#and people had 30 minutes to draw and submit a piece based off it

[fleetways]

does anyone remember the 30 minute sonic tumblr account? and would people be interested if i brought something like that back again?

[chelsearicketts]

A Complete Guide on Mobile App Development for Small Companies

In the present period, mobile apps have turned into an inescapable piece of each youthful working house, and on the off chance that its an independent venture, at that point the mobile app should be there. According to an explored report by App Annie, the principal quarter of this current year recorded the most number of mobile apps downloads. Both the stages, iOS, and Android enrolled a bounce of right around 15 percent year-over-year.

There are various points of interest of a mobile app. From legitimately associating with the intended interest group to convey in a hurry, a mobile app can do anything. As indicated by another report, the Americans invest more energy in mobile telephones than the TV. Likewise, around 75 percent of Americans check their mobile once in 60 minutes.

With the start of mobile telephone change to cell phones, the very part of contacting purchasers have changed. With any semblance of pop-up messages and geolocation innovation, drawing in with buyers was never so natural and a private venture needs this.

Why Company Size Matters?

I am concentrating on independent venture houses, so we additionally need to observe the quantity of representatives. Truly, here organization size does make a difference on the grounds that few out of every odd private company house can bear to have a mobile app. An ongoing report by the Manifest revealed that around 58 percent of independent venture don't possess a mobile app.

The examination further uncovered that the business houses with a higher number of representatives will in general have a mobile app. The 47 percent of organizations with in excess of 50 workers had a mobile app certainly before 2017. Expectedly, just 4 percent of private companies who had mutiple or more representatives didn't demonstrate any enthusiasm for having a mobile app and didn't wish to claim one sooner rather than later.

Organization Size Matters

I truly comprehend the battle of time and cash that a private venture house needs to put resources into a mobile app. Passing by this, around 30 percent of the independent companies with one representative said that they don't have any mobile app and nor they wish to have in future.

App Development Cost Does Matter

As I referenced over, the development cost of a mobile app does make a difference, and private companies modest far from getting a mobile app because of its expense. Under 50 percent of organizations shell out under $25,000 on their mobile app. While, more than 33% of comparable organizations spent somewhere in the range of $25,000 and $100,000 on the mobile app. The remainder of the parcel contributes over $100,000, which is without a doubt a stunning sum for a private venture house.

App Development Cost

Here, the independent company may examine me regarding the immense app development cost, which might be a lot lesser in different cases. For this, you have to comprehend the very truth that to meet the particular business objectives, an app created on a spending record won't probably accomplish the closures of the private company.

Also, the mobile app cost just doesn't finish with the development of the app. Being a private company house, it needs to mix a portion of different things in the mobile app, and for that, it needs to keep the app designer locked in. At that point, for keeping up a mobile app, the general expense of the mobile app can raise.

In this way, before bouncing to the end, be secure with the requirement for a mobile app and the assets that a private venture is eager to put into it.

Instructions to Build A Mobile App For Small business

Presently, how about we come to the heart of the matter. In the event that you are a start-up or an independent company, or for that purpose, a built up little promoting organization, you are required to pursue some hidden essentials of mobile app development.

From the general concept to have an app to its planning, and from moving it in the market to working in the client's criticism, everything has its very own place. It's simply, how a private venture figures out how to tie every one of these things together.

Following are the elements that an independent venture house needs to consider for structure a mobile app:

1. Beginning Idea And Objective

Be it an independent venture house or prestigious endeavor; there ought to be an obvious belief system for getting a mobile app. Here are the focuses you have to consider upon:

For what reason do you need it?

Who are the end clients?

What is your intended interest group?

What precisely you need to accomplish?

By what means will you advance the mobile app and the sky is the limit from there?

No one needs to flame in obscurity. In this way, it turns out to be exceptionally critical for a private company to gauge every one of the parameters before pursuing the mobile app with all weapons blasting.

Additional Tip: As an independent venture, it can eliminate a considerable lot of the angles that are sufficiently avoidable.

2. Mobile App Platform

The mobile app stage is legitimately relative to the crowd the private venture is focusing on. On the off chance that the focused on clients are more on iOS, the independent venture can consider discharging the mobile app on the App Store, and if the client base is Android-based, it needs to get the app on the Play Store.

In any case, imagine a scenario in which, there is the blended group of onlookers. For that, the private company can consider building the mobile app on a Hybrid or cross-stage. Both of these stages offers a solitary app to be discharged on different stores. The main thing that varies them is the highlights and usefulness that they offer. For a detailed guide on how to decide between IOS or Android, you can refer to this article.

