Announcement18 articles, 2016-04-10 18:01

1 Official LogosProud Sponsors Exhibitor Logos Spread the word and advertise your upcoming exhibitionat FOTO SOLO 2016 with our official logos. Use them in your website, for onlineadvertising, in promotional emails, print invitations and print marketing! Simply click anylogo to download. Logo for... 2016-04-10 18:01 877Bytes artexponewyork.com

2 Introducing Adrian Arrieta, 2016 Poster Challenge WinnerMeet Adrian Arrieta, the 23-year-old artist who took our social media-powered Artexpo NewYork Poster Challenge by storm in his quest to garner the most votes in the 2016 contest.Earning the top honor with his painting The Princess of the Strawberry Mouth, Arrieta looksback with... 2016-04-10 18:01 4KB artexponewyork.com

3 Alexis Silk, 2016 Spotlight ArtistAlexis Silk is breaking exciting ground with dramatic new works in blown glass and metalthat are at once timeless and thought provoking. Emerging from the intersection of theartist's fascination with the human figure, passion for her molten medium, and desire forconceptual expression,... 2016-04-10 18:01 2KB artexponewyork.com

4 Comprehensive Horrors and Technological Consequences:Bruce Conner and Leslie ThorntonLeslie Thornton’s They Were Just People (2016) is the third installment in the MovingImage Commissions, a series that addresses works by key artists in the Walker ’sRuben/Bentson Collection. The... 2016-04-10 17:38 916Bytes blogs.walkerart.org

5 Twin Cities choreographer wins Guggenheim FellowshipTwin Cities-based choreographer Emily Johnson, an Alaska native whose work is markedby intelligence, subtlety and striking imagery, has won a Guggenheim fellowship, the NewYork-based foundation has announced. 2016-04-10 15:18 1KB www.startribune.com

6 Could Reading Be Looking? | e-fluxImagine, if you must, walking into an exhibition space and encountering work so obliqueyou don’t know what to make of it... 2016-04-10 15:18 18KB www.e-flux.com

7 form studio presents pako, a hand-woven bicycle bag madein vietnamdrawing from western europe's pedal culture, as well as her adopted country's ubiquitousred plastic shopping basket, olsson conceived the two-part satchel. 2016-04-10 12:15 1KBwww.designboom.com

8 philippe barriere designs sustainable residence in moroccodesigned by philippe barriere, the scheme comprises a private dwelling for the client, apavilion for her three children and guest artists, and her personal atelier. 2016-04-10 09:293KB www.designboom.com

9 BUY TICKETSOn Tuesday, April 5, the Walker and 89.3 The Current announced the lineup of Rock theGarden 2016. Due to construction at the Walker, this year's concert will be held onSaturday, June 18, 2016 at... 2016-04-10 07:02 869Bytes blogs.walkerart.org

10 Best and Worst of the Art World April 10, 2016From a possible long-lost Caravaggio emerging in France to Andy Warhol's studio buildinggoing on sale, here's a wrap-up of the art world this week. 2016-04-10 08:00 2KBnews.artnet.com

11 Meredith Monk: 16 Millimeter Earrings and the Artist’s BodyAt once a choreographer, composer, actress, singer, and director, Meredith Monk isknown for a body of work that is often considered unclassifiable. Since the 1960s, herpractice has spanned across d... 2016-04-10 10:25 968Bytes blogs.walkerart.org

12 Transcending Language: Chris Strouth on Kid Koala’sNufonia Must FallTo spark discussion, the Walker invites Twin Cities artists and critics to write overnightreviews of our performances. The ongoing Re:View series shares a diverse array ofindependent voices and o... 2016-04-10 10:25 961Bytes blogs.walkerart.org

13 Datebook: AIPAD’s Photography Show in New YorkThe 36th edition of the event runs April 13 through 17 at the Park Avenue Armory, with 87member galleries exhibiting. 2016-04-10 07:00 3KB www.blouinartinfo.com

14 alkhemist architects duplicates house for brothers inbangkokthe houses, that establish a sense of dialogue, differ due to the different character of eachof the brothers. 2016-04-10 05:15 3KB www.designboom.com

15 patrick norguet's nicolette chair for ethimo takes on anunconventional edgeitalian outdoor furniture company ethimo debut the robust yet delicate 'nicolette' chairdesigned by patrick norguet. 2016-04-10 02:10 1KB www.designboom.com

16 Kemang Wa Lehulere is Deutsche Bank Artist of the Year2017Deutsche Bank (DB) has announced Kemang Wa Lehulere as its new “Artist of the Year”2017 2016-04-09 21:57 1KB www.blouinartinfo.com

17 Evocative Illustrations Show What Women Do When NoOne’s WatchingSally Nixon’s illustrations let ladies live. 2016-04-09 20:00 1KB thecreatorsproject.vice.com

18 ardess plans L-shaped contemporary villa in denmarkthis spacious home by ardess is composed of four split-levels, while the rear opens up tothe garden landscape with a two level private terrace. 2016-04-09 18:15 2KBwww.designboom.com

Articles18 articles, 2016-04-10 18:01

1 Official LogosSpread the word and advertise your upcomingexhibition at FOTO SOLO 2016 with our officiallogos. Use them in your website, for onlineadvertising, in promotional emails, printinvitations and print marketing! Simply click anylogo to download.

