Its Mardan Wed, 21 Jul 2021 21:37:20 +0000 en-US hourly 1 Its Mardan 32 32 Hunter Biden should meet with potential art buyers ahead of anonymous sales Wed, 21 Jul 2021 21:12:25 +0000

Hunter Biden is expected to meet potential buyers at two art exhibitions where his paintings will be on display later this year, according to a spokesperson for the New York gallery selected to sell works of art made by the president’s son.

The exhibits, a small private affair in Los Angeles and a larger exhibit in New York, will give Biden the opportunity to interact with potential buyers of his paintings, which the gallery expects to sell for up to $ 500,000. .

When asked if Hunter Biden would attend both events, Georges Berges gallery spokesperson Robin Davis replied, “Oh yes. Gladly. He’s looking forward to it. It’s like someone. one that’s making his debut in the world. And sure enough, he’ll be there. “

Davis also said that at both art shows, “everyone will be screened… so the appropriate one will be present.”

Hunter Biden’s appearance at shows, where he will presumably socialize with potential buyers, is apparently at odds with an agreement with the gallery owner that aims to keep the identities of buyers a secret from Biden, President Biden, the White House. and the public.

FILE: Hunter Biden visits Marine One on the Ellipse outside the White House on May 22, 2021, in Washington, DC.


Some government ethics experts have expressed concern that buyers might buy Hunter Biden’s art to gain influence with his father, Mr. Biden. Keeping buyers anonymous is meant to guard against this.

“Well, I think it would be difficult for an anonymous person that we don’t know and that Hunter Biden doesn’t know how to have influence,” White House press secretary Jen Psaki said during a recent press briefing. “So that’s protection.”

In response to questions about Hunter Biden attending gallery events with potential buyers, White House spokesman Andrew Bates pointed to a July 8 statement that read: “The President set the standards highest ethics in any administration in American history, and his family’s commitment to rigorous processes like this are a prime example. “

A source familiar with the matter told CBS News that Hunter Biden will not be discussing potential purchases, pricing, or anything related to the sale of artwork.

But that begs the question: how will the public ever know what was discussed? There is no known enforcement mechanism or disclosure requirement built into the ethics agreement. Conversations with potential buyers during the visits would almost certainly remain private.

Chris Clark, an attorney for Hunter Biden, did not respond to a request for comment.

Under the agreement blessed by the White House, only the gallery owner, Georges Berges, would first know the identity of the buyer or the purchase price. However, buyers could choose to market themselves. It would also be up to Berges to reject suspicious buyers or inflated offers.

Walter Shaub, former head of the government ethics office under the Obama administration, said the arrangement was up to the White House to “contract out government ethics” to the owner of the art gallery.

And he said that Hunter Biden’s participation in art exhibitions increases ethical concerns.

“Is Hunter Biden going around the art exhibit blindfolded?” Shaub said. “It just shows that the focus is not on government ethics. It just shows that a president’s child can benefit from the presidency.”

Berges has already advocated for the relationship between artists and art collectors in a promotional video from 2015.

“I think the relationship between the artist and the collector – it was a very unified relationship where it was very personal … The relationship today tends to be a little colder, more corporate – there is less. interaction between artist, collector and gallery owner, in fact very few collectors even now meet the artist, ”Berges said in the video.

“My goal is to really establish a gallery that has global reach with affiliates around the world working together to really re-establish this relationship that I think is important,” added Berges.

Davis said Biden and Berges had known each other for two years. According to Artnet, Biden has no formal art training and has only started working as a full-time artist in recent years. Berges opened the gallery in 2015 and its website features 20 artists.

“He really wants to help Hunter and for people to recognize his talent,” Davis said. “So you know, I think everything is going better and better.”

In 2016, Berges was sued by an investor in its gallery, Ingrid Arneberg, for fraud and breach of contract. The lawsuit alleged that Arneberg, an artist herself, had invested $ 500,000 to expand the gallery and that Berges had deposited it into her personal bank account to cover her expenses. Berges sued for $ 4.5 million, citing, among other things, libel and breach of fiduciary duty. The two settled in 2018 and the terms were not disclosed.

An Arneberg lawyer did not respond to a request for comment.

In May 1998, Berges, then a 23-year-old student, was arrested in California and charged with assault with a deadly weapon and “terrorist threats,” according to public records from the Santa Cruz Police Department.

Few details of the incident are available in public records, but a report provided by the police department states that “officers responded to a report of a scuffle inside the residence involving a suspect with a knife. No injuries reported. ” Davis said Berges had an argument with a roommate.

Court records show Berges was sentenced to three years probation, but Davis said the felony charges were reduced to misdemeanors and ultimately dismissed. Santa Cruz County officials declined to clarify the outcome of the case. Berges never served probation, Davis said, downplaying the incident.

Four months after the arrest, Berges filed for personal bankruptcy. His creditors included credit card companies, a bank, a jeweler and a furniture retailer Pier One Imports, according to federal court records. The bankruptcy proceedings ended three months later.

“He was a kid and he had credit card debt,” Davis said.

Ever since the art deal became public when it was reported by The Washington Post, CBS News has requested interviews with Hunter Biden and Berges. Davis said the gallery will only answer questions about Biden’s artwork, not the ethics agreement.

Berges declined a later interview request on Wednesday.

CBS News attempted to contact several former gallery employees to learn more about Berges and the gallery’s operations. Davis called a CBS News reporter to say it wasn’t “over the edge.”

Rachel Bailey contributed to this story.

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Artist Tristan Eaton’s 25-year career has been a quest for self-discovery Wed, 21 Jul 2021 20:31:29 +0000

In 2012, Tristan Eaton found himself at the center of a controversy. He was about to paint a mural in New York’s Little Italy – a child’s figure interspersed with animals: monkeys, a peacock, a tiger – when she was labeled “pagan” by a priest from the church adjacent to the wall in question.

After the New York Post published an article on the shutter, Eaton had to change gears. The head of the Little Italy Merchants Association, whom he initially approached with the idea for the mural, instead gave him a smaller wall.

