Live from Orlando, Florida, it's theCUBE. Covering Sapphire Now, headlines sponsored by SAP HANA Cloud, the leader in platform as a service. With support from Console Inc, the cloud internet company. Now, here are your hosts, John Furrier and Peter Burris. Hey, welcome back everyone. We are here live in Orlando, Florida. This is Silicon Angles theCUBE, our flagship program where we go out to the events and extract the signal and noise. I want to thank our sponsors SAP HANA Cloud Platform, Console Inc, At Console Cloud, and Capgemini. I'm John Furrier with my co-host Peter Burris, our next guest, Mike Gallo, Vice President of Global, ERP Practice Lead at Capgemini. Welcome to theCUBE. Thank you for having me. Thanks for coming on. So tell us what you do at Capgemini. What's your job? Sure, so I lead the ERP practice and the ERP practice is responsible for coming up with new solutions and offers around ERP focused on cloud and hosting capabilities. I also lead a team of subject matter experts and work in the pre-sales area as well. So you talk to a lot of customers. You see a lot of activity in the marketplace. What's your takeaway right now? What's the state of the market from your standpoint? Obviously, cloud's hot. They see all the advantages.  SAP's talking integration, partner ecosystem, certainly APIs everywhere with HANA on the cloud, Microsoft's on the stage with IDM on theCUBE, Apple, what's your take on the current customer challenges, your customer's challenges? Sure, well, I see two main areas that our clients are talking to us about. Number one is certainly cloud, of course, right? Because there's so many different options. I think you laid it out very well there between public, private, hybrid, all these different options around cloud and clients really need help in understanding what's the right solution for them? How does it fit for them? And really, is it safe to put their enterprise workload, which is very important like SAP in the cloud? How do you do that in a safe way? The second area my clients are talking to me about in this context is around SAP and HANA, of course. So HANA, you have to treat it differently, of course, because of the different uniqueness around hosting those certain workloads as well. So clients want to make sure that when they approach HANA, it's done in a certain way that you make sure you take that into account. How has ERP changed for SAP with HANA? I hear a lot of talk, oh, it's been rewritten. I mean, what specifically has been modernized for their ERP? Well, certainly the big shift, of course, is the time to insights, as you might hear people say. So the time it takes in order to get reports done or get information, in some cases, close to real time at their fingertips, has been a real shift from where things were a few years ago before HANA. So that's the real business value shift that we've seen with moving toward HANA. What's getting you excited right now out there? Because you have a lot of tools in your tools chest. SAP, obviously, we're here for Sapphire, but it's not an all SAP world. Cloud certainly brings up the question of other point technologies that wrap around from infrastructure, gear, commodity hardware up through the stack. Well, the things that get me excited are really talking to our clients and discussing what are the right cloud options for them? What's the right hosting solution from an infrastructure standpoint? How can we work with them to really understand where's the value? And it's not a one size fits all. There's many different options to look at. So how can we work with them to understand what is the right solution? What are the right options? And how can they derive that cloud value for what honestly is probably one of their most important IT assets? So you are to be perhaps a little inflammatory, but you're canary in the coal mine in certain respects.  Folks thinking about going from implementation or things about going from on premise to the cloud, are you seeing the same deal flow you used to see? Are you starting to see a deal flow go down? Are you starting to see cloud deal flow go up? How does it feel from a person and a practice that probably was stood up to do on premise implementation and now watch that go to the cloud? How's it playing out for your guys? Yeah, that's a great question. We've been doing, we saw an inflection on cloud, really enterprise type of cloud solutions hosted within our data centers. Probably a couple of years ago where mid-market type of clients say, maybe not necessarily enterprise, but mid-market we're saying, why not cloud a few years ago? But now we're looking at public cloud as coming into the fold as being a potential option and what other enterprise cloud capabilities are out there. So you're absolutely right. It's interesting to hear what clients are asking us about and which way they want to go. And now we're getting a lot more enterprise clients saying, hey, we want to take advantage of the cloud. We have these legacy deployments that we need to somehow derive value from still while still looking at what the future's going to bring and that's where hybrid cloud solutions could come into. So those conversations are definitely happening a lot more than they