Welcome to the Art Angle, a podcast from Artnet News that delves into the places where the art world meets the real world, bringing each week’s biggest story down to earth. Join us every week for an in-depth look at what matters most in museums, the art market, and much more, with input from our own writers and editors, as well as artists, curators, and other top experts in the field.

What does the future of the art market look like? It’s a big and thorny question that cannot possibly be answered with a few simple words.

From the big picture issues like how artificial intelligence will factor into business decisions and the global economic situation, to the smaller and more particular aspects, like which multi-million dollar collections will hit the block, and what the expansion of mega-galleries means for the art ecosystem… there are a lot of factors at play.

At the Armory Show’s Live event last week, Artnet News’s senior market reporter Eileen Kinsella hosted a panel of experts including collector Alain Servais, art advisor Megan Fox Kelley, and gallerist Suzanne Veilmetter to discuss what the future may hold.

Megan Fox Kelley is the founder and director of Megan Fox Kelley Art Advisory, as well as a member and former president of the Association of Professional Art Advisors. Her practice includes advising clients on acquisitions and sales of works of art for their collections, estate planning and execution, strategic planning, and feasibility studies for museums, exhibition planning and administration, collection management, and fine art appraisal services.

Suzanne Vielmetter is the founder and director of Vielmetter Los Angeles. Since founding the gallery in 2000, she has been committed to presenting artists from a wide range of diverse backgrounds with a focus on idea-based and political work.

Alain Servais is a globally-recognized collector and founder of the Servais Family Collection. For more than 20 years, Servais has focused on underrepresented and museum quality art, which he believes is significant and worthy of preservation.

This week on the podcast, we present the live-recording from the Armory Show event.

Listen to more episodes:

The Art Angle Podcast: What’s Causing the Crisis in Art Criticism?

The Art Angle Round Up: The British Museum’s Theft Crisis, A.I. on Trial, and Dealer Beef in Montauk

The Art Angle Podcast: Why Digital Art Lives Fast and Dies Young

The Art Angle Podcast: The Pleasures and Paradoxes of Seurat’s Iconic ‘Sunday Afternoon’

The Art Angle: How Surrealist Artist Leonora Carrington Carved Her Space in a Male-Dominated World

The Art Angle Roundup: Frieze’s Expansion, Pollock’s NFTs, and Barbenheimer’s Impact

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U.S. Department of Justice prosecutors are firing back at disgraced dealer Robert Newland, who pleaded guilty to collaborating with Inigo Philbrick to defraud collectors out of millions, rejecting his recent bid for leniency. 

While the attorneys acknowledged that Newland was not “the instigator and driver” of the scheme—a role they attribute to Philbrick—they emphasize that Newland nonetheless played a significant role that ultimately allowed the fraud to continue longer and to generate greater losses to victims.

“In the role of financial adviser, the defendant partnered with Philbrick, a talented young art dealer, to convince investors and lenders to trust Philbrick with their art and money,” read the memo filed September 12 in the U.S. District Court for the Southern District of New York. “In fact, lies permeated nearly every aspect of Philbrick’s business, which ultimately grew into a Ponzi-like scheme premised on fractional art investments and fraudulently obtain[sic] loans,” 

The government recommends a sentence that is less than the seven years Philbrick got, but that is nonetheless “meaningful” given the harm caused and the need for deterrence in the “unregulated art market.”

Newland will face a judge next week to learn if and for how long he will serve prison time in the U.S.

In 2015, Newland helped Philbrick receive financing from Fine Art Partners, a financial services company that went on to suffer major losses. Two years later, he left his job at White Cube and joined forces with Philbrick. The government has since identified 29 artworks that Philbrick used to conduct fraudulent art deals that resulted in $86.4 million in losses to victims. They estimate that Newland was involved in roughly half of these transactions over a two-year period, and that he should pay a total restitution of $67.5 million for his role in the fraud.

A now-deleted screenshot of Newland’s staff page via Superblue.com

Prosecutors say that Newland knowingly provided false information to Fine Art Partners and Athena Art Finance, which provides art-backed loans, or failed to disclose competing ownership stakes in artworks. This included drafting emails on Philbrick’s behalf, “including emails from a fictitious character, ‘Martin Herrero’,” to White Cube owner Jay Jopling, who is named among the defrauded victims.

