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‘Policeman car attack footage’ probed by Scotland Yard

Dramatic footage which appears to show a policeman attacking a car after the driver refuses to get out will be investigated, Scotland Yard said. The clip, shared on social media on Saturday and viewed around 50,000 times, shows what appears to be a police officer – filmed from the position of the driver – repeatedly telling him to “get out of the car”, adding: “You’re not allowed to drive it.”

The officer then hits the driver’s side window with what looks like a baton, before a voice can be heard saying: “I’ve got a licence. I’ve got a licence. I’ve got insurance. You’re smashing this for no reason.”

The Metropolitan Police said it is “aware of footage circulating on social media of an incident involving two uniformed officers in Camden”, adding that the incident took place at Weedington Road, north-west London, at around 5pm on Friday. In a statement, the Met said: “The footage will now be subject to an investigation by officers from the Directorate of Professional Standards (DPS).”

The policeman can be seen striking the windscreen, resulting in the glass shattering, and he then starts slicing around the damaged area with what appears to be a pen knife.

When asked by the driver what the problem is, the officer tells him he is “not allowed to drive”. The police force said on Saturday evening: “As soon as the MPS was made aware of the footage, the DPS was contacted immediately. The individual who uploaded the footage has been contacted by DPS officers.

“As this matter is in its early stages, the officers have not been suspended or placed on restricted duties. No-one was arrested during the incident.”

The video, which could not be independently verified, has been shared on Twitter and Instagram where the officer’s actions have been described as “mindless vandalism and intimidation”. A man who wanted to be referred to by just his first name, Leon, told the Press Association he was the driver and the person who filmed the footage.

He said the incident took place on Friday evening in the Gospel Oak area of north London, and said it was a case of “mistaken identity”, describing the officer’s actions as “a completely unlawful act”.

Leon, who said he spent the evening in hospital due to getting glass in his eyes, said it was “complete madness” and that he is “still in shock”.

“Every time he smashed the glass, fragments of glass were just ricocheting in my face,” he said.

The Enabler – Hyperallergic

The Enabler - Hyperallergic

John D. Graham, Kali Yuga (c.1952), oil, casein, chalk, ballpoint pen, and graphite pencil on cardboard (all photos by the author for Hyperallergic)

If measured as a flame to kindling, John D. Graham (aka Ivan Gratianovich Dombrowski, aka Jan Dabrowski, aka John Dabrowski) was arguably the most consequential figure in 20th-century American art. He was also among the most enigmatic and multifaceted: artist, writer, lecturer, self-styled theorist, collector, advisor, curator, impresario, and lifeline from the hotbeds of European avant-garde art to the burgeoning modernist scene in the U.S. In the catalogue for the traveling exhibition American Vanguards: Graham, Davis, Gorky, de Kooning, and Their Circle, 1927-1942 (2012), the curator and historian Karen Wilkin describes Graham s role in the embryonic New York art world as the crucial link in a chain of friendships, the source of vital information, the catalyst in a significant development, the provider of useful advice, the instigator of new connections in an ever-enlarging web of artist-colleagues. Graham s family, members of the Polish aristocracy, came from Warsaw, but he was born in Kiev, Ukraine, in 1886, where his father was studying law. Before the 1917 Russian Revolution, Graham, who had followed his father s footsteps into law, spent considerable time in Moscow, where he became acquainted with the likes of Vladimir Tatlin, El Lissitzky, Natalia Goncharova, and Naum Gabo, and hung out in the home of the legendary collector Sergei Shchukin, intoxicated by the masterworks of Matisse, van Gogh, Gauguin, Bonnard, and a young upstart named Pablo Picasso.

When the Revolution finally broke out, Graham fought in the czar s cavalry and was briefly thrown in jail by the Bolsheviks. He made his way to New York in 1920, and two years later, at the age of 35, enrolled in the Art Students League, where he studied with the Ash Can School painter John Sloan. Among his classmates at the League were Alexander Calder and Adolph Gottlieb; later he became friends with David Smith and introduced him to the sculpture of Julio Gonz lez, which inspired Smith to turn from painting to welded metal. His most important connections, however, were with the unlikely duo of Stuart Davis, born in Philadelphia and raised in New Jersey, and the Armenian refugee Arshile Gorky. Graham, Davis, and Gorky became so inseparable that another migr , Willem de Kooning, dubbed them the Three Musketeers, and soon joined them as the Fourth. According to Wilkin, Graham seems to have had an instinct for bringing together artists with significant common ground, and feeding them, as he did with David Smith, exactly the information they needed about trends in European modernism. The most crucial evidence of his ability to bring artists together was the show he organized for the walls of a decorating firm, McMillen, Inc., which also held exhibitions.

