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71 articles, 2016-05-18 06:02 1 Morning Links: Adam Lindemann Edition (1.08/2) Must-read stories from around the art world 2016-05-17 08:44 2KB www.artnews.com 2 Turning Snow: Olga Viso on Martin Friedman’s Legacy Martin Friedman, the Walker's director from 1961 to 1990, passed away in New York City on May 9, 2016. When I began my tenure at the Walker in early 2008, it had been almost 20 years since Martin... 2016-05-17 22:18 900Bytes blogs.walkerart.org (1.04/2)

3 First Look: MVRDV Build a Giant Staircase in Rotterdam Rotterdam celebrates 75 years of post-war reconstruction with The Stairs, a month-long temporary installation by the architecture firm MVRDV. 2016-05-17 16:17 2KB (1.02/2) www.blouinartinfo.com 4 Summers of Rock — Magazine — Walker Art Center (0.04/2) Launched in 1998, the Walker’s now-annual Rock the Garden festival has gone through plenty of changes—from its inception as an intermittent, on... 2016-05-18 04:18 12KB www.walkerart.org 5 Sophie de Rougemont Named CEO of Carven The ceo is the first under new owners Bluebell Group. 2016-05-17 15:31 2KB wwd.com

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6 lenz/architects forms shell villa in almaty foothills the dominantly aluminum clad home includes a kitchen, master bedroom, bathroom, lounge, and large studio space. 2016-05-18 04:05 1KB www.designboom.com 7 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... 2016-05-18 05:22 1KB gdusa.com 8 la rivière frank architects adds four ears with daylight catchers to japanese house conceived to accommodate the livelihood of a family of four, this energy efficient house lets the rhythm of the day merge with daily life not unlike the working of a sundial. 2016-05-18 02:15 6KB www.designboom.com 9 Affable Experimentation: Steve Lehman Octet at the Walker 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 opi... 2016-05-18 04:18 935Bytes blogs.walkerart.org 10 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... 2016-05-18 04:18 835Bytes blogs.walkerart.org 11 AD HOC revives mexican tools and craft at maison&objet americas AD HOC, named one of six 'rising talents' at maison&objet americas 2016, focusses on reestablishing mexico's deep-rooted legacy of craftsmanship. 2016-05-18 00:20 4KB www.designboom.com

12 studio farris architects transforms a stable in west flanders belgian firm studio farris architects has transformed a small barn in west flanders into an office that features a meeting room, library, and desks. 2016-05-17 23:04 2KB www.designboom.com 13 Time Inc. Responds to Yahoo Acquisition Rumors, Lays Out Growth Strategy Time Inc. gave a detailed presentation to investors Tuesday on its strategy to grow the business in the near-term. 2016-05-17 22:29 6KB wwd.com 14 Second Thoughts: Fred Sandback and the Virtual Line How does an exhibition accrete meaning, gain relevance, or shift shape over time? In the 2016-05-17 20:00 858Bytes blogs.walkerart.org 15 plan:b organizes colombian house as four connected concrete volumes set on a large piece of land in rionegro, colombia, the build by plan b arquitectos is surrounded by verdant landscape and is defined by the heavy use of concrete. 2016-05-17 21:01 2KB www.designboom.com 16 To Preserve Digital Film Culture—Or Lose It Forever | Conservation Lab The challenges of digital data preservation are hitting the cinema sector, and it's a doozie. 2016-05-17 20:55 5KB thecreatorsproject.vice.com 17 Contemporary Aesthetics Meet Chinese Tradition at Intersections Singapore’s Intersections Gallery presents contemporary riffs on the “three perfections” of traditional Chinese art. 2016-05-17 20:23 2KB www.blouinartinfo.com 18 Lang Performs at Hublot Store in New York The Chinese pianist held a private performance at Hublot’s new Fifth Avenue flagship in New York. 2016-05-17 20:14 1KB wwd.com 19 Lena Dunham's Peanut Butter Waffle & Other Celebrity Sandwiches, Illustrated Find out why Action Bronson is a chicken cheddar biscuit and Tyrion Lannister is a braised beef sandwich, according to Celebs on Sandwiches. 2016-05-17 19:50 2KB thecreatorsproject.vice.com 20 Play Voyeur Inside an Artist’s 3D Selfie Archive Vienna-based artist Martina Menegon takes intimate, elaborate 3D scans of herself to redefine the selfie. 2016-05-17 19:40 6KB thecreatorsproject.vice.com 21 Platform-L Opens With Yang Fudong and Bae Young-whan Solo Exhibitions Yang Fudong's new film and a talking parrot sculpture form Bae Young-whan are among the works in the inaugural exhibitions for Seoul's Platform-L. 2016-05-17 19:37 2KB www.blouinartinfo.com 22 rossetti's MLS stadium proposal to re-connect and revitalize the heart of detroit rossetti's proposal for the MLS stadium aims to encourage connectivity by weaving together disparate areas in detroit's center. 2016-05-17 19:35 2KB www.designboom.com 23 Graffiti Earth Takes Sustainable Approach to Duane Street Hotel Many restaurants label themselves as “intimate” and “sustainable,” but Graffiti Earth is taking those claims a step further. 2016-05-17 19:35 3KB wwd.com

24 Lyon & Turnbull and Freeman’s Collaborate for Inaugural Hong Kong Auction Freeman's and Lyon & Turnbull have joined forces for their first Hong Kong auction for a 150-lot sale including the so-called "Thornhill Stem Cup." 2016-05-17 19:32 1KB www.blouinartinfo.com 25 Five Minutes With Misty Copeland: The Ballerina Talks About Her Retirement Plans Misty Copeland says that she “hopes” to have another decade in her career. 2016-05-17 19:32 2KB wwd.com 26 Cherokee Global Brands Cues Up Namesake Brand at Warner Sound The Warner Sound event is being held during the CMA Music Festival in Nashville from June 9 to June 12. 2016-05-17 19:30 1KB wwd.com 27 Hong Kong Central Library Celebrates the Creations of Guillaume Bottazzi “Wonderland,” which is running as part of the city’s annual Le French May arts festival, presents 23 recent paintings from Bottazzi, alongside photos of the artist’s public artworks. 2016-05-17 19:26 2KB www.blouinartinfo.com 28 Royal Appointment: Prince William Opens the Ralph Lauren Centre for Breast Cancer Research in London Lauren funds multimillion-pound molecular research hub at London’s Royal Marsden Hospital. 2016-05-17 19:23 9KB wwd.com 29 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... 2016-05-17 22:18 1KB blogs.walkerart.org 30 Meet Desiigner: The Elusive and Kanye West-Mentored Rapper The Kanye West-endorsed 19-year-old is happy about his hit song “Panda,” but doesn’t want to discuss Future, the rapper critics say he’s copying. Instead, the rapper opens up, a little, about his c… 2016-05-17 19:13 6KB wwd.com 31 creatives share artistic interpretations of instagram's new logo in response to instagram's rebrand, creatives from across the globe are sharing their own artistic interpretations of the new symbol. 2016-05-17 18:25 1KB www.designboom.com 32 They Are Wearing: Mercedes-Benz Fashion Week Australia Polished, cool and hitting all the trends. That summed up the sartorial scene over the weekend at Mercedes-Benz Fashion Week Australia, which runs through May 20 in Sydney. 2016-05-17 18:22 1KB wwd.com 33 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... 2016-05-17 22:18 941Bytes blogs.walkerart.org

34 John Knight at Redcat, Los Angeles Pictures at an Exhibition presents images of one notable show every weekday 2016-05-17 17:37 965Bytes www.artnews.com 35 7 Whimsical Sights at Site Unseen’s OFFSITE Design Fair These objects made us rethink the beauty of functionality—and vice versa. 2016-05-17 17:35 5KB thecreatorsproject.vice.com 36 Sci-Fi Paintings Show How Strange Being a Tween Girl Is Artist Lori Nelson paints today's tweens into a world of yetis and folklore-inspired ghouls. 2016-05-17 17:20 3KB thecreatorsproject.vice.com 37 google cultural institute art camera the museum boijmans van beuningen was among the first to use the google cultural institute camera to digitize a series of artworks, including the ‘portrait of armand roulin’ by van gogh and ‘sping in vethuil’ by claude monet. 2016-05-17 17:10 1KB www.designboom.com 38 Chloë Grace Moretz and Brooklyn Beckham Make ‘Neighbors 2’ Red Carpet Debut Chloë Grace Moretz and Brooklyn Beckham made their red carpet debut as a couple Monday at the “Neighbors 2: Sorority Rising” premiere. 2016-05-17 16:52 1KB wwd.com 39 Where the Dead Don’t Stay Dead: The Propeller Group at James Cohan, New York Through May 15 2016-05-17 16:36 2KB www.artnews.com 40 Will Sharing Art Photos Online Raise Your Rent? A new study in London's Royal Society Open Science shows a new link between art and gentrification, via Flickr users. 2016-05-17 16:33 2KB news.artnet.com 41 There's a Stained Glass Amoeba Floating Through the Forest Science and magic collide in Thomas Medicus' stunning new glasswork. 2016-05-17 16:30 1KB thecreatorsproject.vice.com 42 The Guggenheim’s Potentially Controversial "Middle East" Show Is Anything But Stainless steel and rubber mobiles and cities constructed of couscous comprise the Guggenheim's 'But a Storm Is Blowing from Paradise.' 2016-05-17 16:25 6KB thecreatorsproject.vice.com 43 cesar opens first US flagship store in new york's flatiron district italian luxury kitchen brand cesar has opened its first US flagship store in manhattan, adding new york to its roster of global flagship cities. 2016-05-17 16:01 2KB www.designboom.com 44 MoMA PS1 Announces Line-Up for its Summer Warm Up Parties The scene at Warm Up. COURTESY PS1 MoMA PS1 has announced this year's line-up for its long-running Warm Up parties—19 years strong!—that are held on Saturdays 2016-05-17 15:52 3KB www.artnews.com 45 Naomi Campbell, Louis Vuitton’s Kim Jones to be Honored at AmfAR Inspiration Gala Whoopi Goldberg will serve as master of ceremonies, as Naomi Campbell and Kim Jones are honored by amfAR. 2016-05-17 15:39 1KB wwd.com

46 As Performance Art, an Algorithm Goes on Trial for Manslaughter London-based multimedia artist Helen Knowles talks about the filming of her performance art piece ‘The Trial of Superdebthunterbot.’ 2016-05-17 15:25 6KB thecreatorsproject.vice.com 47 Designer Creates Bicycles Based on People Drawing from Memory Designer Gianluca Gimini makes people draw a bicycle from memory – and then creates realistic bicycles based on those drawings. 2016-05-17 15:11 1KB www.blouinartinfo.com 48 Ashley Graham Featured With Joe Jonas in Upcoming DNCE Music Video Joe Jonas’ band DNCE is showing model behavior in their upcoming music video. 2016-05-17 15:04 1KB wwd.com 49 See Robert Rauschenberg's Longest Artwork Robert Rauschenberg wanted the The ¼ Mile or 2 Furlong Piece (1981–98) to be the world's largest artwork. Now, the piece comes to Beijing's Ullens Center. 2016-05-17 14:34 3KB news.artnet.com 50 'Trumptendo': All Your Favorite NES Games, Way Worse Hair Classic Nintendo games modded to put the human Annoying Orange in his place. 2016-05-17 14:30 3KB thecreatorsproject.vice.com 51 Who Said This—Lady Gaga or Jeff Koons? With Lady Gaga endorsing Jeff Koons's latest project with Google, artnet News is taking a look back at the pair's symbiotic relationship. 2016-05-17 14:04 3KB news.artnet.com 52 Marlborough Chelsea Adds Werner Büttner, Ansel Krut, and Aïda Ruilova to its Roster Installation View of Aïda Ruilova’s 'The Pink Palace' at Marlborough Chelsea. COURTESY MARLBOROUGH CHELSEA Marlborough Chelsea announced in a release to 2016-05-17 13:48 2KB www.artnews.com 53 Lower East Side Mainstay ABC No Rio to Relocate After Receiving Demolition Orders ABC No Rio. COURTESY ABC NO RIO ABC No Rio, the East Village cultural center that has played host over the past three decades to artists, punks, and activists 2016-05-17 13:40 2KB www.artnews.com 54 Drift Through Ancient Psychedelic Temples in a 360° Music Video [Premiere] Still Parade's latest song 'Chamber' is given some interactive transcendental visuals. 2016-05-17 13:35 3KB thecreatorsproject.vice.com 55 les architectes FABG stacks rosenberry residence in quebec designed by les architectes FABG, the dwelling's common areas, such as the kitchen, dining room and living room, occupy an open ground floor that also includes a wine cellar and a garage. 2016-05-17 13:00 2KB www.designboom.com 56 An Idiot’s Guide to Mobile Sarcasm (Seriously) Sarcasm lost on you? Worry not—artificial intelligence has you covered. 2016-05-17 12:20 2KB thecreatorsproject.vice.com

57 taras kashko + jawad al tamimi envisions genesis towers for farming and living in iraq the concept is to use architecture to generate an efficient life source for the population, while providing a place to live, to eat, and work in. 2016-05-17 12:15 2KB www.designboom.com 58 When Felonies Become Form: The Secret History of Artists Who Use Lawbreaking as Their Medium Eva and Franco Mattes’s “Stolen Pieces” series, objects taken from works by (clockwise from top left): Alberto Burri, Vasily Kandinsky, Jeff Koons, Richard Long 2016-05-17 12:00 20KB www.artnews.com 59 Drama Over Unauthorized Banksy Show in Rome Will the exhibition in Italy organized without the Banksy's permission provoke the artist's outrage? 2016-05-17 11:52 2KB news.artnet.com 60 rolls royce phantom zenith collection all 50 examples of the rolls royce phantom zenith collection have already been commission and designed to amplify the luxury of two of the rarest cars in the world. 2016-05-17 11:45 1KB www.designboom.com 61 Q&A: Architect and Tony Nominee David Rockwell The man behind the W Hotel, NeueHouse, and the Dolby Theater, talks about his real passion — designing sets for Broadway, including his Tony nominated work on "She Loves Me" 2016-05-17 11:31 6KB www.blouinartinfo.com 62 jongha choi's de-dimension projects brings 2D images to 3D functional objects in our current situation in which modern society experiences the image, in relation to advertising, image circulation and the internet, why do we not question an images’ confinement to a flat surface? 2016-05-17 11:15 2KB www.designboom.com 63 Rock Stars Pay Homage to Unseen Andy Warhol Films in London Five cult musicians soundtrack previously unseen Warhol films for a performance that manages to take a fresh look at the artist. 2016-05-17 11:09 4KB www.blouinartinfo.com 64 The George Lucas Museum May Move The Lucas Museum of Narrative Art may break it off with Chicago thanks to a preservationist group's lawsuit, and get back together with San Francisco. 2016-05-17 10:52 3KB news.artnet.com 65 William Kentridge Slams European 'Greed' South African artist William Kentridge said that European policy toward refugees "looks like incredible greed and selfishness" in an interview. 2016-05-17 09:57 2KB news.artnet.com 66 Samara Golden Yerba Buena Center for the Arts / San Francisco In Samara Golden’s “A Trap in Soft Division,” her largest exhibition to date, the cyclical confinement of the present moment provides an autopsy of our contemporary condition. Golden renders what she... 2016-05-17 08:45 3KB www.flashartonline.com 67 Art Conclave at Mumbai's Newest Hangout for Art Lovers ‘The Art Hub’ Mumbai now has its newest hangout for the art lovers the ‘Art Hub’. Spread over 10,000 square feet, the gallery promises to have something for everyone. The gallery has been initiated by the International Creative Art Centre (ICAC), which promotes emerging artists across... 2016-05-17 08:20 3KB www.blouinartinfo.com

68 Phillips Hikes Buyer's Fees Amid a string of new hires and global expansions, Phillips auction house aims to raise revenues by increasing the fees it charges buyers. 2016-05-17 07:43 2KB news.artnet.com 69 Sainbury’s Wants to Hire an Artist For Free The supermarket chain Sainbury's, the second largest in the UK, is seeking an artist to decorate a London branch for free. Social media didn't approve. 2016-05-17 07:07 3KB news.artnet.com 70 London Pranksters Get Jail time for Fake Heist Members of the YouTube channel TrollStation, who stage pranks around London, were sentences to jail for staging a faux heist and kidnapping at two museums. 2016-05-17 06:57 2KB news.artnet.com 71 Hermann Historica’s Spring Auction Achieves Landmark Results Munich-based Hermann Historica oHG has achieved one its best results ever with its Spring Auction of antiquities, arms and armour, works of art, hunting antiques, orders and collectibles from all fields of history and military history. 2016-05-17 06:27 2KB www.blouinartinfo.com Articles

71 articles, 2016-05-18 06:02

1 Morning Links: Adam Lindemann Edition (1.08/2) Lindemann. COURTESY SOTHEBY’S AUCTIONS Collector and dealer Adam Lindemann gets profiled. In addition to critiquing the auctions in real time here, he also discusses founding his galleries Venus Over Manhattan and Venus Over Los Angeles. [ The New York Times ]Three insurance companies and one dealer’s lawsuits against Christie’s storage facilities, over damage resulting from negligence during Hurricane Sandy, wage on. Who’s really liable here? [ The Art Newspaper ] CRIME A South Carolina professor has helped solve the theft of ten paintings and seven prints valued at $1 million. The works, which previously made an appearance on Antiques Roadshow , include a set of folio prints by John James Audobon. [ WYFF Greenville ] GERTRUDE VANDERBILT WHITNEY Starting on June 3, anyone can tour Gertrude Vanderbilt Whitney’s West Eighth Street studios, where contemporary artists of both genders and multiple races were given a shot at starting their career. The studios are also the former headquarters of the Whitney Museum. [ The New York Times ] PHOTOGRAPHY Google has made a camera that creates ultra-high-resolution images of art and can ultimately preserve works. Unimaginatively titled the Art Camera, it’s already scanned 200 works. [ The Verge ]Ahead of an upcoming show at the Met Breuer, have a look at Diane Arbus’s gorgeous black-and-white photographs of urbanity’s outsiders. [ The New Yorker ]Moyra Davey at Murray Guy in New York. [ Contemporary Art Daily ] CELEBRITY ART DEPARTMENT “Jessica Simpson and Ashlee Simpson have been immortalized in the fine arts.” The artist behind all this: their father. [ Page Six ] EXTRAS A number of Banksy works will go on view in Rome at the Palazzo Cipolla, in a Banksy- unauthorized show. Many of these works have never been shown in public before. [ BBC News ]BMW has debuted a car modeled after a Giacomo Balla painting of lamppost. Per a press release, “The revolutionary color technique and the advent of electricity in the 1900s are strictly linked to the future technology of the BMW i8.” [ Tech Insider ] 2016-05-17 08:44 The Editors

2 Turning Snow: Olga Viso on Martin Friedman’s Legacy (1.04/2) Martin Friedman, the Walker’s director from 1961 to 1990, passed away in New York City on May 9, 2016. When I began my tenure at the Walker in early 2008, it had been almost 20 years since Martin Friedman had retired. As the institution’s third and longest-serving director, Martin was legendary and his influence foundational. Indeed […] 2016-05-17 22:18 By

3 First Look: MVRDV Build a Giant Staircase in Rotterdam (1.02/2) Rotterdam celebrates 75 years of post-war reconstruction with The Stairs, a month-long temporary installation by the architecture firm MVRDV. The just-opened huge scaffolding staircase leads to the roof of an office block in the center of Rotterdam. The city is known for celebrating reconstruction milestones. Large cultural events, the firm notes, provide beautiful vantage points. “Now we create a new lookout, where people can enjoy the unique views of this newly built city,” says Anouk Estourgie, Program Manager of “Rotterdam Celebrates the City!” The quirky installation, called The Stairs to Kriterion, connects the ground with the roof of one of the first buildings reconstructed in Rotterdam after World War II, the Groot Handelsgebouw building, where the former cinema Kriterion is located. The cinema, popular in the 1960s, will re-open especially for the occasion. “I used to see Rotterdam from the Kriterion after the films,” said Winy Maas, co-founder of MVRDV. “The roof of the Groot Handelsgebouw, one of the best buildings of the reconstruction of the Netherlands, deserves to be used as a base for the next intensification of Rotterdam. The Stairs suggest that.” The steps offer a progressively shifting series of perspectives of the city, while a temporary observation roof deck on top of the stairs offers an overview of the city. At 29 meters tall and 57 meters long, The Stairs are held on scaffolding, which reflects the angles of the Rotterdam Central Station. The project is part of a broader celebration of the post-war reconstruction of Rotterdam, and the legacy of radical architecture that the city has created since, ranging from Piet Blom’s Cube Houses in 1977 to MVRDV’s very own market hall, completed in 2014. 2016-05-17 16:17 Jana Perkovic

