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hbcsource · 1 year

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HELENA BONHAM CARTER IN CONVERSATION WITH SIMON CALLOW | THE LONDON LIBRARY MAGAZINE | APRIL 2023 Helena Bonham Carter was joined by the writer and fellow actor Simon Callow at home this spring to discuss her new role: Library President. The two are longtime members and met filming the 1985 EM Forster adaptation A Room With a View. Bonham Carter was 19. It was the first of many Merchant Ivory productions for her, including Maurice and Howards End, before Hollywood called, with a role as the suicidal love interest in David Fincher's Fight Club. Work with her former husband, Tim Burton, came next, as well as a contribution to the Harry Potter franchise and more. Callow's acting career includes stage roles in Shakespeare, Beckett, pantomime and contemporary theatre and beloved British films such as Four Weddings and a Funeral. He is a biographer of Oscar Wilde and Orson Welles and a renowned Dickens expert. This conversation has been edited and condensed for clarity. HELENA BONHAM CARTER: Simon, it's very nice to see you here. Welcome to my Presidential home! I'm not having a clever day - do you find that, or are you always clever? SIMON CALLOW: Always. But I think I might be daunted by being the President of The London Library. Such a wonderful title, such a wonderful entity. HELENA: I love the title. The older I get, the more I like having conversations with dead people - for instance my dad, who made me a member when I was 21. For the Library to then ask me to be President... SIMON: Fantastic. HELENA : I used the Library a lot then, which was also when I first met you. I was sort of roaming and feeling lost, having a great time filming but feeling out of my depth everywhere. My peer group had gone to uni, and I was suddenly just on my own path and really unequipped to deal with it. I had a massive chip on my shoulder. So The London Library was my college. I felt legitimate, and I thought I could wander in and dress up like Virginia Woolf. SIMON: It's like going right back to the source, isn't it? There it all is, and there they were. HELENA: There they were! It's not only a conversation with my dead dad, but a conversation with EM Forster. If it was not for him, we wouldn't be here. SIMON: A Room With A View is my favourite film of all the films I've been in, and I'm still astonished by its freshness. HELENA: It still works. SIMON: It really does. It was my second film and I was incredibly relieved - I'd been in Amadeus and detested every second. When I got the script [for A Room With A View] Ismail [Merchant, the producer] said to me: "We want you to play the leading part!" So I thought, "This is great, he sees me as George. I'll go on a diet immediately." Then my agent discovered I was in fact playing the Reverend Beebe. And I thought, "No, outright no." I was terribly hurt. HELENA: And totally miscast. SIMON: Beebe's the fat old parson; I can't possibly play him. Finally I gave in to discover that suddenly I was with the aristocracy of British film and theatre: Maggie [Smith], Judi [Dench] and Fabia Drake, no less. And you. Who was completely new. HELENA: I was a foetus. SIMON: What I remember about you then was the incredible speed with which you spoke. HELENA: Oh, seriously? That's like my daughter. SIMON: You would change tack in the middle of a sentence and contradict yourself. HELENA: I don't think that's changed. I'm interested that I spoke at all. I remember myself as a mute, a total mouse, and so in awe of everyone. I was aware that you were a writer and talking about Mozart a lot, so I thought, "He's the Renaissance man that I have to become." Also, without being too indiscreet, you were one of the kinder adults. SIMON: Fabia was an absolute holy terror. What was great was to be working on a script drawn from such a wonderful novel. Ruth [Prawer Jhabvala, who adapted the original novel for the film] incomparably excelled at weaving the words from the novel into a real script, so that these were really people talking to each other. My favourite scene in any movie I've acted in is our scene at the piano. HELENA: It was the most important scene. You, as Mr Beebe, caught Lucy [Honeychurch, my character] playing in private. He's so tender and I love that. "If only you knew how to live as you play." SIMON: Beebe, certainly as written by Ruth - less so by Forster actually - is essentially benevolent. I remember the first read through, in London somewhere? HELENA: I was terrified. Maybe it was the first time I read with Maggie and Judi. SIMON: Maggie terrified me by saying, "Why are you calling him 'Beebe'? It has to be 'Bee-be'. Beebe sounds as if we're at the Beeb!" Were you always a great reader of novels? HELENA: Quite a good reader, though I was slow. I was taught at English A Level by Penelope Fitzgerald. SIMON: I knew and loved her. Was she a good teacher? HELENA: Extraordinary. Did you ever read Offshore? I love that. But I thought it would be good to look as if I read, because then every heroine in every book or film was a reader or writer. I wanted to be Judy Davis in My Brilliant Career. It was probably quite healthy, instead of fixating on a physique, which is what most people do these days because of Instagram. I wasn't very sexual for a long time. SIMON: You were wearing lots of clothes. HELENA: So many clothes. SIMON: One couldn't even begin to guess what the woman beneath would be. HELENA: No, there wasn't a body. SIMON: It was extraordinary, you were a sort of Oxfam shop on two legs. HELENA: I don't know where that came from. I think I had a real complex. Maybe because I was in such a male world. I went to Westminster [School], which was all boys, so before I even walked into period movies, I was dressed as a Victorian. It was always about pretending to be in the past. I over romanticised or felt I belonged in the past, actually. SIMON: The biggest relationships in my young life were with my grandmothers. I asked one to make me an 18th-century costume for a Christmas present. HELENA: Oh, I love that. So you dressed up as Mozart? SIMON: In effect. I loved the fabrics, the shimmer of it all. HELENA: On Maurice [1987] I did hair and makeup for all the men, which was rather a good way of dating people. It was Tinder then. In terms of influence, how important were your parents? SIMON: The only one of my family that read novels was my grandmother, though she never talked about them. A book can be just for you. You have a relationship with the characters and have somehow subsumed them into your psyche. HELENA: I always feel like you want to share the wonder. SIMON: Your family are very literary, aren't they? HELENA: Well, my grandmother Violet definitely was, on my dad's side. She was [Prime Minister H H] Asquith's daughter [and president of the Liberal Party from 1945-47]. My maternal grandmother was a special character, but found it difficult to read. I think she would have been diagnosed as dyslexic now, but she wrote beautifully. My mum, her whole life has never been without several books. My dad developed cortical blindness, which meant he couldn't see faces, but could read, so he read his way through the last 24 years of his life. We had half of The London Library in our home because they'd send him books. SIMON: Oh, fantastic. HELENA: Violet was formidable and wrote a lot of letters. I came back from filming with Woody Allen in a monastery in Taormina, and Dad was editing them. There was a postcard to her husband in 1940 saying: "Have just finished Morgan's latest Howards End." She knew Edward Morgan Forster. When I came to film Howards End with you, I read Violet's [unfinished] autobiography and thought, "Oh god, she was basically like the Helen Schlegel character, a sort of radical bohemian, a bluestocking..." And would have been the same age. So maybe she was a bit of a model for Helen. SIMON: Forster wasn't a recluse until later at King's College Cambridge, I think. HELENA: Did you ever get a sense of what he was like? SIMON: Everything in his life was the opposite of what he espoused: the passion, the connecting. This gives his work its force, because it didn't come easily to him. He had to struggle to make it happen. HELENA: He did have relationships though, didn't he? SIMON: Famously with a married policeman, Bob Buckingham. But also earlier, in Alexandria, and later, with a Bulgarian art collector, 45 years his junior. All very discreet. As a young gay man, I was impatient with him. Instead of thinking how extraordinary it was for its time, I just thought, "Come on, we've gone beyond all of this". It felt a bit spinsterly. Now I think it's passionate and unbelievably brave and exquisitely written. Then, I was more taken by DH Lawrence, which was all oceanic... My entire ambition was to be a writer. Do you write? HELENA: I've been asked to, and I've written the odd article. My attention span is troubling, but I do enjoy it when I apply myself. SIMON: I have to work very hard at it, and do terrifically long days. I can be at the laptop by seven. HELENA: In the morning? Jeez. OK, so you've got Morning Brain. SIMON: I've got a night brain, too. But no afternoon brain. HELENA: The afternoon is not really good for much. SIMON: Yes. I have difficulty in the theatre, rehearsing in the afternoon. HELENA: I have to have a snooze, no matter what. The snooze has been a pillar of my living. Do you ever write in books when you're reading them, or is that sacrilegious? SIMON: I do when I'm reviewing, but that's with proofs, so I can scrawl all over them. HELENA: I've got a thing about having a relationship with a book, so I will, unfortunately, write sentences in them. Also in the hope that somehow it's going to stick in the brain. SIMON: Let's talk about the Library - its location, for instance. St James's Square is enchanting. HELENA: Yes, and I do think that places work magic on us and influence what we think. It is very creative. Also, just silence. To go and sit with others with no danger of conversation, but you've got the company of other people concentrating. If you're going to seriously write, it could be very lonely. You have to go to battle with yourself, but it's alleviated at the Library because you're with other people who are going into battle with themselves. SIMON: Libraries generally have a very curious combination of this quietness and focus, coupled with a very sexy feeling. It's the silence. HELENA: I was going to raise that, but you start. SIMON: I wonder why that is exactly. It's just because everybody's in their own space and in their own world somehow, and you know that as you drift into that sort of semi hypnotic state, sex is going to be in there somewhere. HELENA: Yeah, it's always there. SIMON: So it's the subconscious. It's sort of milling around the Library. I think I said this before, it's like a book bordello. You just go up and take whatever you want to. HELENA: Have your pleasure. I like that. SIMON: The Library's postal service is also miraculous. And everyone's so sympathetic. Years ago, my dog acquired a passion for 17th-century literature; it turns out it was the fish glue used to bind the spines. One day I came home and there was a priceless volume in pieces all over the place. I offered to replace it somehow but the Librarian said: "I have dogs; I understand." HELENA: How do you use the Library? SIMON: Not for writing or reading. Just to borrow books. The collection of arcana is vast. Writing about Orson Welles, I needed to know what it was like to be a tourist in Morocco in 1930. The Library had six - six! - guides from the period. I don't know anywhere else I could have found that. I love clambering up the metal stairs and finding things that nobody's taken out for 100 years. HELENA: You think George Eliot is going to actually appear. SIMON: It still is enchanting to me to do that. HELENA: As a writer, do you have a ritual? SIMON: Procrastinate as long as possible. I was so relieved to discover that Ibsen could spend four hours rearranging his desk before starting to write. Unlike Dickens. HELENA: He just sat down? SIMON: He was always writing at least two things at once, sometimes more - he wrote the last of The Pickwick Papers and the first chapters of Nicholas Nickleby simultaneously. He worked it all out, I'm sure, on his long walks. HELENA: Have you seen his original manuscripts? SIMON: Almost illegible; you feel the heat of his creative energy. He talks about the characters dancing down the pen. HELENA: I love that - when somebody takes possession. SIMON: As with acting: when it's good, it's not you playing the character, it's the character playing you.

