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celestialmazer · 3 years

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Julie Mehretu, Untitled 2, 1999. Private collection. Courtesy of White Cube. © Julie Mehretu

Julie Mehretu, Hineni (E. 3:4), 2018. Centre Pompidou, Paris, Musée national d’art moderne/Centre de création industrielle; gift of George Economou, 2019. © Julie Mehretu. Photography:Tom Powel Imaging

Julie Mehretu, Mind-Wind Field Drawings (quarantine studio, d.h.) #1, 2019-2020. Private collection, courtesy Marian Goodman Gallery New York/Paris. © Julie Mehretu. Photography courtesy Marian Goodman Gallery

Julie Mehretu, Mogamma (A Painting in Four Parts) Part 1, 2012. Guggenheim Abu Dhabi. © Julie Mehretu. Photography: White Cube, Ben Westoby

Julie Mehretu, Conjured Parts (eye), Ferguson, 2016. The Broad Art Foundation, Los Angeles. © Julie Mehretu. Photography: Cathy Carver

Julie Mehretu, Migration Direction Map (large), 1996. Private collection. © Julie Mehretu. Photography: Tom Powel Imaging

At home with artist Julie Mehretu

CAMILLE OKHIO - 25 MAR 2021

Julie Mehretu speaks with the joy and conviction of someone who has had the freedom to investigate all their interests. Curiosity has led her to the myriad topics, objects and moments that inform her work, among them cartography, archaeology, the birth of civilisation and mycology. Since the 1990s, her practice has expanded outwardly in all directions like a spider web. A lack of understanding and preconceived notions among reviewers have often led to her work being flattened – simplified so that it is easily digestible – but in reality, her work is far from a simplistic investigation of any one topic. It encompasses multitudes.

The artist’s recent paintings are mostly large scale, but her early works on paper (often created with multiple layers – one sheet of Mylar on top of another) are as small as a six-inch square. The works often comprise innumerable minuscule markings – tremendous force and knowledge communicated through delicate inkings and streaks. Their layers reveal, rather than obfuscate. And though Mehretu’s creative process springs from a desire to understand herself better, the work itself is in no way autobiographical.

Born in Addis Ababa, Ethiopia, on the tails of a continental rejection of colonialism, and raised there, then in Michigan, Mehretu has a flexible and full-hearted understanding of home. It is not one physical place, but many, all holding equal importance. On 25 March, Mehretu will present her first major retrospective at the Whitney Museum of American Art, with works spanning 1996 to 2019. The institution is an important one for Mehretu, as it played host to several pivotal shows in her youth.

Her exhibition has served as an impetus for Mehretu to look back at her already prolific career, observing and organising the thoughts, questions and answers she has put forth for over two decades. The six years it took to bring this exhibition together proved an incredibly valuable time of reflection, fatefully dovetailing with a year of quarantine.

Wallpaper*: Where are you as we speak?

Julie Mehretu: I’m in my studio on 26th Street, right on the West Side Highway. I’ve worked here for 11 years.

W*: Are there any artists, writers or thinkers that have had a meaningful impact on you?

JM: I don’t know how to answer that because there are literally so many! It’s constantly changing. Right now, Kara Walker, David Hammons, William Pope.L, and younger artists like Jason Moran (who has made amazing work around abstraction). There are so many artists that have been informative and important to me: Frank Bowling, Jack Whitten, Caravaggio.

I also look at a lot of prehistoric work, from as far back as 60,000 years ago, as well as cave paintings from 6th century China and early prehistoric drawings in the caves of Australia.

W*: What’s the most interesting thing you have read, watched or listened to recently?

JM: For the last few weeks I’ve been immersed in Steve McQueen films. I’ve been bingeing on lovers rock music. And a TV show that really moved me was [Michaela Cole’s] I May Destroy You. It’s difficult, but it was really well done and powerful.

Ocean Vuong’s novel On Earth We Are Briefly Gorgeous is amazing. The Mushroom at the End of the World by Anna Lowenhaupt Tsing is a really incredible book too – she studies this mushroom that became a delicacy in Japan in the 7th century. It started growing in deforested areas – it’s in these places destroyed by human beings that these mushrooms survive. [I find it interesting] that this mushroom grows on the edge of precarity and destruction. Like with Black folks, there is a constant aspect of insisting on yourself and reinventing yourself in the midst of constant effort of destruction.

W*: What was the first piece of art you remember seeing? How did you feel about it?

JM: One of the first times I remember being moved by a work of art was looking through my mother’s Rembrandt book. We brought so few things back from Ethiopia and that was one of them. [Particularly] Rembrandt’s The Sacrifice of Isaac. That story is so intense. I was so moved by the light and the skin and the way the paint made light and skin.

W*: Do you travel? If so, what does travel afford you, and what have you missed about it during Covid-19?

JM: I travel a lot, but I haven’t travelled this year. There has been this amazing sense of suspension and a pause in that. I miss travelling, but going to look at art, watching films, reading novels and listening to music is the way I travel now. For instance, I’ve been listening to Afro-Peruvian music and now I want to go to Peru.

Before I know it we will be back in this fast-paced, zooming-around environment – there is something I want to savour by staying here, now, in this time and absorbing as much as I can.

W*: You are said to have a vast collection of objects and images. Walk me through your collection – what areas, materials, makers and things have the largest presence and why?

JM: When you enter our home there is this long hallway. Framed along the wall we have around 20 fluorescent Daniel Joseph Martinez block-printed posters he made with words – almost poems. Our kids grew up reading those. One says ‘Sometimes I can’t breathe’ and another one says ‘Don’t work’, while some are really long.

We also have a great Paul Pfeiffer photograph of one from the Four Horsemen of the Apocalypse series. We have a group of Richard Tuttle etchings right over our dining table. We have an amazing David Hammons body print as well, and my kids’ work is all over the house.

W*: As the daughter of immigrants and an immigrant yourself – how do you conceptualise home and how do you create it?

JM: There were a lot of times I felt very transient – as a student and a young adult, going in and out of school and residency programmes. It always came back to music and food. There are certain flavours, foods, music, smells that you take wherever you go. Also as a mother, I’m building a home for my children. Home becomes something else because of them. They are the core of home now.

W* How has motherhood affected your practice?

JM: I became much more productive when I had kids for several reasons – one is that I felt a lot of pressure to make [work] in the time I wasn’t with them, which of course is unsustainable. A large part of making is not making – thinking and searching.

When I got to work I could get into it much more quickly. Kids grow and change so fast, you feel time is passing so you need to use it. I wasn’t going to stop working, that’s for sure. All women who are pushing in their lives make that choice.

W*: What is your favourite myth and why does it hold importance for you?

JM: Right now I’m reading Greek myths to my ten-year-old. We’ve read them before, but he wanted to read them again. I still read to him at night even though he’s a voracious reader himself.

The myths I remember the most are myths I’ve come across in visual works. Titian’s Diana and Actaeon – I know that myth so well because of his painting. Bernini’s mesmerising sculpture of Apollo and Daphne I saw in Rome, where her body becomes a tree. The leaves are so delicately carved into the marble, it’s a work of incredible beauty. I’ve been considering this deconstructionist approach to mythology. Storytelling becomes this place to interrogate propositions, which is what I think mythology does.

W*: Have you experienced a flattening of your work?

JM: I’m always concerned with flattening and pigeonholing. That is something that happens to artists like us all the time. When I first was working and showing there was a bit of that happening with my work. It was put into the space of cartography or an architectural analysis of it. It was said to be autobiographical work.

The art world tries to consume. There is this desire to flatten and the desire for Black artists to be a reflection of their experience. I don’t think any artist is like that at all. In reality, none of us are flat. We all contain multitudes and are complicated – that has always been the core of the Black radical tradition.

#julie mehretu #art #abstract art #abstract #mark making #history #geography #nature

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farismousa · 5 years

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Fascinating architecture and beautiful food in northern Spain

Spain is home to so many exciting, modern and historic cities that the more recognisable names can often overshadow some of the smaller – but no less enjoyable – cities. For example, on my recent travels I discovered a gem on the northern coast: Bilbao and San Sebastian.

San Sebastian is home to nearly 1,000 years of history and some spectacular architecture. The city dates back to the 1100s and has a fascinating story to tell – it’s been the site of poverty following bitter wars, the home of royal headquarters, and has been burned to the ground by invaders.

In terms of architecture, almost all the buildings have been constructed in the 19th century or later, but there are still many grand examples and a variety of styles to be found. The cathedral is a beautiful example of medieval aesthetics (although it’s barely 100 years old) and the magnificent Victoria Eugenia Theatre helps draw in jazz musicians and film-makers for internationally-renowned festivals which saw the city achieve Capital of Culture status in 2016.

A little more than 50 miles to the west is Bilbao, which is home to a Guggenheim museum. The museum’s buildings are often noted for their original and exciting styles but few are as loved and received as many positive reviews from around the world as this ship-shaped giant by Frank Gehry. Opened in 1997, it is built in the deconstructivism style and it is easy to see why it is one of the few modern buildings to earn almost universal praise.

