Warner Bros global headquarters has apologised after its Japan office publicly complained that the US-based company was engaging with the “Barbenheimer” movement, which promotes a double bill of the apocalyptic Oppenheimer film and the lighthearted Barbie blockbuster.

There is a growing backlash in Japan against the conflation of Greta Gerwig’s playfully marketed movie with Oppenheimer, a biopic of the scientist behind the atomic bombs dropped on Hiroshima and Nagasaki.

The official US Twitter account for Barbie, a Warner Bros film, had this week replied to memes featuring atom bomb images and Barbie.

In response, a statement posted on Japan’s Twitter account for the Barbie film read: “Because the movies Barbie and Oppenheimer were both released in the US on 21 July, there is currently a movement driven by overseas fans to watch them together (#Barbenheimer), but this is not an official movement.

“We find the reaction to this fan-driven movement from the official US account for the movie Barbie to be extremely regrettable. We take this very seriously and are asking the US head office to take appropriate action. We apologise to those offended by these inconsiderate actions.”

On Tuesday, Warner Bros said in a statement it “regrets its recent insensitive social media engagement. The studio offers a sincere apology”.

The release of Barbie and Oppenheimer resulted in millions around the world seeing the two vastly different blockbusters as an ironic double bill dubbed “Barbenheimer”.

On social media, users have been sharing memes and art combining the fun pink imagery of Barbie with mushroom clouds and fiery explosions in Oppenheimer.

But the hashtag #NoBarbenheimer has been trending in Japan in the last week, with some social media users criticising the concept of Barbenheimer as trivialising nuclear weapons and the impact the bombings had on Japan, the only country to experience a nuclear attack. One #nobarbenheimer post, viewed 7m times, reads: “The official Barbie movie account is completely on board with the atomic bomb and mushroom cloud memes, so Barbie is a no-go as well.”

Warner Bros Japan’s statement came after the official US Twitter account for Barbie reacted positively to several Barbenheimer images shared by fans, including a fan-made poster depicting Oppenheimer actor Cillian Murphy carrying Barbie star Margot Robbie in front of a backdrop of flames. In response, the @barbiethemovie account wrote: “It’s going to be a summer to remember.”

Twitter later added a community note to the post highlighting the historical context of the image: “At 8:15 a.m. on August 6, 1945 (Showa 20), an atomic bomb was dropped on Hiroshima for the first time in human history. The particular nature of the damage caused by the atomic bombs is that mass destruction and mass murder occurred instantaneously and indiscriminately.”

Barbie is due to be released in Japan in August but Toho-Towa, Japan’s largest distributor of Hollywood films, has yet to announce a release date for Oppenheimer. Despite the sensitive subject matter, the country often shows foreign films depicting the events of the second world war without backlash. But Nolan’s film has been criticised by some for not showing the extent of the devastation wrought on Hiroshima and Nagasaki, where it is estimated up to 220,000 people died in the bombings and their aftermath.

Barbie has so far made $775m (£608m) globally and is already the third best-performing film of the year, while Oppenheimer, released by Universal Pictures, has made $400m, already more than Nolan’s previous film, Tenet.

Warner Bros. Japan has publicly criticised their US counterparts over ‘inconsiderate’ reactions to art combining Barbie imagery with nuclear mushroom clouds…

Here, where the Old World and the Wild West meld magically, it’s always the Land of Enchantment. But New Mexico is especially enchanting, and the City Different is wonderfully so in August during Santa Fe Indian Market.

Santa Fe Indian Market 101 arrives in August with artists, fashion, and frybread.

Close to 1,000 artists from more than 200 Indigenous nations in the U.S. and Canada. New fashion designers, among them the on-the-rise Montana beader Elias Not Afraid (Apsaalooké). A new “Diamond Experience” ticket for VIP seating at Sunday’s Indigenous Fashion Show. A fresh tagline (“The First Year of the Next Century”), a new executive director (Jamie Schulze, who’s Northern Cheyenne/Sisseton Wahpeton Oyate), and a later opening time (9 a.m.). That’s what to expect as Santa Fe Indian Market rolls into its 101st year on August 19 – 20. And, oh yeah, gonna be turquoise everywhere.

