Posts tagged with "Art":

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Los Angeles is turning developer fees into emergency arts grants

While cities across America grapple with the blow the novel coronavirus pandemic has dealt to their budgets, each has tried to figure out what to cut. In New York, that’s lifeguards, public design, and the parks budget; in Philadelphia, Mayor Jim Kenney has proposed cutting funding for arts and culture to $0. Los Angeles is taking a different approach. In two separate votes on Wednesday, May 13, the Los Angeles City Council approved measures to move money raised from developer fees into small-dollar grants for suffering artists and cultural organizations. As the Los Angeles Times reported, the first measure, introduced by L.A. District 4’s Councilman David Ryu, would allow the city’s Department of Cultural Affairs (DCA) to convert $368,810 already allocated to the district into direct grants. The District 4 funding will go towards funding artists and nonprofit arts organizations living and operating in the district. This money was originally raised through L.A.’s Private Arts Development Fee Program, which charges private developers who are building projects appraised at over $500,000 based on square footage; developers can either worth with the DCA to install public art at their project or pay them a fee to disburse as the department chooses. The second measure was put forward by District 2 Councilmember Paul Krekorian, who was seeking a transfer of $200,000 to support his district’s live theaters and performing arts venues, specifically those with less than 50 employees. Grants of up to $8,000 will be given out to individual venues in District 2, whereas in District 4, individual artists facing particular “hardship” can apply to grants tiered between $500 and $2,000, while nonprofit arts organizations in the district with budgets of under $800,000 a year can apply for tiered grants ranging from $3,000 to $5,000. Both requests were unanimously approved by the City Council.
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Philadelphia mayor proposes gutting city’s arts and culture office

Philadelphia Mayor Jim Kenney’s proposed fiscal 2021 budget has sent ripples of anxiety, grief, and outrage through arts and cultural institutions large and small in the City of Brotherly Love. Faced with a $649 million shortfall resulting from the COVID-19 pandemic, the city, under Kenney’s proposal, would completely eliminate all $4.4 million in arts funding. The move would effectively close the Office of Arts, Culture and the Creative Economy (OACCE), the city agency charged with dispersing grants to hundreds of Philadelphia arts organizations. As reported earlier this month by the Philadelphia Inquirer, the Philadelphia Cultural Fund (PCF), which provided community groups across the city with $3 million in funding this fiscal year, would also be eliminated as part of the revised budget as its support comes directly from the OACCE. The Inquirer also noted that the PCF functions as the “only such support offered by the city to its growing population of artists, performers, and arts organizations.” It awarded 349 grants last year, a record-breaking figure for the 25-year-old fund. “Funding for the arts, special events, and non-profit support will be reduced or eliminated,” stated the budget. “The Office of Special Events, the Office of the City Representative, and the Office of Arts, Culture, and Creative Economy will cease to exist, although some resources and functions will be retained and shifted to other departments.” Additionally, the popular Arts in City Hall program, which showcases the work of up-and-coming artists in a high-traffic venue, would also be axed. Mural Arts and the Philadelphia Museum of Arts will still receive funding although they will be allocated a lesser amount than they currently do as, per the budget, “these organizations have demonstrated outside fundraising capacity.” The “painful”—to quote Kenney—cuts to the city’s vibrant arts and culture scene are necessary according to the mayor given that the city is legally forbidden from carrying a deficit. “This budget pares City services down to the most essential, imposes layoffs on hundreds of workers, and reduces or eliminates some programs that are simply no longer affordable,” said Kenney in a press statement. “This is not what I want for our residents—and I understand if this leaves many of you angry. Frankly, I’m angry too. But after that anger fades, we must remember exactly what we are dealing with. What we have is both a pandemic and an economic catastrophe.” The overall city budget, which would see a $341 million decrease overall from $5.2 billion to $4.9 billion, would ensure that services such as libraries and health and recreation centers would remain open during the coming fiscal year. Police, fire, and emergency services would also not be impacted. In reaction to the revised budget, which will be voted on by Philadelphia City Council on July 1, a petition urging city leaders to spare the OACCE was launched earlier this month and has received north of 13,400 signatures to date. “We understand that hard decisions needed to be made and that cut backs and program budget reductions were inevitable,” reads the petition. “However, to completely eliminate an office that supports a vital industry in the city of Philadelphia, especially one that has been hit very hard during this crisis, is short sighted and should be reversed.” The petition goes on to note that, per statistics released by the Greater Philadelphia Cultural Alliance, the city’s arts and culture sector supports over 55,000 jobs and generates $4.1 billion in economic impact. “Most of this industry has been shut down during this crisis and needs support now more than ever to rebound during the economic recovery,” explained iradiophilly, the nonprofit consortium of Philadelphia area internet radio stations that launched the petition. Philadelphia-based theater director, producer, and educator David Bradley perhaps most eloquently summed up the devastating long-term impact that shuttering and defunding the city’s crucial arts and cultural apparatuses will have in an op-ed for the Philadelphia Citizen. “There is no question that the impact of the pandemic cuts across the city, and that widespread, painful sacrifices are in store. The city, by law, cannot operate with a deficit. There are pressing, frontline needs in social services. Keeping funding for the OACCE and PCF at current levels is likely not possible,” wrote Bradley. “But the city learned in 2008 that it’s hard to restore drastic cuts to a budget. Closing the doors on the OACCE and pulling the plug on PCF funding will make it highly unlikely they return. A budget is a philosophical document. Killing this support in total is not shared sacrifice, it’s a changed belief system. Put another way: prune a tree, it can grow back healthier; chop it down, it’s gone for good.”
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Art shows in age of pandemics: 10 virtual festivals and fairs to check out