did in the past. So your conversations and becoming less of, well, here's the solution and more of, here's the options, both now and in the future, that this option is going to lead to these future options or these future alternatives. Is that becoming an increasing part of the conversation? Yeah, absolutely. Especially when you talk with enterprise clients, they have a vision and they have where they need to be. And a lot of times large corporations, it's not a matter of making a decision and turning on a dime. You really have to set the strategy on where you want to be. We can help them with here are the options but understanding what their business reasons are and then bringing to them potential options that maybe they didn't think of while keeping in mind where the end state is going to be and where they want to be down the road. So it's a journey in some respects. So Capgemini is a global services brand like other consulting firms and you have a stake in how this all plays out. John asked you, what do you do today? What do you want to be doing in four years? From what will Capgemini's difference be in your area in four years? Helping bring clients or helping bring ERP up and running with the cloud and some of the other options. What will your job be in four years, do you think? Same thing? Well, I think it's going to, I think it will change over time of course to be more of an advisor around the services that make the most sense and bring those different options to our client and helping them to get to where they need to be. Maybe it's not an on-premise solution in their data center, maybe it's cloud and helping them come up with meeting what their business objectives are around IT, especially in the ERP space and how can we do that by saying, looking at more OPEX type solutions or looking at different other business drivers that we can help them with. So I think that it's going to shift into that somewhat advisory state in a lot of ways. So John, we've been hearing a lot about partner ecosystems and some of the new acquisitions that SAP has made that are driving away, a little bit further away from ERP and to some other domains that are leading more to a revenue side of things. Are you also starting to see your practice move away from traditional IT closer to the business, close to revenue decisions? Absolutely, absolutely. We're seeing a lot more integration with say digital and things in that nature where, now you're much closer to where the end client is actually clicking a button and buying something or something. And so that's bringing SAP that much closer to the client and bringing the ERP into that portion of the business where you really are in the revenue driving side of the business. What does digital transformation mean to you when a customer says help me with digital transformation? Well, it's really, in my personal view, it's really a way for a company or organization to work much more closely with their end client or their end customer to understand what their needs are and be more reactive in a real-time way to their needs. And in some cases, maybe even predict what their needs are to provide that better experience for their clients. So how do you guys combine with the whole Virtuostream product to deliver some transformation? Sure, so we're working very closely with Virtuostream where a client is looking for enterprise workloads such as SAP and they really need business-level, service-level agreements where they need application availability, they need application reliability, application performance guarantees, and working with Virtuostream we're able to do that. We're also working with Virtuostream around their software tool sets that we're layering onto our enterprise-hosted cloud that we have at Capgemini that really gives us some automation capabilities around SAP that we didn't have before. And we're working with them very closely in some regions to partner with them in terms of data centers where we're pairing up with their data centers and sharing client workloads and really partnering in that way in a pretty big way. What are some of the critical elements for your customer's workloads in moving to the cloud? What are some of the specific challenges and elements that they've successfully, for the ones that have successfully moved over, what can you take away from that? Sure, well, what I would say is, of course, their ERP is the most critical, in some cases, to their business, most critical IT asset. So what you really have to understand, and then, of course, throw into that, and from an SAP perspective is you've got HANA that you have to take into account, which takes its own degree of complexity that gets added there. And so you really have to look at all the potential options and come up with what's the best fit and also think through what's the total cost of ownership of this solution and really think through where's the business going to be in another year or another two years? What's the consumption model going to look like? How is that going to be modeled? How can I fit the best cloud sort of scenario or solution to where my business is going to go and that flexibility that I might need? So you really have to think through what's