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" ... From defunct golf courses and shopping centers to parking lots, mobile home parks and assemblages, developers and homebuilders find little choice but to consider land deals that are difficult to navigate. More and more developers, along with investment groups like 13th Floor, are willing to look at land deals with “hair” on them, if they can end up with a parcel that is in an in-town location. ... "
" ... Graphical Abstract: Emily Curren, and Sandric Chee Yew Leong (2019). Profiles of bacterial... [+] assemblages from microplastics of tropical coastal environments, Science of The Total Environment, 655:313–320 (doi:10.1016/j.scitotenv.2018.11.250) ... "
" ... Louise Nevelson (1899-1988) was a American sculptor (born as Leah Berliawsky in the Russian Empire, now Ukraine), which has spent most of her work life in New York. Her works mostly are monochromatic wooden assemblages, created from unique arrangements of a range of found objects such as woodcuts or bits of furniture which she framed up and then covered in a black, white, or golden painted uniform. ... "
" ... Private collections are an important part of this 210-lot sale and two assemblages from New York socialites and philanthropists standout. The first is Cecile Zilkha, best known for her lifelong interest in the arts, particularly The Metropolitan Opera. Her collections include important pieces from Bulgari, Cartier, Van Cleef & Arpels and Harry Winston. Among the most notable are a silver-topped gold, emerald and diamond pendant-brooch (estimate $200,000 - $300,000), created in 1840 as a wedding gift for Lady Frances Vane, wife of John Winston, 7th Duke of Marlborough. Other pieces from various periods include a 19th-century silver-topped gold, sapphire and diamond brooch (estimate $200,000 - $300,000), a 1930s diamond rivière by Bulgari (estimate $300,000 - $500,000) and a mid-20th-century emerald and diamond flower clip-brooch by Van Cleef & Arpels (estimate $80,000 - $120,000) centered by an 85-carat emerald. ... "
" ... This is the first exhibition examining the relationship between Saar’s found objects, sketches and finished works, thereby shedding new light on her distinctive practice which addresses spirituality, gender, family history and race. The exhibition features a selection of sketches and approximately 18 corresponding assemblages and collages alongside approximately a dozen of her travel sketchbooks. Selections cover a broad span of her career, from the 1970s through a sculptural installation made specifically for this touring exhibition ... "