#helena bonham carter #simon callow #the london library #interviews #2023 #interviews: 2023 #the london library magazine 2023

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tepot · 11 months

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"The Museum: A New Social Sculpture" by Simon Wu in Spike Art Magazine 75 Spring 2023

Some have called this the "reparative turn," which has called on institutions to atone for current and historical grievances perpetrated by museums and society more broadly. Writing about documenta fifteen, curated by the Indonesian collective ruangrupa, New York Times art critic Jason Farago described how the show "militated against its own viewing," focusing on work-shops, social gatherings, and "vibing" over visual art: "The real work of the show was not the stuff on the walls but the hanging out around it." Farago continued that this was connected to a larger shift away from aesthetics and toward various forms of social practice observable in museums, art schools, and magazines. Similarly, art historian Barry Schwabsky, writing in 2022 for The Nation, described the recession of the "aesthetic regime," or a turn away from art as a matter of form to increasingly privilege its ethical content. "What if today we are witnessing a return to a time when art is valued for its social utility, its edifying effect on the viewer," he wrote, "more than for its aesthetic valence?"

[...] In 1996, the curator Nicolas Bourriaud coined the term "relational aesthetics" to describe a growing tendency among practitioners to use social scenarios as materials for their art. There were temporary bars (Jorge Pardo's at K21, Dusseldorf; Michael Lin's at Palais de Tokyo, Paris; Liam Gillick's at Whitechapel Gallery, London), reading lounges (Apolonija Sustersi's at Kustverein Munchen, or the changing "Le Salon" program at Palais de Tokyo), and pad thai (Rirkrit Tiravanija's Untitled 1992 (Free) at 303 Gallery in New York), all of which used social situations as readymade performances of sorts. Throughout the 2000s, artists like Thomas Hirschhorn, Tania Bruguera, and Theaster Gates expanded these ideas into sprawling, multi-year projects that came to resemble libraries and community centers. From its inception, relational aesthetics inspired fierce debates over the relationships between utility, art, and civic duty. What did it mean to assess and experience that verged on social services according to ethical as well as aesthetic metrics?

