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    The Golden Lion-Winning Climate Opera ‘Sea & Sun’ Is Going on a World Tour, Starting With Berlin and New York

    Lithuania’s Golden Lion-winning performance at the 2019 Venice Biennale, which drew snaking lines around the pavilion, is going on a world tour.
    Sun & Sea (Marina), a poignant live performance that sees opera singers and volunteers sing songs that address our delicate relationship to the planet, will travel to the U.S. after its showing in Berlin this weekend.
    The performance will premiere at the Brooklyn Academy of Music from September 15 to 26. (Tickets go on sale July 27.) After its New York run, the production will tour Arcadia Exhibitions in Philadelphia, the Momentary in Bentonville, Arkansas, and the Museum of Contemporary Art, Los Angeles, ARTnews reported. (Dates beyond New York have yet to be confirmed.)
    The collaboration between Rugilė Barzdžiukaitė, Vaiva Grainytė, and Lina Lapelytėm, struck a chord with the public as they looked down from a balcony to watch performers stretch out on an artificially sandy beach, bake in fake lights, and sing harmonies about their mundane existences, which the pavilion’s curator Lucia Pietroiusti described as “songs of worry and of boredom, songs of almost nothing.”
    Only slowly does the reality of climate change set in for the viewer, as a wealthy mother brags about seeing the “bleached, pallid whiteness” of the Great Barrier Reef and a young man complains that it did not snow on Christmas, and instead “felt like it could be Easter.”
    Co-Artistic Directors, Helen Turner and Pablo Wendel with their dog Coal in the Bauhaus swimming hall, which will be the location of the Sea & Sun performances in Berlin this weekend. © Lukas Korschan for The FACE.
    The performance is likely to resonate even more after the pandemic, a time when our anxieties about natural calamities reached a fever pitch and immersive performances were impossible to stage.
    The Berlin chapter, set to take place July 17 and July 18 at an abandoned Bauhaus swimming pool outside of Berlin, sold out in two days. (Walk-ins may be accommodated, organizers say, but there are no guarantees.)
    “It’s been two years in the making, and after four postponements, it’s completely surreal that its finally happening,” said Helen Turner, the director of E-Werk Luckenwalde, which is organizing the event. “The piece is powerful, especially in the location we have, an abandoned swimming hall, which speaks to ecological catastrophe and increasing feelings of fragility and vulnerability.”
    While 5,000 people normally would have been able to attend, social-distancing restrictions will limit that number to 1,500. Masks must be worn on site.
    The performance is well-suited to the E-Werk location—an arts center that doubles as an electrical power station, fueling both the surrounding area and its own art projects.
    But even with clean energy, the production is… quite the production. For just two days, it cost €130,000 (around $153,500) to get off the ground, according to Turner, and involved 60 performers and cultural workers (not to mention tons of sand, which was carted in from nearby). Organizers in Venice estimated the original version cost $3 a minute to stage.
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    “CONVECTIVE MOTIONS” by Gola Hundun in Milan, Italy

    Italian artist Gola Hundun just recently finished his latest mural in Milan, Italy during  the INNESCHI Festival. The project is dedicated to the universal cyclic movement. The composition starts from a central element, identified as cosmic energy, a solar force that unravels centrifugally.Leaves are painted as if they were part of a fire explosion, following and growing the movement which consequently generates new ones, involving other celestial bodies, represented on the contiguous facades, symbolically returning towards the central sun in a perpetual cyclical movement. The three stars represent the three circles of the Celtic Triskele.The motion represented overcomes its two-dimensionality and becomes real, physical and tangible through the call of the avifauna, invited to take part in the universal movement through the installation of clay nests I realized with the citizens of Vimodrone according to the needs of the species of birds of the area indicated by LIPU Milano.The whole composition includes some endemic plants (useful for insects) and some grass, bushes, hornbeams, dogwoods, hazels, hawthorns and an English oak placed in axis with the tree painted on the wall. The tree of life represented is the same you can find into monotheistic or rather pagan religions. The two trees will be set in two movement: the painted one will be crystallized where as the real tree will grow up inexorably.The mural will be gradually hidden by the vegetation growing that will be set as a curtain – representing the time. The artwork can be put itself into the eternal cycle of life, hence it can not be defined as done, due to its vulnerability to the universal movement of existence.Gola Hundun’s work shows the relationship between human beings and the biosphere. This consideration combined with the conscious decision to live as a vegetarian since the age of 16, positions the artist and his work closer to both the animal and human spheres. He explores themes such as interspecies communication, shamanism, ecology, a return to the earth, vegetarianism, and spirituality.Check out below for more photos of “Convective Motions”. More

