#holzer company

[nyupreservation]

FILM INSPECTION: THE EARLY FILMS OF BETH B

by Emily Jenne, Institute of Fine Arts Conservation Center graduate student

Beth B, one of the most influential filmmakers to emerge from the generative chaos of the 1980s downtown scene, is known for her transgressive head-on confrontation of power structures and sexual politics. She formed the independent film production company B Movies (a play on low-budget films) with her partner Scott B, with whom she has worked over the years along with a panoply of collaborators, downtown luminaries such as Jack Smith, Arto Lindsay, Pat Place, John Lurie, Bill Rice, Gary Indiana, James Nares, Kiki Smith, Tom Otterness, Richard Edson, Vivienne Dick, James Russo, Richard Prince, Ann Magnuson, Jenny Holzer, Richard Kern, Kembra Pfahler, James Habacker, Dirty Martini, Thurston Moore, and Kai Eric (the list goes on). She is still active today, and her recent documentaries zero in on burlesque, no-wave provocateur Lydia Lunch, and the painter Ida Applebroog (who also happens to be Beth B’s mother).

Flyer for ‘Black Box’

As a longtime Beth B fan myself, I was thrilled to have the opportunity to work on several of her early films as they entered NYU’s Special Collection (Beth B Papers, MSS.614; Scott and Beth B (B Movies) Records, MSS.622). This included: G Man (1978), Black Box (1979), The Trap Door (1981), Salvation (1987), Belladonna (1989), and Visiting Desire (1996), as well as a copy of Un Chant d’Amour (1950) the first and last film by French writer Jean Genet, famously banned for its explicit content. As a graduate student specializing in both time-based media and paper conservation at the Institute of Fine Arts NYU, I am often asked where these two seemingly disparate fields overlap. The work I’ve done at the Barbara Goldsmith Preservation & Conservation Department is an excellent example of the two working in tandem. The Beth B collection, for example, has both a media component (the films) and an accompanying paper element (posters and other ephemera). 

‘The Deadly Art of Survival’ poster, photograph by Dawn Manokowski

Film preservation begins with an assessment logging current conditions and identifying the media, which will determine the best practices for storage. The first order of business is identifying the film base as cellulose nitrate, acetate, or polyester. The film gauges present in the Beth B collection, 16mm and Super 8mm, ruled out one possibility, cellulose nitrate which was never used as an 8mm or 16mm substrate in the West. From there, acetate and polyester could be distinguished using a very high-tech piece of equipment, 3D movie glasses. A pair of polarized 3D glasses folded in half at the nose can be used for a polarization test. When slid between the lenses, a polyester base will birefringe, acetate will not (birefringence is a phenomenon of optical anisotropy in certain materials that causes distinctive visual undulations at changing angles). In the end, all of the films were found to have an acetate base. 

The film inspection bench in the Barbara Goldsmith Preservation & Conservation Department.

Further information about the film stock can be determined from clues in the edge code. Using a loupe and cross-referencing with an edge code chart, the year and even the location of manufacture can be established. The placement of a dot within the word ‘safety’ notes the location (acetate film base is known as ‘safety film’ in contrast to its highly reactive and flammable predecessor, cellulose nitrate). The film stock in the Beth B collection was manufactured in Rochester, NY. 

Kodak edge code identifying Rochester, NY as the manufacturing location.

Eastman Kodak Date Code Chart

Information on the soundtrack format was also noted, the Super 8mm reversal films had a magnetic soundtrack, and the 16mm reversal films had a variable density optical track. Other relevant information was also recorded such as instances of surface abrasion, broken sprocket holes, number and character of splices, and any annotations on the head or tail leader (often instructions for the projectionist).

‘Salvation’ Print # 2

‘The Trap Door’ 8mm reel.

The major concern with acetate film base is deacetylation, an irreversible form of deterioration colloquially known as ‘vinegar syndrome’ for its distinctive acidic odor which can be detected at concentrations as low as 1 ppm. Deacetylation is essentially a reversal of the synthesis steps used to make the acetate base, and the reaction produces acetic acid which can also have a detrimental effect on the other component layers of the film. Acetic acid can soften the gelatin emulsion layer and accelerate fading of color dyes in color film. Deacetylation also leads to warpage, embrittlement, channeling, and shrinkage of the film base by as much as 10%. Shrinkage beyond 0.8% makes it dangerous to project the film. 

Film shrinkage gauge.

Deacetylation is exacerbated by high humidity and fluctuations in temperature, but further damage can be mitigated with correct storage conditions. The industry standard for measuring the extent of deacetylation is with AD strips, a type of targeted litmus test, which measures acidity on a scale of 0 (blue, indicating no deterioration) to 3 (yellow, which indicates critical condition). In conjunction, multiple readings taken with a film shrinkage gauge can be used to determine the average shrinkage level of the film.

