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mvuniv1200-blog · 6 years

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How a Small Bronze Statue Impacted the World

Image retrieved from https://www.wsj.com/articles/fearless-girl-steals-the-conversation-1497864600

Dubbed "The Fearless Girl"; a small bronze statue of a girl faces a large statue of a charging bull on Wall Street. Wall Street is the financial capital of the United States and is where some of the wealthiest business transactions occur. The Wall Street financial district is known to be heavily dominated by men in the workforce. On March 7, 2017, a day before International Women's Day, the bronze statue of a girl popped up. There is a plaque below the Fearless Girl statue which states "Know the power of women in leadership. SHE makes a difference". The meaning behind this message is to encourage workplace gender diversity while encouraging corporate companies to add more women to their board of directors (the groups responsible for overseeing the CEO's major decisions). People all over the world were empowered by the statue. Reviews coming in were stating that the statue sent messages such as “symbolism of the resiliency of women and showing women - young and old - that no dream is too big and no ceiling is too high”.

Image retrieved from: https://news.artnet.com/art-world/fearless-girl-ireland-climate-change-summit-1362517

The statue was originally given a one-week permit which was then lengthened to 30 days. The outpouring of support from around the world was incredible. The media was creating a lot of buzz for the statue to remain on Wall Street. A petition gained large traction to keep the statue in its place and after 13 months, New York City Mayor Bill de Blasio announced to the public that both the Charging Bull and Fearless Girl statues would remain on Wall Street permanently.

The large impact on society created by the small statue is what lead me to do further research on its history. A lot of attention in class has been put on art that involves paint techniques, postering, and stickering. I thought it would be cool to change it up and cover a unique type of public art that we haven’t yet spoken much about. The reason why this statue resonates with me is because of my Grandma's story. My Grandma grew up in a traditional Italian culture where women weren’t seen as people who worked - their job was to simply stay home and take care of the family and house. My grandma always tells me stories about things she wasn’t allowed to do in the past due to social norms. It bothers me that this issue still exists today which is why I think the Fearless Girl is such a powerful piece of art. The statue sends a message to men and women of all ages and the media coverage allowed this message to touch people all over the world. The statue represents a powerful reminder to everyone around the world that all people should be treated as equals.

In class, we’ve discussed what makes a graffiti artist gain notoriety - repetition. It’s great to see the impact of ONE piece of public art and how the media can act as “repetition” to send the message to as many people as possible. It’s great to know that we can send a positive message to the world through public art and impact a vast amount of people using the media. I hope to visit Wall Street someday and will definitely stop by to see this statue in person.

Sources:

https://www.wsj.com/articles/fearless-girl-steals-the-conversation-1497864600

https://www.washingtonpost.com/news/on-leadership/wp/2018/03/07/embargoed-37-8-am-the-fearless-girl-statue-turns-one-today-what-the-campaign-behind-her-says-its-accomplished/?noredirect=on&utm_term=.e40dc2ed24d8

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jessicakehoe · 4 years

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Montreal’s Wasted Effort is Launching a New Collection Today

It’s said that necessity is the mother of invention, so when Wasted Effort’s Marie Foxall found that her usual resources weren’t available for her new collection, she decided to go with the flow and experiment with materials and techniques for her new designs. The result? Playful pieces that would make your next Zoom call or living room date night extra special. Read on to find out how Foxall started her brand, and what else she’s making (and learning) during quarantine.

So, tell me how someone with a background in mathematics becomes a designer.

I wish there was a perfect soundbite answer to this question, but I’m not really sure how one led to the other! For a long time, I followed a pretty clear-cut path set out by my family, who place a great deal of value and emphasis on math, science and education. I enjoyed math and it made sense to pursue it, but throughout my education and early career, I always had a passion for art which manifested itself in drawing, sculpture, clothing design, drama, music—you name it. Finally, when my jewellery design hobby became an all-consuming obsession, I knew I had to give this other side of my personality room to go wild for a while. I’ve never really been sure how these two sides fit together or if one informs the other, but I really enjoy being able to draw on both.

Photography courtesy of Wasted Effort.

What’s behind the ethos of the brand and the name?

Wasted Effort is part brand, part personal art project. Everything is hand-crafted by me, and is either made-to-order or made in small, limited batches. I realized pretty early on that the traditional fashion blueprint—showing a season ahead, predicting demand and holding inventory, then starting it all over six months later—wasn’t really for me, mostly because I constantly want to play and experiment and I like to be able to move from concept to sample to product as quickly as possible. The name was originally a cheeky nod to my math background, my (unartistic) education, the fact that I come from a family of scientists and academics, and that the pursuit of art as a career was not viewed as time well spent. If you can’t laugh at yourself, then what’s the point?

You’re primarily self-taught—how did you develop your skills and the know-how about the different materials that you use?

I took an introductory metalsmithing class many years ago, which was a great foundation in jewellery construction. I worked in more traditional materials, like silver and brass, for a few years and learned through trial and error and a network of amazing jeweller friends in Vancouver who were incredibly generous with their time and knowledge. Eventually, I switched to lucite when I was in a bit of a design rut; I had some lucite sheets and rods that I had bought for a tradeshow display, and realized that I could cut and shape them in the same way I used sheet metal. The rest is all play and experimentation—just a lot of ‘I wonder what happens when I do…. this?’

Photography courtesy of Wasted Effort.

I love your tagline, “Doing everything the hard way”. Tell us about what that means…

Since I prefer to make everything in small batches, I like to have control over every aspect of the process. This means that although it would be so much easier to outsource aspects of production or get my pieces laser-cut, I still cut everything by hand with a jeweller’s saw, then I file, sand and polish it myself. It’s extremely time-consuming and definitely not the most business-savvy approach, but it keeps me connected to the work and personally invested in every piece I send out.

Fill us in on your new pieces!

Since things shut down, I haven’t been able to access many of the supplies that I need to produce my usual pieces, so I’m trying to get creative and make one-off variations on some of my favourite designs. I have been playing around with dye and custom colours, which is a fun experiment and a surprise every time! I have also been updating some designs by incorporating various gems and stones I had been waiting to put to good use, like opal, aura quartz and moonstone.

Photography courtesy of Wasted Effort.

Your work is quite happy-making, which leads me to assume you’re a pretty happy, optimistic person. How are you staying calm and finding joy right now?

