World’s Largest Gavel Sculpture: world record in Columbus, Ohio

World’s Largest Gavel Sculpture: world record in Columbus, Ohio
Columbus, Ohio, United States–Gavel, a $200,000 sculpture by Andrew F. Scott, depicting a gavel, a mallet used by judges to maintain order in a courtroom and to punctuate rulings, is located at the Ohio Judicial Center, home to the Supreme Court of Ohio, situated in Downtown Columbus’s Civic Center; the 31 foot steel. 7,000 pound gavel sets the world record for being the World’s Largest Gavel Sculpture, according to the WORLD RECORD ACADEMY: https://bit.ly/3njl6y0

Coworking with Tayla-Lee Chick

Coworking with Tayla-Lee Chick
Get marketing news you’ll actually want to read

The email newsletter guaranteed to bring you the latest stories shaping the marketing and advertising world, like only the Brew can.

Each Tuesday, we spotlight Marketing Brew readers in our Coworking series. If you’d like to be featured, introduce yourself here.

Tayla-Lee Chick is managing director at Bald Agency, which has worked with brands including KPMG and Blaze Pizza.

Favorite project you’ve worked on? We recently worked on a series of videos for KPMG US showcasing the people behind the brand. I really enjoyed working with my team to create work that stretched the imagination of what was possible.

It was my first shoot working for a remote agency, shooting all over the US, editing in the UK, strategizing across the globe, and creative directing from South Africa. We pulled off one of the most beautiful video campaigns I’ve ever seen, and I’m incredibly proud of my team. Stay tuned, they are live soon!

What’s your favorite ad campaign? Really hard to choose one; I’d have to go with the one that got me into marketing in the first place. Old Spice, “The Man Your Man Could Smell Like” is such an incredible display of the importance of understanding your buyers. The understanding of who is purchasing your product and marketing it to them rather than just to the people who are using it is what got me into marketing and branding in the first place. Understanding human behavior and the psychology behind why we buy is fascinating. Marketing is a science. Brand-building is an art.

One thing we can’t guess from your LinkedIn profile? When I was young, I dreamed of being an artist. My stepdad taught me one of the hardest lessons in life was that we are rarely passionate and good at the same thing. This could not have been more true for me. I was terrible. So I found a way to, at the very least, work among creative people who inspire me every day.

What’s one marketing-related podcast, social account, or series you’d recommend? As a history buff, I love Brand Wars. We can learn so much from the mistakes and victories of other brands. I love learning about the journeys some of the major players and household names have gone through. It makes me realize that the challenges we face are not unique; no one has it easy. But, if you’d rather crack the spine of a good book (where I’d rather live): Influence: The Psychology of Persuasion by Robert Cialdini and Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration by Ed Catmull—an especially good read if you are interested in how science and art coexist.

Will Going Pro Ruin Your Love of Photography?

Will Going Pro Ruin Your Love of Photography?

One of the most common warnings you will hear about going pro as a photographer is that it will ruin your love for the craft. Why is that? Is it true, and if so, what can you do to mitigate that? This excellent video essay features a long-time professional photographer discussing the issue and his experience. 

Coming to you from Scott Choucino of Tin House Studio, this great video essay discusses the issue of becoming a professional photographer and its effect on one’s love of the craft. Without a doubt, becoming a professional can have a detrimental effect on your passion, as you realize that everything that goes into a business takes you away from the camera more than you might have ever imagined. It can also be difficult when you lose creative freedom, as you have to work to cater to the needs and desires of clients. This is part of the reason why seasoned professionals advocate so strongly for undertaking personal projects. Not only will these help you maintain your passion, they will also expand your creative palette, which can only serve to help you gain more clients. Check out the video above for the full rundown from Choucino. 

Solana Beach’s EC Gallery to open new space in the Gaslamp District

Solana Beach’s EC Gallery to open new space in the Gaslamp District

Solana Beach’s Exclusive Collections Gallery (EC Gallery) is making the move from the Cedros Design District to downtown’s Gaslamp District—Gallerist Ruth-Ann Thorn is set to open her new location on Fifth Street on May 5.

