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msclaritea · 18 days

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Box Office: ‘Civil War’ Starts Off With Impressive $2.9M in Thursday Previews

Alex Garland's controversial movie about the political divide in America easily scored the best preview number ever for A24.

BY PAMELA MCCLINTOCK

APRIL 12, 2024 9:18A

Alex Garland‘s dystopian action movie Civil War has started off its North American box office run with an impressive $2.9 million, a record for indie studio and distributor A24.

The $50 million movie about a divided America is a big swing for A24 as it tries to produce bigger movies, and is its most expensive production to date.

Civil War is tracking to open north of $20 million, although one leading tracking service has a slightly lower range of $19 million to $20 million. As with the preview number, that would be record for A24, beating the $13.6 million opening of A24’s horror pic Hereditary in 2018.

A24 and writer-director Garland held the movie’s world premiere last month at the South by Southwest Film and TV Festival, an ideal venue since many of the attendees are younger adults, the film’s target demo.

Set in the near-future, the story follows a wartime photojournalist (Kirsten Dunst) and her colleagues as they make their way across a hostile and divided United States of America that has been torn apart under the authoritarian rule of a three-term president (Nick Offerman). Yet the film shys away from red state/blue state divisions, and the politics behind the conflict are generally left unexplained, other than to say that one of the president’s first first actions was to disband the FBI in an apparent nod to former President Donald Trump, who has called to “defund” the Bureau.

Civil War‘s timing surely isn’t a coincidence as it hits cinemas amid a contentious election year in which President Biden and former President Trump are once again the leading candidates for their respective parties as Trump seeks to return to the White House

At a SXSW panel following the film’s premiere, Garland said it made sense to release Civil War now, although it’s not as if there is anything new about the contentious political discourse gripping the country.

“I think all of the topics in in [Civil War] have been a part of a huge public debate for years and years. These debates have been growing and growing in volume and awareness, but none of that is secret or unknown to almost anybody,” Garland said. “I thought that everybody understands these terms and, at that point, I just felt compelled to write about it.”

Cailee Spaeny, Jesse Plemons and Wagner Moura also star.

2012–2013: Founding and early years

A24 was founded on August 20, 2012, by film veterans Daniel Katz, David Fenkel, and John Hodges. Katz formerly led the film finance group at Guggenheim Partners, Fenkel was the president, co-founder and partner at Oscilloscope, and Hodges served as "Head of Production and Development" at Big Beach. The name "A24" was inspired by the Italian A24 motorway Katz was driving on when he decided to found the company.

Guggenheim Partners provided the seed money for A24. The company was started to share "movies from a distinctive point of view". In October 2012, Nicolette Aizenberg joined as head of publicity from 42West where she was senior publicity executive.

The company began its distribution of films in 2013. The company's first theatrical release was Roman Coppola's A Glimpse Inside the Mind of Charles Swan III, which had a limited theatrical release. Other 2013 theatrical releases included Sofia Coppola's The Bling Ring, Harmony Korine's Spring Breakers, James Ponsoldt's The Spectacular Now, and Sally Potter's Ginger & Rosa.

In September 2013, A24 entered a $40 million deal with DirecTV Cinema, where DirecTV Cinema would offer day-and-date releases 30 days prior to a theatrical release by A24; Enemy was the first film to be distributed under the deal. That same year, A24 entered a deal with Amazon Prime, where A24-distributed films would be available on Amazon Instant Video after becoming available on Blu-ray and DVD.

2014–2017: Television and later productions

In May 2015, A24 announced that it would start a television division and began producing the USA Network series Playing House, as well as working to develop a television series that would later become Comrade Detective, produced by Channing Tatum. The company also announced that they would also finance and develop pilots.

In January 2016, Sasha Lloyd joined the company to handle all film, television distribution and business development in the international marketplace. The company, with cooperation from Bank of America, J.P. Morgan & Co. and SunTrust Banks, also raised its line of credit from $50 million to $125 million a month later to build upon its operations. In April, the company acquired all foreign rights to Swiss Army Man, distributing the film in all territories, and partnering with distributors who previously acquired rights to the film, a first for the company. In June, the company, along with Oscilloscope and distributor Honora, joined BitTorrent Now to distribute the work of their portfolio across the ad-supported service.

Eileen Guggenheim Breaks Silence, denies Introducing Women To Epstein

New Court Documents Reveal More About Epstein's Relationship With JP Morgan Chase

Beef is Criticized After star's Resurfaced Rape Comments B

Does HBO's Euphoria Really Glamourize Drug Use?

Euphoria Season Two Review: Far Too Much Nudity, Sex and Violence

Michelle Yeoh Says Hot Dog Fingers Scene With Jamie Lee Curtis Was ‘Most Beautiful Love Story

Not much time is shown in this universe. All the audience knows is that Evelyn works at a pizza shop. She is shown wearing a ridiculous costume and waving around a sign.

"A24 and writer-director Garland held the movie’s world premiere last month at the South by Southwest Film and TV Festival, an ideal venue since many of the attendees are younger adults, the film’s target demo..."

Penske Media Corporation (PMC /ˈpɛnski/) is an American mass media, publishing, and information services company based in Los Angeles and New York City. It publishes more than 20 digital and print brands, including Variety, Rolling Stone, Women's Wear Daily, Deadline Hollywood, Billboard, The Hollywood Reporter, Boy Genius Report, Robb Report, Artforum, ARTNews, and others. PMC's Chairman and CEO since founding is Jay Penske.

President Trump awards Medal of Freedom to Roger Penske | Fox News Video

In addition to media publications, Penske Media Corporation owns the Life Is Beautiful Music & Art Festival and is a 50 percent stakeholder in South by Southwest. It is also the owner of Dick Clark Productions which includes the award shows Golden Globe Awards, American Music Awards, Streamy Awards, Academy of Country Music Awards, and the Billboard Music Awards.

Jay Penske--NACSCAR Heir ARRESTED...and It's A Pisser

@aeltri I'm a bit fuzzy on the details. What was that you told us, recently, about Pizza and Hotdogs?

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abwwia · 5 months

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Artist Eileen Agar

Fighter Pilot, 1940

Collage on plywood, 22.8 x 17.1 cm

Eileen Forrester Agar (1 December 1899 – 17 November 1991) was a British painter and photographer associated with the Surrealist movement.

Agar was born in Buenos Aires, to a Scottish father and American mother.

Source: http://www.breeselittle.com/31-women

31 Women channels the pioneering spirit of the exhibition at Peggy Guggenheim’s New York gallery in 1943. Featuring artists within Guggenheim’s circle, 31 Women will combine work by successive generations of practitioners from the 1940s to the present day.

