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When Luxury Brands Pretend That ‘Protest Art’ Is Enough – The New York Times

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Three months ago, when New York government officials ordered nonessential businesses closed to slow the spread of coronavirus, high-end retailers sheathed their stores in plywood barriers, as though readying for civil unrest.

Did Louis Vuitton and Coach anticipate this human rights movement catalyzed by the police killing of George Floyd? Probably not. The reflexive impulse to protect property is a deeply American one, ingrained in this country’s foundation and upheld more consistently than probably anything else. Luxury stores seized in flimsy plywood are a neat visual synecdoche for a country governed more by fear than sense.

The effect of seeing entire commercial districts embalmed in plywood is jarring, a hostile landscape of bland, beige blankness. In the graffiti tradition, the presence of blankness is known as “fresh walls,” its precious existence an invitation answered gleefully with tags and pieces activated not just by the defiance of their making, but also by being seen — an affirmation of humanity. In the absence of in-person commerce, looking becomes heightened. It feels like a miracle of restraint that New York’s street artists largely heeded the public health emergency and stayed home, leaving most of the city’s rolling plywood fields undisturbed.

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Credit…Laylah Amatullah Barrayn for The New York Times
Credit…Laylah Amatullah Barrayn for The New York Times

In the last few weeks, however, as the country convulsed into protests against police brutality that were met with more police brutality, that inertia began to give way. In New York, some retail stores, previously content to leave their plywood barriers blank when no one was around to see them, and others newly boarded, began deploying artwork ostensibly directed at the protests.

The Museum of Ice Cream in SoHo painted a brand-consistent bubble-gum pink tribute to black victims of police violence under the unfortunate preamble “I SCREAM FOR …” After receiving criticism for insensitivity, the museum’s founder apologized, had the preamble removed and repainted the plywood black. After its windows were smashed, Kith, a brand that pulped hip-hop and streetwear culture into a smooth simulacrum that traffics in notions of community, encased its entire frontage in a massive black box painted with a three-story quote from Nelson Mandela that seemed more interested in aesthetics than coalition.

Credit…Laylah Amatullah Barrayn for The New York Times

The worst of these offer the same ambiguous sentimentality and vague uplift that upscale stores like Club Monaco were already employing before the protests began. The Hanro store next door to the Whitney (its own glass walls blotted out with boards) declares “Love. Unity. Respect.,” a tepid platitude that signifies nothing in the face of righteous unrest.

It’s not hard to identify a brand’s motivation here: wanting to soften the brutal optics of its own self-interest. As thousands of New Yorkers emptied into the streets in recent weeks, some image consultants correctly identified that their brands would be caught naked. Earlier this month, the artist Shantell Martin shared a screenshot on Instagram of an email she said she received from the advertising firm McCann, soliciting her to create a Black Lives Matter mural on Microsoft’s boarded Fifth Avenue store “while the protests are still relevant.” Such language gave the lie to what Ms. Martin called “performative allyship.”

Art can soothe, but it can also manipulate, cajoling pacification when rage is more appropriate.

The most immediate problem with these kinds of murals is that they exist under the pretext of looting — or rather the perceived, racialized threat of looting, the material impact of which hardly skims the existential one that protests seek to redress. It is simply impossible to call for racial equality with a gesture that prioritizes property value. The cognitive dissonance of a store commissioning a graphic representation of Martin Luther King Jr.’s assertion that a riot is the “language of the unheard” on its riot-proof barricade would be parodic if it weren’t so damning.

Credit…Laylah Amatullah Barrayn for The New York Times
Credit…Laylah Amatullah Barrayn for The New York Times

Because rioting is a legitimate expression of pain, the active, exuberant presence of materials designed to dampen that expression can be viewed as unsympathetic, even antagonistic. This moment has, again, exposed the limits of corporate solidarity, designed more to defend shareholder integrity than agitate for social justice.

All of these examples are distinct from the protest art, murals, posters and graffiti writing on trains and elsewhere commemorating the lives of Mr. Floyd, Breonna Taylor, Kimani Gray, Tamir Rice and other black Americans killed by the police, or in other acts of racial violence, that have sprouted in nearly every major American city. In SoHo one recent weekend, I watched artists quietly add their own murals to blank squares of plywood, forming an open-air gallery of genuine grief and solidarity, untethered by commercial interests. Their message is unequivocal. The images are genuine because they serve all of us.

Max Lakin (@maxlakin) is an arts and culture writer in New York.

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Turner Prize: Shortlisted artist showcases Scottish Sikh community

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Turner Prize shortlist includes art showcasing Scottish Sikh community

Jasleen Kaur's installation
Jasleen Kaur’s installation includes a classic Ford Escort covered in a giant doily

A Scottish artist who uses cars, worship bells and Irn-Bru in her work is among the nominees for this year’s Turner Prize.

Glasgow-born Jasleen Kaur’s work reflects her life growing up in the city’s Sikh community.

She is up for the prestigious art award, now in its 40th year, alongside Pio Abad, Claudette Johnson and Delaine Le Bas.

