Articles 79 articles, 2016-09-22 00:01 1 M orning Links: Joan Carlile (1.08/2) Edition Joan Carlile’s portrait Lady Dorothy Browne, née Mileham; Sir Thomas Browne, date unknown. COURTESY NATIONAL GALLERY, LONDON PORTRAIT Good morning from New York City! Did you tune in to ARTnews.com last night? If not, here’s Nate Freeman’s report from Phillips’ uneven “New Now” sale in New York. It certainly suggests that this is going to be an interesting auction season. News From Museums Big and Small, Near and Far, All Around the World A portrait by Joan Carlile, “the first woman in Britain thought to work as a painter,” has been added to Tate Britain’s holdings. “We have a big strategy in trying to make women more visible on our walls,” Tate’s curator of British art, Tabitha Barber, said. [ BBC News ] Franklin Sirmans discusses attendance and acquisitions at the Pérez Art Museum Miami, where he is director. “We want people to see how we are sharing their story,” Sirmans said. “We’re a people’s museum.” [ MiamiToday ] Dartmouth’s Hood Museum has temporarily relocated to a location in downtown Hanover, New Hampshire, where it will reside for two and a half years, while its main building undergoes renovations. [ WCAX ] Arizona! “The Tucson Museum of Art has received a $92,500 grant from the Institute of Museum and Library Services to develop programs for refugees and other immigrants in the community.” [ Arizona Public Media ] The Worcester Art Museum in Massachusetts has hired Heather Davis, former director of finance and operations at CyberSheath Services International, as its deputy executive director. [ Worcester Business Journal Online ] Just linking to this one for the headline: “Go, Go, See Van Gogh.” It’s about the Fred Jones Jr. Museum of Art at the University of Oklahoma in the city of Norman. [ NewsOK ] Video Bloomberg art-market reporter Katya Kazakina talks about the state of the art game. [ Bloomberg ] In Brooklyn Lee Rosenbaum argues that the Brooklyn Museum’s hang of its American art collection “seems perversely fixated on what’s shameful in our country’s past.” [ The Wall Street Journal ] Sorry “Artist turns dead cat into beautiful thousand dollar handbag.” [ Mashable ] Bonus News and Photos and More At a concert in Houston, Kanye West declared Kid Cudi “the most important artist of the past ten years… most influential.” Very nice of Kanye to say, but we all know that Kanye is, in fact, the most influential artist of the past ten years. [ Complex ] Photos of Virginia Overton’s great show at the Whitney, which includes outdoor fountains and cured ham. [ Contemporary Art Daily ] Photos from the opening of Cosima von Bonin’s show at SculptureCenter on Sunday. [ Sex Life ] 2016-09-21 13:17 The Editors 2 The Broad Reports Attendance of 820,000 in (1.08/2) First Year The Broad. VIA WIKIMEDIA COMMONS The Broad museum in Los Angeles sent out an email blast this morning trumpeting news that it welcomed more than 820,000 people in its first year in operation, a formidable figure for a one-year-old private museum. That number is no doubt music to the ears of its billionaire cofounder, Eli Broad (with his wife, Edythe), particularly since his belief in attendance as an important measure for the success of museums is well documented. Many may recall that, when the Museum of Contemporary Art Los Angeles, where he served as a life trustee, was undergoing a fiscal crisis a few years back, he repeatedly focused on attendance in public statements. That 820,000 number puts the Broad near the front of the pack of museums started by billionaires in recent years. Alice Walton’s Crystal Bridges Museum of American Art in Bentonville, Arkansas, which opened in November 2011, reported more than 650,000 visitors in its first year, though it’s probably worth reiterating that the museum is in Bentonville, Arkansas, not Los Angeles. (Pretty much totally unrelated, but I just learned that WalMart has 2.3 million employees. That’s a lot of people!) As others points of comparison, the Fondation Louis Vuitton in Paris, which opened in 2014, has said that it received 1.2 million visitors in its first year in operation, edging out the Broad, while the Los Angeles County Museum of Art, which has been around since 1910, had about 1.4 million visitors in the 2015–16 fiscal year. Though that is an impressive number for the Broad, it is still dwarfed by the visitor total an established museum like the Louvre, which had 8.6 million visitors in 2015. 2016-09-20 14:24 Andrew Russeth 3 Here Is the Exhibitor List for NADA M iami Beach 2016 (1.02/2) The scene at MADA Miami Beach 2015. COURTESY SAM DEITCH/BFA. COM/NADA Last month, the New Art Dealers Alliance announced that it would be moving NADA Miami Beach, its fair that runs during the edition of Art Basel in that Florida city, back to its longtime home at the Deauville Beach Resort after a year at the Fontainebleau. And now we have the full exhibitors list, which includes 110 participants from 17 different countries, including 43 exhibitors showing at NADA Miami Beach for the first time. Welcome! Those newcomers include SVIT, the Prague gallery that won the firstever NADA x Exhibitionary International Gallery Prize, a new award given in conjunction with the app Exhibitionary. NADA Miami Beach runs December 1-4. The full exhibitors list is below. Exhibitors: 247365, New York Adams and Ollman, Portland Alden Projects™, New York Mitchell Algus, New York APALAZZOGALLERY, Brescia Arredondo \ Arozarena, Mexico City Nicelle Beauchene Gallery, New York Bodega, New York Brennan & Griffin, New York Galeria BWA Warszawa, Warsaw Shane Campbell Gallery, Chicago CANADA, New York CAPITAL, San Francisco Chapter NY, New York China Art Objects Galleries, Los Angeles Company Gallery, New York COOPER COLE, Toronto Creative Growth Art Center, Oakland Derek Eller Gallery, New York EXILE, Berlin Galería Agustina Ferreyra, San Juan FEUER/MESLER, New York Five Car Garage, Santa Monica FORMATO COMODO, Madrid Fourteen30 Contemporary, Portland Foxy Production, New York James Fuentes, New York The Green Gallery, Milwaukee Hagiwara Projects, Tokyo Halsey McKay Gallery, East Hampton Jack Hanley Gallery, New York Ibid Gallery, Los Angeles & London InvisibleExports, New York The Journal Gallery, Brooklyn Karma, New York Kayne Griffin Corcoran, Los Angeles KAYOKOYUKI, Tokyo Kimmerich, Berlin Galerie Parisa Kind, Frankfurt Klaus von Nichtssagend Gallery, New York the Landing, Los Angeles Lefebvre & Fils, Paris Galerie Christian Lethert, Cologne Galeria LETO, Warsaw David Lewis, New York LINN LÜHN, Düsseldorf Markus Lüttgen, Cologne Lyles & King, New York Marlborough Chelsea, New York Martos Gallery, New York Kai Matsumiya, New York MIER GALLERY, Los Angeles MISAKO & ROSEN, Tokyo Moran Bondaroff, Los Angeles Neon Parc, Melbourne Night Gallery, Los Angeles Park View, Los Angeles Parrasch Heijnen, Los Angeles PATRON, Chicago David Petersen Gallery, Minneapolis Simon Preston Gallery, New York Proyectos Ultravioleta, Guatemala City Queer Thoughts, New York Raster, Warsaw Redling Fine Art, Los Angeles Rod Bianco Gallery, Oslo Federica Schiavo Gallery, Rome Kerry Schuss, New York TIF SIGFRIDS, Los Angeles Sorry We’re Closed, Brussels Southard Reid, London Soy Capitán, Berlin Stems Gallery, Brussels Galerie Sultana, Paris SVIT, Prague Temnikova & Kasela gallery, Tallinn Tiwani Contemporary, London Tomorrow, New York Rachel Uffner Gallery, New York VALENTIN, Paris White Columns, New York Projects: 321 Gallery, Brooklyn American Medium, Brooklyn Camden Arts Centre & Field Editions, London / North of England CENTRAL FINE, Miami Beach The Conversation, Berlin DOCUMENT, Chicago Et al., San Francisco FIERMAN, New York GEARY, New York Good Weather, North Little Rock half gallery, New York Hester, New York ICA & Glasgow International, London Independent Curators International (ICI), New York Locust Projects, Miami Lord Ludd, Philadelphia Kristen Lorello, New York ltd los angeles, Los Angeles Lulu, Mexico City Noguchi Breton, Miami Regards, Chicago Situations, New York Springsteen, Baltimore Union Pacific, London Estate of Stan VanDerBeek, Brooklyn Weiss Berlin, Berlin Whitechapel Gallery, London Wingate Studio, Hinsdale XYZ collective, Tokyo 2016-09-21 15:08 Nate Freeman 4 Brad Pitt and Angelina Jolie’s Divorce Could Tear Their $25 M illion Art Collection Apart (1.02/2) One of Hollywood’s most highprofile couples is breaking up, and the fallout affects more than just their six kids. With the announcement that Angelina Jolie has filed for divorce from Brad Pitt, the question in the art world is what will become of their art collection. In 2015, Pitt ranked seventh on research firm Wealth-X’s list of Hollywood’s top art collectors , which gave his holdings an estimated value of $25 million. Related: Inside Brad Pitt’s Art Shopping Spree in Berlin There have been numerous reports of Pitt and Jolie’s art acquisitions over the years, including the Banksy they snapped up at London’s Lazarides Gallery in 2007 for £1 million (about $2 million at the time). Other big ticket art purchases include a $1 million Neo Rauch at Art Basel in 2009, and numerous works by Tristan “ Schoony ” Schoonraad, while their wedding gifts reportedly included a group of paintings by British street artist Dom Pattinson . But the couple are also interested in not just collecting, but interacting with artists. Last year, they invited indigenous Australian artist Bibi Barba to their home to give an art lesson to their kids, according to the Daily Mail. Related: Brad Pitt Is Too Glamorous for Banksy’s Dreary ‘Dismaland’ In addition to his interest in fine art, Pitt is also an avid Art Deco furniture collector, and has collaborated with Pollaro Custom Furniture on his own line, Pitt Pollaro , since 2008. (While personally delivering a custom desk to the actor, Frank Pollaro discovered Pitt had been sketching his own designs for a decade, and offered to put them into production.) The end of the Brangelina era comes just two years after the pair, who famously were said to have become involved on the set of Mr. and Mrs. Smith in 2004, when Pitt was still married to Jennifer Aniston, finally tied the knot. During the August 2014 ceremony, held at the couple’s French chateau, Jolie wore a wedding dress decorated with her children’s drawings. Of the two, Pitt seems far more dedicated to collecting, so our money is on him keeping many of the works. His art buying habits may have even contributed to the “irreconcilable differences” that ultimately drove the couple apart: In 2008, the tabloid Celebitchy noted that “Angelina is appalled at the amount of coin Brad regularly spends on art and has issued an ultimatum that he needs to donate most of it and stop buying more.” (The post surfaced after he allegedly gifted Jolie with a $300,000 table purchased at Art Basel.) As the world reels from new revelations regarding the divorce, even Madame Tussads museum in London is weighing in. “The couple’s wax figures, which were launched in 2013,” the museum tells Reuters , “have been split up and are now featured at a respectful distance from each other.” 2016-09-21 13:23 Sarah Cascone 5 Datebook: ‘Gülsün Karamustafa: Swaddling the baby’ at the Galerie Krinzinger, Vienna (1.02/2) Related Venues Galerie Krinzinger Artists Gulsun Karamustafa Turkish artist Gülsün Karamustafa’s first exhibition at the Galerie Krinzinger, Vienna is on view and will run through October 8, 2016. For this display, the artist has brought together her series of non-religious representationsthe “Promised Paintings”, the installation “Swaddling the baby”, a selection of under-glass paintings as well as the films “Insomniambule” and “The City and the secret Panther Fashion”. Karamustafa’s interest in the complexities of Istanbul steered her to generate the series of “Promised Paintings” in which she recreated the notion of the ideal painter, while her observation of gullible children born under excruciating circumstances, who were later taken care of at Filippo Brunelleschi’s Ospedale degli Innocenti, compelled her to craft the installation “Swaddling the baby”. Also being demonstrated are under-glass paintings in addition to the films “Insomniambule” and “The City and the secret Panther Fashion” which have been showcased in the Galerie im Parterre. 2016-09-21 13:02 BLOUIN ARTINFO 6 ‘South Park’: After Two Decades, It’s Still by the Seat of Their Pants (1.02/2) LOS ANGELES — Every day at South Park Studios is different, but Trey Parker said this particular afternoon, Monday, Sept. 12, was especially memorable. “There are times where we go, ‘How do we tell Comedy Central we don’t have a show?’” he said with sardonic delight. “This is one of those.” Mr. Parker and Matt Stone, the creators of “South Park,” exuded an appearance of calm as they brainstormed in their airy offices, in a gray building on a stretch of highway at the edge of this city. But they were under considerable pressure to finish the first episode for the 20th season of this satirical animated series, which was due in less than 48 hours and would air that Wednesday. At this stage — on the ninth draft of a script called “Member Berries” — they would like to have 16 minutes of a 22minute episode; Mr. Stone and Mr. Parker said they had 12 and a half. (“That doesn’t mean that’s what we have done ,” Mr. Parker cautioned. “That means that’s all we have figured out.”) A dry-erase board in the room showed a nearly nonexistent third act, all empty ovals stacked like pancakes, as the collaborators kicked around the episode’s story elements: a new American national anthem rebooted by J. J. Abrams; a comically inept xenophobe running for president; and an addictive talking fruit that induces nostalgia for the pop-culture of one’s youth. How these pieces fit together wasn’t clear yet. But after two decades of making their show in this stressful, hands-on, seat-of-the-pants way, Mr. Stone and Mr. Parker were reasonably certain they would figure out something. “I can’t believe I’m surprised by it,” Mr. Stone said. “How do we get to this point and have no story? But we just go through it again. For the eight millionth time.” Since its debut in 1997, “South has spun more than 250 tales foul-mouthed fourth graders Colorado town that invariably Park” about in a gets swept up in whatever social crisis the nation is facing that week. What began with a show about aliens installing a satellite in a child’s butt has evolved — sort of — into a series that, in its unapologetically crude way, can address debates over transgender bathrooms, racial discrimination or gratuitous sex and violence in “Game of Thrones.” Even as animation technology has improved and the “South Park” staff has grown exponentially, the show is still fundamentally the work of Mr. Parker, 46, and Mr. Stone, 45, who agonize over every installment. (Mr. Parker has had sole writing and directing credit on all but a few episodes since 2001.) The mechanics of making the show haven’t changed much, but Mr. Stone and Mr. Parker have. The wild-haired punks who were on LSD at the 2000 Academy Awards have grown up: Mr. Stone telecommutes half the week to be with his wife and children in New York, while Mr. Parker’s office is strewn with the pastel-colored toys of his 3-year-old daughter. In its 20th year, “South Park” offers a pointed and, surprisingly, still-potent platform for commentary on current events. New episodes typically draw around two million viewers, many of them the 18- to 49-year-olds that advertisers covet, a showing that Comedy Central decidedly needs while its late-night lineup is in flux and other signature franchises like “Inside Amy Schumer” are on hiatus. “For a network that no longer has Stephen Colbert and Jon Stewart, having ‘South Park’ is extremely important to us,” said Doug Herzog, the president of Viacom’s Music and Entertainment Group, which includes Comedy Central. “With all due respect to Jon and ‘The Daily Show,’ ‘South Park’ is the foundation on which Comedy Central is built.” If the earliest “South Park” episodes reflected a juvenile desire to see what they could get away with on television, their later work suggests Mr. Parker and Mr. Stone have honed their ability to channel their growing exasperation with a polarized world into comedy. Vernon Chatman, a comedy writer who has worked on “South Park” for more than 15 years, said that Mr. Stone and Mr. Parker have thrived by embracing their roles in “their right-brain, left-brain relationship.” “Matt has this sharp, analytical mind that’s focused and relentless,” he said. “Trey has the dreamy, emotional storyteller thing.” Mr. Chatman added, “To be in such a heightened, intense relationship, with so much stakes and pressure on it — the fact that they haven’t killed each other is incredible.” Already, Mr. Parker and Mr. Stone had spent this Monday in a multihour meeting with Mr. Chatman and Anne Garefino, an executive producer, talking through plot points for “Member Berries” and shooting them down. “If we only have three scenes left to write, that’s a win,” Ms. Garefino said. “It’s when you still have that whole last act — ” Her voice trailed off. In the afternoon, Mr. Stone and Mr. Parker caromed from office to office in a building decorated with their trophies — “South Park” toys and memorabilia; framed posters from their Tony Awardwinning Broadway musical, “The Book of Mormon” — while trying to bring “Member Berries” into focus. For a few minutes, Mr. Parker stepped into a recording booth to perform the voices of two football announcers introducing the new national anthem, while Mr. Stone directed him to be more excitable. Then it was off to an editing suite, where Mr. Parker reviewed a vividly vulgar montage featuring Mr. Garrison , the “South Park” character who has turned into a buffoonish populist demagogue, describing exactly how he’d bring death to America’s enemies. Mr. Parker writes in private, emerging occasionally to pull Mr. Stone from wherever he might be and ask his help. In the writers’ room, the two creators were trying to pin down the motivations of Randy Marsh, the show’s ambivalent adult moral compass, as he grapples with a presidential race between two candidates he dislikes and decides whether he should try the narcotic member berries. Where should Randy be introduced to the enticing fruit — at a bar or in a friend’s house? Do the berries come in boxes or grow in bunches? Mr. Parker was in constant motion as he considered each question, walking many agitated laps around a long conference table. Together, he and Mr. Stone improvised a scene in which the exhortations of the talking berries grow more sinister: Remember “Star Wars”? Remember being a kid? Remember feeling safe? Remember no immigrants? As Mr. Parker stepped away to resume his solitary work, Mr. Stone explained that his role in these moments was to be a sounding board for Mr. Parker but also to remind him that he’s just got to write something down. “There’s no other way to do it,” Mr. Stone said. “If you don’t have that one perfect line, you can fix that later.” In a phone interview a few days earlier, Mr. Parker explained how he and Mr. Stone had abandoned their preseason ritual of holding a writers’ retreat to drink, carouse and think up ideas. “As soon as we’re like, ‘We could do this, this could be funny,’ we’re like, ‘Stop talking about it,’” Mr. Parker said. “Because in two months, when we’re doing the show, it won’t be funny to us anymore.” Being more extemporaneous, he said, led to unexpected discoveries like their 19th season in 2015, presented as 10 interconnected episodes that told a broader story about gentrification, identity politics and a perceived resurgence of political correctness. The renewed debate about sensitivity in speech and the policing of language was one that “South Park” could not avoid, for its own sake. “This might finally be the year that we get run out of town,” Mr. Parker recalled thinking at the time. “If we’re going to, let’s make fun of the fact that we’re the old guys at the table. All those shows were an honest part of us going, ‘Should we go away?’” Instead, the 19th season was a critical hit; in a review for The New York Times , James Poniewozik wrote that “South Park” had “gone and revitalized itself,” in part “by asserting that it takes an outrageous comedy to capture an era of outrage.” Mr. Herzog, who has worked with Mr. Parker and Mr. Stone since the debut of “South Park,” said they have Comedy Central’s “absolute, 1,000 percent eternal trust.” As long as the show satisfies the network’s Standards and Practices department, he said, “we’re cool with the show.” Yet that success created more angst for Mr. Stone and Mr. Parker as they approached Season 20. Were they obligated to tell a serialized narrative again? Did they have to dwell on the 2016 campaign, when their indifference to presidential politics is a well-worn subject? All they can do, the “South Park” creators said, is continue to apply a principle that has guided them from the beginning. No matter how serious an issue seems, Mr. Parker said, “Looking at it with a sense of humor is not only healthier for you, it actually makes you think more clearly about things — being able to make fun of either side of an issue, rather than just, ‘Trump is evil and Clinton is good.’” “There’s always room to equally rip on both of them,” he said. Comedy Central has signed Mr. Parker and Mr. Stone to keep making “South Park” through 2019. Ms. Garefino, who has worked on the show for 19 of its 20 years, suggested around longer still. they could stick “They said they didn’t still want to be making ‘South Park’ when they were 40,” she said. “I think they’ll be doing it when they’re 50.” She tried to make herself sound as confident that the current episode would be completed under deadline. “There’s always a moment where Trey will fall in love with the show, and the pages start flowing,” she said. “Something will happen.” “Member Berries” was broadcast at 10 p.m. on Sept. 14, but hardly without last-minute incident. That morning, South Park Studios suffered a system crash, and the episode’s audio went missing for an hour and a half. When the episode was transmitted to Comedy Central, it had a mystery sixframe sync problem that was finally fixed and delivered one hour before airtime. The following day, Ms. Garefino said, “Trey’s like, ‘I think from now, we should think about getting the show in earlier.’” Even “South Park” would have to bleep out Ms. Garefino’s response. 2016-09-21 10:00 By 7 Datebook: 'Resistance & Remembrance: Veronica Andrus-Blaskievics' at Gaffa Gallery, Sydney (1.00/2) Related Venues Gaffa Gallery Gaffa Gallery will be holding a special exhibition titled "Resistance & Remembrance" which will open on September 29 and will run through October 10, 2016. The exhibition will feature works by Veronica Andrus-Blaskievics, who will present a series of sculptural glass and mixed media objects that investigate and communicate personal experience of loss and loss of culture. These works have been a healing process for the artist and she aims at evoking a calm feeling, when there is a sense of loss. The works also contains her remembrance of the rural Transylvania, where she grew up. 2016-09-21 12:28 BLOUIN ARTINFO 8 Datebook: ‘The Infinite M ix’ at Hayward Gallery (0.03/2) Hayward Gallery | Southbank Center in London is hosting an exhibition “The Infinite Mix: Contemporary Sound and Image” that will be on view through December 4, 2016. The exhibition brings together audiovisual artworks that are soulful and audacious in their exploration of wideranging subjects. The interplay between moving image and sound creates the most valuable core in all of these works. These works are stylistic composites and draw on varied genres including documentary film, music video, theatrical performance and experimental cinema. Most artists have composed, commissioned or remixed soundtracks that relate to the corresponding visuals in unexpected ways. These artworks dispense with straightforward storytelling and reveal themselves in a manner that is very similar to musical compositions. Spanning multiple formats — from immersive 3D video to holographic illusions and multi-screen installations — these works in some way challenge the common perceptions of visual experiences. 2016-09-21 16:18 BLOUIN ARTINFO 9 Datebook: ‘Intimate Renoir’ at the Thyssen-Bornemisza M useum, M adrid (0.02/2) Related Artists Pierre-Auguste Renoir An exhibition titled “Intimate Renoir” featuring the works of Impressionist painter PierreAuguste Renoir (1841-1919) will be on view at the Thyssen-Bornemisza Museum, Madrid from October 18, 2016 through January 22, 2017. Renoir’s first retrospective in Spain will question the conventional notion that reduces Impressionism to the “purely visual”. The exhibits highlights the central role performed by perceptible vibrations, which are present in all the diverse segments of his career and are articulated via an extensive variety of genres including group scenes, portraits, nudes, still life, and landscapes. 2016-09-21 10:15 BLOUIN ARTINFO 10 Datebook: Heiner M eyer's 'Beneath the Surface' at 2C for Art, Salzburg Related Artists Heiner Meyer Salzburg's 2C for Art gallery presents Bielefeld-based artist Heiner Meyer's "Beneath the Surface. " The show will run through September 24, 2016. As an artist, Meyer shies away from preaching to his viewers through his work. Instead, he remains a master of allusion to his own dreams as well as those of his viewers. Each one of his paintings is centred around dream thoughts whose analytical access is best described in the words of Sigmund Freud: 'The content of the dreams, however, does not consist entirely of situations, but also includes disconnected fragments of visual images, speeches and even bits of unmodified thoughts.' Meyer dabbles with diverse 'isms' of art history with an ingenuous painterly force. He creates an oeuvre that does not stick to a particular corrective balance but which sees real-fictive limbo as a visual medium. 2016-09-21 16:47 BLOUIN ARTINFO 11 M arina Abramović Gives Norman Foster a Golden Replica of His Own Brain at Scopus Gala Golden brains, golden lips, and golden balls were the three focal points of last night’s Scopus Award Gala at the Campus Biotech in Geneva. The Hebrew University of Jerusalem honored British architect Norman Foster with the award, which was designed and presented by Marina Abramović. The performance artist created a golden replica of Foster’s brain, with a custom-made “mad scientist” cap, equipped with LED lights. She explains: Dubbed “The Golden Brain” Gala, guests also participated in a performative action called “The Golden Lips.” As the event began, attendees were given gold-dusted chocolate molds of Abramović’s lips, and a rectangle of delicate gold leaf. They were asked to rub the gold on themselves to apply a sort of shimmering lipstick, before eating a golden ball made of almonds, black and white peppercorns, coriander seeds, honey, and 24-carat gold. (It’s a recipe she picked up while fasting with Tibetan monks.) She explains: Related: Marina Abramovic’s 3-D Video Portrait Comes to New York In addition to Indian newborns, Abramovic has been influenced by fasting monks: Before any guests could activate their brain cells with 24 carats, however, Abramović had to get acquainted with Geneva’s scientific scene. The day before the gala, Kreëmart founder Rafael Castoriano drove Abramović to the Campus Biotech to scope out the event space. As he yelled out the window to a stranger about a parking spot, a scraggly-haired man pulled up on the right, offering a spot in the garage. It was Professor Idan Segev, head of the department of Neurobiology at the Hebrew University, and he recognized Abramović through the window. Artnet Titans: The Most Powerful People in the Art World, Part I The scientist and artist were eager to interview each other about brain waves before they even get out of their cars, and their conversation continued into the night. At a cocktail party later that evening, Abramović nearly hid from other guests in order to continue contemplating with Segev everything from Einstein’s theory of special relativity, to synchronicity, the origins of creativity, and the practice of certain monks who can raise their body temperature by meditating. Segev isn’t the first brain scientist to capture Abramović’s attention, however. She says that after she completed The Artist is Present performance at the Museum of Modern Art in New York in 2010: See 11 Great Selfies with Maurizio Cattelan’s 18-Carat Gold Toilet at the Guggenheim In 2011, Abramović collaborated with the Sackler Institute for Developmental Psychobiology on Neuroscience Experiment I: Measuring the Magic of the Mutual Gaze. The artist tells artnet News that she spent a year under the gaze of researchers, who measured her brain waves while she locked eyes with strangers. Much like the Mutual Wave Machine , a project presented by the Marina Abramović Institute in 2013, the project explored the extent to which two people can communicate nonverbally. “It looks like the brain, in nonverbal conversation, can produce lots of waves and activities that we are not aware of,” she says. “I am fascinated about the brain, because it’s such unknown territory.” 2016-09-21 16:40 Alyssa Buffenstein 12 Bill M urray, Fashion Plate, Launches Golf Collection Carl Spackler wasn’t much of a looker. The greenskeeper played by Bill Murray in the 1980s cult hit “Caddyshack” opted for a dirty T-shirt, combat boots and a camo bucket hat — complete with chin strap — as he waged war on a marauding gopher. But while his fashion choices may have been dubious, that hasn’t stopped the actor from mining the film’s legacy for his latest venture. On Wednesday, Murray’s company, Murray Brothers LLC, in partnership with Resignation Media, launched William Murray Golf, a new lifestyle and apparel brand that is being described as having “a little irreverence and a lot of style.” That is evident in the polo shirt with a print of high-ball glasses, and the exploded plaids and argyles on shirts and shorts. The logo for the line is an illustration of Murray from the movie tossing a golf club into the air after an errant shot. William Murray Golf will be available on Resignation Media’s site, thechivery.com, as well as williammurraygolf.com starting Oct. 20. However, today, in celebration of the actor’s 66th birthday, William Murray Golf has released a Chicago-themed polo with pinstripes that mimic a baseball jersey, as well as two hats with the illustration of Murray on the front. The polo retails for $75 and the Flexfit caps for $32. The polo is moisturewicking and wrinkle-resistant and the hats feature a script version of the William Murray logo. A portion of proceeds from the sales will be donated to the Murray family’s favorite charity in Chicago, Mercy Home for Boys & Girls, which helps break the cycle of neglect and abuse for Chicagoarea children and young adults. The who golf with Chicago-born Murray is avid golfer has won the Pebble Beach Pro-Am tournament; been inducted, along his five brothers, into the Caddie Hall of Fame; once pinch-hit a single for the minor-league Grays Harbor Loggers of the Northwest League; and is a co-owner of the Charleston RiverDogs baseball team. The Murray brothers also host a charity golf tournament, Murray Bros. Caddyshack Charity Golf Tournament, in St. Augustine, Fla., every year. Actor Joel Murray, the youngest of the six Murray brothers, said the family’s history with golf helped foster a lifelong love of the game. “Growing up caddying helped us learn about strict adherence to rules and subservience,” he said. “Caddying also helped us learn we had no interest in either.” “We’re going to create a whole new level of excitement to the game,” said John Resig, president of Resignation Media. “Our clothing will focus on bringing high quality, performance elements with creative designs for golfers who want to keep it light.” Professional golfer and 15-year PGA Tour veteran Pat Perez will serve as the first brand ambassador. He will wear the line both on and off the course. 