Walker publications is the book Close Reading: Chuck Close and the Artist Portrait (Abrams, 2005). He has been much honored for his lifelong dedication to the arts. The Walker’s Friedman Gallery was named in honor of both Martin and Mickey in 2005 by an anonymous couple who had made a major gift in support of the institution’s capital campaign at that time. In 1989, Martin was awarded the National Medal of Arts from President George H. W. Bush, and in 2012 the Madison Square Park Conservancy created a permanent, endowed curatorial post named in his honor. One of Martin’s former curators, Richard Koshalek, has called him a “shaman.” It’s a strong metaphor, and one Martin would not have liked, but I’m not sure it’s an overstatement of his powers. We all looked to him for leadership and stood in awe of his vision. He will be deeply missed. Joan Rothfuss is an independent writer and curator based in Minneapolis. From 1988 to 2006 she was a curator at the Walker Art Center, where she organized exhibitions on Joseph Beuys, Bruce Conner, Jasper Johns, and Fluxus, among others. Her many publications include the books Time Is Not Even, Space Is Not Empty: Eiko & Koma (Walker Art Center, 2011) and Topless Cellist: The Improbable Life of Charlotte Moorman (MIT, 2014). She holds a BFA from the Minneapolis College of Art and Design and an MA from the University of Minnesota. All photos courtesy the Walker Art Center Archives 2016-05-13 11:03 By Joan

2 Christie’s Imp-Mod Auction Totals $141.5 M., Secures Record With $8 M. Frida Kahlo (1.02/2) Claude Monet’s Le bassin aux nymphéas , 1919, estimated at $25 million to $35 million, sold for $27 million. COURTESY CHRISTIE’S In the last of the New York evening sales this May, Christie’s netted $141.5 million during its Impressionist & Modern art auction, ahead of a low estimate of $134.3 million, in a sale that capped a modestly priced but overall stable week with a robust 86 percent sell-through rate. Still, there were signs of trouble in the highest price echelon of the Imp-Mod market: all three of the lots with low estimates in the eight-figure range barely squeaked by their reserves, allowing them to avoid a pass but not going for bonanza figures that in recent years had become common. These included Monet’s Le bassin aux nympheas (1919), which went for $27 million; Modigliani’s Jeune femme a la rose (Margherita) (1916), which went for $12.8 million; and another Monet, Au Petit-Gennevilliers , which went for $11.4 million. And though the sale was only a few million dollars short of Christie’s haul at the corresponding sale last November , it doesn’t come close to last May’s Impressionist and Modern sale at the house, which totaled $202.6 million and had a very strong sell-through rate of 93 percent. But with Christie’s being extra careful in this cooler market— there was just one lot guaranteed, Picasso’s Comptoir et verres (1943), and it sold—the objects in the sale were meticulously matched with the tastes of its buyers, resulting in an auction with only one notable pass. And thus Christie’s avoided the crushing blow served to Sotheby’s Monday , when its Impressionist and Modern sale sold only 66 percent of its lots en route to a disappointing haul that missed the low estimate by over $20 million. (Sotheby’s recovered with a successful Wednesday night sale of postwar and contemporary art.) Amedeo Modigliani’s Jeune femme à la rose (Margherita)> (1916), which was estimated at $12 million to $18 million, sold for $12.8 million. COURTESY CHRISTIE’S In sports terms, however, Christie’s is winning the week. “The 90 percent batting rate for the three evening sales is a record, I think?” said Christie’s chairman Jussi Pylkkanen after the sale, referring to the house’s abnormally high sell-through percentage over the past five days. “ The sales went on against some uncertainty, but the proof is in the pudding.” Particularly promising was the enthusiasm of the Asian buyers, many of whom were bidding on the phone this evening through Elaine Holt, a specialist at Christie’s Hong Kong. Holt secured for her client a Barbara Hepworth that went for $4.7 million, way above the high estimate of $1.8 million, and was the underbidder on lots such as the top-selling Monet, Braque’s Mondoline a la partition (Le Banjo) (1941) that went for $10.2 million, and Picabia’s Ligustri that went for $2.6 million. “We have the sales in Hong Kong coming up, and on the basis of the Asian buying it should be a very exciting time,” said Pylkkanen. (Though, I did notice that Beijing collector Edward Zeng, who picked up an Yves Klein at Christie’s during the Post-War and Contemporary sale Tuesday —Pylkannen bragged that Zeng arrived in New York an hour before the sale—left in the middle of Thursday’s Imp-Mod auction without making any purchases.)Refreshingly, the one major record of the night was a painting by a woman, in an evening dominated by work by male painters like Magritte and Monet and Modigliani. Frida Kahlo’s Dos desnudos en el bosque (La tierra misma (1939)— which was one of two works by women artists in the entire sale, alongside 50 by men—sold for $8 million, just above its low estimate but still high enough to become the a new auction record for the artist, as well as an auction record for a work by a Latin American artist. After a week of evening sales, the auction world cognoscenti may have been suffering from bidding fatigue, as gavel-wielder Andreas Rumbler was often forced to hammer right as a work broke the reserve threshold, making for a somewhat lackluster event. People started to shuffle out of their seats with 20 lots left to go. A fire alarm that echoed through the hallways outside was the source of some excitement. But at least there was competitive bidding on the Braque, with Holt and specialist Connor Jordan going back and forth on behalf of their clients at the other ends of their lines, egging each other on to go up another $100,000, until Jordan captured it when Holt backed off at $9 million, and Rumbler smacked the hammer. And then there’s the matter of who bought the Monet, the top lot of the night by price. After opening the bidding, the only taker was a man in the front row, who went in at $24 million, a price that Rumbler said he could sell at. (It was a solid $1 million below the low estimate, but apparently this was still beyond the reserve, with premium—such price-setting machinations to avoid flopped lots seemed more prevalent at both houses this week.) And so it stalled at $24 million, with Rumbler waiting as Holt tried to find the phone number of someone she could call who might entry the fray.“Bear with us,” Rumbler said to the man in front, who had a familiar haircut. Ah, that’s right, it was the mystery underbidder on the Francis Bacon’s Two Studies for a Self Portrait (1970), which went for $35 million at Sotheby’s Wednesday. I had described him as “a young collector with a mohawk-like haircut wearing a velvet smoking jacket,” but when I approached him at Sotheby’s elevator, he refused to identify himself. But now having successfully nabbed a star lot (he won the Monet after it hammered at $24 million) from plum seats in the front row, he was more forthcoming: his name is Glenn Fuller, and he works for the London gallery Gladwell & Patterson. His card describes Gladwell & Patterson as “experts in fine art since 1752,” though no one in the press scrum seemed to have heard of them, and Christie’s senior vice president Brooke Lampley thought it necessary to publicly reveal the gallery’s involvement in the purchase because so many reporters were curious (the gallery’s located in Knightsbridge, which isn’t exactly Mayfair). He was buying on behalf of a client.“I actually got it this time!” Fuller told me upon leaving the Christie’s headquarters, much more animated than he was after losing out on the Bacon diptych. “And I’m delighted.”It’s telling that Fuller left immediately after securing his prize, as the sale room started to clear out shortly after, and by the time the last lots sold it was not even half full. The day sales officially wrap Friday afternoon, but people seem to be checked out—dealer David Benrimon was overheard on the phone explaining that he had to fly out to Cannes, France, for the film festival. And life goes on. 2016-05-12 23:36 Nate Freeman

3 More or Less Than One: C. Spencer Yeh’s Sound Horizon (1.00/2) To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Mark Mahoney, host of Sound Grammar on Radio K, shares his perspective on C. Spencer […] 2016-05-12 22:58 By

4 4 Fall 2016 Trend: Shirts With a Twist (0.01/2)

When it came to shirts, designers had a few tricks up their sleeves this fall. Bowed sleeves, tie-waists and other fresh features lend a new twist — often literally — to the tailored classic. RELATED TREND: Embellished Sweaters >> 2016-05-13 04:43 Andrew Shang

5 sand & shopping are steps away from the dream inn by CDP arquitectos sand & shopping are steps away from the dream inn by CDP arquitectos all images courtesy of coleman davis pagán arquitectos coleman davis pagán arquitectos took on the task of designing and constructing a thirteen room guesthouse in the upscale community of ocean park in san juan, puerto rico. the ‘dream inn’, which is also oriented towards the excursion market, is conveniently located between the tourist zones of el condado and isla verde — the latter host to an international airport. public transportation is close by, eateries and cafés abound, and a superb beach is only a three minute walk through one of the city’s premier communities. a koi fish pond, stairs, reception desk, elevator and lounge are located directly past the front entrance the neo-brutalist structure has a street facing façade referencing traditional hindu filigrees; mainly the jalí, which act as permeable membranes that filter air, sunlight, and buffer the interior from outside noise. accommodation is provided on two main levels, with rooms on the north (street-facing) and south. a central corridor allows natural lighting and ventilation to enter the structure at multiple points. perimeter patios, defined by exposed concrete like a dominant portion of the ‘inn’, are sensible extensions of interior spaces. a pool enhances the rear terrace, and a roof overlook/sundeck serves as a perfect spot to appreciate the view, and throw back a few dozen rum punches. following whatever rooftop escapades ensue, a carefully articulated stair case and elevator allows access to all levels. sustainable technologies such as rainwater collection/distribution, vacuum-tube solar water heat, and LED lighting are integrated into the design as well. the roof’s V form allows natural light to infiltrate vertically and from above sample room: the bathroom’s mahogany wood and glass contrast with exposed concrete walls a raised roof deck of cumarú wood provides views of surrounding urban life and landscape 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. 2016-05-13 08:45 Jose Ricardo

6 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-05-13 09:57 GDUSA Staff

7 benedetta tagliabue's dome lamp crafted using 170 interlocking wood pieces benedetta tagliabue of EMBT has unveiled her design of the ‘dome lamp’ influenced by the architectural feature seen during the renaissance period. designed for the barcelona lighting company bover, the product draws particular interest from renowned domes including the pantheon in rome and santa maria del fiore in florence. simultaneously, it references the geodesic work of buckminster fuller and the result sees tagliabue’s ‘dome’ lamp formed of more than 170 puzzled wood pieces. the intricate, interlocking structure of the body projects a play in light and shadow, with the LED bulb fixed above the wooden structure to enable a equal balance of illumination throughout the open and diffused portions. the detailed form and body draws influence from domes seen in basilicas made of wooden pieces that interlock, the light cast from above produces a play in light and shadow the geodesic work of buckminster fuller as an influence the dome comes in three sizes: 180, 90 and 60cm due to the sculptural nature and requirement, the LED bulb is fixed above the fixture 2016-05-13 06:45 Natasha Kwok

8 ala sieradzka transforms scraps to nutrients with bono composter ala sieradzka transforms scraps to nutrients with bono composter all images courtesy of ala sieradzka on average, 30-50% of daily household waste comes from organic sources; veggie scraps, fruit peelings, coffee grounds, and those french fries you thought would be good two days later. throwing away bits and pieces might not seem like much on a day to day basis, but the larger picture is far more revealing. according to the food and agriculture organization — of the united nations — ‘per capita waste by consumers in europe and north america is between 95-115kg (209-253lbs) a year’. sub-saharan africa and south east asia have a much lower PCW of 6- 11kg/annual. the result of organic recycling is a high-quality fertilizer that bolsters home cultivation efforts there are countless variables surrounding who, why, what, and at which stage agricultural items are being wasted. the question is how can we, daily consumers, minimize contributing to the growing global environmental issue? ‘bono’, developed by polish designer ala sieradzka, is a minimal, easy-to-use composter. with the help of eisenia fetida, aka earthworms, ‘bono’ turns bin-bound scraps into nutrient filled fertilizer that can be used to cultivate herbs, veggies, and fruits directly at home. ‘bono’ is made of spun, powder-coated aluminum, with a cap and base — that holds an additional aluminum dish — of expanded cork. holes for ventilation increase air circulation to quicken the process, and a pull-out drawer collects the inevitable juices of decomposition. but don’t think about pouring it down the drain, compost run-off can be given to plants as a tasty, nutrient-rich drink. drainage holes are located at the bottom of the container at the bottom put damp paper, sprinkle garden soil, and add newspaper shreds — earthworms are optional add peels of fruits, vegetables, and coffee grounds daily, once weekly sprinkle the surface with egg shells (for Ph) after 2-3 months biohumus collection can begin; a high value fertilizer, it has valuable micro- elements for growth the base has a sliding shelf that holds a bowl that catches dripping liquid from the main tank fluids can be used for watering plants 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. 2016-05-13 04:01 Alicja S

9 Men’s Eyewear Trend: Make a Splash The early Nineties continue to be a source of inspiration for the eyewear market. But this time, independent sunglass manufacturers are updating the retro styles with a futuristic twist of dramatic flat lenses and ultralight metal frames in a variety of mostly rounded shapes and mirrored effects. 2016-05-13 04:01 Alex Badia

10 Oliver Peoples to Open Permanent East Hampton Boutique More Articles By Los Angeles-based luxury eyewear brand Oliver Peoples, which established itself as a California cult brand in the Eighties, is finally making a permanent home for itself on the eastern most part of the country with a new boutique at 53 Newtown Lane in East Hampton that will open Memorial Day weekend. Encouraged by sales at last summer’s pop-up shop there, the company, now owned by Luxottica , will put down permanent roots in the established retail strip, which houses luxury retailers such as Ralph Lauren and Magaschoni. “East Hampton has been a target location for us from the beginning…it was just a matter of finding the location and we believe this space on Newtown Lane is it. We have a goal to stay close to our customers and many of them are in the Hamptons over the summer,” said chief executive officer David Schulte. The company enlisted Los Angeles-based architecture and design firm Marmol Radziner to reconstruct the organic-looking pop-up store for a more permanent look. Inspired by East Hampton’s white sand and breezy beach houses, the firm merged the raw, rough-hewn quality of the pop-up with the warmth and leisure of a beach house gathering. The sales floor is reminiscent of a sunken living room, furnished with walnut Hans Wegner original mid-century pieces atop a weathered, patchwork rug. All is set against a backdrop of floor-to-ceiling lath wall, textured gray wood flooring and gray ash casework. To complement the homey vibe, the boutique will house a window installation by emerging Los Angeles artist Rosha Yaghmai. “The area is rich with artistic heritage, so many cool and amazing artists have either lived in the Hamptons or spent time there at interesting stages of their career and this really resonates with us,” Schulte said. “With this in mind, we commissioned an incredible installation by Rosha, which we think is unique to her style but also relevant to our brand.” Yaghamai plays with ideas of sight and vision through the use of multicolored, Oliver Peoples exclusive pre-cut eyeglass lenses. Her curtain is constructed from an assemblage of woven lenses and embedded in worn metal, which creates a distorted passage of visibility, stimulating the senses. The brand is known for playing with the senses; last year it commissioned a fragrance from cult perfumer Byredo, for which it also designed corresponding sunglasses through which to visualize the scent, so to speak. The store will showcase the new Oliver Peoples x The Row collaboration in addition to the summer 2016 collection and a curated selection of exclusive custom frames. As in its other stores, there will be on on-site optician to help customers find and fit frames. 2016-05-13 04:01 Marcy Medina

