What I Buy and Why: Collector Dede Wilsey on Why She Prefers to Hang Her Kandinsky Sideways and How She Helps Museums Acquire Art

Dede Wilsey has been a supporter of the de Young Museum in San Francisco since 1998, but she only started collecting art for herself a few years later, when she was looking for a place to put her energy after the death of her husband, dairy and real estate magnate Al Wilsey.

Since then, Dede has built up a formidable collection of Impressionist art, and has continued to help the de Young and its sister museum, the Legion of Honor, grow their own. In October she financed the museum’s acquisition of Canalettos Venice, the Grand Canal looking east with Santa Maria della Salute. The Venetian scene was to be auctioned as part of another prominent San Francisco collection, that of Ann and Gordon Getty, with an estimate of $6 million to $9 million — but the San Francisco Museum of Fine Arts spotted it hours before the sale. to begin.

Since 2019, Wilsey has also endorsed the museums’ Free Saturday program, which provides free general admission to the de Young and Legion of Honor for Bay Area residents every weekend.

Wilsey recently spoke with Artnet News from her home in San Francisco, where commissioned portraits of her dogs share wall space with Monet and Kandinsky.

Giovanni Antonio Canal, Il Canaletto, Entrance to the Grand Canal looking east, with Santa Maria della Salute on the right. Image courtesy of Christie’s.

What was your first purchase (and how much did you pay for it)?

The first serious photo I bought was right after my husband died. I was in Maastricht to lead a group from our museum [the Fine Arts Museums of San Francisco]—a building committee, because we were building the de Young Museum at the time. I was absolutely miserable. I kept looking around and finally I thought, maybe I’ll feel better if I buy a happy painting. So, I bought a late Monet of Giverny with lots of pink flowers and trees. I didn’t feel better. I thought if I bought another one, then I would feel better. I bought a [Mary] Cassatt – a woman with a baby. I installed that one and I still felt sad. I can’t even remember what I bought after that. After about 10 years I was no longer sad and had many paintings. That’s how I started collecting.

What was your most recent purchase?

My most recent purchase was a Kandinsky. I hung it on my powder room door—vertically, instead of horizontally. You can’t tell the difference. Once it’s yours, you can do whatever you want with it.

For the Fine Arts Museums, I recently purchased a Canaletto at the Getty auction. It is a museum picture and it really belongs in a museum. Everything in the Getty’s home was just as special. We really didn’t want it to leave San Francisco. I bought it in memory of Ann Getty.

What works or artists are you hoping to add to your collection this year?

I do not know. I recently bought a Gerome, a portrait of his daughter. This is something I never thought I would buy. But the little girl is so cute that I couldn’t resist her. And I typically react when I see something and it affects me. Kandinsky is also not something I would normally buy. But it’s great, I love it.

What is the most expensive piece of art you own?

A Monet water lily.

Where do you buy the most art?

At an auction—Christie’s or Sotheby’s.

Is there a job you regret buying?

Well, I’m sure there are several and I’m sure I’ve sold them by now. I think everyone makes mistakes in the heat of the passion to buy something. Then you suddenly say to yourself: Why in the world did I do that?! I bought a Koons egg. It is on loan to the Dixon Gallery and Gardens in Memphis. It is very heavy. It’s fuchsia with a purple bow. I actually really love it, but it’s just not very practical.

The Koons egg in Dede Wilsey's collection.

The Koons egg in Dede Wilsey’s collection.

What work do you have hanging above your couch? How about in your bathroom?

I have two sofas in two rooms—one has a Hockney and the other a Picasso above it. In my bathroom I have dog portraits and Chinese export porcelain. I just bought a new dog photo. It looks just like my little Maltese. The first dog photo was requested for my Jack Russell, Melissa, and my first Maltese, Serena. Since then I have been buying 19th century or early 20th century Maltese or terriers. I now have an entire bathroom, dressing room, bedroom at my house in Napa covered in these paintings—just wall to wall.

What is the most impractical piece of art you own?

Definitely the Koons egg. I buy a lot of Chinese export porcelain. Every once in a while I’ll buy something that’s so big I wonder where I’ll put it—or so small I can’t really see it.

What work do you wish you had bought when you had the chance?

Ahhh. Caillebotte. A fantastic Caillebotte in London. I was there with John Buchanan, our director at the time. There was a very nice dealer we knew in London. She said she would like to take us to someone’s house and show us a wonderful painting. The photo was of a house, a villa. Two people in beautiful clothes, a man and a woman with a parasol, walked away from you. Just fantastic. I said, “About how much?”

“$9 million.”

$9 million dollars for Caillebotte?! I always regretted not buying it. Years later, another dealer called about the same picture and the price was $22 million. I just hope it went to a good home. I loved that painting.

If you could steal one piece of art without getting caught, what would it be?

I forgot which museum it is in, but a Degas of the ballet studio with all the dancers in tutus. You know, I’m looking at a painting in my office, which is also my dressing room. I love this photo by artist Rupert Bunny. He is an Australian. This is the most beautiful photo of a girl in a wonderful negligee lying on a couch reading a book. I keep looking at this picture. I can’t imagine doing anything but lying there and reading a book. It is very relaxing to watch her enjoy her book.

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Art from the Heart, National Gallery, review

Even in our increasingly secular age (as evidenced by the latest census), Christmas remains for many a period of reflection and tradition, an opportunity to reconnect with ancient ways of doing things. Apparently not for the National Gallery, where advent has – rather brilliantly – become the season of innovation.