the next year, two years, three years going to look like for me to really make those right choices. What's your big takeaway from the conference this year? If you look out on what's kind of happening, that was day one. What's your personal takeaway when you got to get the aroma of the vibe and hear some of the announcements, hear the keynotes? Well, one of the interesting takeaways that I got was the announcement that SAP is certifying virtualized HANA up to four terabytes now on VM or as vSphere, that's been very interesting to hear about. We've been waiting for this for a long time to make that jump from one terabyte to four terabytes. It's big in our business, so that was good to see. Otherwise, it's a matter of meeting with my clients, you hear them talking to CIOs, understanding what's on their mind, making sure that we're aligned in terms of what our services and solutions might be, and then talking to partners that we have as well, working with them to how do we better serve them, come up with new solutions around that for our clients? So that's really been the exciting part for me and it's been a really good day. So your job in many respects used to be where the rubber met the road in a client organization. As the cloud becomes more of an option and you are presenting to your customers a broader range of options, are you finding yourself being less of a, well I don't want to say less of, being more than just a partner to your customers, but also are you starting to work in the partner realm for Capgemini with a lot of other cloud players to try to ensure that you have a pulse on all this value that's being created in the SAP ecosystem from a cloud standpoint? And are you part of that process of bringing that into the customer? Yeah, I have to be, right? Part of my role is to understand what should be in Capgemini's portfolio around ERP and ERP cloud and hosting solutions. So I can't do my job working with clients and advising them on different options and solutions that are out there without going out there, kicking the tires, understanding what's out there, talking to partners, talking to clients, what are the needs that are out there? And so that's definitely a part of the job is to really get that feedback and then sort of take that in, take it under consideration and then build that into our own portfolio to see what makes the most sense for our clients. So it's very important. Mike, final question for you. What's your advice to people out there that are about to contact you or in the middle of transformation or just whiteboarding out options as they start thinking about ERP and go on the next level? Maybe they sat in the fence a little bit, now where did it take the plunge? What's your advice to those people? Well, my advice is to really look deep into the, like I had mentioned, think through what your next one year, two years are going to look like, understand what's going to be the right fit for that different solution and understand what's the total cost of ownership when you look at different cloud providers, different scenarios, understand that there's a lot of different components and bits and pieces that make up different solutions and you really have to dig deep into that ROI total package from a holistic perspective. So that's one area I would give some advice. Mike, thanks for sharing your insights here on theCUBE. Really appreciate it. Thanks for joining us, Mike Gallo, VP of ERP, practice lead at Capgemini, big technology practice, doing all the heavy lifting, delivering on the cloud. That's the key to success. Thanks for coming on theCUBE. Really appreciate it. We are here live, theCUBE at SAP Sapphire, day one of three days of coverage. I'm John Furrier with Peter Bearish. You're watching theCUBE.


Comparatives. Use ER to compare one-syllable adjectives and adverbs as well as two-syllable adjectives ending in Y. A horse is bigger than a dog. He is shorter than his brother. I'm busier today than I was yesterday. I can run faster than you can. My house is smaller. It's the lesser of two evils. Use more or less to compare most other adjectives and adverbs. She is more helpful than her sister. Mr. Gallant is more courageous than his cousin. Craig is less practical than Kay. Salim sings more beautifully than Barbara. For better or worse. Use better and worse for comparisons with good or well. That's a good movie, but this one is better. Actually, I think that one is worse. Use as, as to show similarity. He's as quick as his brother. This chair is not as comfortable as that one. Superlatives. Use the, est to indicate the superlative of one-syllable adjectives and adverbs as well as two-syllable adjectives ending in Y. He's the fastest man alive. That's the funniest clown I've ever seen. Ben works the hardest of them all. Use the best or the worst as the superlative of good or well. This is the best deal I can offer you. That was the best time I've ever had. It was the worst dinner I've ever cooked. I like this one best. Use the most plus adjective or adverb to indicate the superlative of longer adjectives and adverbs. He's the most wonderful man I've met. That was the most difficult exam I've ever taken. Chris sings the most beautifully of them all.