They also say Newland was complicit with making false representations to several clients about Jean-Michel Basquiat’s large-scale painting Humidity 1982, which they believed they owned substantial stakes in. Philbrick and Newland convinced Athena and two investors, Alexander Pesko and Damian Delahunty, to make substantial payments for the Basquiat. The duo then pledged it as part of a “collateral pool” for Athena in exchange for a $10 million loan, “in the process lying to Athena” that they had clear title to the painting.

After Philbrick’s business collapsed, in late 2019, he fled the country. Newland remained in the UK. In 2021, a grand jury returned a sealed indictment charging Newland with wire fraud and conspiracy to commit wire fraud. The following year he was arrested in the U.K. and extradited to the U.S., where he pleaded guilty to one of the charges. He has remained free on bail since his arrest, but wears an ankle monitor and abides by a curfew.

Newland has agreed to forfeit $76,000 in cash along with three artworks: Personal Distance A, a painting by Carroll Dunham; Untitled (2016), a painting by Christopher Wool; and Untitled (2007), by Wade Guyton, as well as a desk by French furniture designer Jean Prouvé.

Jean-Michel Basquiat, Humidity (1982).

Although prosecutors say Newland did not substantially profit from the fraud, he and Philbrick “have left it up to their victims to fight amongst themselves to unravel the fraudulent art deals and recover their losses.” The prosecutors note that there are many civil lawsuits filed by victims seeking to resolve disputed ownership claims over multiple artworks. “The government expects that many victims, unfortunately, will never be made whole,” according to the memo.

Daniel Tümpel, principal of Fine Art Partners, also filed a nine-page letter to the judge proposing a counter-narrative to Newland’s plea for leniency, in which he described him as remorseful and cowardly.

“When I read Newland’s defense statement, it left me speechless,” wrote Tümpel. “He accepts his guilt but paints a picture of a generous and loving man and father who already suffered enough as a result of the bad light this entire matter has cast on him… When we started gathering more are more information and documents—also from other damaged parties—we could see Newland’s fingerprints all over.“

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Marcus Pritchard, Australia New Zealand Regional Director, Dynata

Estimates say the average person sees between 6,000 to 10,000 ads every day, an almost twofold increase from ten years ago. And not only that, thousands of creators are similarly producing content that competes with yours.

With so much competition for our attention, it’s vital to understand if an ad will be remembered and, more importantly, if it will drive the desired reaction.

With creative testing, marketers will have a blueprint on how the imagery, copy and storyline of their ads can be optimised to best resonate with the target audience, and how memorability could be improved to enhance media ROI.

These insights can help creative teams dramatically improve an ad’s short-term effectiveness and, importantly, show how the ad elements work together to create branded memories that drive long-term revenue growth and profit.

It’s a data-driven approach to accurately predict how an ad will perform in-market and ensures both creative teams and media budgets only support effective advertising concepts.

When leveraged early, often, and correctly, creative testing can greatly improve your advertising’s performance, especially when it comes to brand perception and media placement.

Decide between the most impactful creative concept

The idea behind successful creative testing is figuring out what attracts your audience. After all, to be memorable, advertising needs to drive impact, evoke emotion and convey something relevant about the brand.

Marketers have a variety of tools for this, but not all are created equal. For example, traditional A/B testing helps marketers optimise conversions by isolating which creative elements drive results, but it can’t dig into the why behind performance and what that needs to improve.

That’s where creative testing can help. It can provide an analysis of how well an ad captures and holds attention, the meaning being conveyed, the emotions elicited and how likely someone is to consider the brand in the future.

The diagnostic reporting will help identify the ad’s strengths and weaknesses, understand how viewers internalise the explicit and implicit messages, verify the impact on brand impressions and measure motivation and purchase intent. Then, marketers can make objective decisions on how to fine-tune the creative to capture and hold the audience’s attention in order to create a lasting impact on brand connection and perception.

By doing this, advertising will create long-term branded memories that consumers tap into, either consciously or unconsciously, when making buying decisions. Over time, not only will you understand how to create a longer lasting connection with your consumers, but the quality of your leads will also increase.

Understand cross-channel effectiveness

Companies executing cross or omnichannel marketing strategies must remember each channel has different characteristics, impacting the outcomes they drive and the audiences they attract.

As different channels have specific limitations and audiences, testing ads within the context they will be seen to see how well they perform among competing content will provide the most accurate predictions.