#womensart #artbywomen #PalianSHOW

#surrealism #surrealist #womensurrealist #BritishArt #BritishArtists #FemaleBritishArtists

#Eileen Forrester Agar

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jerseydeanne · 4 years

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Prince Charles' ex-aide denies introducing Jeffrey Epstein victim to paedophile

Prince Charles’ ex-aide denies introducing Jeffrey Epstein victim to paedophile

[contentcards url=”https://www.mirror.co.uk/news/world-news/prince-charles-ex-aide-denies-22560140″ target=”_blank”]

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#eileen guggenheim #ghislaine maxwell #jeffrey epstein #maria farmer #Prince Andrew #Prince Charles

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misslacito · 5 years

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Tribeca Ball 2019

Ya sabéis que me encantan las galas americanas. Y aunque la alfombra roja sea pequeñita no pierdo la oportunidad de sacarla en el blog. En este caso nos vamos al Tribeca Ball. Es una celebración de la New York Academy of Art para recaudar fondos. Toda visibilidad genera una repercusión, ya sabéis. La cita como no puede ser de otro modo, fue en Nueva York. Veamos!

Anne Vyalitsyna.

(more…)

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#anne vyalitsyna #brooke shields #christian siriano #coco rocha #david kratz #diary #donna karan #eileen guggenheim #inspiración #lana smith #lanvin #moda #naomi watts #stella mccartney

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citylightsbooks · 4 years

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5 Questions with Eileen Myles, Author of For Now

Eileen Myles is an acclaimed poet and writer who has published over twenty works of fiction, poetry, nonfiction, and libretto. Their prizes and awards include a Guggenheim Fellowship, a Warhol/Creative Capital grant, an award from the American Academy of Arts and Letters, and a poetry award from the Foundation for Contemporary Arts.

Eileen Myles will be reading from their new book, For Now in our City Lights LIVE! reading series on Tuesday, September 29.

***

Where are you writing to us from?

Right now, Greenport Long Island. The water is right there.

What’s kept you sane this year?

Yoga, reading, lifting weights, long phone conversations writing poems. My dog.

What are 3 books you always recommend to people?

La Bâtarde by Violette Leduc; Maud Martha by Gwendolyn Brooks; The Book of Frank by CAConrad.

Which writers, artists, and others influence your work in general, and this book, specifically?

Laurence Sterne, Cesar Aira, Chantal Ackerman.

If you opened a bookstore, where would it be located, what would it be called, and what would your bestseller be?

Swan Place, it would be on the island in Spy Pond in Arlington, Massachusetts. Frank B. Wilderson III's Red White & Black: Cinema and the Structure of U.S. Antagonisms.

#eileen myles #city lights bookstore #city lights live

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handlewithkara · 3 years

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@peggystormborn I think Iris Barry is the exception for a variety of reasons (imo partially race, partially the committment of the writers to the couple). But Oliver and Felicity did A LOT OF triangles before they committed and some of the writing for them was terrible on the romance front. People like to just remember the endgame, but they forget how terrible the road there was (Laurel, Sarah, Oliver marrying another woman, Oliver having a child with another woman, an entire crossover dedicated to a fantasy wedding between Laurel and Oliver, evil!Oliver being married to Kara). Granted in a lot of ways it was because Felicity wasn’t the original OTP and I think it took Marc Guggenheim a long time to finally accept it (I think he’s one of those writers who deep at heart doesn’t really like romance at all, and just eventually only grudingly accepted it, but I think the earlier seasons feel like there was a lot of latent animosity from the writers towards the storyline).

(and one can debate how Barry/Mirror Iris is something like a triangle, even if it is a triangle made up by writers who desperately want to maintain the “pure” status of an OTP, I mean, as long as you don’t think too hard about the implications of Mirror!Iris [I also think that the fact that Iris and Felicity predominantly don’t have superpowers makes it slightly easier for them to work as a functioning couple])

People thinking that the writers have handled Kara’s Kryptonian relations poorly doesn’t change that if the topic does not interest the writers they are not going to write it (and if they write something really tonedeaf about it, that is usually a sign that they don’t really care about a topic). It’s a very common trait of fanbases to take certain topics more seriously. Criticisms of co-dependency and calls for therapy are very, very common examples of this in a multitude of fandoms.

You have this all over the Supernatural ending, with people saying “Dean was acting suicidal for years, it sends a horrible message that the show ends up with him dying” and “John Winchester was a horrible father, it’s a horrible message that the show ends up with him being in heaven as part of Dean’s personal heaven and the show never doing a story where Dean recognizes that John screwed him up and fully breaks ties with him” and “the brothers were co-dependant, the show getting rid of all the characters who are not them and making the ending exclusively about them is a horrible message”.

I think it’s pretty clear that these things weren’t written because the writers intended to send that message, they just clearly see the characters very differently and many things the fans obsess over they see as just not that great a deal. Fans often latch onto characters and stories because they see part of themselves in them and project their own experiences and their emotions about those experiences into those characters (look no further than Lena’s fans and what they think is most important about her character). Fans also love their characters and want their angst to be explored, while most shows just want to keep the plot going. That’s why you will have amost every fandom clamoring how the show should do a therapy plot for their favorite character. To them that makes sense, they love their favorite character, so them sitting on a couch and talking about their feelings of course is going to sound fascinating. Doesn’t mean that the writers tick that way at all.

Supernatural can show pretty clearly how there can be a fundamental miscommunication between the fans and the creators. Where maybe writers might think that Dean’s dogged loyalty is his most fascinating trait, while fans might think his angsty woobie appeal is his most fascinating trait and his loyalty is boring or just a jumping off point or even actively harmful. Social media and fandom, I think it just has a habit of attracting people who have problems in their real lives and they are likely to project their own problems into these characters, but that does not mean that the writers are anywhere the same headspace (particularly in regards to how abusive or co-dependant a relationship is, I think just like with John Winchester, writers are way more likely to have a more positive view towards relationship and stories like that, because to them, those relationships are something good in their world because they are drivers of drama, providers of dramatic scenes).

And I think history has shown, no matter how annoying it is to the fans, new showrunners just will not be beholden to the themes and messages of previous showrunners. They will pay tribute to whatever part of previous seasons they like, but they are likely going to come in with their own spin, their biases and their own takes of the characters.

(for what it’s worth, I theorize season 4 started out with the plan for a sister season, to explore (via Red Kara and Elseworld and Amnesia) what is Alex without Kara, what is Kara without Alex and they just sort of lost the main plot somewhere in the middle between introducing Nia, introducing Lex and poorly thought out political metaphor)

Right now, what little we know of season 6 makes one hopeful that it could have a significant Alex and thusly sister focused plot, with Alex playing around with being a vigilante and there being rumors of another young sisters episode.