If you’ve already toured all four Tate Galleries, the Rijksmuseum, the Palace of Versailles, the Uffizi, 60 percent of the Smithsonian museums, and taken in a performance from the Berlin Philharmonic from the (dis)comfort of your home via Google Arts & Culture or another online platform, there’s a good chance that you’re looking for some fresh self-quarantine art experiences. AN has got you covered. It’s been well reported that the novel coronavirus (COVID-19) pandemic has completely upended museums, galleries, and other cultural institutions as a lion’s share of them have shuttered–some permanently–their doors for weeks or months, furlough staff, scrap exhibitions, and scramble to assess what operating in a post-pandemic world might look like. For artists and institutions alike, the damage has been widespread and devastating. Annual and biennial art fairs, festivals, and exhibitions have also been forced to completely alter their operations with Art Basel Hong being the first annual art fair to move to a digital setting in response to the pandemic. (And sales, as it turns out, weren’t all that shabby.) Weeks later, the Biennale of Sydney, with a theme that put the climate crisis and the struggles of indigenous peoples at the forefront, became the first major art exhibition to completely transition online after first opening prior to the coronavirus outbreak in a more “conventional” manner at a slew of galleries. With that in mind, here’s a list of 10 ongoing and upcoming art fairs, festivals, and exhibitions available for virtual viewing. It’s an intentionally diverse mix that includes small art fairs that support local artists, regional festivals, major international art happenings, and special online-only exhibitions that reflect these weird and challenging times.

Columbus College of Art & Design Spring Art Show

The Columbus College of Art & Design’s popular Spring Art Show is now a virtual one that will be held April 10 - April 12.

How Can We Think of Art at a Time Like This?

Described as a “platform for the exchange of ideas at this time of crisis,” How Can We Think of Art at a Time Like This?  is an online group exhibition co-curated by Barbara Pollack and Anne Verhallen that will be updated continuously through the duration of the pandemic. “We invited artists who are considered thought leaders, artists who struggle with futuristic pessimism, political outrage and psychic melt-downs.  The invited artists have responded with unbridled enthusiasm and we will be posting new artists every day for the foreseeable future.”

Frieze New York

Originally scheduled for May 7-10, the New York edition of the massive annual art show is reportedly in the process of arranging free online viewing rooms for participating galleries in a move that echoes the one taken by also-canceled Art Basel Hong Kong.

Fusebox Festival

In lieu of postponing or canceling, The Fusebox Festival, a “hybrid” arts festival held annually in Austin, Texas, that focuses on contemporary performance works, is going virtual with live-streamed performances, online exhibitions, live chats, digital studio visits, and more. “Think public access TV meets international block party meets live performance!” the festival website proclaims. “We see this as a platform to explore what it means to gather together and celebrate adventurous art, online.” The festival will take place April 24 through 26.

