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2025-05-21 13:43:04 ·

With Letter to Trump, Evangelical Leaders Join the AI Debate

Two Evangelical Christian leaders sent an open letter to President Trump on Wednesday, warning of the dangers of out-of-control artificial intelligence and of automating human labor.The letter comes just weeks after the new Pope, Leo XIV, declared he was concerned with the “defense of human dignity, justice and labor” amid what he described as the “new industrial revolution” spurred by advances in AI.“As people of faith, we believe we should rapidly develop powerful AI tools that help cure diseases and solve practical problems, but not autonomous smarter-than-human machines that nobody knows how to control,” reads the open letter, signed by the Reverends Johnnie Moore and Samuel Rodriguez. “The world is grappling with a new reality because of the pace of the development of this technology, which represents an opportunity of great promise but also of potential peril especially as we approach artificial general intelligence.”Rodriguez, the President of the National Hispanic Christian Leadership Conference, spoke at Trump’s first presidential inauguration in 2017. Moore, who is also the founder of the public relations firm Kairos, served on Trump’s Evangelical executive board during his first presidential candidacy.The letter is a sign of growing ties between religious and AI safety groups, which share some of the same worries. It was shared with journalists by representatives of the Future of Life Institute—an AI safety organization that campaigns to reduce what it sees as the existential risk posed by advanced AI systems.The world’s biggest tech companies now all believe that it is possible to create so-called “artificial general intelligence”—a form of AI that can do any task better than a human expert. Some researchers have even invoked this technology in religious terms—for example, OpenAI’s former chief scientist Ilya Sutskever, a mystical figure who famously encouraged colleagues to chant “feel the AGI” at company gatherings. The emerging possibility of AGI presents, in one sense, a profound challenge to many theologies. If we are in a universe where a God-like machine is possible, what space does that leave for God himself?“The spiritual implications of creating intelligence that may one day surpass human capabilities raises profound theological and ethical questions that must be thoughtfully considered with wisdom,” the two Reverends wrote in their open letter to President Trump. “Virtually all religious traditions warn against a world where work is no longer necessary or where human beings can live their lives without any guardrails.”Though couched in adulatory language, the letter presents a vision of AI governance that differs from Trump’s current approach. The president has embraced the framing of the U.S. as in a race with China to get to AGI first, and his AI czar, David Sacks, has warned that regulating the technology would threaten the U.S.’s position in that race. The White House AI team is stacked with advisors who take a dismissive view of alignment risks—or the idea that a smarter-than-human AI might be hostile to humans, escape their control, and cause some kind of catastrophe.“We believe you are the world’s leader now by Divine Providence to also guide AI,” the letter says, addressing Trump, before urging him to consider convening an ethical council to consider not only “what AI can do but also what it should do.”“To be clear: we are not encouraging the United States, and our friends, to do anything but win the AI race,” the letter says. “There is no alternative. We must win. However, we are advising that this victory simply must not be a victory at any cost.”The letter echoes some themes that have increasingly been explored inside the Vatican, not just by Pope Leo XIV but also his predecessor, Pope Francis. Last year, in remarks at an event held at the Vatican about AI, Francis argued that AI must be used to improve, not degrade, human dignity.“Does it serve to satisfy the needs of humanity, to improve the well-being and integral development of people?” he asked. Or does it “serve to enrich and increase the already high power of the few technological giants despite the dangers to humanity?”To some Catholic theologians, AGI is simply the newest incarnation of a long-standing threat to the Church: false idols. “The presumption of substituting God for an artifact of human making is idolatry, a practice Scripture explicitly warns against,” reads a lengthy missive on AI published by the Vatican in January. “AI may prove even more seductive than traditional idols for, unlike idols that ‘have mouths but do not speak; eyes, but do not see; ears, but do not hear’, AI can ‘speak,’ or at least gives the illusion of doing so. Yet, it is vital to remember that AI is but a pale reflection of humanity—it is crafted by human minds, trained on human-generated material, responsive to human input, and sustained through human labor.”
#with #letter #trump #evangelical #leaders

With Letter to Trump, Evangelical Leaders Join the AI Debate
Two Evangelical Christian leaders sent an open letter to President Trump on Wednesday, warning of the dangers of out-of-control artificial intelligence and of automating human labor.The letter comes just weeks after the new Pope, Leo XIV, declared he was concerned with the “defense of human dignity, justice and labor” amid what he described as the “new industrial revolution” spurred by advances in AI.“As people of faith, we believe we should rapidly develop powerful AI tools that help cure diseases and solve practical problems, but not autonomous smarter-than-human machines that nobody knows how to control,” reads the open letter, signed by the Reverends Johnnie Moore and Samuel Rodriguez. “The world is grappling with a new reality because of the pace of the development of this technology, which represents an opportunity of great promise but also of potential peril especially as we approach artificial general intelligence.”Rodriguez, the President of the National Hispanic Christian Leadership Conference, spoke at Trump’s first presidential inauguration in 2017. Moore, who is also the founder of the public relations firm Kairos, served on Trump’s Evangelical executive board during his first presidential candidacy.The letter is a sign of growing ties between religious and AI safety groups, which share some of the same worries. It was shared with journalists by representatives of the Future of Life Institute—an AI safety organization that campaigns to reduce what it sees as the existential risk posed by advanced AI systems.The world’s biggest tech companies now all believe that it is possible to create so-called “artificial general intelligence”—a form of AI that can do any task better than a human expert. Some researchers have even invoked this technology in religious terms—for example, OpenAI’s former chief scientist Ilya Sutskever, a mystical figure who famously encouraged colleagues to chant “feel the AGI” at company gatherings. The emerging possibility of AGI presents, in one sense, a profound challenge to many theologies. If we are in a universe where a God-like machine is possible, what space does that leave for God himself?“The spiritual implications of creating intelligence that may one day surpass human capabilities raises profound theological and ethical questions that must be thoughtfully considered with wisdom,” the two Reverends wrote in their open letter to President Trump. “Virtually all religious traditions warn against a world where work is no longer necessary or where human beings can live their lives without any guardrails.”Though couched in adulatory language, the letter presents a vision of AI governance that differs from Trump’s current approach. The president has embraced the framing of the U.S. as in a race with China to get to AGI first, and his AI czar, David Sacks, has warned that regulating the technology would threaten the U.S.’s position in that race. The White House AI team is stacked with advisors who take a dismissive view of alignment risks—or the idea that a smarter-than-human AI might be hostile to humans, escape their control, and cause some kind of catastrophe.“We believe you are the world’s leader now by Divine Providence to also guide AI,” the letter says, addressing Trump, before urging him to consider convening an ethical council to consider not only “what AI can do but also what it should do.”“To be clear: we are not encouraging the United States, and our friends, to do anything but win the AI race,” the letter says. “There is no alternative. We must win. However, we are advising that this victory simply must not be a victory at any cost.”The letter echoes some themes that have increasingly been explored inside the Vatican, not just by Pope Leo XIV but also his predecessor, Pope Francis. Last year, in remarks at an event held at the Vatican about AI, Francis argued that AI must be used to improve, not degrade, human dignity.“Does it serve to satisfy the needs of humanity, to improve the well-being and integral development of people?” he asked. Or does it “serve to enrich and increase the already high power of the few technological giants despite the dangers to humanity?”To some Catholic theologians, AGI is simply the newest incarnation of a long-standing threat to the Church: false idols. “The presumption of substituting God for an artifact of human making is idolatry, a practice Scripture explicitly warns against,” reads a lengthy missive on AI published by the Vatican in January. “AI may prove even more seductive than traditional idols for, unlike idols that ‘have mouths but do not speak; eyes, but do not see; ears, but do not hear’, AI can ‘speak,’ or at least gives the illusion of doing so. Yet, it is vital to remember that AI is but a pale reflection of humanity—it is crafted by human minds, trained on human-generated material, responsive to human input, and sustained through human labor.” #with #letter #trump #evangelical #leaders

TIME.COM

With Letter to Trump, Evangelical Leaders Join the AI Debate

Two Evangelical Christian leaders sent an open letter to President Trump on Wednesday, warning of the dangers of out-of-control artificial intelligence and of automating human labor.The letter comes just weeks after the new Pope, Leo XIV, declared he was concerned with the “defense of human dignity, justice and labor” amid what he described as the “new industrial revolution” spurred by advances in AI.“As people of faith, we believe we should rapidly develop powerful AI tools that help cure diseases and solve practical problems, but not autonomous smarter-than-human machines that nobody knows how to control,” reads the open letter, signed by the Reverends Johnnie Moore and Samuel Rodriguez. “The world is grappling with a new reality because of the pace of the development of this technology, which represents an opportunity of great promise but also of potential peril especially as we approach artificial general intelligence.”Rodriguez, the President of the National Hispanic Christian Leadership Conference, spoke at Trump’s first presidential inauguration in 2017. Moore, who is also the founder of the public relations firm Kairos, served on Trump’s Evangelical executive board during his first presidential candidacy.The letter is a sign of growing ties between religious and AI safety groups, which share some of the same worries. It was shared with journalists by representatives of the Future of Life Institute—an AI safety organization that campaigns to reduce what it sees as the existential risk posed by advanced AI systems.The world’s biggest tech companies now all believe that it is possible to create so-called “artificial general intelligence”—a form of AI that can do any task better than a human expert. Some researchers have even invoked this technology in religious terms—for example, OpenAI’s former chief scientist Ilya Sutskever, a mystical figure who famously encouraged colleagues to chant “feel the AGI” at company gatherings. The emerging possibility of AGI presents, in one sense, a profound challenge to many theologies. If we are in a universe where a God-like machine is possible, what space does that leave for God himself?“The spiritual implications of creating intelligence that may one day surpass human capabilities raises profound theological and ethical questions that must be thoughtfully considered with wisdom,” the two Reverends wrote in their open letter to President Trump. “Virtually all religious traditions warn against a world where work is no longer necessary or where human beings can live their lives without any guardrails.”Though couched in adulatory language, the letter presents a vision of AI governance that differs from Trump’s current approach. The president has embraced the framing of the U.S. as in a race with China to get to AGI first, and his AI czar, David Sacks, has warned that regulating the technology would threaten the U.S.’s position in that race. The White House AI team is stacked with advisors who take a dismissive view of alignment risks—or the idea that a smarter-than-human AI might be hostile to humans, escape their control, and cause some kind of catastrophe.“We believe you are the world’s leader now by Divine Providence to also guide AI,” the letter says, addressing Trump, before urging him to consider convening an ethical council to consider not only “what AI can do but also what it should do.”“To be clear: we are not encouraging the United States, and our friends, to do anything but win the AI race,” the letter says. “There is no alternative. We must win. However, we are advising that this victory simply must not be a victory at any cost.”The letter echoes some themes that have increasingly been explored inside the Vatican, not just by Pope Leo XIV but also his predecessor, Pope Francis. Last year, in remarks at an event held at the Vatican about AI, Francis argued that AI must be used to improve, not degrade, human dignity.“Does it serve to satisfy the needs of humanity, to improve the well-being and integral development of people?” he asked. Or does it “serve to enrich and increase the already high power of the few technological giants despite the dangers to humanity?”To some Catholic theologians, AGI is simply the newest incarnation of a long-standing threat to the Church: false idols. “The presumption of substituting God for an artifact of human making is idolatry, a practice Scripture explicitly warns against,” reads a lengthy missive on AI published by the Vatican in January. “AI may prove even more seductive than traditional idols for, unlike idols that ‘have mouths but do not speak; eyes, but do not see; ears, but do not hear’, AI can ‘speak,’ or at least gives the illusion of doing so. Yet, it is vital to remember that AI is but a pale reflection of humanity—it is crafted by human minds, trained on human-generated material, responsive to human input, and sustained through human labor.”

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9to5Mac RT hat einen Link geteilt

2025-05-21 13:26:17 ·

New to Apple TV+? These older titles are still worth watching

When Apple TV+ launched back in 2019, one of the most common complaints was its lack of a back catalog. And to some extent, the criticism made sense, especially given that some expected Apple tobundle in its vast iTunes movie library.
Now, more than five years later, Apple has quietly built up a surprisingly solid library of original films and series. If you’re a relatively new subscriber, there’s a good chance you missed out on a few of these great early releases:

Defending Jacob

Based on William Landay’s 2012 best-selling novel of the same name, this limited crime drama series stars Michelle Dockeryand Chris Evans, as well as Jaeden Martellin the titular role of Jacob.
Evans’ character is tasked with the defense of his own son in a murder trial, and the story explores the tectonic shifts caused by such an event in the life of a family. If you’ve watched Netflix’s recent Adolescence limited series, you know to expect this won’t be a light, dinner time, binge-worthy show, but it is definitely worth a watch.
Watch Defending Jacob on Apple TV+
The Velvet Underground

Being a Velvet Underground fan, I am partial to this one. But this excellently produced documentary explores how one of the most influential bands in history came together, and turned the rock scene upside down.
As one IMDB reviewer put it, the documentary is “pieced together almost as strangely as the band itself”, which is possibly the highest praise director and writer Todd Hainescould possibly expect. Even if you are not a Velvet Underground fan, this documentary might surprise you.
Watch The Velvet Underground on Apple TV+
CODA

For the standards of a three-time Academy Award winner, this remake of 2014’s La Famille Bélier flies surprisingly under the radar. CODA stars Marlee Matlin, Troy Kotsur, and Emilia Jonesas members of a deaf family whose hearing daughter, played by Jones, serves as their connection to the hearing world. Until her musical ambitions begin to pull her in a different direction.
CODA became the first movie produced by a streaming service to win Best Picture, and it also scored Apple the Academy Awards for Best Adapted, and Best Performance by an Actor in a Supporting Role thanks to Kotsur’s portrayal of character Frank Rossi.
Watch CODA on Apple TV+
WeCrashed

Alongside the Theranos case, the WeWork saga is possibly one of the craziest, most interesting and unbelievable stories that only reality could provide.
The show features Jared Letoas Adam Neumann, and Anne Hathawayas Rebekah Neumann. It explores the couple’s trajectory as they, well, manifested WeWork’s billion valuation.
Based on a homonymous podcast, this eight-part series is a must-watch for any tech enthusiast. Just by writing about it, I feel like watching it again.
Watch WeCrashed on Apple TV+
Black Bird

This is yet another inspired-by-true-events limited series that made a bit of a splash when it came out, but was soon unfairly forgotten. Taron Egertonplays a playboy turned convict who accepts a plea deal involving a fellow convict, played by the fantastic Paul Walter Hauser.
Black Bird also marks Ray Lotta’s final performance, and earned Apple quite a few awards due to Hauser’s terrifyingly good portrayal of… well, you’ll see.
Watch Black Bird on Apple TV+
Billie Eilish: The World’s A Little Blurry

I had never been a big Billie Eilish fan. I did know one or two of her songs, but that was it. Still, I gave Billie Eilish: The World’s A Little Blurry a try, and I’m glad I did. The documentary takes you alongon the ride all the way up to the top, and the loneliness that might come with it.
The documentary highlights Eilish’s creative partnership with her brother Finneas O’Connell and her fiercely protective mother, who is set on not letting her daughter become another cautionary tale for early stardom.
Watch Billie Eilish: The World’s A Little Blurry on Apple TV+
Do you have a favorite forgotten Apple TV+ gem? Any recent favorites you can’t recommend enough? Let us know in the comments.
Apple TV+ is available for per month and features hit TV shows and movies like Ted Lasso, Severance, The Studio, The Morning Show, Shrinking and Silo.

Add 9to5Mac to your Google News feed.

FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel
#new #apple #these #older #titles

New to Apple TV+? These older titles are still worth watching
When Apple TV+ launched back in 2019, one of the most common complaints was its lack of a back catalog. And to some extent, the criticism made sense, especially given that some expected Apple tobundle in its vast iTunes movie library. Now, more than five years later, Apple has quietly built up a surprisingly solid library of original films and series. If you’re a relatively new subscriber, there’s a good chance you missed out on a few of these great early releases: Defending Jacob Based on William Landay’s 2012 best-selling novel of the same name, this limited crime drama series stars Michelle Dockeryand Chris Evans, as well as Jaeden Martellin the titular role of Jacob. Evans’ character is tasked with the defense of his own son in a murder trial, and the story explores the tectonic shifts caused by such an event in the life of a family. If you’ve watched Netflix’s recent Adolescence limited series, you know to expect this won’t be a light, dinner time, binge-worthy show, but it is definitely worth a watch. Watch Defending Jacob on Apple TV+ The Velvet Underground Being a Velvet Underground fan, I am partial to this one. But this excellently produced documentary explores how one of the most influential bands in history came together, and turned the rock scene upside down. As one IMDB reviewer put it, the documentary is “pieced together almost as strangely as the band itself”, which is possibly the highest praise director and writer Todd Hainescould possibly expect. Even if you are not a Velvet Underground fan, this documentary might surprise you. Watch The Velvet Underground on Apple TV+ CODA For the standards of a three-time Academy Award winner, this remake of 2014’s La Famille Bélier flies surprisingly under the radar. CODA stars Marlee Matlin, Troy Kotsur, and Emilia Jonesas members of a deaf family whose hearing daughter, played by Jones, serves as their connection to the hearing world. Until her musical ambitions begin to pull her in a different direction. CODA became the first movie produced by a streaming service to win Best Picture, and it also scored Apple the Academy Awards for Best Adapted, and Best Performance by an Actor in a Supporting Role thanks to Kotsur’s portrayal of character Frank Rossi. Watch CODA on Apple TV+ WeCrashed Alongside the Theranos case, the WeWork saga is possibly one of the craziest, most interesting and unbelievable stories that only reality could provide. The show features Jared Letoas Adam Neumann, and Anne Hathawayas Rebekah Neumann. It explores the couple’s trajectory as they, well, manifested WeWork’s billion valuation. Based on a homonymous podcast, this eight-part series is a must-watch for any tech enthusiast. Just by writing about it, I feel like watching it again. Watch WeCrashed on Apple TV+ Black Bird This is yet another inspired-by-true-events limited series that made a bit of a splash when it came out, but was soon unfairly forgotten. Taron Egertonplays a playboy turned convict who accepts a plea deal involving a fellow convict, played by the fantastic Paul Walter Hauser. Black Bird also marks Ray Lotta’s final performance, and earned Apple quite a few awards due to Hauser’s terrifyingly good portrayal of… well, you’ll see. Watch Black Bird on Apple TV+ Billie Eilish: The World’s A Little Blurry I had never been a big Billie Eilish fan. I did know one or two of her songs, but that was it. Still, I gave Billie Eilish: The World’s A Little Blurry a try, and I’m glad I did. The documentary takes you alongon the ride all the way up to the top, and the loneliness that might come with it. The documentary highlights Eilish’s creative partnership with her brother Finneas O’Connell and her fiercely protective mother, who is set on not letting her daughter become another cautionary tale for early stardom. Watch Billie Eilish: The World’s A Little Blurry on Apple TV+ Do you have a favorite forgotten Apple TV+ gem? Any recent favorites you can’t recommend enough? Let us know in the comments. Apple TV+ is available for per month and features hit TV shows and movies like Ted Lasso, Severance, The Studio, The Morning Show, Shrinking and Silo. Add 9to5Mac to your Google News feed. FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel #new #apple #these #older #titles