What is interesting about this is that either of Alex most likely developments, Alex becoming a hero in her own right OR Alex finally getting her baby and family provide interesting jumping off points for Kara to reflect on her own life. This does not mean that the writers will actually take this opportunity seriously, but it is at least possible.

Alex has been a physical fighter working with Kara since forever, but her getting her own costume could be a signal that she is getting her own hero identity. Alex being her own heroic person rather than just the no-name who supports Kara ideally should be an interesting change up in their dynamics. Either with Kara cheerleading and supporting Alex they way Alex has always supported her or with Kara realizing that maybe she has to step back a little and let Alex be her own hero and trust her that she can handle things on her own (potentially culminating with Kara leaving the protection of the city and Earth in the hands of Alex).

I could picture Kara having a relationship with William and eventually rejecting him symbolically but I just really wouldn’t expect it to be about Argo. But I could picture a plot where seeing Alex thrive as a hero makes Kara think she has the freedom to kick back and focus on her romantic relationship or focus on being just Kara Danvers for a while (and in the end realizing that that is not enough for her, I just would expect this NOT to be about Kara Zor-El but about Supergirl, Kara realizing that she needs to be Supergirl to be happy even if being Supergirl has made her life more complicated in many ways).

On the other hand, if Alex were to finally get her child wish fulfilled it could a be a good story to explore what the equivalent is for Kara (while with Alex, she has always been protective of Kara, so her having somebody else to raise and be protective over would also provide good emotional dramatic potential).

But it could just as equally be that they parallel Alex being happy with a baby and a girlfriend as their little family with Kara just getting William as the nice unproblematic understanding boyfriend, forming their own family unit albeit without a child. Or it could be Kara just getting gratification of being a supportive and loving aunt. You never know. Supernatural shows that just because the fans are convinced that the show will go one way (Family is about more than blood ties! The show will end with showing how Sam and Dean have evolved beyond “the two of us against the world!” and their family unit now includes Eileen, Castiel and Jack) doesn’t mean that the writers see it the same way.

It’s very interesting in how this reaction mirrors the reaction to the How I Met Your Mother Finale where the writers thought it made sense to circle back to the start and most of the general audience disliked it because they felt the characters had developed beyond the original premise. But it still shows how this particular pattern of thinking is one that writers are very likely to fall into.

Finales often have a way of exposing whether one’s (or even the audience in general) perception of the characters and their relationships and perceived moral takeaways align with the one’s of the writers. I don’t even think that that is something that can just be “fixed” by telling writers “don’t be the Game of Thrones finale, don’t be the HIMYM finale”. If powerful writers just have a certain perception of characters, that’s just how they see them and they can’t just break out of.

I guess one can argue that maybe it’s a sign of poor writing (even if it might be good business sense) if a show supports such a variety of readings till the very end (are we watching a story about co-dependant siblings which should end with them lovingly and supportively letting each other go? or are we watching a show about siblings through thick and thin, more powerful than anything?), but I think in some cases it just arises naturally because of the way fans can project themselves into characters in ways that was not intended by the writers and that can’t fully be controlled by them (and since those projections are heavily influenced by people’s very varied personal experiences you also can’t just please everyone).

#supergirl #kara zor-el #kara danvers #danvers sisters #alex danvers

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skippyv20 · 4 years

Link

#prince charles former aide denies introducing student jeffrey epstein

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mia-soufi2018 · 4 years

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emilynicbanks · 4 years

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Jeffrey Epstein: Filthy Rich

S1:E1 “Hunting Grounds” Thoughts

Why would you... want a vacation home in New Mexico??

okay I know I prob shouldn’t but if you evoke your Fifth Amendment right I'm gonna assume you’re guilty sorry not sorry

I WASNT EXPECTING A PIC OF EPSTEIN AND HARVEY WEINSTEIN

I wish I could paint

wow Eileen Guggenheim really fucked over this college student

I can't imagine how awful it must be to know you connected your younger sister to a predator

I want a massage after quarantine ends omg

Epstein... sent this girl... to Ohio??

okay homegirl painting photos of her sisters half nude makes me uncomfortable

HE STOLE THE PHOTOS OF HER SIBLINGS TF

THEY WENT TO THE FBI!! IN 1995!!!

he threatened the unborn kids of the journalist reporting this story what the fuck

the editor of vanity fair told the journalist ‘I believe Jeffrey Epstein’ and that makes me want to throat punch him. all of this could have stopped so long ago.

lmao this guy said trump would want to reel back in a quote about epstein as if that would help trump’s image in any way

okay so we’ve got an investigation going in Florida in 2005 and yet??

the fact that they were TOLD TO SAY they were over 18

honestly shoutout to this detective for reassuring these girls that they did nothing wrong and it was all Epstein’s bitch ass

the separation of wealth between palm beach and west palm beach always catches me by surprise

predators taking advantage of young girls is always awful, but especially when they use money against them bc they know they’re poor

of course they were scared, they were young girls and epstein was RICH AS FUCK AND POWERFUL

all of their stories are so similar it’s terrifying

EVEN! THE! RECRUITERS! WERE! VICTIMS! TF!!

‘epstein created a sexual pyramid scheme’ WHOA

#em watches epstein #jeffrey epstein #filthy rich #Jeffrey Epstein filthy rich #Netflix doc #Netflix limited series

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rgr-pop · 4 years

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i would really like a certain SOMEBODIES in the podcasting world to say some shit about the eileen guggenheim thing after they talked shit about you know what and the whitney

#nobody is talking about this!

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murphel · 4 years

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DOVEGLION: LIFE OF THE NATIONAL ARTIST, JOSE GARCIA VILLA

José Garcia Villa (August 5, 1908 - February 7, 1997) was a Filipino poet, literary critic, short story writer, and painter. He was awarded the National Artist of the Philippines title for literature in 1973, as well as the Guggenheim Fellowship in creative writing by Conrad Aiken. He is known to have introduced the "reversed consonance rhyme scheme" in writing poetry, as well as the extensive use of punctuation marks—especially commas, which made him known as the Comma Poet. He used the penname Doveglion (derived from "Dove, Eagle, Lion"), based on the characters he derived from himself. These animals were also explored by another poet E. E. Cummings in Doveglion, Adventures in Value, a poem dedicated to Villa.

