Artlandia, Inc. Has released a new major version of Artlandia SymmetryWorks, the popular pattern design plug-in for Adobe Illustrator. The new version comes in two flavors - SymmetryWorks 5, an upgrade of the plug-in itself, and SymmetryWorks LP, a combination with another Artlandia plug-in. Allan Sekula, Man sleeping under a eucalyptus tree, Embarcadero park, (SD) from Fish Story (1989-1995), via Marian Goodman Having first shown the late Allan Sekula’s nuanced and incisive photographic and conceptual work at its London Gallery this spring, Marian Goodman has once again tapped the artist’s archive for a wide-ranging exhibition of his works at its New York space this summer.

• Artlandia Symmetryworks Serial Machehar

Artlandia Symmetryworks Serial Machehar

Donald Moffett, Lot 090307 (O) (2007), via Lehmann MaupinOn view for the summer months at, a group show compiling the work of, and many more. The exhibition, co-organized by Curator Michael Goodson and Lehmann Maupin Curatorial Director Anna Stothart and spanning both of its Chelsea locations, combines a group of artists centered around more traditional formal, material, and spatial concerns, while also explicitly engaging with social, political, and psychological areas of influence to expand the established narrative traditionally used to answer the question, “Where does abstraction come from?”. Betty Woodman, Venus #7: Homey (2014), via David KordanskyCurrently on at Los Angeles exhibition space, Shadows and Silhouettes brings together a selection of sculptures and paintings by, the artist’s first solo show in a gallery since her death.

Meandering through the last years of the artist’s live, the show takes particular interest in the technical issues of constructing the work, and how these moments and movements in space can work in conjunction with the artist’s hand to complete the object. Allan Sekula, Man sleeping under a eucalyptus tree, Embarcadero park, (SD) from Fish Story (1989-1995), via Marian GoodmanHaving first shown the late nuanced and incisive photographic and conceptual work at its London Gallery this spring, has once again tapped the artist’s archive for a wide-ranging exhibition of his works at its New York space this summer, compiling works from a range of different projects the artist has embraced over the years, and moving between film, performance and photography. Andrew Sim, A pink Christmas tree (2019), via Karma“What is the weird?” queries in the exhibition text for its summer group show, which brings together the work of,. Quoting from Mark Fisher, the show’s press release seems to trace a subtle line around the show as a whole: “When we say something is weird, what kind of feeling are we pointing to? I want to argue that the weird is a particular kind of perturbation. It involves a sensation of wrongness: a weird entity or object is so strange that it makes us feel that it should not exist, or at least it should not exist here.”.

Harland Miller, Me (2019), via White CubeMining a unique fusion between graphic design, painting and other tenuously associated aesthetic fields, artist work, on view this summer at Hong Kong location, lends itself to a striking and detailed interrogation of the language of design, and the design of language. Miller draws on a wide range of cultural references, including ’60s and ’70s graphic design and the bold, upbeat covers of post-war psychology books, yet set these graphical icons in conversation with the language of American painting, explicitly drawing links between the energetic abstraction of the era and the graphic design that seemed to bubble up alongside it.Harland Miller, Boss (2019), via White Cube. Painters Reply: Experimental Painting in the 1970s and now (Installation View), via LissonIn September of 1975, Artforum published a special issue on painting. In addition to articles such as “Painting and the Struggle for the Whole Self” and “Painting and Anti-Painting: A Family Quarrel”—in which Max Kozloff said “brush wielders were afflicted by a creative halitosis”—were the responses to a questionnaire polling 21 painters on the state and prospects of the medium. Decried for a distinctly fatalist bias towards the medium, the issue seemed to present the painted canvas as an object moving towards artifact, an icon of the post-war era that was swiftly losing its potency. Cindy Sherman at National Portrait Gallery (Installation View)What more can be said of the work of? An artist who has consistently produced works that interrogate and rework the notions of image construction and understanding through the use of her own image, Sherman’s photographic output has moved through an exceedingly broad selection of focal points and interests. There’s her selection of film still works, placing her image onto prints in a manner that seems to reference some disembodied section of an unseen classic, while elsewhere, her collection of hyper-specific portraits mines the notions of identity construction and affiliation in the modern cultural landscape.

Yang Fudong, Dawn Breaking – A Museum Film Project, Day 30 (2018), via Marian GoodmanConsidered one of China’s most important contemporary artists, the Shanghai-based work has evolved through a diverse series of focal points and interests over the course of his career, moving through painting, video and other bodies of work that underscore his place as a central contributor to the landscape of Chinese contemporary art and a prominent voice in the national discourse. This month in London, the artist presents an exhibition of new work at, the first with the gallery in London, and the international premiere of his epic project Dawn Breaking – A Museum Film Project. Eric Fischl, The Exchange (2018), via Sprüth MagersFor over four decades, has produced uncompromising images of American society, presenting a challenging and often surreal perspective on the forms and functions of middle and upper class malaise as reflected in the body itself. Figures routinely share space on his canvases, yet their gazes rarely meet, lounging or posed in a manner that reflects a certain deconstruction of the body as persona. Even when they do, through composition, pose and gesture, they are trapped in the midst of strained exchanges, moments of exchange and interaction that seems to place the viewer in the midst of a meditation on the body and on the societies it constructs. Marking his first solo exhibition in LA in 25 years, the artist’s current exhibition, Complications From an Already Unfulfilled Life, marks both a continuation of this thread and a new path forward, marking his first show in the Californian metropolis with. Daniel Richter, Plications of Come (2019), via Regen ProjectsCurrently on view at in Los Angeles, painter has brought forth a selection of new works, continuing recent explorations in methodology the artist first began experimenting with in 2015.

