Art World News

Lethbridge Police seeking submissions for Indigenous art project

Lethbridge Police seeking submissions for Indigenous art project

Blackwater explained, “To me, this is something very meaningful, especially as a First Nations woman. Coming forward with this, the first in history, I really believe that we are all coming together where we’re building relationships now and so, this is a big step for the Blood Reserve and Lethbridge Police.”

The LPS organizational values translated into Blackfoot are:

  • Respect – Inakootsiiyssini
  • Courage – Iikitapiiysini
  • Professionalism – Okamotapotakssini (doing your job right)
  • Accountability – Ohkottsstakata (to be able to depend on each other)
  • Collaboration – Isspomaanitapiiysinni (helping others)

Indigenous post-secondary students from the Kainai, Piikani and Siksika First Nations are encouraged to send an Expression of Interest (EOI) to participate in the project before April 24, 2023.

LPS Deputy Chief Gerald Grobmeier said, “All expressions of interest will be reviewed by a panel that include members of the LPS Indigenous Advisory Committee, and shortlisted artists will be asked to provide one original work of art in a digital medium.”

The artist whose design is selected will receive a $500 bursary.

Eligible artists must be 18 or older and registered as a post-secondary student during the preceding academic semester.

Blackwater added, “We wanted to have the LPS logo incorporated with the design, and we have very talented artists on the reserve and especially with the digital media. I’m sure we’ll have some sort of incorporation with a cultural design, or something is what I’m hoping for.”

More information about the process, including eligibility, timelines and requirements can be found at the Lethbridge Police Service website.

Read more at LethbridgeNewsNow.com

An Endearing Fawn Searches for the Sun in an Enchanting Picture Book Illustrated by KAA

An Endearing Fawn Searches for the Sun in an Enchanting Picture Book Illustrated by KAA

All images © Kaa Illustration, shared with permission

A stunning picture book written by Joanna McInerney and illustrated by KAA follows a small fawn who embarks on a beguiling journey in an effort to chase the sun. Traveling through lush forests, groves of cherry blossom trees, wintry hills, and sunflower fields, readers accompany the young deer on his poetic journey to stop and smell the flowers.

In The Fawn Who Chased the Sun, Ho Chi Minh-based duo Phung Nguyen Quang and Huynh Kim Lien, a.k.a KAA, envision a whimsical world that translates into flourishing illustrations. Transporting readers into an exuberant environment, KAA incorporate various patterns inspired by William Morris along with surreal elements such as oversized flora and towering frogs.

The duo first creates detailed sketches, which Quang scans and hands over to Lien to begin the digital coloring process. Highlighting seasonal shifts through different palettes, they encourage the reader to enjoy the journey through multiple perspectives as the environment changes. “We have tried so many new perspectives and colors that we never used before in this book, and every experiment brought us joy while drawing it,” the illustrators tell Colossal.

You can follow more of KAA’s work on their Instagram, Behance, and website.

 

A vibrant illustration of towering frogs at dusk looking at a small fawn in a pond.

An illustration of a deer peering over a snowy cliff at night.

A vibrant illustration of a large fox peering at a deer in an autumn forest.

A vibrant illustration of a fawn looking up at giant sunflowers.

An illustration of a deer wandering through a desert with large rocks

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 Endearing Fawn Searches for the Sun in an Enchanting Picture Book Illustrated by KAA appeared first on Colossal.

Faunwood’s Adorable Menagerie of Miniature Ceramic Critters Is Primed for Adventure

Faunwood’s Adorable Menagerie of Miniature Ceramic Critters Is Primed for Adventure

All images courtesy of Antler Gallery, shared with permission

Eugene-based artist Miranda Zimmerman, a.k.a. Faunwood, brings a playful ceramic menagerie to Portland this month for Slither, a nearly sold-out solo show at Antler Gallery. Informed by Faunwood’s background in evolutionary biology, the adorable creatures meld art and science and are miniature renditions of amphibians and mammals, all stylized with the artist’s use of wide eyes and mottled glazes. The hand-sculpted characters are expressive and reflective of the organisms’ real-life anatomy, and their unique dispositions emerge through the firing process. “Every ceramic critter I make comes out of the kiln with its own little personality and sass, sometimes completely different from what I’m expecting,” the artist writes on Instagram.