4 Summers of Rock — Magazine — Walker Art Center (0.04/2) Launched in 1998, the Walker’s now-annual Rock the Garden festival has gone through plenty of changes—from its inception as an intermittent, on-the- street jam to a 10,000-fan party on the Walker hillside, a two-day festival to, in 2016, a one-day, two-stage affair at Boom Island Park. Here’s a look back at the varied and vibrant history of what’s traditionally been considered the launch of the Twin Cities’ summer concert season. The Jayhawks headlined the inaugural Rock the Garden—preceded by the Steve Millar Band and the Hot Head Swing Band —in an event that was deluged by rain, sending scores of fans into the Walker lobby to await a break in the clouds. Returning to the stage, Gary Louris, in a green Lacoste windbreaker, a Flying V strapped around his neck, enthusiastically fronted the band for this historic first-ever RTG. After a year off, the fledgling festival returned, with a killer lineup: Sonic Youth headlined, with Stereolab and Sunship Sextet opening. Walker senior performing arts curator Philip Bither’s recollection of the show: “Kim Gordon’s hair blowing in the wind, stoically beautiful in the midst of Thurston Moore and Lee Ranaldo’s sonic squall storm force of Sonic Youth playing a blistering set.” Band members would return several times: Gordon gave a talk on Yoko Ono’s influence in 2001; Ranaldo performed in 2004 as part of the group playing a live score for Stan Brakhage’s films; and, in town to play the 2006 Minnesota State Fair, the entire band stopped by the galleries to check out a solo show by their friend, Cameron Jamie. Medeski Martin & Wood got top billing in a year that saw Iffy (a side project of the late Run Westy Run co-founder Kirk Johnson) and Marc Ribot and Los Cubanos Postizos open the show. “Beloved—and missed—locals Iffy, along with Ribot’s ‘fake Cuban’ band, nearly stole the show from MMW,” recalls Performing Arts associate curator Doug Benidt. Jazz trio The Bad Plus —featuring drummer Dave King —heated up the stage in a year when Andrew Broder, aka Fog , opened and Wilco , fresh off the release of their heralded album Yankee Hotel Foxtrot (which earned a perfect-10 rating from Pitchfork ), headlined. The array of bands, especially Wilco’s performance, is “perhaps my best musical memory of all Rock the Gardens,” says the Walker’s Bither. David Byrne ’s attire matched his RTG 2004 set, which Bither calls “masterful” and “elegantly thrilling.” The former Talking Heads frontman arrived for an afternoon soundcheck on a bike wearing knee socks and pinstriped overalls. Later, when he hit the stage, he wore white and brown saddle shoes and matching gray work pants and shirt, embroidered with a quote from Martin Luther King, Jr.—from King’s 1967 book Where Do We Go from Here: Chaos or Community? —on the back. Byrne headlined, preceded by local opener Barb Cohen (co- founder of Brother Sun Sister Moon) and Brooklyn’s Antibalas Afrobeat Orchestra. Touring around the album Who Is This America? (Ropeadope), Antibalas ’s horn-heavy brand of Afropop stirred crowds with numbers like “ Pay Back Africa ” and its sharp-edged commentary on American politics, “ Indictment .” Remembers Benidt, “The Fela-riffic Antibalas groove really set the stage nicely for the globally eared David Byrne performance.” Bither remembers Byrne , with full funk-adept rock band plus the New York–based Tosca String Quartet , “wailing into the setting sun his own very moving version of Verdi’s ‘Un Di, Felice, Eterea,’ and soon after kicking it with a blistering version of ‘Burning Down the House.’” Four years before winning dual Grammy awards, Bon Iver opened Rock the Garden as the “local” act. Bither remembers the singer-songwriter “mesmerizing everyone within hearing distance.” After the set, Bither spent time hanging out with Bon Iver’s Justin Vernon backstage, “discovering what a regular, sweet guy he was. We talked about everything, including basketball and Eau Claire, and he reminisced about the mind-opening shows he’d seen at the Walker as a young guy.” Vernon was in good company: on the bill with him were Cloud Cult , The New Pornographers , and Andrew Bird . 2008 also marked the first year of the Walker’s ongoing partnership with 89.3 The Current to copresent Rock the Garden. When an epic squall appeared on the horizon—complete with lightning, no friend of the electricity-conducting stage and equipment—2008 Rock the Garden coordinator Ellie McKinney nervously signaled to Andrew Bird that she needed the microphone to announce a rain delay. “As soon as I finished, I looked out into the crowd for the first time and realized a man in the front row was screaming ‘NOOOO!’ in slow-mo. Then I heard the boos,” McKinney says. “I was being booed. Booed by 10,000 people. As I walked off that stage—my first and only time onstage in front of 10,000 people—Andrew said to me, ‘I forgot my shoes up there.’ And then came a call on the radio: ‘I think your fly was down.’” Soon after, as Bither recalls, “The dramatic dark clouds broke open for a fantastic sunset behind the city skyline as Andrew returned to the stage.” By reorienting the stage to face the Walker hillside for its 2009 edition, Rock the Garden’s capacity increased by around 3,000 fans. “Turning the stage toward the grassy amphitheater really made the event feel more natural and convivial,” says Benidt. The lineup: Solid Gold , Yeasayer , Calexico , and headliners The Decemberists. Betsy Carpenter’s top Rock the Garden moment came in 2009 when The Decemberists performed Heart’s “Crazy on You.” “The female lead singers were wearing white business suits with peplum jackets and were belting out the lyrics while enacting the most bizarre stage moves,” the former Walker visual arts curator recalls. “The audience was going crazy with the requisite head-banging and hand gestures, and the band seemed to be having a blast. It was just so surprising and incongruous.” OK GO hit the confetti cannon in 2010, a year that saw the LA-based foursome play in the biggest RTG lineup yet, along with Retribution Gospel Choir (featuring Low’s Alan Sparhawk), Sharon Jones & the Dap-Kings , and MGMT . “2010 was my favorite Rock the Garden to date,” says Benidt. “The blend of sounds and killer performances really made for a long and oh so beautiful day.” In a sequined aquamarine dress with white fringe, Sharon Jones , along with her Dap-Kings, was a crowd-pleaser, especially so for one audience member. Minneapolis’s then-Mayor RT Rybak took to Twitter , punning: “Sharon Jones, former prison guard, has Rock the Garden crowd in custody. Love her sound!” Rain—drenching, all-morning rain—nearly put the kibosh on this year’s concert. But the show went on, as the Walker hillside turned to mud as Tapes ‘N Tapes , Booker T. Jones , Neko Case , and My Morning Jacket wrested the stage away from the dreary weather. Yeti boots: check. Scarf: check. Cape: check. In proper rock star attire, My Morning Jacket front man Jim James “put the ‘rock’ into Rock the Garden,” as Bither put it, “in both great and ridiculous ways.” With 2012’s nearly all-local lineup— Howler , tUnE-yArDs , Doomtree , Trampled by Turtles , and The Hold Steady — the tenth edition of Rock the Garden didn’t disappoint. “It’s great to be home, and in such a beautiful part of our city,” THS’s Minnesota-raised front man Craig Finn told the crowd of more than 10,000. At the 2011 concert, he was in the audience, but this year he was on stage: “Thanks for making another of my dreams come true,” he said. Right out of the gate, Rock the Garden 2013 was met with bad weather, but we made the most of it, and spectacularly so. Facing a rain- (and lightning-) delay, opening act Dan Deacon had a suggestion, “I can play in the garage.” As Benidt later wrote, “What ensued in the depths of the parking garage is one of the most spontaneously joyous performance moments I have witnessed. Electro Pied Piper Dan Deacon led an ecstatic dance party with thousands of wet and ponchoed people—all dancing, drinking, and feeling the relief of being dry just for a moment.” Yet, Deacon’s buzzed-about underground rave wasn’t the only landmark moment of 2013’s concert. Back outside after the weather cleared, the Duluth trio Low used its entire 27-minute set to play one song, a drone version of 1996’s single “Do You Know How to Waltz?” Front man Alan Sparhawk concluded the set with three now-infamous words: “Drone, not drones.” More than a few angry fans immediately went online to share their reactions. Afterwards, an unapologetic Bither took to the Walker blog to compare the set to Stravinsky’s riot-inducing premiere of The Rite of Spring in 1913, noting that the annual concert event “grew out of a 50- year old Performing Arts program at the Walker dedicated to new sounds, new movements, and new forms of theater and interdisciplinary art, where traits like innovation and audacity rank high.” RTG 2013 also marked a homecoming for Bob Mould , who co-founded the punk band Hüsker Dü here in 1979. His rousing set included classics from both his 1990s band Sugar and his solo work, including the new song, “ The Descent.” Blazing through their sets, Silversun Pickups and alt-rockers Metric wrapped up the 2013 festival in memorable fashion . In 2014, Rock the Garden expanded into a two-day festival , kicking off on Saturday with sets by Lizzo (whose single “Batches and Cookies” became the festival’s unofficial anthem ), Jeremy Messersmith , Best Coast , Matt and Kim , and, headlining, hip-hop pioneers De La Soul Memphis-based Valerie June opened up Sunday’s concert, bringing her distinct brand of “organic moonshine roots music.” Following her were Kurt Vile and The Violators , Doomtree emcee Dessa , the ever-prolific Guided by Voices , and Spoon . Local favorite Lizzo said that being a part of Rock the Garden made her feel like a “ gift- wrapped package with glitter coming out of the top .” May we suggest a cherry on top as well? With Spoonbridge and Cherry just across the street in the Minneapolis Sculpture Garden, it’s only fitting that the 2014 edition concluded with headliner Spoon . Again presented as a two-day festival, RTG15 saw a momentous first day: the reunion of 1990s Minneapolis punk trio Babes in Toyland , as well as showstoppers by young St. Paul phenoms thestand4rd , followed by Lucius , Courtney Barnett , and Conor Oberst. All the way from Glasgow, headliners Belle and Sebastian regaled audiences with tales of their trip to Minneapolis—including a dip in Cedar Lake—and wrapped the night with an on-stage dance party/singalong to their classic, “The Boy With The Arab Strap.” Before taking the stage at Rock the Garden 2015, the members of Lucius took a private tour of the Walker’s International Pop exhibition, stopping to spend a bit of extra time with a particularly inspiring work, Evelyne Axell’s Ice Cream (1964), which graces the cover of the band’s 2014 album Wildewoman . The final day of RTG15 aimed for diversity of styles and geographies: New York’s The Ghost of a Saber Tooth Tiger (with Sean Lennon) , Oklahoma roots rocker JD McPherson , Lagos-based Seun Kuti & Egypt 80 (the son of, and band that backed up, Afrobeat sensation Fela Kuti), seminal punk band Babes in Toyland , and Washington State indie band Modest Mouse . This year’s festival brings eight bands to the Mississippi riverfront for one unforgettable day of music. Due to renovations at the Walker and Minneapolis Sculpture Garden, we’re moving to Boom Island where, backdropped by the downtown skyline, we’ll hear from LA punk quartet Plague Vendor , local hip-hop supergroup GRRRL PRTY (Lizzo, Sophia Eris, Manchita, DJ Shannon Blowtorch, and Quinn Wilson), Missouri’s Nathaniel Rateliff & the Night Sweats , Hippo Campus , M. Ward , Poliça (fresh off their United Crushers album), Chicago’s Chance the Rapper (whose highly anticipated release Chance 3 comes out May 13), and headliners The Flaming Lips. One day, two stages, eight bands. We hope to see you on the island , and back on the newly renovated Walker campus for Rock the Garden 2017. 2016-05-18 04:18 www.walkerart

5 Sophie de Rougemont Named CEO of Carven (0.01/2) Bluebell Group, which recently took a majority stake in the French company, has named one of its veterans, Sophie de Rougemont, to the top role. De Rougemont is currently group fashion director at Bluebell, which took a minority stake in Carven in 2011. She had previously held the roles of managing director and fashion director of Bluebell Hong Kong. Bluebell is the Hong Kong-based, family owned company that distributes fashion, fragrance, food and home brands throughout Asia. “Naturally, Sophie de Rougemont, with her track record and considerable knowledge in both the fashion industry as well as the retail market in Asia, was our first choice to lead the House of Carven to the next level,” wrote Bluebell owners Michel and Catherine Goemans in a memo seen by WWD. An announcement is expected this week. Henri Sebaoun, head of Société Béranger, which purchased Carven in 2008, will step down as ceo of Carven. His will take up the role of managing director and will report to de Rougemont. The house of Carven was founded in 1945 by the late Madame Carven , the French couturier who traveled the world with her collections and brought back a trove of exotic influences. RELATED STORY: Madame Carven Dies at 105 >> Carven underwent a renaissance under Sebaoun and the former artistic director Guillaume Henry, who positioned it as a contemporary brand. After Henry moved to Nina Ricci, the brand named three designers to take his place: Alexis Martial and Adrien Caillaudaud were named artistic directors for the women’s collections. RELATED STORY: Carven Confirms Exit of Guillaume Henry >> The pair, who met at the Atelier Chardon Savard fashion school in Paris and both went on to work at Givenchy, unveiled their debut collection for Carven last year. RELATED STORY: Carven RTW Fall 2016 >> Barnabé Hardy designs the men’s collections. 2016-05-17 15:31 Samantha Conti

6 lenz/architects forms shell villa in almaty foothills damir ussenov of lenz/architects forms shell villa in almaty foothills all images coutesy of lenz/architects principal architect damir ussenov of lenz/architects realized a dynamic villa in the foothills of almaty, kazakhstan. the residence’s unique metal frameworks allows light to penetrate the structure despite dense surrounding forrest. the ‘shell’ as it came to be named, opens and closes using an electronic mechanism and shifting aluminum panels. once closed, the home is totally isolated, providing security and sound-proofing. included in the villa are: a kitchen, bedroom, bathroom, lounge, and large studio space. 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. 2016-05-18 04:05 Damir Ussenov

7 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 2016-05-18 05:22 GDUSA Staff

8 la rivière frank architects adds four ears with daylight catchers to japanese house la rivière frank architects adds four ears with daylight catchers to japanese house (above) front façade where the box next to the entrance contains the japanese room all images courtesy of la rivière frank architects the design for this private residence by la rivière frank architects for a couple with their two young sons stands out between the ready-made houses that surround it. located on a 202 m2 plot in the new town tsukuba–developed since the 1960s and now famed for its university and research center–the client sought to build a one story house full of light whilst protective of privacy. a quite contradictory brief and a puzzle to solve. in addition to this, the brief required the possibility to use the space in a flexible way, wheelchair access, a japanese room and furthermore, space for a vegetable garden, parking for two cars and four bicycles, all on a small budget. southeast view; a concrete tongue protruding from the entrance doubles in summer as a terrace to satisfy the requirements concerning the exterior use of the plot, a square plan emerged that was sized 9.100 x 9.100 or 10 times the current japanese module for timber structures of 910 mm square as the most adequate solution. amongst the housing typologies in japan, the one- story house is a popular type due to its compactness, economy and earthquake resistance. also in traditional japanese architecture, this type was widely used and created an architecture dominated by the roof rather than the façades, as is proofed by the two neighboring traditional houses. with this notion in mind, the roof design became a major subject of study that led to the characteristic shape of the roof. the characteristic ears, each at a corner of the house catch sun and daylight and project it deep into the house the idea was developed to use high side windows, often found in museums, at each corner of the house, in order to create an interior with abundant natural light. this strategy proved to be effective in solving the contradictory problem of lightness and privacy. therefore, four vertical windows of 2. 7m height with light catchers behind, that look like four ears one at each corner, protruding beyond the overall height of the house were designed to stand out high against the sky. this way of placing the windows allowed the penetration of daylight deep into the house as well as the blocking of unwanted views into the interior, whilst still providing views of the outside. through these four ears each facing another direction, light is projected both deep into the interior as well as reflected off the white perimeter walls giving the house its lightness. the effect of the daylight penetration in the sleeping zone in addition to this, in the middle of the square house, a roof light was designed. much like a pointer, a light beam floats through the center of the space, working together with the four high side windows as a sort of sundial making the progress of time felt throughout the day. to make this effect work to the best the temptation to decide for a house with separate rooms was resisted in favor of an open plan layout in which areas were determined by the placing of two square boxes, one containing the japanese room and the other the wet cell. a storage unit functioning as a screen was placed between the living zone and the sleeping zone, and this, together with two columns, compose of a square in the center of the house purposed to be the living area, the core of daily life. view of the study corner and the entrance to the right all other functions are grouped around this central square. the sleeping zone spans the whole width of the southwest side and can be freely separated into three smaller zones by the movable wardrobes. this solution was developed in response to the request for flexibility and separate sleeping areas for the two children in the future. on the opposite side of the house, a long counter with integrated kitchen is designed also spanning the whole width of the house. to add some soft enclosure to this open plan layout, curtains were used on spanned wire. in the center the living area and to the right the long counter that forms the kitchen and the study area coincidentally, the two square boxes are sized 4.5 tatami mats large, exactly like what is considered the ideal size for a japanese tea room, while the overall layout of the house happens to follow the tatami arrangement of such a tea room. the advantage of this layout is that it softens the inherent symmetry of the square and introduces dynamism into the plan. the offset placing of the two boxes further enhances this effect. this arrangement is expressed through the change of the direction of the exposed roof beams layout as well as in the birch plywood flooring sized and cut to match the module of the house. the walls are a plasterboard neutrally painted in a light gray as to function as the reflector of light. view towards the kitchen and dining area access to the sleeping zone, with to the right the japanese room view upwards of the ceiling and rafters architects: frank la rivière, architects inc frank la rivière (principal in charge), nakata hirotaka, kanari ryu, arikumi kousuke structural engineers: a.s. associates, suzuki akira mechanical engineers: piloti inc, oguma masaharu contractor: seiwa komuten, katsumura toshihiko, hisato hiroshi 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. 2016-05-18 02:15 Frank La

9 Affable Experimentation: Steve Lehman Octet at the Walker 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, Sam Segal shares his perspective on last Saturday’s performance by the […] 2016-05-18 04:18 By

10 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, […] 2016-05-18 04:18 By

11 AD HOC revives mexican tools and craft at maison&objet americas in 2014, industrial designer juan josé nemer and architect mauricio álvarez founded AD HOC in their native mexico. while the studio’s workshop engages in a variety of object and space-related design projects, its focus is on reestablishing the country’s deep-rooted, yet diminishing legacy of craftsmanship, and reviving it for modern-day applications. working alongside artisans just outside of mexico city, AD HOC transform ordinary elements into functional furniture pieces, and interprets decorative features found in local crafts, natural materials and manual techniques with a practical and contemporary aesthetic. at the second edition of maison&object americas 2016 held in miami from may 10-13, AD HOC has been named one of six ‘rising talents’ at this year’s global showcase. hosted within a specially-curated space at the fair, the studio has presented an extended version of its ‘antelmo’ collection, comprising a series of furniture and lighting objects made in collaboration with a mexican artisan named antelmo. the three pieces include ‘cantina special edition’, ‘alquisiras special edition’, and ‘antelmo coffee tables’, each of which is carefully handmade in a workshop in mexico. forming an aesthetic thread that visually unites the collection, each of the pieces feature wooden details made using the technique of a ‘molinillo’ — a traditional mexican chocolate whisk used to foam hot chocolate. for the ‘cantina’ cabinet and the ‘antelmo’ tables, these elements are wrapped around a single leg of the unit; for the ‘alquisiras’ lights, the crafted pieces form a hanging pendant that suspend the luminaire. each object is turned out of one solid piece of wood and is carefully hand-carved, with darker areas achieved by meticulously burning parts of the material. see images of ‘cantina special edition’, ‘alquisiras special edition’, and ‘antelmo’ coffee tables, and an in-depth video made by jorge manuel nemer on the process of creating the pieces, below. the set of three coffee tables are available in three different woods — banak, red cedar, and tzalam back in april, designboom español spoke with AC HOC founders juan josé nemer and mauricio álvarez about how they met and started their studio, and the foundation of their creative practice. see a selection of replies below, and read the full interview in spanish on designboom español here. one leg from each table is carved like a mexican ‘molinillo’ — a traditional turned wood whisk designboom: how did you meet and how did AD HOC begin? AD HOC: we met in 2011 through a mutual friend at a party, but we started working together (by chance) almost 3 years ago in an architecture firm called local architecture. AD HOC was born two years ago when we decided to become independent. DB: if you had to describe the values ​of AD HOC in five words, what would they be? the series of ‘alquisiras’ lamps have been presented at maison et objet americas in miami DB: what have been the highlights of your studio up until today? AD HOC: our presentations at various fairs have opened the doors to many places, but mostly we have been able to connect to amazing people in this way. the set of three series of ‘alquisiras’ luminaries are handcrafted in mexico a grey mirror is fixed to the surface beneath the storage area ‘cantina’ formed part of AD HOC’s presentation at maison et object americas 2016 artisans carve away small areas of the wooden detail video footage by jorge manuel nemer / gif by designboom pieces of the wood are carefully chipped away to reveal a striped pattern video footage by jorge manuel nemer / gif by designboom darker ares are achieved by carefully burning the wood in specific areas video footage by jorge manuel nemer / gif by designboom 2016-05-18 00:20 Nina Azzarello

12 studio farris architects transforms a stable in west flanders studio farris transforms a stable in belgium with stacked timber unit all images by koen van damme antwerp-based practice studio farris architects has transformed a small barn in flanders, belgium into an office that features a meeting room, library, and desks. the building’s original façade was restored, before new openings were created to bring daylight inside the former stable. an updated interior has been fitted within the original volume, consisting of a shell that accentuates the structure’s pure form. this method both improves energy efficiency and avoids any chemical reactions with sulphates in the ground, or the original walls. the former barn has been converted into a functional office instead of adding an extra floor, an autonomous piece of furniture has been positioned at the center of the plan. made from stacked wooden beams, the object transforms the volume, creating a series of different spaces to engage with. at its peak, several workspaces have been established, accommodating two desks. a meeting area is formed beneath the platform with external views across the rural landscape. the stacked beams not only become the library and its bookshelves, but also form a staircase leading upwards to the elevated office. an autonomous piece of furniture has been positioned at the center of the plan made from stacked wooden beams, the object transforms the volume a meeting area is formed beneath the platform, with external views across the rural landscape the stacked beams become the library and its bookshelves at its peak, several workspaces have been established a new interior has been fitted within the original volume 2016-05-17 23:04 Philip Stevens

13 Time Inc. Responds to Yahoo Acquisition Rumors, Lays Out Growth Strategy Chairman and chief executive officer Joe Ripp called the current iteration of the company he joined in 2013 the “new Time Inc.,” which today looks to “super-serve” its audiences through content, not just magazine stories. “We are not a magazine company. We’re a content company,” said Ripp, who acknowledged that Time Inc. would bring in two-thirds of its 2016 revenue from print advertising and circulation and just one-third from digital advertising. In 2015, the company’s total revenue was $3.1 billion, of which 76 percent of sales came from print and 24 percent from digital. It is projecting a 1 percent to 5 percent increase in revenue in 2016. “It’s still an incredible cash machine,” Ripp said of the print magazine business. “People pay us a year in advance.” The ceo pressed that content translates beyond the printed pages of Time Inc.’s stable of titles that includes People, InStyle , Time, Fortune, Sports Illustrated and Real Simple. The company is looking to seize on the $4 billion-a-year-native advertising market, which is estimated to grow to $9 billion in the next few years, as well as the e-commerce market, which Ripp said would reach $650 billion by 2018. In order to capitalize on the commerce opportunity, many of Time Inc.’s female- and fashion- centric titles will “close the loop between content and commerce” by developing options to buy via an expansion of digital gift guides across titles, said president of digital Jen Wong . “We want to make sure our content is in front of Gen Z.” One way to hit that goal is through Facebook messaging. She noted that Time Inc. has been testing messaging capabilities so that users can ask a Travel & Leisure bot via mobile, for example, which bars in Rome it recommends and get a response back within seconds. Also on the e-commerce front, Time Inc. said it would try to tap into the $3.4 billion market for celebrity-licensed retail products via partnerships with celebrities it features in its entertainment titles. This will likely take the form of selling their products on Time Inc.’s various sites. Other new content initiatives include the expansion of verticals at People and its subsites to include food, style, beauty, home and travel. The company noted that People and Entertainment Weekly were jumping into over-the-top content, or direct-to-consumer content via its new digital TV network. Ripp called this a “land grab” for space as TV turns increasingly digital, offering that it’s projected that there will be 200 million connected TVs in the U. S. by 2020 with $40 billion of ad spend for the taking. Time Inc. will launch Instant, a mobile-centric video-only platform for its series on social media stars, in June. The company touted its acquisitions, pointing to live events company “ inVNT ,” hinting it may take its Time 100 awards global. Soon-to-launch live events include EW Pop Fest, a two-day event in Los Angeles that includes movie screenings, panels and parties, as well as People Pro Beauty, a beauty event that will launch in the fall in multiple cities including New York, Los Angeles, Chicago, Atlanta and Dallas. Lastly, EW will get an “Inside the Actors Studio”-inspired event called “EW Talks.” It will take place at Time Inc.’s headquarters in New York and will be hosted by Jess Cagle, editorial director of People and EW. Turning to advertising data, the company spent a long time discussing its acquisition of Viant, which it called a “game changer.” Viant, which will generate more than $100 million in revenue in 2016, uses data from its 1.2 million registered users, not from cookies, which many publishers still rely on. Cookies, Viant explained, gives only a partial insight to potential consumers, showing their behavioral search history and not details on the user’s e-mail address, specific age and device preference. This data facilitates targeted advertising and through Viant’s new tool, “Audience Builder,” marketers tap into programmatic buying across Time Inc.’s titles. Viant also provides clients insights into buying habits across channels online and in-store, the firm said. Time Inc. said Viant works much like Facebook, Yahoo or Google in terms of data collection, giving it the leg up on competitors such as Condé Nast , ABC, CBS and others. The mention of Yahoo piqued the interest of the audience, leading one investor to ask whether Time Inc. was looking at acquiring part of Yahoo’s business, as reports had suggested in recent months. “There were rumors that we were looking at Yahoo and were rumors that we’re not looking at Yahoo, so I guess I can’t comment on too many rumors,” Ripp said . “But the reality is, Yahoo is one of those large media properties that only comes along every so often. I used to run AOL and I know an awful lot about the Yahoo business, so I suspect a lot of the media speculation was around that because of the experience I had running the AOL business.” He continued that Time Inc. is focused on content. “Yahoo lacks good content. We can prove that,” he said. “We also like large-scale audiences…. I think when things come along, there will be rumors that Time Inc. is looking at things.” In a final flourish, the ceo said digital companies have been “dramatically overpriced,” and their valuations are finally coming down. He said to expect more investments from Time Inc., offering that those high-flying digital firms are now more reasonably priced. “A lot of the digital properties don’t make a nickel,” Ripp said. “People are starting to realize that.” 2016-05-17 22:29 Alexandra Steigrad