3. Mobile App Development Team

The following huge thing that should be dealt with is to contract a mobile app development group that can assemble the mobile app according to said details. In any case, you should recollect that the private company should spend cash so as to complete the app. Contingent on the functionalities, a private venture house can pick between these two:

A mobile app development studio or a freelancer. Consequently, the real expense of mobile app development will differ on the decision of building up the group. Additionally, the group size will likewise add to the general expense of the development.

Additional Tip: An independent venture house can enlist a consultant, as development organizations for mobile app charge much more than them.

4. App Approval

Presently, as the mobile app is prepared, the independent company house needs to survey the accommodation rules of the different app stores. Each app needs to experience the accommodation procedure, and all the more critically, the two iOS and Android have severe rules set up. In this way, it's superior to anything the private company finds out about the rules before presenting the app. Disappointment in clinging to the rules will just motivation further postponements with the approval procedure and as a private company, nobody needs to encounter it.

For a superior comprehension of this subject, experience our different articles "How To Submit Your New App On The Apple App Store" and "How To Publish Your First App On Google Play."

Additional Tip: Follow the said standards of the app stores and altogether experience the do's and don't's.

5. App Store Optimization

ASO or App store enhancement (ASO) is much similar to the substance streamlining that let the app to rank higher and at last builds the mobile app downloads. An independent company, obviously, needs the perceivability and reach. Along these lines, if the app is advanced insightfully, it will assist the private company with reaching past the regular limits.

For a total app store advancement, need to get hold of the nitty gritty investigation of the intended interest group. This will help the private ventures in finding the definite catchphrases that the group of onlookers use to seek.

For a point by point report on mobile app store streamlining, you can view articles like "Top 7 App Store Optimization Tools 2018" and "Know Everything About The Hidden App Store Optimization Tips."

Additional Tip: Focus on the administrations and items that the organization conveys.

6. App Promotion

We as a whole know, without satisfactory app downloads, no app can make due for long. In the wake of everything is done, the independent venture needs to advance the app among the focused on group of onlookers, as this will get more downloads and connect more clients.

To draw in the client to another app is the most requesting assignment that necessities to get moving. What's more, for this, the private venture is required to teach the essential component of all, and that is the CPI or cost per introduce to develop the group of onlookers. In this, the independent company will put computerized advertisements on different media stages to drive establishment of the app.

Additional Tip: Focus on the zones where the focused on group of onlookers hit more.

Conclusion

Building an app by the independent ventures do require time and cost, and for the equivalent, everybody needs to get the profits at the earliest opportunity. To eliminate the additional cost of employing a group of engineers for structure an app, a significant number of the independent company houses have acquired use in-house staff to create and keep up the app. A portion of the organizations additionally go with consultants, however everything relies upon the business, what details and functionalities it's searching for.

In this way, with the tips referenced above, anybody can begin considering getting their first app. In any case, know, a wrong app can hurt the business brand validity and being a private company house, it should be right on target.

Be exceptionally clear about the gathering of people desires and improve the app to the best. With the correct technique, any app can infiltrate focused on objectives.

Like our content? You can head over to this website for the latest content on mobile apps.

[humorepoch9-blog]

Tips from students to help improve your teaching (opinion)

The first recommendation of the American Academy’s recent report "The Future of Undergraduate Education" is simple: we should work to improve undergraduate instruction.

But how? In many disciplines, we don’t have rigorous measures of learning, so we cannot easily identify the best practitioners and simply copy what they do. Undergraduate students, however, experience numerous teachers and a lot of instruction, some good and some bad. They are a source of valuable information about what constitutes good practice.

So, at a recent event co-sponsored by the Center for Ethics and Education, the University of Wisconsin at Madison College of Letters and Science, and the American Academy, we asked five undergraduate students at the university to describe instructional practices that they’ve encountered rarely but were especially effective -- and that they think should be more widely shared. Of course, some strategies work in some disciplines better than others, in some kinds of classes better than others and for some instructors better than others. Here’s what the students at the event told us.

Christian Cuevas, a senior majoring in computer science: One strategy that more professors should use, especially in STEM classes but also anytime a complex solution or process needs to be explained, is to explain all the details. While that can result in professors covering information that may seem painfully obvious to them, it saves students confusion. When professors skip over steps of a problem and only focus on those they feel are the most crucial or important, it puts the burden on students to connect the dots in their heads, while still trying to pay attention to the stream of information in the lecture.

Few steps in a solution are obvious to students who have never encountered a similar problem before. Even if some steps are easy to figure out upon reflection, students lack the bandwidth to reflect while also taking notes and ingesting the lecture. Skipping steps risks students leaving the classroom with little understanding and having to put the scattered pieces together on their own.