And finally, one of my favourite benefits of traveling to new areas is the opportunity to sample local food, and my trip to the Bay of Biscay is one I’ll remember for a long time, not least for the gorgeous tapas. The food I enjoyed was not complicated – rib eye steak, olive oil and tomatoes and not much more. But the taste was simply amazing. I have eaten in restaurants that critics have decided are the best in the world, but much of this food was every bit as tasty. If you have only ever eaten supermarket tomatoes, I urge you to head to Spain and see, taste and smell how good they can be when properly grown and prepared.

In fact, these two cities and their wide selections of architecture, culture to suit all tastes and warm summer weather are only a £30 flight away, and I would recommend the region to anybody.

Follow Faris Mousa’s Profile for more updates!

#Faris Mousa

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lucajpeg · 5 years

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CAPE TOWN ART FAIR QUESTIONNAIRE

Vanessa Beecroftt

Vb. Paulina. 005.fs.pol, 2014

Digital print on canvas

127 x 101 cm

Gitte Mölle

Pushy passion, 2018

Oil and collage on panel

120 x 120 cm

Moffat Takadiwe

Camouflaged Robots, 2019

Found spray tops

246 × 90 × 14 cm

Rosie Mudge

Door, a the back of my mind, 2019

Automative paint and glitter glue on canvas

180 x 140 cm

Anna van der Ploeg

Great imaginary walls, 2018

Monotype on Hahnemulhe

110 x 80 cm

Jorge Maccchi

Cover 01, 2012

Oil on canvas

198 x 334 cm

Athi-Patra Ruga

The ever promised erection, 2017

High-density foam, artificial flowers and jewels.

60 × 40 × 35 cm

Tabita Rezaire

INNER FIRE: BBHMM, 2016

Disc print

170 x 100 cm

Goodman: Entering the Goodman gallery space feels somewhat like entering an old museum. Its main booth, too, was serious and dry. It contrasted starkly to their solo booth, showing Tabita Rezaire’s (2019) work. Rezaire’s bright, millennial digital collages – one of the most exciting exhibits for me at the fair – had a very disconnected feeling from the somber main booth.

Blank: Blank’s booth was bright, clean and organized, similar to the main gallery space. Compared to Bronwyn Katz’ solo show at the Blank gallery space which was smoothly curated, I found the curatorship at the Blank Art Fair booth somewhat disjointed. I felt a strong disconnect between the works being shown. A number of the works in the booth were unlabeled, making some different artist’s work run into each other in a way I found quite confusing! This differed from the main gallery space, where Katz’ exhibition had a smooth and holistic feel.

Stevenson: The Stevenson booth was quite welcoming, with a very friendly “cool” person running it. Dressed quite casually compared to people in the surrounding booths, I found them helpful and easy to talk to. They were very diplomatic and friendly when Rowan declared a Penny Siopis painting “basic”. The main gallery is a little loftier, but still a very welcoming space. While the Simphiwe Ndzube’s show at the main gallery bold me over as I entered the space, the works at the Art Fair booth were not as evocative or memorable. Though this is also due to differences between the two spaces. The main gallery’s big white rooms flooded with natural light are a more effective space than a booth at the CTICC.

Works I like:

Vanessa Beecroftt

Vb. Paulina. 005.fs.pol, 2014

Digital print on canvas

127 x 101 cm

Though quite simple, this portrait intrigued me. There was something timeless about it, as though it could be from any time or any world.

Gitte Mölle

Pushy passion, 2018

Oil and collage on panel

120 x 120 cm

Though I’ve seen this work before at Mölle’s solo show, it still caught my attention at the Art Fair. Mölle creates strange landscapes that take you into a world that feels both mystically dreamlike and digitally synthetic.

Moffat Takadiwe

Camouflaged Robots, 2019

Found spray tops

246 × 90 × 14 cm

The texture and colour in this work invited me to look at it longer.

Works I dislike:

Rosie Mudge

Door, a the back of my mind, 2019

Automative paint and glitter glue on canvas

180 x 140 cm

Though people are often excited by Mudge’s glittery paintings, I am never grabbed by her work. I find them conceptually basic, or at least ineffective on me.

Anna van der Ploeg

Great imaginary walls, 2018

Monotype on Hahnemulhe

110 x 80 cm

Though i am a fan and follower of van der Ploeg, Great imaginary walls (2018) did not captivate me. The colours felt muddied.

Jorge Maccchi

Cover 01, 2012

Oil on canvas

198 x 334 cm

This painting struck me as uninteresting and lazily laid out, especially for a Guggenheim fellow.

There was a lot of art working with tactile and unconventional mediums at the fair, and I noticed many artists incorporating textures like material, rope, fur, hair and even toothpicks. I saw recurring iterations of tactile, rounded shapes and forms.

Many of the booths bled into each other, and there was a lot of similarity with the predominantly white walls and bright overhead lighting. Some booths played with colour on the walls, such as Smac. Using furniture and colour Blank and Smith created booths that felt interesting and inviting.

Most of the booths had clear labeling with uniform size and format. I saw a number of floating works with no labeling. The signage was sometimes confusing, and I could not always distinguish between booths. I liked that no prices were included in the labels; it felt like i was not influenced by their market value.

I am impressed with whoever does the layout for the fair, as it must be a monumental task. However, I found the layout overwhelming and sometimes confusing. Solo booths were removed far from galleries. Though the number of artists and work shown is impressive and exciting, I found myself quickly saturated with all the stimulus in the space.

The lighting is cold and clinical – not unlike some gallery spaces – and the space is devoid of natural light. However, it was also bright and clear and conducive to viewing the art.

The fair workers all wore black, but the people working in the booths were a mixed bag, ranging from very casual to very formal. Much of the clientele had the laid-back golf-style attire of European tourists in Cape Town. There were also a lot of students in uniforms.

My first impression was that the fair was first and foremost an exhibition and secondly a market, though this was probably naïve. Because there were no prices on artworks, I wasn’t influenced when looking at them. This differed to the Strauss and Co. show room where all the works are priced. Here the prices become part of the work’s title.

10.

Athi-Patra Ruga

The ever promised erection, 2017

High-density foam, artificial flowers and jewels.

60 × 40 × 35 cm

This work seems to play with ideas of wealth. Blending opulence and kitsch it both exemplifies and examines notions of wealth.

11.

Tabita Rezaire

INNER FIRE: BBHMM, 2016

Disc print

170 x 100 cm

Razor’s digital collage, playing with pop culture and a myriad of internet references, felt different to the rest of the Art Fair in both medium and subject matter.

12.

Asking about prices was easier than I expected. People were friendly, though they evidently did not take me very seriously.

13.

Boschendal Wine Estate and Investec, as well as the CTICC itself, were the most obvious brands in the space. These brands elevated the Art Fair, appealing to its wealthier clientele. Boschendal would naturally choose an Art Fair to push their product; almost everyone drinks wine at art exhibitions.

14.

There are a broad range of events at CTICC, ranging from corporate events to Indabas to flower shows. I imagine they chose it because it is the only large function venue in central Cape Town. Near the Waterfront, it is well situated for foreign visitors to the Art Fair.

15.

There was a collection of Jesse Fernandez photographs exhibited, ranging in dates from as far back as 1950.

16.

Talia Ramkilawan, 22.

Exhibiting with Smith.

17.

The solo booths have a more synthesized and unified feel. The artist’s names are displayed more prominently than in the group exhibits.

18.

With new ears to the art world, no big names popped up to me. Personally I am very excited to see Tabita Rezaire’s and Talia Ramkilawan’s further work.

19.

I observed trends in texture and medium as subject matter. In many works the texture of the work felt like the subject matter. I didn’t see any trends in content.

20.

Blank

21.

Smith.

I’d be happy for any position.

22.

How do galleries choose whom to represent, and who should be given a solo booth?

23.

I would only choose to show at Art Fair when my gallery or institute was well established. Similar to Bad Paper, I would create a dynamic space with comfortable seating. I would exhibit lots of videos, and create a booth that people could escape into. Insulated by headphones, people could be totally immersed in the video works.

#CTAFTASK

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biofunmy · 5 years

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Behind Basquiat’s ‘Defacement’: Reframing a Tragedy

On a recent day in the top-floor gallery of the Guggenheim Museum, Chaédria LaBouvier, a 34-year-old independent curator and the first black woman to organize a solo exhibition at the Guggenheim, contemplated the small, ostensibly minor painting by Jean-Michel Basquiat that drove her to years of fervent research.

In the Basquiat canon, it was “a not very good scrap of painting,” The New Yorker critic Peter Schjeldahl recently wrote. It was almost not a discrete work of art at all. Mr. Basquiat painted it directly onto Keith Haring’s studio wall; it would have been lost had Mr. Haring not cut it out and set it like a masterpiece in the ornate frame it still inhabits. (It was over Mr. Haring’s bed at the time of his death.)