“I have this other wall, this little wall,” Eaton recalls. “Paint the short wall. If we can get everyone excited about this, then maybe the great wall is on the table again. “

The plan worked. People loved the room and Eaton painted the larger wall. In a way, he’s only painted bigger and bigger walls since then.

This month, an exhibition celebrating 25 years of Eaton’s work debuted at the Long Beach Museum of Art. Originally planned for 2020, All at once: 25 years of art and design fills two entire floors, a large canvas, so to speak, for an artist and native Angeleno who is used to it.

Tristan Eaton designed the cover of Los Angeles magazine’s 2021 Best of LA issue

Tristan eaton

Born in 1978 in a birthing center above old Hamburger Hamlet on Sunset, Eaton grew up surrounded by artists and actors he lovingly describes as wild, crazy, and eclectic. When he was eight, his family moved to London, where his older brother, Matthew, got into graffiti. On the train to school, rushing to the spray-painted walls, Eaton remembers seeing pieces of his brothers’ crew splashed onto the city walls. Too young to join them, Eaton got busy drawing what he called superheroes and “hip-hop style” characters.

Eight years later, when his family moved to Detroit, he grabbed his spray cans to join in the fun. He and his friends were climbing through abandoned Michigan Central Station, a hub for graffiti artists and urban explorers, and he ended up meeting artists like Glenn Barr, Niagara, Mark Dancey and others with ties to the punk scene. from the city. When he was still a teenager he got a job at Highway Press, a screen printing store that printed rock posters, and bonded with Jerry Vile at Orbite review, where he started to work.

“I was a teenager around these art giants,” he recalls. “And it’s worth noting – their tolerance for the annoying young Tris made me a generous artist.” He didn’t realize it at the time, but it was the start of a long career in art.

At 20, Eaton moved from Detroit to New York, where he knew no one, had no money, and was struggling both financially and emotionally. It was hard, but eventually, in his words, the love story began. In New York City, Eaton painted motorcycles, made artistic toys, and started a design business. He made a living from his craft, trying to broaden his skills and learn as much as possible about himself as an artist.

When not in his legitimate day job, Eaton developed a “secret identity as an illegal artist.” Going through TrustoCorp, he started hijacking road signs, food labels and billboards, and injecting them with political messages he deemed important amid a rise in racist rhetoric after the election of Barack Obama in 2008. “I stole public space for messages,” he says. “That was my goal, to usurp the landscape to get messages that could be absurd, critical and cynical, but at least get them out there to speak to other people who feel that way.”

Perhaps unpredictably, a corporate gig working for Disney is what brought him back to LA. But before he left, he left his mark on New York City in the form of the Little Italy murals, which marked a return to spray paint that was a revelation for the artist.

“After all the things I’ve tried and failed, to my surprise, spray paint was waiting for me all the time,” he recalls. “It opened up this portal for me to do the most honest and best job I have ever done in my life.”

His return to the medium coincides with what he describes as a “giant explosion of public art”. In cities around the world, children who once slapped wheat pasta and labels had grown up. It was no longer necessary to steal space because we offered walls to artists.

Eaton was no exception. The TV show he moved to LA to work on didn’t last, but he saw it as a new beginning. He began to travel the world – Australia, Mexico, Paris, Germany, Guam – painting murals. Being granted space comes with more responsibility than usurping it. On the one hand, the created works are supposed to be permanent. When Eaton leaves a community, his murals remain in place, often becoming beloved landmarks. This is a responsibility that Eaton is fully aware of, and that is why it takes it into account. Could a splash of color in an otherwise gray cityscape change people’s behavior? He describes the “staring eyes effect”, a phenomenon where the presence of images of eyes causes individuals to modify their behavior.

“If so, what is a 15 story fresco fully illustrated with tons of iconography and figurative metaphor, how is that going to affect a community?” he’s asking himself. “It’s going to have an effect!”

He evokes a fresco he painted in a Brazilian favela. The locals who commissioned it believed that watching Eaton paint could have a positive influence on the neighborhood children, inspiring them to rise above their circumstances.

“Art can touch a part of people’s souls that is still pure,” he says, subconsciously touching his heart.

Because it has been postponed for a year, the retrospective of Eaton’s career at LBMA aligns almost precisely with a big anniversary. “It falls on this marker for exactly 25 years since I started making money with my art in Detroit as an artist,” says Eaton. “Twenty-five years since I started all this way. And wait until this year made this lovely bookmark.

At first he was intimidated at the idea of ​​filling two entire floors with artwork, but once he started showcasing the exhibit in Photoshop, he had a revelation: he could have used more ‘space. Ultimately, the exhibition of the highlights of his career became a roadmap of his life.

“I’m able to take the highlights of everything I’ve ever done, and this great quest as an artist to understand who I am, what I can do and what makes me happy, and how I can get closer to great art, ”he says. “This whole process is presented to everyone, the good, the bad and the ugly. “

RELATED: The Best of LA 2021

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]]> 0 Modernist painter Yannis Tsarouchis finally gets his due Wed, 21 Jul 2021 20:27:17 +0000

CHICAGO – Yannis Tsarouchis, the gay Greek artist-provocateur, was way ahead of his time. His mid-20th century paintings explored homoeroticism when these themes were still highly taboo. Dancing in real life, a full investigation at Wrightwood 659, shines a well-deserved spotlight on the artist. With more than 200 works, this is the first major exhibition of Tsarouchis in the United States and calls for the recognition of this modernist painter as a pioneer of queer art.

Born in Piraeus, Greece, in 1910, Tsarouchis studied at the Athens School of Fine Arts while working as a set designer. Among the highlights of the exhibition is documentation of Tsarouchis’ work for theater and opera, including set sketches and photographs with the luminaries he has collaborated with, including Maria Callas and Samuel Beckett.