By covering solutions in their entirety, professors allow their students to focus on absorbing the complex new information in front of them. That frees students to ask questions and leaves them with complete examples in their notes, which can be crucial when they are trying to solve similar problems in their homework or when studying for exams.

Imagine you were trying to bake a cake and you had never done it before. Suppose that the recipe skipped directly from beating the eggs to putting the finished batter in the oven, ignoring all the steps in between. You would fail! The missing steps might be intellectually uninteresting to the master baker, but the novice baker has to learn them. Just as we need to be guided through every detail when baking a cake for the first time, we also need thorough guidance when approaching a difficult calculus or physics problem for the first time.

Alexis Argall (B.A. 2018), a political science and communication and life sciences major: At a large research institution like UW Madison, it is easy to feel like “just another number.” Many professors would like to know their students personally but don’t know how to do it; others seem to share information with students and then forget about them until next class period. Yet a professor in one of my classes used a strategy that others should try.

Participation was worth 30 percent of our grade, and it included a requirement to email the professor weekly with a connection that we had made between something that we’d discussed in class and something outside of it. That connection could come from another course or from our personal lives -- anything that made us stop and remember what we had learned that week. It forced me to think about the material outside of class and helped me find practical applications for what I was learning.

We were not graded rigidly on the content of our emails but rather just that we had made some sort of meaningful connection. Grading them on a submission basis rather than a content basis saved a lot of time for my professor, while still pressing us to process the information.

For my professor, the benefit was learning more about us as “whole people” rather than just students in her class. It gave her a more holistic view of us students, as well as forced us to actively process what we were learning. The requirement made us learn more, and the sense that the professor knew who we were made us want to learn more.

Joe Venuta (B.A. 2018), a philosophy major: One valuable lesson I’ve learned has been how to approach negative feedback. Specifically, I have come to realize the value in engaging with criticism and improving the work on which it is given. And I would not have discovered this without professors whose classes required me to do so.

In many classes, faculty members give comments on assignments in writing along with the final grade. While that kind of feedback can be a tool for improvement, it is too easy for students to brush comments off and simply keep those things in mind for next time rather than consider how they might be addressed. Furthermore, students often see such comments as the instructor’s justification for giving a less than perfect score rather than what it really is: an opportunity to improve that particular assignment.

My professors have used two main strategies for inducing students to process negative feedback. One was to require the submission of a draft in advance. While successful students often work through multiple drafts anyway, submitting a draft for review forces them to consider major weaknesses in their assignment that they may otherwise overlook. In addition, submitting an improved final draft after responding to any criticism can help show students the value and achievability of addressing shortcomings.

Another strategy is through in-person conferences. A back-and-forth discussion requires students to face specific criticisms head-on. It also allows them to become more comfortable with defending their work while staying composed -- a valuable skill in any field. While in-person conferences do require more time from both the student and professor, a conversation lasting even 15 minutes can help.

Personalized criticism from professors is a valuable resource, one that is too rarely used. Whether through multiple drafts or in-person discussions, engaging with negative feedback can benefit students in any area of study.

Kailey Mullane, a sophomore majoring in communication arts and economics: My first thought when I was invited to speak was, “I am not qualified to be giving world-renowned professors technical teaching strategies that will solve all their classroom problems.” But then I thought about what makes classes valuable to me. Numerous factors come into play: material, class size, other students and so on. However, I realized that one simple thing consistently makes classes better: when teachers make the students introduce themselves at the start of each class period in the first few weeks.

Students introducing and saying a little bit about themselves (like majors and hometowns) really changes the dynamic. Knowing a classmate’s name instantly creates a more inviting environment and is the first step in developing a relationship. In those classes, I notice that instead of sitting silently staring at screens, students actually talk to one another before class starts. They talk during class: students are more willing to offer comments, ask questions and disagree with one another. And they talk to each other outside of class, often about the material -- which means there is more outside learning.

Time is precious. But in small classes, introductions take just three to five minutes. Large lectures are more difficult, but TAs can effectively administer that process in discussion sections. Just taking time at the start of each class to have students introduce themselves can have invaluable effects in and beyond the classroom.

Chlodagh Walsh, (B.B.A. 2018), a finance, investment and banking major: My first semesters of college were filled with mostly large lecture classes, the "weed out" type that could ruin your GPA or force you to change your major. On the first day of class, professors would outline the predetermined curves and tell us exactly how many students would receive A's, regardless how much we learned. One professor told us that, while we should be able to complete 80 percent of the exams using his lectures, we could not prepare for the more nuanced application of the material that constituted the remaining 20 percent.