9TO5MAC.COM

New to Apple TV+? These older titles are still worth watching

When Apple TV+ launched back in 2019, one of the most common complaints was its lack of a back catalog. And to some extent, the criticism made sense, especially given that some expected Apple to (at least partially) bundle in its vast iTunes movie library. Now, more than five years later, Apple has quietly built up a surprisingly solid library of original films and series. If you’re a relatively new subscriber, there’s a good chance you missed out on a few of these great early releases: Defending Jacob Based on William Landay’s 2012 best-selling novel of the same name, this limited crime drama series stars Michelle Dockery (Downton Abbey, The Gentlemen) and Chris Evans (The Avengers, Knives Out), as well as Jaeden Martell (Knives Out, It) in the titular role of Jacob. Evans’ character is tasked with the defense of his own son in a murder trial, and the story explores the tectonic shifts caused by such an event in the life of a family. If you’ve watched Netflix’s recent Adolescence limited series, you know to expect this won’t be a light, dinner time, binge-worthy show, but it is definitely worth a watch. Watch Defending Jacob on Apple TV+ The Velvet Underground Being a Velvet Underground fan, I am partial to this one. But this excellently produced documentary explores how one of the most influential bands in history came together, and turned the rock scene upside down. As one IMDB reviewer put it, the documentary is “pieced together almost as strangely as the band itself”, which is possibly the highest praise director and writer Todd Haines (I’m Not There, Carol) could possibly expect. Even if you are not a Velvet Underground fan, this documentary might surprise you. Watch The Velvet Underground on Apple TV+ CODA For the standards of a three-time Academy Award winner, this remake of 2014’s La Famille Bélier flies surprisingly under the radar. CODA stars Marlee Matlin (The West Wing), Troy Kotsur (The Number 23), and Emilia Jones (Brimstone) as members of a deaf family whose hearing daughter, played by Jones, serves as their connection to the hearing world. Until her musical ambitions begin to pull her in a different direction. CODA became the first movie produced by a streaming service to win Best Picture, and it also scored Apple the Academy Awards for Best Adapted, and Best Performance by an Actor in a Supporting Role thanks to Kotsur’s portrayal of character Frank Rossi. Watch CODA on Apple TV+ WeCrashed Alongside the Theranos case, the WeWork saga is possibly one of the craziest, most interesting and unbelievable stories that only reality could provide. The show features Jared Leto (Requiem For a Dream, Suicide Squad) as Adam Neumann, and Anne Hathaway (Interstellar, Les Misérables) as Rebekah Neumann. It explores the couple’s trajectory as they, well, manifested WeWork’s $47 billion valuation. Based on a homonymous podcast, this eight-part series is a must-watch for any tech enthusiast. Just by writing about it, I feel like watching it again. Watch WeCrashed on Apple TV+ Black Bird This is yet another inspired-by-true-events limited series that made a bit of a splash when it came out, but was soon unfairly forgotten. Taron Egerton (Tetris, Rocketman) plays a playboy turned convict who accepts a plea deal involving a fellow convict, played by the fantastic Paul Walter Hauser (BlacKkKlansman, Richard Jewel). Black Bird also marks Ray Lotta’s final performance, and earned Apple quite a few awards due to Hauser’s terrifyingly good portrayal of… well, you’ll see. Watch Black Bird on Apple TV+ Billie Eilish: The World’s A Little Blurry I had never been a big Billie Eilish fan. I did know one or two of her songs, but that was it. Still, I gave Billie Eilish: The World’s A Little Blurry a try, and I’m glad I did. The documentary takes you along (in sometimes uncomfortable ways) on the ride all the way up to the top, and the loneliness that might come with it. The documentary highlights Eilish’s creative partnership with her brother Finneas O’Connell and her fiercely protective mother, who is set on not letting her daughter become another cautionary tale for early stardom. Watch Billie Eilish: The World’s A Little Blurry on Apple TV+ Do you have a favorite forgotten Apple TV+ gem? Any recent favorites you can’t recommend enough? Let us know in the comments. Apple TV+ is available for $9.99 per month and features hit TV shows and movies like Ted Lasso, Severance, The Studio, The Morning Show, Shrinking and Silo. Add 9to5Mac to your Google News feed. FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

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Unity RT hat einen Link geteilt

2025-05-21 11:59:44 ·

Made with Unity: 2022 in review

As we reflect on the past year, we can’t help but be proud of all that the Unity community accomplished. From award-winning masterpieces and cult hits to the pure, unadulterated joy that Trombone Champ has brought to all of our lives. Case in point…Before we move into a new year, full of new possibilities, let’s take a moment to celebrate some of your biggest achievements from the past 12 months. Thank you for being part of our story; here’s to an even better 2023!To the best of our abilities, here’s a non-exhaustive list of Made with Unity games that you released in 2022, either into early access or full release. There have been so many great titles this year, so we’ve categorized them by genre to make this list a bit more digestible and hopefully inspire some of your future projects – though, of course, some titles defy easy genre categorization.See any on the list that have already become favorites or know of any that we missed? Tell us about it in the forums.Rollerdrome, Roll7Other action titles we love include:Sanabi, WONDER POTIONCuphead: The Delicious Last Course, Studio MDHR Entertainment Inc.Midnight Fight Express, Jacob DzwinelWarhammer 40,000: Shootas, Blood & Teef, RoguesideOutshine, Fishing CactusSIGNALIS, rose-engineOther horror titles we love include:The Mortuary Assistant, DarkStone DigitalHell is Others, Strelka Games, YonderBendy and the Dark Revival, Joey Drew StudiosTUNIC, TUNIC teamOther puzzle adventure titles we love include:FAR: Changing Tides, OkomotiveSyberia: The World Before, Microids Studio ParisLost in Play, Happy Juice GamesThe Spirit and the Mouse, Albune GamesLEGO® Bricktales, ClockStoneThe Past Within, Rusty LakeHow to Say Goodbye, Florian Veltman, Baptiste Portefaix, and ARTE FranceSomerville, JumpshipGhost Song, Old MoonOther metroidvania titles we love include:Infernax, Berzerk StudioHaiku, the Robot, Mister Morris GamesHAAK, BlingameMoonscars, Black MermaidNeon White, Angel MatrixOther FPS titles we love include:Gloomwood, Dillon Rogers and David SzymanskiIsonzo, M2H and, Blackmill GamesMetal: Hellsinger, The OutsidersProdeus, Bounding Box Software Inc.BONELAB, Stress Level ZeroCULTIC, Jasozz GamesCult of the Lamb, Massive MonsterOther roguelike titles we love include:Have a Nice Death, Magic Design StudiosAcross the Obelisk, Dreamsite GamesRogue Legacy 2, Cellar Door Games20 Minutes Till Dawn, flanneNecrosmith, Alawar PremiumORX, johnbellAlina of the Arena, PINIXI See Red, Whiteboard GamesShip of Fools, Fika ProductionsIMMORTALITY, Sam Barlow, Half MermaidOther narrative-focused titles we love include:NORCO, Geography of RobotsA Memoir Blue, Cloisters InteractiveAs Dusk Falls, INTERIOR/NIGHTHindsight, Team HindsightGerda: A Flame in Winter, PortaPlayBeacon Pines, Hiding SpotPentiment, Obsidian EntertainmentDortformantik, Toukana InteractiveOther city builder and strategy titles we love include:Diplomacy is Not an Option, Door 407Farthest Frontier, Crate EntertainmentThe Wandering Village, Stray Fawn StudioTerra Invicta, Pavonis InteractiveMoonbreaker, Unknown Worlds EntertainmentStardeus, Kodo Linija,Against the Storm, Eremite GamesIXION, Bulwark StudiosCitizen Sleeper, Jump Over The AgeOther RPG titles we love include:Unexplored 2: The Wayfarer’s Legacy, LudomotionDungeon Munchies, maJAjaBackpack Hero, JaspelI Was a Teenage Exocolonist, Northway GamesTemtem, CremaLost Eidolons, Ocean Drive StudioGedonia, Kazakov OlegChained Echoes,Matthias LindaV Rising, Stunlock StudiosOther survival titles we love include:Arctico, Claudio Norori, Antonio VargasCore Keeper, PugstormThe Planet Crafter, Miju GamesRaft: The Final Chapter,Redbeet InteractiveFlat Eye, Monkey MoonOther management titles we love include:Bear and Breakfast, Gummy CatPlateUp!, It’s happeningTwo Point Campus, Two Point StudiosArcade Paradise, Nosebleed InteractiveDave the Diver, MINTROCKETAka, Cosmo GattoOther simulation titles we love include:Hardspace: Shipbreaker, Blackbird InteractiveDinkum, James BendonPowerWash Simulator, FuturLabCTRL ALT EGO, MindThunkDisney Dreamlight Valley, GameloftConstruction Simulator, weltenbauer. Software Entwicklung GmbHSlime Rancher 2, Monomi ParkTurbo Golf Racing, Hugecalf StudiosOther sports or driving titles we love include:Olli Olli World, Roll7Shredders, FoamPunchBlacktop Hoops, Vinci GamesHot Lap League: Deluxe Edition, Ultimate StudioYou Suck at Parking, Happy VolcanoTrombone Champ, Holy WowOther funny titles we love include:Tentacular, Firepunchd Games UGThe Stanley Parable: Ultra Deluxe, Crows Crows CrowsCosmonious High, Owlchemy LabsThe Looker, Subcreation StudioThe Last Hero of Nostalgaia, Over The MoonMARVEL SNAP, Second DinnerOther card titles we love include:Stacklands, Sokpop CollectiveCard Shark, NerialCard Crawl Adventure, TinytouchtalesThat’s a wrap for 2022! Want more community news as it happens? Don’t forget to follow us on social media: Twitter, Facebook, LinkedIn, Instagram, YouTube, or Twitch.
#made #with #unity #review

Made with Unity: 2022 in review
As we reflect on the past year, we can’t help but be proud of all that the Unity community accomplished. From award-winning masterpieces and cult hits to the pure, unadulterated joy that Trombone Champ has brought to all of our lives. Case in point…Before we move into a new year, full of new possibilities, let’s take a moment to celebrate some of your biggest achievements from the past 12 months. Thank you for being part of our story; here’s to an even better 2023!To the best of our abilities, here’s a non-exhaustive list of Made with Unity games that you released in 2022, either into early access or full release. There have been so many great titles this year, so we’ve categorized them by genre to make this list a bit more digestible and hopefully inspire some of your future projects – though, of course, some titles defy easy genre categorization.See any on the list that have already become favorites or know of any that we missed? Tell us about it in the forums.Rollerdrome, Roll7Other action titles we love include:Sanabi, WONDER POTIONCuphead: The Delicious Last Course, Studio MDHR Entertainment Inc.Midnight Fight Express, Jacob DzwinelWarhammer 40,000: Shootas, Blood & Teef, RoguesideOutshine, Fishing CactusSIGNALIS, rose-engineOther horror titles we love include:The Mortuary Assistant, DarkStone DigitalHell is Others, Strelka Games, YonderBendy and the Dark Revival, Joey Drew StudiosTUNIC, TUNIC teamOther puzzle adventure titles we love include:FAR: Changing Tides, OkomotiveSyberia: The World Before, Microids Studio ParisLost in Play, Happy Juice GamesThe Spirit and the Mouse, Albune GamesLEGO® Bricktales, ClockStoneThe Past Within, Rusty LakeHow to Say Goodbye, Florian Veltman, Baptiste Portefaix, and ARTE FranceSomerville, JumpshipGhost Song, Old MoonOther metroidvania titles we love include:Infernax, Berzerk StudioHaiku, the Robot, Mister Morris GamesHAAK, BlingameMoonscars, Black MermaidNeon White, Angel MatrixOther FPS titles we love include:Gloomwood, Dillon Rogers and David SzymanskiIsonzo, M2H and, Blackmill GamesMetal: Hellsinger, The OutsidersProdeus, Bounding Box Software Inc.BONELAB, Stress Level ZeroCULTIC, Jasozz GamesCult of the Lamb, Massive MonsterOther roguelike titles we love include:Have a Nice Death, Magic Design StudiosAcross the Obelisk, Dreamsite GamesRogue Legacy 2, Cellar Door Games20 Minutes Till Dawn, flanneNecrosmith, Alawar PremiumORX, johnbellAlina of the Arena, PINIXI See Red, Whiteboard GamesShip of Fools, Fika ProductionsIMMORTALITY, Sam Barlow, Half MermaidOther narrative-focused titles we love include:NORCO, Geography of RobotsA Memoir Blue, Cloisters InteractiveAs Dusk Falls, INTERIOR/NIGHTHindsight, Team HindsightGerda: A Flame in Winter, PortaPlayBeacon Pines, Hiding SpotPentiment, Obsidian EntertainmentDortformantik, Toukana InteractiveOther city builder and strategy titles we love include:Diplomacy is Not an Option, Door 407Farthest Frontier, Crate EntertainmentThe Wandering Village, Stray Fawn StudioTerra Invicta, Pavonis InteractiveMoonbreaker, Unknown Worlds EntertainmentStardeus, Kodo Linija,Against the Storm, Eremite GamesIXION, Bulwark StudiosCitizen Sleeper, Jump Over The AgeOther RPG titles we love include:Unexplored 2: The Wayfarer’s Legacy, LudomotionDungeon Munchies, maJAjaBackpack Hero, JaspelI Was a Teenage Exocolonist, Northway GamesTemtem, CremaLost Eidolons, Ocean Drive StudioGedonia, Kazakov OlegChained Echoes,Matthias LindaV Rising, Stunlock StudiosOther survival titles we love include:Arctico, Claudio Norori, Antonio VargasCore Keeper, PugstormThe Planet Crafter, Miju GamesRaft: The Final Chapter,Redbeet InteractiveFlat Eye, Monkey MoonOther management titles we love include:Bear and Breakfast, Gummy CatPlateUp!, It’s happeningTwo Point Campus, Two Point StudiosArcade Paradise, Nosebleed InteractiveDave the Diver, MINTROCKETAka, Cosmo GattoOther simulation titles we love include:Hardspace: Shipbreaker, Blackbird InteractiveDinkum, James BendonPowerWash Simulator, FuturLabCTRL ALT EGO, MindThunkDisney Dreamlight Valley, GameloftConstruction Simulator, weltenbauer. Software Entwicklung GmbHSlime Rancher 2, Monomi ParkTurbo Golf Racing, Hugecalf StudiosOther sports or driving titles we love include:Olli Olli World, Roll7Shredders, FoamPunchBlacktop Hoops, Vinci GamesHot Lap League: Deluxe Edition, Ultimate StudioYou Suck at Parking, Happy VolcanoTrombone Champ, Holy WowOther funny titles we love include:Tentacular, Firepunchd Games UGThe Stanley Parable: Ultra Deluxe, Crows Crows CrowsCosmonious High, Owlchemy LabsThe Looker, Subcreation StudioThe Last Hero of Nostalgaia, Over The MoonMARVEL SNAP, Second DinnerOther card titles we love include:Stacklands, Sokpop CollectiveCard Shark, NerialCard Crawl Adventure, TinytouchtalesThat’s a wrap for 2022! Want more community news as it happens? Don’t forget to follow us on social media: Twitter, Facebook, LinkedIn, Instagram, YouTube, or Twitch. #made #with #unity #review