14 14 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. […] 2016-05-17 20:00 By

15 plan:b organizes colombian house as four connected concrete volumes colombia-based firm plan:b arquitectos have erected ‘house in llano grande’ as a system of parallel concrete walls. despite its detached appearance, the building is arranged as four volumes that is connected transversely. set on a large piece of land in rionegro, colombia, the build is surrounded by verdant landscape and is defined by the heavy use of concrete. most prominently, the concrete parallel planes in section increase in height towards the forest and opens out into generous programs based across two levels. all the bedrooms and social areas are located on the flattest areas on the land internally, the living spaces have been orientated to face the forest, with all the bedrooms and social areas resting on the flatter surface. meanwhile, the highest parts of the house opens up to individual terrace areas to overlook the scenery. perforated bronze screens interrupt the concrete and in turn, is introduced as divider screens or on the façade to generate a every changing effect to light. the material palette of exposed reinforced concrete is complemented with dark tiles, rustic stone and accents of wood. during the development, the plan was arranged to focus on the courtyard and the views towards the mountains circulation depends on four independent staircases that give access to two private mezzanines in the bedrooms, a suspended library over the living room and to the service area. each volume ends with a semi covered deck over the scenery; the home marking a clear contrast between its contemporary style and warm interiors. an outdoor but sheltered walkway connects the home together perforated screens are continued as panels over the windows double height windows invite light in and views out timber flooring adds warmth to the otherwise concrete dominate space exposed reinforced concrete and tiles of dark and locally sourced rustic stone are the materials used name: house in llano grande use: residential, single family house completion: january 2016 area: 500m² location: rionegro, antioquia, colombia ecosystem: montane forest elevation (above sea level): 2.080 m temperature: 12-26ºc orientation: north – south direction of wind: east – west structure: reinforced concrete walls materials: concrete, stone, wood and perforated metal panels 2016-05-17 21:01 Natasha Kwok

16 To Preserve Digital Film Culture—Or Lose It Forever | Conservation Lab A digital film production in Qatar. Photo by Resolution Hire via Wikimedia Commons In art institutions across the globe, time machines and investigation rooms exist behind closed doors. Dusty artworks go in and come out looking centuries younger; artists’ secrets are brought to light; and hidden, unfinished images emerge from behind famous compositions. Every week, we'll peek beneath the microscope and zoom in on the art of preservation, where art meets science and just a little bit of magic: this is Conservation Lab. Ever since the movie industry went completely digital—from production to projection—film archives are facing the same preservation challenges as anyone looking to keep digital data alive in the long-term. “After all, from the CIA to NSA, from banks to hospitals, from Google to Facebook, there are hundreds of fields and businesses that rely on data conservation,” remarks Nicola Mazzanti, the director of CINEMATEK , the Royal Belgian Film Archive in Brussels. “Digital preservation is as old as data. There is a ton of literature starting at least since the late 80s. It is not really new. It is new for the cinema sector because it did not pay attention, as they felt safe with film,” he writes in an email to The Creators Project. Indeed, back when film was actually film, the “analog paradigm” went roughly as follows, according to Mazzanti: “Lock them in a cold vault (5 degrees Celsius, or at freezing temperature, and with a dry environment at 30% relative humidity), and throw the key away. With stable conditions, 300 years later, we could open the door and the film would be happy and in good shape.” “Old” problems: decayed nitrate film. Photo by EYE Film Institute Netherlands via Wikimedia Commons The preservation of born-digital film, on the other hand, is much higher-maintenance. “In the digital world, [that paradigm] is a recipe for disaster,” says Mazzanti bluntly. “Digital preservation is based on constantly looking after the data.” The physical carrier (a hard drive, for example) can get damaged, or the file format can become obsolete (like when you can’t open a Word file created in a legacy version). The answer is migration, migration, migration. “Files stored in our repositories must be checked regularly,” explains Mazzanti, “and, if needed, migrated to another carrier or transcoded into a new format.” When things go awry with analog film—as they often do in unstable conditions—the problem is usually decay. This calls for restoration, and does not necessarily spell doom: “They still exist,” in Mazzanti’s words. Yet there is no middle ground when it comes to preserving archives of digital- born film. In the case of neglect, “the danger for digital is not decay; it is loss,” emphasizes Mazzanti. “If you leave a hard drive in your basement for 30 years, you will not find any decay: You’ll find nothing.” Proper protocol, unfortunately, is costly. In an article published last year in ARTFORUM , Mazzanti cites a 2007 study that estimates the yearly cost of preserving the 4K digital master of an average-length feature to be over 12 times as expensive as preserving an archival film master. As for saving all of the film’s source material (including camera originals, outtakes, etc.), the figure goes up to an incredible $200,000. “Needless to say, the danger of loss is far from being equally distributed,” writes Mazzanti, projecting that an alarming 80% of the yearly cinematic output from Africa, Asia, and South America will vanish, versus 10% for the US and Europe. Moreover, one can expect large discrepancies in the types of films that survive, even in wealthy nations. Artists’ works, independent productions, and experimental films are far more endangered than, say, The Hunger Games. Screenshot of a minor problem that arose during a data transfer at the Royal Belgian Film Archive. “The problem was identified, the transfer stopped, resumed, and all frames recovered. But this only works if one has the system, the procedures, the software, and the care to find these errors,” says the director. The stakes are high, and conservators are calling for bold action. If the problem is ignored or underestimated, we risk leaving huge blanks in our cultural history. “No decay, no decomposition: the eternal NOTHINGNESS,” warns the conservator in all caps. For more information, look up Nicola Mazzanti’s October 2015 article in ARTFORUM. To learn more about the Brussels CINEMATEK, explore their website here (though you’ll have to speak Dutch or French). Related: Microscopic Slivers of Artworks Reveal Hidden Truths | Conservation Lab Vivid Color Projections Revive Faded Works of Art | Conservation Lab Inside Harvard’s Incredible Collection of Rare Pigments | Conservation Lab 2016-05-17 20:55 Noémie Jennifer

17 Contemporary Aesthetics Meet Chinese Tradition at Intersections Related Venues Intersections Art Gallery Artists Cy Twombly Contemporary riffs on three traditional Chinese art forms are the focal point of a new show running at Singapore’s Intersections gallery May 19 to June 26. “Autographic Matters” features work from Singaporean artists June Lee Yu Juan and Calvin Pang and French artists Hélène Le Chatelier and Syv Bruzeau, who collectively explore the “three perfections” of traditional Chinese art: painting, calligraphy, and poetry. June Lee Yu Juan, who studied classical calligraphy in Singapore, transforms traditional calligraphic figures and letters into abstract pictograms, giving viewers the opportunity to enjoy the beauty of the art form without the meaning of the symbols intruding. In a press release, Intersections describes the artist’s style as “soul writing,” a technique that reflects “the inner struggle induced by the tension between tradition and modernity.” If June Lee Yu Juan writes from the soul, Bruzeau moves from it. Her contribution to the show is the playfully titled “Autographic Does Not Matter,” an autobiographical dance inspired by the art of calligraphy. Visitors to Intersections will have the chance to watch Bruzeau perform the dance on June 9 and June 14. Poetry is the medium of choice for Calvin Pang. On display at “Autographic Matters” is his “Going Home,” an artist’s book of what the gallery calls “ideographic printed stories,” written in English and Chinese on tracing paper. A different twist on the literary can be seen in the paintings of Hélène Le Chatelier. With bold scribble-scrawls of line reminiscent of Cy Twombly’s later work, Le Chatelier evokes the pure energy of writing, divorced entirely from language. 2016-05-17 20:23 Samuel Spencer

18 Lang Performs at Hublot Store in New York More Articles By When Lang Lang comes to New York, he typically performs at Carnegie Hall, but last night he entertained guests in a more intimate space at Hublot ’s new store on Fifth Avenue. “It’s the city that never sleeps,” Lang said about his love for Manhattan. “It’s a real melting pot with everyone coming from different parts of the world. You unite people here.” Lang is a Hublot brand ambassador and when he’s not performing or speaking about the brand’s merits — he called Hublot’s designers artists — he’s working to bring music back into schools with his Lang Lang International Music Foundation. Before Lang performed, Maxim Lando, a 13-year-old pianist from his foundation, played “Medtner Fairy Tales” and “Variations on a Theme From Carmen.” “I’m scared,” Lang said. “I couldn’t play that way when I was 13.” The night ended with Lang performing on a Model B Steinway piano. Proceeds from the shopping event went to his charity. 2016-05-17 20:14 Aria Hughes

19 Lena Dunham's Peanut Butter Waffle & Other Celebrity Sandwiches, Illustrated An illustrated guide to celebrity eating habits with a surreal twist is sizzling on Instagram. @CelebsOnSandwiches imagines playfully gaudy caricatures of the rich and famous, from Snoop Dogg (chicken and waffle sandwich) to fictional characters like Tyrion Lannister (braised beef sandwich), perched atop sandwiches they've spoken about or that creator Jeff McCarthy infers match their personality. "Deciding which sandwich to pair with which subject varies from person to person," McCarthy tells The Creators Project. Sanders, for example, sits on a meatball sub because he devoted an entire press event to getting Mrs. Robino's meatballs with Vice President Joe Biden in Burlington, VT. Action Bronson earned himself a spot on a chicken cheddar biscuit because that's a sandwich he enjoyed in a video for our food- focused sister site, Munchies. "I always try to choose subjects who I think would appreciate the humor," McCarthy says. Comedians are thus an obvious target, and one of the most spot on mashups is Ilana Glazer with the "garbage bagel" from Broad City Season 1. So far, Snoop Dogg, Lena Dunham, and George Takei are but a few of the names who have embraced his delectable take on their likenesses. He continues, "Our obsession with celebrity and pop culture is crazy, so the goal has always just been to bring some levity and humor to it all. " We asked McCarthy to sandwich-ify a few of the most influencial creative minds of the last half century, and he delivered. "Quentin Tarantino would be on a Royale with cheese," McCarthy suggests. "Andy Warhol might be on grilled cheese dipped in a side of Campbell's tomato soup. And Kanye West would be on a fish fillet, in reference to the song from Watch The Throne. " Check out more of McCarthy's Celebs on Sandwiches series in the Instagrams below. See more of Jeff McCarthy's work on his website . Related: The Grotesque Celebrity Caricatures of Rob Hren Yung Jake's Emoji Portraits of Celebrities PES Deconstructs His New Stop-Motion Masterpiece 'Submarine Sandwich' 2016-05-17 19:50 Beckett Mufson

20 Play Voyeur Inside an Artist’s 3D Selfie Archive Images courtesy the artist When you capture a selfie, a flat image is produced. This experience is, as we all know, ubiquitous. The 3D selfie, on the other hand, isn't yet part of the digital media landscape, much less our cultural lexicon. In the Virtual Narcissism project, Italian artist Martina Menegon , perhaps sensing the selfie’s near-future evolutionary strand, takes the digital self-portrait into virtual reality via 3D scanning. Menegon tells The Creators Project that Virtual Narcissism is an ongoing art project in which she develops and investigates “self-scanning” or “3D selfies” using the Microsoft Kinect. She has yet to settle on a name for this type of 3D self-portraiture, but the project currently exists as a collection or archive people can explore and experience in several ways. “They can, for example, break into my intimate and private space in a sort of cyber-voyeurism while looking around a virtual tableau created solely of 3D selfies, scans of personal places, and objects,” Menegon explains. “Or they can have a close look at my tri- dimensional selfies, at my deformed and grotesque looking body, etc.” For Menegon, Virtual Narcissism is a means of investigating, with a personal view, concepts of intimacy, sexuality, loneliness, and identity in our digital era. She likens it to storytelling—a narrative of the bittersweet reality of a lonely self. A persona struggling through an identity crisis between physical and virtual realities, which Menegon sees as a “vaguely grotesque and disarming tale of loneliness, of waiting and longing for something impossible to grasp but that we deeply understand and relate to.” “As loneliness centers on the act of being seen, when a person is lonely, they long to be witnessed, accepted, desired, in a sort of narcissistic act,” she says. “Sexuality, intimacy, and the female body are the center of this artistic research, with a focus on the contraposition between hiding and exposing, covering and showing, shyness and self-confidence in cyberspace.” The project has various points of origin. Menegon has had a long and extensive relationship with the virtual reality platform Second Life through her avatar Mijn Seoung, which influenced the project. But she was also inspired by media artist Klaus Obermaier , in whose class she attended and learned how to program interactive installations in Max MSP. Virtual Narcissism also grew out of Menegon’s interest in the use of bodies and interactivity, as well distortions and failures. Menegon describes her interest in 3D scanning as having mutated into something of an obsession. She tried a variety of scanning methods, including Autodesk 123D Catch, as well as the mobile 3D scanning apps Trnio and Seene. While studying at Brigitte Kowanz Transmediale Kunst at Angewandte Kunst in Vienna, Menegon had the opportunity to use an Artec Eva scanner and, later—for her thesis project I’ll Keep You Warm and Safe in My People Zoo —she collaborated with the 3scn studio in Vienna, where they have a photogrammetry scan studio. But, as it turns out, the best solution for Menegon turned out to be the cheapest. She combined the Microsoft Kinect with the free software Skanect, which allows users to turn a Kinect camera into a 3D scanner. “Every two days or so I 3D scan myself, holding a Kinect camera like I would hold a smartphone when taking a selfie,” Menegon explains. “Because of the way a 3D scan is created, precision and control over myself is lost, resulting in a distorted, grotesque tridimensional representation of parts of my body.” To shoot, Menegon has to hold the Kinect camera, moving it around her body by changing hands while checking the computer screen to see if it’s scanning properly. This is the main the reason the 3D selfies feature a missing arm or two, or render Menegon’s face in rather grotesque fashion. These distortions also occur with the spaces and objects that appear in the selfies—like windows or Menegon’s cat. “In addition to these tridimensional failed selfies, I create scans of places I use to call home,” she adds. “The window in the corner of the flat where some dry flowers are standing; the chair I use to sit in when reading; the couch where I sleep and check my Instagram; the kitchen where I sing while preparing a pasta; and so on.” To create the virtual tableau, Menegon chooses from the many scans she is collecting, then loads them into Unity3D. There she arranges them in the space, playing around with scale and positions. Currently she is trying to avoid animating them too much, instead applying a swing script to some of the 3D selfies so that they move subtly up and down or left and right, while others constantly rotate. In a teaser Menegon just posted on YouTube (see below), viewers can explored her 3D selfies in 360 degrees, whether on a desktop or mobile device. Interior spaces are stacked, fused, and obliterated, as is Menegon’s naked body. The overall effect of it all is something approaching David Cronenberg, if he were exploring surrealistic body horror through VR art. “ Virtual Narcissism is me sharing a very personal aspect of myself with others—a little bit like it would be a social network like Facebook or something, but done with super private 3D scans,” Menegon says. “It is me opening a little door to my private and intimate space.” Click here to see the 3D selfies in the Virtual Narcissism project, which Martina Menegon will be updating regularly. Related: Inside the Art Selfie Palace George R. R. Martin Funded For Mysterious Minds, This Virtual Mecca Awaits Distorted 3D-Scanned Faces Are the Stuff Nightmares Are Made Of 2016-05-17 19:40 DJ Pangburn

21 Platform-L Opens With Yang Fudong and Bae Young-whan Solo Exhibitions Related Events Yang Fudong: The Coloured Sky: New Woman II Venues Platform-L Contemporary Art Center Artists Yang Fudong Platform-L Contemporary Art Center in Seoul opened its doors to the public for the first time on May 12 with solo exhibitions for China’s Yang Fudong and South Korea’s Bae Young-whan, both of which run through August 7. The space, in a striking seven-storey building designed by Joho Architecture’s Lee Jeong-hoon, has been under construction since 2014. In a press release, the Platform-L’s team says it hopes to “establish itself as an experimental art center, focused on exhibitions and projects...in Korea and abroad,” and the art center hopes to foster this goal with a program of four to five exhibitions a year. The first two of these are Yang’s “The Colored Sky: New Woman II,” and Bae’s “Pagus Avium.” In the former, Yang presents a new five-channel film, a sequel to his “New Women” (2013). While the first film took inspiration from the Chinese film “New Women” (1935), the tale of a real-life actress who commits suicide, this new work focuses on modern females and their desire to be film stars. Whereas the first film was black and white, this new film is in color, and features surreal sets of beaches, deserts, and hills that express what Platform-L calls the artist’s bold pursuit of “aesthetics of existence.” In Bae Young-whan’s exhibition, the artist brings together a number of works, including sculptures and a video installation. The centerpiece of his exhibition is “Speech Thought Meaning,” 2016, a sculpture of a blindfolded parrot surrounded by misshapen globes that is accompanied by a soundtrack featuring the sounds of worldwide news reports layered indecipherably on top of each other. Another work is his four-channel video installation “Abstract Verb-Can you Remember?,” 2016, which features a woman in a feathered costume dancing in a ritualistic way that combines folk and street dance elements. 2016-05-17 19:37 Samuel Spencer

22 rossetti's MLS stadium proposal to re-connect and revitalize the heart of detroit rossetti's MLS stadium proposal to re-connect and revitalize the heart of detroit rossetti’s MLS stadium proposal aims to connect disparate areas in the city center of detroit (above) the MLS stadium view from inside the arena all images courtesy of rossetti rossetti’s proposal for the ‘MLS stadium’ aims to encourage connectivity by weaving together disparate areas in detroit’s center. focusing on the need to restore and repair the city’s infrastructure, the architecture firm’s project uses the 20,000-seat arena as a catalyst for new development. the plan includes a training facility, a podium for commerce and recreation, as well as four interconnected towers which contain a hotel, office spaces and room for parking. the proposal looks to transform the 300-acre entertainment district by bridging the downtown center of campus martius with the eastern market, which is one of detroit’s most popular destinations. the raised podium is open to the public at all levels – from the ground and up to the rooftop – and features a large elevated green-space connecting all of the four towers. the area aims to offer a year round program for sport and social gatherings encouraging interaction and movement within the urban environment. furthermore the energy generated from the interconnected development will result in a vibrant district, which projects the vitality and momentum that detroit is currently generating locally, regionally and internationally. the architecture firm’s project uses the the 20,000-seat arena as a catalyst for new development street view of the entrance into the detroit MLS stadium 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. 2016-05-17 19:35 Denise Drach

23 Graffiti Earth Takes Sustainable Approach to Duane Street Hotel It seems as if one can’t find a new restaurant that doesn’t label itself as “intimate” and “sustainable,” but Graffiti Earth is taking those terms a step further. Led by chef Jehangir Mehta, the colorfully decorated dining room is tucked inside the sunken first floor of the Duane Street Hotel in TriBeCa, featuring only 20 seats in addition to a private dining room. “Every table is a good table, every table is an OK table,” Mehta explains from one such table the week before opening. “I like the fact that you can have a better rapport with your customers. It’s something that has spoken to us.” The Culinary Institute of America-trained chef worked as a pastry chef at Jean-Georges and Mercer Kitchen before opening his first restaurant, Graffiti Food & Wine Bar, in the East Village 10 years ago. It’s that restaurant — which is also very small — that prompted the hotel’s owners to recruit Mehta to open a similar annex across town. It’s not his first go at the restaurant- inside-hotel concept; he originally opened up shop in the space under Metaphor, which took up most of the hotel’s lobby floor. But sharing an entrance through the lobby proved troublesome; hotel guests and dining patrons competed for space. “It felt like I was at the W — you don’t know if you’re here or there, who’s the reservationist,” Mehta recalls of the confusing layout. “It felt very torn in that aspect.” Mehta and the hotel’s team downsized the restaurant space — in this case, a positive change — put in a separate entrance for the restaurant, and rebranded under the Graffiti name. The menu for the new restaurant, much like that of the original iteration, is eclectic. “It has influences from all over. A good amount of influences are from my Persian background, and then from different parts of Asia…it has influences from everywhere,” he explains. Mehta amps up focus on plant-based cuisine and incorporates underutilized fish varieties in addition to sourcing from sustainable water ecosystems. The vibrant dining room features many very personal design details — the plates and silverware were culled from Mehta’s family collection, as were the two larger wooden dining tables. The decor that isn’t salvaged is likely to be recycled: the napkins are made from scrap cloth and smaller than standard size, the place mats are pages from leftover newspapers, and many of the glasses were made from old wine bottles. “We want to take sustainability to another level,” Mehta remarks. He’s also looking to give back: The chef is working on agricultural education initiatives alongside schools, and the artwork displayed on the restaurant’s walls was created by an artist who donates 90 percent of the sale price to charities benefiting women and children. And if you’re looking for a free meal, you may just find it at Graffiti Earth. The communal table and close quarters of the dining room lend itself to creating quick rapport among diners, and Mehta notes that it’s not uncommon for diners to pick up the tab for their new acquaintances. “I’ve worked in many restaurants and I’ve never seen restaurants where people will buy things for others,” he says. “Here, people just become friendly with each other.” 2016-05-17 19:35 Kristen Tauer