An 8mm film splicer in action.

‘Trap Door’ film reel storage case.

The films in the Beth B collection were found to be in generally good condition, and minor preservation interventions included the removal of tape residue and splicing of new labeled extensions onto the existing head and tail leader. The copy of Un Chant d’Amour, now upwards of 70 years old and suffering more from the effects of deacetylation in contrast the Beth B films, is a good reminder of the importance of consistent low humidity, low-temperature storage in prolonging the life of acetate-based films, just the kind that these films will receive in their new home at NYU.  

Film Poster for ‘Lydia Lunch: The War is Never Over’

[blueiskewl]

TIFFANY STUDIOS Study for the 'Heroes and Heroines of the Homeric Story' Mosaic Frieze for Alexander Hall, Princeton University, New Jersey, circa 1896-1897.

Designed by Jacob Adolphus Holzer (1858-1938). Favrile glass, painted wood frame. 24 5/8 in. (62.5 cm) high, 24 1/2 in. (62.2 cm) wide (sight).

Buildings adorned with tile, stone, shell or glass mosaic has always been a part of ancient architecture. For many centuries, glass mosaics have been a sign of wealth and luxury. As described by Seneca in 64 AD: “a man feels poor and mean if his vaults are not hidden by glass”. Admiring these masterworks during his European travels as a young man would later inspire Louis Tiffany to explore this ancient art form.

In 1896, the Tiffany Glass and Decorating Company published a volume entitled Glass Mosaics, and in it praised the virtues of mosaics, claiming that they were "unrestricted in color, impervious to moisture and absolutely permanent". The booklet referred to the ancient mosaics of Pompeii and Rome and described the interior of Constantinople's Hagia Sophia as "the most wonderful creation in glass-mosaic the world has ever seen."

Tiffany used glass mosaics in his interiors as early as in 1879 for the Union League Club of New York. In 1893, he designed a spectacular Byzantine chapel for the World’s Columbian Exposition in Chicago, which brought him international acclaim.

In August 1896, the New York Times reported: “The Tiffany Glass and Decorating Company has on exhibition at Charles Scribner & Co.’s, on Fifth Avenue, a mosaic in glass which will ultimately be placed in the Alexander Memorial Hall at Princeton University… It is intended that three panels be placed beneath the three children, representing science, literature, and art, respectively taken from certain scenes of Homer’s Iliad, so that they will be both historical and typical.”

Completed in 1894, Princeton’s Alexander Hall was designed by architect William Appleton Potter. The Richardson Auditorium which was enclosed within the main structure would be completed a few years later in 1896. The glass mosaic ‘Heroes and Heroines of the Homeric Story’, commissioned from Tiffany Studios, was designed by Swiss-born artist Jacob A. Holzer (1858-1938). Measuring 10 by 35 feet, this impressive project took two years to execute and included more than thirty figures, six horses, and an elaborately decorated background and frieze.

For each major mosaic commission, Tiffany’s artists would submit a watercolor of the overall design. A sample panel, such as the present lot, which represents the profile of one of the young boys, was often executed for the client’s approval. Once the commission was accepted, a full scale cartoon was created to enable Tiffany’s artists to complete the project. As described by the New York Times, “the process for making the glass mosaic figures [was] peculiar from the fact that the glass is always in front of the artist, so that he can work and correct mistakes as he progresses. In Europe, on the other hand, the ordinary way is to work from the back of the mosaic”. 

Remarkable for the gracefulness of his face and his refined curly hair, but most especially for the delicate tone of his translucent skin, the child’s figure is complemented by the Byzantine-inspired gold background. This mosaic sample, likely representing Science, was the perfect subject to showcase Tiffany’s exceptional virtuosity in glass.

[isabellarosestudio5]

Week 13: Ideas

IDEA 1

stack of A4 white pages, double sided inkjet prints like in 'My Hysteria' laundry line work.

Media headlines

visitors invited to take one and examine the text.

white page as space of self-expression/reflection.

Do you agree with the notions presented by the media headline? how does this relate to you/your identity? Are their tropes at play? Do you agree/disagree with these tropes?

Am interested in taking the a4 page series in a relational/performative/participatory direction.

IDEA 2

Engaging in a more public and anti-institutional discourse by paying for wheat paste up adverting.

Taking the simple A4 media headline idea, upscaling to A0 space.

Potentially a series of 3+ in a row.

Using viable companies who paste up legally for advertising.