11 Sonic Youth visits the Walker At the concert they anounced they were heading to Mickey’s dinner in downtown SP so I guess the got the whole tour of hotspots. That photo is awesome. Their set was pretty good, but it seemed like most of the people came to the show to see the Flaming Lips. Despite that, they rocked out anyway. 2016-05-13 03:21 By

12 MCA, Tate, Qantas Reveal First Australian Art Acquisitions Related Artists Susan Norrie Gordon Bennett Judy Watson The Museum of Contemporary Art Australia (MCA), Qantas, and Tate have announced five artworks by Susan Norrie , Vernon Ah Kee, Gordon Bennett , and Judy Watson ( see here ) as the first acquisitions in their International Joint Acquisition Program for contemporary Australian art, a five-year joint program made possible through a $2.75 million corporate gift from the Qantas Foundation. The acquisitions include two large video installations, one by Susan Norrie (“Transit” 2011) and another by Vernon Ah Kee (“tall man” 2010), two paintings by Gordon Bennett (“Possession Island (Abstraction)” 1991 and “Number Nine” 2008), and an artist book by Judy Watson comprising sixteen etchings with chine collé (“a preponderance of aboriginal blood” 2005). The works acquired through the partnership will be owned and displayed by both the MCA and Tate. The first five acquisitions will be exhibited at the Tate in the near future, following the display of three of the works at the MCA starting this month, and the inclusion of two more in the MCA Collection exhibition opening in September. MCA Director, Elizabeth Ann Macgregor OBE, said: “We are thrilled to unveil this diverse range of joint acquisitions with Tate. This initiative is a true game-changer for contemporary Australian artists: it places their artworks in one of the world’s great public collections, where they will be seen alongside those of their international peers.” Frances Morris, Director, Tate Modern, said: “Thanks to the generous support of Qantas, this new partnership will make a real difference to the representation of Australian contemporary art at home and abroad, and it will allow us to present an even more international view of art for generations to come.” 2016-05-13 02:11 Nicholas Forrest

13 erwin wurm deforms domestic interior objects at frieze new york at the 2016 edition of frieze new york, lehmann maupin gallery presents a selection of new bronze works by austrian artist erwin wurm. the three sculptures depict deformed interpretations of modern furniture and household objects, disfigured by a direct engagement with the artist himself. wurm sits, punches, crushes and drives across the original clay forms prior to casting, leaving permanent marks on their final figure. an oversized gun, a low cabinet and a sculptural dresser are arranged as a domestic interior, highlighting wurm’s engagement with everyday objects — particularly as a catalyst for challenging perceptions of volume, form, and materiality. this series continues wurm’s work with malformed and misshapen objects, beginning with the deconstruction of architectural objects, and evolving to include vintage furniture pieces and domestic items. at frieze, the bronze pieces have been presented alongside wurm’s one minute sculpture photographs and performances. these actions are activated on site by participants who execute the artist’s drawn or written instructions for a one-minute pose, using props or architecture. muddy earth, 2016 | bronze image courtesy the artist and lehmann maupin, new york and hong kong muddy earth, 2016 | 35.43 x 78.74 x 31.5 inches (90 x 200 x 80 cm) image courtesy the artist and lehmann maupin, new york and hong kong the object is disfigured by a direct engagement with the artist himself image © designboom wurm sits, punches, crushes and drives across the original clay forms prior to casting image © designboom detial of the deconstruction of the original clay forms image © designboom 2016-05-13 02:01 Nina Azzarello

14 Christie’s Mild-Mannered Imp/Mod Closer Related Venues Christie's Artists Henry Moore Dame Barbara Hepworth Fernand Léger Amedeo Modigliani Henri Matisse Claude Monet Paul Cezanne Pablo Picasso Georges Braque Rene Magritte Frida Kahlo Marc Chagall The Impressionist and Modern market continued to show signs of weakness on Thursday night, with a Christie’s evening sale tally of $141,532,000 — just above the low end of pre-sale expectations of $134.3 to 197.4 million. Perhaps the lackluster result was partly a product of market fatigue, after a gauntlet of sales that began on Sunday, but one couldn’t help notice the empty seats in Christie’s Rockefeller Center salesroom. Compared to the buoyant atmosphere at Sotheby’s contemporary evening sale the night before, the mood was sleepy. But other indicators were more positive, as seven of the 51 lots offered failed to sell for a crisp buy-in rate by lot of 14 percent. The total came very close to the $144.5 million made by Sotheby’s Impressionist and Modern sale on Monday evening, but with fewer casualties. Thirty-four of the 44 lots that sold made over a million dollars, and of those, seven exceeded $5 million. One artist record was set. Still, Thursday’s auction at Christie’s lagged behind its May 2015 equivalent, which brought $202.6 million for 40 lots sold, and which was led by Piet Mondrian’s “Composition No. III,” a 1929 work that fetched $50.5 million. On Thursday, the top price for a single lot was $27 million. Only one of the works carried a third-party financial guarantee, so the results were about as transparent as one can hope for given the current state of the auction world. (All prices reported include the buyer’s premium tacked on to the hammer price for each lot sold and calculated at a sliding scale starting at 25 percent of the hammer price up to and including $100,000, 20 percent for any amount of the hammer price above $100,000 up to and including $2 million and 12 percent for anything beyond that. Estimates do not include the buyer’s premium.) The evening started on a solid note with Henry Moore’s petite, 7 ¾-inch bronze “Family Group,” from a lifetime cast made sometime after its 1945 “conception” and sold for $461,000 (est. $400-600,000). Soon after, a 40 ¼-inch-high Moore bronze, “Girl seated against Square Wall” from a life-time cast done sometime after the work was conceived in 1957-58, realized $1,085,000 (est. $1-1.5 million). That second Moore was part of a group of works from the Philadelphia based Pincus Collection, as was Barbara Hepworth’s widely exhibited 23 ¼ inch high “Sculpture with Colour (Eos)” from 1946, carved and painted in hopton wood stone with grey and blue paint, which soared to $5,429,000 thanks to the four bidders who chased it (est. $1.2-1.8 million). Gerry and David Pincus had bought the Hepworth from the Martha Jackson Gallery in New York in 1962. All three of these works appeared to sell to Asian telephone buyers — the two Moores to the same one — judging by the client service specialists and experts who manned the phones. Fernand Léger’s geometric composition “Les femmes à la toilette” from 1920 sold to another telephone for $3,189,000 (est. $2.5-4.5 million), while Amedeo Modigliani’s soulful looking “Jeune femme à la rose (Margherita)” from 1916, with the almond shaped eyes and swan neck style that the artist perfected in his portraits of women, sold to New York private dealer/advisor Michal Altman for $12,765,000 (est. $12-18 million). London gallery Gladwell & Patterson was the underbidder. The portrait is thought to be likeness of Modigliani’s sister, who adopted the artist’s daughter after his death in 1920 and the subsequent suicide of his pregnant wife, Jeanne Hébuterne. It had last sold at Sotheby’s New York in May 2000 for $3,195,750. “We thought it would sell in the $15 million range,” said Altman as he exited the salesroom. The dealer seemed even more pleased with his purchase of a small-scaled, Fauve period Henri Matisse , “Portrait aux cheveux bouclés, pull marine (Allan Stein)” from circa 1907, which went for $1,745,00 (est. $800,000-1.2 million). It had last sold at Christie’s New York in November 2008 for $650,500. “I’m so excited,” Altman said. “I just think it’s a marvelous modern masterpiece and you can hang it in a contemporary collection.” World-class provenance didn’t seem to be much help in driving interest for the cover lot, Claude Monet’s “Au Petit-Gennevilliers” from 1874, an Impressionist jewel suffused with the shimmering light and water reflections of a passing flotilla of sailboats. It sold on what appeared to be a single bid for $11,365,000 (est. $12-18 million). The hammer price before fees was $10 million, two million dollars shy of the low estimate. Obviously, the seller was convinced to accept a lower reserve. The painting hails from the family of H. O. Havemeyer, a giant name among early American collectors of French Impressionism, who acquired the work in 1901 from a Paris gallery. The family eventually owned thirty paintings by Monet, accumulated in annual trips to Paris led by the American expatriate painter Mary Cassatt, who was close friends with H. O.’s wife Louisine, a passionate collector and early feminist active in the Suffragette movement. The Monet had originally belonged to the even more famed French collector Victor Chocquet, an early champion of Impressionism and later Paul Cézanne. Speaking of Cézanne, the artist’s classic and instantly recognizable landscape “Village derrière des arbres, Île-de France,” an oil on canvas from circa 1879, sold to another telephone bidder for $3,413,000 (est. $3.5-4.5 million). It had last sold at Christie’s London in June 2007 for £2,260,000 (about $4.46 million at the time), meaning Thursday’s sale was a loss for the seller. A radically more modern late Monet from 1919 (and from a different consignor), “Le basin aux nymphéas,” sold in the room on a single bid to Glenn Fuller of London’s Gladwell & Patterson for the top lot price of $27,045,000 (est. $25-35 million). In its 39-by-41-inch square format, it bore little likeness to the 1874 scene of the Seine, and in fact looked as if it had been painted by a different artist. The painting — one of some 60 made between 1914 and 1918 that depict the fantastic water garden that Monet tended for years and that served as his outdoor atelier — featured a gorgeous play of light and mirror-like reflections of the landscape. But it was a somewhat dark example, and rather skimpy in the number of flowers it showed floating on the majestic pond— factors that may have led to the single bid interest. It had first been exhibited in Paris at the artist’s dealer, Durand-Ruel, in 1928, two years after the Monet’s death and perhaps most importantly, signed and dated by the artist. After a rough go at Sotheby’s on Monday evening, when four of the eight Pablo Picasso works failed to sell, the atmosphere changed for the better on Thursday, with all nine at Christie’s selling, including “Homme assis” from 1969, a late and richly colored Mousqetaire swordsman outfitted in a yellow doublet, which sold to international dealer David Nahmad for $8,005,000 (est. $8-12 million). It had been exhibited in the now historic Palais des Papes exhibition in Avignon in 1970 that featured Picasso’s recent work from 1969-70. Georges Braque’s large-scale interior, “Mandoline à la partition (Le Banjo)” from 1941, featuring some of the artist’s favorite still life elements, triggered a bidding battle among five contenders, and sold to a telephone bidder for $10,245,000 (est. $7-9 million). Dealers David Nahmad and Ben Frija were among of the posse of underbidders. It had last sold at Sotheby’s London in July 1975 for £170,000/$370,000 hammer. On the Surrealist front, René Magritte’s “Femme-bouteille” from circa 1941 — a work in oil on a glass wine bottle, with the painted visage of a shaped female nude on the label side — realized $725,000 (est. $500-800,000). Two other Margrittes failed to find buyers, including “Les profondeurs du plaisir/The Depths of Pleasure” from 1947, featuring a partially draped nude woman seen from the back and drinking from a water glass as she looks out at a crescent moon. It flopped at a chandelier bid of $3.5 million (est. $4.5-6.5 million). The estimate was clearly too steep for this sparse crowd of sophisticated collectors and international dealers and advisors. Though usually offered in auctions dedicated to Latin American art — where she is always a star — Frida Kahlo was represented here as a Modernist with the exotic and lush page-sized “Dos desnudos en el bosque (La tierra misma)/Two Nudes in a Forest” from 1939. A work in oil on metal, it sold to a telephone bidder on a single bid for a record-breaking $8,005,000 (est. $8-12 million). In the painting, one of the nudes, a pale-skinned figure, reclines against the stomach of her darker-skinned, seated companion, who clasps her hand against a lock of the reclining figure’s hair. It is set against a dense and tropical jungle of sorts, with a wide-eyed monkey staring at the women. It had last sold to New York Latin American art dealer Mary-Anne Martin at Christie’s New York in November 1989 for $506,000 and subsequently changed hands to a private buyer, who consigned the painting to Christie’s. It now ranks as the most expensive work by any Latin American artist, including Kahlo’s famed and larger-than-life husband, Diego Rivera. It shattered the mark set by Kahlo’s “Roots” from 1943, which sold at Sotheby’s New York in May 2006 for $5,616,000. “It wasn’t a bad sale,” said New York dealer David Benrimon, assessing the auction as a whole as he exited the salesroom. “I thought it would be much worse.” He credited the better-than-he- expected results with 11th-hour lowering of reserves. New York dealer David Benrimon was thrilled with his purchase, Marc Chagall’s “Amoureux dans le ciel ou Village enneigé (Vitebsk),” in oil on board from circa 1928-30, which he got for $1,145,000 (est. $700,000-1 million). “I snatched it!,” crowed the dealer. Overall, “it wasn’t a bad sale,” Benrimon said, assessing the auction as a whole as he exited the salesroom. “I thought it would be much worse.” He credited the better-than-he-expected results with 11th-hour lowering of reserves. And London private dealer Hugo Nathan of Beaumont Nathan opined that “it’s a buyer’s market.” Nathan acquired a Sam Francis painting from 1953 for $1.6 million hammer at Christie’s Post- War/Contemporary Art evening sale on Tuesday. “It’s very thin over $20 million at auction,” he said. “The Impressionist and Modern market is beginning to feel like Old Masters, and these were weak sales.” Christie’s mild mannered evening concluded a packed week of six evening sales, including a double-header on Sunday, that cumulatively realized $971 million. With the combined day sale results in the same categories, the tally easily exceeds one billion dollars. The houses are already scrambling to close their June sales in London in both contemporary and Impressionist and Modern categories. The market soldiers on. 2016-05-13 01:05 Judd Tully

15 Winners of 2017 Jerwood Award Announced The artists Patrick Hough and Lawrence Lek have been announced as the winners of the Jerwood/Film and Video (FVU) Awards 2017, a generous prize that grants each artist £20,000 ($29,000) to produce a new moving-image work. Responding to the curatorial theme of this year's edition, "Neither One Thing or Another," both artists will examine the dissolving boundaries between the real the fictional, and between the physical and digital realms. Lawrence Lek—whose career is on a roll since winning the Dazed Emerging Artists Award last year and who participated recently at Glasgow International —has proposed a work in which an emerging artificial intelligence meditates about its own post-human creativity. Patrick Hough's proposal, meanwhile, involves abandoned props and décor from Hollywood Dream Factory taking on a new life as mementos of cinema history. A jury formed by Steven Bode, director of FVU; the 2014 Turner Prize winner , artist Duncan Campbell; Cliff Lauson, curator at the Hayward Gallery; Amy Sherlock, reviews editor at Frieze magazine; and Sarah Williams, head of program at Jerwood Visual Arts, selected the two winners out of 240 applications. “The year's shortlist was an impressive gathering of artists who adeptly pinpointed the various ambiguities and contradictions of our present moment," Lauson said in a statement. “The reels and proposals were of an extremely high conceptual rigor, revealing in particular a technological anxiety that continues to unsettle our cultural beliefs," he added. Hough's and Lek's new commissions will debut in an exhibition at Jerwood Space in London in spring 2017. Follow artnet News on Facebook . 2016-05-13 01:00 Lorena Muñoz