Use this HTML code to add the banner to your website:2016-04-10 18:01 artexponewyork.com

2 Introducing Adrian Arrieta, 2016 Poster Challenge Winner

Meet Adrian Arrieta, the 23-year-old artist whotook our social media-powered Artexpo NewYork Poster Challenge by storm in his quest togarner the most votes in the 2016 contest.Earning the top honor with his painting ThePrincess of the Strawberry Mouth, Arrieta looksback with us at his journey and the sacrifices he’smade to get to this point—a point we areconfident signals just the beginning of an excitingart career ahead.

Born in Rodas, a municipality in the CienfuegosProvince of Cuba, Arrieta grew up longing tobecome an artist, but often felt discouraged bythe impracticality of his dreams. “I was always

skeptical about becoming an artist in my country,” Arrieta explains. “I [could] never find thefreedom to criticize society through my paintings without being repressed here … The lack offreedom in Cuba imposes a protocol that needs to be followed.”

Nevertheless, Arrieta, the son of a pharmacist and an English teacher, immersed himself in artwhenever he could, thriving during the portion of his school day that he got to spend in art class.He shares, “Although I enjoyed the other subjects at school, my art class stood out the most.Perhaps it was the chance of getting to express what I felt in those 45 minutes of class that droveme towards the bizarre idea of becoming an artist.”

At age 14, Arrieta left his home to attend the Benny Moré School of Art, one of the top visual andperforming arts schools in Cuba. Unsure if it was worth being separated from his family in orderto pursue such an elusive goal with meager financial support, he nevertheless pressed on,eventually graduating at the top of his class. His fine standing upon completion at the academyprovided him with several opportunities to exhibit his work throughout the CienfuegosProvince. “I never denied an opportunity,” says Arrieta. “I would barely sleep, but just to think thatsomebody could understand my work and actually like it was my definite accomplishment.”

After graduating, Arrieta decided to come to the United States to attend college in Miami andbroaden his potential exhibition opportunities. “I came to the U. S. not only to begin my studies ingraphic design, but also to be able to exhibit at the best places in the country,” he explains. “Oneof those places—and perhaps the first one on the list—was New York.”

Upon arriving in Miami, he finally set about to put his creative ideas to work—but he quickly

became bogged down by the pressures of making a living while pursuing his education.Working 48 hours a week to help his family pay for their basic needs while attending classesMonday through Friday, Arrieta felt his dream of painting was fading.

“But I never give up,” asserts Arrieta, “To be able to paint is my only dream and I will do anythingin order to achieve it.” When he was researching painting contests in the United States one daythis past January, he came upon the call for entries to the 2016 Artexpo New York PosterChallenge. Never one to turn down an opportunity, no matter how daunting, Arrietasubmitted The Princess of the Strawberry Mouth to the contest, hoping against hope that hisartwork would end up being the one that tens of thousands of show attendees would seesplashed across the Artexpo show poster come spring.

Much to Arrieta’s surprise, his painting was chosen from over 550 original entries as a top 10finalist by the selection jury just two weeks later. “I barely slept for a week when I received thenotice that I was one of the 10 finalists,” he confesses, “and I could not stop thanking my friendsand family for supporting me on social media.” Amassing the largest number of votes onFacebook during the one-week public voting period, Arrieta was named the winner of the 2016contest, scoring a host of exposure opportunities that totaled a value of $20,000, including thechance to exhibit his work at Artexpo New York.

Arrieta is still incredulous that the last couple of months transpired the way they did. “I will neverbe thankful enough for the opportunities I have received in this country, to receive such anenormous chance,” he shares. “I am [exhibiting] in New York and, as I am saying this, I stillcannot believe it.”

View Adrian Arrieta’s winning artwork, The Princess of the Strawberry Mouth, at Booth S704 inthe [SOLO] Pavilion.2016-04-10 18:01 lmullikin

3 Alexis Silk, 2016 Spotlight Artist

Alexis Silk is breaking exciting ground withdramatic new works in blown glass and metal thatare at once timeless and thought provoking.Emerging from the intersection of the artist’sfascination with the human figure, passion for hermolten medium, and desire for conceptualexpression, the work exhibits surprising maturityand depth. Technically, Silk is pushing theboundaries of what is possible, sculpting herglass figures entirely freehand while the glass ishot on the end of a blowpipe or punty rod. Her largest figures are close to half her body weightand take a team of six assistants to handle the glass while she is sculpting it. While makingintrinsically beautiful objects, Silk explores issues of human nature, society, and the relationshipof humans, nature, and industry. Her hanging figures are an eloquent exploration ofobjectification of the body.

Since receiving her BFA from the School of the Art Institute of Chicago in 2005, Silk hascontinued to study with glass masters such as Pino Signoretto, Richard Royal, and Boyd Sugiki.She has been working full time as an artist since 2006. Today she has work in museums,galleries, private collections, and fine art shows around the world.

A much-anticipated programming element of Redwood Media Group’s other art shows, theSpotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 andwill continue to be a highlight at the show in future years. Alexis Silk is one of four esteemedartists selected for this year’s Spotlight Artist Program.2016-04-10 18:01 lmullikin

4 Comprehensive Horrors and Technological Consequences:Bruce Conner and Leslie Thornton

Leslie Thornton’s They Were Just People (2016)is the third installment in the Moving ImageCommissions, a series that addresses works bykey artists in the Walker’s Ruben/BentsonCollection. They Were Just People will bepresented on the Walker Channel from April 8through May 31, 2016. It will also be screenedApril 9, 2016 […]2016-04-10 17:38 By

5 Twin Cities choreographer wins Guggenheim Fellowship

Twin Cities-based choreographer Emily Johnson, an Alaska native whose work is marked byintelligence, subtlety and striking imagery, haswon a Guggenheim fellowship, the New York-based foundation has announced.