Thorn has owned EC Gallery for 28 years in San Diego in multiple locations. She originally opened the gallery in Carlsbad in 1995, then opened galleries in La Jolla, Fashion Valley, the Gaslamp and Seaport Village before moving up to Solana Beach in 2018. EC Gallery was founded on the premise that the “Art of Discovery” is for everyone.

“I always wanted to have a gallery on Cedros so it was a dream,” she said. “I think Cedros is one of the gems of San Diego.”

Going back downtown is a little like coming full circle but it will be hard to leave beautiful Solana Beach and its loyal locals behind—she plans to remain in Solana Beach through October and then see what happens; she still may pursue another North County location.

With the new gallery, she is taking over a historic building at the corner of Fifth and Market, the original home for both Z Gallerie and Lucky Brand. EC Gallery will showcase a stable of over 25 nationally and internationally known artists with individual and group shows throughout the year.

Thorn expects the downtown gallery will likely see more tourists than the Cedros location and while North County collectors were a little more traditional in their tastes, she said with the new gallery she will have the opportunity to feature some more contemporary works.

The new Exclusive Collections Gallery in the Gaslamp.

The new Exclusive Collections Gallery in the Gaslamp.

(Jens Feil)

Thorn, a member of the Rincon Band of Luiseño Indians who lives on the Ricon reservation in Valley Center, is also a passionate advocate for Native American artists.

Around the country she works as a cultural liaison for Native American tribes, making sure tribes are appropriately represented in artwork, design and architecture. She is also a filmmaker—her docuseries on the First Nations Experience (FNX) network spotlights Native American artists from all over America.

Every year, she does a big show at EC Collective solely focused on Native American art.
“I’m hoping to see more representation of native people and local tribes in San Diego,” said Thorn.

Being back downtown, Thorn is excited to be a part of exciting things happening in the Gaslamp, including the Gaslamp Promenade, a mission to reinvent Fifth Avenue and make it more pedestrian friendly. Plans are for Fifth Avenue to be closed to all car traffic every day from 11 a.m. to around midnight, from K Street up to Broadway. The new EC Gallery will be at the heart of it.

For now, she is just looking forward to getting the doors open in her new space, planning to host a grand opening celebration possibly in August.

The new gallery is located at 621 5th Avenue. Visit ecgallery.com/

— Business Spotlight features enterprises that support this publication.

Did you know sky photography can happen during the day? Google didn’t

Did you know sky photography can happen during the day? Google didn’t

In a world where we’re in a state of near-constant panic about the encroachment of AI on our lives, this morning I found myself a little surprised by the more established pseudo-intelligence of normally reliable Google.

My mind was wandering and I was thinking of clouds – not sunset clouds, but the patterns they form after the peak of the day on a holiday weekend as, for me in London, it has just been a long weekend. So I typed ‘sky photography’ into Google and, well, it decided I could only mean astrophotography.

Now I’ve got nothing against astrophotography. I deeply admire those willing to research the best astrophotography gear and endure the long hours and disappointments of weather at difficult times of the day. But I did feel that Google might have offered me some possibilities for ‘sky photography’ relating to the other half of the solar cycle – the time I, personally, spend awake.

I wanted to take a better picture of these clouds, so I checked Google (Image credit: Adam Juniper)

Perhaps I was asking the wrong question. After all, a lot of the time you’re looking to make the sky a key part of a photo, the time of day is important. Perhaps if I’d asked, specifically, about the best way to photograph a sunset, or clouds, I’d have got an answer closer to where my mind was in the first place. Though, to be honest, I suspect if I’d mentioned clouds I’d have simply ended up with a lot of opportunities to store my photos on a remote hard drive for a monthly fee.

The point, here, seems to be this – sky photography (or whatever you choose to call it) matters to people whether it is day or night, and that seems like it should be obvious to a search engine. But, clearly, it isn’t. At best the search is the beginning of a hunt for knowledge, not the end.