16 Video: Lee Mingwei’s ‘Guernica in Sand’ for 20th Sydney Biennale Related Venues Carriageworks Biennale of Sydney Artists Lee Mingwei For the 20th Biennale of Sydney, Paris-based Taiwanese artist Lee Mingwei is presenting a new iteration of “Guernica in Sand” 2006/2016 at the Carriageworks “Embassy of Disappearance.” The three-stage interactive installation begins with the creation of a 1300 x 643 sand picture of Picasso’s famous Guernica, which is then allowed to rest in a state of suspension. The final stages of transformation take place over the course of a single day, which begins with members of the public being allowed to walk on the work. At the end of the day, a one-off performance where the artist and a group of assistants sweep the work with bamboo brooms, resulting in the creation of an entirely new work. “In Guernica in Sand, I used Picasso's Guernica as the departure point for a different view of the damage done when human beings are victimized,” Mingwei explains. “Instead of simply being critical of what happened in the Basque town of Guernica in 1937, I wanted to use the concept of impermanence as a lens for focusing on such violent events in terms of the ongoing phenomena of destruction and creation.” 2016-05-13 00:06 Nicholas Forrest

17 What’s on TV Friday Steven Soderbergh takes viewers on a wild, pharmaceutically induced ride in “Side Effects,” starring Rooney Mara and Channing Tatum. Lenny Kravitz seeks perfection in “Just Let Go.” And eight documentaries celebrate those struggling against the odds in “Justice for All.” SIDE EFFECTS (2013) 9 p.m. on Starz. Emily (Rooney Mara), a despairing young New Yorker, turns to a prescription antidepressant after her hedge-fund cowboy husband (Channing Tatum) returns from four years in prison for insider trading and sets off a severe depressive episode in his wife. She mourns what she has lost: Champagne in crystal flutes, a sleek sailboat and a Mercedes in the driveway of their Greenwich mansion. Then a ghastly incident occurs, and it’s up to Emily’s prescribing physician (Jude Law) to get to the bottom of what went wrong. But her former therapist (Catherine Zeta-Jones) isn’t being very helpful. The plot of Steven Soderbergh’s tight and twisty pharma-caper “may be predictable (and more than a little preposterous) in retrospect,” A. O. Scott wrote in The New York Times , but he “handles it brilliantly, serving notice once again that he is a crackerjack genre technician.” THE AMAZING RACE 8 p.m. on CBS. The remaining three teams scurry from Shenzhen, China, toward Santa Barbara, Calif. — and $1 million — in the competition’s final leg. But first they have to jump from a building more than 150 feet tall and do some treacherous synchronized mountaineering. JUST LET GO — LENNY KRAVITZ LIVE (2015) 8 p.m. on Showtime. Filmed across six months on the 2014-15 “Strut Tour,” this documentary examines Mr. Kravitz’s connection with his band as they perform in Paris, Prague, New Orleans and New York, as well as his endless quest for perfection. REQUIEM FOR A DREAM (2000) 8:15 p.m. on Starz Cinema. Jared Leto, Ellen Burstyn, Jennifer Connelly and Marlon Wayans are an ensemble tour de force as four addicts — a Brooklyn pretty boy, his mother, his girlfriend and his pal — destroying themselves as they search for a reality-blurring high. “Be warned,” Elvis Mitchell wrote in The Times about this hyperkinetic drama from Darren Aronofsky. “It’s a downer, and a knockout.” JUSTICE FOR ALL on SundanceNow Doc Club. Eight documentaries look at characters struggling against, or manipulating, the odds. Among them are “ We’re Not Broke ,” which looks at how multibillion-dollar corporations avoid paying United States income tax; “ An Omar Broadway Film ,” in which Mr. Broadway, now a former inmate, documents life inside a prison’s maximum-security gang unit; “ The Law in These Parts ,” an examination of the political interests and security and human rights issues behind the conflict between Israelis and Palestinians; and “ Valentine Road ,” about the killing of 14-year-old Lawrence King, a gay adolescent experimenting with gender identity, by a classmate. CASUAL on Hulu. With Season 2 set to begin on June 7, there’s still time for a refresher course on Zander Lehmann’s series about a therapist (Michaela Watkins), mired in a nasty divorce, who moves in with her younger brother (Tommy Dewey), a dating-site creator who becomes her cyberwingman. Her precocious 16-year-old daughter (Tara Lynne Barr) is part of her baggage. 2016-05-13 00:00 By

18 designphase dba adds glass façade to pizza restaurant in singapore designphase dba adds glass façade to pizza restaurant in singapore (above) the glass façade provides interior views and invites customers in all images courtesy of designphase dba local-based studio designphase dba has completed the interior design of ‘alt. pizza’, a restaurant in singapore. the concept started with a very simple question: what’s the essence of pizza? they began planning everything around this, with the certainty that their main shape and basis would be the circle, giving a natural, easy, relaxed and unpretentious feeling. both indoor and outdoor seating is available the open-plan setting provides a casual environment that aims to appeal to a younger audience who can relate to street art with its connotations of culture, music, and young hip fashion. with an open kitchen, the diners also have the possibility to watch their pizza being prepared. through interior design, the studio connects the message the brand communicates to the market and the customer experience: high quality, imaginative and affordable. a red suspended light gives a fun and easy look to the pizzeria 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. 2016-05-12 23:45 www.designboom

19 Sarah Jessica Parker Uncensored Sarah Jessica Parker may share some of the fashion frivolity of her “Sex and the City” character Carrie Bradshaw, but she’s also a shrewd businesswoman whose feet are firmly planted on the ground. Parker on Thursday spoke with Forbes Media chairman Steve Forbes at the Forbes Women’s Summit held at Chelsea Piers in New York. Asked how she transitioned from child actor to adult actress without going off the rails, Parker said having seven brothers and sisters and parents who discouraged diva tendencies helped. “My parents were cognizant of the many land mines,” she said. “They really wanted me to work mostly in the theater because they felt the chances were better that I’d turn out OK.” Parker added, referring to “Sex,” “I did this show and people watched it. I wanted to continue the search. I really like the hunt. It makes me smarter. Any success I have makes me greedier. The more I learn, the more I want to try. I have an insatiable curiosity.” She has the same risk-taking impulses in business. When she launched her first fragrance with Coty Inc., she was surprised to find that she connected with business. “The margins and profits, I loved it.” Because of “that show” and the relationship her character had with shoes, offers to do footwear kept popping up. She finally called George Malkemus, chief executive officer of Manolo Blahnik USA, and two years ago, they launched SJP by Sarah Jessica Parker. Her now-defunct clothing line Bitten and short tenure as creative director of Halston Heritage, though disappointing, were learning experiences. “I loved when my heart was broken — the agony, the heartbreak,” she said. “I like pushing on a bruise a little bit because it’s good for you.” Parker’s new series, “Divorce,” launches on HBO in the fall. She is also vice chairman of the New York City Ballet. “We’re all better people, more complete people,” she said, “the more we’re exposed to the arts.” 2016-05-12 23:09 Sharon Edelson

20 American Airlines Taps Cole Haan and Twin Hill for Employees’ New Accessories and Uniforms More Articles By In time for its 90th anniversary year, American Airlines has tapped Cole Haan to create an exclusive line of accessories for its employees this fall. And starting in September, staffers’ Kaufman Franco-designed uniforms will be replaced with ones from Twin Hill. The airline will be refreshing its signature look just two-and-a-half years after Ken Kaufman and Isaac Franco suited up employees. American’s 52,000-person strong base offered design input ranging from pocket placement to the choice of fabrics, according to Fernand Fernandez. The deal is big business for Twin Hill’s parent company Tailored Brands, which also owns Men’s Wearhouse, Jos. A. Bank, Joseph Abboud and other brands. Starting May 13, two million garments will be shipped to pilots, flight attendants, ground crew and other staff to give them time to have anything altered or exchanged for the proper size, he said. Cole Haan has created handbags and scarves for female employees and attaché cases and pockets squares for their male counterparts. In addition to upping the style quota, Cole Haan had functional elements to consider such as the fact that American’s 24,000 flight attendants need to be able to quickly access the Samsung tablets they use to help passengers. Cole Haan also kept American’s 15,000 iPad-equipped pilots in mind. Available in gray, red and white, or red, white and blue, the scarves provide a dose of color for American Airlines’ in- flight crews’ uniforms. American Airline employees will have the option to buy the new accessories for family and friends. The handbags and attaché cases will retail from $300 to $500 and the scarves will be sold for $50 to $100. The collection will not be sold in Cole Haan stores or in American’s in-flight magazine. American Airlines is not alone in trying to make its staffers more stylish. Delta recruited Zac Posen to overhaul uniforms for its 30,000 employees. His creations will be unveiled in 2018. Aligned with that timing is Alaska Airlines’ plans to present its own new look. Alaska Airlines, which recently acquired Virgin America for $2.6 billion, has hired Seattle-based designer Luly Yang to redesign uniforms for its 2,500 in-flight crew members. In the midst of conducting focus groups with Alaska Airlines staff, the designer plans to test some of her creations later this year or early next year, a spokesman for the designer said. The Seattle-based company wanted to go with a local designer, since it markets a variety of Seattle products to passengers, she added. It has not yet been determined if Yang will also design new looks for Virgin staff but the designer is already blogging fashion -related travel tips on Alaska Airlines’ site. Known also for her bridal designs, Yang recently posted about packing a wedding dress for a destination wedding. 2016-05-12 22:51 Rosemary Feitelberg

21 Art Fair Tokyo 2016 Calls For More “Asian Friendship” Related Events Art Fair Tokyo 2016 Venues Art Fair Tokyo Tokyo International Forum Artists Atsuko Tanaka Sadamasa Motonaga Chiyu Uemae Jiro Yoshihara Nobuo Sekine Kishio Suga Anish Kapoor Sterling Ruby With 157 galleries participating, Art Fair Tokyo ushered in its largest edition ever during its “First Choice” preview on Wednesday afternoon with quiet fanfare. “Last year, we saw many prominent purchases made by Chinese collectors — who are quite unique in the sense that they buy what they like, without being too concerned about artistic genres, or the opinion of others,” said managing director Kiichi Kitajima. “For the contemporary art market in Japan, which has taken its cues from the US and Europe, it’s quite a refreshing shift.” Conscious of the meteoric rise in Chinese tourism to Japan and its attendant purchasing power in recent years, Kitajima seems to have made a concerted effort to promote the fair, as well as Tokyo’s artistic and cultural capital as a whole, among Chinese art circles. A large contingent from Chongqing was making the rounds, in addition to several prominent Chinese artists including Han Meilin and Li Jin, who was showing new works made after a sojourn in Bali at Singapore’s Gajah Gallery, participating in Art Fair Tokyo for the first time. A small coterie of art media from Japan, China, Taiwan, and Korea had also gathered in Tokyo to network, while Warehouse Terrada sponsored the “Tokyo Art Summit,” which hosted symposiums on the future of the Asian art market and the role of fairs in promoting a more vibrant art scene in Asia’s key cities, graced by key gallerists and art fair directors who had flown in from Beijing, Seoul, Taipei, Jakarta, Singapore, and Melbourne. One particular area of interest among Chinese collectors has apparently been the Gutai movement. Nukaga Gallery and Gallery Suchi brought a number of smaller works by Gutai artists including Atsuko Tanaka , Sadamasa Motonaga , and Chiyu Uemae. Nagoya Gallery devoted the bulk of its booth to small drawings and paintings by Gutai founder Jiro Yoshihara , while Tokyo Gallery + BTAP had a selection of smaller works by key Mono-ha artists Nobuo Sekine and Kishio Suga , as well as a small, bright red “Ecriture” painting by Dansaekhwa pioneer Park Seo-Bo (whose solo exhibition “Empty the Mind: The Art of Park Seo-Bo” at the gallery’s Ginza space closes tomorrow). SCAI the Bathhouse had two large canvases by Daisuke Ohba and a seductive small steel sculpture by Anish Kapoor. ShugoArts stole quite a bit of attention with a large glass piece by Ritsue Mishima, while Mizuma Gallery had a focused two-man presentation by sculptor Koji Tanada and painter O-Jun. Taka Ishii occupied a sprawling booth devoted to vintage photography, paintings by up-and-coming star Tomoo Gokita, ceramic pieces by Sterling Ruby , and a large boxing painting by Ushio Shinohara. The younger Tokyo galleries also made a strong showing. At Kana Kawanishi Gallery, Ryoichi Fujisaki, who formerly worked at Kohei Nawa’s Sandwich atelier in Kyoto, showed a series of photographs and a stalagmite-like sculpture made by blowing misted plaster onto a slender, vertical armature. MEM brought a number of ethereal paintings by Yasue Kodama and ceramic sculptures of discarded everyday objects by Kimiyo Mishima. Meanwhile, Asakusa, one of Tokyo’s most boldly experimental new spaces founded last year, gave its booth over to two bitingly satirical works by Mexican artist Yoshua Okon, made in collaboration with Santiago Sierra and Raymond Pettibon. Conspicuously missing from the lineup, however, were many Tokyo-based dealers who have perhaps decided that the flagship fair in their home city doesn’t have enough of a discerning — or deep-pocketed — audience to make it worth their while. Where was Ota Fine Arts, Take Ninagawa, Misako & Rosen, Gallery Koyanagi, or Kaikai Kiki? (Tied up with post-fair sales after Frieze New York, perhaps.) 2016-05-12 22:41 Darryl Wee

22 Susan Sarandon Is on a Roll On Sunday, the power duo will unite once again when they are honored with the Women in Motion Award, given away by French luxury group Kering, which is one of the official sponsors of the Cannes Film Festival and parent to such brands as Saint Laurent and Stella McCartney. Sarandon can’t believe it’s been a quarter century, but notes firmly that the movie’s impact on the film industry has run into some headwinds. “When it came out, everyone thought that it would usher in a new age of women-led films, but it didn’t,” she said. “I don’t think the studios have changed. I don’t think Hollywood has changed. I think the hope is all of those female comedians that are writing, producing and coming up with hit movies, because they [give] parts to other women. They are the most interesting change in Hollywood.” Sarandon is sitting in a suite at the Hotel Martinez overlooking the Croisette. She is sporting a pinstriped Max Mara suit in navy blue with a pair of mesh sneakers and a T-shirt boasting an intriguing equation, which she identifies as the coefficient of restitution. “The formula explains why a ball bounces,” she smiles. The film veteran has a franchise of ping-pong clubs called Spin, which is currently in expansion mode. “We have one in New York, we just opened in San Francisco, one in Chicago, Toronto and L. A.,” Sarandon reveals, though “it’s just for fun. There are 17 tables, a bar and a restaurant and really nice lighting,” she says, dubbing herself “a propaganda son of player.” Fresh off her first Cannes outing as a rep for L’Oréal at opening night on Wednesday , Sarandon, who has landed the beauty deal at the age of 69, shrugs off compliments about her youthful looks and relaxed, sporty sartorial choices. “You know, I fell down a mountain in Colombia when I was hiking with my son and fractured my ankle six weeks ago. I just got my boot off. Hence the sneakers.” But her fountain-of-youth routine is as simple as it is efficient. “I live in New York so I don’t tend to sit in the car all the time. That helps. I believe in washing my face every time before I go to bed, and I believe in sunscreen. But if an actress asks me about skin, I say: ‘just stop smoking cigarettes, for one thing,’ that’s really going to take a toll eventually.” Sarandon, a passionate humanitarian, political and civil rights activist, says she signed with L’Oréal only after making sure they promoted a beauty standard she could stand behind. “I think the whole company is about diversity of ethnicity and age, and different kinds of women,” she says, pauses, then adds: “I wonder if they’d love doing a transgender…that would be good.” Sarandon’s got some plans of her own. Her next project called “Feud” is to explore the rivalry between two Hollywood dames: Bette Davis, played by Sarandon, and Joan Crawford, portrayed by Jessica Lange. Sarandon will also produce the drama series, masterminded by Robert Murphy. “It’s true that women in the Fifties saw other women as threats, and that they aligned themselves with power, which was men. In my generation, I’m so lucky. Women are very collaborative. We are having laughs, we keep each other up to speed in everything. In the tribe of the Amy Poehlers, Melissa McCarthys and Amy Schumers, I have the feeling that we are really protecting each other and helping each other, and that has changed,” she observes. A little help from one’s friends is indeed necessary. Sarandon gladly admits that aging in Hollywood is no cakewalk for a female actor. “It’s very tough, and that’s one of the reasons I don’t live in Hollywood,” she says. “It’s a town where it’s very hard to maintain your confidence because it’s so self-conscious, it’s such a company town. I can just imagine picking up a head of lettuce in a supermarket, running into a producer who then later says: ‘oh no, I saw her, she is really not looking great these days,’ because you are there without any makeup on or whatever. In New York it’s easier to live.” Sarandon really lights up when she talks about her producing credits. “It’s like designing a house, choosing the furniture and the curtains. I couldn’t be a line producer, I don’t wanna sit down with the budget and try to figure that out, but in terms of putting the pieces together, it is fun.” Could she be tempted to make her directorial debut next? She teases: “I might start off on a documentary on a subject that interests me. I just don’t want to deal with the aftermath, the packaging and the fight for distribution. But the actual working with actors is really fun.” 2016-05-12 22:33 Paulina Szmydke

