Chairman and CEO Mark Penn, Code and Theory Network Executive Chairman Dan Gardner to Speak at Web Summit Rio
Penn to Visit Stagwell Brazil Headquarters in São Paulo for Regional Summit
RIO DE JANEIRO and SÃO PAULO, May 1, 2023 /PRNewswire/ — Stagwell (NASDAQ: STGW), the challenger network built to transform marketing, is coming together in Latin America for several events as it reaffirms its commitment to the region and its planned investment in global expansion efforts, following the launch of Stagwell Brazil in 2022. Network leaders, including Chairman and CEO Mark Penn, will deliver presentations at the inaugural Web Summit Rio, slated to be the largest tech event in Brazil. Stagwell leaders including Mark Penn; Julia Hammond, president, Global Solutions; and Vinicius Reis, president, Stagwell Brazil, will discuss the company’s vision and ambition for the region. Futurist and professor Leticia Setembro will attend Stagwell’s Client Summit as a guest speaker on the frontiers of marketing innovation.
“A year ago we announced our commitment to the Latin American market and, thanks to the groundwork laid by our agencies, combined with the incredible collaboration with our affiliate partners, Stagwell Brazil is growing into a regional force,” said Stagwell Chairman and CEO Mark Penn. “I’m excited to share more about the technology we’ve been building – from SaaS tools to AI and AR platforms – that modern marketers can embrace to drive business, along with our vision for continued expansion in this burgeoning market.”
Web Summit Rio
Wednesday, May 3
Thursday, May 4
Dan Gardner, co-founder of Code and Theory, and executive chairman of Stagwell’s Code and Theory Network, will speak on two sessions:
CP+B Brazil and Stagwell Host Inaugural Client Summit
Thursday, May 4
Hosting executive leaders, brands and journalists for breakfast, those invited will be included in thought leadership discussions and hear insights from Mark Penn on how brands can embrace SaaS tools, digital transformation, and emerging technologies to their advantage.
Guest Speaker Leticia Setembro: A notable futurist, speaker, and professor at SingularityU Brazil, and founder of Seek Futures, Leticia will present on “Understanding Futurism as a Science, Skill, and Tool, The Major Transformations Leaders Need to Tackle, and an Overview of Marketing Trends with Technology Insights.”
The presentation will be followed by a short panel and Q&A with the collective group. Brands and journalists interested in connecting with Stagwell on the ground should reach out to [email protected].
Stagwell formally established its LATAM headquarters in Brazil last year to foster collaboration between its portfolio agencies and Global Affiliate Partners in the region. Stagwell’s agency network in Brazil, Argentina, Mexico, and Central America includes Allison+Partners, Assembly, Code and Theory’s Truelogic, CP+B, Ink, Locaria, and YML. Additionally, Stagwell has significantly expanded its footprint across LATAM over the past year via affiliate partnerships with recognized content and media agency networks Buentipo, Grupo Garnier and The Lab, with teams distributed across Argentina, Aruba, Chile, Costa Rica, Colombia, Curacao, Mexico, Nicaragua, Panama and Peru.
About Stagwell
Stagwell (NASDAQ: STGW) is the challenger network built to transform marketing. We deliver scaled creative performance for the world’s most ambitious brands, connecting culture-moving creativity with leading-edge technology to harmonize the art and science of marketing. Led by entrepreneurs, our 13,000+ specialists in 34+ countries are unified under a single purpose: to drive effectiveness and improve business results for their clients. Join us at www.stagwellglobal.com.
Media Contact
Sarah Arvizo
[email protected]
SOURCE Stagwell Inc.
All images © The Other Art Fair
The Other Art Fair returns to Brooklyn Navy Yard from May 18 to 21 with a new roster of more than 100 independent artists showcasing 1,000+ artworks. For the May edition, the fair has added the exhibition 3walls: Re McBride and Reid+Factor, an installation entitled “Backstage at the Drag Show” by artist Nonamey, and interactive art experiences, including tintype portrait sessions with Goodness + Truth and AI-generated tattoos with artist Evan Ishmael.
Presented by Saatchi Art, The Other Art Fair started in 2011 with its first fair in London and has since expanded to include local editions in Los Angeles, New York, Dallas, and Sydney. The fair aims to create an art marketplace for independent artists to sell directly to local communities. Its organizers are on a mission to break down traditional art world barriers and make art affordable and accessible to all.