Two years ago, for example, it unveiled several midnight-blue dust pods, each as tapered as a wizard’s hat, in which visitors could watch a 13-minute long “experience” about Jan Gossaert’s altar piece The Adoration of the Kings on glossy screens. . Imagine if Carols from King’s tried something this funny.

Now comes its latest effort to engage a demographic of digital natives, Fruits of the Spirit: Art from the Heart, for which it has partnered with various institutions across Britain, from Plymouth to Dundee. For this virtual exhibition, which can be accessed for free on the gallery’s website, nine famous works from the National collection, including Jan van Eyck’s Arnolfini Portrait and Claude Monet’s Water Lilies, have been chosen to represent “positive qualities” (love). illustrate. , kindness, self-control, and so on) from Saint Paul’s letter to the Galatians.

Each is then paired with a picture from somewhere else (Monet’s Water Lilies, for example, is juxtaposed with an altar piece from Canterbury Cathedral), and “hung” inside an octagonal, computer-generated capriccio, with wooden floors, sage- green walls, and an enormous oculus that offers an uplifting view to blue skies above.

The functionality is impressive and user-friendly. Viewers can turn 360 degrees and look at all the paintings arranged in small, chapel-like bays beyond semicircular arches. Benches even appear here and there – superfluous of course, but strengthen the illusion – although one lesson from this experiment is that curatorial principles must still be respected. In its software-evoked corner, Monet’s expansive canvas looks cramped.

Less successful (as the exhibition’s naff subtitle might suggest) is the analysis of the works on display. Intended to “explore topics essential to well-being”, this has a swirling, meandering quality that reminded me of Radio 4’s Thought for the Day.

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How one artist took on the Sacklers and shook their reputation in the art world

The first few times I spoke with photographer Nan Goldin, I saw her anger and frustration over the prescription opioid epidemic that has derailed her life and killed tens of thousands of Americans.

“I have never seen such an abuse of justice,” Goldin told me.

She was talking about members of the Sackler family, which owns Purdue Pharma, the maker of Oxycontin.

Goldin himself became addicted to pain pills after the surgery. She later came to believe the Sacklers had lied about their drug’s safety and were unlikely to be held accountable.

“It’s shocking. It’s really shocking. I was deeply depressed and terrified,” she said.

What I missed in those encounters with Goldin—hidden behind the chain smoke and the tired laugh—was the strength, stubbornness, and dogged courage that helped her take on the Sacklers.

This is the revelation in the new documentary about Goldin, All the beauty and the bloodshed, now out in limited release. It won the Golden Lion for best film at the Venice International Film Festival this year.

The film by Laura Poitras shows Goldin growing up in an abusive family, surviving foster care and living homeless in New York City.

Goldin has forged her way into the art world as one of the most powerful photographers of her generation. To pay the bills – and cover the cost of film – Goldin often danced in strip clubs and did sex work.

“Photography has always been a way to walk through fear,” says Goldin in the documentary. “It gave me a reason to be there.”

She later became one of the earliest American artists to tackle the AIDS epidemic, launching a show in the late 1980s that attracted national attention and controversy.

The Sackler family, meanwhile, grew incredibly wealthy, first by selling Valium and then aggressively marketing Oxycontin.

Many of the same museums around the world that began collecting Goldin’s photographs also named buildings after the Sacklers—in return for lavish donations.

The clash between the Sacklers and Goldin depicted in this film came after Goldin’s recovery from years of opioid addiction, a time she describes as “a darkness of the soul.”

After reading about the Sacklers’ role boosting Oxycontin sales in a groundbreaking article in The New Yorker, Goldin decided to challenge their carefully constructed public image as enlightened philanthropists.

“All the museum institutions need to stop taking money from these corrupt evil bastards,” Goldin says in the documentary, as she helps organize one of the opioid protests that have rocked the art world in the past five years.

It was not clear that Goldin’s campaign would work. The Sacklers were among the most respected and deeply connected art patrons.

“The museums…tried to pretend it wasn’t happening,” director Laura Poitras said in an interview with NPR. “None of them responded.”

But Goldin pressed on, recording more protests and publishing a scathing personal essay in the influential journal Artforum.

“She knew how to use her power. She is a figure that these museums wanted to work with,” says David Velasco, Artforum’s editor-in-chief, in the documentary.

It is important to say that the Sacklers have long denied any wrongdoing.

Their company has twice pleaded guilty to federal criminal charges related to opioid marketing and Purdue Pharma is now in bankruptcy.

But members of the Sackler family who ran the company and profited from opioid sales have never been charged with any crime.

While they have given up control of their company and are expected to pay billions of dollars as part of a settlement agreement, they are likely to retain much of their wealth.

However, they faced a different kind of liability.

In best-selling books like Empire of Pain: The Secret History of the Sackler Dynasty, the book and award-winning television series Dopesick, and this new documentary, the Sacklers have faced a kind of public shaming.

The Sackler name has been stripped from buildings and exhibition spaces in the Guggenheim, the Louvre, the Met, and other top cultural and educational institutions around the world.

In my conversations with Goldin, she described it as a slim kind of victory, weighed against the carnage of an opioid crisis that continues to rage.

Hundreds of thousands of Americans have already died. Fatal overdoses, now driven mostly by the illegal street opioid fentanyl, hit a devastating new record in 2021.

In the documentary, however, Goldin grants her a moment of triumph. She walks through an exhibition space in the Met, where the Sackler name has been scrubbed from the wall.

“Congress didn’t do anything, the Justice Department didn’t do anything,” Goldin says. “This is the only place they are held accountable, the only place. We did it.”

Copyright 2022 NPR. To see more, visit https://www.npr.org.