(Reflecting on Jenny Holzer's public text works)

[emzeciorrr]

Danny Brown - 3 Tearz Ft. Run The Jewels from Colin Read on Vimeo.

A multi-perspective journey, heading into the most intimate and underground performance I could dream up. We handed out two dozen cameras of various formats to the fans—orchestrating fisheye lens barrel rolls and “shitty Matrix” camera moves along the way—and let their footage and photos help drive the video.

Re-filming through viewfinders and recapturing footage off of old displays, slapping VCRs and praying tapes don't break--it was a wild one.

DIRECTED AND EDITED BY COLIN READ PRODUCTION COMPANY: MIRMADE PRODUCER: MIRANDA KAHN PRODUCTION DESIGNER: JACOB IRELAND PRODUCTION MANAGER: JOE ALBINO DIRECTOR OF PHOTOGRAPHY: KEVIN HAYDEN 1st AC: YUYA KUDO CAMERA OPERATORS: EMMA PENROSE DANIEL CONTALDO …AND THE FANS GAFFER: ALEXA CARROLL KEY GRIP: CHRIS ANGARONE SWING GRIP: RIEDE DURVAY GRIP: MICHAEL HAYDEN ROY KEY PA: GEORGE BENO PA: TUI JORDAN PA: RICH GOLD PA: EVA FRIEDBERG PA: TESS MCGUINNESS PA: HANNA WELLISH PA: JESSE KATZ PA: MYRIAM HAYDEN ROY PA: NICO TEPPER COMMISSIONER: RIK GREEN COLORIST: SAMUEL GURSKY / IRVING HARVEY

Special thanks to: Daniel Frank Jacob Campbell Takeshi Nagamatsu James Trussin Willem Holzer Sachi Bahr Brandon Stepanow Connor Kammerer Steve Fletch Joe Bressler Lou Sarowski E-Waste Gowanus

[tagteamestatesale]

Tag Team Estate Sale

Full Contents Sale

299 Main St. - Sag Harbor Village

Friday, 11/3 - Saturday 11/4

10am ( not our usual time ) - 4pm

We are selling a lifetime of really interesting collections!!!

WW11 Air Force memorabilia that includes Air Force uniforms, A-2 Flight Bomber jacket, Silk maps and charts from an intelligence Air Force officer, a piece taken from a vertical fin of a Japanese plane , a Tony,WW11 patches, and other memorabilia he brought home from the war.

There’s a picklehaube, pointy helmet, a vintage Swiss Air original poster from the 70’s...

We are also selling some amazing items, right in time for the holidays and setting the table!

We have an amazing set of Scandanavian, mid- century porcelain from the company Arabia of Finland - designed by Frieda Holzer-Kjellberg in the “rice grain” pattern - 12 of the following, oversized tea cups and saucers, dinner, salad and bread and butter plates, 2 - 8” bowls , 2 - 6” bowls , we have a beautiful, 5 piece sterling silver Gotham tea set, other sterling silver items and silver plated serving dishes as well.

We are selling Stuben & Tiffany accessories ,black Baccarat figurines, many mid-century odds and ends, lots of original art signed, some with paperwork, local artists too and several wall hangings of driftwood art from a local artist from Sagaponack ,who shows at Guild Hall.

There’s a 1930’s Art Deco, RCA ,Victor,Tombstone Radio, we have a William Accorsi wooden sculpture , signed and dated , 1987

Photos are posted below

[eristic-kaleidoscope]

The Parent Trap | Akito | Trial 5.2 | Re: END, Adrik, Kenshin

"It's possible that AION's rainbow forehead is indicative of some sort of higher intelligence over its counterparts, but I don't... think that changes too much in the grand scheme of things, perhaps? We do know that they are receiving orders and commands from the sisters, but thus far, they have not been shown to exhibit agency to override what's been set in their programming, as shown by their actions during the second and fourth cases." Given that they could reveal some information, but not all of it. "We can come back to it later if there's a link."

Because now, Adrik's thrown out a proper accusation, and Akito is torn between appreciation for the boldness, and immense worry about how Jae-min is going to respond given the fact said Olympian is right next to them. Should he have accused Erisu first? Maybe, but the die had been cast. There was still a lot to address, either way.

"Regarding the laptop and HPGB business, I need to draw some attention back to the research reports inside the library." He pulls out his phone, scrolling down through his pictures. "The link tying our hosts, Kaguya, and the other siblings we encountered in the VR is the Erika Foundation, a private research group with sponsors backing it from larger companies funding their work. Their stated purpose, based on the book we found in the library detailing this, seems to be studying the Erika Phenomenon and its effect on humanity and society, and the purpose of non-Erikas being to support and lift those with the name. If that sounds familiar, it was what was also detailed in Mx. Holzer's scrawled notes two weeks ago, text 5-05 if I'm not mistaken."