During the four-day event, The Other Art Fair offers a diverse range of scenes. Opening Night on Thursday attracts industry professionals, collectors, and press while the Friday Late Party draws out Brooklyn creatives and the fashion set for live DJs and a bustling bar scene. The fair gets packed on Saturdays and Sundays, from serious art buyers and interior designers on the hunt for fresh artwork to casual flea market browsers looking for unique finds. With live performances, Instagram-worthy installations, popular local food trucks, and a bar running throughout the weekend, the fair has become popular among NYC experience seekers and art lovers of all levels—from the art-curious to the seasoned collector.
The Other Art Fair Brooklyn returns to Brooklyn Navy Yard from May 18 to 21. Tickets are on sale now.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article The Other Art Fair Brooklyn Features Over 100 Independent Artists appeared first on Colossal.
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When the iPhone debuted in 2007, Carol Golemboski began to worry. With high-powered digital cameras suddenly filling everyone’s pockets, the professor of photography at the University of Colorado Denver noticed fewer students signing up for darkroom classes—her specialty—and she feared for film’s future. But surprisingly, there’s been a resurgence of student interest in the ultimate “latergram” in recent years, as film-focused shutterbugs look to stand out from the digital hordes. “The darkroom is starting to become cool again,” Golemboski says. “Part of it is that there’s still a kind of wonder and element of chance when you’re working with film.”
Perhaps it isn’t a surprise, then, that Denver’s premier destination for analog photography is about to start a second life of its own. This month, the Colorado Photographic Arts Center (CPAC) is opening a nearly 4,000-square-foot headquarters in Capitol Hill that will house a classroom, two gallery spaces, a storage facility for the nonprofit’s prized pieces, and—most enticingly for photographic film fans—a darkroom that improves upon CPAC’s old one with ADA-accessible machines, more room for more people, and enlarged chemical baths that allow photogs to develop bigger prints. “We also offer [paid] classes and tutoring,” says CPAC executive director Samantha Johnston. “Being our 60th anniversary and moving into this new building, this is a big year for us.”
5280 May 2023
More From The Issue
Founded in 1963, CPAC is best known for its permanent collection of more than 800 prints by such lens-toting luminaries as Ansel Adams and Imogen Cunningham—as well as local professionals including Golemboski. Despite its longevity, the nonprofit has, at times, struggled with funding and been forced to endure a nomadic existence; the organization has operated gallery and classroom spaces in City Park West, Belmar, Highland, Lakewood, and, most recently, the Golden Triangle. But thanks to expanded membership and fundraising under Johnston, who became executive director in 2015, the new location at 1200 Lincoln Street has a 10-year lease with an option to renew for 10 more. “That’s 20 years of stability for an organization that’s never had that,” says CPAC director of communications Megan Ross. Ross believes the spot, just blocks from downtown, will draw more walk-in visitors who can appreciate all the different types of photography CPAC champions.
That includes digital photography, but Johnston shares Golemboski’s excitement about film’s revival—which she likens to that of vinyl records—and her organization’s role in protecting and propagating the practice. After its home’s grand opening on May 18, CPAC will be able to provide a lens through which new generations of photographers—like Golemboski’s students—can experience the thrill of film, no matter what new fruit falls from Apple’s tree.
When news broke last December that a local artist had been posing as Indigenous — and profiting from those lies — it felt like a betrayal to many in the arts community. To some, media coverage of the controversy seemed to target the very people who were most vulnerable.
“Frustrating for myself, and talking with other Indigenous people … it felt almost like an attack on the community, putting blame on the Indigenous community,” said Dakota Mace, a Diné artist in Madison and 2019 recipient of the Forward Art Prize.
“The media was targeting individuals and not talking to the Indigenous communities that are based here in Wisconsin.”
Mace’s desire to re-center the narrative on supporting Indigenous artists led to the first Native Art Market, organized by Mace and Paige Skenandore, a member of the Oneida Nation and a recent University of Wisconsin-Madison graduate.
The market, featuring 17 artists from nine tribes, will have a preview showcase on Friday night. (This is at the same time as the citywide Gallery Night, though not officially part of that event.) The full market runs Saturday and Sunday, May 6-7, from 10 a.m. to 5 p.m.
There will be art for sale and demonstrations of beadwork and quill work. All events are at Arts + Literature Laboratory, 111 S. Livingston St.
“What really inspired this market was to show that Madison can still support the community that we have here,” Mace said. “But also really showcase the importance of our ways of making.
“For myself, it’s always been (about) supporting the community that’s supported me, and to give back … to support these artists and support the work that they create. For many Indigenous people, making is part of sustaining ourselves.”