2016-09-21 16:31 Jean E 13 COS Pairs With the Guggenheim to Develop Agnes M artin-Inspired Collection As part of its support of the Solomon R. Guggenheim Museum’s upcoming retrospective of the American painter, the COS design team has developed 12 limited-edition pieces for women and men. The artist’s work, which bordered between Abstract Expressionism and the Minimalist movements, bows Oct. 7 and will remain on view through Jan. 11. In a video shot in and around the Frank Lloyd Wright landmark museum on Fifth Avenue, COS creative director Karin Gustafsson said Martin was known for her delicate color palette and geometric lines and grids. In keeping with the design aesthetic, COS, an H&M-owned entity, has developed a minimalist collection in muted colors on linens and canvas. Each of the textile prints are meant to reference a specific piece of Martin’s work with checks and stripes hand-drawn and hand-stitched to “create a quiet, organic irregularity,” Martin liked to layer oversized shirts with grandfather collars over dresses, or dresses over trousers, according to Gustafsson. With retail prices in the $89 to $250 range, the COS × Agnes Martin collection will be available at the Guggenheim Museum’s store and select COS units internationally starting Oct. 7. A percentage of the proceeds from sales in COS stores will be donated to the Agnes Martin Foundation. Martin first came to the U. S. in 1932 and became an American citizen in 1950. In the Forties and early Fifties, she lived, off and on, in the northwestern part of the country, as well as in New Mexico and New York City, where she earned a degree from Teachers College, Columbia University. In 1957, she put down stakes in lower Manhattan’s Coenties Slip with neighboring artists Robert Indiana, Ellsworth Kelly, James Rosenquist, Lenore Tawney and Jack Youngerman. The following year she secured her first solo show at the Betty Parsons Gallery. When it opens to the public Oct. 7, the retrospective will showcase 110 paintings, drawings, prints, sculptures and a screening of the seldom-seen 1976 film “Gabriel” by the CanadianAmerican artist, who died in 2004. Fifteen works will be unique to the New York show, including “White Flower (1960),” which was acquired by the Guggenheim in 1963 and was Martin’s first work to become part of a museum collection. At this point, this is the only collaboration that COS has planned with the museum, a COS spokeswoman said. 2016-09-21 16:20 Rosemary Feitelberg 14 heinz mack sets 'the sky over nine columns' in valencia heinz mack sets 'the sky over nine columns' within calatrava's city of arts and sciences german artist heinz mack has sited ‘the sky over nine columns’ against the backdrop of santiago calatrava’s city of arts and sciences in valencia. the monumental sculptural work sees its third installation, after its presentation on the island of san giorgio maggiore during the 2014 venice architecture biennale and at the sakıp sabancı museum in instanbul. the chosen place this time — on the southern lake of the complex’s ‘hemisfèric’ theater — is another distinctive site for mack to display this work. ‘for me, space is as important as sculpture…’ he says, ‘I cannot imagine one without the other.’ presented by the dommermuth arts and culture foundation in collaboration with beck & eggeling, ‘the sky over nine columns‘ is sited in valencia until november 6, 2016. nine symmetrical pillars reaching more than seven meters high are coated with 850,000 golden tiles, recontextualizing these early elements from the history of architecture as striking metallic pillars. mack has placed the installation within this specific architectural complex, taking advantage of the way the golden light of the columns reflects onto the white surrounding buildings and the blue water on which they sit. forming a direct relationship between earth and sky, the installation becomes a cultural highlight in each of the cities, attracting both visitors and art enthusiasts alike. 2016-09-21 16:15 Nina Azzarello 15 The WWD 10 M ost Wanted List: The 10 M ost InDemand Execs in Digital Fashion and E-Commerce The rise of mobile and ecommerce along with shifts in consumer behavior has forever changed how business is conducted. The consumer is at the center of the business model, shopping and buying products whenever and wherever he or she wants. These 10 e-commerce and digital innovators and pioneers are bringing to market new technologies to improve sales, drive traffic online (and in stores) and make payment transactions easier, as well as deploying tactics and strategies to better engage the consumer — which often means establishing an authentic and credible social media presence. Here, listed alphabetically, are the 10 most wanted. 2016-09-21 16:15 Arthur Zaczkiewicz 16 Preview Expo Chicago 2016 New York’s Alexander Gray Associates will offer Lorraine O’Grady, youngest 1980/1994. Miscegenated Family Album (Cross Generational), L: Nefertiti, the last image; R: Devonia’s daughter, Kimberley , COURTESY ALEXANDER NEW YORK THE ARTIST AND GRAY ASSOCIATES, The fifth edition of Expo Chicago opens to the public on Thursday, September 22, with a vernissage reception, benefitting the Museum of Contemporary Art, Chicago, and runs through Sunday, September 25. Highlights to the fair include William N. Copley at New York’s Paul Kasmin Gallery, Deanna Lawson at Chicago’s Rhona Hoffman Gallery, and Mary Corse at Peter Blake Gallery of Laguna Beach, California. Click the photos below to see works on offer at the fair. ALL IMAGES: COURTESY THE ARTIST, THEIR GALLERY, AND EXPO CHICAGO; ADDITIONAL CREDITS WHERE NOTED Peter Blake Gallery, Laguna Beach, California Mary Corse, Untitled (White, Black, White) , 2016, glass microspheres in acrylic on canvas. Galerie Lelong, New York Ana Mendieta, Hojas Rojas Silueta (Quemada alrededor) , 1977, lifetime color photograph. ©THE ESTATE OF ANA MENDIETA COLLECTION Jessica Silverman Gallery, San Francisco Judy Chicago, Submerged/Emerged #3 , 1976/2005, sprayed acrylic on cast paper. DONALD WOODMAN/©JUDY CHICAGO Matthew Marks, New York and Los Angeles Charles Ray, quarter pounder, no color , 2010, ink-jet print in artist’s frame. Paul Kasmin Gallery, New York William N. Copley, Untitled , 1990, acrylic on canvas. ©2016 ESTATE OF WILLIAM N. COPLEY/COPLEY LLC/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK Salon 94, New York Lorna Simpson, Easy for Who to Say , 1989, five dye diffusion color Polaroid prints, with ten engraved plastic plaques. The Mayor Gallery, London Waldemar Cordeiro, Untitled , 1952, enamel on plywood. Proyectos Monclova, Mexico Edgar Orlaineta, Prototipos (DCM) after Charles and Ray Eames , 2013, metal and wood. EDGAR ORLAINETA Team Gallery, New York Samson Young, Catalogue d’oiseaux (32 northern mockingbird songs at dawn) , 2016, pastel, water color, pencil, color pencil, ink, and stamp on paper. Alexander Gray Associates, New York Lorraine O’Grady, Miscegenated Family Album (Cross Generational), L: Nefertiti, the last image; R: Devonia’s youngest daughter, Kimberley , 1980/1994, Cibachrome prints. Susanne Projects Vielmetter Los Angeles Shana Lutker, “Attractive Fool, In the Dead of Night” , 2016, mirror, wood, lights, hardware, and timber. JEFF MCLANE David Nolan, New York David Hartt, Belvedere I: Cubicles at The Mackinac Center for Public Policy, Midland, Michigan , 2013, archival pigment print mounted to Dibond. Pace Gallery, New York Keith Sonnier, Bound Saw Palm , 2004, neon, transformer and wire. STEVEN TUCKER/©2016 KEITH SONNIER, ARTISTS RIGHTS SOCIETY (ARS), NEW YORK David Kordansky Gallery, New York Sam Gilliam, PARADE XI , 2015, watercolor on rice paper. LEE THOMPSON Pearl Lam Galleries Chun Kwang Young, Aggregation 15MY027 (Star 4) , 2015, mixed media with Korean mulberry paper. On Stellar Rays, New York Tommy Hartung, Saharan Graffiti , 2016, Polaroid. KIRSTEN KIPONEN Bortolami Gallery, New York Claudio Parmiggiani, Untitled , 2014, smoke and soot on wood. Polígrafa Obra Gráfica, Spain Iván Navarro, La ilustración artística , 2016, book and neon. Christopher Grimes Monica, California Gallery, Santa Veronika Kellndorfer, Succulent Screen 2 (transparent) , 2007, single panel silkscreen print on glass. Rhona Hoffman Gallery, Chicago Deanna Lawson, Nikki’s Kitchen , 2013. GRIMM Gallery, Netherlands Ger Van Elk, Portrait – As is, as was , 2012, C-print ra 4 on Duraclear film between Plexiglas, with Plexiglas suspension. Catherine Edelman Gallery, Chicago Gail Albert Halaban, Le 4 novembre, rue du Temple, Paris , 2012. Galeria Joan Prats, Spain Caio Reisewitz, Itacoatiara , 2015, Cprint on diasec. Carpenters Workshop Gallery, New York Studio Job, Banana Lamps , 2015, installation view of various individual pieces. 2016-09-21 16:08 Maximilíano Durón 17 An Artist Who Calls New York’s Sanitation Department Her Home For an artist obsessed for nearly half a century with the concepts of maintenance and sanitation, Mierle Laderman Ukeles keeps an office in desperate need of a cleaning. Or maybe an intervention by a department of doctoral students. “This stuff needs to go into an archive, because it’s getting insane,” she said one August morning, surveying shelves groaning with piles of paper, file boxes, photographs, videotapes, rolls of film and other testaments to one of the more unlikely, and underappreciated, careers in the postwar New York art world. The office, on Beaver Street in Lower Manhattan, deep within the headquarters of the New York Department of Sanitation — where she has been an unsalaried artist in residence since not long after she proposed the idea to the city agency in 1976 — was the site that morning of feverish preparations for the first comprehensive retrospective of Ms. Ukeles’s work, which has just opened at the Queens Museum. Such a show has been a long time coming, but Ms. Ukeles, at 77, is nothing if not patient. She understood many years ago, she said, that the highly idiosyncratic art she was making — about so-called menial labor, about scrubbing and picking up and about the existential meaning of garbage itself, pieces that confused many of her peers and unsettled fellow feminists — was not sexy and might never get the recognition it deserved. “People didn’t understand why I was so interested in one municipal department, especially this one, which really got no respect, especially back then,” she said. “But I felt like it was perfect, conceptually and practically. For me, the Sanitation Department was like the major leagues.” The road that led there started with the birth of her first child in 1968, a dozen years after she had moved from her hometown, Denver, to New York to make it as an artist. She was stunned to discover (“I was so naïve”) that becoming a mother “instantly made me into a different class of human being.” “People stopped asking me questions, stopped thinking of me as anything other than a mother,” she said. “I was in a crisis because I had worked years to be an artist, and I didn’t want to be two people. It seemed like I could be an artist only by being two people.” And so she sat down and in a single session typed a cri de coeur — “Manifesto for Maintenance Art 1969!” — that became a touchstone of conceptual and performance art, questioning not only gender and class in the art world but the foundations of the avant-garde itself. Among its choice lines: “The sourball of every revolution: after the revolution, who’s going to pick up the garbage on Monday morning?” She wrote that she planned to continue doing the things she had to do as a mother and housekeeper, but to “flush them up to consciousness, exhibit them, as Art.” This led to several performance pieces in and around museums and galleries, in which Ms. Ukeles (pronounced YOUkal-ees) took on the tasks of cleaner or maintenance worker. And then, in 1976, after she staged a collaborative performance with the help of more than 300 cleaners, maintenance workers and security guards at a downtown Manhattan building, an art critic’s tongue-in-cheek response — that maybe the financially beleaguered Sanitation Department could call its work art and qualify for a National Endowment for the Arts grant — set off a bell in her head. She wrote to the department and proposed essentially that very thing. Vito A. Turso, a deputy commissioner at the department, recalled reading the letter and manifesto back then, when he was a young public information officer. “I’d been a newspaper reporter and I’d seen some crazy, single-spaced letters in my time, and I thought: ‘Oh, God, what’s this?’ But then I read it, and she had me at hello. And what she started to do was really magic.” (Patricia C. Phillips, an art historian who organized the retrospective with Larissa Harris, a Queens Museum curator, has called the pairing of artist and agency “an almost unimaginable cultural and municipal affiliation.”) To earn the respect of the department’s workers and to learn its byzantine system for vanquishing millions of tons of garbage per year, she conducted what became one of the most ambitious performance pieces in the city’s history — “Touch Sanitation Performance” — in which she spent a year visiting each of the department’s districts and shaking the hand of every one of the 8,500 workers who would accept the gesture. Photos from the performance show her, with her shock of blond hair — it’s now flecked with gray but still cascades around her head — surrounded by crews of beefy men, each of them looking at her as if she was the first person who ever deigned to give them so much as the time of day. “I think her main idea — that so much happens in this world because of labor that is not acknowledged — is really powerful,” said Ms. Harris. She added that Ms. Ukeles’s concept of landfills as land art, at a time when men like Robert Smithson and Michael Heizer were building immense, essentially masculine land-art pieces in the American West , was “a hilariously beautiful mental leap.” (In a video piece at the retrospective, Ms. Ukeles says of the former Fresh Kills landfill on Staten Island , once the largest landfill in the world, now being remade into a park that she is helping to shape: “All of us made the social sculpture that is Fresh Kills.”) As you might expect from someone who has bent a city bureaucracy to her benevolent will for almost 40 years, Ms. Ukeles doesn’t often take no for an answer. “She’s come through with some ideas that, even if you were a willing partner, stretched the bounds of possibility,” Mr. Turso said. “We’ve had to try to slow her down at times, which isn’t easy.” She and her husband, Jack, now live in Tel Aviv, to be closer to their three adult children and seven grandchildren there. But Ms. Ukeles is back at her Beaver Street office often enough that workers still greet her in the halls like an old friend. And she still knows the department’s inner mechanisms almost as well as any of the eight commissioners who have run it during her time as its artistic soul. When I told her that the neighborhood where I live in Brooklyn is part of the Sanitation Department’s pilot program for collecting compostable food waste, she beamed: “And do you know what that means? It means the system is backing up into your house, making you responsible. Which is what should happen — because you’re part of the system!” 2016-09-21 16:07 By 18 ‘Hand to God’ to Have 13 Productions This Season “Hand to God,” the irreverent and raunchy puppet play that had a 10month run on Broadway, will be the most produced show (other than plays by Shakespeare and holiday-themed works) in American nonprofit professional theaters this season, according to a survey by American Theatre magazine. The play, by Robert Askins , chronicles a struggle between an adolescent boy and the demonic sock puppet he encounters at a church puppet ministry. The play has had a rough go commercially — it did not recoup its capitalization costs on Broadway, and a London production closed early. But it was praised by critics in New York, and is being embraced by artistic directors around the country, 13 of whom plan to present the play this season. Among the other most-produced shows this season: “Constellations,” a twocharacter what-if brainteaser by Nick Payne; “Disgraced,” the Pulitzer Prize- winning play about the unraveling of a Muslim-American lawyer, by Ayad Akhtar; and “Million Dollar Quartet,” a jukebox musical (with Elvis et al.) by Floyd Mutrux and Colin Escott, each of which will have 10 productions. One characteristic many of the shows share: small casts, which makes them more affordable for nonprofit theaters. American Theatre magazine, which conducts the survey annually, also compiled a list of the 20 most produced playwrights of the season (other than Shakespeare and the authors of holiday shows). The most produced playwright this season will be August Wilson , with 17 productions, followed by Lauren Gunderson , with 16 (including four she wrote with others), and Arthur Miller, with 15. 2016-09-21 16:00 By 19 Jane Fonda: The Reluctant Fashionista When the model Grace Hartzel opened Tom Ford’s spring 2017 show in a striking shag haircut, the inspiration was unmistakable — at least to those over 40 who watched Mr. Ford’s extravaganza. The hairdo paid homage to the one Jane Fonda made supercool as the Times Square hooker Bree Daniels in the 1971 movie “Klute.” Alexander McQueen also cited Ms. Fonda as a motivating force of “Deliverance,” his spring 2004 collection, which has gone down in fashion history for its dance presentation inspired by Ms. Fonda’s performance in the 1969 drama “They Shoot Horses, Don’t They?” In her late ’60s heyday, Ms. Fonda played her fair share of down-on-herluck roles. Off screen, she was the ultrachic Paris wife of the director Roger Vadim, and was a front-row fixture at shows staged by his friends Coco Chanel, Hubert de Givenchy and Yves Saint Laurent. Recently, speaking by phone from a film location in Colorado, Ms. Fonda, 78, firmly denied her style pedigree. “I am not a fashionista,” she said. Ms. Fonda’s political activism often overshadowed her status as a sartorial influencer. Highlighting it, however, is her collection of couture, Italian readyto-wear and lavish screen costumes that will be auctioned on Friday at Julien’s Auctions in Los Angeles. About five of the items are museum-worthy. But when asked if she had considered donating an Atelier Versace gown, a Valentino something, even her stripy workout leotard to, perhaps, the Met Costume Institute, she offered an unyielding “No.” Ms. Fonda is auctioning her possessions (698 items in all, mostly clothing) in a housecleaning exercise. “I had to do jobs to pay for my storage,” she said of the units she had maintained since her 2001 divorce from the media mogul Ted Turner. “Because Ted did not like to carry a lot of luggage on his jet — it was too burdensome — I would have to buy things in bulk” for their travels to his many properties. Parting with mementos was tough yet ultimately worthwhile. “Lighter,” she said of her sense of relief on clearing the space. Here, Ms. Fonda tells the stories behind some pieces going under the gavel. Ms. Fonda wore the Yves Saint Laurent pantsuit below when she claimed the Oscar as best actress in 1972. The somber black ensemble, with its sharp Mao-collar jacket, reflected the Communist sympathies she had developed before buying the suit in 1968. Ms. Fonda had just given birth to her daughter Vanessa Vadim, and during her pregnancy said she had grown horrified watching French television broadcasts of the attacks on North Vietnam. By the time of the Oscars Ms. Fonda was divorcing Mr. Vadim, and though she had hung on to her haute couture, she had exchanged her New Wave lifestyle for a self-financed twoyear antiwar lecture tour across the United States. The Hollywood establishment feared she would use the Oscars as another stop on it. “I wanted to make a speech about Vietnam,” Ms. Fonda admitted of the ceremony. Instead, she listened to her father, Henry Fonda, who advised her to refrain from politicking at the podium. “He said to me: ‘Just say: ‘There is a lot to be said. But tonight is not the time.’ So I did. And I wore something that made a statement. It was not a time for showy dresses. It was a time for seriousness.” Before Yeezy, there was Fonda. Ms. Fonda introduced her own line of luxe exercise apparel in 1984, after her workout book and its video adaptation, both fronted by an image of her in this black and red leotard, had dominated best-seller lists for years. Though films like “Flashdance” and “Perfect” made aerobics gear au courant, Ms. Fonda’s namesake aerobics label proved too fashion-forward and quickly folded. The 40 pieces from Atelier Versace that Ms. Fonda is auctioning are the standouts of the sale. The garments run the gamut from her flamboyant Oscar gowns to embellished couture that Lesage, the venerable Paris embroidery house, produced by channeling Gianni Versace’s inimitable rock-star take on Picasso’s Rose Period and Robert Delaunay’s abstract paintings. Many of the pieces were selected for Ms. Fonda by Mr. Versace after they met in 1989. In the midst of divorcing her second husband, Tom Hayden, at the time, she had controversially acquired breast implants and was dating a 35-year-old Italian soccer goalkeeper, Lorenzo Caccialanza. “I was in Italy with him, and I met Gianni then,” Ms. Fonda recalled. “Gianni kind of took me under his wing. And whenever I would do a red carpet, he would supply my clothes. He gave me dresses, belts, gloves and shoes. He was very generous.” Ms. Fonda sees no conflict between her political stances and her flaunting of Versace, a label that was often criticized for dressing supermodels in bondage numbers. “I used to think, ‘I have to be very serious,’” she admitted. “But being a feminist is not about the antithesis of being sexy or looking good.” As the daughter of a Golden Era Hollywood actor, Ms. Fonda likely noticed as his contemporaries, like Lauren Bacall and Audrey Hepburn, often walked off film sets with their wardrobes. The garments were made by skilled costume designers whose work was often on par with couturiers. Ms. Fonda continued the practice, and three dresses by the Oscar-winning costume designer Ann Roth, which she wore in the 1981 film “Rollover ,” are up for grabs. “Rollover,” a financial thriller, predated “Wall Street” and “The Big Short .” But it flopped. “We couldn’t get the script right,” Ms. Fonda said. Although her life eventually reflected the part she had played — a film star who “gave it all up” to become the wife of an industrialist — she made good use of her glam wardrobe. A decade after making the movie, Ms. Fonda quit acting and donned the floor-length lace “Rollover” gown to marry Mr. Turner. A sumptuous sequined velvet gown from the film went to the White House when Ms. Fonda accompanied him to a 1994 dinner for the Emperor and Empress of Japan. “I am very much in favor of wearing things more than once,” Ms. Fonda said. Two months went into the making of this Schiaparelli couture gown, which Ms. Fonda wore at the 2015 Cannes Film Festival premiere of “Youth.” Paolo Sorrentino’s drama, in which Ms. Fonda portrayed an aging starlet, was competing for the Palme d’Or prize. “Jane was very proud of the movie, and she wanted to make a special moment of the premiere,” said a Schiaparelli spokeswoman who worked on the dress with Ms. Fonda and her stylist, Tanya Gill. So in a departure from the bodyhugging Versace dresses Ms. Fonda has made her signature at Cannes, working the red carpet as a L’Oréal Paris spokeswoman (the cosmetics company sponsors the festival), she opted for a regal full skirt and bustleback gown, which was adapted from a 1952 Elsa Schiaparelli design. “It was a lot of fun to wear,” Ms. Fonda said. “It felt really good.” 2016-09-21 15:49 By 20 Ryan Gosling and Eva M endes M arried in Secret Earlier This Year Ryan Gosling and Eva Mendes headed to the altar and we were all too busy deciphering Kanye’s Instagram and mourning the loss of Brangelina to notice. Such is life in the age of social media. Gosling and Mendes reportedly legalized their love earlier this year. When, exactly? We still don’t know. The two seem to have held a small, private ceremony attended by family and friends. As amazing as it is that two celebrities pulled off an entire wedding without it ended up as a trending hashtag on Twitter, it’s not all that surprising when you consider how low-key Gosling and Mendes have been about their romance from the start. The two were first thought to be an item in September of 2011, when they were photographed holding hands in Disneyland. They costarred in the 2012 movie “The Place Beyond the Pines” and were seen celebrating the Thanksgiving holiday together that year. News broke in July of 2014 that Gosling and Mendes were expecting a child and in September of 2014, she gave birth to daughter Esmeralda Amada. Mendes gave birth to their second child , daughter Amada Lee, in April of this year. Mendes teamed with New York & Co. in 2015. She is the creative director and designer of New York & Co.’s Eva Mendes collection and fronted the brand’s first New York Fashion Week show earlier this month. The show took place at an Upper East Side mansion and the collection featured party dresses and lace frocks, all of which were readily available for purchase. “We were prepping for a year, so we’ve been working together for quite a few years now,” Mendes told WWD of New York & Co. She referred to her partnership with the brand as a “longterm relationship” and said that although she has two young girls at home, she and her codesigner are so in sync, “they can anticipate where I’m going with something.” Here’s to having it all — and a ring. 2016-09-21 15:49 Alexa Tietjen 21 Datebook: Second Edition of Udaipur World M usic Festival in Feb 2017 The second edition of Udaipur World Music Festival 2017 will take place across three venues in the city of Udaipur from February 10, 2017 through February 12, 2017. Organized by New Delhi-based cultural organization SEHER, the festival will bring together acts from global artistes from 20 countries including Iran, Spain, Senegal, France, Portugal, and Italy among other nations. The first edition of the festival saw artistes like Papon & the East India Company, Oum, Aleksandar Simic, Carminho, Raghu Dixit Project, Dobet Gnahore along with other national and international names taking centre stage. The festival turned the vibrant cultural city of Udaipur into a hub of global music. It is designed to attract people from all ages and different walks of life with varied musical taste. Live performances from artistes across the globe with the city of lakes as a background makes this event a magnificent hub to celebrate global cultural diversity. 2016-09-21 15:49 BLOUIN ARTINFO 22 Sophia Al-M aria Whitney M useum of American Art / New York The shopping mall remains a favorite symbol for the forces of cultural homogenization known somewhat euphemistically as “Americanization.” (Fredric Jameson, in 2003, suggested that plotting the spread of malls around the world would produce an “epidemiological map” of this particular unifying effect of capitalism.) In the Gulf, where American-Qatari artist Sophia Al-Maria is from, the shopping mall, famously, has reached something of a zenith. The architectural protagonists of her new video Black Friday (2016), for example, the Alhazm and the Villaggio, are two mammoth Doha shopping centers modeled, respectively, after the gallerias of Milan and the canals of Venice (by way of the Venetian in Las Vegas). Sophia AlMaria Rising out of a mass of sand, broken glass, and flickering cell phone screens ( The Litany , 2016), and accompanied by a deafening and ominous sound track, Black Friday tours the Villaggio, following a father-son pair dressed in white thobes as they stroll past Gucci and Marks & Spencer. A voice-over text contributes to the arch tone, delivering a Hollywood-doomsday critique of consumer longing: “Your desire is a hydra … encased in the frameless frame of forever.” And, riffing on Marx, “With every spree, you witness in a precise way that all that is solid melts into air.” (In a separate scene, a digitalized female voice edits for context: “All that glitters melts into air.”) The video reaches peak terror-pathos as the marble mall space is suspended in the sky, with the acrobatic camerawork accentuating the building’s soaring ceilings, calling up the trope of mall as capitalist cathedral. Dislocated from geographical specificity, the airborne shopping center reads as the fulfillment of Al-Maria’s characterization of malls in a recent interview: “a global inter-zone… [a] same-yet-other place.” It’s the film’s decrescendo that provides the truest — and most sinister — moment: a narration in which Al-Maria relates the memory of being in a Doha mall and seeing, among a group of American soldiers, a former algebra classmate from Washington named Dusty. “I’m standing behind them,” AlMaria says, “probably looking like a picture from their target practice. He doesn’t recognize me of course. There’s this insurmountable distance.” This anecdote brings the “yet-other” to bear on a video that might otherwise read as over-invested in the outsize and corny visual codes of consumption, reasserting the essential point that power differentials of a most concrete kind — military ones — not only cut through but also provide the conditions for a seeming sameness. by Jack Gross 2016-09-21 15:47 www.flashartonline 23 M ichal Rovner’s Doormen of the Dark Side at Pace Gallery Less than 24 hours before the opening of her arresting exhibition at Pace Gallery in New York’s Chelsea, artist Michal Rovner swept into one of the galleries —where dozens of people were scurrying about and standing on ladders—gesticulating madly with tools in hand. Artworks were leaning here and there, with crates scattered about the floor. The artist carried a round platter with sweets and snacks from her native Israel: nuts, Halvah, two kinds of dates. “Hallo!” she called out. “Food!” It’s awfully hard to conduct an interview and an exhibition tour when both parties have their mouths full of sticky dates and sweet sesame paste candy, but it’s just as well. That’s because Rovner prefers to let the work speak for itself. And what it—and she—has to say is all the stronger for that. Related: Pace Art and Technology Officially Opens as First Major Gallery in Silicon Valley As she wrote in the catalogue for her 2011 solo exhibition at the Louvre, “[P]eople desire to have more information, my desire is to erase information.” She doesn’t like to “deal with information, details, data.” The exhibition, on view at Pace through October 22, comprises four rooms of ghostly gray images of nocturnal jackals that the artist filmed using night vision photographic equipment, or, she said, the kind of technology used in security cameras (or, as she put it, to fight terrorists). Rovner compared the images to daguerreotypes, but they are grainier, grayer, and ghostlier—the eyes of each animal blankly white. The animals are haunting but in the way used to describe beauty rather than a horror film, even though jackals, of course, are long associated with not only the afterlife, or even with the postapocalyptic: they tend to live on the periphery and among the ruins of human life. “The jackals will stay for sure long after we are gone,” she mused, with less gloom and more matter-of-factness than you’d imagine. When she pointed out that not a single image in the show has a foreground or background, I thought: she’s right, that’s what death looks like, no past or future—only the eternal present. The work, all created this year, is wholly original, though the primordial shapes instantly called to mind the transparent quality of the animal drawings in the caves at Lascaux , as well as the shadowy, usually featureless horses and other animals in Susan Rothenberg’s paintings . Related: Pace Gallery Pops Up in the Swiss Alps (Again) Rovner, who splits her time between Israel and New York and has had more than 60 solo exhibitions around the world, including a 2002 retrospective at the Whitney, spent “months and months” driving late at night to dark fields to lie in wait for the animals to appear. Terror was her constant companion. “It is very much about fear, the unknown, what you don’t know, what you don’t see,” she said. Marc Glimcher, who organzied the exhibition along with Samanthe Lobosco, described her as “trying to become part of the pack.” She added, “I realized after a while that I’m hearing better and I’m seeing better in the dark.” She recalled saying to herself, “Well, it was worth it to be an artist just to come to this moment.” The exhibition is entitled Night, though she averred that this is not a tribute to Elie Wiesel , who died in July, nor to his book of the same name about his experiences during the Holocaust. But jackals are more than just the doormen of the dark side. The species that Rovner captured on film are likely golden jackals. These animals— mentioned more than a dozen times in the Bible, Rovner pointed out—claim the Middle East and South Asia as their territory. And they are feature players in the folklore and literature of these regions, most often as tricksters (like the wily coyote or the clever fox in tales North America and Europe). In Europe, the golden jackal is considered a scavenger, a form of vermin whose presence signals a certain degradation of the place where it is found. I didn’t get a chance to ask Rovner about this, but it occurred to me these jackals are characterized in much the same way that anti-Semites have characterized Jewish people for eons. (Even Kafka used them in his much debated short parable “ Jackals and Arabs .”) The next gallery comprises images that appear to be intensely shaded pencil drawings on paper, almost pointillistic in parts. In fact, they are still images captured from video to which Rovner has applied several processes, about which she prefers to be vague. “In my work, I always start from reality, collecting or recording things from reality and then shifting them out of identity, location, specifics….” she wrote in the Louvre catalogue. Glimcher, however, revealed that one of her techniques is to project the video on the uneven surface of the walls of her Israel studio and then take photographic images with the second camera. Two jackals in profile guard the door to the third gallery, which houses the video installation Anubis , titled after the jackal-headed Egyptian god. Anubis features a composite of a dozen jackals slinking across the walls. They come and go, they sit, turn, shift, look directly at you and then fade away. “It’s like a fresco,” Rovner explained, a fresco that comes alive and is visible only in the dark of death. She touched my palm to the rough walls, which she’d stuccoed in order to provide a dappled texture to the black-and-white video. It was not surprising to hear that Anubis had already generated interest from a museum, the gallery confirmed, because it feels at once important and likely to be popular; at one point on opening night, the work inspired a pack of visitors to howl like wolves, drowning out Rovner’s accompanying soundtrack. My reaction to Anubis , and to the exhibition as a whole, was far less plaintive. Like artist Taryn Simon’s performance and installation at the Park Avenue Armory that I had occasion to preview the day prior, this exhibition stayed with me for days as a sober, peaceful, not un-comforting, muted meditation on the afterlife. The fourth and final room of the exhibition houses six individual artworks on view here—including the show’s sole diptych, Ofel (deep darkness )—but taken together, they function almost as a single installation. They are mostly individual or double portraits of jackals, but they’re backlit like X-rays. I gasped in surprise when the creatures slowly started to move in their frames; they are video portraits. But here, as with Anubis , each animal’s movement has been slow-mo’ed to a mesmerizing degree. It gave me a satisfying shiver. Perhaps Rovner was trying to do in a field, in the dark, with her night vision glasses, what artists do in our society day in and day out, what we expect of them and what we need them to do: lighting the dark for us, illuminating the life and the beauty that is otherwise so often invisible to us, until they, as Rovner does in this exhibition, help us to see it. “Night” is on view at Pace Gallery , 510 West 25th Street, New York, September 16–October 22, 2016 . (Note: Pace has several buildings in Chelsea right now, including two on the same side of the same block on West 25th. The Rovner exhibition is on view in the W. 25th space closer to 10th Avenue, just below the High Line. Unfortunately, there’s no Anubis-cum-doorman out front to signal that you’ve arrived.) 