This question threw me a little bit because although I love to joke around and find humour in most situations, I am definitely also an anxious person! I think the humour and cheerfulness in my jewellery work is a celebration of my playful side, but also an attempt to offset my anxious side. It brings me joy to create bright, colourful things and to see other people looking joyful wearing them! At the moment, I’m staying calm by making lots of non-work things like vases, planters, pillows and clothes, and finding joy in learning new skills. I’m taking online coding courses and guitar lessons. I’m also trying to be kind and forgiving to myself on the days when I don’t do much at all.

What are you hopeful about coming out of this crisis?

I hope that there is a shift in the way we consume everything. It’s clear that many people are changing their habits by necessity and to keep busy—planting their own vegetables, making their own bread, brewing the perfect cup of coffee at home. I hope that this helps people find joy and satisfaction in doing things themselves and makes them even more thoughtful and grateful for farmer’s markets and restaurants and coffee shops when we’re able to enjoy those things again. I am also hopeful that the outpouring of community support continues. Especially in the arts and small business communities, I have seen so much love and generosity and genuine connection happen over the past few weeks and I hope that this will have a resounding positive effect.

Shop the new collection here.

The post Montreal’s Wasted Effort is Launching a New Collection Today appeared first on FASHION Magazine.

Montreal’s Wasted Effort is Launching a New Collection Today published first on https://borboletabags.tumblr.com/

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onestowatch · 6 years

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Q&A: Sasha Sloan Discusses Her Writer to Artist Transition, RCA Signing, and 'sad girl’ Debut

Photo: Nicolita Bradley

There’s something to be said about artists who are brave enough to apologetically bare their souls in song. Songwriting is one of the only forms of art which allows for an explicit and direct path to the listener, creating an invisible yet deep line of empathy between the artist and the fan. Cue Sasha Sloan: a Ones To Watch artist who, above all, is a vivid and sincere songwriter at her core. Embodying her “sadgirlsloan” brand completely, she has connected with a growing fanbase through highly confessional, left-of-center pop songwriting that instantly connects with relatable millennial feelings of self-doubt and discovery.

Originally born in Boston, Sloan moved to Los Angeles and immediately began writing for pop giants Charli XCX, Dua Lipa, Camila Cabello, as well as collaborating with dance stars like Kygo and Odesza. When she decided to step out as a solo artist, Sasha Sloan was presented in her most prime form -- immediately establishing an honest sonic identity with “Ready Yet.” Fast forward to less than a year later and her career is booming, with a Joywave support tour under her belt, several major festival performances lined up, millions on millions of Spotify streams, and a record deal with Sony’s RCA Records. Her debut EP, sad girl, was released with RCA in late April 2018, featuring six singles that are perfectly-tailored for solo cry sessions and as empowering breakup anthems alike.

We chatted with Sasha Sloan shortly before the record release and her interview answers flowed out just like her song lyrics: sans filter. Read more below and pick up your tickets to one of Sloan’s upcoming shows here.

Sasha Sloan Live Shows & Festival Dates:

06/22, Bonanza Campout, Heber City, Utah

07/06, Common Ground Festival, Lansing, MI

07/10, Great Scott, Allston, MA

07/13, Newport Music Hall, Columbus, OH*

07/14, Cannery Ballroom, Nashville, TN*

07/16, Delmar Hall, St. Louis, MO*

07/17, The Jones Assembly, Oklahoma City, OK*

08/05, Lollapalooza, Chicago, IL

08/10, Outside Lands, San Francisco, CA

*Oh Wonder Support

OTW: Before you went solo, you wrote for a ton of other artists. What led to the decision to start the official Sasha Sloan project?

Sasha: Well, I think I’ve always been an artist. I wrote this one song “Ready Yet” which is my first release, and that was the first song that I felt like was me and was really personal, so I couldn’t give it away. So once I wrote that, it just felt natural to start releasing my own stuff under my own name.

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OTW: And after “Ready Yet,” it seemed like an outpouring of emotion in every song you released. “Runaway” is my jam. How did you get comfortable being so vulnerable?

Sasha: I think that’s just who I am. I would feel uncomfortable putting out songs that were pop and happy, because that’s not who I am when I write. Which is kind of weird, because I’m genuinely a very positive person. Well, people who know me might disagree; I’m pretty cynical and jaded for the most part. (Laughs) But when I write for some reason, I just get really emotional, so it feels most natural to me. Hopefully I can start writing happy songs at some point in my life.

OTW: Is that in the works?

Sasha: I think so, we’ll see. They’ll always be bittersweet for sure.

OTW: Does your songwriting correlate with where you are at that point in your life?

Sasha: I think for me, most of these songs were written before I had broken up with my boyfriend, so they were kind of foreshadowing. Super weird, I know. He’s heard them, but they weren’t released until after we were broken up, thank god. He’s probably like, “What the fuck?” But I think sometimes when I’m writing, I don’t really know what’s going on in my brain, so I’ll write something and be like, “Oh shit, this is how I’m actually feeling.” Even if I can’t admit it to myself. I released “Runaway,” and we had broken up, and I remember listening to it one night, and that was the first time I cried about a breakup. It was super weird.

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OTW: Amazing! Backtracking to your songwriting credits -- any highlights that you want to share?

Sasha: Yeah, I mean I moved to LA when I was 19 and just started writing for other people. Got signed to Warner/Chappell when I was at Berklee in Boston. It’s been a really slow grind -- I think because I had a lot to learn when I first moved to LA. I didn’t know anything. I was a jazz snob, and I hated pop music, so I think it took me a second to really love pop music, and now I’m obsessed with it. But I’ve been really fortunate to work with Camila, Dua, Charli XCX, all these girls who paved the way for me and showed me what it’s like to be an artist.

OTW: What steps do you take to make sure your music is different from that typical Top 40 sound?

Sasha: I think I’ve been writing for so long that it’s easy to take that hat off and just be myself. But it’s been nice because I kind of have the tools to write a pop song, which I didn’t have before, so I can channel me into a pop song better than I would have been able to three years ago. But it’s weird -- I just kind of know when a song is for me. It’s just a feeling; I can’t explain it.

OTW: So obviously you seem to be very comfortable with yourself, but then there’s songs like “Normal” about trying to fit in. Have you transitioned out of that?

Sasha: I think I’m accepting the fact that I’m a bit weird. (Laughs) And I’m okay with that. I think I tried really hard to fit in and be like other writers around me, and I didn’t know who I was. Once I let that go, I felt more confident knowing that I’m not sane, which is fine for me now. I still have days where I’m like, “Should I wear this instead of this?” I’m still insecure as fuck. But, we’re working on it.

OTW: So you’re from Boston. What are your thoughts on Dunkin’ Donuts?