But “Defacement (The Death of Michael Stewart)” is also, as far as Ms. LaBouvier or anyone else has determined, the only work in Mr. Basquiat’s vast oeuvre that addresses a current event of his time — a gruesome tragedy that took the life of a young black artist and shook the Lower East Side art community.

“This was a form of evidence, in a sense,” Ms. LaBouvier said.

Her show, “Basquiat’s ‘Defacement’: The Untold Story,” centers on this piece as it develops a picture of the death of the 25-year-old man grievously injured in transit police custody and its effect on other artists. The exhibition argues for a fresh look at the impact of the racial tension of the 1980s on Basquiat and his peers. In so doing it uncovers new material, including several works that important artists made in response to the incident that have never been shown before. And it presents, for the first time, some of the artwork that Mr. Stewart himself had been making.

Exactly what happened when the police apprehended Mr. Stewart, a Pratt Institute student, at the First Avenue subway station in the early hours of Sept. 15, 1983, remains unsettled, many years after a grand jury’s decision not to indict several officers, and a subsequent settlement awarded to the Stewart family. What is known is that the police brought him, hogtied and badly injured, to Bellevue Hospital, where he died after two weeks in a coma.

Mr. Basquiat’s piece shows two red-faced police in blue uniform, one baring pointy teeth, with batons raised over an all-black silhouette. The word “¿DEFACEMENT©?” is printed above them in the familiar Basquiat scrawl.

The piece was never sold (its owner is Nina Clemente, Mr. Haring’s goddaughter) and has seldom been shown. Its most recent appearance was in a one-work exhibition and discussion program Ms. LaBouvier organized at the Williams College Museum of Art in 2016.

The current exhibition puts it in a double artistic context. Eight classic Basquiat works from 1982-83, are shown in the same room, including, pointedly, two pieces that present racialized police figures, “La Hara” and “Irony of a Negro Policeman.”

They attest to his awareness of the constant menace of policing to young black men like him, and the psychic burden that came with it.

“I think there are critics who have underestimated the centrality of that threat,” Ms. LaBouvier said. “You can almost feel the heat from the paintings.”

Walk past a blown-up Haring photograph of his studio wall, with the Basquiat piece cut out, into the exhibition’s second room, and second layer of context, and you will find works by Mr. Haring, Andy Warhol, David Hammons, Eric Drooker, George Condo, David Wojnarowicz (whose unsigned protest flyer clearly inspired Mr. Basquiat’s painting), and Lyle Ashton Harris. All respond, whether in the heat of the moment or years later, to Mr. Stewart’s beating and death.

Some have never been shown — including Mr. Condo’s “Portrait of Michael Stewart,” which he made while Mr. Stewart was still in the hospital, and stashed away in storage.

There are also pieces of ephemera that testify to the community’s mobilization, including issues of the alternative magazine East Village Eye and programs for nightclub benefit events for the Stewart family. Crucially, Mr. Stewart’s small paintings and drawings, lent to Ms. LaBouvier by his family, are an emotional anchor. Often described as a graffiti artist — in the police version, he was caught tagging the station — he was in fact a painter with an abstract sensibility, who was planning his first exhibition.

“This is someone becoming — finding themselves, finding their voice, finding their practice,” Ms. LaBouvier said. “I didn’t want to make him into a myth, or make him into a sort of trauma-porn story either. And I thought the best way to do that was to take a step back and let him speak for himself.”

Jeffrey Deitch, a gallerist and curator who was close to the artists of the era, said that for all Mr. Basquiat’s celebrity and his soaring prices (a Japanese collector paid $110.5 million in 2017 for his painting of a skull, “Untitled”) the scholarship remains thin, and important aspects of New York art culture of the early 1980s are yet to be addressed.

“The story of Michael Stewart galvanized the downtown art community,” Mr. Deitch said, agreeing with Ms. LaBouvier. “It was the subject of a lot of anger and activism for some years, not just the few months after the incident. The reaction prompted some very powerful works of art.”

Of Ms. LaBouvier’s approach, he said: “I told her that in our field we’ve been waiting for someone like her to emerge for 40 years — a young woman who can look at this period in art history from a fresh perspective.”

Though her formal specialty is film — her graduate degree from U.C.L.A. is in screenwriting — Ms. LaBouvier’s fascination with Basquiat goes back to her childhood in Texas, where her parents owned a pair of the artist’s drawings. She first saw an image of “Defacement” in 2003, while in college at Williams in Massachusetts.

When she returned to her alma mater with the actual painting, she held public programs around it that focused on police use of force and the Black Lives Matter movement. Her own brother, Clinton Allen, who was unarmed, was killed in a confrontation with a Dallas police officer in 2013, but she cautioned strongly that her research should stand on its own merits.

“Biography is not and never has been scholarship, whether it’s mine or someone else’s,” she said. “I think that insistence on inserting my biography not only flattens me and my work, but is informed by this social expectation that black women are broken.”

The Guggenheim exhibition emerged from conversations with Nancy Spector, the museum’s chief curator. Ms. LaBouvier said that assembling the show, however, exposed fault lines that she attributed to the Guggenheim’s inexperience with black curators and their perspectives, especially with regard to nuances of black life and identity.

“I think it will be better for the black curators coming after me,” she added. “For instance, if I didn’t review something, that meant that no person of color looked at that document or process. And certainly it felt at times that there was an expectation that I would just be grateful to be in the room.”

She is proud of the exhibition but alluded to editorial frictions: For instance, she said, the museum did not produce extended captions that would explain each work and the reason she chose it, an omission that she said shortchanges her research. “My hands were somewhat tied with that,” she said.

In its 80-year history, the Guggenheim has never had a black staff curator. The independent Nigerian curator Okwui Enwezor was one of several organizers of a show on African photography in 1996. The artists Carrie Mae Weems and Julie Mehretu are among six artist-curators in the current exhibition “Six Takes on the Guggenheim Collection.” The museum also noted it has hosted nonexhibition programs convened by Ms. Weems (2014) and Simone Leigh (2019).

In a phone interview, Richard Armstrong, the Guggenheim’s director, acknowledged that the museum has been “slightly off-tempo” with respect to hiring African-American curators, and that efforts are underway to address this. “I want to reaffirm that we are in the midst of a concerted effort to broaden our curatorial staff,” Mr. Armstrong said.

In an email responding to questions, Sarah Eaton, a spokeswoman for the Guggenheim praised Ms. LaBouvier’s original research and said she had participated in a “rigorous editorial process” with input from staff.

Ms. LaBouvier’s essay in the catalog suggests the forensic research involved in making the show. She also interviewed 23 artists, gallerists and others in Mr. Basquiat’s orbit, along with Michael Stewart’s mother, Carrie, and even a member of the initial grand jury.

For Mr. Condo, the painter, the project brought back heavy memories. He had been out with Mr. Stewart earlier on that fateful evening. There had been a party at Mr. Haring’s, but the two men were not let in. “We weren’t cool enough, or whatever,” Mr. Condo said. Instead they went to the Pyramid Club on Avenue A, before parting ways.

After the news spread, Mr. Condo painted his portrait of Mr. Stewart — an eerie image of a figure hooked up to a satellite-dishlike device, a reference to the young man in the hospital. He had no intention of showing it.

“I just went home and cried and made a painting,” he said.

Ms. LaBouvier’s inquiries prompted him to dig out the work.

“This exhibition was necessary,” he said. “Putting a real microscope onto that particular period leaves a real impression on you as to what people were feeling, as a result of what happened to this man.”

Ms. LaBouvier said that Mr. Stewart’s story, his own art, and the art that his death prompted, in anger and mourning, deserved consideration from a scholarly perspective.

“I am very clear that this is restorative justice in an art-historical way,” she said. “There are a lot of stories that we need to re-examine, reclaim, re-treat. This is one chapter among many.”

Basquiat’s ‘Defacement’: The Untold Story

Through Nov. 6, the Guggenheim Museum, Manhattan, 212-423-3500; guggenheim.org.

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mwitchipoo · 5 years

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A few weeks ago, I finally had the chance to check out the Hilma af Klint exhibit at the Guggenheim Museum. This was also my first time ever visiting the Solomon R. Guggenheim Museum, famously known for being designed by architect, artist and educator Frank Lloyd Wright.

I first discovered Klint at The Armory Show back in 2016. It was a painting that immediately took my breath away. Upon sight, you knew that it had some sort of spiritual meaning, yet, was also an impressive piece of work. My time looking at the painting for only for the most, fifteen minutes. By the then, The Armory Show was about to close for the year. Yet it left such an imprint in my memory. Such an incident hasn’t happened since discovering Salvador Dali in my adolescence, and later Hieronymus Bosch in my late teens. Since I’m talking about artists, might as well throw William Blake, Austin Osman Spare, Brion Gysin and Marjorie Cameron into the mix.

