Eric N. Mack’s paintings and sculptures assemble sundry found materials with traditional media to establish a complex dialogue between material and subject that questions existing definitions of form, function, and style. Following solo exhibitions at Albright-Knox in 2017 and Simon Lee Gallery in 2018, Mack was invited to transform the Brooklyn Museum’s Great Hall with a site-specific installation of his textile-based works. The result, Eric N. Mack: Lemme walk across the room, invites a discussion on the fundamental components of aesthetic vision and the mercurial relationship between visual culture and everyday life. Positioned at the intersection of art, fashion, and architecture, Mack’s work reveals an array of unexpected connections and contradictions. A discussion with the artist on the installation and his practice provides a glimpse of his creative processes and wide-ranging interests. The Architect’s Newspaper: Were you responding to specific elements of the classical architecture of the Great Hall? Eric N. Mack: Yes. The space has no corners. So, I felt like I wanted to build a painting structure that would embrace this architecture, that would be contingent on the architecture, and would change the way that people engage in the space and see the space from a given vantage point. But I chose the fabric because it was slightly transparent, so it wasn't about opaqueness, or an immediate opaque gesture, but rather a gesture that deals with transparency in the space. So I was thinking about an overlay or patterns that could flatten out as a decorative point, but through their depth create some markers of distance and closeness. AN: In a lot of your past interviews and articles on your work, the authors always talk about how you grew up in Washington, D.C., and went to the National Gallery all the time because your parents worked there, and I thought it was really fascinating that your dad built vitrines and was an interior designer for the exhibitions there. Did that have any impact on your process for creating this work? EM: I mean I think there's a lot about…generous museum experiences. And how those moments really resonated with me, not necessarily just at the Brooklyn Museum but any museum experience. I'm just thinking about an exalted moment of viewing artwork. Some of the most dynamic experiences had to do with really feeling the length of the room and really understanding the impact of my body in the space as a viewer. Almost like a dream—like a way of seeing an artwork that is almost in between installation [and painting] or something like that. So you end up really focusing on this moment of engaging points of measurement or exchange between you and the artwork. AN: Yeah, that sort of leads to my next question, which is about the title; obviously it's an imperative for you to follow along the boundaries of the white, horizontal paintings, but it also sounds like a larger, more conceptual grounding for the entire installation, and maybe a specific aspect of your practice, in a way. Would you say that's a correct reading or is there another reason you felt that title was the most appropriate? EM: When I choose a title there are probably at least four different ways that point me to that place again and again. First, I wanted there to be almost a performance prompt for the viewer. But it also has this personalized position in which people have to determine whether it's about me or it's about them. And maybe it's about both of us. [It’s also about] questioning frameworks, breaking down frameworks and creating new ones that are maybe less familiar. But I also love that [the title] almost alludes to a runway show, at the base of it. The fact that there will be a personal impetus for a runway show or catwalk show. And that's something that I'm still unpacking. AN: You also have a very strong collagistic impulse. Why do you find it necessary or how would you describe it? EM: I think this show deals in collage in many ways…I think garments are naturally related—or congruent—to collage. The intention around stitching or the suture ends up being a possibility for a felt, dynamic place of legibility. It ends up being a space that is specifically about the reconstruction of form, and maybe a critical deconstruction in a way, for the moment of reconstruction. So, there are several different points that I think speak to a linked or connected language. A lot of times I feel like the properties of a work have to be turned inside out to understand what they are presently, and what they were. So, I think to be able to show that I think is a really generous end or offering to the viewer. AN: So this question may or may not be interesting, but when I went, there was a guard standing right in the middle of the installation. Do you have any thoughts or feelings about that? I assume you didn't have too much say over their presence. EM: That's awesome, I like that. I mean, I think the guards are people