#stripes sold seperately

[marcopollio]

Check out this listing I just added to my Poshmark closet: Opal & Olive White Jug Vase AND store bottle decor decorate accent home white.

[christasclothes]

Check out this listing I just added to my Poshmark closet: Pineapple Palms Tula Carrier.

[benjaminstinydrawtable]

Here’s my newest pony, mystic page! He’s suppose to be a zebra-corn, inspired by @ask-ickle-mod and @askcinnamoncrisp

I’ll put on his stripes….prolly tomorrow… What i aimed for him is to have a decent build because I love tough ponies.

art and character belongs to me!

[heliinx]

Other clans had arenas. Vast pits deep in the earth where rats could cheer and jeer as beasts ripped each other to pieces for their amusement. Where, through bloodsport, only the strongest would survive and go on to be sold to the highest bidder.

However, Reave’s proving process was a bit...different. At least for their more premium warstock, such as the beasts lumbering along, being driven by the whips and spears of the packmasters. Rat Ogres were a common thing, any moulder or mutator could make one. But the Mutants took a certain...finesse. A talent for the craft of fleshshaping.

A talent Heliinx had developed, alongside her magical might.

The quartet of rat ogre mutants that lumbered along were the fruits of her labours and fine specimens if she did say so herself. They’d be facing the beasts of Lustria; that was how you culled the weak. Seperated to wheat from chaff...

Huge and brutish; one in particular had been the pick of the litter. And that very same one was causing contention in the ranks. Even from her palanquin, she could smell fear-musk on the wind. A packmaster applied another bloody stripe that overlarge mutant, and it jerked in response. Not cowed, but furious.

“Fool-fool! Do not damage the merchandise!” Heliinx cried from atop her throne, “ He is worth a score of you-you!”

The packmasters flinched. A Grey Seer’s fury was something to be avoided as well, but in that moment, that lapse of concentration, the beast saw opportunity. Maybe not as stupid as Heliinx would’be hoped. With three great swings of it’s bladed arms, it was loose and several packmasters were dead, beheaded or bisected. Heliinx’s eyes bulged; no made to follow. She nearly leapt from her chair, screaming at her underlings.

“ Idiots! Imbelicles! Retrieve my rat-ogre or I skin-flay you and feed you to my pet-beasts!”

Fear-musk permeated the air much more heavily, but a few packmasters turned off to do as they were commanded, whips and thingscatchers in hand. A rock and a hard place was a common conundrum for a skaven; but being savaged and eaten was better than torture. Quicker, painless...

[myfriendpokey]

subterranean modern

1. Modernism as a concern with being modern.

Which on the face of it is a weird and trivial thing to be concerned about. Who cares? Is the modern good, bad, does it have any specific qualities or objectives whatsoever? If it does, then why not address yourself to those goals directly, rather than having to fret about the merely temporal? The neoclassical and romantic don't strictly speaking have to worry about being modern, they  could always be justified on the basis of the eternal human verities, like such-and-such, or the other thing. The postmodern doesn't need to worry about being modern as "modernity" is something which has already happened, and which is inescapable, which is why we can safely afford to engage in pastiche. So what was the moment in between - when art could neither justify itself as something safely outside of history nor as something already contained within one which had already occured? A period of art trying to deal directly with historicism itself?

To be anxious to be modern is to see your life, beliefs, status and role in the context of a history where any of these things could abruptly or violently be changed by forces out of your control - it involves a sharp awareness of how poorly "history" will treat or has always treated those deemed to have been left behind. And it's an anxiety with no necessarily fixed political expression, which helps to explain why modernism itself could be so various (and sometimes dubious) in this regard. The Martian attack in War Of The Worlds is famously an extrapolation of the West's own colonial history,  turned back on itself: now we are the victims of genocidal, technologically accomplished marauders. But if this is a critique of the colonial mind it's also a kind of paranoid extension of it, imagining faceless alien hordes just waiting to swamp europe if we ever get lax or fall behind in the arms race: the common cold which eventually undermines and destroys the space invaders also mirrors western anxieties about foreign contamination (as syphilis had historically been viewed), or miscegenation. The awareness that a change in "history" could mean death or diaspora might just lead to trying to punch first and most brutally in the name of preserving some advantage, or trying to hold on to your spoils another few generations – but it could also mean trying to find another way of thinking, acting, writing which would break out of the cycle itself.