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    Alex Harsley Spent a Half Century Championing Other Photographers. Now, at 83, the Art World’s Gaze Has Finally Turned to Him

    Alex Harsley’s new exhibition, a survey of his more than six-decade photography career at Brooklyn’s Pioneer Works, is a big deal. In terms of scope, it’s likely the biggest of his life. And yet, the octogenarian artist isn’t exactly taking a victory lap. 
    “I’ve moved far beyond that stuff,” he says, referring to the retrospective nature of the show, which includes New York street photos, arty portraits, and experiments in video from the 1950s through to today. “I’m into a whole different area [in terms of] exhibiting now.”
    We‘re sitting inside the 4th Street Photo Gallery, a cramped storefront space in the East Village overstuffed with old cameras, darkroom gear, and prints—thousands of prints, all lining the walls and stacked in piles of indeterminate age (they might be load-bearing at this point). Harsley has occupied the space for 48 years. 
    “This,” he says, gesturing to the space around him, “this is like an installation.”
    Indeed, 4th Street is like a living, breathing artwork. What has historically been an exhibition space for up-and-coming photographers is, today, more like Harsley’s personal office or studio. At almost all waking hours of the day you can find him in there working—scanning slides, editing photos, hanging and rehanging his work. At 83, his days of roaming the streets of New York with a camera in hand are mostly over, but he has scores of archives still to work through. 
    “Alex is really unsentimental about his own work,” said Vivian Chui, Pioneer Works’s director of exhibitions who co-curated the show with Harsley’s daughter, Kendra Krueger. “He really just wants to make images. He’s not thinking about his legacy, he’s not thinking about where his work was. He’s always much more focused on where his work is going.”
    Alex Harsley, Nite Meetings. Courtesy of the artist.
    Harsley was born outside of Rock Hill, South Carolina, in 1938, and grew up on a rural cotton farm. Only one or twice a month did he see a car or electricity, he recalled. That is, until age 10, when he moved with his mother to New York. 
    Following a stint in the army in his late teens, Harsley moved back to the city, bought his first camera, and learned his way around the darkroom while working as a staff photographer at the district attorney’s office. Then the young photographer was off: churning out 35mm pictures of New York’s faces and places; capturing activists, athletes, and musicians in action.
    In 1971—half a century ago this year—Harsley founded Minority Photographers Inc., an artist-run non-profit based in his apartment that showed the work of up-and-coming image-makers. Two years later came the group’s headquarters: a derelict street-level space offered by the city on the cheap, thanks to Minority Photographers’ 501c3 status. That was the birth of 4th Street Photo. It’s the same space Harsely’s sitting in today. 
    Alex Harsley, Playing In Chinatown (1970). Courtesy of the artist.
    So out of place in the now hyper-gentrified neighborhood is 4th Street that it’s easy to walk past the spot and not even see it, the way you would a travel agency or a phone booth or other neighborhood vestige. And yet, Harsley still gets his fair share of walk-ins coming to look at his work; many even buy it. During our interview, a mother dressed in athleisure came in to pick up a couple of prints for her college-age daughter, who had just moved to the neighborhood. I asked if they’d seen the show at Pioneer Works. They said they had no idea how to get to Brooklyn.  
    For Harsley, an artist largely ignored by museums and galleries in his career, passersby looking to purchase a piece of New York history are his clients. And he’s okay with that. “It’s not about me and my name,” he said. “It’s about the content. So I like to stay behind the [work].”
    But that’s not to say the photographer doesn’t have fans in the art world. If off-the-street visitors are one-half of Harsley’s collector base, then the other half is fellow artists, many of whom were affiliated at some point with 4th Street Photo or Minority Photographers.
    Alex Harsley, Cousins (1980). Courtesy of the artist.
    For generations of up-and-coming photographers in the 1970s through the turn of the century, 4th Street was a site of community, mentorship, and—perhaps most importantly—wall space. Among those who have shown in the gallery are Dawoud Bey, David Hammons, Eli Reed, and Andres Serrano, while others known to have frequented the space include Robert Frank, Jean-Michel Basquiat, and Cynthia MacAdams. 
    Harsley, for his part, has stories about all of them—and he’d surely be happy to share them should you stop by. (Bey was a “serious hustler,” he said with admiration; Frank “sold his soul to the devil.”) But listen in and you may detect a latent tinge of bitterness, too. It’s the chip on the shoulder speaking: success never came to Harsley the way it did those heavyweights, even though he considered himself a mentor to many of them. 
    “When I started Minority Photographers, I had to leave myself behind. I worked very hard at helping other people become successful,” he said. “But in the course of all of that I had to sacrifice my own interests.”
    The mood hung heavy for a second, before Harsley lit it up with a joke: “If I had known I was going to be in the same place [50 years later], I would’ve said, ‘Let’s do something else!’” 
    Alex Harsley, Fashion Shoot (1972). Courtesy of the artist.
    “I don’t know if I believe that,” Chui said when I recalled this comment to her. It’s not that Harsley forfeited a great legacy in the name of 4th Street and Minority Photographers; those projects are his legacy. “The nonprofit and the gallery were so special,” she said, “it’s hard to imagine him having not done that.”
    “Alex Harsley: The First Light From Darkness” is on view now through August 22, 2021 at Pioneer Works.
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    “Shirt Mask SOW03” by Nuno Viegas in Lisbon, Portugal