During my teens after school, there was a chance sighting of Andy Warhol walking around the east 50’s area of Manhattan. He was wearing an extremely costly leather jacket, while carrying a shopping bag from some boutique. A few months later, Warhol passed away.

Back to Klint. I picked early Saturday evening as the day to attend. Particularly due to Saturdays being “pay-what-you-wish” admission at the Guggenheim. Especially when rent is too damn high in NYC.

Circling around the spiral building, the attendee saw the evolution of Klint‘s work. Her early interests dealt with mathematics and botany. Klint became a respected artist. After graduating art school, she became know for doing portraiture and landscapes. The abstract compositions developed after 1880. After her sister’s death, she got involved with Spiritism. This coincided with the growing movement of Madame Blavatsky’s Theosophy and her enthusiasm regarding Christian Rosenkreuz. Along the way, Klint met Rudolf Steiner. With Anna Cassel, she joined a group of female artists called ‘The Five.’ The Five (de Fem) conducted paranormal and spiritistic séances.

Enough talk. Here’s photos of the exhibit. The paintings, notebooks, sketches and such contain much symbolism. The exhibit itself ended April 23rd, 2019.

In between checking out Klint’s art, there was also another exhibit featuring Robert Mapplethrope. Took a quick peek through that section. However, time was limited so I scurried back to the Klint floors. Figured it’ll give me another excuse to drop by the Guggenheim again.

Back to checking out the final sections of Klint. There was also cases of documented work. Even the library had cases of Klint.

The Hilma af Klint exhibition was the most popular in the museum’s 60 year history.

Other links:

https://www.galeriemagazine.com/romanov-rockefeller-emerald/

https://hyperallergic.com/496326/hilma-af-klint-breaks-records-at-the-guggenheim-museum/

http://www.artnews.com/2019/04/18/guggenheims-hilma-af-klint-survey-is-most-popular-show-in-its-history/

https://www.artsy.net/article/artsy-editorial-swedish-mystic-hilma-af-klint-invented-abstract-art

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Hilma af Klint @ Guggenheim A few weeks ago, I finally had the chance to check out the Hilma af Klint…

#april 2019 #art #female artists #guggenheim #hilma af klint #hilma af klint exhibit at guggenheim #klint #movies #nyc #Solomon R. Guggenheim Museum #spiritual #the five #true stories

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gyrlversion · 5 years

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National Portrait Gallery drops donation from pharmaceutical firm

The National Portrait Gallery in London has become the first major art institution to give up funds from the controversial Sackler family.

Members of the Sackler family are facing lawsuits over their alleged role in the US opioid crisis and campaigners say the move from the National Portrait Gallery (NPG) to give up the grant is a landmark victory in the battle over the ethics of art funding.

The decision has been hailed as a ‘powerful acknowledgement’ that certain sources of income should not be justified.

The family, whose company Purdue Pharma LP produces opioid prescription painkiller OxyContin, had been set to provide a £1million donation to the gallery.

The Sackler family from left to right: Dr. Theodore Shapiro, Dr. Jack Barchas, DR. Susan Shack Sackler, Dr. Kathe Sackler, Dr. Carla Shatz, Dr. BJ Casey, Dr. Jay Gingrich and Dr. Robert Michels

The National Portrait Gallery in London (pictured above) is the first major art institution to give up funds from the Sackler family

Purdue Pharma is the maker of the prescription opioid painkiller OxyContin (pictured above)

Speaking to the Guardian, a spokesperson for the gallery said that it had agreed with the Sackler family that both parties would not proceed with the donation ‘at this time’.

The family denies allegations against them which suggest they participated in ‘conspiracy and fraud to portray OxyContin as non-addictive, even though they knew it was dangerously addictive’.

The family claimed that the donation to the gallery’s ‘Inspiring People’ project had been dropped in order to avoid creating a ‘distraction’ from the hard work the institution had put in to the initiative.

Despite the decision being revealed as mutual, it could be seen as a major blow to the family’s status following a campaign led against them by American artist Nancy Goldin.

This file photo shows the outside of Purdue Pharma at the company’s offices in Stamford, US

Goldin has previously spoken out about being addicted to OxyContin after being prescribed the drug and last week said she was ‘happy’ with the decision taken by the NPG.

She highlighted the need for other museums and galleries to do the same and reconsider gifts from the Sackler family.

Reflecting on the decision she said: ‘They did the right thing. I hope there is a domino effect now; there needs to be.’

She had previously refused a retrospective of her work to be held at the NPG if it accepted the donation and had held protests outside the Guggenheim Museum and the Metropolitan Museum of Arts in New York over their links to the Sackler’s.

Protests had previously been held outside the Guggenheim museum (above) by artist Nancy Goldin

Protesters targeted the Guggenheim (pictured above) over its ties to the Sackler family

Nancy Goldin (pictured centre pointing) took charge of a protest against the family outside the Metropolitan Museum of Arts in New York

The NPG had been one of many British cultural institutions set to receive donations from members of the family, but had come under fire from artists and campaigners who said that accepting money from them would make the NPG complicit in the damage done by the drugs the family’s company produce.

The co –director of campaigning organisation Culture Unstained, Jess Worth told the Guardian that the gallery’s decision to reject a donation ‘from those that profited from the opioid crisis’ was a ‘powerful acknowledgment that some sources of funding cross a red line’.

She added: ‘This raises the question of whether the gallery will now apply the same standards to its BP sponsorship deal or continue to promote a fossil fuel company in the midst of a climate crisis.

‘Waved through with minimal scrutiny in the past, BP sponsorship now – like the Sackler donation – looks ethically untenable.’

Shakespeare’s Globe in London (pictured above) has also previously received money from the Sackler family

According to a 2016 estimation by Forbes magazine, the Sackler family has an estimated worth of $13billion, making them the richest family in America and each year the family continues to make philanthropic donations.

However in November 2018 court filings suggested that some members of the family had ‘actively participated in conspiracy and fraud to portray [OxyContin] as non-addictive, even though they knew it was dangerously addictive’.

Following the revelation some public institutions – including New York’s Columbia University and the Metropolitan Museum of Art – have reviewed whether they would continue to accept their donations.

Goldin added: ‘I spoke to the National Portrait Gallery. I’m so happy, I’m very glad about it. We have to hold museums to a higher standard, they are supposed to be a repository of the best of humanity, a repository of learning and culture.’

The Sackler trust awarded the NPG £35.5million in 2016 for a project for building development, redisplaying collections and a new education centre.

The Royal Opera House (pictured above) has also previously received financial support from the Sackler family

The money was a pledge and was not paid, partly due to the fact that work had not yet started and the gallery’s ethics committee was considering the implications of receiving funding from the family.

The Sackler Trust said: ‘[We have] has supported institutions playing crucial roles in health, education, science and the arts for almost half a century and we were pleased to have the opportunity to offer a new gift to support the National Portrait Gallery. The giving philosophy of the family has always been to actively support institutions while never getting in the way of their mission’.

‘Recent reporting of allegations made against Sackler family members may cause this new donation to deflect the National Portrait Gallery from its important work. The allegations against family members are vigorously denied, but to avoid being a distraction for the NPG, we have decided not to proceed at this time with the donation. We continue to believe strongly in the gallery and the wonderful work it does.’

NPG chair David Ross said he acknowledged the generosity of the Sackler family and their support over the years.

‘We understand and support their decision not to proceed at this time with the donation to the gallery.’

Over time the Sackler name has provided financial support for various institutions in the UK such as the Royal Opera House, Shakespeare’s Globe and the Royal Ballet School.

In 2017 the V&A opened a Sackler courtyard which was estimated to have cost £2million. This is while the V&A in Dundee, Scotland is said to be under pressure to return a donation from the Sackler family.

WHO ARE THE SACKLERS?

The Sackler family’s drug company, Purdue Pharma, has made tens of billions on opioid sales, and the Sacklers have spent some of that money supporting the arts.

ARTHUR SACKLER

Arthur, a doctor and psychiatrist, founded a research laboratory in 1938, but Arthur’s real genius was in marketing, and he leveraged it to sell a number of medications, including the anti-anxiety drug, Valium.

He owned one-third of Purdue Pharma, which he and his younger brothers Mortimer and Raymond co-founded out of a series of smaller companies they had bought.

Arthur remained a relatively silent partner in the old Purdue, and died in 1987 before it became the company we know it as today.

He never saw any of Purdue’s OxyContin profits.

He donated the funds to open a number of medical education programs, libraries and museums.

After his death in 1987, his brothers bought Arthur’s portion of Purdue and one of his four children, daughter Elizabeth, has largely taken over his philanthropy work.

MORTIMER SACKLER

Mortimer was an American physician and psychiatrist.

He and his brothers, the older Arthur and the younger Raymond published prolific medical research before buying a number of pharmaceutical companies, including, in 1952, Purdue Pharma.

After Arthur’s death Mortimer and Raymond bought out his descendants’ share of Purdue Pharma, and in 1991 they created the company that would become a pain management giant we now know.