Yannis Tsarouchis, “Youth Posing as a Statue from Olympia” (1939), animal glue pigments on canvas, 69 X 99 cm (© Yannis Tsarouchis Foundation)

The influences of Tsarouchis painting ranged from Byzantine and El Greco art to Western modernism. In works like “The Thinker” (1936) and “Seated Dark-Haired Youth in Overcoat” (1937), he takes up Matisse’s ornamental approach. “The Thinker” also satirizes Rodin’s famous modernist sculpture. In Tsarouchis’ work, the sitter – a dark haired young man in a blue striped suit – looks good-natured rather than thoughtful. The frontal pose and the direct gaze of the young man suggest seduction, while the weight of the Rodinian hand supporting a massive head is transposed into a feather brush of an index finger against a cheek.

Wrightwood’s three-story exhibition is organized chronologically but sometimes juxtaposes works from different periods, to underline Tsarouchis’ enduring commitment to portraying gay men. The sensual gouache on paper, “Diadoumenos and Eros” (1970), for example, rubs shoulders with two pencil drawings, “Excursion in car B” and “Excursion in car C” (1937), in which Tsarouchis depicts a spontaneous escapade towards the coast. The latter’s shameless intimacy – naked young people lounging around a car, symbols of virility – is a good example of the artist’s constant desire to frankly represent sexual encounters.

Installation view of Yannis Tsarouchis, Dancing in real life, Wrightwood 659, 2021 (© 2021 Alphawood Exhibitions LLC, Chicago. Courtesy of Alphawood Exhibitions LLC, Chicago; photo by Michael Tropea)

Another recurring theme for Tsarouchis was updating classic styles or themes. In the 1970s, for example, he queer a number of Renaissance and Baroque paintings. Elsewhere, in her 1960s butterfly-winged male nudes, her kitschy play brings out the tension between the genre’s obvious sex appeal and the elaborate dressing of its sexual content in uplifting classic allegory. Meanwhile, “Diadoumenos” also conceals the homoerotic content under the (very thin) guise of classical mythology.

Tsarouchis served on the Axis side during World War II and, unsurprisingly, may have explored taboos surrounding gay men in uniform. In his dreamlike watercolor “Study for the Beach” (1962), bathers in various stages of undressing linger in the shade of a large rock. The brilliant contrast of a man’s pristine white uniform against the vulnerable pink flesh of others, recalls Susan Sontag’s essay “Fascinating Fascism,” on sadomasochism and the complex role that fascist uniforms and aesthetics play. in fetishistic fantasies.

Yannis Tsarouchis, “Military policeman arresting the spirit” (1965), watercolor and pencil on paper, 32.5 x 24.6 cm (© Fondation Yannis Tsarouchis)

In one of Tsarouchis’ most intriguing compositions, the large oil painting “The Forgotten Garrison” (1956), three dressed soldiers, alternately naked torso and buttocks, bask in the barracks. The dark and gloomy tones of the composition – one might call them Rembrandt-esque – belies the sexually charged atmosphere of their crossed gazes.

Yet Tsarouchis’ daring came at a price. In 1952, one of his paintings was removed from an exhibition after the Royal Hellenic Navy denounced his depiction of a sailor on a bed with a naked man as offensive. In 1959, the play featuring its scenography (directed by Aristophane The birds) was canceled as the right-wing Greek government imposed severe measures against homosexuality. After the 1967 military coup, Tsarouchis lived in Paris until 1981. Although he continued to paint and returned to visiting Greece after the fall of the junta in 1974, the exhibition at Wrightwood nonetheless left me with the feeling of a creative flow blocked halfway. Tsarouchis’ self-exile, in particular, made me wonder if his daring art would have been recognized more widely, or earlier, if his career had not been disrupted.

Yannis Tsarouchis: Dancing in real life continues through July 31 at Wrightwood 659 (659 W. Wrightwood, Chicago, IL). The exhibition was curated by Androniki Gripari and Adam Szymczyk.

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UNESCO removes Liverpool from heritage status, citing ‘irreversible damage’ of new construction + more stories Wed, 21 Jul 2021 13:25:40 +0000

Art Industry News is a daily digest of the most important developments from the art world and the art market. Here is what you need to know on this Wednesday, July 21.


Hauser & Wirth Eyes Further expansion – In the wake of the opening of new gallery spaces in Monaco and Menorca, the merchants behind Hauser & Wirth say they intend to expand even further, and have set their sights on Paris and Asia. “Are we going to double in the next five years? I don’t think so, ”said Iwan Wirth,“ but there may be a few other strategic locations and a few surprises. “(New York Times)

The British Museum will present more than 100 unpublished works by Hokusai – The British Museum has acquired more than 100 drawings by Japanese artist Katsushika Hokusai. The artist initially created the little-seen designs for an unrealized book project he started in his 80s called The big picture book of everything. The drawings had not been seen for 200 years, until they resurfaced at auction in 2019, where the museum bought them for £ 270,000 ($ 369,000) in 2019. They will be on display in September. (Guardian)

Liverpool loses its UNESCO heritage status – The British city lost its coveted UNESCO World Heritage status after the body concluded that its waterfront had suffered “irreversible loss” due to the development of new buildings, including a 500 million football stadium sterling ($ 682 million). Liverpool are only the third place to lose their heritage status in almost 50 years. (Guardian)

Meet the New Head of the National Trust – The new director of England’s heritage body, the National Trust, Hilary McGrady, has weighed in on the country’s “culture wars”. The organization has come under heavy criticism for publishing a report describing how 93 of its historic properties were linked to slavery. “The genius is out of the bottle in terms of people who want to understand where wealth comes from,” she said. (Standard Evening)


Launch of a new artistic prize for AAPI artists – Artistic advisor Kelly Huang and Gold House, a California-based nonprofit, have created a new art award for Asian American, Pacific Islander, or Asian Diaspora artists. The $ 25,000 Gold Art Prize will be awarded to five artists every two years, with the first recipients announced in December. (ARTnews)

