Tomo Campbell, Girard, Japanese Towels + More

[ad_1]

After discovering a painting by British artist Tomo Campbell online a few years ago, I’ve found myself returning to his work time and again. So when an email from Cob Gallery announced Campbell’s participation in The Armory Show in New York City last week, showcasing a new piece entitled Promise (2024), I was immediately intrigued. This large-scale oil painting has a way of making me wish it hung on my wall, with its blend of abstraction and fleeting hints of recognizable forms, layered in vivid pastel tones. Campbell’s signature style shines through in the painting’s dynamic movement and depth, inviting endless interpretation of its ambiguity. With its delicate balance between chaos and control, Promise (2024) reveals something new every time you look at it.

As a longtime fan of Alexander Girard’s work, I’m excited about the release of Alexander Girard: Let the Sun In by Todd Oldham and Kiera Coffee (out October 15). This beautifully illustrated monograph celebrates Girard’s extraordinary contributions to mid-century design in a way that feels as vibrant and eclectic as his creations. Featuring over 800 images – many of them never before published – the book dives deep into Girard’s work across various disciplines, from his iconic Herman Miller textiles to his complete rebranding of Braniff International Airways with over a thousand unique assets. It also explores his innovative interior designs, such as the lively atmosphere of La Fonda del Sol restaurant in New York and the distinctive sunken conversation pit of the Miller House. Organized by discipline, Let the Sun In captures Girard’s love for color, pattern, and form, and is a must-own for anyone who admires his fearless approach to design. Todd Oldham’s extensive research and collaboration with Girard Studio bring to life the bold, playful spirit that made Girard a standout figure in American modernism.

A gray, textured towel hanging on the left; close-up of the towel's woven pattern on the right against a plain background.

If you’ve ever been on the hunt for new towels, you know how sad that journey can be with only boring, basic options that half the people love and have the people loathe. One brand I’ve heard nothing but great things about is Kontex. Made in Japan using traditional weaving techniques, these organic cotton towels have a unique waffle texture that promises to be both soft and absorbent. The understated nature of their design – a blend of simplicity and sophistication – makes them effortlessly stylish, while their high-quality cotton ensures they’re built to last. They’re the kind of everyday luxury that just feels right and worth the splurge.

Open box with various colorful stationery items neatly organized inside and displayed separately below, including notebooks, paper clips, stickers, and writing tools.

Advent calendar themes continue to expand year after year, especially after the growing trend of unboxing them on TikTok. While candy, jams, wine, and beauty products have been the most popular, I love seeing one that’s off the beaten path, like this one. After selling out in record time last year, Papier has brought back their iconic advent calendar that’s perfect for any stationery devotee you may know. The calendar is packed with 24 individually wrapped gifts, each a bespoke product that’s exclusive to this set. Valued at $250 but available for $175, it’s filled with a mix of mini bestsellers and delightful new surprises, like pens, notebooks, stickers, paper clips, bookmarks, notecards, and washi tape, all designed in London.

A white countertop displays a white pitcher, a container with black and white kitchen utensils, and three colorful Field Notes notebooks.

As a notebook hoarder who uses them for just about everything, I swing between plain designs and maximalist ones to keep it interesting. I’ve used my fair share of notebooks from Field Notes, as they’re compact and fit easily in a pocket or bag, and was drawn to one of their releases this year – The “Flora” Edition. The three colorful designs come from Chicago artist and designer Emmy Star Brown as a pack of three in the 3-1/2″ x 5-1/2″ size, perfect for list making and reminders on the go.

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

[ad_2]

Source link

Read More

10 Tips to Nurture a Daily Painting Practice

[ad_1]

Showcase your talent and win big in Artists Network prestigious art competitions! Discover competitions in a variety of media and enter for your chance to win cash prizes, publication in leading art magazines, global exposure, and rewards for your hard work. Plus, gain valuable feedback from renowned jurors. Let your passion shine through - enter an art competition today!

Consider these insights on the importance of establishing a daily art practice—and the benefits it can yield over time.

By Eve Miller

“The study of art is a lifetime matter. The best any artist can do is to accumulate all the knowledge possible of art and its principles, study nature often and then practice continually.”


Edgar Payne (American, 1883–1947)

This article is excerpted from the Fall 2024 issue of Pastel Journal. Read the rest of the article—and other inspiring artist features and columns—in the print or digital edition.

My first introduction to art-making took place in my 60s, after having retired from teaching French and Spanish for 35 years. Fortunately, art found me at a time when I had the luxury to take classes and workshops from talented contemporary artists.

Among the Reeds (pastel on paper, 9×12)

To accelerate my artistic development, I embarked on a daily painting practice to push creative possibilities and improve my skills and techniques. I’ve now been practicing every day for more than five years. Over time, I noticed that the work I submitted to exhibitions was accepted more frequently than the paintings submitted before having begun my practice, which has been a delightfully unexpected outcome.

10 Tips to Make it Happen

My advice for aspiring artists is to commit to a daily painting practice—and to reap the benefits that build over time. If you’re interested in establishing your own practice, consider the following.

1

Set aside a dedicated time. It’s important to carve out time to create, even if it’s just 5 minutes a day. This isn’t the time to try to complete a painting. It’s a time to explore—to doodle, sketch, make thumbnails, create a color study or test pastels. You’ll be surprised by what you can learn in a short amount of time. I usually spend 30 minutes daily, setting a timer as a reminder to stop and assess my work before I move on with the rest of my day.

2

Be consistent. I’m a morning painter, so my daily morning practice serves as a great warm-up. Observe the time of day you have the most energy and the fewest distractions, and commit to a standing date.

3

Find a trigger. It can be intimidating to sit down and “be creative.” I’ve found that inspirational quotes, art books and other artists’ works help to ignite my daily practice. They ground me and give me something to focus on while working.

4

Remind yourself why you’re painting. I usually focus on a creative intention for the day, which I write on an index card and place on the easel. I find it’s also important to remember why I paint. Know your why(s).

5

Find a happy place. The more you like the space in which you’re working—and the materials on hand that you’re using—the more you’ll enjoy and appreciate your sacred creative time.

6

Go outside. It’s important to observe nature’s random beauty for inspiration. When I go for a walk, I focus on enjoying the moment, but I also try to memorize what catches my eye. I’ve learned that my “memory paintings” have a more spontaneous feel than those scenes I captured and referenced with my smartphone.

7

Prep and show up at the easel most days. I’ve learned that it’s much easier if I set up my easel and materials the night before, so I’m all set and ready to go the next morning.

8

Be accountable. It takes time, motivation and inspiration to paint. I post my daily practice outcomes on social media, not for the likes but because it makes me accountable. I love my solitude but I find interaction necessary for follow-through.

9

Let go of judgment. Even if things don’t turn out the way you think they should, it’s a much more joyful experience when you’re open to the process. Remember that you’re not defined by negative opinions—yours or others’—and move forward.

10

Find inspiration that speaks to you. It can be difficult to commit to a daily practice, but if you’re inspired by your subject, process, materials, etc., you’ll be more likely to continue. That’s where the beauty lies.

Dawn (pastel on paper, 12×9)
Serenity in the Marsh (pastel on paper, 12×12)
Morning Magic (pastel on paper, 14×11)

About the Artist

Eve Miller, of Beaufort, S.C., is an instructor and award-winning pastelist. She’s a Signature Member of the Pastel Society of America and a Master Circle Member of the International Association of Pastel Societies, as well as a member of several other art societies and organizations. Follow her daily painting practice on Instagram.



[ad_2]

Source link

Read More

The biggest threats to heritage sites worldwide? War, urbanisation, tourism, climate change and lack of funding

[ad_1]

World Monuments Fund (WMF) has found that the most widespread threats to heritage sites include climate change and rapid urbanisation. A study of more than 200 heritage sites around the world also found that factors like war, insufficient funding, irresponsible tourism and “lapse in oversight” topped the list. This is according to research for WMF’s upcoming World Monuments Watch, a biennial list of sites in danger of deterioration or destruction.

“Since its inception in 1996, the World Monuments Watch has been a crucial tool for WMF to understand the evolving needs of heritage sites and the communities that rely on them,” Bénédicte de Montlaur, chief executive of World Monuments Fund, said in a statement. “Our data-driven approach has deepened our insights, enabling us to craft more effective strategies and take meaningful action where needed most.”

In terms of regional menaces, WMF found that climate change appears to be the largest factor in Sub-Saharan Africa, while urbanisation and development is most threatening to historical sites in Asia. Lack of funding appears to be the biggest problem in Europe and North America, while sites in Latin America and the Caribbean suffer most from overtourism. In the Middle East and North Africa, war and lack of local resources are the top concerns.

The 2025 World Monuments Watch list will be released in January 2025, culled from 211 publicly nominated sites in 69 countries.

[ad_2]

Source link

Read More

Manifesta Goes Off-the-Grid to Take on an Over-Touristed Barcelona

[ad_1]

As the Catalan capital, Barcelona’s tourism has sparked a crisis for those who live there. Local residents are battling crowds, pollution, and carelessness when it comes to the region’s culture. Despite the municipal government taking measures including banning the construction of new hotels and raising tourist tax, over the summer, tensions culminated in thousands of protestors not only denouncing the city’s over-tourism, but even shooting tourists with water guns out of sheer frustration.