24 Lyon & Turnbull and Freeman’s Collaborate for Inaugural Hong Kong Auction Related Venues Liang Yi Museum Freeman's Lyon & Turnbull Auction houses Freeman’s and Lyon & Turnbull have teamed up to hold their inaugural Hong Kong auction on May 31 at Liang Yi Museum. On offer at the “Chinese Works of Art” auction will be around 150 curated lots of decorative art, including “porcelain, jade, bronze, lacquer, furniture, and early wares,” according to a joint press release from the two auctioneers. Among the exhibition highlights is one piece described as “the most important piece of porcelain to come out of the UK in the last decade,” the so-called “Thornhill Stem Cup,” which has an estimate of $2.8-5.8 million. Dating back to 1425-1435 during the reign of the Emperor Xuande of the Ming Dynasty, the 5-inch tall, blue- and-white cup had been in storage at Staffordshire University in the UK prior to 2016, when it was unearthed in order to be sold to fund a new home for the educational establishment’s increasingly valuable collection of Asian ceramics. Lyon & Turnbull has also chosen a blue-and-white Chenghua era (1464-1487) dish featuring a dragon as a key piece, which carries an estimate of $44,000-$72,000. Among the furniture and ceramics being offered by Freeman’s are a Song or Yuan dynasty (960-1368) red-brown, glazed teacup and saucer set on an ornately carved stand, valued at between $260,000- $515,000. 2016-05-17 19:32 Samuel Spencer

25 Five Minutes With Misty Copeland: The Ballerina Talks About Her Retirement Plans Misty Copeland , presently marking her first Metropolitan Opera season as a principal dancer with the American Ballet Theatre , still has a lot that she’d like to accomplish. But choreographing or opening a school are not among her goals. The seminal pundit for the diversification of classical ballet , Copeland, 33, says that she “hopes” to have a decade left in her career. But upon retirement she does not intend to strike the typical trajectories of teaching or choreographing new repertoires. “[Choreographing] is not something I see in my future — it’s not something I’m interested in, it’s just not everyone’s path. Just like I’m not interested in teaching or opening a school — it’s just not something I’ve ever been drawn to. “I think I’ll continue to write books and be a part of diversifying classical ballet and different initiatives and things that I’m still a part of,” Copeland told WWD at ABT ’s spring gala Monday evening, where she performed the title role in Alexei Ratmansky’s “Firebird.” In the meantime, there are roles she still has yet to conquer — including that of Kitri in “Don Quixote,” the first ballet she had ever seen ABT perform. “I think it’s the role I wanted to dance when I discovered what ballet is. ABT was the first live theater I ever saw and they did ‘Don Quixote,’ so I think that’s still something I need to do. “I feel like I’ve always been drawn to the character of Kitri — she is a fiery young Spanish girl, she is really sassy and she is sexy and it would be cool to do a role like that,” she said. A dancer who has found fame (and an Under Armour campaign) for her backstory and vocalness, Copeland opined on what makes this present era an interesting time to be a ballerina. “In this art form the woman is most important, and it wouldn’t exist without her so for ballet to be getting so much recognition right now says so much about women and how important we are — no matter what field — that we are capable of anything and should be allowed to have a voice.” 2016-05-17 19:32 Misty White

26 Cherokee Global Brands Cues Up Namesake Brand at Warner Sound A FAIR EVENT: Cherokee Global Brands said its namesake Cherokee USA brand will be the title sponsor during Warner Music Nashville’s annual “Warner Sound” event, which is held during the CMA Music Festival in Nashville from June 9 to June 12. The music event will “connect country music’s top artists and fans with Cherokee’s authentic and iconic American fashion lifestyle,” the companies said, adding that “Warner Sound Presented by Cherokee USA” will be held at AVenue, which is in downtown Nashville at 120 Third Avenue South. Cherokee Global Brands said it will “transform the space into an experiential county fair complete with hot dogs, apple pie, games, a photo booth and more. The festive atmosphere will provide an engaging backdrop and a hub for fans and VIP guests to enjoy performances and meet-and-greets with Warner Music Nashville artists.” Henry Stupp, chief executive officer of Cherokee Global Brands, suggested more events are on the horizon, with the Warner Music Nashville partnership being “the first of several entertainment- focused initiatives.” 2016-05-17 19:30 Arthur Zaczkiewicz

27 Hong Kong Central Library Celebrates the Creations of Guillaume Bottazzi The Hong Kong Central Library will display new paintings by French artist Guillaume Bottazzi from May 21 to June 5, alongside photos of the artist’s public commissions. “Wonderland,” which is running as part of the city’s annual Le French May arts festival, presents 23 recent paintings from Bottazzi, including traditional oils on canvas and a series of plaster and glue paintings on fabric. Like Bottazzi’s public murals, these paintings feature amorphous blobs rendered in crisp, bright colors. But they’re simpler than the murals, often consisting of solid white forms on a monochromatic background or featuring only primary colors. In a statement, the organizers of Le French May 2016 said they hope the show will “induce visitors to evolve in an unreal world, a world which will call upon our imagination and our creativity.” Bottazzi’s paintings are accompanied in the show by images of his public artworks. One highlight is a collection of photos of “Hope,” a 900-square-meter mural commissioned by the Miyanomori International Museum of Art in Sapporo, Japan. The artist began painting “Hope” just eight months after the devastating 2011 Tōhoku earthquake, and its colorful abstract shapes represent an attempt to make a joyful, hopeful addition to the city. Also featured in the show are images of Bottazzi’s most recent public commission, a series of six large-scale paintings of intersecting shapes installed in the open-air art space at La Défense, one of Paris’s main business districts. Bottazzi is in distinguished company at La Défense, where his paintings are on display alongside works from masters like Joan Miró, Alexander Calder, and Richard Serra. 2016-05-17 19:26 Samuel Spencer

28 Royal Appointment: Prince William Opens the Ralph Lauren Centre for Breast Cancer Research in London The designer gave new meaning to the term luxury goods with the opening of The Ralph Lauren Centre for Breast Cancer Research: His multimillion-pound donation, revealed two years ago, wasn’t about a plush shop fit, or pricey suede and satin separates, but a streamlined, sunlit hospital floor spanning 6,383 square feet where researchers and clinicians are focused on curing a variety of breast cancers using the latest equipment and resources. “I started with breast cancer because of a personal reason, because of a friend, Nina Hyde, who was an editor. All of a sudden, a friend has it and it touches you, it touches your whole family, so you get involved and you think ‘I can do more,’” said the designer, who was dressed on a cold May day in a flannel chalk-stripe suit, gray tie and white shirt. “It’s not about telling the world everything you’re doing, it’s about setting the tone for people to think, ‘Hey, I can do that, too,’” he added during an exclusive interview with WWD. On Tuesday, Prince William , who has been president of The Royal Marsden since 2007 — a role once held by his late mother Princess Diana — officially opened the center. The prince and the Laurens toured the new floor’s labs, talked to doctors and researchers, and later spoke to patients who were receiving cancer therapy on the hospital’s ground floor. They wore white lab coats with the name Ralph Lauren Centre for Breast Cancer Research, The Royal Marsden embroidered in dark thread above the pocket. Lauren, who first met Prince William two years ago when the project was first announced, said he was happy to spend time with the young royal. It certainly brought back memories: Twenty years ago, it was Princess Diana who handed Lauren the Nina Hyde Center for Breast Cancer Research’s first Humanitarian Award in the U. S. “He’s a very charming young man and very caring and real. He certainly followed up from his mom and got involved with the charity, knowing that it was one of her favorite things and how much she cared about it,” he said. In a speech on Tuesday after visiting the center, William said: “Seeing the courage and spirit of the patients I met today, it would be hard not to feel positive about the work being done here, and the real difference it makes. A difference which I know extends beyond the four walls of this hospital, to cancer patients across the U. K. and internationally.” Lauren has a long history with the Royal Marsden, which in the past has been a beneficiary of his Pink Pony Cancer Fund. The Royal Marsden gift is the designer’s first single, substantial cancer-related donation to an institution outside the U. S. Professor Mitch Dowsett, head of the Ralph Lauren Centre for Breast Cancer Research, said the new center would draw upon newer technology and advances that allow “more rapid and in- depth molecular analysis of our patients’ disease.” Cally Palmer, chief executive officer of The Royal Marsden, said the new center sets “a benchmark” for global cancer research. Until now, researchers and doctors at The Royal Marsden, which forms part of the largest comprehensive cancer center in Europe, had been making do on a cramped floor at the Victorian hospital, which was founded in 1851 and was the first facility in the world dedicated exclusively to cancer treatment. The old space was at least 20 years out of date and could not accommodate the new technology and trials taking place. The Marsden, which works closely with Britain’s Institute of Cancer Research, an academic facility, treats more than 50,000 cancer patients annually and the situation had become untenable. The new center, which cost 3.9 million pounds, or $5.60 million, was built with funds from Lauren and from the Royal Marsden Cancer Charity, which works exclusively with the hospital. Today, fluorescent microscopy, liquid biopsy testing, tissue block storage and a host of medical trials are taking place in roomy laboratories located across from researchers’ offices and a conference room with new video facilities. The center’s overall aim is to identify molecular differences between tumors and tailor treatments to fit the DNA of the patient, eliminating the need for risky or toxic therapies. As for Lauren, it’s already been a big British year for the designer — and there’s more to come. Earlier this month Lauren unveiled updated uniforms for the Wimbledon Championship’s on- court officials. This will be the 11th year that Lauren will dress Wimbledon’s chair umpires, line umpires and ball boys and girls, and he said it was time for a refresh. “We’re always looking at what we can improve and what we can do to keep it contemporary, but at the same time keep the tradition of what Wimbledon stands for. You want to make sure that it looks new enough, special and not too special, a little bit understated.” Later this summer, he’s set to open Europe’s largest Polo Ralph Lauren store on Regent Street. The store will stretch more than 17,550 square feet on three floors, and the designer said he’s eager to capture a younger audience. “London has been very good to me. I think people in London have worn my clothes for a long time, and with the new store you’re looking for a younger audience, a new audience. It’s nice to develop in areas that are getting the customers — and getting the audience.” Retail — how it’s changing, the scope of his brand and the new audience he wants to speak to — is top of mind and Lauren is eager to talk about his plans. As he gears up for his 50th anniversary next year, he said the biggest challenge is “understanding that the business has to change and redeveloping it as the world gets more modern. I’m always rethinking how to update, how to keep it pertinent and relevant. That’s the project that I have.” He said business today is defined by a variety of new parameters: “The fashion business is more complicated today, and has a lot more people in it, and a lot of people who think they are designers and they’re not,” said Lauren, although he would not name names. “It’s also about quick delivery. Customers want the clothes today and they don’t want to wait. So I brought a ceo in to do a lot more thinking. We’re changing and we’re looking for new ways of working with the consumer.” He said he’s operating closely with the new ceo, Stefan Larsson. “I’m not retired, I love what I do but I realize that some of these things are not my forte and I think you always have to look at your company, at the people in your company, at where you have success and where you don’t have success and plan ahead.” His original vision — the dream of offering customers a fantasy, an idealized look and lifestyle — is still firmly fixed, and he’s always thinking beyond the clothes. “I never thought that fashion was only for clothes. It’s in food, in lifestyle, in home. If you know what you’re doing and understand what your voice is, there are new ways of expanding your business. You have to be able to feel the pulse of the world, to be able to design ahead. Technology has made a big difference, but taste and style are ever-changing and you have to have confidence in what you want to stand for,” he said. “You notice people going to restaurants and the organic, healthy sensibility is very much heard. So many more people are concerned about their health. Girls are running around, pushing their [baby] carriages, but they’re wearing sweats, workout clothes and it’s stylish now, it’s cool. Products change and lifestyles change and that’s really part of what you pay attention to.” That said, ath-leisure will not take over the world, he said. “It’s just another dimension.” Lauren is particularly proud of the success of his three restaurants — and there are plans to open a coffee shop, similar to the one that’s in the Polo store in New York, at the Regent Street unit. A hotel, which he mooted during an interview with WWD two years ago, is still very much a possibility, although there are no plans in the works. He feels particularly strong about the importance of food and drink in a fast-changing, increasingly omnichannel world. “There are a lot of people who come into the Polo store in New York and want Ralph Lauren coffee. This is the [new] sensibility of bricks-and-mortar. If you’re going to build retail today, how do you handle bricks-and-mortar? Is everything on the Internet? Well, certain things are and certain things aren’t. “On all levels the Internet is great, but the experience of going to the store is a different experience. How the sales people help, and the fact that you can sit down and have a cup of coffee or some wine. It’s a new way of exciting the customer, and it brings people into the store.” It’s not for everyone, however. “Some people can think broader than clothes and some people can’t. It’s not an automatic success, you have to have a concept and know what your message is.” His signature message — manufacturing a wearable, livable fantasy — remains the same. “People are much more imaginative today, and they want their own movie. And I’d like to make a movie for them.” 2016-05-17 19:23 Samantha Conti

29 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 […] 2016-05-17 22:18 By

30 Meet Desiigner: The Elusive and Kanye West-Mentored Rapper More Articles By The last New York rapper to land number one on the Billboard Hot 100 was Jay Z with “Empire State of Mind” in 2009. The song was distinctively Jay Z — an ode to New York that charted his rise from Brooklyn hustler to courtside mainstay at NBA games. Like Jay Z, rapper Desiigner hails from Bed-Stuy, Brooklyn, and his song “Panda” also hit number one earlier this month on the Hot 100. But “Panda” is devoid of anything that ties him to the borough that many rappers proudly call home. Instead, he mentions Atlanta in the song’s hook — a place Desiigner says he’s only visited via an airport layover — and raps in a cadence that sounds eerily similar to Future, an Atlanta rapper whose songs have become pervasive but have yet to land him a top spot on the Billboard charts. In Desiigner’s defense, the deep timbre of his speaking voice doesn’t sound that different from how he raps on “Panda” — he isn’t feigning an accent, like Aussie rapper Iggy Azalea does. Still, the success of his song has come with its fair share of criticism. But Desiigner doesn’t want to talk about Future, nor does he want to talk about the Justin Bieber incident that made headlines earlier this month — the ornery pop star pushed the lanky rapper because he bumped into him while performing at 1Oak in New York. In fact, during an interview, the 19-year-old is pleasant — he grins often — but he doesn’t talk extensively about anything. Perhaps that’s why the world still knows very little about him. He was introduced to the public by none other than Kanye West , who revealed he signed the teenager to his G. O. O. D. Music label at the Yeezy Season 3 fashion show cum “The Life of Pablo” listening party at Madison Square Garden in February. In addition to signing him, West sampled “Panda” on his own song “(Father Stretch My Hands), Pt. 2.” “Panda” refers to a car, a white BMW X6 that resembles the endangered species. Desiigner purchased the song’s beat online for $200 from a U. K. producer named Menace, and he recorded and then uploaded the song in December to Soundcloud, where it gained traction and eventually fell in West’s lap — there’s TMZ footage of West and Desiigner meeting for the first time and listening to the song together in a car outside of LAX. Other than West, Desiigner, who was in between rehearsals for the “The Late Show With Stephen Colbert,” when he met WWD, hesitates to mention any other artists. But it’s hard to tell whether he’s being guarded or diplomatic. Asked where his musical influence comes from, he says,” [I was influenced by] all types of funk. My daddy and momma are old school. My sister listened to reggae and my homies listened to trap music.” Asked who his favorite rapper is, he states, “I’m my own favorite artist, but I love everybody’s music.” Asked if he has a favorite “Panda” remix — rappers including Fabolous, Lupe Fiasco and Meek Mill have created their own versions of the song — he replies, “I can’t pick out one. I can’t even speak on that one.” Desiigner — née Sidney Royel Selby III — does offer that his family is from Barbados, he has two sisters and a big brother and he now resides in New Jersey. And while he admits that living in Bed-Stuy wasn’t easy — he was shot at 14 but doesn’t want to discuss the details of that situation either — he grew up in a two-parent home, where he never went without. “I was always on my swag since I was younger,” said Desiigner, who created his alias after his brother-in-law told him to design his name and he added a second “i” for flair. “My mom and pop didn’t play that. I came from a supportive home with a mommy and a daddy and they had everything I wanted.” The rapper is wearing a new set of sparkling jewelry, including a diamond-covered Cuban link bracelet and a small Jesus piece necklace, a G. O. O. D. Music signature, along with brands he’s just starting to become familiar with: Saint Laurent jeans, Maison Martin Margiela sneakers and a Death to Tennis jacket. He seems to come most alive during his performances, which can be best described as manic. The rapper energetically bops around the stage while dabbing and milly rocking and showing very little concern for actually delivering his song’s lyrics. “Ever since I was younger I was a performer,” Desiigner says. “I was a ladies’ boy in school, so I was singing to girls and singing ‘Happy Birthday.’ So when it came down to performing it was just natural. It’s just my rhythm, my vibe, my funk.” But what about his story? Desiigner may be taking lessons on being enigmatic from his mentor West, but his reluctance to reveal more of himself fuels the idea that his song is bigger than him, and makes it harder for him to distinguish himself from the said rapper he is heavily influenced by. One learns a little bit more about Desiigner from his Instagram account where in a short video he addresses the question looming over his career: Is he a one-hit wonder? “They think I ain’t got another one. You crazy. If I made the first one like that what the f–k you think I got next,” he says into his smartphone. Next up is “Zombie Walk,” which is also catchy and influenced by trap music. Desiigner has created a dance for it that could resonate on social media. He’s also set to perform next month at Hot 97’s Summer Jam, a one-day music festival and holy grail for emerging and established rappers. Desiigner has never been, either as a spectator or performer, but he’s looking forward to the event. “Everywhere I’m going and everything I’m seeing now is brand new,” he says. “So it’s just a blessing.” 2016-05-17 19:13 Aria Hughes

31 creatives share artistic interpretations of instagram's new logo creatives share artistic interpretations of instagram’s new logo (above) image by @5ftinf last week, instagram revealed an updated icon and app design with a simplified camera graphic set on a gradient rainbow backdrop. the vibrant new look seeks to reflect the diverse nature of its ever-expanding content, and marks the first identity overhaul since instagram’s inception in 2010. in response, creatives from across the globe are sharing their own artistic interpretations of the new symbol using the hashtag #myinstagramlogo. designers, illustrators, painters, paper artists and bakers have been adding their creative sensibility to the growing number of submissions. diverse mediums such as flowers, fabric, beads and dough have been adopted in their design and realization, forming abstract yet illustrative compositions that echo the simplified brand update. see a selection of results below, and more at #myinstagramlogo. for the latest and best in architecture, design, art, and technology, follow designboom on instagram here. 2016-05-17 18:25 Nina Azzarello

32 32 They Are Wearing: Mercedes-Benz Fashion Week Australia Polished, cool and hitting all the trends. That summed up the sartorial scene over the weekend at Mercedes-Benz Fashion Week Australia , which runs through May 20 at Carriageworks in Sydney. Revelers arrived at the annual event in the season’s most ubiquitous looks — from off- the-shoulder and ruffled blouses to silk bomber jackets and patchwork denim — topping off their outfits with designer bags and shoes. Some made a statement with colorful outerwear; others opted for clashing patterns and dresses with busy prints and embroidery. 2016-05-17 18:22 Kristi Garced

33 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 […] 2016-05-17 22:18 By

34 John Knight at Redcat, Los Angeles John Knight, A work in situ , 2016, installation view, at Redcat, Los Angeles. BRICA WILCOX Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “ John Knight: A work in situ ” is on view at Redcat in Los Angeles through Sunday, June 12. The installation looks at the previous life of the gallery’s space, located inside downtown L. A.’s Walt Disney Concert Hall, as a parking lot. John Knight, A work in situ , 2016, installation view, at Redcat, Los Angeles. BRICA WILCOX John Knight, A work in situ , 2016, installation view, at Redcat, Los Angeles. BRICA WILCOX 2016-05-17 17:37 The Editors

35 7 Whimsical Sights at Site Unseen’s OFFSITE Design Fair Photo by Pippa Drummond for Site Unseen OFFSITE Over the weekend, thousands of visitors found their way to Site Unseen ’s yearly OFFSITE design fair. The fair spotlights emerging product designers and attracts art world aficionados, fashion brand titans, and interior design connoisseurs, alike. From throw pillows to lighting sculptures, OFFSITE displays a wide variety of talents and their latest wares. It feels more like an art walk than an industry fair, and that’s the point: founders Monica Khemsurovare and Jill Singer are invested in curating the overall design experience, providing a number of entry points and a range of participation—pop-up shops, interactive installations, a cafés, and more. Khemsurov, co-founder of Sight Unseen and OFFSITE, tells The Creators Project, “We don’t have curatorial themes. We have an innate aesthetic that appeals to us—which is hard to describe but which often involves clean lines, the right visual balance of colors and geometries, quality in construction, and the absence of anything superfluous or jokey/kitschy.” Photo by Pippa Drummond for Site Unseen OFFSITE That OFFSITE aesthetic can be found in every inch of the fair. It comes as a sudden serious attraction to a ceramic piece or a printed towel, basic items you’d never think to obsess over until you begin to. The items become elevated, objects of art, though Khemsurov says, “It really doesn’t matter to either us or the designers how the end user employs the objects—as art or functional pieces— but in our show, I’d say the vast majority of the works are theoretically functional.” Many of the objects that caught our attention were playful renditions of seemingly mundane things masterfully made colorful and intelligent. The experience felt like a personal reawakening of aesthetic practices and new design techniques. Each of the pieces below uplifted our notions of functionality: Image courtesy Site Unseen OFFSITE Founded by Monica Khemsurov, Su Wu, and Eviana Hartman, Tetra specializes on elevating the aesthetics of smoking with objects like pipes, ashtrays, and lighters. This vibrant blue glass pipe designed by Jamie Wolfond of Good Thing makes getting high ever more elegant. Image courtesy Site Unseen OFFSITE Established by Matt and Shawna Heide in 2007, these design cats explore concrete as a material to be patterned and colored, taking emphasis away from concrete as a merely structural element, and making it into a unique sculptural material. Their marbleized cinder blocks pose a great opportunity for exposed architectural foundations. Photo by Pippa Drummond for Site Unseen OFFSITE Suspended Confett i, by Chiozza and Studio Proba , is a hanging sculpture made of iridescent shapes that hang from a mirrored disc. The result is a reflecting pool made up of sparkling illusions. It’s a playful and charming reminder that adults and serious designers can be childlike, and successful, too. Image courtesy Site Unseen OFFSITE Established in 2013 by Bridie Picot , Thing industries is a studio that designs what they call “adventurous things” for the home. We were smitten by the fun she brings to the Breakfast in Bed duvet set and the Stick Shelves. Thing emphasizes producing objects in the best location for their choice of material, like wool from Scotland and steel from LA. Image courtesy Site Unseen OFFSITE Designed by Ellen Van Dusen as a home goods line anchored by printed textiles like bedding and blankets, Dusen Dusen Home makes bold patterns with bright colors. Van Dusen has expanded the brand to include a clothing line that utilizes the same patterns into blouses, shirts, and dresses, spinning a new yarn on the patterns-on-patterns aesthetic. Image courtesy Site Unseen OFFSITE Bianco Light & Space is a sculpture and design studio based in Brooklyn, New York. Their blue glass sculptures are reminiscent of architectural landmarks through time. Photo by Pippa Drummond for Site Unseen OFFSITE Liz Collins Studio reimagines traditional textile techniques and makes large-scale rugs in extreme textures. Here we see a series of massive rugs inspired by those hand-loomed potholders you used to make as a kid. Their sheer size makes them art installations in and of themselves. To learn more about Site Unseen, click here . Related: The Process | Snarkitecture's Indoor Beach Ball Pit Visions of the Future, in Concrete and Neon Algorithmic Design Digitizes Fabrics of the Future 2016-05-17 17:35 Marina Garcia