What's up everybody this is Giovanni from spy options trading today is Monday and I'm trying I'm trying something new today I'm actually recording from my GoPro just to see what it's like if I can get better quality better feedback comment down below whether you can tell a difference whether you can't whether it doesn't matter what I record with whatever it is comment down below what your thoughts is on the quality of the video let's get right down to it today on this beautiful Monday usually I love Mondays I didn't trade I didn't trade today I saw my setup on Apple didn't trade it I don't know why I don't know what I'm gonna do to get over whatever I'm going through here but I did have one of my subscribers send me like an e-book an e-book on I'm just a fear of losing or whatnot in the stock market so thank you so much I greatly appreciate it you know who you are I greatly appreciate that real talk Mondays I kind of have to make this quick because I have my son's Thanksgiving lunch today at school so I'm really excited this is the first time we've ever done this so I'm really excited about that so real talk Mondays guys I need to get over whatever I'm going through I need to get over the fear of losing I have $562 in my trading account if I start losing any significant amounts I can still I still have money on the side so it's not gonna be like I'm gonna be really hurting but I guess it's just because I'm trading with with just $500 it makes it hard for me I'm constantly thinking about gotta find the best trades the best opportunities the best setups and that's not always gonna happen sometimes it doesn't line up correctly but but I will tell you that on Netflix today I had a good setup what I I saw a good setup sure it wasn't exactly the way that I like it but it looked good it was a fake out the only reason why I didn't trade Netflix is because I didn't have enough money to trade those options so that saved me in itself that saved me for making that bad trade but also on Apple let me actually let me show you the Apple trade that I missed possible that Apple might be setting up here I like Apple got Apple in the big screen here's the one minute on Apple five minute on Apple no not gonna get in 325 by 330 let's see how this trade would go we got in at 330 it's on the bid 335 340 there it goes 350 on the ask excuse me on the bid 355 on the ask 355 360 there it is guys another trade missed but at least I I saw it I called it out there you have it folks it was Apple that I missed I saw it I saw it clear as day the only thing that I didn't like was the MACD the MACD just wasn't strong enough had that been there I think I would have traded those were the 195 puts the 195 puts I believe I have to get over the fear of losing because I'm gonna start losing at some point and that's gonna be okay it's just whether I'm gonna have a little bit of cushion or not a lot of you guys have actually been switching over to tasty works I have a referral link guys I have a referral link down below I'll post it in the in the comment section or in the description down below it'll help me out tremendously but there's a referral link if you're looking to switch over brokers to tasty works and I would greatly appreciate that just FYI but comment down below what your thoughts are what you need help with on this real talk Mondays and it's I'm just being extremely real here I had a really sort of quick interesting conversation I won't mention his name but we're two totally different traders I like to see a significant move in one direction and get in on that move after it started making that move he's a opposite of that he's trying to get in before the actual move there's arguments to be said on both ends on both sides on his side is you might be getting into early before the move actually happens it could never happen or it can go the opposite direction the argument can be said about my training style my training strategy is that it has already started moving it could stop moving or go the opposite direction so there's a double-edged sword on both sides and this is the game that we're playing guys you got to understand the game that we're playing first of all what you're up against and find a strategy that better suits you your needs your personality and what type of trader do you want to be more on that later I'm also putting together a video of a recipe for beginners or recipe for success in trading the stock market so that'll be later this week I'll release it later this week but I have some pretty good points on what will make you successful advice that I should be taking myself to begin with anyways so thank you everybody for watching greatly appreciate your support like and share my videos I would greatly appreciate it and comment down below I love to hear from my subscribers your thoughts your ideas and your advice for me I would greatly I'm open to to advice guys I have a lot to learn I've said that over and over and over again I have a lot to learn let's find another setup to trade tomorrow and the next in the next in the next day guys I think I got it down I know from watching my videos you can figure out that trading pattern yourself so but not to worry at a thousand subscribers I am gonna go ahead and release everything my signals my trading pattern my trading strategy everything in a nutshell that's a thousand subscribers so thank you so much everybody for watching greatly appreciate the support


Now on Entertainment, the first Black Captain America portrayed by Anthony Mackey has been formally introduced to the Avengers at the opening of Disneyland's Avengers Campus in Anaheim, California. Mackey's character in the Marvel Cinematic Universe became Captain America at the end of the Disney Plus series The Falcon and The Winter Soldier. Speaking on stage, Mackey said, it was a moment that was all about the future. A moment where kids of all races can look at Captain America and maybe see a little bit of themselves.