The urgency of this atmosphere underpins the 15th edition of Manifesta, which opened to the public on September 9 (running until November 24, 2024). With an artistic team spread across 12 cities on the periphery of the Spanish city, this edition is intentionally decentralized, focusing on local communities as a methodology for sidestepping the ever-increasing tourism and gentrification of Barcelona itself.

Overseen by Portuguese curator Filipa Oliveira, who is the collective’s creative mediator, this edition takes place around the metropolitan region with a clear ambition: to encourage long-lasting change in the area. Large-scale art events are notorious for paying lip service to such endeavors while often avoiding any meaningful responsibility for enduring transformation. Manifesta 15 seeks to redress this imbalance.

Garden of ‘La Ricarda’, 1965 © Moisès Villèlia. Photo © Manifesta 15 Barcelona Metropolitana. Photo: Ivan Erofeev

Shakespeare’s famous adage, “A rose by any other name would smell as sweet,” could easily apply to Manifesta, which also goes by the European Nomadic Biennale, and has been ever on the move since 1994. (The last edition was in Prishtina, Kosovo, and the next will head to the German region of Ruhr.) Launched to respond to the new social, cultural, and political reality after the Cold War, thirty years on, the project now doubles down, aiming to make socio-ecological improvement its fundamental principle.

A tall order, no doubt. Yet this edition’s will to turn our gaze to the peripheries is, thankfully, non-exhaustive; this show is not about asking everyone to go everywhere. Rather, by embedding itself within atomized local social and ecological infrastructures, the project activates art as a mediating factor to enable both critical engagement and, hopefully, sustained change.

Cue the “clusters:” With three exceptional, if dense, archival presentations mounted at Manifesta 15’s headquarters in Barcelona’s Eixample district—which respectively explore radical pedagogy in 20th Century Catalonia, Barcelona’s democratic and cultural evolution, and Black life in the metropolitan region—the other exhibitions form clusters in spaces as diverse as churches, disused factories, a former panopticon prison, a grain warehouse, and even a bomb shelter. As a whole, this sees 92 artists within three thematic categories: “Cure and Care,” which looks at the healing power of culture; “Balancing Conflicts,” which seeks to protect local natural resources from existential threat; and “Imagining Futures,” which focuses on the Besòs River region, home to one million residents, which has been defined by its disorderly urban growth.

Exudates, 2024 © Eva Fàbregas. Photo © Manifesta 15 Barcelona Metropolitana. Photo: Ivan Erofeev

Cure and Care

The concept of care has become a buzzword in contemporary art circles, with methods of repair often proposed through exhibition making, and usually in ways that are fundamentally different from Western approaches.

At this cluster’s main venue, a 9th-century Benedictine Abbey, an interior courtyard is the definition of peacefulness with its Corinthian columns, trompe l’oeil frescos, and a fountain with bright orange fish. Encountering Simone Fattal’s bronze sculpture Adam and Eve (2021) is an exultant, tongue-in-cheek dig at the iconography of the Christian church, and presumably, when presented in this context, the history of its own questionable approach to care.

These Biblical figures are abstracted into a glorious amalgam of textured flesh, breasts, legs, and torsos weighted with human authority. Upstairs, Dana Awartani’s medicinally-dyed and hand-embroidered silk installation (Let me Mend Your Broken Bones, 2024) sees darned windows of red, yellow, and orange silk perfectly patching the negative space of the arches, while Wu Tsang’s video Girl Talk (2015), which explores how identity structures can be dismantled, has the exultant singing voice of theorist and poet Fred Moten ringing out through the halls.

Adam and Eve, (2021) © Simone Fattal. Photo © Manifesta 15 Barcelona Metropolitana. Photo: Cecília Coca

The standout work here is Diana Policarpo’s three-channel video Liquid Transfers (2022–24), a speculative-fiction film about ergot, a fungi growing on wheat that caused hallucinations in humans and shaped social behavior alongside the rise of capitalism. Used by healers, midwives, and experimental military programs alike to “reveal the invisible crimes of our psyche,” it poetically taps into not only the cult of hallucinogenic healing but also into the violent undercurrents of political abuse in the name of care and progress.

Liquid Transfers, (2022-2024) © Diana Policarpo. Photo © Manifesta 15 Barcelona Metropolitana /
Cecília Coca

At the Museo de Ciencias Naturales (Museum of Natural Sciences), it’s easy to wonder whether aesthetic rigor is sometimes sacrificed for methodology. The glass and textile sculptures of Hugo Canoilas, Sculptured in darkness (2020–24)—bulbous, rock-like forms that merge with the vegetation in the museum’s garden—appear less like the “radical inclusion” of non-human life species in a “post-capitalist world” they’re presented as, and more like incidental leftovers. Similarly, the textile and ceramic works by Tanja Smeets, The Life in Between (2024), which appear as fungi-like growths across a great swathe of two additional venues, a Romanesque church and the textile factory Vapor Buxeda Vell, seem parenthetical and, dare I say, needlessly repetitive and rather decorative.

Infinitely more pertinent as an urgent methodology of cure and care are Lara Schnitger’s colorful patchwork banners, which are draped from the factory’s chimneys: Women’s work is Never Done (2024). As the former “Manchester of Catalonia,” this region was known as the world’s second largest textile industry, which created Catalonia’s wealth. Collaborating with a local women’s sewing association, Xarxa de Dones Cosidores, the installation symbolizes female resilience, building upon the stories of these women and focusing on unrecognized acts of female labor.

Sculptured in darkness, (2020-2024) © Hugo Canoilas. Photo © Manifesta 15 Barcelona Metropolitana / Cecília Coca

Balancing Conflicts

While some of the venues in this section leave you wondering if you could have just glanced at installation shots online, rather than schlepping for hours to see somewhat mediocre one-work installations, it’s all worth it once you reach Casa Gomis, a private Modernist villa designed by Antoni Bonet i Castellana between 1949 and 1963.

As a former refuge for Catalan’s cultural figures during Franco’s dictatorship, it still functions today as a private home. The villa is bathed in the thick scent of pine, which blends with the heat and rain. It sits in the Llobregat Delta Nature Reserve, bordering Barcelona-El Prat Airport, which is lobbying for an expansion that would destroy both the reserve and the property. This time capsule of Modernist architecture, design, and furniture is one in a million: truly breathtaking, and fighting for survival if indeed the airport is given permission to increase its size.

Parliament of Trees, (2022-2024) © Elmo Vermijs. Photo © Manifesta 15. Photo: Ivan Erofeev

Encouraging you to sit beneath a leafy, shaded canopy in the garden, works such as Parliament of Trees (2022­–24) by Elmo Vermijs, a layered installation of locally sourced or borrowed timbre, acknowledges trees as being the silent witnesses of climate change, poignantly questioning the fundamental rights of more-than-human entities in our society, which are often voiceless in their struggle for existence.

Inside the villa, another standout moment here is by Catalan artist Magda Bolumar Chertó, whose site-specific painting Xarpellera for La Ricarda (1966) lyrically arranges dots, shapes, and lines like a musical score of joyfully bright primary colors. It was the backdrop for many music performances that took place at the villa against a milieu of political mire. It’s easy to imagine the avant-garde gatherings that flourished here as a means of escaping Franco’s tyranny, even if only momentarily.

Imagining Futures

The absolute standout exhibition at Manifesta 15 is presented at the Tres Xemeneies (Three Chimneys), an utterly colossal thermal power station of concrete and iron built in the 1970s, which generated electricity for the metropolitan region before it was closed in 2011. While the building provided work for the local community, and was therefore termed the “Sagrada Família of the workers,” it too was a source of pollution, environmental damage, and a health hazard: its final closure resulted from its detrimental impact on the climate, causing acid rain.

Arrow of Time 2, (2022-2024) © Emilija Škarnulytė. Photo © Manifesta 15 Barcelona Metropolitana. Photo: Ivan Erofeev

At the center of the power station is a powerful archival presentation, Memory of the Smoke, which explores the dual sense of belonging and sustenance brought to the people by Tres Xemeneies, alongside its threatening presence. Photographs, letters, maps, and posters trace the development of the building, from the first demonstrations against the “damned soot” to the residents who fought against Francoism, to the fight for improved labor rights and women’s rights. Manifesta 15 worked together with residents of the Sant Adrià area to create this presentation, which is bursting at the seams with memories, as well as to contemplate the role of this past in paving the way for the region’s future urban transformation.

Another ode to the local residents finds form in the dreamlike outdoor sculpture Urchins (2024), which was initiated by CHOI+SHINE Architects, and was made in La Mina by 120 people living nearby. They wove white threads into lace-like patterns to form two giant spherical structures that appear like immense shells or sea urchins resting near the shoreline. Proximate is Mike Nelson’s Un Intruso (uninvited, into chaos) (2024), a new commission for which the artist built a shack from salvaged materials, with a window that perfectly frames the vast three chimneys slicing into the sky.