Mortimer became a lavish arts patron, known for equally extravagant donations and parties, beginning in the 1970s.

He died in 2010.

RAYMOND SACKLER

Raymond was a doctor like his older brothers, and the three were partners in all things until each of their deaths.

Together with Mortimer, Raymond found success with their opioid painkiller, OxyContin, which became the Purdue Pharma’s signature drug.

Raymond was milder and more private than his brother, Mortimer.

Raymond had two children, Richard and Jonathan, before his death last year.

RICHARD SACKLER

Richard Sackler followed in his father’s footsteps, getting his medical degree at New York University School of Medicine.

He came to Purdue after medical school, leading the research and development that ultimately produced the extended release form of OxyContin that would elevate the family’s fortune to previously unfathomable.

He became president of Purdue in 1991, pioneering marketing campaigns (in the vein of his uncle, Arthur) that enticed droves of medical professionals to buy Purdue’s opioid.

Richard became co-chairman in 2003, by which point $1.6 billion in OxyContin had been sold.

His marketing schemes sparked suspicion, and in 2015, Richard was deposed before his company paid out a $24 million settlement.

The company appealed in 2017, but the case has not moved forward.

In addition to his arts philanthropy, Richard’s foundations have donated to controversial causes, including anti-Muslim groups.

ELIZABETH SACKLER

Arthur’s daughter has publicly and persistently attempted to distance herself from branch of her family that has profited from OxyContin.

Elizabeth is a licensed psychiatrist and well-known philanthropist.

She is the founder of an eponymous Center for Feminist Art at the Brooklyn Museum in New York.

On Tuesday, she backed Goldin’s petition, expressing disgrace for her uncles’ business.

Elizabeth Sackler is a patron of the arts and has publicly distinguished herself, and her father, from her uncles and their company, Purdue Pharma.

The post National Portrait Gallery drops donation from pharmaceutical firm appeared first on Gyrlversion.

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chocolateheal · 5 years

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19 Unbelievable Facts About Abstract Expressionism Yahoo Answers | abstract expressionism yahoo answers

A new exhibition, Abstruse Expressionism, opens at London’s Royal Academy this weekend. It is the aboriginal above analysis of the movement back 1959. Abstruse expressionism is generally advised the aboriginal artful movement to about-face the centre of Western art from Europe to the US, and added absolutely New York. But what is it, and how did this happen?

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Associated with a accumulation of artists alive in New York in the 1940s, abstruse expressionism came to be accepted as the quintessential American and avant-garde art movement. Heirs to the accelerating abandonment of allegorical and naturalist painting styles that had been demography abode in Europe back the aboriginal 20th century, the painters associated with the movement came to be accepted for their avant-garde use of new constructed automated paints, ample calibration canvases, and the development of actual alone abstruse styles.

Some of the best calmly identifiable accommodate Franz Kline’s quick and simple brushstrokes, at times likened to Japanese calligraphy; the drips and accelerated splatters of Jackson Pollock; Robert Motherwell’s ample again ovals and rectangles; and Mark Rothko’s ample blocks of colour.

Franz Kline, Vawdavitch, 1955. © ARS, NY and DACS, London 2016

Despite generally actuality apparent as “childish” painting that “anyone could do”, abstruse expressionism has a history that is added absorbing than we ability doubtable at first. Because the actualization of the movement in the 1940s and its internationalisation in the 1950s wasn’t alone due to the assignment of its artists. It was additionally due to both the art criticism and political environments of its time. So abundant so that we cannot anticipate abstruse expressionism after because the assignment of critics such as Clement Greenberg and the role of art as a cultural weapon during the Cold War.

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Writing at the aforementioned time as the abstruse expressionists were developing their signature styles, Greenberg became the analyzer that best abundantly accustomed the movement. He claimed it represented the best “advanced” anatomy of Western art. To absolve this, Greenberg looked at the assignment of beforehand European artists such as Manet, Monet, Cézanne and Picasso, arguing that European painting had been progressively affective abroad from representations of the three-dimensional apple outside. According to him, this was additionally accompanied by a accelerating flattening of the artful space.

Greenberg argued that this showed an accretion affair with investigating the abeyant and limitations of the elements that belonged alone to the average of painting: a collapsed canvas with specific ambit (length and width) aloft which acrylic is applied. All celebrated examples of paintings that accord the consequence of three-dimensional amplitude on canvas, all painting that tries to actor the apple alfresco of it, were, for Greenberg, paintings that approved to burrow their accurate nature.

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What is acute actuality is that, by bearing this anecdotal of European art, Greenberg was able to affirmation that, for the aboriginal time ever, the best “advanced” anatomy of Western art was no best actuality produced in Europe but instead in New York. For him, it was painters like Pollock, Motherwell, De Kooning, Rothko, Kline, and Newman that were now, acknowledgment to the new abstruse languages they were developing, accustomed on the assignment that had amorphous with the European avant-gardes. European artists, he argued, had not been able to backpack this to completion, due, in part, to the weight of tradition, commodity that America did not accept to carry.

So it was in ample allotment due to critics like Greenberg, but additionally collectors like Peggy Guggenheim, and curators like MoMA’s Alfred H Barr, that abstruse expressionism eventually acquired drive amid the art aristocracy of New York in the 1950s, admitting never actuality accepted amid the added American public.

Lee Krasner. The Eye is the Aboriginal Circle, 1960. © ARS, NY and DACS, London 2016

But there is additionally backroom to consider. Abstraction had been accustomed to advance in allotment due to the beforehand advocacy of Franklin Roosevelt’s New Deal, which saw an absurd bulk of government funds actuality acclimated to anon apply artists and agency new accessible artworks in the after-effects of the Great Depression. Best of the works adjourned by that programme were American regionalist paintings and ample amusing realist murals. But some of the funds were additionally acclimated to abutment the aboriginal assignment of some of the artists whose career would eventually advance appear what came to be accepted as abstruse expressionism.

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But conceivably one of the best iconic contributors to the broadcasting of the movement as the acme of Western art history was the Cold War. In the 1950s, at the aiguille of the barbaric anti-Communist affect of the McCarthy era in the US, the agendas of institutions like MoMA in New York and critics like Greenberg converged with the political interests of the CIA. Such aggregation led to a alternation of exhibitions that would bout Europe during the Cold War years. The best acclaimed of those was MoMA’s The New American Painting, which came to Europe in 1958-59. This appearance was amenable for bringing abstruse expressionism to all above European capitals, including West Berlin.

Whether or not these exhibitions were adjourned or facilitated by the CIA, as some accept assuredly argued, they were absolutely amenable for cementing the acumen of America as the accepted beneficiary of European artful and political values. Against a USSR perceived as absolute and oppressive, with state-sanctioned left-wing accuracy advancing beyond as kitsch and formulaic propaganda, abstruse expressionism, with its array of alone choir and painterly styles, would eventually become a attribute of the autonomy, alternative and artistic abandon allegedly enjoyed by all in the West. These were ethics that, from again on, became apparent in the generalised acumen of the US as the ultimate alarm of Western culture.

This commodity was originally appear on The Conversation. Read the aboriginal article.

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João Florêncio receives allotment from the Arts and Humanities Research Council. He is affiliated with the Labour Party.

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dabkia · 5 years

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301118

guggenhiem and jewish museum

friday

Today was my first time ever going to the Guggenhiem. All semester I was trying to find time to go on my own but it never worked out, so I was extremely excited for this day. When we first entered the building I was taken back by the architecture. The building is spiraled upwards, displaying the main works of the show on the walls along the spiral. I found this to be a very interesting and unique display, which also posed the question of how the work was being hung when the floor wasn’t exactly straight. Other than my fascination with the building I was very excited to see the Hilma af Klint “Paintings for the Future” show. This was a show that I had been hearing about for weeks, so the anticipation was high when I arrived at the first painting. Each one of her paintings had so much intricate detail, and yet they were so minimalistic at the same time. I found the most interesting part to be the back-story behind why she painted these works. While walking around the show I had read that she created these works because she believed that some divine spirit was telling her too. The concept was very interesting, because I had felt as though her paintings had a delicate divine quality to them before I even found out about this fact. I also was a big fan of her color palette throughout all the works; each color was bright but also refined at the same time.

After finishing up at the Guggenheim we stopped by the Jewish Museum. Here we saw Martha Rosler’s show “Irrespective.” I found her work to be very political, which I think is a theme that has been very prevalent in the art world over the last few years. I was first drawn in by her collage work. She took these images of everyday things such as a kitchen and collaged them with pictures of war and devastation. I am very interested in collage work, so to see such a simple collage convey such a strong message was really inspiring to me. Some of her other works, such as the dipper clothes that were covered in quotes from Americans about the Vietnam War were hard for me to view. I couldn’t help but feel extremely uncomfortable and uneasy when reading the disturbing hate speech that was written on something as innocent as a dipper. However, I believe that this feeling was her exact intention when creating the piece. Another piece that stood out to me was a video of Mike Pence giving a speech with the national anthem and other traditional American songs playing eerily through a speaker. It wasn’t until I heard it in this context that I realized how creepy our national anthem can sound.