This will help ensure you’re maximising each channel’s unique strengths and opportunities. Ultimately ensuring you’re spending your budget as effectively as possible and driving the desired outcomes with every campaign.

But regardless of the channels you’re testing for, the earlier testing is completed in the development process, the more opportunity there is to improve its quality, minimising the risk of releasing something that doesn’t resonate with your target audience.

When testing an integrated campaign, pre-testing can identify ads with the most potential to drive ROI and highlight the channels that aren’t pulling their weight. It takes the guesswork out of determining which of your many channels a successful conversion may come from.

Marketers can then use this information to optimise their media mix and feature the best-performing copy and imagery in other campaign elements to improve cross-channel effectiveness. For example, the content that tested highest among the target audience could be featured on social media or within an out of home campaign.

Activate custom audiences before launch

The creative testing process must be iterative, testing one element at a time. If the creative tests poorly, you can review the creative and save yourself the time and money you would have otherwise wasted testing multiple versions of the same low-performing creative.

On the other hand, if the initial creative tests well, you can look at adding in alternate call to actions, copy, or formats to continually bring the performance up.

It may feel like a lengthy process, but it saves you time, resources and money before you roll out creative that doesn’t resonate with your target audience.

Regardless of the outcome, there is a wealth of data available about your audience that can be applied across your business in various ways after every round of testing. This data can even be used to model and scale a custom, cookie-free lookalike audience that can be used to boost cross-channel ROI.

Creative testing is about merging the emotive with the formulaic. By blending the art and science of marketing, creative testing can not only help marketers make informed decisions on how to best optimise an ad’s effectiveness, but it can also provide strategic guidance that will have a long-term positive impact on your media planning and brand.

At the end of the day, choosing which creative concepts to invest in shouldn’t be left to chance.

From her studio in Rawa Mazowiecka, Poland, Żaneta Antosik turns her eye toward the delicacies of the natural world as she renders the soft, frail forms of plants and insects. The artist primarily works digitally, sometimes beginning with a simple sketch on paper but often drawing directly in Procreate. Rendered on black or beige backdrops to reference a night sky or daytime light, each piece pays particular attention to the minuscule details, whether the tufted body of a moth or the speckled sepals of a poppy flower.

Evoking entomological displays found in attics or buried in archival collections, the renderings are tinged with nostalgia and an antique feel, as if they’d just been relieved of a thick layer. “I like objects with soul, old cinema, the world of Van Gogh and Pieter Bruegel,” she tells Colossal. ” I feel best in contact with nature. I was inspired to create a series with moths and butterflies by the beauty of these mysterious, small, and fragile creatures, which are extremely graceful models.”

Antosik sells prints and cards on Etsy, and you can follow her latest botanical and entomological renderings on Behance and Instagram.

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 Fragile Moths, Butterflies, and Botanicals Commingle in Żaneta Antosik’s Moody Digital Illustrations appeared first on Colossal.

In its 15th year, the Royal Observatory Greenwich’s Astronomy Photographer of the Year competition (previously) welcomed more than 4,000 entries from photographers in 64 countries, who set their sights on the night skies. From solar flares to dancing auroras to distant galaxies, the winners of this year’s contest highlight the endless wonders of the cosmos and the astonishing technological advances that allow us to see lightyears away in unprecedented detail.

The overall winning image, “Andromeda, Unexpected,” was the result of a collaboration between astrophotographers Marcel Drechsler, Xavier Strottner, and Yann Sainty. The trio discovered an enormous plasma arc next to the Andromeda Galaxy (M31), spurring a transnational scientific collaboration to further investigate the phenomena.

We’ve shared a few favorites here, and you can see all shortlisted images in the contest’s online gallery. If you’re in London, you can visit the National Maritime Museum in Greenwich starting on September 16 to see more than 100 prints on display.

Andreas Ettl (Germany), “Circle of Light,” runner-up in the aurorae category

Marcel Drechsler (Germany), Xavier Strottner (France), and Yann Sainty (France), “Andromeda, Unexpected,” galaxies category winner and overall winner

Runwei Xu (China) and Binyu Wang (China), “The Running Chicken Nebula,” winner of the Young Astronomy Photographer of the Year award

Paul Montague (Australia), “Neighbours,” highly commended in the galaxies category

Katie McGuinness (U.K.), “Close Encounters of the Haslingden Kind,” highly commended in the “People and Space” category

Angel An (China), “Grand Cosmic Fireworks,” winner in the skyscapes category

Ethan Chappel (U.S.), “Mars-Set,” winner in the “Our Moon” category

Haohan Sun (China), “Moon at Nightfall,” highly commended in the Young Astronomy Photographer of the Year category

Peter Ward (Australia), “Dark Star,” runner-up in the “Our Sun” category

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 Cosmic Delights and Distant Discoveries Unfold in ‘Astronomy Photographer of the Year 15’ appeared first on Colossal.