Louise Bourgeois: Drawings, 1947 – 2007 

Hauser & Wirth, the venerable Zurich-based modern art gallery with outposts in London, New York, Los Angeles, and elsewhere, recently launched its first online-only exhibition featuring 14 drawings by prolific French-American artist Louise Bourgeois. “It’s a response to the current situation, in the sense that we’re all glued to our devices,” Marc Payot, president of Hauser & Wirth, told The Guardian. “Obviously, we’re not capable of going out into museums and galleries, but we’re still interested in art. This is a possibility to share that.” Hauser & Wirth has also launched From a Distance: Messages from Artists' Homes and Studio, a special online video series that “aims to bring us all closer together as we navigate this new reality.”

Open! (Russian Pavilion at the Venice Biennale 2020)

In late March, the Russian Pavillon Federation announced its intentions to transition its Open! exhibition into a digital platform in response to the postponement of the Venice Biennale. “The outbreak of Covid-19 has shaken our daily routines and priorities,” reads an Instagram post published by pavilion organizers. “With a virtual opening, it [the exhibition] will kick-start a dialogue on the functions and values of (cultural) institutions.”

Pandemic Art Faire

Obviously not an exhibition that existed during the pre-COVID-19 era, the Texas-based Pandemic Art Faire was launched as a digital-only event that’s “curated to aesthetically invigorate you during this time of self-quarantine.” Per its organizers, the fair will remain online through the duration of the pandemic, and new local artists will be added weekly. “This idea literally came out of the blue,” artist and fair co-founder Scott Kincaid tells the Dallas Morning News. “We talked about art fairs being canceled, and how we could quickly set up a fair online that could only be canceled by a computer virus. In about three minutes we had the name and concept. The next morning, Scott had the entire digital template designed, and I started reaching out to fellow artists.”

Savage Beauty — Galway 2020

What's been described as the “largest site specific light artwork ever created” is obviously something best experienced in the flesh. However, Savage Beauty, created by Finnish artist Kari Kola as part of the Galway 2020 European Capital of Culture program, does translate beautifully to film.“Savage Beauty is an enormous 5km lighting installation on the mountain of Ceann Garbh, overlooking Loch na Fuaiche,” reads the event page for this heady-sounding spectacle which was set to take place in County Mayo from March 14 through 17 before it was canceled and subsequently turned into a digital affair. “The stunning artwork will captivate visitors, inviting them to engage with the landscape and environment through an ethereal light-based and sculptural experience.”

Singapore Biennale

Although the Patrick Flores-curated exhibition concluded on March 22 (with a dramatic dip in attendee numbers during its final weeks), the organizers of the Singapore Biennale are making the entirety of the program—including works from 77 different artists and collectives, displayed at 11 different venues–available on Google Arts & Culture by the end of this month.

Sydney Biennale

The 22nd Biennale of Sydney is transitioning into an online-only affair—the first major international art show to do so—beginning on April 6 after officially launching on March 14. (It was forced to shutter shortly thereafter.)  Inspired by seven themes, the show, titled NIRIN (or “edge” in Wiradjuri, an Aboriginal dialect), features 700 works by over 101 individual artists and collectives, including a large number of First Nations artists. The art will be viewable via the Google Arts & Culture as well as through other platforms including YouTube and Spotify, and include live content, exhibition walk-throughs, podcasts, and much more. “The 22nd Biennale of Sydney is a global platform for diverse cultures and perspectives, uniting people across the world, stimulating dialogue and inspiring change,” said Barbara Moore, chief executive officer of the Biennale of Sydney, in a statement. “Now, more than ever, it is important to find ways to connect, to help each other, listen, collaborate and heal.”
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Thieves snatch Van Gogh painting from Dutch museum shuttered during COVID-19 outbreak