Hello everyone, thank you for the invitation and also thank you for allowing me to speak after Ellen, even though who ever since wanted to give your own said, you must read Ellen's work. And I did right away. Our work has much very much been in dialogue with one another. This photograph of Matisse that I wanted to start with just not on the screen. Here we go. I'm going to start with this photograph of Matisse working in bed on his cutouts, which was taken by Philip Halsman, who came to the Hôtel Aginat and Nice in 1951 with George Saint-Majin, then the art director of Esquire magazine. Of the many rich details about Matisse's working environment that the image captures, one that has always fascinated me is the way that these four figure drawings are hung to correspond with the four calligraphic characters in the Chinese wooden panel just above them. The four lively drawings, a sequence of a model turning in space, provide bodily parallels for the energetically carved glyphs. The relationship between the two above Matisse's bed seems far from haphazard because of the rich back and forth between two systems of representation, suggesting how writing is a form of figuration while visual signs may be read like words in a language. Indeed Matisse often referred to image making as a kind of plastic writing when describing his efforts to find the simplest of signs to condense the essential meaning of a motif. These signs Matisse specified were developed specifically for the work in which they appear. Their meanings were not predetermined, so they changed according to the context in which they are found. The Chinese panel is a 19th century object, a gift from one Chinese official to another. It actually commemorates another earlier act of giving as it's likely a carved version of the original gift, which was most likely a paper scroll, and having it carved into this larger format would have allowed the recipient to display the gift more conspicuously, hung either in a reception hall or above a door. Its main inscription, in fact, is an example of this flexibility of meaning, as it can be read in more than one way, literally as a river to the south seen through transparent curtains, but also because of a homophonic character, pure and virtuous like the southern river. The hausman photograph was an archival origin of sorts for a project I've been developing for the past five years. My research on the African sculpture that Matisse collected beginning in 1906, that's when he began the collecting of my research, had me thinking about other projects and other traditions that Matisse collected throughout his life and the impact those ideas had on his theories of making. The Chinese panel was a birthday gift from his wife Amelie for his 60th, and like many of the objects Matisse lived and worked with, as Ellen's photograph showed us, it moved with Matisse's from residence to residence. Here in the photograph on the bottom, you see the panel in the upper part of the photograph along with several niece period otolisks. For anyone interested in the personal collection, the place to begin is the Museum of Matisse and niece, where this panel is now, along with over 120 of the personal objects donated by the family. I began researching this particular collection with the assumption that the objects were not just decoration for his homes or various studios, but also another means to access many of the design principles in forming his practice. Matisse himself described the diverse collection to his daughter Magarite De Tui in 1943 as his working library, suggesting that he thought of them as resources and perhaps material extensions of his creative process. She just heard more about from Ellen. And other studio photographs would seem to support this idea. Here again in a 1951 photograph taken by Lydia de La Trescaya in 1952, excuse me, in 1951, we find another correspondence, this time between the calligraphic characters and the cutout elements. Earlier states of the simplified graphic forms that would eventually appear in blue nude with green stockings, women and monkeys, parakeet and the mermaid, all from 1952, are attached to the wall surrounding the panel. As if the signs Matisse conceived for nudes, fruit and foliage are extensions of the characters themselves, forming one unified installation. The two vitrines, which Matisse used to display his collection in ever-changing combinations are below, and those vitrines are also now in the collection at the Museum of Matisse and Nice. The Chinese panel must have been a productive source of ideas for his cutouts, especially in the conceptual play with its spatial relations between figure and ground. Matisse said himself that he was drawn to the ambiguous visual exchange between the characters and their wooden background, observing to, for example, how the Chinese panel is actually carved, but you think it's in relief. Describing how at a distance these gilded characters can seen as both carved down into the lacquered wood or raised up from its surface. So these are the kinds of dialogues between Matisse's art and the objects that inspired them, which form the basis of our upcoming exhibition, Matisse in the Studio, which opens at the Boston Museum of Fine Arts