23 A Portrait of the Artist as a Young Philosopher | City of the Seekers Untitled, 2009, oil on canvas, 48"x72," private collection, courtesy the artist In the late 19th century, Southern California attracted misfits, idealists, and entrepreneurs with few ties to anyone or anything. Swamis, spiritualists, and other self-proclaimed religious authorities quickly made their way out West to forge new faiths. Independent book publishers, motivational speakers, and metaphysical-minded artists and writers then became part of the Los Angeles landscape. From yogis, to psychics, to witches, City of the Seekers examines how creative freedom enables LA-based artists to make spiritual work as part of their practices. "People have used adjectives such as 'plastic' and 'visceral' to describe my work," says artist and writer Rives Granade. "The dialectic between those two words is where I want my art to land. " By definition, it seems 'plastic' and 'visceral' couldn't be further apart, but in Granade's case, they really are the closest words to describe his work. In art, plastic is related to producing three- dimensional effects in painting, as well as modeling and molding in 3D. Visceral, meanwhile, relates to profound emotions and impulses. When it comes to his process and output, Granade's work indeed falls somewhere between. Happy, 2015, oil on canvas, 72"x72," courtesy the artist and Ochi Projects Los Angeles With a BA in philosophy and an MFA from the San Francisco Art Institute, the internationally exhibited artist is influenced by everything from history and archeology to lighting design, signage, advertising, neo-futurism, and poetry by the likes of Ezra Pound, Rene Daumal, Henri Michaux, and Jean Genet. With such a broad range of interests, it's not easy to pinpoint Granade's style, but that's kind of the point. "Style is something that comes out of sensibility—sensibility being a certain intuition to make choices based on one’s own inclinations," Granade explains. "I don’t really think of style when I work, but I do think of the way something will look and in what context it will be presented. What you end up with is a certain style, I guess, but I’ve never been that consistent. I tend to gravitate toward harsher things and forms. " Instead of working within a specific genre, Granade is more interested in beginning with an idea and thinking about how it will look in the end. Lately, he says he's been especially inclined toward using text as a kind of of ready-made form for manipulation, exploring ideas of mutability and legibility throughout. Kandinsky’s Bathmat, 2012-2016, oil on canvas, 78"x48," courtesy the artist "For example, I might say, I wonder what the letter 'A' would look like from underneath? From there, it becomes a matter of how I might achieve seeing this 'A' from underneath. " According to Granade, this could take the form of a sculpture, drawing, painting, or a video, or he might model the "A" in a 3D graphics program and see what it looked like then. Maybe he'd discover that the letter "A" isn't interesting from underneath, or he'd do something to the letter by accident, resulting in a completely different form that's ultimately more interesting than the original. Whatever the case, it's clear that Granade's artistic process is informed by his education in philosophy, with the frequent manifestation of what he describes as larger and more universal questions that address the linguistic, architectural, or mundane implications of viewing a familiar form from a new perspective. "Also, you have to ask yourself if the object should even be brought into the world at all," Granade observes. "I once heard Peter Saul give similar advice. He was saying, essentially, that you have to be very careful what you put out into the world: it is so full of junk already, and an artist shouldn’t just be adding to this [...] I believe he has a point. " Zamora, 2015, oil and paper on canvas with cat food cans, 72"x72," courtesy the artist and Ochi Projects Los Angeles Whatever the final form his work takes, creating is a way of life for Granade, enabling him to navigate the present in the same way people use religion to do the same. Like most professional artists, Granade says that he goes a little crazy if he's not creating, and he describes the creative process as something more akin to "scratching an itch" than any kind of cathartic release. Yet while his process is full of questions, Granade ultimately wants his art to radiate a certain kind of energy and convey a kind of "feeling" for the observer. It's the same feeling that comes from encountering 1960s Brutalist or parametric architecture, which are also big influences of Granade's, as is graffiti made with Super Soakers. It comes as no surprise, then, that for the past six years, Granade has been living and working in the land of unlikely inspirations: Los Angeles. The Saddle, 2015, steel and enamel, 55"x78"x13.5," courtesy the artist and Ochi Projects Los Angeles Granade says it was LA's architecture and the quality of light that called to him, along with the weather and the affordability of space. Unlike many other Angelenos who loathe traffic, Granade actually likes driving everywhere. In fact, the clichés people associate with the city are what Granade loves about it, including strip mall architecture, fast food, palm trees, swimming pools, and helicopters. "It’s also a little run-down," he says. "It feels very American to me. " Granade believes that Los Angeles has a huge influence over the artists who live and work within the confines of the city, especially with the movie industry facilitating creativity in unexpected ways. "With prop shops and large industrial manufacturing all over town, artists may only be constrained by their budgets," he points out. "Los Angeles is a place of fantasy, and it really does live up to its own mythology. " From LA's color palette to subject matter, the city influences the artist in countless ways. Plus, Granade feels that the cross-pollination of cultures in the city supplies a distinct energy that affects not just his work, but the work of almost everyone else who lives in LA, too. The Saddle (detail), 2015, courtesy the artist and Ochi Projects Los Angeles Given that Los Angeles now has more galleries than ever before, however, Granade finds himself concerned over their sustainability. "It just seems to me that there are not that many collectors even worldwide to maintain this type of growth. After all, there are only something like a few thousand people in the world that would or can spend six figures on a work of art. The whole scene is very small, when you think about it, and yet all the same, it is an exciting time to be living and working in Los Angeles.” In the end, Granade will be striving for the same truth in his practice, wherever he lives. "I have found that I need art—it enhances my life. It is ritual for me," he says. "Instead of going to church, I might go and see a show, a performance, or a building. Occasionally, walking into a gallery or museum space is like walking into a cathedral. As skeptical as I am about saying this, there can at times be something transcendent in a work of art, whether it be a perfectly arranged Donald Judd installation in the desert of west Texas or a Monet water lily painting hanging in an immaculately tiled room in Japan, sometimes art shows us something greater than ourselves. " Red Poem, 2015, installation view, courtesy Ochi Projects Los Angeles Kykeon, 2015, oil and acrylic on canvas, 48"x52," courtesy the artist Linda Flora, 2013-2015, oil and paper on canvas, 108"x78," courtesy the artist Acid, 2016, nickel plated steel, 137"x21"x 14," courtesy Harmony Murphy Gallery Acid (detail), 2016, courtesy Harmony Murphy Gallery Visit Rives Granade’s website here. Related: You’ll Be Back in the Next Life, So Don’t Stress Out" | City of the Seekers Can Visionary Art Also be Conceptual? | City of the Seekers Worship the Ceramic Booty | City of the Seekers 2016-05-12 21:15 Tanja M

24 Second Thoughts: Fred Sandback and the Virtual Line How does an exhibition accrete meaning, gain relevance, or shift shape over time? In the “Second Thoughts” series, Walker curators reconsider earlier presentations of art, articulating new or refined conclusions. Here, Jordan Carter writes about how the discovery of a 1977 book of line drawings by American artist Fred Sandback (1943–2003) prompts new thinking about the artist’s sculptures made using yarn or elastic cord. […] 2016-05-12 21:54 By

25 25 Ivanka Trump and Kate Hudson Share Insights at Forbes Women’s Summit

Ivanka Trump and Kate Hudson shared insights Thursday with more than 250 leaders in business, politics, health, technology, media, philanthropy, fashion and entertainment at the 2016 Forbes Women’s Summit Thursday at Pier Sixty in New York. The 34-year-old founder of The Ivanka Trump Collection and executive vice president of acquisitions and development at the Trump Organization, chatted with Gayle King, anchor of CBS News, and politics wasn’t off the table. “I’ve been incredibly impressed by his [Donald Trump’s] instinct and his leadership skills that have been displayed on a much larger platform,” said Trump, who’s also the mother of three children under four-and-a-half and was dressed head-to-toe in her namesake brand. Asked whether she ever expected that her father would be the presumptive Republican nominee, Trump replied, “I wouldn’t have been surprised…. When he sets his mind about something, he achieves great things.” She was asked how she handles the criticism and replied, “On a human level, it can be challenging. Often the criticism is wrong. I’m pretty thick-skinned.” King then asked Trump whether her father plays nicely with others, and she said that when people are swinging punches, he’s a counterpuncher. “My father’s built an enormous business. You can’t function in business if you can’t get along with people,” she said. Describing his top skills as a dealmaker and negotiator, Trump noted, “It’s been a very interesting campaign season. There’s tremendously high energy and people want change. It’s been a rather tough campaign season. “I think America is really seeing my father…he’s honest, with him, what you see is what you get, even if you don’t like him. He’s elevated and he’s created a dialogue around the issues, it’s a powerful thing,” she added. As for her own business skills and what it takes to be a good boss, Trump said you want people who buy into your mission. Her clothing and handbags seek to inspire and empower young women. “The empowering and inspiring part gets me excited. You have to have a bold vision and work really hard. I don’t know anyone who’s successful who cuts corners…. People who create the most important companies really love it,” said Trump. Hudson, 37, actress, author and entrepreneur, was interviewed by Amy Robach, news anchor for “Good Morning America.” Hudson said her partners came to her and asked her if she wanted to formulate an idea with them for an ath-leisure company. “I always wanted to get into fashion,” said Hudson, and not necessarily ath-leisure, but Fabletics’ collection really represented her. “I felt there was a hole in the market for affordable athletic wear and it’s had this tremendous success the last two years.” Hudson said she didn’t grow up in the spotlight — although there were some moments — and was raised in Colorado. She said she grew up in a “pretty normal family” with three brothers and developed a “tough skin.” “In Hollywood, everyone wants to build you up and tear you down,” she said. She said growing up, she always saw her mother working hard. “My mother had a driver who came to the house and I hated it. He would take my mother away. But what it taught me was how hard she worked to create opportunities for other women,” she said, noting that her mother, Goldie Hawn, was the first female actress to produce her own film. “She was a trailblazer in Hollywood,” said Hudson. Now that ath-leisure is an official word in the dictionary, Hudson said that “ath-leisure” has been her life forever, and now they’ve given it a name. “I am a frustrated athlete,” she said. “The success has been shocking and amazing and it came so fast.” 2016-05-12 21:09 Lisa Lockwood

26 Calvin Klein Stirs Up More Controversy With Its Spring 2016 Campaign What will Calvin Klein do next in its “I ___ in #mycalvins” spring campaign? The brand has been flashing different imagery from the campaign around 26 different global markets, but its newest ad has hit some people as a little too cheeky. Released on the brand’s Instagram account, the photo under fire features Danish actress Klara Kristin from an up-the-dress angle, paired with the tagline “I flash in #mycalvins.” The image was shot by Harley Weir. The post currently has 44,800 likes on the brand’s Instagram account and nearly 1,800 comments from users both blasting and defending the image. “This is selling sex right? Oh, it’s selling a product? I wouldn’t have known. I couldn’t find any products amid this absolute distasteful ad. #notbuyingit,” writes one user, while another said, “Very creative and beautifully executed. Keep it up!” Calvin Klein spokesmen could not immediately be reached for comment. Kristin was also included on a Calvin Klein billboard in SoHo in Manhattan that stirred up controversy in March. The advertisement showed an image of her (“I seduce in #mycalvins”) juxtaposed next to an image of male singer Fetty Wap (“I make money in #mycalvins.”) Critics blasted the billboard for perpetuating sexist gender stereotypes, and lingerie company ThirdLove began an online petition calling for Calvin Klein to take it down. (It was later swapped out, although as part of a preplanned rotation and not in response to the petition.) Like Fetty Wap, Kristin also ostentatiously makes money in her Calvins — after all, this is a major corporate ad campaign with major dollars attached. The more people who take a peek, the better. .. Just hanging with fetty! ⚔ #whutupnyc A photo posted by Klara Kristin (@karate_katia) on Mar 14, 2016 at 8:23am PDT 2016-05-12 21:01 Kristen Tauer

27 Artists Installing: Lee Kit Hong Kong artist Lee Kit spent the past two-and-a-half weeks in the gallery working on his site- specific installation for his first solo museum exhibition in the US, Lee Kit: Hold your breath, dance slowly. The installation features new videos and paintings, as well as everyday objects sourced from Home Depot and IKEA: cabinets, lamps, rugs, chairs, […] 2016-05-12 21:54 By

28 What is a Contemporary Collection? Thoughts on the Walker Moving Image Commissions and the Ruben/Bentson Moving Image Collection The Walker Moving Image Commissions is an online series in which five artists responded to selections from the Ruben/Bentson Moving Image Collection. Premiered in the Walker Cinema and released for a limited run online, the Moving Image Commissions were initiated in May 2015 with premieres of work by Moyra Davey and James Richards that focused […] 2016-05-12 21:54 By

29 Listening Mix: Devendra Banhart & Friends LISTENING MIX provides a musical preview for artists visiting the Walker. Combining their work with sounds from a variety of contextual sources, LISTENING MIX can be experienced before or after a performance. For his two-evening event this weekend, Wind Grove Mind Alone, singer/songwriter Devendra Banhart has gathered a group of collaborators, contemporaries, mentors, and friends. It wasn’t so long […] 2016-05-12 21:54 By