that are usually supposed to be invisible. I just think that all the corners are super active, so it's not a place where they could necessarily… AN: Disrupt anything. EM: Exactly. AN: But I still felt their presence still as I was moving through. EM: Me too, actually. Yeah, that's always an equation that could easily be overlooked. Even by the viewers themselves, the fact that there are people who could potentially be experts in the work besides the artist, the security guards—if they're paying attention, [and] I'm sure they are. AN: Did you use any specific elements to the large collage on the right wall specifically for this show? Or was it kind of an assemblage you already had? Kelis stands out to me. EM: Yeah, she's amazing. AN: I mean Kelis is associated with New York, but not all of the elements are. EM: Exactly. And I love that because it's really about a time and space. I mean I talked about them before as hyperlinked material images. But there's a lot of ways to read it. There's a kind of elegy to Phoebe Philo, Céline. The title is Tartan Film Strip from 1987 Till Recent. And thinking about the space of the grid as being the space of representation first and then it also being a place for points of reconnection, dislocation, or rupture, basically. AN: Yeah, which is a very painterly concept I feel like. I know you're a painter. EM: Definitely. I move forward or away from those… AN: Traditions? EM: Yeah, or that definition, all the time. But yeah, I think the narrative of the piece generally has to do with points of comparison. Somehow below the horizon line there's a lot more vintage materials. Some of the images are from Interview magazine from 1987. AN: Which is the year you were born. EM: Exactly, yeah. There are these archetypal ways that these women were being photographed, that fashion existed within the image but it was mostly about their gaze and their contact. AN: How they were presenting themselves. EM: Exactly. I mean like Janet Jackson definitely—the album called Control is very much about one's authorship in [their] control of their career, their bodies. AN: Do you ever put in personal effects? Was there a picture of you? EM: Yeah. It’s from the first time I went to Europe and I was 14. But it also sits on the opposite end [of the collage] as Isa Genzken, an image of a sculpture she made [Slot Machine, 1999–2000]. And that was kind of a point of validation for me, with her portrait—there was definitely a way and a manner to the work that I feel like could relate to Isa's work. And I didn't want to diminish that or go away from it, but perhaps use it as content. Isa's last show [Isa Genzken: Retrospective (November 2012 – March 2014) at the Museum of Modern Art, New York] was also sponsored by Céline. AN: Oh really? I didn't know that. EM: And I always loved that because I felt like they’re adjacent. Like, there's these two adjacent industries that end up supporting one another in various ways that are highly aesthetic. Eric N. Mack: Lemme walk across the room is on view at Brooklyn Museum through July 7.
All posts in On View
Kumbaya My Light
Lambert & Fils launches its new Corridor gallery space in Montreal
Young Montreal lighting brand Lambert & Fils has gained recognition in the past few years with a series of blockbuster lighting collections that have broken away from the norms that have stagnated the lighting industry in the past few years. Notable designs include the airport-inspired Dorval series, developed with French studio SCMP. The boutique design house has also developed a series of lauded private and retail interiors. Building on this success, Lambert & Fils has just opened a new exhibition annex adjacent to its office and workshop. Located in the heart of Montreal, Corridor promises to become a new space for cultural exchange. The gallery will feature art and design, and will explore where these often-siloed disciplines intersect. To launch the new space, Lambert & Fils tapped Swiss designer Adrien Rovero to create a special, temporary installation. The Feu de Camp mise-en-scene draws inspiration from Rovero's short time in the boy scouts but also from Montreal’s long and cold winters. The installation incorporates various geometric forms, flashlight-inspired fixtures, and simple industrial materials—green tubes, elastics, electrical wires, and semi-spherical glass diffusers—loosely in the form of a campfire as a way to bring people together during the dreary late-winter season. The installation is arranged around a central node with 12 low-lying lamps surrounding in a circle. These elements were used sparingly to compose a playful yet technically-refined setup, and Rovero also created a wall mural that illustrates this peculiar typology in his unique assemblage-inspired aesthetic. Though this inaugural installation closes tomorrow, Corridor will open the new Studio Edition exhibition—a group show featuring work by emerging Canadian designers—in the coming months.