Un Intruso (uninvited, into chaos), (2024) © Mike Nelson, Vegap, Barcelona 2024. Photo © Manifesta 15 Barcelona Metropolitana / Ivan Erofeev

The inclusion of two films are notably well curated: Emilija Škarnulytė’s Arrow of Time 2 (2022–24), which centers on the threat of the Ignalina Nuclear Power Plant in Lithuania when it was under Soviet rule, and Dziga Vertov’s The Eleventh Year (1928), a recently restored propaganda film. It marked the eleventh anniversary of the 1917 October Revolution, celebrating the Soviet Union’s dictatorial empire and engineering might with the construction of the Dnipro Hydropower Station in Ukraine. Both speak to the disastrous proposition that utopia is achievable through industry.

When women strike the world stops, (2020) © Claire Fontaine, Vegap, Barcelona 2024. Photo ©
Manifesta 15 Barcelona Metropolitana. Photo: Ivan Erofeev

It is really the sculptural installations that make this presentation sing, from the acid yellow pigment and hanging pale-pink cocoons of Carlos Bunga’s The Irruption of the Unpredictable (2024), which calls out to the power of renewal, to Diana Scherer’s Yield (2024), a gigantic tapestry made of roots, soil, seeds, and grass that is draped all the way from one factory floor to another, and that references the spines and bones which fascinated Catalan architect Antoni Gaudí.

On the top floor of the Tres Xemeneies, Asad Raza’s Prehension (2024) saw the artist removing three of the factory’s windowpanes to conjure the poetic possibilities of the wind, which blows through the space, activating long drapes of white fabric that rhythmically dance in with air: truly mesmerizing. And perhaps the pièce de résistance is Claire Fontaine’s LED installation When women strike the world stops (2020), which conjures the importance of women to this factory’s history; while only making up 1 percent of the workforce, nonetheless women fought in the shadow of the building for personal rights, environmental safety, and improved living conditions.

Charging art with having the power to activate enduring change—not only to visualize or represent alternative ways of being in the world, but to actively protect and repair–makes Manifesta 15 political by definition. It is a valiant effort, and one that deserves our support while the potential of its long-term influence plays out.

Manifesta 15 runs from the September 8 through November 24, 2024.

Follow Artnet News on Facebook:

Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

[ad_2]

Source link

Read More

Has Wikipedia Become ‘Wokepedia’? – by Dan Gardner

[ad_1]

English Wikipedia contains almost seven million articles. That is an astonishing fact. And a revealing one, too. Please keep it in the back of your mind as you read on.

As I’ve mentioned before, I’m now co-writing a book with Jimmy Wales, the founder of Wikipedia. The book is about trust and its heart will be the story of Wikipedia – how immense numbers of volunteers created the largest encyclopedia in history and how that encyclopedia became a globally trusted source of information. In fact, I wrote most of this article sitting in a hotel room in Katowice, Poland, while attending this year’s “Wikimania,” the annual global conference of “Wikipedians,” the volunteers who edit Wikipedia.

I am not a Wikipedian. I’m an observer. And what I observe is that hardcore Wikipedians – the sort of people who spend their precious summer holidays attending a conference of Wikipedians -- are some of the loveliest people I’ve ever met. Which really isn’t a surprise. After all, these are people who spend enormous amounts of spare time researching, editing, discussing, organizing, working on IT, resolving disputes, and doing the many other tasks required to build and run Wikipedia. And they do it all for free. They don’t even get so much as a byline. Or a “thanks” from the billions of people – yes, billions – who benefit from their labours. Their motivations? It’s mostly curiosity, generosity, and community. These are people who absolutely love finding and sharing knowledge. In a word, these people are nerds. I adore them.

But if you spend time perusing very online American right-wing commentators, that may not be the image you have of the people behind Wikipedia.

Instead, you probably picture weedy youngsters with blue hair, nose rings, and a snarl. Each carries a well-thumbed copy of Das Kapital in a backpack, along with Antifa leaflets and sticks of dynamite. That’s because, while most of the planet sees Wikipedia as a generally reliable source for basic facts on everything from Ansel Adams to ZZ Top, it is increasingly conventional wisdom in much of the American right that, while Wikipedia was once the crown jewel of the Internet, it has been taken over by leftist cadres hell-bent on pushing a neo-Marxist agenda. Wikipedia is now “Wokepedia,” a leftist propaganda platform.

The case against Wikipedia has been percolating for years but several iterations of it have appeared recently. This is the latest version, published a couple of weeks ago. It follows on this critique published last month on Substack. (Note: Please see the PS as the end of the essay.) And this analysis, published by the Manhattan Institute, a conservative American think tank. Conservatives have been using the portmaneau “Wokepedia” for some years now but it was Elon Musk tweeting that accusation to his immense right-wing following that really popularized it. And given that Musk thinks “wokeness” is a “mind virus,” and nothing less than a threat to civilization, calling Wikipedia “Wokepedia” is something more than the gentle punning criticism it may appear.

Maybe all that was inevitable.

For a frightening number of Americans, everything is political, and everything that is political can be divided into “for us” and “against us.” This is true on the right and the left, but I do think the process is at least somewhat asymmetrical, with the right — or at least the very online Musk-worshipping right — going further in the belief that anything not avowedly for us is against us. Do I exaggerate? Consider that, last year, a wide swathe of the American right convinced itself that a pop star (Taylor Swift) dating a football player (Travis Kelce) was all part of an elaborate conspiracy to rig the Super Bowl and maximize the publicity impact when Swift endorsed Joe Biden. Yes, adults of sound mind actually said that. In public. And not only Alex Jones fans. Promoters of this theory included Vivek Ramaswamy, then a Republican presidential contender, now a favourite of Elon Musk, J.D. Vance, and Donald Trump.

Given this background, given Wikipedia’s immense readership, and given the demonstrable trust most people feel for Wikipedia as a source of basic facts, it’s remarkable Wikipedia was not dragged into this hyperpoliticized madness years ago.

Or maybe I’ve got this all wrong.

Maybe Wikipedia really is controlled by leftists hell-bent on promoting a neo-Marxist agenda — leftists who are brilliant at pretending to be apolitical nerds when strangers attend their conventions.

How should we judge? Well, rational people judge claims based on evidence. You are doubtless a rational person. So let’s have a look at the evidence.

As far as I can make out, there are several types of evidence offered by those who claim “Wikipedia is Wokepedia.”

The first involves anecdotes about Wikipedia editors behaving badly. You can find a story or two like that in the articles linked above.

I could get deep into the weeds of those anecdotes and try to test the he-said-she-said veracity of the accusations in each, but I don’t think that’s actually necessary. Instead, I’ll be charitable: I will simply assume that everything in those stories is a full, fair, and accurate description of the events described.

Now, what should we make of that evidence? Does it add up to a damning indictment of Wikipedia?

No. Not remotely.

English Wikipedia is immense. It has — remember! — almost seven million articles! That is a number so huge it can be hard to really grasp what it means. So try this: Picture a complete set of Encyclopedia Britannica on the shelf at your local library. Now picture ninety sets of those books filling shelf after shelf, aisle after aisle. That’s how big English Wikipedia is.

If one editor among the vast throng of editors that created and maintains Wikipedia behaved badly … so what?

Or two editors. Three editors. Four editors. It makes little difference. As scientists say, always a little wearily, the plural of “anecdote” is not “data.”

Condemning Wikipedia as a whole for the bad behaviour of this or that editor is almost as dumb as insisting that the crimes of Bernie Madoff and Jeffrey Epstein prove the United States is a horrid place full of criminals.

The most that this sort of evidence can prove is that Wikipedia is imperfect. But no sane person has ever claimed that Wikipedia is flawless. Wikipedia certainly contains errors and nonsense. I’m pretty sure that if I had asked people at that Wikipedia conference if Wikipedia is perfect, the answer would invariably be a loud guffaw. No one knows Wikipedia’s flaws and failings better than the people who spend their free time finding, arguing about, and correcting those flaws and failings. And I’m confident not one of them expects to ever run out of work.

It is axiomatic, I believe, that every human is biased and every human institution imperfect, and I doubt I’d find any serious Wikipedian who disagreed. (Which is curious because human perfectibility – here comes New Soviet Man! -- was a belief of Communists.)

So I think we can dispense with “editors behaving badly” stories and move on to the second sort of evidence brought by Wikipedia’s accusers.

It is institutional evidence. That most recent story exemplifies it.

The article’s headline is a little strange and requires some translation. It reads: How the Regime Captured Wikipedia. What “regime”?

“Regime” is New Right jargon for the supposed cultural elites who control universities and governments and major corporations and Hollywood and the World Economic Forum and The New York Times and so on down the list of institutional elites. In New Right-world, this disparate group isn’t disparate at all. All these seemingly different parts are manifestations of a leftist cultural elite that is highly coordinated and uses its power to promote its worldview and agenda. J.D. Vance is a big fan of this thinking. You can read more about the New Right and the long historical tradition it draws on in the house organ of The Regime. (That’s The New York Times, of course. Curiously, hardcore progressives often loudly despise the Times. That fact would complicate the New Right’s take on the Times if the New Right deigned to notice it.)

The thesis of the article is summed up in its subhed: “Inside the cultural revolution at Wikipedia, which pivoted from a decentralized database of all the world’s knowledge to a top-down social activism and advocacy machine.”