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Nicolas Cage Gets Transformed Into Superman Beyond in New Fan Art

Warner Bros. Discovery has been working hard on promoting DC Comics since their merger was completed and the CEO has been trying to steer the ship in the right direction. We’ve officially learned that James Gunn and Peter Safran will be heading up the new DC Studios and they’ll be planning the next ten years of movies. There was also the news that Henry Cavill will return as Superman in the main DC Universe and that writers the next presentation Man of steel Movie. One fan thinks Cavill should be the main Superman of the DCU and even has a design showing who they think the guy should be.

An artist on Instagram who goes by @Clements.Ink has revealed a new piece of fan art that shows what Nicholas Cage could look like as the Superman of the future. In the fan art, you can see the actor as Superman Beyond in the costume that fans are used to. While this isn’t a film based on Gunn and Safran’s tenure, it’s certainly fun to think about. You can check out the fan art below!

Gunn and Safran started their jobs as co-CEOs of DC Studios at the beginning of November and it’s safe to say that the future of DC looks bright. When the duo was released by the new Warner Bros. Discovery boss was announced, they released a statement about their excitement for the job.

“We are honored to be the stewards of these DC characters we have loved since childhood,” Gunn and Safran added in a joint statement. “We look forward to working with the most talented writers, directors and actors in the world to create an integrated, multi-layered universe that still allows for the individual expression of the artists involved. Our commitment to Superman, Batman, Wonder Woman, Aquaman, Harley Quinn and the rest of the DC stable of characters are matched only by our dedication to the wonder of human possibility these characters represent.We are excited to enhance the theatrical experience around the world as we bring some of the biggest, most beautifully told, and the greatest stories ever told.”

The most recently released DC film to hit theaters was the Dwayne Johnson-led Black Adam. Black Adam will star Johnson and will also star Aldis Hodge (Underground, The Invisible Man) as Hawkman, Noah Centineo (To all the boys I used to love, Charlie’s angels) as Atom Smasher, Quintessa Swindell (Trinkets, Euphoria) as Cyclone, Sarah Shahi (The L Word, Sex/Life) as Adrianna Tomaz, and Pierce Brosnan (GoldenEye, Mamma Mia!) as Doctor Fate. Uli Latukefu, Marwan Kenzari, Mohammed Amer, James Cusati-Moyer, and Bodhi Sabongui were also cast.

What do you think of the idea? Let us know in the comments below or by hit up our writer @NateBrail on Twitter!

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Art review: History of persecution connects two artists featured at Farnsworth

“Leonard Baskin: I Hold the Cracked Mirror Up to Man” at Farnsworth Art Museum. Photo by David Troup

Two compact exhibits at the Farnsworth Art Museum confirm an old adage, which I’ll turn more superlative here: Great things come in small packages. Although “Leonard Baskin: I Hold the Cracked Mirror Up to Man” (through Jan. 15) has been around for some time, that show and “Louise Nevelson: Dawn to Dusk” (through Dec. 31) are apt statements for our particular moment in time.

Both shows represent the work of Jewish artists, which, with the approaching Hanukkah holiday, seems timely. Furthermore, Louise Nevelson was born Leah Berliawsky near Kiev in present-day Ukraine, but fled the tsarist regime’s pogroms with her family in 1905 and eventually settled in Rockland.

Nevelson’s background is a reminder not only of this region’s ongoing history of conflict, but also of the censorship and persecution faced by Ukrainian-born artists such as Alexander Archipenko, Kazimir Malevich (although of Polish descent) and others – first under imperial, then Communist, systems. And inhumanity of many stripes – towards Jews, Native Americans, Black and colored people, victims of war – is the subject of Baskin’s exhibition.

As challenging as Baskin’s images are, during the year’s most poignant, commercialized holiday, it’s worth remembering those who are less fortunate, or find themselves in circumstances that make joyous celebration almost unthinkable.

Years ago, when I was studying journalism and art history at New York University, I ran the lunch counter at a Greenwich Village restaurant called Café Loup, which was frequented by writers, intellectuals, and artists. One day the door swung open and in walked a woman with heavy black kohl around her eyes, her head wrapped in a long black scarf trailing behind her as she parted the water from the restaurant. Louise Nevelson knew how to make an entrance. She came to eat with her friend Dorothy Dehner, the painter and sculptor who was married to the mercurial artist David Smith for 23 years.

Louise Nevelson, “The Endless Column,” 1969-1985, Painted wood sculpture, Bequest of Nathan Berliawsky, 1980.35.30, © 2022 Estate of Louise Nevelson / Artists Rights Society (ARS), New York Photo courtesy of Farnsworth Art Museum

What I knew of Nevelson’s work at the time was mainly her all-black constructions, although a few years later I saw her immaculately white 1977 “Chapel of the Good Shepherd” at St. Peter’s Church in downtown Manhattan (now under restoration) would discover. At the Farnsworth, a wall legend accompanying Nevelson’s seminal 1959 white constructed environment called “Dawn’s Wedding” quotes her explaining her initial detour away from the black works that made her famous: “For me, the black contains the silhouette, the essence. of the universe. But the whites move a little out into outer space with more freedom.”

In fact, freedom was Nevelson’s modus operandi. Which means that what’s most interesting about this show is less these famous works than the adventurous explorations she made on the way to get to them.

Among the surprises here are Nevelson’s early paintings, through which she tried various genres while developing her own signature. For example, with its rounded shapes, color palette and Art Deco aesthetic, a 1929 work like “Female Nude” bears the stylistic imprints of Kenneth Hayes Miller and Chaim Gross, two of her teachers at the Art Students League in New York.