Architect Sarah Entwistle revives her late grandfather in New York exhibition
New York City’s new Signs and Symbols art gallery will present an autobiographical exhibition by British artist and architect Sarah Entwistle. The art installation, titled It may prove a mere accident that we met, or it may prove a necessity, explores the work of Sarah's late grandfather and troubled architect, Clive Entwistle, who died in 1976 before having met her. While Clive had once worked alongside Le Corbusier and was the lead designer of the original plan for Madison Square Garden, most of his projects were never completed. The exhibition stems from Clive’s only successful work, the Transportation and Travel Pavilion for New York’s 1964 World's Fair, and it revolves around an image of a staged trade fair interior that he designed. In order to recreate the vision of her late grandfather, as well as revitalize his architectural legacy, Sarah displays rich and varied artifacts from Clive’s most ambitious designs in a way that is reminiscent of a mise-en-scéne. Relics include ceramics, elaborate architectural models, furniture prototypes, intricate drawings, a large handwoven tapestry, and photographic portraits of women accompanied by extensive correspondences with lovers. Sarah received her late grandfather’s personal belongings in 2011, after they had been unearthed from a Manhattan storage room where they sat untouched for over 30 years. Before then, she had little knowledge of his legacy, as he was absent from her life. Through the project and exhibition, Sarah attempts to simultaneously revive and reinterpret her grandfather and his work, breathing new life into his biography by integrating it with her own. Sarah noted, “each action from within the archive cleaves me further from the gravitational pull of my grandfather’s complex legacy, with its meta-narrative of failure and erasure, towards a re-emergence, where that which has been consigned to the past is re-embodied and re-imagined.” Sarah Entwistle’s exhibition will open on March 3 at Signs and Symbols gallery in Manhattan’s Lower East Side. She is also developing a new installation for the Zevaco House in Casablanca, Morocco, in collaboration with curator Salma Lahlou.
The Sundance Institute, the organizer of the annual Sundance Film Festival in Park City, Utah, and the Kimball Art Center announced an Arts & Culture District building program in the festival's host city. The Sundance HQ architect hasn't been selected yet, but the Kimball has picked BIG to design its new museum. This initiative set the stage for the festival's 2019 crop of movies focusing on architecture. In It’s Going to be Beautiful, a short documentary about the proposed U.S.-Mexico border wall directed by Luis Gutierrez Arias and John Henry Theisen, we see eight wall prototypes and the surrounding neighborhoods on both sides of the existing border barriers. Less divisively, in Joe Talbot's The Last Black Man in San Francisco, a young man lovingly preserves the rundown Victorian house his family lost. The family originally acquired this ornate structure with a witch’s hat, stained glass windows, wooden archways, and built-in organ after the Japanese owners' internment during World War Two. Gentrification, artistry, and black male identity are explored in this tale of the house. “Your radiator is a D Flat,” says the "house tuner" played by Peter Sarsgaard in director Michael Tyburski's The Sound of Silence. Sarsgaard's character solves New York City residents' ills by painstakingly analyzing their out-of-sync domestic sounds (the toaster accompanying the aforementioned radiator is a G Major). A corporation surreptitiously monetizes his theories with virtual home inspections, advertising on New York City street kiosks. Dan Gilroy’s Velvet Buzzsaw, a sendup of the art world with an art critic (Jake Gyllenhaal), artist (John Malkovich), curator (Toni Collette), and gallerist (Rene Russo) who live and work in stupendous houses, galleries, and the fictional art museum LAMA, which uses Diller, Scofidio + Renfro’s Broad Museum and Gehry’s Disney Concert Hall. New Frontier, the media arts section, showed artworks that used virtual and augmented reality, many of which explored ideas about race and community. THE DIAL is an augmented reality artwork from Peter Flaherty, Jesse Garrison, and Trey Gilmore centered on a house around which a murder mystery unravels. Traveling While Black from Roger Ross Williams, Félix Lajeunesse, and Paul Raphaël uses The Green Book—a 20th-century guide for African-American travelers—as a starting point to drop viewers in Ben’s Chili Bowl in Washington, D.C., where viewers “sit” in a diner booth with storytellers. In Marshall from Detroit, a 360-degree virtual reality documentary from Caleb Slain, Félix Lajeunesse, and Paul Raphaël, we motor with hometown boy Eminem, who talks with journalist Sway Calloway about the city that shaped him. We see an abandoned church, a destroyed factory, a glorious movie palace, a skyscraper, and a hip-hop battle in a freezing-cold abandoned building. Kaiju Confidential is about a different kind of disruption. In this virtual reality short created by Thomas O'Donnell, Ethan Shaftel, and Piotr Karwas, two monsters battle over whose modernist Japanese city is theirs to destroy. The veteran green beast claims the greater metropolitan area, while his 2-headed rival gets relegated to the suburbs. The Immersive Stage, a three-sided projection room, showcased three digital environments: artist Peter Burr's Dirtscraper, an underground system of “smart architecture” overseen by spatial and social engineers; Matt Romein's analmosh, a dynamic audio-visual landscape; and Victor Morales and Jason Batcheller's Esperpento, based on the Madrid of Goya’s Los Caprichos paintings.