Slither is on view through April 23, and you can find more from Faunwood on her site. (via Supersonic Art)

 

A photo on a white backdrop of a colorful ceramic snake

A photo on a white backdrop of a ceramic critter

A photo on a white backdrop of a ceramic critter

Four photos on white backdrops of ceramic snakes, pigs, and other critters

A photo on a white backdrop of a ceramic critter

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 Faunwood’s Adorable Menagerie of Miniature Ceramic Critters Is Primed for Adventure appeared first on Colossal.

Despite the shutdown of San Diego Rep, JFest rises again as an independent organization

Despite the shutdown of San Diego Rep, JFest rises again as an independent organization

Last spring, the 29th Lipinsky Family San Diego Jewish Arts Festival was well under way at the Lyceum Theatre in downtown San Diego when its founding organization, San Diego Repertory Theatre, collapsed with an insurmountable $2 million of debt.

San Diego Rep is no more, but JFest is rising again. Thanks to an outpouring of support from Jewish community organizations, private donors, international artists and local venue operators who have offered both financial support and performance space, the 30th anniversary JFest will return June 1 through July 16 in a newly reimagined form.

In the past, JFest held most of its events at the Rep’s former home, the city-owned Lyceum Theatre in Downtown San Diego. The new festival will present events all over the county at venues in La Jolla, Encinitas, Balboa Park, Hillcrest, Solana Beach, East Village and Carlsbad. This year’s venues include two professional theater companies, a Universalist church, a farm, a movie theater and a Jewish temple.

JFest’s founding artistic director Todd Salovey said he was overwhelmed by the community’s desire to rescue the festival, particularly the generous sponsorship by the fest’s longtime donors, the Lipinsky family of San Diego, as well as a new producing partner, the Lawrence Family Jewish Community Center in La Jolla.

But even with these offers of support, Salovey said it was herculean effort to cobble together a new management team and festival program. He said it was touch and go for months, but several weeks ago, he and his team saw the light at the end of the tunnel.

“We felt like a startup,” he said. “There was a lot of work to do without us knowing what would actually happen. About a month ago we all looked at each other and realized that this is going to happen.”

Dybbuk Theatre of Los Angeles.

Dybbuk Theatre of Los Angeles, seen here in 2022, will perform “The Merchant of Venice (Annotated), or In Sooth I Know Not Why I Am So Sad” at the 2023 Lipinsky Family San Diego Jewish Arts Festival.

(Courtesy of Taso Papadakis)

Salovey has returned in the role of artistic director. JFest’s new managing director is Matt Graber, who served as director of marketing and, later, director of external affairs, at San Diego Rep from 2015-2022 and is now chief marketing officer for San Diego Opera. Joining them as festival advisers are Rebecca Myers, producer of the fest’s 3-year-old Whole Megillah Jewish New Play Festival, and Ali Viterbi, a festival producer and associate artistic director for more than a decade.

Graber said this summer’s festival will be a “proof of concept” test to see if the public will support the festival in its new form. If successful, the creative team plans to put together a new mission, vision and values statement as well as a three-year fiscal plan.

Although it’s been a challenging year relaunching the festival, both Graber and Salovey said they feel a sense of optimism about the future.

“It has given us a freedom that we can make the festival take on different programming and be more ambitious,” Salovey said. “That will be super exciting.”

Besides working with the local artists that past fest-goers know and love, Salovey said he would love to attract even more international touring Jewish artists like frequent past performer Hershey Felder and this summer’s Perla Batalla. He’d also like to produce more new events, like this summer’s 24-hour “Eco-Jewish Play Fest,” and perhaps partner on full theatrical productions with other local theater companies.

But one thing that won’t change is the festival’s core goals.

“We love that our audience is not just Jewish,” Salovey said. “It’s important we demystify and de-stereotype the images of what we think Jewish people are and we develop an audience across communities.”

Graber said that a rising tide of antisemitism both in the U.S. and abroad has made it more important than ever for the festival to expand and diversify its audience.

“We want to represent Jews of many hues and we want to take the festival out to people,” he said. “We have to do what we can to un-otherize ourselves. That message about antisemitism is not just targeted to White male Americans but also marginalized communities. One of the best ways to un-otherize people is through art. We want to represent the entire breadth and weight of the diaspora.”

Below is the schedule for the 2023 Lipinsky Family San Diego Jewish Arts Festival. Tickets, priced from $18 to $50, go on sale today on the newly launched website sdjfest.org.