VMFA appoints diversity director – The Virginia Museum of Fine Arts has appointed Patrick Patrong as Director of Diversity and Deputy Assistant Director for Equity, Diversity and Inclusion. Patrong is a consultant who has led diversity initiatives at the University of Maryland, Baltimore. (Daily Art)

Glenn Kaino joins UTA ​​- The busy American artist has signed with global talent agency UTA; he also joined the Pace gallery list last week. (Press release)

Collector Jorge Pérez sells his mansion – Billionaire real estate developer and art collector Jorge Pérez is selling his Miami mansion (or, at least, one of the m). The Venetian palace-style home in Coconut Grove is listed for $ 33 million. (the Wall Street newspaper)


DC artist alleges hotel stole his work – Cristian Zuniga called up a new restaurant at the Line Hotel in Washington, DC, after using his design of a pair of arms wrapped in an embrace – which he printed on clothes and painted on local streets – to market his new one. restaurant, No goodbye. The restaurant says it commissioned the similar work from a creative studio. “We didn’t think we were doing something proprietary,” they said. (Washingtonian)

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Make the most of it Tue, 20 Jul 2021 23:23:32 +0000

Cal’s Lutheran professors who took sabbaticals during the pandemic may have had to change plans or plans, but they came out more energetic and enlightened.

By Karen Lindell

Art professor Cal Lutheran Michael Pearce’s sabbatical plan was to create a set of paintings to exhibit at the University of North Alabama in the fall of 2020, but it had to change focus when COVID-19 closed galleries Across the country.

The environment and the art of Michael Pearce have significantly diminished in 2020.

Art teacher and oil painter Cal Lutheran was starting his spring 2020 sabbatical when the coronavirus lockdown hit.

He planned to create giant paintings, over 10 feet tall and wide, in a spacious and airy studio in Cal Lutheran. When it all closed, Pearce, forced to work from home in a small room, switched to painting much smaller works, only 18 inches by 20 inches.

Yet despite Pearce’s reduced environment, the pandemic has broadened his creativity and mindset in positive ways.

“My paintings went from apocalyptic and somber to an upbeat place, which surprised me, as we were facing an apocalypse in reality,” Pearce said.

Pearce is one of many Cal Lutheran faculties whose sabbaticals were changed in 2020 due to the coronavirus.

Karissa Oien, director of faculty affairs, said around 12 to 16 faculty members go on sabbatical each year, and six quit in 2020, mostly due to travel restrictions.

For those who took sabbaticals anyway, whether they had to change their travel plans, fit the pandemic into their plan, or give up on an idea altogether, they made the most of the experience, emerging from academics. , more energetic and enlightened teachers and human beings.


Pearce’s original sabbatical plan was to create a set of paintings for display at the University of North Alabama in the fall of 2020.

COVID-19, he said, “threw a giant wrench in the works” when galleries closed everywhere.

He was working on large “neo-pagan” apocalyptic paintings, including one of Burning Man festival characters wearing lights in the dark.

He finished the Burning Man painting – but not before it fell from his easel because it was too big – then moved on to a series of small “transcendent” paintings.

“I got interested in everyday transcendence,” he said. “Ordinary people can have transcendent experiences. The spiritual experience that takes you out of the normal world is available to all of us.

The first work in the series features a man and woman inside an RV, floating near the ceiling, about to kiss, suggesting a “very romantic sense of being happy in a place. “said Pearce.

The obscurity in his previous paintings came from a series of “endings” that occurred around the same time: his parents had died and he had sold a house in England.

“Optimistic painting is much more in my nature; the new work is so much more joyful, accessible and liberated, ”he said. “I’ve always loved science fiction, fantasy, and imaginative paintings, and the sabbatical has pushed me harder in that direction.”

He’s eager to resume teaching in person rather than online – and in a much less cramped studio.


Kirstie Hettinga, Associate Professor of Communication and Educational Advisor for Cal Lutheran Student Newspaper, Echo, ended his spring 2020 sabbatical project with a few days to spare, as it involved teaching in Spain just as the coronavirus was starting to rage in Europe.

Hettinga taught a three-week intensive course on ‘Spanish-language media’ (in English) from February 2020 as part of a study abroad program at the Universidad de Alcalá near Madrid, in Spain. The class included Cal Lutheran’s Shariliz Poveda ’21, an editor of Echo.

Hettinga finished teaching the class, but left Europe sooner than she expected when the pandemic travel bans began.

“We were walking around Madrid the last day I was there, with the streets empty and the shops closed,” Hettinga said. “It was a little scary.”

The sabbatical was taken, but Hettinga’s project continued. The course in Spain was a pilot for a class she planned to teach at Cal Lutheran in the spring of 2021, “Latinx Media in the US,” linked to her work to help develop a minor in Spanish media.

The Spanish media minor’s idea, a proposal that was approved to start in fall 2021, actually started with one of her students, Hettinga said. A Latina student told him about another school that had a publication in Spanish for students and said, “I want to do this.

Cal’s Lutheran students published the first Eco Insertion in Spanish in Echo in fall 2018. To create stories for the special section, students in a newsroom teamed up with students in a Spanish Conversation and Composition class to produce articles in Spanish.

When Hettinga taught the Latinx media class at Cal Lutheran in the spring of 2021, students delved into issues such as media coverage of Hispanics during the Great Depression and how “the language, themes, and stereotypes” of the 1930s still exist, she said.

The class also discussed current events, including coverage of COVID-19, and how Latinx communities were less likely to receive the vaccine even though they were among the hardest hit.

Hettinga said she was “very proud that it all came from a college student and her desire to realize Cal Lutheran’s identity as a HSI (Hispanic Serving Institution) and to serve her community as a Latina.”


Jamie Bedics, Associate Professor and Director of Clinical Psychology Programs at Cal Lutheran, took his spring 2020 sabbatical to finish editing a book on Dialectical Behavior Therapy (DBT).

DBT is a form of therapy that helps people manage painful emotions and relationships using four skills: mindfulness, distress tolerance, emotion regulation, and interpersonal effectiveness. It was created for suicidal patients, especially those with borderline personality disorder, but has spread to help people with depression, eating disorders, post-traumatic stress disorder, substance abuse. and alcoholism and bipolar disorder.