30 Elizabeth Arden to Buy Christina Aguilera Fragrance Business Elizabeth Arden Inc. is buying the Christina Aguilera fragrance business from Procter & Gamble as part of P&G’s plan to slim down its beauty portfolio. Stifel analyst Mark Astrachan estimated the fragrance license had about $80 million in sales and $10 million in earnings before interest, taxes, depreciation and amortization in a January analyst note. The purchase price for the transaction was not disclosed. “This stellar brand is one with a global footprint and a significant international presence in Europe,” said George Cleary, president of global fragrances at Arden. “This acquisition is consistent with our strategy to acquire brands to grow our fragrance business on a global basis.” “I really enjoy developing my fragrances and I am excited to continue the process with Elizabeth Arden,” Aguilera said in a statement. “Their commitment to creating fragrances is important to me and I know they will do a great job helping me deliver top-quality product to my fans.” She has seven fragrances, according to the business’ web site. Arden’s other celebrity fragrances include Taylor Swift, Nicki Minaj, Mariah Carey and Justin Bieber. The company’s fragrance sales, which grew by 3 percent in the latest quarter, were pushed by John Varvatos and Juicy Couture. For the quarter, Arden had a $27.7 million net loss . Overall, the celebrity fragrance category has not fared well in recent years — dropping to about 2 percent of the prestige fragrance market in 2014, from 4 percent in 2011, according to figures from The NPD Group. Christina Aguilera Perfumes was originally part of the beauty brand package that P&G agreed to sell Coty — but along with Dolce & Gabbana, Christina Aguilera dropped out of the deal. 2016-05-12 20:43 Allison Collins

31 Here's a New Model for Selling Art with Bitcoin Bers’ setup. All photos courtesy Moving Pictures Gallery. For some collectors, words like “bitcoin” and “blockchain” sound way too Silicon Valley and far removed from the art world. But some gallerists are embracing these new technologies as the art market’s new frontier, like Eric Barry Drasin and Benton C. Bainbridge, realtime media artists intent on changing the way digital and new media art is bought and sold. Working on the fringes of the mainstream art world, the two recently launched Moving Pictures Gallery, pairing with the online art-selling platforms Ascribe and Artlery, which use bitcoin and blockchain technologies to keep a transparent, permanent record of provenance, and to keep a “smart contract” agreement between artist, collector, and patron, ensuring that all involved parties automatically receive compensation for their contributions to valuing the work. Moving Pictures Gallery was inaugurated by a performance by audiovisual artist Jonas Bers , who played a setup of hacked videogame machines from the 80s and 90s. While the performance, which was streamed online and can be viewed on YouTube , might initially look like a complex syncing of noise and visuals, the two are actually one in the same. He’s not playing modular synths, he’s playing video signals, which contain inaudible sound frequencies. As he amplifies bits and pieces of the signals, connected into feedback loops through his custom-created audiovisual equipment, the video signals become audible, and at the same time, the sounds create visual patterns on the screen. With Drasin and Bainbridge’s sales model, portions of this synesthetic performance will be selected and sold as unique editions. The duo spoke with The Creators Project on the occasion of Bers’ performance, to explain their radical ideas surrounding what they think is a necessary restructuring of the art market to match the proliferation of digital and new media art. Bers performing live. The Creators Project: What is realtime media art? Benton C. Bainbridge (BCB): Early video artists were interested in ideas like, ‘how can we perform digital music?’ and ‘can you play an image?’ That’s our interest. Eric Barry Drasin (EBD): Also, these tools are becoming rapidly more accessible to more people. We’re starting to see this proliferation of technique and virtuosity in the performance of these instruments. Now, we’re seeing this point where we’re bringing it onto the stage, and it’s becoming this type of live cinema, live theater. And we’re starting to treat it truly as visual music, with virtuosic performers like Jonas, that can tell a story and bring the audience through something, in a very live way. This is the new electric guitar. But also, it’s art. What exacly is "Performing Systems? " EBD: A few years ago, my friends and I needed a context to really develop and focus what we were doing. So I started a video art collective called the Fast Food Collective , and from that developed Performing Systems. It is the space where people exhibit fully fleshed-out concepts, video scores, that are specifically single-channel. It’s one projector, two speakers, and someone standing in front performing for the audience. I wanted to just focus on the relationship between the performer and the technology that they’re using. How are you using Artlery and Ascribe? BCB: We [as a society] don’t really have a system set up for fine artists to participate in royalties from resales, and Artlery is very focused on that. EBD: We’re getting our certificates of authenticity from Ascribe, and then we’re selling it though Artlery using a smart contract that has resale royalties built into it. Droit de Suite is the term [Artlery uses], French for “right to follow.” Basically it’s resale rights: if we sell a Jonas Bers for $10 today, and then a collector sells that same piece for $100 next year, Jonas deserves to participate in resales of that work. You could actually build, with the proper infrastructure, a self-executing contract, where that sale could be the thing that triggers the exchange of that artwork, while at the same time, funneing off the percentage to the artist. Artlery is also focused on the people that appreciate art. Every time you look at the Mona Lisa , for example, you are adding to the value of that artwork. Artlery is interested in setting up a system where that’s acknowledged. All these blockchain technologies seem to point to this future where there’s this sort of radical participation of users in the economic value that’s created by art participation. Bers perfoming. Photo courtesy the author. Could you clarify how blockchain works in relation to selling art? BCB: The blockchain is like triple-entry accounting, which acknowledges that any human can make a mistake. To enter each item on a ledger in triplicate means three people are checking one another. The blockchain is at the core of how cryptocurrencies work, and the idea is that accounting is done, not by three people, but by a vast network of computers, all of whom can check the legitimacy. In the generation of the cryptocurrency in the first place, called “mining,” the blockchain can confirm that it’s been correctly mined, that it’s a central confirmation across a whole network of computers. Those transactions are all entered with a time-date stamp, and are confirmed by all computers that have access to this public blockchain. So essentially we have all the advantages of multiple-entry accounting, but more open. Why have you adopted this format? EBD: The promise of electronic media, not only digital media, is that you can spread it widely. That’s a great thing, but I started with the question, ‘why aren’t realtime media artists collecting one another’s work?’ I came to the conclusion that this community simply didn’t have the superstructure in place so that they could actually collect one another. BCB: We’ve sort of just come to the conclusion over the years that art doesn’t have an inherent value. The logic of the free market swoops in, and says, ‘ok, we’re completely devaluing your labor.’ So, with Performing Systems, we’ve been creating these very specific performance environments, where we can really assert the authorship of the performer and the technologist, and treat is as a score. The audience comes to understand that this is something they should treat with some regard, not as something ancillary to a product message, or to theater, or to anything else. It’s important for us to assert the context that we want the work to be seen in, which is that this is, in fact, fine art. Watch the full documentation of Bers’ performance below. What do you think about the tension between the traditional fine art market, which relies on scarcity, and the digital art world, which operates on the premise that digital works can be infinitely shared or easily copied? EBD: Given the trajectory of some of these blockchain technologies, we’re going to start seeing that digital media files are going to be treated as physical objects. It should be the choice of the artist to determine how they either want to license or sell that work. We’re asserting that this is a thing, and it is an object, and we are selling it as an object, it’s a unique object. It’s created out of a unique process that can never be replicated in time and space. Eventually, more people are going to figure out more interesting licensing techniques. Artlery is creating a really interesting system for licensing art and disseminating ownership. At it’s core, what we’re trying to do, is assert the singular nature of digital media, using these technologies, that are currently on the verge of existing. Do you think of this project as an avant-garde, or a future mainstream model? BCB: Exactly the latter. A future mainstream model. I like that personally because, if you look at Nam June Paik’s early writings, there’s a collection of his writings called, Videa n’ Videology ; and it’s not like he came up with every idea on his own, but he synthesized all these ideas, and what he was writing about over half a century ago, is the way we live today. He was writing things like, ‘in the future, there will be hundreds of channels of TV.’ ‘In the future, there will be a TV channel to watch paint dry.’ All these things came true. At the time, he sounded like he was tripping, but I’ve seen many of his ideas come true. Find out more about Moving Pictures Gallery on their website . Related: Guest Column: On Art in the Real-Time Stream Brooklyn’s Net Art Scene Migrates to Munich for New Media Art Fair The Third Era of Visual Art is Finally Upon Us 2016-05-12 20:25 Alyssa Buffenstein

32 Giant Fluorescent Totems Rise in the Nevada Desert Ugo Rondinone: Seven Magic Mountains, Las Vegas, Nevada, 2016. All photos by Gianfranco Gorgoni, courtesy of Art Production Fund and Nevada Museum of Art, unless otherwise noted. The Nevada desert can already feel like a dreamscape, but now, the view towards the horizon looks even more surreal. Ugo Rondinone’s Seven Magic Mountains , located off Interstate 15, ten miles south of Las Vegas, has officially opened to the public. The majestic, fluorescent cairns, each over 30 feet high, have had Nevada drivers asking questions and making detours for a couple of weeks now—if anything, to confirm that what they are seeing isn’t a vision of their own making. Rondinone’s installation sits beside hallowed ground, by art historical standards: Nearby Jean Dry Lake is where Jean Tinguely staged his Study for an End of the World No. 2 in 1962, and where Michael Heizer created Rift 1 six years later. As the first earthwork completed in over 40 years, this is a big moment for large-scale land art, dropping a contemporary pin in the movement’s timeline. Screengrab of video showing stacking process For the project’s co-producers, the Nevada Museum of Art and the Art Production Fund , this also meant facing contemporary hurdles. “In the old days, if you wanted to build something monumental in the landscape, you didn't have all the restrictions you have today,” explains Museum Director David Walker. “You didn't have to file an Environmental Impact Report. You didn't have to work with licensed contractors. And certainly today you need a lot of political support, which we got.” The fact that the chosen site sits on federally owned land made the logistics even more complicated. “And then, there's the little matter of raising $3.5 million,” adds Walker. In the end, the Magic Mountains took five years to implement. The final phases of construction are documented in a series of short videos on the project’s timeline , which show skilled workers cutting and coring the massive boulders, stacking them in place, and painting them in hyper-real, neon hues. The finished product is an awe-inspiring addition to the landscape. “When artists use natural materials, their work tends to have a visceral resonance,” reflects Walker. “This piece certainly does that. These are monumental towers, and when you encounter one of them—not to mention seven of them—they have a spiritual presence.” For him, the first encounter with the work unearthed old memories: “When you’re driving towards them and see them in the distance, they’re this wonderful gesture of color. It reminds me of being in a car as a child, around 1969, and seeing Las Vegas for the first time—seeing all the colors and neon lights. They kind of simulate that experience.” Walker is looking forward to documenting other visitors’ encounters with the work. The Nevada Museum of Art will be collecting the entire archive of the project, up until the work is taken down, two years from now—so make sure to get that Southwestern road trip in by 2018. Screengrab of video showing cutting process Screengrab of video showing painting process Learn more about Seven Magic Mountains here . Related: The Healing Scars of Land Art Land Art Animations Piece Life Itself Together For $6500 You Can Visit James Turrell's Unfinished Observatory 2016-05-12 19:50 Noémie Jennifer

33 A Melancholy Tale About the Father of Cinema, Eadweard Muybridge Screencaps via The Emperor of Time is a strikingly heartfelt story about a man whose famous name is normally given a paragraph of explanation. Born from an obsession with the father of filmmaking, Eadweard Muybridge, the film is written from the perspective of the adoptive son whom he abandoned and visualized in a 19th century mutoscope. It's a heartfelt look not only at the man behind the footnote, but at how film changed humanity's perception of the world. "I had been planning to do a film on Muybridge for the last seven years," filmmaker Drew Christie tells The Creators Project. "I got a book of his photos years ago and in that book there was some biographical information, mentioning his son that he abandoned and the fact that he murdered a man. From that point on, I was hooked. " He wrote the script for the film, explaining Muybridge's story with gorgeous prose like, "He was the first man who stared at time itself and said, 'Stop.'" Christie often focuses on creative minds from the past in his work, including Temple Grandin and Charles Bukowski , but he normally works in animation. "I kept having this feeling that since all of Muybridge's work was black-and-white photographs, this story should be realized to look like black-and-white photographs, not drawings of black-and-white photographs," he says. "I actually had to find a living, breathing horse and a living, breathing man to star in the film. Usually, I can just draw a horse or a person, but I had to find real stuff! " He struck gold with retired actor Richard Evans, who happened to live on the same Washington island he inhabits. "He was in every classic western of the 60's: Rawhide , Wagon Train , Gunsmoke , Bonanza , Lassie , Star Trek , and many others," says Christie. "He loved my script and agreed to come out of retirement and star as Muybridge. And luckily, my friend's mom has horses and she let us film on her property with them. " The Emperor of Time made the official selection at Sundance Film Festival, Sydney Film Festival, Seattle International Film Festival, and the Berkshire International Film Festival, and was recently released on Vimeo. Watch the full short below. See more of Drew Christie's work on his website . Related: When Artists Kill Gutter Poet Charles Bukowski, Animated and Uncensored Illustrated Temple Grandin Interview Reveals Why She's Thankful for Autism 2016-05-12 19:25 Beckett Mufson

34 aesop opens snøhetta-designed store in singapore snøhetta suspends timber battens from the ceiling of singapore's aesop ION store snøhetta suspends timber battens from the ceiling of singapore’s aesop ION store all images © aesop snøhetta has continued its ongoing collaboration with aesop with the opening of its second store in singapore. situated just off orchard road, ‘aesop ION’ pays homage to the bustling street’s original incarnation as a nutmeg plantation. in order to reference its obscured past and underground location, snøhetta created an upside-down forest using an assemblage of materials, colors and forms. the store is aesop’s second in singapore a dark ceiling mimics the orchard floor, complemented with a similarly toned sisal carpet. thin timber battens hang from the ceiling, forming a delineation that curves throughout the space. selected central battens are suspended with horizontal ‘branches’ fixed to the stems acting as product displays. pink walls are reminiscent of the color of mace, another spice harvested from the nutmeg fruit. ION is the fourth snøhetta-designed aesop store to open. aesop raffles city, which was also designed in collaboration with snøhetta, opened in singapore earlier this year, while the firm has also been involved with the design of aesop’s signature store in oslo, norway, as well as the outlet in fasanenstraße, berlin. an upside-down forest was created using an assemblage of materials, colors and forms thin timber battens hang from the ceiling, forming a delineation that curves throughout the space aesop’s signature faucets have also been included pink walls are reminiscent of the color of mace, another spice harvested from the nutmeg fruit ION is the fourth snøhetta-designed aesop store to open the firm has also been involved with the design of aesop stores in oslo and berlin 2016-05-12 19:22 Philip Stevens

35 Charles Pétillon Engulfs Gallery Magda Danysz in a Balloon Vortex Related Venues Gallery Magda Danysz Shanghai The white balloons of French photographer Charles Pétillon are floating into Shanghai for “Invasions,” the artist’s debut exhibition in China, opening May 14 at Gallery Magda Danysz. For the show, Pétillon has created elaborate assemblies of his iconic white balloons, which he places in empty or abandoned spaces and then photographs. The results are stark tableaux of these ivory globules, which evoke soap bubbles frozen in space and time. Some of the images are set in landscapes, others in empty manmade environments. In “Mutations 2,” a twisted horizontal braid of balloons floats in the forest; in “Playstation,” balloons of different sizes are arrayed around a children’s jungle gym in a desolate park. The most haunting image in “Invasions” is “Souvenirs de Famille,” an exterior shot of a vacant house overflowing with Pétillon’s balloons. The house is at once full and empty, packed to the rafters with these white baubles that contain nothing but air. Pétillon calls his balloon works metaphors that he says are intended to “change the point of view on the places we see every day without really paying attention.” “Invasions” also features a site-specific installation of thousands of balloons arranged in a spiral around the 1,000-square-meter gallery. Visitors to the show will be enveloped in this vast creation, giving them the experience of entering what the gallery describes as “the vortex that is a never-ending life.” Pétillon last created a large-scale balloon installation at London’s Covent Garden Market, where he filled the building’s arched roof with 100,000 balloons. That sculpture was 50 meters long and 12 meters wide and pulsed with white light to the rhythm of a heartbeat. 2016-05-12 19:16 Samuel Spencer