The action gets underway on Wednesday, August 16, when artists arrive at the art receiving station. Thursday is for official judging. Come Friday, winners are announced at the best-of-show ceremony. On Saturday and Sunday, it’s the grand affair — look for 650 booths, with 30 percent of the artists newcomers in 2023. They’ll be offering up jewelry, pottery, paintings, sculpture, beadwork, photography, and more. Bringing the glam? The gala live auction, fashion shows, art auction, and thought panels — and the surge in lapis, sugilite, and opal stones. It’s all part of Indian Market, the largest juried Native American art market in the world. It attracts some 100,000 visitors annually, with Ali MacGraw, Tom Ford, Robert Redford, Wes Studi, and Diane Keaton sometimes among them.

Wes Studi walks at the 2019 Santa Fe Indian Market fashion show.

Lives can change at Indian Market. Fine-art photographer Cara Romero (Chemehuevi) landed her first major museum acquisition there when artist Tony Abeyta (Navajo) brought a curator from the Smithsonian Museum of the American Indian to her booth. In 2021, Romero was again at her booth when U.S. Secretary of the Interior Deb Haaland (Laguna Pueblo) came by. “I got a selfie with Deb,” Romero recalls. “That was probably one of the most exciting people who ever came by.” Romero’s favorite thing to see at market? “The best-of-show preview on Friday night.” To do? “Purchase something from an emerging artist and an elder every year.” To eat? “Lamb frybread tacos with green chile.” Last year, Romero became a best-of-class winner.

Evolvers, Cara Romero, 2019.

So did jeweler Ernest Benally (Navajo). “They called me Thursday afternoon and told me to come to the best-of-show luncheon, and not to tell anybody. It’s like a big secret. Don’t tell anybody you won,” he remembers. He only told his kids, “Want to have lunch in Santa Fe?” His favorite thing to do at market? “Do sales and meet the customers.” To eat? “Something from The French Pastry Shop. And dinner at Tomasita’s.”

Glenda McKay (Ingalik Athabascan) won best of class last year, too, for her traditional harpoon. She loves when the artists set up at dawn before the show opens and “everyone goes around to see everyone’s things first, before anybody else.”

Potter Russell Sanchez (San Ildefonso Pueblo) won the big award last year: best of show. Even before that, when he would show up to unload his pots on Saturday at 6 a.m., there would already be a line waiting at his booth. “I get a lot of calls before market. To be fair, I tell them to get there early and get on my sign-up list,” he says. He usually sells out within an hour of opening. For dinner that night? You may spot him at Geronimo or The Shed with one of his collectors.

Russell Sanchez

This article appears in our August/September 2023 issue, available on newsstands now or through our C&I Shop.

Santa Fe Indian Market takes place August 19–20. For more information, visit swaia.org.

The name kittiwake, which describes two related species of seabird that are common along the shores of Europe and North America, comes from its distinctively shrill call that sounds like, “kittee-wa-aaake, kitte-wa-aaake!” The coastal breeding birds are reliant on a steady diet of small fish and crustaceans, but overfishing and rising water temperatures due to climate change have contributed to shrinking colonies. As a result, scientists are rushing to research and monitor the remaining populations.

Kittiwakes typically nest on steep sea cliffs, while at least one colony has adapted to an unusual inland location in Newcastle, bedding down on the corners of buildings and under the Tyne Bridge. The RSPB estimates a global drop in the birds by more than 40% since 1970. Some of the most alarming decreases have been seen in the U.K., particularly in the northern archipelagos of Orkney and Shetland, where numbers have declined by 87% since 2000. St. Kilda, an island in Scotland’s Western Isles, has lost a staggering 96% of the breeding population.

With a little help from unique collaborators—wind farm maker Ørsted and marine engineer Red7Marine—the avians can now make use of three new structures installed just off of England’s East Coast. These installations, placed along one of the fastest eroding coastlines in Europe, provide shelter for the seabirds while simultaneously producing clean and renewable electricity.