Akito takes a pause to breathe. "Three people are noted as the founders and current heads of the Foundation: Alexander Graf, the Ultimate Geneticist; Molly Barinholtz, the Ultimate Chemist; and Yusuf Ademoglu, who is not an Ultimate as far as it was stated, but whose name appears on the list of major CEOs and philanthropists funding the Foundation, based on the note Adrik and I unlocked in the meeting room. I'm of the thought that based on the Foundation being a privately-run group headed by two Ultimates, it wouldn't be much of a stretch to assume that the HPGB could end up being a very convenient scapegoat in their operations, which is why they all but encouraged us report to the world that the Board may have been responsible for our kidnapping."

And how many people had taken the bait, he wonders?

"On the topic of Kaguya, I think it's safe to say that she was an Erika Foundation employee, though not one that our hosts had been aware of at first. Aside from what was already found on her laptop, one of her ongoing research projects in the library was using satellite imagery and advanced facial recognition technology to locate and track people on earth while they're outside. Kenshin's already mentioned how Az-8 disappeared from the facility after their mother theoretically returned to Japan with them, and for the next thirteen years, both mother and child remained unable to track down. The search was then suspended until, based on the note in the Zen Garden, the efforts of a new recruit had helped them gain access to satellite imaging that allowed them to locate Az-8 after, and I quote, they had received recent fame and recognition. Thereafter, they were re-integrated back into the programme very recently, it seems..."

He stills himself, massaging his fingers and sighing deeply. "Of... course, it would be remiss of me not to acknowledge the other elephant in the room. Rather it'd be me than someone else anyways. Based on everything we've discussed, including the implication that all eight of the Kaleidoscope Project's subjects were birthed by different mothers but the same father, two key suspects stand out. The first, as already mentioned, is Erisu: for those of you who didn't know before, Erisu was adopted at a young age by her two mothers, and was also recently awarded her title in 2040, after her first public performance with the Royal Concertgebouw Orchestra in the Netherlands. The second is me, who lives with his single mother and has never met his own father, and became one of the youngest thespians to hold a starring role in His Majesty's Theatre only last year in 2041. Those are two of the strongest possibilities here, factoring in the likelihood that most of you are at least somewhat aware of your parental situation," Akito frowns. "It wasn't easy holding onto that knowledge for a few weeks, but it's not like we have a better time to discuss all this, hm?"

There's more to it, because of course there's more to it than just what he has to say, but he does turn to address Kenshin. "Regarding the notes, Az-8 had every reason to want a file of themselves on record, because if the document as a whole was found at some point, then the odd name out would inevitably be more suspicious. Additionally, lining up what entries are missing from both shows that there probably was something written down for everyone at least, because while the entirety of my own page is missing, so is the first half of Miss Chen's data which matches up with where an entry on me would stop. The same goes for a portion of Arakiel and Byrne's data, another portion of Miss Ljunggren and Miss Danger's data, the important portions of Erisu's, Eureka's, and part of Kaguya's data, and some of Kenshin's data, along with all of Kori's." He pauses. "That being said, something is off about one of them. Page 9, which is missing, theoretically contains log notes on Erisu past her public biography, the entirety of Eureka's entry, and Kaguya's public biography. That's a lot to squeeze onto one page... Wouldn't it be more likely that, if Kenshin is right about not Az-8 not wanting a file on themselves, one of these things would likely be missing?"

[chonacas]

Andy Warhol’s Art on the Blockchain featuring Warhol Superstar Baby Jane Holzer - Freeport

Colin is the CEO and Co-Founder of Freeport, a platform bringing fine art investment on-chain. Before Freeport, he spent ten years in the consumer marketing space, where he focused on technology, payments and partnerships inside some of the most recognized brands on the planet - including Apple and American Express. At American Express, he led marketing partnerships with companies like Uber, Google, and Airbnb, before being recruited by Apple to join the Apple Pay marketing team. After moving out to California he oversaw marketing for Apple Cash from product launch to being used by millions of Americans. Colin hails from Trenton, NJ and attended Princeton University for undergrad.

  We chat about the most Iconic Warhols you can find and now you can get them with Freeport on chain

Real Andy Warhol’s on the blockchain featuring Warhol superstar baby Jane Holzer

Fractional fine art on the blockchain

Can you imagine having Warhol’s of yourself?

A real pink Marilyn Monroe, Double Mickey Mouse, James Dean, Mick Jagger, to name a few.. 

AI taking over jobs and things and a lot more! SEC approved, tune in to learn more.