Johnson is one of approximately 200 creativeartists, natural scientists and humanities scholarsto land the prestigious mid-career honor out ofapproximately 4,000 applicants.

Guggenheim winners get varying amount of funding, which helps to support their work over aperiod of six months to a year.

Johnson, who has performed at Walker Art Center and Northrop, among other venues, is one ofseveral Twin Cities-connected winners.

Writer Paul Lisicky , whose books include “Lawnboy,” “Famous Builder” and “The Narrow Door,”is published by Minneapolis-based Graywolf Press. Poet Sally Keith , also a Guggenheimwinner, is published by Milkweed. And poet Stephen Burt , who now teaches at Harvard, is aformer Twin Citian.

The long list of fellowship awardees has some august names, including theater-maker AnnaDeavere Smith , choreographer Camille Brown and photographer Lyle Ashton Harris .2016-04-10 15:18 www.startribune

6 Could Reading Be Looking? | e-flux

Imagine, if you must, walking into an exhibitionspace and encountering work so oblique youdon’t know what to make of it. You start lookingfor text. First on the wall, then, by the door or adesk someplace. You scan whatever copy youcan find, searching for coordinates, landmarks,bits of conceptual breadcrumbs, or a bright stripeof familiarity amidst the thicket of ideas. Youhope to find some meaning in the work in front ofyou. Sometimes you do.

The average museumgoer stands in front of awork for fifteen to thirty seconds. An averagereader can comprehend about two hundredwords per minute. A viewer who reads a

standard wall label (which averages about one hundred words) will spend as much time readingas looking. The wall labels, introductory texts, and section texts condition the pace at whichvisitors move through an exhibition, the amount of information they receive beyond anypreexisting knowledge, and their sense of what the museum wants them to know or learn overthe course of the show. To group together these three textual mechanisms—the introductory walltext, the section texts, and the labels—is, in a way, to go against a museum’s best practices,since each of these plays a different role in communicating an exhibition’s thesis and pace. Butthey all support each other in an endless loop of authority.

What do we look at when there’s a text present? Where do our eyes go? Vinyl lettering on thewall near the entrance to a show colors it, shading it thematically or in terms of an artist’sbiography. If a label is aligned with a painting, eyes wander between text and image, comparingauthority and subjective experience, looking for the places where text touches what it describes.Guides, maps, and lists plot the works in a sequence, delineating ways of moving through thespace. All of these devices—wall texts, labels, press releases—are built into viewing art.Reading has become part of looking.

One of the most personal and comprehensive accounts of looking at art began in January 2000,when art historian T. J. Clark arrived at a six-month research residency at the Getty Institute inLos Angeles. He had no exact research program—“the most likely bet was Picasso between thewars”—and during his first days he wandered around the Getty Museum in search of specificpaintings.1 Clark titled the resulting study The Sight of Death: An Experiment in Art Writing,though “an experiment in attention” might have been more accurate.

Clark spent six months visiting, nearly every day, two paintings by Nicolas Poussin: Landscapewith a Calm (1650–51) and Landscape with a Man Killed by a Snake (1648, on loan to the Gettyfrom the National Gallery, London). The Sight of Death records Clark’s thoughts day by day,giving us an expanded sense of what looking might mean for the art historian: Clark shifts fromdescriptions of the works to accounts of the his steps through the museum toward them; hereassesses the political possibilities of art history; he writes about Greek religion, times of day(both the time depicted in the painting and the hours in which he goes to look at them), travelsthrough the West Coast, and what is valuable enough to write down as description (and whatisn’t).

I download a high-quality JPEG of Landscape with a Calm from the Getty’s website (the 17.58MB image is freely available to download under the institution’s open content policy2) andexamine it onscreen, zooming in and out, running my fingers on the trackpad to lead me throughthe image: the leaves on the trees, the horse riders on the left, the Italianate architecture of thecastle that dominates the image even though it isn’t in the foreground. None of this amounts tothe hours of looking Clark clocked in, but it does add up to more attention than I would usuallygive to any image I download off the internet and save onto my desktop. But there’s another formof attention: when I google “Landscape with a Calm poussin,” the second result is a YouTubevideo produced by the Getty.3 It’s a static shot of the painting, accompanied by an audio trackdelineating some details about the painting (year, subject), and a short section in which DeniseAllen, then associate curator of painting at the museum, talks about what painters learned fromEuclidean geometry.

The text of the audio track sounds familiar. In language, in approach, it echoes a certainstandard: it gives a date, title, and a medium, the name of the artist, a quick description, and ashort, digestible explanation of what the work might mean. All the checkboxes of a wall label. Myeyes no longer wander across the JPEG, they focus on the larger picture since the curatordiscusses geometry and spatial configuration. Does reading wall labels allow us to escape thedifficult task of looking? Or commit us more totally to it? Without the feeling of the body in themuseum space, while looking digitally it’s easy for me to register exactly how the text authors theway I look.

It is enough to compare Thomas Struth’s series of photographs taken in museums to thepromotional images on those same museums’ websites to see how looking has changed over

time. The peopled installation shot is a trope because it helps register scale. (The art historicalterm is “staffage,” which is the word for the characters and animals populating a painting ofwhich they are not the subject. The shepherds, goats, and horses in Landscape with a Calm areall staffage.) This kind of installation shot also makes the museum seem lively, a communalspace where all sorts of activity happens, though apparently this mainly involves takingphotographs. The “Visit” page on MoMA’s website includes an image (taken from Flickr) of ayoung man photographing a close-up of Monet’s Water Lilies (1914–26) from the museum’scollection. There’s #museumselfie day (January 21). When Beyoncé and Jay Z visited theLouvre in 2014 they posted pictures on Instagram of themselves in front of the Mona Lisa andanother image of their backs (with their toddler Blue Ivy) looking at Jacques-Louis David’sCoronation of Napoleon (1807).