Louise Nevelson, “Woman with a Red Scarf,” 1946, oil on board, Bequest of Nathan Berliawsky, 1980.35.24, © 2022 Estate of Louise Nevelson / Artists Rights Society (ARS), New York Photo courtesy of Farnsworth Art Museum

The angularity and bright hues of her 1946 self-portrait, “Woman with a Red Scarf,” resemble the work of German Expressionist Ernst Ludwig Kirchner. Although painted in 1946, three years before she first visited Mexico, the Central American influences of “Two Women”—from the dress to the Tamayo-like paint application—indicate that she was already familiar with the work of the great Mexican murals.

Freedom of experimentation – as well as an obsessive quest to find her own voice – is also evident in Nevelson’s journey through various mediums. Over the course of the show, we see her create art with paint, carved wood, cast bronze (the show is particularly strong in these holdings), collage (of both cut paper and wood), embossed handmade paper, silk screen materials, jewelry and more . We see paintings, sculptures, manufactured environments and even a stage design for a 1984 production of the opera “Orfeo and Eurydice.”

One fascinating pairing occurs diagonally across one side of the gallery. To the left of the entrance is a wall cabinet containing several of Nevelson’s collaged wood pendants, some with gold-painted overlays, mostly from the 1980s. In the corner diagonally opposite the case is “Series of An Unknown Cosmos I,” a 1979 wood and paper collage on plywood that no doubt represents the jewelry. It almost looks like a study for those body decorations.

Louise Nevelson, “Series Of An Unknown Cosmos I,” 1979, Wood and paper collage on plywood, 36 x 24″, Gift of Louise Nevelson, 1985.23.25 Photo by Dave Clough

By then, Nevelson had long established her particular magic of assembling collaged wooden forms into her truly – to use a word that has become trite today – correctly – iconic works. Yet she continued to dabble in different media, working out ideas through a plethora of techniques.

This is the mark of a great artist: the refusal to stand still, to reject constant replication of the work for which people have come to know you. By the time she joined Café Loup in the early 1980s, she had done all of these things. I’m glad I didn’t know the extent of it. Otherwise, I might have been too tongue-tied and too starry-eyed to simply greet Nevelson and Dehner and lead them to table 14.


It’s hard to imagine that Leonard Baskin was ever a happy person. A sculptor and graphic artist, this was after all the man who in 1942 founded one of the earliest and most influential art presses in the United States, which he called Gehenna, a term meaning “place of misery” and sometimes used as a synonym for hell. He was 17 and a student at Yale, and World War II was three years later.

Lynchings of African Americans had been taking place for nearly two centuries by then. The destruction of Hiroshima and Nagasaki by an atomic bomb was only three years away, and the development of the hydrogen bomb a decade in the future. Not unimportantly, he felt deep empathy for all this suffering. As the son and brother of rabbis, he was already well acquainted with a heritage of persecution. In “Cracked Mirror” one feels Baskin’s visceral distaste for our human capacity for cruelty.

Leonard Baskin, “Hydrogen Man,” 1954, woodcut, 62 1⁄4 x 24 3/8 in., Collection of the Farnsworth Museum of Art, Gift of Kenneth N. Shure and Liv M. Rockefeller, 2007.23.1 Photo courtesy of Farnsworth Art Museum

And that’s why it’s an important – with a capital “I” – exhibition to see. As they like to say in academia these days, “trigger warning”: This is a downer and deeply disturbing. Check out “Hydrogen Man,” a woodcut on paper measuring 3 feet by almost 6 feet. It is a picture of a man reduced to bones and raw fascia muscle, which appears to have been flattened (or the skin evaporated cleanly from his body).

It is a haunting and horrible image. Yet it is made even more so when we realize it was printed from an almost life-sized single block of carved wood. Baskin’s choice to work at this scale (the scale of many works in this exhibition) must have strengthened his own identification with his subjects. He produced images of tortured souls in his own relationships. To indelibly imprint this idea on our psyches, the exhibition produces an actual block of wood, carved on both sides, which he used to produce two of his unsettling life-size prints.

Leonard Baskin, “Man of Peace,” 1952, woodcut, collection of Kenneth Shure and Liv Rockefeller, © The Estate of Leonard Baskin Photo courtesy of Farnsworth Art Museum

The small gallery these works occupy is replete with similarly disturbing references, including lynchings (“The Hanged Man”) and the Holocaust (“Man of Peace” and various other works). Still, as depressing as Baskin’s messages are, you can leave the show inexplicably exhilarated. I suggest it is twofold.

First, they are works of conscience, and no matter how uncomfortable works of conscience make us feel, there is an inherent aliveness in being aware of our discomfort (the opposite of which is the deadness of pitting our feelings against these kinds of truths to numb). The more aware we are, the more we feel the totality of our human experience, including the innate dignity of our higher selves and our capacity to be kind and compassionate.

Baskin recognized that, although humans “made Eden a landscape of death,” we are still noble, even “glorious” beings because we possess an ever-present hope of redemption. Second, witnessing an artist’s power to invoke our aliveness is awe-inspiring. Baskin once wrote that “the forging of works of art is one of man’s remaining semblances of divinity.” And this is simply why art matters.

Jorge S. Arango has been writing about art, design and architecture for over 35 years. He lives in Portland. He can be reached at: [email protected]

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Ithra’s show brings football and art together in NFT exhibition

The King Abdulaziz Center for World Culture (Ithra), Dhahran, Saudi Arabia, in neon and skylight.