A global pandemic, a scenario in which people are ordered to stay home and businesses and institutions are forced to temporarily close, presents itself as an opportunity for bad people to do bad things. And this very much includes the pilfering of invaluable art and artifacts at a time when millions upon millions of people are on lockdown. Singer Laren, a Dutch art museum and concert hall located in the affluent small town of Laren just outside of Amsterdam in North Holland, experienced this phenomenon firsthand when a thief or thieves pulled off a smash-and-grab job in the dead of the night, making off with a painting by Vincent van Gogh—and, even more shamelessly, on the post-impressionist’s 167th birthday. Like many other museums and cultural institutions, Singer Laren is temporarily closed due to the outbreak of the novel coronavirus (COVID-19). Shuttered since March 12, the museum has tentative plans to reopen to guests on June 1. As noted by the Washington Post, the brazen burglary at Singer Laren has likely garnered the uneasy attention of museum directors elsewhere as “the lack of crowds and security potentially compromised by staffing issues during the virus outbreak may present an invitation to opportunistic thieves.” The stolen painting, The Parsonage Garden at Nuenen in Spring (1884), was not part of the permanent collection at Singer Laren, a museum established in the late 1950s by the window of Pittsburgh-born steel fortune heir-turned-artist William Henry Singer to house the couple’s vast art collection. Rather, the 1884 oil painting, completed by Van Gogh relatively early in his career while living with his parents outside of Eindhoven, was on loan from the larger Groninger Museum as part of an expansive exhibition of 19th-century Dutch paintings and watercolors at Singer Laren titled Mirror of the Soul. Housed in buildings designed by Philippe Starck, Alessandro Mendini, and Coop Himmelb(l)au, the Groninger Museum is located in the city of Groningen in the far north of the Netherlands. In a statement, the museum said it was “shocked by the news“ and added that the work is the only Van Gogh painting in its own collection. The 10-by-22-inch Van Gogh painting has been valueed at up to $6.6 million as reported by The Guardian. In a press conference, Singer Laren director Jan Rudolph de Lorm described himself as being “unbelievably pissed off” by the overnight art heist. “We are deeply shocked, angry and saddened,” reads a full statement by de Lorm, published on the museum website. “A magnificent and poignant painting by one of our greatest artists has been taken from the community. It is terrible for the Groninger Museum and for Singer Laren, but above all for every one of us. Art exists to be shared, to enjoy, to inspire and offer comfort, particularly in times such as these. Art is vital to our culture.” The thief/thieves gained entry to the museum at 3:15 a.m. on March 30 by smashing in the glass front doors. This immediately triggered a security alarm but the culprits—and the painting—had vanished into the night by the time police arrived on the scene. The statement released by Singer Laren goes on to note that the museum has launched a full investigation “involving experts from several fields, including forensic investigators, detectives and members of the national crime squad specialised in art theft.” As the Associated Press noted, this is not the first time that art has been purloined from Singer Laren. In 2007, thieves made off with several sculptures from the museum’s garden including a bronze cast of Rodin’s The Thinker. That sculpture was ultimately recovered albeit missing a leg.

10 Top Museums You Can Explore Right Here, Right Now

Google Arts and Culture has partnered with over 500 museums and cultural institutions globally to allow visitors to peruse their collections virtually. Travel from New York City to Paris to Seoul and back in just a few clicks. The top 10 museums to tour include the Guggenheim Museum, New York; the British Museum, London; Musée d'Orsay, Paris; the Museum of Modern and Contemporary Art, Seoul; the Pergamon Museum, Berlin; the Rijksmuseum, Amsterdam; the Getty Museum, Los Angeles; the Uffizi Gallery, Florence; MASP, São Paulo; and the National Museum of Anthropology, Mexico City.
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An interview with archaeoacoustician Steven J. Waller

Steven J. Waller practices archaeoacoustics, an emergent subdiscipline of archaeology that studies the sonic dimension of archaeological sites, including a location’s capacity to produce resonance. Waller’s research focuses on rock art. He was the first to theorize that echo, when interpreted by ancient people as spirit beings living in rock, was a motivational factor in rock art image placement. In preceding a science of acoustics, rock art, in Waller’s conception, begins to function as a tool for phonetic transcription or proto-recording, pointing toward the ability of materials to talk back to us—if only we listen.

Emma McCormick-Goodhart: What are the prevalent architectonic and sonic characteristics of rock art sites in the American Southwest?

Steven J. Waller: Much of the rock art in the Southwest is sited in canyons and on cliff faces, rather than in deep caves. A canyon is almost like a cave without a roof on it. Sound still bounces around; it’s just that in deep caves, it’s much more reverberant or resonant. Reverberation is like a thunderous sound, whereas in shallow shelters—canyons or cliff faces—it’s more like a distinct echo that speaks back to you, sometimes with multiple repeats. Shelters are interesting, because they can act like a parabolic reflector, just as antennae dishes focus sound and help to magnify it. There’s a place in Chaco Canyon [in northwestern New Mexico] called Tse'Biinaholts'a Yałti (Curved Rock That Speaks). An artificial mound was built at the focal point of this curved cliff face, and you can actually get an echo that’s louder than the original sound, because it focuses it. There’s a legend associated with a spirit being that’s in the rock. In fact, there’s a whole mythology about portals that open up into a spirit world. Sound reflection helps to give that illusion. It’s like when you look in the mirror, you look in the mirror—and sound reflection gives that same illusion of depth. Even though you can see the rockface, what you’re hearing is depth, as if there’s something beyond there: a chamber or something, where spirits are living. It’s an interesting illusion of space. In the Great Gallery at Horseshoe Canyon [in northern Utah], for instance, it’s like the paintings speak back to you. Sound reflection, as a general phenomenon, would have been inexplicable to ancient people—whether it was a distinct repeat, or a reverberation that blurs together like thunder—because they didn’t know about sound waves. Instead, they had a supernatural explanation for this phenomenon. Hearing it as communication with the spirit world, they sought these spirits deep in caves or way up on cliffs, where sound appears to come from.