Cell-phone photography conditions much of what looking at art in pubic collections is now. It’s acomfortable looking, a familiar version—watching by way of a screen. It’s also often anuncomfortable image: Struth’s photographs (especially in the “Audiences” series) are populatedby staring, gaping masses. Some of them are scratching their heads or digging fingers into theirmouths. There are some cell phones and digital cameras in Struth’s images (Hermitage 3 andHermitage 5, 2005), but these are a bit too early for the Instagram-oriented museum. InHermitage 1 there are two women listening to audioguides and in Audience 2 (Florence, 2004)a woman in a sundress and sneakers is reading a printed book that looks like a guide to thework in front of her (Michelangelo’s David).

Is it more looking or less looking if a viewer is watching the work on a cell-phone screen whilestanding in front of it? Is it more or less concentration if a viewer listens carefully to theaudioguide, his or her eyes resting on the work in front? Is looking without an audioguide, withouttext, more looking? Is reading the wall text more learning?

This question appears in the list of issues MoMA found visitors are most concerned with whenreflecting on wall labels. Other questions include “Is this really art?” and “How did the artist makethis?”4 The most common queries are for background information about the artist, the method ofa work’s production, and its value. Hence the standard information included in a wall label—artist’s name, work title, date of execution, medium, and a short text that attempts to do one orsome of the following: (1) place the work within a larger historical framework; (2) reflect on theartist’s intentions; (3) assert the contribution/value of the particular work on display; and if thework is in a temporary exhibition, (4) support the show’s ideas by using the work as an examplethereof.5

This assigns a wall label a particular, crucial role. Not only does it provide information about thework; it is also the main vehicle for museum audiences to internalize the art-historical trajectorythe institution ascribes to a work by linking it to a movement, to historical precedents, tosociopolitical concerns, or to an artist’s larger body of work. The historicizing impulse in walllabels and texts, however, conceals a contradiction: a wall text or label is a temporary,undocumented construct. It could be updated, in the case of a collection display, or taken off thewall, in the case of a temporary exhibition, but it is rarely made available on the museum’swebsite, for example, as a historical document in its own right.

In April 2015, LA Times art critic Christopher Knight published an article taking to task theWhitney Museum of American Art. Knight claimed that in a wall text featured in “America Is Hardto See,” the exhibition inaugurating the Whitney’s new Downtown Manhattan home, the museummisrepresented his 1993 review of that year’s Whitney Biennial. According to Knight’s account—there is no record of the copy anywhere else—the wall text read, “Christopher Knight’s reviewwas a typical one, noting the unprecedented presence of art by women, ethnic minorities, andgays and lesbians, while decrying the show’s artistic quality.” The critic condemned theWhitney’s “shabby” wall text, which reads as though Knight ascribed the lack of quality to theparticipation of marginalized artists, rather than his original intention, which was to commend thecurators for creating a “Biennial that looks more like America,” while faulting their choice ofworks by these artists, which predictably dealt largely with the artists’ exclusion.6

The wall text was subsequently altered, but not to Knight’s satisfaction. Why is there no commonarchive of wall texts to which disputes such as these can be referred? Institutional authoritybegins by placing some part of itself outside history. When a wall text has done its job, itcoincides with history so entirely that its own history is insignificant, in the way that the history ofthe grains of sand in which Pythagoras first drew his famous theorem are insignificant. Onlywhen a wall text is wrong or perceived to be wrong does it become part of the story. An archiveof wall texts, then, would be like an ever-expanding compendium of the illicit history of themuseum and the writing thereof.

If the museum wants its wall text to be as transparent as possible, the commercial gallery simplywants it to be: wall text is the gallery’s object of desire. This is why galleries have disposed of itentirely and do not produce it themselves. Collect wisely and wall text is your reward. Buy thisand someday your name, too, might appear within the medium of record, just below adescription of your triumphant taste! Hence the central role played by the gallery press release,which, unlike a wall text, exists less to edify an existing value than to delineate the futuresignificance of what is present somewhere nearby. The exuberant language of these releases isa performance of wall text, distilling its social-historical logic by way of an exaggerated andaggressive imitation.

A corrected caption from a recent exhibition on Seth Siegelaub at the Stedelijk Museum inAmsterdam. The exhibition reproduced original wall labels from the show “January 5–31, 1969”(1969).

The complex authority of wall texts is what artist Fred Wilson exploits in projects like theexhibition “Mining the Museum” (1992, Maryland Historical Society). Wilson culled objects fromthe museum’s collection and presented them in a way that highlighted the museum as a “site ofinstitutional racism.”7 The life-size sculptures of Indians placed outside cigar stores in the UnitedStates were shown accompanied by labels identifying the store owners who commissionedthem. An archival photograph of two slaves with three white kids emphasized theformer’s presence in the label: “African-American domestics with charges.” And a pair of ironslave shackles were joined to a presentation of nineteenth-century silverware made in Baltimore,the label identifying them as contemporaneous (c. 1793–1872), using the devices of art historyto underline a new and different account of the world historical kind.