Check out their app: https://freeport.app

Follow Freeport on Twitter: https://twitter.com/freeport_app

Follow Colin on Twitter: https://twitter.com/ColinHJohnson

  Social media links:

https://twitter.com/katiechonacas

https://www.instagram.com/chonacas

https://www.linkedin.com/in/katiechonacas

Voiceover Reel: https://www.chonacas.com/voiceover/

https://www.chonacas.com/nft-cv/ 

  New IG account for the podcast! https://www.instagram.com/shesallovertheplacepodcast/

    Disclaimer: None of the information in the podcast should be considered as a financial advice. Sponsored by Freeport, Always do your own research.

  Check out this episode streaming now in over 100 countries

[creativeprojectcaitlinhendry]

Wat am i appropriating ?

When looking at my practice I like to convey a lot of messages and discuss current events that are affecting the world. Two artists that also share this are Jenny Holzer and Barbara Kruger, both artists use similar media however in very different styles. Due to the connection, I have with this artist I hope to explore appropriating their significant styles in order to convey my own messages. I hope that his work at first glance gives the pop art effect of knowing what it is till closer examination it is something entirely different.

Barbra Kruger

Kruger started as a designer at a magazine company which lead her to her work as an artist where her work would started as paste-ups. The artist says that when developing her art she either had an idea or photography that she wanted to use other times it was text or a phrase but ultimately it was the merging of both and the act of a play that created the work. When the artist did an interview for the National Gallery of Art she talks about images and their sites and forms from being small images to being reproduced in magazines to billboards and now online.

When creating work the artist looks at the images being used and locates what areas are most important to her and then arranges the text to not obscure them. The artist states that one of her main focuses from the start is direct address in many of Kruger's work the phrases used are directed at the reader making the experience more personal.

Kruger's work directly speaks to the viewer which by default makes the viewer question and makes them challenge the views given by society and the norms. The artist is known for her use of Futura Bold Oblique and Helvetica Ultra Compressed typesets throughout all of her work and her restrictive colour palette of black red and white.

After diving deeper into research about Kruger and the work she has created and more so the reasoning behind it and the methods used I feel a connection. I as an artist want nothing more than to have my voice herd to put out a message and have it heard to me art is not about the aesthetic but how the viewer engages with the work.

Jenny Holzer

Jenny Holzer is a conceptual and installation artist who became famous during the feminist art movement in the 80s. The artist mainly uses type as a form of expression that has a graphic design feel to it. The artist uses forms of projection, posters, and billboards but her main focus is to bring the text to the viewer in order to create discussion about the topic. Hozers earlier works Inflammatory essays often were comprised of posters that were anonymously posted up usually with a political statement on them around the street. The series of posters despite being created in the 70s is very relevant to the capitalistic consumerism that we live in today. 

Similar to Kruger when Holzer describes the creation of her work it often starts with text but rather than an image works with projection that calls for another statement. Although the artist is known for her graphic text work Holzer often wrote poem-like statements rather than bold statements. The bulk of Holzer's work was created between the 70s and the 90s and what she describes as "truisms" which consist of lines of text and statements however the idea of this piece is for the viewer to develop their own reasoning for the statements based upon their personal experience and feeling surrounded by the issues.

When looking at the artwork I see a similarity of what I like to do but in a different way Holzer also has used printmaking methods in her work as well as other forms of media but I resonate with the typography. Releasing statements and ideas for the viewer to respond to is something I'm very interested in especially in a world where everyone has an opinion.

I think it's clear to see the connections between both Holzer and Kruger's work and what I want to achieve within my practice. Although both artists have very different signature styles I think that the message and what they convey are what is most important to me and my work. I hope to select several works from each artist to appropriate and change to convey my message. While doing so I want to take care in remembering what the artist cared about when developing their works and making sure that the message is being put forward,

[anyawinget]

US Occupational Health Market Scope, Research, Growth and Forecast Report Till 2028

“The US occupational health market is projected to reach US$ 1,496.92 million by 2028 from US$ 1,161.60 million in 2021; it is estimated to grow at a CAGR of 3.7% from 2021 to 2028.”

This report provides insightful data useful to business strategists. The US Occupational Health Market provides an industry overview along with growth analysis and historical and future cost, revenue, demand, and supply data (if applicable). Analysts provide explanations of distributor analysis and value chain. This market study provides users with detailed comprehensive data that enhances the understanding, scope, and application of this report.

To Get a Sample Copy of the Report, Click Here:

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Top companies operating in the US Occupational Health market profiled in the report are:

Premise Health

Concentra, Inc.

NOHS Medical Centre

Holzer Health System

MBI Industrial Medicine Inc.