Muhammad Yusuf, Features Author

The King Abdulaziz Center for World Culture (Ithra) celebrates the art of the beautiful game in a unique exhibition at the 2022 FIFA World Cup in Qatar. From Strike to Stroke features 64 NFTs by 32 artists from the competing nations, while Artificial Intelligence (AI) fuses the pieces of the warring two countries in each of the 64 matches into a work of art based on the parameters and results of the game.

The result is a collection of 64 unique NFTs created through a collaboration of man and machine. From Strike to Stroke opened on November 24th at the Galleria Mall in Doha, Qatar and runs until December 23rd.

“A global gateway and a cultural bridge between Saudi Arabia and the rest of the world, Ithra channels the world’s passion for football into its infatuation with the arts as the world gathers for football’s biggest stage that is the World Cup ,” says the cultural promoter. “The exhibition combines the man-made with the machine-made, combining art, sport and technology in an innovative way.” The project is the culmination of the efforts of 32 emerging and established artists, each tasked with creating a piece representing their country and using their respective team’s jersey colours. After each match, the AI-powered algorithm combines the artists’ creations with match statistics to generate pieces of art representing each game.


Authors introduce students to Emirati and Arab cultures during visits to schools in Mexico

Mexican visitors see Emirati culture at Sharjah’s pavilion at Guadalajara International Book Fair

The final collection will be a unique set of pieces offered as NFTs – non-fungible tokens. The cryptographic assets are based on blockchain technology, and created in a process similar to cryptocurrencies.

From Strike to Stroke includes both artists who work in traditional ways and have never created NFTs and NFT artists who have not worked within the traditional scope of fine art. “The passion shared by soccer fans for the love of the beautiful game can touch the passion shared by art aesthetes,” said Dr. Shurooq Amin said in his curator’s brief for the exhibition.

Itra Football Exhibition Main2-750
A view of the World Cup NFTs exhibition.

“By connecting 32 artists from both the traditional and digital arenas, Ithra not only bridges the gap between Web2 to Web3, and between football and art, but further between man and machine, as the artists collaborate with AI-generation technology to create unique to create NFTs that combine art, football and technology.” The AI-generated Saudi Arabia-Argentina NFT is listed alongside other completed matches on OpenSea, the world’s first and largest digital marketplace for crypto collectibles and NFTs. Qatari artist Fatima Mohammed said that “as a young Qatari living in a country experiencing radical change, my work focuses on the social fabric of the Arabian Gulf and how it has evolved over time.

“My art depicts these cultural developments in the fictional world of ‘3naj’ (Anaj) through sculpture, painting and performance art. She is a product of the West, 3naj is my muse. Part Arabian and part American bald eagle, 3naj proudly displays her heritage by wearing the batoola (traditional metal face covering) as a protective golden beak.

“She nurtures her young by providing shelter, food, independence and the freedom of flight. 3naj himself cannot fly, but is fearless. Without wings, she is unable to flee from conflict, so her husband must stand up and speak his mind to create positive change in her community.” Jeddah-based Saudi conceptual artist Amr Salih Bogari, whose work combines digital drawings, collage and photography, began his NFT journey last year. He said of his piece: “Here I highlight the fusion of love with different local cultures and how strongly they are connected to each other in one country, one kingdom and one people. Green symbolizes abundance and white symbolizes peace. Sadu and Qat art are considered to be among the most important local arts that reflect the beauty of the artistic and cultural details of this lovely kingdom.” Argentinian expressionist artist Ezekiel German is known for exploring human emotions through art. “Argentines are very passionate about football; so in this piece I tried to capture the feelings generated by the championship through expressive lines that convey vitality and dynamism,” he said.

Abdias Ngateu is a Cameroonian artist born in 1990 and trained in graphic and decorative arts. Uncertainty, urban mobility, dehumanization, urban space and current events in the world are the themes he questions in his plastic and aesthetic work.

But he does not intend to present misery and pain; rather, he wants to spread the joy of life through fluorescence colorimetry. Ngateu has three important individual exhibitions in Cameroon and Mali and around thirty collective exhibitions since 2011.

“This work celebrates the joy of living through the soft and soothing colors of our beautiful country Cameroon,” he said of his World Cup art shot. “This painting on canvas shows the festive and joyful side we have in Cameroon and the joy of participating in a major international event, namely the World Cup.” “As the American chosen to represent my country through art,” said Edward Rivera, “I am very proud to present this work. I wanted to create a piece that represents America as a melting pot that is the mixture of illustrates culture that is rich in its roots and history.

“Even if we don’t all blend together perfectly at times, we are united in freedom and the pursuit of happiness, and that is what keeps us strong. As someone who represents a mixed culture myself, I am very proud to present what America means to me through art.”

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Analysis: Banksyland and the spread of the immersive art experience

Anyone with a social media account has probably seen the ad.

“Dip into the world of Banksy,” reads one ad.

“Banksyland” is a nationally touring exhibition exploring the anonymous artist’s work, produced by the Portland-based corporation One Thousand Ways. It promises a riveting examination of “the world’s most notorious and elusive artist” via “80 pieces and installations.” Prices for a one-hour tour range from $22 for students to $59 for a “VIP experience.”

Look a little closer, and it’s revealed that “Banksyland” was unauthorized by the famous British street artist, known for his iconic graffiti murals that appear seemingly overnight. In fact, it is not even the first unauthorized immersive art exhibition dedicated to Banksy to tour the US, a trend the artist himself denounced.

“Nope. Banksy has NOTHING to do with any of the current or recent exhibitions and they are nothing like a genuine Banksy show,” reads a statement on the artist’s Pest Control website. “They might be crap, so please don’t come to us for a refund.”