WORKS

As an editor, Villa first published Philippine Short Stories: Best 25 Short Stories of 1928 in 1929, an anthology of Filipino short stories written in English literature English that were mostly published in the literary magazine Philippine Free Press for that year. It is the second anthology to have been published in the Philippines, after Philippine Love Stories by editor Paz Márquez-Benítez in 1927. His first collection of short stories that he had written were published under the title Footnote to Youth: Tales of the Philippines and Others in 1933; while in 1939, Villa published Many Voices, his first collection poems, followed by Poems by Doveglion in 1941. Other collections of poems include Have Come, Am Here (1942) and Volume Two (1949; the year he edited The Doveglion Book of Philippine Poetry in English from 1910). Three years later, he released a follow-up for The Portable Villa entitled The Essential Villa. Villa, however, went under "self-exile" after the 1960s, even though he was nominated for several major literary awards including the Pulitzer Prize for Poetry. This was perhaps because of oppositions between his formalism (literature) formalist style and the advocates of proletarian literature, who misjudged him as a petty bourgeois. Villa only "resurfaced" in 1993 with an anthology entitled Charlie Chan Is Dead, which was edited by Jessica Hagedorn.

Several reprints of Villa's past works were done, including Appasionata: Poems in Praise of Love in 1979, A Parliament of Giraffes (a collection of Villa's poems for young readers, with Tagalog language Tagalog translation provided by Larry Francia), and The Anchored Angel: Selected Writings by Villa that was edited by Eileen Tabios with a foreword provided by Hagedorn (both in 1999).

His popular poems include When I Was No Bigger Than A Huge, an example of his "comma poems", and The Emperor's New Sonnet (a part of Have Come, Am Here) which is basically a blank sheet of paper.

AWARDS

Villa was granted a Guggenheim Fellowship in Creative Writing by American writer Conrad Aiken, wherein he was also awarded a $1,000 prize for "outstanding work in American literature", as well as a fellowship from Bollingen Foundation. He was also bestowed an Academy Award for Literature from The American Academy of Arts and Letters in 1943. Villa also won first prize in the Poetry Category of UP Golden Jubilee Literary Contests in 1958, as well as the Pro Patria Award for literature in 1961, and the Heritage Award for poetry and short stories a year later. He was conferred with a honoris causa doctorate degree for literature by Far Eastern University in Manila on 1959 (and later by University of the Philippines), and the National Artist Award for Literature in 1973.

He was one of three Filipinos, along with novelist José Rizal and translator Nick Joaquin, included in World Poetry: An Anthology of Verse from Antiquity to Our Time published in 2000, which featured over 1,600 poems written by hundreds of poets in different languages and culture within a span of 40 centuries dating from the development of early writing in ancient Sumer and Egypt.

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bountyofbeads · 5 years

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The Sisters Who First Tried to Take Down Jeffrey Epstein https://www.nytimes.com/2019/08/26/us/epstein-farmer-sisters-maxwell.html

"She said she met Donald Trump one day in Mr. Epstein’s office, recalling Mr. Trump eyeing her before Mr. Epstein informed him that “she’s not for you.” Farmer’s mother recalled her daughter detailing the interaction w Trump around the time it occurred."

The Sisters Who First Tried to Take Down Jeffrey Epstein

Nine years before any police investigation, Maria and Annie Farmer reported the troubling behavior of Jeffrey Epstein and his companion, Ghislaine Maxwell. No one would act.

By Mike Baker | Published August 26, 2019 Updated 9:00 a.m. ET | New York Times | Posted August 26, 2019 11:27 AM ET |

As more women have come forward in recent days to describe assaults at the hands of Jeffrey Epstein, Maria Farmer finds herself distraught, wondering what might have happened if someone had taken her seriously.

Twenty-four years ago, Ms. Farmer was an artist who had entered the unorthodox life Mr. Epstein lived behind the doors of his luxury estates. Mr. Epstein had offered to help her painting career, but it all came to an abrupt end one night in the summer of 1996, when she says Mr. Epstein and his companion, Ghislaine Maxwell, began violently groping her.

She learned later that her 16-year-old sister, Annie Farmer, had been subjected to a troubling topless massage at Mr. Epstein’s ranch in New Mexico.

Ms. Farmer contacted the New York Police Department, and said she then went to the Federal Bureau of Investigation, offering to share what she knew about Mr. Epstein and the parade of young women being brought to Mr. Epstein’s houses. Though the bureau has never acknowledged such a contact, Ms. Farmer said the F.B.I. must have had a record of it, because agents came back to her — years later — with questions. She also went to leaders in the New York art world that Mr. Epstein and Ms. Maxwell frequented, and the sisters tried to tell their story to a national magazine.

In each case, their reports went nowhere.

Finally, facing what she said were threats as a result of the sisters’ claims, Ms. Farmer abandoned her New York art career and stopped painting altogether.

“I did not want another young lady to go through what Annie went through,” Maria Farmer said in a recent interview. “I could handle what happened to me. I could not handle what happened to her.”

Mr. Epstein would continue to lure vulnerable girls into his predatory circle for another nine years before investigators began diving deep into his world. After being arrested on federal charges of sex trafficking of minors in New York and Florida, Mr. Epstein died earlier this month in what the authorities said was an apparent suicide.

[Listen to The Daily episode on the Farmer sisters and Jeffrey Epstein]

Other women have come forward in recent years with more serious claims of rape and child abuse against Mr. Epstein, but the Farmer sisters’ reports — made 23 years ago — are the earliest known allegations about Mr. Epstein’s troubling physical contact with girls and young women. In their detailed accounts, told here for the first time, they offer a glimpse of how Mr. Epstein managed to avoid significant scrutiny for years, even as concerns about his conduct began to pile up.

Ms. Farmer said that she feels guilty about having brought her sister into Mr. Epstein’s orbit. She mourns the victims who came after her, she said, her voice cracking each time she mentioned the name of one of them. She has spent years trying to live in seclusion.

The First Meeting

Ms. Farmer moved to New York in 1993, eager to pursue her passion for art, and enrolled at the New York Academy of Art.

She already had a specialty, exploring figures of nudes and adolescents, and had a chance to train under one of her idols, the painter and sculptor Eric Fischl. One of her paintings was done in a voyeuristic style, showing a man in the frame of a doorway looking at a woman on a sofa — a painting she said was inspired by Edgar Degas’ famous piece, “Interior,” which is sometimes known as “The Rape.”

At a gallery show for her graduation, Ms. Farmer said, the dean of the academy, Eileen Guggenheim, introduced her to Mr. Epstein and Ms. Maxwell, and told her to sell them the painting with the man in the doorway at a discount. (Ms. Guggenheim said she did not recall such an interaction.)

Afterward, Ms. Farmer said, Mr. Epstein called her to offer her a job acquiring art on his behalf, and later managing the entrance to a townhouse he was renovating.

There, at the age of 25, she was introduced to Mr. Epstein’s odd life, with girls and young women coming through for what she recalled Ms. Maxwell describing as modeling auditions for the lingerie retailer Victoria’s Secret. The house at times bustled in anticipation of potential visits from Bill Clinton, although she never actually saw him there.