2016-09-21 15:45 Laura Van 24 Smithsonian Institution’s Archives of American Art Wins $200,000 Don Tyson Prize From Crystal Bridges A Constantin Brancusi postcard from the Philadelphia Museum of Modern Art in the Archives of American Art’s collection. VIA WIKIMEDIA COMMONS The Crystal Bridges Museum of American Art announced today that the Smithsonian Institution’s Archives of American Art in Washington, D. C., has won the first Don Tyson Prize. The award comes with $200,000 and recognizes an achievement in American art. The Archives of American Art is, among other things, an invaluable resource for writers, students, academics, and researchers. Though the institution has a physical space in Washington, D. C., it is perhaps more widely known for its rich website , which has on it lengthy oral histories and some 2.5 million digital images, all available to the public for free. “We are enormously honored and humbled to have been chosen for the inaugural Don Tyson Prize,” Kate Haw, the director of the Archives of American Art, said in a statement. “This recognition from the Tyson Prize jurors and Crystal Bridges, which itself is doing such important work to advance our field, is very gratifying to our creative and committed staff, who have worked for more than 60 years to collect and share the riches of the Archives for all those who are interested in American art.” The Don Tyson Prize comes out of the Tyson Scholars of American Art program, which was established by the Tyson family, of Tyson Foods fame. (Don Tyson was formerly the CEO of the company; he died in 2011. His son, John, collects American art and is currently on Crystal Bridges’s board of directors.) In 2012, the Tyson family grave Crystal Bridges $5 million, which will continue to endow the prize. 2016-09-21 15:42 Alex Greenberger 25 Theaster Gates Wants to Turn Former Chicago Police Station Into Art Center Chicago artist Theaster Gates has revealed plans to establish an arts center in a disused police station on the city’s South Side. The police station was shuttered in 2012 in a cost cutting effort by police that combined the city’s Prairie and Wentworth districts. Related: Theaster Gates Loans the Gazebo Where Tamir Rice Was Shot At a community meeting in the city’s 4th ward on September 19, Gates laid out a $7.5 million plan to refurbish the building and transform it into an arts center. The artist proposed to reopen the space for artisans working with ceramics, metalwork, and glass, corresponding to the career center’s focus on training students to become tradesmen. “If we can get that started, it’s very easy to imagine jewelry classes,” Gates added. According to DNA Info , the audience gathered at a career center in the Douglas neighborhood of Chicago was largely supportive of the proposal. In response to questions over how he plans to integrate the community’s relationship with the police into the building, the artist said that “simply reactivating the building feels like a step in the right direction.” Gates told DNA Info that he initially wanted to include the police station in a $10.25 million dollar civic building revival project sponsored by four major foundations that is part of the four-city “Reimagine the Civic Commons” initiative. He couldn’t gain approval from the city in time because of the resignation of former 4th ward alderman Will Burns, who stepped down this February. Related: artnet Asks: Socially Engaged Art Star Theaster Gates Newly-appointed 4th ward alderman Sophie King told DNA Info after the meeting that she would like to meet Gates one-on-one to discuss his proposal in detail before handing the building over to him. “Theaster has a great track record in the city and I would have to have him come into the community,” she said. Meanwhile Gates told the audience that the project could be completed by 2019. “Our hope is this will be part of our next three years of ‘placemaking’ he said. 2016-09-21 15:40 Associate Editor 26 Say Waddup to Our Pin-ofthe-Week As the founder of Strike Gently Co , I deal in pins and patches daily. The Creators Project asked me to pull together a weekly roundup of the best newly- released pins. Most of these will probably sell out. If you like them, smash that “add to cart” button. Every Wednesday, you can head to the bottom of this article for an exclusive discount code so you can keep your pin game sharp. I’m starting to have enough pins to fill an art gallery—wink, wink. Just kidding, being self-aggrandizing is really cool and funny. Pins are actual tiny artworks and collecting them is more fun than collecting just about anything else. I know this, because my collection is huge—have I mentioned that I could fill an art gallery with them? Ok. Read some words, then buy some stuff. Special discount at the end. This is my favorite meme and I wanted to make it into a pin but a million other people already did, because it’s a meme. This is one of them. Have you heard of this meme? It goes "here comes dat boi. O shit waddup?” Because it’s a frog on a unicycle. If you don’t think this is funny, you might as well move to a mountain top without wifi and stay there. $10.99 here . The girl from Stranger Things is strange or something, and she also looks like a Bushwick Halloween costume. This makes her the ideal candidate for a millennial cult-TV character. The only thing she's missing is half a degree from Hampshire College. Keep up the good work, Eleven—this pin seals your trendy fate. $10.00 here . Speaking of hip stuff that’s actually good, here’s a pin of Stanley Kubrick. One of the increasingly rare cases of someone who was both smart and cool, Kubrick is an artist worth immortalizing. Does a pin diminish his legacy? Not at all. Anyone who sees you wearing this around will think, “Wow. I really love Stanley Kubrick, too. He was both smart and cool. What a wonderful artist.” $10.00 here . Are you reading this on your phone? That’s too bad. Make like my favorite company, Tough Times Press, and take your life back. Instead of posting selfies for affirmation and drooling over Tinder, go to the park. Yeah, man. Humannature. $10.00 here . BONUS PATCH(ES) Inner Decay released two insanely sick back patches this week. One of them is a big black rose, and the other is a giant digital print of Goya’s Saturn Devouring His Son. Have you ever eaten your son? I have, and Goya captured the feeling perfectly. You should 100% put it on your jacket. Shop here . Ok, that’s it. Use the code ASS for 20% off any order at my shop, Strike Gently Co. Related: A Ship in a 40oz. Bottle Is Our Favorite Pin This Week The Jeff Koons Balloon Dog Enamel Pin That Burst Our Bubble Grateful Dead Skull + “Solo Jazz” Design = Best Pin of The Week 2016-09-21 15:40 Charlie Ambler 27 chicago architecture biennial 2017 unveils artistic directors the chicago architecture biennial (CAB) has announced that sharon johnston and mark lee, of the los angelesbased architecture firm johnston marklee, will be artistic directors of the 2017 event. the second edition of the biennial, which has been titled ‘make new history’, will run from september 16 to december 31, 2017. the inaugural chicago architecture biennial premiered in 2015, and was the first and largest international exhibition of contemporary architecture ever to take place in the united states. CAB 2015 featured 120 participating architecture and design offices from more than 30 countries, with more than half a million local residents and visitors from around the world taking part. the hub of the 2017 biennial will once again be the chicago cultural center, located in the city’s downtown district. johnston marklee also participated in CAB 2015, read more on the project here image by nathan keay / © MCA chicago ‘the chicago architecture biennial’s return in 2017 confirms chicago as an architectural hub,’ said chicago mayor rahm emanuel. ‘last year’s edition was a resounding success, and I’m pleased to see the great planning and support for the second biennial, which will be even better. not only is the biennial’s return a testament to our city’s architectural significance, but it speaks to chicago’s place as one of the world’s cultural destinations and our place in the world of architecture and design.’ the themes and focuses of the chicago architecture biennial 2017 are explained in more detail by artistic directors johnston marklee below — the two central themes of the chicago architecture biennial 2017 are the axis between history and modernity and the axis between architecture and art. of critical importance in architectural discussion today is the renewed role that history plays in its making. one of the most dramatic ruptures in the evolution of architecture over the last century has been the fissure between history and modernity. the insistence on being unprecedented and unrelated to architectures of the past reached new heights at the beginning of the millennium, as more and more architects became reluctant to consider what they do as being part of a larger collective project or part of a longer architectural history. on the other hand, a renewed interest in history and precedents of architecture has been emerging among a new generation of architects. committed to progress but always within an architectural tradition, these architects are producing innovative and subversive works grounded in the fundamentals of the discipline, rooted in the fabrics of the cities where they are built, without having to keep up with the latest micro-trends and being accused of cultural appropriation. this group constantly ventures into the realm of the new and the unknown, but always returns to history in order to find the old in the new and the new in the old. while architecture is rediscovering its own roots and tradition, its relationship with art has become more fluid and dynamic. today this relationship between art and architecture is transforming into a new era of convergence. on one hand, both art and architecture have evolved as practices along with the changing nature of public space, in the function of specific sites, and in the expanding definitions of national and civic identities. on the other hand, the proliferation of multimedia art practices has further blurred the expertise and responsibilities of distinct disciplines. at a time when anything goes, when there is too much information and not enough attention, when architecture does not celebrate shared values, the examination of this renewed interest in architectural history, the role of art and architecture, and their impact on cultural continuity is more pressing than ever before. the chicago architecture biennial 2017 aims to address these issues through the lens of the city. with its abundance of wealth in architectural tradition, chicago becomes the ideal place where questions can be raised and ideas examined toward the making of a new history. 2016-09-21 15:35 Philip Stevens 28 Oliver Spencer Hosts ‘Buy-Now’ Show at Close of London Fashion Week London men’s wear ambassadors David Gandy and Oliver Cheshire and model and TV personality Daisy Lowe attended along with 200 customers invited by Spencer to shop the collection, which will land in stores between now and November. A selection of the items became instantly available to purchase via the Vero app as they were making their way down the catwalk. Large screens on the sides of the runway projected Spencer’s Vero profile, with new looks appearing every time a model walked down the runway. The brand also enlisted YouTube personality and British GQ contributor Jim Chapman to introduce the show’s concept. Viewers could also watch the show live from both the British GQ and the British Fashion Council websites. The collection, a mix of pieces from fall/winter 2016 and some of the brand’s classics, had a laid-back vibe with an eclectic mix of textures, earthy tones and relaxed shapes. The looks referenced the drummer Ginger Baker and his collaboration with African musician Fela Kuti. There were velvet cropped trousers worn with suede patchwork bombers, and lots of loose tailoring and playful, striped knitwear. Prices ranged from 65 pounds, or $85, for a T-shirt to 789 pounds, or $1,026, for an astrakhan coat. The purchasing process was designed for a seamless experience. Vero representatives were scattered around the venue, available to assist customers. The ordering procedure was quick, with users asked to type in information including name, address and credit card details. The app also incorporates an interactive element allowing users to like items and post comments. It doesn’t offer any sharing features, however, in order to ensure an advertising-free environment. Temperley London embarked on a similar partnership with Vero, offering a tighter edit of three pieces from her spring/summer 2017 runway collection that were available to purchase from the app exclusively. Vero is a social platform that allows users to sort and prioritize contacts, create privacy settings and curate the quality of information — including film, music, video — they release, and to whom. In some cases, they are able to sell products directly to followers. The site’s co-founder Ayman Hariri said he has no plans for Vero to become a shopping app, but told WWD that he’s interested in any professional merchant who can provide a curated experience for the site’s users. “Social is the center of our universe,” he said. “We want to give people just the right amount of tools to express themselves and allow for an interesting engagement between users and the brands and the people who they’re following.” 2016-09-21 15:33 Natalie Theodosi 29 Italian Producers Find Inspiration in M ultifunctional Bags Briccola, who is also chief executive officer of travel bags and accessories firm Bric’s, added, “This is the time to be eager to start from the beginning and find that enthusiasm that allows a company to undertake something new.” Bric’s found the key to overcome the crisis in the combination of technical details and design. “We have developed partnerships with well-known fashion names like Missoni and Versace,” Briccola said, “while at Mipel we present a partnership with Moleskine.” The latest edition of the trade fair took place in Milan Sept. 3 to 6. In 2015, the Italian leather industry estimated production totaled 7.2 billion euros, or $8.1 billion at current exchange rates, and nearly 90 percent of its turnover was generated abroad. But in the first five months of this year, exports fell to 2.6 billion euros, or nearly $3 billion, down 1.2 percent compared with the first five months of 2015. Brazil (down 34.15 percent), Taiwan (down 26.11 percent) and the United Arab Emirates (down 20.92 percent) were the worst performing markets. Despite a loss of 11.75 percent, the U. S. is still one of Italy ’s target markets with a 4.4 percent increase in export volumes. “It’s a difficult situation but I don’t think we are facing an economic debacle,” added the president of Aimpes, Italy ’s leather goods association, Riccardo Braccialini, who is also ceo of the family’s firm Braccialini. “I believe we have to get over a psychological stagnation: when people are afraid and confused, the economy performs worse than it could.” According to Braccialini, the key factor for Italian companies is to be flexible and create something new. “I think in 2016 Italian companies’ most performing markets will be South East Asia and Central American countries like Colombia and Mexico, but China, Russia, the U. S. and Europe will remain the biggest ones.” The need of practicality was the most significant trend that emerged at Mipel. Walking among the fair’s pavilions, one could easily see companies showcasing multifunctional bags. The Padua, Italybased Gianni Segatta was among them. Founder Gianni Segatta runs a small business worth 2 million euros, or $2.25 million, and produces around 15,000 pieces per year. Its features are multifunctional leather bags, such as one design that turns into a backpack when required, or the bag that contains a pochette in it – another item that’s more required by women. Segatta’s items run from 90 euros, or $101, up to 2,500 euros, or $2,800, for a crocodile hand-painted bag. Segatta’s stand was part of the Scenario project, the space dedicated to new designers and innovative brands. In the same area was Officina del Poggio, a Made in Italy company founded in 2014 by Texas-born Allison Nicole Hoeltzel. The designer moved to Bologna nearly 15 years ago and it’s there that she still lives and works. Her bags are all handmade in Emilia Romagna and Tuscany. The collection includes new interpretations of motorcycle duffles and buckle totes, and it features a “Mini Bauletto [small trunk]” made of wool covered in leather, which evokes a small satchel with double-buckle closures. The price of these bags starts from around 600 euros, or $675. Multifunctional bags stood out at Gabs, as well. The designer Franco Gabrielli created backpacks that become shopping bags, or satchel-tote bags and stretchable bags. Chiarini showcased the “Travel translation” collection “inspired by a woman who loves traveling and likes mixing different styles,” said founder Gianni Chiarini. “Bags are meant to be carried all day long until night, so that they can be practical at work and elegant in the evening.” Chiarini said that this Mipel edition may be the company’s last one. “A manager has to be brave and have the courage to change,” he explained. “We want to focus on the relationship with our clients and this is also why we are reorganizing our sales network.” The fair is therefore becoming a place to show one’s collections and not a place of sale, he contended. Multifunctionality therefore becomes a trend to answer consumer needs. “I work in San Francisco and I can tell women there are looking for multifunctional items that give the opportunity to carry products like iPhone, iPad and so on,” said Patricia Woody, owner of Rabat shops in San Francisco and Berkeley. These words are supported by Japanese buyers. Shoko Inami, a sales expert at Oiso Sangyo in Tokyo, said, “multifunctional bags represent the most performing accessories sector in our country.” This is why the main target for those brands that want to boost their business in Japan is the working woman, who requires both practical and fashion bags. As for other fashion trends, the collections mainly featured strong colors and ethnic inspirations. Tosca Blu, the brand founded by Giacomo Ronzoni in 1998, stood out for its African-inspired prints mixed with optical and Eighties-inspired digital effects. Maori tattoos and Mexican-inspired colors stood out from Marche-based company Cromia, in a collection that was influenced by a more casual design. My Choice was also marked by an “Africa punk” mood: leather printed with patchwork decorations, and colors like “empire yellow” and “tea rose” were blended with “Abyss” and “Nature and artifice” styles. The family-run company based near Naples sees a boost in sales abroad thanks to this newly inspired collection. 2016-09-21 15:16 Teresa Potenza 30 Chanel and i-D Launch The Fifth Sense Platform And it’s where Chanel and i-D chose to celebrate the launch of The Fifth Sense, a new online platform from the Vice Mediaowned magazine that celebrates women in creative industries with video and editorial content, and “hero” projects from women across a range of disciplines, each inspired by Chanel ’s fragrances. Mademoiselle Chanel might well have been turning in her grave at the fried food served on steel Aperol-branded trays, and probably would have been none too thrilled with the proximity of the windowless squats to the warehouse location, but she would have likely been very impressed with the vertigo-inducing installation by set designer Es Devlin, commissioned as the premiere hero project in the series. Stage designer Devlin, who has created sets for everyone from Kanye and Jay Z to Lady Gaga, Take That and Rihanna, and has worked across theater, opera, dance, film and fashion, was inspired by the staircase at Chanel’s Rue Cambon apartment for the “Mirror Maze” installation, a discombobulated series of four rooms, created in response to fragrance and its power to recall memories, times and places. The first room featured a digital projection that uses immersive graphics and a fly-through sequence to convincingly invoke a sensation of physically falling, which was created by Devlin’s longtime visuals collaborator Luke Halls. The next room was an elaborate maze of curved mirrored walls and was just as disorienting. The experience was fragranced with a scent of ylang ylang, neroli and jasmine exclusively created by Chanel perfumer Olivier Polge, which can only be experienced as part of the installation. Guests including Nicholas Kirkwood, Tiger-Lily Hutchence and Nick Grimshaw got lost in the maze, emerging to cocktails and music played by DJ Hanna Hanra. “I was making a request; telling her to play hip-hop,” said Jack Guinness on his way to the crowded bar. “Hip-hop is always the best thing to play. But she said she feels too shy to play it yet. It’s never too soon.” Lottie Moss, making her rounds of the night’s parties, popped in and shared an interesting fascination with sloths. “I have a really big obsession with sloths. I just like everything about them; I follow pages on Instagram about them. I really want to do some charity stuff with sloths, because they can die really easily,” she said. “Sometimes they mistake their arms for branches so when they try to climb they fall and die. It also takes them, like, 24 hours to go down the tree and pee. So they have to go down the tree, it takes them so long, and sometimes when they’re down there, because they’re not quick enough, other predators go and eat them. It also takes them 48 hours to have sex.” The “Mirror Maze” installation will be exhibited for five days at Copeland Park in Peckham from Wednesday Sept. 21. 2016-09-21 15:10 Julia Neel 31 Our 11 Favorite Zines from This Year’s NY Art Book Fair Trapper Keeper 4 by various at Megapress. Photographs by Andrew Nunes, courtesy of the artists and publishers Even if you were one of the lucky 39,000 people who visited the New York Art Book Fair this past weekend, there’s a good chance you didn’t catch all of the 370 stands scattered throughout MoMA PS1’s labyrinthine nooks—and you are nearly guaranteed to have missed a large portion of fair’s zine offerings. Luckily, we did the dirty work for you: Here’s our roundup of the best zines available at the 2016 NY Art Book Fair. This trippy comic book is the undisputed weirdest zine I encountered at this year’s Fair. Understanding Nicotine chronicles the adventures of a fez and shade wearing dog doctor as he explores and explains the health benefits of injecting nicotine and vaping. The comic book’s illustrator Brian Blomerth claims that the content isn’t hyperbolic; supposedly Dr. Ispib Osnotkitchi is in fact an expert researcher on ‘alternative nicotine intake theory,’ although the actual evidence is... tenuous, to say the least. You’ve probably heard of Jayson Musson , whether regarding his hilariously fascinating art practice or his fascinating online art guru persona Hennessey Youngman. His new zine at the NY Art Book Fair is a continuation of his comedic genius, describing fabled actor Sir Ben Kingsley in a series of roles and situations that are as ridiculous as they are culturally relevant. My personal favorite: “Ben Kingsley as Sam in George Lucas’ digital remaster of Casablanca.” Shifting towards a more serious direction, If I Ruled the World , a collaborative zine by a series of Baltimore-based artists and creatives, explores the possibility of a brighter future in light of last year’s protest and uprising. Kimi Hanauer from Press Press asked Baltimore creatives to share their visions and ideas for a better Baltimore, and how they would change the world if they were in charge. A strange fusion of anthropomorphic cats, sexuality, and other of-themoment issues, HomoCats: Fight the Power is apt cultural commentary portrayed through a ridiculous comic visage. In one of the zine’s two-page spreads, a pair of cats stare at the reader and proclaim that they “are disgusted with American Ideals,” while the cat on the neighboring page brazenly proclaims “Free butt sex!” proving yet again how absurdity is often the best route to cultural insight. A black-and-white photo zine by an anonymous author only identified by their Tumblr account, Alfabeto. Ilegal at 8 Ball Zines consists of a series of images relating to anti-criminal organizations in Brazil. Each image depicts the acronym of a Brazilian antidrug organization or police unit, created through the carefully planned arrangement of illegal substances, weapons, and money. In a country notorious for its widespread political corruption that has even resulted in the impeachment of its most recent president , Alfabeto. Ilegal is appropriately cynical commentary for the ingrained lack of justice within the troubled nation. Within this color photo zine are 18 Polaroid images, each accompanied with highly specific background information. The zine-maker known as Instigator found these Polaroids and created his own narrative for each that range from highly-believable scenarios to poetically existential fantasies. Issue 11 was printed in an issue of 18, and every zine purchaser receives one of the found Polaroids at random, taking part of the story home with them. Illustrator Justin Hager 's new handbound coloring book consists of a series of light-hearted cultural remixes better suited for your own enjoyment rather than a child’s. Color in images of “Yeezus and Butthead,” “Rick James Franco,” and “Batman and Robin Williams,” along with many more bizarrely poignant combinations in this edition (of 200). If you missed it at the book fair, Color Me Bad is available for purchase here. The 4th edition of dystopian sci-fi zine Trapper Keeper brings together 19 different artists to explore the highly specific theme of “future sex.” The visual interpretations within range from illustrations of cyber-shamanistic masturbation to the envisioning of a time where our bodies are prescribed starred reviews just like Amazon products. Artist Paul Shortt recently conducted a workshop where he “lead participants on how to transform from an amateur to a professional in any interest or hobby,” according to the official description. The first set of his Professional Amateur Zines highlights the ins and outs of his workshop lessons like how to fake a transcript by using security paper because no one is going to ask to see your actual diploma, while the second zine shows the completed Professional Amateur Business Cards , ranging from an “Invisible co-star of Broad City ” to a “Professional Selfdeprecating Ass.” Shortt Editions was on fire at the Book Fair, and another zine by Paul Shortt deserves mention. Modern Greetings is a zine that shows alternative ways to greet people that feel relevant to the age we live in. Highlights include 'cell phone branding,' where each person places their own phone on the other person’s forehead in kind acknowledgement, and the 'cell phone bump,' which consists of approaching someone while you are both on the phone, bumping elbows, and then going back to talking on the phone, which has potential to become the fistbump of 2017. An anthology zine of sorts, Cats Hate Cops chronicles 150 years of documented instances where cats have attacked cops and other authority figures. The 62 pages of black-andwhite, xeroxed, collected news excerpts include cats biting mayors in the leg and the story of a particularly heroic stray cat attacking a Washington state police chief multiple times in 1992. What were the best zines you found at NYABF? Let us know on Twitter or in the comments below. Related: Here Are 11 of the Rarest Works at the New York Art Book Fair It's a ZINE TORNADO! | Insta of the Week 17 Artists, Presses, and Publishers to Know at the NY Art Book Fair 2016-09-21 15:10 Andrew Nunes 32 High M useum in Atlanta Lowers Admission Fees for Adults Children eager to share their thoughts on an Ellsworth Kelly at the High. COURTESY HIGH MUSEUM OF ART The iron law of museum admissions is that they can only go up—or up, up, up in the case of some institutions, like the Museum of Modern Art and the Metropolitan Museum of Art in New York, where it is now $25 for an adult to visit (the Met’s is a suggested price, granted). And so it is intriguing to learn today that the High Museum of Art in Atlanta has decided to cut its admission fee for adults from $19.50 to $14.50, taking $5 off the price. The price change goes into effect October 1, when $14.50 will be the going rate not just for adults but also for all visitors aged 6 and up. That actually represents a price hike of $2.50 for children aged 6 to 17, who can currently get into the museum for $12. (Students, who are now charged $16.50, will come out $2 ahead in the new pricing system, paying $14.50 as well.) Children 5 and under will continue to be free, as will members. To break this down a bit, if you’re an adult and you bring one child between the ages of 6 and 17 to the High, you’re going to save $2.50 come October 1, and if you bring in two children, you’re going to be paying what you paid before. If you bring in three kids, you’re actually going to be paying $2.50 more than you would have been previously. (If more than one parent is chaperoning, of course, the numbers improve a bit.) So this is a nice symbolic change, a step in the right direction, but it doesn’t feel like it is significantly going to alter the financial barrier to get into the High, for many families. A press rep for the High noted in an email that the museum will continue “to offer free admission to all patrons on the second Sunday of each month.” Some museums have eliminated their admission fees entirely, like the Baltimore Museum of Art, the Minneapolis Institute of Arts, and the Bronx Museum of the Arts, the last through a grant from Shelley and Donald Rubin in 2012, which was followed by an attendance increase of 50 percent. The Indianapolis Museum is a more-cautionary tale: it eliminated admission fees in 2007, only to reinstate them in 2015 , saying that it needed to do so to shore up its financial position. Back in 2006, critic Roberta Smith made an eloquent case in the New York Times for lowering and eliminating museum admissions fees, arguing that artworks, like books, “should be equally available to all, for the good of the individual and society as a whole. Most Americans would be appalled if public libraries charged entrance fees.” Smith argued that “[i]f museums were to broadcast unequivocally that their first priority is art and the public’s contact with art, their public image would improve and sharpen. And other things about them would start to change, from the people who sit on their boards, to the buildings they build.” Agreed. Earlier this year, MoMA announced that it had raised an impressive $650 million toward another expansion and other expenditures, but if I had to choose, I would much rather have a MoMA that is using its fundraising prowess to ensure that every single person can visit at any time, free of charge, rather than a MoMA that is simply bigger. Providing broader and easier access to museums is one of the defining issues of our present moment. The High Museum’s move is a baby step toward a meaningful change, but now is a time for great leaps. 