2023 JFest Schedule

Festival launch party — Details to come. 7:30 p.m. June 1. Lawrence Family Jewish Community Center, 4126 Executive Drive, La Jolla.

“Witnesses” Concert — One-night reunion concert-style performance of CCAE Theatricals’ award-winning world premiere 2022 musical inspired by the diaries of five European Jewish teens who perished in the Holocaust. 2 p.m. June 4. Lawrence Family Jewish Community Center, La Jolla.

Three Jewish boys onstage in CCAE Theatricals'

A scene from CCAE Theatricals’ world premiere musical “Witnesses,” which won the top prize Monday at the San Diego Theatre Critics Circle’s 2022 Craig Noel Awards on Feb. 27.

(Courtesy of Ken Jacques)

“Judaism & Art” by Rabbi Meir Soloveitchik — The senior rabbi of Congregation Shearith Israel in Manhattan will be the festival keynote speaker. 7:30 p.m. June 5. Congregation Adat Yeshurun, 8625 La Jolla Scenic Drive North, La Jolla.

The Whole Megillah New Jewish Play Festival. — “Unapologetically Jewish” new plays will be presented at local theaters. 7:30 p.m. June 7 and 7 p.m. June 11 at the Old Globe, 1363 Old Globe Way, Balboa Park; 7:30 p.m. July 6 and 2 p.m. July 9 at New Village Arts, 2787 State St., Carlsbad.

“Neshama — Music of the Soul” — A communitywide concert of pop, folk, klezmer, classical, Sephardic, dance and Middle Eastern music. 7:30 p.m. June 8. The Old Globe, Balboa Park.

14th annual Woman of Valor — Celebration of six San Diego Jewish women: Annie Benaroch, Amelia Glaser, Jan Landau, Fanny Krasner Lebovitz and Sheila Lipinsky and Beth Sirull. 1 p.m. June 11. Leichtag Commons, 441 Saxony Rd, Encinitas.

“Hereville” — Family-friendly musical by Robby Sandler and Lizzie Hagstead about a time-traveling, monster-fighting orthodox Jewish girl. 7 p.m. June 11 at the Old Globe, Balboa Park; 2 p.m. July 9 at New Village Arts, Carlsbad.

Singer-songwriter Perla Batalla.

Singer-songwriter Perla Batalla.

(Courtesy)

Perla Batalla in House of Cohen — The Grammy-nominated Batalla, who once toured as a backup singer with legendary Canadian singer-songwriter Leonard Cohen, performs some of his lesser-known songs and shares anecdotes about their friendship. 7:30 p.m. June 15. Lawrence Family Jewish Community Center, La Jolla.

Theatre Dybbuk presents “The Merchant of Venice (Annotated), or In Sooth I Know Not Why I Am So Sad” — This Los Angeles-based Jewish theater company presents its latest play, exploring the history and theatricality of one of William Shakespeare’s most controversial plays. 2 p.m. June 18. Lawrence Family Jewish Community Center, La Jolla.

Matisyahu to appear at Belly Up Tavern.

Matisyahu to appear at Belly Up Tavern.

(Charles Vidal)

Matisyahu in Concert — This Jewish American singer, known for his pop hit “One Day,” performs reggae, rap, beatboxing and alternative pop. 8 p.m. June 20. Belly Up Tavern, 143 S. Cedros Ave. Solana Beach.

22nd Klezmer Summit: The World of Jewish Music — Yale Strom & Elizabeth Schwartz and Hot Pstromi will perform Jewish music from Western and Eastern Europe and the Middle East with guests Farhad Bahrami, Corale Thuet, Robert Zelickman and Fred Benedetti. 7:30 p.m. June 21. First Universalist Unitarian Church of San Diego, 298 W. Arbor Drive, Hillcrest.

“Recordially Yours, Lou Curtiss” — Screening of Yale Strom’s new documentary that chronicles the life and times of local audiophile and raconteur Lou Curtiss, who created both the San Diego Folk Festival and Adams Ave. Unplugged Festival and ran Folk Arts Rare Records in San Diego. (The screening will be preceded by a talk on Jews and folk music at 6:15 p.m.) 7 p.m. June 25. Digital Gym Cinema, Park & Market, 1100 Market St., East Village.

“Chagall” — Co-created by writer/composer Yale Strom and writer/director Todd Salovey, this concert reading traces how Bella and Marc Chagall became refugees in their lives and art. 7:30 p.m. July 6. New Village Arts, Carlsbad.