Turner Prize jury chairman Alex Farquharson described it as a “fantastic shortlist of artists”

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Works by the nominated artists will go on show at London’s Tate Britain gallery from 25 September.

They will receive £10,000 each, while the winner, to be announced on 3 December, will get £25,000.

In a statement, Farquharson said: “All four make work that is full of life.

“They show how contemporary art can fascinate, surprise and move us, and how it can speak powerfully of complex identities and memories, often through the subtlest of details.

“In the Turner Prize’s 40th year, this shortlist proves that British artistic talent is as rich and vibrant as ever.”

The shortlisted artists are:

Pio Abad

Pio Abad
Pio Abad's installation

Manila-born Abad’s solo exhibition To Those Sitting in Darkness at the Ashmolean Museum in Oxford included drawings, etchings and sculptures that combined to “ask questions of museums”, according to the jury.

The 40-year-old, who works in London, reflects on colonial history and growing up in the Philippines, where his parents struggled against authoritarianism.

The title of his exhibit is a nod to Mark Twain’s 1901 essay To the Person Sitting In Darkness, which hit out at imperialism.

Jasleen Kaur

Jasleen Kaur
Jasleen Kaur's installation

Kaur is on the list for Alter Altar at Tramway, Glasgow, which included family photos, an Axminster carpet, a classic Ford Escort covered in a giant doily, Irn-Bru and kinetic handbells.

The 37-year-old, who lives in London, had previously showcased her work at the Victoria and Albert Museum by looking at popular Indian cinema.

Delaine Le Bas

Delaine Le Bas
Delaine Le Bas's installation

Worthing-born Le Bas is nominated for an exhibition titled Incipit Vita Nova. Here Begins The New Life/A New Life Is Beginning. Staged at the Secession art institute in Vienna, Austria, it saw painted fabrics hung, with theatrical costumes and sculptures also part of the exhibit.

The 58-year-old artist was inspired by the death of her grandmother and the history of the Roma people.

The jury said they “were impressed by the energy and immediacy present in this exhibition, and its powerful expression of making art in a time of chaos”.

Claudette Johnson

Claudette Johnson
Claudette Johnson's installation

Manchester-born Johnson has been given the nod for her solo exhibition Presence at the Courtauld Gallery in London, and Drawn Out at Ortuzar Projects, New York.

She uses portraits of black women and men in a combination of pastels, gouache and watercolour, and was praised by the judges for her “sensitive and dramatic use of line, colour, space and scale to express empathy and intimacy with her subjects”.

Johnson, 65, was appointed an MBE in 2022 after being named on the New Year Honours list for her services to the arts.

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Claudette Johnson’s art for Cotton Capital nominated for Turner prize

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Claudette Johnson has been nominated for this year’s Turner prize for her work, which includes a portrait of the African-American slavery abolitionist Sarah Parker Remond commissioned as part of the Guardian’s award-winning Cotton Capital series.

Pio Abad, Johnson, Jasleen Kaur and Delaine Le Bas will compete for the £25,000 prize, while the nominated artists will each collect £10,000 as the prize returns to Tate Britain for the first time in six years.

Colonialism, migration, nationalism and identity politics are the key themes running through the 40th edition of the Turner prize, which the jury described as showing contemporary British art “is appealing and dynamic as ever”.

Alex Farquharson, the director of Tate Britain and chair of the Turner prize jury, said this year’s nominees were exploring ideas of identity and would be exhibited from 25 September, before the jury’s final choice.

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He said: “This year’s shortlisted artists can be broadly characterised as exploring questions of identity, autobiography, community and the self in relation to memory, or history or myth.”

Four paintings of people on grey gallery wall

The Turner prize, regarded as one of the art world’s most prestigious awards, is presented to an artist born or working in Britain for an outstanding exhibition or presentation of their work over the previous year.

Abad was nominated for his solo exhibition To Those Sitting in Darkness at the Ashmolean Museum in Oxford, with the jury commenting on the “precision and elegance” of his work, which takes its title from a Mark Twain poem of a similar name that critiques American imperialism the Philippines, his homeland.

The show also contains references to the Benin Bronzes, after Abad discovered that the punitive expedition of 1897 – during which British troops sacked Benin City and looted thousands of objects, of which about 900 are in the British Museum’ – set off from his home, Woolwich, in south London.

Red Ford Escort in gallery with doily on top

Johnson was nominated for her solo Presence exhibition at the Courtauld Gallery, which the Guardian said “brilliantly questions depictions of non-white figures by such revered painters as Gauguin and Picasso”. She was also recognised for her New York show, Drawn Out, at Ortuzar Projects, which included her Redmond portrait.

She is the latest black female artist who emerged in the Black Art Movement of the 1980s to be recognised by the Turner prize, following in the footsteps of Lubaina Himid (2017 winner) and Veronica Ryan (2022), while Ingrid Pollard and Barbara Walker have both been nominated.

The jury said Johnson had been nominated because of the “renewal of her practice”, after she stopped making work in the 1990s, and the fact she was still “taking risks and trying new forms of practice”.