    Portuguese artist Nuno Viegas have recently created a mural for Muro Festival in Lisbon. Muro Festiva is an  event by Galeria De Arte Urbana which added a huge amount of new giant murals to the capital of Portugal in the area of Parque das Nações.For this wall measuring 36 x 7 meters, Nuno Viegas experimented playing with the throwies in the background to give it another pop to his work.Nuno Viegas, also known as Metis, is a Portuguese artist and founder of the Policromia Crew art collective, who began his artistic journey with graffiti in 1999. His work presents us with a contrast between the visually aggressive and sometimes dirty reality of traditional graffiti, and his own peaceful and clean representation of that same reality. The approach to this theme stands as a continuous tribute to all those who dedicate part of their lives to this art form: graffiti writers who keep tradition alive in a time where the definition of graffiti tends to be blurred and mixed with street art. Since 2016 he has been a constant presence in the international urban art scene, working on a variety of projects and showing his work on walls and in art galleries across the globe.Take a look below for more photos of “Shirt Mask SOW03” More

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    There’s More to Alma Thomas Than Colorful Abstractions, an Eclectic Show of the Artist’s Marionettes, Still Lifes, and Other Work Proves

    A long overdue retrospective for the late artist Alma Thomas has touched down at the Chrysler Museum of Art in Norfolk, Virginia.
    The exhibition, titled “Everything Is Beautiful,” showcases little known aspects of the artist’s life and career, such as her interests in gardening and fashion, and her early student works. It was co-organized with the Columbus Museum in the artist’s hometown of Columbus, Georgia.
    “One of the goals of the show has been to have a Columbus-originated story,” Jonathan Frederick Walz, the Columbus Museum’s curator of American art, told Artnet News. “There seems to be this received wisdom that Thomas only became an artist after she stopped teaching in the classroom in 1960, but the material that we had at the museum made us realize that, in fact, she had been making art all along.”
    “Her late abstractions kind of end up standing for her entire career,” Walz added. “Our project with this show is to show that Thomas was multifaceted.”
    Alma Thomas with students at Howard University Art Gallery (1928 or after). Photo courtesy of the Columbus Museum, Columbus, Georgia.
    Born in 1891, Thomas spent the first nearly 16 years of her life in Columbus before her family moved to Washington, D.C., in 1907. After spending several years teaching in Delaware out of high school, she enrolled in Howard University in 1921 and became the first graduate of its art department.
    The earliest painting in the show dates to her college years, likely from 1924. By comparing works from throughout her life, “you can really see how she’s exploring different styles and techniques before she arrives at what she focuses on as her signature style,” said Seth Femen, curator of photography at the Chrysler Museum and co-curator the exhibition.
    Thomas hit upon that style—the colorful dabs of paint arranged in strips and rows—in the mid-1960s.
    Alma Thomas, Blast Off (1970). Courtesy of the National Air and Space Museum, Washington, D.C.
    “This is a moment where the New York art world is being highly contested by African Americans and other BIPOC folks and women about the lack of representation in New York museums,” Walz said.
    In response, the Whitney began a series of solo shows in a one-room, ground-floor gallery, and Thomas was one of the artists invited to participate.
    It was a watershed moment in her career. “It was so important, since Thomas was the first Black woman to be given a solo show at the Whitney and it’s really where her career skyrockets from that point onward,” Walz said.
    But like so many women artists, Thomas returned to relative obscurity after her death.
    “She and her work just kind of lost currency for quite a long time,” Walz said. “It really wasn’t until 2009, when the Obamas hung the painting Skylight in their private residence apartments in the White House, that suddenly she became a thing again.”