Eco-Jewish Play Fest — Coastal Roots Farm will collaborate with Rebecca Fletcher on this new event, where seven writers, directors and stage managers and 21 actors will be given 24 hours to create seven short plays inspired by the farm’s core Jewish values of sustainable agriculture and food justice. 6 p.m. July 16. Leichtag Commons, Encinitas.

Think you know Last Fridays, Art Walk?

Think you know Last Fridays, Art Walk?
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By CHARLIE POGACAR

SPECIAL TO THE News of Orange County

Think again.

Last Fridays & the Art Walk, hosted by the Hillsborough Arts Council, continues to be one of the town’s premier events. This year’s series opened on Friday, March 31, and will run through November—the next event is scheduled for Friday, April 28. The fan-favorite Makers Markets are back this year as well, but will start back up in May. 

Not only has Last Fridays & the Art Walk evolved a great deal over the past couple of years, but it still continues to push the envelope—all while maintaining the things that have always made Last Fridays & the Art walk special. Building on the success of the 2021 and 2022 events, this year there will be more musicians playing, more poets performing, and more artists showcasing their work all across downtown. For example, the Art Walk has grown its participating venues from 15 local businesses to 21—Yep Roc Records, Carlisle & Linny Vintage Jewelry, Delight Studio, and the Ballard Agency are the new additions in 2023. 

“When we arrived here at the Hillsborough Arts Council, we were aware of the fact that we were inheriting a beloved program,” said Mollie Thomas, Executive Director of the Hillsborough Arts Council. “We wanted to handle it very carefully knowing so many people had put in a lot of work over the years to make it what it was. At the same time, we saw a great opportunity to restructure and grow it.” 

In many ways, the event was forced to restructure due to social distancing restrictions imposed after the entire slate of 2020 events was canceled. Instead of being a deterrent, that was treated as an opportunity to increase the impact of Last Fridays and expand the scope of the Art Walk. Thomas and Iva Beveridge, Programs & Marketing Director for the Hillsborough Arts Council, are the duo that have been the driving force behind the events since fall of 2021—they were promoted from contractors to their current and created positions when the arts council decided to invest more in staff and operations in order to grow its programs.  

“Last Fridays is this beautiful proof point of what can happen when people come together with a shared passion for art and fun,” Beveridge said. “Particularly what manifested coming out of the pandemic, where prioritization was given to the Art Walk because it’s a perk for local businesses and also for the artists who get to display their work.” 

One of the key takeaways from the 2022 series of events was that themed events can help differentiate Last Fridays from month to month. For example, the annual Last Fridays event each October has always held a Halloween theme—that’s not going anywhere. But for the first time, last August’s Last Fridays event had a “back-to-school” theme, where artists and musicians with an educational bent were prioritized. 

For example, the August 2022 event hosted Ballet Orgulloy Almalatina, a Latino troupe with dancers of all ages that fit in nicely with the educational theme—an appearance that was organized by Donn Young and the Skylight Gallery at the Hillsborough Artist Cooperative. That month’s event also welcomed School of Rock, a music lessons outfit based in Chapel Hill. Donations were collected through Hillsborough Arts Council’s ArtCycle program to give local students and teachers back-to-school supplies they would require for the upcoming school year. The drive collected 500 pounds of school supplies. 

“That’s a huge part of what we’re leaning into this year,” Thomas said. “We will definitely be doing the back-to-school and arts education theme in August again. We are finding some other strong themes to create cohesion and some throughlines between a month’s events, but still with the flexibility that it may change or evolve year-to-year.” 

Back for another year, too, is the Living Arts Collective, an organization out of Durham—but founded by native Hillsboroughan Aubrey Griffith-Zill—that leads a Drum Circle (6 to 7 p.m. each Last Fridays) and a Dancewave (7:30 to 9 p.m. each last Fridays) in River Park. The events are geared toward all ages and varying ability levels. Thomas and Beveridge describe both the Drum Circle and the Dancewave as  “magnetic” experiences that provide an improvisational element that may as well be a metaphor for what Last Fridays & the Art Walk have become. 

In other words: no two Drum Circles, or Dancewaves, are truly alike. That’s now true of Last Fridays & the Art Walk as well. 

“We don’t want the event to feel predictable,” Thomas said. “We want it to feel like, ‘I need to be there this month, because who knows what I’m going to find.’ We want Last Fridays to be an event where everyone can reliably have a good time—for that to happen, each one has to be exciting and unique enough that you don’t know what you’ll discover.” 