This intricate relationship to history and authority has become comic amidst the current trend ofrecreating historical shows. In a recent exhibition at the Stedelijk Museum in Amsterdam on SethSiegelaub’s work as a curator, art dealer, publisher, and textile collector/scholar, a wall text read:“For reasons of historical accuracy, the text on the wall labels in the reconstruction of the January5–31, 1969 show reproduces the original specifications of the artworks as found also in thecatalogue. The updated specifications can be found below the introduction text of this space.”The section dedicated to the show was a one-to-one scale model based on photographs fromthe original exhibition and its catalogue. The labels were recreated too, as part of the exhibition.The updated specifications mainly included brief provenance notes. The decision to addupdated labels outside the recreation demonstrates the wall text’s conflicting mandates: Arethese labels scholarly evidence or pedagogical devices? Are they the history of an exhibition orare they its present state? The Stedelijk, responsibly, decided not to decide. They went withboth.

Beyoncé and Jay Z rent out the Louvre Museum for a private tour. Among other shots andselfies, they are portrayed looking at Jacques-Louis David’s Coronation of Napoleon (1807).

Is it still a wall text when it isn’t on the wall? With technological developments, especially mobiledevices and social media, museums see countless opportunities to engage with their audiencedigitally, both in the building and outside it. The Metropolitan Museum of Art has calculated thatwhile the museum sees six million visitors a year, its website brings in twenty-nine million, andthe reach of the institution’s Facebook page is ninety-two million. The New York Times declaredthat these numbers “raise interesting questions about what we mean when we speak of ‘themuseum.’”8

The above question combines two others: the first is where viewers expect to find knowledge,and the second is an inquiry into the way it is presented. The Met’s app has a collection sectionwith 425,381 records (as of March 2016) and access to the museum’s audioguide directly froma mobile phone. The Guggenheim’s app offers tours through the temporary exhibitions (withrecordings of the wall texts as they are presented in the exhibition) as well as one dedicated tothe Frank Lloyd Wright building. The Walker has an online collections catalogue—constantlyupdated, media rich, heavily researched, and publicly available.9 The Tate has produced overten apps, from exhibition-specific ones (which are offered for a price of $2.99) to a mobile guideto Tate Britain (offering videos not unlike the one on the Getty’s website described above) and agame of cards (“Tate Trumps”). All of these—maybe with the exception of “Tate Trumps,” whichis so futile that it hasn’t been updated since January 2012—bring the kind of knowledgeordinarily acquired inside the museum out beyond its walls.

Making a great app will not save any institution from the knotty status of its wall texts and otherinterpretive material, but at least it makes this content part of our current system of consuminginformation. Making it publicly available subjects it to scrutiny and documentation (even simplyby screenshots), and perhaps gives it a more valid place in systems of knowledge distribution.

In 2009, the Pompidou Centre in Paris presented an exhibition where the only thing to see waswall texts. “Vides” (Voids) was a retrospective of empty exhibitions. Beginning with Yves Klein’sThe Specialization of Sensibility in the Raw Material State of Stabilized Pictorial Sensibility(known today largely as “Le Vide”), which was originally shown at Galerie Iris Clert in Paris in1958, the museum charted a history of vacant spaces, including works by Robert Barry, Art &Language, and Maria Eichhorn. The series of nine empty rooms offered “nothing to see, but a lotto think about,” according to Le Monde art critic Emmanuelle Lequeux.10

A museum without wall texts is not a solution. Taking away interpretive devices like wall textswould chip away at understanding, at the possibilities for art to present ideas that expand thetime and context of its making. One thing these discursive elements could offer, however, anddon’t, is a shift from authority to a multiplicity of voices. Imagine numerous label systems, orlayers on each label, or six audioguides from different viewpoints, or different exhibition guidesaccording to a visitor’s interest.

Curator Ingrid Schaffner evaluates the current state of wall texts in an essay cheekily headed“Wall text, 2003/6. Ink on paper, courtesy of the author.”11 Schaffner charts the history of labelsback to the early eighteenth century (in leaflets offered to those recommendation-holding visitorsallowed to view private collections). She also provides a short history of artist interventions intowall texts (“artists have a lot to teach curators about the rhetorical power of text”—the example ofFred Wilson’s work above came from this essay) and a number of curatorial methodologies forwall labels. What Schaffner presents is not a best practices—since most museums havecreated their own—but rather a survey of suggestions. “Labels should talk to the viewer and tothe art simultaneously”; “language can be rigorous, or colloquial, as long as the overall tone isgenerous.” Most importantly, Schaffner begins her list of recommendations by declaring that“there should be no set standard for wall texts.” Authority begins as a symptom or a reflex ofcomprehension. Authority is what comprehension produces as a byproduct, almost, of theprocess of separating itself from confusion.

“We see as we are told.”122016-04-10 15:18 Orit Gat

7 form studio presents pako, a hand-woven bicycle bag made

in vietnamafter graduating from central saint martins in 2012, swedish designer elin josefine olsson of formdesign studio made the life changing decision to pick up and move to vietnam. two years later,she partnered with MCNV — a dutch health organization — to visit the community of quang tri.one of the poorest provinces in the country, it saw extensive warfare and devastation during the

vietnam war.

experiences during her visit to quang tri formedthe basis for the ‘pako’ bicycle bag. drawing fromwestern europe’s pedal culture, as well as heradopted country’s ubiquitous red plasticshopping basket, olsson conceived the product.the two part design includes a military-esquegreen shoulder bag and hand-woven bamboobasket. leather straps enable the satchel to beattached to a bike at multiple points, and ashoulder strap allows for carrying by hand. the ‘pako’ bicycle bag is hand-made by a smallgroup of craftsmen in vietnam’s quang tri area,and is available for purchase through form design studio.