    Despite growing interest in Thomas in the last decade, large swaths of her career have received little attention. In the 1930s, she became deeply interested in marionettes, sculpting figures that she brought in as teaching guides to her classroom at D.C.’s Shaw Jr. High School, where she taught from 1925 to 1960.
    Alma Thomas, Clown Marionette (ca. 1935). Photo courtesy of the Alma Thomas, Wind Dancing with Spring Flowers (1969). Courtesy of the Columbus Museum.
    “Marionettes were a teaching tool that she could use to communicate teaching concepts, but also as the framework of a year-long project where her students learned all different kinds of things—language arts, music, electrical engineering, color theory, history of theater, design,” Walz said. “At the end of the year, the class would produce a version of Alice in Wonderland.”
    The only time a Thomas marionette has been exhibited was at the artist’s posthumous 1981 show at the Smithsonian American Art Museum. The Columbus Museum owns five of them, and is also displaying a large architectural drawing for a collapsible marionette stage.
    Alma Thomas, Sketch for Giant marionette (1935/1938). Courtesy of the Columbus Museum, Columbus, Georgia.
    “It is an engineering feat,” Femen said, noting that Thomas had studied draftsmanship at the technical high school she attended. “She’s figuring out how the components will all work together.”
    “That engineering and architectural interest really comes through in the late paintings,” Walz added. “They are very considered. They’re somewhat architectonic. Even though they are nature based, there’s a very significant structure behind them.”
    Of the more than 150 objects on view in the current presentation, about two dozen have never (or only rarely) been in the public eye.
    Alma Thomas, Untitled (1922/1924). Courtesy of the Kinsey Collection, Pacific Palisades, California.
    “You can’t do good scholarship on an artist unless you know the range of material,” Walz said. “The same range was being reproduced over and over and people were saying the same things. By broadening the selection, we are hoping to add texture to how people can understand her and her work.”
    As Thomas neared the end of her teaching career, she began redoubling her efforts in the studio, and took art classes at American University from 1952 to 1957.
    “That’s why, in 1960, she was able to hit the ground running—she didn’t come out of the blue. She was paying her dues all along,” Walz said.
    Alma Thomas, Grassy Melodic Chant (1976). Courtesy of the Smithsonian American Art Museum, Washington, D.C.
    Thomas remained dedicated to her craft until her death, in 1978.
    “There are works from 1977 that really show her grappling with physical impairments and adapting to them—you can see it in the work,” Femen said. “She reportedly brought materials with her to the hospital when she went in for the surgery that ultimately was the end of her life.”
    See more works from the show below.
    Alma Thomas, Untitled (1968). Courtesy Steve and Lesley Testan/Emily Friedman Fine Art.
    Alma Thomas, Red Azaleas Singing and Dancing Rock and Roll Music (1976). Courtesy of the Smithsonian American Art Museum, Washington, D.C.
    Alma Thomas, Horizon (1974). Courtesy of Henry H. and Carol Brown Goldberg, Bethesda, Maryland.
    Jan van RaayAmerican, Faith Ringgold and Michele Wallace at Black Emergency Cultural Coalition (BECC) protest at the Whitney Museum, New York, January 31, 1971. Photo courtesy of Jan van Raay, Portland, Oregon.
    Alma Thomas, Snoopy Sees a Sunrise (1970). Courtesy of the National Air and Space Museum, Washington, D.C.
    Unidentified youths in theatrical costumes at Howard University (ca. 1927). Photo courtesy of the Columbus Museum, Columbus, Georgia.
    Alma Thomas, Babbling Brook and Whistling Poplar Tree Symphony (1976). Courtesy of the Michael Rosenfeld Gallery, New York.
    “Alma Thomas: Everything Is Beautiful” will be on view at the Chrysler Museum of Art, One Memorial Place, Norfolk, Virginia, July 9–October 3, 2021. It will travel to the Phillips Collection, 1600 21st St NW,  Washington, D.C., October 30, 2021–January 23, 2022; the Frist Art Museum, 919 Broadway, Nashville, February 25–June 5, 2022; and the Columbus Museum, 1251 Wynnton Road, Columbus, Georgia, July 1, 2022–September 25, 2022. 
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    Sculptor Eva LeWitt’s Colorful Outdoor Installation in Massachusetts Celebrates the Power of Observing Art in Nature—See Images Here