The Hillsborough Arts Council is currently looking for volunteer leaders to help with Last Fridays & the Art Walk events. Those interested are encouraged to fill out an application on the Hillsborough Arts Council’s website. 

The big review: Peter Doig at the Courtauld Gallery in London

The big review: Peter Doig at the Courtauld Gallery in London

The first painting you see in the Courtauld Gallery’s Peter Doig exhibition is a self-portrait. Dressed like a trendy teenager in sneakers and slacks, the artist’s face looks like an anatomical dummy with the skin peeled back. Doig’s posture mirrors that of a sweaty man in his earlier painting, Stag (2002-05), who slouches for rest against a tree trunk in an empty forest. In the weird artificial light of Night Studio (Studiofilm & Racquet Club) (2015), we move back and forth from an earlier moment in Doig’s life to another, from a place of fevered tropics to an air-conditioned studio, and from reality into fiction. Another man’s head, older and in green with a beard, and almost indistinguishable from unchecked ivy, impossibly peers over the artist’s shoulder as though forewarning the future. We are everywhere and nowhere all at once.

Doig has spent much of his life travelling and reinventing himself in new cultures. These recent pictures on show at the Courtauld were predominantly made between 2019 and 2023, and are evidence of his wandering eye for unusual forms. Born in Edinburgh to an itinerant father who worked for a shipping company, Doig emigrated as an infant first to the tropics of Trinidad and then to the snow-covered vistas of Canada. In their heat and ice, these two natural palettes surround and often envelop the lost figures who populate his pictures. After spells studying in London in the 1980s (at Wimbledon, Saint Martin’s and Chelsea art schools), Doig returned to Trinidad and spent the next two decades painting otherworldly and at times hallucinogenic figurative paintings inspired by the calypso music and luscious vegetation around Port of Spain. During this period, he was rightly recognised as one of the best colourists of his generation.

The bridge glitters Klimtian crimson while the canal water is an algae green so thick it resembles an overgrown lawn

Doig recently set up a studio in London and the capital has become a new subject for his idiosyncratic revisions of landscape. In the ethereal universe of Canal (2023), which sees north London’s beloved Regent’s Canal shoved backwards through a nightmarish Edvard Munch cityscape, Doig’s son sits silently by a plate of eggs while a young man in a drab kitchen-sink overcoat drives a houseboat. My guess is we are close to the towpath in Haggerston, where I walk every day. Here, the bridge glitters with a Klimtian crimson while the canal water is an algae green that is so thick it resembles an overgrown lawn. It is unmistakably London and yet resolutely a place that exists only in Doig’s prismatic memory.

Price and palette

This exhibition of recent works by Doig is the first of a contemporary artist alongside the Courtauld’s world-famous collection of Impressionist and Post-Impressionist paintings since the three-year £57m revamp of the gallery in 2021. In the Denise Coates Exhibition Galleries, named after the billionaire founder of the gambling company Bet365, it is a cramped display of only two rooms that will leave some visitors wincing at the £14 ticket price. He could have used an extra room. Many of the paintings themselves depict repose and leisure but never feel carefree, or at least not in the way Édouard Manet’s nearby study for Déjeuner sur l’herbe (1863-68) feels carefree, despite shared subjects and palettes. Inspired by phosphorescence on the sea, Night Bathers (2011-19) finds us on Trinidad’s Maracas Bay in a nocturnal reverie in which a blue woman and a grey man, alone together, face apart.

Alpinist (2019-22), which is predictably the Courtauld’s marketing image, sees a carnivalesque skier draped in a harlequin outfit, the trademark dress of the mischievous outsider in paintings by Paul Cézanne and Pablo Picasso. The dimensions hit you like a rockslide on a mountain face. The canvas itself towers over the visitors, which creates a sublime relationship between us and the Matterhorn behind, and the Pierrot-like figure just half our size. The world is big; this poor boy, in playful and errant dress, powerless within it. We find ourselves feeling both intimately close to the harlequin and yet alienated by his withdrawn aspect and incongruous outfit, like one might feel stumbling into a fancy-dressed celebrant of a stag do without the party. It reminds me of lines from Window Pane, a poem by Derek Walcott, the late St Lucian poet who was a friend of Doig: “A sheet of stiff snow becomes a page for drawing / for Peter Doig and a ski slope his fiction, / a whiteness whose width demands exploring / in which the real looms, a contradiction.” Without doubt, this is a show of fiction crammed with contradicting realities.