UNITY.COM

Made with Unity: 2022 in review

As we reflect on the past year, we can’t help but be proud of all that the Unity community accomplished. From award-winning masterpieces and cult hits to the pure, unadulterated joy that Trombone Champ has brought to all of our lives. Case in point…Before we move into a new year, full of new possibilities, let’s take a moment to celebrate some of your biggest achievements from the past 12 months. Thank you for being part of our story; here’s to an even better 2023!To the best of our abilities, here’s a non-exhaustive list of Made with Unity games that you released in 2022, either into early access or full release. There have been so many great titles this year, so we’ve categorized them by genre to make this list a bit more digestible and hopefully inspire some of your future projects – though, of course, some titles defy easy genre categorization (*cough* Cult of the Lamb *cough*).See any on the list that have already become favorites or know of any that we missed? Tell us about it in the forums.Rollerdrome, Roll7 (August 16)Other action titles we love include:Sanabi, WONDER POTION (June 20) [Early Access]Cuphead: The Delicious Last Course, Studio MDHR Entertainment Inc. (June 30)Midnight Fight Express, Jacob Dzwinel (August 23)Warhammer 40,000: Shootas, Blood & Teef, Rogueside (October 20)Outshine, Fishing Cactus (November 3)SIGNALIS, rose-engine (October 27)Other horror titles we love include:The Mortuary Assistant, DarkStone Digital (August 2)Hell is Others, Strelka Games, Yonder (October 20)Bendy and the Dark Revival, Joey Drew Studios (November 15)TUNIC, TUNIC team (March 16)Other puzzle adventure titles we love include:FAR: Changing Tides, Okomotive (March 1)Syberia: The World Before, Microids Studio Paris (March 18)Lost in Play, Happy Juice Games (August 10)The Spirit and the Mouse, Albune Games (September 26)LEGO® Bricktales, ClockStone (October 12)The Past Within, Rusty Lake (November 2)How to Say Goodbye, Florian Veltman, Baptiste Portefaix, and ARTE France (November 3)Somerville, Jumpship (November 14)Ghost Song, Old Moon (November 3)Other metroidvania titles we love include:Infernax, Berzerk Studio (February 14)Haiku, the Robot, Mister Morris Games (April 28)HAAK, Blingame (August 24)Moonscars, Black Mermaid (September 27)Neon White, Angel Matrix (June 16)Other FPS titles we love include:Gloomwood, Dillon Rogers and David Szymanski (September 5) [Early Access]Isonzo, M2H and, Blackmill Games (September 13)Metal: Hellsinger, The Outsiders (September 15)Prodeus, Bounding Box Software Inc. (September 23)BONELAB, Stress Level Zero (September 29)CULTIC, Jasozz Games (October 13)Cult of the Lamb, Massive Monster (August 11)Other roguelike titles we love include:Have a Nice Death, Magic Design Studios (March 8) [Early Access]Across the Obelisk, Dreamsite Games (April 8) [Early Access]Rogue Legacy 2, Cellar Door Games (April 28)20 Minutes Till Dawn, flanne (June 8) [Early Access]Necrosmith, Alawar Premium (July 13)ORX, johnbell (August 30)Alina of the Arena, PINIX (October 13)I See Red, Whiteboard Games (October 24)Ship of Fools, Fika Productions (November 22)IMMORTALITY, Sam Barlow, Half Mermaid (August 30)Other narrative-focused titles we love include:NORCO, Geography of Robots (March 24)A Memoir Blue, Cloisters Interactive (March 24)As Dusk Falls, INTERIOR/NIGHT (July 19)Hindsight, Team Hindsight (August 4)Gerda: A Flame in Winter, PortaPlay (September 1)Beacon Pines, Hiding Spot (September 22)Pentiment, Obsidian Entertainment (November 15)Dortformantik, Toukana Interactive (April 28)Other city builder and strategy titles we love include:Diplomacy is Not an Option, Door 407 (February 9) [Early Access]Farthest Frontier, Crate Entertainment (August 9) [Early Access]The Wandering Village, Stray Fawn Studio (September 14) [Early Access]Terra Invicta, Pavonis Interactive (September 26) [Early Access]Moonbreaker, Unknown Worlds Entertainment (September 29) [Early Access]Stardeus, Kodo Linija, (October 12) [Early Access]Against the Storm, Eremite Games (November 1) [Early Access]IXION, Bulwark Studios (December 7)Citizen Sleeper, Jump Over The Age (May 2)Other RPG titles we love include:Unexplored 2: The Wayfarer’s Legacy, Ludomotion (May 27)Dungeon Munchies, maJAja (July 27)Backpack Hero, Jaspel (August 22) [Early Access]I Was a Teenage Exocolonist, Northway Games (August 25)Temtem, Crema (September 6)Lost Eidolons, Ocean Drive Studio (September 13)Gedonia, Kazakov Oleg (October 14)Chained Echoes,Matthias Linda (December 8)V Rising, Stunlock Studios (May 17)[Early Access]Other survival titles we love include:Arctico, Claudio Norori, Antonio Vargas (February 15)Core Keeper, Pugstorm (March 8)[Early Access]The Planet Crafter, Miju Games (May 24)Raft: The Final Chapter,Redbeet Interactive (June 20)Flat Eye, Monkey Moon (November 14)Other management titles we love include:Bear and Breakfast, Gummy Cat (July 28)PlateUp!, It’s happening (August 4)Two Point Campus, Two Point Studios (August 9)Arcade Paradise, Nosebleed Interactive (August 11)Dave the Diver, MINTROCKET (October 27) [Early Access]Aka, Cosmo Gatto (December 14)Other simulation titles we love include:Hardspace: Shipbreaker, Blackbird Interactive (May 24)Dinkum, James Bendon (July 14) [Early Access]PowerWash Simulator, FuturLab (July 14)CTRL ALT EGO, MindThunk (July 22)Disney Dreamlight Valley, Gameloft (September 6)Construction Simulator, weltenbauer. Software Entwicklung GmbH (September 20)Slime Rancher 2, Monomi Park (September 22) [Early Access]Turbo Golf Racing, Hugecalf Studios (August 4) [Early Access]Other sports or driving titles we love include:Olli Olli World, Roll7 (February 7)Shredders, FoamPunch (March 16)Blacktop Hoops, Vinci Games (April 19)[Early Access]Hot Lap League: Deluxe Edition, Ultimate Studio (August 23)You Suck at Parking, Happy Volcano (September 14)Trombone Champ, Holy Wow (September 15)Other funny titles we love include:Tentacular, Firepunchd Games UG (March 24)The Stanley Parable: Ultra Deluxe, Crows Crows Crows (April 27)Cosmonious High, Owlchemy Labs (May 31)The Looker, Subcreation Studio (July 17)The Last Hero of Nostalgaia, Over The Moon (October 19)MARVEL SNAP, Second Dinner (October 18)Other card titles we love include:Stacklands, Sokpop Collective (April 8)Card Shark, Nerial (June 2)Card Crawl Adventure, Tinytouchtales (August 3)That’s a wrap for 2022! Want more community news as it happens? Don’t forget to follow us on social media: Twitter, Facebook, LinkedIn, Instagram, YouTube, or Twitch.

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2025-05-21 10:48:54 ·

Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial Competition

Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial CompetitionSponsored ContentSave this picture!Courtesy of BuildnerBuildner has announced the results of its competition, the In recognition of this treaty, Buildner invites conceptual designs for a memorial to be located on any known decommissioned nuclear weapon testing site. The conceptual memorial is intended to reflect the history and ongoing threat of nuclear weapons, aiming to promote public awareness of nuclear disarmament. The challenge is intended to bring attention to the history and dangers of nuclear weapons. Participants are tasked with designing a space that commemorates nuclear warfare victims and conveys the need for a nuclear-free future. As a 'silent' competition, submissions are not allowed to include any text, titles, or annotations.The next edition of this competition, the , has been launched with an early bird registration deadline of June 12, 2025.The briefThis competition invites designers to conceive a memorial that meaningfully engages the public with the critical issue of nuclear disarmament. Memorials play a crucial role in capturing history and facilitating collective reflection, shaping how future generations understand and respond to global challenges. The proposed memorial will specifically address the legacy of nuclear warfare, emphasizing the urgency of diplomatic solutions and international solidarity in preventing nuclear conflict.Design proposals are encouraged to consider the following core principles: Vision of Peace: Proposals should embody the aspiration for a world free of nuclear threats, incorporating symbolic or abstract representations that inspire unity and harmony. Reflection and Remembrance: Designs must foster a thoughtful and enduring dialogue, offering visitors a contemplative environment where they can reflect upon the consequences of nuclear weaponry. Educational Impact: The memorial should provide visitors with accessible insights into the historical realities and ongoing dangers of nuclear arms, actively promoting public knowledge and awareness. Emotional Engagement: Successful memorials will create a powerful emotional connection, provoking personal and collective introspection on peace, responsibility, and the human cost of nuclear conflict. Sustainable Stewardship: Designs must embrace environmental sustainability, reinforcing the memorial's overarching message of responsible stewardship and enduring peace.
this picture!Jury PanelThis year's submissions were reviewed by a distinguished jury panel featuring experts from architecture, urbanism, and the arts: Olha Kleytman, founder of Ukraine-based SBM Studio, brings expertise in architecture and urban design, alongside her humanitarian work through the NGO "Through the War." Flora Lee, Associate Partner at MAD Architects, has contributed to major international projects including the Lucas Museum of Narrative Art. Peter Newman, a London-based artist, explores humanity's relationship with space and modernity, with exhibitions spanning Trafalgar Square, the Hayward Gallery, and the Guggenheim Museum in Venice. Vincent Panhuysen, co-founder of KAAN Architecten, integrates contextual sensitivity into large-scale projects, such as the Netherlands American Cemetery Visitor Center. James Whitaker, founder of Whitaker Studio, is an architect known for his widely published Joshua Tree Residence. Wu Ziye, co-founder of China's Mix Architecture, has received international acclaim for his studio's exploration of spatial consciousness, materiality, and integration with nature. Buildner's other ongoing competitions include: the 10th edition of MICROHOME competition, in collaboration with Kingspan and Hapi Homes; the Mujassam Watan Urban Sculpture Challenge aimed at finding innovative sculptures reflecting Saudi Arabia's heritage, modern achievements, and future ambitions; and the Howard Waterfall Retreatcompetition, which invites architects to propose designs for a multi-generational family retreat at the scenic and historically significant Howard Falls in Pennsylvania, USA. Each of these competitions aims to build the winning designs.Projects:First Prize Winner + Buildner Student AwardProject title: Urbs AeternaAuthors: Alessia Angela Sanchez, Erminia Cirillo and Adele Maria Saita, from ItalyThe project presents a memorial using sand and metal to depict a post-apocalyptic vision of what appears to be Rome reduced to an archaeological remnant. The design evokes the destruction and preservation paradox, allowing viewers to observe the site from above or navigate its fractured streets leading to a central void. A ghostly wireframe reconstruction of a vanished temple stands as the focal point, symbolizing loss and memory. The restrained material palette reinforces themes of impermanence and time. While conceptually strong and visually compelling, its cost and environmental impact raise questions. The experience unfolds gradually, inviting contemplation.this picture!this picture!Second Prize WinnerProject title: The Rainbow Of RenewalAuthors: Chen Yang, Ruijing Sun and Chao Li, from the United StatesThe project envisions a memorial for the last nuclear bomb through a landscape intervention that transforms destruction into renewal. A circular water installation generates mist, evoking the image of an explosion while simultaneously creating rainbows, symbolizing hope. The design's ephemeral quality enhances its poetic impact, making it a striking presence on the horizon. The intervention integrates with the natural environment, fostering an evolving atmospheric experience.this picture!this picture!3rd Prize Winner + Buildner Student AwardProject title: Projected DestructionAuthors: Marco Moreno Donohoe of Washington University in St. Louis , WUSTL, the United StatesThis project envisions a memorial set within a cratered landscape. A striking linear structure cuts through the void, acting as both a bridge and a viewing platform, inviting visitors to experience the vastness of destruction. The interplay of light and shadow within the perforated walls creates dynamic spatial effects, offering different perspectives from above and within. The scale and placement evoke a sense of isolation and reflection.this picture!this picture!Highlighted ProjectsProject title: Mycelial Rebirth: Fungi Restoring Nuclear Wounds Authors: Shengfeng Gao, Zhuohan Zhou and Shengnan Gao from the United StatesThis project envisions a memorial landscape where fungi serve as agents of ecological healing in a post-nuclear context. A dense forest setting is activated by a grid of ultraviolet lights that stimulate mycelial growth, enhancing the fungi's capacity to absorb and break down radioactive contaminants. As the soil regenerates, the design allows for gradual ecological succession, beginning with mushrooms and pioneering vegetation. The illuminated ground plane forms a quiet, immersive field that marks both decay and recovery. Over time, the site transforms into a living testament to resilience, where nature's unseen networks remediate and renew.this picture!this picture!Project title: Nuclear Living ForceAuthors: Luis Manuel Carcamo Cura of company LUIS CARCAMO ARQUITECTOS, from MexicoThis project responds to the atomic age by offering a message of harmony over despair, using the human eye as a central metaphor for awareness and reflection. A series of monumental, petal-like structures rise from a crater-shaped void, recalling both the iris and the bomb site in Santa Fe. Surrounding this core, the Flower of Life geometry guides the masterplan, symbolizing universal patterns and organic regeneration. The design emphasizes nature's resilience, referencing ecosystems like Chernobyl where life has returned unaided. Rather than mourning destruction, the project celebrates life, order, and the potential for collective transformation.this picture!Project title: The Illusion of ChoicesAuthors: Ruiqi Yao, University of Edinburgh from the United KingdomThis project explores the illusion of choice within the existential tension between nuclear war and peace. Set inside a vast crater, visitors begin their journey in a monumental spherical chamber, where a singular path ends abruptly, symbolizing unreachable goals and the false promise of nuclear power. Descending into a subterranean network, seven red-lit paths depict ruin and inevitability, while one blue-lit path offers a narrow route toward peace and introspection. The final space contrasts confinement with openness, guiding visitors through mirrored walls toward a hopeful exit. Through spatial transitions and stark lighting contrasts, the project stages a powerful moral journey.this picture!this picture!Project title: Möbius Elegy: Red Warning and Green ReturnAuthors: Daii Shimada, Mai Nakano and Midori Watanabe, from JapanThis project imagines a regenerative forest emerging from the scars of nuclear devastation. Set within a vast desert crater, a radial pattern of multicolored vegetation radiates outward, suggesting seasonal cycles and ecological diversity. The planting strategy appears gradual and deliberate, with craters used as microclimates for reforestation—each acting as a node in a larger ecological system. A lone figure stands before the transformed landscape, underscoring the scale and ambition of the intervention. Through time-lapse-like sequences, the imagery suggests the forest's steady expansion, turning the desert into a sanctuary of life. The memorial becomes a living archive of resilience and renewal.this picture!Project title: Soft FalloutAuthors: Louis Bourdages and Cedric Harvey, from the Université Laval School of Architecture, CanadaThis project proposes an immersive memorial defined by a luminous, amorphous structure suspended over a crater. From the outside, the glowing yellow form evokes a captured sun or lingering explosion, radiating both warmth and unease. Inside, visitors enter a soft, undulating landscape of quilted fabric that molds to the human body, allowing for stillness, reflection, or playful interaction. Light filters through the translucent skin, creating a surreal atmosphere suspended between comfort and disquiet. The form's biomorphic geometry contrasts the rationality of war, transforming the site into a sensorial space of pause and presence.this picture!Project title: "Used to be there"Authors: Hữu Nhân Hoàng, Hoàng Kỳ Lê and Anh Khoa Huỳnh, VietnamThis project constructs a memorial as a collective reflection on memory, identity, and everyday life disrupted by nuclear war. Set in a radial formation across a barren landscape, semi-transparent glass panels display ghosted historical photographs—scenes of people, architecture, and ordinary moments—layered over the present. Visitors navigate between these life-sized images, encountering echoes of the past embedded in space. The transparent surfaces blend time periods and dissolve boundaries, inviting viewers to see themselves within the continuity of human experience. Rather than focusing on devastation, the project quietly honors what stands to be lost: ordinary lives, familiar places, and shared memories.this picture!Visit the website for the recently launched , to take part and learn more, before the early bird registration deadline of June 12, 2025.

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Cite: "Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial Competition" 21 May 2025. ArchDaily. Accessed . < ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否
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Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial Competition
Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial CompetitionSponsored ContentSave this picture!Courtesy of BuildnerBuildner has announced the results of its competition, the In recognition of this treaty, Buildner invites conceptual designs for a memorial to be located on any known decommissioned nuclear weapon testing site. The conceptual memorial is intended to reflect the history and ongoing threat of nuclear weapons, aiming to promote public awareness of nuclear disarmament. The challenge is intended to bring attention to the history and dangers of nuclear weapons. Participants are tasked with designing a space that commemorates nuclear warfare victims and conveys the need for a nuclear-free future. As a 'silent' competition, submissions are not allowed to include any text, titles, or annotations.The next edition of this competition, the , has been launched with an early bird registration deadline of June 12, 2025.The briefThis competition invites designers to conceive a memorial that meaningfully engages the public with the critical issue of nuclear disarmament. Memorials play a crucial role in capturing history and facilitating collective reflection, shaping how future generations understand and respond to global challenges. The proposed memorial will specifically address the legacy of nuclear warfare, emphasizing the urgency of diplomatic solutions and international solidarity in preventing nuclear conflict.Design proposals are encouraged to consider the following core principles: Vision of Peace: Proposals should embody the aspiration for a world free of nuclear threats, incorporating symbolic or abstract representations that inspire unity and harmony. Reflection and Remembrance: Designs must foster a thoughtful and enduring dialogue, offering visitors a contemplative environment where they can reflect upon the consequences of nuclear weaponry. Educational Impact: The memorial should provide visitors with accessible insights into the historical realities and ongoing dangers of nuclear arms, actively promoting public knowledge and awareness. Emotional Engagement: Successful memorials will create a powerful emotional connection, provoking personal and collective introspection on peace, responsibility, and the human cost of nuclear conflict. Sustainable Stewardship: Designs must embrace environmental sustainability, reinforcing the memorial's overarching message of responsible stewardship and enduring peace. this picture!Jury PanelThis year's submissions were reviewed by a distinguished jury panel featuring experts from architecture, urbanism, and the arts: Olha Kleytman, founder of Ukraine-based SBM Studio, brings expertise in architecture and urban design, alongside her humanitarian work through the NGO "Through the War." Flora Lee, Associate Partner at MAD Architects, has contributed to major international projects including the Lucas Museum of Narrative Art. Peter Newman, a London-based artist, explores humanity's relationship with space and modernity, with exhibitions spanning Trafalgar Square, the Hayward Gallery, and the Guggenheim Museum in Venice. Vincent Panhuysen, co-founder of KAAN Architecten, integrates contextual sensitivity into large-scale projects, such as the Netherlands American Cemetery Visitor Center. James Whitaker, founder of Whitaker Studio, is an architect known for his widely published Joshua Tree Residence. Wu Ziye, co-founder of China's Mix Architecture, has received international acclaim for his studio's exploration of spatial consciousness, materiality, and integration with nature. Buildner's other ongoing competitions include: the 10th edition of MICROHOME competition, in collaboration with Kingspan and Hapi Homes; the Mujassam Watan Urban Sculpture Challenge aimed at finding innovative sculptures reflecting Saudi Arabia's heritage, modern achievements, and future ambitions; and the Howard Waterfall Retreatcompetition, which invites architects to propose designs for a multi-generational family retreat at the scenic and historically significant Howard Falls in Pennsylvania, USA. Each of these competitions aims to build the winning designs.Projects:First Prize Winner + Buildner Student AwardProject title: Urbs AeternaAuthors: Alessia Angela Sanchez, Erminia Cirillo and Adele Maria Saita, from ItalyThe project presents a memorial using sand and metal to depict a post-apocalyptic vision of what appears to be Rome reduced to an archaeological remnant. The design evokes the destruction and preservation paradox, allowing viewers to observe the site from above or navigate its fractured streets leading to a central void. A ghostly wireframe reconstruction of a vanished temple stands as the focal point, symbolizing loss and memory. The restrained material palette reinforces themes of impermanence and time. While conceptually strong and visually compelling, its cost and environmental impact raise questions. The experience unfolds gradually, inviting contemplation.this picture!this picture!Second Prize WinnerProject title: The Rainbow Of RenewalAuthors: Chen Yang, Ruijing Sun and Chao Li, from the United StatesThe project envisions a memorial for the last nuclear bomb through a landscape intervention that transforms destruction into renewal. A circular water installation generates mist, evoking the image of an explosion while simultaneously creating rainbows, symbolizing hope. The design's ephemeral quality enhances its poetic impact, making it a striking presence on the horizon. The intervention integrates with the natural environment, fostering an evolving atmospheric experience.this picture!this picture!3rd Prize Winner + Buildner Student AwardProject title: Projected DestructionAuthors: Marco Moreno Donohoe of Washington University in St. Louis , WUSTL, the United StatesThis project envisions a memorial set within a cratered landscape. A striking linear structure cuts through the void, acting as both a bridge and a viewing platform, inviting visitors to experience the vastness of destruction. The interplay of light and shadow within the perforated walls creates dynamic spatial effects, offering different perspectives from above and within. The scale and placement evoke a sense of isolation and reflection.this picture!this picture!Highlighted ProjectsProject title: Mycelial Rebirth: Fungi Restoring Nuclear Wounds Authors: Shengfeng Gao, Zhuohan Zhou and Shengnan Gao from the United StatesThis project envisions a memorial landscape where fungi serve as agents of ecological healing in a post-nuclear context. A dense forest setting is activated by a grid of ultraviolet lights that stimulate mycelial growth, enhancing the fungi's capacity to absorb and break down radioactive contaminants. As the soil regenerates, the design allows for gradual ecological succession, beginning with mushrooms and pioneering vegetation. The illuminated ground plane forms a quiet, immersive field that marks both decay and recovery. Over time, the site transforms into a living testament to resilience, where nature's unseen networks remediate and renew.this picture!this picture!Project title: Nuclear Living ForceAuthors: Luis Manuel Carcamo Cura of company LUIS CARCAMO ARQUITECTOS, from MexicoThis project responds to the atomic age by offering a message of harmony over despair, using the human eye as a central metaphor for awareness and reflection. A series of monumental, petal-like structures rise from a crater-shaped void, recalling both the iris and the bomb site in Santa Fe. Surrounding this core, the Flower of Life geometry guides the masterplan, symbolizing universal patterns and organic regeneration. The design emphasizes nature's resilience, referencing ecosystems like Chernobyl where life has returned unaided. Rather than mourning destruction, the project celebrates life, order, and the potential for collective transformation.this picture!Project title: The Illusion of ChoicesAuthors: Ruiqi Yao, University of Edinburgh from the United KingdomThis project explores the illusion of choice within the existential tension between nuclear war and peace. Set inside a vast crater, visitors begin their journey in a monumental spherical chamber, where a singular path ends abruptly, symbolizing unreachable goals and the false promise of nuclear power. Descending into a subterranean network, seven red-lit paths depict ruin and inevitability, while one blue-lit path offers a narrow route toward peace and introspection. The final space contrasts confinement with openness, guiding visitors through mirrored walls toward a hopeful exit. Through spatial transitions and stark lighting contrasts, the project stages a powerful moral journey.this picture!this picture!Project title: Möbius Elegy: Red Warning and Green ReturnAuthors: Daii Shimada, Mai Nakano and Midori Watanabe, from JapanThis project imagines a regenerative forest emerging from the scars of nuclear devastation. Set within a vast desert crater, a radial pattern of multicolored vegetation radiates outward, suggesting seasonal cycles and ecological diversity. The planting strategy appears gradual and deliberate, with craters used as microclimates for reforestation—each acting as a node in a larger ecological system. A lone figure stands before the transformed landscape, underscoring the scale and ambition of the intervention. Through time-lapse-like sequences, the imagery suggests the forest's steady expansion, turning the desert into a sanctuary of life. The memorial becomes a living archive of resilience and renewal.this picture!Project title: Soft FalloutAuthors: Louis Bourdages and Cedric Harvey, from the Université Laval School of Architecture, CanadaThis project proposes an immersive memorial defined by a luminous, amorphous structure suspended over a crater. From the outside, the glowing yellow form evokes a captured sun or lingering explosion, radiating both warmth and unease. Inside, visitors enter a soft, undulating landscape of quilted fabric that molds to the human body, allowing for stillness, reflection, or playful interaction. Light filters through the translucent skin, creating a surreal atmosphere suspended between comfort and disquiet. The form's biomorphic geometry contrasts the rationality of war, transforming the site into a sensorial space of pause and presence.this picture!Project title: "Used to be there"Authors: Hữu Nhân Hoàng, Hoàng Kỳ Lê and Anh Khoa Huỳnh, VietnamThis project constructs a memorial as a collective reflection on memory, identity, and everyday life disrupted by nuclear war. Set in a radial formation across a barren landscape, semi-transparent glass panels display ghosted historical photographs—scenes of people, architecture, and ordinary moments—layered over the present. Visitors navigate between these life-sized images, encountering echoes of the past embedded in space. The transparent surfaces blend time periods and dissolve boundaries, inviting viewers to see themselves within the continuity of human experience. Rather than focusing on devastation, the project quietly honors what stands to be lost: ordinary lives, familiar places, and shared memories.this picture!Visit the website for the recently launched , to take part and learn more, before the early bird registration deadline of June 12, 2025. Image gallerySee allShow less Cite: "Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial Competition" 21 May 2025. ArchDaily. Accessed . < ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream #buildner #announces #winners #5th #annual