The first class in my major was accompanied by a 19-page syllabus that we were tested on. The professor graded us based on our class rank; if you did better than half of the 300-person class, you received a grade of 50 percent. He set the grading practices to mimic the business world that we were set to enter: cutthroat and ultracompetitive. The syllabus stated that if you aced an exam, the professor would take you out to dinner -- as far as I know, he has never had to follow through. Most class participation was involuntary; the professor cold-called students unsystematically, so we shied away from wearing clothing that might draw his attention. I found a good hiding place, just outside his usual line of sight.

I had a different class in the same room a year later. It was another large, entry-level class that was subject to the GPA restrictions of the business school, which sets a maximum average class GPA of 3.0. So I was pretty surprised when the professor said she had hoped to see high test averages. She explained that our test scores were an indication of her teaching; if she were doing her job right, we should score well.

She made me view my GPA as a reflection of not only my effort but also the quality of the instruction I was receiving. The way she framed the class from the beginning emphasized our learning ahead of grades, which I came to understand are not synonymous.

Since many people performed well, the letter grade differentials at the high end reflected the GPA regulations more than student competencies. I can understand the business school may have reasons to regulate govern grading, so I was not frustrated by that. Instead, with the help of the professor, I learned to value the knowledge and skills -- the learning -- that I gained more than whatever direction my GPA moved after finals.

Students admired this professor and volunteered topics to discuss at the onset of each class. She invited us to her office hours and made us welcome when we came. The TAs spoke highly of her in discussion sections. The atmosphere was remarkably different than the lecture style I was used to and reduced the interstudent competition that other large classes encouraged. I wasn’t afraid of being caught off guard and embarrassed by answering a question wrong, so I didn’t need to hide in class or avoid eye contact. The environment made us less afraid of failing and more intellectually ambitious.

I applied this perspective to other classes, regardless of each professor's structure. I was less stressed about exam scores and more concerned about my actual understanding. As a self-identified really good crammer, I had perfected scoring high and learning little for years, but that seemed less attractive now.

Knowing my class standing was less interesting, too: my own learning was what mattered. I have found most students succeed when professors don’t intend to intimidate, reduce the reliance on grades as a measure of success, and identify student learning as the measure of their own success.

*******

One point of publicizing these students’ comments is just to provide good additions to the instructors’ toolbox. Of course, for any suggestion, the instructor has to reflect on whether it will work for them, in their discipline and in their situation. The second point is to encourage administrators and instructors to seek out and disseminate considered student suggestions. Thoughtful students are invaluable resources when we are looking to improve, and their insights are solicited too rarely.

Source: https://www.insidehighered.com/advice/2018/09/04/tips-students-help-improve-your-teaching-opinion

[shitwithsugaroncollective-blog]

TEN QUESTIONS #1: PHOEBE PLANT of FOULMOUTH ZINE

‘’ FOULmouth is a collaborative, submission-based zine founded by illustrator Phoebe Plant and fashion photographer Ruby Maris-Stephens‘’

With Falmouth being home to thousands of art students, it goes without question that there are places to feature work other than through the university itself. FOULmouth, founded by an illustration student and a fashion photography graduate, is one of these places in which you can submit work to feature across different social media platforms as well as in print in hopes of communicating and collaborating with different artists both near and far. 

They are currently available via their WEBSITE, FACEBOOK, TWITTER and INSTAGRAM with copies of ISSUE #1 available via their online store or at various art fairs throughout Falmouth, particularly TOAST’S ART FAIR. S.W.S.O managed to contact co-owner and illustrator Phoebe Plant to answer our ten questions on FOULMOUTH:

Q: Tell me a bit about yourself, where you're from, how old you are and how you ended up in Falmouth at uni

A: I'm Phoebe, I'm about to turn 21, I have pink hair and I'm an illustrator, zine maker and aspiring art therapist. I'm currently living in Falmouth and studying BA Illustration at Falmouth University (I'm in my third and final year!), I ended up in Falmouth after my art teacher at college told me about the university and I came down to check it out - fell in love with the idea of living by the beach and luckily got the place on the course to match! I spent the first half of my childhood growing up in a town in Hertfordshire, and then rest in the Essex countryside, but always feel as though my roots will always lie in East London, where all my mum's family are from - it's where I got my accent AND my love affair with pie and mash! 

Q: What is your hometown like? Is it similar to Falmouth? If not, how does it compare?