There are certainly important moral, ethical and even legal questions at stake here: Is it right to take an artist’s work without permission or consent, however good, and display it to paying customers? Can an artist or their representatives, even those who are deceased or, in the case of Banksy, anonymous, legally do anything about these types of exhibitions? And, perhaps more interestingly, given the ubiquity of these types of immersive touring exhibitions, should the public even care whether an exhibition is authorized by the subject or their representatives?

The rise of the ‘comprehensive’ art experience

One of the most well-attended art exhibitions of last year was “Immersive Van Gogh.” The internationally touring exhibition is one of many immersive exhibitions dedicated to the iconic Dutch painter Vincent van Gogh. Depending on which of the van Gogh experiences someone attended, patrons are treated to larger-than-life projections, virtual reality experiences and, in one case, the opportunity to practice yoga under the immersion.

Art purists may find something subjectively off-putting about the exhibits, which contain none of the original art and charge up to $60 per ticket, but they are legally above board. According to an article in MarketWatch published earlier this year, the producers of “Immersive Van Gogh” deducted nearly $250 million from the 4.5 million tickets sold. The success of these exhibitions is indicative of a larger trend: to create immersive, social media-friendly art installations that promise an “experience” rather than, say, a leisurely visit to an art museum. Another iconic artist, Frida Kahlo, has also been the subject of immersive exhibitions. Unlike van Gogh, whose work is not licensed by any particular company or estate and is part of the public domain, Kahlo’s name is overseen by the Panama-based Frida Kahlo Corporation.

But “Banksyland,” which opens Dec. 9 in San Diego, is unlike any immersive exhibit ever staged in a number of ways. First, it is the most prominent exhibition of its type that focuses on an artist who is still a living, working artist. Second, and most worryingly, while “Banksyland” is not the first unauthorized exhibition dedicated to the artist, the organizers are doing so despite the fact that Banksy does own trademarks and copyrights to much of his work.

“As [Banksy] wanted to sue for copyright, it sounds like he would have a legitimate claim,” says Amy Adler from her home in New York City. The Emily Kempin Professor of Law at New York University School of Law is one of the leading legal scholars on copyright and trademarks in the visual arts world.

Adler maintains that it’s important to distinguish the differences between copyright, trademark and fair use when it comes to an exhibit like “Banksyland.” Although all three fall under the legal umbrella regarding intellectual property, it is the concept of fair use, as Adler explains, that may be most relevant when it comes to a legal defense of an exhibit like “Banksyland.”

“Fair use is just a defense where the main idea is that: ‘I had a new meaning, message or purpose in the way I used your work and I did not use it to compete in the market, ‘ ” explains Adler.

Branding can also be relevant in the conversation about immersive exhibitions, as it deals with a company’s brand or, in this case, the brand of an artist.

“Trademarks really exist to protect the consumer from confusion about the source and copyright extends to any work that meets the definition created by the author,” says Adler. “Ultimately, it exists for the benefit of the public, to stimulate creativity.”

Copyright is often more relevant in the visual arts world because it is used to protect the people who create any kind of intellectual work – like visual art, a book, and even things like software coding.

“Copyright doesn’t make sense when applied to the art market because the way you make money in the art market is almost always by selling an authentic, original piece. There is very little value in copies,” Adler continues. This is the core thesis of her 2018 legal article, “Why Art Doesn’t Need a Copyright.”

“My contention is ultimately that there is this norm of authenticity in the art market that does all the work,” Adler continues. “It creates the value and sorts the worthless copies from the valuable originals, and that it makes copyright law’s assumptions about how that market works wrong and irrelevant.”

However, Adler admits that this is a difficult argument to make when it comes to an artist like Banksy.

“The problem with my theory as it applies to Banksy may be that the Banksy market just doesn’t function like fine art markets,” says Adler. “There may be a lot of value in reproductions and posters. I wouldn’t be surprised by that, and I don’t know how much of it goes to Banksy, as opposed to people taking advantage of the fact that Banksy is invisible.”

Exploitation vs. celebration

While art purists may be tempted to reject the use of an artist’s work, or even versions of that work, without the artist’s permission or trying to compensate them, there is a level of irony in the case of Banksy for a few reasons.

First, the artist himself has bluntly claimed in the past that “copyright is for losers.” But the artist has filed a number of trademark lawsuits and lawsuits over the years, most recently with a company, Full Color Black, that used his graffiti murals on greeting cards.

Second, in the case of an artist like Banksy, who presents himself as something of an anti-establishment provocateur, there is something to lose by fighting back against those who simply want to show his work, even if it seems solely for profit ?

To ask it another way, Banksy has cultivated an anarchic brand in which the rules don’t apply to him, and yet he still believes there should still be rules and laws protecting that brand?

Reviews and previews for “Banksyland” were mixed. An Austin critic for Sightlines, however, panned the exhibit, saying that it “capitalizes on Banksy’s anti-capitalist message.” Tickets for the exhibition’s Chicago stop cost as much as $50, with one local critic calling it “tone-deaf” and “an exercise in the kind of opportunistic capitalism and vague culture that Banksy’s graffiti might indicate.” A Portland publicationhowever, described it as more of a “tribute” to the artist and that the exhibition was “a really cool way to spend an afternoon.”

A case can be made for the value of these types of unauthorized displays. Yes, there may be naysayers who see the exhibition as problematic and their logic is sound. But given that tickets to the San Diego run of “Banksyland” are nearly sold out, it’s safe to assume that most people just want to see some cool art (even if it’s not real), more learn about an artist they admire and get a cool selfie for Instagram or the like.