Beadwork and cultural education
Mace keeps a studio on the third floor of the Arts + Lit Lab and is well-established as an textile artist, photographer and educator in Madison. She earned two master’s of fine arts degrees in photography and textile design from the University of Wisconsin-Madison, where she now works as an object photographer for the Department of Design Studies.
Like many artists, Mace wears many hats. She serves as an MFA mentor and advisor for the School of the Art Institute of Chicago and the Institute of American Indian Arts in Santa Fe. She’s represented by Bruce Silverstein Gallery in New York City.
Mace met Skenandore last fall at an “EcoWell” event funded by the UW-Madison School of Human Ecology, focused on Indigenous beading. That was held at ALL, too.
Oneida artist Paige Skenandore created this medallion as part of “EcoWell,” an event last fall that showcased Indigenous beadwork. (This is a representation of the EcoWell logo.)
“We had five artists, from all different tribes in Wisconsin, Menominee, and Little Shell (Chippewa),” said Skenandore, who grew up on the Oneida Reservation and began to learn beadwork in middle school.
“We allowed them to sell stuff if they wanted to, but it wasn’t like we were pushing for them to make a big inventory,” Skenandore said. “We wanted to just be in community and show current projects that they were working on, or how to do different styles.”
Skenandore gave a beading workshop to about 50 people, teaching them how to make medallion earrings and keychains. And Mace, working through Design Studies, taught a workshop on cultural appropriation. It’s a complex topic, she said, so facilitators allow for lots of questions.
“Oftentimes the idea of cultural appropriation gets misinterpreted,” she said.
“People think they can’t wear Native jewelry,” Skenandore added. “You just have to buy from Native artists that are true.”
“Exactly,” Mace said. “That’s our model in the workshop. We allow students to ask questions, to ask themselves about things. Hopefully that leads to a better future in terms of people being inspired by different communities and cultures.”
“Just interacting with Indigenous art, some people don’t know if they can touch it, or take a picture of it, or even use it as inspiration,” Skenandore said. “It’s very dependent on the artist.”
Dakota Mace is a Diné artist working in Madison. She’s an object photographer for Design Studies at the University of Wisconsin-Madison, as well as an MFA mentor and advisor for the School of the Art Institute of Chicago and the Institute of American Indian Arts. Mace has organized a Native Art Fair in Madison, May 2-5.
Skenandore has spent time since her graduation continuing to make art, teaching when she has the opportunity in spaces like the Madison Public Library and the school district in Tomah, and developing her business, a collective called Moody Indian (moodyndn.com).
Among the artists who are scheduled to set up at the market are members of the Ho-Chunk nation, Oneida, Cherokee, Menomonee and Taos Pueblo artists. Mace, who grew up in Albuquerque, New Mexico, is organizing a shared table of work by Southwest artists.
Skenandore is looking forward to the variety that will be on display.
“It’s all different for every tribe — beadwork and pottery and paintings and photography,” she said. “There are a lot of non-Native people who really want to support Indigenous artists.
“At a lot of Native art markets, when you buy something, they give you a story with that piece, why they did that design or those colors.”
The first of many
There is already a second Native Art Market planned for this fall, and Mace hopes it will become a regular event. She wants to address the most exploitative practices of art markets, which “historically have not been very supportive of artists,” charging “absurd fees” and requiring expensive travel with no guarantee of sales.
The Native Art Market, by contrast, has provided support in the form of stipends (an assist from UW-Madison) and free or reduced housing for participants.
“Indigenous art markets have really taken advantage of Indigenous people,” Mace said. “I’m hoping that we continue to build even more support for this market … not only from the Madison community, but Wisconsin.”
That’s the goal, she said — “showcasing the importance of Indigenous arts, and how much it’s deeply connected to not only our identity, but also this larger conversation about community.”
When news broke last December that a local artist had been posing as Indigenous — and profiting from those lies — it felt like a betrayal to many in the arts community. To some, media coverage of the controversy seemed to target the very people who were most vulnerable.
“Frustrating for myself, and talking with other Indigenous people … it felt almost like an attack on the community, putting blame on the Indigenous community,” said Dakota Mace, a Diné artist in Madison and 2019 recipient of the Forward Art Prize.
“The media was targeting individuals and not talking to the Indigenous communities that are based here in Wisconsin.”
Mace’s desire to re-center the narrative on supporting Indigenous artists led to the first Native Art Market, organized by Mace and Paige Skenandore, a member of the Oneida Nation and a recent University of Wisconsin-Madison graduate.