How did you “hear your way” into this theory?

I don’t think that it was a Flintstone kind of sound system for their music; I think that it was spiritual. I made my discovery, by accident, at the cave of Bédeilhac, in France. I was standing outside of the cave, waiting for my wife to get a sweater from the car, and I asked myself, if I were a caveman, why would I go deep inside the cave? Why would I only decorate certain chambers? Why would I only depict certain things—and what was taking her so long? I yelled, “Hey, Pat,” and the cave spoke back. My subconscious heard that echo not as an echo, but as a voice speaking back—and I instantly remembered learning about the legends of echo spirits that live in the rock. My subconscious realized ancient people would’ve heard it like an echo spirit calling back to them, calling them into the cave. That was in 1986, and I’ve been going to as many caves and canyons as I can ever since to test my hypothesis about the correspondence of sound and rock art. The more places I go to, the more I hear it.

You argue for the preservation of soundscapes at sites of rock art. Can you elaborate what’s at stake in facsimile production?

It’s a natural offshoot of my theory: the realization that a rock art site is not simply the panel of images, but also the experience of the sound environment around it, which is, I think, what inspired the rock art. There’s effort dedicated to documenting and “preserving” rock art, which to me means keeping the original, but to a lot of people means making copies. They’ll spend months recording every stroke, yet they make no effort to document or study the sound. I think that if they’re making a facsimile or replica and they want people to have a realistic experience, it has to include sound—it has to be audiovisual—or it’s going to be misleading. Lascaux II is completely misleading—it might as well be your living room. The sound is dead. They gave no thought to acoustics at all, even though millions were spent reproducing the shape of the cave to the centimeter, and art to the brushstroke. It also doesn’t necessarily have to be a physical replica of the cave; this can be accomplished with virtual reality.

What might explain this recurring sonic omission?

I think that it’s twofold, at least. One is that we, as modern people, know about sound waves and reflections. We know what an echo is, so it’s trivialized. It’s such a contrast to how echoes were viewed in the past as spiritual phenomena, revered to the point of worship. There are legends around seeking echo, like the Acoma migration story. They would go to places and test for echo, and if the echo was no good, then they would move on. The legend describes a place just to the east of Acoma, where they found the perfect echo. The land area of the Acoma tribe has the Petroglyph National Monument [outside Albuquerque, New Mexico] at its eastern boundary, and it is one of the strongest echoes I’ve ever recorded. There’s also another myth: “The white man calls it an echo; these are witches that live in snakeskin and inhabit sheep. That’s where the echo spirit lives.” Some legends don’t call it an echo, but a “talking rock.” The other thing is that the very name of the thing that we’re studying is rock art, so the attention is focused on the “art,” or the visual. I think it’s more interactive and audiovisual, because of the evidence I’ve collected showing the correspondence between locations that were selected and their sound reflective intensity—so it seems like they purposely chose places with the best echo and reverberation. I don’t think that the art was an afterthought, but an auxiliary part of the ritual.

You’ve written about the percussivity of stone tool production as another source for interpretative “mishearing.”

When you’re flint knapping and making stone tools, those percussion noises—when they echo back—sound like hoofbeats. That’s why certain engravings are of hooved animals. They might’ve even purposefully chosen places like that to make their stone tools, thinking that it might endow tools with magical qualities reinforced by spirits. You could also speculate that that’s how they discovered making tools; that they were banging rocks together to make echoes, and some of them happened to break. Some people have been looking at the tonal quality of some of these blades. It makes you wonder how much sound impact was important for stone toolmaking.

Sound is still physically measurable in rock art sites. Sound doesn’t fossilize, per se, but might it be useful to think of sound as a living fossil layer—a form of what UNESCO would term “intangible heritage”?