To understand what is being claimed, you need some basic facts: “Wikipedia” is the website you know and read. It is entirely written and edited by volunteers. The “Wikimedia Foundation” is a non-profit foundation created to support Wikipedia (and related projects). It has a substantial budget, endowment, and paid employees, and it provides services like lawyers and core IT support without which Wikipedia could not function. What the Wikimedia Foundation does not do is write and edit articles on Wikipedia. I can’t stress that enough. Wikipedia’s content – the stuff people like you and me care about – is written and controlled by Wikipedia volunteers. It was that way from day one. It still is.

The bulk of that article attacking Wikipedia is devoted to the Wikimedia Foundation’s fundraising, plans, projects, and spending. I’m told by people who should know that its account contains serious mistakes. But you know what? That’s irrelevant for present purposes. Because -- let me say it again -- the Wikimedia Foundation does not write and edit articles. Wikipedia’s volunteers do. Period.

Now, to be fair, in that article, the author alleges there was an instance where someone with a foot in both camps helped get the Foundation to interfere in the operation of Wikipedia, arguably improperly. I have not investigated that incident so I have no opinion about what did or did not happen, or its propriety. But again, let’s generously assume that what is alleged happened exactly as described. What does that evidence amount to? Yes! It’s another anecdote.

Maybe you think it’s an appalling anecdote that reflects badly on those involved. That’s fine. Let’s go with that. It’s appalling. But remember that fact right at the start of this article? Yeah. Wikipedia is so vast that one appalling incident of misbehaviour is not dissimilar to one person pissing in the ocean. Or, if you think that metaphor understates the seriousness of the anecdote, let me try another: It is one sewage pipe emptying into the ocean. That’s bad. But it does not change the ocean.

Maybe you cringe at scatalogical metaphors. Fine, try this: The tens of thousands of editors who made and make Wikipedia are volunteers. They are independent. They do not take orders from the Wikimedia Foundation. So even if we assume the Wikimedia Foundation really is the incorrigible den of Trotskyite perfidy portrayed in the article, how exactly does that turn Wikipedia into a “top-down advocacy machine”? The argument makes no sense on its face.

Your honour, I move to dismiss the case.

No, hang on. Got carried away. We’re not done yet.

There is one final sort of evidence used to indict Wikipedia.

This evidence is decidedly not anecdotal. And it does not rely on a misleading conflation of the Wikimedia Foundation and Wikipedia. Instead, it uses real techniques of social science. That study by the Manhattan Institute is arguably the best of its kind, and it is more than worthy of serious consideration. So let’s give it that.

“To study political bias in Wikipedia content,” the study reports, “we analyze the sentiment (positive, neutral, or negative) with which a set of target terms (N=1,628) with political connotations (e.g., names of recent U.S. presidents, U.S. congress members, U.S. Supreme Court justices, or prime ministers of Western countries) are used in Wikipedia articles.”

This is called “sentiment analysis.” It’s a legitimate technique that can be quite useful. It allows researchers to judge the emotional range of language used in a discussion of a subject. The emotional scales — which words are said to contain positive or negative sentiment — are not determined by the researchers in any particular instance but have previously been developed and validated by other research. So this study is not something cooked up to come to a pre-determined conclusion.

So what did the researcher, David Rozado, find when he looked at the sentiments in Wikipedia’s articles? Presented visually, his results are quite striking.

With a quick eyeball of those graphs (and there are several more like them) it seems that articles about left-leaning politicians contain more positive language, while articles about right-leaning politicians have more negative sentiment.

Sounds bad, doesn’t it?

Following is the author’s own summary. (David Rozado is the only author. I have no idea why he uses “we.”)

We find a mild to moderate tendency in Wikipedia articles to associate public figures ideologically aligned right-of-center with more negative sentiment than public figures ideologically aligned left-of-center.

These prevailing associations are apparent for names of recent U.S. presidents, U.S. Supreme Court justices, U.S. senators, U.S. House of Representatives congressmembers, U.S. state governors, Western countries’ prime ministers, and prominent U.S.-based journalists and media organizations.

This trend is common but not ubiquitous. We find no evidence of it in the sentiment with which names of U.K. MPs and U.S.-based think tanks are used in Wikipedia articles.

We also find prevailing associations of negative emotions (e.g., anger and disgust) with right-leaning public figures; and positive emotions (e.g., joy) with left-leaning public figures.

These trends constitute suggestive evidence of political bias embedded in Wikipedia articles.

I’ve seen a lot of people citing this study. And in particular, I’ve seen those charts being waved about on social media like a bloody shirt.

The Regime has been exposed! Wikipedia is Wokepedia!

The first thing to note about that buzz is the discrepancy between what people in the Musk-o-sphere are saying and what the author says. The former are strident and sweepingly dismissive about Wikipedia. But that’s not the language of the researcher himself. Remember, he only claims to have found a “mild to moderate tendency.” And note also that, as the author found — and the Musk-o-sphere ignores — there was no skew found in the articles about UK politics or US-based think tanks. If The Regime is using Wikipedia to promote the left and vilify the right, it’s doing a shit job.

But that’s a minor comment about the discourse surrounding the study. Now let’s look directly at the results: Has this study demonstrated there is a “mild to moderate” bias in favour of the left, and against the right, in many of Wikipedia’s political articles?

I don’t think so. In fact, I think this study is irredeemably flawed — because it rests on a methodological assumption that, I will argue, is simply wrong.

To spot it, take a look at the result for the Wikipedia articles about Ronald Reagan on the chart above.

They tilt strongly positive. In fact, writing about Reagan on Wikipedia has the fourth-highest positive sentiment of all the modern presidents.

Does that mean Wikipedia editors are biased in favour of Ronald Reagan? By the logic of this study, the answer has to be "yes." After all, that’s the same logic the author uses to conclude that, overall, Wikipedia is biased positively for Democrats and negatively for Republicans.

Hence, if this study is providing real, meaningful insight, we must conclude that Wikipedia is biased against Republicans but for Ronald Reagan.

Does that make even a scrap of sense? Ronald Reagan wasn’t just any old Republican president. He was, and is, the patron saint of the modern Republican Party.

Isn’t that odd? And by “odd,” I mean “absurd.”

It makes no damned sense.

So what's really going on? I believe the problem lies in the fact that the author has confused sentiment and stance.”

I’ll use Reagan to explain the difference.

Ronald Reagan's whole political persona was sunny optimism. He was the “morning in America” guy, the “shining city on a hill” man. As a result, almost any article about Reagan would use a lot of words and phrases like "sunny optimism" -- words and phrases with strongly positive sentiment. That would be true of even the most neutral articles. Indeed, someone who absolutely despised Reagan, but wrote a basic factual outline of his life and political career, would have no choice but to use lots of words and phrases like "sunny optimism" because that language and attitude is how Reagan won elections and because that’s how people routinely talked about Reagan. But that language would not reflect the author's stance on Reagan — that is to say, his strongly negative view of Reagan. It would simply reflect the factual reality of Reagan’s life and career.

“Sentiment” is the emotional valence of the words in an article, whether positive, negative, or neutral. “Stance” is the view of the author about the subject of the article. They are not the same. In fact, they are fundamentally different.

If I were to write an article about the fall of the Confederacy and Sherman’s “March to the Sea,” when a Union Army swept through Georgia, looting and burning as it went, that article would be stuffed with negative sentiment. It would have to be. After all, Sherman’s march involved war, killing, death, burning, and destruction. That’s all saturated with negative sentiment.

Now imagine you run my article through a sentiment analysis. Huge negativity! Conclusion? By the logic of this study, it’s obvious: “The author of the article is biased against the Union and General Sherman.”

But I’m not! I hate the Confederacy! I completely and passionately support Sherman and what he did because I think that, as brutal as it was, it was just and necessary to hasten the defeat of the South, the end of the war, and the end of slavery. These views constitute my “stance” on the matter. But by drawing conclusions based on a sentiment analysis — that is, by treating sentiment as synonymous with stance — a researcher could “objectively prove” that I am biased in favour of the Confederacy. Pretty silly, no?

Here’s another way to think about it: Imagine the most scrupulously neutral article about the political career of Donald Trump. It just states facts. No opinion whatsoever. It is perfectly, purely neutral. But if you run it through a sentiment analysis, it would come out strongly negative. Why?

In part because Donald Trump was impeached twice, charged with many crimes, convicted of some, and stands accused of inciting an insurrection. And that’s only a partial list of what he’s been accused of. There’s also fraud, sexual assault, rape. And more. Whatever you think of the substance of the accusations, they have been made. So if you are writing a scrupulously neutral, factual article about Donald Trump, you would have to list them. And guess what? All those words have negative sentiment attached. Run that through a sentiment analysis and the conclusion, by this study’s logic, is that you are biased against Donald Trump. Even though your article is absolutely neutral.

Let’s take this a step further. Imagine you are a writer who is passionately pro-Trump. You want to support Trump by writing a sympathetic biography of his political career. Of course you think all the accusations levelled at Trump are illegitimate. So you write about them, explaining why you think they are illegitimate. And guess what? If you run your article through a sentiment analysis it will come out strongly negative — because it is stuffed with words like “fraud” and “riot” and “insurrection” and “rape.” By the logic of this study, your writing would biased against Donald Trump — even though you passionately support him!