For what it’s worth, only one of the three images and one video I could see from the same sky photography search on Instagram showed astrophotography. But a lot had clouds, and it wasn’t short of sunsets.

Remembering Myriam Ullens, art collector, and philanthropist, who launched the first contemporary art museum in China

Remembering Myriam Ullens, art collector, and philanthropist, who launched the first contemporary art museum in China

Myriam Ullens, a noted supporter and champion of Chinese contemporary art, began her career by building a pastry business and then, through her marriage to the Belgian billionaire Guy Ullens, became an art collector, fashion entrepreneur and philanthropist.

Her life came to a violent end when she was fatally shot by her stepson Nicolas Ullens at her family home in Ohain, a village in the province of Walloon Brabant in central Belgium. Guy Ullens, 88, was sitting beside his wife in their car when she was shot, and was also injured in the leg. Nicolas Ullens, a former Belgian intelligence officer, said he killed his stepmother because he feared she would fritter away the family fortune. He has been charged with murder.

Myriam Ullens supported her husband in a pioneering project to build the first contemporary art museum in China, the Ullens Center for Contemporary Art, which opened in Beijing in 2007. The couple also established a school and educational foundation in Nepal. After surviving breast cancer, Myriam—who went by the name Mimi—created the Mimi Foundation to offer support to cancer victims. In 2011, she created a fashion label for high-end travel and leisure wear, Maison Ullens, with shops in Paris, New York and Aspen. “They were a couple who each supported the other’s passions,” says Jérôme Neutres, the chief curator of the Guy & Myriam Ullens Foundation.

She was born Myriam Lechien, in Cologne, the daughter of a Belgian army officer. She met Guy Ullens, her third husband, in the early 1990s, soon after he had sold his family’s sugar-refining business, Tiense Suikerraffinaderij, for about $1 billion.

A mother of two young children, she was seeking backers to expand the pastry business that she had started in her own kitchen and which was taking over her house. “There were cakes everywhere,” she said in a television interview. “Even on the stairs.” In need of new premises, she contacted Ullens as a potential backer. “It was love at first sight! For the first time in my life,” she said in a 2014 interview with Madame Figaro. “He is a visionary, he is always so far ahead of the others.”

After Guy divorced his first wife, they married in 1999. Myriam gave up her pastry business and Guy, whose company had acquired Weight Watchers for $735 million that year, retired from business in 2000 so that both of them could focus on their philanthropic projects. In the early years of their marriage, that involved frequent travel to China.

Guy Ullens began collecting art in the 1960s, choosing to concentrate on undiscovered areas. He turned to Chinese art in the 1990s, “when no one was paying attention” to it, Neutres says. “Artists had been released, but were working for the state which had emancipated them, and they found themselves with no clients,” Ullens said in an interview with the Asian Art Newspaper in 2018. “We were the ones who happened to support them and we started to amass paintings. We were driven by sheer enthusiasm!”

Ullens Center for Contemporary Art became the centre of the Chinese contemporary art world at its location in Beijing’s 798 Art Zone, a former military industrial complex. Nevertheless, setting it up was “very demanding,” Guy Ullens said. “At some point my wife, who temporarily had to carry on with the project by herself as I was recovering from surgery, told me she could not go on,” he said. Myriam was still receiving treatment for breast cancer at this stage. “She suggested we stop, but I begged her to reconsider. Ultimately, by 2007, we had succeeded in opening the museum.”

The couple sold UCCA in 2017, but remained on the council of the foundation. It has since thrived and expanded. Philip Tinari, its present director, says that one of its legacies was to inspire dozens more private museums, set up by Chinese collectors. While Guy was the driving force behind the art collecting, Myriam was “very precise in her taste and her standards,” Tinari said. “She was focused on making UCCA a welcoming place—hospitality, branding and marketing were her special areas.”

If Guy Ullens was the primary energy behind UCCA, it was Myriam who first became involved in caring for children in Nepal. She took over a orphanage there in the early 1990s and renamed it Happy Home, according to Som Paneru, who became the manager in 1996. About 100 children, many taken off the streets and from jails, grew up in Happy Home and were educated in private schools before it closed in 2014.