Perhaps we have come to see the museum itself as a big, unwieldy project of relational aesthetics. When I go to a museum now, I want to know: Who sits on the board? What are their investments? Is the staff trying to unionize? What are its ties to both police and local communities? To think of the museum as a kind of collaborative social performance is to imbue its operations with both formal mutability and symbolic potential, positioning all those involved as "artists" engaged in its collective reshaping. This is not to just say that the museum is a work of art, or that it can escape the criticism that "good ethics" make for "bad art" endemic to relational aesthetics. It is more to say that perhaps those aspects that always felt concrete and immovable are feeling more unmoored than ever.

#museum studies #museums #art history #performance art #aesthetics #spike magazine

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manifestopaulo · 5 months

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This piece could have been entitled or subtitled ‘Why London will lose its place as a cultural centre’

In light of a DJ magazine article citing a report on the UK's "worst year for venue closures," London's cultural climate has seen better days. With a staggering loss of 125 grassroots spaces in 2023 alone, as reported by the Music Venues Trust, the city's vibrant music scene is facing a critical threat—one that resonates deeply with my observations of London's cultural shift.

Recently, there has been considerable reflection on the past, with an eye turned nostalgically toward the early 2000s. Festival line-ups this year feature acts from LCD Soundsystem to Bloc Party, the documentary 'Meet Me in the Bathroom,' which focuses on The Strokes and the New York scene, 6 Music's Indie Forever show, and an article in The Guardian by Daniel Dylan Wray about that influential period. it's evident that those years hold significant personal resonance for many people including myself. Numerous cultural elements converged to forge a golden era, one marked by a blossoming of creativity that galvanized vast populations globally, prompting them to engage with the dynamic music and the vibrant scenes of that period. However, this peak, rich in innovation and unity, suggests a bittersweet tone—as for many aspects, it represented a final flourish. It may have indeed heralded the onset of a gradual decline that has persisted ever since.

Despite a pervasive nostalgia for London's cultural heyday, there emerges a deeper, more sobering realisation: the pivotal elements of our culture are steadily slipping into the shadows, compounded by corporate monopolisation of our urban spaces and a general decline into economic hardship. This has led to a tangible displacement, with authentic people and establishments being irrevocably uprooted, shuttered, and permanently erased from our cultural landscape.

Amidst this pervasive sense of loss, there emerges a great sadness for the younger generation—those now bereft of the expansive and transformative experiences that were once almost a rite of passage. This applies keenly to the budding musicians, aspiring artists, and passionate new music aficionados who may now never fully realise those ambitions, especially in London.

And I also find myself contemplating the trajectory of London's cultural evolution, particularly within the music and arts community. It is impossible to ignore the symbiotic relationship between the city’s music scene and its standing as a cultural nexus. The question lingers: As venues shutter and memories fade, can London maintain its reputation as a cultural touchstone?

The financial pressures facing young people and the increasing commodification of time have also contributed to the decline of social and cultural spaces. The transformation of London's landscape into a more risk-averse, corporate-focused environment has stifled the grassroots movements and alternative scenes that defined the city's cultural identity.

I had a revealing online exchange with a DJ from that era who is still active in the London scene, about the changing dynamics for young people and the club scene. He depicted their predicament with incisive clarity:

“The cultural and physical landscape has undoubtedly shifted. With an abundance of social activities available at home - from streaming services to video games - the expense of nightlife and beverages becomes more burdensome. Today's youth are increasingly health-conscious. Simultaneously, there's a social media-fueled desire to attend 'filmable' occasions. This situation is indicative of a broader trend: the decline of 'third spaces' such as pubs, cinemas, libraries, and social clubs. As time turns into a commodity, paradoxically, our lives seem more isolated, though we are part of a larger, interconnected world.

In the current UK scene, young people are less inclined to just go out to a good club on a weekend to see new/unknown acts, they are more interested in splashing out once every 6 months on a mega-event with a festival-style lineup of well known DJs and enthusiasm for new or underground acts wanes“

To further the dialogue and those sentiments I injected that for me, corporate influence has monopolised our music and DJ culture, pushing it toward mainstream rock and stadium-style performances. This has shifted the mindset to glorify only the most prominent names, perceived as the pinnacle of professionalism, contrary to what the scene was originally all about. This is a departure from the past focus on the underground scene. Previously, there was a strong post-punk ethos valuing innovation and the avant-garde. However, big labels and corporations, dominant in the costly city landscape, tend to just buy what seems solid and don't originate anything. Consequently, the new generation, unfamiliar with the earlier model, has accepted this as the norm. This is an evolution that does little to benefit the grassroots, the underground, or the marginalised. Moreover, with these entities wielding significant financial power in contrast to the widespread economic strain, the struggle for the smaller players becomes even more pronounced.

If you reflect on the genesis of House music, Its very name originates from a niche haunt and sonic haven for a gay and at the time very marginalised community. They spurned the glossy anthems that big record labels hawked, instead championing sounds conjured by local talents wielding modest gear like Drum machines, Synths & 303’s. This maverick choice became the unique auditory landscape of the city, Chicago.

Even more intriguingly, this community had the courage to venerate music largely dismissed by the American mainstream; they found a resonance in the misaligned music genre’s such as Italo Disco. Despite its naive simplicity and jaunty vibrancy, or perhaps because of them, this European take on disco—with its unabashedly campy and tremulous vocals—boasted an authenticity and spirited soulfulness that far surpassed the refined, overproduced soul and pop hits of its time. Again, it’s hard to believe now, but this marginalised community with its misaligned music became the sound the city would become famed for and grew into the global phenomenon that it is today.

Throughout my life, London has been synonymous with youth movements, alternative scenes, and underground music. Its landscape is dotted with cheap, accessible venues that sustain an underground circuit—a haven for niche and grassroots music. These places are crucial for marginalized and fringe groups, providing spaces for them to dance, enjoy their music, and celebrate their unique identities. Whether it's the vibe of the local community or a broader regional identity, there's a palpable oscillation between the traditions of the longtime residents and the transformative influx of modern influences. This dynamic interplay captures the essence of our city, crafting what eventually becomes the modern soundtrack of London. These cultural pockets are the ones stand in defiance of the prevailing mainstream norms and the corporate entities that seem perpetually 'out of touch' with the city's workings. They are too removed from the authentic cultural heartbeat of the city to truly grasp it.