Then there’s Trump’s political persona, which is the polar opposite of Ronald Reagan’s. Where Reagan loved to talk about the sunlit future, Trump always goes on about decline and despair. Trump talks so relentlessly about crime and disease and corruption and war and rigged elections, that one of his routine references in stump speeches is Hannibal Lecter. Seriously, Hannibal Lecter, also known as “Hannibal the Cannibal.” I’m pretty sure “cannibal” codes negative in sentiment analysis. Any attempt to describe Trump and his political career would reflect all of that. There’s no way around it. If you ran Donald Trump’s own presidential inaugural address — the one famously containing the phrase “American carnage” — through a sentiment analysis, it would generate off-the-charts negative sentiment. If you then wrote a scrupulously neutral description of that address, it, too, would score high on negative sentiment — but that would not prove the author is biased against Trump.

OK, that’s enough. Maybe too much. I’m sure you get the point: Sentiment is not stance. This study conflates the two, so it proves nothing.

By the way, if you think this is just Dan Gardner ginning up a methodological criticism to knock down a study whose conclusions he doesn’t like, think again: Here is an academic study published two years ago making exactly my argument. Its title is “Sentiment Is Not Stance.”

In closing, let’s recap the evidence that Wikipedia has become “Wokepedia.”

First, some anecdotes that do not — cannot — prove much.

Second, criticism about a different organization that says little or nothing about Wikipedia.

Third, a text-based data analysis which, although well-intentioned, is fundamentally misguided and misleading and fails to support its supposed conclusions.

And that’s it.

Your honour, I move to dismiss the case.

Particularly in the United States, these are hyper-politicized times. (See Taylor Swift, above.) This atmosphere leads people to zero in on political matters, often to the exclusion of all else. That’s unfortunate for a number of reasons, not the least of which is what it causes us to overlook.

When Jimmy Wales founded Wikipedia, he said it would become “the sum of all human knowledge.” It’s not. But that’s a push goal. And while Wikipedia does not contain everything, it is, in fact, the biggest encyclopedia in human history. By a huge margin. Did I mention English Wikipedia alone contains almost seven million articles?

That is a towering achievement. It is something to celebrate. And be inspired by. Look what people can accomplish when they freely come together and create!

But instead of celebrating Wikipedia, lots of people are bitching and moaning about “Wokepedia” — because they think a very small subset of those seven million articles are politically biased.

Even if they were — and please do show me better evidence than you have so far — would that be reason to denigrate and sweepingly dismiss the entirety of one of humanity’s greatest constructions? I don’t think so.

Reality is so much bigger than politics. And so is Wikipedia.

Share

Leave a comment

PS (added August 27): A reader brought to my attention that my first reference to this essay by Tracing Woodgrains could be read to mean I am including the author and his essay among those making the case that Wikipedia has become “Wokepedia.” On reflection, I think that’s right. I regret that. So let me clarify.

In my reading, that essay only examines the behaviour of one editor. While I think its conclusion is hyperbolic — “the site lives under the shadow of Gerard’s deadly gaze…” — the essay is clearly of a different species than the crude attacks on “Wokepedia.” In fact, one could argue it’s very much in the spirit of Wikipedia, as it identifies what it argues is a problem and urges correction. Agree or not with its conclusions, that sort of searching criticism is core to how Wikipedia became as good as it is.

So why did I include it in that list? Because when it was published on Substack, a veritable parade of Substackers — including quite a few big names who really should know better — lined up not only to applaud the author and condemn the criticized editor, but to wave that essay like a bloody shirt and make outlandish statements dismissing Wikipedia as nothing more than leftist propaganda.

I don’t know the author but I suspect, and hope, that was not his intention.

In sum: I included that essay because it has been widely cited by the “Wikipedia is Wokepedia!” crowd as proving their charge. (It does not and cannot.) I did not include it to suggest that was the author’s argument or intention.

[ad_2]

Source link

Read More

Meet the mystery men who make all those novelty popcorn holders.

[ad_1]

If you spent the long weekend in a chilly theater for an Alien: Romulus matinee, there is a good chance you witnessed a few superfans munching popcorn pulled from a matte-black Xenomorph head. The novelty popcorn bucket is available at Cinemark and AMC theaters, and it retails for a hefty $28.99. (A latch at the top of the skull can be flipped backwards, allowing patrons to fill the interior with the snack of their choosing.)

It’s an unwieldy canister, an object that favors aesthetics over utilitarianism, and yet, the bucket has been a huge hit, and is already commanding a premium on eBay. That’s great news for Zinc Group, an international advertising firm that has carved out an unlikely niche: designing maximalist, and often grotesque, popcorn receptacles for some of the world’s most dedicated fandoms.

Most moviegoers became familiar with Zinc’s work in the run-up to the release of Dune Part Two, where the company unveiled their wonderfully weird sandworm-themed popcorn bucket. To retrieve their mid-movie snack, audiences had to reach into the moist, gaping mouth of the shai-hulud, an orifice that unintentionally resembled a gnarly sadomasochistic sex toy. (The bucket was widely parodied online and elsewhere, to the point of earning its own Saturday Night Live sketch.) But no puritanical backlash followed. In fact, the Dune buckets flew off of shelves, leading to an incursion of mega-brand imitators hoping to snag a fraction of the same viral ubiquity. (Deadpool and Wolverine gratuitously amped up the lewdness in its version, and an eldritch Beetlejuice model—designed by a different company—followed suit.)

Despite the cheesiness of the subject matter, it’s always been clear that a lot of craftsmanship goes into these buckets. That’s why I reached out to Zinc’s Vice President of Business Development Rod Mason, and Global Creative Director Marcus Gonzalez, who are the auteurs behind the novelty popcorn bucket renaissance. We talked about the creative satisfaction they find in the medium of novelty swag, the huge number of factors that must be considered when developing a popcorn receptacle, and yes, how they reacted to the internet’s interpretation of that sandworm mouth. This interview has been edited and condensed for clarity.

When did dreaming up different popcorn bucket sculptures become a real part of your day jobs? 

Rod Mason: Back in the early 2000s I was working for a different company and we started doing this with a theater chain in Mexico, where we actually started creating collectible popcorn buckets for the cinemas. I remember having a conversation with one of the major cinema chains in the U.S. about it in 2009 or 2010. I said, “We’re really doing huge business with this in Latin America. Would you guys like to be involved?”

They were like, “No, no, we’re good. We’re fine.” Years later, here we are.

Marcus Gonzalez: I worked for Walt Disney Parks and Resorts, and I was responsible for developing their novelty programs. If you go to the parks, I made anything related to food—tiki mugs, popcorn buckets, sippers, globe products, you name it. I joined Zinc almost three years ago, and they had already been working on an R2-D2 combo bucket [snacks and a drink in the same vessel]. It’s, uh, really big. The dome is the sipper and the cylindrical part is the popcorn bucket. It’s pretty amazing.

Mason: When we first started working on the R2-D2 bucket, I was talking to our creative director at that time, and he was like, “What do you think?” I said, well, it’s going to be very expensive, but let’s throw it out there and see what people say. The response we got was so great that we kept doing it.

Since then, we’ve been improving things incrementally. Three or four years ago, there were no lights on the buckets, there was no sound, and they didn’t have any bells or whistles. Now, there is light, there is sound, and in some cases, there is articulation or movement. It’s an evolutionary process.

Gonzalez: We did a few other ones, too, prior to Dune. We had good success, but they didn’t exactly go viral. One was Dungeons and Dragons. We did the 20-sided die as a popcorn bucket, which wasn’t something that Hasbro were even remotely interested in. It wasn’t in the contract. I did a little doodle of it and I said, “I’m thinking about this.” Wizards of the Coast ultimately said, “Well, we weren’t thinking about that, but it’s pretty cool, so let’s figure out how to make it happen.”

Was it the SNL sketch about the Dune popcorn bucket that made you realize these items were having a real moment?

Mason: Interestingly enough, even before the SNL sketch came out, my son, who was 26 at the time, said, “Hey, dad, did you do the Dune bucket?” I said, “Yeah, why? It hasn’t been released yet.” He said, “Yeah, check out Twitter.” I guess someone got a hold of it, and it showed up on Reddit first, and then on Twitter, and the rest is history.

It was a little concerning because there was what could be construed as “negative press” for the IP’s home, which is Legendary Pictures, and the client, which was AMC. But both of those companies decided to just embrace it. Then, when the SNL sketch happened, that was the beginning of the craziness.

You must be referring to that fairly puerile meme spawned by the Dune bucket. It sounds like the studio ultimately embraced it, but were there any moments of anxiety when people started commenting on the, let’s say, anatomical parallels in the design?

Mason: The funny thing with Dune Part Two, as you’re probably aware, was the actor strike last year. The movie was supposed to be released in November, but it got moved to March 2024. Still, all of the popcorn buckets were produced last summer. They were delivered and they were just sitting in warehouses all over the world. During the approval processes that you have to go through with the studio, everybody reviewed the bucket and made sure it was all good. I don’t remember anybody having any concerns.