Science, however, hasn’t exactly caught up with this expansion, Bedics believes.

“There are a lot of signs that the treatment may be helpful,” he said. “At the same time, the general conclusion from the state of the literature is that we know much less than we think.”

He is a strong supporter of DBT, but as a researcher believes the science behind it needs to be stronger.

“If you like something very much, you have to criticize it,” he said.

He asked contributors to The Dialectical Behavior Therapy Manual to think critically about the scientific evidence related to DBT treatment. Unlike other DBT texts, “this one indicates where the evidence is both strong and low, ”he said.

Bedics said his sabbatical was not directly affected by the pandemic. But the purpose of his research can be applied to our understanding, or in some cases our misunderstanding, of the coronavirus.

“The key to this book was understanding how to become better producers and consumers of research,” he said. “It is through a balance between questioning and understanding, change and acceptance that a field of study can advance.”


Professors on sabbatical leave in 2020 presented their projects as part of the Scholars’ Festival in April 2021. Here are some examples of their work:

Kristine Boucher, chemistry teacher

Project: “The use of Lego bricks to model structural and stoichiometric concepts in general chemistry”

Butcher worked on developing classroom activities that use Legos, including worksheets with questions for student groups. “I had already developed one that I had used a few times, so I used my sabbatical to develop a few more and work on a manuscript for an article discussing them,” she said.

Rainer Diriwächter, professor of psychology and department director

Project: “Remembering Wilhelm Wundt and the Second Leipzig School of Psychology”

Few people in the United States seem to know Wilhelm Wundt (1832-1920), “generally considered the founding father of modern psychology,” Diriwächter said. And American psychology textbooks, he said, mistakenly portray Wundt as a structuralist. His sabbatical research, published in the journal Human Arenas, explored how Wundt’s works should be viewed, “and what happened to his work / ideas through his successors”.

Karrolyne Fogel, math teacher

Project: “Irreducible L (2,1) labels of torus graphs”

Fogel said his project “is working on a subject that looks a bit like the allocation of radio frequencies to antennas: the closer the antennas are to each other, the more likely there is to be interference, hence the more frequencies allocated. must be kept away. Using natural numbers as labels / frequencies, we find the smallest number of labels that meet specific distance conditions (the irreducible part L (2,1)) for a given arrangement of points and edges (the part of the toric graph).

young ariana, associate professor, psychology and professional license

Project: “Prayer and decision making”

Young and his colleagues explored the relationship between prayer and intuitive decision-making. “In three studies,” she said, “we found evidence that praying to God causes people to rely more on intuition (that is, automatic and instinctive responses) when speaking. decision.” An article on the research is being considered for publication.

Karen Lindell has been a newspaper, magazine and website editor and publisher for over 15 years, including at Ventura County Star, LA Parent Magazine, Los Angeles Times, Ojai Valley News, VC Reporter and She lives in Los Angeles.

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Senator Steve Daines appears on KGVO’s Montana Morning News Show Tue, 20 Jul 2021 18:47:21 +0000

Montana Senator Steve Daines appeared on Montana Morning News on Tuesday and touched on the topic of how big tech and the Biden administration broke the 1st Amendment of the US Constitution.

“It’s scary when you start to see the Biden administration now collaborating with big tech to censor speech that violates the First Amendment,” Daines said. “Speaking of big tech, unfortunately now they are the self-appointed arbiter of free speech, and they decide what’s okay and what’s not.”

Daines said platforms like Facebook and Twitter have in fact become publishers, technically breaking the law.

“They have become publishers,” he said. “They have these platforms like Twitter, like YouTube, like Facebook, but when they decide what can be published and what cannot be published, they are not just a platform anymore. They are editor. And then when the federal government starts to get along with these big tech companies that are now the federal government, breaking and violating the fundamental rights of the First Amendment, the free speech of the American people. “

Daines said he introduced a new bill called the Online Political Discourse Preservation Act.

“That’s what the legislation does, it would force these tech companies to provide equal access and time to all candidates running for office,” he said. “It would also fix an article called section 230 of the law, and what it does will prevent big tech from discriminating against people on the basis of their politics or their religion. Those who have faith, those who are pro-life are discriminated against and some of their positions are cut. “

Daines concluded by stating his opposition to the rampant federal spending that led to inflation and a massive increase in federal debt.

“These are trillion dollar numbers with a ‘T’,” he said. “We can never become indifferent to the magnitude of the spending. So, on top of soaring inflation with the highest levels we’ve seen in 13 years, Democrats now want to pump between $ 4 trillion and $ 6 trillion into the economy. The only thing Democrats know how to do is raise taxes and spend more of Montana’s hard-earned money. It’s to fund things like a free community college, free daycare, it’s “free”. Let me tell you who will pay; it’s the American people.

Daines also spoke out in the US Senate on Tuesday against the appointment of Tracy Stone-Manning, from Missoula, as head of the Bureau of Land management.

KEEP READING: Here Are The Best Places to Retire in America

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Well-known artists to paint outside as part of Camden Library fundraiser Tue, 20 Jul 2021 17:44:40 +0000

MIDCOAST – Twenty painters will be seen outdoors in and around Camden from July 30 to August 1, participating in a new event, Camden on Canvas, worthy of this summer’s reopening.

The event and fundraiser is being hosted by the Camden Public Library and will bring well-known artists to the area to paint outdoor scenes.

The completed paintings will be on display at the Camden Amphitheater on Sunday, August 1 from 1 p.m. to 3 p.m. From 4 p.m. to 6 p.m. there will be a paid reception and a live auction of the paintings to benefit the library.

Camden’s Colin Page will be one of the featured painters at Camden on Canvas, starting July 30.

Colin Page, artist and owner of the Page Gallery on Bay View Street, was involved in inviting artists and organizing the event. As an outdoor painter himself he participated in outdoors events held across the country and knows many Maine artists who love to paint outdoors.