A: My hometown honestly couldn't be more different to Falmouth. It's made me realise how having students around from all over the place completely alters the dynamic of a town or city for the better. It dilutes the right-wing bastards down to a bearable level and home just doesn't have that.   We also don't have prominent night/skate/creative culture, making it a bit shitty for someone like me who thrives off everything like that and the people that make up that sort of demographic. It's weird because I'm so physically close to London - I can get there in 30 minutes by train, yet I feel more cut off from London there than I do when I'm Falmouth. Totally has everything to do with the atmosphere of Falmouth. As creative students, we make it like that and it is so special. I kind of think Falmouth will always be my home now, even though I will probably come and go for a while. I really hope something draws me back once I move away.

Q: How did FOULmouth come about? Was there a particular event/thought or was it something that had been worked on over a period of time?

A: FOULmouth began when I started dating a guy during the summer of 2016 whom happened to be best mates with a guy who was also dating a girl from Falmouth University! Ruby had already graduated from Fashion Photography the previous year and had moved back home, having the whole "Falmouth thing" in common kind of just sparked a friendship an gave us something to chat about when our boyfriend's were playing Xbox or American football. Somehow we got onto the topic of zines and Ruby suggested that we made one, just out of collages photos and stuff we liked and maybe then photocopied it for friends. My boyfriend and I then split up out of the blue and I was absolutely heartbroken, not just because of the romantic love I had lost, but because I thought my friendship with Ruby had probably gone down the shitter with it. But Ruby literally turned round and was like LETS MAKE A ZINE ABOUT THIS LETS TURN THIS PAIN INTO SOMETHING AMAZING!!!!! And we did, and FOULmouth was born! A horrific breakup caused a loss of someone I didn't really need after all, but gave me someone (Ruby) and something (FOULmouth) that made the pain and shit kind of worth it - silver linings or what! We brainstormed the first issue in a notebook whilst eating burgers in Byron, Cambridge city centre and that was back in like, August, so it's been a long haul journey to get to where we are now in February the next year, releasing issue one. 

Q: As a co-founder of F.M, are there any specific roles you take on/oversee? If so, why is it you do that job as opposed to the other co-founder?

A: My official title is Deputy Editor but right now Ruby and I oversee everything together, we share the social media and replying to emails, and everything that has gone into issue one has been approved by us both. It's a real effort and I love that. If one of us is having a super busy week, the other takes over for a bit and vice versa. It's been a little tricky with me in Cornwall and Ruby back in Cambridge, but we've managed to pull it together - a lot of issue one was organised on my bedroom floor over the Christmas holidays! I plan on moving back home when I graduate, as I'm going to do a Masters, so we are hoping that we can be hand on together in person much more with future issues. 

Q: Issue 1# was 'LOVE': How did that theme make it as the opener for F.M? Were there other strong runners for the first theme or as love the main idea from the get go

A: Love was pretty much always going to be our first issue's theme, regardless of whether that breakup had happened. It was more of a case of, fuck, how do I want to explore and portray the idea of love having just been bereft of it. It really opened up to me, and hopefully will our readers, of how limitless the theme is in terms of how you perceive it. All of our contributions were different and contrasted each other beautifully. I never ended up putting in anything super personal or that portrayed my negative love experience that fed the making of FOULmouth, because the whole experience of seeing our contributors' work and sharing ideas with Ruby was healing enough. Sounds so stupid but it genuinely did put me back together again. 

Q: How did you find getting F.M to launch? Did it go as you planned, did anything go wrong? if so, how did you overcome it?

We had a few release dates in the pipeline, like Christmas, but we just couldn't get everything done on time. Ruby brought Jade on board as our features editor and I think it was her idea for a Valentines release, we were just like WHY did we not think of that?! It fitted with our schedule for how things were coming together so we went for it. We have had hiccups along the way but I feel like Ruby and I are on the same page with our vision, so luckily it's mostly a piece of cake. I know we had a few technical problems with getting the website live but everything worked out in the end - and on the 14th as planned! The reception since has been overwhelming. 

Q: Do you think Falmouth has a strong sense of community when it comes to projects, events and collaboration? if yes, what events etc have you seen/been a part of which show this.  if no, what do you think needs to be done to show a stronger sense of community

A: I think Falmouth is amazing for this. FOULmouth definitely wouldn't be what it is right now without the support of people down here, we've got a good few submissions in issue one from Falmouth students to prove it! The arts fairs every month at Toast are a real highlight for me when it comes to creative events in the area, I think. I can't wait to bring FOULmouth to the fair on 8th March and beyond. MONO is iconic for events in Falmouth in my mind, I love everything the venue does and brings to the town, not sure I can remember what life was like before MONO! I think having a real mix of events throughout the week/month is so important and predicting what day a certain event will perform best on is key. I've had some wicked times and met some amazing, creative, like minded people through stumbling in there when I thought I was on my way home! It's one of the biggest things I will miss about Falmouth when I leave, without a doubt. 