when its handles are snapped together, the bamboo basket acts as a shoulder sling

from bike to shoulder to bike again, the ‘pako bag’ goes where you do

boiling bamboo strips prevents the material from becoming moldy

designboom has received this project from our DIY submissions feature, where we welcomeour readers to submit their own work for publication. see more project submissions from ourreaders here.2016-04-10 12:15 Elin Josefine

8 philippe barriere designs sustainable residence in morocco

philippe barriere designs sustainable residenceand atelier in morocco

all images courtesy of philippe barriere collective

located in a rural landscape populated with olivetrees, the ‘residence-atelier-foundation’ isoriented to face the majestic white outline ofmorocco’s atlas mountains. designed by philippebarriere, the scheme comprises a privatedwelling for the client, a pavilion for her threechildren and guest artists, and her personal

atelier. in addition, the complex can also host art exhibitions as well as a foundation dedicatedto the work of female moroccan artists.

the scheme is located in a rural landscape populated with olive trees

the eco-friendly design and its construction are based on principles developed and pioneeredby philippe barrière collective in northern africa. the building has been conceived with low-techadobe walls complemented with a high-tech lightweight cantilevered metallic frame canopywrapped with a PTFE membrane. this method of ‘hybrid architecture’ brings technical innovationwhile using traditional craftsmen skills.

the project contains a private dwelling for the client

bioclimatic principles have determined the design that includes: a shaded veranda, crossventilation, high ceilings, multiple sun protections systems and passive solar energy. the verandais conceived as a double transition zone, protected by an outside curtain and by an intermediatemashrabiya — a type of projecting window enclosed with carved wood latticework. an innerlayer of accordion glass doors open the house outwards according to its various needs.

the complex is also able to host art exhibitions

adobe walls serve as a significant heat reservoir due to their inherent thermal properties. duringhot days and cool winter nights, the high thermal mass of adobe mediates high and lowtemperatures, moderating the inside temperature. the roof is made of three separate layers ofETFE, while the spaces in between allow a constant flow of air circulation, providing bothinsulation and strength. ETFE is 100% recyclable and requires minimal energy for transportationand installation.

the ecofriendly adobe wall can be built by local masons and can easily be recycled. expertise isavailable in the region both for construction, durability and maintenance. the roof’s metalstructure is economical and can be executed by local craftsmen. ETFE foil membrane rolls areinexpensive, and remain unaffected by UV light, atmospheric pollution, and other environmentalweathering. in addition, an adjustable and inexpensive water repellent linen curtain protects theadobe and the veranda.

date: 2015-2016

location: near marrakesh, oed/hassoun, dr/zankara, ain neffad

client: amal ben brik

engineer: hatem jamoussi, optima engineers (CEO), tunisia

structural engineer roof north africa: tarek ghorbel, abid med nabil

structural engineer roof: dr. takanori yagi, shanghai taiyo kogyo co., ltd.- dr. takanori yagi,shanghai taiyo kogyo co., ltd.

stage: design development phase

design team: adnen ben tanfous (associate partner), asma haddouk, samir issad, kaouthermoussa, bahroun khaoula, abbassi ibrahim, mahmoud abassi2016-04-10 09:29 Philip Stevens

9 BUY TICKETS

On Tuesday, April 5, the Walker and 89.3 TheCurrent announced the lineup of Rock the Garden2016. Due to construction at the Walker, thisyear’s concert will be held on Saturday, June 18,2016 at Boom Island Park in near NortheastMinneapolis, and will feature two alternatingperformance stages for our eight amazing bands.We liveblogged the announcement […]2016-04-10 07:02 By

10 Best and Worst of the Art World April 10, 2016

BEST

Earlier this week, artnet News caught up with Art Brussels director Anne Vierstraete , who onlyhad heartening, forward-thinking words to share regarding the city's recent terrorist attacks.

Over in France, a long-lost painting possibly done by Caravaggio has surfaced. If the work isauthenticated, experts estimate its value at a whopping $113 million.

Before Brian Boucher headed to Brazil to scout the SP Arte Fair , our critic rounded up the top-selling Brazilian artists at auction , who includes Vik Munoz and Beatriz Milhazes .

Ahead of his opening at Gagosian on Saturday, April 2, we took a look at Joe Bradley 's most

expensive works at auction —and the artist hascertainly seen a meteoric rise since 2010.

Speaking of art careers, women artists in mid-career can now look forward to a new awardcreated by philanthropist Elizabeth Murdoch. TheFreelands Artist Award confers an annual sum of £100,000 (approximately $150,000).

WORST

Ben Davis weighs in on what the ' PanamaPapers ' say about the art market's role in taxevasion for the world's economic elite.

On that note, financial tycoon Donald Trump's feelings about the art world remain prettyambiguous. But as a collector himself, one wonders: Are his art treasures are actually fakes?

In New York, Andy Warhol 's upper east side studio building hit the market with an asking priceof $10 million. Only time will tell what will become of the storied property where Warhol createdsome of his most iconic works.

Meanwhile, a messy and tangled dispute rages on over a deal gone sour between artist IbrahimMahama and collector Stefan Simchowitz .