    One of the best parts about summer art exhibitions is that many offer opportunities to spend time outdoors.
    One of the season’s most exciting shows for this kind of escape—to take in beautiful artwork in an even more beautiful setting—is the Clark Institute’s “Ground/work,” which welcomes visitors to the sprawling grounds of the Berkshires-based museum in Williamstown, Massachusetts.
    The show, the museum notes, highlights “a reverence for nature and a desire to further enliven the surrounding trails, pastures, and woods” of the property, and brings together bold, colorful installations from six contemporary female artists: Kelly Akashi, Nairy Baghramian, Jennie C. Jones, Analia Saban, Haegue Yang, and Eva LeWitt. All of the artists planned their works in response to sites they chose by hand, each of which are scattered about the Clark’s massive 140-acre campus. The works were also planned with the changing landscape—and visitors hoping to escape into the bucolic wilds of the Berkshires—in mind.
    “Ground/work,” according to the museum, “highlights the balance between fragility and resilience that both nature and the passage of time reveal, while offering fresh experiences with every visit.” The works were conceived in part as a way to help visitors re-enter the world again, following a long year of isolation, and gently encourages them to re-engage with themes like the comforts of nature and community.
    One of the most striking works in the show is perhaps Eva LeWitt’s Resin Towers (2020), which were assembled by the New York-based artist from tall pieces of colorful plastic in hues like fluorescent orange, yellow, and light aqua, and cast in layers of transparent resin. Together, the pieces create a pattern of expanding and contracting spheres as the viewer approaches the works or moves further away, depending on where they stand. The work was also planned to interact with particular elements of the landscape (including the sky, woods, grass, and light) and time of day, morphing as time passes, and seems to twirl more and more quickly as viewers approach it as if to “call them down the hill and beckon visitors to their site.”
    The works, which in many ways celebrate the “purity of hue against an ever-shifting landscape,” according to the museum, will be on view until October 17. See images of the show below.
    Eva LeWitt, “Resin Towers” (2020). Photo courtesy of the artist and VI, VII, Oslo. Photo: Thomas Clark.
    A closeup of one of LeWitt’s “Resin Towers” (2020. Photo courtesy of the artist and VI, VII, Oslo. Photo: Thomas Clark.
    LeWitt with her artwork. Photo courtesy Eva Lewitt.
    A closeup of one of LeWitt’s “Resin Towers” (2020. Photo courtesy of the artist and VI, VII, Oslo. Photo: Thomas Clark.
    One of LeWitt’s “Resin Towers” (2020. Photo courtesy of the artist and VI, VII, Oslo. Photo: Thomas Clark.
    Eva LeWitt, “Resin Towers” (2020). Photo courtesy of the artist and VI, VII, Oslo. Photo: Thomas Clark.
    Eva LeWitt, “Resin Towers” (2020). Photo courtesy of the artist and VI, VII, Oslo. Photo: Thomas Clark.
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    New Murals by David de la Mano in Paris, France

