In the southwestern Indiana town of Evansville, people are a bit baffled after hearing that the town's Museum of Arts, History and Science has had a rare Pablo Picasso piece in storage for almost half a century. Curator Mary Bower says the work went unnoticed because of a clerical error.
"All the documentation associated with the gift indicated that this was by an artist named Gemmaux," she says, "which really happens to be the plural of the artistic technique."
<strong>The Real Thing:</strong> A model poses on Friday at the Kate Spade show during New York Fashion Week. In <em>The Knockoff Economy</em>, Kal Raustiala and Christopher Sprigman argue that copying major designers is good both for the industry and for consumers.
During New York Fashion Week, designers will present looks that you might find in a department store next spring ... or, as knockoffs at Forever 21. That's because copying fashion designs is perfectly legal — and that's a good thing, if you ask Kal Raustiala.
Raustiala is the co-author of a new book called The Knockoff Economy: How Imitation Sparks Innovation. He talks with NPR's Renee Montagne about who copies fashion designs, why it's legal and how copying ultimately benefits the consumer and the industry.
Michael Chabon's books include <em>The Amazing Adventures of Kavalier & Clay, <em>The Yiddish Policemen's Union </em></em>and <em>Manhood for Amateurs. </em>He lives in Berkeley, Calif., with his wife, novelist Ayelet Waldman, and their children.
Michael Chabon's latest novel, Telegraph Avenue, is named after the famed road between Oakland and Berkeley in California.
In the book, that's also where two couples — Nat and Aviva, who are white, and Archy and Gwen, who are black — are struggling to get by. The two men are friends, partners in a vinyl record shop. Their wives work together as nurse midwives.
Over the course of a couple of weeks, the characters deal with threats to their work, to their relationships and their very way of being. Chabon delves deeply into issues of art, race and sexuality.
<em>Knitting Is for Pus****</em> is a work by <a href="http://40u40.beancreative.com/artist28.html">crochet sculptor Olek</a>. He has created an entire apartment blanketed in brightly colored, crocheted camouflage.
Credit Olek / Courtesy Jonathan LeVine Gallery, New York, N.Y.
<a href="http://40u40.beancreative.com/artist24.html">Cat Mazza</a>'s <em>Knit for Defense</em> is a nine-minute, black-and-white video made from footage of 20th century conflicts. The war footage is rendered with software that makes each pixel look like a knitted stitch. "For me, 9/11 made a huge impact and had an impact on this piece as well," she says.
Credit Smithsonian American Art Museum
<em>Green Balance </em>is a 2011 work by <a href="http://40u40.beancreative.com/artist08.html">Erik Demaine</a> and his father, Martin Demaine. As a scientist, Erik Demaine says he works to "explore curved creased folding from both a mathematical and an artistic perspective."
Credit Gene Young / Smithsonian American Art Museum
<a href="http://40u40.beancreative.com/artist38.html">Anna Von Mertens</a> made a series of quilts depicting what the night sky looked like if you looked up during a moment of terrible violence in American history. Above, <em>2:45 a.m. Until Sunrise on Tet, the Lunar New Year, January 31, 1968, U.S. Embassy, Saigon, Vietnam (Looking North).</em>
When museum curator Nicholas Bell was putting together the show Craft Futures: 40 Under 40 at the Smithsonian Institution's Renwick Gallery, he realized the artists had something in common besides their under-40 status. Because of their youth, he felt that each of them could be classified as "post 9/11" artists.
"Their worldview is defined by the angst, the unease, the trepidation of the difficulties of the 21st century," he says.