Follow artnet News on Facebook.2016-04-10 08:00 Rain Embuscado

11 Meredith Monk: 16 Millimeter Earrings and the Artist’s Body

At once a choreographer, composer, actress,singer, and director, Meredith Monk is known fora body of work that is often consideredunclassifiable. Since the 1960s, her practice hasspanned across disciplines of dance, theater,visual arts, and film, and has included solo as wellas ensemble pieces. Monk’s self-fashioneddegree in “Interdisciplinary Performance,”obtained […]2016-04-10 10:25 By

12 Transcending Language:

Chris Strouth on Kid Koala’sNufonia Must Fall

To spark discussion, the Walker invites TwinCities artists and critics to write overnight reviewsof our performances. The ongoing Re:Viewseries shares a diverse array of independentvoices and opinions; it doesn’t reflect the viewsor opinions of the Walker or its curators. Today,composer, producer, writer, and filmmaker ChrisStrouth shares his perspective on Kid Koala’s[…]2016-04-10 10:25 By

13

13 Datebook: AIPAD’s Photography Show in New YorkRelated

Events

The AIPAD Photography Show 2016

Venues

AIPAD New York

Park Avenue Armory

Julie Saul Gallery

Artists

Tina Modotti

Sarah Anne Johnson

“We’re not just a vintage fair, we also show contemporary work,” says Kraige Block, longtimedirector of New York’s Throckmorton Fine Art, vice president of the Association of InternationalPhotography Art Dealers (AIPAD), and director of its annual fair for nine years running. “It’s thehistory of photography in one room.” The fair’s comprehensive examination of the category tookon special significance when news promising to shake up the field broke just as finalpreparations were under way for this month’s gathering of top photography gallerists andcollectors from around the globe for the AIPAD show in New York.

In mid February, competing fair organizer Reed Exhibitions announced the cancellation of twoApril events: an already postponed new edition of a FIAC-branded contemporary art fair in LosAngeles and, more significantly, the fourth edition of the Paris Photo Los Angeles show. Lessthan a week later, news emerged that the Park Avenue Armory, longtime host of the AIPADshow, had failed to offer to renew the organization’s lease, precipitating a move to Pier 94 in2017.

For now, things will remain unchanged at the 36th edition of the event, running April 13 through17, with 87 member galleries exhibiting at the familiar Upper East Side locale. Spanning the fullrange of the photography medium, highlights include an 1867 Carleton Watkins landscapepreviously shown in multiple museums, courtesy of Hans P. Kraus Jr. Fine Photographs, NewYork; a recently discovered Tina Modotti vintage print shown by Richard Moore Photographs ofOakland; and Sarah Anne Johnson’s vibrant takes on contemporary culture presented by JulieSaul Gallery, New York.

Paris Photo had already experienced a setback when its European outing last November wasforced to close early due to the terrorist attacks. The organizer refunded exhibitor costs, butBlock said that lost profits from that event led a handful of dealers planning to show at AIPAD towithdraw, making way for first-time exhibitors such as Patricia Conde Galería of Mexico City.

Looking ahead to next year, Block notes that the move to Pier 94 is welcome news for theexpanding roster of members, expected to grow further following recent changes to the bylawsthat expand the organization’s definition of photography to encompass new media; many havebeen unable to show at the New York event because of the Armory’s limited floor space. Blockwas enthusiastic about the opportunities afforded by the new venue, including larger booths androom for a proper VIP lounge as well as an increased number of exhibitors. But he promised thisfinal outing at the Armory would be lavished with special attention, saying, “We are going tomake sure this is the most beautiful and best-attended fair we have ever put on.”2016-04-10 07:00 Eric Bryant

14

14 alkhemist architects duplicates house for brothers inbangkok

alkhemist architects duplicates house forbrothers in bangkok

(above) main living area of the elder brother’shouse

all images courtesy of alkhemist architects

local-based alkhemist architects wascommissioned to erect two houses belonging toa pair of brothers. located in a suburban gatedcommunity in bangkok, thailand, the siblings, whoare very close but have different lifestyles, wish tolive close to each other and spend some time

together. however, they also want to establish a private distance whenever is needed. thearchitect began the design process by using one simple building typology that would be thenrepeated on both houses. once this design development got into detail level, the logic ofrepetition evolved to fit the different needs of each individual. as a result, the two houses looksimilar on a first glance, yet they differ once they dwelled within them.

main living area of the elder brother’s house looking from the master bedroom

the houses are organized along a rectangular format where the garages are located on the westat the entrance, and the main double volume living area is on the east at the end of the houses.the other parts of the program, such as foyer, dining area, kitchen, toilet, and the guest bedroomare placed in the between the garage and the living area to perform a transition from the outsideinto the inside. the master bedroom is placed on top of the transitional area, allowing a directvisual dialogue with the main living area. both houses are visually connected thanks to bigsliding doors located on the living areas.

main living area of the elder brother’s house looking back at the master bedroom

the dwellings are different from each other due to their diverse atmospheres which reflect thecharacter of each owner. the older brother, a professional golfer who enjoys an outdoor lifestylewanted a space where he could spend most of his time working, dining, and relaxing around theliving area, and to retreat to the bedroom late at night. to achieve the wish of the client, thearchitect decided to make a large opening on both the north and east of the living area in orderto let light cast through the large double-height white brick wall, the main element of the house.

swimming pool in front of the elder brother’s house

the dark brown house, on the contrary, reflects the opposite character of the younger brother, anightclub entrepreneur who loves to party. from the beginning, he expressed his desire to live ina dark, raw, industrial atmosphere, that would be cozy at the same time. again, to achieve this,the architect used light in order to create a subtle dramatic effect. on the top part of the livingarea, rather than a large opening window similar to the other brother’s house, few narrowopenings were used to control the amount of sunlight that enters, creating a lantern effect for theroom.