“She was very kind-hearted and she could not bear to see children suffering,” Paneru says. “Whenever Mimi came there was a festival – she would shower them with love, pamper them, and take them shopping at Benetton.”

After 2000, Guy accompanied her on visits to Nepal and together they set up the Ullens School—the first school in the country to offer an international baccalaureate programme. It was initially set up to educate the orphanage children, many of whom have gone on to become business professionals, civil servants or teachers, Paneru says. “It was life-transforming for them. Otherwise these kids had no future, no hope,” he says. Though it is now a well-established educational institution, a fifth of the pupils are from under-privileged backgrounds and have scholarships, according to Paneru.

Myriam Ullens held a gala dinner auction at Sotheby’s during Frieze Week, in London in 2013, which raised over £1.35 million for her medical foundation

Myriam Ullens underwent chemotherapy for breast cancer after an aggressive tumour was discovered in 2003. By 2008, she was declared clear of it: “I will always remember New Year’s Day that year,” she said in the interview with Madame Figaro. “I burned my medical file. My hair, my eyelashes, my eyebrows started to grow back and life slowly returned.”

Shocked at the lack of non-medical care for cancer patients, she set up the Mimi Foundation in 2004 to provide centres of well-being in hospitals, employing psychologists, masseuses, beauticians and hairdressers. “We give them back their dignity,” she said in a 2014 advertisement for the charity. “They need some sunshine in their lives.”

Myriam Ullens held a gala dinner auction at Sotheby’s during Frieze Week, in London in 2013, which raised over £1.35 million for her foundation. Among the prizes was two weeks on Guy Ullens’ yacht, The Red Dragon, and a portrait by Yan Pei-Ming of King Charles III – then Prince Charles. The winning bidders were invited to a private dinner at Windsor Castle with Prince Charles. “We really saw her take her art connections and the goodwill she had amassed and use it for a good cause,” says Tinari, who was present at the event.

The initiative for the fashion company Maison Ullens also came jointly, Myriam said in a French television interview. She arrived dressing in a tracksuit for a flight with Guy, who said “Frankly, you don’t look very sexy like that,” she said. “So I responded by saying – right, I am going to launch my own fashion brand.” The brand, which aspires to unite elegance with travel comfort, includes Melania Trump, Christine Lagarde and Catherine Deneuve among its customers.

Myriam frequently said that Bill and Melinda Gates were her role models. Those who knew her describe her as humble, down-to-earth and low-key despite the wealth she married into. “When you are rich, you have as many problems as when you are poor,” she said in the television interview. “The problems are just different.”

Myriam Ullens’s death was a shocking end to full and varied life. She even wrote a novel, Distant Starless Nights, which is described on Amazon as “a captivating tale about one woman’s search for love across decades and continents.” It is possible her writing never quite reached the level of her baking – which she continued after giving up her pastry company. “I had the chance to try some cakes once,” Neutres says. “She was a remarkable chef.”

Myriam Lechien, born Cologne 23 September 1952; married first Roger Lemaire (one son, one daughter; marriage dissolved), second Christian de Moffarts (marriage dissolved), 1999 Guy Ullens de Schooten Whettnal; died Ohain, Belgium, 29 March 2023.

A New Survey Erases Male Artists From the Western Canon

A New Survey Erases Male Artists From the Western Canon

THE STORY OF ART WITHOUT MEN, by Katy Hessel


“Men put me down as the best woman painter,” Georgia O’Keeffe once said. “I think I’m one of the best painters.” That famous quote by the American modernist serves as an epigraph in Part 2 of the Guardian columnist Katy Hessel’s sweeping first book, “The Story of Art Without Men.” “Women artists are not a trend,” Hessel maintains; and yet the contested category persists, not as a meaningful distinction but rather as a repercussion of patriarchy, a category that the male-dominated art world consistently, in O’Keeffe’s terms, diminishes.