36 Let Fairy Tale Slackliners Teach You the Art of Falling Screengrabs by the author Say you lose balance and you fall... What do you do next? Do you stop and give up, or do you press on? This is the question posed by Yeah Dude in their new video, " Headway " which turns slackline jumping into an inspirational meditation on pulling through. According to creator Nicolas Romieu , 18-year-old Yohann Grignou wanted to film slackliner Louis Boniface jumping to violin music. “I found it was a cool idea,” Romieu tells The Creators Project, “but I said to him that I wanted to write a story.” He wrote a script and in one day, they filmed in a forest outside of Paris. The sound by Julien Riquier was added after the shoot abd Alexis Maingaud composed original music, while Pierre Morsard gave the film its unforgettable pink hue. The result is a dramatic and otherworldly piece wherein the violinist acts as a gamekeeper to the personal journey the slackliners go through over a fairy tale-worthy lake. Coupled with the dramatic music, the rhythm of the jumper invites the viewer into this slackline world. Next time we fall, we'll know how to make the most of it. Click here to see more from Yeah Dude. Related: Do Not Watch This Drone Footage If You’re Scared of Heights Extreme Highliners Weave a Massive Web Between Mountains Giant Wooden Megaphones Amplify the Sounds of a Forest 2016-05-12 18:25 Anya Tchoupakov

37 Scott Anderson at CES Gallery, Los Angeles Scott Anderson, Interfaith Leftovers , 2016, oil on canvas. COURTESY THE ARTIST AND CES GALLERY Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Scott Anderson: Supper Club” is on view at CES Gallery in Los Angeles through Saturday, May 14. The solo exhibition, the artist’s first with the gallery, presents a new body of work. Scott Anderson, Salsa Wash , 2016, oil, graphite, and oil crayon on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Ort , 2015, oil, oil crayon, and ink on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Interfaith Leftovers , 2016, oil on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Holding Food-Court , 2015, oil, oil crayon, and graphite on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, French Exit , 2016, oil and oil crayon canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Farm To Table Dinner Theater , 2016, oil on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, El Patio , 2016, oil and oil crayon on canvas. COURTESY THE ARTIST AND CES GALLERY Scott Anderson, Interfaith Leftovers , 2016, oil on canvas. COURTESY THE ARTIST AND CES GALLERY 2016-05-12 18:20 The Editors

38 san francisco approves foster + partners' oceanwide center san francisco approves foster + partners’ plans for new oceanwide center all images courtesy of foster + partners the new oceanwide center in san francisco, designed by foster + partners in collaboration with heller manus architects, has received approval from local authorities. located in south of market (SOMA), the project forms part of the transbay development plan, which intends to provide increased urban density. the 2.3 million square foot development comprises two mixed-use towers — the 605-foot mission street tower accommodating a hotel and residences, and an 850-foot office and residential tower. importantly, the project also includes the addition of new public spaces with pedestrian connections, as well as the restoration of two of the site’s historic buildings. at ground level, both structures appear open, accessible and transparent. the towers have been elevated to a height of almost five storeys to provide room for a public square that forms an extension of the surrounding streets and alleyways. this 22,000 square feet space is to be landscaped by kathryn gustafson, and will have a wide ranging program of art installations. the project’s groundbreaking has been scheduled for november 2016. ‘we are delighted that our plans for the new oceanwide center have received planning permission,’ commented stefan behling, senior executive partner, foster + partners. ‘this development will be the new exemplar of urban living with exciting places to live and work right alongside the central transport hub. the new ‘urban room’ at ground level with pedestrian routes cutting across the site will catalyze the public realm in the neighborhood, with shops, cafes and green spaces for residents and employees to enjoy. we look forward to the next stages of the project with great anticipation.’ the towers have been elevated to a height of almost five storeys to provide room for a public square the project’s groundbreaking has been scheduled for november 2016 2016-05-12 17:56 Philip Stevens

39 2,000 Glowing Pigeons Illuminate the Brooklyn Waterfront Photo by Tod Seelie for Creative Time. Seeing 2,000 pigeons equipped with LED lights whirl through the night sky is a little bit like laying flat on a merry-go-round at dusk and watching the starry sky twirl overhead. It's strangely enchanting to feel the wind from beating wings. After gathering with a couple hundred strangers to behold this twilight marvel on the New York waterfront, venturing into the Brooklyn night feels a little more magical. The mastermind behind this spectacle is artist and avian aficionado Duke Riley , and his piece, commissioned by Creative Time , is called Fly By Night. Every weekend night for six weeks, a massive flock of carrier pigeons is released over the Brooklyn Navy Yard at sunset. As the light fades, tiny LEDs attached to the birds’ legs twinkle to life, illuminating the darkening sky. Creative Time, a nonprofit that produces art in public spaces, is known for ambitious, politically-charged commissions. Fly By Night was partly inspired by the US Navy’s historical use of homing pigeons to deliver messages at sea before the widespread use of radio. The Brooklyn Navy Yard was the site of the military’s largest coop at it's peak during World War II. Returning birds to this site is not only a love letter to pigeon fancying, it is something of a PR campaign for creatures routinely called “rats with wings.” Riley tells The Creators Project, “They’re extremely smart, and have excellent facial recognition skills. In some ways, they’re kind of like a liaison between the human and the natural world.” Photo by Tod Seelie for Creative Time. Riley’s affinity for the birds runs deep. As a child, he found and cared for a pigeon, and though his mother sent it away, the bird came back. Riley later lived in a pigeon coop in Providence, Rhode Island for several years. “There’s a real bond between Duke and the pigeons that he homes and raises,” says Creative Time’s executive director Katie Hollander . “It’s one of the things that brought him to New York, because there’s such a large, though dwindling, pigeon community. It’s been an integral part of his practice.” In 2013, Riley trained birds to smuggle Cuban cigars from Havana to Key West in a performance piece titled For Trading With The Enemy. A daring and mutable artist, he also draws on the urban waterfront as a wellspring of inspiration. In After the Battle of Brooklyn (2007) he built and launched a Revolutionary War-era submarine called the Turtle in the New York Harbor and got within yards of the Queen Mary 2 before being arrested. Photo by Erik Herrström "The urban waterfront is the genesis of every city. All cities are based around the development of water, whether for consumption or transportation. It always marks the oldest place in the city," says Riley. "The waterfront is the buffer between the governed and the ungovernable. " Today, the home of the Fly By Night flock is inside another sort of battleship. A decommissioned vessel named the Baylander houses 13 specially designed coops. “We’d never worked with animals before. It’s something we were very sensitive about, and we wanted to make sure we had processes in place to care for the health and well being of the birds,” Hollander says. Creative Time employs a team of avian experts to care for the pigeons, and the project FAQ addresses the history of homing pigeons and the care and makeup of Riley’s flock. Photo by Erik Herrström Fly By Night encourages urbanites to look up and take in their surroundings. “There’s a level of enjoyment and childlike amusement,” Hollander says. “One day, we were down at the Navy Yard, and a security guard ran over and said, ‘I just got off a 16-hour shift, and seeing this filled me with joy.’ That’s what we’re going for: an opportunity to replenish people with hope and wonder.” Riley and his avian performance artists illuminate the waterfront in a confluence of art and nature, creating a spellbinding experience for those lucky enough to witness it this spring. General admission tickets for Fly By Night are fully reserved, but for a chance to see a performance, you can join the waitlist. To learn more about the artist click here. Related: I Spent the Night at an Anything-Goes Art Slumber Party Kara Walker's Domino Sugar Installation Lives On Thanks To Streetview How Kara Walker Built A 75-Foot-Long Candy Sphinx In The Abandoned Domino Sugar Factory 2016-05-12 17:30 Kara Weisenstein

40 Die Antwoord's "I Fink U Freeky" Director Released a Terrifying Short Film Screencaps via Roger Ballen did not arrive in Sydney with the intention of making a film. The Johannesburg- based photographer, who you might also know as the director of Die Antwoord’s 2012 music video " I Fink U Freeky ," was actually visiting the University of Sydney’s College of the Arts to view an installation of his own work curated by Colin Rhodes. But the haunting atmosphere of the art school, which is located on the site of a former psychiatric hospital, immediately caught his imagination. “I was so inspired by the dungeon cells at the Sydney College of Arts that I felt I needed to preserve my experience,” Ballen tells The Creators Project. “The turning point in the process occurred when I added sound to the installation and was blown away by the penetrating recordings.” The result is Roger Ballen’s Theatre of the Mind , a powerful two-minute psychological thriller which begins with Ballen giving a lecture on his work, only to be interrupted by a series of dreamy and disturbing images filmed in the art school’s bizarre underground tunnels. Ballen worked on the video and accompanying photo installation with a group of Sydney College of the Arts students and graduates, including producer Tanja Bruckner. Filming with Ballen was a dream come true for Bruckner, who’d long been a fan of the world renowned photographer. “It was an absolute privilege to work with him,” she tells The Creators Project. “His work doesn’t cotton wool life like a lot of art and other forms of media do. He punches the viewer in the face so hard with the very real possibility that things fall apart, including the mind.” As a former Sydney College of the Arts student, Bruckner’s filmed on campus many times. Unsurprisingly, exploring the nineteenth century passageways of an old mental asylum always makes for an eerie experience. “You can feel the energy of certain spirits still trapped in their isolation cells,” she says. A 19th century mental hospital is the perfect choice of setting for Ballen, whose photography and video practice tends to float in the interstitial space between perceptions of real and unreal. In fact, he’s enjoyed a lifelong fascination with themes of mental disturbance. “I have always been interested in the thin line between sanity and insanity,” he says. “What society defines as normal could be seen as insanity, and vice versa.” You can view more of Roger Ballen’s work here and follow him on Instagram . This article originally appeared on The Creators Project Australia. Related: Die Antwoord Photographer Roger Ballen's Best Art Advice 'Lights Out': The Horror Short That Could The Psychology of What Makes an Image "Horror" 2016-05-12 17:10 Katherine Gillespie

41 Tunick Wants to Make America Naked Again Photographer and Female Body Inspector Spencer Tunick is looking for a hundred women willing to "pose nude in Cleveland during the Republican National Convention," reports Jezebel. His objective? To remind Republicans "that women are a reflection and embodiment of nature, the sun, the sky, and the land. " That is, at least, what he said in a recent interview with the Cleveland Scene. Tunick also mentioned that his "sacred" female subjects will be holding large mirrors during the July 17 event, an act where "[t]he woman becomes the future and the future becomes the woman. " However, it appears that some women are more sacred than others. In fact, the 49-year-old photographer explicitly states on his website that "participants will be selected based on photographs submitted. " We're sure his selection process will see him making a lot of hard choices. Tunick stresses that his project isn't a protest. One wonders, then, what he anticipates a group of naked women to accomplish. "It's sort of to energize the city, to heat it up," he said. (Apparently Accuweather's 79 degree forecast isn't hot enough.) For those suspicious of Tunick's intentions, he reassured his Twitter followers that he's doing this "for our daughters. " The photographer, evidently, "just couldn't stand by and do nothing. " And when the going gets tough, the sensible solution is to throw some naked women in the mix. "I think it's going to shine a little wisdom on the convention," Tunick said. Because, really, what could be more enlightening than the combined efforts of one hundred fully exposed women and a fully-dressed man and his vision? Follow artnet News on Facebook. 2016-05-12 16:53 Rain Embuscado

42 turner prize 2016 shortlist revealed turner prize 2016 shortlist revealed (above) anthea hamilton; ‘project for door (after gaetano pesce)’, 2015 installation view; ‘anthea hamilton: lichen! libido! chastity!’ exhibition at sculpturecenter, new york, 2015, courtesy the artist, photo: kyle knodell since 1984, the turner prize has been awarding an artist annually for an outstanding exhibition, or other presentation of their work from the preceding year. still one of the best-know prizes for visual arts, the shortlist of four creatives is selected each year by a specially chosen independent jury, following a process of public nominations. before the winner is announced in december, the four shortlisted artists are invited to present their pieces at the tate britain in an exhibition — with the nominees to be judged on the work for which they were chosen, and not for what they bring forth during the turner prize show. this year sees anthea hamilton, michael dean, helen marten and josephine pryde vying for the title, whose creative practices are linked by common mediums — sculpture and installation. anthea hamilton ‘brick suit’, 2010, installation view ‘anthea hamilton: lichen! libido! chastity! exhibition at sculpturecenter, new york, 2015 wool, lining 22 x 5 x 46 inches (55.9 x 12.7 x 116.8 cm) courtesy the artist, photo: kyle knodell anthea hamilton brings a surrealist sensibility to popular culture and the mind-bending volume of stylized and sexualized imagery in the digital world. working across sculpture, installation, performance and video, she seduces the viewer with comic and unexpected combinations of images, materials and worlds, through dramatic shifts in scale. she is nominated for her solo exhibition ‘anthea hamilton: lichen! libido! chastity!’ at sculpturecentre, new york. michael dean installation view of ‘sic glyphs’ exhibition at south london gallery, london, 2016 image courtesy of the artist, herald st, london, mendes wood DM, sao paulo, supportico lopez, berlin photo: andy keate michael dean’s practice is concerned with the physical presentation of language. his sculptures and installations reference everyday urban environments and the familiarly mundane, through the use of aesthetically overlooked materials — from rebar taken from a building site to the corrugated metal of a shop shutter. he has been nominated for his exhibitions ‘sic glyphs’ at south london gallery, london; and ‘qualities of violence’ at de appel arts centre, amsterdam. michael dean installation view of ‘sic glyphs’ exhibition at south london gallery, london, 2016 image courtesy of the artist, herald st, london, mendes wood DM, sao paulo, supportico lopez, berlin photo: andy keate helen marten ‘ùlimpet apology (traffic tenses)’, 2015 screen printing and painting on leather, suede, cotton, velvet; stained and sprayed ash; folded steel; enamel paint on balsa wood; airbrushed steel; magnets; inlaid formica; cherry © the artist, courtesy sadie coles HQ, london and greene naftali, new york photo: annik wetter, geneva helen marten’s practice sees her employing a wide range of found objects, combined with immaculately crafted elements in her sculptures. while her work is suggestive of contemporary visual culture, as well as various kinds of art since the 60s, it also defies both form and meaning: it attracts and intrigues, but also resists interpretation and categorization. she is nominated for her projects ‘lunar nibs’ presented at the 56th venice biennale; and solo exhibition ‘eucalyptus let us in’ at green naftali, new york. helen marten ‘night-blooming genera’, 2015 (detail) spun aluminium, airbrushed steel, welded steel, lacquered hardwoods, stitched fabric, handthrown glazed ceramic, leather, glass, feathers, acid etched concrete © the artist, courtesy sadie coles HQ, london and greene naftali, new york photo: annik wetter, geneva josephine pryde ‘installation view lapses in thinking by the person I am’ exhibition at wattis institute for contemporary arts, san francisco image courtesy of josephine pryde, photo: johnna arnold josphine pryde works across both two- and three-dimensional mediums — from photography to installation — through which she explores the very nature of image making and display. she is fascinated by the relationship between art and photography, of art as commodity and of the seductive qualities of the wider art world. she often calls into question the conventions of the gallery and the complex networks of the art world. she is nominated for her solo exhibition ‘lapsus in thinking by the person I am’ at CCA wattis, san francisco. josephine pryde ‘für mich 2′, 2014, C-print unframed: 60 x 45 cm (23 5/8 x 17 3/4 in.) edition of 3 + 2 AP (SLG-JOP-08391) courtesy of the artist and simon lee gallery, london; reena spaulings fine art, new york; and galerie neu, berlin the turner prize 2016 exhibition at the tate britain runs from september 27th, 2016 to january 8t, 2017. clockwise from top left: portrait of anthea hamilton, photo by lewis ronald; photo of michael dean, photo taken by the artist; photo of josephine pryde, photo: dan michell; photo of helen marten, photo by juergen teller 2016-05-12 16:50 Andrea Chin