That’s an interesting way of looking at it, because it’s not that the sound itself can still be heard, but that the structure of the place—the characteristics of the rock, and the shape—still produces the same phenomenon as it did then. Any effects of erosion add statistical noise or statistical uncertainty, but I think that most of these places are spatially similar enough now to how they were in the past that you can figure the sound is going to be quite similar. You’re not hearing the same airwaves as our ancestors, but the same acoustic response. I try to apply my scientific methodology and hypothesis testing as a basis for arguing for the conservation of soundscapes in order to study rock art not just with our eyes, but with our ears, too.

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Matt Johnson exhibits construction equipment as sculpture at Blum & Poe

Much of the work produced by Los Angeles-based sculptor Matt Johnson attempts to speak to both the fields of art and architecture by marrying the material language of the latter with the playfulness of the former. An untitled exhibition of his work currently on display at L.A. gallery Blum & Poe demonstrates the artist's ability to take seemingly banal elements familiar to the construction industry—traffic cones, cinder blocks, bricks, rebar—and reconfigure them into works that question balance, efficiency, bureaucracy, and the general feeling of safety we ascribe to the built environment. Johnson's fourth solo exhibition at Blum & Poe features eleven sculptures, each of which present fragile, precarious figures out of the most durable materials available in the building industry. This combination of materiality and precarity presented by Johnson recalls the work of modern and contemporary sculptors, including the spindly figures of Alberto Giacometti, the metal balancing acts of Alexander Calder, and the multimedia assemblages of Peter Fischli and David Weiss. Like those artists, Johnson employs few tricks to summon his materials into their seemingly impossible positions. “No illusions are cast,” the press release states, “the objects are carved actors on a set, executing their performances, restricted only by their painted, wooden, physical existence.” A few of the sculptures on display even manage to bring a sense of personality and narrative to the inert objects that make up their compositions. One sculpture, titled 1 block with 2 bricks and 2 bricks cantilevered on 1 bar, can be read as the embodiment of a millennia-long competition between clay and concrete in the building industry—or, speaking more generally, between two distinctly opposing methods of potentially arriving at the same final result. This and other pieces are, according to the gallery, “organized information, like subatomic particles, atoms and elements, molecules and compounds, glued by gravity, and magnetic polarity, surfing in a sea of electrical conductivity.” The exhibition will be on display until January 11, 2020.
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The Wrong gets online exhibitions right

Art exhibitions tend toward the physical, a fact made no more obvious than by the ever-growing count of international biennials; every year, artists, architects, curators, designers, and all manner of hangers-on set off to Venice or Lisbon or São Paolo or Seoul. Jet fuel is burned, lukewarm Prosecco is drunk. In an era that traffics in data, what might be the digital answer to the brick-and-mortar biennial? The Wrong is perhaps one of the right responses to this question. Founded in 2013 by David Quiles Guilló, the online biennial has showcased thousands of artists as part of its radically open exhibition format. Any artist or curator might submit an exhibition, and The Wrong will continue adding them to its directory until the very last day of the biennial.  Living in an off-the-grid home in Alicante, Spain, Quiles Guilló may seem like an unlikely candidate for running a global biennial of net art, but perhaps this is what best embodies The Wrong: de-centered and democratic by definition, one need not be near any global art center—or have the means to reach it—to participate fully in the exhibition. “The Wrong wants to make it easy for curators and artists to exhibit their work, and for the public to enjoy it,” Quiles Guilló said. “Everything I work toward is to achieve this premise.” He is quick to stress however that The Wrong is not designed in opposition to the IRL biennial. “I believe the wrong is a complement to all the already existing events and biennials, a different experience for curators, for the artists, and for the public.” That said, as infinite as an exhibition like the Venice Biennial might feel, The Wrong has them beat. “It’s so vast there is no way you can visit it all,” Quiles Guilló explained, “which mirrors the infiniteness of the digital space.” Artist (and AN contributor) Alice Bucknell, who is exhibiting as part of the pavilion Too beautiful to be real, noted that in contrast to the Venice Biennale or art fairs, there is a “divergence,” perhaps a positive one, between The Wrong and its physical siblings. “There’s an inherent hierarchy informed by the spatiality in traditional biennials and fairs—it conditions your experience of them whether you notice or not,” she said, adding that most art biennials or fairs also have been run in more or less the same way since their inception. “With The Wrong there’s no hierarchy in terms of how you navigate. There are no central pavilions or national pavilions like Venice, there is no up-and-coming sector like Frieze or Basel. There are no costs.” That said, she pointed out that the exhibitors lean heavily toward Euro-America, though this appears to be improving. The Wrong has also attracted its fair share of showy names over the years amid myriad others, such as Marisa Olson and Elisa Giardina Papa. The Wrong’s official landing page is all text, composing many, many links to its various “pavilions.” Bucknell described this design as a “romantic, quite nostalgic idea of the internet as a digital village where you can travel in any order.” In the age of the infinite scroll and the algorithmically organized news feed, where users spend time on just a handful of monopolizing websites, The Wrong brings pack a long-gone Geocities era of the internet with raw hyperlinks and seemingly infinite discovery. “Media today is consumed almost 100 percent based on algorithms, so you only consume something related to what you consumed yesterday, and it is quite hard to break the spell,” said Quiles Guilló. “The Wrong does not use any algorithms, nor compile data from its visitors, so it is a new opportunity to access art and ideas that are not on your regular online diet.”  The Wrong opens its fourth edition to the public on November 1. To attend the opening party, click “Going” on the Facebook event and start commenting.
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Florence Knoll Bassett's private art collection is going to auction