the courtyard between the two houses working both as a bridge and a threshold between the twohouse

a little gimmick which one of a step has folded backward to become a television shelf

lighting effect at the transition from the living area to the master bedroom in the youngerbrother’s house

the colored textured of the house to tone down the contemporary mood of the house

designboom has received this project from our ‘DIY submissions‘ feature, where we welcomeour readers to submit their own work for publication. see more project submissions from ourreaders here.2016-04-10 05:15 Alkhemist Arch

15 patrick norguet's nicolette chair for ethimo takes on an

unconventional edgepatrick norguet's nicolette chair for ethimo takeson an unconventional edge

patrick norguet’s nicolette chair for ethimo takeson an unconventional edge

images courtesy of ethimo

ethimo’s ‘nicolette’ chair designed by patricknorguet is characterised by its stark robust yetdelicate nature. made for the outdoors, thisfurniture piece is constructed from aluminiumwhich is capable of withstanding the effects oftime. the seat holds an inviting curved frame witha wooden backrest which acts as a neutralembellishment. a pleated fabric has been pulled across the back of the chair adding an eleganthaute couture statement. ‘nicolette’ takes on an unconventional edge by combining manycontrasting elements, the effect however is a classic design that expresses an utmost attentionto detail.

nicolette is an outdoor chair characterised by its robust yet delicate nature

a pleated fabric has been pulled across the back of the chair2016-04-10 02:10 Hollie Smith

16 Kemang Wa Lehulere is Deutsche Bank Artist of the Year

2017Related

Artists

Kemang Wa Lehulere

Deutsche Bank (DB) has announced KemangWa Lehulere as its new “Artist of the Year” 2017on the recommendation of the Deutsche BankGlobal Art Advisory Council which consists of therenowned curators Okwui Enwezor, Hou Hanru,Udo Kittelmann, and Victoria Noorthoorn. The

Johannesburg-based South African artist will present his first institutional solo exhibition inGermany at the Deutsche Bank KunstHalle in Berlin in spring 2017.

Wa Lehulere works both individually and collaboratively, with his solo practice spanningperformance, video, installation, and chalk drawings. Drawing on black South African history toexplore issues of racism, injustice, and what DB describes as “the gap between individualbiography and official historiography,” his work often revisits the narratives of black artists,musicians, and authors whose work and stories he aims to keep from being forgotten.

“ Kemang Wa Lehulere is a refined artist of the highest order. He explores the relevance of the

artistic gesture in post-Apartheid South Africa. In his wall drawings, collages, and complexperformances, he revisits his own history and the pain of his society by creating poignantimages that are never literal or explanatory, but are instead a territory to be traversed,understood, and revealed”, explains Victoria Noorthoorn, Director Museo de Arte Moderno deBuenos Aires.2016-04-09 21:57 Nicholas Forrest

17 Evocative Illustrations Show What Women Do When No

One’s WatchingAll images courtesy of the artist

The women in Sally Nixon ’s illustrations don’t know thatwe can see them. They’re not posing, smiling, or doinganything all that interesting, and this is what makesNixon’s works fascinating. Women live in a world inwhich our appearance is constantly evaluated—unlesswe’re utterly alone, we rarely have the privilege of nothaving our physical presentation judged. Seeing womenin art who aren’t being watched and aren’t beingassessed, who aren’t sucking in their stomachs, archingtheir backs, or dewily parting their lips, is wonderful,refreshing, and deeply relatable.

"The women I draw come from my imagination for themost part, however, each of them, in one way or another,is a reflection of my personality,” Nixon tells The Creators Project. "They don’t have perfectbodies or perfect habits and that makes them relatable. The scenes I create around them areeveryday places: a bathroom, a restaurant, a messy bedroom. However my goal with eachdrawing is to elevate the seemingly mundane to something special and worthy of being viewed."

To learn more about Sally Nixon’s work, click here.

Related:

Automatons, Bigfoots, Chupacabras: The ABCs of Monster Illustrations

Climate Change Data Becomes Beautiful Nature Illustrations

These Chaotic Illustrations Aren't Trying to Be Charming (But Still Are)2016-04-09 20:00 Gabrielle Bruney

18 ardess plans L-shaped contemporary villa in denmark

realized by ardess, ‘villa V3′ in risskov, denmarkcombines a simple geometry, a monochromaticcolor palette and scandinavian detailing to createa diverse and contemporary setting. asymmetricwindows both aid the flow of natural light and formsharp angles that cut into the façade and roof.placing the windows up high helps frame theview, bringing in the horizon and offering dapplednatural light into the rooms from the north and theeast without sacrificing privacy.

the rear side of the dwelling features a two levelprivate terrace

in contrast to the closed side of the building, the other side of the property opens up to thegarden landscape facing the south and west to reveal a two level private terrace embedded intothe irregular gradient. large covered glass panels and level free transitions constantly connectthe inside and outside.

inside, the home features four split-levels, the change in heights help to differentiate theindividual rooms and explore a sense of dynamic spaciousness to the strict geometry andcomposition of materials. the concrete walls used throughout were cast in-situ to provide aphysical link as they extend from the driveway and slope to the living room and kitchen, thusbecoming key elements behind the encircling white facade. the interior brings together bespokefurniture and joinery with clean lines and deep-set windows to convey a modern and monolithicexpression. furthermore, the concrete walls’ display a field pattern created by form-work andtaper holes and play a large role in the identity of the house and decoration.

the interiors are composed across four split-levels

the architect also designed the bespoke joinery and furniture

the changes in levels help to differentiate the individual rooms and add a sense of dynamicspaciousness

the interiors follow gray tones, black and white, with the occasional bronze accents2016-04-09 18:15 Natasha Kwok

Total 18 articles.

Created at 2016-04-10 18:01