Visitors to London might observe the gleaming new developments and buildings, fashionable eateries, and a working-class aesthetic with a trend towards 'thrift store chic' fashion, and mistakenly interpret these as signs of progress. They obscure and divert attention from a more accurate portrayal of the city's direction.

But London, much like other bustling cities, is unfortunately losing something due to skyrocketing prices. Although there is an incredible progressive community in this city that celebrates uniqueness and individuality, it’s becoming more and more challenging for small independent businesses to thrive, especially those with an artsy and rock and roll vibe. It’s disheartening to see corporate monopolies dominating the scene, as it’s normalizing mediocrity and pushing away a more adventurous and inquisitive crowd. As a result,it’s becoming very risks adverse in London has become quite corporate-focused, which is a real shame. it’s totally destroying what London used to represent.

To ensure my point is clear, I will spell it out explicitly. Gentrification in cities often heralds a shift towards conservatism, as the quirky, eclectic character that once defined neighbourhoods is replaced with uniformity and exclusivity. The influx of wealth that drives up property values tends to displace long-standing communities and local cultures, favoring more commercial and mainstream tastes. This process can stifle the creative and diverse spirit, traditionally associated with dynamic urban centres, by prioritizing stability and order over the vibrant chaos that often fuels cultural innovation. As a result, gentrification can unintentionally transform cities into more conservative, less culturally diverse environments.

The transformation underway is fundamentally altering what London once signified. While I embrace nostalgia for days gone by, the current trend is a charade: affluent individuals masquerading as torchbearers of a bygone cultural epoch. Theirs is merely a performance, lacking any authentic progressive ideology or convictions.

A pervasive myth suggests that affluence equates to cultural enlightenment and progressivism, while ordinary folks are branded as conservative by default. Believe me, a city exclusively inhabited by the wealthy will not become more vibrant or culturally rich—perhaps only more sterile. Contrary to what some misinformed individuals may think.

Perhaps London risks evolving into a more ‘austere’ metropolis, and regrettably, there are those who mistakenly view this as progress. Perhaps they mistakenly link techno music with austerity and view it positively—a kind of misguided notion that seems all too common these days, sadly. Take, for instance, the 'happy to settle for less' mentality associated with the trend of minimalist living. It's a concept that might sound appealing, unless you have actually endured the hardships of being compelled to live with next to nothing.

Paul Morley, a legendary music journalist with proud Mancunian roots and an advocate for the cultures of the North, once delivered a scathing critique of London's corporate mindset towards creativity. He wrote, "the absolute contempt for London! London is a metaphor. It embodies all that is conservative in the business approach to culture, art, and entertainment. It's a reflection of laziness."

His words ring truer with each passing day.

We find ourselves sliding toward this dismal state because too many have been content to fall in line with this conformist thinking or have aspired to do so, only now to be rejected by the very system they embraced.

Morley's acerbic yet increasingly relevant commentary extends: “The joining the status quo, equals success, equals superiority, toughness - it's the easy option for the middle class though - it's the sell outs & dickheads. Handed to them on a plate & they end up taking it because they are lazy”

Reflecting on this reminds me of other historical eras we’ve witnessed, each with their unique parallels. Two particular comparisons strike a chord: the era of Progressive Rock and the artistic rebellion of the Futurists in the early 20th century.

Reflecting on the current cultural trajectory of London recalls striking parallels with transformative epochs from the past. Take, for example, the decline of Progressive Rock, with its intricate musicianship and grandiose aspirations of elevated artistry, which stood unassailable until the raw vigor of punk shattered its cultural ascendancy.

Today, London's youth stand in need of a similar insurgence—a punk-like revolution to reclaim and reshape their cultural landscape. Yet the looming crisis for London is the exodus of these very revolutionaries. The prohibitive cost of living is driving out the young creatives who are the lifeblood of such cultural metamorphoses, leaving the city at risk of a cultural sterility unseen in prior times of change.

But what it really looks like is what the Futurists art movement recognised in the early 20th century was they needed to pull down the Traditional arts of the rich, with it’s claim of superiority and cultural dominance, there rudimentary, often childlike art was also that challenge the status quo back then they recognised it for what it was, the culture of ‘out of touch’ stuffy old men with deep pockets, but paradoxically stifled the very vibrancy and dynamism that art and culture necessitate. This old guard, mired in conservative values and wielding financial power, effectively suppresses innovation and diversity, imposing a stranglehold on the city's cultural heartbeat.

Fortunately there is good news. You don’t need to live in London anymore. With Globalisation, the internet, you can find alternative people everywhere, progressive communities, truly artistic creative communities, with good music, good culture in nearly every big to middle size city in many other countries in the world, where people will care more if someone tries to be a new band putting on a gig, where it’s probably cheaper, less cynical, supportive of grassroots, probably with even all year round better weather, it’s already happening, I’ve seen friends move to places like this, and with the displacement of many people to these cities they are becoming better. And this is where London and other big capital cities will lose. You might say you’ve let the status quo win but Let them have the stifled, over priced shit weather city, they’re welcome to it I say.

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ericmorseblog · 10 months

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Our first author profile for Writer’s in Horror Month 2023 is Maurice Level.

Maurice Level (29 August 1875 – 15 April 1926) was a French writer of fiction and drama who specialized in short stories of the macabre which were printed regularly in the columns of Paris newspapers and sometimes staged by le Théâtre du Grand-Guignol, the repertory company in Paris's Pigalle district devoted to melodramatic productions which emphasized blood and gore.

Many of Level's stories have been translated into American newspapers since 1903, notably his well-known tale "The Debt-Collector" (at least eight different translations). Between 1917 and 1919 the literary editor of the New York Tribune, William L. McPherson (1865-1930), translated seventeen war tales (three of them anonymously), seven of them being collected in Tales of Wartime France (1918). In 1920, English journalist, editor and publisher Alys Eyre Macklin (ca. 1875-1929) arranged a treaty with Level to be his official literary agent for all English-language countries and translated a selection of 26 tales as Crises, Tales of Mystery and Horror (1920). Nine of them have been first published by Hearst's Magazine in New York in 1919-1920. Some other tales appeared later in various newspapers or magazines in England or in the USA, such as Pan (London), or in the well-known pulp magazine Weird Tales

H. P. Lovecraft observed of Level's fiction in his essay Supernatural Horror in Literature (1927): "This type, however, is less a part of the weird tradition than a class peculiar to itself — the so-called conte cruel, in which the wrenching of the emotions is accomplished through dramatic tantalizations, frustrations and gruesome physical horrors". Critic Philippe Gontier wrote: "We can only admire, now almost one hundred years later, the great artistry with which Maurice Level fabricated his plots, with what care he fashioned all the details of their unfolding and how with a master's hand he managed the building of suspense".