Occucare International

Examinetics

US Occupational Health Market Split by Product Type and Applications:

Market Segment by Type, covers:

Stress,

Asbestosis,

Hearing loss due to noise,

Disorders caused

Market Segment by Applications, covers:

Employers

Professionals

To Buy Report:

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Major Points Covered in TOC:

Overview: Along with a broad overview of the US Occupational Health market, this section gives an overview of the report to give an idea about the nature and contents of the research study.

Analysis on Strategies of Leading Players: Market players can use this analysis to gain a competitive advantage over their competitors in the US Occupational Health market.

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Business Market Insights is a market research platform that provides subscription services for industry and company reports. Our research team has extensive professional expertise in domains such as Electronics & Semiconductor; Aerospace & Defense; Automotive & Transportation; Energy & Power; Healthcare; Manufacturing & Construction; Food & Beverages; Chemicals & Materials; and Technology, Media, & Telecommunications.

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[dingzhappen]

How Paintless Dent Repair Came to Be

Paintless dent removal Paintless dent removal (or PDR) is a method of removing minor dents in a car. Depending on what kind of damage you may have, paintless dent removal may be the ideal choice for you. is a technique that was pioneered by Frank T. Sargent in 1931. In his groundbreaking work ‘The Key To Metal Bumping,’ Sargent described the tools and methods of paintless dent repair, allowing anyone to learn this valuable skill. The book even includes illustrations on how to predict the movement of metal, making this an essential guide for anyone interested in this field. What is Paintless Dent Removal? Paintless dent removal is a method of removing minor dents in a car. Depending on what kind of damage you may have, paintless dent removal may be the ideal choice for you. This method of dent removal repairs dents that haven’t broken the paint or punctured the metal of a vehicle. Damage caused by things such as hail, other car doors, stray shopping carts in a parking lot, and more are examples of damage that can be fixed by PDR. Why Do People Get PDR Compared to traditional dent repair, PDR has become popular for minor dents due to less intensive work, meaning it’ll be cheaper and quicker. It also means that the original finish can be preserved, allowing the car’s current paint job to remain. The process has stuck around for over half a century due to its efficiency. What’s the History Of PDR? This process has been around since 1960 and has traveled across a continent to reach America. For such a standard process, it has a fascinating history. German Beginnings PDR for vehicles can be traced back to the original Mercedes-Benz factories in Germany. Prior to the invention of PDR, workers on the assembly line would notice dents and dings on the panels that came from the assembly, but were unable to perform any quick fixes on them, requiring time and money to be repaired and repainted. This could especially be a problem with dents acquired at car shows once the cars were off the assembly line and attempting to be sold. However, in 1960, a worker at a Mercedes-Benz factory named Oskar Flaig developed a method for removing these minor dents with common objects like tablespoons and hammers. He would carefully bang the dents outward, causing the metal to return to its original shape, leaving the paint and finish intact. He demonstrated this technique at the International Motor Sports Show in New York City, correcting the bumps acquired throughout the day. Taking it Back to Germany Flaig introduced the technique to his co-workers at the factory he worked at and was promoted by his bosses. The method would catch on across the country, with companies like BMW adopting it. Coming to America PDR would make its way stateside in the late 1980s through a man named Juergen Holzer. Holzer was an employee at the BMW factory in Munich, Germany, and had known about and used the PDR method of fixing damage on the assembly line. In the ’80s, he moved to Minneapolis and started his own repair company, Dent Kraft in 1987. This is the first record of a Paintless Dent Repair Shop in the United States. Other repair shops across the country would go on to learn how to perform PDR, ultimately leading to the method becoming a staple of car repair. In Conclusion Paintless dent removal is a unique procedure that has changed the game of repairing vehicles. With over 50 years put into the technique, the process has only become more perfected and efficient. Paintless dent repair is a more cost effective and eco-friendly way to have minor dents and dings repaired on your vehicle. from https://dingzhappen.com

[tearsinthemist]

But as Carlson was offering his commentary, an image from his show was actually being put to a starkly different use: raising money for groups that facilitate abortion.

Anonymous online bidders in the digital space known as web3 were offering thousands of dollars in cryptocurrency for an NFT made out of a screen image of Carlson on the show last year in which he argued for body autonomy on coronavirus vaccines. The NFT would go on to sell Saturday for 12 eth - about $14,500 - with the creator, Jenny Holzer, saying she will donate the money she makes from the sale to groups including Planned Parenthood, the Center for Reproductive Rights and the D.C.-based advocacy group PAI.

[jess-herrlein]

Siouxsie Sioux & Robert Smith ✨

Both are me! Makeups made by myself. And I used the same wig (made by me) for both characterizations. Hope you like!