One of the most influential painters of his generation, Richter’s work continues the lineage of post-war German painting that includes artists such as,. Mixing together disparate threads of figurative painting and abstraction, his pieces twist pop culture, media images and other bits of communicative detritus through a shared space, resulting in swirling compositions that implies an ever-open eye on the world around him. Chris Ofili, Dangerous Liasions (Installation View), via David ZwirnerCurrently on at 34 East 69th Street townhouse in uptown New York City, artist is presenting a series of new works unified under the title Dangerous Liaisons. Referencing eponymous painting of 1935, which Ofili explores in drawings that employ the compositional organization of the Surrealist’s work as a structure for his own rich and layered exploration of color and line, the exhibition underscores Ofili’s abilities as an expressive and emotive painter whose craft with the brush is complemented by his rich conceptual practice. David Hammons, Untitled (2017), via Hauser & WirthMarking his first major exhibition on the West Coast in decades, artist has touched down at for a major summer blockbuster, an exhibition that underscores the artists’s expansive and challenging practice, and its ongoing discourse with the languages of race, wealth, politics and modern art that have been his hallmark over the course of his life. Remaining razor sharp in its ability to comment on and critique the various socio-cultural spheres his work moves through, Hammons’s show is a masterclass in subtle condemnation.

Jonas Wood, Still Life with Red Panels (2018), via Gagosianrapid rise in the past few years to representation at seemed to happen almost overnight. But for followers of the Los Angeles-based painter, his ascension comes as no surprise. Wood’s impressive approach both painting and drawing showcases a masterful sense of patterns, perspectives and color, using figurative vantage points to arrive at beguiling images and innovative constructions of the picture plane. On view this month at Gagosian, a range of works from the artist underscores this ability, and delves ever deeper into his creative practice. Oscar Murillo, Manifestation (2018-2019), via David ZwirnerCurrently on view at London, artist has brought forth a selection of new works exploring both his past visual language and a range of expressive new iterations of his technique, delving into the visual history of his paintings as a shared exchange with both history and modernity. On view through the end of the month, Murillo brings out a new range of pieces and projects that underscore his continued engagement with the painted canvas.

Olga Balema, Brain Damage (Installation View), via Bridget DonahueUpon entering the gallery space at this month, one is greeted by a peculiar selection of objects. Small-scale, think strips of elastic material are laid up against the walls of the space, or twisted out along the floor. The pieces, with their slight impressions upon the viewer’s perception of space, seems to lend the already raw Chinatown space a look of material temporality, of objects held in momentary sway, as if left behind in between residents. Piero Manzoni, Achrome (1961-62), via Hauser & WirthIn 1960, at the height of his artistic maturity and of his awareness on the gradual path and progression of his work, artist would branch out into a series of material experimentations and evolutions that would mark one of the most prolific stages in his career, and also one of the most conceptually fruitful. The artist, utilizing diverse natural and synthetic materials, such as cotton wool, canvas, polystyrene, phosphorescent paint, and even bread, stones, and straw, would ultimately create a broad range of his Achromes, arrangements of material that both draw on their compositional elements and on their sheer mass to create a new awareness of the object and the space around it, a new manner of seeing branching directly out from the piece itself. Simultaneously, the artist would explore a range of other practices and performative works, focusing in particular on the realization and execution of extensive “lines,” traced across papers, photos, and even across the gallery space. Delving into this important period in the artist’s career, has brought together two concurrent exhibitions devoted to the artist’s work, unfolding over two floors and focusing on Manzoni’s most significant bodies of work.Piero Manzoni, Linea lunga 7200 metri (1960), via Hauser & Wirth.

You often want to tweak your patterns to make them look just so. In, you can do that with a rich collection of image filters:. Adjust Colors. Sepia.

Polaroid Color. Reduce Colors. Sharpen. Pixelate. Add Noise. Dot Screen. Symbol Screen.

Cross-Hatch Screen. Emboss. BlurApplying filters to tweak your patterns.Importantly, filters in SymmetryMill are applied to the source image, not the end pattern, so your pattern always remains in repeat and there are no distortions on boundaries in the repeating tile, no matter how many filters are applied and in which order.Have fun checking out the new filters. Also see in the user guide for more info about filters in SymmetryMill 2.Last updated: June 7, 2017.