September 14, 2023

Spanning 350 feet of the Chattahoochee River and the Riverwalk, the new “The Spirit
of the Chattahoochee” mural features the artistic talents of several Columbus State
University-affiliated artists: senior art student Vinh Huynh, assistant professor
of art Samantha Yoo and former employee Joseph Melancon.

Both the newest and largest mural in Columbus, “The Spirit of the Chattahoochee” is
a 6,000-square-foot privately funded art project stretching across the riverbank’s
three-tiered retaining wall below the Synovus Centre and near Woodruff Park. Staring
at it long enough, admirers will begin to see local species that call the river home,
including turtles, dragonflies, blue herons, bass fish and shoal lilies. They’ll also
recognize local historic elements from the city’s past, including a riverboat, fountain
and mill smokestack that, collectively, Huynh felt creates a sense of community connectivity.

“I think public art like this mural, besides beautifying the city, helps spread great
vibes,” the senior visual art major and Vietnam native said. “I think it is also important
to promote wellness within the community. During the pandemic, people were isolated,
distant and disconnected. I hope public art like this mural provides a unique hangout
place for people to gather and reconnect with each other.”

“This mural showcases the ability of public art to bring people together and create
a vibrant artistic environment,” agreed Yoo, who in addition to teaching is an award-winning artist and former corporate designer.
“Public art is accessible to all and has the potential to promote a sense of belonging
and community spirit, while also highlighting the diverse population of a particular
area and strengthening the bonds between its residents.”

Melancon (pictured), who served as the university’s graphic designer in its Office
of Strategic Communication + Marketing for eight years, views public art projects
like this as essential to fostering and advancing a community’s identity.

“Art can transform a space and can provide joy, entertainment, storytelling, reflection,
and all manner of reactions from the public,” said Melancon, now a freelance artist
and designer operating under the name Lost Rest. “There is also an opportunity for
the art to represent the community itself, where the space influences the artwork
and acts as a sort of collaboration. In these cases, the public art can foster real
pride and strengthen communal identity.”

Assembling the team

For Becca Zajac, executive director of the Dragonfly Trails Network, the mural project’s goal also included showcasing local artistic talent while putting
it on grand display for residents and visitors alike.

“The goal with this project was to create opportunities for artists who choose to
live, work and/or raise a family in Columbus to showcase their work on a larger scale,
collaborate to produce an iconic mural for our community, fairly compensate artists
for their work, and grow our skill sets and networks,” she told the Ledger-Enquirer.

Zajac tasked Mike Jones with assembling a team of local artists to develop the mural’s
concept. In addition to being the senior brand designer at Heyo and co-founder of
the Creative South Conference, Jones is also the father of Columbus State nursing
alumna. His six-person creative team would eventually include Huynh, Yoo and Melancon,
who collaborated with other local artists — each of whom brought their own insights
and talents to bear.

“As a group, we effectively brainstormed and collaborated,” Yoo said. “Initially,
my idea was to create a unified color palette that accurately depicts the four seasons
of Columbus. Ultimately, we decided to use a four-season color scheme.”

“I finalized coloring the design from the color palette provided by Professor Yoo,”
Huynh, the youngest of the six-person mural team, said of partnering with one of his
major professors. “Then, all of the artists joined in on painting process, which was
very fun.”

Harnessing educational opportunities

As a student nearing the end of his college studies, Huynh (pictured) valued the experience
of working alongside creative professionals on a project of this magnitude.

“This was the biggest collaboration and project that I have ever done. Therefore,
at first, I was nervous, and I was probably the least experienced in the field,” Huynh
said about initially approaching his work with the team. “However, the team was very
supportive, and the other artists taught me more about professionalism and how to
teamwork. Everyone in the team was communicative and open-minded in receiving feedback
and ideas. Therefore, it was easy to put together into a shared vision.”