The final piece I viewed that really left an impact on me was one of Donlad Trump. In this piece was written a quote that he said in the 2016 presidential debates about how he could shoot someone in the street and wouldn’t lose any supporters. Behind this quote and picture of him were the names and ages of innocent people who were killed in our streets due to gun violence. I found this piece to be extremely powerful and it made me think about how I can possibly use my own work for activism in the future.

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mrmichaelmbarnes · 5 years

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Book Review: A Feeling of History

A Feeling of History by Peter Zumthor, Mari Lending Scheidegger & Spiess, 2018 Paperback, 80 pages

Swiss architect Peter Zumthor finishes buildings so sporadically that the presence of each in various strands of architectural communication lasts years rather than days or weeks. It was five years, for instance, between two recently completed works: the Steilneset Memorial (2011) and the Allmannajuvet Zinc Mining Museum (2016), both in Norway. When I saw Zumthor speak with Paul Goldberger at the Guggenheim in February 2017, these were the two projects Zumthor focused on. In general, discussions around these and other Zumthor projects unfold over time, unlike projects by prolific firms such as BIG or Kengo Kuma Associates, where lots of attention follows an opening, only to give way quickly to the next project's completion. In turn, Zumthor's slowness invites interviews — but ones that play out over time rather than ones that take place in one evening like the Guggenheim. A Feeling of History transcribes a series of conversations between Zumthor and Norwegian architectural historian Mari Lending that took place between September 2014 and August 2017. Not surprisingly, they focus on his two projects in Norway, though primarily the Zinc Mining Museum, which was finished in the middle of their conversations. History as a theme for their talks makes sense, since the museum marks the site of a mine that operated in the last half of the 19th century. To Zumthor, "landscapes are historical documents" that exhibit the traces of use; Zumthor then "can try to read and interpret the place" where he designs. At Allmannajuvet gorge, the small pavilions are subsidiary to the landscape, though they contain artifacts that explain certain aspects of the mine's history that the landscape cannot. This small book consists of insights into Zumthor's design of the Zinc Mining Museum, but Lending also delves back in time to trace when and how Zumthor developed his approach to history. So the book is as much biography as project narrative, meandering around to paint a portrait of Zumthor and one of his projects. Free of illustrations, the conversations are accompanied by photos from Hélène Binet's photo essay on Dimitris Pikionis's Landscape around the Athens Acropolis. The b/w photographs by Zumthor's frequent collaborator are not mentioned in the interviews, though Zumthor describes Pikionis's project at the back of the book as "grounded" and having "a specific connection with the history of the place." So the parallels between his work and Pikionis's stone pathways are clear, even though the project types diverge and there is a considerable geographic distance between Norway and Greece.

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gillespialfredoe01806ld · 6 years

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Home Solar Dims as Tesla, Others Curb Aggressive Sales

Bloomberg/Sergio Flores

The number of U.S. homeowners putting solar panels on their roofs declined last year after leading installers including Tesla Inc. abandoned aggressive sales practices that had helped drive breakneck growth.

Residential solar had been on a tear, averaging 49% annual growth between 2010 and 2016, but the number of megawatts added last year dropped by 16% compared with the year before, according to new data from GTM Research, a firm that tracks renewable energy. It was the first annual decline since at least 2000, which is as far back as GTM tracks figures.

Industry executives and energy experts said the slowdown was driven by a sharp retreat by national solar installers, including Tesla’s SolarCity and Vivint Solar Inc. Those big outfits had deployed large sales forces to pitch homeowners on the benefits of rooftop solar, and heavily marketed deals to lease panels that required little to no money down.

The race to build a dominant national solar brand led companies to burn through cash. Unable to maintain that pace, companies scaled back and focused on profits over growth, or in some cases, got out of the rooftop solar business altogether.

SolarCity, purchased by Tesla in 2016, posted the largest declines. Once the clear-cut leader among solar installers, with one-third of the national market two years ago, it ended door-to-door sales last year and cut customer-acquisition spending. Its sales, as measured by megawatts deployed, fell by 38% in 2017, according to company figures, which include both residential and commercial installations.

Tesla said it was moving away from no-money-down leases and toward sales. It appears to have been passed by rival Sunrun Inc. in recent months as the top solar installer in the country, according to GTM.

“We expect growth to resume later this year,” Tesla said last month.

Other companies also retreated from heavily marketing their home solar businesses, including NRG Energy Inc., which shut its business last year, and Vivint, which posted a 17% drop in residential sales volume in 2017 as it moved to prioritize profitability. Sungevity Inc. filed for bankruptcy protection last year after an aggressive growth strategy resulted in too much debt, the company said in a court filing.

The industry’s sales strategies have attracted scrutiny by regulators in some states, including New Mexico, where the state attorney general, Hector Balderas, filed a lawsuit last month claiming that Vivint used “false, misleading and fraudulent statements” to sign customers up for long-term deals.

Rob Kain, Vivint’s vice president of investor relations, said the company disagrees with the allegations and plans to contest them in court.

“Could we have had a salesperson who was aggressive? I wouldn’t be surprised,” Mr. Kain said, adding that the company would have fired a salesperson for misrepresentations.

SolarCity grew with help from a hard-charging sales culture. Before being acquired by Tesla, the company, which was run by Lyndon Rive, the cousin of Tesla founder Elon Musk, tapped salespeople from the mortgage industry and Las Vegas casinos to sell solar panels, and gave them aggressive quotas, according to current and former managers and employees interviewed by The Wall Street Journal.

Last year, Tesla changed course and began selling solar panels through the same stores that sell its cars. Other sales approaches were shut down in order to “focus on projects with better margins,” the company said.

Eric White, president and chief executive of Dividend Finance, a San Francisco-based company that provides loans to homeowners putting solar on their roofs, said many solar companies acted too much like Silicon Valley firms, pursuing growth at all costs in hopes of becoming leaders in a nascent market.

Mr. White said that while the industry’s prior growth is “not sustainable and leaves bodies in its tracks,” 5%-to-15% annual increases are achievable.

Solar energy grew rapidly in recent years as the cost of solar panels declined. The all-in cost of a typical rooftop solar system fell by 61% between 2010 and 2017 to $2.80 per watt, or roughly $16,000 for the average home system, according to the federal government.

Solar executives and industry analysts believe annual residential solar growth will resume in 2018. But two developments risk hurting sales in coming years, say industry analysts. First, new Trump administration tariffs on imported solar modules, mostly from China, are expected to marginally raise costs. Second, a federal government tax incentive to homeowners worth 30% of the value of the solar array is set to end by 2021.

Lynn Jurich, chief executive of Sunrun, said rising utility electricity rates and falling solar panel costs will drive increased interest in solar.

“We saw an unnaturally high growth rate because there was a lot of capital coming in to spend on advertising and customer origination, and not a lot of discipline on focusing on profitable growth,” she said of the sector as a whole. “You suck all the advertising out of an industry and it shrinks.”

Still, companies continue to spend considerable amounts acquiring customers. Sunrun estimates it spends about 28 cents on marketing for every dollar spent on purchasing and installing panels.

Sophie Karp, an analyst at Guggenheim Securities, said industrywide customer-acquisition costs were higher.

“Solar is not a product that you buy,” she said. “It is a product that gets sold.”

—Kirsten Grind contributed to this article.

The post Home Solar Dims as Tesla, Others Curb Aggressive Sales appeared first on Real Estate News & Insights | realtor.com®.

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nofomoartworld · 7 years

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Hyperallergic: Art Movements

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

The Guggenheim Museum withdrew three works from its upcoming exhibition Art and China after 1989: Theater of the World, following a public outcry from animal rights activists. The museum attributed their decision to pull works by Peng Yu and Sun Yuan, Huang Yong Ping, and Xu Bing, to “explicit and repeated threats of violence.” An online petition objecting to the works has so far garnered over 750,000 supporters.

Jean Nouvel dismissed claims of worker abuse and exploitation at the Louvre museum in Abu Dhabi as an “old question.” “They have the same conditions, even better conditions, than those I see in other countries,” the architect told the Anglo-American Press Association. “We checked and it was fine. We saw no problem.” A 2015 report by Human Rights Watch concluded that migrant laborers working on Saadiyat Island’s Louvre and Guggenheim museum projects were living in squalid conditions, subjected to wage theft and underpayment, and routinely had their passports confiscated.

A series of X-rays taken by conservationists at the Fitzwilliam Museum revealed Edgar Degas‘s use of wine bottle corks, shop-bought armatures, and old floor boards for his wax sculptures of dancers.

Dissident cartoonist Ramón Esono Ebalé (aka Jamón y Queso) was arrested in Equatorial Guinea. The artist, who has produced work criticizing dictator Teodoro Obiang Nguema Mbasogo, had travelled back to his home country to renew his passport.