The show was called French and American Paintings, and included Graham, Davis, and de Kooning alongside Picasso, Matisse, Braque, Modigliani, de Chirico, Rouault, and other luminaries of the School of Paris. Two young, unknown Americans were also invited to participate, Lenore Krassner, who later shortened her name to Lee Krasner, and Jackson Pollock (and for this reason, de Kooning always credited Graham with discovering Pollock). French and American Paintings also prompted Krasner to look up Pollock and introduce herself. Graham the painter is often lost in Graham the rainmaker, a situation that isn t helped by the essential strangeness of his art, which is best known for portraits of cross-eyed women with wildly ballooning hairdos. One of these pictures, Kali Yuga (c.1952), has surfaced at the Whitney Museum of American Art as part of the enormous exhibition Human Interest: Portraits from the Whitney s Collection1. It hangs in a roomful of images under the rubric Cracked Mirror, which refers to portraits done during World War II and its aftermath. These works, according to the wall text, combine figurative imagery with restless brushwork, distorted forms, and flattened color exuding a sense of anxiety, foreboding, and raw intensity.

The Enabler - Hyperallergic

John D. Graham, Kali Yuga (detail) (c.1952), oil, casein, chalk, ballpoint pen, and graphite pencil on cardboard

Among the paintings in the room is Arshile Gorky s haunting The Artist and His Mother (1926-c.1936); Willem de Kooning s Woman and Bicycle (1952-53) is around the corner, and the explosive Stuart Davis retrospective is two floors below, creating a perfect, if abbreviated, constellation to consider Graham s painting in context. For the Four Musketeers, Picasso was by far the dominant influence. Davis had caught the Cubist bug even before he left New York in 1938 to spend 13 months in Paris, and never let go. Gorky went through a succession of Cezannian and Picassoid styles as part of his famously long apprenticeship. The simplified features of The Artist and His Mother were derived from Picasso s post-World War I Neoclassical style, as were de Kooning s figurative works of the late 1930s. Graham s reverence for Picasso was expressed through a series of middling, quasi-Cubist paintings of still lifes and other subjects, but by the late 1940s he had gone rogue and denounced his former idol as a charlatan, even as he was siphoning off the streamlined curvaceousness of Picasso s Neoclassicism for his own explorations of the figure.

But Graham would have viewed his actions as returning to the source, which in this case would be Nicolas Poussin (1594 1665). In 1941, as William C. Agee writes in his contribution to the American Vanguards catalogue, Graham spent considerable time studying Poussin s The Triumph of Bacchus2 1635-36, then at the Durlacher Brothers Gallery in New York. This Poussin is hardly a model of French Rationalism, but in it Graham would have found the energy and drive to replace the force of Picasso, with whom he had become increasingly disillusioned. In this decidedly atypical painting by the 17th-century French master, replete with an abundance of nudity, an erupting Vesuvius, and centaurs rearing up on their hind legs, Graham discerned the presence of primitive internal forces, seemingly called up from the unconscious forces that he was increasingly referring to as the source of art. This account is of a piece with Graham s later mysticism and studies in the occult. It s intriguing to consider the paradoxes that fueled Graham s imagination Poussin, the paragon of Classicism, tossing his famously balanced principles of composition out the window in order to properly address his subject matter, the god of drunkenness and the irrational. And it makes you wonder whether Poussin s decision to undertake a Triumph of Bacchus in the first place, and to interpret it so merrily (there seems to be no downside to the Dionysian revels, other than the cosmic revenge suggested by the smoking volcano) constitutes an admission of doubt that calls into question the philosophical purpose of his rationalist enterprise.

Graham s painting at the Whitney is called Kali Yuga, which Wikipedia says3 is the last of the four stages the world goes through as part of the cycle of yugas described in the Sanskrit scriptures The Kali of Kali Yuga means strife , discord , quarrel or contention,’ a definition that seems to jibe with the mood among artists of the postwar period. The stark, hard-edged forms of the woman s face, neck, and breast are set against a black backdrop broken only by a few firefly-like buds of glowing light. Her hair, rendered as flat, loopy, Elizabeth-Murray-esque shapes, is all but lost in the black field, demarcated only by a faint, white line. Graham s habitual conflation of painting and drawing reaches an unusual degree of refinement here: you wouldn t know it unless you read the wall label that the painting was done on cardboard, or that he seems to have attacked it with whatever he had on hand oil, casein, chalk, ballpoint pen, and graphite pencil.