“The Spirit of the Chattahoochee” mural project was not Huynh’s first collaboration
with the Dragonfly Trails Network — but it is his largest. He previously designed
the 11th Street Underpass mural, also commissioned by the nonprofit organization and unveiled July 2022. With a project
of this scale now part of his portfolio, Huynh — who is the media editor and a photographer
for Columbus State’s “The Uproar” student-led online new source — equally values the experience that came with it.

“This project strengthens my portfolio for sure,” he said. “Also, experience like
this as part of a professional team helps me learn how to better collaborate through
future projects and in my career. It certainly has helped expand my network and professional
experience.”

Yoo explained to The Columbusite that the mural is an excellent teachable moment for her students on the role of art
in creating social awareness within a community.

“As an educator, I aim to inspire my students to prioritize art and graphic design
concepts that advocate for social responsibility. I encourage them to broaden their
perspectives beyond their national and cultural backgrounds, and design works that
cater to diverse audiences of the present-day,” said Yoo (pictured), who herself is
of Korean descent. “By undertaking such projects, my students are able to raise awareness
and provide social commentary on various issues such as culture, race, poverty and
crime. It is my sincere hope that through working with the Columbus community, my
students will acquire these valuable skills.”

From concept to reality

Painting began July 5, with the crew working nightly by the light of the Riverwalk’s
lamps from 7:30 p.m. to often past midnight. That allowed them to avoid the hottest
parts of the day and to maintain their academic and professional commitments.

“My favorite part about working on this project was the painting process in the evenings,”
Huynh said. “We were painting during the sunsets and nights — it was such a mood.
What meant so much to us as artists were the encouragement, appreciation and praises
from others when they passed by [and saw what we were doing].”

The work spanning nearly six weeks, Melancon explained, was at times laborious and
logistically challenging as factors such as size, weather, and even literally watching
paint dry made for a long process.

“The size of the mural is very substantial and called for a lot of considerations
such as supplies and time commitment,” he recalled. “I’m grateful for the wisdom and
leadership of Chris Johnson [the local professional muralist who led the mural installation] on this project — he was very open about the process and really helped to demystify
this type of work.”

It was the Dragonfly Trails Network that commissioned the project, as the 14-mile
Riverwalk is part of the nonprofit Dragonfly’s 33-mile network of multi-use greenway
rails promoting outdoor recreation, transportation and connectivity.

The mural was made possible through The Chuck Hart Foundation Fund at the Community Foundation of the Chattahoochee Valley. The endowed fund, established in 2020 by Hart’s family, make grants to organizations
in Columbus that, among other purposes, maintain and improve the Chattahoochee Riverwalk. 

“This project is one that all of us at the Community Foundation are very excited about,”
Betsy Covington, the foundation’s president and CEO, told the Ledger-Enquirer. “… We are thrilled they are using local artists, and it’s going to provide a real
cheerful and bright place for people to hang out and be proud of their community —
and the view (across the Chattahoochee River) from Phenix City is going to be pretty
great too.”

The canvas for “The Spirit of the Chattahoochee” mural (pictured) is a $3.3 million
alternative retaining wall installed last year by the Columbus Consolidated Government
to provide erosion control along the riverbank. That sparked the Dragonfly Trails
Network to think of a creative way to beautify this expanse of concrete, using it
as a canvas for a mural. Understanding the Riverwalk is subject to extensive sun and
sometimes floods from a deluge of rain, the design team selected paint and sealant
to withstand such conditions, as well as to make the space graffiti-resistant.

The Columbus State-affiliated mural team is pleased with the result.

“Now that our work is done, it’s a wondrous and almost surreal feeling to witness,”
Melancon said. “This is my first mural project, so seeing my work at such a large
scale and being able to connect my art to the community in such a direct way is nearly
indescribable. What an amazing way to help pay tribute to my chosen home.”

Home is a welcomed concept for Huynh as well. Being an international student and immigrant
who has called Columbus home for six years, he views the mural project as providing
him with roots to the Chattahoochee Valley.

“I struggled to fit in the beginning,” he explained to The Columbusite. “Being able to contribute to beautify my community and leaving a permanent mark
on this public wall — it makes me feel welcomed and feel like I am home.”

Connect and follow Huynh on Instagram at @mr.vinh.art, Yoo on Instagram at @samathayoodesign and through her website samanthayoo.com, and Melancon on Instagram at @lostrest and through his website lostrest.com.