Literary modernism drew on and tried to position itself within a range of competing historicisms (Marx, Freud, Spengler, Carlyle, Darwin, etc) and in the process tried creating new ones. The results are in general not inspiring: Yeats’s gyres and cycles; Shaw’s mysterious “life force”; Joyce’s Vico-inspired circular history; Ezra Pound’s doggedly stupid efforts to construct a new theory of fascist political economy by crossing John Adams with dynastic China. But I think we also have to see these as scaffolding, to some extent, around a larger project: which is the idea of art as an intervention in history, an apparition of the future (or the uncanny past) which would burst in on the present with a set of new demands for everyday life. We currently live in an economic system in which the blood of the present is continuously drained to artificially prolong a possible, impossible future: one which attempts to pre-emptively shut any political act which would infringe on the right of rentiers to generate constantly increasing returns on their investments until the heat death of the universe. The avant-garde is the reverse – something which would take its energy from the future in order to extend the range of action in the present. When the neoclassical emphasis on the merely aesthetic (or the merely moral, the improving) palls into kitsch, when the postmodern emphasis on “challenging narratives” becomes a purely ritual form of defusing tensions so that business can go on as usual, the concept of the modern as an unsettled question still has capacity to startle.

2. Are videogames modern?

Emilie Reed has already explored this question from the perspective of visual modernism. But i think if we ask it using the definition that I started out with earlier in this post, the answer has to be: no, absolutely not. Videogames aren't anxious about modernity, not because they're so formally advanced (the whole videogame industry is largely an anachronism) but because they never had a sense of history to begin with. History in videogames is at most the history of the stylistic signifiers of videogames themselves - from 8bit to 16bit and so forth - but even then, there's no real sense of that transition being historical in nature, in being linked to some specific change in how people lived or worked or thought about their lives.

To some extent this is because videogames emerged and were propogated across a strangely uniform historical moment – the moment of neoliberalism, from the mid-70s to present, of a supposedly vindicated free market capitalism re-emerging throughout globalized economies worldwide. Videogames are up there with the IMF in terms of historical signs that you're living in this state of affairs: luxury commodities, consumer-grade electronic toys which take advantage of a busy tech sector, cheap manufacturing and shipping, and of course a progressive slackening of regulations around marketing to children. Videogames mean leisure as well as novelty - every videogame is an excess, a kind of portent of the easy abundance and constant progress that the market had to offer. They emerged without anybody much ever wanting them to, part and parcel of the range of spontaneously occuring new conveniences and devices that accompany consumer society.Twenty years too late, they nevertheless would have fit right into the famous “kitchen debates” of the 1950s, in which a model house filled with brand new appliances and recreational devices acted as showcase for a way of life that “anyone in America could afford” (start saving those pennies!!)

[The history of Atari is an interesting time capsule of videogames as aimless luxury doohickey rather than anything as essentialist as a “medium”. Atari’s other products from this time included a sort of proto-winamp skin, a music visualizer that plugged into a tv to display a limited range of soothing animations. It cost $170, which i believe would be over $600 in 2019 dollars – shades of the Oculus Rift, but also an interesting indication of the kind of commodity Atari thought they were making in general]

Videogames are “futuristic” but it’s in a sort of vague, unwilled way – nobody asked for these things to be invented. People behind the scenes were certainly struggling to produce and advance on them but the public representation is, as the Housers say, that videogames are made by elves. The famous “end of history” was still a few years off, but the sort of passive, ambient futuricity of videogames were part of the pitch, part of the idea that if history hadn’t yet ENDED it could at least be something that happened far enough away that you never felt the tremors.

3.

Why is videogame culture so hospitable to the far right?

Postmodernism is haunted by the notion of conspiracy, the idea that history lingers on in some subterranean way, continuing to exert a baleful influence upon the present; officially denied, but still working behind the scenes, a secret society of postal workers here, an albino papist assassin there... so perhaps it’s not surprising that something of the same paranoia would hang around videogames, or some of the specific targets it would end up revolving around. One weird thing is that the people paranoid about keeping politics out of the format never seem to be all that vocal when it’s, say, the US military working with these companies for explicit propaganda purposes, or weapon manufacturers looking for free advertising, or large companies involved with weird shady review practices, etc.... but it also makes sense when we consider that these things, the military, industry, big tech, are what have always supported the supposedly ahistorical  bubble that videogames exist within. If the US army does it, it can’t be political – because that army is exactly why we’ve been able to keep a certain form of “politics” at arm’s length.