Q: What are your plans for issue #2 ? Will there be a consistent theme throughout or do you both kind of plan it as you go along?

A: Now that would be telling! I can't reveal specifics for issue 2 just yet, but I can tell you it will be absolutely awesome and we are already excited about it!!  Keep your eyes peeled on our social media pages @foulmouth_zine and on our website www.foulmouthzine.com for all the latest! There will be a different theme for each issue, we are kind of just planning things as they happen and really responding to our readers/followers. 

Q: If anyone wants to submit, contact or meet up to collaborate and communicate with F.M, how should they go about it?

A: If you wanna chat then hit me up at phoebe@foulmouthzine.com, you can also contact us and follow us via Instagram and all that @foulmouth_zine, you can also contact me on my website www.phoebeplant.co.uk Submissions should be sent to submissions@foulmouthzine.com and we will get back to you! We are accepting submission 24/7 right now, and if you want to be featured on our website then that's the way to go! 

Q: What advice would you give to anyone wanting to start their own zine?

A: It depends on what scale you're producing your zine on. If you're creating a brand like we have with FOULmouth I think you've gotta be in it for the long haul, like, this is what I wanna be doing forever now and I think that's really important. There's so much more to getting issue one out there than asking people to submit work, if it was that simple we would have had an issue back in the summer!! Having said that, you can produce beautiful zines with amazing content in a matter of days if you've got a vision and know what you want. All you really need is a photocopier if you want to have something quickly and for no money at all. I would love to able to mentor other students and aspiring zine makers, so please get in touch with me! 

[nofomoartworld]

Art F City: This Weeks Must-See Art Events: The Art World Mobilizes for 2017

Farley Aguilar, “The Protest,” oil on linen, 2015. Aguilar has a solo show opening Sunday night at Lyles & King.

For everyone who has complained that the art world is too apolitical in the past month or so, take note of how 2017 is kicking off. We have a week of feminist exhibitions, the start of a month-long project about Trump’s America Saturday at Petzel Gallery, and shows that tackle topics from water contamination to the holocaust and the attack on the Pulse nightclub in Orlando.

Welcome to the art world in the Trump era. If the list of participants at Petzel’s event is any indication, the big guns are coming out.

W

T

F

S

S

Wed

The Callahan Center Gallery at St. Francis College

180 Remsen Street, Brooklyn, NY 5:30 p.m. - 8:00 p.m.Website

Fred Terna: Processing Chaos, Recurring Echoes

Fred Terna has been making art for over 70 years. In 1946, one year after being liberated from the concentration camps where he had survived for four year, Terna went to art school in Paris. Since then, he’s experimented with abstractions that borrow from surrealism and cubism—with emotional undertones informed by his traumatic experiences. In this exhibition, we’ll see work he’s made since 1970. That would be an entire retrospective for most living artists—it’s humbling to think that represents just about half of Terna’s career.

Thu

Cheim & Read

547 W 25th Street New York, NY 6:00 p.m. - 8:00 p.m.Website

Louise Bourgeois: Holograms

Who knew the late, great Louise Bourgeois made holograms? I sure as hell didn’t, and I’m a fan of both. In 1998, Bourgeois was approached by the holography studio C-Project and invited to produce a series. This is the first exhibition of the 8 plates that came from that collaboration. As one would expect, the press release promises they’re dreamy and full of “slapstick horror.” A definite can’t-miss.

  Cheim & Read

547 W 25th Street New York, NY 6:00 p.m. - 8:00 p.m.Website

Tal R: Keyhole

Also at Cheim & Read, another show that looks great. Copenhagen-based artist Tal R has asked his friends in different cities to send photos of storefronts from their local red light districts. Tal R then translates these into whimsical crayon drawings and paintings—each depicting a colorful, stylized sex business from strip clubs to gay bars. These look like they’re going to be a lot of fun.

  Paula Cooper Gallery

521 W 21st St New York, NY 6:00 PM to 8:00 PMWebsite

Dan Walsh

    Nobody commands a grid like Dan Walsh. It helps that his paintings tend to be much larger than your average grid painting. (Many of the canonical minimalist paintings from the 70’s as well as those that hail from Bushwick don’t tend to exceed 35 to 40 inches. Walsh’s paintings are more frequently in the 70 inch range.) As we noted in our review of his 2012 show, they have a lot of weight to them as a result is needed in a cavernous space like Paula Cooper Gallery. Past that, though, it’s the fact that each painting seems so worked that makes them so compelling. This is the type of art that can easily look mechanical and robotic. Walsh avoids that at every turn.