Richard Rogers challenged Prince Charles to engage in a public architecture debate after claiming he knows of five developers who have privately consulted the prince out of fear of his potential opposition. A spokesman for the prince of Wales denied the architect’s claims. In 2015, the Guardian published the so-called “black spider” memos, a number of letters sent by Charles to British government ministers and politicians advocating his stance on a number of socio-political issues — a violation of the monarchy’s tradition of political neutrality.

Nicole Eisenman‘s sculpture “Sketch for a Fountain” (2017) was vandalized for a second time. The work was spray painted with a swastika and a phallus on the eve of Germany’s 2017 election, in which the far-right party Alternative für Deutschland (AfD) made historic gains in the Bundestag.

Hurvin Anderson, “Is it OK to be black?” (2016), oil on canvas, 130 x 130 cm (courtesy the artist)

The 2017 Turner Prize exhibition opened at the Ferens Art Gallery in Hull. This year’s nominees are Hurvin Anderson, Andrea Büttner, Lubaina Himid and Rosalind Nashashibi.

A Manhattan district judge dismissed a lawsuit filed against London’s National Gallery over the ownership of Henri Matisse’s 1908 portrait of Margarete “Greta” Moll.

A group of amateur archaeologists discovered a Roman mosaic in Boxford, England. Part of a larger villa complex, the mosaic is thought to depict Bellerophon, Hercules, and Cupid.

Developers filed an application to destroy the last remaining example of Victorian slum housing in Leicester, England.

The UK’s oldest postcard firm, J Salmon, will close in December. Founded in 1880, the firm remained a family business for five generations.

Anger Management, a pop-up store organized by Marilyn Minter and Andrianna Campbell, opened at the Brooklyn Museum. Featuring works designed by artists including John Baldessari, Jenny Holzer, Barbara Kruger, and Glenn Ligon, the store features objects dedicated to themes of “resistance, hope, and protest.”

The empty lot on the corner of Bedford and North 1st Street in Williamsburg — known to locals for its eccentric dioramas of stuffed animals — was listed for sale.

Transactions

Wisdom King of Passion (Aizen Myōō) (1300s), Kamakura period (1333–1392) to Nanbokuchō period (1336–92), hanging scroll; ink, color, gold and cut gold on silk, 102 x 60.5 cm (courtesy Cleveland Museum of Art)

Agnes Gund donated works by Brice Marden, Robert Colescott, Claes Oldenburg, Donald Sultan, and Adja Yunkers to the Cleveland Museum of Art. The museum also announced a number of other recent acquisitions, including a portrait by Joseph Wright of Derby and a medieval painting of Aizen Myōō, one of the Five Great Wisdom Kings and protectors of the Five Wisdom Buddhas.

The Peabody Essex Museum acquired the Andover Newton Theological School’s collection of Native American and native Hawaiian objects. The museum has committed to identifying possible ownership of the artifacts in compliance with the Native American Graves Protection and Repatriation Act of 1990.

Cheryl and Haim Saban donated $50 million to the Academy Museum of Motion Pictures.

Yahoo’s cofounder, Jerry Yang, and his wife, Akiko Yamazaki, donated $25 million toward the Asian Art Museum in San Francisco‘s expansion project.

Peter Fu donated $12 million to the McGill School of Architecture.

The Akron Art Museum received an $8-million grant from the Knight Foundation.

Susan and Stephen Wilson donated $1.5 million to the Mary and Leigh Block Museum of Art at Northwestern University.

Gerhard Richter plans to donate a new, multi-part artwork to the city of Münster, Germany.

The Museum of Fine Arts of Montreal acquired Henry Moore’s “Three Piece Reclining Figure No. 1” (1961–62).

The Woodson Research Center at the Fondren Library at Rice University acquired the archive of the Contemporary Arts Museum Houston.

David Hockney donated his 32-panel painting “The Arrival of Spring in Woldgate, East Yorkshire” (2011) to the Center Pompidou.

The Vivien Leigh collection sold at Sotheby’s for £2.2 million (~$3 million) — a figure five times higher than the pre-sale estimate. Highlights included a sketch of the actress by Augustus John, a watercolor by Roger Kemble Furse, and a still life painting by Winston Churchill.

Roger Kemble Furse, “Vivien Leigh Reading with Tissy” (nd), watercolor, pen, ink, and pencil on paper (courtesy Sotheby’s)

Transitions

Gerard Vaughan announced his retirement as director of the National Gallery of Australia.

Linda Blumberg will step down as executive director of the Art Dealers Association of America at the end of the year.

Augustus Casely-Hayford was appointed director of the Smithsonian’s National Museum of African Art.

Kathy Halbreich was appointed executive director of the Robert Rauschenberg Foundation.

Marko Daniel was appointed director of the Joan Miró Foundation.

Thomas Sokolowski was appointed director of the Zimmerli Art Museum at Rutgers University.

Nicola Trezzi was appointed director and chief curator of the Center for Contemporary Art Tel Aviv.

Kwame Kwei-Armah was appointed artistic director of the Young Vic in London.

Colin B. Bailey was elected to the Richard Diebenkorn Foundation’s board of directors.

Sheikha Hoor Al Qasimi was appointed head of the International Biennial Association.

Rendering of the Studio Museum in Harlem’s new building, facade view from 125th Street (courtesy Adjaye Associates)

Diane Wright was appointed curator of glass at the Toledo Museum of Art.

Douglas Brinkley was appointed the New-York Historical Society’s first presidential historian.

The Meadows School of the Arts at SMU announced new faculty appointments, including the Roberto Conduru as professor of Art History.

Loring Randolph was appointed the Frieze art fair’s artistic director of the Americas.

Former Metropolitan Museum of Art curator Carlos Picón was appointed director of Colnaghi’s new New York gallery.

The Studio Museum in Harlem unveiled the first renderings for its new building.

Canada’s first-ever National Holocaust Monument was opened in Ottawa.

The American Museum of Natural History announced a $14.5 million renovation of the Hall of Northwest Coast Indians.

Architecture firm Yamasaki will reopen under the leadership of Robert Szantner, a longtime employee of the late architect Minoru Yamasaki (1912–1986). Szantner teamed up with fellow employees to purchase the firm’s intellectual property out of receivership.

Two museums dedicated to Yves Saint Laurent (1936–2008) will open in Paris and Marrakech next month.

Accolades

The Corning Museum of Glass selected Karen LaMonte for its 2018 Specialty Glass Artist-in-Residence.

The Museum of Contemporary Art Chicago and the Nasher Museum of Art at Duke University were awarded the inaugural Sotheby’s Prize.

Obituaries

The July 1977 issue of Famous Monsters of Filmland, with a cover by Basil Gogos (via Flickr/Toho Scope)

Marc Balakjian (1938–2017), artist.

Katherine M. Bonniwell (1947–2017), Life magazine publisher.

Derek Bourgeois (1941–2017), composer.

Charles Bradley (1948–2017), soul singer and songwriter.

Robert Delpire (1926–2017), editor, curator, and gallery owner.

Ritha Devi (1924–2017), Indian classical dancer and teacher.

Basil Gogos (1929–2017), artist. Best known for his portraits of movie monsters and villains.

Billy Hatton (1941–2017), guitarist and singer. Founding member of the Fourmost.

Hugh Hefner (1926–2017), publisher and founder of Playboy.

Marian Horosko (1925–2017), ballet dancer and historian.

Albert Innaurato (1947–2017), playwright.

John Jack (1933–2017), jazz producer and promoter.

Myrna Lamb (1930–2017), feminist playwright.

Vann Molyvann (1926–2017), architect.

Zuzana Ruzickova (1927–2017), harpsichordist and Holocaust survivor.

David Shepherd (1931–2017), artist and wildlife conservationist.

Albert Speer Jr. (1934–2017), architect. Son of Nazi architect Albert Speer.

Pete Turner (1934–2017), photographer.

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capelesscrusader · 7 years

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Just in time for the iconoclastic character’s 55th anniversary, Barbarella is retuning to comics. Dynamite Entertainment is bringing the classic heroine back to comics for her first series in 35 years, written by Mike Carey (“Lucifer,” “Hellblazer,” “X-Men”) with art by Kenan Yarar (“Hilal”).

Created in 1962 by Jean Claude Forest, Barbarella was designed to represent a playful look at a modern woman at the cusp of the sexual revolution. Suffused with a sense of mischief, humor and eroticism, Barbarella’s adventures were soon as popular as they were risqué for the time. The character achieved even greater…..ummm….exposure when director Roger Vadim adapted the character into a notorious film starring Jane Fonda in the title role. The character continued to be a key figure in pushing the political and sexual boundaries of comics until her final appearance in comics in the classic magazine Heavy Metal 35 years ago.

Now, with the editorial support of Barbarella brand custodian Jean-Marc Lofficier, Carey and Yarar are set to bring Barbarella back for a 21st century audience. The new series marks the first time an American publisher has created new stories for the character and her world.