Sasha: (Laughs) I miss it, very very much. I’ve tried it here, but you know what the difference is? You don’t get treated like shit in LA. In Boston, people who work at Dunkin’ Donuts are Bostonians, and they’re rude to you. It’s part of the experience. In LA, everyone is so fake, so the experience isn’t the same. There are also no drive-thrus, which is huge for me. I really hate getting out to get my coffee here.

OTW: Okay, I’m glad we cleared this up! So you also had some collaborations with Kygo, King Henry and ODESZA -- how did those come about and what was the experience like?

Sasha: They all came about in different ways. ODESZA was a session; they just played the track and my friend Nuni and I wrote the topline to it. And now they’re friends and I love them, really great dudes. They all came about through me being a writer, but with Kygo, I was just at camp, and we played it on guitar and he put it out. You never really know what’s going on as a songwriter, you just go ahead and do your best and hope it comes out.

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OTW: So when you go in and sit in the studio, what’s the first step you take to channel some feelings?

Sasha: It depends on who you’re writing with, and who you’re writing for. If the artist is in the room, I usually take a backseat, and I’m just like, “What’s going on in your life?” And then I’ll let them do most of it, and I’ll be more of an editor, but then when it’s just me I just write everything myself. I feel like when you’re an artist, it should come from you, and that’s why when I’m working with other artists, that’s usually the role I take. With DJs it’s different; “This Town” I probably would have released myself if Kygo didn’t, because it’s a super personal song for me. It just depends on the situation, but usually I like to start with lyrics, that’s really important to me.

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OTW: So you just signed to RCA, congrats! How did you decide that that’s the right home for you?

Sasha: RCA and I have had a good relationship for a while now, just for me being a writer. I just love the people there; they really get the vision. I think they’ve always understood who I am, with being able to release my own music first independently, and kind of show who I am -- they really got it after that. All the pieces just fell into place, and I’m really excited. It’s going to be nice to not have to do everything myself anymore.

OTW: So we’ve talked a lot about your process in figuring out who you are -- if you could sum it up into one sentence, who are you?

Sasha: An anxious mess, mostly. I don’t know, I’m just really normal. I don’t really do anything crazy. I’m a full on grandma, who’s very emotional, and likes to write songs. (Laughs)

OTW: With so many breakup songs, what would be your number one piece of advice?

Sasha: See the red flags, don’t ignore them. And if you can’t be yourself in a relationship, don’t be in it, because it’s not right. That was hard for me to learn, I’m still learning it.

OTW: Great advice. So you did “Psychopath” with Nina Nesbitt and Charlotte Lawrence. What happened when you first got in the room together?

Sasha: We had never met before, but we had a track already -- Henry had produced it. With most sessions if you meet someone for the first time, you don’t usually get anything, but I think we all felt the pressure like, “Oh shit, we need to write something today.” It was actually really fun in the end; the girls are really tight, and I really like them. We all got along and wrote a song that we all liked it, which was dope. I was really scared that someone was going to hate it. For me, the song is about people in your life who are haters, they wanted an empowerment song, so that’s kind of what came out. I think we each have our own interpretation of what it means to us, which is cool. I’ve never collaborated with two other girls before.

OTW: How was the tour with Joywave? What was your favorite part?

Sasha: It was really dope. My favorite part was that honestly, I’d never performed these songs live before. I had seen songs that I’d written be performed to audiences before, but I’ve never been the one singing them. All my songs are so personal to me -- like you can see streams on a computer, but when you’re performing live to someone, it’s like, “Okay, you’re really listening.” It was really cool to see people react; I learned a lot as a writer, too -- what songs didn’t work and what songs do work. Now, when I go in the studio I have that in the back of my head, which is cool. I really liked performing and being in that world, because I’ve been stuck in the studio for three years, and being live is just a whole other experience.

OTW: What is on the horizon?

Sasha: I’m opening for Oh, Wonder in June, and Eden in the fall. I’m playing a bunch of festivals: Lollapalooza, ACL, Bonnaroo, Outside Lands. Really excited for all of them, a lot of performing is on the horizon.

OTW: So who are some of your Ones to Watch artists?

Sasha: Phoebe Bridgers, amazing. I’m such a huge fan of hers. I’m really not hip to music, I usually write something and then be so sick of the loop by the end of the day that I just play video games, so I’m really bad. King Princess is really dope -- I only know “1950” but she’s amazing.

#sasha sloan #interview #pop #indie #sad girl

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republicstandard · 7 years

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Thought-Criminal Jordan Peterson Versus Cathy Newman & The Baader-Meinhof Gang

I say now that it is impossible to deny that the majority of news media in the Western world is little more than a machine for manufacturing Neo-Marxist opinions.

The reason I say this with such certainty is that the body of evidence to support this conclusion is now insurmountable. The idea of an impartial media no longer exists. The proof of this is revealed whenever the topic of identity politics comes up. When you see Daily Mail columnists stumping for feminist ideology, we are in serious trouble. Welcome to Pravda reality.

The catalyst comes from a simply stunning interview that took place on British television last week. If you haven't seen the utter demolition of feminist thought conducted -or should I say committed- by Jordan Peterson yet; you are late to the fun.

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For analysis of the absolute hammering that Channel 4 News' Cathy Newman took in this 30-minute conversation, look no further than Douglas Murray in the Spectator.

If I was Channel 4 I would take it down. If I was Cathy Newman I would sue or seek a super-injunction. I don’t think I have ever witnessed an interview that is more catastrophic for the interviewer. - Douglas Murray

Always grateful for advice from @DouglasKMurray but I won’t be suing or taking out a super-injunction. I thoroughly enjoyed my bout with @jordanbpeterson as did 100s of 1000s of our viewers. Viva feminism, viva free speech. Stay tuned Douglas.

— Cathy Newman (@cathynewman) January 17, 2018

As is so often the case, when a feminist gets shown to be a public fraud the engines of spin fire up. The justification for the damage control exercise was laid at the end of the interview with Peterson itself. Newman points out that critics of Peterson get lambasted online, and claims "there's a lot of it [abuse] out there." I'm sure you can see where this is going.

Such is the scale of threat we @Channel4News are having to get security specialists in to carry out an analysis. I will not hesitate to get the police involved if necessary. What a terrible indictment of the times we live in.

