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    Clown Skateboards – Guest Art Project – Adam Neate

    Adam Neate, an old friend of Clown Skateboards and self-taught artist, is next up to bat in their Guest Art Project series. Neate’s boards are a reflection of the ‘family’ that is the skateboarding community. By celebrating gender fluidity in today’s society, the triptych proclaims that love and mutual support are far more important than gender.Putting this ethos into practice, this edition of Family will be pressed at the Far Skate Foundation, a charitable organisation which empowers young people through skateboarding, and will be hand screened by Clown’s master printer Tommy.An acclaimed British painter, conceptual artist and one of the world’s best-known street artists, Adam Neate began his career painting the streets, whilst also skating them.“Those years were my art school,” says Neate. “I learnt about colour and composition simply through practice. The critics were there every day…”Now based in São Paulo, Brazil, his work is displayed in collections around the world. A fearless painter, he has developed his own language of ‘Dimensional Painting’ where the viewer moves and changes the painting depending on their vantage point, to get the full multi-dimensional effect.‘Reconnecting with Adam on the Guest Art Project was always a priority for us. When he first delivered the new artwork for the boards, we were sold with not just the art, but also the message. Skateboarding is such a great support network and loving community and we think these boards truly reflect how open skateboarding is to all communities. It is just such a perfect fit for what we are about and what we are trying to achieve through ‘IN Action’.’ – Jeff Boardman, Clown Skateboards FounderThe Family sets will be the most complex hand-printed series in Clown’s history. Each set is made using 26 screens and hand-produced in a way that does justice to the original artwork. This will be a signed and numbered edition of only 35 sets.Adam’s Family is released on the 20th July at the Guest Art Project – www.clownskateboards.com/guest-art-projectwww.instagram.com/clown_skateboardswww.instagram.com/adam_neate More

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    BodyWork – INSA

    BodyWork is a brand new collection from the UK-based artist INSA – the show opened recently at Oakland Gallery in the town’s Victoria Quarter and runs until Sunday September 5.Held in collaboration with New Brighton Street Art and Motobüro, the multi-space show features new original works including prints, paintings and sculptural pieces.At the centre of the show is a very rare 1968 Lincoln Continental MK3, Cartier Edition, which has been customised by the artist and automotive specialists Motobüro, who oversaw the restoration of the vintage car, which has taken more than six months to complete. Roughly 18 layers of candy paint, metal flake, pearlescent white, lacquer and countless hours sanding for the flawless paint job and then INSA together with sculptor Kristian Movahed created the boot piece transforming this car into a rolling art display.In addition to the Lincoln Continental, BodyWork also includes a Harris Magnum motorbike, treated with as much care and attention to detail as the car, hand-crafted wooden sculptures and light-boxes all featuring INSA’s trademark ‘graffiti fetish’ artwork.Explaining the work in the show, INSA said: “Maybe it’s lockdown or maybe it’s the fact I’ve mainly been working in the digital/public space for the last few years that for this exhibition I really wanted to make some physically tangible pieces. I wanted to enjoy the craft and hard work of making real things. To bring together my past commentary on identity, commodification and object fetishism with an appreciation of the material within it. Extracting the material from materialism. As simple as enjoying the wood of the surfboard or the metal of the car – the bodywork of physical labour.”Robert Jones, creative director of New Brighton Street Art added: “We are delighted to have been able to work with INSA on this important and significant show, which brings together some truly innovative and ground-breaking content. It not only cements our collaboration and relationship with one of the leading exponents of contemporary art, but also acknowledges New Brighton’s status as a credible and creative destination.”A graduate of Goldsmith’s, London, INSA established his art career more than 20 years ago as a graffiti writer. In 2004 he rejected the traditional graffiti style and began painting the instantly recognisable high heel shoe. Graffiti Fetish went on to appear on buildings around the world from LA to Lagos. It also appeared on luxury items including designer footwear, clothing and bespoke interiors.Always keen to push boundaries and innovate further, INSA has gained a huge following for his work globally, and which he has expanded through his recent experiments with social and digital media as well as product collaborations with brands including Nike. His work is held in the V&A permanent collection, and has also been presented at Tate Britain, London.www.instagram.com/insa_gramwww.oaklandgallery.co.ukwww.gif-iti.com More

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    Get an Exclusive Look at the Totally Wacky NFTs Urs Fischer Is About to Sell Through Pace (And Do Your Best to Make Sense of Them)

    Next week, half a dozen newly minted NFTs by artist Urs Fischer will go on view in a digital exhibition hosted by Pace, another step in the gallery’s full-fledged commitment to crypto-art.  
    The show, presented in collaboration with the Loïc Gouzer-founded Fair Warning auction app and the digital market platform MakersPlace, will live on Pace’s website. 
    Each of Fisher’s NFTs features two quotidian objects floating in a blank white space like a trippy screensaver, constantly converging with one another to form Frankensteinian compound-sculptures: a broccoli stalk bisecting a green sponge, a showerhead merging with a red Nike shoe. Weird stuff. 
    The works belong to “CHAOS,” a larger series of 501 NFTs produced by the Swiss artist.
    For buyers, each piece comes with a reference rendering, access to the raw data behind the visuals, and instructions for how to exhibit it.
    “The individual objects selected for ‘CHAOS’ are engineered, cultured, or manufactured by humans and sourced from the physical world and transformed into a 3D digital model through 3D scanning,” the project’s website explains. They’ll be offered up for $50,000 a pop, according to the gallery. 
    The artist will offset the carbon emissions involved in the minting of each work through a partnership with the nonprofit Conservation International. 
    Urs Fischer, CHAOS #23 Splendor (2021). Courtesy of Pace Gallery.
    Fischer debuted “CHAOS” in April when he partnered with Pace to sell the first entry in the series, CHAOS #1 Human, which depicts a lighter colliding with an egg.
    The work sold through Fair Warning for $97,700. (The collaboration reportedly caused a rift between the artist and his longtime dealer, Gagosian.) Pace did not disclose the prices for the new NFTs.
    The first 500 “CHAOS” works will be unveiled over the course of several months. After that, a capstone 501st artwork, composed of all the objects in the pieces that came before it, will be minted. 
    Among mega-galleries, Pace has been perhaps the most ardent embracer of the crypto art wave. Earlier this month, the gallery announced that it would accept cryptocurrency as a form of payment for all artworks, physical or digital. And in September, it will launch its own dedicated platform for selling artists’ NFTs.
    See more examples from Fisher’s upcoming show below.
    Urs Fischer, CHAOS #20 Sashay (2021). Courtesy of Pace Gallery.
    Urs Fischer, CHAOS #22 Simulacrum (2021). Courtesy of Pace Gallery.
    Urs Fischer, CHAOS #24 Analysand (2021). Courtesy of Pace Gallery.
    Urs Fischer, CHAOS #25 Gratis (2021). Courtesy of Pace Gallery.
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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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