If fascists find a home within these circles it’s partly because fascism is itself anti-political, or at least anti- the discursive and constructed nature of the political, anti-having to be political. It addresses itself instead to the inchoate realm of pre-existing essences and “natural”, i.e. historically unexamined, identities, posited as seperate from and superior to the ebb and flow of any given discourse. Which in fact is not dissimilar to how videogames have also presented themselves, and the affluent 1970s american middle class leisure patterns that they continue to preserve in  aspic through their design assumptions although they’ve dissolved nearly everywhere else.  To talk about the specific political meanings implied by such-and-such mechanics is not wrong per se but i think it does miss a broader picture: these things were sold, not as an artform or a medium of communication to begin with, but as the simple birthright of those lucky enough to have been included in the winner’s circle of 20th century globalization. And insofar as the gruesome escalating culture war around these objects is not really about them but about that birthright, about the right to not have to think about these things or what they cost or how they’re made or what they even really do, they will retain some character of the horrible idiot Boy’s Adventure rhetoric of fascist thought – traitors within, invaders without, take back what’s ours etc.

4.

It’s not like modernism proper was lacking in antisemites, misogynists, imperialists, fascists of every stripe. Although the real connection between the two has tended to be overemphasised: it doesn’t include, say, the painters exhibited as “degenerate art” under the nazis, or murdered jewish artists like Bruno Schulz, or the feminists, socialists, anarchists, homosexuals, etc etc (and even the most ignominous cases like that of the futurists don’t feel quite conclusive, unless you think Mussolini really was keen on abstract sound poems as the new and vigorous art of the future). But maybe the gruesomeness of that list is the point: everything bad about modernism is already here. We have the weird cultish adoration of a strictly pro forma version of “difficulty”, we have the idiot jingoism and “provocative” chauvinism, we have lots of dumb schlock about saving western civilisation and masculinity and etc. Like the scrapmetal cars in Mad Max all-new unified theories of history are or have already been constructed from the flotsam, junk science and vague prejudice of the previous century. At a point where gamer cults are watching youtube explainers of Carl Jung while drinking brain-enhancing nutrient paste i think we have officially lost the right to make fun of W.B. Yeats for hanging out with Rosicrucians and injecting ape glands into his scrotum to restore male vigour. It was good while it lasted.

But given that we’re here already, is there anything worth taking from modernism the first go round? I can think of a few different things. The internationalist qualities of the artist’s magazine and manifesto, both cheap and portable forms which could easily be adopted or changed, which served as hubs for local action and also as ways to exchange findings and ideas with other groups doing the same. Compare this to videogames where “local scenes” surely do exist but for the most part do so as ancillaries to a generic industry pipeline, making games for the same carefully featureless, anglocentric audience that this entails. Relatedly, how central translation was to modernism, not just as a way to introduce more works to the existing market but as a form of creative estrangement and of getting out of a limited market-based parochialism – a way to engage not just with singular decontextualised works but also with criticism, theory, arguments. Given how much more capitalised even alternative videogames still seem to be than alt comics, literature, etc, it’d be nice if we could achieve at least parity with those forms.

I could also point towards the modernist interest in material and the new working methods this opened up – the interest in what mass production could mean and what new relations to art it could entail – attempts to create new forms of audience, of public and public speech, and to imagine forms of popular art which didn’t necessarily abide by the gloopy poptimist ethos of the popular always equalling the profitable always equalling the ubiquitous (there were many false starts, but i believe poptimism finally died forever with the advent of the funko pop). And I could also point at the interest in combining the critical and the aesthetic – in the argument that style is itself a combination of the critical and the aesthetic, is also a way of thinking about history, rather than just being what gets swapped in over the programmer art when it’s time to show a build, or treated as the meaningless expression of some changeless pre-existing taste. Is taste changeless? Or to what extent? What does this mean for forms of public speech, like art, which themselves exist within the constraints of taste? Unfortunately, we will probably not be helped in our thinking on these questions if we only ever write about Red Dead Redemption 2.