Page, a library administrator, works with trustees Kristen Smith, who brings experience in organizing numerous auction fundraisers, and Marti Wolfe, who brings energy and organizational skills that Page compares to an organizer of wedding.

Due to uncertainties related to the pandemic earlier this year, the library was unable to host its annual Harbor Arts event, which requires many months of planning. The loss of this important fundraiser for the library led its board of directors to create Camden on Canvas.

Page is renowned for his landscape and cityscapes paintings.

He has lived in Camden since his visit on a whim in 2003, and never wants to leave. At the time, he was already doing most of his painting outdoors.

He loves the beauty and the challenges of this job. “There is so much more richness of color when you see things with the naked eye,” he said. The artist has to paint faster because the sun is changing, or something in the painting is moving, he explained.

Colin Page’s “Harbor Docks” depicts Camden Harbor from the perspective of the town pier.

In Camden, he found the outdoor painting “to be a fun way to meet a lot of people in the community. Everyone wants to see what you are doing. It’s a great way to be part of the community quite quickly, ”he said. It also helped his career.

As a painter and now a gallery owner since 2019, Page knows that community members and visitors will also want to see what great artists coming to the area will paint on their canvases.

Artist Alison Hill eagerly awaits Camden on Canvas. She loves painting outdoors, knows most of the artists and can’t wait to see them again. “They are amazing people and artists. Everyone will have a great time together, ”she said.

She paints outdoors whenever she can, even in winter. Hill lives and owns a gallery on Monhegan Island, and in Camden is represented by the Camden Falls Gallery.

Hill moved to Monhegan 20 years ago with artist Ted Tihansky, her former husband, and has lived there ever since. She received a minor in art as an undergraduate and has a master’s degree in art therapy and education, but it was her love for portraiture that led to her career. While studying, she started drawing pastel portraits at fairs to earn extra money, and found that she was good at it and could do it quickly. Tihansky was instrumental in learning landscape and oil painting.

Painting outdoors suits him well. “The light is changing, you definitely work faster,” she said. “You have to be quick and precise. Hill doesn’t like to paint slowly. “My paintings come out best when I paint fast – starting with a lot of energy, big strokes and filling the canvas,” she said.

She loves painting the schooners in Camden Harbor, which she finds “really stimulating and fun at the same time.” She takes inspiration from the beauty of these boats and admires the artists who painted them before her, she says.

From July 30 to August 1, a Camden on Canvas information tent will be located in Harbor Park, where the public can find more information on participating artists, as well as a map of where they could paint. The August 1 painting exhibition is free and open to the public.

Proceeds from the auction will be shared equally between the artists and the Campaign for the Future of the Camden Public Library. “The campaign helps ensure that the library remains the vibrant center of our city’s public life, in times of need and in times of plenty,” said Nikki Maounis, director of the library.

Tickets are $ 75 for the live auction and August 1 reception with music from Windfern Ensemble and light appetizers from Stone Cove Catering. Auctioneer Kaja Veilleux of Thomaston Place Auction Galleries will launch the auction at 5 p.m.

For more information on Camden on Canvas, a full list of performers and supporters, and to purchase tickets for the auction and reception, visit or call 236-3440.


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Artist Jacob A. Meders creates an immersive installation at SMoCA Tue, 20 Jul 2021 17:32:00 +0000

The Scottsdale Museum of Contemporary Art has transformed the SMoCA Lounge into a gallery with the exhibition “And It’s Built on the Sacred”, on display until October 17th.

An indoor installation by local artist Jacob A. Meders (Mechoopda / Maidu), according to a press release, Meders used found objects and painted traditional marks of indigenous peoples on them to reconsider “how meaning can be layered and recovered in these products. “

By superimposing images and meaning on found objects, it raises questions about what is considered holy or sacred and how easily the sacred can be sacrificed, which dates back to the history of Western European civilizations taking the sacred sites of indigenous peoples and building their own religious structures on them.

Temples, missions and churches were built on sacred sites during the expansion of Western colonialism, which forced indigenous peoples to leave the land of their ancestors, the statement said.

In 1978, however, the press release noted that the American Indian Religious Freedom Act had been passed to remove the prohibition on indigenous peoples of the United States from practicing their religion or traditional cultural practices. This suppression and the trauma it caused had a lasting effect on Indigenous peoples, many of whom used the Christian religion to mask or hide their traditional ways of believing.

“Building, replacing and destroying what is sacred has been the gentrification of indigenous lands,” Meders said in a prepared statement. “To know what is sacred and to understand what is sacred would be to respect and honor what is sacred. Clearing the land with appropriation and commodification are the handcrafted tools of cultural rejection and destruction. “

“And It’s Built on the Sacred,” a multimedia installation, is a reflection on what is described as sacred and holy and prompts a dialogue about the novelties and the manipulation of unwanted Euro-American religious objects, according to the statement.

“SMoCA recognizes that the land we stand on is the unceded sacred land of Indigenous peoples and we honor those connected to this land,” said Julie Ganas, Curator of Digital Engagement and Initiatives and Curator of the exhibition, in a prepared statement. .

“Working with Jacob on this exhibition breathed new energy into the Museum and transformed the gallery into a space for reflection. It was a great pleasure for us to work closely with Jacob to bring this meaningful and profound exhibition to life to share with the community.

At the center of the installation is a circular floor created from earth that Meders carved by hand. Hidden underground is a triangular pattern created using willow – the primary material used for basket weaving by residents of Mechoopda in Chico, Calif., Where Meders is from, the statement noted.

The earthen floor brings the sacred earth into the gallery and represents a space for healing, gathering and reflection. Hanging around the dirt floor are Mexican blankets that Meders uses as a canvas to paint traditional indigenous motifs important to the Mechoopda people.

In all the components posed throughout the exhibition, Meders wants visitors to reflect on important questions around the sacred and the saint; recognize the problematic story behind the objects; combine all the components of the installation to “re-indigenize” or reclaim the gallery as a sacred space – layering old and new stories together, the release detailed.