Follow me on Instagram @jess_herrlein

[someprincecalledarthur]

i’m making my own post about this because no one seems to be talking about it. if there is a reason that no one is talking about this please correct me, i would very much like to be incorrect about a bunch of broadway people supporting autism speaks.

the benefit concert “arts for autism 2021”, featuring performers from popular broadway shows, supports autism speaks. as i’m sure you’re aware, it is a shitty organisation that does not believe in the autonomy of autistic people and treats it like a horrible disease. naturally, this is not good, and i feel as though the performers should be held accountable. yes, this seems to be a yearly thing, but that doesn’t make it okay. it is streaming until april 16th, please do not support it. it is disgusting that this company is still being given a platform and people seem to ignore it because it features people we like.

on their website:

as seen here, this directly benefits autism speaks. arts for autism is not some separate benefit that autism speaks is promoting. these people are actively fundraising for autism speaks.

people performing in the 2021 concert include kelli o’hara, phoenix best, jackie burns, john michael dias, adam jacobs, elizabeth stanley, libby servais, kelvin moon loh, elaine hall, mina cuesta, sarah biernacki, and stacy weiner. the host and artistic director is jacque carnahan and it was created by carnahan and michael holzer.

please hold them accountable. don’t turn a blind eye. they are causing harm by supporting and financing autism speaks.

[nosebleedclub]

Pictured: Artist Nan Goldin protesting with Sackler P.A.I.N. at the Victoria and Albert Museum in London in 2019. Photo by Lottie Maher, courtesy of Sackler P.A.I.N.

(Source: https://news.artnet.com/art-world/artists-demanded-met-ditch-sacklers-2047715)

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(Artist Letter to Met Board of Trustees) To: Metropolitan Museum of Art Board of Trustees

As artists we come together to call for the removal of the Sackler name from the walls of the Metropolitan Museum.

Last year, Purdue Pharma, the makers of OxyContin, pled guilty in federal court to three criminal conspiracy charges. They admitted that they defrauded the United States government, lied to the Drug Enforcement Agency, and violated federal anti-kickback laws — paying providers to prescribe more of Purdue’s products. The company also pled guilty to federal criminal charges in 2007, as did the company’s President, Chief Legal Officer and former Chief Medical Officer.

Purdue Pharma is a private company owned by a single family, the Sacklers. This is not a third-party investment, this is a one-to-one relationship. The Sackler family—several of whom trained as medical doctors—were active members of Purdue’s board and micro-managed the company. As was revealed in court proceedings, despite knowing about the addictive dangers of OxyContin for over twenty years, the company aggressively marketed their opioids as less addictive and engaged in schemes to defraud doctors and the U.S. government.

The opioid epidemic has killed over half a million people in the United States alone. Last year, 69,710 people died from opioid related overdoses.

Given these facts, we are horrified by the recent bankruptcy settlement reached in September 2021, which would provide civil immunity to the Sackler family, their unborn heirs, their lawyers, and hundreds of associates. The Sacklers will continue to profit while paying off the settlement. While the Sacklers publicly distance themselves from Purdue, in private the Sacklers secretly entered into a Joint Defense Agreement with Purdue’s legal team, resulting in a $1,000,000 fine by the U.S. Department of Justice. The Department of Justice stated the immunity deal is unconstitutional and illegal and is already appealing the bankruptcy settlement.

We stand alongside the many investigative journalists including Patrick Radden Keefe, and with the artist Nan Goldin, and the direct action group P.A.I.N. (Prescription Addiction Intervention Now), who have worked to hold the Sackler family accountable despite being subjected to legal threats and other forms of intimidation.

The Metropolitan Museum is a public institution dedicated to art, learning and knowledge that generations have created to benefit our society. Honoring the Sackler name on the walls of the Met erodes the Met’s relationship with artists and the public. Given the federal crimes committed by Purdue Pharma and the staggering national death toll, this is a situation of force majeure.

The bankruptcy settlement bans the Sacklers from putting their name on institutions for nearly a decade, recognizing the connection between their name and the crimes that their company committed. The Louvre, Tufts Medical School and other institutions have removed the Sackler name from their walls. We call upon the trustees to take down the Sackler name on or before its next board meeting of November 9, 2021.