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Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial Competition

Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial CompetitionSponsored ContentSave this picture!Courtesy of BuildnerBuildner has announced the results of its competition, the In recognition of this treaty, Buildner invites conceptual designs for a memorial to be located on any known decommissioned nuclear weapon testing site. The conceptual memorial is intended to reflect the history and ongoing threat of nuclear weapons, aiming to promote public awareness of nuclear disarmament. The challenge is intended to bring attention to the history and dangers of nuclear weapons. Participants are tasked with designing a space that commemorates nuclear warfare victims and conveys the need for a nuclear-free future. As a 'silent' competition, submissions are not allowed to include any text, titles, or annotations.The next edition of this competition, the , has been launched with an early bird registration deadline of June 12, 2025.The briefThis competition invites designers to conceive a memorial that meaningfully engages the public with the critical issue of nuclear disarmament. Memorials play a crucial role in capturing history and facilitating collective reflection, shaping how future generations understand and respond to global challenges. The proposed memorial will specifically address the legacy of nuclear warfare, emphasizing the urgency of diplomatic solutions and international solidarity in preventing nuclear conflict.Design proposals are encouraged to consider the following core principles: Vision of Peace: Proposals should embody the aspiration for a world free of nuclear threats, incorporating symbolic or abstract representations that inspire unity and harmony. Reflection and Remembrance: Designs must foster a thoughtful and enduring dialogue, offering visitors a contemplative environment where they can reflect upon the consequences of nuclear weaponry. Educational Impact: The memorial should provide visitors with accessible insights into the historical realities and ongoing dangers of nuclear arms, actively promoting public knowledge and awareness. Emotional Engagement: Successful memorials will create a powerful emotional connection, provoking personal and collective introspection on peace, responsibility, and the human cost of nuclear conflict. Sustainable Stewardship: Designs must embrace environmental sustainability, reinforcing the memorial's overarching message of responsible stewardship and enduring peace. Save this picture!Jury PanelThis year's submissions were reviewed by a distinguished jury panel featuring experts from architecture, urbanism, and the arts: Olha Kleytman, founder of Ukraine-based SBM Studio, brings expertise in architecture and urban design, alongside her humanitarian work through the NGO "Through the War." Flora Lee, Associate Partner at MAD Architects, has contributed to major international projects including the Lucas Museum of Narrative Art. Peter Newman, a London-based artist, explores humanity's relationship with space and modernity, with exhibitions spanning Trafalgar Square, the Hayward Gallery, and the Guggenheim Museum in Venice. Vincent Panhuysen, co-founder of KAAN Architecten, integrates contextual sensitivity into large-scale projects, such as the Netherlands American Cemetery Visitor Center. James Whitaker, founder of Whitaker Studio, is an architect known for his widely published Joshua Tree Residence. Wu Ziye, co-founder of China's Mix Architecture, has received international acclaim for his studio's exploration of spatial consciousness, materiality, and integration with nature. Buildner's other ongoing competitions include: the 10th edition of MICROHOME competition, in collaboration with Kingspan and Hapi Homes; the Mujassam Watan Urban Sculpture Challenge aimed at finding innovative sculptures reflecting Saudi Arabia's heritage, modern achievements, and future ambitions; and the Howard Waterfall Retreatcompetition, which invites architects to propose designs for a multi-generational family retreat at the scenic and historically significant Howard Falls in Pennsylvania, USA. Each of these competitions aims to build the winning designs.Projects:First Prize Winner + Buildner Student AwardProject title: Urbs AeternaAuthors: Alessia Angela Sanchez, Erminia Cirillo and Adele Maria Saita, from ItalyThe project presents a memorial using sand and metal to depict a post-apocalyptic vision of what appears to be Rome reduced to an archaeological remnant. The design evokes the destruction and preservation paradox, allowing viewers to observe the site from above or navigate its fractured streets leading to a central void. A ghostly wireframe reconstruction of a vanished temple stands as the focal point, symbolizing loss and memory. The restrained material palette reinforces themes of impermanence and time. While conceptually strong and visually compelling, its cost and environmental impact raise questions. The experience unfolds gradually, inviting contemplation.Save this picture!Save this picture!Second Prize WinnerProject title: The Rainbow Of RenewalAuthors: Chen Yang, Ruijing Sun and Chao Li, from the United StatesThe project envisions a memorial for the last nuclear bomb through a landscape intervention that transforms destruction into renewal. A circular water installation generates mist, evoking the image of an explosion while simultaneously creating rainbows, symbolizing hope. The design's ephemeral quality enhances its poetic impact, making it a striking presence on the horizon. The intervention integrates with the natural environment, fostering an evolving atmospheric experience.Save this picture!Save this picture!3rd Prize Winner + Buildner Student AwardProject title: Projected DestructionAuthors: Marco Moreno Donohoe of Washington University in St. Louis , WUSTL, the United StatesThis project envisions a memorial set within a cratered landscape. A striking linear structure cuts through the void, acting as both a bridge and a viewing platform, inviting visitors to experience the vastness of destruction. The interplay of light and shadow within the perforated walls creates dynamic spatial effects, offering different perspectives from above and within. The scale and placement evoke a sense of isolation and reflection.Save this picture!Save this picture!Highlighted ProjectsProject title: Mycelial Rebirth: Fungi Restoring Nuclear Wounds Authors: Shengfeng Gao, Zhuohan Zhou and Shengnan Gao from the United StatesThis project envisions a memorial landscape where fungi serve as agents of ecological healing in a post-nuclear context. A dense forest setting is activated by a grid of ultraviolet lights that stimulate mycelial growth, enhancing the fungi's capacity to absorb and break down radioactive contaminants. As the soil regenerates, the design allows for gradual ecological succession, beginning with mushrooms and pioneering vegetation. The illuminated ground plane forms a quiet, immersive field that marks both decay and recovery. Over time, the site transforms into a living testament to resilience, where nature's unseen networks remediate and renew.Save this picture!Save this picture!Project title: Nuclear Living ForceAuthors: Luis Manuel Carcamo Cura of company LUIS CARCAMO ARQUITECTOS, from MexicoThis project responds to the atomic age by offering a message of harmony over despair, using the human eye as a central metaphor for awareness and reflection. A series of monumental, petal-like structures rise from a crater-shaped void, recalling both the iris and the bomb site in Santa Fe. Surrounding this core, the Flower of Life geometry guides the masterplan, symbolizing universal patterns and organic regeneration. The design emphasizes nature's resilience, referencing ecosystems like Chernobyl where life has returned unaided. Rather than mourning destruction, the project celebrates life, order, and the potential for collective transformation.Save this picture!Project title: The Illusion of ChoicesAuthors: Ruiqi Yao, University of Edinburgh from the United KingdomThis project explores the illusion of choice within the existential tension between nuclear war and peace. Set inside a vast crater, visitors begin their journey in a monumental spherical chamber, where a singular path ends abruptly, symbolizing unreachable goals and the false promise of nuclear power. Descending into a subterranean network, seven red-lit paths depict ruin and inevitability, while one blue-lit path offers a narrow route toward peace and introspection. The final space contrasts confinement with openness, guiding visitors through mirrored walls toward a hopeful exit. Through spatial transitions and stark lighting contrasts, the project stages a powerful moral journey.Save this picture!Save this picture!Project title: Möbius Elegy: Red Warning and Green ReturnAuthors: Daii Shimada, Mai Nakano and Midori Watanabe, from JapanThis project imagines a regenerative forest emerging from the scars of nuclear devastation. Set within a vast desert crater, a radial pattern of multicolored vegetation radiates outward, suggesting seasonal cycles and ecological diversity. The planting strategy appears gradual and deliberate, with craters used as microclimates for reforestation—each acting as a node in a larger ecological system. A lone figure stands before the transformed landscape, underscoring the scale and ambition of the intervention. Through time-lapse-like sequences, the imagery suggests the forest's steady expansion, turning the desert into a sanctuary of life. The memorial becomes a living archive of resilience and renewal.Save this picture!Project title: Soft FalloutAuthors: Louis Bourdages and Cedric Harvey, from the Université Laval School of Architecture, CanadaThis project proposes an immersive memorial defined by a luminous, amorphous structure suspended over a crater. From the outside, the glowing yellow form evokes a captured sun or lingering explosion, radiating both warmth and unease. Inside, visitors enter a soft, undulating landscape of quilted fabric that molds to the human body, allowing for stillness, reflection, or playful interaction. Light filters through the translucent skin, creating a surreal atmosphere suspended between comfort and disquiet. The form's biomorphic geometry contrasts the rationality of war, transforming the site into a sensorial space of pause and presence.Save this picture!Project title: "Used to be there"Authors: Hữu Nhân Hoàng, Hoàng Kỳ Lê and Anh Khoa Huỳnh, VietnamThis project constructs a memorial as a collective reflection on memory, identity, and everyday life disrupted by nuclear war. Set in a radial formation across a barren landscape, semi-transparent glass panels display ghosted historical photographs—scenes of people, architecture, and ordinary moments—layered over the present. Visitors navigate between these life-sized images, encountering echoes of the past embedded in space. The transparent surfaces blend time periods and dissolve boundaries, inviting viewers to see themselves within the continuity of human experience. Rather than focusing on devastation, the project quietly honors what stands to be lost: ordinary lives, familiar places, and shared memories.Save this picture!Visit the website for the recently launched , to take part and learn more, before the early bird registration deadline of June 12, 2025. Image gallerySee allShow less Cite: "Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial Competition" 21 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030195/buildner-announces-winners-of-the-5th-annual-last-nuclear-bomb-memorial-competition&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

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2025-05-21 10:43:15 ·

This Billionaire Immigrant Is Racing Elon Musk To Connect Your Phone From Space

Abel Avellan is taking on SpaceX and Jeff Bezos’ Project Kuiper in the battle to provide broadband satellite internet directly to your smartphone.

Last September, a crowd of seasoned spectators gathered at Cape Canaveral, Florida, to watch as SpaceX’s Falcon 9 rocket took flight for the 373rd time. But it wasn’t carrying yet another of Elon Musk’s Starlink satellites to join the 7,100-plus he has already circling Earth. Onboard instead were five satellites from AST SpaceMobile, a tiny Starlink rival that SpaceX has derided as a “meme stock” in regulatory filings with the federal government. Each was equipped with a 700-square-foot antenna that would unfold in orbit, an early step in establishing a network AST hopes will someday best the incumbent mocking it.

The size of these antennas—and the even larger 2,400-square-foot version that will succeed them—are key to CEO and founder Abel Avellan’s plan to win a new market: satellite internet beamed directly to your phone. In contrast to SpaceX, which uses thousands of satellites to connect residences, businesses, vehicles and even the White House to the internet, AST’s super-large antennas should give it global coverage with just 90 satellites. The company plans to launch 60 into orbit by the end of 2026.

Jamel Toppin for Forbes
The goal is to keep cellphones connected when out of range of a tower. You’d be able to make calls even when hiking in a remote area or from a boat miles offshore. Until recently, that required expensive satellite phones with special hardware. “Our vision is to provide connectivity without disadvantage to wherever people are located,” says Avellan, 54.