A master engraver, Meders has also created an edition of signed and numbered prints that the public can take home to continue ruminating on the exhibition and the questions asked.

“While we continue to adapt to the changing environment, we remain committed to working with the community of extremely talented artists based in Arizona,” said Jennifer McCabe, director and chief curator of SMoCA, in a prepared statement.

“We turned our temporarily under-utilized multipurpose space into a gallery and in doing so, we cultivate connections in new and deep ways. Currently, SMoCA is showcasing the work of four Arizona-based artists, alongside two nationally and internationally renowned artists.

“And It’s Built on the Sacred” is curated by the Scottsdale Museum of Contemporary Art and curated by Julie Ganas, Curator of Digital Engagement and Initiatives. Through its partnership with the City of Scottsdale, the non-profit organization Scottsdale Arts (formerly known as the Scottsdale Cultural Council) creates diverse and inspired artistic experiences and educational opportunities for community engagement with the arts, adds the press release.


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Brass Heads by Moyra Davey | Chicago Institute of the Arts Tue, 20 Jul 2021 14:56:59 +0000

Have you noticed this presidential portrait in your pocket?

Through Elizabeth siegel

The arrival of Obama’s portraits in Chicago – Kehinde Wiley’s portrait of our 44th President, Barack Obama, and Amy Sherald’s painting of former First Lady Michelle Obama – makes me reflect on the nature of monuments dedicated to leaders of our country. US Presidents have been immortalized in cinema-scale oil paintings carved from mountain tops and modeled in bronze to preside over parks and plazas. Such representations are intended for permanence, larger than life, erected on a pedestal; experienced as a destination, they often require respectful attention.

But what about the representations we encounter every day – the humble, ubiquitous, everyday faces of presidents – so ingrained in our ways and actions that we rarely notice them? Consider the penny, the smallest unit of US currency. It was born from the portrait of Abraham Lincoln since 1909. It was the first time that an American coin featured a face, overcoming a long-held preference to avoid treating the elect as the Romans did with their emperors, a position only overcome by enthusiasm to honor Lincoln on his 100th birthday. What the penny lacks in value, it makes up for in numbers: there are more pennies produced than any other denomination, which is in addition to the Lincoln portraits circulating as payment, jingling in our pockets, tucked behind car seats and couch cushions, or filling jars on dressers.

Artist Moyra Davey, who has a keen eye for the forgotten and the underfoot, focused her gaze on these markers of worth and worthlessness.

Moyra Davey. © 1990 Moyra Davey

In the early 1990s, shortly after the 1987 stock market crash, she started collecting pennies that she found on the streets of New York City. Back in her studio, she photographed them with a macro lens, which revealed their scarred and scarred surfaces and oxidized hues. Enlarged to roughly the scale of a human head, each portrait shows clear evidence of erosion and reshaping through repeated contact, with each piece becoming an individual object that deviates from its necessary standardization: penny-ness required for its exchange value while marking its personality difference from one another. Davey assembled 100 portraits in a 10 by 10 grid – the equivalent of a dollar pennies – to literalize and materialize money at a time of its growing abstraction on the trading floor and market speculation.

Brass (detail), 1990

Moyra Davey. © 1990 Moyra Davey

Davey’s photographs come full circle in Lincoln’s portrait. Researchers have located over 100 distinct portraits of Lincoln, at a time when most average citizens could have a handful of likenesses of themselves. Sculptor and medalist Victor David Brenner viewed as many photographs of his subject as he could as he prepared to mold Lincoln’s face for the new piece. From photography to metal to take again photography, Lincoln’s portrait models the circulation of money itself. Indeed, in 1863, the eminent Boston physician and essayist Oliver Wendell Holmes, a contemporary of Lincoln, called the small photographic portraits that were sweeping the nation then “social currency, the sentimental” green backs “of civilization. Such portraits, like money, had symbolic value, with an implicit faith in what they represented and their value in the social market of the exchange of portraits.

Davey titled his work Brass, a word game on several levels. She refers to the materiality of the pennies as well as the subject, but she also slyly points to something more dangerous, a poisonous snake with a propensity to bite. Perhaps the bite is mere nibbling, the action of thousands of anonymous hands removing small pieces of the president’s image. Or perhaps it is a warning about the amalgamation of historical figures and contemporary finance, in which citizens worship at the altar of worship and capital. Either way, Davey’s work is a reminder to observe symbols and accretions in everyday life, to be sensitive to what makes sense even if it is temporarily forgotten.

—Elizabeth Siegel, Curator of Photography and Media

Obama’s portraits are on display at the Art Institute of Chicago until August 15, 2021.

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We went behind the scenes with art dealers looking to make millions in Monaco, the elite city-state smaller than Central Park Tue, 20 Jul 2021 09:27:23 +0000

It is no wonder that, in the upper echelons of the art industry, the European city-state of Monaco is a haven of peace. The tiny principality, which is smaller than Central Park and known for its fast cars, lack of taxes, and decadent casino, is basically a beloved haven for the wealthy, a place to park the super yacht for a while on the descent of the French Riviera.

“It is mandatory to be in Monaco in the summer,” Antoine Lebouteiller, director of impressionist and modern art at Christie’s in Paris, told Artnet News. Behind us, potential customers were examining diamonds in the auction house’s summer showroom at Cipriani restaurant while suitable waiters mixed with platters of burrata.

Just up the hill from where we stood, Sotheby’s was changing art in their new gallery not far from the newly created space of Hauser & Wirth, where a recently installed Louise Bourgeois exhibition opened last month. and was already widely sold. Berlin-based dealer Johann König was also a stone’s throw away, trying out a new format by hanging works by registered artists in a luxury interior design showroom.

The Art Monte Carlo fair had just opened to VIPs – now in its fifth year, the event is a veteran among a top-notch art scene in full swing of newcomers.

For a newly mobile art world looking for places to congregate in the absence of typical summer tents like Art Basel (which moved in September), Monaco is ideal.