The market, featuring 17 artists from nine tribes, will have a preview showcase on Friday night. (This is at the same time as the citywide Gallery Night, though not officially part of that event.) The full market runs Saturday and Sunday, May 6-7, from 10 a.m. to 5 p.m.
There will be art for sale and demonstrations of beadwork and quill work. All events are at Arts + Literature Laboratory, 111 S. Livingston St.
“What really inspired this market was to show that Madison can still support the community that we have here,” Mace said. “But also really showcase the importance of our ways of making.
“For myself, it’s always been (about) supporting the community that’s supported me, and to give back … to support these artists and support the work that they create. For many Indigenous people, making is part of sustaining ourselves.”
Beadwork and cultural education
Mace keeps a studio on the third floor of the Arts + Lit Lab and is well-established as an textile artist, photographer and educator in Madison. She earned two master’s of fine arts degrees in photography and textile design from the University of Wisconsin-Madison, where she now works as an object photographer for the Department of Design Studies.
Like many artists, Mace wears many hats. She serves as an MFA mentor and advisor for the School of the Art Institute of Chicago and the Institute of American Indian Arts in Santa Fe. She’s represented by Bruce Silverstein Gallery in New York City.
Mace met Skenandore last fall at an “EcoWell” event funded by the UW-Madison School of Human Ecology, focused on Indigenous beading. That was held at ALL, too.
Oneida artist Paige Skenandore created this medallion as part of “EcoWell,” an event last fall that showcased Indigenous beadwork. (This is a representation of the EcoWell logo.)
“We had five artists, from all different tribes in Wisconsin, Menominee, and Little Shell (Chippewa),” said Skenandore, who grew up on the Oneida Reservation and began to learn beadwork in middle school.
“We allowed them to sell stuff if they wanted to, but it wasn’t like we were pushing for them to make a big inventory,” Skenandore said. “We wanted to just be in community and show current projects that they were working on, or how to do different styles.”
Skenandore gave a beading workshop to about 50 people, teaching them how to make medallion earrings and keychains. And Mace, working through Design Studies, taught a workshop on cultural appropriation. It’s a complex topic, she said, so facilitators allow for lots of questions.
“Oftentimes the idea of cultural appropriation gets misinterpreted,” she said.
“People think they can’t wear Native jewelry,” Skenandore added. “You just have to buy from Native artists that are true.”
“Exactly,” Mace said. “That’s our model in the workshop. We allow students to ask questions, to ask themselves about things. Hopefully that leads to a better future in terms of people being inspired by different communities and cultures.”
“Just interacting with Indigenous art, some people don’t know if they can touch it, or take a picture of it, or even use it as inspiration,” Skenandore said. “It’s very dependent on the artist.”
Dakota Mace is a Diné artist working in Madison. She’s an object photographer for Design Studies at the University of Wisconsin-Madison, as well as an MFA mentor and advisor for the School of the Art Institute of Chicago and the Institute of American Indian Arts. Mace has organized a Native Art Fair in Madison, May 2-5.
Skenandore has spent time since her graduation continuing to make art, teaching when she has the opportunity in spaces like the Madison Public Library and the school district in Tomah, and developing her business, a collective called Moody Indian (moodyndn.com).
Among the artists who are scheduled to set up at the market are members of the Ho-Chunk nation, Oneida, Cherokee, Menomonee and Taos Pueblo artists. Mace, who grew up in Albuquerque, New Mexico, is organizing a shared table of work by Southwest artists.
Skenandore is looking forward to the variety that will be on display.
“It’s all different for every tribe — beadwork and pottery and paintings and photography,” she said. “There are a lot of non-Native people who really want to support Indigenous artists.
“At a lot of Native art markets, when you buy something, they give you a story with that piece, why they did that design or those colors.”
The first of many
There is already a second Native Art Market planned for this fall, and Mace hopes it will become a regular event. She wants to address the most exploitative practices of art markets, which “historically have not been very supportive of artists,” charging “absurd fees” and requiring expensive travel with no guarantee of sales.
The Native Art Market, by contrast, has provided support in the form of stipends (an assist from UW-Madison) and free or reduced housing for participants.
“Indigenous art markets have really taken advantage of Indigenous people,” Mace said. “I’m hoping that we continue to build even more support for this market … not only from the Madison community, but Wisconsin.”
That’s the goal, she said — “showcasing the importance of Indigenous arts, and how much it’s deeply connected to not only our identity, but also this larger conversation about community.”