Sincerely,

Signed as of November 3, 2021

Ai Weiwei Laurie Anderson Leonor Antunes Yto Barrada Huma Bhabha Dara Birnbaum Linda Goode Bryant Zoe Buckman Maurizio Cattelan Dan Colen Anne Collier Tacita Dean Rineke Dijkstra Jim Dine Roe Ethridge Eric Fischl Jedd Garret Jim Goldberg Nan Goldin Goldin+Senneby Dan Graham Jenny Holzer Jonathan Horowitz Pierre Huyghe Arthur Jafa Anish Kapoor William Kentridge Barbara Kruger An-My Lê Glenn Ligon Ari Marcopoulos Ryan McGinley Julie Mehretu Marilyn Minter Jamie Nares Gabriel Orozco Trevor Paglen Jack Pierson Laura Poitras Robert Polidori Richard Prince Rob Pruitt Walid Raad Adrián Villar Rojas Anri Sala Lucy Sante Matt Saunders Collier Schorr Cindy Sherman Laurie Simmons Hito Steyerl Billy Sullivan Wolfgang Tillmans Anne Turyn Eyal Weizman

Updated as of November 8, 2021 Janet Cardiff Nicole Eisenman Lawrence Abu Hamdan Charline von Heyl Roni Horn Josh Kline Brice Marden Helen Marden George Bures Miller Richard Serra Cecilia Vicuña Kara Walker Christopher Wool

Updated as of November 15, 2021 Liz Deschenes Marlene Dumas Rachel Harrison Robert Longo Sally Mann Peter McGough Cameron Rowland Ed Ruscha Rirkrit Tiravanija

[stellvirg]

ABout: Helmut Lang

The Beginning.

Helmut Lang is credited with being one of the first designers to introduce utilitarian minimalism on the runway in the 1980s. Lang, who was born in Austria and raised in Vienna, began his career as an aspiring artist and trade student before launching his first made-to-measure studio in 1977 and a boutique in 1979 in Vienna, where he designed T-shirts and jackets.

After gaining a following in Austria, he displayed his work as an exhibition titled "l'Apocalypse Joyeuse" at the Centre Pompidou in 1986. In the same year, he then created and established his label "Helmut Lang" in Paris.

The Label & Designs

Because of his simple yet detailed designs on essential clothing, Lang's fashion brand has grown in popularity since his first collection. The Men's and Women's collections, both of which were shown on the same runway, were the label's staple. Furthermore, between 1990 and 2000, the Helmut Lang brand expanded to include underwear, jeans, footwear/accessories, and fragrances.

Lang elevated street wear to high fashion through his namesake line. He was the first to create "designer denim," as well as garments made from bulletproof vests and military bomber jackets made out of high technical fabrics. Lang was also known for utilising parachutes and bondage gear-inspired straps and harnesses to achieve an edgy image that was sensual enough without exposing skin. In his garments, he uses a variety of fabrics, including silk, nylon, metallic textiles, coloured leathers, holographic fabrics, thermal fabrics, latex-bounded lace, and much more.

After relocating to New York in 1998, the brand gained even more international recognition in the fashion world. Helmut Lang is known for numerous things, including being the first in the fashion industry to place advertisements on NYC taxicabs, hosting the first online fashion show, opening a concept store, and even moving New York Fashion Week ahead of the other European shows.

Partnership with Prada

Prada, a Milan-based fashion house, bought 51 percent of Lang's company in 1999, and the remaining 49 percent in 2004, just before Helmut Lang stood down from his namesake label.

However, Lang's aesthetic vision and the Prada Group's economic ambitions clashed as a result of this multi-brand approach. Prada was supposed to give the label financial security while sustaining the company's and designer's aesthetic progress, according to Lang's understanding. Prada Group, on the other hand, believes that Lang's independence for the brand will delay business decisions.

Prada later chose to close the license company that produced the best-selling Helmut Lang Jeans, which were sold in over 700 stores across the world. Helmut Lang was tasked with creating a "it" bag, that clearly did not come through. Sales of the brand dropped from over $100 million in 1999 to $37 million in 2003. Lang retired from the fashion scene in 2005.

What's Next?

Helmut Lang has been designed by a number of other designers since Lang's retirement from the business. Michael and Nicole Colovos were named the brand's creative directors in May 2006. They re-launched the Helmut Lang website with a contemporary sportswear collection for S/S 2007. In 2017, Helmut Lang launched 'The Helmut Lang Re-Edition,' with Isabella Burley, editor of Dazed & Confused magazine, as editor-in-residence.

On the other side, Helmut Lang has been concentrating on his work as a fine artist. Jenny Holzer and Louise Bourgeois are among the artists with whom Lang has collaborated. Lang's most recent paintings focus on abstract sculptural human body forms.On the other side, Helmut Lang has been concentrating on his work as a fine artist. Jenny Holzer and Louise Bourgeois are among the artists with whom Lang has collaborated. Lang's most recent paintings focus on abstract sculptural human body forms.