Media contacts:
Michael Tullier, APR, Executive Director of Strategic Communication + Marketing, Columbus
State University, 706.507.8729, mtullier@columbusstate.edu 
Becca Zajac, Executive Director, Dragonfly Trails Network, becca@dragonflytrails.org

LOUISVILLE, Ky. — Churchill Downs released the official 2024 art for the 150th Kentucky Derby. Cynthiana native Wylie Caudill created this year’s art. Caudill is renowned for his talent in murals and large-scale art.

The artist got his start doing chalk art on the streets of his college campus. After falling in love with public art, Wylie expanded his street art to murals that can be seen across Kentucky, many of which include his signature roses. 

Cynthiana native Wylie Caudill created this year’s official artwork for the 150th Kentucky Derby. (Churchill Downs)

Caudill’s artwork for the Run for the Roses highlight the 150th Kentucky Derby trophy at the forefront, with the newly renovated paddock as the background under the iconic twin spires. The image is vibrantly shrouded in 150 red roses representing the Derby Winner’s Circle and surrounded by white, gold and cerulean roses to symbolize racing fans from around the world.

“We were drawn to Wylie’s rose design as it resonates with one of our most beloved Kentucky Derby traditions, which is presenting the winning Thoroughbred with a garland of red roses,” said Casey Ramage, vice president of marketing and partnerships with Churchill Downs.

In addition to creating the “Official Art of the Kentucky Derby,” Caudill will also be the official artist for the Woodford Reserve Commemorative Derby Bottle. As the official artist for both programs, Caudill will also create original murals around Churchill Downs and surprise locations next year leading up to the 150th Kentucky Derby.

“As a Kentucky Native, it is an immense honor to be part of such a milestone year for the Commonwealth’s most notable event,” Caudill said. “It’s difficult for me to fathom the scale of this opportunity and moment in history, but I am thrilled I was chosen to be the official artist for the 150th Kentucky Derby.”

Caudill’s art will be featured on the 2024 Kentucky Derby official racing programs and a variety of merchandise. Prints will be available for purchase, including 150 special edition prints, at the first Road to Kentucky Derby race on Saturday (Sept. 16) at 11:30 a.m. ET at The Churchill Downs Store and Kentucky Derby Museum. Prints will be available online beginning Monday, Sept. 18. All other items will be available for purchase early spring.

Fantasy A Gets a Mattress
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Fantasy A Gets a Mattress

Here are a few late summer weekend highlights for things to do around Capitol Hill. Check out the CHS Calendar for more ideas — or to add your own event.

• AI art at Passable
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  AI art at Passable

  THURSDAY — September Capitol Hill Art Walk: The monthly celebration of the arts invites you into the neighborhood’s creative spaces to see and experience work by local artists and more. This month’s highlights include Generative AI art at Passable and a pop-up market of artists, makers, and vendors selling gifts and goods in Chophouse Row. Learn more at capitolhillartwalk.com.

• FRIDAY — Local Sightings Film Festival opening night: 12th Ave’s Northwest Film Forum presents its annual festival showcasing Pacific Northwest filmmakers with an opening night screening of local film phenomenon Fantasy A Gets A Mattress. The festival continues through September 24th. You can find a schedule and ticket information at nwfilmforum.org.
• SATURDAY AND SUNDAY — Pickleball for All: Following on its 3×3 youth basketball tournament, the city’s activation efforts for downtown Seattle will continue this weekend with a pickleball tournament on ten temporary courts at the intersection of 5th Avenue and Vine Street:
  On September 16-17, 2023, the temporary courts will come alive with free coaching from Seattle Metro Pickleball Association volunteers, round robins for competitive play against similarly skilled players, and open play for all, including wheelchair-accessible courts. The event will also feature food trucks, music, pop-up pro shops, and more.
  Registration is already full but you can learn more about cheering on your favorite pickleballers here.
• SUNDAY — 12th Ave Square Park Summer Market: Born in 2016, 12th Ave Square Park continues to provide an open space to hangout near great restaurants and cafes across from Seattle U. Sunday, the 12th Ave Neighbors group with a grant from City of Seattle Economic Development and support from Seattle Parks will host a late summer market with arts, crafts, and live music. The fun runs noon to 6 PM at 564 12th Ave. Learn more here.

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