36 Sci-Fi Paintings Show How Strange Being a Tween Girl Is WEATHER APP, Oil on panel, resin finish, 20 x 20 inches. Images Courtesy the Corey Helford Gallery. Inspired by sci-fi, mythology, and traditional folklore, a new series of oil-on-panel paintings reflect on the experiences of the modern tween girl. Too old to be a child yet too young to be a teenager, she occupies a somewhat awkward middle ground in perception; a confusing yet exciting area in life that Brooklyn-based artist Lori Nelson imagines as a fantastical parallel universe filled with ghouls and magic. But the nearly-human creatures of Cryptotweens Are Like , on view at Corey Helford Gallery from May 28 - July 2, aren’t so much scary as they are introspective. Nelson captures real life emotions and recognizable milestones of tweenhood, be they sneaking out at night or finding ways to entertain yourself on the playground. They're reminiscent of Sally Nixon's illustrations of what women do when no one's watching , but with a distinctly fantastical air. THERE, THERE, Oil on panel, resin finish, 24 x 24 inches. Born in Utah to a Mormon family, Nelson became fascinated by the innocent and romantic representations of saints in traditional theological art. Her illustrations appear within the stylized aesthetic framework of a story book, eliciting a somber sense of nostalgia. “I am drawn to adolescents as subjects because, for a brief time, they necessarily inhabit a land that is neither childhood nor adulthood, but rather a thorny connective forest that all must stumble through," says Nelson. "Forests, we all know, though dangerous and spooky, can also be quite magical.” Nelson situates her subjects in that disconcerting area of pre-pubescence, when youthful invulnerability gives way to the self-conscious apprehension of young adult fatalism. Check out images from the show, below: WITH YOUR FEET ON THE AIR AND YOUR HEAD ON THE GROUND, Oil on panel, resin finish, 24 x 30 inches. SQUIRRELCRAFT, Oil on panel, resin finish, 30 x 40 inches. SEASON OF THE SUPERMOON, Oil on panel, resin finish, 42 x 48 inches. If you’re in Los Angeles, you can check out Cryptotweens Are Like at the Corey Helford Gallery from May 28th - July 2, 2016. See more work by Lori Nelson on her website, here. Related: Insane CGI Graphics Let You Inside a Child's Imagination Wide-Eyed and Glitchy Girls Appear in a Sculpture Show Jaime Molina's Art Exists in a World All its Own 2016-05-17 17:20 Nathaniel Ainley

37 google cultural institute art camera google’s cultural institute announced a custom- built camera ready to travel around the world to bring people more access and a closer look at famous paintings with never-before scene detail. the ‘art camera’ produces ultra-high resolution ‘gigapixel’ images never thought were possible before. this allows users to access free archives with option of discovering hidden details, far beyond what is visible to the naked eye. the museum boijmans van beuningen was among the first to use the ‘art camera’ to digitize a series of artworks, including the ‘portrait of armand roulin’ by van gogh and ‘sping in vethuil’ by claude monet. 2016-05-17 17:10 Piotr Boruslawski

38 Chloë Grace Moretz and Brooklyn Beckham Make ‘Neighbors 2’ Red Carpet Debut Ah, young love. The latest teen celebrity couple, Chloë Grace Moretz and Brooklyn Beckham, made their red carpet debut Monday night at the premiere of Moretz’s new film, “Neighbors 2: Sorority Rising.” Moretz, who wore Alexander McQueen to the screening, stars in the film alongside Zac Efron, Rose Byrne, Seth Rogen, Dave Franco, Kiersey Clemons and Beanie Feldstein. Brooklyn Beckham, the 17-year-old son of Victoria and David Beckham , and Moretz, 19, who is fresh off her Coach-clad Met Ball outing, confirmed their relationship earlier this month. (Brooklyn Beckham is an aspiring photographer who earlier this year shot a Burberry Brit ad campaign.) They’ve wasted no time sharing the love on social media; over the weekend, Moretz posted a black-and-white selfie with Beckham, paired with the mysterious emoji of a black minus sign — says it all, no? Given the age demographic here, the relationship was captured on Instagram. Like any savvy modern-day couple, they made sure to post different photos, with different filters and different — but equally vague — emojis as captions. Talk about compatibility. A photo posted by Chloe Grace Moretz (@chloegmoretz) on May 12, 2016 at 4:34pm PDT ❤ A photo posted by bb (@brooklynbeckham) on May 17, 2016 at 2:50am PDT A photo posted by Chloe Grace Moretz (@chloegmoretz) on May 16, 2016 at 8:50pm PDT 2016-05-17 16:52 Leigh Nordstrom

39 Where the Dead Don’t Stay Dead: The Propeller Group at James Cohan, New York The Propeller Group, The Living Need Light, The Dead Need Music , 2014, single-channel projection, 25 minutes, 15 seconds. MAX YAWNEY/©THE PROPELLER GROUP/COURTESY JAMES COHAN, NEW YORK O ne of the highlights of Prospect.3 , the 2014 edition of the New Orleans biennial, was the electrifying film The Living Need Light, the Dead Need Music by the Propeller Group, a collaborative consisting of multidisciplinary artists Phunam, Tuan Andrew Nguyen, and Matt Lucero from Ho Chi Minh City and Los Angeles. Making its New York debut in James Cohan’s newest space on the Lower East Side, the 20-minute film (its title is taken from a Vietnamese Buddhist proverb) leads you on an odd, mesmerizing odyssey through the muddy swamps, paddies, rivers, and islands of the Mekong Delta as well as through crowded streets with their gatherings of motley mourners, performers (look for the one with the snakes), and onlookers. The Propeller Group, AK-47 vs. M16 , 2015, fragments of AK-47 and M16 bullets, ballistics gel, custom vitrine, and digital video, 7⅛ x 16⅞ x 7¼ inches. MAX YAWNEY/©THE PROPELLER GROUP/COURTESY JAMES COHAN, NEW YORK Following a troupe of musicians playing brass instruments led by a wiry bandleader of impassive visage and tarnished charisma, the funeral processions memorably twist together ritual and music, disrupting the quotidian by introducing the bizarrely surreal and enigmatic—a kind of Asian magic realism. Here, the dead do not seem to remain dead, roused, perhaps, by the pulse of the music, the line between life and death rendered not so hard and fast. The sound is both exuberant and haunting, turning mourning into something jubilant, upbeat, and surprisingly pure. AK47 vs. M16 (2015), which was shown at the 2015 Venice Biennale, is installed in the gallery’s backspace. In this piece, bullets from two assault rifles were fired into a translucent gel block. The weapons, developed by the Soviet Union and the United States, respectively, are emblematic of the Vietnam War, while the gel, used for ballistic testing, replicates the density of human flesh. The war may have happened more than five decades ago, but its wounds are not fully healed and may never be, even as its dead stay dead. 2016-05-17 16:36 Lilly Wei

40 Will Sharing Art Photos Online Raise Your Rent? Have you noticed a lot of people posting photos of all the #art in your neighborhood? That might be a sign that your rent is going up. So argues a new paper by Chanuki Illushka Seresinhe , Tobias Preis , and Helen Susannah Moat , published in the new-ish “open-access" science journal Royal Society Open Science. The title of the paper is “ Quantifying the link between art and property prices in urban neighborhoods, " and it looks at art's connection to gentrification, a topic that has been the subject of much debate. The paper's proposed methodology is what makes it novel. The authors combed the online photo-sharing site Flickr for photos geotagged to London's various neighborhoods, sorting through 4.4 million images overall. They then looked specifically at which locations had accumulated the greatest concentration of images labelled with the word “art," and compared these clusters to trends in property values. (It's a little more complicated than that, but that's the jist of it.) In a nutshell: "[R]elative increases in mean residential property prices are significantly associated with higher proportions of ‘art' images per neighbourhood. " More specifically, the authors note that London neighborhoods "thought to be associated with arts-led redevelopment," such as Shoreditch and Dalston, "exhibit particularly high proportions of ‘art'-related photographs, as well as high relative gains in house price. " Science is able to confirm, in other words, that neighborhoods associated with arts-led development do indeed feature both more art and more development. The paper is part of a wave of research using social media data to investigate sociological questions. However nifty their data-gathering is, though, the team is not able to provide a good answer to the major question presiding over art-and-gentrification debate: Does art cause gentrification, or do art amenities merely follow the affluent? Or both? As they state: Indeed, the findings could reflect the biases of Flickr itself as a data source, since the venerable photo-sharing site skews both male and more-affluent-than-average. 2016-05-17 16:33 Ben Davis

41 There's a Stained Glass Amoeba Floating Through the Forest Photos by Philipp Medicus , courtesy the artist An ethereal stained glass sculpture blends science and mysticism in Amoeba , a new work by Austrian visual trickster and artist Thomas Medicus. The titular single-cell organism rendered in larger-than-life blue, orange, and yellow glass appears to be floating in a fairy tale forest. A series of photos demonstrate Medicus' craftsmanship, but they also imagine a world where massive wads of protoplasm can fly around in the air, presumably devouring fairies, sprites, and other non-scientifically verified creatures. Medicus works professionally with stained glass, but makes installations, illustrations, and lovely anamorphic glass sculptures for his personal art practice. He created the floating effect in Amoeba by mounting the sculpture on a stand, which he erased in post production. Check out his work in the video and images below: See more of Medicus' work on his website. Related: Glass and Concrete Create Suspended Sculptures Artist Creates Prismatic Paintings with Light and Glass "Knitted" Glass Is Both Cozy—And Delicate 2016-05-17 16:30 Beckett Mufson

42 42 The Guggenheim’s Potentially Controversial "Middle East" Show Is Anything But Installation View: But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, Solomon R. Guggenheim Museum, New York, April 29–October 5, 2016. Photo: David Heald But a Storm Is Blowing from Paradise , the Solomon R. Guggenheim ’s new show, may be a mouthful, but what it purports to accomplish stays relatively straightforward. The final part of the Guggenheim UBS MAP Global Art Initiative , the lyrically-titled exhibition introduces a newly acquired work designed to broaden the scope of the museum’s holdings. This show, focused on contemporary artist practices from North Africa and Middle East, uses geometry as an entry point for understanding the region’s connection to its history and the geopolitical climate. Guggenheim UBS MAP Curator Sara Raza took lead on the acquisition driven exhibition, which now resides on the interior galleries of the fourth and fifth floor. If you start from the top of the exhibition, the show’s opener is artist Ala Younis with his Plan for Greater Baghdad (2015), a series of inkjet prints referencing a set of images that architect Rifat Chadirji took in 1982 of a Le Corbusier-designed gym in Baghdad named for Saddam Hussein. Unknowable at first glance, the wall text gives Younis’ piece the requisite knowledge for enjoyment—most of the work shows requires this kind of sustained attention. Flying Carpets (2011), a mobile of stainless steel and rubber by Berlin-based artist Nadia Kaabi-Linke, consumes the left wall but leaves room for visitors to pass beneath it. A reference to magic carpet narratives as well as the blankets that Illegal street vendors use to quickly pack and transport their wares to safety, Flying Carpets perfectly fulfills the show’s curatorial desire to link the symbolic significance of pattern with its aesthetic tradition. At the back of the gallery, Mariam Ghani’s two-channel video installation, A Brief History of Collapses (2012), widens the gaze. It parallels the narratives of two buildings the Museum Fridericianum in Kassel, Germany and the Darul Aman Palace in Kabul, in order to draw attention to treatment of architectural icons in the two cultures. Tied together by their fascination with architecture and its absence, these three artworks hang together comfortably. Kader Attia’s Untitled (Ghardaïa), 2009, Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2015.84. Installation View: But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, Solomon R. Guggenheim Museum, New York, April 29–October 5, 2016. Photo: David Heald Architecturally-engaged work appears again on the fourth floor, where a city constructed entirely of couscous elicits the first awes of the day. From afar, Kader Attia's piece looks like a sandcastle, but up-close one sees the grains which the artist carefully sculpted to look like a model of Ghardaia, a city in Algeria, that designers Le Corbusier and Fernand Pouillon borrowed from heavily but without any acknowledgement to the Mzab influence. Another recreation, Hassan Khan's Bank Bannister , a shiny brass facsimile of the handrail outside Egypt’s first locally owned bank, floats by itself. The sculpture's finish also coincidently matches the ones you see the Guggenheim's staircases. A symbol for stabilized, regional wealth, Khan’s stairway to nowhere asks more questions than it answers. Using architecture as a bellwether for political stability and cultural progress, these works question the structural viability of the developing world. The fourth floor feels significantly less cohesive, but there are treasures to be found for those curious enough to look. Dubai based artist Mohammed Kazem’s monumental Scratches on Paper (2014) looks completely blank until one is close enough to perceive the obsessive incisions that cover the matte surface. Engaged in repetition and the recording of action, Kazem’s piece connects to more critically-engaged content, like Ahmed Mater’s lightboxes, which depict a bird's-eye view of Mecca, the holiest site in the Muslim world. Mater’s Disarm 1- 10 (from Desert of Pharan ) comes out of the artist’s vigilant recordings of the city's development over the past decade—including its gentrification and militarization. Installation View: But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, Solomon R. Guggenheim Museum, New York, April 29–October 5, 2016. Photo: David Heald Despite the extreme levels of inequality and liberty hinted at by the a vast majority of the work, But a Storm Is Blowing from Paradise feels peculiarly benign. Soft-spoken in its delivery, the critique leveled against social and political systems could go unnoticed if you’re not reading carefully—perhaps a kind of safety precaution for the artists involved. In light of the Guggenheim’s own construction projects in the area, specifically that of the forthcoming, Frank Gehry-designed Guggenheim Abu Dhabi, the museum has taken a lot of heat for its unwillingness to work with the Gulf Labor Artist Coalition, a protest group formed by artists and activists concerned by the potential mistreatment of workers during construction. Since the work has yet to commence, the institution seems to be caught in its own development cycle and unable to speak to an uncertain future. Hopefully when plans move forward, the museum will be able to take a stronger stance. The exhibit But a Storm Is Blowing from Paradise is at the Guggenheim through October . Related: NYC Art Activists Tackle Guns & the Guggenheim: Last Week in Art The World’s Museums Celebrate #MuseumWeek Together 2016-05-17 16:25 Kat Herriman

43 cesar opens first US flagship store in new york's flatiron district cesar opens first US flagship store in new york's flatiron district cesar opens first US flagship store in new york’s flatiron district all images courtesy of cesar italian luxury kitchen brand cesar has opened its first US flagship store in manhattan’s flatiron district, adding new york to its roster of global cities. known for its high-tech, expertly crafted cookspaces, cesar’s street-level showroom on 23rd street is open to the public for samplings, shows, meetings and events focused on italian design. interpreted under the art direction of the garcia cumini associati studio, five kitchens have been realized against a slightly textured, warm grey backdrop and set atop brushed oak flooring stained in the same shade. a system of lighting designed by flos complements the materials used for the various displays. ‘for the cesar new york showroom, we have decided to focus on a single color applied to different materials,’ cinzia cumini and vicente garcia describe. ‘this has allowed us to heighten the dimensions of a space that, like many manhattan stores, consists of two large shop windows that open up onto an area that has an incredible depth to it.’ the italian luxury kitchen brand has opened its first US flagship store in manhattan the kitchens are organized by a visual route marked out by gloss black metal mesh partitions. ‘maxima 2.2′ greets visitors at the entrance, displayed with a central island with ceramic base units and a white stoneware top, matte white lacquered tall units and heat-treated oak surface. nearby, the ‘yara’ model features a base, tall units and shelves in black walnut, wall units in etched mocha glass, and an agglomerate caesarstone worktop. in a different area, a layout pairs ‘maxima 2.2′ base and tall units in gloss pearl grey lacquer with an ‘elle’ island in heat-treated oak. lastly, ‘kalea’ sets off the living room area with black etched glass wall units and brown oak carcasses. the street-level showroom is open to the public for samplings, shows, meetings and events five kitchens have been realized against a slightly textured, warm grey backdrop cesar adds new york to its roster of global flagship cities 2016-05-17 16:01 Nina Azzarello

44 MoMA PS1 Announces Line-Up for its Summer Warm Up Parties The scene at Warm Up. COURTESY PS1 MoMA PS1 has announced this year’s line-up for its long-running Warm Up parties—19 years strong!—that are held on Saturdays in the courtyard during the summer months. The performances start at 3:00 p.m. and go until 9:00 p.m., with the doors opening each Saturday at noon. Tickets are $22 in advance and $25 at the door on the day of the show. The full lineup is below, with a few artists yet to be announced. JUNE 11 DJ Premier / New York, NY Flava D / Butterz / London, UK Deantoni Parks (LIVE) / Leaving Records / Los Angeles, CA Fatima Yamaha / Magnetron Music + Dekmantel / Amsterdam, Netherlands London O’Connor (LIVE) / San Marcos, California BEARCAT / Discwoman / Brooklyn, NY JUNE 18 Danny Krivit / 718 Sessions + Body & Soul / New York, NY Honey Soundsystem / Honey Soundsystem / San Francisco, CA Nancy Whang / DFA Records / Brooklyn, NY Kenton Slash Demon / Future Classics / Copenhagen, Denmark Guiddo / Beats In Space + Luv Shack / Warsaw, Poland + Shenzhen, China JUNE 25 DJ Drama / Philadelphia, PA D. R. A. M. (LIVE) / Island, Atlantic Records / Hampton, VA DJ Burn One / The Five Points Bakery / Atlanta, GA Ya Boy Big Choo & Da Crew / GameOva Music / New Orleans, LA JULY 2 Theo Parrish / Sound Signature / Detroit, MI DJ STINGRAY / 313 / Detroit, MI Lena Willikens / Cómeme + Salon Des Amateurs / Cologne, Germany Kiki Kudo / Zero Balance / Tokyo, Japan JULY 9 Brodinski / Bromance / Paris, France Louisahhh / Bromance / Paris, France Juliana Huxtable / House of LaDosha / New York, NY Celestial Trax feat Roosevelt Rozay Labeija / Rinse + PTP / New York, NY JULY 16 Skream / Tempa / Croydon, UK DBM (Deadboy + Murlo) / Mixpak + Local Action / London, UK AJ Tracey (LIVE) / London, UK Nina Las Vegas / NLV / Sydney, Australia Eartheater / Hausu Mountain / Queens, NY JULY 23 Branko / Enchufada + RBMA / Lisbon, Portugal MC Bin Laden (LIVE) / KL Produtora / São Paulo, Brazil Kamaiyah (LIVE) / Oakland, CA Maluca Mala (LIVE) / New York, NY Milka La Mas Dura (LIVE) / Santo Domingo, Dominican Republic IMAABS / N. A. A. F. I / Santiago, Chile Endgame / Bala Club + PTP / London, UK JULY 30 Maya Jane Coles / I/AM/ME / London, UK Jay Daniel / Wild Oats + Watusi High / Detroit, MI Joey Anderson / Inimeg + Dekmantel / Jersey City, NJ Palmbomen II / NON Records + Beats in Space Records + 1080p / Los Angeles, CA Ohal / Styles Upon Styles / Brooklyn, NY AUGUST 6 Swizzymack / Mad Decent / Philadelphia, PA TT The Artist (LIVE) / Baltimore, MD DJ Class / Baltimore, MD DJ Tameil / Brick Bandits + Unruly Records / Newark, NJ DJ Jayhood / Badink Entertainment / Newark, NJ AUGUST 13 Special Request / XL Recordings / London, UK Doc Scott / 31 Records + Metalheadz / Coventry, UK Mumdance b2b Logos / XL Recordings + Different Circles / London, UK SADAF / Hoss Records / New York, NY SHYBOI / Discwoman + KUNQ / Brooklyn, NY AUGUST 20 Joy Orbison + Ben UFO / Hinge Finger + Hessle Audio / London, UK Hot Chip (DJ Set) / Domino / UK Marcus Marr / DFA Records / London, UK Powell, Russell Haswell, Not Waving, Jaime Williams / Diagonal + XL Recordings / London, UK AUGUST 27 DJ Paypal / Teklife + Brainfeeder + LuckyMe / Berlin, Germany Elysia Crampton / Break World / Sacramento, CA + Bolivia Ash Koosha / Ninja Tune / London, UK 2016-05-17 15:52 Nate Freeman

45 Naomi Campbell, Louis Vuitton’s Kim Jones to be Honored at AmfAR Inspiration Gala Naomi Campbell and Louis Vuitton men’s artistic director Kim Jones are set to be honored by amfAR at the seventh annual Inspiration Gala in New York on June 9. Whoopi Goldberg will be master of ceremonies and Jason Derulo will perform. The gala, which is presented by Harry Winston, MAC Viva Glam and media platform The Points Guy, will be held at Skylight at Moynihan Station. Campbell and Jones will receive the “award of inspiration” in recognition of their work against AIDS. The award was established in 2010 to celebrate men’s fashion in partnership with fund-raising for AIDS research, and has previously honored and hosted Miley Cyrus, Andy Cohen, Jennifer Lopez, Uma Thurman, Michael Kors, James Franco and Fergie. Honorary chairs for June 9 include Marc Jacobs, Riccardo Tisci, Rihanna, Kate Moss, Mario Testino, Michael Kors and Zac Posen. The evening will be chaired by Alan Cumming, Neil Patrick Harris, David Burtka, John Demsey, Cheyenne Jackson and more. The “inspiration series” gala will also feature a men’s fashion show, with looks from Louis Vuitton, Thom Browne, Acne, Alexander McQueen, Calvin Klein Collection, Helmut Lang, Marc Jacobs and Michael Kors. Jones joined Louis Vuitton in 2011. 2016-05-17 15:39 Leigh Nordstrom