43 George Zimmerman Gun Auction Cancelled Four years after shooting and killing Trayvon Martin, an unarmed black teenager in Florida, George Zimmerman reportedly attempted to sell the murder weapon at auction. Having recently recovered the weapon from the Department of Justice, Zimmerman listed the Kel-Tec PF-9 gun on the user- generated auction site Gun Broker. "Prospective bidders, I am honored and humbled to announce the sale of an American Firearm Icon," he wrote. "The firearm for sale is the firearm that was used to defend my life and end the brutal attack from Trayvon Martin. " Shortly before the auction was slated to begin, Gun Broker pulled the listing from the website. In a statement , the company noted that Zimmerman was the sole person responsible for posting and promoting the listing. "We want no part in the listing on our web site or in any of the publicity it is receiving," the website insisted, noting that "we reserve the right to reject listings at our sole discretion, and have done so with the Zimmerman listing. " Despite Zimmerman's claims that the Smithsonian was among the "many have expressed interest in owning and displaying the firearm," which he described as "a piece of American history," the institution was quick to deny it. "The Smithsonian has never expressed interest in collecting George Zimmerman's firearm. The Smithsonian has no plans to ever collect or display this object in any of its museums," reads their statement. A statement issued on behalf of Martin's father, Tracy Martin, said that the Trayvon Martin Foundation "has no comment on the actions of that person that murdered Trayvon" and "is committed to its mission of ending senseless gun violence in the United States. " Since his acquittal on murder charges in July 2013, Zimmerman has continued to court controversy through his abominable works of art. For instance, he sold an American flag painting on eBay for $100,099.99 that December. This past August, Zimmerman joined forces with a Florida gun store, selling prints of a Confederate flag painting with a gun rights message to support the store's owner, who was threatening to bar Muslims from patronizing the business. Zimmerman's continued time in the media spotlight has also included several other brushes with the law, most in connection to incidents of domestic violence. In January 2015, Zimmerman allegedly threw a bottle of wine at a woman when she refused to return a painting to him. When questioned about the decision to sell the gun that he used to kill Martin, Zimmerman told local FOX affiliate WOFL , "I'm a free American. I can do what I'd like with my possessions. " Undeterred, Zimmerman is attempting to sell the 9mm weapon at another online gun auction , reports USA Today. Bids start at $5,000. Follow artnet News on Facebook. 2016-05-12 16:27 Sarah Cascone

44 Jan Fabre’s Art Conquers Florence With Bronze Turtle, Shiny Insects Related Venues Forte di Belvedere Artists Jan Fabre For the first time in history, a contemporary artist has “conquered” three historical venues in Florence. Jan Fabre ’s show “Spiritual Guards” is now side by side with Michelangelo in Piazza della Signoria. It also occupies the frescoed rooms of Palazzo Vecchio. If this is not enough, it dominates the Medici’s town with an impressive display of sculptures and videos at Forte di Belvedere. More than 100 works by the Flemish artist, dating from 1978 to 2016 - including a performance done in Florence in April - bring his world to life under the Tuscan sky. Fabre, born in Antwerp in 1958, touches on his usual themes: life and death, beauty and fear, war and laughter, heroism, and vulnerability. The monumental sculpture “Searching for Utopia,” Fabre's self-portrait riding a giant golden turtle (a symbol common to many religions) was recently installed on Piazza della Signoria, next to the equestrian statue of Granduca Cosimo I, a Renaissance masterpiece by Giambologna. It has already become a favorite among tourists with selfie sticks. Fabre’s “Man Who Measures the Clouds” (1998-2016) stands on the Arengario outside Palazzo Vecchio between the copies of Michelangelo’s David and Donatello’s Judith. Inside the Palazzo, arranged amidst the permanent collection, Fabre’s swords, armored, skulls, and dead squirrels provide a contract with the rich interiors and artefacts. Among the installations, there’s “Globe” (1997), 2.5 meters in diameter. It is covered in iridescent insects and is inspired precisely by the 16 th -century globe shown in the “Sala Delle Mappe Geografiche.” The most striking part of the exhibition is at Forte di Belvedere, open for free to the public. This showcases about 60 of Fabre works in bronze and wax, along with a series of films focusing on some of the artist’s historic performances. Both indoor and open-air, there are Fabre’s many faces and incarnations: the warrior, the knight, the philosopher, the worm and the beetle. Some of his self-portraits laugh at the human condition; some others are looking at the sky, sheltering from the rain, trying to light a cigarette. Many have horns and animal features. The “guards” who name the entire project are, in fact, the small army of bronze beetles who stand on the bastions in defense of the fort, Fabre’s “angels of metamorphosis.” The three exhibitions are under the art direction of Sergio Risaliti and have been curated jointly from Belgium and Italy by Melania Rossi and Joanna De Vos. 2016-05-12 16:21 Pia Capelli

45 DAS INSTITUT Serpentine Sackler Gallery / London Throughout DAS INSTITUT’s latest self-titled show, currently at the Serpentine Sackler Gallery , the body is suggested, performed, dissected and expanded by the imaginative layering of Kerstin Brätsch and Adele Röder’s practices. Serpentine Sackler Gallery Kerstin Brätsch Upon entering, the viewer is confronted by the flickering lights of Röder’s COMCORRÖDER Breast (2010–15), a colorful breast-shaped neon sculpture that rhythmically composes and decomposes its own contours. The space is filled with clashing stimuli extending from ubiquitous locations; any sense of direction is confounded. This spatial approach creates an escalating intensity between objects and perceptions, allowing a deeper understanding of the compositional games employed by the duo. Working collaboratively since 2007 as DAS INSTITUT, Brätsch utilizes painting to question how a body can manifest and represent itself, while Röder employs an artistic vocabulary comprised of light, physical presences and textiles. The pair’s output is an attempt to playfully explore the limits of agency and artistic control through an unconventional attitude that attempts to express emotionally subjective and difficult-to-define elements of life. The buoyant mixture of individual and collaborative pieces also includes a few outside contributions. Flame Creatures (2015) by artist friend Sergei Tcherepnin sets the rhythm of one of the central rooms, where North Tomb (2016) is a juxtaposition of Röder’s Deep Sleep (2010– 15) neon pieces and Brätsch’s suspended “KAYA Mylars” (2015) oil paintings. Allison Katz’s dismembered portrait of Brätsch and Röder, Exhumation Tabl e (2016), fills a number of Plexiglas boxes. The show casts the viewer as a fundamental participant of this idiosyncratic creative process, her presence looped back in the infinite construction and destruction of a unique context. As soon as I left the gallery, I wanted to be re-immersed in the show again and again. by Attilia Fattori Franchini 2016-05-12 16:14 www.flashartonline

46 crisscross adaptable furniture is easy to build, take apart and move again crisscross adaptable furniture is easy to build, take apart and move again (above) small cupboard kit all images courtesy of crisscross when it comes to moving, we all know there nothing’s quite as frustrating as furniture. it’s hard to build, a pain to take apart, and a nightmare to move. that’s why a recent graduate of falmouth university set out to create something better. in his final year of studying, sam wrigley came up with an idea for a range of furniture that would make moving easier and more enjoyable. to turn his idea into reality, he founded his first company: ‘we’ve spent the last 9 months designing, prototyping and developing crisscross.’ crisscross is a range of adaptable furniture that’s easy to build, take apart and move again. ‘we wanted to create a range of furniture that would adapt to people’s lives, rather than tying them down.’ because of its modular design, you can create almost anything to fit your space, and when you don’t need it anymore, you can change it into something new. the range of furniture can be adapted to different environments the project is currently seeking funds and it will launch a campaign on kickstarter at 10am on the 17th may and runs for 30 days. sam says, ‘we’re incredibly excited to finally share crisscross furniture with the world. we just hope everyone loves it as much as we do!’ kickstarter backers will be able to get crisscross before anyone else, and at a reduced price. the pieces are made only from wood that comes from sustainable forests 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. 2016-05-12 15:54 www.designboom

47 47 Mixed-Media Works Break Down Cultural and Critical Barriers Composition 118, paint on laser print (2012, 10.5" x 7"); and Castrophia, paint on laser print (2012, 10.5" x 8") All images courtesy the artist. If Thomas Gainsborough and John Baldessari had a baby, and that infant was a Lladró porcelain figurine whose godfather was a hologram of Joan Miró, the whole family would look something like the work of Chad Wys . Employing everything from the perplexing to the playful, the artist's vision effectively merges the characteristics of long-standing genres such as classical portraiture and plein air painting with postmodernist applications found in movements such as abstract expressionism. Even so, Wys' whole practice yields an entirely new category of artistic composition. The result is a mind-blowing body of work that's completely unexpected, each piece differing drastically from the last. An Alpine Landscape With Bars, paint on found painting and frame (2014, 16" x 20") Wys' unique, thought-provoking style is best described as post-conceptual, drawing from fine art traditions as well as more contemporary ones. But look beyond the Bob Ross-meets-Banksy veneer and you'll see a much more complex system at play. Lurking beneath the layers of Wys' works is a careful examination of the signs and symbols that we as a society have inherited from our ancestors, and how those signs are interpreted today. While it might appear that Wys' work looks backwards, it also looks to the future, exploring how the communication between technology and humankind ultimately affects our awareness of our own aesthetics. With an M. A. in visual culture from Illinois State University, Wys currently lives and works in rural Illinois. His formal training as an artist is obvious in his work: far from mere pastiche, it explores the trajectory of art history itself, evaluating traditional work through a modern lens. Whether creating actual paintings, digital collages, or assemblages from found objects, Wys bridges the firmly entrenched divide between highbrow and kitsch, exploring the emergence of art criticism within his art itself. Arrangement In Skintones 11, digital c-print (2011, 44" x 44") "I think art is lifeless and hollow and disposable if it doesn't strive for something greater beyond the surface," he says, drawing comparisons between art and literature, in the sense that both disciplines convey an experience. "The best literature, the best poetry, shows us a new aspect of the world and ourselves. Visual art is no different. Art must always be showing us some aspect with which we're not finished grappling.​" If art is a mirror reflecting the struggle of the human experience, then it stands to reason that today's art should inevitably dive into a kind of messy discourse about technology, and the uncertainty that comes with it. Yet while new applications of scientific knowledge definitely affect the way art is produced, Wys believes that today's artists themselves share much in common with their forebears. Brutalized Gainsborough 2, paint on laser print (2009, 10.5" x 8") "I think the fundamentals and philosophies are very much in keeping with the avant-garde of generations past in that ideas give birth to subsequent ideas, and ideas continue to mash together and overlap and mature into new ideas," he says. "The social and political climates change—or in some ways remain the same—and new ways of looking at the world always seem to be manifesting. But the same drive and ambition to tell important stories in refreshing ways has been a constant throughout art history and the production of images since the beginning— except when it has been suppressed maliciously from without, but even then, thoughts could not be gathered up and destroyed. " Wys feels his own art strives to convey a quality of mood, rather than taking the form of a narrative. "I work mostly in aesthetic tonalism—like a tone poem—without a clear objective or obvious antagonists, but with aesthetic gestures and the act of appropriation I hope to stir the audience to consider the very act of processing visual information," he says. "I hope to meet people at the very point that they perceive an image or an object and ask them to investigate how they derive meaning and experience in the first place. " Composition on Panel 6, collage and paint on board (2015, 9" x 9") The artist believes his own professional integrity has strengthened over the course of his practice, and that his vision has become more astute. Nevertheless, his themes have remained the same, conceptually speaking: "I think there's an ideological and aesthetic through-line that can be drawn from my earliest compositions to my most recent ones, and to some degree that's comforting, because it suggests I'm on a comfortable track," he says. "But while my critiques of reception have grown sharper and more nuanced, my drive to experiment with various mediums has broadened. I think I'm becoming more confident in my process, or, at least, more confident in being unable, and unwilling, to control every outcome. " Composition on Panel 21, collage and paint on board (2016, 10" x 10") When asked about the future of art as social commentary, Wys says, "I think all objects and images—all art—comment on our culture. All visual information that is produced in a culture, in some fashion, reflects that culture back on itself. Even art that isn't overtly political in nature communicates a great deal about the circumstances surrounding its production. I choose to point directly at the unseen forces at work in visuality, in art history, through the act of appropriation. I think artists will find their voice naturally. Whether they are viewed as an 'activist' or not depends more on the person doing the labeling. I think we all activate content in our own way. It's important that we continue to concentrate on what matters to each of us. " Inherit The Earth, geological specimens and found sculpture (2013, 5.25" x 4" x 2.5"); and A Grecian Bust With Color Tests, paint on found sculpture (2013, 7" x 3" x 2.25") The Absurdity of Looking, wood, paint, found painting and frame (2015, 20" x 22" x 3") The Awkward State of Seeing, wood, screws, paint, found sculpture (2015, 18" x 12" x 9") Follow Chad Wys on Facebook , Instagram , and Twitter , and find more of his work here and here . Related: 10 Artists Who Tackle the Social Issues of Today The Warping 3D World of Kidmograph Ordinary Is Extraordinary in CUR3ES' Collage Wonderland 2016-05-12 15:30 Presented by