***

Part of the reason videogames have tried pointing themselves away from the modern is to try to establish their own lasting importance; instead of a provisional tangle of different incongruous traditions and materials designed to fit a peculiar historical or economic context, these things are a medium, which is imagined as a sort of mysterious Stargate portal onto the realms of Systems or Empathy or Play or whatever other Panglossian catch-all helps get you some of that californian venture capital, or possibly a book deal. But part of the consequence has been a stunted dogshit format where art is downgraded for being anything other than an advertisement for itself and which acts as a haven for fascists looking to also naturalise their tiny bubble of seigneurial rights away from any consequence or critique. Videogames might not be modern but by now they’re part of our image of what modernity looks like, and as that modernity continues revealing itself to be frayed, collapsing, incoherent or wildly unsustainable these things will like it or not become another part of that stock heap of broken images pulled from at random to build the futures that you may or may not ever want to live in. We can start thinking about the past as a way to find alternatives within it; or we can outselves become that past, and have our bones incorporated into the deathmobiles of the new age. History is back baby! it’s still a sewer!! awooo!!! Get ready to die historicist, on the fury road!!!

https://www.youtube.com/watch?v=Leax63ullPE

[images: Modernism(1995), World History Quiz, My First Amazing History Explorer, Smart Mouse for Sega Megadrive]

[vapourdepot-blog]

asMODus Lustro 200w Mod

The asMODus Lustro 200w Mod is the latest and greatest box mod from asMODus, incorporating several innovations that will change the world of vaping forever. Starting a trend of advanced, high-tech devices with features that turn a vaporiser from a simple nicotine-delivery device into a modern piece of technology similar to a smartphone or laptop.

One of the standout elements of the Lustro is the inclusion of an IR (infrared) sensor that allows for a futuristic hands free method of control that does not require the user to user the touch screen to interact with their device, turning your everyday vaping session into something you would see in a sci-fi movie. By simply waving your hand in front of the the device you may navigate through the menu or switch firing modes, an affair that you must experience for yourself to believe (can be turned off if required).

The asMODus Lustro 200w Mod also features a colour-changing LED stripe located to the left of the display, firing button LED and flashlight on the bottom of the device.

Driven by the GX-200-HUT chipset and powered by two high-drain 18650 Li-ion batteries (sold separately), the Lustro is able to output a potential maximum of 200 watts and features an easy to read speedometer inspired colour touch screen.

asMODus Lustro 200w Mod Specifications:

Requires 2 x 18650 sized batteries (sold seperately)

Touch screen type: Capacitive Screen

Wattage range (Power mode): 5W – 200W

Wattage range (TC modes): 5W – 120W

Temperature control range: 212° – 572°F / 100° – 300°

Atomizer ohm range: 0.1 – 2.5 ohm

Max output voltage: 7.5V

Peek output current: 45A

Charging parameters: DC 5V/1A

Upgradeable firmware

USB TYPE-C

Product Dimensions:

Length: 80.4mm

Width: 40.5mm

Thickness: 36.0mm

     >>Use Promo Code “SAVE15” to get 15% off<<

[fashionmuseme]

Reggae Dreams Crochet Set - Fashion Muse

Reggae Dreams Crochet Set - Fashion Muse

If standing out from the crowd’s your thing, stand out in Reggae Dreams Crochet Set. Designed for your boho spirit, the bold combo of striped colours and authentic handmade charm are guaranteed to get people talking. Make every day a statement day with Reggae Dreams Crochet Set. Sold as a set top and shorts and as seperate skirt or top or shorts on their own.

[huntinggearsuperstores]

Christmas Family Matching PJ Sets Xmas Tree Print Blouse +Stripe Pants Mommy Daddy Kids Pajamas Set Sleepwear

https://huntinggearsuperstore.com/product/christmas-family-matching-pj-sets-xmas-tree-print-blouse-stripe-pants-mommy-daddy-kids-pajamas-set-sleepwear/

❤ Xmas Family Pajamas Sets are sold seperately, you must add at least two sizes to shopping cart in order to receive two dresses See product description for proper sizing information. ☺❤Features: Merry Christmas Xmas Tree Print, letter print winter autumn warm house blouse, green striped pants, long sleeve sleepwear blouse & long pants, cute,ugly xmas mommy and daddy baby matching shirts tops,family pajamas sleepwear christmas outfits set for mom,dad and child, great for special events, family gatherings, holidays, girls night out vacation,special occasion and photos, etc. ❤ Available in sizes for adults, mommy,daddy,kids, boys, girls, toddlers, infants —– Summer Autumn Winter Spring Gift, Halloween Gift, Chritsmas Gift, Birthday Gifts, Party Gifts, New Year Gifts.