2016-09-21 15:00 Andrew Russeth 33 The Blessed, Cursed Life of Bon Iver “What is left when unhungry?,” Justin Vernon sings midway through “22, a Million,” his third album as Bon Iver. It’s one of many questions this 35-year-old songwriter and multi- instrumentalist asks of himself in the course of the album. And it’s answered, in some ways, by the songs themselves on Bon Iver’s most diverse, noisiest, shortest, knottiest and most experimental album so far. Due for release on Sept. 30, “22, a Million,” is one more sharp turn in a career that has carried Mr. Vernon from indie-rock obscurity in Wisconsin clubs to festival stages and the Grammys , including an improbable detour via hiphop and Kanye West. The songwriter and pianist Bruce Hornsby — one of Mr. Vernon’s avowed influences and, lately, a collaborator — described Mr. Vernon in a phone interview as “a soul singer who creates these unique and beautiful sonic landscapes on which to perform.” Those landscapes have grown ever more painstakingly inventive. Making the album, Mr. Vernon said earlier this month, was at times spontaneous, at times convoluted and often uncertain. “It was a long moment, these last few years, thinking: What am I doing? What do I want to do it for?” he said. Mr. Vernon needed five years, three of them concentrated on writing and recording the new album, to clarify for himself what Bon Iver means and sounds like, now that he can count on a worldwide audience to keep him “unhungry.” “I feel both blessed and cursed by the fact that I can do whatever I want at this point,” Mr. Vernon said in a rare extended interview in the recording studio at Pioneer Works in Brooklyn, a gallery and performance space in Red Hook where he is on the advisory board. “I have more recognition than I had ever wanted to deal with.” The pressure he felt was not commercial. “22, a Million” is a bumpier ride than Bon Iver’s previous albums. It constantly mixes distorted and manipulated sounds with natural ones, and it deliberately veers away from pop familiarity. But it also progresses toward solace, grounding its closing songs in steadfast melodies and consoling harmonies. “It’s important to me to not pay any attention to questions of, ‘What’s your legacy going to be?’ or ‘What are you going to leave behind?’ or ‘How do you work into the current scene?’ or ‘How do you relate to the chart-toppers?’” Mr. Vernon said. “I find all of that stuff not only distracting but kind of the opposite of what it all means.” Wearing loose pinstriped pants and a dark gray T-shirt that revealed some of his many tattoos, with a neatly trimmed beard and casually tousled hair, Mr. Vernon was by no means the introvert his songs might suggest. Affable and articulate, he was eager to delve into and at least partly decrypt his work. The polite self-effacement of his Midwestern upbringing came through, but Mr. Vernon battles excessive modesty. “I got in a friendly argument with Kanye West about the word humble once,” he recalled. “He said, ‘Have you ever looked up the word humble?’ I was like, ‘Actually I don’t know if I have.’ And he showed me the definition of it, and it’s far more self-demeaning, kind of the problematic Midwestern ‘Sorry!’ mentality, than I realized.” He continued, “I took a lot out of that conversation. Ultimately, I think it’s great to serve others and everything, but I think there’s a certain point where it’s diminishing returns for the people around you if you’re not showing up and being who you are.” “22, a Million” — the title reflects Mr. Vernon’s numerological whims — is the much-anticipated successor to the 2011 album “Bon Iver, Bon Iver,” which sold more than half a million copies in the United States and won Grammy Awards for best alternative album and best new artist. Grammy recognition “didn’t change anything about me,” he said. “It did make me realize that there are people out there that really care about monetary success and recognition for the commodity that is music, like way more than I do. Not to say I don’t care about recognition. I like when people like a song, but I certainly don’t care as much as some folks out there.” The first Bon Iver album, “For Emma, Forever Ago,” was a nearly solitary work. Mr. Vernon wrote and recorded it after the breakup of both his longtime band and a relationship, in his father’s chilly hunting cabin in Wisconsin during the winter of 2006-7, and it was full of pensive ballads with translucent layers of guitars and vocals. “For Emma” quietly won hearts, eventually selling half a million copies. It also brought Bon Iver to the attention of Mr. West, who sampled “Woods,” a song from a 2009 Bon Iver EP, and went on to feature Mr. Vernon at concerts and as a songwriting collaborator on “My Beautiful Dark Twisted Fantasy,” “Watch the Throne” and “Yeezus.” The second Bon Iver album, “Bon Iver, Bon Iver” was both more expansive and more ambiguous. Mr. Vernon built his own studio, April Base, in his hometown, Eau Claire, Wis. The music was still gracious, mostly guitarcentered indie-rock, as Mr. Vernon welcomed a broader range of collaborators and instruments, bringing a lapidary detail to the arrangements, while the lyrics posed new riddles. In the interview, Mr. Vernon noted that “Perth,” which opens that album, and “Beth/Rest,” which concludes it, rhyme with “birth” and “death.” The crossreferences continue: A song title on the new album, “10 Death Breast,” rhymes with “Beth/Rest.” Mr. Vernon found plenty of distractions before settling in to work on “22, a Million.” He toured the world with the large band he needed to recreate “Bon Iver, Bon Iver” onstage, an elaborate and demanding project. “I didn’t ever plan on having that much popularity, and being from Wisconsin, whatever amount that I could have dreamt about, I was not prepared for any of that,” he said. One thing that weighed on him was being photographed constantly, he said; his face is noticeably absent from the artwork of the new album. “I felt very exposed, with scarred skin from the whole experience. Not that it was all bad, but it wore down these outer layers, and everything kind of hurt.” When the tour ended, he turned to collaborations: producing albums for the Blind Boys of Alabama and the folky English group the Staves, and regrouping and touring with his on-andoff band Volcano Choir. He started and closely curated a festival, Eaux Claires , with Bon Iver headlining alongside its influences and favorites. And, gradually, he pushed himself to write new songs. Instead of having his guitar at their center, they largely relied on a portable synthesizer and sampler along with a customized Vocoder and thoughts of the heady blend of Duke Ellington’s saxophone sections; one new song, he said, weaves about 150 saxophones into its mix. A turning point came when Mr. Vernon traveled to Greece, alone and offseason. He found himself singing the line “It might be over soon” into the sampler, hearing it as a kind of mantra that could suggest relief, loss, mortality or a reason to get to work. “The bad stuff might be over soon, but maybe the good stuff might be over soon,” he said. “So you’d better figure out how to enjoy this life and participate in it.” Back in Wisconsin, Mr. Vernon worked like both a singer-songwriter and a hiphop producer. He improvised with musicians in his studio, then culled snippets that might engender songs; he toyed with loops and effects; he let samples lead him to ideas. Where he had organized “Bon Iver, Bon Iver” around places, he decided to unify his new album with numbers. Each song title on “22, a Million” begins with a number that holds a private significance for Mr. Vernon. He has always been drawn to the number 22. While growing up and playing sports, he chose it as his jersey number; he also, he said, sets wake-up alarms to 22 minutes after the hour. As he chopped up the phrase “It might be over soon” in the sampler, “soon” began to turn into “two, two”: 22. The album opens with “22 Over Soon” and concludes with the hymnlike “1000000, a Million.” “Being 22 is me,” he said, “and then the last song being a million, which is this great elusive thing: like, what’s a million? The album deals a lot with duality in general and how that works into the math. I was big into Taoism in college, and the paradox of duality, and how it’s always one thing and the other — you can never have one thing without the other. So it’s 22 being me and a million being the Other. That was a way to look at it as a circle.” He also delved into sonic manipulation. “A big thing for me on the album was, how do we get something to sound accidental or new or fresh,” he said. When he was dissatisfied with the overly digital sound of “22 Over Soon,” he and his engineer took a cassette (Neil Young’s “Unplugged”), pulled out the tape and crumpled it and wrote on it with a marker. Then they recorded the track onto it, creating distortion and dropouts. Other songs toy with recording speed, ending up between standard pitches. The soul-searching that runs through all of Bon Iver’s songs emerged anew in lyrics and song titles that draw on thoughts of consecration, prayer and God. A spacious yet fragile ballad, “666 Upsidedowncross,” presents the singer as an uncertain pilgrim, musing, “I don’t know the path.” The album booklet cites the anguished Psalm 22 — “Why are you so far from saving me?” — alongside the song “33 ‘God’,” which includes samples from a gospel choir. “When you use enough of that language, it perks some people’s ears up,” Mr. Vernon said. “I do love those words, I love the word consecration, these holy words so to speak. I like using them in a way people haven’t heard before, or right next to a bunch of swear words. It’s just fun — it puts a smile on my face.” But there was also a more serious undercurrent. He added: “For me from a very early age, music has been my religion. It’s been my way of understanding, it’s been my way of celebration, it’s been my way of contemplation.” As Bon Iver re-emerges, Mr. Vernon is thinking hard about self-preservation. “When I made the last record, actually both records, I very much felt like I’d healed myself,” he said. “Oh, I got done, and oh! now I’m better. And this one, I’m smarter than that. Now that this album’s done, as much as I healed a lot of things by making it, I know that it’s an ongoing thing. The river does not end.” 2016-09-21 14:58 By 34 Real Arter Brian Stephens Takes Part in the 2016 Distinguished Gentleman’s Ride Distinguished Real Arter Brian Stephens will be taking part in the Cincinnati ride for the 2016 Gentleman’s Ride on Sunday, Septemeber 25th. The international charity event will take place across 500 cities in 90 countries to raise awareness and funds for prostate cancer, in particular, the Movember Foundation’s men’s health programs. Prostate cancer remains the second leading cause of cancer death in men in the United States annually, with over 26,000 men dying from it every year. The event was initially inspired by a photo of Don Draper on a classic bike, outfitted in a dapper suit. Now in its fifth year, the Distinguished Gentleman’s Ride combines fundraising for a good cause with an event that brings together the classic and vintage styled motorcycle community. Stephens will be riding his Triumph Bonneville T100 while dressed in his Sunday best. You can donate to his page here. 2016-09-21 14:53 realart.com 35 Quiet Logistics Adds Incubator Unit to Fulfillment Services Fulfillment provider to apparel and lifestyle firms Quiet Logistics has formed Quiet Brand Incubator. The incubator will be housed in Quiet Logistics’ existing fulfillment centers. The aim of the program is to launch innovative ecommerce start-ups and enable new and emerging brands to benefit from having a partnership with an established fulfillment partner. Quiet Logistics said it would help scale e-commerce start-ups and digitally native brands. While it is called an incubator, the program doesn’t exactly incubate brands in the traditionally sense, but instead helps them grow their sales by providing allocation of warehouse space to aid in fulfillment services that they might not get elsewhere because they are too young in their life cycle. Quiet said it receives “dozens of inquiries each quarter from emerging brands,” typically too small to achieve minimums required by outsourced solution providers. Brian Lemerise, president of Quiet Logistics, said of the new incubation program: “Over the years we have had the privilege to partner with fantastic brands line Bonobos, Mack Weldon, Outdoor Voices and M. Gemi early in their life cycle. One of the things we love most is working with excited and driven entrepreneurs. We are eager to enable world-class delivery experiences for the next awesome e-commerce brand.” The logistics firm said its first incubation client is Uwila Warrior, a start-up in the lingerie category. The brand counts a founding member of Marc by Marc Jacobs on its development team. Lisa Mullan Perkins, chief executive officer and cofounder of Uwila, said that relying on the expertise of Quiet would enable the brand to focus on what “we do best — creating lingerie for the Millennial woman.” 2016-09-21 14:40 Vicki M 36 artnet Asks: Christopher Barnekow of Barnebys As co-founder and CEO of Barnebys , Christopher Barnekow knows the auction market inside and out. Created out of a frustration with the lack of accessibility in traditional auction houses, Barnebys makes collecting more accessible by offering a centralized online platform for searching the auction market. Here, we discuss the rapidly shifting nature of his business and how Barnebys fits into the expanding online art world. Barnebys has been in business since 2011. How did your story begin? The story basically began with me looking for a still life oil painting for my newly re-decorated kitchen in my country home. I had no previous experience with auctions, and not really with antiques either—it struck me that such lack of transparency and high barriers of entry were extremely un-modern in comparison to every other retail or e-commerce experience that’s out there. The Swedish auction market was in the midst of a great change at the time, which meant that we launched Barnebys at exactly the right moment. We had 90% of the local Scandinavian market listed on our website within three months of launch. How has buying online revolutionized the auction business? From my perspective, the greatest change is for the users, who for the first time have true access to this great market of unique items. We offer daily access to a catalogue of more than 400,000 lots. If we can lower the entry barrier for users accustomed to ecommerce to this fantastic industry, we could potentially change the way people buy things—from new off-theshelf items to re-used design classics and antiques sold by 300-year old companies. What type of work do collectors most frequently buy online vs in a traditional auction house? Do you see this shifting? It is shifting, towards more buyers at mid-range price segments but in rapidly growing number of transactions. The turnover is much faster. How important is brand trust in the field? How have you built a successful brand for Barnebys? Brand is everything. Until now, houses and dealers have leased out their inventory to different sales platforms, doing business on arbitrage. This has meant a growing distance between the houses and its customers. Our mission is to close this distance again and put the transaction on to the houses and dealers own sites. Who is today’s online buyer? Has this demographic drastically changed in the past several years? Yes, today’s buyer might be younger, but foremost someone that buys and sells things reflecting his or her lifestyle rather than a special interest or collecting behavior. We’re talking about shoppers rather than collectors. artnet Auction House Partnerships offer an ideal way for auction houses to gain international exposure for their sales and lots. Learn more about becoming a partner here , or explore upcoming sales here. 2016-09-21 14:30 Artnet Auction 37 Kenny Schachter’s Dealer Diary: Of Art & Cars, Part I Dealer’s Diary The UK’s divorce from Europe has yet to make much impact other than creating cheaper Brexit pounds. By getting payment terms on a sculpture I purchased in London before summer, I benefitted from an additional 10 percent discount without having to ask for a change. But I wasn’t going to wait around for the fallout, so I got on a plane to New York last week to look for brighter opportunities (though with a view of nothing but buildings from my hotel room, my NY was always night). I wheezed so much in the taxi from the airport, the driver asked me if I’d like a Marlboro—it was good to be back. I wondered if the coughing comedian, Dennis Leary, is still alive. So what’s been happening since summer you may (or may not) care to ask? Richard Prince of Thieves has been popping out Insta-paintings faster than his lawyers can defend them—I bet he misses his frequent codefendant Larry G. who maintains his own formidable team of attorneys adjacent to his inimitable sales staff. Prince’s legal legacy will be as studied in art history courses as in law schools. Cool. Related: Kenny Schachter Declares Basel the New Art Hajj George Condo ’s latest work includes yet another celebrity collaboration, this time in the form of dating Ashley of the Olsen twins, one-upping her sister Mary-Kate who used to go out with Nate Lowman. Guess they follow the art market too. Then there is Choi Seung Hyun aka T. O. P., a Korean pop star with 5.7 million Instagram followers who is curating a Sotheby’s sale next month in Hong Kong, which includes works by Rudolf Stingel , Christopher Wool , Jeff Elrod (which I may own), combined with locals such as Nam June Paik , Lee Ufan and younger artists like Japanese highflier Kohei Nawa. The catalogue for the T. O. P. sale features more pictures of the performer than the art, with enough outfit changes to impress Anna Wintour. His frequent social media posts contain an array of great artworks yet nary a mention of the makers, which is rather self-serving, to say the least (especially in light of his vast audience). Kenny Schachter’s collage. Courtesy Kenny Schachter. So I Made a “Kenye” Kanye continues to trespass into the fields of art and fashion without fear (of having much to say). His latest foray was a had-it-made wax sculpture aping a Vincent Desiderio composition but comprised of yet more celebrities, featuring himself, and Kim, of course. The act of gallery Blum & Poe in hosting and sanctioning such a circus confounds the mind as much as the eye(s), not to mention the credibility strain by showcasing the ubiquitous jack-of-all-trades, master of two (music and sneakers). Kanye accomplished with a phone call (to the fabricator) what took Desiderio six years to paint: if Kanye could rip Vincent, why can’t I jack Kanye? So I made a Kenye—with a bunch of critics, a writer, and curator. Swizz Beatz launched the second iteration of his art fair, No Commission , in the Bronx (the first was in Miami), a more promising effort than the last show in the space, Lucien Smith’s debacle featuring a shot-out car, exhibiting a particular sensitivity to the neighborhood. It didn’t seem to bother the models and actors that showed up in droves. Art and hip-hop, I can only tremble at the thought of what’s next. The Business of Selling Art In the actual business of selling actual art, there was no shortage of activity in the summer of 2016, despite roiled markets worldwide. Traditional art seasons of the past—January to June and September to December—no longer apply, and thankfully so, as I managed to stay well occupied throughout. Working on transactions involving Yayoi Kusama , new works selling from $450,000 – 800,000, which look like simulacra of older pieces, and Rudolf Stingel, subject of a still unannounced Fondation Beyeler show (out of bag now), which, at $2.5 to $4 million, remain crowd pleasers. Related: Kenny Schachter on the London Auctions, Brexit, and the New Nihilists Mark Grotjahn , whose prices on both paper and canvas beggar belief reaching upwards of $10 million and beyond for a secondary market seventy-odd inch cardboard-on-canvas work—they all are made that way—are probably the most sought after of all (at the moment, anyway). Wade Guyton works are still moving briskly between $2 to $3 million, on the heels of his show at Le Consortium in Dijon, while market stalwarts Andy Warhol , Gerhard Richter , and Mike Kelley soldier on trading at a steady clip. This was a first: an Andy Warhol viewing was arranged and then unannounced to the consignor marketed as: “A meet and greet with author Anthony Haden Guest in attendance. Buyers only please. Almost everything is already sold.” What the hay? High Season at the Car Auctions Summer is high season for car sales, the biggest of the year, where over $300 million worth of vehicles trade during a frenzied week of auctions, in California alone. The results were robust and only slightly off the mark from last year (and like art, well off 2014 tallies), boding well for art as the markets closely track each other. The differences are still marked though. For starters, the sales proceed at a snail’s pace (despite the inherent speed of the underlying assets) moving along at frustratingly small increments and lasting about forever. Also, you get drink tickets with your catalogue upon entry prior to the onset of sales—at least in the UK—and a dangerous cocktail at that—more on that later. Related: Kenny Schachter on Why Art Basel Miami Is the End of Art History September 7 saw the auction at RM Sotheby’s London, which I attended with Sage, my 14-year-old. To give the kid a taste of the auction process, à la Nahmad family, who famously let their children bid in diapers (and gamble), I encouraged Sage to throw up a paddle for a 1996 Ford RS200 at £170,000 – £210,000 at a price well below the estimate. By the time he complied, the lot hit the reserve and he (we) turned as white as the paint on the Group B rally legend— as impossible to get into as it is to drive. Incidentally, car auctions are unsurprisingly mostly male and white, for now anyway. Thankfully, Sage ended as the under bidder, always a propitious position. For as long as anyone would listen, I’ve been preaching Porsche, how radically undervalued they are (the record stands at $10 million) in relation to Ferrari (the top auction price is $38 million, and over $50 million privately). Yes Ferrari owns the 1960s, and Jaguar the 50s, but no other manufacturer has won as many competitions from the 70s to the present. Lo and behold, a 1995 Porsche 911 GT2 at RM Sotheby’s London fetched $2.4 million, well over $1 million above the previous record for the model. The 1961 Alfa Romeo Giulietta Spider was a slightly different story, an attractive small sports car geared as an affordable entry-level vehicle produced from 1955 to 1962, designed by acclaimed coachbuilder Pininfarina. Adding to its single-family ownership status (prized in cars as much as in art), the Giulietta was featured in the Italian film The Best of Youth in 2003 (another value adder for both). Taking full advantage of the drink tickets, I splurged on the unrestored, time warp Alfa above the high estimate (still well below $100,000), which brings me to the next straddler of the car and art markets: gallerist and trader Adam Lindemann. How Adam Lindemann Is Changing the Car Market Adam is a squat, surly throwback to a 1950s guy’s guy in his late 40s who, against my better judgment, I like and respect (with a fistful of salt). He also races and collects cars of that era (and earlier), having recently driven stints at the vintage races Le Mans Classic and Watkins Glen, which are neither easy nor particularly safe. In another art tiein, it was painter Richard Phillips that launched Adam’s sportive driving. I’m not sure what’s more hazardous, trading cars (and art) or driving them— quickly. Lindemann reflects a significant change and potential growth factor in the car market: the introduction of third-party guarantees. Guarantees recast the art market’s penchant to roll the dice by speculatively pledging to buy a work prior to a given sale, with a view to some upside (with no money down) should it surpass the guarantee. Adam is the first and only player jumpstarting the market in this vein, adding fuel to the mix, pardon the puns. He previously did it last year on a Jaguar C Type, which performed exceptionally and most recently (as whispered throughout the market) on a D Type Jag for just under $20 million, which made over $21 million (with the house commission) at RM in Monterey this summer, achieving a modest gain for the investor. He certainly knows his Jags cold. Lindemann wasn’t too impressed by my auction acquisition, calling the Alfa “a cute, delicate, girly car,” and “a bit femme” for him. Actually, he’s kind of right. It was previously owned by a woman, but so what? And he may have called me a pussy (seems Trumpian), too, for turning down his invite to compete against him in an event. I can’t deny he’s correct about that too —the thought terrifies me. I prefer my cars inside…of my office. Let him run his. I will exhibit mine and take them on short jaunts to town for lunch and on the school run, the only times I have to drive. To each her own, no? I think the worlds of art and cars have the capacity to collide like art and celebs (granted not to the same extent). In that regard, I’m working on an upcoming display of classic cars and art in the context of industrial design. Stay tuned. Coming up: Kenny Schachter’s Dealer Diary: Of Art & Cars, Part II 2016-09-21 14:23 Kenny Schachter 38 Urs Fischer’s Unusual Encounters at M assimo De Carlo, M ilan Related Venues Massimo Carlo De Artists Urs Fischer “Battito di Ciglia” at Massimo De Carlo (MDC) in Milan is a two-part exhibition by the New York-based Swiss artist Urs Fischer, who is the first artist to exhibit across MDC’s two Milan spaces on Via Giovanni Ventura and at Piazza Belgioioso. The exhibition runs through December 17. At the center of Fischer’s diverse practice — which spans photography, sculpture, painting, and installation — are the concepts of entropy and mutation, processed within the contexts of the everyday materials he uses, the spaces he occupies, and the viewers who encounter his work. At once provocative and evocative, introspective and extrospective, playful and dramatic, Fischer’s somewhat enigmatic modus operandi can be characterized by his engagement with the themes of daydreaming, somberness, research, irrationality, and darkness. Commenting on his work, Fischer has said: “Each work begins with a quick sketch, but as soon as I start to work with materials, something goes wrong. For example, the thing won’t stand up and my irritation about that leads to something else. My work never ends up looking the way I had intended. I don’t consider those sculptures unsuccessful. Something just developed while I was working. It’s a two way street. Your thoughts determine the images, and it is the images, in turn, which determine your thoughts.” Throughout the converted warehouse venue of Massimo De Carlo’s Ventura headquarters, Fischer has strategically placed 26 small-scale hand-painted and raw bronze sculptures, transforming the gallery into a “dazing miniature dreamlike tableau that captures moments in time.” The 26 vignettes — which continue Fischer’s signature employment of diverse, recurring motifs such as animals, furniture, fruit, candles, and skeletons — depict a range of unusual interactions, such as a candle stuck in a wedge of cheese, a rat playing a piano, and a horse crying. The newly inaugurated Piazza Belgioioso space features two new sculptures created by the artist using photography, painting, and glass making. The two pairs of cartoonishly enlarged, highly realistic eyeballs reflect the viewer and the space at the same time. The uneasy feeling of being followed by a vexatious gaze epitomizes the artist’s talent for transforming fragments of the everyday and the familiar into challenging yet mesmerizing works, investigating aspects like observation, perception, and scale. 2016-09-21 14:20 Nicholas Forrest 39 urban rigger by BIG offers floating student housing the urban rigger is a floating, carbon neutral property made from upcycled shipping containers. designed by bjarke ingels, the scheme provides affordable and sustainable homes for young academics studying in copenhagen, denmark. measuring a total of 680 square meters, each structure comprises 15 living spaces articulated around a common green courtyard. other amenities include a kayak landing, a bathing platform, a barbecue area, and a communal roof terrace. downstairs, below sea level, the pontoon basement features 12 storage zones, a technical room, and a fully automated laundry. BIG’s design of urban rigger seeks to offer a solution to the growing demand for affordable student housing in both copenhagen, and further afield. ‘recent years have demonstrated a substantial and sustained increase in the number of student applicants throughout denmark,’ says the design team. ‘as the number of students continues to grow, additional student housing will be needed to accommodate them.’ consequently, the architects used copenhagen’s underutilized, yet centrally positioned harbor as a stage to present a building typology optimized for water-adjacent cities. the standard dimensions of a shipping container ensure that urban rigger units can be transported by road, water, or air to anywhere in the world at a very low cost. in addition to utilizing upcycled shipping containers, the design employs a wealth of environmentally sustainable solutions — including hydro source heating, solar power, and low energy pumps. ‘by stacking nine container units in a circle, we can create 15 studio residences which frame a centralized winter garden; this is used as a common meeting place for students,’ explains BIG. ‘the housing is also buoyant, like a boat, so that can be replicated in other harbor cities where affordable housing is needed, but space is limited.’ the scheme provides affordable and sustainable homes for young academics studying in copenhagen the buoyant design can be replicated in other water adjacent cities views are provided across the harbor an aerial view of an urban rigger, showing the solar panels and rooftop terrace name: urban rigger location: copenhagen, denmark program: housing status: complete size: 680 sqm / 7,319 sqf project type: commission client: udvikling danmark A/S collaborators: BIG ideas, danfoss A/S, grundfos DK A/S, hanwha Q cells ltd., miele, niras A/S, dirk marine/house on water 2016-09-21 14:20 Philip Stevens 40 Donald Trump Bought His Portrait with Charity M oney Again, and This Time There Are Photos As the presidential election heats up ahead of the first debate on September 26, candidates Donald Trump and Hillary Clinton have seen increased scrutiny from the media. Yesterday, as part of a larger exposé on Trump’s use of $258,000 from his charity, Washington Post ’s David A. Fahrenthold revealed that the billionaire purchased not one but two portraits of himself using funds from the Trump Foundation. The second purchase came at a 2014 charity gala held at Trump’s Mar-aLago estate in Palm Beach, Florida. According to the Post , Trump shelled out $10,000 for the portrait of himself by Argentinian artist Havi Schanz , who lives and works in Miami. The four-foottall canvas was painted on top of an architectural drawing in acrylic, and depicted a younger version of the real estate magnate. Related: Donald Trump Used His Foundation to Buy a Six-Foot Painting of Himself by This Artist “I painted him for a cover of a magazine who [wrote] a note about my art,” wrote Schanz in an email to artnet News. He donated the work, along with a painting of Marilyn Monroe, to the Unicorn Children’s Foundation, and he was not aware that Trump had paid for the work with charitable funds. “He asked me about about the painting,” Schanz told the Post . “I said, ‘I paint souls, and when I had to paint you, I asked your soul to allow me.’ He was touched and smiled.” According to the Post , Trump’s staff is currently unaware of the whereabouts of the painting, which was reportedly handed over to the staff at the Mar-aLago. The tale is remarkably similar to previously reported accounts of a 2007 charity auction at Mar-a-Lago, where Melania Trump bid $20,000 for a speed painting of her husband created on the spot by Michael Israel. The six-foot-tall work was also created with foundation money earmarked for charity. Related: Is This Hitler-Style Kneeling Donald Trump at a Basel Hotel Maurizio Cattelan’s Latest Stunt? Meanwhile, the Trump campaign has again come under fire for a tweet by Donald Trump Jr. featuring an antirefugee meme equating those fleeing Syria to a bowl of Skittles. “If I had a bowl of skittles, and I told you just three would kill you. Would you take a handful? That’s our Syrian refugee problem,” it read. The image unwittingly included a photograph taken by David Kittos, a former refugee who did not grant Trump Jr. permission to use the picture. He uploaded the image to Flickr in 2010 as an experiment with new equipment. “In 1974, when I was six-years old, I was a refugee from the Turkish occupation of Cyprus so I would never approve the use of this image against refugees,” Kittos told the BBC . “This was not done with my permission, I don’t support Trump’s politics and I would never take his money to use it.” On The Late Show With Stephen Colbert , the host noted that Trump Jr.’s math was incorrect, and that the conservative Cato Institute had recently found that the chance of being murdered in a terrorist attack by a refugee was just one in 3.64 billion. Related: Stephen Colbert Commissions JR Mural, Claims to Be Banksy Colbert also pointed out that the meme was copying a similar message shared by a feminist group that instead employed M&Ms—but “the Trump family prefers Skittles because there are no brown ones.” The Wrigley Company, which makes Skittles, noted a contradiction in Trump Jr.’s message. “Skittles are candy,” it wrote in an official statement. “Refugees are people. We don’t feel it is an appropriate analogy.” 2016-09-21 14:05 Sarah Cascone 41 Why Protesters Are Still Talking About the Death of Ana M endieta Photo courtesy of Coral Garvey A white sheet with a blood red imprint of a body flutters on the overgrown hedges of Berlin’s Hamburger Bahnhof , while the wailing reverberations of a bellowing cello and the heart-wrenching sounds of crying, layered on top of one another, drift from several portable speakers. In front of it all stands a group of protesters, holding redpainted hands in solidarity, looking outward to the sky. The sheet is carried in a funeral procession, a symbolic action in the name of Ana Mendieta, the Cuban-American artist who died in 1985, allegedly at the hands of her exhusband, Carl Andre. The sculptor was acquitted of her murder, despite a doorman’s testimony that he heard a woman shouting “No” several times before hearing the thud of her body against the delicatessen 34 floors below. Behind the protesters, the grand museum, a former train station, contains a wholesale celebration of Andre’s art: a retrospective of his work from 1958-2010. Protests have been staged at Andre’s openings since the 90s, and the Hamburger Bahnhof is just one of the many art institutions that continues to create platforms for Andre, despite his reputation for domestic violence. Mendieta’s work—vital, feminist explorations of the body and its connection with earth—is much less exhibited. Photo courtesy of Coral Garvey Today’s protest, to coincide with the final day of the Andre retrospective in Berlin, is organized by a satellite group and supported by the London-based groups WHEREISANAMENDIETA and Sisters Uncut. Most recently, WHEREISANAMENDIETA organized an action at the opening of the new Tate Modern building, which included Andre, but none of the Mendieta work that they have in their collection. The style of the protest foregrounds the themes and materials of Mendieta’s art: the sheet with the body print alludes to her series Silueta , while the paprika sprinkled on the ground in front of the arc of hand-holding protesters echoes its color. Participants today are often people who have been touched by Mendieta’s work and her all-toocommon story of a woman’s life cut short by a violent man. “I know that it is very common to erase women's stories and experiences, and in this situation art institutions' decisions to not only erase the history of this woman's story but also to glorify the abuser is vile,” says Jessica Taylor. Nine YamamotoMasson, who also reads a moving poem towards the end of the action, points out the tragedy of the scarcity of Mendieta’s work: “I feel robbed of not being able to see more of her work, because she was murdered so young. And I really wish she was still around, I wish she was still alive. I wish she had a big retrospective.” Photo courtesy Coral Garvey As protesters hand out information leaflets with details of Mendieta’s life and work, guests to the Hamburger Bahnhof stand around the circle of dissenters, gazing at the signs beside them “Stop Glorifying Violent Men,” “Carl Andre hat Ana Mendieta ermordet,” [Carl Andre murdered Ana Mendieta] and “Where is Ana Mendieta?” The latter is perhaps the most significant message, coined at the first-ever protest at Andre’s work in the 90s. The point of this action is less to compare the work of Andre and Mendieta, and more to simply ask questions: Why are art institutions, which are seen as canonical, narrativeproducing hubs, continuing to place work by established men on a pedestal (literally), while art by women, people of color, and trans and non-binary people is given less consideration? Why are men’s perspectives, overwhelmingly, the ones who make it into the establishment? How can curators ignore uncomfortable truths about wellknown artists, like Andre, just because they’re considered inconvenient? Whose stories are told and whose are ignored? Whose work is deemed significant? WHEREISANAMENDIETA, and groups like it, won’t stop asking. Photo courtesy Coral Garvey WHEREISANAMENDIETA is based in London and was initiated as an archiving project, which is carried out by women, trans people, people of color, and nonbinary people. Related: A Brief History of Men Whining Over Women Artists Winning When Artists Kill The Healing Scars of Land Art 2016-09-21 13:55 Josie Thaddeus 42 Habitat: Obsession—A Look at Ursula von Rydingsvard’s Collection of Wooden Objects Ursula von Rydingsvard in her home in Accord, New York, about 100 miles north of Manhattan. nonart collections professionals. Habitat: Obsessions is a ten-part series of visits to the surprising of art-world Artist Ursula von Rydingsvard is well known for her massive chainsaw-carved wooden sculptures. She is less famous for her collection—40 years in the making—of wooden objects that fill her studio in Brooklyn and her country house in Accord, New York. “On the whole, I look for things that seem humble and as though they’ve had a long history of use,” she said. The collection, sourced from flea markets all over the world, includes cooking implements, shovels, combs, farm tools, and African masks, which she says “play a major role in keeping my spirits high and in continuing my belief in humanity.” Below, a look at some of the wooden objects in Ursula von Rydingsvard’s collection. Carved wooden shovels line one of the walls in her upstate New York country home. “I don’t have intellectual reasons for choosing the things that I choose,” she said. Containers that sit on a shelf in von Rydingsvard’s powder room. “The detailed drawings on these I so enjoy seeing,” she said. Her appreciation for wood runs in the family. “My father was buried with a hatchet in his coffin, as he chopped wood until the day he died,” she said. A peasant pocketbook that she found in Poland. “Imagine embroidering around plates… marvelous,” she said, reflecting on their careful craftsmanship. “These forms pressed cigars into the shape they needed to be.” Chairs that sit in the artist’s bedroom. A work by Sol LeWitt sits amongst some of her wooden objects. She acquired the work in a trade with the artist. A large wooden mallet that Ursula found at a flea market. A wooden comb used for brushing animals. A japanese farming tool. 2016-09-21 13:50 Katherine McMahon 43 7 Asian Artists Interrogate the Fate of Photography at M izuma Gallery Related Events Why Are We Doing What We Are Doing? Venues Mizuma Gallery Gillman Barracks Artists Agan Harahap Angki Purbandono RongRong & inri Robert Zhao Renhui Has photography lost its value in an age of advanced technology and social media? Seven contemporary photography artists explore the impact of the Internet and technology on the medium in “Why are we doing what we are doing?” at Mizuma Gallery in Singapore. The exhibition runs through October 9. In the age of Instagram and social media, photography has become fun and easy. What used to be an expensive and painstaking practice has turned into a fast and inexpensive process due to the masses embracing smartphones with an attached camera. A debate thus arises, questioning whether anyone can be a photographer without the required knowledge of the artistic practices involved, including the now seemingly dispensable skills of grasping technical aspects like exposure, composition, and focusing. Some go as far as to ask whether Snapchat challenges professional photography. Mizuma Gallery’s branch in Singapore has assembled several Southeast and East Asian contemporary artists to interrogate the basic principles of photography, from the process of creation to the method of identifying subject matter. The artists participating in this group exhibition are Agan Harahap, Angki Purbandono, Iswanto Soerjanto, RongRong & Inri, Usami Masahiro, Yamamoto Masao, and Robert Zhao Renhui. Each of their methodologies highlights the philosophy and ideology behind their artistic practices. Multi-awardwinning Singaporean artist Robert Zhao Renhui, for instance, is known for constructing layers, creating an interplay of the real and the fictional, leaving an essence of doubt in the viewer’s eyes. “World Goldfish Queen,” 2013, depicts a goldfish against a light pink background, through which the artist investigates the different ways that people view animals – a trademark subject for Renhui, who often works with animals and insect species. 2016-09-21 13:43 Claire Bouchara 44 This Tattoo Artist's Scar Cover-Up Broke the Internet Few art forms have benefited from the rise in social media quite like tattoos. With Instagram turning hustling shop artists into superstars with thousands upon thousands of followers, it’s been a wonderful place to see the medium flourish. Tattoo artist Makkala Rose received her own slice of worldwide recognition in late June, after a tattoo she inked to cover scars from breast cancer-related surgery went viral. The tattoo, which fully covers her client’s breast and features flowing ribbons and blooming flowers, shows off just some of the New Zealand-based tattoo artist’s skill and style. The Creators Project spoke to Makkala Rose about how she first got into tattooing, the process of working on her most famous tattoo, and what life’s like now, post-internet fame. Samples of Makkala Rose’s tattoo work. From the artist’s Instagram. Images courtesy the artist Rose says she first got into tattooing while in getting an art degree. She was with a friend getting a tattoo, “and wanted to learn more about it,” explains Rose. “I was incredibly lucky to be allowed into the studio. Eventually I tattooed a bunch of potatoes and bananas, followed by a guy who worked at the shop that offered his achilles up for a torturous two-and-a-half hour diamond tattoo. [Laughs] Most stressful two-and-a-half hours of my life.” From there, she kept working. Her career really picked up when she met the artist Godfrey Atlantis , “who inspired, mentored and supported me through from the initial stages of my career.” Rose describes her work as “illustrative and stylized, a happy balance of soft blended colors held inside bold lines. I really enjoy medium- to large-scale work, anything with natural elements, I especially love fauna and flora, animals, people, crystals and birds are my current favorite!” She notes that some of the biggest challenges in tattooing come from “working with cover-ups, scarring, stretch marks, clients who can't sit well, and losing a stencil mid-tattoo... Really every day is a challenge in tattooing, I like to set myself up for continual improvement so I'm always learning.” As for cover-ups and scarring, Rose reflects on her famous tattoo for her client Alison Habbal. “Alison’s tattoo was an honour to do, she was so excited. And that energy really fueled our 13-hour session. It was my first tattoo working with a breast so I wasn't entirely sure what to expect the texture of the skin to be like, and I hadn't anticipated how long it would take to work around the curves. I feel like I got into all the yoga positions tattooing that day [Laughs]. It was painful for Alison but she sat so incredibly well. I felt so proud of her.” The tattoo made headlines, and received thousands of likes and comments on social media, and the results were obvious: “I have a lot more requests for scar covering now. My workflow seems to grow and become more demanding steadily, so I'm continually figuring out ways to manage that. I have a hard time keeping up with requests, my books haven't been open for new appointments the last 12 months but I still get a bunch of messages every day.” Makkala Rose’s books open again in New Zealand in early October, but until then, check out her Instagram for an ever-updating stream of gorgeous tattoos. Related: Trust Tattoos? Here's What Happened When an Artist Had Total Control A Man Let a Monkey Design His Back Tattoo A Tattoo Artist Is Giving Domestic Violence Survivors New Beginnings 2016-09-21 13:20 Giaco Furino 45 Sneak Peek: 10 Incredible Pieces at Fine Art Asia 2016 Related Events Fine Art Asia 2016 Venues Hong Kong Convention and Exhibition Centre Fine Art Asia Rossi & Rossi 3812 Gallery Artists Lin Fengmian Alfred Sisley Claude Monet Fine Art Asia is set to take place from October 2-5 in Hong Kong, amidst the city’s busiest art month, with major autumn auctions led by Sotheby’s. Asia’s leading art fair dedicated to art and antiques will once again showcase an exhaustive range of fine art collectibles, spanning centuries and geographies. Following its success last year, when it attracted 25,800 international collectors, Fine Art Asia continues to open the doors to Asian buyers, with Old Masters, Impressionist and Modern art masterpieces, Contemporary art, design, as well as decorative art, fine jewelry, and timepieces. Internationally renowned specialists in Asia are set to return, including Hong Kong-based Rossi & Rossi gallery, Vanderven Oriental Art from the Netherlands, Priestley & Ferraro Chinese Art from London, Japan's Whitestone Gallery, and 3812 Gallery. To help us navigate the treasures to be exhibited at the fair, the directors of Fine Art Asia — Andy Hei and Calvin Hui — shared with BLOUIN ARTINFO their top 10 pieces to look out for from among antiques, Impressionist, Modern, and Contemporary paintings, photography, and antique jewelry. Read on, and click on our slideshow to view the highlighted pieces. Antiques This bronze sculpture of Vajrasattva Shakti is one of the masterpieces of Rossi & Rossi’s exhibition at Fine Art Asia 2016. It features a bodhisattva embracing Shakti, whose legs and arms are wrapped around him. This depiction is uncommon as Vajrasattva is typically presented as a lone figure. Rossi & Rossi has participated in the fair every year since its inception in 2006. Gibson Antiques from London will be participating in Fine Art Asia for the 5th consecutive year. In 2016, the gallery will highlight an important Chinese reverse glass painting dating from the 17th-18th century in Guangdong, China. This work depicts a noblewoman, rather than the more usual portraits of government officers, reflecting the growth of the painting market at that time. The painting is framed in zitan, a hardwood with high artistic and material value. Impressionist, Modern and Contemporary art London-based Gladwell & Patterson has been a regular participant at the fair, and returns in 2016 with Impressionist and Modern paintings, including works by Monet, Alfred Sisley , Renoir, and Picasso. One highlight is a work by Impressionist master Claude Monet, titled “Aiguille d’Etretat, Marée Basse,” featuring the unique rock formations of the Normandy fishing village. The gallery will also display the work of another French landscape painter, André Barbier (1883-1970), who was a close friend of Monet's. Visitors can compare how the two masters depicted the same cliffs at Étretat in different ways. Photography This year, Fine Art Asia proudly introduces a new category dedicated to Modern and Contemporary photography. La Galerie Paris 1839 is one of the first art spaces in Hong Kong dedicated to the art of photography, specializing in high standard art photography and prints. Among the Asian and Western photographic works being showcased at Fine Art Asia 2016, a highlight is the award-winning photographer, Vincent Fournier, and his “Space Project.” Hong Kong's 3812 Gallery will spotlight the work of Modern Abstract master Hsiao Chin (b. 1935), co-founder of the Ton Fan Art Group — Taiwan’s first Modern art movement. He experimented with the merging of eastern and western styles, like other masters before him, such as Lin Fengmian and Zao Wouki. Hsiao Chin relocated to Barcelona, followed by Milan, where he helped create a movement called Punto, which was all about simplicity. Hsiao Chin's travels in Europe and New York, where he met leading artists, participated in exhibitions, and absorbed the latest artistic trends, were a defining development. The artist settled in the West to be close to Modernism, but his signature style drew upon Oriental ideas and philosophy, including Zen and Taoism. According to a press release, his "early works capture rhythms of light by incorporating curved or straight bold lines and shapes, and reveal Eastern spirituality through abstract symbols and blank spaces," while later paintings "feature broad, powerful brushstrokes to convey the flow of energy in the universe. " Martell will join hands with 3812 Gallery to present the artwork “Open Space No. 28” by Chinese Contemporary artist Liu Guofu at Fine Art Asia 2016 from October 1-5. It is a preview of Liu Guofu’s first solo show “Phantom Brushstrokes: Liu Guofu Solo Exhibition” in Hong Kong, which will be held from October 20 to November 19 at 3812 Gallery. The Martell-recommended artist is an emerging Chinese contemporary artist. Using the brush to interpret the “endless water” is one of the distinctive features of Liu Guofu, which coincides with the view of Martell, which has a well-earned reputation in the world with its absolute excellence of "eaux-de-vie," combined with the exquisite craftsmanship that make up the beautiful Martell cognac. Also, while the aristocratic blue is one of the highly recognizable characteristics of Martell itself, Liu Guofu is skilful at using blue to express the mystical spirit, which deepens the shared pursuit of art and culture between Martell and Liu Guofu. As the artist said: “Each person's brushstrokes are the traces they leave in the world. These are spiritual traces. I, as an artist, choose my brush to create the vestige, while Martell is recognized by her craftsmanship; we carry the same pursuit of art.” Antiques, fine timepieces art, jewelry, and Joseph’s coat of many colors has inspired countless creative ventures, from songs and the works of 16th century artist Velazquez to the modern musical. This bracelet has a patchwork of 313 fancy-colored, white and golden rose cut diamonds in differing sizes and shapes set in 18-carat yellow gold. Founded in 2008, Silver & Silver — exhibiting at Fine Art Asia for the first time — is located in Bologna, Italy, in an environment where culture meets art. The gallery deals in antique English silver objects from the 17th century till the present day. A highlight of the exhibition at the fair is a pair of life-size silver ducks, created by Italian master goldsmith Mario Buccellati about 20 years before his death in 1965. 2016-09-21 13:19 Claire Bouchara 46 Casey 'There’s No Distance' Charts 15 Years of Evolving New M edia Art Reas, Path (Software 2), 2001/2013. Custom software (black and white, silent), computer, screen or projector Dimensions variable, landscape orientation. Courtesy bitforms gallery, New York. Just like you can’t step in the same river twice, you can’t witness the same moving imagery in the systems-driven works of seminal new media artist Casey Reas twice, either. The UCLA professor's work is constantly changing as it carries out the coded instructions that Reas has written for it. There’s No Distance , his current exhibition at bitforms gallery , highlights this unique quality in Reas’ oeuvre by presenting older works alongside his most recent. Reas works with digital systems and the process of emergence, so while a work may appear to be a video or animation of some kind, it’s actually generated by software running in real-time for viewers to witness. A quote from Reas in the gallery’s press release clarifies this process, along with the origin of the exhibition’s title: “With visual arts, the work is ‘made’ in the studio, then it comes to the gallery or the cinema to be presented. With performance, the work (music, theatre, dance) is planned in the studio and then ‘made’ for the audience. My software work is more like a performance; there’s no distance between you and the image being made.” Casey Reas, Still Life (HSB A), 2016. Custom software (color, silent), computer, screen. Dimensions variable, portrait or landscape orientation. Courtesy bitforms gallery, New York. Reas has a long history with bitforms gallery: his work was featured in their inaugural exhibition in 2001, and T here’s No Distance will kick off the gallery’s 15th anniversary season. As Reas tells The Creators Project, “bitforms gallery launched my work into the world and our identities remain deeply intertwined. This is my fourth solo show with the gallery. Looking at the documentation of these exhibitions is the history of my work and ideas.” Casey Reas, Still Life (HSB B), 2016. Custom software (color, silent), computer, screen. Dimensions variable, portrait or landscape orientation. Courtesy bitforms gallery, New York. There’s No Distance features work from Reas’ Path series—some works from this series were also included in the inaugural exhibition at bitforms gallery —while other works in the current exhibition are from his Still Life series and were created this year. Reas explains to The Creators Project how the works in the exhibition relate to each other: “These works have different ideas behind them, but they operate similarly. They are both systems created with code that perform continuous drawings. However, Path is an exploration and implementation of emergence, as I understood it then through the ideas of the neuroanatomist Valentino Braitenberg. Path is a synthesis of ideas about drawing and animation with ideas from artificial life. The Still Life works are about something else entirely. They relate to the space between perception and the way the world is measured and quantified—they are simulated constructions viewed through the data generated by the system. They reference analytical paintings made by I mpressionists and Cubists as well as contemporary ideas about simulation and data.” Casey Reas, Still Life (RGB-AV A), 2016. Custom software (color, sound), computer, speakers, projector. Dimensions variable, landscape orientation. Sound by Philip Rugo. Courtesy bitforms gallery, New York Just like Reas’ visuals, the technologies that he works with are constantly changing. And, although Reas’ work has certainly evolved since it was featured in bitforms very first exhibition, he’s still trying to push the boundaries of new media art just as hard as he always has. “I need to work with my ideas today, with today's possibilities. The goal is to think around and over the constraints imposed by current technologies.” Casey Reas’ There’s No Distance is on view at bitforms gallery through October 16th. See more of Reas’ work and find out about his upcoming projects on his website. Related: Animated TV Shows Turn Into Static, Coded Canvases Casey Reas' Newest Art Is A Coded, Projected 'Allegory Of The Cave' Casey Reas Launches New Exhibition At Bitforms Gallery 2016-09-21 12:35 Andrew Salomone 47 Images courtesy artist Seaside Cove or Starry Sky? This Coffee Table Is Both the Starry skies and ocean vistas are two of the best visuals to gaze at and think creatively. Now, you can have both—in coffee table form. LA TABLE ( previously ), the Caribbean design firm that captures tropical island beauty in marble and resin tables, has just released a model called STARRY SEA that looks like a serene cove by day and a glowing sky at night. One and a half years of testing and research went into LA TABLE, designer Alexandre Chapelin's latest creation. It incorporates marble from Anguilla and LA TABLE's trademark ocean-colored resin with Wi-Fi-connected LED lights. Six hours of charging powers the table for 300 hours, and this model can change color with the tap of a smartphone, a process you can see in action in the accompanying video here. Sea or sky? Let us know your thoughts after checking out the photos below: Learn more about STARRY SEA and LA TABLE on the official website . Related: A River Runs Through These Marble & Resin Tables Introducing the Coffee Table Projection Bubbling Mapping Jewel Provokes A Dazzling New Future ForTable Tennis 2016-09-21 12:30 Beckett Mufson 48 M ASS design group's gheskio cholera treatment center in haiti in the wake of the devastating earthquake that hit haiti in 2010, MASS design group partnered with a leading health care provider to design a state-of-the-art healthcare facility for cholera. the disease, which had not existed in haiti for more than a century, quickly became a huge problem following the disaster, with patients treated in temporary tents that became hot and difficult to keep sanitary. working alongside les centres GHESKIO, MASS design group not only built the treatment center, but incorporated an on-site wastewater treatment facility to thwart the recontamination of water and consequent spread of disease. located in port-auprince, the facility serves a catchment area of 60,000 haitians, and treats up to 250,000 gallons of wastewater each year. now, six years after MASS began working in haiti, a documentary on the project — titled ‘design that heals’ — tells the story of how the team invested in both long-term infrastructure, and the haitian people, to help heal the community. the façade is custom-designed to provide appropriate daylighting and ventilation image © iwan baan (also main image) the building’s façade is made by local haitian metalworkers, and is customdesigned to provide appropriate daylighting and ventilation throughout the facility. MASS worked closely with dr jean-william pape to design a project that used the construction process to address the underlying structural and social conditions that allow cholera to thrive. ‘design that heals’ is an official selection of the NY architecture and design film festival, with screenings held on september 29 and october 1, 2016. see designboom’s previous coverage of the project here. located in port-au-prince, the facility serves a catchment area of 60,000 haitians image © iwan baan 2016-09-21 11:25 Philip Stevens 49 autonomous boats set to sail on the amstel river, amsterdam autonomous boats set to sail on the amstel river, amsterdam in a collaboration with researchers at the massachusetts institute of technology (MIT), the amsterdam institute for advanced metropolitan solutions (AMS institute) has started the world’s first major research program on autonomous floating vessels in metropolitan areas. ‘roboat’ will be conducted by researchers from MIT, delft university of technology (TUD) and wageningen university and research (WUR). the five-year program has a budget of €25 million and is set in amsterdam. temporary floating infrastructure like on-demand bridges and stages, can be assembled in a matter of hours while the first prototypes of self-driving cars are taking to the road, amsterdam ushers in a new chapter in the international push for autonomous vehicles. ‘roboat’ is the world’s first large-scale research that explores and tests the rich set of possibilities for autonomous systems on water. ‘imagine a fleet of autonomous boats for the transportation of goods and people,’ says carlo ratti, professor at MIT and principal investigator in the roboatprogram, ‘but also think of dynamic and temporary floating infrastructure like on-demand bridges and stages, that can be assembled or disassembled in a matter of hours.’ autonomous boats can be used for the transportation of goods and people alike ‘roboat offers enormous possibilities,’ says professor arjan van timmeren, AMS institute’s scientific director, ‘as we’ll also be exploring environmental sensing. we could for instance do further research on underwater robots that can detect diseases at an early stage or use roboats to rid the canals from floating waste and find a more efficient way to handle the 12,000 bicycles that end up in the city’s canals each year.’ further research is underway at AMS to integrate the detection of underwater diseases the research, with a €25 million budget, is set in amsterdam but aims to become a reference study for many urban areas around the globe. ‘it is a fantastic opportunity for amsterdam,’ says the city’s alderman and vice mayor kajsa ollongren. ‘to have the world’s most prominent scientists work on solutions with autonomous boats in this way is unprecedented, and most fitting for a city where water and technology have been linked for ages.’ the first prototypes of ‘roboat’ will be visible in the waters of amsterdam in 2017. 