Morgan Lehman Gallery

534 West 24th Street New York, NY 6:00 p.m. - 8:00 p.m.Website

David S. Allee: Chasing Firefly

Back in October at the Art Critical review panel nobody had very good things to say about Martin Creed’s billboard sized rotating sign “Understanding” located in the Brooklyn Bridge Park. Pretty much any interpretation had brought by the viewer and the piece really wasn’t that deep. Credit David S. Allee with a photograph of the sign that improves upon the public art work. In the nighttime photograph, the sign is surrounded by rings of light due to the slow exposure. It resembles the parenthesis people on twitter put around their name to express shock. In these dark times, Allee’s gesture seems right on the money.

The show will be filled with Allee’s night time photographs—a series he’s returning to after 10 years and we’re glad to see it. Night, through Allee’s lens, seems dramatic, bold, yet eerily still. It’s a good combination, and one that definitely should be seen in person.

Fri

Grady Alexis Gallery /El Taller Latino Americano at Artspace PS 109

215 E 99th Street New York, NY 6:00 p.m. - 8:00 p.m.Website

Nor Any Drop to Drink

  As artists become more politically engaged, we expect to see more shows like Adam Zucker’s curated show “Nor Any Drop to Drink”. According to Zucker, the show is “a response to the global deterioration of water sources and the conflict between the synthetic and natural world.” Most recently, the Standing Rock Sioux Tribe’s actions protesting the Dakota Access Pipeline have brought this issue for artists to the forefront, though the fact is we all need to be paying attention to the coming water shortage. This exhibition is just one attempt at raising consciousness.   

Participating artists: Vanessa Albury, Jacinto Astiazarán, Alli Miller, Jay Milder, Rifka Milder, Emilia Olsen, Michael Sheng

Chapter NY

249 E. Houston Street New York, NY 6:00 p.m. - 8:00 p.m.Website

Ann Greene Kelly: May Not Be Private

Ann Greene Kelly’s assemblages mash-up references to the body, architecture, and just a little bit of consumer culture. They evoke a strange sensation of domestic and body horror, and given that the show takes its title from a women’s health brochure, have a political urgency as well.

VICTORI + MO

56 Bogart St. Brooklyn, NY 6:00 p.m. - 9:00 p.m.Website

Phoenix Lindsey-Hall: Never Stop Dancing

Phoenix Lindsey-Hall has slip-cast 49 porcelain disco balls, one for each victim of the terror attack on the Pulse nightclub in Orlando. This looks to be a powerful installation—each ball will be illuminated in the darkened gallery—in keeping with the artist’s practice of memorializing queer victims of hate crimes.

Jamaica Center for Arts & Learning

161-04 Jamaica Ave Jamaica, New York 7:00 p.m. - 9:00 p.m.Website

Closing Reception for Female Adapter: New Work by Faith Holland

We’ve frequently featured Faith Holland on the blog, whose singular brand of feminism-meets-web-savvy-meets-sexy-GIFs is right up our alley. Unfortunately, we haven’t had a chance to make it to Jamaica to see this show, the end result of Holland’s year-long New York Foundation for the Arts (NYFA) Studio Residency Program at the center. Be sure to make it to the closing reception, where one can check out her site-specific “Queer Connections” installation, which spans 13 feet.

  Sat

Petzel Gallery

456 W 18th St New York, NY 10:00 a.m. - 6:00 p.m.Website

We need to talk...Artists and the public respond to the present conditions in America

  The staff of Petzel Gallery decided to devote the first month of 2017 to some much-needed strategizing about how the art world can respond to the disastrous results of November’s elections. They’ve divided this program into both an exhibition and a space for viewers to dialogue. From the gallery:

Participation in writing, through film, and in live discussions.

As visitors enter the gallery they will be invited to write down their reactions, thoughts, anxieties, hopes for the future, on a giant billboard on the wall.

The gallery will also devote one room to screening film clippings, shorts, vignettes that in some way tackle today’s issues. This part of the program is open to anyone who wants his or her concerns brought before an audience. Submissions* will be added to a loop and screened in the gallery as well as on the website.

Saturday Symposiums: on three Saturdays during the show, interested parties and the public will be invited to participate in symposium-style conversations, debates, and readings on different issues: Civil Liberties (January 21st), Immigration (January 28th), and The Environment (February 4th). Details to follow.