The art collection of the late Florence Knoll Bassett, the American designer who pioneered mid-century furniture and interiors, will be sold at the auction house Phillips this fall. The collection will reveal how the designer who defined American corporate style during the postwar era decorated her own private homes in New York and Florida. The auction will take place on October 25 and November 14 and features 50 pieces from her collection.  Florence Knoll Bassett founded the self-named furniture company Knoll with her husband Hans Knoll in 1938, but was also the mastermind behind many of the company's iconic pieces. She studied under some of the most prominent modernist architects including Ludwig Mies van der Rohe, Walter Gropius, and Marcel Breuer. The close association with the Bauhaus can also be seen in her interiors that dominated the American postwar corporate landscape, with IBM, GM, and CBS included in the roster of Knoll clients.  While Knoll's designs have become ubiquitous across offices and homes, the art collection offers a more intimate look at the late designer's personal life. Like the midcentury modern furniture she became known for, Knoll’s art collection is steeped with the abstract works of her artist peers and friends. According to The New York Times, some of the pieces that can be expected at the auction include Paul Klee’s Der Exkaiser, Rufino Tamayo’s Five Slices of Watermelon, and Morris Louis’s Singing. The private collection features an all-star lineup, including artists Josef Albers, Isamu Noguchi, and Pablo Picasso.  Coincidentally, the tail-end of the Knoll Bassett auction will coincide with the auction of I.M. Pei's collection—the architect passed away at a similar 102 this year, and Christie's will be handling the sale of items from his estate.

American Craft Exposition

ACE 2019 will showcase over 140 artists with one-of-a-kind pieces and museum-quality artwork. A highly competitive juried show, ACE features hand-crafted work in 12 media – baskets, ceramics, fiber decorative, fiber wearable, furniture, glass, jewelry, leather, metal, mixed media, paper and wood. Proceeds from ACE benefit increased access to mental health services at NorthShore University HealthSystem. These critical funds are raised through Benefit Preview Party tickets, general admission tickets, sponsorships and our voluntary Craft for a Cause program. ACE does not receive a portion of proceeds from artist sales.

American Craft Exposition

ACE 2019 will showcase over 140 artists with one-of-a-kind pieces and museum-quality artwork. A highly competitive juried show, ACE features hand-crafted work in 12 media – baskets, ceramics, fiber decorative, fiber wearable, furniture, glass, jewelry, leather, metal, mixed media, paper and wood. Proceeds from ACE benefit increased access to mental health services at NorthShore University HealthSystem. These critical funds are raised through Benefit Preview Party tickets, general admission tickets, sponsorships and our voluntary Craft for a Cause program. ACE does not receive a portion of proceeds from artist sales.

American Craft Exposition

ACE 2019 will showcase over 140 artists with one-of-a-kind pieces and museum-quality artwork. A highly competitive juried show, ACE features hand-crafted work in 12 media – baskets, ceramics, fiber decorative, fiber wearable, furniture, glass, jewelry, leather, metal, mixed media, paper and wood. Proceeds from ACE benefit increased access to mental health services at NorthShore University HealthSystem. These critical funds are raised through Benefit Preview Party tickets, general admission tickets, sponsorships and our voluntary Craft for a Cause program. ACE does not receive a portion of proceeds from artist sales.