46 As Performance Art, an Algorithm Goes on Trial for Manslaughter The see-through computer case housing the algorithm, designed by artist Daniel Dressel. All images courtesy the artist. Living in London, a global financial capital, multimedia artist Helen Knowles began to grow interested in algorithmic trading, high-frequency trading, and flash crashes. Eventually, came she across an article by Susan Schuppli, which dealt with algorithms (used specifically for drone warfare) that can modify their behavior. Schuppli wanted to know if they were ultimately culpable for their actions. This was the seed of The Trial of Superdebthunterbot , in which Knowles puts an algorithm on trial for manslaughter. Of course the trial is fictional, but Knowles asks a very important question for the near future: what happens when algorithmic outcomes go horribly awry? An usher stepping out of the elevator. “It is interesting that as technology is thrust forward, the accountability of action and the impact of the ever increasing virtual world of code, algorithm, and data looks to exclude the human from the equation,” Knowles tells The Creators Project. “We know that a company can be sued, so why not an algorithm?” In The Trial of Superdebthunterbot , Knowles doesn’t deal with algorithmic or high-frequency trading. Instead, she cleverly fabricates a scenario that combines algorithms with a very controversial issue—student loan debt. In her storyline, a debt collecting company, Debt BB, buys the student loan book from the government for more than it is worth, on the condition it can use unconventional means to collect debt. Debt BB then codes an algorithm to ensure fewer loan defaulters by targeting individuals through the use of big data, placing job ads on web pages they frequent so that the debtors can make money to pay off the debt. Quoting Schuppli, Knowles says that Superdebthunterbot has “a capacity to self-educate, to learn, and to modify its coding sequences independent of human oversight.” Thus, two individuals have died as a result of the algorithm’s actions by partaking in unregulated medical trials. Knowles now wants to know if, in the eyes of the International Ether Court, the bot could be found guilty of Gross Negligent Manslaughter? A courtroom drawing of the jury. Knowles first performed The Trial of Superdebthunterbot as an artwork in April of 2015. It was the opening night of the exhibition Collaborate! at Oriel Sycharth Gallery in Wrexham, a group exhibition surveying artistic collaboration, curated by Ivan Liotchev and Nicholas John Jones. As Knowles explains, two lawyers performed the work—Oana Labontu Radu, who responded to an advert Knowles sent around the law schools, and Lauries Elks, who Knowles already knew. Radu and Elks wrote the prosecution and defense speeches, delivering them alongside actor Mark Frost, who acted as the judge. The audience at the exhibition’s opening night comprised the jury. The algorithm was housed in a see-through computer made by artist Daniel Dressel, which sat in the dock. Following the performance, Knowles decided to perform it again, but this time for film. So Knowles assembled a crew to shoot the film, working again with the lawyers to rewrite and hone their speeches. She also found a real court usher named Sam Freeman, who gave what Knowles calls a “fantastically authoritarian performance” during filming. A courtroom drawing of the algorithm. To gather her jury, Knowles sent out 24 jury summons, chosen as a cross section of the community, to deliberate and come to a verdict. They were in attendance during the evening’s two performances. “Court rooms are dramatic, they rely on the spin and gusto of the barristers, so I mirrored the formality of the summing up speeches of the judge and barristers,” Knowles explains. “The absurd aspect of the work came from the predatory algorithm sitting quietly in the dock, serenely displaying its code. I will highlight the invisibility of algorithms by never personifying Superdebthunterbot. Instead, I emphasise its genderless silence in the dock, a machine executing actions without moral conscience.” “There is quite a conundrum going on and some people would be very very dismissive of the time wasted to prosecute a non-human entity,” she adds. “I like the preposterousness of the scenario.” Knowles shot the film with three cameras, a camera drone, and GoPros in high-definition color to emphasize the cutting-edge technology and surveillance themes of the work. She draws a comparison between The Trial of Superdebthunterbot and Robert Bresson’s The Trial of Joan of Arc , an intense film shot in black-and-white, wherein Joan is a conduit for God. In Knowles’ trials and film, the algorithm Superdebthunterbot is a conduit for Debt BB. “I also draw from Benjamin Bratton’s recent book, The Black Stack , which explores the new vertical sovereignty of the internet (cloud, server, host, user), accessed in an up and down movement,” says Knowles, who wants to convey the layers we travel through to participate in the virtual world. She did this by filming from a variety of perspectives, from aerial to close-up, which will “grind upon” the horizontal sovereignty of the courtroom. Knowles is disappointed that humans are now placing their trust more readily into computing, mathematics and code rather than tempering greed and self-destruction. “It seems odd that to make more ethical decisions we need to extract the human from the equation,” Knowles muses. “Even Bitcoin, which has many good characteristics, circumvents banking and bankers as they are now viewed as untrustworthy (post-2008), in favor of using algorithms and logchains. Is it not that a more rigorous system of human intervention and controls would be better placed to ensuring the right decisions are made?” Click here to check out more of Helen Knowles’ work. Related: Cuban Agitator Turns Crowdfunding into Performance Art You Can Get Followed for a Day in This Privacy-Shattering Performance Performers Preserve a Legacy of Violence in Red 2016-05-17 15:25 DJ Pangburn

47 Designer Creates Bicycles Based on People Drawing from Memory Designer Gianluca Gimini makes people draw a bicycle from memory – and then creates realistic bicycles based on those drawings. In 2009, Gimini started “pestering friends and random strangers.” He would approach them with a pen and paper and demand that they draw a men's bicycle by heart, on the spot. “Soon I found out that, when confronted with this odd request, most people have a very hard time remembering exactly how a bike is made.” Among the hundreds of drawings that Gimini has collected, not one shows an anatomically correct, so to speak, bicycle. He found out only later that the same exercise is used in psychology, to demonstrate how we sometimes think we know something even though we don't. What they do show, however, is an array of dream-like mis-memories of one of the most ordinary industrially produced products. From them, Gimini has created renders of what industrially produced bicycles would look like, collected in his project Velocipedia : among them, there is a fascinating diversity of bicycles that may function, probably function, and are unlikely to function. “A single designer could not invent so many new bike designs in 100 lifetimes,” Gimini writes. The Bologna-based Italian-American designer has created series of works between graphics and product design, including conceptual sketches for products that fail at doing what they are supposed to , and totemistic tributes to the Memphis Group . 2016-05-17 15:11 Jana Perkovic

48 48 Ashley Graham Featured With Joe Jonas in Upcoming DNCE Music Video More Articles By Joe Jonas ’ band DNCE is showing model behavior with their upcoming music video for “Toothbrush.” The singer posted a “coming soon” still from the video to his Instagram account, which shows him laying in a bed alongside Sports Illustrated Swimsuit cover girl Ashley Graham. Along with the music video appearance, this year has seen quite a few other “firsts” for the model — in March, she appeared on one of the covers of the annual SI Swimsuit edition (one of the first plus-sized models to nab the edition’s most prominent placement); launched her first ready-to-wear collection, called Beyond by Ashley Graham at Dressbarn, and reveal ed plans to bring her lingerie line, Modern Boudoir, aimed at the plus-sized market, to the U. S. The model and designer has been a loud advocate for positive body image, and earlier this year she was also featured in an ad for Lane Bryant’s “This Body” campaign. Jonas’ followers seem to be excited about Graham being cast as his (presumably) romantic interest in the video. “Yes!!! a realistic sized woman in a music video. Happy dance!!! She’s so gorgeous. Joe has never been sexier to me lol,” commented one user, while another added, “Love u more for this.” “Toothbrush” will be the second music video released from the band’s debut EP. #ToothbrushVideo coming very soon… A photo posted by J O E J O N A S (@joejonas) on May 16, 2016 at 9:01am PDT 2016-05-17 15:04 Kristen Tauer

49 See Robert Rauschenberg's Longest Artwork When Robert Rauschenberg was attempting to create the longest artwork in the world in 1981, he could only dream that the first viewing would be in China. This June, the Robert Rauschenberg Foundation is teaming up with Beijing's Ullens Center for Contemporary Art (UCCA) to present The ¼ Mile or 2 Furlong Piece (1981–98). The artist spent nearly two decades at work on the massive project, made up of 190 parts that collectively measure over 1,000 feet. It has not been publicly exhibited since 2000, and has never before been shown its entirety. The ambitious artwork will be included in the upcoming exhibition "Rauschenberg in China," opening June 12, which will also include photos Rauschenberg took during a 1985 trip to China. Related: Robert Rauschenberg Foundation Overhauls Image Rights Restrictions The upcoming show is the artist's first major exhibition in the country in 34 years, when "ROCI China," part of the Rauschenberg Overseas Culture Interchange, was presented at Beijing's National Art Gallery as part of the artist's efforts to promote global cultural communication. At the time, the exhibition is said to have heavily influenced the "85 New Wave," an important generation of local avant-garde artists who were a key factor in the development of the Chinese contemporary scene. "We are thrilled to revisit Rauschenberg's unique position in China's contemporary art history through a substantive presentation of a major work which was created at exactly the moment of this encounter," said Philip Tinari, director of UCCA, in a statement. "We hope that this exhibition will illustrate not only how Rauschenberg inspired China, but how China inspired him. " The UCCA show is not the only major Rauschenberg exhibition slated to open this year. A retrospective co-organized by Tate Modern , London, and New York's Museum of Modern Art , which will also travel to the San Francisco Museum of Modern Art , opens at the Tate December 1, 2016. Rauschenberg considered The ¼ Mile or 2 Furlong Piece a "self-contained retrospective," because it included many different types of techniques and materials, with references to various series he worked on throughout his career. The components of the work include include both panels and freestanding elements, and feature photographs, textiles, neon, and other media. " Robert Rauschenberg in China," featuring The ¼ Mile or 2 Furlong Piece will be on view at the Ullens Centre for Contemporary Art in Beijing from June 12–August 21, 2016. Follow artnet News on Facebook. 2016-05-17 14:34 Sarah Cascone

50 'Trumptendo': All Your Favorite NES Games, Way Worse Hair Images courtesy the artist A new series of Nintendo Entertainment System games, modded to make Donald Trump the villains, is wish-fulfillment at its finest. Trumptendo is the work of artist Jeff Hong, known for the Disney-lampooning Unhappily Ever After Photoshop jobs and a series of Nintendo games starring punk icons. He turns the frustrating reality of the Annoying Orange's bid for presidency into the series of simple yet addictive tasks that defined an early generation of gamers' youths. It's a perfect cocktail of nostalgia for the past, fear of the present, and hope for the future. With titles like Donkey Trump and Donald Trump's Punch-Out!! , Hong likens the presumptive Republican nominee to the big bad bosses of his childhood. "I wanted to cast Donald Trump as the villain in these Nintendo games because his views and personality are so outlandishly over the top, he isn't far off that from being one of these video game characters bent on world domination," Hong tells The Creators Project. In certain games, he has also recast those opposing Trump. Super Bernie Bros , for example, sees Mario don toussled white hair to rescue the princess from Trump's evil clutches. He also replaces our favorite Italian plumber in Donkey Trump. All this recasting requires nuance and skill, especially when it came to one particular part of Trump's visage. "One of the challenges of working with 8-bit Nintendo graphics is that likenesses have to be pixel perfect," Hong says. "Getting Donald Trump's hair and deeply condescending look were a bit tough to capture, but I think I got it. " To get an idea of how much effort it takes to create truly accurate pixel art characters, check out this tutorial. With this in mind, Hong selected games that allowed him more freedom to add detail to the characters. " Donald Trump's Punch-Out!! took the longest, but unfortunately making him essentially Mike Tyson in the game means he has a pretty killer knockout punch. " Just like the absurdly crowded beginning of the Republican primary race, in order to knock Trump out you must tear through a series of forgettable warm-up characters. To skip straight to the boss, Hong preserved the original Mike Tyson's Punch-Out cheat code "007 373 5963" in the "Continue" section of the main menu. Since there are no cheat codes like that for the actual fight against Trump, Hong has found it necessary to react to this political crapstorm the way he knows best: making art about it. "The fact that Donald Trump is a near lock-in for the GOP nomination is a pretty frightening thought. " Hong says. "He's come a pretty long way from his first announcement as a candidate. The number of supporters he has shows how divided of a country we live in. " Take a peek at Hong's sweet suite of games in the images below, and play them all at Trumptendo.com . Play Trumptendo for yourself here. Tweet at @CreatorsProject with proof if you beat any Donald Trumps. Related: "Unhappily Ever After" Has Disney Heroes Face The Horrors Of Real Life Super Mario Bummers: Nintendo's Crackdown on YouTube Emulators A Miyazaki Masterpiece Gets Remixed into an 8-Bit Video Game 2016-05-17 14:30 Beckett Mufson

51 Who Said This—Lady Gaga or Jeff Koons? Lady Gaga released Artpop in 2013, the belated follow-up album to 2009's acclaimed Fame Monster. The album cover features a nude, porcelain-like photograph of Lady Gaga, with Jeff Koons 's signature blue gazing ball nestled between her legs and fragments of Botticelli's The Birth of Venus in the background. Though Artpop netted mixed reviews , it succeeded at aligning the pop star with the world's most famous living pop artist. Recalling his work on Lady Gaga's album for an interview with MTV , Koons explained: "With the cover, I wanted to have Gaga there as a sculpture, as a three-dimensional type of form and with the gazing ball, because the gazing ball really does become kind of the symbol for everything. " Granted, Gaga and Koons were hardly the first to attempt a cross-genre collaboration , but their message was clear: The kingdom of popular culture was theirs to share, and they've since developed a relationship that endures today. Just last week, the influential performer took to Instagram to endorse Koons's latest collaborative venture with Google , captioning the post with a verse from her Artpop track Applaus e : "One second I'm a Koons, then suddenly the Koons is me. " To challenge your powers of discernment, we've compiled a list of quotes from each artist below. See the answers at the bottom. QUOTES 1. "My experience with fame has been the opposite: 'How can I stop this from changing me?'" 2. "Art in our family is the meaning of life. It's an extension of our lives. " 3. "I'm not a pawn for anyone's future business. I'm an artist. I deserve better than to be loyal to people who only believe in me because I make money. " 4. "In the overarching objective of my life, I am really only at mile two. I try to keep that in mind. " 5. "[M]y work has always been about acceptance and dismantling this hierarchy system of judgment where there is only one way to look at something…" 6. "How it connects you with what it means to be human, connects you with your community, that's the value of art. " 7. “I want for people in the universe, my fans and otherwise, to essentially use me as an escape. " 8. "I've learned in life that if you don't follow your intuition, if your intuition is telling you something and you don't listen to it, you end up going in a bad direction. " 9. "I'm open to everything. I love all artworks. I really believe in not making judgments and being open to everything. " 10. "The artist is essentially creating his work to make this lie a truth, but he slides it in amongst all the others. " 11. "But as you get older, you realize that you have the attention of a lot of young people. " 12. "I've always taken the opportunity to try to let everyone know what I really care about and what's important to me about my work—how art can perform and what it means to me. " ANSWER KEY 1. Lady Gaga 2. Jeff Koons 3. Lady Gaga 4. Lady Gaga 5. Jeff Koons 6. Jeff Koons 7. Lady Gaga 8. Jeff Koons 9. Jeff Koons 10. Lady Gaga 11. Lady Gaga 12. Jeff Koons Follow artnet News on Facebook. 2016-05-17 14:04 Rain Embuscado

52 Marlborough Chelsea Adds Werner Büttner, Ansel Krut, and Aïda Ruilova to its Roster Installation View of Aïda Ruilova’s ‘The Pink Palace’ at Marlborough Chelsea. COURTESY MARLBOROUGH CHELSEA Marlborough Chelsea announced in a release to ARTnews that it now represents three artists of varying age and nationality: Werner Büttner, Ansel Krut, and Aïda Ruilova. “These multigenerational, international artists exemplify Marlborough Chelsea’s commitment to a broad engagement of contemporary art and the expanding scope of our program,” Max Levai, the principal director of the gallery, said in a statement. “We are proud to welcome Ansel, Aïda, and Werner to the gallery.” The artists join a roster that includes artists such as Mike Bouchet, Tony Matelli, Keith Mayerson, and Devin Troy Strother. Of the three, only Ruilova is based in New York—Krut is based in London, and Büttner is based in Berlin. Krut had a number of solo shows in London before Marlborough Chelsea brought his work across the pond for his first solo show in New York, in 2013. Büttner last had a New York solo show in 1983, but that drought will end, as Marlborough Chelsea has plans to stage a Büttner exhibition that opens at the gallery October 27. There will be two monographs printed for the show, marking the first time the artist—who worked closely with Albert Oehlen and Martin Kippenberger—will have a monograph in English. And while Ruilova’s solo show at the gallery, “The Pink Palace,” closed March 12, Krut’s second solo show with Marlborough Chelsea is currently up in the main exhibition space, and Büttner is included in the group show, “Colliding Alien Cargo,” that’s now on view on the second floor. Both exhibitions close June 18. 2016-05-17 13:48 Nate Freeman

53 Lower East Side Mainstay ABC No Rio to Relocate After Receiving Demolition Orders ABC No Rio. COURTESY ABC NO RIO ABC No Rio, the East Village cultural center that has played host over the past three decades to artists, punks, and activists (and occasionally all three at the same time), has finally received its marching orders from the city. As reported by the New York Times yesterday , the derelict tenement, which currently has its headquarters at 156 Rivington Street, is set for demolition possibly as soon as this fall. The imminent move is not the first for ABC No Rio. In 1979, under the leadership of Jack Waters and Peter Cramer, a group of artists named Collaborative Projects founded the center by breaking into an empty city-owned storefront on Delancey Street. Soon after, following negotiations with the city, the group moved to their more permanent digs on Rivington Street, which they have fought tooth and nail to hold onto ever since. In 2006, the city formally sold the building to No Rio for $1. Despite its resilient spirit, the center has finally relented to the neighborhood’s rapid gentrification. According to the New York Times article, the demolition and reconstruction of the No Rio building has been long in the works, but was delayed due to “red tape and rising costs.” A recent $30 million purchase of a neighboring factory tipped the scales, with fears that No Rio’s structure would be “unlikely to survive the demolition next door.” The developers plan to replace the buildings with million-dollar condos. In the past few years No Rio has raised $1.6 million in private donations and a further $6.45 million in grants through City Council members. With such strong backing, the center is set to construct a new, environmentally friendly structure designed by architect Paul Castrucci , who was quoted as saying it will be “one of the most energy-efficient buildings in the city.” No Rio’s final art show in its current space will be held on June 10. Titled “InFinite Futures,” the exhibition will offer several artists’ visions of what the No Rio site might look like in 5, 50, and 500 years. 2016-05-17 13:40 Robin Scher

54 Drift Through Ancient Psychedelic Temples in a 360° Music Video [Premiere] The dreamy psychedelia of Still Parade 's latest song "Chamber" has been given the perfect visual accompaniment in the form of a 360° music video by artist and musician Vinyl Williams (a.k.a., Lionel Williams). The song is taken from Still Parade's debut album Concrete Vision due out June 10th on Heist or Hit Records , featuring tracks he recorded in his tiny apartment in Berlin. The album is part of an experimental shift in new recording techniques for Still Parade (a.k.a., Niklas Kramer) that was stirred by his dad gifting him a tape recorder. A departure from the professional studio environment he'd used previously it provided him with a sound he much preferred. The music on the album also takes inspiration from Todd Rundgren and Crosby, Stills & Nash—a legacy that can be felt in the dazed, woozy music of "Chamber" and the accompanying video, which starts on a cosmic roadway before heading off for a tour of spaceship interiors and temples under kaleidoscopic skies. Image: Screenshot via "'Chamber' is an initiation into a heavenly incorporeal realm," explains Williams. "The sonorous odyssey impresses upon the harmonious simultaneity of the spaces we inhabit, through the amalgamation of ancient religious architecture, ruins, contemporary structures, and future zones of scientific exploration. It was made as a 360º video to allow for interactivity. " For the video, Williams used Unity 5 and After Effects to create his journey into digital abstraction, collaging 3D models from Archive 3D, TF3DM, 123D Catch, Sketchup Warehouse, and Thingiverse. For Kramer, it created the perfect, free-flowing setting for his latest song. "'Chamber' is one of the songs that’s not really bound to any song structure," explains Kramer to The Creators Project. "It’s more based around these two different loops. I wanted the transitions in the arrangement to be quite subtle and let the different parts float into each other. I’m really glad that Lionel picked up this idea by creating this beautiful world, that’s constantly evolving. There are no cuts, but everything is gradually changing. To support this more free form of the music, it felt natural to give the viewer some freedom: how she or he is watching the video. " Image: Screenshot via Image courtesy of the artist "Chamber" comes from Still Parade's upcoming full-length, Concrete Vision, out June 10 on Heist or Hit Records. To learn more about Still Parade, click here. Related: Time Loops Through Trippy Portals in 360° Video The 'Centriphone' Makes Slow-Motion 360° Video with Nothing But String A 360º Look at Björk's Two New Music Videos 2016-05-17 13:35 Kevin Holmes

55 les architectes FABG stacks rosenberry residence in quebec located on a large wooded lot near sutton, a town situated in southwestern quebec, this residence has been conceived as a shared family home for a financier now based in asia, and his parents who still live in canada. designed by les architectes FABG, the dwelling’s common areas, such as the kitchen, dining room and living room, occupy an open ground floor that also includes a wine cellar and a garage. the parents’ bedroom is found at the western end of the plan, next to a study that overlooks a swimming pool to the south. the dwelling is located on a large wooded lot near sutton, quebec the upper level is reserved for the son, and houses a living room, guest rooms, a terrace and a master bedroom offering unobstructed views of mount sutton. the home’s two wings are positioned at right angles to minimize noise transmission between floors, an issue that becomes more pertinent when adjusting to the time difference between asia and quebec. the residence has been conceived as a shared family home externally, the house — clad with black lacquered aluminum panels and white cedar accents — sits on a podium oriented towards a swimming pool and lawn terrace. the hybrid dwelling has been constructed from wood, steel and concrete floors with radiant heating, while the glazing of the curtain wall and the windows include a low-e coating. the kitchen and dining area offer views across the site the parents’ bedroom is found at the western end of the plan the upper level is reserved for the son the house sits on a podium oriented towards a swimming pool and lawn terrace 2016-05-17 13:00 Philip Stevens

56 An Idiot’s Guide to Mobile Sarcasm (Seriously) Screencap by the author People who repeat Oscar Wilde’s “sarcasm is the lowest form of wit” quote seem to forget the second half of that sentence, which concludes, “but the highest form of intelligence.” Which is to say, if you have no facility with the fine art of sarcasm, then you haven’t done too much thinking. The greatest pleasure in being sarcastic is dropping it on unsuspecting others, or being the victim of it and respecting its genius. Enter texting and other digital communications, which have made sarcasm increasingly difficult for people to read. That's where the new iOS app, Sarcas-o-meter , comes in. Created by designer Andrew Herzog, Sarcas-O-meter distills 25 years of “field research” on the subject of sarcasm into an app that does the intellectual work for you. And, he claims, “You will probably never not understand sarcasm again.” “Our spoken language is riddled with subtle nuances and intricacies, often missed by the human ear,” Herzog explains. “With the Sarcas-o-meter, you will probably never not understand sarcasm again. Using an algorithm, the Sarcas-o-meter generates a number that may or may not be related to the percentage of sarcasm found in a user’s voice. It's potentially never wrong.” Which means you're always right. Potentially. Click here to download Sarcas-o-meter, and here to see more work by Andrew Herzog. Related: A New App Illuminates the Hidden Histories of Everyday Places Now You Can Sketch Musical Ideas on Interactive Sheet Music Your Eyes Make Music with This Face-Tracking Production App 2016-05-17 12:20 DJ Pangburn