Yona Friedman sculpture takes the stage at ICA Miami
Miami’s Institute of Contemporary Art (ICA Miami), in collaboration with Miami Design District, will unveil a towering art installation by Yona Friedman, Hungarian-born French architect, designer, sculptor, and urban planner, whose innovative works represent humans’ complex relationship with the environment. The public sculpture, titled Space-Chain Phantasy-Miami 2019, features intertwined, geometric cubes composed of metal wire. The lightweight installation reflects Friedman’s perception that architecture should be flexible and capable of adjusting to the needs of its users and inhabitants. This concept originates from his personal history as an emigrant and nomadic refugee who often depended on temporary shelters to survive. While major urban centers can be dense, harsh, and chaotic, Friedman believes that temporary, ephemeral architecture can help democratize a city and empower its inhabitants, promoting a city that evolves with its people. Friedman's work, including temporary structures similar to Space-Chain Phantasy-Miami 2019, has been featured in collections of the Getty Research Institute in Los Angeles, the Museum of Modern Art in New York City, and the Centre Pompidou in Paris, among many other locations. The sculpture will be unveiled on February 22 at Paradise Plaza in the Miami Design District. ICA Miami is free and open to the public all year.
Just City, Only Design
New York's Center for Architecture explores what makes a city just
From January 10 to March 30, visitors to New York's Center for Architecture can check out an exhibition that explores how urban communities can be empowered to create more resilient and sustainable futures. Design and the Just City raises awareness about urban inequality by exploring generations of flawed policy and systematic injustices, and the psychological effects of undesirable architecture and weak urban design. The exhibition was curated by the Just City Lab of the Harvard Graduate School of Design under the leadership of its director, Professor Toni L. Griffin. The first encounter visitors have with the exhibition is a labeled map of New York City. To the right of the map are rolls of stickers with words like "Aspiration," "Fairness," "Power," "Identity," and "Resilience." The piece asks visitors to take a single sticker that references the most significant attribute of their neighborhood and put it on the map. From a step back, the conglomeration of multi-colored stickers could be interpreted as a pointillism piece, but the experience is meant to reveal what residents actually value about their environs. The exhibition focuses on five videos that each look at one of the many challenges combatted by the Just City Lab. The first focuses on the uncomfortable spaces made by transportation infrastructure, particularly subway overpasses common to neighborhoods in Harlem, the Bronx, and Queens. The video shows the many ways in which landscape architecture, lighting design, and low-cost public structures can encourage these once-unsafe areas to become places where people meet or engage with wildlife. Another project also discusses transportation, but as a remedy instead of a malady. To combat the severe racial and class-based segregation among Brooklyn's 15 intermediate-level schools, the video proposes free family and student transportation, community workshops to encourage a stronger integration between parents and students, easier access to information and technology, and equitable admissions. The final product is a well-produced piece describing the difficulties and challenges faced by constituents and designers, and the subsequent final designs and approaches. Griffin founded the Just City Lab in 2011 and has established herself as one of the most influential explorers of the relationships between spatial and racial justice in urban environments. Throughout her two decades in the urban design field, she has taught at the Harvard Graduate School of Design, Department of City and Regional Planning at UC Berkeley, and the Spitzer School of Architecture at the City University of New York.