Gonzalez: After the fact, we had a couple of people say, “I had a little chuckle about it,” but that was about it. It just went right through all the checkpoints. We certainly didn’t think that anyone was going to be looking at it inappropriately.

Now there are people combining the Dune bucket with the Xenomorph that we just put out for Alien Romulus. The back of the head conveniently fits inside the mouth of the worm, which it’s like ... what? Who takes a look at those two things and goes, “Hey …”

Mason: When the meme broke, there was some initial anxiety. There were definitely some concerned phone calls. It was like, “Oh my god, how is this going to affect AMC? How is this going to affect Legendary?” Luckily, both those organizations leaned into it and just said, “Okay, you know what? Let’s roll with it.” Really, when it comes down to it, what can you do? When it’s out there on social media, you either embrace it or you try to fight it. I think if you try and fight it, I think you tend to make it worse.

After the Dune bucket blew up—or even after a couple of these other successes—were vendors more intrigued to work with you guys? Have the wheels been greased in this industry at all? 

Mason: That’s an understatement. It’s just astonishing. We are receiving very regular inquiries as to what we can do for TV shows, professional sports teams, professional sports leagues—pretty much everybody. You probably saw the whole thing with Deadpool and how they wanted to have the war of the popcorn buckets. And if you look on social media, there’s a popcorn bucket out there for a movie that I think is releasing today or next week, and they’ve referenced the Sandworm for that.

It’s really become part of the zeitgeist. It’s one of these weird things that everybody wants to have fun with. Now, as to whether the trend will continue, who knows? We’ll have to see, because obviously there’s a bar that’s been set. We’ll see where it goes.

I’m desperate to know how the sausage gets made. Do you model the buckets in 3D first? How dirty do your hands get when you’re making them?

Gonzalez: We first try to understand what the clients’ needs are and what the sales team is going to want, but we also have our own ideation sessions. Then we either sketch the ideas out, or Photoshop them, or AI them. Then we present the ideas and talk about it and see what sticks. Is that too weird? Do we think it’s going to cost $50? Is it going to be within the right price ranges? We start broad, and then we whittle it down to hone in on the ideas that we think are going to have more traction. We’re looking for the next new, big, innovative thing.

In the meantime, we also show the ideas to the licensor and have them say, “Yeah, we don’t want you to have Snoopy with a machete” or something. That’s just a hypothetical, but we make sure that we’re not including design elements that may be inappropriate for the characters or IP.

Then we go into tooling. During this phase we’ll get prototype images and figure out the paint applications. The most difficult products are the ones that have a human face, because getting skin tones and the shadows and all that stuff can be challenging. Once the paint is figured out, we make sure it functions the way we originally intended it to. Between the art director and myself, we usually review those things to make sure we’re on track. Also, at the same time they’re working with sales and are also in tune with their clients to make sure that is what they envisioned when we show the product.

These buckets seem to keep getting bigger and more elaborate. Is there something like an arm’s race going on for novelty popcorn buckets?

Mason: Absolutely. Marcus and I share a lot of stuff back and forth that we see on social media, and say “That’s a good idea.” I’m sure our competitors do that, as well. I hate saying this, but way back, a decade ago, we were the company that was really making these products in the cinema business. When we opened the U.S. office here in 2016, the biggest objection was, “Well, these buckets don’t fit in any cup holder.” Then you fast forward three years and you’ve got this giant R2-D2 item being sold.

When there’s innovation, there’s also copying. We’ve always been the innovator. Our competitors have innovated, as well. I don’t want to take anything away or speak badly of them, because they’re obviously very good at what they do. We’ve pushed the envelope over the past eight to 10 years, and as a result of that, I think the people that have benefited the most are the fans.

Everybody’s trying to outdo each other, and we’re all trying to make something that’s really cool. We all want to get social media traffic. But it’s also a destination thing. It’s like when Marcus was working for the Disney theme parks—they were the only place you could get those novelty products. What the cinemas have realized, not just here in the U.S. but all over the world, is that if you are the only company in your country that has that item, you become a destination and they have to come to you to purchase it.

Do you take an artist’s pride in this stuff? I know they’re novelty items, but they’re still impressive. I’m curious to know if you get any creative satisfaction from designing popcorn buckets.

Gonzalez: Seeing the sketches, seeing the 3D renders, it’s cool. You’re like, “This is starting to look pretty awesome.” Holding that final piece and knowing the work that everybody put in to get it done—all the approval processes with the licensors and all that stuff—is pretty amazing. So I definitely have a sense of pride and appreciation for all the work that everybody’s done. When I’m holding the product and it’s even better than I originally expected, I get that goosebumps feeling. The hair on the back of your neck tingles and you go, “We made this cool thing that everyone’s going to go batshit about.”

Mason: I had a three-year-old niece here about two months ago, and my office is just like a toy store—there are samples all over the place. For me personally, this stuff doesn’t excite me. It’s cool, but when you see a little three-year-old or a four-year-old or somebody that is really into this stuff, that’s when I get really excited about it. Sometimes I tend to forget that what we’re really doing is bringing joy to people. It makes them really happy. That’s really cool to me.



[ad_2]

Source link

Read More

Professor Will Remove Name from Brauer Museum if School Sells Paintings

[ad_1]

Richard Brauer, a nonagenarian art history professor who has opposed a controversial plan by Valparaiso University in Indiana to sell three key paintings from its collection, said he will request his name be stripped from its museum building, which currently honors him.

Brauer’s statement, which was distributed to ARTnews through his attorney on Thursday, comes after a recent court ruling allowing the university to amend the terms of the legal trust that endowed the artworks. The change means the school is legally permitted to move ahead with the art sale.

Related Articles

One of the works the university plans to sell, Georgia O’Keeffe’s painting Rust Red Hills (1930), was the second work the Brauer acquired for its collection. The university said it was worth about $15 million, making it the most valuable of the three pieces. Frederic Edwin Church’s Mountain Landscape was valued at $2 million, and Childe Hassam’s Silver Vale and the Golden Gate is valued at $3.5 million.

The university initiated plans last year to sell the works to raise funds that would go to completing a dorm renovation project for freshman students. Brauer argued in his statement that the paintings are a cornerstone of a museum that has set Valparaiso apart from other small liberal art school. Sales of the works would raise an estimated $20 million. The museum has argued that it can no longer afford to safeguard such valuable works due to high security costs.

Brauer first began teaching at the university in 1961, later overseeing what was then-termed the Valparaiso University Museum and Collections, housed in its Moellering Library. In his statement, Brauer said that his decision to drop the lawsuit to halt the sale of the paintings is to avoid “serious financial risk” from ongoing legal fees.

“I still hold out hope the President and the Board of Directors will back away from this very dangerous wager,” Brauer said in his statement. Brauer said that if the school ends up selling the paintings, he’ll officially divest from school officials and the museum. “I will be ashamed to have my name associated with this affair,” he said.

[ad_2]

Source link

Read More

September 2024 With Annu Kilpelainen

[ad_1]

This month’s Designer Desktop takes us headfirst into the vibrant world of Annu Kilpeläinen. The Finnish-born, London-based artist and illustrator draws endless inspiration from two polar opposites: floral designs and automobiles, with a special fondness for the SAAB 900. Whether she’s hand painting a Ford Sierra field rally car, collaborating with brands like WeWork, contributing her artist’s vision to various magazines, or showcasing her work in solo shows in the United States and South Korea, Kilpeläinen continually expands her creative expression through animation, painting, and stained glass.

Today’s design, New Sun, is a whirlwind of colors and flowers that were originally painted with acrylic ink on paper. With a shift of the seasons just around the corner, the design captures the essence of change with its bold colors and lively motifs, bringing a burst of warmth and energy to your screen as we welcome September.

Download the wallpapers for free with the links below for all your tech devices today!

DESKTOP: 1024×768  1280×1024  1680×1050  1900×1200  2560×1440

MOBILE: iPhone XS iPhone XS Max  iPad Pro

Check out some of Annu Kilpeläinen’s other work:

A colorful illustration of four hands, each holding a flower in different stages of withering, progressing from a fresh bloom to a wilted one. Each hand is against a different colored background

An abstract digital artwork featuring swirling, colorful shapes in pink, purple, red, and yellow tones, set against a blue background with scattered green star-like elements.

A smartphone with a black case and colorful abstract design is placed on a similarly vibrant, multicolored abstract background

A side view of a car painted with a colorful, geometric pattern, parked on a grassy roadside with trees and a utility pole in the background

A colorful tram passes in front of the Stockmann department store. People walk on the street, and another tram is visible on the right

A colorful, abstract model of a car made from translucent materials, including various shapes of vibrant glass. The car features a boxy shape with highlighted front headlights

A person's foot, partially visible, is wearing a boot made of colorful stained glass pieces

Follow Annu Kilpeläinen on Instagram here.

View and download past Designer Desktops here.

As the Senior Contributing Editor, Vy Yang is obsessed with discovering ways to live well + with intention through design. She's probably sharing what she finds over on Instagram stories. You can also find her at vytranyang.com.