57 taras kashko + jawad al tamimi envisions genesis towers for farming and living in iraq taras kashko + jawad al tamimi envisions genesis towers for farming and living in iraq all images courtesy of taras kashko ‘the genesis tower’ is a project imagined by architects taras kashko and jawad al tamimi for the city of iraq. fundamentally, the concept is to use architecture to generate an efficient life source for the population, while providing a place to live, to eat, and work in. the monolithic yet fluid shape of the towers reference the structure of wheat; the strips on the body work translated as the constrictive element that wraps the curvature of the building. at the same time, the towers incorporate organic farming into the programming to reduce the amount of water and chemicals that would normally be used grown on a farm. the towers combine accommodation and vertical farming to tackle food availability and food waste ‘the main idea of the genesis tower is to recreate an efficient life source for the population around the world…our goal is to search around the world for countries where the economy was teared down, especially in poor countries where food is often lost between the farmer and the market, due to unreliable storage and transportation.’ – taras kashko wrapped in a louver system enables control of the insulation inside the building the building would contain different programs depending of the floor. the first three would be dedicated to producing organically grown produce, with the façade wrapped in an operable louver system called a ‘shanasheel’ (a wooden operable screen seen on the local windows) that would control the amount of sunlight passing through. furthermore, the louvers control the insulation inside the building and let the cool air to flow pass. with the lower levels offering vertical farming and food production, the rest of the towers will facilitate accommodation that is flexible and able to accommodate a diverse amount of layouts. see taras kashko’s previous project: youth cultural centre in kiev here. the architects want to create an environment that encourages sustainable urban life the living floors would have 1000 apartments to provide a place to live for everyone the shape of the towers derive from the structure of wheat 2016-05-17 12:15 Natasha Kwok

58 When Felonies Become Form: The Secret History of Artists Who Use Lawbreaking as Their Medium Eva and Franco Mattes’s “Stolen Pieces” series, objects taken from works by (clockwise from top left): Alberto Burri, Vasily Kandinsky, Jeff Koons, Richard Long, Gilbert & George, Joseph Beuys, Marcel Duchamp, and César. COURTESY THE ARTISTS A rtists have long gotten away with murder, sometimes literally. After Benvenuto Cellini killed his rival, the goldsmith Pompeo de Capitaneis, in 1534, Pope Paul III—a Cellini fan—reportedly pardoned the Florentine artist, declaring that men like him “ought not to be bound by law.” In 1660 the Dutch painter Jacob van Loo stabbed a wine merchant to death during a brawl in Amsterdam, and then fled to Paris. But, as the art historians Rudolf and Margot Wittkower have noted in their vigorously researched 1963 treatise on the behavior of artists, Born Under Saturn , van Loo had no problem being elected to the Royal Academy there just two years later. His reputation as an artist was what mattered. Artists have not only indulged in criminal behavior and then been forgiven for it, by philosophers and historians, princes and popes, they have also sometimes openly advertised it. “I do not understand laws,” Arthur Rimbaud wrote in 1873, summing up the attitude of the renegade artist. “I have no moral sense. I am a brute.” Those lines, as well as Pope Paul’s (which Cellini shares in his autobiography), appear in Mike Kelley’s 1988 installation Pay for Your Pleasure , a long hallway lined with painted portraits of dead white men (intellectuals, artists, and the like) paired with choice quotations from them celebrating destruction, violence, and lawbreaking. It is, viewed from one angle, an indictment of the archetype of the artist as a macho man unbound by legal codes. The installation is always shown with an artwork by a murderer, selected based on the exhibition’s location. (A painting by the serial killer turned artist John Wayne Gacy appeared in the debut.) Writing about Pay for Your Pleasure , Kelley wondered, “How can we safely access destructive forces?” and suggested that “criminals themselves, safely filtered through the media, serve the same function” as art. Gacy’s paintings, he argued, “allow us to stare safely at the forbidden.” He sets artists and criminals together, on the same level. André Breton appears in Pay for Your Pleasure as well, alongside this infamous bit from his “Second Manifesto of Surrealism” of 1930: “The simplest Surrealist act consists of dashing down into the street, pistol in hand, and firing blindly, as fast as you can pull the trigger, into the crowd.” This is a milestone moment: criminality explicitly proposed as a work of art. No Surrealist ever acted on Breton’s suggestion. Nevertheless, his statement cracks open a secret history, hiding in plain sight, of artists who have not only broken laws to make their art, but have used lawbreaking itself as their medium. They have stolen artworks, robbed banks, and purchased and distributed drugs, experimenting with crime in much the same way that their contemporaries have experimented with silk screens or video. They have explored crime’s psychological effects (on both perpetrator and victim), its very definition, and its place in culture. Hand-colored film stills from Ulay’s First Act – There Is a Criminal Touch to Art (Berlin Action Series) , 1976. COURTESY THE ARTIST AND MOT INTERNATIONAL, LONDON & BRUSSELS (8) I n 1976 the artist Ulay, then 33 and based in Berlin, drove to the Neue Nationalgalerie, stole Carl Spitzweg’s Der arme Poet (1839)—a painting much loved by Hitler—and installed it in a local Turkish family’s living room. Jörg Schmidt-Reitwein documented the action on film. The artist was arrested and faced a 36-day prison term or a 3,600 Deutsche mark fine. He fled the country. (Oddly enough, the painting was stolen again, in 1989, while on loan in Copenhagen. It has never been found.) The resulting artwork, There Is a Criminal Touch to Art (1976), provides a solid script for how the criminal art piece is usually created: the artist commits a crime, publicizes it (often with the aid of juicy documentation), and then, when the authorities swoop in, slips away. This template (and this article) excludes acts of civil disobedience, like Pyotr Pavlensky’s setting fire to the entrance of the FSB’s headquarters in Moscow last year, or the “People’s Flag Show,” organized at the Judson Memorial Church in New York in 1970 to protest anti-desecration laws. The criminal artwork, by contrast, takes stranger forms, toward more diverse ends. The artist adopts the role of the trickster, complicating notions of both criminality and art. If politics are involved, they are approached obliquely, as in Ulay’s work, which layered critiques about German immigration policy, latent Nazism, and cultural patrimony. In contrast to the Ulay piece, Maurizio Cattelan’s Another Fucking Readymade (1996) is, unsettlingly, free of any motivation beyond self-interest. Asked by the De Appel Arts Centre in Amsterdam that year to create work for a group show, Cattelan responded by simply purloining a Paul de Revs show —and all of the office equipment—from the nearby Galerie Bloom and exhibiting it as his own work. The theft was a “survival tactic,” Cattelan later told curator Nancy Spector in an interview, sounding a bit like someone arrested for stealing food from a store. He had been given only two weeks to produce work for the show, he explained, but it usually takes him six months to come up with something. And so, he continued, “I took the path of least resistance. It was the quickest and easiest thing to do. Afterward, I realized that it was much more about switching one reality for another.” After some initial outrage from the proprietors of Galerie Bloom, who called the police, the Italian artist was allowed to display his work for the first few days of the show before returning it to the gallery—an outcome that nicely highlights the special dispensation artists often enjoy when committing their crimes. And for the record, yes, Cattelan’s heist seems to have been suspiciously well orchestrated—an inside job, perhaps, or maybe a complete fabrication. Rumor and exaggeration are baked into many criminal artworks. (Cattelan did not respond to requests for an interview, though Galerie Bloom is on record as being mystified about how he pulled off the caper.) Ulay and Cattelan are not outliers. Amazingly, there exists a whole subgenre of criminal pieces that involve stealing works, or parts of works, by other artists. In their brilliant book Lifting: Theft in Art , which accompanied a 2007 traveling show of the same name that originated at the Peacock Visual Arts Center in Abderdeen, Scotland, Gavin Morrison and Fraser Stables highlight the work of Ivan Moudov, Timm Ulrichs, and Mark Jeffrey, which also involves art thefts. (Cattelan and Ulay are explored in depth, as well, and I am indebted to the authors for their impressive research on all these artists.) In his series “Fragments” (2002–7), Moudov presents bits of artworks he has stolen on his travels. In part, he said, the work is meant as a reaction to the lack of contemporary-art institutions in his native Bulgaria; it is an attempt to bring knowledge to his homeland. More atavistically, it is also a way for him to feel closer to the art. “I appreciate the Native American belief that when they scalp their enemies they take their power,” he said. “My situation is not exactly the same but I do think that I become stronger.” If Cattelan’s theft was a riposte to the overproduction demanded of contemporary artists, Moudov’s project, involving the permanent alteration of artworks, represents something far more problematic. The same goes for Eva and Franco Mattes’s series “Stolen Pieces” (1995–97), which eerily mirrors Moudov’s work. For two years, the Matteses, then at the start of their careers, stole tiny pieces of famous and generally very expensive artworks on view in museums —a flake of paint from a Vasily Kandinsky, a label from the pedestal of a Jeff Koons sculpture, a bottle cap from an Ed Kienholz assemblage (their first job), and a fragment of a fragment chipped off of a Marcel Duchamp urinal. Only in 2010, when the artist couple believed that the statute of limitations had expired for their crimes, did they show the purloined scraps—along with video and photographic documentation of their activities—as art. Franco told the critic Blake Gopnik that the series was “absolutely not vandalism. I thought it was the greatest tribute I could ever pay to these artists.” That seems a rather disingenuous statement, but it does beg the question of what crime the Matteses had actually committed. It was theft, to be sure, but they had stolen something with almost certainly no monetary value. How do you value a chip of paint from a blue-chip painting? They had committed vandalism, but it seems unlikely in most of the cases that even the most astute conservators would have spotted the damage. Installation view of Maurizio Cattelan’s Another Fucking Readymade , 1996, on view at De Appel Arts Center, Amsterdam. COURTESY MAURIZIO CATTELAN’S ARCHIVE S uch pieces raise all sorts of philosophical questions regarding what constitutes an artwork and what constitutes a crime. The Matteses’ attention to the statute of limitations is particularly canny —some might say devious. If, after more than a decade, no one would hunt us down and prosecute us, their actions seem to argue, perhaps there was no crime at all. And that presents a frightening question: exactly how much of an artwork would they have had to steal before someone noticed? When artworks are stolen or altered, judgments can be hazy. But other artists have made even more morally questionable choices, as Chris Burden did in his TV Hijack (1972), when, while being interviewed live on a California television station, he took the host, Phyllis Lutjeans, hostage. “Holding a knife at her throat, I threatened her life if the station stopped live transmission,” he wrote later, adding that he told her he was going to make her perform obscene acts. Interviewed in 2015, Lutjeans told a California radio station that he did no such thing. “I remember him saying. ‘Phyl, don’t worry,’ ” she said. And anyway, she knew it was art. Some victims of criminal artwork have not taken it so well. When the filmmaker Joe Gibbons decided to rob a bank in Providence, Rhode Island, as part of a film he was shooting, he has said, he tried at first to add some levity to the situation when he slipped a note to the teller informing her about what was going on. “I tried to make it a funny note, something to get it on the news,” Gibbons told the New York Post last year. “The upsetting thing there was that the teller was jolted by the note. It really upset her.” The teller in the next bank he robbed, this one in Manhattan’s Chinatown, however, kept her head and slipped an exploding ink-dye packet into his bag along with the money, which totaled only about $1,000. (Gibbons later said he thought it would make “a great souvenir” when he heard the packet go off.) Gibbons bragged about the action to incredulous friends; he believes he was apprehended because one of his former students turned him in. In fact, the heist that led to his arrest was rather amateurishly executed and something of a farce—not least because Gibbons apparently deliberated for some time about whether to go through with it while standing outside of the bank, causing the battery to start to die on his video camera during the action. It was all of a piece for Gibbons, who has regularly toyed with alternate identities in his videos, trading one reality for another (à la Cattelan) and making it difficult for viewers to distinguish fact from fiction. On the one hand, Gibbons has said that what got him “over the final hurdle was the desperation of not having any money and not having a place to stay, not having anything to eat.” On the other, he at least claimed to have been inspired by certain radical antecedents. “I read the works of Arthur Rimbaud, who essentially believed a poet had to descend into the depths of all that was bad and report back,” he told the Post . “This whole thing has been one long project about discovering the disenfranchised portions of society.” After spending a year in jail in New York, Gibbons is, as of this writing, out of prison but on bail awaiting trial for the Rhode Island robbery. The ultimate irony—or maybe this was part of his plan all along—is that he will not be able to benefit financially from showing video that he shot during the Manhattan holdup because New York’s Son of Sam law prevents criminals from profiting in any way from their crimes. Instead, he recently exhibited some simple, subtle drawings at the Southfirst gallery in Williamsburg, Brooklyn. One shows his cafeteria tray at the prison on Rikers Island. Rob Pruitt, Cocaine Buffet , 1998. COURTESY THE ARTIST AND GAVIN BROWN’S ENTERPRISE NEW YORK/ROME ‘I t was important that the activity include fracturing a legal code,” the late Dennis Oppenheim told Morrison and Stables, when they interviewed him for their book. He was discussing Violations (1971–72), which consists of 153 hubcaps reputedly stolen from cars in California, along with a video of the artist making off with one of them. “Fracturing” is the key word: the subtitle for the piece rather gleefully lists “Evidence of 153 misdemeanors in violation of Section 484 of the California Penal Code (Petty Theft).” But Oppenheim clearly knew it would be impossible to trace the individual hubcaps back to the cars even if the authorities came into his show, to say nothing of actually convicting him of the crime. One could divide criminal artists into two separate camps—ones that seek to tangle up and obscure issues of causality and criminality, “fracturing” it (the Matteses, Oppenheim), and those who blatantly break the law (like Gibbons and Cattelan, even if the latter would ultimately get off the hook). David Hammons falls into the second camp, embracing crime in his 1981 performance Pissed Off , in which he urinated on Richard Serra’s soaring T. W. U. (1980) sculpture, then installed in Manhattan’s Tribeca neighborhood. Knowledge of the piece exists thanks to photos snapped by Dawoud Bey, which show Hammons taking a casual pee and then having what looks like a friendly exchange with a New York City police officer. (Whether or not he was arrested remains a matter of speculation.) While Pissed Off has long been understood as a kind of critique of the Serra work, Hammons was also committing one of the quality-of-life offenses that have mired many minorities and lower-income city residents in the legal system (and which the de Blasio administration has sought to decriminalize). Could the work have been complete without the artist at least risking being pulled into the same system? There are too many artworks that incorporate illegal drugs to go into here, but Rob Pruitt’s Cocaine Buffet (1998) is of particular interest, since it throws into stark relief the very real risks taken by Hammons, an African- American man committing a crime in public. It was 1998, and for a group show at artist Jennifer Bornstein’s loft, Pruitt presented a 16-foot-long line of cocaine on a mirror and invited guests to partake. Once people got snorting, it reportedly lasted for about ten minutes. “I think that the cocaine line was also a line in the sand,” Pruitt—whose career prior to the event had been at a nadir—would later muse. “People were able to see me new again.” It was a work open to multiple interpretations—a potlatch; a bribe; a bit of critical participatory theater, as the viewers, the drug users, were forced to kneel down, supplicating themselves before the artist; and a perfect illustration of the insularity of the art world, which is the reading that seems most interesting here. Judging from photos of the event, there was at least half an ounce of cocaine in that room, a felony punishable by one to nine years in prison under current New York State sentencing guidelines. (If there were four or more ounces, which seems like an outside possibility, it would have been a three-to-ten-year sentence.) Yet both artist and participants were apparently sure no authorities would be tipped off. At a time of increased penalties for drug offenders, it was a breathtaking assumption of privilege. nstallation view of “Derek Frech: Counter Measures” at Interstate Projects, 2015. Frech’s work jams radio, cellular, and Wi-Fi signals. COURTESY THE ARTIST AND INTERSTATE PROJECTS C rime is changing with technology, and so is the criminal artwork. A whole book could be written on artists who break into networks, tweak and alter digital information, and steal legally protected material, playing with notions of copyright and privacy. But technological advances are also changing crime in more unusual ways, “fracturing” legal codes, as Oppenheim put it. Derek Frech and Aaron Flint Jamison have each produced artworks that allow people to jam various signals—radio, cellular, and Wi-Fi, among others. Using them in many countries, including the United States, is illegal. Both artists brush up against the very edge of the law, in effect placing a loaded gun in someone’s hand and letting him or her decide whether or not to use it. New technologies are leading to tough new questions. In 2014 the Swiss artists Carmen Weisskopf and Domagoj Smoljo, who operate under the name! Mediengruppe Bitnik (and were profiled last year in ARTnews ), exhibited at the Kunst Halle Sankt Gallen in Switzerland items that a shopping bot they had programmed randomly purchased on the darknet, the area of the Internet that traffics in illicit information and goods. Among the things acquired by the bot were ecstasy pills, which are illegal in that country. In what can only be described as a glorious coincidence, the kunsthalle is located next to a police station. Had the artists committed a crime? asked Mike Power in the Guardian. Yes and no. “We are the legal owner of the drugs—we are responsible for everything the bot does, as we executed the code,” Smoljo told the paper. “But our lawyer and the Swiss constitution say art in the public interest is allowed to be free.” The issues raised by Random Darknet Shopper (2014–), as the piece is titled, are no longer merely speculative. As year by year the world becomes increasingly dominated by complex, interlocking systems that are beyond the scope or expertise of any one individual, it is not hard to imagine an artwork that begins as a program or a process and then expands into other, untested legal territories. (Already works of bio-art have sparked legal action; the Critical Art Ensemble was hit with cease-and-desist letters for engineering materials that could kill Monsanto’s “super crops,” as Carolina Miranda has reported in these pages .) Can a work that behaves in ways that its creator did not intend still be considered an artwork, or is it something else entirely? Richard Nixon’s old line about executive privilege—“when the president does it, that means that it is not illegal”—proposes a tempting formulation: when an artist does it, it’s not illegal. I suspect that would not satisfy artists or judges or ethicists. But this much is certain: In its most extreme manifestations, the criminal artwork places artists or viewers at risk, opening them both to the possibility of physical or emotional harm, or at the very least, the power of the state. It lays bare systems of power in ways that other art cannot, rendering them painfully visible. Andrew Russeth is co-executive editor at ARTnews. A version of this story originally appeared in the Summer 2016 issue of ARTnews on page 102 under the title “When Felonies Become Form.” 2016-05-17 12:00 Andrew Russeth

59 Drama Over Unauthorized Banksy Show in Rome Plans for an unauthorized Banksy exhibition in Rome are causing a stir. The show, titled "War, Capitalism & Liberty," has not been approved by the artist. The exhibition, which will go on display at the Palazzo Cupola museum in the Italian capital, brings together paintings, prints, and sculptures on loan from international collections. Curators Stefano Antonelli, Francesca Mezzano, and Acoris Andipa say that the aim of the show is to analyze the social and political connotations in Banksy 's work. "The work critically examines contemporary issues of war, consumerism, and politics," Andipa told the Daily Mail. "And this is the first time a major collection of artwork by the artist, now considered the world's best street artist, has been curated from private international collectors by an independent and important museum. " He added, "This is the largest collection of work by the artist known as Banksy, a corpus of over 120 works including sculptures, stencils, and other artistic expressions, all strictly from private collectors and, therefore, absolutely not removed from the street. " In April 2014, Banksy—whose true identity remains a mystery —appeared to react furiously when works were taken from the street to be exhibited and auctioned under the title "Stealing Banksy. " Despite the fact that organizers insisted the works were “sensitively salvaged," the artist published a statement online criticizing the show. “I think it's disgusting people are allowed to go around displaying art on walls without getting permission," he said at the time, most likely aware of the ironic nature of such remarks coming from a street artist known for working illegally. Seemingly undeterred by the artist's choice words over the last unauthorized show, Antonelli turned on the charm. "Since the 1990s, the artist known as Banksy has used public space to express and exhibit his work, freeing the potential of graffiti and laying down a new blueprint for street art," he said. "In the history of Western art, no other artist has managed to bring themes of this magnitude to the attention of a global audience," he added. It remains to be seen if Banksy will be appeased by the Italian's flattery. Follow artnet News on Facebook. 2016-05-17 11:52 Henri Neuendorf

60 rolls royce phantom zenith collection since 2003 rolls royce has defined their luxury standards through the seventh generation ‘phantom coupé’ and ‘phantom drophead coupé’. the hallmark of it’s last chapter, the british company announced the ‘zenith collection’ – true collectors’ pieces. all 50 examples of rolls royce ‘phantom zenith collection’ have already been commission by customers with bespoke finishes and designed to amplify the luxury of two of the rarest cars in the world. every possible detail was considered. for example, the split-tailgate has been enhanced with the addition of touring day’s picnic. a glass shelf, housed within the rear section can be effortlessly deployed serving as the perfect place from where to serve sparkling wine. the editions also include a fridge large enough to hold two standard bottles and eight glasses, while the comfort of those who wish to sit is ensured with the use of padded leather on the rear tail-gate. 2016 represents the final year of production for the seventh generation ‘phantom’ limousine, with an successor built with an all-new aluminum architecture that promises to underpin all future rolls royce cars. detailed look at the timepiece each cabin is made to order for the customer 2016-05-17 11:45 Piotr Boruslawski

61 Q&A: Architect and Tony Nominee David Rockwell David Rockwell, one of the world’s leading architects, feels most at home in the theater. Chalk that up to his mother, Joanne, who was a vaudeville dancer and choreographer who established a community theater in Deal, New Jersey. The thrill of participating in the productions of the Deal Players never left Rockwell, even after he had won global fame as the creative force behind, among other disciplines, hotels (W), restaurants (Nobu), airline terminals (JFK’s Jet Blue), museums (Walt Disney in San Francisco), and recreation areas (New York’s innovative Imagination Playground). The prolific artist, who has designed sets for twenty Broadway shows, has just received his sixth Tony Award nomination for his work on the revival of “She Loves Me” at Studio 54. Critics raved about both the show and its design, which from curtain up subsumes the audience in the romance of a 1930s Budapest parfumerie. The musical, directed by Scott Ellis and starring Zachary Levi and Laura Benanti, has been nominated for a total of eight Tonys, including Best Revival. And while “Hamilton” is likely to dominate on June 12 when the awards are doled out at the Beacon Theatre, one that may escape the megahit’s grasp is in the competition for sets. Rockwell’s detailed and sumptuous vision is just that exceptional. Moreover, the designer also managed to earn acclaim for two other shows this season: the revival of A. R. Gurney’s “Sylvia” and “On Your Feet!,” the new musical about Gloria and Emilio Estefan directed by Jerry Mitchell, which was splashed with the vibrant tropical colors of Miami and its Cuban émigrés. The restless artist is also onto his 21 st show, next season’s revival of the musical “Falsettos,” and is also the designer chosen to renovate the Helen Hayes Theatre for the non-profit theater, Second Stage. At a recent press scrum celebrating the Tony nominees, Rockwell spoke of what makes him run as though there might not be another tomorrow. It’s the asylum that first intrigued me. I came to New York seeking a certain kind of energy that was captured by the theater. It was the thing that seduced me about the city, a community that was mythic, in a way. It’s unbelievably emotional and moving to be a part of a community that you admire. I’m intrigued by it because it’s an incredible group of artists that are craving experiences for the moment and I think that’s been an important part of how I’ve lived my life. In some ways, it’s the ultimate thrill for me. I believe that all design is storytelling; it’s just that the tool kits are different. The tool kit of architecture is one of infrastructure and permanence. Theater involves live transformation. And I think the temporal quality is acknowledged. There are many architects who want to create things that last forever. And I learned early on that things don’t last forever and that celebrating the moment has a kind of power. The reality is that the work I do in the theater is the most personal work I do. It touches who I am as a person in a very deep way. I think a series of things: I lost my dad when I was three; my family moved a lot, from Chicago to the Jersey shore and then, when I was twelve, to Mexico. My mom passed when I was fifteen and that was incredibly difficult for me because so much of celebrating the moment came from her and her love of theater. She had started a community theater, The Deal Players, in New Jersey and I loved being a part of that. The theater on the Jersey Shore turned a sleepy private suburb into this acting-out community which everyone was part of. The local dentist would be in the play. And that transfers to “She Loves Me.” The show could not work if everyone from the stage manager to the prop master did not fall in love with it. My sense of collaboration is all linked to “play.” In all my work, play is incredibly important. In “She Loves Me,” you give permission to 1300 people at each performance to become a community and to engage in a sense of play. That sort of story telling, paradoxically, is all the more needed in a world mediated with technology and virtual connection. When Scott [Ellis, the director] approached me, his main criteria was that he wanted to do something with the show physically that had never before been done. And that immediately intrigued me. I’ll only work with directors who invite you to explore. If I know the answer to any project before I begin, then that short-circuits any investigation. The fear and anxiety that I’m not sure how to do this propels everyone to lean forward to try to do things they haven’t done before. It was a joy to be able to work on a musical that was part of the golden age of musicals, which is what interested me in theater in the first place. The challenge was to reinvent that in a new way, using new technology with a new team. There were a couple of levels. The first level was that the set had to be detailed enough to convince the actors as well as the audience of the authenticity of this world. Of the 350 perfume bottles on the set, 25 of them are moved throughout the show. The three sales persons had demands to make their stations more real, where to put the sales receipts, for example. The second level was to establish a sense of security among the actors because of the amount of automation. It looks like a unit set but it is really four separate pieces and Scott had the actors weaving in and out of pieces. It’s really a dance where the set is one of the dancers. It’s like a Swiss watch. The actors couldn’t believe how tight it was; there was a half-inch tolerance between those counters. But I’m not interested in these effects for effects sake. I’m interested in effects for emotional storytelling. I’ve always been interested in transforming things. Even in buildings, entrances are some of the most powerful elements. When we design a building the entry doors are carefully considered. They are equivalent to a proscenium in the theater. When the curtains go up and the lights come on, you’re introduced to a completely different world. The magic begins when you enter through the doors. 2016-05-17 11:31 Patrick Pacheco