Off the shores of South Beach, Lowestoft, and the Minsmere Nature Reserve, Suffolk, each of the artificial nesting structures provide hundreds of small ledges designed to mimic the birds’ steep cliff dwellings. Every year, a team will monitor how many nests are occupied and how productively the kittiwakes are able to breed. The studies will be shared with local wildlife trusts like the Lowestoft Kittiwake Partnership, which just opened a series of bird hotels. (via designboom)

Left: Underside view. Right: Interior wall view. Photo by NEUBAU

Photo by NEUBAU

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 An Offshore Wind Farm in England Hosts Hundreds of Potential Nests for Endangered Kittiwakes appeared first on Colossal.

Artists are the original freelancers. The history of professional artists appears to go way, way, back. In fact, according to Jewish tradition, Terah, the father of Abraham was a maker and seller of idols. It’s told that Abraham turned to monotheism as a result of experiences selling idols in his father’s shop.

The challenge facing most artists: building a reputation for their artworks, and making money during their lifetime.

Some have done extraordinarily well. Picasso died leaving an estate estimated at between $100 and 250 million dollars, the equivalent of more than $500 million today. Damien Hirst is worth $350 million dollars and viewed as the wealthiest living artist; number two is Jasper Johns with $210 million dollars.

But few artists are as financially successful as these amazing creators. According to Glassdoor, the average famous living artist has a total income below $50,000.

No surprise, most artists – then and now – have turned to side-gigs to pay the bills.

Lots have side gigs.

For example, the French painter Magritte turned to commercial art when his commissions weren’t sufficient. Henri Rousseau was a tax collector. Mark Rothko was a teacher and labor union organizer.

The side-gigs of famous and yet-to-be artists are a broad mix of activity. One source describes a range of 40 different well-used side-hustles, including roles like: house painter, landscape designer, and technical illustrator. Some are unexpected: Jeff Koons, among the best known artists, was a commodities broker.

Artists also team up to help each other:

“A celebrated sculptor, Serra teamed up with fellow New York City art buddies in the 1960s to found Low-Rate Movers. Employees included painter Chuck Close, monologist Spalding Grey, and the ever-industrious Philip Glass. They shared a van and mainly moved furniture. “It was a good job because none of us would work more than two or three days a week, so we had the remaining days to do our own work. “

Serra’s description points out an interesting fact discovered by Steve King of Emergent Research while doing market research for AMEX. The most successful artists, not always the “best” or “most creative” artists, but those able to build a reputation and make a strong living doing their art, seem to think about their career time in terms of three parts to a professional portfolio:

• Making time to create their art
• Time for making a living, typically through a side-gig
• Making time for building a brand and establishing a position among writers, gallerists, museum staff, journalists, and the public

Importantly, King found that the most successful artists among the top 100 well-known devoted as much time to their art business as they did to their art. He found a consistent 50:50 relationship (not counting side-gig time). But less financially successful artists (again, among the top 100 well-known) had a very different allowance. They spent only 20% of their art business time working to build the business, and the remainder creating their art.

Which raises a very interesting question. What do financially successful artists do to build their brand and manage their art business?

According to artnet, successful artists do so in a variety of way:

“Pablo Picasso understood the importance of creating a strong artistic (and colorful) image to intrigue his audience and add publicity to his outstanding art. Don’t be afraid to state your opinions or perceptions of the world and share your values, no matter how provocative and unconventional they may seem. Wrap your artistic persona into veils of controversy or mystery to provoke a public reaction.”

Here’s how artnews described Jeff Koon’s approach to building reputation:

“Koon is among the most prominent and controversial figures in the contemporary art world—and his fame hardly ends there. He’s also influenced the worlds of fashion and music through collaborations with Louis Vuitton, Lady Gaga, and others. Works by Koons, who is known worldwide for his lustrous sculptures often focused on themes from popular culture and notions of artifice, routinely sell for millions of dollars, and they can be found at the world’s top museums.” (Note. Koon also inspired the creative team of “Across the Spider-verse”)

The website skinnyartist describes the importance of an artist creating and directing attention to their work in “becoming famous”:

“Let’s face it, the fastest way to get attention is to scream: “Shock = Attention = Fame”.