[sewprettyprincess]

For just $18.00 This is an adorable well matched purple dress and shawl fits American Girl doll as well as other 18 inch dolls. The dress is a pink and white stripe and the shawl is made out of country floral and both have matching lace. The shawl is secured by a seperate loop in the front. The dress can be worn with or without the shawl. The back of the dress is closed using snap closures that are securely hand stitched on and are easy to operate. The shawl can also be worn as a scarf as shown in the last picture. This item along with all other items in my shop are in stock and will be shipped out the next business day after payment is reiceved. Thanks for looking!! Please note the following: 1.Although I made this outfit to fit 18” dolls such as those sold by American Girl, Gotz, Our Generation or Springfield Collection I am not affiliated with those companies. 2. The doll and shoes in the photos is for display purposes only and is not for sale if it was my sister would have a fit. 3. All seams that would fray have been serged. 4. From a smoke free, dog and bird loving home.

[thecardaddy]

2010 Dodge Challenger RT - $20,895.00

2010 Dodge Challenger RT plus pretty much ever possible option like navigation , leather heated seats , moon roof , power everything, has the edition of custom 20' wheels ( have factory aluminum wheels, will give one or the other with the car) Hellcat real cowl injection hood with Mopar cold air intake hood Hell cat front lower spoiler and srt8 rear spoiler , flowmaster exhaust almost new , custom engine compartment looks nice , tinted windows , satelite radio , custom grill , HID factory projection headlights with LED halo fog lights , custom painted hood and black accent stripe , YES AND ONLY 17,000 MILES THIS CAR IS FROM THE SOUTH NEVER SEEN SALT OR SNOW MINT CONDITION UNDERNEATH.it has its own custom look that seperates it from most challengers . This is a rebuilt title due to a front end collision but you can not tell this car looks amazing. Please Note The Following **Vehicle Location is at our clients home and Not In Cadillac, Michigan. **We do have a showroom with about 25 cars that is by appointment only **Please Call First and talk to one of our reps at 231-468-2809 EXT 1 ** FREE Consignment Visit Our Site Today Easy To List Your Vehicle and Get it Sold in Record Time. from Cardaddy.com https://www.cardaddy.com/vehicles/vehicle/2010-dodge-challenger-rt-cadillac-michigan-17773437

[christasclothes]

Check out this listing I just added to my Poshmark closet: Pineapple Palms Tula Carrier.

[hollyhawthorne]

INVESTIC CAPE TOWN ART FAIR 2019 QUESTIONS

1. Find each gallery booths for the three galleries that we visited on Thursday 14 Feb. What do you notice about each of these booths that are similar and different to the actual gallery (do you recognize the gallerists, the style of work/ artists and ways the work is hanging, a “vibe” etc.).

-  At BLANC GALLERY in Woodstock, we saw a solo show by Bronwyn Katz, which consisted only of three-dimensional works. The works were few and took up two spacious rooms. At the fair, Blanc exhibited a number of artists’ three-dimensional and two-dimensional works, obviously resulting in a more condensed and claustraphobic style of curation. I recognized that the same gallerist had been looking after the works at both events.

- Woodstock’s GOODMAN GALLERY hosted a solo show by Nolan Oswald Dennis. There were both two and three-dimensional works there, with some expanding straight onto the surface of the walls. A few of these walls had been painted grey. All of the works were presented along the perimeter of the room, with no sculptural works moving out into the middle of the space. At the fair, however, there were sculptural works for people to navigate their way around. None of the walls there were grey, but there were some yellow stripes on the floor that existed prior to the fair. There was a seperate room for the photography and video work of Tabita Rezaire, which was quite a tight squeeze, adding to the theme of confrontation that I felt her work explored.

- STEVENSON GALLERY in Woodstock is currently presenting Simphiwe Ndzube’s work, most of which is sculptural, or two dimensional with attatched objects jutting out of the frames. The walls were painted in light pink and blue, there were also handprints of smeared paint, reminding one of the human behind the final product. None of this evidence of labour was included in the curation of the fair. Here; Kemang,Botha, Cohen and Grose exhibited a variety of works.

2. Over the course of the day, decide on THREE works you absolutely love and THREE you most dislike or find frustrating. Make note of these with full details, and why you like/dislike them.