Derek stands as a gorgeously elegiac testament to friendship

One of the highlights of the humble Doig takeover of the Courtauld can be found not in the main display room but the quieter one tucked away on the first floor, where his etchings made of, for, or in homage to, Walcott are on display. Most were made in 2017, the year Walcott died, and these diminutive gems speak to the roving nature of Doig’s artistic practice. They depict hunting dogs on the prowl and otherworldly plants sprawled out in spectral blacks and reds. Derek (Studiofilmclub) (2016) is a larger work in Doig’s more familiar materials of pigment on linen, and depicts the poet not at the page but by an easel, playing around on a canvas that bears the words “morning / paramin” (the name of a poem-painting collaboration the pair published the same year). As the verdant hills stretch off and beyond Walcott’s upcurved sun hat that radiates Baroque yellow, the work stands as a gorgeously elegiac testament to friendship.

To the left of the portrait is a lyric poem addressed to Doig by Walcott, called Peter, I’m Glad You Asked Me Along. In it, Walcott addresses the artist’s synaesthetic ability to conjure music with paint: “Will your brush pick up an accent, and singsong / infect your melody concealed in a canvas, / picking the place where you really belong.” The poem goes on to ask many more questions of its subject, but it is clear that Doig seems to have spent his entire career trying to work out where he belongs. Trinidad? Canada? London? Does he really belong alongside some of the best of Manet, Claude Monet and Vincent van Gogh, those masters of colour who seem to be able to capture their subjects’ interior lives lost in a forsaken world? Perhaps not, or perhaps not yet. But while we wrestle with these questions, we cannot help but leave glad that Doig asked us along.

• Courtauld Gallery, London, until 29 May 2023, curator: Barnaby Wright

What the other critics said

In a short review for The Guardian, Rachel Cooke warned against seeing Doig’s famously seductive hues as any kind of salve for a long, late winter: “His vast canvases are not sun lamps for the soul.” Cooke was particularly enamoured with Alpinist, which “struck me as a masterpiece with the force of an avalanche; it should be owned by a great museum, not (as it is) by a private collector”.

Jackie Wullschläger, for the Financial Times, was particularly effusive about the artist’s ability to create strange new worlds, with flashes of Trinidad, London and the Alps all within the same series: “That he can make these spaces simultaneously convincing, enchanted and eerie has allowed Doig tremendous freedom and ambition.”

Meanwhile, in the Evening Standard Ben Luke (who is also a contributing editor at The Art Newspaper) gave a glowing five-star review and proclaimed Doig’s “magnificence among the masters”. While drawing attention to the fact that descriptions of Doig’s paintings might sound twee and sentimental, Luke enthused about how his surreal and vivid use of colour demonstrates that “few artists are painting so magnificently today”.

K-Beauty’s Brush With Fine Art

K-Beauty’s Brush With Fine Art
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Amorepacific partners with the Metropolitan Museum of Art to expand the reach of Sulwhasoo, their luxury Korean beauty brand.

“I am ginseng,” boomed the voice of Tilda Swinton to partygoers in the Metropolitan Museum of Art’s Temple of Dendur, where Sulwhasoo, the Korean beauty brand, was throwing a lavish dinner to celebrate its new partnership with the 152-year-old institution. A promotional video featuring Ms. Swinton played overhead, depicting a ginseng root spinning in circles.

The British actress had been named Sulwhasoo’s global ambassador, but couldn’t attend because she was filming. Still, the evening’s guest list was a who’s who of Korean excellence, including the global pop star Rosé, of K-pop group Blackpink, the Academy Award-winning actress Yuh-Jung Youn, writer Cathy Park Hong and the Michelin-starred chef Junghyun Park, who had prepared the ginseng-inspired menu. The rapper Anderson .Paak was the D.J. for the after-party.

“Sulwhasoo is my mom’s favorite brand,” said Ashley Park, 31, a star of “Emily in Paris” on Netflix. “It’s a smell I associate with her: ginseng. It’s like, ‘That’s mom.’”

Ginseng, an ingredient often used in traditional Asian medicine with a distinctly earthy smell, is a key ingredient used by Sulwhasoo in many of their more popular products.