2016-09-21 11:15 Martin Hislop 50 lina creates a surprisingly spacious studio in poland mode:lina studio has designed a functional micro live & work space for maciej kawecki, owner of polish design group brandburg studio. the flat — which is a neat 37 square meters in total — incorporates kawecki’s living room, office, kitchen, bedroom and washroom — and even manages to include a secret hiding spot for the designer’s six year old son. mode:lina’s main objective was to create a functional, intimate space for brandburg business meetings that could also be used for more casual creative development workshops. after work, the flat needed to transition seamlessly into a calm, domestic space that could accommodate the needs of both the designer and his son. one side of the room is a flexible office space, perfect for meetings or casual gatherings image by patryk lewinski on one side of the room, a lofted wooden structure lifts the bed onto a second level, while incorporating the kitchen and computer space below. the spaces most notable characteristic is a sliding wall of shelves, located behind the computer space, that can be removed to reveal a secret play room for kawecki’s son, with storage place for toys. the rest of the space is left open and flexible for business use, with a large exposed wall space for workshopping ideas and a desk for meetings that can also be used as a dining table in the evenings. a lofted unit raises the bed onto a second level image by patryk lewinski a small window looks from the kitchen into the play room image by patryk lewinski the computer area is located beneath the stairs image by patryk lewinski the shelves can be easily removed to reveal the play room image by patryk lewinski a bike rack on the wall allows for simply, easy storage image by patryk lewinski the play room has shelves of its own, concealed within the wooden structure image by patryk lewinski black and yellow — bradburg studio’s colors — are recurrent throughout the studio image by patryk lewinski a simple design allows for a number of flexible arrangements image by patryk lewinski concept drawings for the space image courtesy of mode:lina 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. 2016-09-21 10:45 Mode Lina 51 Datebook: ‘Ningura Napurrula & Nanyuma Napangati Solo’ at the ReDot Fine Art Gallery, Singapore Related Artists Nanyuma Napangati Organized in collaboration with the Papunya Tula Artists Pty Ltd., the ReDot Fine Art Gallery is hosting an exhibition titled “Ningura Napurrula & Nanyuma Napangati Solo,” which will be on view from October 5 through November 12, 2016. These joint solo exhibitions will display a selection of over 45 works crafted by well-known artists Ningura Napurrula and Nanyuma Napangati, who, in their works graphically portray their strong correlation to land, culture, and family. Despite their close and interconnected styles of narrative that’s central to the Pintupi culture, their styles radically differ in their painterly implementation. 2016-09-21 10:32 BLOUIN ARTINFO 52 Translucent Boy Statue Goes M issing for One Night from Prospect Park Lake Art Slope , a nine-day festival staged in Brooklyn’s Prospect Park, now has an unlikely task to add to its agenda: to locate the thieves of a stolen statue. The work, titled Clear Child by artist Nicholas Papadakis, was already catching attention before the heist, as it is a three-foot, translucent sculpture of a boy that seems to eerily “float” atop the water in front of the Prospect Park Boathouse. Related: The 10 Most Hated Public Sculptures While the vandalism appears to be the result of a prank, the mischief-makers may not realize the fallout of their actions. According to DNAinfo , installing the piece took nearly a day of labor, and getting permission to put it inside the park was a lengthy process involving multiple city agencies. Furthermore, a spokesperson for the police said they are treating it as a “grand larceny investigation,” perhaps even going so far as to take fingerprints from the statue’s base. In the account of a parks employee, who witnessed the theft, “a bunch of young white males from a wedding at the boathouse [on Saturday, Sept 17] were seen to be in the water repeatedly vandalizing the sculpture.” By morning, the sculpture was gone entirely. Men fitting the witness’s description returned the sculpture the next morning, claiming they had found it in the woods nearby. Related: Precious Gnome Sculpture Stolen from Florida Museum Despite being returned in good condition to Papadakis, the artist refuses to stand down. “I will not let this rest because it’s really insulting and damaging to my income and my career,” Papadakis told DNAinfo. “This is business. It’s not there for whatever entertainment value a visitor wishes to take from it.” In a twist of fate, the theft has actually generated media exposure for Papadakis, who is hoping to sell the piece at a price between $12,000 to $15,000. As for whether the piece will be re-installed, Park Slope Stoop reported that the artist merely said, “I’m hoping people can come together and respond to this—maybe even create a new piece of work in response.” Art Slope will run through September 25 in Brooklyn’s Prospect Park area. 2016-09-21 10:27 Caroline Elbaor 53 LEXUS DESIGN AWARD 2017 register now! for the fifth year in a row, designboom collaborates with LEXUS to present the LEXUS DESIGN AWARD 2017. the annual competition which started in 2013, seeks to support future designers, enriching the world through problem solving and finding solutions to better shape our society and future. the theme of this year’s LEXUS DESIGN AWARD is ‘YET’ – the core thinking that goes behind the creation of every Lexus. it encourages us to push the boundaries of creativity by fusing seemingly incompatible elements. in doing so, we don’t compromise; we harmonize. it’s synergy effect enables breakthroughs and the unexpected to happen. yoshihiro sawa, executive vice president of Lexus International presenting the LEXUS DESIGN AWARD 2017 theme video courtesy AWARD of LEXUS DESIGN creatives from all fields: architecture, product design, fashion etc, are invited to submit their ideas that go beyond the mastery of shape, form and function, revolving around ‘YET': exhilarating performance YET environmentally conscious, cutting edge technology YET user-friendly, emotional YET rational. the registration period of the LEXUS DESIGN AWARD 2017 is now open, and qualifying Submissions should be received by october 16th, 2017, 11:59 PM (CET). for more information on the LEXUS DESIGN AWARD 2017, read the full call-for-entries and official rules. 2016-09-21 10:15 Andrea Chin 54 Bruce Springsteen’s M emoir: Riding Shotgun With the Boss Long dark highways and thin white lines; fire roads and Interstates; the skeleton frames of burned-out Chevrolets; barefoot girls sitting on the hoods of Dodges; pink Cadillacs; lastchance power drives; men who go out for a ride and never come back. Bruce Springsteen’s song lyrics have injected more drama and mystery into the myths of the American road than any figure since Jack Kerouac. He knows this, of course. So it’s one of the running jokes in his big, loose, rangy and intensely satisfying new memoir, “Born to Run” (what else was he going to call it?), that he didn’t begin to drive until he was well into his 20s — around the time he landed simultaneously on the covers of Time and Newsweek. His brooding and violent father had been too impatient to teach him and, anyway, he couldn’t afford a car. When Mr. Springsteen was forced to sneak behind the wheel, licenseless, to handle some of the driving on his earliest tours, his ineptitude terrified his band members. He did not exactly, when young and virile, ride through mansions of glory on suicide machines. He mostly stuck out his thumb. He’d been born to hitch. “Every sort of rube, redneck, responsible citizen and hell-raiser the Jersey Shore had to offer, I rode with ’em,” he writes in “Born to Run.” These rides matter because Mr. Springsteen’s songs, like the blue-collar poems of Philip Levine , are intensely peopled. Wild Billy and Crazy Janey, Johnny 99 , Mary from “Thunder Road,” Wayne from “Darlington County,” Jimmy the Saint and Bobby Jean had to come from somewhere. This memoir suggests Mr. Springsteen met many of them while cackling over there in the shotgun seat. The headline news in “Born to Run,” to judge by the early news media tweets, is that Mr. Springsteen, who turns 67 on Friday, has suffered periodically from serious depression. I will admit that this information shook me. If Bruce Springsteen has to resort to Klonopin, what hope is there for anyone? But these sections are not the reason to come to “Born to Run.” The book is like one of Mr. Springsteen’s shows — long, ecstatic, exhausting, filled with peaks and valleys. It’s part séance and part keg party, and then the house lights come up and you realize that, A) you look ridiculous dancing to “Twist and Shout” and, B) you will be driving home in a minivan and not a Camaro. His writing voice is much like his speaking voice; there’s a big, raspy laugh on at least every other page. There’s some raunch here. This book has not been utterly sanitized for anyone’s protection, and many of the best lines won’t be printed in this newspaper. Most important, “Born to Run” is, like his finest songs, closely observed from end to end. His story is intimate and personal, but he has an interest in other people and a gift for sizing them up. Here’s just one example, chosen nearly at random. When Mr. Springsteen meets a future girlfriend on the boardwalk in Asbury Park, N. J. (one of innumerable girlfriends on display here), he delivers this electric introduction: “She was Italian, funny, a beatific tomboy, with just the hint of a lazy eye, and wore a pair of glasses that made me think of the wonders of the library.” Well, hello, you think. Much of the writing in “Born to Run” is this fresh — the sound of a writer who could have phoned his book in but did not. There are dollops of pretension and word-goo in “Born to Run.” Springsteen wouldn’t be Springsteen without homilies, a few of them leaden, about fathers and sons and love and work and community. But this book mostly gets away clean, leaving behind the scent of lightly scorched rubber. Mr. Springsteen’s father was a frequently unemployed bus driver, among other blue-collar jobs; his mother a legal secretary. They were fairly poor. In their houses — halfhouses, more often — there was generally no telephone and little heat. Meals were cooked on a coal stove. “Born to Run” is potent on the subject of social class. In Mr. Springsteen’s part of New Jersey it was the “rah-rahs” (preppies) versus the greasers, and there was no doubt which side of that line he was on. At some of his early shows, guys in chinos spat on him. “I could still feel the shadow of that spit that hit me long ago when I moved to Rumson in 1983, 16 years later,” he writes. He’d found fame and bought a decent place. Yet: “At 33 years old, I still had to take a big gulp of air before walking through the door of my new home.” He suggests there’s a freight of psychic payback in “Darkness on the Edge of Town,” his most fully realized album. “For my parents’ troubled lives I was determined to be the enlightened, compassionate voice of reason and revenge.” Mr. Springsteen got his first guitar, a rental, after seeing Elvis on “The Ed Sullivan Show.” He had a serious work ethic, and went on to play in a string of well-regarded bands with names like Child and Earth and Steel Mill . When his word-drunk first record, “Greetings From Asbury Park, N. J.,” appeared in 1973, he was lumped with the so-called New Dylans, folk singers like Loudon Wainwright III and John Prine. But there was a crucial difference. Unlike those performers, Mr. Springsteen onstage, thanks to his long bar-band apprenticeship, could blow audiences backward. Mr. Springsteen writes that he’s never thought much of his singing voice. As good a guitar player as he is, others were better. It was his songs, he realized early, that would have to put him over the top. If this book has one curious blind spot, it’s that we never quite understand how those words came into being. He studied the songwriting of people like Mr. Dylan, Donovan and Tim Buckley, he writes. But so did many others. If his early reading was an influence, he doesn’t say. The words were apparently just there, available, on tap. And they stayed there, even when his lyrics became pared down. Songs like “The River” and “Stolen Car” are as evocative in their details as are Raymond Carver’s best short stories. “Born to Run” takes us, album by album, through his career. These chapters sometimes feel clipped and compressed, as if he’s wedged the data in his heart onto a thumb drive. The book takes us through his many stabs at romance, which tended to end badly. (He once gave his father the crabs after they’d shared a toilet seat.) He details the failure of his first marriage, to the actress Julianne Phillips, and the success of his second, to Patti Scialfa, whom he describes, in a childhood photo, as “a freckle-faced Raggedy Ann of a little girl.” He raised his three children without rock-star mementos in the house. “My kids didn’t know ‘Badlands’ from matzo ball soup,” he writes. “When I was approached on the street for autographs, I’d explain to them that in my job I was Barney (the then-famous purple dinosaur) for adults.” His eldest son says, in shock, “Dad, that guy has you tattooed on his arm.” Mr. Springsteen’s work ethic has never abandoned him, or he it. “I’m glad I’ve been handsomely paid for my efforts,” he writes, “but I truly would have done it for free.” 2016-09-21 10:15 DWIGHT GARNER 55 M anuel Rabaté Named Director of Louvre Abu Dhabi Director of Agence FranceMuséums Manuel Rabaté will be the first director of the Louvre Abu Dhabi, the Abu Dhabi Tourism and Culture Authority (TCAAbu Dhabi) has announced. Rabaté has been in his role at Agence France-Muséums, the governmental department charged with the development of the Louvre Abu Dhabi project, since 2013. Hissa Al Dhaheri, who hails from the United Arab Emirates and is currently a project manager for the development, has been appointed as his deputy. Related: Louvre Abu Dhabi Collection Makes First International Outing in Paris “When it comes to the opening, there is a technical route and there is a political route,” Rabaté told UAE newspaper The National . “On the technical route we need to have a building that is perfect in terms of quality and that has always been a commitment because we are going to put world masterpieces in this museum.” Although he wouldn’t be drawn on the opening date for the museum, Rabaté highlighted the need for the right environmental controls to protect the works. Related: Why Did the Louvre Abu Dhabi Buy a Portrait of George Washington? “The environmental controls have to be correct, the security has to be in place and there are a lot of other requirements that have to be ready before TDIC is off the hook and the building can be considered ready,” he added. “We have also always said that the moment of the [building’s] handover to the opening would take at least four months because we have to organize the logistics of the transport, shipping and installation of the artworks.” The Jean Nouvel-designed building is situated on a Saadiyat Island, a manmade peninsula built as a kind of art island also to house the Frank Gehrydesigned Guggenheim and the Zayed National Museum, which are still under construction. Related: Da Vinci, Monet, and Manet for Louvre Abu Dhabi The Louvre Abu Dhabi has leased the Louvre name for a 30-year period in an agreement which also sees that the is museum loaned 300 works from French museums during its first 10 years. The museum’s collection already boasts 600 works which include early copies of the Koran, and antiquities from across the Middle East and Europe as well as works by Édouard Manet , and Paul Gauguin . 2016-09-21 10:13 Contributing Writer 56 Andy Warhol Was an Honors Student? THE DAILY PIC (#1639): Yes, you heard it here first, an honors student – that is literally what Andy Warhol was during his first term at Schenley High School in Pittsburgh. A printed “Honor Roll” discovered last weekend by John Schulman, of the Caliban book shop in Pittsburgh, lists a certain Andrew Warhola, of classroom 303, as deserving of an Honorable Mention for his performance during the “seven weeks ending October 23, 1942.” The list was printed for insertion in the Schenley school newspaper, “The Triangle,” and Schulman told me he found it at an estate sale in a home near the high school. He has listed it for sale at $375, which strikes me as a bargain. That’s because the list is more than just a historical curiosity, with what must almost certainly be the earliest printed occurrence of Warhol’s name. It also provides early documentary proof that Warhol was not at all the unlettered or even illiterate savant that he has often been made out to be – a kind of Forrest Gump of Pop Art. For my forthcoming Warhol biography, I’ve been accumulating a pile of evidence that, on the contrary, Warhol was deeply smart and cultured, and even well and widely read. Despite his pose as a naïf – and it was truly a pose – he did just fine and sometimes quite well in all kinds of academic subjects throughout his education. At Schenley he was in the academic stream and graduated in the top quintile of students. Later in life, he was rather fond of seeing and reading Shakespeare, sometimes dragging reluctant friends to see the Bard’s plays. “He’s the most brilliant person I’ve ever met. And he never forgets a thing. But he comes on as really stupid,” said Warhol’s longtime friend Suzie Frankfurt. Now there’s one extra piece of evidence to back up her opinion. For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-09-21 10:00 Blake Gopnik 57 Study Claims Our Emotional Reactions Are Subdued When Viewing Art A recent study conducted at the European College of Neurpsychopharmocology has an interesting hypothesis, one based on Kant’s incantations on the sublime no less: whether ascribing to certain objects the label of “art” triggers a genuine neuro-chemical reaction in the brain. Related: Museum Project Finds Looking at Art Helps Dementia Patients A group of 24 subjects were asked to consider a series of images, all while their brain activity was measured using an electroencephalogram (EEG), and then asked to evaluate the images based on whether they were “pleasant” or “unpleasant.” Next, they were instructed on whether the images displayed were either “art” or real-life events, and subsequently asked to rate them according to “attractiveness” or “likability”. (All highly specific and scientific, of course, because we must not begin to ask what the cross-section of the group might have been, nor their backgrounds or individual prejudice). Et Voilà: the study showed that the subjects showed a preference for the images labeled as “art.” Related: At the Mmuseumm, Everything Is Art Noah van Dongen, of the Erasmus School of History, Communication and Culture in Netherlands said of the study, to Mail Online , “This suggests that when we expect to be dealing with an artwork, our brain responds differently than when we expect to be dealing with reality.” Jonathan Jones, unsurprisingly, has picked up on the study to justify a societal interest in works that he deems to be of a lesser-aesthetic quality (say: Tracey Emin ’s My Bed ) and asks the question in a recent column for the Guardian , “Can you turn ordinary objects into art simply by saying so?” He summarizes his argument with a “But art isn’t about cool contemplation—it’s a red-blooded reframing of emotion.” It is an effort at saying we are sensitized to violence, and are less “emotionally affected” by “art” than reality. Related: 12 Sound Artists Changing Your Perception of Art Although the science is yet unclear, and perhaps requires further investigation—what certainly is revealed is the success of “art” in its capacity to convince. Being the post-De Bordian “Society of Spectacle” that we are now, all is convincing, all is likeable , even, as long as it is art. Here it seems only natural to mention the events that unfolded at Art Basel Miami Beach last year , where visitors to the fair stared on as a woman stabbed another with an X-Acto knife. Because, of course, they thought it was art , and nothing more. (Or Real). “A guy walked up to me and said, ‘I thought I saw a performance, and I thought it was fake blood, but it was real blood,” said a visitor at the scene to the Miami Herald that day. 2016-09-21 09:40 Skye Arundhati 58 henri cleinge designs crew offices and cafe in montreal what previously was a historic bank has been converted to a 12,000 sqm space to accommodate a tech start-up, café for freelance workers and the public. the coworking space in old montreal addresses the elaborate architectural relationship and the various programs that occupy the single venue. designed by locally-based architect henri cleinge, the approach in the context of a heritage building saw the layout being divided to create a flow and possible interactions between the permanent and temporary workers, while implementing co-working in the tech community. the design facilitates this flow by the use of transparent and translucent borders between the various office spaces. the existing bank teller stands dating back from the old royal bank were not to be removed. as a consequence, they were used as a natural border between the café space and the conference rooms, which in turn created a separation between the more public spaces and the permanent workers. the crew offices is a project defined by a 12,000 office area for a tech start-up which also includes a café the building which dates back to 1926 still features crafted details that are still in good condition; an inlay marble floor, an ornate painted plaster ceiling along with custom suspended brass light fixtures, as well as other brass elements including the teller stands. henri cleinge balances the need to express, re-use and respect for the heritage building. the discreet intervention reflecting the contemporary identity of the firm to exist. the new design integrates brass plated steel throughout, fixed to boxy minimal enclosures the new design integrates brass plated steel throughout, fixed to boxy minimal enclosures, in order to dialogue and contrast to the existing ornate brass elements. the conference rooms which were divided and compartmentalized with linear walls, covered with brass plated steel, and enclosed with glass partitions and a horizontal plane of a ceiling, by coincidence, ended up relating to the paper compartments within the existing free standing stands dating back to the paper days, when deposits were inscribed with pen onto paper. a complex series of glass walls were erected between the various areas, with a defined access to reflect the degree of permanency for each worker group the conference rooms are divided and compartmentalized with linear walls the public has access to the café 2016-09-21 09:22 Natasha Kwok 59 Ai Kowada Gallery Explores Feminine Beauty with Anno M oyoco’s M anga Related Artists Yayoi Kusama In “The Courtesans in Ukiyoe,” r enowned Manga artist Anno Moyoco takes inspiration from Kitagawa Utamaro’s Ukiyo-e portraits of Japanese courtesans during the Edo period. The exhibition features the traditional Japanese art form alongside Moyoco’s creations, depicting women of the past and present from her two blockbuster manga series “Sakuran” and “Memoirs of Amorous Gentlemen.” The Ukiyo-e art form blossomed in Japan between the 17th to 19th centuries, primarily representing courtesans, kabuki actors, and other subjects related to the “floating world” lifestyle. Kitagawa Utamaro was one of the highly regarded artists of this genre made on woodblock prints, vividly portraying beautiful women and courtesans who were suffering within the harsh high-class brothels of Yoshiwara. The gallery showcases Anno Moyoco’s portraits of the courtesans from her Manga series, authentically created using the Ukiyo-e production method, with printing blocks made of cherry tree wood. These pieces were produced with the help of a specialist artisan, Ichibei Iwano, who makes accurate reproductions of the works by famed Ukiyo-e artists, including Hokusai, Utamaro, Hiroshige, and Sharaku. Additionally, he is also a master printer for contemporary painters of international recognition, such as Japanese sensation Yayoi Kusama. Anno’s prints, which are exhibited alongside Utamaro’s representative series “Ougiya Hanaougi” and “Twelve Hours in Yoshiwara,” aim to offer viewers a chance to meditate over feminine beauty ideals in Japanese culture. Anno also investigates such issues in her manga, such as in “Happy Mania” and “Hataraki Man.” Her heroines reveal “how they chase after the illusions of happiness that do not really exist, while trapped in the system of the contemporary world, just like Utamaro’s courtesans who yearned for the freedom outside the strict agreement made between relatives and the brothel.” their The Tokyo-based artist’s graphic novel “Sakuran” is currently on display at the Honolulu Museum of Art in the exhibition “Modern Love: 20th Century Japanese Erotic Art,” which will run through March 15, 2017. The museum added Anno’s work to their collection in 2014, on the occasion of their exhibition presenting her oeuvre alongside that of eminent Japanese photographer Nobuyoshi Araki. 2016-09-21 09:07 Claire Bouchara 60 makerbot replicator+ and mini+ redesign 3D printing makerbot, a global leader in the desktop 3D printing industry, has announced new 3D printing solutions that address the wider needs of professionals and educators. makerbot believes its new solutions offer engineers and designers a faster and more effective way to develop ideas and offer educators a better way to integrate 3D printing technology in the classroom to teach creativity and problem solving. the makerbot ‘replicator+’ and ‘replicator mini+’ are both faster and quieter than their predecessors and feature larger build volumes for printing bigger models or more prints at one time. the ‘replicator+’ is approximately 30 percent faster; has a 25 percent larger build volume; and is 27 percent quieter than the 5th generation makerbot ‘replicator’. the ‘replicator mini+’ is approximately 10 percent faster; has a 28 percent larger build volume; and is 58 percent quieter than its predecessor. both come with the swappable makerbot ‘smart extruder+’, which is designed and tested to provide improved performance over a longer period of time. when it comes to 3D printing, designers and engineers often put a high priority on predictability and how accurately a print resembles its digital model. in that regard, the new makerbot ‘replicator+’ and ’replicator mini+’ improve several aspects of print quality, including print precision; surface appearance; and reduced warping and curling. these print quality improvements are enabled by the re-engineered hardware, including the gantry; Z-stage; build plate; and extruder carriage (replicator+ only); in combination with fine-tuned firmware and a new slicing engine. the ‘replicator+’ also features a flexible build plate, making it easy to remove larger prints by simply bending the plate. the new grip build surface included on both new printers ensures that prints adhere better without the use of blue tape, resulting in improved reliability and reduced warping and curling. redesigned rafts and supports break away more easily for a cleaner print surface of printed parts. the new makerbot print and mobile applications are designed to allow professionals to easily integrate printers into their workflow and help educators introduce their students to 3D printing. these applications help streamline the print preparation process, save time, and produce higher quality prints. both printers have been re-engineered and tested to provide improved performance—that means faster, easier, and more reliable printing with a bigger build volume. with the makerbot ‘slate gray tough PLA filament bundle’, engineers can create more durable, high-impact strength prototypes and fixtures. for educators, makerbot is also launching thingiverse education to discover 3D printing classroom content created by other educators. makerbot replicator mini+ prints 28% larger than its predecessor, so you can print bigger models ‘we have gone through a cultural shift here at makerbot over the past year, where listening and understanding the needs of our customers are cornerstones of our company. as a result, we’ve gained an in-depth understanding of the wider needs of professionals and educators that has informed our product development process,’ said jonathan jaglom, CEO of makerbot. ‘our new solutions for professionals and educators are based on feedback addressing how we could accelerate and streamline the iterative design process and make teaching with a desktop 3D printer easier and more effective.’ the makerbot print software helps streamline the 3D printing experience for any workflow. native CAD support, for example, allows users to easily import common CAD files and assemblies. this new feature eliminates the need for .stl files and can result in significant time savings by reducing the number of files the user needs to manage and mundane steps for each iteration. users can now organize 3D files and multiple build plates into projects and easily email project files as attachments to collaborate with others. storing information as complete project files instead of stand-alone model files allows users to save the print settings and build plate layout of one or more designs as one file. native CAD support eliminates the need for .stl files, resulting in significant time savings makerbot print also enhances the print preparation process, saving time and helping users achieve high quality prints. the new auto arrange feature automatically positions objects across multiple build plates to print them simultaneously or sequentially. with dynamic print settings, users can change settings like resolution or thickness for each individual model on the build plate, saving time by printing models with varying print settings simultaneously. a new print preview option lets users review the ‘smart extruder+’s’ path to make adjustments before printing a model. users can either review each individual layer or play an animated video preview to see support material placement and validate that small features are printable. touch screen plus scroll wheel are integrated for tactile experience 2016-09-21 08:45 Martin Hislop 61 Related Toy Factory Productions Brings 'Innamorati Two' M usical to Singapore Stage Venues Drama Centre Following their hits “The Crab Flower” and “Titoudao,” bilingual theater company Toy Factory Productions is back with a new Mandarin musical, subtitled in English. “Innamorati Two” will make its debut on September 22 at the Drama Centre Theatre in Singapore. Directed by the acclaimed Goh Boon Teck, “Innamorati Two” builds on the sold-out success of “Innamorati” in 2014. Portrayed as a “brilliant tour de force of Mandarin theater,” this new piece by playwright Jiang Daini touches upon a different and compelling storyline, evoking the resilience of the human spirit against life’s emotional and physical challenges. The seven-member cast comprises home-grown star Jin Wong, seasoned singer Chriz Tong, Assistant Director Sugie Phua, as well as Ann Lek, Stella Seah, Sunny Yang, and Jacky Lau. Each of them contributed original songs to the musical’s score — which, according to a press release, is a “bold first move for Singaporean theater.” For artists Jing Wong, Ann Lek, and Sunny Yang, this is their first time writing and composing music. Under the musical direction of Elaine Chan, best known for the LTA jingle “Love Your Ride,” the music is largely inspired by cosmopolitan indie pop influences. Described as a theater company “with real soul,” Toy Factory Productions and its Chief Artistic Director Goh Boon Teck have produced thought-provoking performances, establishing themselves as one of Singapore’s leading theater companies. The group's bilingual productions have enabled them to reach a bigger and wider audience, and participate in creative exchanges around the world, including in countries like Australia, China, Egypt, and Russia. 