This isn’t Starlink’s main business: Its billion in revenue largely comes from providing internet to fixed-base stations attached to homes and businesses, not mobile phones. Nor is it the vision of Jeff Bezos’ Project Kuiper, a direct Starlink competitor, which launched the first 27 of a planned 3,200-plus satellites in late April. But Starlink isn’t totally ignoring the phone business. It’s currently in beta testing with T-Mobile to let users text on their phones via Starlink when they don’t have any bars, giving it an early lead over AST. It also has thousands of satellites, to AST’s five, and Musk’s insider status with the Trump administration could prove important in the heavily regulated telecom business. Starlink’s staggering billion valuation dwarfs Midland, Texas–based AST’s market capof around billion.
Still, AST has a shot at the emerging market for a satellite-based mobile cell plan, with a potentially substantial payoff. The big opportunity is not off-grid connectivity for Europeans and North Americans but providing internet to the more than 2.6 billion people, largely in the developing world, who struggle to get online at all. Most of them can’t afford Starlink. A basic base station starts at ; then it’s around per month for residential Wi-Fi. AST’s pricing is still largely theoretical, but the startup hopes it can deliver for just a few extra dollars a month on a cellphone bill. That’s a compelling proposition.
When it comes to broadband, “the cheapest and most efficient way is through your phone,” Avellan says. Skipping out on building new cell towers entirely could mean major cost savings for the telecoms companies as well, if they can offer satellite internet in markets that don’t yet justify that investment. Deutsche Bankestimates that the company’s revenues could top million in 2026 once its commercial service is up and running, and surpass billion by 2030—with far less capital expenditure than Starlink will need to keep launching thousands of satellites.
The big obstacle for both companies is the basic physics of satellite communication: namely, that you need a direct line of sight from a satellite to your phone to get a signal. Starlink, Project Kuiper and multiple Chinese firms plan to tackle this by flooding the zone with thousands of small, cheap satellites in low Earth orbit, which hop signals between them to maintain steady connections with ground-based dishes. The antenna in your phone is a lot smaller, making it harder to get bandwidth to do more than text.
But AST’s satellites are outfitted with antennas at least 50 times the size of Starlink’s. It’s a tricky feat of engineering—the centimeters-thick antennas require assembly in clean rooms to be securely packed into satellites at launch; then they’re carefully unfolded again in orbit. It’s much more complicated than a Starlink satellite, and each AST satellite costs about million compared to around million to build each Starlink bird. But the result is true broadband connectivity. AST’s five satellites have successfully made video calls with phones on Verizon, Vodafone, Rakuten and AT&T networks. AST’s have a longer lifespan, too, requiring replacement every 10 years compared to five to seven years for Starlink.
AST’s big antennas make broadband-to-cellphone connections easier to pull off, says John Baras, a University of Maryland aerospace engineering professor, because they cover a much larger area and are designed to deliver a signal to devices in motion. Starlink has a bigger challenge making its system work for phones, he says, because it was envisioned as a way to deliver internet to fixed stations on the ground—not to mobile phones that by definition move around. “Starlink is going to have problems,” he says. SpaceX did not respond to a comment request.
JR Wilson, VP of towers and roaming at AT&T, a major AST investor, compares the tech race between Starlink and AST to the home-video race of the 1980s. “Beta came out first, but it didn’t have some of the same qualities as VHS,” he explained, recalling Sony’s ill-starred format which, despite delivering a better picture, failed because of its high price and short recording times. AT&T plans to start offering satellite connectivity using AST’s service once it has more satellites in orbit next year.
AST currently has deals with dozens of other telecom providers around the world, including Vodafone, Rakuten and Verizon, offering potential access to around 3 billion subscribers. Partnering with big telecoms offers loads of advantages, says Mike Crawford, an analyst at Los Angeles–based B. Riley Securities. By avoiding the home satellite internet market that Starlink dominates, AST doesn’t have to spend money to attract subscribers or build costly ground infrastructure—its partners have already done that. Plus, it avoids going head-to-head with giant legacy telecoms.
Avellan knows the ins and outs of the industry. Born in Venezuela, he studied engineering before starting his career at the Swedish telecom giant Ericsson. He founded his first company, Emerging Markets Communications, “with and a pregnant wife” in 2000, he says, to provide satellite communication services to Africa and the Middle East, as well as cruise and cargo ships. He sold it to satellite company Global Eagle in 2016 for million and used some of the proceeds to found AST the following year.
After launching its first demonstration satellite in 2019, AST raised million from Vodafone, Rakuten, AT&T and VC shops like London-based Shift Ventures. In 2021, it went public through a SPAC backed by private equity firm New Providence, raising an additional million. The company’s stock has more than doubled since then, making Avellan, who owns about 25% of it, worth some billion. In March, AST and Vodafone announced plans for a joint venture spin-out company to offer AST’s satellite connectivity to mobile operators in Europe and Africa.PATRICK WELSH FOR FORBES
How To Play It
By John Buckingham
For a more grounded play on soaring demand for connectivity, wireless communications and broadcast tower REIT American Tower should continue to benefit from mobile data proliferation and 5G deployments, while an expanding data center segment positions it to profit from the rise of hybrid IT and AI workloads. Meanwhile, shareholders are rewarded with a 3.3% dividend yield to go along with handsome capital appreciation potential from a conservative “picks-and-shovels” terrestrial player in the tech gold rush. Moody’s just awarded the company’s strong balance sheet, citing AMT’s leading position in the global wireless infrastructure market, predictable revenue and income, consistently solid fixed charge coverage and excellent liquidity.
John Buckingham is a principal of AFAM Capital and editor of The Prudent Speculator.
These partnerships also unlock the parts of the radio spectrum that make communications between satellites and phones possible, which are primarily owned by legacy telecoms. Assuming regulators greenlight these deals—including a crucial lease from Ligado Networks for a frequency that would give AST’s data the equivalent of 4G speeds—its satellites will be able to offer coverage globally. SpaceX can offer only text right now, although obviously that could change. With far fewer partnerships, Starlink is “cash-rich but spectrum-poor,” according to Crawford, the B. Riley analyst.
That’s not surprising, given Musk’s ruthless approach to business. “SpaceX famously partners with people to the point that they can extract what they want from you, and then they stomp on your face, right?” industry analyst Chris Quilty says. Still, Musk’s deep connections to the Trump administration could present an existential challenge to AST’s burgeoning business.
It’s clear Musk’s company views AST as a threat. SpaceX has already taken it to the mat over an array of regulatory issues governed by the FCC: spectrum access, space junk, blocking astronomical observations.
Those FCC filings are also where SpaceX dismissed AST as a “meme stock.” It has a point: While shares in AST have gained a total of 172% since it went public, the stock has been on a tear since last May, jumping more than 1,000% at its peak. The company still has virtually no revenue to support its multibillion-dollar market cap; in 2024, AST spent million but brought in only about million in revenue due entirely to a contract with the Space Defense Agency to build military satellite communications infrastructure.
And like all meme stocks, it has a flock of ardent believers online. AST’s investment community on Reddit has more than 30,000 active subscribers. When the company invited its retail investors to attend the September launch of its satellites, nearly 1,000 showed up.
“People are enthusiastic about the prospect that no matter where you live or work, you can have broadband,” Avellan says of the attention. “If at the same time they can make money by investing and following what we do? Even better.”
More from Forbes
#this #billionaire #immigrant #racing #elon

This Billionaire Immigrant Is Racing Elon Musk To Connect Your Phone From Space
Abel Avellan is taking on SpaceX and Jeff Bezos’ Project Kuiper in the battle to provide broadband satellite internet directly to your smartphone. Last September, a crowd of seasoned spectators gathered at Cape Canaveral, Florida, to watch as SpaceX’s Falcon 9 rocket took flight for the 373rd time. But it wasn’t carrying yet another of Elon Musk’s Starlink satellites to join the 7,100-plus he has already circling Earth. Onboard instead were five satellites from AST SpaceMobile, a tiny Starlink rival that SpaceX has derided as a “meme stock” in regulatory filings with the federal government. Each was equipped with a 700-square-foot antenna that would unfold in orbit, an early step in establishing a network AST hopes will someday best the incumbent mocking it. The size of these antennas—and the even larger 2,400-square-foot version that will succeed them—are key to CEO and founder Abel Avellan’s plan to win a new market: satellite internet beamed directly to your phone. In contrast to SpaceX, which uses thousands of satellites to connect residences, businesses, vehicles and even the White House to the internet, AST’s super-large antennas should give it global coverage with just 90 satellites. The company plans to launch 60 into orbit by the end of 2026. Jamel Toppin for Forbes The goal is to keep cellphones connected when out of range of a tower. You’d be able to make calls even when hiking in a remote area or from a boat miles offshore. Until recently, that required expensive satellite phones with special hardware. “Our vision is to provide connectivity without disadvantage to wherever people are located,” says Avellan, 54. This isn’t Starlink’s main business: Its billion in revenue largely comes from providing internet to fixed-base stations attached to homes and businesses, not mobile phones. Nor is it the vision of Jeff Bezos’ Project Kuiper, a direct Starlink competitor, which launched the first 27 of a planned 3,200-plus satellites in late April. But Starlink isn’t totally ignoring the phone business. It’s currently in beta testing with T-Mobile to let users text on their phones via Starlink when they don’t have any bars, giving it an early lead over AST. It also has thousands of satellites, to AST’s five, and Musk’s insider status with the Trump administration could prove important in the heavily regulated telecom business. Starlink’s staggering billion valuation dwarfs Midland, Texas–based AST’s market capof around billion. Still, AST has a shot at the emerging market for a satellite-based mobile cell plan, with a potentially substantial payoff. The big opportunity is not off-grid connectivity for Europeans and North Americans but providing internet to the more than 2.6 billion people, largely in the developing world, who struggle to get online at all. Most of them can’t afford Starlink. A basic base station starts at ; then it’s around per month for residential Wi-Fi. AST’s pricing is still largely theoretical, but the startup hopes it can deliver for just a few extra dollars a month on a cellphone bill. That’s a compelling proposition. When it comes to broadband, “the cheapest and most efficient way is through your phone,” Avellan says. Skipping out on building new cell towers entirely could mean major cost savings for the telecoms companies as well, if they can offer satellite internet in markets that don’t yet justify that investment. Deutsche Bankestimates that the company’s revenues could top million in 2026 once its commercial service is up and running, and surpass billion by 2030—with far less capital expenditure than Starlink will need to keep launching thousands of satellites. The big obstacle for both companies is the basic physics of satellite communication: namely, that you need a direct line of sight from a satellite to your phone to get a signal. Starlink, Project Kuiper and multiple Chinese firms plan to tackle this by flooding the zone with thousands of small, cheap satellites in low Earth orbit, which hop signals between them to maintain steady connections with ground-based dishes. The antenna in your phone is a lot smaller, making it harder to get bandwidth to do more than text. But AST’s satellites are outfitted with antennas at least 50 times the size of Starlink’s. It’s a tricky feat of engineering—the centimeters-thick antennas require assembly in clean rooms to be securely packed into satellites at launch; then they’re carefully unfolded again in orbit. It’s much more complicated than a Starlink satellite, and each AST satellite costs about million compared to around million to build each Starlink bird. But the result is true broadband connectivity. AST’s five satellites have successfully made video calls with phones on Verizon, Vodafone, Rakuten and AT&T networks. AST’s have a longer lifespan, too, requiring replacement every 10 years compared to five to seven years for Starlink. AST’s big antennas make broadband-to-cellphone connections easier to pull off, says John Baras, a University of Maryland aerospace engineering professor, because they cover a much larger area and are designed to deliver a signal to devices in motion. Starlink has a bigger challenge making its system work for phones, he says, because it was envisioned as a way to deliver internet to fixed stations on the ground—not to mobile phones that by definition move around. “Starlink is going to have problems,” he says. SpaceX did not respond to a comment request. JR Wilson, VP of towers and roaming at AT&T, a major AST investor, compares the tech race between Starlink and AST to the home-video race of the 1980s. “Beta came out first, but it didn’t have some of the same qualities as VHS,” he explained, recalling Sony’s ill-starred format which, despite delivering a better picture, failed because of its high price and short recording times. AT&T plans to start offering satellite connectivity using AST’s service once it has more satellites in orbit next year. AST currently has deals with dozens of other telecom providers around the world, including Vodafone, Rakuten and Verizon, offering potential access to around 3 billion subscribers. Partnering with big telecoms offers loads of advantages, says Mike Crawford, an analyst at Los Angeles–based B. Riley Securities. By avoiding the home satellite internet market that Starlink dominates, AST doesn’t have to spend money to attract subscribers or build costly ground infrastructure—its partners have already done that. Plus, it avoids going head-to-head with giant legacy telecoms. Avellan knows the ins and outs of the industry. Born in Venezuela, he studied engineering before starting his career at the Swedish telecom giant Ericsson. He founded his first company, Emerging Markets Communications, “with and a pregnant wife” in 2000, he says, to provide satellite communication services to Africa and the Middle East, as well as cruise and cargo ships. He sold it to satellite company Global Eagle in 2016 for million and used some of the proceeds to found AST the following year. After launching its first demonstration satellite in 2019, AST raised million from Vodafone, Rakuten, AT&T and VC shops like London-based Shift Ventures. In 2021, it went public through a SPAC backed by private equity firm New Providence, raising an additional million. The company’s stock has more than doubled since then, making Avellan, who owns about 25% of it, worth some billion. In March, AST and Vodafone announced plans for a joint venture spin-out company to offer AST’s satellite connectivity to mobile operators in Europe and Africa.PATRICK WELSH FOR FORBES How To Play It By John Buckingham For a more grounded play on soaring demand for connectivity, wireless communications and broadcast tower REIT American Tower should continue to benefit from mobile data proliferation and 5G deployments, while an expanding data center segment positions it to profit from the rise of hybrid IT and AI workloads. Meanwhile, shareholders are rewarded with a 3.3% dividend yield to go along with handsome capital appreciation potential from a conservative “picks-and-shovels” terrestrial player in the tech gold rush. Moody’s just awarded the company’s strong balance sheet, citing AMT’s leading position in the global wireless infrastructure market, predictable revenue and income, consistently solid fixed charge coverage and excellent liquidity. John Buckingham is a principal of AFAM Capital and editor of The Prudent Speculator. These partnerships also unlock the parts of the radio spectrum that make communications between satellites and phones possible, which are primarily owned by legacy telecoms. Assuming regulators greenlight these deals—including a crucial lease from Ligado Networks for a frequency that would give AST’s data the equivalent of 4G speeds—its satellites will be able to offer coverage globally. SpaceX can offer only text right now, although obviously that could change. With far fewer partnerships, Starlink is “cash-rich but spectrum-poor,” according to Crawford, the B. Riley analyst. That’s not surprising, given Musk’s ruthless approach to business. “SpaceX famously partners with people to the point that they can extract what they want from you, and then they stomp on your face, right?” industry analyst Chris Quilty says. Still, Musk’s deep connections to the Trump administration could present an existential challenge to AST’s burgeoning business. It’s clear Musk’s company views AST as a threat. SpaceX has already taken it to the mat over an array of regulatory issues governed by the FCC: spectrum access, space junk, blocking astronomical observations. Those FCC filings are also where SpaceX dismissed AST as a “meme stock.” It has a point: While shares in AST have gained a total of 172% since it went public, the stock has been on a tear since last May, jumping more than 1,000% at its peak. The company still has virtually no revenue to support its multibillion-dollar market cap; in 2024, AST spent million but brought in only about million in revenue due entirely to a contract with the Space Defense Agency to build military satellite communications infrastructure. And like all meme stocks, it has a flock of ardent believers online. AST’s investment community on Reddit has more than 30,000 active subscribers. When the company invited its retail investors to attend the September launch of its satellites, nearly 1,000 showed up. “People are enthusiastic about the prospect that no matter where you live or work, you can have broadband,” Avellan says of the attention. “If at the same time they can make money by investing and following what we do? Even better.” More from Forbes #this #billionaire #immigrant #racing #elon

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This Billionaire Immigrant Is Racing Elon Musk To Connect Your Phone From Space

Abel Avellan is taking on SpaceX and Jeff Bezos’ Project Kuiper in the battle to provide broadband satellite internet directly to your smartphone. Last September, a crowd of seasoned spectators gathered at Cape Canaveral, Florida, to watch as SpaceX’s Falcon 9 rocket took flight for the 373rd time. But it wasn’t carrying yet another of Elon Musk’s Starlink satellites to join the 7,100-plus he has already circling Earth. Onboard instead were five satellites from AST SpaceMobile, a tiny Starlink rival that SpaceX has derided as a “meme stock” in regulatory filings with the federal government. Each was equipped with a 700-square-foot antenna that would unfold in orbit, an early step in establishing a network AST hopes will someday best the incumbent mocking it. The size of these antennas—and the even larger 2,400-square-foot version that will succeed them—are key to CEO and founder Abel Avellan’s plan to win a new market: satellite internet beamed directly to your phone. In contrast to SpaceX, which uses thousands of satellites to connect residences, businesses, vehicles and even the White House to the internet, AST’s super-large antennas should give it global coverage with just 90 satellites. The company plans to launch 60 into orbit by the end of 2026. Jamel Toppin for Forbes The goal is to keep cellphones connected when out of range of a tower. You’d be able to make calls even when hiking in a remote area or from a boat miles offshore. Until recently, that required expensive satellite phones with special hardware. “Our vision is to provide connectivity without disadvantage to wherever people are located,” says Avellan, 54. This isn’t Starlink’s main business: Its $12.3 billion in revenue largely comes from providing internet to fixed-base stations attached to homes and businesses, not mobile phones. Nor is it the vision of Jeff Bezos’ Project Kuiper, a direct Starlink competitor, which launched the first 27 of a planned 3,200-plus satellites in late April. But Starlink isn’t totally ignoring the phone business. It’s currently in beta testing with T-Mobile to let users text on their phones via Starlink when they don’t have any bars, giving it an early lead over AST. It also has thousands of satellites, to AST’s five, and Musk’s insider status with the Trump administration could prove important in the heavily regulated telecom business. Starlink’s staggering $350 billion valuation dwarfs Midland, Texas–based AST’s market cap (it went public in April 2021 via a special purpose acquisition company) of around $8.7 billion. Still, AST has a shot at the emerging market for a satellite-based mobile cell plan, with a potentially substantial payoff. The big opportunity is not off-grid connectivity for Europeans and North Americans but providing internet to the more than 2.6 billion people, largely in the developing world, who struggle to get online at all. Most of them can’t afford Starlink. A basic base station starts at $350; then it’s around $80 per month for residential Wi-Fi. AST’s pricing is still largely theoretical, but the startup hopes it can deliver for just a few extra dollars a month on a cellphone bill. That’s a compelling proposition. When it comes to broadband, “the cheapest and most efficient way is through your phone,” Avellan says. Skipping out on building new cell towers entirely could mean major cost savings for the telecoms companies as well, if they can offer satellite internet in markets that don’t yet justify that investment. Deutsche Bank (which is not an AST investor) estimates that the company’s revenues could top $370 million in 2026 once its commercial service is up and running, and surpass $5 billion by 2030—with far less capital expenditure than Starlink will need to keep launching thousands of satellites. The big obstacle for both companies is the basic physics of satellite communication: namely, that you need a direct line of sight from a satellite to your phone to get a signal. Starlink, Project Kuiper and multiple Chinese firms plan to tackle this by flooding the zone with thousands of small, cheap satellites in low Earth orbit, which hop signals between them to maintain steady connections with ground-based dishes. The antenna in your phone is a lot smaller, making it harder to get bandwidth to do more than text. But AST’s satellites are outfitted with antennas at least 50 times the size of Starlink’s. It’s a tricky feat of engineering—the centimeters-thick antennas require assembly in clean rooms to be securely packed into satellites at launch; then they’re carefully unfolded again in orbit. It’s much more complicated than a Starlink satellite, and each AST satellite costs about $21 million compared to around $1.2 million to build each Starlink bird. But the result is true broadband connectivity. AST’s five satellites have successfully made video calls with phones on Verizon, Vodafone, Rakuten and AT&T networks. AST’s have a longer lifespan, too, requiring replacement every 10 years compared to five to seven years for Starlink. AST’s big antennas make broadband-to-cellphone connections easier to pull off, says John Baras, a University of Maryland aerospace engineering professor, because they cover a much larger area and are designed to deliver a signal to devices in motion. Starlink has a bigger challenge making its system work for phones, he says, because it was envisioned as a way to deliver internet to fixed stations on the ground—not to mobile phones that by definition move around. “Starlink is going to have problems,” he says. SpaceX did not respond to a comment request. JR Wilson, VP of towers and roaming at AT&T, a major AST investor, compares the tech race between Starlink and AST to the home-video race of the 1980s. “Beta came out first, but it didn’t have some of the same qualities as VHS,” he explained, recalling Sony’s ill-starred format which, despite delivering a better picture, failed because of its high price and short recording times. AT&T plans to start offering satellite connectivity using AST’s service once it has more satellites in orbit next year. AST currently has deals with dozens of other telecom providers around the world, including Vodafone, Rakuten and Verizon (all investors), offering potential access to around 3 billion subscribers. Partnering with big telecoms offers loads of advantages, says Mike Crawford, an analyst at Los Angeles–based B. Riley Securities. By avoiding the home satellite internet market that Starlink dominates, AST doesn’t have to spend money to attract subscribers or build costly ground infrastructure—its partners have already done that. Plus, it avoids going head-to-head with giant legacy telecoms. Avellan knows the ins and outs of the industry. Born in Venezuela, he studied engineering before starting his career at the Swedish telecom giant Ericsson. He founded his first company, Emerging Markets Communications, “with $50,000 and a pregnant wife” in 2000, he says, to provide satellite communication services to Africa and the Middle East, as well as cruise and cargo ships. He sold it to satellite company Global Eagle in 2016 for $550 million and used some of the proceeds to found AST the following year. After launching its first demonstration satellite in 2019, AST raised $110 million from Vodafone, Rakuten, AT&T and VC shops like London-based Shift Ventures. In 2021, it went public through a SPAC backed by private equity firm New Providence, raising an additional $462 million. The company’s stock has more than doubled since then, making Avellan, who owns about 25% of it, worth some $2.1 billion. In March, AST and Vodafone announced plans for a joint venture spin-out company to offer AST’s satellite connectivity to mobile operators in Europe and Africa.PATRICK WELSH FOR FORBES How To Play It By John Buckingham For a more grounded play on soaring demand for connectivity, wireless communications and broadcast tower REIT American Tower should continue to benefit from mobile data proliferation and 5G deployments, while an expanding data center segment positions it to profit from the rise of hybrid IT and AI workloads. Meanwhile, shareholders are rewarded with a 3.3% dividend yield to go along with handsome capital appreciation potential from a conservative “picks-and-shovels” terrestrial player in the tech gold rush. Moody’s just awarded the company’s strong balance sheet, citing AMT’s leading position in the global wireless infrastructure market, predictable revenue and income, consistently solid fixed charge coverage and excellent liquidity (it’s also an investor in AST). John Buckingham is a principal of AFAM Capital and editor of The Prudent Speculator. These partnerships also unlock the parts of the radio spectrum that make communications between satellites and phones possible, which are primarily owned by legacy telecoms. Assuming regulators greenlight these deals—including a crucial lease from Ligado Networks for a frequency that would give AST’s data the equivalent of 4G speeds—its satellites will be able to offer coverage globally. SpaceX can offer only text right now, although obviously that could change. With far fewer partnerships, Starlink is “cash-rich but spectrum-poor,” according to Crawford, the B. Riley analyst. That’s not surprising, given Musk’s ruthless approach to business. “SpaceX famously partners with people to the point that they can extract what they want from you, and then they stomp on your face, right?” industry analyst Chris Quilty says. Still, Musk’s deep connections to the Trump administration could present an existential challenge to AST’s burgeoning business. It’s clear Musk’s company views AST as a threat. SpaceX has already taken it to the mat over an array of regulatory issues governed by the FCC: spectrum access, space junk, blocking astronomical observations. Those FCC filings are also where SpaceX dismissed AST as a “meme stock.” It has a point: While shares in AST have gained a total of 172% since it went public, the stock has been on a tear since last May, jumping more than 1,000% at its peak. The company still has virtually no revenue to support its multibillion-dollar market cap; in 2024, AST spent $300 million but brought in only about $4 million in revenue due entirely to a contract with the Space Defense Agency to build military satellite communications infrastructure. And like all meme stocks, it has a flock of ardent believers online. AST’s investment community on Reddit has more than 30,000 active subscribers. When the company invited its retail investors to attend the September launch of its satellites, nearly 1,000 showed up. “People are enthusiastic about the prospect that no matter where you live or work, you can have broadband,” Avellan says of the attention. “If at the same time they can make money by investing and following what we do? Even better.” More from Forbes