“As you can see, our formula here is fairly simple. If you want to become famous, you’ve simply have to find a way to get people’s attention. Once you get people’s attention, you become famous.

“You see fame (unlike talent) is nothing more than capturing someone’s attention.”

Nevuefineartmarketing puts the branding challenge eloquently:

“There is much that is involved with designing an artist brand. You are an artistic entrepreneur and the CEO of your art business. One of your art marketing objectives is to create a brand with people recognizing your artwork. Unlike a corporate business, an artist’s brand is about an artist as an individual. An artist’s brand becomes personal and includes the individual’s ethics, philosophy, and beliefs. Many layers will create an artist’s brand, and each layer should be well thought out. Each layer will be a reflection of your business and, in turn, a reflection of you.”

Designhill also helps clarify the artist’s challenging in brand building:

“Today, branding is not only limited to products or companies. It has become an integral need for professionals as well. Whether you’re an entrepreneur or artist, you need to incorporate branding strategies to make a name in the industry.”

Keep four ideas in mind:

1. First, the art market is growing. According to multiple surveys, the global art market estimated to be of over 67 billion U.S dollars in 2018 and is expanding at a rapid pace.
2. Second, as Sotheby’s predicts, there are more art buyers than ever “As rapid technological transformation and the embrace of digital channels will remain ever present. The comprehensive set of digital tools clients can now access has not only broken down barriers to entry but reduced the need to view or physically handle works in person prior to purchasing. As a result, the average number of times that a work is seen will be exponentially multiplied.”
3. Three, top artists are online: “It’s no secret that Instagram has made a noticeable impact upon the art market. The Museum of Modern Art and Sotheby’s are among the platform’s biggest art world players. Ai Weiwei, Jeff Koons, and Damien Hirst also have substantial followings ranging from 300,000 to 500,000. Describing one successful artist, Steve wrote in 2008 “Christine Hellmuth uses a mix of social media and online technologies to market her work. In addition to her website, she has a blog, an Etsy site, YouTube videos and a Yahoo group. She actively participates in arts and crafts community forums and chats. Her use of technology allows her to greatly broaden her potential market and she sells her work across the US and internationally.
4. Fourth and last, sometimes it takes a village. Newfoundland has become a global haven for artists, and the artists there – some globally acknowledged like the late Christopher Pratt – have banded together in a variety of ways to support one another’s art and commercial opportunity. Read more about it here.

It just makes sense for talented artists, who have the ability to amaze and hypnotize patrons with their work, to have the marketing chops to create and close the sale.

Viva la Revolution!

Note. Thanks to Steve King and Emergent Research, for exceptional research and thought leadership. They’ve contributed so much to what we know about the experience and success of freelancers and how it might be improved.

Worlds within worlds emerge from the kaleidoscopic visions of Canadian artist Chris Millar, whose meticulous sculptures encompass a range of materials, mechanisms, and sound. Using clockmaking components along with cast resin, electronics, styrene, acrylic paints, and other materials, he constructs science fiction-inspired microcosmos in which enigmatic narratives unfold.

Through painstaking attention to detail, Millar creates each piece entirely from scratch. “Eclipse at Arc Valley,” the artist’s first exploration into work accompanied by music, took one-and-a-half years to complete and includes a handmade music box, bells, and gongs. “‘ADIT 42’ was started when I moved to Montreal and took two-and-a-half years to complete,” he tells Colossal. “It’s a kinetic sculpture that opens a vault door to reveal an entryway to a phantasmagorical otherworld.”