Thanks to Lovecraft, Maurice Level has been recognized in the United States and also in Japan as a minor master of the horrible, when he was forgotten in his own country, France during the major part of the 20th century. He was still in print in both these countries in the years 2000. Since 2017, various new editions of his works have been reissued in France, with new critical material.

Selected works in French

• L'épouvante: Roman (1908) novel, translated as Terror (newspaper serial, US, 1908–09) The Grip of Fear (UK, 1909; US, 1911)

• Les Portes de l'Enfer (1910) short stories

• Les Oiseaux de nuit (1913) short stories

• Mado ou les mille joies du ménage (1914) humorous sketches

• Vivre pour la patrie (1917) novel

• L'Alouette: Roman (1918)

• Mado ou la Guerre à Paris (1919) humorous sketches

• Le Manteau d'arlequin: Roman (1919)

• Barrabas: Roman (1920)

• L'Ombre: Roman (1921) Novel translated as The Shadow (UK, 1923) Those who return (US, 1923)

• Le Crime: Roman (1921)

• Au pays du Tendre (1921)

• Les morts étranges (1921) short stories

• L'Île sans nom (1922)

• L'Ame de minuit (serial, 1923 ; first book publication in 2017, Lulu.com, ISBN 978-0-244-90407-4)

• La Cité des voleurs: Roman (1924)

• Le Marchand de secrets (1928)

• L'Egnime de Bellavista (1928) prequel to Le Marchand de secrets

• Contes du Matin 1921-1924, sous la direction littéraire de Colette, preface by Jean-Luc Buard, La Bibliothèque Maurice Level/The International Maurice Level Library, 2017 (ISBN 978-0-244-00340-1)

• Contes de guerre 1914-1922, edited by Jean-Luc Buard, AARP/Centre Rocambole/Encrage, 2017 (ISBN 978-2-36058-168-9)

• Un maniaque et autres contes de l'Auto, 1904-1910, preface by Jean-Luc Buard, "La Bibliothèque Maurice Level"/Lulu.com, 2018 (ISBN 978-0-244-66494-7)

Selected works in English

• The Grip of Fear (1909)

• Crises: Tales of Mystery and Horror (UK, 1920) 26 short stories translated by Alys Eyre Macklin

o a.k.a. Tales of Mystery and Horror (US, 1920)

o a.k.a. Grand Guignol Stories (UK, 1922)

• Those Who Return (1923) translated by Bérengère Drillien

• Stories of Fear and Fascination: The Fiction of Maurice Level (2007) edited by John Robert Colombo with appreciations by Philippe Gontier, Battered Silicon Dispatch Box.

• Thirty Hours with a Corpse, And Other Tales of the Grand Guignol (2016) edited and introduced by S.T. Joshi. (Dover Publications, 2016)

• Crises, vol. 1: Tales of Mystery and Horror and Ten Other Uncollected Short Stories, Bordeaux, Mad Sheep, 2017, 232 p. (ISBN 978-2-36183-479-1), with afterword "Alys Eyre Macklin, Maurice Level's English Friend and Translator" by Jean-Luc Buard. New enlarged and illustrated edition of 1920 collection

•

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writerartistamira · 1 year

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7 June 2023

A dictionary of the revolution is included in this summer’s Digital Storytelling exhibition at the British Library in London, UK. Learn more at Fine Books Magazine.

#news #press

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3rdval · 1 year

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Referencing and bibliography taking shape

Ofili, C. (1998) No woman, no cry [Oil and mixed media]. Tate Modern, London. Available at: https://www.tate.org.uk/art/artworks/ ofili-no-woman-no-cry-t07502 (Accessed: 7 August 2020).

Carson, D. (2003) Dont mistake legibility for communication. [digital image] Available at:

https://www.ukessays.com/essays/design/dont-mistake-legibility-

communication-2998.php

(Accessed: 13.04.2023)

Bessemans, A. (2015) Matilda typeface. Available at: https://www.researchgate.net/figure/Matilda-designed-by-Ann-Bessemans-in-2014-is-an-example-of-a-typeface-explicitly_fig1_327660029

The Daily Universal Register is renamed The Times, 1788 (2023). Available at: https://www.news.co.uk/our-history/history-the-times/ (Accessed: 13.04.2023)

Gutenberg, J. (2015) Gutenberg Bible [scanned image] British Library. Available at:

https://www.bl.uk/collection-items/gutenberg-bible (Accessed: 13.04.2023)

Aldus Manutius (editor)

Manutius, A.

First book in Italics. [image]

https://www.bl.uk/collection-items/first-book-in-italic-typeface

Caslon

http://www.designhistory.org/Type_milestones_pages/SansSerif.html

Slab serif:

http://www.identifont.com/differences?first=Rockwell&second=Stymie&p=0

The digital fonts:

https://www.monotype.com/resources/articles/the-evolution-of-typography-with-variable-fonts

Emigre

Figure: Double page from the 21st issue, New Faces, 1992

https://www.emigre.com/Magazine/21

Figure: David Carson Designs

http://www.davidcarsondesign.com/t/tag/raygun/

Figure: Carson article set in cryptic dingbat font, 1994 Ray Gun magazine spread, AIGA Eye on Design

https://medium.com/@yopaulmiranda/david-carson-surfing-the-unconventional-waves-of-zapfs-dingbats-52a520186c64

Umbrella 

https://www.moma.org/explore/inside_out/2012/03/29/celebrating-tibor-kalman-and-20-years-of-blue-skies/

Tibor pdf

https://www.slideshare.net/martinssalazar/tibor-kalman-a-perverse-optimist

Figure: women’s clothing shop front, 2023, authors own.

Figure: Signage at the Bill Murray in London, 2023, authors own.