2016-09-21 08:16 Claire Bouchara 62 dolce & gabbana's new flagship is a world of light and shadow luxury fashion giant dolce & gabbana has opened a major new flagship store in the exclusive aoyama neighborhood of tokyo, japan. under the creative direction of gwenael nicolas — head of multidisciplinary design studio curiosity — the theme of the concept-store is ‘light & shadow’. curiosity stays more than true to the brand’s luxurious roots, producing a dolce & gabbana location that is nothing short of decadent. the firm’s design blends shades of vivid luminosity with seductive obscurity, an effect that extends throughout the store’s 550 square meters. the result is something like an aladdin’s cave of treasures, where light — or lack thereof — casts new perspectives on the brand’s luxurious range. the jewelry is displayed in a golden alcove off the main concourse the mens and women’s ready-to-wear collections are displayed on the ground floor, alongside the designer’s accessories and small leather goods. meanwhile, the first floor is home to the men’s formalwear, women’s evening wear, and footwear. in what is undoubtedly the pièce de résistance in curiosity’s design, the store’s jewelry collection is housed in a special anteroom off the main concourse where a golden carpet leads an aesthetic that extends into every facet of the alcove: walls and ceilings are finished in brass panelling and details, while lights installed into the ceiling ensure the sun of sicily is always shining at dolce & gabbana. the mood and perspective of the central space changes drastically depending on light across the building, 400 moving spotlights are in constant transition, alternatively illuminating and concealing targeted displays. using the artistic technique of chiaroscuro as a point of reference, gewnael nicolas has created an interior caught in constant contours of light and dark, a world of theatrics in perpetual flux. as a focal point, a golden staircase in the center of the room leads shoppers up to the second level. the opulence of the store continues outside, where the exterior is wrapped entirely in arabescato marble, excluding only the dolce & gabbana title pane above the door, which is cut from black carnico marble. spotlights on the roof are used to demarcate display areas the clever use of light and darkness within the space creates the effect of a room within a room different elements and products are illuminated, depending configuration of the lights on the the brand was founded in 1985 in legnano by italian designers domenico dolce and stefano gabbana curiosity studios ethos involves imbuing objects of beauty with an alluring functionality the exterior is arabescato marble, while the pane above the door is black carnico marble the idea of light and dark, of concealing and revealing, is pervasive throughout the space 2016-09-21 08:15 Peter Corboy 63 lagranja design create a leafy, light-filled office in barcelona in barcelona, design studio lagranja has created an airy, plant-filled office space for digital start-up ‘typeform’. based on ideals of fresh air and free mobility, the 2000 square meter venue is abundant in foliage, and aims to create an atmosphere of creative freedom and spatial flexibility. the office is abundant with multifunctional spaces for work or relaxation, and is laden with dense foliage in its design, lagranja has replaced the traditional reception area with a welcoming beer and coffee bar, where employees can prepare for the day ahead, relax with a drink once their work is done, or await their next client. above the bar, plants are hung from a small landing, beginning a decorative trend that continues throughout the space. in choosing the plants, the studio looked to the work of environmental activist kamal meattle, who recommends a combination of areca palm, mother-in-law’s tongue and money plant to encourage superior airflow and quality — the office even has an in-house gardener. starting as they mean to continue, lagranja’s updated reception represents the core concepts amplified throughout the interior. large orbital lamps are a recurring motif throughout the space bicycle parking is available outside with direct access to the main meeting room, whose center table is a super-sized typeform logo. smaller meeting rooms are each defined by a single color, for ease of scheduling. all of these surround a central vegetation boulevard — a multifunctional area for relaxation or casual work that is outfitted with the lagranja furniture collection. the central boulevard is a cheerful, green space for eating and unwinding two communal working spaces run parallel on either side of the central boulevard: the left-hand side is distinct in its hanging orbital lamps. the righthand hall — the largest hall in the building — is covered by a huge winged-awning lamp — the biggest the studio has ever created. in a nod to ancient greece, the office space also houses an ‘agora’, a congregation area outfitted with three semicircular grandstand levels for presentation and performance. all in all, the design deftly walks the line between work and play, creating an environment that encourages thoughtful creativity within a casual, accessible space. three semicircular grandstands make up the agora, for performance, presentation and conversation just off the agora lies the kitchen, where a large table is designed to accommodate many in the main meeting room, the giant typeform logo is turned into a table one of the main workspaces is lit by the largest lamp the studio has ever created larger spaces are modulated with curtains, which also work as screens and light diffusers brainstorming areas are dominated by huge hanging pots, which also function as lights the studio wanted create a space that was less a traditional office and more a seed bed for ideas 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. 2016-09-21 06:45 Lagranja Lagranja 64 M acy’s to Get Premier Placement on Tmall This Weekend Macy’s Inc. is going big on Alibaba’s Tmall, and will be showcased this weekend as a “Super Brand.” Chris Tung, Alibaba’s chief marketing officer, said Macy’s has been on the Tmall site since November, but the participation as a Super Brand will give the retailer “premier placement” on the site. Further, the placement is now reflecting Macy’s dedicated online shop on the Tmall site. The retailer held its Macy’s Presents Fashion’s Front Row at Madison Square Garden during New York Fashion Week. The show was hosted by Coco Lee, a Hong Kong-born, American singer-songwriter-actress. She is also married to Bruce Rockowitz, the chief executive officer of the Li & Fung spin-off Global Brands Group. The show was taped and will be broadcast on Youku, the popular video platform in China, on Friday. The show featured a musical performance from Ariana Grande, as well as designer looks from Macy’s private labels I. N. C. International Concepts and men’s suit line Tallia; Kenneth Cole; Rachel Rachel Roy; Ryan Seacrest Distinction; Tommy Hilfiger; and William Rast. The show also included the debut of Betsey Johnson xox Trolls, a collection inspired by DreamWorks Animation’s upcoming film “Trolls.” In addition to the “front row” video, there will be a launch party in Shanghai when shoppers tune in to the Macy’s live-stream on the Tmall app. Coco Lee also will give viewers a look at her NYFW adventure as she shopped at Macy’s Herald Square. According to Tung, the Super Brand Day concept began earlier this year, and each month 10 brands are selected for showcasing based on influence of the brand and quality of product. The brands change each month. “We have 80 brands by now. Starbucks, Estée Lauder and Harley Davidson are some of the brands we’ve [highlighted],” Tung said. He said the brands being highlighted are featured across every Alibaba property. “There is no measure in the U. S. that’s the equivalent in the amount of eyeballs that we will get [on Super Brand Day],” Tung said. Peter Sachse, Macy’s chief growth officer, said of the marketing promotion on Tmall, “China is a nation of 1.2 billion people. Of that 1.2 billion, a fraction of them travel overseas. The brand awareness of Macy’s is by no means ubiquitous. Showing on Super Brand Day and bringing fashion from the front row, with streaming on mobile, will bring [us] to a very large part of the population.” Sachse said that anybody in the Chinese cities, even in tier-four cities, would be able to access the different platforms. And with “Alibaba having 20 percent of the total retail sales in China, and 70 percent of e-commerce sales in China, there is nobody in the U. S. that has that kind of market share,” Sachse explained by way of comparison on the number of eyeballs he expects the campaign to garner. Tung added that consumers browse “more than seven times a day, or about 25 minutes per day total” in terms of time spent on the site. Sachse said the items for sale would be an assortment of the merchandise that’s offered on the U. S. site, although for Super Brand Day there also would be special items. Alibaba has been expanding the presence of U. S. brands to its consumers, and on Tuesday Martha Stewart headlined Alibaba’s Tmall Super Kitchen event. Martha Stewart, owned by Sequential Brands Group, has been working on opportunities for future collaboration, and a partnership is expected to be unveiled in the near term. 2016-09-21 05:15 Vicki M 65 What’s on TV Wednesday: ‘Speechless’ and ‘Designated Survivor’ A mother fights for a better life for her son, who has cerebral palsy, in “Speechless,” starring Minnie Driver and Micah Fowler. Clayne Crawford and Damon Wayans play unlikely perfect partners in “Lethal Weapon.” And Kiefer Sutherland suddenly finds himself president of the United States in “Designated Survivor.” SPEECHLESS 8:30 p.m. on ABC. Minnie Driver plays Maya DiMeo, a warrior mother whose desire to make life perfect for her oldest son, J. J. (Micah Fowler) — who has cerebral palsy, can’t speak and uses an alternative communication device to express himself — causes her to sometimes overlook the needs of her other children (Mason Cook and Kyla Kenedy) and husband (John Ross Bowie). J. J. connects with Kenneth (Cedric Yarbrough), the school groundskeeper, and asks him to become his caregiver, and give him a voice. That J. J., at times sarcastic, devious and rude, is “a flawed kid with a flawed family in a reasonably funny sitcom is what makes ‘Speechless’ good, rather than simply worthy,” James Poniewozik wrote in The New York Times. LETHAL WEAPON 8 p.m. on Fox. After the death of his wife and unborn child, Martin Riggs (Clayne Crawford), a former member of the Navy SEALs, tries to rebuild his life by taking a job with the Los Angeles Police Department. He’s partnered with Roger Murtaugh (Damon Wayans), a by-thebook type; Riggs dives right in. It’s a combination that could work, if it doesn’t get them killed first. “Their chemistry isn’t instantaneous, but by the end of the premiere you can at least see potential there,” Neil Genzlinger wrote in The Times. DESIGNATED SURVIVOR 10 p.m. on ABC. Kiefer Sutherland is back battling bad guys as Tom Kirkman, the secretary of Housing and Urban Development, who has been told to step down. His final duty is the role of designated survivor during a State of the Union address, and he is sequestered away from Capitol Hill. But he suddenly finds himself appointed president after an attack on the Capitol annihilates the government. Now he needs to figure out how to run the country while determining who is responsible for the devastation. Kirkman “is a perfect role for Mr. Sutherland,” Mike Hale wrote in The Times, “and tuning in to see him save the country each week may be one of the new TV season’s prime guilty pleasures.” WHO’S AFRAID OF VIRGINIA WOOLF? (1966) on Amazon and iTunes. As Broadway dims its lights at 7:45 on Wednesday night to honor the playwright Edward Albee , who died on Friday, watch the movie version of his masterpiece about soul-sucking academics: Richard Burton as a professor; Elizabeth Taylor as his wife, a college president’s daughter; and George Segal and Sandy Dennis as the young faculty couple they’ve invited over. Mike Nichols adapted the play “without pussyfooting,” Stanley Kauffmann wrote in The Times. 2016-09-21 05:00 By 66 Huang Yong Ping View of Huang Yong Ping’s mixed-medium installation Empires , 2016, at the Grand Palais. © 2016 ADAGP, Paris. Photo Didier Plowy. Advertisement Entering the nave of the Grand Palais’s gargantuan 1900 glass-and-steel exposition hall for Huang Yong Ping’s site-specific installation Empires , viewers confronted a clifflike, 56-by197-foot wall of stacked shipping containers, their squarish, outwardfacing ends resembling a multicolored pixel pattern. As Pascal Lamy, former director of the World Trade Organization, notes in the exhibition brochure, shipping containers and the Internet are “the two engines of globalization.” In the labyrinth beyond, one encountered a total of eight such “mountains” (the figure signifying cosmic totality in Chinese numerology) as well as a traveling crane of the sort used to load and unload containers (305 were in the show), a giant Napoleonic hat set like a skewed lintel on a triumphal arch, and a polished metal, elaborately twining 820-foot skeletal serpent, its countless ribs rhyming with the building’s curved latticework ceiling and its unhinged jaw gaping ambiguously toward both the arch and its own tail. Curated by Palais de Tokyo president Jean de Loisy, the immersive show was the seventh annual entry in France’s appropriately titled “Monumenta” series, previously assayed—with varying degrees of critical success—by Anselm Kiefer, Richard Serra, Christian Boltanski, Anish Kapoor, Ilya and Emilia Kabakov, and Daniel Buren. The 2016 selection committee must have had little doubt about how Huang would deal with the potentially intimidating problem of more than 145,000 square feet of uninterrupted exhibition space, topped by a 75-foothigh domed glass roof and bounded on one side by an enormous Art Nouveau staircase and walkway. The Chinese- born artist began his career in the mid1980s as a conceptualist who built spinning devices to randomize the act of painting (thus combining Duchampian forms and chance operations worthy of John Cage with ancient Chinese divination techniques); led members of the Xiamen Dada group (slogan: “Zen is Dada; Dada is Zen”) in burning their works after an exhibition; and literalized cultural intermingling with his book-mashing performance/sculpture, The History of Chinese Painting and the History of Modern Western Art Washed in the Washing Machine for Two Minutes (1987). But from the time Huang participated in the Centre Pompidou’s now legendary 1989 exhibition “Magiciens de la terre”—after which he stayed on in Paris, due to the Tianamen Square Massacre back home—his cerebral approach has often taken spectacular and monumental form. When he represented France at the Venice Biennale in 1999 (the year he became a French citizen), Huang erected huge wooden pillars in and around the pavilion, some going through the roof. His June 11, 2002—The Nightmare of George V (2002) consists of a taxidermied tiger and elephant. “The Bat Project” (2002–05) involved several full-scale replicas of a downed American spy plane—some partial, some whole. In Empires , Huang clearly suggested that the primary expression of the imperial impulse today is international commerce. At the top of one of the mountainous stacks was a container bearing the logo capital. The triumphal but misaligned hat was of the sort that Napoleon wore at the Battle of Eylau, where the human costs of his victories first began to seem too much for the nation to bear. The snake, a creature associated with evil, seemed ravenous for the militaristic symbols of hat and arch, and for its own nether end, with its prospect of ouroboros-style selfrenewal and self-reflection. But, for better or worse, the serpent was already dead, already an outsize memento mori of bones. 2016-09-20 23:00 by Richard 67 Study: Latino Art Underrepresented at College Art Association’s Annual Conference Rose G. Salseda presented the findings about underrepresentation of Latino art at CAA’s annual conference. STEPHANIE BERGER At last Friday’s U. S. Latinx Arts Futures Symposium, hosted by the Ford Foundation at its headquarters near the United Nations on Manhattan’s East Side, Rose G. Salseda, a Ph. D. candidate in art history at the University of Texas at Austin, presented a study arguing that Latino art is seriously underrepresented at the College Art Association , the United States’ principal professional organization for arts scholarship. The study, which analyzed abstracts and panels presented at CAA’s annual conference from 2012 to 2016, found that, on average, 1.4 sessions and 7.2 papers on Latino art were presented per year at the conference, with the 2013 and 2014 gatherings featuring no sessions on the topic. (Salseda reminded the audience that the conference hosts nearly 200 panels, workshops, and events at its annual meeting.) “We need to increase the presence of Latino art at CAA to foster the recognition of the field by the art historians and museum professionals who comprise a majority of CAA’s membership base,” she told the audience. “If the field of Latino art is not recognized in an inclusive and representative way, this leaves far too much to speculate for our future.” Contacted by ARTnews , CAA’s executive director, Hunter O’Hanian , said that he had not yet seen the study’s statistics, but was not completely surprised by them, as CAA has over 65 classifications for its papers and sessions and “no one category ends up having more than one or two percent, with the exception of contemporary art.” He added that CAA “has made a huge effort to make its paper and sessions as broad and diverse and to reach as broad and diverse base” and that it “continually looks to create new categories and classifications to allow scholars and art makers to identify their work in a manner they believe is representative.” Salseda is one of the dozen or so arts professionals who co-founded the US Latina/o Art Forum last year. Now numbering some 175 members, its purpose is “to establish an unprecedented network of university and college faculty, independent researchers, artists, museum professionals, critics, and graduate students with an interest in art and visual culture by and about U. S. Latinas/os,” according to its website. It strives to be a kind of CAA for professionals who focus on Latino art. Last year, when USLAF applied for affiliated status with CAA—there are currently over 80 affiliated associations —they were denied. (Their current application for affiliated status is still pending, and will be presented to the executive committee of CAA’s board at the annual meeting in February.) Darren Walker, president of the Ford Foundation. STEPHANIE BERGER At the symposium, Adriana Zavala, a professor of art history and Latinx Studies at Tufts University, in Bedford, Massachusetts, who is another cofounder of USLAF, discussed the fact that CAA had recently reorganized the way users can search its website for dissertations. In the new model, Latino art, which she noted is distinct from Latin American art, is not a subject category—in its place are the geographical regions of North America, Central America and the Caribbean, and South America—nor is it a subcategory, though “African America/Africa Diaspora” and “Native American Art (post-1500)” are. “We cannot allow ourselves to be rendered invisible because a category does not exist,” she told the audience. The Ford Foundation’s president, Darren Walker, echoed Salseda and Zavala’s points. “You are asserting that there is a discipline,” Walker said. “There is a definition that you will define for the field and as a canon, and this is really one of those exciting moments.” The symposium, led by artist Teresita Fernández, was a full-day, jam-packed affair with artists, museum directors, curators, and scholars taking part in talks and panels that looked at the current state of Latinx arts in the United States. (Latinx being a gender-neutral term used with increasing frequency in place of Latino.) Though the symposium didn’t offer much in the way of concrete solutions, it painted a complex, nuanced picture of the range of issues that Latinos face in the American art world. As artist Juana Valdés put it, “We are not one monolithic identity.” In her artist talk, the artist and curator Amalia Mesa-Bains summarized the ramifications of the famously controversial 1993 Whitney Biennial on many artists of color, and especially Latino artists: “Observation: be careful what you wish for. We know the aftermath of that exhibition, sometimes referred to as the door slammed shut.” Throughout the day, speakers said that they remained hopeful for the future and the next generation of artists, curators, and scholars. On hand were leaders in the Latino arts community, alongside top officials from major New York Museums: the Brooklyn Museum’s director, Anne Pasternak, the Metropolitan Museum’s chairman of education, Sandra Jackson-Dumont, and Whitney Museum’s director, Adam Weinberg. During a directors’ panel, Weinberg said that the symposium reminded him that “this isn’t about art; it’s about people. It’s about lives and that’s why we do what we do. And that’s front and center for what this conversation’s about.” The day seemed to have made an impression on one of Weinberg’s key colleagues. At a gathering after the symposium, the Whitney chief curator, Scott Rothkopf, told me that his involvement, as both panelist and audience member, would be the main topic at the museum’s curatorial meeting on Monday. 2016-09-20 22:05 Maximilíano Durón 68 Nathalie Du Pasquier at Exile, Berlin Nathalie Du Pasquier, Meteorite No 8 , 2013, oil on canvas. COURTESY THE ARTIST AND EXILE Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Nathalie Du Pasquier: Meteorites & Constructions II” is on view at Exile in Berlin through October 8. The solo exhibition, the artist’s second with the gallery, presents recent works on canvas. Nathalie Du Pasquier, Meteorite No 12 , 2013, oil on canvas. COURTESY THE ARTIST AND EXILE Nathalie Du Pasquier, Meteorite No 10 , 2013, oil on canvas. COURTESY THE ARTIST AND EXILE Nathalie Du Pasquier, Meteorite No 8 , 2013, oil on canvas. COURTESY THE ARTIST AND EXILE Nathalie Du Pasquier, Untitled (Construction GGG) , 2015/16, oil on canvas. COURTESY THE ARTIST AND EXILE Nathalie Du Pasquier, Untitled (Construction FFF) , 2015, oil on canvas. COURTESY THE ARTIST AND EXILE Nathalie Du Pasquier, Construction EEE , 2015/2016, oil on canvas. COURTESY THE ARTIST AND EXILE Nathalie Du Pasquier, Untitled (Construction BBB) , 2015, oil on canvas. COURTESY THE ARTIST AND EXILE Nathalie Du Pasquier, Untitled (Construction CCC) , 2016, oil on canvas. COURTESY THE ARTIST AND EXILE Nathalie Du Pasquier, Untitled (Construction DDD) , 2015, oil on canvas. COURTESY THE ARTIST AND EXILE 2016-09-20 21:50 The Editors 69 ‘New Now’ Sale at Phillips Takes in $2.8 M . Amidst a Slumping M arket for Past Auction Darlings Korakrit Arunanondchai, 2013, which sold for $81,250 at the Phillips ‘New Now’ sale. Untitled , COURTESY PHILLIPS “New Now,” Phillips’ sale geared toward emerging artists, pulled in $2.8 million on afternoon after offering 202 lots, putting it squarely between its low estimate of $2.4 million and its high estimate of $3.5 million. The sell-through rate was a respectable 74 percent by lot. Though that is not spectacular, it’s still a marked improvement from last March’s “New Now” affair, when only 51 percent on the lots found buyers , en route to a total that fell $2 million short of its low estimate. Highlights, price-wise, came mostly from the works by canonical artists who were scattered about through the show. Yayoi Kusama’s Infinity Nets (TWWP ) (2006), which went for $225,000, a Lawrence Weiner from the collection of the Finnish economist Pentti Kouri that went for $175,000, and a Giuseppe Penone sculpture, Fingernail and Marble (Unghia e marmo) , that went for $150,000. Of the works by younger artists who led a gold rush just a few years back, Korakrit Arunondchai was one of the few who did not see the erosion of his market—his Untitled (2013) sold for $81,250 to a buyer on the phone with senior specialist Rachel Adler Rosan. This “New Now” comes at a time when Phillips has been shaking up its top brass in the hopes of casting off its third-place status, perennially the bridesmaid to Sotheby’s and Christie’s. In May, they brought in Sotheby’s worldwide contemporary art chairman Cheyenne Westphal to be the chairman of the house (she will start in 2017, after her non-compete expires) and in July hired Scott Nussbaum, another Sotheby’s vet who worked with Westphal in the contemporary department. Phillips has had mixed results with its “New Now” sales since introducing it a year ago, with the sales affected by a plummeting market for some of the young artists whose prices skyrocketed just two years ago. An article in Bloomberg yesterday revealed that a Hugh Scott-Douglas in the New Now sale estimated to sell for just $18,000 to $22,000 was purchased in 2014 for $100,000—with the expectation that it would be worth much more than that very soon. But the planned flip clearly went sour, and that work’s owner decided to sell at a big loss because, as he told Bloomberg’s Katya Kazakina, “I feel like it can go to zero. It’s like a stock that crashed.” The drama behind the Hugh ScottDouglas work’s evaporated value made it, unexpectedly, one of the day’s most anticipated lots (a bit macabre, but true). Instead, the bidding opened at $13,000, and immediately went past the low estimate thanks to an aggressive paddle in the room—the paddle belonging to Matt Bangser, partner at Blum & Poe, the gallery where the Scott-Douglas painting was originally sold, for $25,000. Trying to save face, and avoid a cringe-inducing new result, perhaps? After sparring with associate specialist Sam Mansour on the phone, the work hammered at $24,000, selling to Mansour’s bidder for $30,000 with the buyer’s premium. Work by other former market darlings saw modest returns. A large work by Christian Rosa that could have easily gone for six figures at his peak—the artist’s auction record that exceeds $200,000—went for just $22,500. Greer Patterson—whose works, a dealer at the sale told me, were selling on the secondary market in March 2014 for well over $100,000—had a piece go for just $7,500. Prices for work by Lucien Smith have slid since one of his socalled “Rain Paintings” sold at auction for $372,120 in 2014, and on Tuesday at Phillips, a similar painting, Bewitched, Bothered, and Bewildered 3 (2012), hammered at $16,250. For some, the low prices smelled like deals, especially when a lack of reserve —and high amounts of bidding online and through a partnership with Artsy— let the bidding inch up by increments as low as $50. A Michael Rovnar with a low estimate of $15,000 sold for $2,500, and a Lucie Stahl with a low estimate of $6,000 went for just $563—the price of a power lunch with some wine at one of the fancy Midtown restaurants nearby. The auction was long, stretching form 11:00 a.m. until nearly 3:00 p.m., and the leisurely paddle-wielders didn’t seem to be much in a buying mood: most of the bidding came from phones, or online. No doubt there will be more fanfare when the contemporary art evening sales arrive in New York in November. Perhaps some want their new, later. 2016-09-20 21:29 Nate Freeman 70 Review: A ‘Hamlet’ That Wants to Get Closer Sitting in the front row at the Public Theater ’s touring production of “Hamlet” on Friday evening, the woman had been a little restless. Now, with the title character perched a few feet away, weighing the pros and cons of being and not being, her head was down, as if she were looking at the floor. She might have been bored, or simply listening to the words with particular intensity. Either way, the gentle gesture of inclusion that came next was one of those ambushing moments unique to live performance. Chukwudi Iwuji, the production’s Olivier Award-winning star, walked over, crouched in front of the woman and spoke Hamlet’s lines right to her, drawing her gaze back up. It was as unmistakable an acknowledgment as an actor could make, without breaking character, that we were all in the room together. It was also utterly in the spirit of the Public’s Mobile Unit, which had spent three weeks taking free performances of “Hamlet” to nontheater spaces all over the city, including this night at the Pelham Fritz Recreation Center in Harlem. (On Monday, the production settled in at the Public for the rest of its run, for which tickets are not free.) Directed by Patricia McGregor, this “Hamlet” begins beautifully, with a wordless, wounded preamble: the funeral of the king, Hamlet’s father, including a brief musical interlude that is the first time we hear Kristolyn Lloyd’s ethereal vocals. That same voice helps to bring a touch of the spectral to scenes involving the king’s ghost (Timothy D. Stickney) — a taller than usual order in a production that keeps the room’s lights on throughout. But it’s awhile before the play gets its blood pumping. Mr. Iwuji’s take on the prince — mired in grief, recklessly vengeful, mercurial but not crazy — is elusive for too long, and his relationship with Ophelia (an overly composed Ms. Lloyd) never quite comes into focus, even when a confrontation between them turns violent. (The excellent fight direction is by Lisa Kopitsky.) Once Hamlet’s gloom gives way to passion, though, Mr. Iwuji has a wonderfully clear way with the monologues. This is a “Hamlet” with an emphasis on speed. The text has been slimmed by about half, which can mean some choppy storytelling. But with Orlagh Cassidy as Hamlet’s mother, Gertrude, and Mr. Stickney as the usurping Claudius, the cast of nine — which includes the very funny Christian DeMarais as a dim and dudely Guildenstern — managed well in the face of obstacles like sound bleeds from outside the room. The audience, surrounding the players, sat in folding chairs at stage level, and sight lines were a significant problem. (At the Public, the audience sits on risers.) This is, after all, a play with quite a few bodies piling up, most on the floor, some talking for a while before they expire. Spectators in the front row had a clear view of the final scene, but the rest of us craned to see — like the woman in the back row who stood to try to glimpse the bleeding Hamlet, then sat back down in frustration. If it’s possible on future Mobile Unit tours to take risers into some spaces, the difference could be enormous. 