“Monaco is sort of public-private,” one art insider told me. “It’s a bit confidential here.” In other words, nwatch out for the back room when you have a place like this – it’s basically an entire city-state that doubles as a VIP lounge.

The Arte Monte Carlo fair at the Grimaldi Forum with a work by Xavier Veilhan. Courtesy of Perrotin. Photo: Julien Gremaud.

Space creation

More than almost any other city, Monaco has its limits, which makes it even more desirable for glitter. Real estate is hard to find, even for the super-rich. Due to the lack of space, Monaco is literally stacked on itself, suspended from a coastline densely crowded with high-rise buildings from the 1980s – a skyline that a Swiss collector described to me as “totally vulgar “across the table at a dinner party (they attend the art fair every year anyway).

Even the wealthiest collectors have smaller apartments than you might expect here, but an address in Monaco is a precious thing. “They build on the ocean,” said Simon de Pury, auctioneer and columnist for Artnet News. Cipriani roof. Within sight, half a dozen cranes were building Renzo Piano’s $ 2.3 billion “land reclamation” project, which will add 15 acres of false land to Monaco. luxury commercial and residential spaces.

The monumental painting by Matthew Lutz-Kinoy adorns a villa belonging to Kamel Menour.  Photo: Kate Brown

Matthew Lutz-Kinoy’s monumental painting adorns a villa owned by Kamel Mennour for a private brunch. Photo: Kate Brown

For resellers like London and Paris based reseller Kamel Mennour, who has a summer residence on the coast in France, the lack of quality space is in part what prevents him from opening a gallery in town. He and his family hosted VIPs at their beautiful summer home, a 19th century villa dotted with works by artists from the gallery, including a mobile by Petrit Halilaj that hung delicately above a table overflowing with fresh appetizers, near a work in pastel on paper by French artist Camille Henrot, who attended Mennour’s brunch with his family.

Menour, his wife and children strolled while the guests viewed the works, most of which were for sale. “We were supposed to travel now, but because of COVID, I thought I would try this instead,” he said.

Tony Cragg’s sculpture on display outside the Casino de Monte-Carlo, as a preview of this week’s Artcurial sale at the Hermitage Hotel. Photo: Kate Brown

Experimentation also seemed to be the prevailing mood in new Sotheby’s and Christie’s projects. Both have opted for cross-category offers. At Sotheby’s, luxury handbags (including several rare Hermès Grace Kelly bags, named after the princess who wore them to hide her belly during her pregnancy in Monaco, up to € 300,000) were in front of ‘a great Botero work listed for € 1 million at € 1.3 million.

“It’s all about the lifestyle,” said Olivier Fau, head of private sales at Sotheby’s in France. “We want to show our customers that we are there and adapt our diversified offers to them. “

The bet seemed to be paying off. At Christie’s, a new customer bought a Picasso on the restaurant wall, which hung above the cash register.

Still, given the lack of space in the city-state, an ephemeral format like an art fair is a solid option for the larger bell curve of art vendors. The Art Monte Carlo boutique, which can be distributed almost entirely within an hour (it has declined due to the pandemic from 73 dealers last year to just 27 this year), offered dealers a chance to have time with a strong roster of VIPs including collectors David Nahmad, Patricia Marshall, Eskandar and Fatima Maleki, to name a few.

The appeal was clear given the presence of newcomers White Cube, Perrotin, Hauser & Wirth and Pace. (“Something is different this year,” said Air de Paris gallery dealer Florence Bonnefous, a long-time fair attendee, pointing to top-notch galleries. She had just closed the sale of an artwork. 2010 by Dorothy Iannone, for € 20,000 to a Monegasque collector.)

A work by Anselm Reyle exhibited as part of Galerie König's collaboration with Lenzwerk at the Lenzwerk showroom in Monaco.  Photo: Kate Brown

A work by Anselm Reyle exhibited as part of Galerie König’s collaboration with Lenzwerk at the Lenzwerk showroom in Monaco. Photo: Kate Brown

Throughout the show there were signs of caution, with booths dominated by group presentations and very few solo cabins with overt conceptual statements. After a year of upheaval, no one wanted to try something too daring.

Monaco, it seems, is for sale, not branding or the courtesy of critics. Perrotin sold a large painting by Hernan Bas for € 200,000, and the Turin gallery Franco Nero sold works by Robert Mapplethorpe and Sam Falls during the first two days of the fair. Nathalie Obadia, another novice, sold a Mickalene Thomas for an undisclosed price, and two works by Fiona Rae between 50,000 and 100,000 € each, among others.

Thomas Gibson of London, another novice, placed a drawing of Giacometti by Igor Stravinsky with a collector for $ 58,000, surely aided by the artist’s major retrospective which took place in the same building. The dealer was there alongside a small cohort of modern art dealers, including Dickinson, who was participating for the first time. “With the cancellation of TEFAF, there are a lot of clients that we haven’t been able to see for a while, so we decided to come to them,” Aurélie Maw of the gallery told Artnet News.

A view of the presentation of Christie's at Cipriani in Monaco.  Photo: Kate Brown

A view of the presentation of Christie’s at Cipriani in Monaco. Photo: Kate Brown

Back in town, on the steps of the famous and historic Casino de Monte-Carlo, the French auction house Artcurial organized the exhibition of several outdoor sculptures, including one Tony Cragg – his price range of € 200,000 to € 300,000 listed there on a sign – which will be auctioned on July 22 at the Hermitage Hotel, just past the casino.

In Monte Carlo, everything is just around the corner, accessible via incredibly narrow sidewalks – this is the city of the Grand Prix race, but it’s also a reminder that this is not a place for ‘deserts’. normal people, ”as an art world insider told me.

“We need to bring works to our audience,” said Mark Armstrong, Senior Director of Sotheby’s Monaco. Here, “public” has a very specific definition. Everything from cliff top to new properties atop the ocean is designed for a handful of the ultra-rich, not the general public, who are almost absent.

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