this April. My colleagues and co-conspirators for the project are Helen Burnham, who I think is still here, curator of, hi Helen, hi, curator of prints and drawings at the MFA, and Ann Dumas, who's curator at the Royal Academy in London. Our accompanying catalogue, which will be published by Boston MFA Publication, features essays by the curators as well as contributions by Claudine, Ellen, who is here, Marie Therese, Poulvinie de Soudigny, and Suzanne Blier, as well as Jack Flam. Ours, of course, is not the first project to examine the role of these personal objects. Some of you may have seen Une Palette d'Objet, this past summer, organized by Marie Therese, Poulvinie de Soudigny, in Nice, which was accompanied by a catalogue to which Ellen and I both contributed. And of course the much celebrated Matisse, his art and his textiles, exhibition in 2004, which was why the Royal Academy was such an ideal place for our second venue, since we feel that Matisse in the studio expands on many of the themes of that earlier show. Many of you fellow Matisse siennes in the audience today have generously shared your time, advice, expertise, archival material, even your Matisse's with us. Thank you for that. So please forgive me if the following pitch sounds vaguely familiar. If you've heard it from me, Helen, or Ann, or lucky for you, all three of us. But I'd like to do a brief walkthrough of the thematic sections of our exhibition to give you a little bit of a sneak preview. The first section is inspired by this Ellen adult photograph taken when Louis Aragon requested documentation for what he poetically referred to as this palette of objects. And it's an inspiration for a section called Object as an Actor, which will present a tightly focused small selection of objects as players on the stage of Matisse's work. Matisse actually submitted this photograph to Aragon with the inscription on the back, objects which have been used to me, of use to me nearly all my life. We call this section Object as an Actor based on what Matisse said in 1951. I worked all my life before the same objects. The object is an actor. A good actor can have a part in 10 different plays. An object can play a role in 10 different pictures. So in this section, we track those changes and those roles very literally. We introduce viewers to a group of deeply personal objects like this stately silver coffee maker, also known as a chocletiere that Matisse received as a wedding gift. Through small focused groups like this, it's apparent how the objects were points of departure to which Matisse returned again and again. The coffee maker appears in his work in different guises and across decades reinvented afresh in each new setting. 40 years after those two early still lives you just saw, Matisse returned to the subject, but with a slightly different chocolate pot on the collection in Nice and with an entirely different cut paper idiom for working out how objects could, as he said, of an earlier still life, participate in the same intimacy. Claudine's essay for our catalogue analyzes how the material realities of this same coffee pot evolve and works made over that 40 year period. Objects were clearly a source of continuity, a feedback loop in the metaphor we heard in Cameron's talk, and in returning to them she suggests Matisse made manifest the passage of time or durée in his work. Works on paper are key to our exhibition since you can't really explore an artist's working process without them. So in the Boston venue we have about 33 paintings, but we also have 24 drawings, seven prints, almost 10 cutouts. In this marvelous sheet on the left you see the same composition in the ink on paper at right being treated in a serial fashion as Matisse tests out the effects of different watercolor washes over it. The majority of the 36 personal objects in our checklist are coming from the Musée Matisse and Mies, and the museum's team has been gracious working partners in the research and preparations for the project. We do, however, have several objects which are being generously loaned from private collections, as is the case with this fond reliquary that we saw earlier when Ellen showed us it. And we think that this will really significantly expand our sense of the depth and range of Matisse's interests. The second section of the exhibition looks at the development of Matisse's abstract nudes beginning around 1906. First, we're going to convince the non-believers that this quintessentially French artist had a very international outlook. The stylistic purely visual similarities between this deeply experimental 1914 painting and the funk sculpture will provide a way into the question of modernist primitivism in Matisse's early nudes. The elongated torso, ovoid head sitting on a cylinder of a neck are some of the stylistic motifs that Matisse was boring. In Helen's reading of this work in her essay for the catalogue, she describes how the figure is both modern and totemic at the same time, and how the intensity of Matisse's response to the sensorality of his female subject is heightened by the energy of the scratch surface. Throughout the show, we wish to draw in Matisse's tactile engagement with his objects as much as possible. Since this was