Kaur’s work in the exhibition Alter Altar, which was shown at Tramway in Glasgow, features sculptures and soundscapes, including a red Ford Escort covered in a huge doily, which references her father’s first car and ideas of migration and belonging in Britain.

Long painted drapes and seated figure

Kaur grew up in Glasgow’s Sikh community in Pollokshields, and the jury said the exhibition was a breakout show that was “generous, celebratory, moving and alive to timely issues, speaking imaginatively to how we might live together in a world increasingly marked by nationalism, division and social control”.

Le Bas’s work, shown at the Vienna Secession exhibition, was described as a “response to social and political turmoil” and includes immersive performance art with theatrical costumes and sculptures.

Farquharson said there was a chance the show may travel to Bradford during its City of Culture year, following the precedent set by Coventry, which hosted the awards in 2021, although that was still “to be confirmed”.

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The unmissable events taking place during London’s Digital Art Week

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From W1 Curates’ immersive digital projections to HOFA Gallery’s curated AI artwork showcase, don’t miss out on these stunning events during London’s Digital Art Week.

Digital Art Week is here!

Throughout the week, Londoners will have the opportunity to immerse themselves in digital art across the capital, from prestigious galleries to outdoor spaces, iconic music venues, and over 100 digital billboards.

A multitude of outdoor billboard locations, including Piccadilly Circus, will be transformed for the event, bringing digital art into the public eye and making it accessible to all. In total, works from over 120 leading artists will be showcased.

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“We are thrilled to be back in London for Digital Art Week. This year will be the biggest iteration of the movement that we have ever produced. This year we are using the fabric of the city to showcase more than 120 artists across a wide variety of venues and artistic mediums,” says Digital Art Week CEO and founder Shaina Silva.

With so much happening, here’s a simple guide to some of the events you won’t want to miss:

‘New Beginnings’ at HOFA Gallery

When? – Thursday, 25 April, 6pm-9pm.

Where? – HOFA Gallery, 11 Bruton Street, London, W1J 6PY.

London’s HOFA Gallery, situated on Bruton Street, has curated an exceptional exhibition titled ‘New Beginnings,’ showcasing artists who are at the forefront of integrating artificial intelligence into their creative processes.

Among the featured artists in their showcase, titled ‘New Beginnings’, is Niceaunties, a Singapore-based architect and AI artist who draws inspiration from her cultural heritage to explore themes of aging, personal freedom, and everyday life through generative AI and digital art.

Also included is Sougwen 愫君 Chung, a Chinese-Canadian artist whose piece “MEMORY (Drawing Operations Unit: Generation 2)” made history as the first AI model acquired by London’s V&A museum, as well as digital artist, Agoria, known for his avant-garde BioGenArt.

W1 Curates immersive galleries

When? – During the whole of Digital Art Week.

Where? – 167 Oxford Street, London, W1D 2JP.

W1 Curates, a public art platform situated in the heart of London’s iconic Oxford Street, is hosting a series of free cutting-edge events during Digital Art Week.

These events will feature some of the world’s leading digital artists, including Beeple and Andrés Reisinger.

Here’s the schedule:

Six N Five – Tuesday, 23 April, 8pm-9pm.

GMUNK – Thursday, 25 April 8pm-9pm.

Lost Souls of Saturn – Friday, 26 April, 8pm-9pm.

Ash Thorpe – Friday, 26 April, 8pm-9pm.

Beeple – Saturday, 27 April, 8pm-9pm.

Andrés Reisinger – Sunday, 28th April, 8pm-9pm.

Krista Kim presented on Outernet’s four storey LED screen

When? – Friday, 26 April, 9am till late.

Where? – Charing Cross Rd, London, WC2H 8LH.

TAEX is presenting Canadian-Korean contemporary artist Krista Kim’s “Continuum” collection, an awe-inspiring visual meditation that will be showcased on Outernet’s four-storey LED screen.

Kim’s Rothko-inspired artwork, created from LED light photography and cutting-edge software, offers vibrant colourscapes that aim to elevate consciousness and inspire positivity in the digital realm.

Also, you can look forward to the soothing sounds of electronic group Ligovskoï, whose healing frequency music complements Kim’s mesmerising visuals.

But Kim isn’t the only artist on display at Outernet. You can also catch AMIANGELIKA / Ouchhh (23 April), Zach Lieberman (24 April), Jesse Woolston (25 April), and Sasha Stile (27 April).

‘Daata’ at Shoreditch Arts Club

When? – Thursday, 25 April, 7pm-11pm

Where? – Shoreditch Arts Club, 6 Redchurch Street, London.

If you enjoy cocktails, reggae music and trippy, surreal digital animations then this could be the event for you.

Shoreditch Arts Club, in collaboration with their long-time moving image partner Daata, is hosting a party to celebrate Digital Art Week. Visitors can expect to experience mesmerising digital artworks on screens, accompanied by the legendary sounds of reggae DJ Manasseh.

The evening will showcase The Rockers Uptown – The Shoreditch Version, a curated playlist of commissioned video animations handpicked by Daata’s founder David Gryn. Featuring works by esteemed artists such as George Barber, Phillip Birch, and many more, this event promises to be an immersive journey into a surreal world of digital art.

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