[ad_2]

Source link

Read More

Narcissister’s new show expands on her subversive brand of magic

[ad_1]

Narcissister is a master of disguise. The pseudonymous New York artist never appears without her distinctive mask, inspired by a wig display from the 1960s, but she is also perennially donning and shedding bespoke costumes that upend familiar conventions of gender, age, race, class and sexuality. Sometimes she even upends gravity: one of her many sleight-of-hand performances involves doing a handstand in a costume in which her arms are covered by trouser legs or a skirt, her legs contort through the arms of a shirt and a mannequin head placed between her legs completes the upside-down illusion. (Unsurprisingly, this was a hit when she appeared on America’s Got Talent in 2011.)

For her new project at Pioneer Works in Brooklyn, Voyage Into Infinity (14-15 September), the artist is working with an ensemble of collaborators (all of whom will wear the trademark Narcissister mask) on a theatrical tableau and performance, which will be accompanied by a live score by Holland Andrews. Titled after a song by the pioneering punk band Bad Brains, the piece will have a distinctly punk aesthetic, unfolding on and around a sculptural set made almost entirely from found and salvaged materials. Voyage Into Infinity will also reinterpret and reframe Peter Fischli and David Weiss’s canonical film The Way Things Go (1987), which follows the chain reactions of a low-tech Rube Goldberg contraption.

Ahead of the piece’s debut, Narcissister discussed the project’s genesis and execution with The Art Newspaper.

The Art Newspaper: Why did you title this piece after the Bad Brains song? How do you see the project relating to that song?
Narcissister:
The song came to me unpredictably, as happens often with my work. I have a bunch of music loaded onto my laptop, and I was working in my studio with the music on shuffle and that song came up. I was reminded of how epic the intro and the outro are. It struck me as something that would be a really strong element for the work, and I was inspired to incorporate the song. When I was thinking of a title for the piece, the title of that song started to become more and more an anchor for the work.

Narcissister and a collaborator working on her new project at Pioneer Works, Voyage Into Infinity (2024) Photo by Walter Wlodarczyk, courtesy Pioneer Works

A couple more signifiers have emerged in the process of making the work. One is that, in preliminary research about this song, I learned that the singer of Bad Brains has made some homophobic statements, and as I have been playing the song and incorporating it into the piece, people have shared different stories that backed that up. I am interested in that, because we also have a statue in the piece that I found in a garden centre on Long Island because I liked the pose. When I started to research the statue, I discovered that it’s a replica of a statue that Hitler owned and kept as some kind of symbol of the beauty and the potential of the Aryan race. There are also pyrotechnics in the show, and we're incorporating something called the Catherine wheel. Historically, those wheels were used to torture women. I’ve just picked things that I’ve liked, whether it's the Bad Brains song, the statue or the visual of a pyrotechnic Catherine wheel, and then these other layers of meaning have emerged. We are reframing these symbols or signifiers through their inclusion in the work.

As far as the title goes, the piece is about many things and incorporates many of the themes that Narcissister has done for a long time, around issues of race, identity, femininity, feminism, sexual expression and free, self-loving eroticism. Something that my project has started to incorporate are questions around ageing for women—loving, accepting and honouring that passage. In a subtle way, and in the mix with all the other issues I just mentioned, Voyage Into Infinity seems an apt title for a piece that includes an exploration of ageing.

You are also referencing Fischli & Weiss’s The Way Things Go. What attracted you to that video in particular?
I encountered that work as a younger artist, still dreaming of what my singular vision might be. I remember seeing that piece and being struck by it—that that could be considered art—and fascinated and charmed by it, and just excited by the virtuosity of it. It stayed with me and expanded, in my mind, what could be considered art or framed as a work of art.

Since I was a child, I have been very curious about the way things work. I would climb on top of the washer and dryer in our house to reach my dad’s tool shelves and just loved poking around and seeing what was there, pulling tools out and building things. And my costumes have emerged from these interests. I learned to sew at a very young age, and my costumes are lo-fi feats of engineering, where I've had to learn how to make one thing segue very quickly into another thing and then another thing. It all seems like a similar practice to a Rube Goldberg machine, or to what was created in The Way Things Go.

Narcissister and a collaborator working on her new project at Pioneer Works, Voyage Into Infinity (2024) Photo by Walter Wlodarczyk, courtesy Pioneer Works

More recently, I have been reframing the theatrical props that I’ve been making for a long time for my solo performances as participatory sculptures. Creating a monumental Rube Goldberg machine—installation, participatory sculpture, spectacle and performance stayed with me as a really juicy idea. So when this opportunity to present something at Pioneer Works came up, I just knew this would be such a wonderful space to present it.

Your performances always involve elements of sleight-of-hand, magic and spectacle, from the mask and elaborate costumes to doubled figures and more. How do you think about the veracity of the illusion? Is it important for viewers to be surprised or deceived in some way, or do you want them to also be aware of the artifice of what they are seeing?
Almost all the works I’ve made incorporate some aspect of lo-fi illusion or a DIY magic trick. That’s something that’s always been fascinating to me. It looks improbable, but somebody has figured out how to fool us, to create this suspension of disbelief, and there’s a virtuosity and incredible skill in that. It’s this way of thinking that I have been excited about since I was very young, and have done my best to incorporate in my work: believing that we can shift people’s perceptions of something. We think we know what it is, but it's really not at all what we thought.

That destabilising experience of the reveal—I'm excited about the skill required to pull these things off and the virtuosity of it. I somehow have the kind of brain that can think about how to create these magic effects, or these illusions. One of my favourite things to watch is that TV show Magic's Biggest Secrets Finally Revealed. Even when they show you how they did it, it’s still incredible.

And when you layer onto this sleight of hand and this destabilising creation of a world that isn't really the world that you think it is, the other issues in my work—around womanhood, race, ageing or just general questions of identity—it becomes very rich for me and very true to what our experiences are. I’m making it more literal by creating this feeling of illusion or magic or instability through the visuals. And doing it in a way that’s a little bit rough and shows the seams, and the work behind it adds even more to that complexity.

You are working with a group of fellow performers for this piece. How do you approach that process? Do you have a script for them to follow, or is the performance developed collaboratively?
I’ve incorporated extra Narcissisters in my work almost since the beginning, so the performers who are in this piece with me have been in other works of mine, some of them for quite a long time. I’ve been creating the work with the builders here at Pioneer Works. We've been setting a lot of the moments that incorporate performers on me. And then relatively recently, the performers joined, and I've been teaching them how to interact with the machine. And now that the machine is basically finished, now is the time when the performers are here more intensively and we’re discovering not only the things that I found interacting with the machine, but what are things that the other performers can find in interacting with it, what pictures can we create as a group, what’s our relationship with the machine as a group? That process is unfolding now. There is a script—I think most Rube Goldberg machines have a script, or the list of steps. And then there’s a score that’s been created, which is what the performer involvement is about.

Narcissister and a collaborator working on her new project at Pioneer Works, Voyage Into Infinity (2024) Photo by Walter Wlodarczyk, courtesy Pioneer Works

What kind of spaces are you drawing inspiration from for the environment you are creating? Are you thinking of it more as a set, an installation or a sculpture?
It’s an installation, a chain-reaction machine and also the set piece for this performance and for the performers to interact with. There are some little nods to objects and moments from The Way Things Go. There are pieces taken from large-scale sculptures that are in the art canon, especially outdoor and kinetic sculptures. And there are some more direct, art-historical references in terms of how the statue that I mentioned is placed in the space. I’ve also taken some inspiration from the circus. And then there are some visual themes, ideas, styles and vibes that are part of my world as Narcissister.

This piece has so many elements—the sculptural installation, the performance, the video that will be shot of the performance. Do you consider one of these elements the primary part of the piece, or are they all equally important?
The video is exciting for me because The Way Things Go, the main point of inspiration for this work, is known exclusively as a video. So I'm excited about having a video that can have a life of its own and be circulated and presented in art spaces and perhaps film festivals. The video is going to be direct documentation; I'm not interested in incorporating any poetry, so to speak, in the style of the video. I would love to perform this work again in other places. I don't know if it will be with these same exact elements, but obviously, this video will capture this iteration.

Everything in the project has been found—either on the street, at Materials for the Arts or things that I have in my collection of objects. There are very few things that have been purchased for this piece, and for me that's important. I have done my best to remain faithful to that, with one or two exceptions, like the statue I needed to purchase from the garden centre on Long Island. So if or when the work is presented again in other places, I would be excited to find new things sourced from wherever that location is.

[ad_2]

Source link

Read More

Long-Lost Diana Statue That Sank With the Titanic Comes to Light on the Ocean Floor

[ad_1]

When it took to the sea in 1912, the RMS Titanic was not only a luxury liner transporting society’s upper crust from England to the U.S.; it could also be described as a floating gallery of fine art and design, populated with high-end objects from a Renault Coupe de Ville to irreplaceable books and a 1912 painting by Merry-Joseph Blondel that would be worth over $3 million dollars today.

Now, an unmanned mission to the floor of the North Atlantic Ocean where the ship lies has revealed a long-sought two-foot-tall bronze statue showing the goddess Diana that stood atop the fireplace mantel in the first class lounge. Based on an original in the Louvre’s collection, the sculpture is often referred to as the Diana of Versailles. 