“When it comes to Sulwhasoo and the ingredients that we use — it’s mostly edible ingredients,” said Kyung-Bae Suh, 60, the chairman and CEO of Amorepacific, which was founded by Mr. Suh’s grandmother, Dok-Jeong Yun, in 1932 (Amorepacific is the parent company of Sulwhasoo). “They can be used in food, medicine. The philosophy behind it is that inner health and inner beauty is very important. If your inside is beautiful and healthy, it’s going to manifest on your surface, on your face, on your skin.”

Anderson .Paak was the DJ for the afterparty at the Met’s Temple of Dendur.Ye Fan for The New York Times
“When it comes to Sulwhasoo and the ingredients that we use — it’s mostly edible ingredients,” said Kyung-Bae Suh, the chairman and CEO of Amorepacific, the company that owns Sulwhasoo.Ye Fan for The New York Times
The Concentrated Ginseng Renewing Cream.Ye Fan for The New York Times

This thinking embodies, in many ways, the larger ethos behind Korean beauty, or K-beauty as it is more commonly called, which has become increasingly popular in America in the last two decades. According to data from Kotra, Korea’s trade promotion agency, in 2018 Korea’s cosmetics exports were estimated at around $5.95 billion, up 22 percent from the year before. Often exoticized for its unfamiliar ingredients, such as snail mucin and donkey’s milk, K-beauty espouses the idea that cosmetics need not be about correcting your imperfections, but rather about cultivating what comes from within.

Over 90 percent of Sulwhasoo’s sales still come from Asia, but the brand is now looking to expand its presence in the United States and Europe, where it is less known. Mr. Suh recognizes this as Sulwhasoo’s “big push,” with celebrities such as Rosé and Ms. Swinton, and a subtle redesign of the brand’s packaging (its signature amber hue now has an ombré fade). Both signal Sulwhasoo’s desire to capture a younger and more Western customer base. It’s a new page for a relatively dignified brand, which in its 25-year history has avoided any form of celebrity endorsement until 2018.

Still, there are reasons to be skeptical of the benefits touted in luxury skin care (a bottle of Sulwhasoo’s best-selling Ginseng Renewing Serum costs $210). Despite South Korea’s overwhelming number of beauty products and its industry’s unparalleled innovation, South Korea is still often referred to as the plastic surgery capital of the world. According to a 2019 report from the International Society of Aesthetic Plastic Surgery, Korea had the highest rate of plastic surgery per capita in the world, with 13.5 cosmetic procedures performed per 1,000 individuals.

“If there is a ‘secret’ to Korean beauty, it would be the medical advancements they’ve made in low impact or less-invasive surgery and injectables,” said Euny Hong, journalist and author of “The Birth of Korean Cool: How One Nation Is Conquering the World Through Pop Culture.”‌

“Sulwhasoo is my mom’s favorite brand,” said Ashley Park, from the show “Emily in Paris.”Ye Fan for The New York Times

The history of Amorepacific dates back to the 1930s, during the Japanese occupation of Korea, when Ms. Yun sold camellia hair oil in Kaesong, a city now part of North Korea, to help support her family. Women at the time traditionally wore their hair parted down the middle, braided and coiled into a bun with a hair pin; the oil kept the hair in place and retained its luster. Pure camellia oil — the hard-earned result of manually pressing hand-peeled and ground camellia seeds — was valued for being scentless and for keeping hair shiny for a longer period of time.

As the mother of six children, Ms. Yun juggled parenting with the responsibilities of her nascent business, often bringing her infants on the road to breastfeed while pedaling her wares. By the end of the 1930s, business was robust enough for her to set up her own storefront, called Changseong Shop.

In 1945 World War II would intervene. Ms. Yun’s second son, Sung-whan Suh — who had become a valuable employee, entrusted with bicycling to Seoul to buy ingredients — was drafted into the Japanese army. A year later, he returned and took over the family business, renaming the company Taepyeongyang (“Pacific Ocean” in Korean). It was an allusion to his ambitions to grow the company beyond Korea’s own shores.

The next decade proved to be challenging, marked by the divisive violence of the Korean War. Sung-Whan Suh relocated his own family to Seoul, launching a popular face cream and hair pomade. Many Koreans, however, preferred beauty brands from the West and Japan when they could afford them. Ambitious and with an eye toward longevity, Sung-Whan Suh created a research and development lab in 1954 in hopes of competing and harnessing the power of ingredients found in Korea, including ginseng. Today, Amorepacific’s research and development lab employs over 500 people.