Artists Respond: A list of artists whose work will be on view in the main space is in formation, but at time of press, includes Yael Bartana, Judith Bernstein, Andrea Bowers, Troy Brauntuch, AA Bronson, Paul Chan, Mark Dion, Sam Durant, Rainer Ganahl, Hans Haacke, Rachel Harrison, Dana Hoey, Jenny Holzer, Jonathan Horowitz, Josh Kline, Barbara Kruger, Sean Landers, Louise Lawler, Glenn Ligon, Robert Longo, Allan McCollum, Joyce Pensato, Raha Raissnia, Peter Saul, Dana Schutz, Gary Simmons, Dirk Skreber, Slavs and Tatars, Andrew Tider/Jeff Greenspan, Wolfgang Tillmans, Rirkrit Tiravanija…and more to come. A percentage of sales will be donated to any organization that seems appropriate to artist and collector.

*Beginning January 1st, 2017: please send submitted video files titled “January2017” as downloadable links via WeTransfer, Dropbox, or Vimeo to video@petzel.com. If uploading via Vimeo, please ensure the video is downloadable and can be added to collections. Work should be up to 5 minutes in duration, with a max file size of 2GB, one submission per sender. Submissions will close January 31st. We reserve the right to omit videos with offensive content.

  La MaMa Galleria

47 Great Jones Street New York, NY 6:00 p.m. - 8:00 p.m.Website

Lintel, Mantel, Module, Shelf

  Curated by Samuel Draxler, this show is intended to subvert the conventions of sterile, prefabricated domestic spaces. And if the press image is any indication, it should be a hit. GaHee Park’s oil painting “Drama” features a wine & cheese & sex party in a motel room. She’s the best. Full disclosure: we recently showed GaHee Park’s work in our exhibition Strange Genitals.

Artists:

Lauren Bakst & Yuri Masnyj, Elliott Jerome Brown Jr., Mary-Ann Monforton, GaHee Park, Isaac Pool

  CUE Art Foundation

137 W 25th Street New York, NY 6:00 p.m. - 8:00 p.m.Website

The Visible Hand

“The Visible Hand” is a term in economics for management, in opposition to the Invisible Hand of the market. So here, four artists and one collective present themselves as managers of sorts. Maureen Connor, for example, presents a more counterpoint to institutional critique—she investigates the HR problems of host institutions and then creates installation to help solve them. I’m not sure if that’s what’s going on in the above image, but whatever these things are, I want one for our office.

Artists: Chloë Bass, BFAMFAPhD, Maureen Connor, Devin Kenny, Jen Liu.

Sun

Whitney Museum of American Art

99 Gansevoort Street New York, NY 3:00 p.m.Website

Blade Runner—Autoencoded

  If there’s one benefit to living in the dystopian “future” we call the present, it’s that we finally know what androids dream of—and it’s usually weird as hell. Terence Broad has built an artificial neural network (which I imagine is somewhat similar to Google’s Deep Dream …or maybe one of those episodes of Star Trek where Data tries to make art) and shown his creation Blade Runner. He then tasked his AI to recreate the film, frame-by-frame, from memory. I can only imagine how weird the resulting movie, which is screening at the Whitney, will be. The event is free for members, or $12 for non-members. Totally worth it.

  A.I.R. GALLERY

155 Plymouth St Brooklyn, NY 4:00 p.m. - 6:00 p.mWebsite

Sinister Feminism

  This is our DUMBO neighbor’s 12th biennial, and just based on the name alone it’s gotta be good. We’re not familiar with any of the artists involved, but the press release sounds bad-ass:

“Sinister Feminism. We fortify veneer into armor. We appropriate from misogynist sources. We exceed the cinematic ideal. We vibrate the sound of the city. We endure. Our physicalizations we know are transgressive. We are a halation of line. We throw shadow across the page. We teach the tongues of the past. We mock the habit of metonymy. We transmit the sense of hysterics. We smell. We hurl what we are required to withstand: our bodies, our selves. We are trying to reach you. We wildly grin.”

Artists:Lucas Berd, Dora Budor, ceramics club (cc), Kerry Downey, Dolores Furtado, Nicolás Guagnini, Caitlin Keogh, Chelsea Rae Klein, Lizzy Marshall, Whitney Oldenburg, B. Quinn, Lili Reynaud-Dewar, Torbjørn Rødland, Karin Schneider and Leigh Ledare, Bailey Scieszka

Curated by Piper Marshall and Lola Kramer

Lyles & King

106 Forsyth Street New York, NY 6:00 p.m. - 8:00 p.m.Website

Farley Aguilar: Bad Color Book

Miami-based, self-taught painter Farley Aguilar’s paintings remind the viewer why paintings are fun, and sometimes frenetically anxious. They’re populated by expressionist figures in surreal tableaus. Clowns, wrestlers, religious figures, and other archetypes seem squeezed together in tense, brushy compositions. Traces of revisions and happy accidents dot their surfaces, and there’s a sense of playful horror in both subject matter and process. This is the definite highlight of Sunday night.

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