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9to5Mac RT hat einen Link geteilt

2025-05-21 10:29:35 ·

Apple’s Deirdre O’Brien among Fortune’s 100 Most Powerful Women in Business

Today, Fortune revealed its 2025 list of the Most Powerful Women in Business, and Apple’s SVP of Retail + People, Deirdre O’Brien, has once again secured her spot.

This is O’Brien’s seventh consecutive appearance on the list, which features “only 20 Fortune 500 CEOs” out of the more than 50 women who lead Fortune 500 companies. According to Fortune, this highlights “just how competitive it has become.”
O’Brien ranks 67th on this year’s list. Here’s what Fortune had to say:

An Apple veteran of over 35 years, Deirdre O’Brien manages the tech giant’s retail teams as senior vice president, leading the way on its global retail expansion, including in emerging markets. She oversees a diverse range of functions, from training and development at Apple University to diversity and inclusion, compensation, benefits, and more. In March, O’Brien added Apple’s top people manager spot to her retail duties, returning to a role she’d held from 2017 to 2023. She holds a bachelor’s degree from Michigan State University and an MBA from San Jose State University.
Over the past year, O’Brien has overseen store openings in the U.S., China, Spain, and Sweden, as well as the launch of Apple’s first-ever retail location in Malaysia; further openings in India, the U.S., Japan, and the UAE are slated for later in 2025.

As Fortune notes, O’Brien’s path has been quite eventful. After taking over the role previously held by Angela Ahrendts, she inherited the task of reinvigorating iPhone sales through Apple’s global retail presence, while also navigating shifting labor dynamics, including increased unionization efforts at retail stores and the long-term workplace changes brought on by the pandemic.
More recently, after a brief period in which Apple appointed its first Chief People Officer, Carol Surface, O’Brien resumed leadership of the People team following Surface’s departure in late 2024.

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Apple’s Deirdre O’Brien among Fortune’s 100 Most Powerful Women in Business
Today, Fortune revealed its 2025 list of the Most Powerful Women in Business, and Apple’s SVP of Retail + People, Deirdre O’Brien, has once again secured her spot. This is O’Brien’s seventh consecutive appearance on the list, which features “only 20 Fortune 500 CEOs” out of the more than 50 women who lead Fortune 500 companies. According to Fortune, this highlights “just how competitive it has become.” O’Brien ranks 67th on this year’s list. Here’s what Fortune had to say: An Apple veteran of over 35 years, Deirdre O’Brien manages the tech giant’s retail teams as senior vice president, leading the way on its global retail expansion, including in emerging markets. She oversees a diverse range of functions, from training and development at Apple University to diversity and inclusion, compensation, benefits, and more. In March, O’Brien added Apple’s top people manager spot to her retail duties, returning to a role she’d held from 2017 to 2023. She holds a bachelor’s degree from Michigan State University and an MBA from San Jose State University. Over the past year, O’Brien has overseen store openings in the U.S., China, Spain, and Sweden, as well as the launch of Apple’s first-ever retail location in Malaysia; further openings in India, the U.S., Japan, and the UAE are slated for later in 2025. As Fortune notes, O’Brien’s path has been quite eventful. After taking over the role previously held by Angela Ahrendts, she inherited the task of reinvigorating iPhone sales through Apple’s global retail presence, while also navigating shifting labor dynamics, including increased unionization efforts at retail stores and the long-term workplace changes brought on by the pandemic. More recently, after a brief period in which Apple appointed its first Chief People Officer, Carol Surface, O’Brien resumed leadership of the People team following Surface’s departure in late 2024. Add 9to5Mac to your Google News feed. FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel #apples #deirdre #obrien #among #fortunes

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Apple’s Deirdre O’Brien among Fortune’s 100 Most Powerful Women in Business

Today, Fortune revealed its 2025 list of the Most Powerful Women in Business, and Apple’s SVP of Retail + People, Deirdre O’Brien, has once again secured her spot. This is O’Brien’s seventh consecutive appearance on the list, which features “only 20 Fortune 500 CEOs” out of the more than 50 women who lead Fortune 500 companies. According to Fortune, this highlights “just how competitive it has become.” O’Brien ranks 67th on this year’s list. Here’s what Fortune had to say: An Apple veteran of over 35 years, Deirdre O’Brien manages the tech giant’s retail teams as senior vice president, leading the way on its global retail expansion, including in emerging markets. She oversees a diverse range of functions, from training and development at Apple University to diversity and inclusion, compensation, benefits, and more. In March, O’Brien added Apple’s top people manager spot to her retail duties, returning to a role she’d held from 2017 to 2023. She holds a bachelor’s degree from Michigan State University and an MBA from San Jose State University. Over the past year, O’Brien has overseen store openings in the U.S., China, Spain, and Sweden, as well as the launch of Apple’s first-ever retail location in Malaysia; further openings in India, the U.S., Japan, and the UAE are slated for later in 2025. As Fortune notes, O’Brien’s path has been quite eventful. After taking over the role previously held by Angela Ahrendts, she inherited the task of reinvigorating iPhone sales through Apple’s global retail presence, while also navigating shifting labor dynamics, including increased unionization efforts at retail stores and the long-term workplace changes brought on by the pandemic. More recently, after a brief period in which Apple appointed its first Chief People Officer, Carol Surface, O’Brien resumed leadership of the People team following Surface’s departure in late 2024. Add 9to5Mac to your Google News feed. FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

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Hitmarker | Gaming Jobs RT hat einen Link geteilt

2025-05-21 02:25:22 ·

Staff Software Engineer, Progression - VALORANT at Riot Games

Staff Software Engineer, Progression - VALORANTRiot GamesMercer Island, USA2 hours agoApplyRiot engineers bring deep knowledge of specific technical areas but also value the opportunity to work in a variety of broader domains. As a Software Engineer, you’ll also dive into projects that focus on team cohesiveness and cross-team objectives. You’ll lead without authority and provide other engineers with a clear illustration of extraordinary engineering.VALORANT is Riot’s take on a character-based tactical shooter. As a Staff Software Engineer on the VALORANT team you will be responsible for building metagame client features and scalable backend services for progression systems throughout VALORANT. You'll influence the technical direction for how VALORANT services are built, scale and are operated in production, and collaborate with design to build smooth and intuitive player-facing in-game experiences. All the systems you design and build will be “Player Focused”, meaning striving for the goal of motivating players to choose to engage with them, rather than feeling pressured to.You will report to the Engineering Manager of the Progression team.Responsibilities:Create and/or contribute to best practices, development processes and coding standards; demonstrate a high bar of craft excellence for your teamDesign, build and deliver full-stack, in-game features enabling players to have a world-class experienceDesign, build, and deliver large scale backend services to support millions of playersCollaborate closely with Production, Game Design and UI/UX disciplinesMentor and grow other engineers on the teamRequired Qualifications6+ years of experience as a software engineerBS degree or equivalent experienceExperience with C++, C#, Java, Golang, or similar languageDesired QualificationsProfessional experience working with cloud computing and cloud technologiesProfessional experience building large scale backend systems or game servicesProfessional experience building player- or user-facing frontend experiencesProfessional experience working with the Go programming languageProfessional or academic experience working with C++Professional or hobby experience working with the Unreal EngineFor this role, you'll find success through craft expertise, a collaborative spirit, and decision-making that prioritizes the delight of players. We will be looking at your past studies, experience, and your personal relationship with games. If you embody player empathy and care about players' experiences, this could be your role!Our Perks:Riot focuses on work/life balance, shown by our open paid time off policy and other perks such as flexible work schedules. We offer medical, dental, and life insurance, parental leave for you, your spouse/domestic partner, and children, and a 401k with company match. Check out our benefits pages for more information.Riot Games fosters a player and workplace experience that values teamwork embodied by the Summoner's Code and Community Code . Our culture embraces differences as a strength, and our values are the guiding principles for how we approach work. We are committed to putting diversity and inclusionat the center of everything we do, and promoting a fair and collaborative culture where Rioters treat one another with dignity and respect. We encourage you to read more about our value of thriving together and our ongoing work to build the most inclusive company in Gaming .It’s our policy to provide equal employment opportunity for all applicants and members of Riot Games, Inc. Riot Games makes reasonable accommodations for handicapped and disabled Rioters and does not unlawfully discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity or expression, national origin, age, handicap, veteran status, marital status, criminal history, or any other category protected by applicable federal and state law. We consider for employment all qualified applicants, including those with criminal histories, in a manner consistent with applicable federal, state and local law, including the California Fair Chance Act, the City of Los Angeles Fair Chance Initiative for Hiring Ordinance, the Los Angeles County Fair Chance Ordinance for Employers, the San Francisco Fair Chance Ordinance, and the Washington Fair Chance Act.Per the Los Angeles County Fair Chance Ordinance, the following core duties may create a basis for disqualifying candidates with relevant criminal histories:Safeguarding confidential and sensitive Company dataCommunication with others, including Rioters and third parties such as vendors, and/or players, including minorsAccessing Company assets, secure digital systems, and networksEnsuring a safe interactive environment for players and other RiotersThese duties are directly related to essential operations, safety, trust, and compliance obligations within our organization. Please note that job duties may evolve based on business needs and additional responsibilities may be assigned as necessary to maintain operational efficiency and security.
Create Your Profile — Game companies can contact you with their relevant job openings.
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Staff Software Engineer, Progression - VALORANT at Riot Games
Staff Software Engineer, Progression - VALORANTRiot GamesMercer Island, USA2 hours agoApplyRiot engineers bring deep knowledge of specific technical areas but also value the opportunity to work in a variety of broader domains. As a Software Engineer, you’ll also dive into projects that focus on team cohesiveness and cross-team objectives. You’ll lead without authority and provide other engineers with a clear illustration of extraordinary engineering.VALORANT is Riot’s take on a character-based tactical shooter. As a Staff Software Engineer on the VALORANT team you will be responsible for building metagame client features and scalable backend services for progression systems throughout VALORANT. You'll influence the technical direction for how VALORANT services are built, scale and are operated in production, and collaborate with design to build smooth and intuitive player-facing in-game experiences. All the systems you design and build will be “Player Focused”, meaning striving for the goal of motivating players to choose to engage with them, rather than feeling pressured to.You will report to the Engineering Manager of the Progression team.Responsibilities:Create and/or contribute to best practices, development processes and coding standards; demonstrate a high bar of craft excellence for your teamDesign, build and deliver full-stack, in-game features enabling players to have a world-class experienceDesign, build, and deliver large scale backend services to support millions of playersCollaborate closely with Production, Game Design and UI/UX disciplinesMentor and grow other engineers on the teamRequired Qualifications6+ years of experience as a software engineerBS degree or equivalent experienceExperience with C++, C#, Java, Golang, or similar languageDesired QualificationsProfessional experience working with cloud computing and cloud technologiesProfessional experience building large scale backend systems or game servicesProfessional experience building player- or user-facing frontend experiencesProfessional experience working with the Go programming languageProfessional or academic experience working with C++Professional or hobby experience working with the Unreal EngineFor this role, you'll find success through craft expertise, a collaborative spirit, and decision-making that prioritizes the delight of players. We will be looking at your past studies, experience, and your personal relationship with games. If you embody player empathy and care about players' experiences, this could be your role!Our Perks:Riot focuses on work/life balance, shown by our open paid time off policy and other perks such as flexible work schedules. We offer medical, dental, and life insurance, parental leave for you, your spouse/domestic partner, and children, and a 401k with company match. Check out our benefits pages for more information.Riot Games fosters a player and workplace experience that values teamwork embodied by the Summoner's Code and Community Code . Our culture embraces differences as a strength, and our values are the guiding principles for how we approach work. We are committed to putting diversity and inclusionat the center of everything we do, and promoting a fair and collaborative culture where Rioters treat one another with dignity and respect. We encourage you to read more about our value of thriving together and our ongoing work to build the most inclusive company in Gaming .It’s our policy to provide equal employment opportunity for all applicants and members of Riot Games, Inc. Riot Games makes reasonable accommodations for handicapped and disabled Rioters and does not unlawfully discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity or expression, national origin, age, handicap, veteran status, marital status, criminal history, or any other category protected by applicable federal and state law. We consider for employment all qualified applicants, including those with criminal histories, in a manner consistent with applicable federal, state and local law, including the California Fair Chance Act, the City of Los Angeles Fair Chance Initiative for Hiring Ordinance, the Los Angeles County Fair Chance Ordinance for Employers, the San Francisco Fair Chance Ordinance, and the Washington Fair Chance Act.Per the Los Angeles County Fair Chance Ordinance, the following core duties may create a basis for disqualifying candidates with relevant criminal histories:Safeguarding confidential and sensitive Company dataCommunication with others, including Rioters and third parties such as vendors, and/or players, including minorsAccessing Company assets, secure digital systems, and networksEnsuring a safe interactive environment for players and other RiotersThese duties are directly related to essential operations, safety, trust, and compliance obligations within our organization. Please note that job duties may evolve based on business needs and additional responsibilities may be assigned as necessary to maintain operational efficiency and security. Create Your Profile — Game companies can contact you with their relevant job openings. Apply #staff #software #engineer #progression #valorant

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Staff Software Engineer, Progression - VALORANT at Riot Games

Staff Software Engineer, Progression - VALORANTRiot GamesMercer Island, USA2 hours agoApplyRiot engineers bring deep knowledge of specific technical areas but also value the opportunity to work in a variety of broader domains. As a Software Engineer, you’ll also dive into projects that focus on team cohesiveness and cross-team objectives. You’ll lead without authority and provide other engineers with a clear illustration of extraordinary engineering.VALORANT is Riot’s take on a character-based tactical shooter (for more info on VALORANT click here!). As a Staff Software Engineer on the VALORANT team you will be responsible for building metagame client features and scalable backend services for progression systems throughout VALORANT. You'll influence the technical direction for how VALORANT services are built, scale and are operated in production, and collaborate with design to build smooth and intuitive player-facing in-game experiences. All the systems you design and build will be “Player Focused”, meaning striving for the goal of motivating players to choose to engage with them, rather than feeling pressured to.You will report to the Engineering Manager of the Progression team.Responsibilities:Create and/or contribute to best practices, development processes and coding standards; demonstrate a high bar of craft excellence for your teamDesign, build and deliver full-stack, in-game features enabling players to have a world-class experienceDesign, build, and deliver large scale backend services to support millions of playersCollaborate closely with Production, Game Design and UI/UX disciplinesMentor and grow other engineers on the teamRequired Qualifications6+ years of experience as a software engineerBS degree or equivalent experienceExperience with C++, C#, Java, Golang, or similar language(s)Desired QualificationsProfessional experience working with cloud computing and cloud technologiesProfessional experience building large scale backend systems or game servicesProfessional experience building player- or user-facing frontend experiences (e.g. web, mobile, game)Professional experience working with the Go programming languageProfessional or academic experience working with C++Professional or hobby experience working with the Unreal EngineFor this role, you'll find success through craft expertise, a collaborative spirit, and decision-making that prioritizes the delight of players. We will be looking at your past studies, experience, and your personal relationship with games. If you embody player empathy and care about players' experiences, this could be your role!Our Perks:Riot focuses on work/life balance, shown by our open paid time off policy and other perks such as flexible work schedules. We offer medical, dental, and life insurance, parental leave for you, your spouse/domestic partner, and children, and a 401k with company match. Check out our benefits pages for more information.Riot Games fosters a player and workplace experience that values teamwork embodied by the Summoner's Code and Community Code . Our culture embraces differences as a strength, and our values are the guiding principles for how we approach work. We are committed to putting diversity and inclusion (D&I) at the center of everything we do, and promoting a fair and collaborative culture where Rioters treat one another with dignity and respect. We encourage you to read more about our value of thriving together and our ongoing work to build the most inclusive company in Gaming .It’s our policy to provide equal employment opportunity for all applicants and members of Riot Games, Inc. Riot Games makes reasonable accommodations for handicapped and disabled Rioters and does not unlawfully discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity or expression, national origin, age, handicap, veteran status, marital status, criminal history, or any other category protected by applicable federal and state law. We consider for employment all qualified applicants, including those with criminal histories, in a manner consistent with applicable federal, state and local law, including the California Fair Chance Act, the City of Los Angeles Fair Chance Initiative for Hiring Ordinance, the Los Angeles County Fair Chance Ordinance for Employers, the San Francisco Fair Chance Ordinance, and the Washington Fair Chance Act.Per the Los Angeles County Fair Chance Ordinance, the following core duties may create a basis for disqualifying candidates with relevant criminal histories:Safeguarding confidential and sensitive Company dataCommunication with others, including Rioters and third parties such as vendors, and/or players, including minorsAccessing Company assets, secure digital systems, and networksEnsuring a safe interactive environment for players and other RiotersThese duties are directly related to essential operations, safety, trust, and compliance obligations within our organization. Please note that job duties may evolve based on business needs and additional responsibilities may be assigned as necessary to maintain operational efficiency and security. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

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Smithsonian Magazine RT hat einen Link geteilt

2025-05-21 01:14:09 ·

This Amateur Art Detective Thinks Paul Gauguin's Last Self-Portrait Is a Fake

This Amateur Art Detective Thinks Paul Gauguin’s Last Self-Portrait Is a Fake
The new allegations come from Fabrice Fourmanoir, who previously identified a fraudulent Gauguin sculpture that the Getty Museum had purchased for million

The authenticity of Paul Gauguin's 1903 self-portrait has long been the subject of debate.
Public domain via Wikimedia Commons

According to naval records, Paul Gauguin’s eyes were brown. In early self-portraits, the French artist painted himself with a crooked nose, and he scrawled a signature and date in the corners.
Why, then, does Gauguin’s last self-portrait have blue eyes, a squat nose and no signature or date? According to Fabrice Fourmanoir, an art dealer and amateur art sleuth, these aesthetic oddities are just the most obvious evidence that the 1903 self-portrait housed at the Kunstmuseum Basel in Switzerland was not the work of Gauguin.
Fourmanoir alleges that the work was instead painted by Gauguin’s friend Ky-Dong Nguyen Van Cam in the 1910s, years after the artist’s death in 1903. After that, he says it was passed off as a real Gauguin and eventually bequeathed to the Kunstmuseum Basel in 1945.
So far, the Kunstmuseum has been willing to check Fourmanoir’s claims. It announced that it will conduct X-ray, infrared and ultraviolet scans to help determine the provenance of the painting.
“We take this matter very seriously, but these analyses will take some time,” a spokesperson for the Kunstmuseum tells Artnet’s Jo Lawson-Tancred. Results are not expected until June or July.