WORKS THAT I LIKED

- B. Wurts, Untitled, 2001, acrylic paint, paper

I really enjoyed Wurts’ comic or diary-like language that was created through the use of quick scribbles of random phrases and chaotic drawings, as well as the interesting variety of tone and line. The artist used scrap papers, reminiscent of post-it notes, arranged in layers that were itching to be paged through. This created an interesting paradox, where one needs to touch the work in order to see all of the drawings, but is not allowed to, given the formal gallery setting. I love the themes of horror paired with humour, as well as child-like drawings used within the professional realm of a gallery.

- Pino Deodato, Untitled

These were the only details of the work, written lightly on the wall in pencil. The sculptures appeared to be made from clay, though. This work was quite strange. While I didn’t immedietely love the look of it, I loved the strange and eerie feeling which I got from it, as well as the evidence of the human hand and its imperfection. By this, i mean that there were visable finger marks on the sculptures. The figures reminded me of childrens’ dolls, which was creepy but also quite mundane at the same time, due to the subdude colour pallette and absense of any wild brush strokes or obvious symbols of horror. I quite enjoyed the scale of the work, because as the viewer, you had to go really close to it and get involved in order to see the details.

- Ed Young, balloon performance and installation piece

I thought that Young was really clever with this piece. By having his assistant hand out balloons, people were bound to take photos with them. Even I posed for an instagram picture with mine. Those balloons followed viewers around into every corner of the fair, making their way into almost all of the press photos. Later, when I thought about how redundant these ‘balloon selfies’ were, i realised that people were literally posing underneath labels such as ‘scumbag’ and ‘moron’, highlighting how people will literally do anything to be trendy. I’m not sure if this was intensional, but I thought that that the use of humour was inspirational to my own practice.

WORKS THAT I DISLIKED

- Mr, While Walking, 2017, Acrylic and silkscreen print on canvas.

This work frustrated me. I assumed that it was a nod to pop culture, and more specifically to the sub-cultures that exist around anime. This work looked to me like a poster than any kid would have in his/her bedroom, giving a nod to mass-production. I felt like this was a really  tired and overdone theme... however whilst I was typing this i realized that this print was the only one of its kind that was made, which is quite interesting...

- Ley Mboromwe, Mokonzi aza mutema made, 2019, acrylic on canvas

Borrowing ideas and drawing inspiration from other artists is inevitable. However, there is a fine line between influence and blatant copying, and this piece is literally a knovk-off Basquiat. The only explaination that I can think of is perhaps a reimagining of Basquiat in an African context? This peice just confused me.

- DD Trans, Untitled

Whilst I liked the idea of the brightly coloured balloon ties being juxtaposed to the oldstyle painting, I found it to be quite random and was left wondering if there was any contextual meaning behind it? I just feel like the placement of the balloons could have been more considerred.

3. What are the predominant mediums and processes that dominate the majority of works at the fair this year?

I noticed a lot of painting, as well as the use of found objects. I enjoyed the fact that I saw a lot more “quick, spontaneous, loose” work in comparrsion to last year. But im not sure if thats just because I was looking out for those qualities...

4. What are the most obvious differences between the way different booths are curated?  Look at spacing/ size/ hanging/ booth furniture and so on.

Some booths are more interactive (viewer can walk between sculptures/installations), while some are curated very traditionally, with uniform framing. Some booths were very spacious, placing emphasis on the chosen works, while more claustraphobic booths displayed lots of works. Some booths had little office type spaces where gallerists could sit and discuss the art with buyers/veiwers.

5. How do the various booths differ in terms of signage, text, labeling/ titles: note the different ways.

Some artists have the imperical data for their work displayed tradditionally on printed labels, while some data has been drawn onto the walls. Some have no titles at all. Some artists included descriptions/analysis with the work, while some did not.

6. What is the general layout of the fair? Why do you think it is laid out this way?

The walkways between the booths was made wider this year. This is undoubtably because in 2018 the pathways were very tight, making one gallery space indistinguishable from the next. Besides this, the layout of the fair is still maze-like, with no particular path mapped out for viewers. This encourages the viewer to gravitate towards and away from certain works according to their intrests, forging their own path through the room. The divisions which were clear though, were that the commercial galleries dominated the central spaces, whilst smaller local galleries fell to the sides. Very old modern art galleries exhibited on the far left side of the room, probably the least viewed area.

7. What is the lighting like at the fair? Describe.

Not good. The bright white lights were quite clinical and also caused glares to appear across most of the works. 