RMS Titanic, the Georgia company that explores and preserves artifacts from the ship, recently made its first unmanned dive to the site in 14 years, taking more than two million photos over its monthlong expedition, with an eye to possible future recovery missions. 

The so-called “Diana of Versailles” in situ on the Titanic. Photo: João Gonçalves, courtesy RMS Titanic.

Top priority, according to James Penca, a researcher with the company, was the Diana sculpture, but finding her was a tall order.

“It’s truly a needle in a haystack that is two-and-a-half miles underwater in pitch black darkness,” Penca told National Public Radio, adding that “we found her with just hours remaining in the expedition.”

“There were a lot of tears in the room for a lot of us,” said Penca, “even the people who’ve been there before.”

Since technology has progressed so dramatically since the last expedition, Penca explained, the company was able to take much higher-resolution photos this time around.

A statue of the Roman goddess Diana, partly submerged in sand on the ocean floor

The two-foot-tall bronze sculpture of Diana, found among the wreckage of the Titanic. Courtesy RMS Titanic.

At the same time, the photographs revealed that the bow railing on the front of the ship, site of an iconic scene between Leonardo DiCaprio and Kate Winslet in James Cameron’s blockbuster film Titanic, has collapsed since 2022. 

“The discovery of the statue of Diana was an exciting moment,” said Tomasina Ray, director of collections for RMS Titanic. “But we are saddened by the loss of the iconic Bow railing and other evidence of decay which has only strengthened our commitment to preserving Titanic’s legacy.”

Follow Artnet News on Facebook:

Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

[ad_2]

Source link

Read More

how Melbourne Symphony Orchestra is tearing itself apart

[ad_1]

But this was not the only point of contention inside the Melbourne arts institution. The June 27 meeting in turn followed an earlier unsuccessful attempt by Ms Galaise and deputy chair Dianne Jameson to oust Mr Li over alleged and disputed connections to the Chinese Communist Party.

Then the Gaza story broke. While introducing a new piece by Australian composer Connor D’Netto on August 11, Gillham told the audience at Melbourne’s Iwaki Auditorium that the composition Witness was about Palestinian journalists killed during the war in Gaza.

“In addition to the role of journalists who bear witness, the word ‘witness’ in Arabic is ‘shaheed’, which also means martyr,” Gillham said, according to the management.

The political statement caused a public scandal. The MSO first apologised to patrons and then cancelled a later performance by Gillham. The MSO later rescheduled the concert following a public outcry over its cancellation, shortly after its musicians voted on a motion of no confidence in Ms Galaise. Attempts to contact Ms Galaise on Wednesday were unsuccessful.

It seems there will be no shortage of material for Mr Garrett to sift through.

Mr Jeffes was engaged by Ms Galaise as a consultant to the orchestra in November 2021 to build international relationships. Mr Li believed this engagement, worth $284,000 before it concluded in June this year, went beyond the delegated authority of the managing director to award.

Orchestral sources say Mr Li began informally querying some of the MSO’s spending earlier this year, after having been asked to make a $350,000 donation to keep the orchestra in the black the previous December.

Around the same time, the orchestra and Mr Li were contacted by Qatari broadcaster Al Jazeera, which began asking questions about his past, seemingly aimed to establish whether he had ongoing connections to the Chinese Communist Party.

A very short meeting

Shortly after, Ms Galaise and Ms Jameson convened an extraordinary general meeting of the board with the aim of removing Mr Li over these perceived links.

“It was a very short meeting,” said an MSO source. “It was resolved that the Al Jazeera thing was egregious and erroneous, and there was confidence in David.”

Mr Li later approached the board and management with his concerns about the contract under which Mr Jeffes was engaged. He cited potential irregularities in the documentation explaining the work done by Mr Jeffes, the high cost of the engagement, as well as the fact that Mr Jeffes was engaged through his wife’s company, Firefly Productions.

Firefly is owned by Jane Jeffes, who is a documentary producer who has produced for several broadcasters, including Al Jazeera.

Mr Jeffes confirmed his MSO contract centred on leveraging his contacts for MSO touring opportunities, in particular for a European tour which he was now unsure would still go ahead.

“I’m happy for any auditor to ring me and I’ll take them through exactly what I did,” he said. He added that his wife’s last production for Al Jazeera was 12 years ago and that she had had nothing to do with the network since.

This week, Al Jazeera aired a documentary which aired concerns about Chinese Communist Party infiltration of the MSO. This program highlighted Mr Li’s youth in the People’s Liberation Army, and questioned his business dealings, the orchestra’s outreach to China, and the use of Chinese soloists with links to the Communist Party.

“Mr David Li, AM, is a prominent Australian and accomplished musician who has contributed greatly to the arts, medical research and education. We are aware of a recent overseas media report that contains many imputations that are baseless,” a spokesman for Mr Li said in a statement.

The MSO said through a spokesperson on Wednesday: “The board acknowledges a number of complex issues that remain a focus for the MSO. We are making good progress in finalising the terms of the external review and will provide an update as appropriate.”

The MSO is one of the nation’s heftiest artistic boards and seats several extremely senior Australian directors including former Qantas chairwoman Margaret Jackson, COVID-era Victorian health minister Martin Foley, Wingate founder Farrel Meltzer and Myer family scion and funds manager Edgar Myer. Ms Jameson, who as deputy chair organised the meeting to try to oust Mr Li, is a financial adviser and major philanthropist.

Immigrated with ‘$50 in his pocket’

Mr Li was appointed chairman of the MSO in 2021, having been on the board since 2013. A migrant who grew up in China during the Cultural Revolution, he immigrated to Australia on an academic scholarship – “with $50 in his pocket”, according to an MSO source – and made his fortune in the importing of construction supplies.

He has been a major philanthropist to several Melbourne institutions, and was in 2019 made a member of the Order of Australia for his “significant service to the community through support for the performing arts”. Most of the MSO’s board is said to support Mr Li.

“David is an exceptional, capable and generous person,” said one director. “The MSO and Australia are very fortunate to have him.”

[ad_2]

Source link

Read More

Unhappy Donor Letter Secreted in London’s National Gallery Turns Up, Decries Its ‘Unnecessary Columns’

[ad_1]

In the late 1980s, the Sainsbury brothers, operators of the U.K.’s second largest supermarket chain, bankrolled a project to build a new wing at London’s National Gallery. The museum needed space to accommodate increasing visitation and the first design had been ditched after the then-Prince Charles called the proposed glass and steel tower “a monstrous carbuncle.”

The American post-modernist duo of Robert Venturi and Denise Scott Brown stepped in offering a contemporary twist on the National Gallery’s neoclassical main building. On the exterior, the architects worked with the same Portland limestone, cutting unusual openings into it and reworking the original façade’s pillars, capitals, and cornices. Inside, they created a crypt-like foyer that led via a grand staircase to the galleries.

Interior of the Sainsbury Wing at the National Gallery in London, 1991. Photo: View Pictures/Universal Images Group via Getty Images.

The eldest brother, John Sainsbury, despised aspects of the design, in particular the false columns in the foyer. Despite concerted pushback and the fact that the Sainsburys were footing the reported £40 million ($53 million) bill, the development went ahead.

Now, the Art Newspaper has revealed that, in 2023, demolition workers discovered a secret letter written by John Sainsbury buried deep inside one of the two false columns. Typed in block capitals on Sainsbury’s-headed stationary, the letter is dated to 26 July, 1990, and makes the supermarket magnate’s displeasure plain.

“If you have found this note you must be engaged in demolishing one of the false columns that have been placed in the foyer of the Sainsbury Wing of the National Gallery,” the note, typed in all caps, began. “I believe that the false columns are a mistake of the architect and that we would live to regret our accepting this detail of his design. Let it be known that one of the donors of this building is absolutely delighted that your generation has decided to dispense with the unnecessary columns.”

a black and white photo of John Sainsbury holding folder

Lord John Sainsbury. Photo: PA Images via Getty Images.

Although John Sainsbury, considered a great benefactor of U.K. arts, died in 2022, his widow Anya was on site shortly after its removal from inside the false column. “I was so happy for John’s letter to be rediscovered after all these years,” she said. “I feel he would be relieved and delighted for the gallery’s new plans and the extra space they are creating.”

It is believed Sainsbury was granted access to the building while it was under construction and secretly dropped his letter, protected by a plastic folder, into the concrete column.

interior of national gallery proposition

Rendering of the proposed redesign of the Sainsbury Wing. Courtesy of Selldorf Architects.

Neil MacGregor, who was the National Gallery’s director when Sainsbury Wing was planned and developed, defended Venturi’s design that blocked sightlines and concealed entrances in a statement. “Venturi had a coherent idea of the organic link between entrance hall, staircase and main galleries. I felt that, on balance, we should let the architect be the architect,” he said.

The removal of the false columns took place as part of £85 million ($112 million) renovation of the Sainsbury Wing. The redesign, courtesy of Annabelle Selldorf, a New York-based architect, aims to create a brighter and more open space through curving glass and white walls. It, too, has been widely criticised.

The refurbished Sainsbury Wing is due to open to the public in May, 2025.

Follow Artnet News on Facebook:

Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.



[ad_2]

Source link

Read More
TOP