Spurred by ideas around portals and secret gateways, magic, and non-linear storytelling, Millar describes his approach as “kenophobic,” or characterized by an aversion to empty spaces. He densely fills tiny vignettes, platforms, and compartments with gem-like shapes, cameo portraits, architectural features, lighting elements, clocks, dials, and miniature landscape paintings. He says, “My practice has evolved into a highly detailed, high-craft process that pushes materiality and an excess of imagery to the limits of saturation.”

Millar recently moved his studio to Delson, Québec, and is currently working on two new pieces. While one is fashioned like a giant, ornate book inset with tiny paintings and sculptures, the other incorporates sound and clockwork with a music machine that is even more complex than “Eclipse at Arc Valley.”  The artist is represented by TrepanierBaer, and you can explore more of his work in detail on his website.

“ADIT 42.” Photo by Jacques Bellavance

Detail of “ADIT 42.” Photo by Jacques Bellavance

Detail of “ADIT 42.” Photo by Jacques Bellavance

“Eclipse at Arc Valley” (2021-22), resin, acrylic paint, brass, aluminum, steel, and glass, 57 x 19 x 14 inches. Photo by Jacques Bellavance

Details of “Eclipse at Arc Valley.” Photo by Jacques Bellavance

Detail of “Eclipse at Arc Valley.” Photo by Jacques Bellavance

Detail of “Eclipse at Arc Valley.” Photo by Jacques Bellavance

“370H55V” (2011), acrylic paint, styrene, ABS, brass, glass, and wood, 68 x 40 x 31 inches

Detail of “370H55V”

Details of “370H55V”

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 Music, Magic, and Machines: Exquisite Details Unfurl From Chris Millar’s Phantasmagoric Sculptures appeared first on Colossal.

OLEAN, N.Y. — The Tri-County Arts Council recently introduced and would like to welcome the community to the inaugural Ellicottville Fine Art and Craft Market in Ellicottville, on the lawn of the 1887 Building on U.S. Route 219 in the center of town, on Sept. 2 and 3 from 11 a.m. to 5 p.m., both days.

This event is a partnership between the Tri-County Arts Council, Ellicottville Chamber of Commerce and the Rotary Club of Ellicottville.

This juried show features the work of some of the region’s best-known artists and fine craftspeople, many of whom also have international reputations in galleries and fine art shows throughout the United States and abroad. An intimate evening of fine arts and crafts, Ellicottville Fine Art and Craft Market, is an opportunity to add to or begin an art collection, purchase a one-of-a-kind gift, and meet the artists and makers behind an impressive collection of works.

Indeed, the Tri-County Arts Council is comprised of member artists and craftspeople who reside in Allegany, Cattaraugus and Chautauqua counties.

Many of those members will be part of the Ellicottville Fine Art and Craft Market, including fine artist Sean Huntington, TCAC Exhibitions Coordinator.

“We want to expose the residents and visitors of Ellicottville to the amazing talent that this region has to offer,” said Huntington. “Plus, buying from local artists that you can actually meet and form a relationship with is so much more satisfying than getting some anonymous art from a big box store. Fill your home with pieces that mean something to you! “

Participating artists include Robin Zefers Clark, Lisa Conn, Denise Drummond, Pam Gifford, Ed Green, Bonnie Hedden, Lisa Hodge, Michelle Hoff, Sean Huntington, Keith McKale, Kaylee Taylor, Eileen Weishan, Mike Weishan, Mikel Wintermantel and many more. Their mediums include oil painting, gouache, watercolors, wood, sculpture, mosaic, glass, photography, pottery, sculptures, fiber, jewelry and so much more. There is so much talent in this region, and this is a great place to experience it.

The inaugural Ellicottville Fine Art and Craft Market promises to be a great event in Ellicottville. “We are hoping to make this an annual event,” said Bernstein. “This is a wonderful opportunity for people to enjoy fine arts and crafts right in their own community, beyond the walls of a gallery.”

Sponsorship for the event is currently being sought. Please contact Tri County Arts Council for more information about becoming an event sponsor.

The market will be held rain or shine. The event is free with plenty of nearby parking, For more information, visit www.tricountyartscouncil.org/ellicottville-fine-arts