— Ben de Pear (@bendepear) January 19, 2018

Mr. de Pear is basing this drama on using the search function to find instances of the word 'bitch' in the comments below the Youtube video. Of over 50,000 comments, he found 500 occurrences. If we are charitable and assume that all of these comments are directly calling Newman a bitch, we have 1% of the comments being misogynistic. As we know that there are many uses of the word bitch that are not directed at Newman, let alone the many different contexts, and not to mention that this is the comments section of YouTube which is both a cess-pit and full of people calling each other 'bitch' all day every day.

Apparently, this outpouring of hate was amusing to Newman, who was snapped by her producer laughing at the so-called threats as the police were called.

The police have evidently decided not to proceed with charging anyone, or you can be certain that would be front page news. Instead, Channel 4 has hired a 'security expert' to deal with the imminent fedora-Jihad.

Speaking of the news, what angle do you suppose the media are taking? Of course, the reasoned and polite Peterson thrashing the living daylights out of their colleague for the world to see is not newsworthy. Alleged abuse? Now we're talking.

Quick as a flash, the media rallies around their wounded comrade to build the narrative that regardless of the content of the debate -in which Newman effectively tried to call Peterson a white supremacist while apologizing for Maoist philosophy- the real story, as always, is online misogyny.

The reality that Peterson calmly broke down the hail of inept leftist barbs from Newman with grace, politeness and factual positions is irrelevant. The important thing to note is that Peterson is On The Wrong Side Of History And Might Be A Thought Criminal Associated With The Alt-Right And That Is Bad. Please consult your local commissariat for re-education if you found yourself swayed by any unauthorized arguments.

News media personalities were quick to shift to the "misogyny abuse" narrative. Its all they have. Cathy Newman acted in bad faith. She continuously attempted to put words in his mouth, deliberately misquoting him. She was wholly unprofessional & SHOULD get harsh criticism. pic.twitter.com/PtF8mdoQyV

— ☢S.C.R.U.M.P. - Call of Bants (@CheekiScrump) January 21, 2018

The bizarreness continued as Twitter commentators have had a field day pointing out inconsistencies. Indeed, why is it that left wingers get a free pass from behaving terribly, but moderate centrists (or worse) like Jordan Peterson get pilloried? The double standards are quite surreal and signify a dangerous trend in Western society.

My friend @RektRolfe hit the nail on the head: If a conservative says ANYTHING & gets hounded online, the narrative is "freedom of speech is not freedom from consequences of speech." But as soon as its somone on the left that goes out of the window. Its "harassment & abuse.: pic.twitter.com/K1lWOIDTeT

— ☢S.C.R.U.M.P. - Call of Bants (@CheekiScrump) January 21, 2018

The answer is clear. The leftist needs to be shielded from critique at all costs. When the leftist ideology is exposed by an expert interlocutor like Peterson, there is no chance of a victory by fair means. Peterson knows this and has offered Newman another bite at the cherry, which has as much chance of happening as I have of winning an Olympic medal.

How about, instead, we talk again, and try to have a real conversation? You know, where reasonable people try to exchange information instead of where two primates clash for dominance? @cathynewman

— Jordan B Peterson (@jordanbpeterson) January 21, 2018

In the absence of evidence or champions in the realm of debate to fight the cause fairly, the leftist narrative must thus be protected by foul tactics instead. These tactics include but are not limited to misdirection, denigration, slander, and misrepresentation. In this way, two goals are achieved.

First, Jordan Peterson is further pushed to the 'right' of the political spectrum, by a mass-media assault on what it even means to be in the center. Only the far-right engage in such misogyny, only the far-right are 'transphobic' so, therefore, Peterson must be at best an enabler and at worst far-right himself. Nevermind that he has been an academic at liberal institutions for over three decades and has taught for years about the dangers of National-Socialist thought. The Overton Window is dragged to the left by framing Peterson's supporters as uniformly far-right. This happens because Peterson's positions in this instance are unassailable through debate or dialectic.

Second, the brand of Jordan Peterson is tainted by association with events that are roundly branded as controversial by the media. The idea that the state should mandate what words come out of your mouth should be controversial, not the resistance to it. The idea that men and women are biologically different and that results in different life outcomes but should not entail unfair treatment to either sex is only controversial if you are at some level corrupted by Neo-Marxist ideology.

Save your clicks, here is the hilarious top hits from this garbage. pic.twitter.com/Z0V8FXs0oZ

— Ash Sharp 🇬🇧 🇵🇱 (@6crip) January 21, 2018

It is now mandatory for the hive-minded and spiritually bereft media complex to reference these events every time Peterson makes an appearance. There is a great line from the discussion with Newman where she asks what right Peterson has to comment on such matters that she feels must only be spoken of from a feminist perspective. He replies;

"Because I am a clinical psychologist."

This answer seems to be a perfect one; except that to Neo-Marxists, professional competence always comes second to the pursuit of ideological purity. This is the equality of outcomes that is demanded by leftists- your skill, your person, is second to your ideological purity.

In the media and in future encounters with the Neo-Marxists who operate and control the flow of mass-market information, Peterson is as good as a Nazi. The redefinition and misrepresentation of language itself will continue until morale is destroyed. There is an angering game one can play when presented with a story like this one. Imagine if the roles were reversed, and Peterson was interrogating Newman in this combative style, pushing and poking at feminist thought. The outcry against such misogyny would ring across the planet- and yet it would still only be a battle of ideas. As I said in a recent piece about art on this site, Identity Politics has infected our society to the extent that what we perceive as a mainstream television interview is impossible for the media to analyze without resorting to this Neo-Marxist ideological framework. The fact that Peterson can defend his ideas against Newman's weak critical theory interrogation is a clear sign that Peterson is oppressing her. Viva feminism, indeed.

While this drama has been playing out I noticed a parallel bleeding through. Last night I watched a film called the Baader-Meinhof Complex. I highly recommend you see this film to gather an insight into how the mind of the radical leftist actually works- as a former anarchist myself I recognize many of the logical reasonings of the Rote Armee Fraktion in the thought processes of myself and my former associates.

The leftist ideologues of the Baader-Meinhof gang believed in the Communist struggle against Western Imperialism in Vietnam and Israel, and therefore alliances with Islamic terrorists was perfectly logical. The deaths of Vietnamese civilians was cause to bomb civilians, police and military targets in Germany. The primary issue with ideologues -particularly leftist ideologues- is that they see ideology everywhere except within themselves.