A Gauguin self-portrait from 1888

Public domain via Wikimedia Commons

The painting’s official origin story begins on the island of Hiva Oa in French Polynesia in 1903. Gauguin’s health was declining. Although in February of that year, he wrote to a friend explaining that he had “hardly touched a brush for three months,” he somehow found the motivation to make one last self-portrait, per the Art Newspaper’s Martin Bailey. On the morning of May 8, he died, likely of a heart attack.
His poor health is evident in the self-portrait. His face is grim, lacking the exuberance and devil-may-care attitude visible in earlier paintings. Henri Loyrette, a former director of the Musée d’Orsay and the Louvre in Paris, once described it as “a portrait of eternity,” akin to the Fayum funerary portraits of ancient Egypt, according to the Art Newspaper.
But Fourmanoir doesn’t believe this story. He claims that after Gauguin befriended Ky-Dong, who was exiled from his native Vietnam for anti-colonial activities, he taught him to paint. After Gauguin’s death, Ky-Dong painted the portrait of his deceased friend and teacher based on a black-and-white photograph, which goes some way in explaining the discrepancy in eye color and nose shape.
Fourmanoir’s principal source is Ky-Dong’s son, whom he met in Papeete, the capital of Tahiti, in the 1980s. “We had long conversations about Gauguin and his father, Ky-Dong. He told me his father had said that he had painted the portrait of Gauguin,” says Fourmanoir, per the Art Newspaper.
The portrait surfaced in 1923 in the possession of Louis Grélet, a Swiss liquor merchant and photographer who knew Gauguin. Fourmanoir alleges that Grélet knew the painting was not a real Gauguin but passed it off as authentic with the help of Jean-Louis Ormond, the nephew of painter John Singer Sargent. They put the work up for auction at Sotheby’s in London and split the earnings.

Paul Gauguin around 1891

Public domain via Wikimedia Commons

Fourmanoir’s allegations aren’t without precedent. In the late 1920s, the portrait hung at the Kunsthalle Basel, an art gallery in Switzerland, where records described it as a “presumed self-portrait,” according to Le Quotidien de l’Art’s Jade Pillaudin.
“The hypothesis that the work is not a Gauguin was already expressed in the first documents that we attained on the subject,” Eva Reifert, a curator at the Kunstmuseum, tells Le Quotidien de l’Art. “Admittedly, we also see documented expert opinion that the work is undoubtedly authentic, but with the new information shared by Fabrice Fourmanoir, there is a chance to study this question again.”
Fourmanoir, after all, has a knack for spotting fakes. In 2020, he claimed that a rare sandalwood sculpture attributed to Gauguin was a forgery. The Getty Museum in Los Angeles, which had purchased it for a reported million, later reattributed the piece.
While the results of the analyses will help determine the truth of Fourmanoir’s claims, one other possibility remains: The portrait could be a collaborative work by both Gauguin and Ky-Dong.
In the 1960s, Bengt Danielsson, a Swedish anthropologist and the author of Gauguin in the South Seas, recalled a story that Grélet once told him, per the Art Newspaper: One day, Ky-Dong was in Gauguin’s studio and began painting the artist’s portrait, Danielsson wrote. “Without a word, Gauguin picked up a mirror and, thrusting his friend aside, took the brush and finished the portrait himself.”

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This Amateur Art Detective Thinks Paul Gauguin's Last Self-Portrait Is a Fake
This Amateur Art Detective Thinks Paul Gauguin’s Last Self-Portrait Is a Fake The new allegations come from Fabrice Fourmanoir, who previously identified a fraudulent Gauguin sculpture that the Getty Museum had purchased for million The authenticity of Paul Gauguin's 1903 self-portrait has long been the subject of debate. Public domain via Wikimedia Commons According to naval records, Paul Gauguin’s eyes were brown. In early self-portraits, the French artist painted himself with a crooked nose, and he scrawled a signature and date in the corners. Why, then, does Gauguin’s last self-portrait have blue eyes, a squat nose and no signature or date? According to Fabrice Fourmanoir, an art dealer and amateur art sleuth, these aesthetic oddities are just the most obvious evidence that the 1903 self-portrait housed at the Kunstmuseum Basel in Switzerland was not the work of Gauguin. Fourmanoir alleges that the work was instead painted by Gauguin’s friend Ky-Dong Nguyen Van Cam in the 1910s, years after the artist’s death in 1903. After that, he says it was passed off as a real Gauguin and eventually bequeathed to the Kunstmuseum Basel in 1945. So far, the Kunstmuseum has been willing to check Fourmanoir’s claims. It announced that it will conduct X-ray, infrared and ultraviolet scans to help determine the provenance of the painting. “We take this matter very seriously, but these analyses will take some time,” a spokesperson for the Kunstmuseum tells Artnet’s Jo Lawson-Tancred. Results are not expected until June or July. A Gauguin self-portrait from 1888 Public domain via Wikimedia Commons The painting’s official origin story begins on the island of Hiva Oa in French Polynesia in 1903. Gauguin’s health was declining. Although in February of that year, he wrote to a friend explaining that he had “hardly touched a brush for three months,” he somehow found the motivation to make one last self-portrait, per the Art Newspaper’s Martin Bailey. On the morning of May 8, he died, likely of a heart attack. His poor health is evident in the self-portrait. His face is grim, lacking the exuberance and devil-may-care attitude visible in earlier paintings. Henri Loyrette, a former director of the Musée d’Orsay and the Louvre in Paris, once described it as “a portrait of eternity,” akin to the Fayum funerary portraits of ancient Egypt, according to the Art Newspaper. But Fourmanoir doesn’t believe this story. He claims that after Gauguin befriended Ky-Dong, who was exiled from his native Vietnam for anti-colonial activities, he taught him to paint. After Gauguin’s death, Ky-Dong painted the portrait of his deceased friend and teacher based on a black-and-white photograph, which goes some way in explaining the discrepancy in eye color and nose shape. Fourmanoir’s principal source is Ky-Dong’s son, whom he met in Papeete, the capital of Tahiti, in the 1980s. “We had long conversations about Gauguin and his father, Ky-Dong. He told me his father had said that he had painted the portrait of Gauguin,” says Fourmanoir, per the Art Newspaper. The portrait surfaced in 1923 in the possession of Louis Grélet, a Swiss liquor merchant and photographer who knew Gauguin. Fourmanoir alleges that Grélet knew the painting was not a real Gauguin but passed it off as authentic with the help of Jean-Louis Ormond, the nephew of painter John Singer Sargent. They put the work up for auction at Sotheby’s in London and split the earnings. Paul Gauguin around 1891 Public domain via Wikimedia Commons Fourmanoir’s allegations aren’t without precedent. In the late 1920s, the portrait hung at the Kunsthalle Basel, an art gallery in Switzerland, where records described it as a “presumed self-portrait,” according to Le Quotidien de l’Art’s Jade Pillaudin. “The hypothesis that the work is not a Gauguin was already expressed in the first documents that we attained on the subject,” Eva Reifert, a curator at the Kunstmuseum, tells Le Quotidien de l’Art. “Admittedly, we also see documented expert opinion that the work is undoubtedly authentic, but with the new information shared by Fabrice Fourmanoir, there is a chance to study this question again.” Fourmanoir, after all, has a knack for spotting fakes. In 2020, he claimed that a rare sandalwood sculpture attributed to Gauguin was a forgery. The Getty Museum in Los Angeles, which had purchased it for a reported million, later reattributed the piece. While the results of the analyses will help determine the truth of Fourmanoir’s claims, one other possibility remains: The portrait could be a collaborative work by both Gauguin and Ky-Dong. In the 1960s, Bengt Danielsson, a Swedish anthropologist and the author of Gauguin in the South Seas, recalled a story that Grélet once told him, per the Art Newspaper: One day, Ky-Dong was in Gauguin’s studio and began painting the artist’s portrait, Danielsson wrote. “Without a word, Gauguin picked up a mirror and, thrusting his friend aside, took the brush and finished the portrait himself.” Get the latest stories in your inbox every weekday. #this #amateur #art #detective #thinks

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This Amateur Art Detective Thinks Paul Gauguin's Last Self-Portrait Is a Fake

This Amateur Art Detective Thinks Paul Gauguin’s Last Self-Portrait Is a Fake The new allegations come from Fabrice Fourmanoir, who previously identified a fraudulent Gauguin sculpture that the Getty Museum had purchased for $5 million The authenticity of Paul Gauguin's 1903 self-portrait has long been the subject of debate. Public domain via Wikimedia Commons According to naval records, Paul Gauguin’s eyes were brown. In early self-portraits, the French artist painted himself with a crooked nose, and he scrawled a signature and date in the corners. Why, then, does Gauguin’s last self-portrait have blue eyes, a squat nose and no signature or date? According to Fabrice Fourmanoir, an art dealer and amateur art sleuth, these aesthetic oddities are just the most obvious evidence that the 1903 self-portrait housed at the Kunstmuseum Basel in Switzerland was not the work of Gauguin. Fourmanoir alleges that the work was instead painted by Gauguin’s friend Ky-Dong Nguyen Van Cam in the 1910s, years after the artist’s death in 1903. After that, he says it was passed off as a real Gauguin and eventually bequeathed to the Kunstmuseum Basel in 1945. So far, the Kunstmuseum has been willing to check Fourmanoir’s claims. It announced that it will conduct X-ray, infrared and ultraviolet scans to help determine the provenance of the painting. “We take this matter very seriously, but these analyses will take some time,” a spokesperson for the Kunstmuseum tells Artnet’s Jo Lawson-Tancred. Results are not expected until June or July. A Gauguin self-portrait from 1888 Public domain via Wikimedia Commons The painting’s official origin story begins on the island of Hiva Oa in French Polynesia in 1903. Gauguin’s health was declining. Although in February of that year, he wrote to a friend explaining that he had “hardly touched a brush for three months,” he somehow found the motivation to make one last self-portrait, per the Art Newspaper’s Martin Bailey. On the morning of May 8, he died, likely of a heart attack. His poor health is evident in the self-portrait. His face is grim, lacking the exuberance and devil-may-care attitude visible in earlier paintings. Henri Loyrette, a former director of the Musée d’Orsay and the Louvre in Paris, once described it as “a portrait of eternity,” akin to the Fayum funerary portraits of ancient Egypt, according to the Art Newspaper. But Fourmanoir doesn’t believe this story. He claims that after Gauguin befriended Ky-Dong, who was exiled from his native Vietnam for anti-colonial activities, he taught him to paint. After Gauguin’s death, Ky-Dong painted the portrait of his deceased friend and teacher based on a black-and-white photograph, which goes some way in explaining the discrepancy in eye color and nose shape. Fourmanoir’s principal source is Ky-Dong’s son, whom he met in Papeete, the capital of Tahiti, in the 1980s. “We had long conversations about Gauguin and his father, Ky-Dong. He told me his father had said that he had painted the portrait of Gauguin,” says Fourmanoir, per the Art Newspaper. The portrait surfaced in 1923 in the possession of Louis Grélet, a Swiss liquor merchant and photographer who knew Gauguin. Fourmanoir alleges that Grélet knew the painting was not a real Gauguin but passed it off as authentic with the help of Jean-Louis Ormond, the nephew of painter John Singer Sargent. They put the work up for auction at Sotheby’s in London and split the earnings. Paul Gauguin around 1891 Public domain via Wikimedia Commons Fourmanoir’s allegations aren’t without precedent. In the late 1920s, the portrait hung at the Kunsthalle Basel, an art gallery in Switzerland, where records described it as a “presumed self-portrait,” according to Le Quotidien de l’Art’s Jade Pillaudin. “The hypothesis that the work is not a Gauguin was already expressed in the first documents that we attained on the subject,” Eva Reifert, a curator at the Kunstmuseum, tells Le Quotidien de l’Art. “Admittedly, we also see documented expert opinion that the work is undoubtedly authentic, but with the new information shared by Fabrice Fourmanoir, there is a chance to study this question again.” Fourmanoir, after all, has a knack for spotting fakes. In 2020, he claimed that a rare sandalwood sculpture attributed to Gauguin was a forgery. The Getty Museum in Los Angeles, which had purchased it for a reported $5 million, later reattributed the piece. While the results of the analyses will help determine the truth of Fourmanoir’s claims, one other possibility remains: The portrait could be a collaborative work by both Gauguin and Ky-Dong. In the 1960s, Bengt Danielsson, a Swedish anthropologist and the author of Gauguin in the South Seas, recalled a story that Grélet once told him, per the Art Newspaper: One day, Ky-Dong was in Gauguin’s studio and began painting the artist’s portrait, Danielsson wrote. “Without a word, Gauguin picked up a mirror and, thrusting his friend aside, took the brush and finished the portrait himself.” Get the latest stories in your inbox every weekday.

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2025-05-21 00:49:10 ·

4 New York City Contemporary Art Fairs Deliver 8 Surprises

For one week in May, New York City is a scheduling race for contemporary art lovers, with multimillion dollar auction previews at both Christie’s & Sotheby’s, over eight major art fairs, and over a 100 peak gallery openings. In the scheduling competition to see it all, it’s no small feat for an artwork to pull you back for a second view or a longer pause. Below are the two most “paused” artworks from my visits to the four biggest fairs in New York this spring.
FRIEZE NEW YORK
Frieze New York, the fair at the center of it all, was again located at The Shed in Hudson Yards, bringing more than 65 leading galleries from over 25 countries across three floors. Frieze New York has a wonderful crowd energy and this year was a great reminder that the most famous contemporary artists working today continue to dream and produce the unbelievable.
Jeff Koons at Gagosian Gallery
Jeff Koons. Frieze New York, 2025, installation view. Artwork © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Maris Hutchinson. Courtesy Gagosian
Jeff Koons. Hulk, 2004-2018. © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Ela Bialkowska, OKNOstudio. Courtesy Palazzo Strozzi and Gagosian
This year, Gagosian Gallery presented a crowd-gathering trio of Jeff Koons’ “Hulk” sculptures in a booth fully designed and conceived by the artist. Though each appears to be store-bought vinyl inflatables, all are made from heavy polychromed bronze. “Hulk, 2004-2018”includes a functional brass multi-belled tuba, while another was imbedded with real organ parts. about the works and the history of the Hulk Elvis series on the gallery’s page or watch a performance on the functional instruments on Jeff Koons’ Instagram.
Jeff Koons. Hulk, 2004-2018. Photo: David Behringer

Lorna Simpson at Hauser & Wirth Gallery
Hauser & Wirth Gallery presented an incredible selection of gallery artists, including these brand new works on paper by Lorna Simpson. Continuing her series of small collages that combine images cut from advertisements in vintage Ebony and Jet magazines with surreal expressive ink washes – each is a celebration and questioning of representation, history, and culture.
Lorna Simpson. Walking Glare, 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang
Lorna Simpson. Amplified. 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang

TEFAF Art Fair
TEFAFoccupied the entirety of the historic Park Avenue Armory. The fair is known for its museum-quality presentation with works that span from ancient Rome, Contemporary Art and world-class design – a unique and must-visit experience all its own.
View of art fair from above with visitors and booths.

