Articles
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 non​binary 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
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2016-09-22 00:01
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