The point is that the Baader-Meinhof gang follow the same fundamental principles of thought that the leftist critics of Peterson follow. While I do not imagine Cathy Newman as being some kind of modern Ulrike Meinhof ready to denounce her opponents as pigs who can be legitimately murdered, the posing of her ideological positions as reasonable despite their extremity is interesting to me. Newman appeared offended by the idea that the ideology of trans-activists was Maoist. The concept that leftist ideology today is related to that murderous diktat followed by Mao, Stalin, and the Baader-Meinhof is alien to her. I hope she would not be offended if I said that this attitude is that of the useful idiot- a partisan mouthpiece for political positions that she does not understand in full. If Newman did understand her own professed ideology, then she might well not hold those beliefs any longer.

Feminism is Neo-Marxist.

I do not intend these words to offend, but then as Peterson points out in the interview, in order to think I must accept I may offend someone. Newman and her ilk are engaged in a permanent struggle to paint themselves as the moral superior to everyone else, as all subscribers to Marxism must. In this way, you -the consumer of news products- are being forced to accept their position to be true, or else you are a bigot, a sexist, et cetera.

This is exactly what Mao, Che Guevara, and the Baader-Meinhof gang did too, to various degrees. While the modern supremacist will clearly delineate that they believe the black or the Jew is the Untermensch, the Neo-Marxist is more subtle but more deadly by far. The totalitarian left understands that human emotions are powerful and the manipulation of these, coupled with the desire within us to be doing a 'moral'act -whatever our perception of that concept is- this is a powerful method of creating compliance. In the cause of righteousness, Baader-Meinhof terrorists kidnapped, bombed and hijacked. With the best of intentions -according to him, at least- Mao gave the order to liquidate and starve millions, and millions complied.

Thorwald Proll, Horst Söhnlein, Andreas Baader and Gudrun Ensslin.

As I've said in these pages before, now that the attempt to control the world through economics has failed, the Neo-Marxists live through control of culture. The difference between Newman's special pleading and Ulrike Meinhof's rigid and violent dogma is not as huge as any of us might like to think. The core concept both Newman and Meinhof considered true is that someone, somewhere, is a victim. For the noble goal of saving that victim, all manner of tyranny against perceived oppressors is not only justifiable but eminently desirable. In the 1970s when there was a possibility of Communist hegemony, guns and bombs were used. Today, the gun is out of fashion but the pen -or keyboard- is more powerful than ever.

As Peterson himself writes;

The dangers of self-deception about past events, far from trivial in the personal case, are tremendously magnified in the social arena. The careless use of memory can lead directly to the grave abuse of people.

Conducted daily through the media and politicized social media complex is a reframing of history, even up to events of a few moments ago. In thirty years, who will choose to watch a thirty-minute interview between a now-elderly psychologist and feminist journalist? A few, perhaps. How many more will know the story, but only know the story as it is stored in our collective cultural memory and its replacement/augmentative structure, the internet?

The narrative shaped today will persist like never before in human history, which is why it is so important to not allow this abuse of reality by mainstream media ideologues to pass without protest.

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reviverradio · 7 years

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The 14 Most Visionary Sound Pictures of 2017

Set your pitchforks and delight in some of the finest 2017 had to offer you.

Since I wash off so lots of people in sharing my preferred music videos of 2016, I have decided to go a slightly different route with this year’s version. We’re all conscious of it. The whole issue with each one of these end-of-the-year lists that ranks songs, film, TV shows, etc. is that–guess what? –art is subjective and everyone has different preferences. Nobody is wrong in their opinions!

As somebody who has a very unique set of preferences, I am really conscious that what I enjoy isn’t for everybody (just ask my father). With that disclaimer in place, I’m discussing what I believe to be among the most visionary music movies of this year. Instead of rank them, the songs movies are listed in a manner that, when played with in sequence, should mash up into its own story.

When it’s their budget, theme, or moderate, these selections push boundaries in every sense of this term. Most of all, all of them highlight precisely how fascinating the music video kind could be. It’s been a difficult year for a great deal of individuals, but one positive is an extraordinary urgency apparent in art, an outpouring of voices from every portion of the world.

You may either sit back and let it ride or you can take a look at the highlights from 2017 in almost any order you would like.

Kendrick Lamar – Element.

Manager – Jonas Lindstroem & The Little Homies

This isn’t the only time you’ll visit Kendrick Lamar on this list. King Kendrick put three amazing music movies this season at Element. , DNA, and HUMBLE. , and every was fueled by gorgeous vision, Don Cheadle, or powerful social messages. Element. Introduces us with the artist at his strongest.

The juxtaposition between beauty and violence combines perfectly with Lamar’s lyrical content. In actuality, after several watches, it is difficult to separate the songs in the movie. If you think about one, you immediately think about the other, and that’s what makes this movie great. A number of these images are direct recreations of this work of Gordon Parks, the photojournalist who captured much of the Civil Rights Movement in the 1960s.

As Cassie da Costa wrote at The New Yorker back in June, “In Element. , blackness, or the dynamic existence of black bodies and the lifestyles that inhabit them, is reimagined not just lyrically and narratively but also visually. The movie’s aesthetics are not additional but, instead, essential to this activity within and significance of every scene.”

Kamasi Washington – Truth

Manager – AG Rojas

Yep, this is a lengthy one. That is no real surprise considering Kamasi Washington’s last record The Epic clocked in at almost a three hours long. This year’s launch, Harmony of a Difference, is a far simpler record to digest because of several reasons. Washington debuted his suite earlier this season at the Whitney Biennial, and because Truth acts as the record’s culmination and climax, it is only fitting that part of this installment contains this short film from celebrated music video director AG Rojas.

At just 37 minutes in length, it won’t require an eighth-of-a-day to listen to, and also its memorable theme weaves in and out through every track, directing the listener together. The exact same could be said about the above video which goes back and forth through space, time, and topic, constantly returning to a picture on which you can grasp while still keeping a sense of cosmic mystery. Kinda like Terrence Malick, wouldn’t you say?

Björk: The Gate

Manager – Andrew Thomas Huang

Just Björk being Björk.

Un Lock – Drowned Beast

Manager – Dr. D Foothead

Very few people can inform an epic work of science fiction in just under 5 minutes. Dr. D Foothead, whose function is featured on Adult Swim, is the rare exception. Having made a name for himself along with his brand of comedic, music movie psychedelia, you might dismiss his art as “trippy,” however the apt way to describe it is “characterized by hypnotic detail, hyper-saturated color and lively, flowing kind. The characters in his work navigate outer and inner worlds, experiencing conditions of mental abstraction, mystical sin, and transformation.” The pen and paperwork is, very simply, some next level shit.