“We are extremely proud to not only be the first publisher to bring the iconic character back to print in more than 35 years, but to be the premiere American publisher to have the honor in Barbarella’s history,” says Dynamite CEO/Publisher Nick Barrucci. “To be able to work together with the incredible talents of Mike Carey, now combined with the artistic brilliance of Kenan Yarar, we’re certain we’ve brought in the perfect team to do her legacy justice. I cannot thank Jean-Marc and the estate enough for bestowing this honor on us.”

Lofficier had praise for the work of Yarar. “I am delighted with the selection of Kenen Yarar…His preliminary sketches have shown both a spirit and a style that brings a new life into the character; it is faithful without being imitative.”

And Yarar’s collaborator Mike Carey was similar in his admiration of the artist’s take on the character. “I’m really excited to be working with Kenan Yarar…He’s an artist with an exuberant, dazzling, playful style that’s perfect for the book – and he’s a great collaborator, always coming up with left-field solutions to narrative problems.”

As for Yarar himself, he was excited to work with a writer as gifted as Carey. “The thing that compelled me to absolutely take part in this project was reading Mike Carey’s script. The script was masterful and enjoyable in addition to having a solid philosophy and subtext to be the answer if someone bothered to ask me what kind of a comic book I’d like to work on as an artist. Also, the script demanded costumes, weapons, ships and worlds to be redesigned; the kind of work I delight in. I hope to present the script and Barbarella to Dynamite readers as fine and sophisticated as they truly are.”

Check out a look at Yarar’s art as well as some cover selections below.

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Dynamite Entertainment brings Barbarella back to comics in October, 2017.

MIKE CAREY IS JOINED BY ARTIST KENAN YARAR TO BRING DYNAMITE ENTERTAINMENT’S BARBARELLA TO COMICS FOR THE FIRST TIME IN 35-YEARS!

Dynamite is First American Publisher to Ever Create New Stories for the Iconic Character!

September 19, 2017, Mt. Laurel, NJ: Timed to coincide with the celebration of legendary heroine Barbarella’s 55th anniversary, Dynamite Entertainment is pleased to announce that the iconic character’s first-ever American comic series, and first new comic series in more than 35 years, is now set to feature the critically-acclaimed artistic stylings of Turkish artist Kenan Yarar (Hilal). Yarar joins writer Mike Carey (X-Men, Lucifer, The Girl with All the Gifts), and longtime Barbarella brand custodian and consulting editor Jean-Marc Lofficier, on the revolutionary new series slated for release this December!

“When I was first told of Dynamite Editor Matt Idelson’s Barbarella project, I thought it was fascinating,” says artist Kenan Yarar. “Even though Barbarella is unruly, bold, attractive and sexually appealing, she wasn’t objectified and she has a strange universe that may lead to countless eccentric worlds. The thing that compelled me to absolutely take part in this project was reading Mike Carey’s script. The script was masterful and enjoyable in addition to having a solid philosophy and subtext to be the answer if someone bothered to ask me what kind of a comic book I’d like to work on as an artist. Also, the script demanded costumes, weapons, ships and worlds to be redesigned; the kind of work I delight in. I hope to present the script and Barbarella to Dynamite readers as fine and sophisticated as they truly are.”

Kenan Yarar was born in 1970 in Kayseri, Turkey. When he was one-year old, Yarar’s family moved to Istanbul where he continued his formal education through high school. At that point, he willingly decided to cease his formal education since it was weary and inadequate for his artistic and penciling skills which were already noticed. Yarar looked at several media to channel his art. Although he got many jobs as a graphic designer and cartoonist, his sequential art tendency was noticed by comic book masters in every newspaper he worked at. Yarar got almost all the support and sequential art training at that era in his life. When he was 21, his comic works started to be published in small magazines. Soon after that his stories and art style caught interest and along with increasing sales trend for monthly and weekly publications he started to regularly create comic work. The most important character created by Yarar is Hilal, a beautiful and rebellious girl with school problems which has the devil stalking her ever in disguise. He also penciled short stories and Tales of Psychosis in which he illustrated dark stories of urban life and urban people dramas and absurdities. Kenan Yarar has been writing and illustrating comic books regularly for the last 25 years. He lives in an apartment which he uses as a home studio and shares it with a crow, a pigeon and a cat.

Created by Jean Claude Forest in 1962, Barbarella was introduced at the heart of the Sexual Revolution, and is forever ingrained in pop culture after Jane Fonda’s unforgettable portrayal in the 1968 cult-classic film. She was a key figure in the fertile battleground of French comic books and the struggle for sexual freedom in the medium, and has not appeared in a new series since her last appearance in the legendary science fiction publication, Heavy Metal.

“I’m really excited to be working with Kenan Yarar,” says writer Mike Carey. “He’s an artist with an exuberant, dazzling, playful style that’s perfect for the book – and he’s a great collaborator, always coming up with left-field solutions to narrative problems.”

“I am delighted with the selection of Kenen Yarar, says Barbarella consulting editor Jean-Marc Lofficier. “His preliminary sketches have shown both a spirit and a style that brings a new life into the character; it is faithful without being imitative.”

“The first time I saw Kenan’s art, my jaw just dropped,” says Matt Idelson, senior editor for Dynamite. “His work is extraordinary, and it straddles an impossibly fine line between the utterly fantastical while staying grounded and keeping you in the story. The level of detail and thought he brings to everything he draws, be it from the real world or the world of the imagination is remarkable. I knew he had to draw the book from that first moment.”

Dynamite Entertainment first announced the return of Barbarella to comic books in October of 2016, welcoming the sci-fi icon to their stable of strong female heroines alongside Red Sonja, Vampirella, Sheena, Dejah Thoris (of Warlord of Mars), and more. In July 2017, Dynamite Entertainment announced visionary writer Mike Carey would helm the new series, to rave review! In addition to this original comic book stories, Dynamite plans to develop Barbarella in further categories which include potential art books and 3D figurines.

Barbarella will be solicited in Diamond Comic Distributors’ October 2017 Previews catalog, the premier source of merchandise for the comic book specialty market, and slated for release in December. Comic book fans are encouraged to reserve copies of Barbarella #1 with their local comic book retailers. Barbarella #1 will also be available for individual customer purchase through digital platforms courtesy of Comixology, Kindle, iBooks, Google Play, Dynamite Digital, iVerse, Madefire, and Dark Horse Digital.

About Dynamite Entertainment:

Dynamite was founded in 2004 and is home to several best-selling comic book titles and properties, including The Boys, The Shadow, Red Sonja, Warlord of Mars, Bionic Man, A Game of Thrones, and more. Dynamite owns and controls an extensive library with over 3,000 characters (which includes the Harris Comics and Chaos Comics properties), such as Vampirella, Pantha, Evil Ernie, Smiley the Psychotic Button, Chastity, and Peter Cannon: Thunderbolt. In addition to their critically-acclaimed titles and bestselling comics, Dynamite works with some of the most high-profile creators in comics and entertainment, including Kevin Smith, Alex Ross, Neil Gaiman, Andy Diggle, John Cassaday, Garth Ennis, Jae Lee, Marc Guggenheim, Mike Carey, Jim Krueger, Greg Pak, Brett Matthews, Matt Wagner, Gail Simone, Steve Niles, James Robinson, and a host of up-and-coming new talent. Dynamite is consistently ranked in the upper tiers of comic book publishers and several of their titles – including Alex Ross and Jim Krueger’s Project Superpowers – have debuted in the Top Ten lists produced by Diamond Comics Distributors. In 2005, Diamond awarded the company a GEM award for Best New Publisher and another GEM in 2006 for Comics Publisher of the Year (under 5%) and again in 2011. The company has also been nominated for and won several industry awards, including the prestigious Harvey and Eisner Awards.

Barbarella Returns to Comics After 35 Years in New Series From Dynamite! Just in time for the iconoclastic character's 55th anniversary, Barbarella is retuning to comics. Dynamite Entertainment…

#Barbarella #Comic Books #comics #Dynamite Entertainment #Jean-Marc Lofficier #Kenan Yarar #Mike Carey #Nick Barrucci

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actionfigureinsider · 7 years

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Dynamite is First American Publisher to Ever Create New Stories for the Iconic Character!

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About Dynamite Entertainment:

MIKE CAREY IS JOINED BY ARTIST KENAN YARAR TO BRING DYNAMITE ENTERTAINMENT’S BARBARELLA TO COMICS FOR THE FIRST TIME IN 35-YEARS! Dynamite is First American Publisher to Ever Create New Stories for the Iconic Character! September 19, 2017, Mt.

#Barbarella #Comic Book #Dynamite Entertainment #Sci Fi

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mwitchipoo · 5 years

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Enough talk. Here’s photos of the exhibit. The paintings, notebooks, sketches and such contain much symbolism. The exhibit itself ended April 23rd, 2019.

Back to checking out the final sections of Klint. There was also cases of documented work. Even the library had cases of Klint.

The Hilma af Klint exhibition was the most popular in the museum’s 60 year history.