    Street artist David de la Mano have recently worked on two small murals located in the Batignolles area in district 17 of Paris. This project was conceived after his last exhibition “Intemperie” at the Galerie Itinerrance. He was invited by the Paris-based curator Olivier Landes, who also conceived the Rouen Impressionnée festival in 2020.As an alternative to the raise of big scale muralism, the project aims to bring on site-specific urban art pieces, based on the fusion with architecture and urban micro landscapes. In his unique black monochromatic style, David imagined two great pieces of his enigmatic characters, fitting with this XIX-century Parisian architecture and its cracks.David de la Mano is a Spanish contemporary artist best known for his stunning murals often depicting silhouettes. Through a minimalist style, characterised by the monochromatic use of black, David de la Mano is able to create extremely poetic artworks, a symbolic reflection on humankind.Check out below for more photos of the project. Photo credits: Olivier Landes & David de la Mano More

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    Mural by SNIK in Aberdeen, Scotland

    Stencil art duo, SNIK have recently collaborated with Nuart Aberdeen Summer’s third project in this year’s residency programme. Nuart and SNIK have developed a fabulously creative and productive relationship over the last few years. This will be the second visit to Nuart Aberdeen having joined the event in 2018 where they produced the now landmark “Hold Fast Hope” mural.This years theme of “Re-Connecting” is marked by inviting several artists back to the city, a literal attempt to connect artists back to Aberdeen but also to connect citizens back to a post pandemic public space. This particular work, is a companion piece to a similar sister mural in Stavanger, also twinned with Aberdeen. Extending this idea of “re-connection” back across the North Sea.The bridge that the work is produced on connects Union Street, the city’s main high street, to Aberdeen Market, a much maligned building that is now scheduled for demolition and redevelopment. SNIK’s recent body of work has employed and embraced the idea of the ephemeral, something we know all too well in this culture. Soon the physical bridge, the market and artwork will all be gone.What’s left will be the memories of this production, the memories of the art, its digital legacy but also carried in the memory of everyone who either worked on the project or had the pleasure of experiencing it. How it haunts the new development, we’ve yet to find out, but hopefully, in the short time of its existence, it finds a way to connect the past with the future in interesting ways, much like the bridge itself.Snik is an artist duo based in Stamford, UK. Specialising in hand-cut stencil art. As two of the most progressive artists of their kind. Despite of digital techniques, Snik as a male and female partnership always remained true to the origins of their craft with complex, multi-layered and hand cut stencils. The commitment to the discipline’s heritage and their aesthetic of frozen scenes of dynamic action makes their work instantly recognisable. Their art focuses on the conventional and commonplace, such as tangled strands of hair or the textures and folds found on certain fabrics. Their focus on the ordinary elevates the subtle aspects to hint a deeper meaning.Scroll down below for more photos of SNIK’s masterpiece. Photo credite: Clake Joss Photography More