In addition, this is a sterling example of how a visual artist can create a story entirely of his own from just a grain of sonic inspiration. As un Lock frontman John Dwyer stated of this animator/director, “I wrote this song largely from the studio and it had been, in my head, about the insatiable appetite of mankind, but kind of bent in this weird fantastical way.” Once Foothead got control of it, however, it appeared to change into something else completely. ” I enjoy working with Dr. Foothead,” Dwyer continuing. “Due to his take is always coming from another planet.”

Pipe-Eye – Sweets & Gamble

Manager – Alex McLaren along with Sean McAnulty

Jumping from pen and ink to stop-motion cartoon, Sweets & Treats is something along the lines of which you have probably never seen (or heard) before. Clay and candy aren’t the key tools you would usually encounter when seeing a multimedia job, but I will be damned if the mix doesn’t work perfectly for this sweet yet nightmarish clip.

St. Vincent – New York

Manager – Alex Da Corte

This one definitely takes the cake for best use of color palettes and art management. Da Corte also led St. Vincent’s music video for Los Ageless which acts as a companion piece to New York. Being a lover of Da Corte’s visual art, St. Vincent seemingly reached him out using a pitch along the lines of “do whatever it is you do this well.”

In an interview with Pitchfork, Da Corte pointed out one of the best benefits of this moderate, saying, “Moving images and moving movies, set to songs or not, are all artworks in themselves. What is really special about creating a music video is all the fact that it may be shared so quickly and so widely. Everybody can gain access to it. It is actually free.”

Courtney Barnett & Kurt Vile – Over Everything

Manager – Danny Cohen

Whereas New York shows us the possibility of vibrant color, Over Everything proves how its lack can prove just as successful. For people unfamiliar with this particular international supergroup, Kurt Vile, an American rock staple, and Courtney Barnett, an up and coming Australian celebrity, found their music preferences aligned so closely that they needed to come from across the world to collaborate on a record together.

In Over Everything, we get a glimpse of just how similar these two are as they swap verses. The actual stars of this movie, but are the artists’ respective backdrops. Danny Cohen took the movie in Philadelphia and Melbourne, sourcing a new team from every city. His excruciatingly close attention to detail has been observed with every mirroring background. No matter how stark the contrast is between our two society’s cultures, the settings show how music is able to bridge the gap. Particular kudos to the place scout, a hat that I can only envision Cohen wore as well.

Manchester Orchestra – The Sunshine

Manager – DANIELS

The DANIELS are always a divisive directing duo, but I am firmly on the side of “I’ll like these men put out since they truly don’t give a f***.” Both are no stranger to the art of audio movie, catching their biggest breakl using the legendary clip for Lil Jon’s Switch Down For Everything back in 2014. However, with the success of their debut feature Korean Army Man this past year, some were bound to wonder whether they had outgrown the moderate.

It appears they are at least ready to do it one more time to the man who scored their feature. Manchester Orchestra given the sonic vibes for Korean Army Man, therefore it was only reasonable to refund with a visual favor. The result is this movie for The Sunshine, which comprises a few of DANIELS’ trademark out-there humor and capacity to blend CGI oddness into seemingly normal conditions.

The Babe Rainbow – Peace Blossom Boogie

Manager – Kristofski

The Babe Rainbow is probably the closest thing to a group of traveling hippies that we have in today’s music landscape. Together with Peace Blossom Boogie, manager Kristofski masterfully captures the spirit of this group through what appears to be a Super 8 film straight out of 1964. The YouTube page also has what I believe are the most precise comment of 2017 using “I can not believe these folks exist.” Everybody in Australia is seemingly beautiful, forcing double-decker buses to bright areas where they could frolic the afternoon off. Seems like an alright life.

Jay-Z – Moonlight

Manager – Alan Yang

JAY-Z came out with his new record 4:44 this season and with the launch came the opportunity to bend some TIDAL muscle. Many of the music movies he dropped were initially only available to see on TIDAL for a lengthy window following their premiere. This, obviously, was utilized as an incentive for people to sign up for the streaming support. If that money has been used to fuel the creation of movies like Moonlight, then I’m all for it.

The hype around this audio video was certainly real. A reboot of Friends starring some of the freshest African-American confronts in Hollywood and led by Master of None co-creator Alan Yang? Who wouldn’t wish to see what that looks like? The result is an allegory that’s more melancholy than funny, more short film than audio video. It has to’ve generated a great deal of new subscribers for HOV.

Young Thug – Wyclef Jean

Manager – Pomp&Clout

You do the best with what you got, and this movie illustrates that.

Tyler, The Creator – Who’s Dat Boy

Manager – Tyler, The Creator

Tyler, The Creator is one of those rare few who can do it all. At just twenty-six years old, he’s been, well, producing, because the beginning of the Odd Future move back in 2008/2009. That includes everything from several albums to multiple TV shows, his own clothing line, and music festivals.

This year’s release Flower Boy was clearly a significant step forward for this artist. Previously criticized for leaning too heavily on sophomoric humor, Tyler, The Creator’s movie for Who’s Dat Boy is the consequence of many years of satisfying his irreverent, damaging style. He’s unleashed his private struggles with identity out to the world, and when it is too dreadful for some to witness, then so be it.

Ty Segall – Split a Guitar

Manager – Matt Yoka

Many guitars were hurt in the making of the film. The great Matt Yoka strikes using his kaleidoscopic music movie for Ty Segall’s Split a Guitar. If you’re a lover of this rock-and-roll, there’s nothing quite as satisfying as watching guitars being obliterated to smithereens, particularly if Jack Black, Henry Rollins and Fred Armisen would be those accountable for their own destruction.

The thing to note here is that none of all these explosions were set together in post with VFX. They are all the practical work of the pyrotechnicians at Court Wizard, and also this movie simply wouldn’t be the same if the consequences were not completed on set. Do not worry, there has been a set medic in place to ensure nobody got hurt. Cronenberg fans will also be Delighted to find an almost frame for frame Scanners tribute at the end.

Kendrick Lamar – HUMBLE.

Manager – Dave Meyers & The Little Homies

As I said initially, this is Kendrick’s entire year, therefore it is only fitting we feature at least 2 of the movies on this list. While Element. May be the more powerful of both, HUMBLE will wind up being the one that we most remember. It could just be the most iconic movie of 2017.

from reviverradio http://www.reviverradio.net/the-14-most-visionary-sound-pictures-of-2017/

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walterfrodriguez · 7 years

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Your Ultimate Guide to Art Week

Your Ultimate Guide to Art Week: via Worldwide Properties - Feed

It’s that Time Again! As thousands of art lovers hit the streets of Miami in search of inspiration, fascination, and pure curiosity – We want to make sure you are equipped with all the Details to have an Amazing Time during Miami Art Week!

