There were some intrusions of life into the business and blue-sky affectations of the fair, like the shuddering street corners and sharply present portraits found in the solo booth of Ming Smith’s photography at Jenkins Johnson Gallery from San Francisco in Frieze Masters, or Cian Dayrit’s cloth banners at 1335Mabini from Makati in the Philippines in Frieze London, with archival colonial-era staged portraits embroidered over with slogans like “Pacify, Preach, Colonize.” At London’s Carlos / Ishikawa, an excerpt of a bland white kitchen counter sits in the middle of the floor, with a fairly lifelike plastic model of a half-eaten cake sitting on top, its icing spelling out “Happy New Yea.” Steve Bishop’s Thank You (2019) feels like an appropriate misplaced celebration here, the cake being one of those generic, over-sugary confections that fuel awkward office parties. The Artwork We Made Together is a new series that examines how large-scale artworks get made, and spotlights the unseen hands that make it happen. Plus, it’s a total privilege to be trusted by someone to make their art. Afterward, the group spent a long and exciting day in the "Gauguin Portraits" exhibition at the National Gallery of London. There are no boundaries to what you can achieve with a degree from Arts & Sciences. In moments of concentrated, entangled turmoil—events that feel too numerous and pointless to list or give name to yet again—art embodies the act of grappling with questions of agency and efficacy. The focus here on the western cultural practices of Orientalism, and its impact on the visual arts, complemented well the cross-cultural focus of some of their Gauguin studies. Students then had several hours to tour the world-renowned collections of this monumental museum, including the Elgin Marbles from the Parthenon and the Rosetta Stone, which first enabled the translation of Egyptian hieroglyphs in the 19th century. Twin Speak 08d8d0f2-8153-49d4-a2fc-7ee65296c42c Guru Yoga (Increíble Música para Dormir) and gossip Ȿoftheart 2c2ebc0b-fc70-4d47-9db1-cc7afbf80ba8 Russian Kid. At an art school further down the road, a steel-girder lined room flickers with strobe-like intensity. The show’s set of paintings all seem to carry a sense of illness and unease with the human body, but it is the small print Luchtspiegeling [Mirage] (1989) that hits most directly: a wrinkled, white foot, looming over a hilly landscape. But it’s a short video in the basement hallway of her exhibition “From Black and White to Living Color” at Sprüth Magers, curated by writer Hilton Als, that feels more apt. I’m good at understanding the rules of a certain universe and then applying them to an object or a piece; I can get people’s aesthetic sensibilities. This is the hover state for the latest issue. Prop maker Harriet Lansdown of Millimetre, a specialist design and fabrication company for artists, reflects on her role on the project. A lot of the figures in Kara’s sculptures are more suggestive, so it helps if you can transfer this kind of experience to it. I can translate what people are saying and make it real. The trip included five doctoral students, one master's student, and one undergraduate major. When you’re sculpting forms or figures, it’s like, yeah sure, there might be a bone or a muscle here, but if your mind thinks otherwise then you have to follow that. Fortunately, the semester started with the opportunity to study a major Gauguin exhibition here in St. Louis at the Saint Louis Art Museum. Open a larger version of the following image in a popup. It was lots of tinkering and making good. The work is a grand reiteration of the Victoria Memorial in front of Buckingham Palace. I’ve been a prop maker for the last five years, and before that I was doing set design for theatre. The sky is bleached a searing lime green, tinged with burned orange that reflects off relentless choppy waves. It’s got to look like it’s come from one mind, which is difficult on a very big team. Visiting the newly installed Fons Americanus by Kara Walker at Tate Modern.