In 1987, the company launched Sulwha, an herb-based cosmetic. It wasn’t until 1997 that the brand landed on the name Sulwhasoo.

“‘Sul’ means snow, ‘wha’ means flower, ‘soo’ means beauty. Snow, flower, beauty,” explained Ga-Yoon Jung, senior vice president of marketing at Amorepacific. “But it doesn’t mean the literal flower and snow. The snow flower is the first flower that blooms right after winter.”

A performance by Ambiguous Dance Company.Ye Fan for The New York Times
Michelin-starred chef Junghyun Park prepared the ginseng-inspired menu.Ye Fan for The New York Times
Mr. Park, the chef, with his wife.Ye Fan for The New York Times

That same year, Sung-Whan Suh’s second son Kyung-Bae Suh took over as CEO of Amorepacific. By then, South Korea’s economy was booming, and investing its money in film, television and pop music in what would become known as “the Korean Wave” or “Hallyu.”

Today, Mr. Suh is one of South Korea’s wealthiest citizens. In 2018, he debuted Amorepacific’s new headquarters, a stunning 22-story building in Seoul designed by the architect David Chipperfield, who is being awarded the Pritzker Prize later this year. He is also an avid collector of contemporary and Korean art.

Neither the museum nor Mr. Suh would disclose the terms of their sponsorship, but the association came about after Max Hollein, the Met’s director, flew to South Korea last summer. Sulwhasoo plans to underwrite two additional community-oriented programs with the Met. “They wanted to be involved where they could offer support for our programming — and it wasn’t a one-off event or exhibition,” Mr. Hollein said.

For Mr. Suh, who feels the Met’s sense of heritage aligns with that of his family’s company, the choice to partner with the museum may also be guided by his own experience: In 1983, it was the first museum he ever visited outside of Korea.

Because of its history, the popularity of Sulwhasoo — a prominent brand in Amorepacific’s portfolio — also carries a kind of nostalgia for Korea’s difficult past. “I think that’s been comforting for many Korean people, given how quickly the economy grew,” said Joyce Kong, a former Korean beauty consultant. Both represent the changes South Korea has experienced in the last century. “To them, Sulwhasoo is still tethered to this old world.”

Rad Technologies Inc. (RAD) is Bringing AI-based Intelligence

Rad Technologies Inc. (RAD) is Bringing AI-based Intelligence

Visual art marketing is joining the AI revolution as ROI-based creative influence campaign pioneer Rad Technologies Inc. (RAD) teams up with visual marketing agency LNDMRK in a first-of-its-kind partnership. The two companies are pleased to announce their new product, RAD Visual Arts, which allows best-in-class creatives to collaborate with brands to develop cultural moments, content, and community through AI-informed visual art.

Iconic brands–such as Apple, Nike, and Porsche–who recognize the value of visual art marketing, have long turned to LNDMRK for solutions that leverage the world’s best-known visual artists. They’ve enlisted top creators such as Shepard Fairey, Sir Peter Blake, Vexx and Burnt Toast for highly curated murals, art installations, advertising campaigns, product collaborations, and live events.

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Now LNDMRK’s best-in-class visual art marketing strategy will begin harnessing the powerful precision of RAD AI’s data-driven creative intelligence solution. Trusted by leading enterprises, RAD Visual Arts will empower visual art marketers with data from over 600 API connections—including Reddit, Meta, TikTok and more—to drive decisions about campaign target audience personas, influencer selection, and content strategy.

“By partnering with LNDMRK, we’re combining the power of visual art as a marketing tool with the guaranteed performance of AI-backed marketing,” says RAD Founder and CEO Jeremy Barnett. “Successful visual art marketing depends on connecting the artists with cultural moments and market niches. Until now, marketers have been forced to rely on intuition and guesswork to guide their campaign decisions. We’re bringing quantifiable performance standards to visual art marketing and changing the way brands think about content marketing.”

“Joining forces with RAD takes our world-class visual art marketing capability to the next level,” says partner at LNDMRK Kevin Klein. “For over a decade, LNDMRK has been working with the world’s leading brands on establishing a genuine connection point to the visual art space. Our focus has been developing brand relationships with a category of talent which is not oversaturated by influencers and celebrity endorsement. The partnership between RAD and LNDMRK combines our network of visual artists with quantifiable marketing goals – this winning formula is the next chapter in brand collaborations.”

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