62 jongha choi's de-dimension projects brings 2D images to 3D functional objects jongha choi’s de-dimension projects brings 2D images to 3D functional objects (above) the ‘de-dimension’ chair and stool collection hanging on the wall all images courtesy of jongha choi eindhoven-based designer jongha choi has created a collection of benches and stools called ‘de-dimension’ that can transform from a flat, two-dimensional view, to a three-dimension functional object. the project itself inquiries on the history of images and how this one has been aligned with the history of human race, having the later one being understood and depicted in various forms. nowadays, owing to scientific technology, images are developing in different forms, from photography, film, and even further towards virtual reality. even the advent of 3D printing skills shakes our fundamental notion of it. unlike the past, we are not only seeing the image as a means of reproducing objects but also giving essential identity to the image itself. in other words, though the image still shows its visual effect on a flat plane, it is not just an expression of representation, but rather making an experience real. in our current situation in which modern society experiences the image, in relation to advertising, image circulation and the internet, why do we not question an images’ confinement to a flat surface? why don’t we try to get more stereoscopic and attempt for direct experiences with the image? the stools and benches are transformed easily into seating objects 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. 2016-05-17 11:15 Jongha Choi

63 Rock Stars Pay Homage to Unseen Andy Warhol Films in London Related Events Exposed: Songs for Unseen Warhol Films Venues Barbican Art Gallery Artists Andy Warhol Marcel Duchamp John Giorno With the amount of Andy Warhol exhibitions constantly being held around the world, it is easy to think that you have seen all there is of the best-known Pop Artist. After all, if you’ve seen one soup-can screen print you have seen them all, right? Well no, there are always new Warhol facets to discover, as proved by the 15 works in “Exposed: Songs for Unseen Warhol Films,” a performance just staged at the Barbican. The videos were shown with accompanying soundtrack from some of American independent music’s leading lights. Put simply, there is a lot of rarely seen, or indeed unseen, work out there. That said, it is easy to get Warhol fatigue. Repetition is key to the artist’s work, but the results can be, well, repetitive. Hence a new approach. The 15 shorts were previously unseen in Europe, although they had been viewed at the event’s premiere in Pittsburgh, home of the Andy Warhol Museum, in 2014. They get a live soundtrack courtesy of a cavalcade of American musicians that reads like a particularly cool night at Warhol’s Silver Factory. Performers include Martin Rev, one half of influential cult band Suicide; Television’s Tom Verlaine, one of the founders of post-punk; Eleanor Friedberger, of solo and the Fiery Furnaces fame; and Dean Wareham, who created the show. Sadly, Bradford Cox, of Atlas Sound and Deerhunter, was unavailable to attend because of a family bereavement. With each musician, we see a new Warhol, as creatives in their own right accentuate the parts of his film work that chimes with them. Some take inspiration from the images themselves, like Verlaine, whose intimate guitar playing soundtracks three early, domestic films, two of which feature the artist’s then-boyfriend, John Giorno. Others focused on the lives of the celebrities featured in the works, such as Friedberger, whose trio of songs are directly about the films’ subjects; artist Marisol, musician Donovan and archetypal Warhol Superstar. Some just did their own thing only loosely inspired by the action behind them, as with Martin Rev’s exhilarating noise set (at this point in his career, Rev’s world must just sound like the bombardment of noise he makes on stage.) Rev’s set was the nearest the evening came to what a Warhol gig must have been like, with the strange and exciting noise combined with projected film reminiscent of the “Exploding Plastic Inevitable” (EPI) happenings orchestrated by Warhol to showcase his pet project, The Velvet Underground. Though instead of being attended by a wild crowd of 1960s outsiders and freaks, “Exposed” had to make do with a polite seated crowd of respectable middle class Londoners, none of whom bat an eye at a film that must have been shocking of its day of drag queen Mario Montez and his boyfriend alternately sharing a hamburger and sloppily kissing. What shines most of all, as that lurid example shows, are the films themselves. In a near pristine quality, astounding for works not seen for 50 years, the pieces show the sheer variety of Warhol’s interests, a range that gets forgotten in the pop history (pardon the pun) of Warhol, of soup cans, Marilyns, “Chelsea Girls,” and Empire. Though some of those Warhol film staples, the “Screen Tests,” are here (including one featuring Marcel Duchamp ); so too is a stop-motion video, a backdrop made for an EPI show, and even what looks like a conventional home movie featuring Giorno washing dishes naked. As such, the show feels like a rare thing: a totally new insight into perhaps the world’s most over-exposed artist. 2016-05-17 11:09 Samuel Spencer

64 The George Lucas Museum May Move When George Lucas picked Chicago over San Francisco as the site of the forthcoming Lucas Museum of Narrative Art in 2014, putting an end to a months-long love triangle , we assumed it was happily ever after for the Star Wars filmmaker and his wife, Chicago native Mellody Hobson. But, almost as if this were the third act in a romantic comedy, Lucas may find his way back to his first love, San Francisco, after all. With the Chicago project bogged down by a legal challenge from preservationist group Friends of the Park, which contends that the museum's lakefront location would violate the state's public trust laws , Lucas is now back in talks with the Bay Area, according to the San Francisco Chronicle . San Francisco mayor Ed Lee has once again been wooing Lucas, with newly-proposed site on Treasure Island, a formal Navy base connected to both Oakland and San Francisco by the Bay Bridge. "In the abstract, it would work really well," John King, urban design critic with the San Francisco Chronicle , told the Chicago Tribune , calling it an "architectural blank slate. " "It doesn't have the legal hurdles, and Treasure Island is nobody's backyard," he added. "You don't have really concerned neighbors or constituency groups watching out for it, you don't have public trust law and you don't have national historical preservation law on it. " Should Lucas tie the knot with San Francisco, he would likely have to create a new ferry or water taxi service to improve access to the transportation-challenged site. The original plan was for Lucas to build at a site at Crissy Field, but the proposal was rejected by the Presidio Trust. Eager to lock down Lucas, San Francisco offered a waterfront location on Piers 30–32 as a second option, but Lucas was won over by the Chicago plan, which would place his institution near major cultural attractions such as the Field Museum , the John G. Shedd Aquarium , and the Adler Planetarium. The museum will house Lucas's collection of movie memorabilia and art, including pieces by Maxfield Parrish , Alberto Vargas , and Norman Rockwell , as well as plenty of Star Wars - related materials. It remains to be seen whether Lucas will be moved to give up on Chicago, where he has faced considerable opposition, first from Bears fans and now from the preservationist group, despite city approval. If the current plan is, in fact, stymied by their lawsuit, mayor Rahm Emanuel has reportedly devised an alternative, which would involve tearing down a convention hall and borrowing $1.2 billion from the state, according to the Chicago Tribune. The museum's current design, from Beijing-based architectural firm MAD Architects , was unveiled in November 2014. There is also a third potential suitor in play. During the museum's initial search for a home, Los Angeles also made a last-minute proposal in hopes of winning the film director's heart. Should Lucas wish to reconsider southern California, "we would welcome it in Los Angeles," Los Angeles mayor Eric Garcetti said in a recent statement. Whether or not the Lucas Museum will prove it's never too late for love remains to be seen, but San Francisco is still full of hope. "I never gave up on the idea," Lee told the Chronicle. "We have a chance to bring it back, and I want to be open and positive about it. " Follow artnet News on Facebook. 2016-05-17 10:52 Sarah Cascone

65 William Kentridge Slams European 'Greed' The South African artist William Kentridge is the latest art world figure to criticize Europe's refugee policy after he delivered a scathing condemnation of the migrant crisis. Speaking to the German art and culture publication Art Magazin ahead of the opening of his museum survey at Berlin's Martin Gropius Bau , the artist took a moment to address the hypocrisy of the European political elite. "For 300 years Europe took everything it could get from its colonies and is directly responsible for the structures of these countries," Kentridge said. "And now that these people knock on Europe's door, it shuts down and behaves as if it were generous to let in a tiny, tiny part of this population to whom it inflicted such damage. It is not as if the population of Europe will suddenly grow by 20 or 30 percent, it is about a fraction of a percent. From the outside it looks like incredible greed and selfishness. " Kentridge joins a growing list of prominent artists who have spoken out against the ham- fisted handling of the migrant crisis. Ai Weiwei has been one of the most vocal critics of European policy toward migrants and refugees. The Chinese artist has visited refugee camps in Lesbos and Idomeni in Greece to highlight the plight of displaced people. Anish Kapoor organized a petition signed by leading British actors, musicians, and other cultural luminaries to urge the UK government to act on the European refugee crisis. He even bought a full-page advertisement in the Guardian to bring attention to the cause. Olafur Eliasson has also spoken out against the European Union's inadequate response. He organized a participation-based arts project in Vienna which was meant to eliminate hierarchies between the hosts and the refugees being hosted. Meanwhile, the German photographer Wolfgang Tillmans is addressing the ongoing European migrant crisis at his Berlin-based project space, Between Bridges, which will host talks events and exhibitions regarding the humanitarian crisis until further notice. Kentridge was in Berlin promoting his three shows in the city , at Martin Gropius Bau , Kewenig Galerie , and a lecture-performance taking place from July 5 -17 as part of the Foreign Affairs festival . Follow artnet News on Facebook. 2016-05-17 09:57 Henri Neuendorf

66 Samara Golden Yerba Buena Center for the Arts / San Francisco In Samara Golden’s “ A Trap in Soft Division ,” her largest exhibition to date, the cyclical confinement of the present moment provides an autopsy of our contemporary condition. A Trap in Soft Division Golden renders what she calls the “Sixth Dimension” by turning gallery architecture into a light box. Akin to filmstrips in which past, present and future collapse, each “frame” is an instance from life, different yet homogenous. The viewer stumbles into an atrium-like space. A slick, white wooden trough takes up most of the room, forming a square-ish barricade. You sense before you hear a barely perceptible white noise being pumped into the space. It is reminiscent of a mall, its climate control giving off a whiff of sadist pleasure in safety. Circumambulating the atrium corridor, fellow viewers stares across this abyss of nothingness. Looking inward, a grid of mirrors finally nudges one’s vision upward, to look for clues out of this impasse. Above, nested in eighteen vaulted skylight windows, in three rows of six, are upside-down living rooms, constructed out of foam and other disparate materials, in reduced proportions. The east- facing skylight forms the windows of the individual living spaces, which recall micro lofts in the nearby SoMa neighborhood, where development spurred by the tech industry has reached a fever pitch. Each room is decorated with “life’s necessities,” each row customized to a different aesthetic. First: a starter-pack of contemporary loft living, white and minimally designed. Second: the sterility is undercut by a homey Midwestern vibe, illuminated by Tiffany-style table lamps and faux stained-glass windows made out of lighting gels. Third: an amalgamation or compromise of the former two, keeping it minimal while retaining a sense of dowdiness with “country curtains.” Strewn about are scarves, in-progress crochet, bowls of fruit, sunglasses, dustpans, tousled clothing and laundry baskets. Still, some empty wineglasses teem on the shelves amid half- opened gifts and spilled red wine, presumably after a night of tame celebration. Life’s messiness contained and sterilized — danger kept at bay. Clarity, not vertigo, results from looking, upward and downward, ad infinitum. In Agamben’s notion of “the time of the end,” finality is never reached, as it has already arrived as part of the present. Golden prompts us to examine the false perception of the self’s boundaries; she pushes us back into the infinite now of our perpetual near-death. by Jo-ey Tang 2016-05-17 08:45 www.flashartonline

67 Art Conclave at Mumbai's Newest Hangout for Art Lovers ‘The Art Hub’ Mumbai now has its newest hangout for the art lovers the ‘Art Hub’. Spread over 10,000 square feet, the gallery promises to have something for everyone. The gallery has been initiated by the International Creative Art Centre (ICAC), which promotes emerging artists across different styles and media in India. The gallery opened with the inaugural show ‘Art Conclave’, which is on from May 14 to May 22 at the Atria Mall, Worli. Paintings, sculptures and installations of about 200 artists are on display at the Art Conclave. Prominent artists who are showcasing their work at the gallery are Anupam Sud, Avijit Dutta, Charan Sharma, Sangeeta Babani, Solanki Vrindavan and Deepak Shinde. Anupam is showcasing her creation surrounding socially relevant themes, but the depiction of interrelations between the sexes. Charan’s art depicts interpretation of Buddha while Vrindavan’s painting shows people without faces with their attires. Avijit works on the lives and lifestyle of Indian sadhus in his creations. The Art Hub has tied up with various galleries across the country. It gives a platform or space to galleries from cities like Bangalore, Hyderabad, Delhi and others. The Art Hub is the first-of-its– kind space in India with 8-10 art galleries, 3 large art enclosures, a space for audio visual presentation, activity Room, art Library, art movies and a cafeteria. Talking about this new initiative Ravindra Mardia Director of ICAC says, ‘The Art Hub through its initiative will host its curated shows every month for deserving artists for free in one of its Art Galleries. A pioneering venture in the financial capital of India, Mumbai, The Art Hub is designed to change the face of art in India. Carving a space for new upcoming and budding talent is our sole motto.” ICAC believes the new gallery will be the destination for lectures, demonstrations, and a viewer’s delight in Mumbai. It aims to bring high quality arts experience to serve the people of India by fostering arts of the highest quality through investment, research and advocacy. “We believe in giving platform to young and new artist’s even children to explore their creative side, to assist emerging artists if they wish to put up a solo or group exhibition and to create several opportunities like having art camps for the emerging artists. We sincerely believe in making the profound connection between artist, art and patron, and we look forward to facilitating that experience,” Ravindra adds. Other eminent art galleries in Mumbai are Kala Ghoda art gallery, The Taj Hotels Collection, Akara Art Gallery, G5A, Nine Fish Art Gallery, Bombay Art Society, Piramal Museum of Art and Design Museum Dharavi. Follow@ARTINFOIndia 2016-05-17 08:20 Bibhu Pattnaik

68 Phillips Hikes Buyer's Fees Phillips has long wanted to provide stiffer competition to its larger counterparts, Christie's and Sotheby's , as a leading auctioneer. Now the house is raising the fees that it charges buyers in an effort to increase its revenues. Starting May 16, the house will charge 25 percent of the hammer price on works up to and including $200,000 (or £100,000); 20 percent of the portion of the hammer price above $200,000 (or £100,000) up to and including $3 million (or £1.8 million); and 12 percent of the portion of the hammer price above $3 million (or £1.8 million). That's an increase from the old structure, which had been in place since April 2013, in which the house charged 25 percent up to and including $100,000, 20 percent of the portion of the hammer price above $100,000 up to and including $2 million, and 12 percent of the portion of the hammer price above $2 million. While Phillips's new fees bring them in line with Sotheby's, Christie's fees remain the same as Phillips's old ones. Thus, a work that sold for a hammer price of $5 million, under the old structure, would have incurred a buyer's fee of $765,000, while, under the new structure, the fee would be $850,000. The hike will apply to the house's departments of 20th-century and contemporary art, design, editions, jewels, Latin American art, and photographs. The only category exempt from the price hike will be watches. The house has been on a hiring spree lately, including ex-Christie's staffers Jean-Paul Engelen, Hugues Joffre, and Robert Manley , former Sotheby's worldwide head of contemporary art Cheyenne Westphal , and former Sotheby's Asia director Jonathan Crockett , among others . Under the tenure of CEO Edward Dolman, who took the helm at Phillips in July 2014 , the auctioneer, founded in 1796, has announced plans to expand to Hong Kong ; in 2014, it expanded to London. Dolman also hired ex-Brooklyn Museum director Arnold Lehman in summer 2015. Follow artnet News on Facebook. 2016-05-17 07:43 Brian Boucher

69 Sainbury’s Wants to Hire an Artist For Free The British supermarket giant Sainbury's made a damning faux-pas last week when it launched an open call seeking an artist to "volunteer their skills" to spruce up the canteen of its Camden Road branch (i.e., work for free). In its blurb, the company—the second largest supermarket chain in the UK— employed the patronizing turn of phrase that artists from across the world run into on a daily basis from prospective employers, offering them to get their work “recognized" and "shared," rather than being paid for it. Needless to say, the ad sent sparks flying across social media, with many users posting irked responses to it on Twitter. According to Key103 , an artist even re-worded the ad, which was then posted by Stefan Simanowitz, media editor for Amnesty International, on Twitter. The new version of the open call began: What makes this open call so jarring and surprising is that Sainsbury's—which has an annual £26 billion turnover according to the Huffington Post —is a company whose original founding family is no stranger to the qualities, pleasures, and idiosyncrasies of art. The supermarket was founded in 1869 by John James Sainbury, the first in an illustrious dynasty that includes several well-known philanthropists. His grandson, Sir Robert Sainsbury, began the collection of modern and tribal art that is now housed at the Sainsbury Centre for Visual Arts in Norwich, which was one of the first major public projects designed by the architect Norman Foster in 1978. In 1991, the three Sainsbury brothers John, Simon, and Timothy funded the £50 million Sainsbury Wing at London's National Gallery, which hosts a fantastic collection of early Renaissance paintings. More recently, in 2009, Alex Sainsbury launched the non-profit Raven Row , which has become one of the most critically acclaimed art spaces in London thanks to a rigorous, sophisticated, and always exciting exhibition and events program, which includes solo shows by Channa Horwitz , Yvonne Rainer, Jos de Gruyter & Harald Thys, Hilary Lloyd, and Harun Farocki . Even if no Sainsbury members are currently directly involved in the running of the prosperous company, its search for an artist to work for free on one of its branches still strikes one as a particularly unfortunate stunt, given the respect for the arts displayed by several descendants of its founder. More broadly speaking, it's about time that the balance is righted, and that artists—who are so often used as revenue-generating cogs in a system where money flows in every direction but theirs—begin to receive due remuneration, respect, and support for the work they do. Follow artnet News on Facebook. 2016-05-17 07:07 Lorena Muñoz

70 London Pranksters Get Jail time for Fake Heist Four members of the group behind the YouTube channel TrollStation received jail sentences on Monday at the City of London Magistrate's Court for staging a fake heist at London's National Portrait Gallery and a faux kidnapping at Tate Britain in July 2015. The hoax, which caused panic and chaos and nearly resulted in a stampede, was staged at a particularly sensitive time, with the 10th anniversary of the London bombings approaching. On July 5, 2015, the masked men burst into the National Portrait Gallery at about 3:30 pm and tried to remove paintings from the museum's walls. When police arrived at the scene, the pranksters were already headed to Tate Britain, where they proceeded to film a fake kidnapping and another art robbery. According to the BBC , all four members pleaded guilty to two counts of using threatening, abusive, or insulting words or behaviour with intent to cause fear of, or provoke unlawful violence. Each received a jail sentence varying from 16 to 20 weeks for their involvement in the National Portrait Gallery stunt, and concurring eight week for the Tate Britain hoax. "The hoaxes may have seemed harmless to them, but they caused genuine distress to a number of members of the public, who should be able to go about their daily business without being put in fear in this way," said Robert Short, of the Crown Prosecution Service. "We hope these convictions send a strong message that unlawful activities such as these will not be tolerated in London," he added. The ruling serves an additional blow to the group, who's already seeing legal action taken against them. This past March, the founder of TrollStation was sentenced to 12 weeks in jail for the faux heists, and an additional 24 weeks for a separate prank that involved fake bombs. The channel, which films pranks around London, is followed by some 718,000 subscribers. Follow artnet News on Facebook. 2016-05-17 06:57 Hili Perlson

71 Hermann Historica’s Spring Auction Achieves Landmark Results Related Venues Hermann Historica Munich-based Hermann Historica oHG has affirmed its position as one of the leading auction houses for antiquities, antique arms and armour, firearms, and objects of military history with a highly successful 2016 Spring Auction season, which the auction house called one of its best ever results with nearly all of its 6300 lots selling out over the April 28-May 12 period. The top lot of the sale was a highly detailed pair of deluxe silver-mounted flintlock pistols, made in St. Petersburg in 1770 by the legendary gunsmith Ivan Permiak, which sold for 80,000 euros against an estimate of 70,000 euros. Coming in second, with a final price of 52,000 euros against an estimate of 25,000 euros, was the sabre presented to General major Georg Freiherr von Krauchenberg (1776 - 1843) by the officer corps of his division to commemorate his 50 years of service. Rounding out the top three was a magnificent sabre originally gifted to Prince Henry of Prussia (1862 - 1929) to mark the occasion of his two-month long visit to the United States in 1902 which sold for for 42,000 euros against an estimate of 22,500 euros. Other highlights included the sale of the interim baton of King Wilhelm II for 28,000 Euros against an estimate of 26,000 euros, an intact Illyrian helmet for 21,000 Euros against an estimate of 8,000 euros, and 8 archer’s rings in jade for 26,000 euros from a starting price of 1,800 euros. 2016-05-17 06:27 Nicholas Forrest Total 71 articles. Created at 2016-05-18 06:02