The linear elements and scooped-out spaces on either side of the nose activate an otherwise tranquil arrangement of forms, but the real disruption is supplied by the eyes, which, as typical of Graham s work, point in different directions, with one straight ahead and the other up and off to the side. As John Yau wrote in these pages a few weeks ago in his review4 of Margot Bergman s equally idiosyncratic paintings of women at the Anton Kern Gallery, It is wrong to think of Graham s portraits as the bizarre curiosities of a lesser painter (as one writer has mistakenly characterized him), unless you really believe in hierarchical thinking and status tracking. For one, Graham s picture outshines virtually every other one in the room (with Gorky s among the exceptions). Its magnetism belies the comic weirdness of the eyes, accentuating the image s mythical backstory and its melding of the Apollonian and Dionysian, which Graham gleaned from Poussin s Bacchus.

The painting raises questions without leaving room for answers. It is the rough harnessing of opposites much like, as Irving Sandler notes in the same catalogue, de Kooning s desire to paint like Jean-Auguste-Dominique Ingres and Chaim Soutine at the same time into a classicized form that subsumes the latter s overt expressionism. The only outward hint of inner conflict is the wayward direction of the eyes, which implies both omniscience and blindness.

If the final stage of Graham s sweeping artistic project, which involved nothing less than shaping the contours of American modernism, was to strip painting down to the primitive internal forces that he viewed as the source of art, then we should look at his images in those terms. They may still not yield any answers, but we would be asking the right questions.

Human Interest: Portraits from the Whitney s Collection continues at the Whitney Museum of American Art (99 Gansevoort Street, Meatpacking District, Manhattan) through February 12, 2017.5

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References

  1. ^ Human Interest: Portraits from the Whitney s Collection (whitney.org)
  2. ^ The Triumph of Bacchus (upload.wikimedia.org)
  3. ^ says (en.wikipedia.org)
  4. ^ review (hyperallergic.com)
  5. ^ Human Interest: Portraits from the Whitney s Collection (whitney.org)

A Map for these territories

In our 2016 Annual, we named Map as our Creative Agency of the Year. While the award reflected the fact that the company s work appeared twice in our Best in Book section (something we d not seen before), it was also given in recognition of the way Map works as well. Both of the BiB projects that the studio was involved in Hackaball, developed by Made By Many, and the internet of things toolkits by SAM Labs were collaborative ventures. Today s truly successful creative businesses work with their clients not just for them, we wrote. Map s process is one of co-creation: clients are even invited to spend time in the studio working alongside the team. Map emerged from London practices Barber & Osgerby and Universal Design Studio in 2012 and inhabits the same large office space as its sister companies. The idea for the company evolved out the kind of work that the two established offices were increasingly being asked to do: research-led, collaborative projects, where a client might know what they want to end up with, but not necessarily how to get there. Naming the new venture Map was not without intent, evoking a sense that it could chart a clear course right from initial idea to finished product.

A Map For These TerritoriesMap office

As Map s design director, Jon Marshall has led the team since its inception (he was previously studio director at Barber & Osgerby), and explains that the studio came out of discussions around new projects that were coming in that didn t feel like Universal or Barber & Osgerby commissions. For the first year we actually did say that we were thinking of setting up a b different entity, called Map, he explains. We were quite open with clients. Actually, it came from clients, in a way. Amid furniture, installations and limited editions, Marshall says that clients were approaching the team with a consumer electronics project or a future-thinking project , effectively envisioning a standard consultancy-type programme, which was different from how the furniture world operates . Working on the Sony installation Barber & Osgerby created for the Milan Furniture Fair in 2010, we realised that suddenly all our clients were also designers, so the process became much more of a collaborative, co-creative one .

A Map For These TerritoriesBeeLine, a low cost navigation system for cyclists

This approach hasn t come out of nowhere. Marshall believes that it s partly the result of a shift in the structure of the design industry. Twenty years ago, he says, consultancies dominated industrial design and almost all products were developed by these kinds of studios. Gradually, this b became so specialised that design teams then moved in-house. At the same time, however, digital was in ascendance and so there was a period where physical products were not so important because everything was put into screens, he says. So six or seven years ago, it seemed like there was a resurgence in the importance of tangible things, artefacts. Clients then wanted different types of people to work with, he adds, to give a different point of view this became a growing part of our business . Part of Map s philosophy is designer-led research , a process which enables the design team to get ahead of the game , says Marshall. Research became a tool that we started to introduce. Previously that was done by external agencies or the client. This approach inevitably adds a few weeks work to the front of any project but, Marshall adds, it s become a valuable aspect to their offering. For its recent project with Honda, which envisaged a fleet of autonomous vehicles as 3D models, Map worked for two months researching the company and its technologies, the various terrains and climate systems the vehicles would encounter.