Figure: A hyper cursive hand rendered menu, London, 2023, authors own

Figure: Photograph taken at a bus stop in London, 2023, authors own

Figure: Piccadilly Circus is "Going Out Out" as the station is right next to Carnaby Street, Soho, Chinatown and

several reopened nightclubs (Image: Transport for London)

Figure: sticker on a different bus stop with a different sentiment, 2023

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osamu-jinguji · 1 year

Photo

My favorite books in Feb-2023 - #13 The Technological Singularity (The MIT Press Essential Knowledge series) – August 7, 2015 by Murray Shanahan (Author) The idea of technological singularity, and what it would mean if ordinary human intelligence were enhanced or overtaken by artificial intelligence. The idea that human history is approaching a “singularity”—that ordinary humans will someday be overtaken by artificially intelligent machines or cognitively enhanced biological intelligence, or both—has moved from the realm of science fiction to serious debate. Some singularity theorists predict that if the field of artificial intelligence (AI) continues to develop at its current dizzying rate, the singularity could come about in the middle of the present century. Murray Shanahan offers an introduction to the idea of the singularity and considers the ramifications of such a potentially seismic event. Shanahan's aim is not to make predictions but rather to investigate a range of scenarios. Whether we believe that singularity is near or far, likely or impossible, apocalypse or utopia, the very idea raises crucial philosophical and pragmatic questions, forcing us to think seriously about what we want as a species. Shanahan describes technological advances in AI, both biologically inspired and engineered from scratch. Once human-level AI—theoretically possible, but difficult to accomplish—has been achieved, he explains, the transition to superintelligent AI could be very rapid. Shanahan considers what the existence of superintelligent machines could mean for such matters as personhood, responsibility, rights, and identity. Some superhuman AI agents might be created to benefit humankind; some might go rogue. (Is Siri the template, or HAL?) The singularity presents both an existential threat to humanity and an existential opportunity for humanity to transcend its limitations. Shanahan makes it clear that we need to imagine both possibilities if we want to bring about the better outcome. Review This evenhanded primer on a topic whose significance is becoming increasingly recognized ought, as per its inclusion in this series, to receive wide exposure. It will naturally appeal more to those with lay interests in philosophy, ethics, anthropology, computer science, cognitive science, engineering, sf, and world issues.—Library Journal— Shanahan's presentation is succinct, comprehensive and commendably accessible for such a complex subject. —E & T: Engineering & Technology Magazine— About the Author Murray Shanahan is Professor of Cognitive Robotics in the Department of Computing at Imperial College London. He is the author of Solving the Frame Problem (MIT Press) and Embodiment and the Inner Life.

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katiemcveighaub · 5 years

Text

Bibliography of entire unit:

The Ramblers

https://www.creativereview.co.uk/pentagram-adds-a-japanese-twist-to-the-american-diner-for-ichibuns/

https://www.pentagram.com/work/ichibuns?rel=search&query=ichibun§or=&discipline=&page=1

https://www.campaignlive.co.uk/article/john-vincent-co-founder-leon-restaurants/1213217

https://www.pentagram.com/work/maverick/story

https://www.itsnicethat.com/news/hipchips-crisp-restaurant-brand-identity-ragged-edge-281116

http://pablopeyrastudio.com/feroz/

https://bpando.org/2016/11/28/branding-sardine/

https://bpando.org/2016/05/26/branding-otium/

http://www.themudhousestl.com/

http://oattt.com/

https://www.itsnicethat.com/news/wahaca-designstudio-joe-kessler-amanda-baeza-brie-moreno-bonnie-eichelberger-illustration-010518

https://www.behance.net/gallery/68228725/Meira-Restaurante

https://www.behance.net/gallery/25547163/Nordic-Black-Theatre-Rebrand

https://spinachdesign.com/branding-agency-smokehouse/

https://thepigandbutcher.co.uk/private-dining/

http://www.designlsm.com/projects/prime-steak-grill/

D&AD

https://www.dandad.org/en/d-ad-palau-pledge-case-study-insights/

https://www.dandad.org/en/d-ad-through-the-dark-campaign-case-study-insights/

https://www.madethought.com/to-make/prior-travel/

https://www.dandad.org/awards/new-blood/2015/pantone/2779/project-monsoon/

https://www.itsnicethat.com/articles/dia-squarespace-brand-refresh-graphic-design-animation-041218

https://www.itsnicethat.com/articles/the-new-york-times-magazine-christopher-payne-esto-matt-willey-luke-lucas-publication-041218

https://www.monotype.com/fonts/mosaichttps://www.economist.com/christmas-specials/2011/12/17/how-luther-went-viral

https://www.dandad.org/awards/new-blood/2014/monotype-realise-the-importance-of-type/2445/the-way-home/

https://www.dandad.org/awards/new-blood/2015/monotype/2716/a-way-with-words/

https://www.daltonmaag.com/library

https://www.daltonmaag.com/work/wiggins

https://www.kickstarter.com/projects/1150582455/i-wonder-what-its-like-to-be-dyslexic

https://www.creativeboom.com/inspiration/studio-moross-creates-the-identity-for-massive-connecting-younger-audiences-with-british-film/

https://www.fontsmith.com/blog/2018/05/25/custom-numerals-for-the-ulster-bank-five-and-ten-pound-notes

http://www.typetoken.net/typeface/fs-brabo-→-the-eloquent-type-fontsmith/

https://www.youtube.com/watch?v=B34wJ_Ka8-4

http://www.typetoken.net/publication/identity-and-typeface-for-leeds-2023/

http://www.typetoken.net/typeface/nike-custom-typeface-oslo/

http://www.typetoken.net/typeface/luxury-typeface-fs-siena-fontsmith/

https://www.behance.net/gallery/15901171/Lackonic-Typeface

https://www.behance.net/gallery/7650695/Stillis-Typeface

http://bldgwlf.com/philippe-cossette-2

https://www.fontsmith.com/blog/2017/02/28/new-fontsmith-typeface-fs-irwin-is-inspired-by-architecture-new-york-and-cosmopolitan-city-life

https://www.itsnicethat.com/features/local-characters-jimmy-turrell-creates-a-bespoke-typeface-for-fontsmith-inspired-by-newcastles-byker-wall

https://www.fontsmith.com/blog/2017/02/08/jimmy-turrell-s-bespoke-typeface-fs-erskine-inspired-by-newcastle-and-the-byker-wall

https://www.tamba.org.uk/pregnancy/triplets

https://www.ons.gov.uk/peoplepopulationandcommunity/birthsdeathsandmarriages/livebirths/bulletins/birthcharacteristicsinenglandandwales/2015#the-small-rise-in-the-rate-of-women-having-multiple-births-has-been-driven-by-those-aged-25-to-29

https://www.twinsuk.co.uk/twinstips/18/144/multiple-birth-statistics,-facts-&-trivia/having-twins-or-triplets—interesting-&-fun-facts/