George Condo at Gladstone Gallery
The mixing of historical weight and contemporary art at TEFAF is the perfect setting for an amazing collection of George Condo drawings. Presented by Gladstone Gallery in a deep red “salon-style” hanging, the early works all range from 1984-1986, a critical moment of Condo’s artistic development. Each gives the sense that we’re watching an idea being born – images and individuals being pulled between representation and abstraction.
Installation view, TEFAF New York 2025, New York, May 9 – 13, 2025. Courtesy of Gladstone. Photo: David Regen
George Condo. Untitled, 1986. © George Condo / Artists Rights Society, NY. Courtesy of the artist and Gladstone. Photo: David Regen
George Condo. Untitled, 1985. © George Condo / Artists Rights Society, NY. Courtesy of the artist and Gladstone. Photo: David Regen

Yeesookyung at Massimo De Carlo Gallery
One of the best exhibitions at The Metropolitan Museum of Art this summer is Monstrous Beauty – a must-see show that features these massive sculptures in a sunlit atrium by South Korean artist Yeesookyung.
So it was such a gift at TEFAF to see several smaller works by the artist at two different gallery booths. Works were spotted at The Page Gallery from South Korea and at Massimo De Carlo Gallery. Continuing her use of broken pottery shards to build organic forms using the Japanese technique of kintsugi, the new forms and combinations are most surprising as you circle them – always beautiful but never predictable.
Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo
Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo

INDEPENDENT Art Fair
INDEPENDENT was hosted again this year at the super modern and sunlight-filled “Spring Studios” in Tribeca where over 118 artists were presented by 82 international galleries and nonprofit organizations. My personal favorites this year celebrated process and material with a joyful wonder and high level of craft.
Maximilian Schubert at Off Paradise
Off Paradise installation at INDEPENDENT art fair. Photo: Marc Tatti
Presented by Off Paradise, Maximilian Schubert’s ethereal “paintings” are not what they appear to be – created from solid pigmented urethane resin that has been cast from a mold of a real paintingand painted only on the sides to mimic canvas and tacks/staples. The object is heavy and solid, allowing Schubert to create ethereal color transitions with multiple layers of resin pours. Even from close examination, everything about them looks like paint on canvas and yet they emit something psychically different – a sustained aura of intrigue that never expires.
Maximilian Schubert, Untitled, 2024. Photo: Marc Tatti
Maximilian Schubert, Untitled 2025, Photo: Marc Tatti
Maximilian Schubert, Untitled 2025
Terran Last Gun at Diane Rosenstein Gallery
This was my first time seeing Terran Last Gun’s incredible work that uses antique ledger paperwith the addition of colorful geometric forms in ink and colored pencil. Presented by Diane Rosenstein Gallery, the artist is based in Santa Fe, and an enrolled citizen of the Piikani Nationof Montana. The work feels like a dance across time – a complex conversation with material and traditions, past and present. Learn more about his work and its history on the gallery webpage.
Terran Last Gun, Stop For A Moment And Appreciate, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer
Terran Last Gun, Gathering Of Distinguished Knowledge Holders, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer

NADA ART FAIR
The NADA Art Fairwas hosted for the first time at The Starrett-Lehigh Building in the very heart of the Chelsea gallery district. My favorite works were an intelligent mix of whimsy and grit that resulted in many great conversations and new revelations on how to see the world.
Jaime Pitarch at Spencer Brownstone Gallery
Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery
After seeing an number of great Calder works up for auction this season, Jaime Pitarch’s whimsical reference to Calder was both joyous and profound. Presented by Spencer Brownstone Gallery, this 7-foot hanging work is titled “Calderilla” – a reference to both the Spanish word for “pocket change” AND the name Alexander Calder. Made from the real coins found in the artist’s pocket, it continues the artist’s long practice of re-presenting everyday objects to create sustained curiosities and beautiful artworks. Here metal currency is literally elevated – both in gravity and function, questioning ideas of value, craft, art, and perhaps the future of physical money itself.
Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery

Alexandria Tarver at Et al. Gallery
The most time was spent with these quietly mysterious pairings by Alexandria Tarver, presented by San Francisco-based gallery Et al. Each frame holds two works on paper: a larger colorful painting and a small sketch on a ripped out page of note paper. The pencil sketches were produced on a visit to Baja California where the artist used the only “drawing materials” available to capture seascapes and landscapes. They each feel as if they are recording enough information for the artist to remember a precise moment – a necessary speed of transcription that perhaps captures a particular ocean wave or an ephemeral breeze. That tiny notepad was then used as a reference to create the larger colorful paintings – a second translation into something different but still emotionally connected. Here too we play witness to the evolution of a memory and idea, sharing a feeling of a place and time.
Alexandria Tarver. questions, TS 2, 2025. Courtesy the artist & Ed al. Gallery
Alexandria Tarver. questions, TS 5, 2025. Courtesy the artist & Ed al. Gallery
I highly recommend signing up on any/all art fair newsletters or creating a login for any of the below. The emails they send out are not too much, and are perfect reminders when the next fair/events will take place. See you there!
FRIEZE NEW YORK
TEFAF NEW YORK
INDEPENDENT
NADA
#new #york #city #contemporary #art

4 New York City Contemporary Art Fairs Deliver 8 Surprises
For one week in May, New York City is a scheduling race for contemporary art lovers, with multimillion dollar auction previews at both Christie’s & Sotheby’s, over eight major art fairs, and over a 100 peak gallery openings. In the scheduling competition to see it all, it’s no small feat for an artwork to pull you back for a second view or a longer pause. Below are the two most “paused” artworks from my visits to the four biggest fairs in New York this spring. FRIEZE NEW YORK Frieze New York, the fair at the center of it all, was again located at The Shed in Hudson Yards, bringing more than 65 leading galleries from over 25 countries across three floors. Frieze New York has a wonderful crowd energy and this year was a great reminder that the most famous contemporary artists working today continue to dream and produce the unbelievable. Jeff Koons at Gagosian Gallery Jeff Koons. Frieze New York, 2025, installation view. Artwork © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Maris Hutchinson. Courtesy Gagosian Jeff Koons. Hulk, 2004-2018. © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Ela Bialkowska, OKNOstudio. Courtesy Palazzo Strozzi and Gagosian This year, Gagosian Gallery presented a crowd-gathering trio of Jeff Koons’ “Hulk” sculptures in a booth fully designed and conceived by the artist. Though each appears to be store-bought vinyl inflatables, all are made from heavy polychromed bronze. “Hulk, 2004-2018”includes a functional brass multi-belled tuba, while another was imbedded with real organ parts. about the works and the history of the Hulk Elvis series on the gallery’s page or watch a performance on the functional instruments on Jeff Koons’ Instagram. Jeff Koons. Hulk, 2004-2018. Photo: David Behringer Lorna Simpson at Hauser & Wirth Gallery Hauser & Wirth Gallery presented an incredible selection of gallery artists, including these brand new works on paper by Lorna Simpson. Continuing her series of small collages that combine images cut from advertisements in vintage Ebony and Jet magazines with surreal expressive ink washes – each is a celebration and questioning of representation, history, and culture. Lorna Simpson. Walking Glare, 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang Lorna Simpson. Amplified. 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang TEFAF Art Fair TEFAFoccupied the entirety of the historic Park Avenue Armory. The fair is known for its museum-quality presentation with works that span from ancient Rome, Contemporary Art and world-class design – a unique and must-visit experience all its own. View of art fair from above with visitors and booths. George Condo at Gladstone Gallery The mixing of historical weight and contemporary art at TEFAF is the perfect setting for an amazing collection of George Condo drawings. Presented by Gladstone Gallery in a deep red “salon-style” hanging, the early works all range from 1984-1986, a critical moment of Condo’s artistic development. Each gives the sense that we’re watching an idea being born – images and individuals being pulled between representation and abstraction. Installation view, TEFAF New York 2025, New York, May 9 – 13, 2025. Courtesy of Gladstone. Photo: David Regen George Condo. Untitled, 1986. © George Condo / Artists Rights Society, NY. Courtesy of the artist and Gladstone. Photo: David Regen George Condo. Untitled, 1985. © George Condo / Artists Rights Society, NY. Courtesy of the artist and Gladstone. Photo: David Regen Yeesookyung at Massimo De Carlo Gallery One of the best exhibitions at The Metropolitan Museum of Art this summer is Monstrous Beauty – a must-see show that features these massive sculptures in a sunlit atrium by South Korean artist Yeesookyung. So it was such a gift at TEFAF to see several smaller works by the artist at two different gallery booths. Works were spotted at The Page Gallery from South Korea and at Massimo De Carlo Gallery. Continuing her use of broken pottery shards to build organic forms using the Japanese technique of kintsugi, the new forms and combinations are most surprising as you circle them – always beautiful but never predictable. Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo INDEPENDENT Art Fair INDEPENDENT was hosted again this year at the super modern and sunlight-filled “Spring Studios” in Tribeca where over 118 artists were presented by 82 international galleries and nonprofit organizations. My personal favorites this year celebrated process and material with a joyful wonder and high level of craft. Maximilian Schubert at Off Paradise Off Paradise installation at INDEPENDENT art fair. Photo: Marc Tatti Presented by Off Paradise, Maximilian Schubert’s ethereal “paintings” are not what they appear to be – created from solid pigmented urethane resin that has been cast from a mold of a real paintingand painted only on the sides to mimic canvas and tacks/staples. The object is heavy and solid, allowing Schubert to create ethereal color transitions with multiple layers of resin pours. Even from close examination, everything about them looks like paint on canvas and yet they emit something psychically different – a sustained aura of intrigue that never expires. Maximilian Schubert, Untitled, 2024. Photo: Marc Tatti Maximilian Schubert, Untitled 2025, Photo: Marc Tatti Maximilian Schubert, Untitled 2025 Terran Last Gun at Diane Rosenstein Gallery This was my first time seeing Terran Last Gun’s incredible work that uses antique ledger paperwith the addition of colorful geometric forms in ink and colored pencil. Presented by Diane Rosenstein Gallery, the artist is based in Santa Fe, and an enrolled citizen of the Piikani Nationof Montana. The work feels like a dance across time – a complex conversation with material and traditions, past and present. Learn more about his work and its history on the gallery webpage. Terran Last Gun, Stop For A Moment And Appreciate, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer Terran Last Gun, Gathering Of Distinguished Knowledge Holders, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer NADA ART FAIR The NADA Art Fairwas hosted for the first time at The Starrett-Lehigh Building in the very heart of the Chelsea gallery district. My favorite works were an intelligent mix of whimsy and grit that resulted in many great conversations and new revelations on how to see the world. Jaime Pitarch at Spencer Brownstone Gallery Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery After seeing an number of great Calder works up for auction this season, Jaime Pitarch’s whimsical reference to Calder was both joyous and profound. Presented by Spencer Brownstone Gallery, this 7-foot hanging work is titled “Calderilla” – a reference to both the Spanish word for “pocket change” AND the name Alexander Calder. Made from the real coins found in the artist’s pocket, it continues the artist’s long practice of re-presenting everyday objects to create sustained curiosities and beautiful artworks. Here metal currency is literally elevated – both in gravity and function, questioning ideas of value, craft, art, and perhaps the future of physical money itself. Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery Alexandria Tarver at Et al. Gallery The most time was spent with these quietly mysterious pairings by Alexandria Tarver, presented by San Francisco-based gallery Et al. Each frame holds two works on paper: a larger colorful painting and a small sketch on a ripped out page of note paper. The pencil sketches were produced on a visit to Baja California where the artist used the only “drawing materials” available to capture seascapes and landscapes. They each feel as if they are recording enough information for the artist to remember a precise moment – a necessary speed of transcription that perhaps captures a particular ocean wave or an ephemeral breeze. That tiny notepad was then used as a reference to create the larger colorful paintings – a second translation into something different but still emotionally connected. Here too we play witness to the evolution of a memory and idea, sharing a feeling of a place and time. Alexandria Tarver. questions, TS 2, 2025. Courtesy the artist & Ed al. Gallery Alexandria Tarver. questions, TS 5, 2025. Courtesy the artist & Ed al. Gallery I highly recommend signing up on any/all art fair newsletters or creating a login for any of the below. The emails they send out are not too much, and are perfect reminders when the next fair/events will take place. See you there! FRIEZE NEW YORK TEFAF NEW YORK INDEPENDENT NADA #new #york #city #contemporary #art

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4 New York City Contemporary Art Fairs Deliver 8 Surprises

For one week in May, New York City is a scheduling race for contemporary art lovers, with multimillion dollar auction previews at both Christie’s & Sotheby’s, over eight major art fairs, and over a 100 peak gallery openings. In the scheduling competition to see it all, it’s no small feat for an artwork to pull you back for a second view or a longer pause. Below are the two most “paused” artworks from my visits to the four biggest fairs in New York this spring. FRIEZE NEW YORK Frieze New York, the fair at the center of it all, was again located at The Shed in Hudson Yards, bringing more than 65 leading galleries from over 25 countries across three floors. Frieze New York has a wonderful crowd energy and this year was a great reminder that the most famous contemporary artists working today continue to dream and produce the unbelievable. Jeff Koons at Gagosian Gallery Jeff Koons. Frieze New York, 2025, installation view. Artwork © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Maris Hutchinson. Courtesy Gagosian Jeff Koons. Hulk (Tubas), 2004-2018. © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Ela Bialkowska, OKNOstudio. Courtesy Palazzo Strozzi and Gagosian This year, Gagosian Gallery presented a crowd-gathering trio of Jeff Koons’ “Hulk” sculptures in a booth fully designed and conceived by the artist. Though each appears to be store-bought vinyl inflatables, all are made from heavy polychromed bronze. “Hulk (Tubas), 2004-2018” (above) includes a functional brass multi-belled tuba, while another was imbedded with real organ parts. Read more about the works and the history of the Hulk Elvis series on the gallery’s page or watch a performance on the functional instruments on Jeff Koons’ Instagram. Jeff Koons. Hulk (Tubas), 2004-2018. Photo: David Behringer Lorna Simpson at Hauser & Wirth Gallery Hauser & Wirth Gallery presented an incredible selection of gallery artists, including these brand new works on paper by Lorna Simpson. Continuing her series of small collages that combine images cut from advertisements in vintage Ebony and Jet magazines with surreal expressive ink washes – each is a celebration and questioning of representation, history, and culture. Lorna Simpson. Walking Glare, 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang Lorna Simpson. Amplified. 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang TEFAF Art Fair TEFAF (The European Fine Art Foundation) occupied the entirety of the historic Park Avenue Armory. The fair is known for its museum-quality presentation with works that span from ancient Rome, Contemporary Art and world-class design – a unique and must-visit experience all its own. View of art fair from above with visitors and booths. George Condo at Gladstone Gallery The mixing of historical weight and contemporary art at TEFAF is the perfect setting for an amazing collection of George Condo drawings. Presented by Gladstone Gallery in a deep red “salon-style” hanging, the early works all range from 1984-1986, a critical moment of Condo’s artistic development. Each gives the sense that we’re watching an idea being born – images and individuals being pulled between representation and abstraction. Installation view, TEFAF New York 2025, New York, May 9 – 13, 2025. Courtesy of Gladstone. Photo: David Regen George Condo. Untitled (NYC 38th St.), 1986. © George Condo / Artists Rights Society (ARS), NY. Courtesy of the artist and Gladstone. Photo: David Regen George Condo. Untitled, 1985. © George Condo / Artists Rights Society (ARS), NY. Courtesy of the artist and Gladstone. Photo: David Regen Yeesookyung at Massimo De Carlo Gallery One of the best exhibitions at The Metropolitan Museum of Art this summer is Monstrous Beauty – a must-see show that features these massive sculptures in a sunlit atrium by South Korean artist Yeesookyung. So it was such a gift at TEFAF to see several smaller works by the artist at two different gallery booths. Works were spotted at The Page Gallery from South Korea and at Massimo De Carlo Gallery (below). Continuing her use of broken pottery shards to build organic forms using the Japanese technique of kintsugi, the new forms and combinations are most surprising as you circle them – always beautiful but never predictable. Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo INDEPENDENT Art Fair INDEPENDENT was hosted again this year at the super modern and sunlight-filled “Spring Studios” in Tribeca where over 118 artists were presented by 82 international galleries and nonprofit organizations. My personal favorites this year celebrated process and material with a joyful wonder and high level of craft. Maximilian Schubert at Off Paradise Off Paradise installation at INDEPENDENT art fair. Photo: Marc Tatti Presented by Off Paradise, Maximilian Schubert’s ethereal “paintings” are not what they appear to be – created from solid pigmented urethane resin that has been cast from a mold of a real painting (also created by the artist) and painted only on the sides to mimic canvas and tacks/staples. The object is heavy and solid, allowing Schubert to create ethereal color transitions with multiple layers of resin pours. Even from close examination, everything about them looks like paint on canvas and yet they emit something psychically different – a sustained aura of intrigue that never expires. Maximilian Schubert, Untitled (Over New York), 2024. Photo: Marc Tatti Maximilian Schubert, Untitled 2025, Photo: Marc Tatti Maximilian Schubert, Untitled 2025 (detail) Terran Last Gun at Diane Rosenstein Gallery This was my first time seeing Terran Last Gun’s incredible work that uses antique ledger paper (most over 100 years old) with the addition of colorful geometric forms in ink and colored pencil. Presented by Diane Rosenstein Gallery, the artist is based in Santa Fe, and an enrolled citizen of the Piikani Nation (Blackfeet) of Montana. The work feels like a dance across time – a complex conversation with material and traditions, past and present. Learn more about his work and its history on the gallery webpage. Terran Last Gun, Stop For A Moment And Appreciate, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer Terran Last Gun, Gathering Of Distinguished Knowledge Holders, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer NADA ART FAIR The NADA Art Fair (New Art Dealers Alliance) was hosted for the first time at The Starrett-Lehigh Building in the very heart of the Chelsea gallery district. My favorite works were an intelligent mix of whimsy and grit that resulted in many great conversations and new revelations on how to see the world. Jaime Pitarch at Spencer Brownstone Gallery Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery After seeing an number of great Calder works up for auction this season, Jaime Pitarch’s whimsical reference to Calder was both joyous and profound. Presented by Spencer Brownstone Gallery, this 7-foot hanging work is titled “Calderilla” – a reference to both the Spanish word for “pocket change” AND the name Alexander Calder. Made from the real coins found in the artist’s pocket, it continues the artist’s long practice of re-presenting everyday objects to create sustained curiosities and beautiful artworks. Here metal currency is literally elevated – both in gravity and function, questioning ideas of value, craft, art, and perhaps the future of physical money itself. Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery Alexandria Tarver at Et al. Gallery The most time was spent with these quietly mysterious pairings by Alexandria Tarver, presented by San Francisco-based gallery Et al. Each frame holds two works on paper: a larger colorful painting and a small sketch on a ripped out page of note paper. The pencil sketches were produced on a visit to Baja California where the artist used the only “drawing materials” available to capture seascapes and landscapes. They each feel as if they are recording enough information for the artist to remember a precise moment – a necessary speed of transcription that perhaps captures a particular ocean wave or an ephemeral breeze. That tiny notepad was then used as a reference to create the larger colorful paintings – a second translation into something different but still emotionally connected. Here too we play witness to the evolution of a memory and idea, sharing a feeling of a place and time. Alexandria Tarver. questions, TS 2, 2025. Courtesy the artist & Ed al. Gallery Alexandria Tarver. questions, TS 5, 2025. Courtesy the artist & Ed al. Gallery I highly recommend signing up on any/all art fair newsletters or creating a login for any of the below. The emails they send out are not too much, and are perfect reminders when the next fair/events will take place. See you there! FRIEZE NEW YORK TEFAF NEW YORK INDEPENDENT NADA

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