Yes, there is a fine line between exploitation and celebration, but those who love the work of Frida Kahlo, Vincent van Gogh and Banksy can’t just go out to a museum to see all their work together in one place. And in the case of the latter, it’s not even something he’d likely be interested in offering. So, while the organizers of these types of exhibitions make hundreds of thousands of dollars from these exhibitions, it is not unreasonable to conclude that presenting the works as a whole is something of a public service, however morally dishonest.

Combs is a freelance writer.

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A Photographer Tries To Hide Her Merry Family From Her Co-Workers in ‘A Big Fat Family Christmas’ | Arena

Hallmark Channel doubles down on diversity with its second movie featuring a family of Asian descent.

Hallmark Channel is certainly hitting the diversity mark this holiday season. With Christmas movies featuring Asian, Hispanic and African-Americans, the network ensures that their films represent everyone who celebrates Christmas. A Big Fat Family Christmas features an Asian family at the center of this story. This is the second Hallmark film this season with Asian storylines (the others being Christmas at the Golden Dragon.)

Here’s everything we know about A Big Fat Family Christmas. Don’t forget to check out the Parade.com exclusive sneak peek below!

Related: 40 new holiday movies! Hallmark Channel is complete Countdown to Christmas The schedule is here!

What is A Big Fat Family Christmas over?

Liv Chang (Shannon Chan-Kent), a photographer at the San Francisco Chronicle, live a low-key life. She has put together what she believes is the perfect life for herself—a little less Chinese and a little more American.

As a social media influencer, she even goes by the name Liv Rose. Her family, on the other hand, represents something a little more loud, proud and Chinese. They are the infamous Chang family, responsible for throwing the biggest, annual holiday block party in the neighborhood. Their party is a celebration of Chinese American culture, which Liv finds to be over the top. She managed to keep her family a secret until she was forced to live with Henry (Shannon Cook), a new co-worker, to cover her family’s annual celebration. Liv and Henry work together to capture the story behind The “Changtastic” Party and, in a moment of fun, almost ruin it by losing all the donations from the community. Liv’s determination to make things right for her family and the community forces her to overcome her resistance to her heritage and open up to her followers for help; help her finally find herself and true love in the process.

Find a mini-General Hospital reunion. Both Jack Wagner and Tia Carrere both have supporting roles in it A Big Fat Family Christmas.

Related: The Complete List of Hallmark Channel Stars Who Moved to a Big American Family, Including Candace Cameron Bure!

Meet the cast of A Big Fat Family Christmas

Shannon Chan-Kent (Liv Chang)

Shannon Chan-Kent has voiced dozens of characters over the years. Apart from acting, Kent is also an opera singer.

Follow Shannon Chan-Kent on Instagram @shannonckent.

Shannon Cook (Henry)

Cook is probably best known for his role as Zane Park on Degrassi: The Next Generation. His previous credits include Nancy Drew, The 100, and The Mysterious Benedict Society.

Follow Shannon Kook on Twitter and Instagram @shannonkook.

Jack Wagner (Charles)

Jack Wagner is best known to fans for his role as “Frisco Jones” on General Hospital. Fans of When the heart calls recognize him as Bill Avery, the forensic investigator and judge on the show.

Related: Get ready for an uplifting holiday season with UPtv’s 2022 Christmas series of brand new movies

Follow Jack on Instagram @jackwagnerofficial and on Twitter @jackwagnerhpk.

Tia Carrere (Ivy)

Tia Carrere’s first big break was on General Hospital as Jade Soong Chung. She is probably best recognized for her role as Cassandra in Wayne’s world.

Follow Tia on Instagram and Twitter @tiacarrere.

When do A Big Fat Family Christmas premiere?

A Big Fat Family Christmas premieres on Friday, December 2 at 8:00 PM ET on Hallmark Channel.

When can I watch? A Big Fat Family Christmas again?

Saturday, December 3rd at 10pm ET

Tuesday, December 6 at 6:00 PM ET

Sunday, December 11 at 4:00 PM ET

Wednesday, December 14 at 10:00 PM ET

Tuesday, December 20 at 8:00 a.m. ET

Sunday, December 25 at 2:00 p.m

Do Parade.com have a taste of A Big Fat Family Christmas?

‘A Big Fat Family Christmas’ Hallmark Movie (Exclusive) (; 1:14)

Related: The Complete List of Hallmark Channel Stars Not Leaving the Network

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Zoe Kravitz spends her 34th birthday at the Saint Laurent Rive Droite party at Art Basel in Miami

Zoe Kravitz spends her 34th birthday at the Saint Laurent Rive Droite party at Art Basel in Miami … after dad Lenny Kravitz sends sweet message

Just hours after her father Lenny Kravitz shared a heartfelt birthday message, Zoe Kravitz was spotted at Art Basel in Miami.

Kravitz spent her 34th birthday at the Saint Laurent Rive Droite party in Miami Beach, with an exhibition curated by Madonna and Anthony Vaccarello to celebrate the reissue of her groundbreaking 1992 book Sex.

The Batman actress was seen solo at the event and was not seen with boyfriend Channing Tatum, who she has been dating since August.

Birthday vibes: Just hours after her father Lenny Kravitz shared a heartfelt birthday message, Zoe Kravitz was spotted at Art Basel in Miami

Kravitz walked out with an elegant full-length dress that tied around her neck and fell to the floor.

She accessorized with gold earrings and a gold link bracelet around her left wrist.