http://www.multiplebirths.org.uk/media.asp

https://www.prototypo.io/showcase/shonky/#group-5

https://madebytuta.com/work/676/

https://madebytuta.com/work/villa-tereze-guide/

https://www.itsnicethat.com/articles/practica-the-next-point-of-view-gravient-identity-interactive-160518

https://www.twinsclub.co.uk/funny-stories-with-twins-and-triplets/ http://www.smilesforall.com/questions-for-triplets/

https://sagmeisterwalsh.com/work/all/tarkett-alphabet/

https://www.creativereview.co.uk/fontsmith-brings-its-brandfont-service-to-life-with-new-book-series/

http://www.typetoken.net/publication/paul-rands-jan-tschicholds-type-specimen-book/

http://www.typetoken.net/typeface/object-sans/

http://action.commercialtype.com

https://bixacolor.com

https://www.creativereview.co.uk/itv-to-launch-new-idents-each-week-in-2019/

https://adobehiddentreasures.com

https://www.creativereview.co.uk/the-bauhaus-but-in-fonts/

https://www.creativereview.co.uk/formula-1-logo-wieden-kennedy-london/

https://www.wk.com/work/formula-1-rebrand

https://twopoints.net/portfolio_page/espnw/

https://patrickthomas.com

https://www.madebyfolk.com/featured/in-focus-patrick-thomas/

https://www.madebyfolk.com/featured/the-magazine-blueprint/

https://www.wk.com/work/tinder-single-not-sorry

https://www.creativeboom.com/inspiration/brand-brothers-orchestrates-a-new-identity-for-paul-beuscher-pariss-oldest-musical-store/

https://www.studiomoross.com/projects/swirl-zine/

https://www.brandbrothers.fr/en/la-montgolfiere-branding-visual-identity-signage/

https://www.behance.net/gallery/74212681/Big-Kitchen-Living-Type-Specimen

http://bernbachdiversityscholarship.com

https://www.itsnicethat.com/articles/studio-vanessa-ban-180316?utm_source=facebook&utm_medium=social&utm_campaign=intsocial

https://www.itsnicethat.com/articles/chrissie-abbott-aftershock-video-graphic-design-animation-120418

https://www.behance.net/gallery/62664607/Type-in-Motion

https://eyeondesign.aiga.org/oh-sht-what-now-craig-oldhams-brilliantly-bs-free-guide-to-getting-into-the-industry/

https://www.behance.net/gallery/52809353/-Typography-Editorial-Design-Bembo-Typespecimen

http://www.typetoken.net/visual-language/ben-long-work-scaffolding-sculpture/

https://www.behance.net/gallery/527496/Type-Specimen-Poster-Book-Times-New-Roman

http://www.designmadeingermany.de/2013/62182/

https://www.behance.net/gallery/12374223/Alpha-Omega

https://www.behance.net/gallery/47475311/Sin-Zine-Book-Design

https://www.itsnicethat.com/articles/fabio-biesel-graphic-design-040219

https://www.madebyfolk.com/watch/patatap/

https://works.jonobr1.com/Patatap

https://www.dandad.org/awards/new-blood/2017/monotype/3146/immigration-town/

https://www.itsnicethat.com/articles/mico-toledo-sophy-hollington-adam-hunt-velho-chico-photography-illustration-publication-191118 http://velhochicochicovelho.com/

https://maddie.work/Agent-Trifold-Toolkit

#bibliography

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nicolesrollins · 5 years

Text

Here’s what real estate players heading to Art Basel need to know

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UPDATED, Dec. 5, 10:35 a.m.: Real estate and art converge this week, as developers, brokerages and architects capitalize on the well-heeled crowd descending on Miami to boost the visibility of their luxury projects.

Brokerage firms are sponsoring art fairs, condo projects are hosting lavish parties and exhibits, architects and designers are holding book signings, and museums are offering art-studded VIP soirees during Art Basel Miami Beach and Art Week — all geared to lure the artsy set.

Christie’s International Real Estate, along with EWM Realty International, is a marquee sponsor of Art Miami and its sister event, CONTEXT Art Miami, for the eighth consecutive year. Christie’s and its affiliates will host an interactive booth at the main entrance of Art Miami, displaying luxury residential properties from around the world.

Art Miami’s works on display will include Peter Anton’s CHOCO TOWER, a 10-foot tall sculpture of five chocolates stacked on top of each other that weighs more than 1,000 pounds. Made from painted aluminum, the sculpture will be on display at Stuttgart-based Galerie von Braunbehrens’s booth, part of an edition of three works, each painted in different colors.

The developers of the Ritz-Carlton Residences, Sunny Isles Beach, which just topped off, will be the official sponsor of the 17th annual ArtNexus Party in Wynwood. Developed by Fortune International Group and Château Group, The Ritz-Carlton Residences will be hosting the VIP lounge during the party, with a scale model of the condo tower.

The event will also unveil Uruguayan artist Pablo Atchugarry sculpture for the exterior of the project’s Oceanside tower. Atchugarry will debut a sketch of his piece, and guests will celebrate the opening of his family gallery in Wynwood, the Atchugarry Art Center.

Acqualina Resort & Spa’s AQ Bar is hosting an event on Thursday, in partnership with Fine Art Mia. AQ bar will be adorned with a collection of original contemporary masterpieces by famous American artists Andy Warhol, Roy Lichtenstein, Keith Haring and Jeff Koons and British contemporary artist Damien Hirst. Among them: Liz by Andy Warhol painted in 1964 and Alfred Hitchcock from 1983 and Damien Hirst’s Mickey in blue glitter from 2016.

Art Basel show partner Douglas Elliman is hosting a series of events, beginning with a property showcase in the Collectors Lounge of the art fair. Elliman is working with Artefacto, which is furnishing the New York brokerage’s new development gallery, and including a virtual reality presentation of new developments.

Elliman is also hosting a tour of “architecturally significant” new projects currently on the market in Miami Beach for Elliman and Knight Frank agents in town. On Thursday, the company is unveiling its fifth annual Elliman Magazine Art Issue at 1 Hotel & Homes South Beach.

Italian architect Antonio Citterio will be giving a talk at Design Miami on Wednesday with the home and design editor of Departures, discussing luxury architecture and design. Citterio is designing Arte, a 12-story, 16-unit condo building in Surfside being developed by Alex Sapir.

Arte is also placing an art installation through Sunday featuring a video by Sophia Hanover and Stuart Parr projected onto the building at 8995 Collins Avenue.