She said she met Donald Trump one day in Mr. Epstein’s office, recalling Mr. Trump eyeing her before Mr. Epstein informed him that “she’s not for you.” Ms. Farmer’s mother, Janice Swain, recalled her daughter detailing the interaction with Mr. Trump around the time it occurred.

Both Mr. Clinton and Mr. Trump have acknowledged knowing Mr. Epstein, with Mr. Clinton denying knowledge of anything improper and Mr. Trump saying he was “not a fan” of Mr. Epstein.

Ms. Maxwell was charming and friendly, Ms. Farmer said, and as Mr. Epstein’s companion, she offered young women a level of assurance that they were safe in his presence. But she also seemed to play an important role in bringing young women in, Ms. Farmer said, recalling that Ms. Maxwell would leave the house saying, “I’ve got to go get girls for Jeffrey.”

Ms. Maxwell would refer to the girls she was looking for as “nubiles,” Ms. Farmer said. “They had a driver, and he would be driving along, and Ghislaine would say, ‘Get that girl,’” she said. “And they’d stop, and she’d run out and get the girl and talk to her.”

Lawyers for Ms. Maxwell and Mr. Epstein did not respond to requests for comment for this article.

The Younger Sister

One of the girls in whom the couple took an interest was Ms. Farmer’s younger sister, Annie.

Ms. Farmer had mentioned to them that her sister was looking to go to college. Mr. Epstein offered to help, and brought Annie, then 16 years old and living in Arizona, to visit New York.

Annie Farmer said she recalled Mr. Epstein as kind and casual, wearing sweatpants, pouring champagne and talking about her college plans. During the trip, they all went to see a movie. As the film progressed, Mr. Epstein began rubbing Annie’s hand, and then her lower leg, she said.

“It was one of those things that just gave me a weird feeling but wasn’t that weird + probably normal,” Ms. Farmer wrote in a diary entry dated Jan. 25, 1996. “The one thing that kind of weirded me out about it was he let go of my hand when he was talking to Maria.”

Mr. Epstein offered to send Annie Farmer on a trip to Thailand, and invited her to his New Mexico ranch for a weekend. Under the impression that the gathering would include a number of students chaperoned by Ms. Maxwell, Annie’s mother, Ms. Swain, said she allowed Annie to go. But when she arrived in New Mexico, Annie said, it was just her and Mr. Epstein and Ms. Maxwell.

There were more uncomfortable interactions that weekend, she said. She recalled Ms. Maxwell persuading her to give Mr. Epstein a foot massage and then giving pointers as she performed it. They went to another movie, where Mr. Epstein continued another round of his petting touches, she said.

Then, when she woke up in the house one morning, she recalled him coming into the room, saying he wanted to cuddle, and getting into bed next to her.

Ms. Farmer also recalled Ms. Maxwell repeatedly asking whether she wanted a massage. Eventually relenting, Ms. Farmer followed directions by taking off her clothes and bra and getting under a sheet on a massage table. Ms. Maxwell performed the massage, at one point having Ms. Farmer lie on her back as Ms. Maxwell pulled down the sheet to massage her chest.

“I don’t think there was any reason for her to be touching me that way,” Ms. Farmer said.

Mr. Epstein didn’t participate, but Ms. Farmer said she could sense that he was in the area and possibly watching.

The First Reports

At the time, Maria Farmer was unaware of the interactions her younger sister had in New Mexico. She went to Ohio around that time, utilizing Mr. Epstein’s large estate there to focus on her paintings.

Later in the summer, Mr. Epstein and Ms. Maxwell paid a visit. One night, she recalled getting an unusual request: Mr. Epstein needed his feet massaged.

The foot massage was brief and awkward, Ms. Farmer recalled, as Mr. Epstein groaned with what seemed like exaggerated pleasure, followed by a yelp of pain. Then he invited her to sit on the bed, where he was watching a PBS program about math.

Ms. Maxwell joined them on the bed, Ms. Farmer said, and the night took a sudden turn: Both Mr. Epstein and Ms. Maxwell began groping Ms. Farmer over her clothes, rubbing her body, commenting on her features, and twisting her nipples to the point of bruising. She said they did so in unison, mirroring each other’s movements. Fearing that she was about to be raped, Ms. Farmer eventually fled the room and barricaded herself in another part of the house.

She soon discovered that three nude photographs she had kept in a storage box were missing. The photos were of Annie and a third Farmer sister, who was 12, modeling for Maria’s figurative paintings.

Ms. Farmer said she began phoning people in a panic, looking for help. One of the people she reached was her art mentor, Mr. Fischl. In an interview, he recalled Ms. Farmer describing a physical encounter in the bedroom, fear for her sister and outrage about the missing photographs.

“I just kept telling Maria, ‘You’ve got to get out of there. You’ve got to get out of there,’” Mr. Fischl said.

Maria’s father, Frank Farmer, also recalled getting a call. He did not know the specifics of what transpired, but said his daughter was upset enough that he drove to the estate in Ohio from Kentucky to get her.

After speaking with Annie and learning that Annie had had her own troubles with Mr. Epstein and Ms. Maxwell, Maria Farmer said, she returned to New York. She recalled getting a phone call from Ms. Maxwell, saying she planned to burn all of Ms. Farmer’s art and that her career was over. Frightened, Ms. Farmer said she went to a local police precinct to report what had happened to her in Ohio, and about the art.

Officers at the New York Police Department precinct took a report on the purported threat and on the art theft allegation, a copy of which was obtained by The New York Times. But they referred her to other agencies, including the F.B.I., concerning the assault allegation, because Ohio was outside their jurisdiction, Ms. Farmer said.

Ms. Farmer said she telephoned the F.B.I. and spoke for about half an hour with the agent who answered the phone. The agent did not say what would happen with her report, she said. She asked if she should phone other law enforcement officials in individual states, like Ohio and New Mexico, and was told that was “up to you,” she said. She recalled contacting at least one other jurisdiction — she did not remember which — and making no progress.

An F.B.I. spokeswoman declined to comment on whether the agency had a report of such a call from Ms. Farmer in its files.

In recent days, the art collector Stuart Pivar said he recalled running into Ms. Farmer at a flea market around that time, and hearing her discuss serious concerns about Mr. Epstein that she said she had reported to law enforcement.

Ms. Farmer said she also raised her concerns about Mr. Epstein with leaders in the art community, including Ms. Guggenheim, the dean at the art school who had first put her in touch with Mr. Epstein. But she said Ms. Guggenheim did not seem to take the issue seriously. Ms. Guggenheim said in an interview that the details she was aware of at the time did not rise to a level that would require intervention.

The two Farmer sisters made another run at telling their story in 2003 to Vicky Ward, a reporter for Vanity Fair, which had commissioned a story about Mr. Epstein’s complicated finances that would also mention his proclivity for young girls. The article was published with no mention of the Farmers, and they felt they were left badly exposed.