A new exhibition at the Design Museum in London highlights David Adjaye’s evolving expertise in memorial design. Making Memory is on view through May 5 and showcases seven of his firm’s completed and ongoing commemorative projects. Presented in models, photographs, material samples, sculptures, and full-scale recreations of Adjaye Associates’ monumental works, the memorial projects detailed in the show cover over a decade of architectural practice. Three of the structures on view have already been built, while four are unbuilt. One installation is dedicated to the Smithsonian National Museum of African American History and Culture in Washington, D.C., and includes the West African Yoruba sculpture that inspired the building’s design. Another installation features a reconstruction of the Sclera Pavilion that Adjaye made for the 2008 London Design Festival, which he created in collaboration with the American Hardwood Export Council. Adjaye’s Gwangju River Reading Room, completed in 2013 and also featured in the exhibition, details his work with writer Taiye Selasi to create a pavilion in Gwangju, South Korea, dedicated to a pro-democracy uprising in May 1980 when several students were killed at the nearby Chonnam National University. A replica of the pavilion will be set up within the Design Museum complete with texts curated by Selasi. All of these built works, according to Adjaye, provide “an experience of time and place that is available to everyone.” The architect said in a statement that the 21st-century monument is no longer a singular representation of an event, but something that “is really used as a device to talk about the many things facing people across the planet” no matter the nation, race, or community the piece symbolizes. In his work, Adjaye seeks to create dynamic and complex spaces for people to interact with the triumphs and failures of history. Also detailed in the exhibit are Adjaye Associates' designs of the National Cathedral of Ghana in Accra, which was unveiled last March, and the Mass Extinction Memorial Observatory (MEMO), a spiraling stone structure currently under construction on the Isle of Portland in England. The show also features Adjaye’s recent competition entry for a new memorial in Boston honoring the legacy of Martin Luther King, Jr., and Coretta Scott King. It’s unclear whether Adjaye’s design has been chosen by the nonprofit in charge of the competition, King Boston, but an announcement is expected soon. The project is moving forward fairly quickly, having received major donations last month from the Boston Foundation and Boston University. One of Adjaye’s most well-known upcoming projects, the UK Holocaust Memorial and Learning Center in London, is discussed in the special exhibition in tandem with the current controversy surrounding its design and location in Victoria Tower Gardens. The design, a collaboration with Ron Arad Architects, was chosen in late 2017 as the winner of an international competition to memorialize the six million Jews murdered in the Holocaust. The project is facing new opposition from the site’s management group, Royal Parks, a London charity that says it doesn’t support the planning application and deems the Gardens “highly sensitive” to any physical alterations. The Guardian reported that Royal Parks supports the “principle of the project” but the size and design would have “harmful impacts” on the area—the Gardens fall within the boundaries of a UNESCO World Heritage Site that includes Westminster Abbey and the Houses of Parliament.
Vienna has long been a leader in public housing, and 60 percent of its current population lives in city-built residences. The grand socialist Hofs of the late 1920s, like the Karl Marx and George Washington, have long been influential for affordable housing advocates. But Vienna is still building, following on its socialist tradition that has continued to build innovative housing up to this day. In August the MAK Center for Art and Architecture at the Schindler House in West Hollywood, California, is hosting an exhibition that features recent public housing from Vienna. The Austrian capital has become a creative center in sustainable planning and housing policies. The former director of Vienna’s Department for Housing Research, Wolfgang Foerster, who oversaw extraordinary housing achievements in the city, has just launched PUSH, an online quarterly newsletter on urbanism and housing. A clearinghouse for housing information, the journal is inviting architects to submit projects on public and affordable housing. There is currently nothing like PUSH, and it should become an important clearinghouse for information on housing.
Hit by the Wrecking Ball
New exhibition studies destruction and demolition in New York City and Appalachia
Destruction and Transformation: Vernacular Photography and the Built Environment at New York City’s Walther Collection, an art space featuring historical and contemporary photography, looks at what happens when buildings disappear. The exhibition will showcase 16 photographic series ranging from 1876 to 2000 that focus on building demolition, with a focus on two sites in particular: the Appalachian coalfields, where natural resource extraction has decimated the local landscape and ecology; and New York City, an urban environment dominated by cycles of cash-fueled construction and destruction. Although the exhibition will center on demolition, Destruction and Transformation will force visitors to confront the drastic and often harsh effects of modernization and urban expansion that come often at the expense of nature, history, and native populations. Rather than focus on a single photographer, the exhibition displays numerous documentary images taken in New York City over the course of a century, including Harvey F. Dutcher’s 1939 series depicting the gradual destruction of the Sixth Avenue Elevated Railroad, as well as an anonymous photographer’s meticulous survey of stores along Sixth Avenue, many of which have since disappeared. Destruction and Transformation will also include panoramic photos of evolving landscapes, including images of the construction of San Francisco, the famous Viaur Viaduct in Southern France, and the Sunset Strip in Los Angeles. Destruction and Transformation: Vernacular Photography and the Built Environment February 8–May 25, 2019 Walther Collection 526 West 26th Street, Suite 718 New York, N.Y. 10001
I Scream for Architecture
Sam Jacob brings delightful designs to London exhibition
Empire of Ice Cream is an exhibition of 13 meticulously filled graph paper drawings and three small sculptures created by Sam Jacob at Betts Project in London. The carefully drawn images in the gallery are generated from “remnants of architectural plans gathered from an assortment of historic and contemporary references.” Jacob's drawings were conceived between 2011 and 2019 and resemble historic city or urban design plans: segments from Ancient Greek temples, football pitches, something Meisian, parts of a church, orchards, fountains, straightforward corridors, a chunk of Parliament, and a Buzzcock’s single cover. They stand in Jacob's claims “for the effect of seeing fragments of architecture and our ability to recollect.” The small sculptures or objects in the show are also remnants of Jacob's memories, but seem to be personal "art" objects, unlike the drawings that have a long pedagogical and construction history in architecture research. Jacob is developing a recognizable hand drawing style that is moving his ideas beyond the single architectural object or drawing into urban design and a new take on postmodern urban planning and city making. It needs to be noted that Betts Project is becoming one of the most important independent venues for contemporary architecture today. The exhibition runs through March 9.