Cervera Real Estate is sponsoring Red Dot Miami and Spectrum Miami for the second year in a row. Cervera’s hosting “The Art of Living” collection at Red Dot Miami, beginning with a ribbon cutting ceremony on Wednesday and ending on Sunday at Mana Wynwood. The collection will showcase some of Cervera’s exclusive projects, including Aston Martin Residences Miami, Aria on the Bay and Elysee Miami.

Oppenheim Architecture’s Ilona Oppenheim and the Related Group’s Jorge Pérez on Tuesday evening will celebrate their new book “Island in the Light,” which features 35 artists and 30 writers celebrating contemporary Cuban art, music and literature.

TRA Publishing is launching the book at a private event at Two Park Grove, a luxury condo building developed by Pérez and David Martin’s Terra. Cuban musician Pavel Urkiza will compose original scores inspired by the book’s selection.

In Edgewater, Pérez is unveiling the Paraiso District, a group of condo towers the Related Group recently completed. Artists Santiago Parra, Omar Barquet and Pablo Atchugarry will be at the event on Friday morning. Pérez and his wife, Darlene, are also hosting an invitation-only private breakfast and stroll through their art collection at his home in Coconut Grove this week.

The Bass Museum in Miami Beach is hosting a VIP reception Wednesday to celebrate the opening of The Haas Brothers: Ferngully during Miami Art Week. Also on view, Paola Pivi: Art with a view and Aaron Curry: Tune Yer Head.

In addition to hosting a number of offshoot art events and fairs in Wynwood and downtown Miami, real estate investor and developer Moishe Mana is having a birthday bash at his Wynwood complex on Tuesday. Mana and InList are hosting the party, starting at 9 p.m. and ending at 4 a.m. Lance Bass will MC the event, which is featuring performances by Cedric Gervais and others.

Nearby, broker and developer Tony Cho will have a pop-up experience at the Wynwood Gateway building called “Ignition.” The event, on Thursday evening, will feature artwork by Olivia Steele, Tyler Goldflower, J. Margulis and Dino Urpi in rooms of an on-site hotel, which will then be listed on Airbnb. The event will benefit the nonprofit Path of the Panther.

The nonprofit Berkowitz Contemporary Foundation is hosting a preview party for its new art-inspired building in Edgewater, where the foundation will showcase its art collection.

The project, designed by Rene Gonzalez Architects, will display Richard Serra’s “Passage of Time,” a 218-foot-long sculpture that will be installed in the courtyard. The 45,000-square-foot building was designed to incorporate an 80-foot-tall light installation by James Turrell’s “Aten Reign.” The building is slated to be completed in 2023.

Gonzalez also designed Sotheby’s (RED) Auction exhibition. Artist Theaster Gates and architect Sir David Adjaye are hosting an event Wednesday in the Moore Building in the Miami Design District, which will auction works of art by Jeff Koons, Pierre Jeanneret, Zaha Hadid and more, with proceeds benefiting the Global Fund to Fight AIDS and the Rebuild Foundation.

On Friday, Valli Art Gallery is hosting a private event in Miami Beach’s Star Island. Valli Art Gallery is collaborating with Techrin Hijazi of William Raveis Real Estate to showcase post-war and contemporary Italian art aboard a 140-foot luxury yacht docked at 44 Star Island Drive. The estate is on the market for $18.4 million. The event will be hosted by Italy’s Radio 105.

Swire Properties’ Brickell City Centre is hosting its annual art fair, free to the public, from Thursday through Sunday. Featured works were curated and produced by Anthony Spinello in partnership with Swire Properties. Artists include Hank Willis Thomas, Emily Shur and Genevieve Gaignard.

CASACOR Miami is also being held at Brickell City Centre for the second straight year. The visual design exhibition, a partnership between Swire Properties and COSENTINO CASACO, features architecture, interior and landscaping design exhibits.

Miami is getting a rare look inside the world of Banksy at the planned site of the Magic City Innovation District. The Little Haiti site just opened an exhibit with over 80 original works by the artist. The Art of Banksy is curated by Steve Lazarides, Banksy’s former business partner, and displays the world’s largest collection of the artist’s works, including the “Balloon Girl” and the “Flag Wall.”

Lexus held a kickoff cocktail for Design Miami at Le Sirenuse at Fort Partner’s Four Seasons Residences at The Surf Club on Monday, unveiling its luxury crossover vehicle, LF-1 Limitless, designed by Japanese architect Socha Ichikawa. Lexus is the official automotive partner of Design Miami.

Last week, even before Art Basel, some developers began celebrating art and design. Jade Signature in Sunny Isles Beach’s developers Edgardo and Cristina Defortuna held a book signing of Pierre Yves Rochon’s Interior Splendor. Rochon designed the common areas of Jade Signature, including the lobby, library, and Club Room, and also designed the interiors of London’s Savoy, the Four Seasons George V in Paris and the Waldorf Astoria, now under construction in New York.

An earlier version of this story incorrectly stated that the Brickell City Centre art fair only featured women artists. It’s open to all genders.

from The Real Deal Miami & Real Estate News News | & Curbed Miami - All https://therealdeal.com/miami/2018/12/04/heres-what-real-estate-players-heading-to-art-basel-need-to-know/ via IFTTT

#IFTTT #The Real Deal Miami & Real Estate News News | & Curbed Miami - All

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nicolesrollins · 5 years

Text

Here’s what real estate players heading to Art Basel need to know

Real estate and art converge this week, as developers, brokerages and architects capitalize on the well-heeled crowd descending on Miami to boost the visibility of their luxury projects.

Arte is also placing an art installation through Sunday featuring a video by Sophia Hanover and Stuart Parr projected onto the building at 8995 Collins Avenue. And on Thursday, Sapir, Özlem Önal and Giovanni Fasciano are also hosting a private cocktail party with previously unseen art by Australian designer Marc Newson.

The nonprofit Berkowitz Contemporary Foundation is hosting a preview party for its new art-inspired building in Edgewater, where the foundation will showcase its art collection.

Swire Properties’ Brickell City Centre is hosting its annual all-female art fair, free to the public, from Thursday through Sunday. Featured works were curated and produced by Anthony Spinello in partnership with Swire Properties. Artists include Hank Willis Thomas, Emily Shur and Genevieve Gaignard.

from The Real Deal Miami & Real Estate News News | & Curbed Miami - All https://therealdeal.com/miami/2018/12/04/heres-what-real-estate-players-heading-to-art-basel-need-to-know/ via IFTTT

#IFTTT #The Real Deal Miami & Real Estate News News | & Curbed Miami - All

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