Ms. Ward wrote on her personal blog in 2011 that the article went in a different direction because of “not knowing quite whom to believe.” The editor, Graydon Carter, said in an email that Ms. Ward’s sourcing on the Farmers’ account did not meet the magazine’s legal standards. But Ms. Ward indicated on Twitter recently that she believed Mr. Carter had succumbed to pressure from Mr. Epstein. John Connolly, a former contributing editor at Vanity Fair, said he recalled Mr. Carter talking about the efforts Mr. Epstein had made to influence the article.

When word got out that the sisters had given a detailed interview to the magazine, the angry phone calls to her resumed, Ms. Farmer said.

“Better be careful and watch your back,” she said Ms. Maxwell told her. “She said, ‘I know you go to the West Side Highway all the time. While you’re out there, just be really careful because there are a lot of ways to die there.’”

The Aftermath

Ms. Farmer said the threats led her to abandon her life in the New York art scene, where Mr. Epstein and Ms. Maxwell still held considerable sway. While Annie has moved forward with life, obtaining a Ph.D. and working as a psychotherapist, Ms. Farmer struggled to move past the year she spent with Mr. Epstein. She felt sickened by her own paintings, which she realized Mr. Epstein had apparently appreciated not for their artistic value, but for their depiction of nude forms of girls.

Unable to forget the comments Mr. Epstein and Ms. Maxwell had made about her breasts, Ms. Farmer said she underwent breast reduction surgery.

It wasn’t until 2006, when F.B.I. agents knocked on her door in North Carolina, that Ms. Farmer found renewed hope that Mr. Epstein would be held accountable. New allegations about Mr. Epstein had surfaced the previous year, when a report by a teenager in Florida spurred an extensive investigation that uncovered a wide range of young girls who had been recruited to visit Mr. Epstein’s lavish home in Palm Beach.

Heavily redacted records released by the F.B.I. appear to show handwritten notes from November 2006 interviews with Maria Farmer and Annie Farmer, outlining key details of their stories, including Maria’s visit to the New York police and her referral to the F.B.I.

But though the investigation progressed, a widely criticized plea deal eventually quashed any federal prosecution. To the sisters, the 2008 plea agreement, which allowed Mr. Epstein to plead guilty merely to much less serious state charges, was deeply demoralizing.

Ms. Farmer was starting to put some of it behind her when the latest news about Mr. Epstein began to emerge, and more victims began coming forward. She found herself crying when she saw those accounts, wondering what it would have taken to stop him when she first tried. Though the time for a lawsuit has long passed, she has been working with a lawyer, David Boies, to support other victims of Mr. Epstein.

“Every time I hear one of the girls tell their story, it devastates me,” Ms. Farmer said.

Ms. Farmer, who recently received a diagnosis of a brain tumor, said she still has some fear about coming forward to tell her own story, even after Mr. Epstein’s death. She recently moved to a new home in the South to improve her privacy.

In her new residence, she has laid out an art studio in front of windows that offer a peek-a-boo view of a nearby lake. She has started painting again, for the first time in years, and new pieces are stacked up against the walls.

One day, she said, she will try to bring artistic shape to her experience with Mr. Epstein. But for now, she has been focused on a series of paintings of families and children.

They are not like her earlier paintings, the ones Mr. Epstein liked. All the girls are clothed.

#politics #sex trafficking #sex crimes #epstein case #jeffrey epstein #u.s. news #u.s. department of justice

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nicolekidman-lies · 2 years

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“The New York Academy’s “Take Home A Nude” auction, now in its 27th year, takes place each year at Sotheby’s, and raises money for student scholarships and programming at the Academy. A silent and live auction featured works from Herb Ritts, Jan Frank, Judy Chicago, David Lynch and others. Attendees included Brooke Shields, Liev Schreiber, Naomi Watts, Princess Alexandra of Greece, Eileen Guggenheim and artist Mickalene Thomas.”

“Jerry Hall, in attendance with her husband Rupert Murdoch, was among the 11 artists muses honored that evening. “I’m looking forward to seeing the young people’s art,” she said. “I think it’s so inspiring.””

“On July 30, three members of the academy’s board—Ippolita Rostagno, Alina Lundry, and Valerie Cooper—resigned en masse. Two weeks earlier, the actress Naomi Watts also resigned from the board. Their decisions were a result of the school’s handling of Farmer’s allegations, according to an alum who has knowledge of the situation and asked to remain anonymous. The former board members could not be reached for comment.”

“The remaining board members did not comment on the resignations, but the executive committee issued a “profound apology” yesterday to Farmer and other alumni who are “upset and angry” with its response, according to a letter it wrote to alumni. The board is also making a $30,000 donation—the amount Epstein gave in scholarship support to the academy in 2014—to a charity for victims of sexual assault.

Farmer has previously told Artnet News that Eileen Guggenheim, who is chair of the academy’s board, introduced her to Epstein and his alleged co-conspirator Ghislaine Maxwell at her thesis show in 1995 and encouraged her to sell them her work at a discounted price because of the financial support Epstein had offered to the academy. (Epstein served on the school’s board from 1987 to 1994.)”

#naomi watts #rupert murdoch #jerry hall #jeffrey epstein #ghislaine maxwell #liev schreiber

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colorphotosblayney · 3 years

Photo

Mary Ellen Mark

MARY ELLEN MARK achieved worldwide visibility through her numerous books, exhibitions and editorial magazine work. She published photo-essays and portraits in such publications as LIFE, New York Times Magazine, The New Yorker, Rolling Stone, and Vanity Fair. For over five decades, she traveled extensively to make pictures that reflect a high degree of humanism. She is recognized as one of our most respected and influential photographers. Her images of our world's diverse cultures have become landmarks in the field of documentary photography. Her portrayals of Mother Teresa, Indian circuses, and brothels in Bombay were the product of many years of work in India. A photo essay on runaway children in Seattle became the basis of the academy award nominated film STREETWISE, directed and photographed by her husband, Martin Bell.

Mary Ellen received the 2014 Lifetime Achievement in Photography Award from the George Eastman House as well as the Outstanding Contribution Photography Award from the World Photography Organisation. She has also received the Infinity Award for Journalism, an Erna & Victor Hasselblad Foundation Grant, and a Walter Annenberg Grant for her book and exhibition project on AMERICA. Among her other awards are the Cornell Capa Award from the International Center of Photography, the John Simon Guggenheim Fellowship, the Matrix Award for outstanding woman in the field of film/photography, and the Dr. Erich Salomon Award for outstanding merits in the field of journalistic photography. She was also presented with honorary Doctor of Fine Arts degrees from her Alma Mater, the University of Pennsylvania and the University of the Arts; three fellowships from the National Endowment for the Arts; the Photographer of the Year Award from the Friends of Photography; the World Press Award for Outstanding Body of Work Throughout the Years; the Victor Hasselblad Cover Award; two Robert F. Kennedy Awards; and the Creative Arts Award Citation for Photography at Brandeis University.