2016-09-20 21:24 By 71 Shawn M endes, Pop Idol, Is Not Banking on a Gimmick Shawn Mendes got his first guitar at the age of 14, a major-label record deal at 15 and his first No. 1 album — last year’s “Handwritten” — at 16, thanks largely to the democratizing power of the internet. But since taking off on Vine , the looping micro-video app, with his #6secondcover versions of others’ pop hits, this Canadian singer has done something more impressive: He’s stuck around with songs of his own. Instead of banking on a gimmick or a single piece of shareable content to carry the load of a potential career — think of Psy’s “Gangnam Style” — Mr. Mendes, who has teen idol looks and thus far an unblemished reputation, diligently built a young fan base online and through live shows (and meet-andgreets). That loyal base has supported five platinum-selling hits, including two Billboard Top 10s (“Stitches” and “Treat You Better”), along with arena-size world tours, both as a headliner and as an opener for Taylor Swift. “There had never been anyone that emerged from Vine as a recording artist,” said David Massey, the president and chief executive of Island Records, Mr. Mendes’s label, adding that this singer’s tendency to go viral was not in itself a reason to sign him. “I’m naturally wary of those things because they haven’t really translated, apart from Justin and YouTube,” he said, referring to Justin Bieber, Mr. Mendes’s most obvious predecessor. Yet not long after “Handwritten” topped the charts, Mr. Mendes was able to all but abandon Vine (and cover songs), seamlessly kicking into a new gear — that of the established pop star. On Friday, he will release “Illuminate,” his second LP, which has benefited from more traditional channels of promotion: early radio singles, music videos and television commercials. His internetcurio days are over. Adding to the unlikeliness of Mr. Mendes’s ascent is that he managed to gain a real industry foothold by being not on trend but decidedly off, relying on an acoustic guitar in place of electronic dance beats; a mostly anonymous team of collaborators, instead of brand-name producers; and an aw-shucks persona, without any trace of bad boy. His soft, sometimes soulful pop-rock plays primarily to tweens and teenagers, but has also found traction on adult contemporary radio stations, giving Mr. Mendes both the screaming-superfan and dentists’ office demographics. “Illuminate” represents the careful evolution of his digestible sound and subject matter, with much of the organic instrumentation and good-guy earnestness of “Handwritten” intact. But backstage before a sold-out show this month at Madison Square Garden, Mr. Mendes, now 18, stressed the necessity of following up his debut promptly because of the relentlessness of adolescence. “From 15 to 18, everybody is a different person,” he said in a voice not quite done changing. “Every six months, I have a whole new outlook on life. There’s just so much happening, I would have exploded if I had to wait another year to show the world what I’m capable of.” Unlike “Handwritten,” Mr. Mendes’s “Illuminate,” which he called a mix between Ed Sheeran and the John Mayer album “Continuum,” credits him as a songwriter on every track. Though many artists bristle at direct musical comparisons, Mr. Mendes is exceedingly open about his influences; his entire sonic development is documented in online videos , after all. (Mr. Sheeran and Mr. Mayer also serve as his big-brother figures in the industry, Mr. Mendes said.) He is also forthcoming about the realities of outgrowing child stardom. While Mr. Mendes insisted that his chivalrous character in song is true to life — “I want all the strings attached, girl” is a representative line — he acknowledged that like Miley and Justin before him, some form of a fall could be expected. “I’ve never had a scandal, but I don’t know if that’s so much because I’m perfect, or because people aren’t caring enough yet,” he said. “Give it some time. I’ll probably be very upset, but it’s a part of the gig.” Still, “I’m proud to say I’m a role model for kids,” he added. That doesn’t preclude growing up. In between albums, Mr. Mendes returned to his native Pickering, Ontario, to graduate from high school with his class (he has studied remotely since 10th grade) and splurged on a Jeep Wrangler (sans rims for the moment). Ahead of his 18th birthday, he also got his first tattoo , though it’s characteristically wholesome: an abstract acoustic guitar on his forearm, made up of trees, the Toronto skyline and a sound wave representation of his parents and little sister saying, “I love you.” Confident but clearly tender, Mr. Mendes has the familiar charm of a popular kid who has the faculties not to unsettle parents with his slickness. On “Illuminate,” he pushes boundaries but always with respect; women tend to have the power in Mr. Mendes’s songs, though sometimes they are led astray by less honorable men. At the Garden, Mr. Mendes admitted to some anxiety about debuting songs with more adult themes, like the sultry “Bad Reputation,” about a girl who’s shamed for her sexuality. “They don’t know what you’ve been through,” he sings. “Trust me I could be the one to treat you like a lady.” “Lights On” is more straightforward, with Mr. Mendes’s pre-emptively identifying as a gentleman before promising to “love you with the lights on/keep you up all night long.” The song is barely PG13, but Mr. Mendes said he worried he could “surpass where my fans think I am” in life (though the path to maturity is traditionally less fraught for male pop stars). “I’m releasing a song about sex at 18, which is appropriate,” he explained. “I wouldn’t have done it if I were 16 or 17. I’ll release a song about drinking at 21, you know what I mean?” Later that night, when he gave the premiere of “Lights On” from the arena stage, beginning with the line, “Damn you look so good with your clothes on,” the squealing crowd seemed to understand just fine. 2016-09-20 21:22 By 72 Review: In ‘Speechless,’ Balancing Family Needs With Special Needs JJ DiMeo (Micah Fowler) is no angel. He’s sarcastic; he’s a little devious; he can be rude. In other words, he’s a teenager. The first time we see him, he flips somebody off, though we have to have it explained to us, because his version of the middle finger is a flat, extended hand. That JJ has cerebral palsy, which keeps him from speaking, as well as limits his obscene gestures, is what makes ABC’s “Speechless” distinctive. That he’s a flawed kid with a flawed family in a reasonably funny sitcom is what makes “Speechless” good, rather than simply worthy. For the past few seasons, ABC has become a diverse neighborhood of characters and families, especially in sitcoms like “black-ish,” “Fresh Off the Boat” and “Dr. Ken.” “Speechless” extends the idea to disability, which has long been treated as the stuff of drama or melodrama. JJ’s educational needs drive the premise of the pilot, which airs on Wednesday, but the whole family gives it life. His mother, Maya (Minnie Driver), has moved the DiMeos to the worst house in upscale Newport Beach, Calif., because it’s zoned for a school with good resources for special-needs students. It soon becomes clear that this is not the first time she’s uprooted the family. Maya is a steamroller running on squeaky wheels, partly out of the need to argue for JJ’s interests, but partly, it seems, from an innate stubbornness that sometimes rubs the rest of her family the wrong way. The relocation goes bumpily. Even the well-resourced school requires JJ to use a rear service entrance, which the staff insists is not a garbage ramp. “It’s a garbage and my son ramp,” Maya argues back. JJ, who communicates using a wordand-letter board, finds his P. C. new classmates patronizing. (When he’s greeted on his first morning with a “JJ for President” sign, he has a classroom aide — his “voice” — read off a rejoinder that begins, “Eat … a … bag … of …”) But the new school delights Ray (Mason Cook), JJ’s younger brother, who longs to settle in one place, and he rebels when Maya suggests they should move on again. Building on predictable material — parent-child arguments, school crushes, wacky teachers — the pilot lightly lays out the specific challenge of balancing special needs with an entire family’s needs. It also suggests that the DiMeos’ history has given them a defiant team spirit: They’ll squabble, but God help an outsider who crosses them. “Speechless” is like a network-TV version of the British “Raised By Wolves,” or “Shameless,” tart comedies about eccentric families against the world. It also has the controlled chaos of “Malcolm in the Middle” or ABC’s “The Middle”; like them, it’s about a financially pinched family and has a good sense of the individual dynamics among its members. Mr. Fowler, who has cerebral palsy, is lively and expressive, making JJ into a distinct character with a few quick scenes. The pilot’s most interesting relationship is between Ray and Maya, which is almost inverse parent-child: He’s developed a stubborn independence from being in JJ’s shadow, while she has a rebellious teenager streak that the first script sometimes pitches too far into eccentricity. The supporting characters, especially at the school, are much more flatly drawn, serving as stand-ins for the way the world views JJ — for instance, the overeager teacher (Jonathan Slavin) who introduces him as “taller sitting down than any of us are standing up.” This is a typical pitfall of a pilot with a lot to set up. There’s little time to characterize Maya’s husband, Jimmy (John Ross Bowie), as more than an amiable peacemaker, or daughter, Dylan (Kyla Kenedy), as more than a kid who’s really into running track. JJ’s alliance with Kenneth (Cedric Yarbrough), the school groundskeeper who becomes his new aide, is embryonic but promising. But by the end of its first episode, “Speechless” establishes one important indicator of a new sitcom’s potential. It has a voice. 2016-09-20 21:19 By 73 John Jasperse Hopes ‘Remains’ Lasts After the Dancing Stops It’s one thing, on an intellectual level, to grasp how ephemeral dance is. Coming to grips with it emotionally is something else. There’s plenty of excitement in fleetingness, but that can also lead to heartbreak. No, dance may not leave any tangible remains, but the choreographer John Jasperse sees another possibility. “I would like to think it changes us,” he said in a recent interview. “Even if everybody forgets the name John Jasperse — which they probably will, because it takes about 15 minutes in dance — the point is that somehow, somebody felt something. I would argue performance and the practice of dancing are a little bit of a life practice. Every moment is dying. And that’s O. K.” With three decades of much admired dance-making under his belt, Mr. Jasperse is unlikely to be forgotten. He returns to the Brooklyn Academy of Music this week with a new work, “ Remains ,” about legacy and permanence. It’s his first piece since taking over as the director of dance at his alma mater, Sarah Lawrence College, which has its own impressive legacy as one of the country’s oldest dance programs, where Bessie Schönberg was an influential composition teacher, mentoring dance artists like Lucinda Childs and Meredith Monk. (The Bessie Awards are named after her. Mr. Jasperse has two.) For Mr. Jasperse, choreographing comes down to embodied experience; his dances, in other words, are about more than just dance. In “Remains,” part of the Next Wave Festival, he looks at body representation in Western art, like the Pietà , along with instances from his own dances and those of others — he won’t name names — to explore what, in art and in life, is left behind. Many of the references in “Remains,” which features music by John King, are unrecognizable because of the way they are brought back to life: through the distortion of memory, which, as Mr. Jasperse knows from experience, can be faulty. He recalled attending a performance at the American Dance Festival; he remembered watching and admiring an all-female piece from the 1930s. “I swear it was performed by the Limón Company,” he said. But no record of such a performance exists in the festival’s archives. “So I don’t know who I was actually looking at, but I created a memory,” he continued. “I was really thinking about, How can we deal with what’s left over?” One choreographic process Mr. Jasperse used in “Remains” was to describe movement to his dancers; what they produced would then become the material. “So it was not actually the thing,” he said. “It was a response to my language.” Heather Lang joined the group later in the making of the piece than the other dancers. One of her tasks, she said, was to watch the cast perform movement phrases. After only one viewing, she would recreate them, either through movement or in words, “which could be totally wacky or profound.” She added: “Again, it’s this thing of, what is left over? What do we really take from whatever we just saw?” Mr. Jasperse, who grew up in Rockville, Md., started out on a much different path: As a teenager, he wanted to go into musical theater. “When I was 14, I was like, that’s it, that’s the answer,” he recalled. “I’ve got to learn how to dance.” He signed up for a dance class, without knowing what it was; it turned out to be a Martha Graham technique class, which wasn’t quite what he had in mind. The technique, which takes years to master, doesn’t always come easily for men — it requires supple hips, for one thing — and Mr. Jasperse found it painful. “I was like, if this is dance, I don’t know if it’s going to work out,” he said. But he also took a choreography class and made a dance to music by Olivier Messiaen. “In some way,” he added, “it was the perfect combination, but thinking you were going into musical theater, and you were doing your angsty solo? Just clueless. But actually something in you knows.” Sara Rudner, the former dance director at Sarah Lawrence, said, “I love to hear him talk about educating an artist, especially within a liberal arts environment, which is what he experienced. I think we share the benefits and the possibilities of creating, as he says, ‘an artist and a citizen.’ Every time I hear him say those things, I kvell.” As an artist and a citizen who resides at Westbeth, a complex of buildings in the Far West Village, Mr. Jasperse experienced a disaster that relates to his own remains. After Hurricane Sandy, he lost decades of sets, costumes, props and documentation that were in storage there. (The Graham company, which also stored its costumes and sets in the space, suffered extensive losses too.) “It was just everything, from every show,” he said. “I had a 20-by-30-foot storage space that was wall to wall, floor to ceiling, with rolling units that was like a Rubik’s Cube. Once the water came in, it was going everywhere — the quote-unquote water, which was basically chemicals and sewage. This was not Jean Naté. Summer’s Eve, not so much.” He has a theory about why choreographers become attached to objects. “Because dance is so ephemeral, you hold onto these things, because you have to prove to yourself that something actually happened,” he said. “It’s like a talisman.” Mr. Jasperse still isn’t sure what the life lesson in all of this was. “I don’t think that holding on is the way,” he said. “You have to let go. That sometimes is excruciating, and I’m terrible at it. But again, what can you learn from situations like that? It leaves something. There’s an event that changes things. It has its own remains.” 2016-09-20 21:16 By 74 Review: ‘Lethal Weapon’ and ‘M acGyver,’ 2 ’80s Reboots, 1 With Chemistry It’s chemistry versus cleverness in this week’s battle of the 1980s reboots. And the winner is — well, neither of them is mandatory viewing, but if you have to watch one, go with chemistry. That would be “Lethal Weapon,” an action-movie franchise that Fox has turned into a TV series and will introduce on Wednesday night. Perhaps you remember the original movie , from 1987: Mel Gibson, back when he was fun, was a suicidal police officer paired with his polar opposite, Murtaugh, played by Danny Glover. It’s a conceit that requires the two actors to click in a particular way, humorously but leaving room for high action and occasionally somber moments. Mr. Gibson and Mr. Glover managed it pretty well, though they ultimately fell victim to too-manysequels-itis. In the TV show this falls to Damon Wayans as Murtaugh and Clayne Crawford as Riggs. Their chemistry isn’t instantaneous, but by the end of the premiere you can at least see potential. Mr. Wayans, a familiar face from “In Living Color” and other shows, brings a built-in likability to Murtaugh, who as the series opens is just returning to duty in the Los Angeles Police Department after heart surgery and is understandably averse to highadrenaline assignments. Mr. Crawford ( “Rectify” ) draws the harder assignment as Riggs, who has just transferred to the department after a horrific personal loss back in Texas that has left him not caring whether he lives or dies. The chemistry may develop, but whether the writing will keep pace is unclear from the premiere, which involves an apparent suicide that may not be a suicide at all. A good gauge of how quickly a crime show will run out of ideas is how early it resorts to the tired old “but he was left-handed!” eureka moment to crack a case. Here, that coin is spent in the first half-hour of the first episode. Hmmm. If “Lethal Weapon” at least has potential, it’s hard to say the same for “MacGyver,” another reboot of a 1980s property that arrives Friday on CBS. It’s a version of the TV series that ran for seven seasons on ABC beginning in 1985. It follows the exploits of Angus MacGyver, a clandestine operative who battles malfeasance by jury-rigging solutions to dire problems. Richard Dean Anderson carried the original series with charm and moxie. Lucas Till, as the 2016 version of the title character, doesn’t make much of an impression in the premiere, which involves a bioweapon that has fallen into bad hands. It’s nice to see George Eads of “CSI: Crime Scene Investigation” back on TV as Jack Dalton, one of MacGyver’s partners in disaster prevention, but the show is bogged down by its premise. Somehow battling baddies with “little more than bubble gum and a paper clip,” as the show’s website says, seems out of phase in the digital age. The 1980s were still within shouting distance of the era when people were expected to change their own oil and fix their own lawn mowers. Today far fewer can or would want to. Watching MacGyver try to gadget his way out of a predicament just makes you think, “Isn’t there an app for that?” 2016-09-20 21:12 By 75 Review: In ‘Designated Survivor,’ Jack Bauer Gets a Promotion “Designated Survivor” is about a man with no obvious qualifications who suddenly becomes president of the United States. That would be an alarming scenario in real life, but in fiction it’s not so bad, because the accidental president happens to be Jack Bauer. Actually, Tom Kirkman, the character Kiefer Sutherland plays in “Designated Survivor” (Wednesday on ABC), combines elements of Bauer, the grimly heroic patriot he played on “24,” and Martin Bohm , the weepy father he portrayed on “Touch.” Based on the one episode ABC made available, Kirkman, as president, will be the country’s tough but fair dad, standing up to the bullies and then reading us a bedtime story. If you’ve managed to avoid ABC’s saturation promotional campaign for the series, here’s how Kirkman takes office (based on actual law): As the secretary of housing and urban development, he’s 12th in the line of succession. When the show opens, he’s lounging in a secure location in his Cornell sweatshirt and jeans, having been named the designated survivor for a State of the Union address — if something bad happens to everyone else, he becomes president. It does, and he does. The execution of this premise, which takes up not quite the first half of the pilot, is taut, fast-moving and reasonably believable, offering some promise that “Designated Survivor” could develop into an entertaining hybrid of political thriller and family drama. Once Kirkman arrives at the White House, though, the momentum fades as various tedious-looking subplots are introduced, and disbelief becomes more difficult to suspend. The odds of victory, at this point, look to be about 50 percent. The opening works through understatement — the shock and awe of the disaster that wipes out the Capitol aren’t oversold, and the confusion and fear of Kirkman and his wife ( Natascha McElhone ) as they’re sped to the White House are deftly sketched in. Nothing is lingered on for too long. As soon as Kirkman walks into the situation room, though, what had felt economical and credible suddenly feels bargain-basement. One barking general seems to be in control of the entire United States military, while a surviving presidential aide serves as Kirkman’s sole adviser. The newly sworn-in president, presumably a valuable commodity, doesn’t appear to have a security detail, and he wanders off to the restroom by himself to vomit and have a character-defining encounter with a skeptical speechwriter ( Kal Penn ), who then sits down — by himself — to write one of the more important speeches in American history. “Designated Survivor” was created by the writer David Guggenheim, whose experience has been in action-thriller features ( “Safe House,” “Stolen”), and counts among its executive producers Simon Kinberg, whose résumé is mostly filled with Marvel superhero projects. The pilot indicates that they may be more comfortable with explosions and characters in motion than with static political intrigue, but we’ll have to wait and see. The constant, of course, will be Mr. Sutherland. His range as an actor may be limited, but he has a gift for projecting resolve and decency with an overlay of grouchiness — like a TVscale, less charismatic Tom Hanks or Jimmy Stewart. Kirkman, mild-mannered but firm, evenhanded but paternalistic to the women and children in his life, is a perfect role for Mr. Sutherland, and tuning in to see him save the country each week may be one of the new TV season’s prime guilty pleasures. 2016-09-20 20:16 By 76 Re-Imagining the City: Ronan and Erwan Bouroullec at Vitra Design M useum Related Venues Vitra Design Museum Artists Erwan Bouroullec Ronan Bouroullec Brothers Ronan and Erwan Bouroullec, two of France’s most prestigious designers today, have become known mostly for their sophisticated furniture designs and collaborations with brands such as Vitra and Axor. Following their recent retrospective in Rennes, the two are presenting an excursion into an entirely different realm next month in Germany: a new take on urban life with “Rêveries Urbaines”—“Urban Dreams”—, which will be on view at the Zaha Hadid Firestation on the Vitra Campus in Weil am Rhein through January 2017. As the title suggests, the second Bouroullec show at the institution, after “Album” in 2012, is about atmosphere and perception, rather than plans and logistics. The show re-imagines what the city can and could be in different settings. In its preview, the Vitra Design Museum announces an exhibition designed like “a large open sketchbook […] presented as a gentle walk through models and animations,” which forms an “urban fiction” with different immersive urban scenarios. Visitors can expect films and research models around 20 proposals that intend to “reinvent certain motifs for urban spaces: vines, torches, parasols, a fountain, a kiosk etc.,” aiming to “give a new sense of magic to the places where we walk, meet, and talk, by the use of lines, harmony and transparency.” “Some people may find the exhibition perturbing or surprising because, up until now, urban development has never been our subject,” Ronan Bouroullec notes in a text issued for the show. “I like being in that position. Over the past 20 years, I think our best propositions were linked to subjects for which we were not particularly prepared.” “The project was built from a certain distance, which is our normal way of working,“ Erwan adds. “In our work, no project is dedicated to a particular person or place. The exhibition brings together propositions for developing public spaces that could equally apply to Weil, Basel or Copenhagen. In fact, all of these principles have the advantage of containing an element of abstraction. They reply to a question that is not completely clear. It is in this vacuum that our propositions could be potentially re-imagined ‘on site’.” 2016-09-20 16:21 Lisa Contag 77 Unpacking the Box — Untitled (Blog) — Walker Art Center Installation view of Unpacking the Box. All photos: Gene Pittman Unpacking the Box is the first installation in the new Best Buy Aperture, where changing displays will highlight materials from the Walker’s collections, archives, and library. Here, Jordan Carter and Victoria Sung discuss the inaugural conceptualization of the space. Let’s start by unpacking what we […] 2016-09-21 13:51 By and 78 Camping, Healing, Cold Brew: The Best of Baltimore's Hidden Art Festival Photo by Noah Scialom, 2016 Imagine waking up to the sounds of crickets in a naturally lit cabin, fresh air from the breeze outside coming into your rickety windows, immediate access to cold brew, crystal healing centers, outdoor seating for experimental film, music, and the freedom to walk fully nude without judgement; well, that’s exactly what you’ll get at Fields Festival. Located in Darlington, Maryland, the 200-acre Camp Ramblewood first became home to the immersive arts festival back in 2014. “We were inspired in 2014, and again this year, by the depth and diversity of activities occurring within the Baltimore DIY scene,” says Fields Festival co-founder, Stewart Mostofsky, to The Creators Project. Mostofsky and Amanda Schmidt are the founders and directors behind the wonderful annual occurrence, picking from the best artists that have been involved in the DIY Baltimore scene. This year, they included the likes of Princess Nokia , Dan Deacon , The Sun Ra Arkestra , and many more. “Getting back to basics. Grounding with the earth. Getting in your body. Hitting a reset button. A great camping trip has the potential to do that," says Schmidt. "But then, you combine that with full immersion in a truly strange and awesome lineup of music, installations, performance art, theater, film, comedy, poetry, dance, recreation/workshops and healing arts from Baltimore’s DIY scene, and I think the potential is there for an experience that is actually transformative and even life-changing.” Photo by Audrey Gatewood, 2016 Beyond the abundant lineup, festivalgoers were also invited to engage in the experience with morning dance workshops, yoga, meditation, and a variety of tarot and healing activities situated throughout the campgrounds. Surrounding the main paths, guests were invited to purchase from local food trucks and stands offering organic meals, coffee, and snacks, and for those exhausted from the heat, access to a swimming pool where performances also took place. Photo by Noah Scialom, 2016 Meredith Moore & Margaret Rorison, Baltimore-based artists, curators, and members of the Maryland Film Festival Screening Committee , organized two wonderful nights of experimental cinema on a 20' screen built by local artist Rick Gerriets, a carpenter from Baltimore’s Annex Theatre . “It was a magical experience to watch two programs of short films under the stars with crickets chirping around you,” say Moore and Rorison. Photo by Lauren Castellana, 2016 Hosted by Wham City Comedy , a comedy night featured comedians of all types, experimental, alternative, and classic, bringing their all to a crowd full of sweaty, happy people intent on enjoying themselves. Saturday night featured Violet Gray , a local Baltimore comedian, who brought jokes that mix her experience as a trans woman with her undying love for video games, renaissance festivals, and LARP-ing. Photo by Rob Brulinski, 2016 Photo by Micah E. Wood, 2016 When one eventually tired from the activities, there was still more to do and see. Artworks lined the woods surrounding the campgrounds, and from secret installations to painted totem poles, every inch of the festival was covered. A true celebration in the simplest sense, Fields Festival provides a safe environment to be yourself and be fully immersed in creativity, giving hope for community, healing, and just good times for all. Photo by Rob Brulinski, 2016 Photo by Micah Wood, 2016 Fields Festival by Noah Scialom, 2016 Photo by Rob Brulinski, 2016 Related: Artists Hidden in Plain Sight There's a 'HUM' in Brooklyn, and Rachael Pazdan Is Behind It Junk Food Still Lifes Dissect Notions of Healthy vs. Unhealthy Foods 2016-09-20 15:35 Lorelei Ramirez 79 Weave Your Way Through M agnified Photos of Fabric | Conservation Lab Photomicrograph of a detail in the background of Triumph of Bacchus, about 1560—scroll down to see the full tapestry. Wool, silk, and gilt metalwrapped thread. Le Mobilier National, Paris. Image © Le Mobilier National Zoom in on a digital image, and it’ll turn into a grid of pixels. Zoom in on a tapestry, and you’ll discover a grid of interlocking threads, with each segment contributing a color and texture to the whole. From a distance, what looks like bright copper in the 16th century tapestry The Triumph of Bacchus is actually a combination of crimson silk, and gold threads. Micrographs of the tapestry, taken by conservators at The Getty , bring every minute detail to light: the undyed wool warps stretching horizontally, providing support to the overall structure, the crimson silk spiraling vertically, and alongside it, these incredibly thin strips of gilt silver wrapped around yellow silk. Zoom back out, and you’ll discover—and better appreciate—the full composition: Triumph of Bacchus, design overseen by Raphael, ca. 1518-19; design and cartoon by Giovanni da Udine in collaboration with other artists from the workshop of Raphael. Brussels, workshop of Frans Geubels, ca 1560. Le Mobilier National, Paris. Image © Le Mobilier National Close study of woven threads can sometimes reveal even more than compositional data. At the Asian Art Museum in San Francisco, conservator Shiho Sasaki worked with Professor Chi-Sun Park, of the Jung-Jae Conservation Center in Seoul, to analyze a Buddhist painting from 18th century Korea. Even with a microscope of relatively low magnification (which Prof. Park brought with her from Korea, where it is commonly used by dermatologists or beauty technicians), they were able to see that the artist painted right onto the cloth, without applying a ground layer first, and gathered clues about the work’s cultural context: “Confucianism was promoted by the government, so the imperial workshops would have produced paintings on tightly woven silk, with proper ground layers, that were Confucian in theme. Because they lacked government support, Buddhist themes were often represented using less expensive materials and techniques. Under a microscope, you can really see how roughly our painting was made in comparison to a high quality work made for the court,” explains Sasaki. Photomicrograph of Indra and Buddhist Guardians, 1750. Photo: Chi Sun Park © Asian Art Museum “The threads were not carefully made or woven. With a microscope, you can see how they are inconsistent in their thickness—some have multiple strands of fiber, some only one or two. Some threads are twisted, while some are flat,” adds the conservator. And while it’s more than likely that this painting was made on cotton rather than silk, Sasaki notes that a more powerful microscope would be needed for "100% accurate fiber identification.” Indra and Buddhist Guardians, 1750. © Asian Art Museum At 400x magnification or more, in polarized light, things become a lot clearer—and more colorful. Conservators can compare what they see under the microscope to known references, such as those found in the Fiber Reference Image Library , and identify whether they’re dealing with silk, cotton, or hemp, for example. Natural fibers are usually easier to identify: If you spot nodes along the length of the fiber, it might be flax or jute, while cotton will look like a twisted ribbon. Manmade synthetic fibers, on the other hand, often look similar, so special attention must be paid to their few distinguishing characteristics in order to make an accurate assessment. At the Met’s Costume Institute, fiber identification is a regular part of the job for conservators like Glenn Petersen, whose micrographs can be seen below. A magnified view of silk tulle from a wedding dress even shows how starch —which is added to stiffen fabric—is present in the triangle-shaped interstices of the netting. Acrylic fiber in perpendicular position under polarized light and 530 nm plate, from sweater; Ensemble, Rei Kawakubo for Comme des Garçons, spring/summer 2012. Micrograph by Glenn Petersen, Conservator at The Costume Institute; © The Metropolitan Museum of Art Tulle fiber, showing starch in interstices, from silk bobbinet on Wedding Dress , 1856–59. Micrograph by Glenn Petersen, Conservator at The Costume Institute; © The Metropolitan Museum of Art Silk fiber under polarized light and 530 nm plate, from Halston Dress , 1984. Micrograph by Glenn Petersen, Conservator at The Costume Institute; © The Metropolitan Museum of Art You can follow The Getty’s #artunderthemicroscope series on their Tumblr , learn more about the Asian Art Museum’s survey of Korean paintings here , and go behind-the-scenes at the Costume Institute here. Related: Microscopic Photos of Wood Are Gorgeous Biological Abstractions | Conservation Lab Go Behind the Scenes of the Met’s Costume Institute | Conservation Lab Layer by Layer Reconstructions of Old Master Paintings | Conservation Lab 2016-09-20 14:10 Noémie Jennifer Total 79 articles. Generated at 2016-09-22 00:01
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