Event details are segmented by Miami Beach and general Miami Events. Fo the Love of Art — ENJOY!

MIAMI BEACH ART FAIRS

Art Basel Miami Beach | December 7 – 10, 2017, Miami Beach Convention Center, Miami Beach

Art Basel Miami Beach is the most important art show in the United States. And, the largest with over 500,000 square feet of exhibition space. Leading galleries from North America, Latin America, Europe, Asia, and Africa show historical work from the masters of Modern and contemporary art, as well as newly created pieces by emerging stars. Paintings, sculptures, drawings, installations, photographs, and films of the highest quality are on display in the main exhibition hall. You’ll also find artworks and sculpture in Collins Park and evening films at SoundScape Park. ADMISSION: Day Ticket $50 if purchased online, $60 on-site | PURCHASE TICKETS

Aqua Art Miami | December 7 – 10, 2017, Aqua Hotel, 1530 Collins Ave, Miami Beach, FL 33139

AQUA Art Miami will celebrate its eleventh edition – the third since joining the Art Miami family of fairs this December. Aqua has consistently earned critical recognition for presenting vibrant and noteworthy international art programs with a particular interest in supporting young and established galleries with strong emerging and mid-career artists. ADMISSION: One-day fair pass (Aqua Only) $25

Design Miami | December 6 – 10, 2017. Meridian Avenue and 19th Street, Miami Beach Convention Center

Design Miami/ is the global forum for design. Each fair brings together the most influential collectors, gallerists, designers, curators and critics from around the world in celebration of design culture and commerce. ADMISSION: General Admission: Online $25, Onsite $30 | PURCHASE TICKETS

Form I December 5 – 10, 2017. Washington Avenue and 17th Streets, Miami Beach

FORM MIAMI is owned by Atlanta-based Urban Expositions, a Clarion Events company, which produces Art Aspen, Art Palm Springs, and SOFA Chicago (Sculpture Objects Functional Art and Design). All art fairs are presented by galleries from around the world exhibiting modern and contemporary art in a variety of media including painting, photography, sculpture, and mixed-media. ADMISSION: $25 for a one day pass

Fridge Art Fair | Opening reception Dec. 3, 2017, runs until the 10th. Blue Moon Hotel, 944 Collins Avenue, Miami Beach, FL 33139

A highlight of “Fridge Art Fair Miami: The Art Bagel Edition” is the “Fridge Magnet Project.” This project, open to all artists and art lovers, invites participants to create a magnet to be displayed during the fair. More information about participating in this truly Fridge Spectacular project can be found on the fair’s website (http://ift.tt/QYUUUl) ADMISSION: $15 for a day pass, $10 for student day pass | PURCHASE TICKETS

Ink Miami December 6th – 10th, 2017. Suites of Dorchester, 1850 Collins Avenue, Miami Beach, FL 33139

INK Miami is a contemporary art fair held annually in December during Art Basel Miami Beach. The Fair is unique among Miami’s fairs for its focus on contemporary works on paper by internationally renowned artists. The INK Miami Art Fair has distinguished itself by the quality of its works and exhibitors, as well as its lush open-air courtyard, with surrounding suites transformed into uniquely defined gallery spaces. The Fair is sponsored by the International Fine Print Dealers Association and exhibitors are selected for their outstanding qbility to offer collectors a diverse survey of 20th century masterworks and just-published editions by leading contemporary artists. Since its founding in 2006, the Fair has attracted a loyal following among museum curators and committed collectors of works on paper. ADMISSION: Free of Charge

PULSE Miami | December 7 – 10, 2017, Indian Beach Park, 4601 Collins Avenue, Miami Beach, FL 33140

Founded in 2005, PULSE Contemporary Art Fair is an established part of the annual art calendar and is recognized for providing its international community of emerging and established galleries with a dynamic platform for connecting with a global audience. PULSE offers visitors an engaging environment in which to discover and collect the most compelling contemporary art being produced today. ADMISSION: General Admission $25

SATELLITE Miami Beach | December 7 – 10, 2017. Ocean Terrace Hotel, 7410 Ocean Terrace, Miami Beach, FL 33141

Satellite was created in 2015 as an opportunity for young dealers, artist-run spaces and non-profits to exhibit during Miami Art Week. Since ints conception, Satellite has grown in scale and prominence and now features art-based projects by established commercial galleries, socially engaged non-profits, and international alternative spaces. By fostering a range of programming, Satellite is able to offer patrons and collectors with unique experiences where art is at the forefront of creative expression, activism, and curiosity. In this way, Satellite is the antagonist to the standard fair and in turn, fills the voids left by Miami Art Week’s soullessness through collaboration, direct engagement, and fun. Satellite is your chance to experience what art is without restrictions customary to traditional settings. ADMISSION: General Admission $10

Scope Miami | December 5 – 10, 2017, 801 Ocean Drive (on the beach), Miami Beach, FL 33139

The 16th edition of SCOPE Miami Beach returns to the sands of Ocean Drive and 8th Street. Featuring 125 International Exhibitors from 22 countries and 57 cities, SCOPE Miami Beach will welcome over 50,000 visitors over the course of 6 days. Amidst an unprecedented outpouring of critical acclaim from press, curators and collectors, and a digital and social media outreach campaign garnering over 450 million impressions, SCOPE Miami Beach’s is once again poised to lead the charge for emerging contemporary art market. ADMISSION: General Admission $35, Seniors and Students $25

Untitled | December 6 – 10, 2017, Ocean Drive and 12th Street, Miami Beach, FL 33139

Untitled, Art is an international, curated art fair founded in 2012 that focuses on curatorial balance and integrity across all disciplines of contemporary art. Untitled, Art innovates the standard fair model by selecting a curatorial team to identify, and curate a selection of galleries, artist-run exhibition spaces, and non-profit institutions and organizations, in dialogue with an architecturally designed venue. Since 2014 the curatorial team has consisted of Artistic Director Omar López-Chahoud with curators Christophe Boutin and Melanie Scarciglia. The next edition of Untitled, Miami Beach will take place on the beach at Ocean Drive and 12th Street, December 6 -10, 2017. ADMISSION: General Admission: $30

MIAMI ART FAIRS

Art Miami | December 5 – 10, 2017, Art Miami Pavilion, 1 Herald Plaza, at NE 14th Street Miami, FL, between the Venetian and MacArthur Causeways