Who You Gonna Call?
Post-mortem architecture takes center stage at Art Omi's EXIT exhibition
Architects, like everyone else, will one day die—but their work will live on, allowing meditations not only on the loss of their own lives but on death as a whole. In upstate New York, the nonprofit arts group Art Omi is probing the intersection of design and mortality with EXIT Architecture: Speculations for the Hereafter, on display until March 3 at Art Omi’s Benenson Center in Ghent. As the planet’s population booms and more people die than ever before, space for the deceased has become an increasingly scarce resource. EXIT Architecture presents 15 speculative architecture projects that radically reorient spiritual, spatial, and ecological conversations around death. Art Omi solicited proposals from all over the world, and the resultant show is accordingly diverse. New York City–based entrants were numerous, including Michaela Metcalfe, director of design and construction excellence at the N.Y.C. Department of Design and Construction, Roderick Cruz, and Studio Ames. Visitors can peruse video, mixed-media installations, models, a life-sized coffin, drawings, and app-based immersive experiences. EXIT Architecture’s curators—Julia van den Hout, Kyle May, and Warren James—have also shaken things up by including work from an architect who has firsthand experience with death, the late Lebbeus Woods. Woods’s Einstein Tomb imagines a memorial to the famous physicist that’s been launched into deep space, traveling the cosmos until the heat death of the universe, all rendered in his trademark deconstructivist drawing style. The exhibition space itself was designed and fabricated by Brooklyn-based architect Kyle May. EXIT Architecture is the first curated exhibition of the Art Omi: Architecture program, which is also currently in the third year of its residency program.
Just the Scaffolding
Queens towers interrupt the view at MoMA PS1's James Turrell installation
A James Turrell installation in Queens, New York, faces an unclear future after visitors began to notice its skyspace has been interrupted by the neighborhood’s newest high-rise. Meeting is a part of the MoMA PS1 campus and was designed by Turrell between 1980 and 1986 with the goal of creating a meditative place where guests would be able to gaze at the sky away from the ebb and flow of the outside world. The piece is a purely white room with a square hole in the ceiling, drawing guests to look up to the deep blue. A series of LED lights undulating in color changes the ways people perceive both the room they are in and the sky above. However, for those who enjoy visiting the piece and watching the New York sky without the interruptions of gentrification on the skyline, this experience may have just come to an end. Last week, visitors to Meeting began taking photos of what appears to be a series of bars and pipes at the lower edge of the piece, and PS1 has temporarily closed the room, according to The New York Times. James Turrell: The Art of Light and Space. He recently told Gothamist any disruptions of the sky “will ruin [the effect]. It won’t work properly if there’s a building with lights up that’s visible.” Fans have also taken to Twitter to express their fears for the exhibit (and their city) by photoshopping the original picture to now depict a sky interrupted by countless advertisements and drones, as well as by some familiar buildings, such as One Times Square, and the infamous 432 Park Avenue and 56 Leonard. The same developer in charge of the intruding high-rise, Jerry Wolkoff, was also responsible for building another luxury residential tower on top of the famous and widely-loved 5pointz, a fortress for graffiti artists whose works lined the walls before they were whitewashed and erased forever in 2013. In 2016, a federal judge ruled Wolkoff pay 21 artists at 5pointz $6.7 million for the damages of the lost art.