8. What do you notice about the way people dress at an art fair? Look carefully at how the people working in the booths present themselves ,as well as other people at the fair and make observational notes.

There were lots of kids in school uniforms. Other than that, amoungst the adults, the fashion that I saw was quite strange. Other than a few posh art buyers, dressed in designer, people appeared to be dressed very casually. This was quite a let down, as last year we saw many flamboyant and expressive outfits.

9. Who or what are the various “markets” at this fair? What are the different types of “products” being sold and promoted here? Who is the fair aimed at?

The art fair is aimed at buyers, a very specific target market consisting of wealthy art collectors. It also caters to the public who are interested in art.. You had to pay for a ticket which means their target market is people who have money to spend on entertainment. (middle to upper class). Products aimed at the general public include books, food, drinks and psoters, whilst the aim of the fair is to sell art to the rich.

10. Find a work that you think exemplifies the spectacle of wealth. Note why you think so.

For me, the most obvious example was Athi-Patra Ruga’s The ever promised erection I. This is simply due to the materiality - or rather how it appears. The piece seems to ooze of expense, dripping in gold and jewels. Also, the symol of a bust signifies royalty or significant importance.

11. Find a work that feels like it doesn’t “fit” in this art fair context. Note why you think so.

12. How easy is it to ask about prices? Take turns with your fellow CA students to enquire about the cost of works at various galleries and take note of prices across the fair, as well as the way gallerists may treat you or react to you asking for these details. Do it at least TWICE yourself  in two different places.

I didn’t find it easy at all to find prices, mostly out of my own fear of talking to fancy gallerists. However, I did speak to one or two friendly faces who were more than happy to discuss the prices and process of buying pieces.

 13. What do you notice about sponsorship and branding at the fair? What brands are visible and who is the clientele / target market of these brands? Why would they choose a fair to push their product?

The whole fair is obviously sponsored by Investic,  whose branding is visable on all of the art fair parafenalia. Another big brand was moet champagne, which is appealing to a target market of wealthy people, like art buyers. Fairs are great for advertising because a large volume of people come through every day that the work is up.

14. Why do you think this fair takes place at the Cape Town International Convention Centre? What other commercial events take place here? (look up examples)

The venue is large enough to fit in lots of booths and many people. The venue is also in central Cape Town, so quite accessible. Other events here include gift fairs, jazz festivals, comic con, business conferences etc.

15.What are the oldest artworks you can find at the fair? (made the furthest back in time)

The whole section dedicated to the “greats” in South African art history. E.g. William Kentridge, Irma Stern.

 16. Who are the youngest artists you can see represented at the fair? 

Smith Gallery exhibited a number of works by freshly graduated Michaela’s students such as Michaela Younge and Talia Ramkilawan.

 17. How do the SOLO booths differ from the other booths?

Naturally, there would be more cohesion in the look and curation of the booth of a solo artist. There is more of a focus on that particular artist. Shared booths are trickier to curate I think, in regards to allowing a good flow of work.

 18. Who are the big names that keep popping up this year? Note why you think this is so.

I heard a lot of buzz around Roger Ballen appearing at the fair. I think this was because he’s such an oddball and his work fascinates people. The fact that his name popped up a lot for me could, however, be because I follow his work quite closely and actively look for news on him.

19.What kind of trends in subject matter do you notice this year? What kind of trends in materials do you notice this year? Note why you think this is so.

I noticed a lot of mixed media works, as well as found objects. In terms of subject matter, I saw a lot of figures, and subject matter relating personally to the background or current situation of the artist. I think this is because artists commonly use art as a means to express themselves.

20. If you could be represented by any of these galleries, whom would you LOVE to show or be represented by?

Smith, because I liked how young emerging artists were all alongside one another.

21. If you could work FOR any of these galleries, whom would you LOVE to work for?  And in what capacity?

Smac Gallery, as a curator. Or anything that allowed me to handle Georgina Gratrix’s paintings!

22.What other questions came up for you while wandering around the fair?

How could one possibly give attention to all of the works here? What would the best route be to walk, because I kept walking in circles.

 23. If you were to start a gallery or art institute, would you (hypothetically) want to show at the fair? And if so, how would your stall look and differ or be similar to what you have seen today? (you can make a sketch below) 

I would possibly show, but I’d love to have a solo booth to create somekind of installation work, seperate from the rest of the booths (almost like a resting spot for viewers).

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Product description

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