A Map For These TerritoriesModel for the Honda. Great Journey campaign designed by Map and crafted by Ogle models.

Bringing things back to the factory floor, what remains key to enabling all this is the shape and structure of the Map studio itself. Based below the floor containing the Universal HQ, Map s space is nearer to the centre of the shared area that houses the workshop and materials library. One thing that brings us all together is a love of materials, says Marshall. I think that comes from Edward and Jay Barber and Osgerby, respectively. Every project goes through the same place, through the workshop. Inside, Map has all the hallmarks of a contemporary design studio: white-painted brickwork, a fleet of Macs, shelves proudly displaying finished work. But look closer and there are prototypes and off-cuts on show, too; desk space covered in cutting mats, blades and tools. The workshop is just that: a place to make things with your hands. And while Marshall believes that making is part of the Map culture (tactility is in its DNA), it s a practical solution, too, the fastest way to get results.

A Map For These TerritoriesModel for the Honda. Great Journey campaign designed by Map and crafted by Ogle models.

People often ask, Do you have a 3D printer? he says, holding a piece of foam-board used in the design of the Kano computer keyboard from 2013. The thing is, to 3D-print something like this you have to design it in CAD, and sometimes you re just not ready to make the investment to go geometrically perfect . You could spend ages. So you can just do a sketch, or a quick 2D drawing, go and make it in the workshop and have something in your hand you can look at it, live with it. What I find fascinating is that you can go into the workshop and there might be three things there: one of them might be the beginning of a product you re working b on; another might be the leg of a chair; and the other might be of a similar size but, actually, it s a whole building.

A Map For These TerritoriesIly by Insensi, a home phone for families to connect through voice, video and messaging

Unlike the more authored nature of furniture, the products Map makes have the client in on the creative process from the very start; the making is inherently a collaborative act. And it s the client s knowledge and expertise, Marshall explains, that helps drive the solution that Map can work towards. Having physical models to hand only helps with this. We want to involve clients in the process, says Marshall. Ultimately, they re the experts, so one of the main reasons physical models work really well is that anybody can have ownership over them. If we make a model out of blue foam, a client can break it, or take a pen and draw on it. We can say Maybe that radius needs to be softer? and we can take a piece of sandpaper and do that. CAD, on the other hand, is so specialised that it can act as a barrier between the client and the product. We can show renderings to clients, spin things around on screen, but they can t get their hands dirty. Marshall comes back to this point later, neatly summarising how it fits into the Map ethos: It s like having the design process out on the table, he says.

A Map For These TerritoriesThe Kani Screen Kit is an HD display that anyone can make

A different tool that has reshaped the way Map works is KickStarter, which the studio has used since it worked on the Kano computer kit. It was an entirely different focus the outcome of the first phase of work is essentially a video, says Marshall. Inside a big organisation, it s a really great tool because you can make a two minute film of an idea and send it around. KickStarter has been used to launch the Ily, an augmented landline phone which offers video-calling and messaging (for which Map created a physical model based on the user experience, rather than the tech), and also the BleepBleeps monitoring devices for parents. To date, Sammy Screamer, a movement detector, and Suzy Snooze, a monitor with built-in night-light and music player, have made it through to production.

A Map For These TerritoriesMap worked with SAM Labs on enhancing the entire user experience of their kits from the hardware through to their packaging

It s within this space, typified by the BleepBleeps project, that Marshall and his team hope to continue working. There s huge potential in connected products, he says, but how many of them are really changing lives for the better? There are many things that are connected, which are great, but they re not transformative in the sense that they are existing archetypes that then have tech added to provide some function, he says. Whilst I might like those things, many people are critical of them whereas with products like these, it s generally a different archetype where the technology is really crucial and central to what s going on. Then it makes it really important that the physical experience what we do, what we add to it is great, or as good as it can be.

A Map For These TerritoriesSuzy Snooze by BleepBleeps is a baby monitor, sleep trainer and nightlight

mapprojectoffice.com