The actress also rocked a number of rings on both hands for her Art Basel appearance on Thursday night.

Zoe’s look: Kravitz stepped out in an elegant full-length dress that cinched around her neck and fell to the floor

Earlier in the day, her father, rocker Lenny Kravitz, shared a beautiful throwback photo and a heartfelt message.

‘Happy birthday @zoeisabellakravitz. There isn’t a moment when I don’t marvel at who and what you are,’ Lenny began.

‘I am so grateful that God chose us. I love you,’ he concluded, while several of his famous friends also chimed in on the comments.

Birthday wishes: Earlier in the day, her father, rocker Lenny Kravitz, shared a beautiful throwback photo and a heartfelt message

Birthday wishes: Earlier in the day, her father, rocker Lenny Kravitz, shared a beautiful throwback photo and a heartfelt message

Zoe made headlines in August when it was reported that she was dating actor Channing Tatum.

A source claimed in August: ‘They both have a lot in common, they’re both very active and love outdoor sports and being outdoors.’

Kravitz just finalized her divorce from Karl Glusman, who she had been with since 2016 and married since June 2019 before splitting in December 2020.

Dating: Zoe made headlines in August when it was reported that she was dating actor Channing Tatum

Dating: Zoe made headlines in August when it was reported that she was dating actor Channing Tatum

General: A source claimed in August: 'They both have a lot in common, they're both very active and love outdoor sports and being outdoors'

General: A source claimed in August: ‘They both have a lot in common, they’re both very active and love outdoor sports and being outdoors’

Kravitz also starred as Tatum in her directorial debut, a thriller titled P***y Island, which is currently in post-production.

The film follows a character named Frida (Naomi Ackie), who is described as, “a young, smart, Los Angeles waitress who has her eyes on the prize: philanthropist and tech tycoon Slater King (Tatum).’

“When she deftly moves into King’s inner circle and ends up with an intimate gathering on his private island, she’s set for a trip of a lifetime,” the description reads, adding that Frida senses something “terrifying” about the island .

Cast: Kravitz also starred as Tatum in her directorial debut, a thriller titled P***y Island, which is currently in post-production

Cast: Kravitz also starred as Tatum in her directorial debut, a thriller titled P***y Island, which is currently in post-production


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Experience: I can only paint in my sleep | Art and design

When I was in school, I hated art. Growing up in North Wales, I couldn’t scrape higher than an E in my final exams. I wasn’t too bothered; I thought I wasn’t going to pursue this as a career.

By the time I was about four, I started sleepwalking. in the evening, I used to go under the stairs and scribble on the wall. I have a distinct memory of sitting in the doctor’s waiting room, at the age of seven, about to go out. The doctor was adamant that there was nothing to worry about, and advised my parents to “let him get on with it”.

When I was 15, I was still getting up in the middle of the night to make art – even if I stayed over at a friend’s house. By this point I was no longer just doodling. I sketched anything from portraits of Marilyn Monroe to abstract zeros and crosses, and fairies.

I showed some to my art teachers. They said, “Why can’t you do this in class?” It was something I struggled to understand myself. I tried so hard to draw when I was awake, practiced and used the same tools. But no matter what I did, I couldn’t replicate the drawings.

When I left school I became a nurse and carer in hospices, mainly helping people with brain injuries. I also met my partner. We’ve been together for 23 years, and he’s been and still is incredibly supportive of my art and sleepwalking habits – he often films me while I’m working. Watching videos of my painting is very strange because I have no memory of it. I often wake up feeling like I did something in my sleep, but I can never quite remember what. I paint with both hands, but awake I’m only right-handed.

I will leave my art supplies in my drawers and when I sleep I will know where to go. At a friend’s place, I drew on a plasterboard with chicken bones and coal left over from a barbecue we had in the garden. I will use any tools I can find, sometimes knives and forks. That’s the only thing that worries my partner – that I will accidentally hurt myself. But it hasn’t happened yet.

I went to several sleep clinics to try to figure out what was going on. They saw the videos and observed me while I was sleeping. I was wired, had my heart rate monitored overnight, and was kept awake for 36 hours for experiments, but nothing out of the ordinary was found health-wise. However, alcohol or sleep deprivation brings more sleepwalking, so I’m wary of that.

I learned to embrace my unusual talent and set up my first art exhibition in 2007 at my local library to raise money for cancer research. I bought £1 frames, cut out my artwork and taped it to the walls. Within a week I had 160 calls from different media and organizations wanting to hear about my art. I was over the moon. I then decided to leave my very fulfilling job in nursing and become a full-time artist.

People sometimes assume that I will always paint a fully developed piece of art at night. In fact, my success ratio is more like one in 50. I’ve ruined things in my sleep before. Sometimes I’ll do random squiggles or lines, only to go back three months later and finish them. Now I actually sell my work as a career, there can be pressure to produce more.

Sometimes I’ll go months without drawing or painting, and every now and then I’ll do something I’m proud of. I had to learn to go with the flow, which helps make me relaxed enough to produce more work. I usually do about 20 pieces a year. Kim Kardashian had two of my Marilyn Monroes in her Met Gala dressing room this year.

Some people have tried to link my abilities to childhood trauma, which doesn’t occur to me personally. Others questioned whether I was sincere. It doesn’t worry me because I don’t feel like I have anything to prove and really enjoy what I do. I do feel a little guilty that there are people who study art all their lives and then I come and do it in my sleep. I am lucky that my subconscious gave me a career that makes me truly happy. My advice to my younger self? Do your art exam in your sleep.

As told to Elizabeth McCafferty

Do you have an experience to share? Email [email protected]

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