She published twenty books including Passport (Lustrum Press, 1974), Ward 81 (Simon & Schuster, 1979), Falkland Road (Knopf, 1981), Mother Teresa's Mission of Charity in Calcutta (Friends of Photography, 1985), The Photo Essay: Photographers at work (A Smithsonian series), Streetwise (second printing, Aperture, 1992), Mary Ellen Mark: 25 Years (Bulfinch, 1991), Indian Circus,(Chronicle, 1993 and Takarajimasha Inc., 1993), Portraits (Motta Fotografica, 1995 and Smithsonian, 1997), a Cry for Help (Simon & Schuster, 1996), Mary Ellen Mark: American Odyssey (Aperture, 1999), Mary Ellen Mark 55 (Phaidon, 2001), Photo Poche: Mary Ellen Mark (Nathan, 2002), Twins (Aperture, 2003), Exposure (Phaidon, 2005), Extraordinary Child (The National Museum of Iceland, 2007), Seen Behind the Scene (Phaidon, 2009), Prom (Getty, 2012,) Man and Beast (University of Texas Press, 2014,) Tiny: Streetwise revisited (Aperture, 2015,) and Mary Ellen Mark on the Portrait and the Moment (Aperture, 2015.) Mark's photographs have been exhibited worldwide.

She also acted as the associate producer of the major motion picture, AMERICAN HEART (1992), directed by Martin Bell.

Her last book "Tiny: Streetwise Revisited" is a culmination of 32 years documenting Erin Blackwell, who she first met in 1983 on assignment for LIFE magazine. Erin was the subject of both the book and film "Streetwise." Martin also made an updated film, "TINY: The Life of Erin Blackwell."

Aside from her book and magazine work, Mark photographed advertising campaigns among which are Barnes and Noble, British Levis, Coach Bags, Eileen Fisher, Hasselblad, Heineken, Keds, Mass Mutual, Nissan, and Patek Philippe.

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buddylistsocial · 4 years

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Prince Charles' former aide denies introducing student to Jeffrey Epstein

Prince Charles’ former aide denies introducing student to Jeffrey Epstein

Prince Charles‘ former aide has denied introducing a student to Jeffrey Epstein before the billionaire paedophile went on to abuse her.

Eileen Guggenheim, the former Prince’s Trust vice-chair and current dean of the New York Academy of Art, was accused of encouraging a student to flirt with Epstein because he was a big donor.

Ms Guggenheim has strongly denied the claims.

Maria Farmer, 50,…

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nyfacurrent · 4 years

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Event | Online Doctor’s Hours for Visual & Multidisciplinary Artists

Monday, June 29 Doctor’s Hours event will offer remote one-on-one consultations with art professionals.

New York Foundation for the Arts (NYFA) will host the next edition of its popular Doctor’s Hours program, which is designed to provide practical and professional advice from industry professionals, online on Monday, June 29.

This event will serve Visual and Multidisciplinary artists working in Drawing, Painting, Printmaking, Sculpture, Video, Film, Photography, New Media, Multidisciplinary, Performance Art, Socially-Engaged Practices, Folk, and Traditional Art.

Starting Tuesday, June 9 at 11:00 AM EDT, you can register for 25-minute, remote one-on-one appointments with up to three arts professionals to ask questions and receive actionable tips for advancing your arts career.

How Online Doctor's Hours works:

To adopt the online model, each consultant meets six artists over the course of three hours.

Each consultation session is 25 minutes. There will be a three appointment limit per artist.

The Online Doctor's Hours sessions take place through the Zoom platform. Please download the Zoom app before the event date to participate.

Title: Online Doctor’s Hours for Visual and Multidisciplinary Artists Program Date and Time: Monday, June 29, 2020, 5:00 PM - 8:00 PM EDT, unless otherwise noted below Location: Online through Zoom* Cost: $25 per 25-minute appointment; three appointment limit per artist Register: The event is fully booked, please click here to sign up for the waiting list to be informed of any cancellations.

Can’t join us? You can book a one-on-one remote consultation with arts professionals via NYFA Coaching.

To make the most of your “Online Doctor’s Hours” appointment, please read the entire confirmation email you receive after completing your registration; it includes all the details you need for your session.

*We are able to offer this support via phone if you are unable to access reliable internet service.

For questions, email [email protected].

Consultants

Ylinka Barotto, Associate Curator, Moody Center for the Arts, Rice University As Associate Curator, Barotto is responsible for developing, organizing, and executing visual art exhibitions that support Moody's mission of fostering interdisciplinary conversation. Barotto is also involved in the expansion of Rice Public Art through commissions of site-specific work and is responsible for conceptualizing and coordinating the “Platform” and “Off the Wall” series. Before joining the Moody, Barotto served as Assistant Curator at the Solomon R. Guggenheim Museum where she worked on major modern and postwar retrospectives and contemporary exhibitions. She helped shape the Guggenheim’s permanent collection through acquisitions of emerging artists through the Young Collectors Council and hosted and moderated conversations between contemporary artists, activists, and journalists on topics such as feminism, activism, identity, and representation for the Guggenheim Public Program. Barotto received a MA degree in curatorial studies at Accademia delle Belle Arti di Brera in Milan, Italy.

Alaina Claire Feldman, Director, Sidney Mishkin Gallery at CUNY’s Baruch College* Feldman is the new Director and Curator of the Mishkin Gallery at Baruch College (CUNY), where she also teaches in the MA Arts Administration program. Recent exhibitions include The Aesthetics of Learning, Minerva Cuevas: Disidencia, and Lamin Fofana: BLUES.

*Please note appointment times for this consultant will be between 2:00 PM to 5:00 PM on Monday, June 29.

Gabriel de Guzman, Curator & Director of Exhibitions, Smack Mellon Gallery At Smack Mellon, de Guzman organizes group and solo exhibitions that feature emerging and under-recognized mid-career artists whose work often explores critical, socially relevant issues. Before joining Smack Mellon’s staff in 2017, de Guzman was the Curator of Visual Arts at Wave Hill, organizing solo projects for emerging artists as well as thematic group exhibitions. As a guest curator, he has presented shows at BronxArtSpace, Dorsky Gallery Curatorial Programs, Dyckman Farmhouse Museum, Rush Arts Gallery, En Foco at Andrew Freedman Home, the Affordable Art Fair New York, Northern Manhattan Arts Alliance, and the Bronx Museum's 2013 AIM Biennial. Prior to Wave Hill, he was a curatorial assistant at The Jewish Museum. His essays have been published in Nueva Luz: Photographic Journal and in catalogues for the Arsenal Gallery at Central Park, Kenise Barnes Fine Art, and the art institutions mentioned above. He earned a MA degree in art history from Hunter College and a BA degree in art history from the University of Virginia.