Part revisionist history, part coffee-table book, part collective portrait, part archival treasure hunt, Hessel’s treatise covers the 1500s to the present in an attempt to make good on its title. But despite her best efforts, men can’t help appearing throughout, as rich husbands, abusive boyfriends, artist fathers, needy sons, muse-hungry painters, institutions and even that supreme male gaze, God’s.

In this 500-page tome, Hessel, who cites her Instagram account @thegreatwomenartists as part of the book’s origin, efficiently introduces us to a mosaic of artists, from the well-known Artemisia Gentileschi, Frida Kahlo, Hilma af Klint, Tracey Emin and Kara Walker to the lesser-known Elisabetta Sirani, Marie Denise Villers and Lady Butler, and even gestures toward the multitude of names that we might never know.

This is a photo of the book standing on a wood table. The coral-colored hardcover contains the words, “The Story of Art” in yellow font, “Without Men” in white outline and “Katy Hessel” in navy blue.
Hiroko Masuike/The New York Times

The book’s chronological and compendium-like structure allows for an abundance of “firsts”: Lavinia Fontana is “thought to be one of the first women in Western art to paint female nudes,” in 1595; Alma Thomas is “the first African American woman to achieve a solo exhibition at the Whitney,” in 1972; “A Lesbian Show” was “the first all-lesbian art show in the U.S.,” in New York City in 1978; the 20th-century Mexican artist Aurora Reyes Flores is considered “the first female Muralist”; and so on. The result is an engaging but necessarily clipped perspective. Through her narrative form and focus on representation, Hessel’s lineage of milestones obscures both the political history behind women’s exclusion from the canon and the possibility of struggle against it.

Hessel’s target audience is “anyone of any art-historical level interested in learning the stories of these mostly overshadowed artists.” It is unsurprising, then, that her survey — which includes roughly 300 images, a glossary of art-historical terminology and a six-page timeline of artists from the Dutch Golden Age to the Harlem Renaissance to today — favors the global over the local.

From the beginning Hessel warns that “this is not a definitive history — it would be an impossible task,” and acknowledges the challenges of her broad-stroked approach: the complications of fitting individuals into sanctioned aesthetic movements; the sensitivities around the vexed category of “woman artists,” which for Hessel is no longer a “derogatory” term but “an embodiment of power”; and the ever-evolving status of these distinctions in our present and future.

But although her index of names succeeds in providing some answer to the question posed in Linda Nochlin’s trailblazing 1971 essay “Why Have There Been No Great Women Artists?,” Hessel does less than Nochlin did, 50 years ago, to unsettle the terms of the question itself. Can inserting women into the art-historical canon interrupt the system of canonization itself? Why does Hessel rely on the same methods of archival organization — linear history, market-based tastes, distinct genre boundaries — that played a part in producing women’s very exclusion? How instead might the fact of women’s presence disrupt the presuppositions of art’s place in the world?

An especially moving chapter, “The Body in Sculpture,” initiates an answer. Here Hessel examines the midcentury sculpture of Eva Hesse, itself “difficult to describe,” and the performance art of Yoko Ono (“a genre defined by risk-taking”), and their engagements with the body’s virtues and grotesqueness, providing context for second-wave feminism’s focus on sexual violence and reproductive politics.

“How, through the power of art,” Hessel asks, “can you make people feel the visceral sensation of a body that has been hurt or scrutinized, idealized, or wrought with scars of barely comprehensible histories?”

Hessel also underscores how many of the artists in “The Story of Art Without Men” have been denied access to education, funding, gallery representation, media attention, attribution and even participation in public life. They have died poor, depressed, institutionalized or simply unknown. No book could repair those wrongs — but especially not one that remains concerned with indexing and inclusivity, rather than with a broader and more fervent social critique.


Tiana Reid is an assistant professor of English at York University. Her writing has appeared in The Times, Bookforum, Art in America and other publications.


THE STORY OF ART WITHOUT MEN | By Katy Hessel | Illustrated | 459 pp. | W.W. Norton & Company | $45