48 Charles Gleyre’s Reputation Reexamined in Orsay Show Related Events Charles Gleyre (1806-1874) Venues Musée d'Orsay Artists Charles Gleyre Charles Gleyre is a painter who has often been mistreated by art history. A new show in Paris aims to set the record straight and rehabilitate his reputation. The Musée d’Orsay does a good job in showing an artist whose finely executed works have led to him being labelled a perfect representative of Academism. As such, he has been overlooked and criticized. After a retrospective in Lausanne in 2006 (Gleyre is a Swiss artist), the Orsay museum reassesses the evidence. Few people may realize that this apparent champion of classicism actually spent 25 years running the most liberal and prolific painting studio of Paris, where many future impressionists such as Renoir, Sisley and Bazille met. Some 120 paintings and drawings, including Gleyre’s most important works, are gathered to demonstrate the originality of this independent and paradoxical personality. As a whole, the exhibition reaches its goal. The visitor follows, with growing sympathy, the adventures, setbacks, and few successes, of an artist who has been sacrificed on the altar of modernity. While many of his paintings are characteristic of a cold and wise academism, the drawing is enhanced by a smooth technique. Gleyre was an anxious man, often paralyzed by his desire for perfection. But surprisingly, his compositions often show signs of irreverence, such as the satiric “Roman Thieves” (1831, now in The Louvre). They also prove his inventive spirit when choosing to depict unusual mythological scenes (such as “Penthenum pursued by the Maenads,” from the Bâle Kunstmuseum). At a time when westerners were fascinated by the East, Gleyre was the painter who made the longest trip to the Middle East and North Africa. He stayed there for four years starting in 1831, accompanying the wealthy American philanthropist John Lowell Jr. A whole section of the show is devoted to his journeys in Egypt, Sudan and Nubia, featuring representations of the places and people he saw. However, the artist came back exhausted and disappointed from this long expedition, after being unable to produce great pieces there. It is only his reconstructed reminiscence of a magic moment on the Nile which later brought him glory. Exhibited at the Salon of 1843, “The Evening,” also known as “The Lost Illusions,” (usually kept in the Louvre) was unanimously acclaimed, awarded a Gold Metal, acquired by the French state and became a symbol in the popular imagination of an Oriental dream. Gleyre is also at his best when he experiments with intuitive visions of fantastic landscapes as an attempt to feature the ancient world, freed of human presence. One of his masterpieces is “The Great Flood” from 1856. The oil and pastel work, kept in the museum of Lausanne, offers a singularly poetic and mysterious version of the cataclysm flown over by hieratic angels inspired by Giotto. Always contradictory, this supposedly misogynist and eternal bachelor celebrated feminine beauty in pictures such as “Minerva and the Three Graces” or “The Bath,” which is judiciously hung next to Renoir’s “Bather with Long Hair” from the Orangerie. His last picture exhibited at the Salon (1849), “The Dance of the Bacchantes,” shows a sensual female ritual that opposes the common Greek masculine Dionysian scene offered by most painters. 2016-05-12 15:25 Nathalie Mandel

49 49 Desiigner's Panda Mask Was Made by a Taxidermy Artist [Exclusive] Screencap via She continues, "For the video, they envisioned Desiigner turning into a panda, so my balance of human/animal was what they wanted. " The mask dominates the final 15 seconds of the video, showing Desiigner's face transformed, but the rest of his body is hidden by a hoodie. For narrative's sake, we can assume he is fully transformed into the creature he's been rapping about for the duration of the song. Traditionally, Clark's work is true to the hide of the animal she's sculpting, but "Panda" required her to break this rule. "Since I obviously can’t (and don’t want to) get a panda hide, I had to create something similar using black bear hide and antelope hide. " Working with a cast of Desiigner's face, she stitched together the two animal pelts, strategically shaving areas to make the mask uncannily human. Desiigner visited her studio to pin and trim the final details into place, and Clark says he had great energy and was, "very cool about being a fan of my work. " You know the collaboration is successful when you see the rapper don the mask—his character has gone completely out of his brain. Photo by Jeff Hutton , courtesy Kate Clark Now that the video has been released, Clark will display the mask as part of her solo show, Kate Clark: Mysterious Presence at the Newcomb Art Museum in New Orleans. Then it will travel to the Hilliard Museum in Louisiana at the end of May. But that doesn't necessarily mean this is the last time we'll see the Brooklyn rapper go full panda on his audience. "Desiigner and I have talked about opportunities for him to wear it again and of course I want that to happen! " she says. This collaboration is exciting because it's an all too uncommon instance of a pop star enlisting a fine artist to actualize the ideas they've spent years thinking about. "I was excited about the project because they were not asking me to make a prop, but instead to make one of my signature sculptures, using all of the details that I’ve developed through the years to make a visual balance between human and animal," Clark says. There have been a number of controversial music videos that artists claim "imitate" their work, in some cases winding up in court. It's always nice to see the opposite happen. At it's heart, "Panda" may be a banger about losing your mind to the party, it's also proof that sometimes we can all get along. Image courtesy Kate Clark See more of Kate Clark's work on her website . Related: Meet the Artist Putting Human Faces on Taxidermied Animals [Exclusive] Unmasking the 'True Detective' Killer Skrillex & Vic Mensa's Tokyo Monster Trucks Have "No Chill" 2016-05-12 14:20 Beckett Mufson

50 LINK arkitektur wraps contemporary gabled extension with kebony wood in norway a nod to the traditional farmhouse structures in the area, norwegian firm LINK arkitektur has established a meaningful dialogue between past and present with the design of the ‘øvre tomtegate 7′ house in norway. the building was restored from its previous dilapidated state and connected to the existing residential property; the new extension is characterized by its gabled form and introduction of modern materials. the main component throughout the project’s development was the external envelope. glass and aluminium seen extensively throughout, with both the roof and façade of the extension clad in kebony timber, chosen by the architects to maintain the traditional style of the original farmhouse. kebony cladding, when exposed to light, softens in color over time to adopt a delicate silver-grey patina. in turn, this complements the light tones of the wood paneling inside. martin ebert, LINK’s lead architect on the project comments: ‘this project has been fascinating to work on with the traditional scandinavian design style interwoven with modern architectural elements. the kebony cladding is a really exciting way to keep traditional architecture alive without the negative environmental impact associated with hardwood deforestation.’ the design was heavily influenced by the traditional gable roofed farmhouses in the area the patented kebony technology is a unique process that modifies sustainable sourced wood species with furfuryl alcohol, a liquid produced from agricultural crop waste. with the addition of heat the furfuryl polymer is permanently grafted into the wood cell wall, resulting in greatly improved durability and dimensional stability; making the wood resistant to biological decay and harsh weather conditions, without the need for expensive and environmentally-damaging treatments. both the roof and façade of the extension is clad with kebony wood to maintain the traditional aesthetic internally, there is a focus on natural light, greenery and garden views. the open-plan interior is permeated with natural light through the fully-glazed façade that looks out onto the garden. meanwhile, the roof rises in the center to create a mezzanine level. the wooden envelope gives the barn a striking yet natural external appearance the ground floor is made of recycled concrete with an intricate heating mechanism where pipes in the floor are supplied with hot water glass and aluminium are two main materials 2016-05-12 13:23 Natasha Kwok

51 holland green residences by OMA + allies and morrison OMA + allies and morrison add residential blocks to london’s commonwealth institute site image by nick guttridge / all images courtesy of OMA after originally winning a competition to undertake the project in 2008, OMA has now completed its overhaul of the commonwealth institute site in london. realized in collaboration with allies & morrison, the project sees the construction of three limestone-clad residential blocks around the listed commonwealth institute building, which has also been fully renovated ahead of its opening as the new design museum later this year. the sale of 54 residential units has helped fund the commonwealth institute’s restoration and conversion, which will feature interiors by john pawson. the three new residential structures are positioned around the listed exhibition hall, intended as a composition of free-standing blocks in a green setting — each oriented to carefully align with the site’s listed centerpiece. the front building, set back from the street, responds to the urban scale of kensington high street, while the largest of the three corresponds to the height of park close’s two adjacent structures, which both date from the 1960s. the structure, which which will open as the new design museum, has been fully renovated image by sebastian van damme the orthogonal geometries of the site’s latest additions form a deliberate contrast with the hyperbolic geometries of the exhibition hall’s roof. each residential façade is a hybrid of two different typologies: one being an array of identical vertical windows, the other an expression of the buildings’ structural grid. the latter of the two ensures sweeping views, while incorporating outdoor spaces — including large terraces on the upper floors. the sale of 54 residential units has helped fund the commonwealth institute’s restoration and conversion image by nick guttridge the site’s vehicular traffic has been eliminated, with a continuous basement connecting the three residential buildings and the design museum at a single service level. this subterranean storey also houses a number of collective facilities for the residents, such as a spa, a sky-lit swimming pool, a cinema, and a gym. individual apartment units incorporate their own outdoor spaces image by hufton + crow the commonwealth institute’s main exhibition hall will be the new home of the design museum, offering nearly three times more space than its previous home. with the exception of the roof and its supporting structure, the building has been almost entirely rebuilt. a new basement has been installed, while the floors within have been rebuilt at new levels to accommodate the needs of the museum. the previous 1960s elevations have been replaced with energy efficient fritted façades, designed to resemble its original appearance. generous views are provided across the site image by nick guttridge orthogonal geometries contrast the dramatic hyperbolic geometries of the exhibition hall’s roof image by philip vile an array of identical vertical windows stretches along the façade image by hufton + crow each building is oriented to carefully align with the site’s listed centerpiece image by sebastian van damme the scheme has been conceived as a series of free-standing blocks in a green setting image by sebastian van damme 2016-05-12 12:59 Natasha Kwok

52 Rodin Museum Settles Engineer's Injuries The Rodin Museum in Philadelphia has settled a $7.25 million lawsuit leveled by an engineer who fell through the building's glass ceiling in 2012 during an energy inspection. The total amount awarded will be shared by AlliedBarton Security Services and the Philadelphia Museum of Art, which runs the Rodin Museum's operations. According to CBS Philly , an unfortunate misstep sent engineer Phani Guthula crashing through the attic's ceiling and falling 38 feet to the floor below. Guthula's request to step onto the glass ceiling was allegedly cleared by a security guard. The fall nearly killed Guthula, leaving him in the hospital for three months with $1.9 million in medical bills to show for it. According to the Daily Mail , Guthula was on assignment by ICF International, the engineering firm the museum hired to run an energy audit of the building. Guthula's attorneys, Larry Bendesky, David Kwass, and David Langsam, told the publication that the victim's life has been "a living hell every day since his fall. " AlliedBarton Security attempted to shift the blame in a court filing, according to the Philadelphia Inquirer , arguing that their guard was not "properly warned about the safety risks by the museum. " In a statement to the Inquirer , spokesperson Norman Keyes stated that the museum "has always adhered to the highest safety standards and complied with all legal requirements," but did not mention any plans to bolster these measures. The Rodin Museum and the Philadelphia Museum of Art did not respond to artnet News' immediate request for comment. Follow artnet News on Facebook. 2016-05-12 12:47 Rain Embuscado

53 le roi soleil by marcel wanders for baccarat is adjourned with crystal shades and cut motifs le roi soleil by marcel wanders for baccarat is adjourned with crystal shades and cut motifs le roi soleil by marcel wanders for baccarat is adjourned with crystal shades and cut motifs image © laurent parrault marcel wanders‘ ‘le roi soleil’ chandelier for baccarat pays tribute to the illustrious monarch louis XIV. the lighting object draws upon baccarat’s iconic ‘zénith’ chandelier which sees wanders re-designing its contours and softening the angles. ‘le roi soleil’ acts a symbol of modernity through its embracing curves and crystal shades which are adjourned with cut motifs. wanders has stretched and distorted the twisted branches, tassels and octagons to create a perfect heavenly body. the chandelier, which comes in four different versions, contains a small subtle red jewel that makes reference to the original ‘zénith’ design. ‘le roi soleil’ pays tribute to the illustrious monarch louis XIV image © laurent parrault marcel wanders states that ‘in an ode to the know-how of the manufactory’s artisans, I set out to celebrate the timeless quality of the zénith chandelier, a baccarat icon. ‘le roi soleil’ glitters and radiates throughout a kingdom of light.’ the dazzling piece is accompanied by a small table that draws upon the ‘new antique’ vase the dutch designer created in 2014. the vessel has been turned upside down and crowned with a white marble top, re-inventing the original model into a complimentary furniture piece. it contains a subtly concealed rechargeable LED system which creates a captivating aura. each chandelier contains a small subtle red jewel that makes reference to the original ‘zenith’ design image ©designboom marcel wanders’ ‘le roi soleil’ chandelier is one of three new lighting pieces, influenced by the unique savoir-faire and mastery of baccarat. presented during milan design week 2016 as part of the legendary maison’s exhibition ‘lumières out of the box’ – within the historic setting of the brera academy of fine arts’ sala napoleonica – wanders’ lighting piece, alongside designs by arik levy and hans van bentem, was suspended within an oversized shipping crate with reflective walls; the scenography beautifully symbolising baccarat’s ability to interpret its 250 years of heritage and history with modernity and glamour. installation view of marcel wanders’ chandelier and table set within the brera academy of fine arts’ sala napoleonica image © andrea martiradonna 2016-05-12 12:30 Hollie Smith

54 VIDEO: Bernard Frize on Color and Serendipity Related Venues Galerie Perrotin New York Artists Bernard Frize French artist Bernard Frize values speed, experimentation, and chance in his painting practice. While his canvases are often beautiful and seductive, he claims not to invest too much attention in his aesthetic decisions; if anything, he can occasionally seem like a conceptual artist who has found, in painting, an outlet for ideas. His latest show at Galerie Perrotin in New York, “Dawn Comes Up So Young,” is on view through June 18. It includes brand new works — some of which are made by pouring and then shifting pigment, without brushes, letting happenstance dictate the compositions — as well as a set of large paintings from the early ’90s. We spoke with Frize, the cover star of the May issue of Modern Painters, about his practice. 2016-05-12 12:15 Scott Indrisek

55 Meet BeMA: The New Beirut Museum of Art As Lebanon prepares to launch its modern and contemporary art museum in Beirut , the Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL) announced the name of its forthcoming institution, which will be BeMA: Beirut Museum of Art (Beyrouth .(in Arabic .ﺑﻴﺮوت ﻣﺘﺤﻔﺎﻟﻔﻦ — ﺑﻤﺎ Musée de l'Art in French and The national " Museum in the Making " campaign kicked of in February 2015, with an architectural design competition announced in October. Peter Palumbo, chair of the Pritzker Architecture Prize, headed the jury reviewing the open call for design proposals. Members, who included the late Zaha Hadid , Hans Ulrich Obrist , and Julia Peyton-Jones , recently named 13 firms to the short list of potential candidates, with a winner expected to be announced this fall. The museum is slated to open in 2020, and will be located on a site owned by the Université Saint-Joseph in Beirut. The institution is currently conducting a search for a director, and plans to announce details about its collection and programming in the coming months. APEAL, a non-profit organization that hopes promote international-quality arts programming featuring both Lebanese and international art envisions BeMA as "a multidisciplinary hub of art and design dedicated to showcasing modern and contemporary Lebanese culture," according to a press release. Although the opening is still some years off, BeMA has already begun programming in the region, launching an artist-in-residence program with Temporary. Art. Platform in Ras Masqa, Lebanon, in March. The six participating artists, Ali El-Darsa, Youmna Geday, Raymond Gemayel, Ieva Saudargaité, Petra Serhal, and Myriam Boulos worked on a number of different projects. BeMA is also publishing an ongoing series, "Works on Paper," consisting of commissioned projects from 12 artists which are included in Lebanon's daily newspapers, and curated by Amanda Abi Khalil. BeMA isn't the only sign of a growing art scene in Beirut. In November, collector Tony Salamé opened the Aishti Foundation , a massive private museum in a shopping mall 20 minutes from the city's downtown area. Follow artnet News on Facebook. 2016-05-12 12:05 Sarah Cascone

Total 55 articles. Created at 2016-05-13 12:01