Over the last decade, Art Miami has secured its position as one of the most important fairs and is globally recognized as a primary destination for the acquisition of the most important works from the 20th and 21st centuries in collaboration with a selection of the world’s most respected galleries. With an average of 75,000 visitors annually Art Miami draws upon the vast collector base, art dealers, advisors, curators and museums that descend upon Miami for what has been largely heralded as the art week of the year in the United States. Attending galleries report high volume sales for their star artists as collectors and advisors are present from the moment the doors open vying to acquire the most important works within the fair. ADMISSION: $50 one day, $95 multi-day pass, $35Seniors, $35 Students 12-18 years

ArtSpot Miami 2017 I December 7 – 10, 2017, 1700 NE 2nd Avenue, Miami

ArtSpot Miami, a high-end saterllite art fair taking place within and in conjunction with Redwood Media Group’s renwoned art shows during Art Week Miami and Art Basel Miami Beach, today announced its 5th annual art show taking place from Wednesday, December 6 through Sunday, December 10, in Miami’s Art and Entertainment District. ArtSpot Miami, housed inside the SPECTRUM Miami tent, is located at 1700 NE 2nd Avenue, Miami, FL 33132. ADMISSION: General: $20, one time use only

CONTEXT December 5 – 10, 2017, NE 1st Ave & 34th St., one block east of Art Miami in a stand-alone tent, at NE 14th Street Miami, FL, between the Venetian and MacArthur Causeways, Miami, FL

CONTEXT Art Miami, along with the 28th edition of Art Miami, commences on December 5th, 2017, with the highly anticipated Opening Night VIP Preview. The 2016 preview attracted 14,500 collectors, curators, artists, connoisseurs and designers, and the fair hosted a total of 82,500 attendees over a six-day period. This immediately reinforced the CONTEXT Art Miami fair as a proven destination and serious marketplace for top collectors to acquire important works from the leading international galleries representing emerging and mid-career cutting-edge works of art. ADMISSION: $50 one day, $95 multi-day pass, $35Seniors, $35 Students 12-18 years

Miami River Art Fair | December 4 – 6, 2017, James L. Knight International Ctr. 400 SE 2nd Ave, Miami, FL

The fifth edition of the Miami River Art Fair, an international, contemporary art fair, will take place at the Downtown Miami Convention Center inside the James L. Knight International Center.

MRAF is providing a unique fair-going experience during the art fair season as the only waterfront art fair. Miami River Art Fair is featuring both an indoor booth setting at the Riverfront Hall of the Miami Convention Center and the one-of-a-kind Riverwalk Sculpture Mall, which is featuring monumental sculpture on the banks of the historic Miami River with a presence of monumental sculptures from Italy, France, Cuba, Colombia, Korea, Spain and a special presentation from Mexico. The Miami River Art Fair will feature galleries and projects with artists from all around the globe. ADMISSION: General Admission $20

NADA Art Fair | December 7 – 10, 2017, Ice Palace Studios, 1400 North Miami Avenue, Miami, 33136

Founded in 2002, New Art Dealers Alliance (NADA) is a not-for-profit collective of professionals working with contemporary art. Our mission is to create an open flow of information, support, and collaboration within our field and to develop a stronger sense of community among our constituency. NADA’s fair is held in parallel with Art Basel Miami Beach and is recognized as a much needed alternative assembly of the world’s youngest and strongest art galleries dealing with emerging Contemporary Art. It is the only major American art fair to be run by a non-profit organization. ADMISSION: Single Day $20

Pinta Miami December 6 – 10, 2017, Mana Wynwood, 318 NW 23rd Street, Miami, FL 33127

Since its creation in 2007, Pinta has distinguished itself from the rest of the art fairs for its specific profile, defining its proposal geographically, placing its bet on quality while focusing on Latin American art identities and issues, and inviting mainstream galleries and artists with the aim of offering an international platform for the dissemination of art from Latin America and the Iberian Peninsula. ADMISSION: Single Day $20

PRIZM I December 5 – 17, 2017, 7230 NW Miami CT., Miami, FL 33150

PRIZM is the producer of a cutting-edge cultural platform that is multidisciplinary in scope. With the goal to expand the spectrum of exhibiting international artists from the African Diaspora and emerging markets.

Their mission is to promote the work of artists from Africa and global African Diaspora, who reflect global trends in contemporary art. Workshops and special events are organized throughout the year to advance critical dialogue and sharpen the lens through which we view and understand contemporary art. ADMISSION: Single Day $15

Red Dot Miami | December 6 – 10, 2017, Wynwood Art District, 1700 NE 2nd AVE, Miami, FL 33132

Discover Red Dot Miami – a juried, contemporary art show in the heart of Miami featuring an international slate of galleries. The show features over 500 leading contemporary artists, museum exhibitions, art labs, events, and talks focused on collecting. Now in its 10th year, the five-day event attracts over 30,000 visitors, a majority of whom are high-net-worth collectors. Join us for an unforgettable five days of cutting-edge art, entertainment, and special events. ADMISSION: General Admission $25 online, $30 at event

Since its inception in 2006, Red Dot Miami has enriched the city’s arts scene beyond measure. Red Dot Miami has become one of the leading satellite shows during Miami Art Week. As it enters its 10th year, Red Dot Miami will continue to inspire attendees from all over the world with its site-specific art projects, art talks and panel discussions, specially selected emerging artists, special events, and more.

SPECTRUM Miami | December 6 – 10, 2017, Spectrum Tent, 1700 NE 2nd Ave. (NE 2nd Ave. at NE 17th St.)

Discover Spectrum Miami, a juried, contemporary art show in the heart of Midtown Miami. Featuring an international slate of artists and galleries, Spectrum is much more than just an art show – it’s a five-day fine art experience where guests can immerse themselves in the world of contemporary art and attend exciting events, live performances, late-night parties, and educational seminars, as well as enjoy signature programs such as Spotlight Artists, LaunchPad, Art Labs, and Art Talks. ADMISSION:$25 online, $30 at event

Superfine! | December 6 – 10, 2017, 56 NE 29th Street, Miami, FL 33137

Superfine! is a boutique contemporary art fair. We humanize the art world by carving out a niche space where passionate, professional artists and their champions meet collectors one-on-one. Each fair is a fun, curated, and accessible environment built for enjoying the art collecting experience. Through a hyper-curated exhibitor list, we consistently deliver high-quality, well-priced artwork directly to you. ADMISSION: Day Pass $10

We Hope You Have an Amazing Miami Art Week Experience!

Your Ultimate Guide to Art Week published first on https://worldwideproperties.tumblr.com/

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worldwideproperties · 7 years

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