DJ Hellerman, Curator of Art & Programs, Everson Museum of Art A few of Hellerman’s recent curatorial productions include solo exhibitions Yoko Ono: Remembering the Future, Edie Fake: Structures Shift, and Jeff Donaldson: Dig. Recent theme-based group exhibitions include: Civic Virtue: all over the floor; Seen & Heard; Of Land & Local, an annual place-based exhibition about art and the environment; and Taking Pictures, an exhibition exploring how artists associated with the Pictures Generation anticipated and recently turned their critical attention to digital networks used in the dissemination and consumption of images. Hellerman has spoken at conferences across the country, and has written extensively on American Art, popular culture, and the post-war American City. Prior to his position in Syracuse, Hellerman served as Curator and Director of Exhibitions at Burlington City Arts. A native of Ohio, Hellerman began curating and educating people about art while helping Progressive Insurance build a collection of contemporary art designed to encourage innovation and change. He received his MA degree in Art History from Case Western Reserve University in Cleveland, OH and his BA degree in English and Philosophy from Lake Erie College in Painesville, OH. He loves live music and literature as much as he enjoys visual art.

Lilly Hern-Fondation, Programs Manager, CUE Art Foundation Hern-Fondation is a Brooklyn-based artist and writer and the Programs Manager at CUE Art Foundation, a nonprofit art space located in Manhattan that is dedicated to exhibitions, arts education, art criticism, and public programming. Prior to CUE, she served as Assistant Director of Freight+Volume on the Lower East Side, as co-founder and co-director of Nightwood Exhibits in Chicago, and as Curatorial Fellow at SAIC. Originally from Los Angeles, Hern-Fondation studied literature and photography at the University of Washington, Seattle and received her MFA degree from the School of the Art Institute of Chicago.

Eileen Jeng Lynch, Curator, Wave Hill At Wave Hill, Jeng Lynch organizes the Sunroom Project Space for emerging artists, co-curates exhibitions in Glyndor Gallery, and is involved in all aspects of visual arts programming including publications and the annual Winter Workspace program. Recent exhibitions at Wave Hill include Figuring the Floral, Emily Oliveira: Mundo Irrealis (Wish You Were Here), Duy Hoàng: Interarboreal, Bahar Behbahani: All water has a perfect memory, and Ngoc Minh Ngo: Wave Hill Florilegium. Jeng Lynch is also the Founder of Neumeraki, which collaborates with artists, organizations, and galleries on curatorial, consulting, writing, and editing projects. Independent curatorial projects include exhibitions at The Yard: City Hall Park, Trestle Gallery, LMAKbooks+design, Sperone Westwater, Lesley Heller Workspace, Dorsky Gallery Curatorial Programs, Garis & Hahn, and Radiator Gallery, among others. In 2017, Jeng Lynch initiated the ongoing Give Voice Postcard Project. She has contributed to Two Coats of Paint and On-Verge. Previously, Jeng Lynch worked at RxArt, Sperone Westwater, and the Art Institute of Chicago in the Department of Contemporary Art. She earned her MA degree in Arts Administration and Policy from the School of the Art Institute of Chicago and BA degree in Art History and Advertising from Syracuse University.

Larry Ossei-Mensah, Independent Curator and Cultural Critic, Co-founder of ARTNOIR* Ossei-Mensah uses contemporary art as a vehicle to redefine how we see ourselves and the world around us. The Ghanaian-American curator and cultural critic has organized exhibitions and programs at commercial and nonprofit spaces around the globe from New York City to Rome featuring artists such as Firelei Baez, Allison Janae Hamilton, Brendan Fernades, Ebony G. Patterson, Glenn Kaino, and Stanley Whitney to name a few. Moreover, Ossei-Mensah has actively documented cultural happenings featuring the most dynamic visual artists working today such as Derrick Adams, Mickalene Thomas, Njideka Akunyili Crosby, Federico Solmi, and Kehinde Wiley.

Ossei-Mensah is also the co-founder of ARTNOIR, a 501c3 and global collective of culturalists who design multimodal experiences aimed to engage this generation’s dynamic and diverse creative class. Ossei-Mensah is a contributor to the first ever Ghanaian Pavilion for the 2019 Venice Biennial, with an essay on the work of visual artist Lynette Yiadom-Boakye. Ossei-Mensah is the former Susanne Feld Hilberry Senior Curator at MOCAD in Detroit. He recently co-curated with Dexter Wimberly the critically-acclaimed exhibition at MOAD in San Francisco Coffee, Rhum, Sugar, Gold: A Postcolonial Paradox in 2019. Ossei-Mensah currently serves as guest curator at Brooklyn Academy of Music’s Rudin Family Gallery. He also will be co-curating with Omsk Social Club the 7th Athens Biennale in Athens, Greece. Ossei-Mensah has had recent profiles in such publications including The New York Times, Artsy, and Cultured Magazine, which named him one of seven curators to watch in 2019. Follow him on Instagram/Twitter at @youngglobal or www.larryosseimensah.com.

*Please note appointment times for this consultant will be between 2:00 PM to 5:00 PM on Monday, June 29.

Alice Russotti, Curator, Lower Manhattan Cultural Council (LMCC) As Curator at LMCC, Russotti is focused on programming at the Arts Center at Governors Island and public art partnerships with LMCC’s downtown supporters. Originally from London, Russotti graduated from high school in Costa Rica and has since lived in New York City, London, and Singapore. She started her career in the arts on the commercial side, first at Christie’s, New York, and then with Sotheby’s, London, in the Post-War & Contemporary department. Finding the secondary market’s lack of interaction with artists and their process frustrating, she started working at The Vinyl Factory, London, curating and producing multimedia, cross-disciplinary installations in the Brewer Street Car Park that were free and open to the public. Russotti holds a BA degree from Brown University in Art History and a MA degree from the Sotheby’s Institute in Contemporary Art and Theory.

This program is presented by NYFA Learning. Sign up here to receive NYFA News, a bi-weekly organizational email for upcoming awards, resources & professional development. NYFA Learning also offers the monthly free Con Edison Immigrant Artist Program (IAP) Newsletter, if you are interested in opportunities, professional development, events, tips and advice specific to immigrant artists.

Image Detail: Mark Ferguson (Fellow in Printmaking/Drawing/Book Arts ’17); NYFA Artist's Statement; 2017; graphite, crayon, tape on synthetic paper

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