something he remarked upon, noting how, for example, African sculpture was conceived in terms of their material. But this emphasis on direct visual barings will provide a ground for exploring more conceptual barings. For example, several of the African sculptures in Matisse's collection were pairs, a traditional iconography in several different African traditions, such as the Bamamana and Lega we see on the screen. Once again, we think these little known works from her private collection will be a significant revelation, even for visitors who know Matisse quite well, and we are thrilled to be able to introduce them to audiences. Despite the enormous differences separating these African traditions, the male or female identity of each is not based on some bedrock of anatomical reality, but dependent on understanding the relative difference from its partner. And we see the same principle of fluid or reversible identity in the misleadingly titled sculpture to women, which is based on an ethnographic photograph of two Tuareg models from North Africa. One of the most significant departures Matisse makes from that source was the way that one of its figures, the one on the right in his photograph of a Hirshhorn cast, morphs from male to female depending on your view of it. Matisse in other words, and this is a point that we just heard from Ellen, was not simply turning to African models for new artistic ideas about making objects. He was also using it as a way to rethink social and cultural norms. In the third section, the face, we examine how Matisse approached the portrait, not just to reinvent the genre, but to and to interrogate the received categories of individual subjectivity that were supported by the tradition in which he was trained. We open with Matisse's powerful self-portrait from Copenhagen, a painting that looks almost carved from its painted surface that will resonate with the hieratic power of several sculpted heads in Matisse's collection, including a head of an apostle, most likely James the Grader, a work that would have been appreciated for its quote unquote primitivism in the early 20th century, given that European medieval art was often included in that impossibly broad category constituting the other in opposition to academic tradition. We hope by this point in the exhibition, and maybe in my talk, visitors will have a solid sense of the broad interests and cultural hybridity of Matisse's many objects. In her essay for the catalogue, Suzanne Blier enumerates the many lessons Matisse drew specifically from African masks to rethink the portrait. As an African, she was interested in what Matisse may have understood about the function of the masks in his collection. In a revealing remark he made to a sitter in 1918, Matisse said, ideally a portrait should resemble your ancestors and your descendants. Matisse's portrait of his daughter acquired by Picasso was among other things, a work solidifying their shared interest in African art. In this photograph taken by Picasso of his studio from 1910, we can see how he hung the Marguerite portrait near an elegant punu mask from Gabon, which when worn by men in morning ceremonies, evoke the soul of ancestors. Coming from Paris, along with these two works on the screen, the punu mask will be one of the only objects we have in the show that was not previously owned by Matisse. In our first section of the exhibition, the studio as theater, we begin chronologically with a 1917 painting, Lorette with a cup of coffee from the Art Institute of Chicago. Matisse adorned his new studio with props from the Islamic world, like this guéridon, which is most likely from Tunisia, to help create sensuous sets for his oralisks. At first glance, the objects appear to be exotic trappings, props for his make-believe harem. But their many appearances suggest they played a significant role in Matisse's working process and in his conscious reinterpretation of the Orientalist tradition with which they were associated. One theme emerging in these works is the synergy between figure and object. Decorative patterns from these objects often migrate to provide compositional motifs for the entire surface of the work. Lorette, the model, was able to embody various personas in the countless paintings in which she appears. Here, the mother of pearl inlay pattern on the top of the guéridon complements her gaze and emphasizes her dramatic features. Her eyes, with pupils set in a larger white form, also mimic the swirling coffee. Compare that to how decorative pattern works in this later woman with a veil from 1927, where it does not just provide a counterpoint to the face and body of the model, but structures her very appearance, like a matrix through which we see Henriette d'Aquerrier's body. As Charles-Felix in Nice, Matisse's working space became more like a theater set, continually dressed and redesigned with props and textiles, these ever more elaborate setups provided Matisse with a kaleidoscope of visual effects, rich decorative patterns, chromatic intensities, and the dissolution of clear perspectival space among them. Here in this 1928 paintings, we see all of those effects on display in a composition that features this octagonal chair, which comes either from Algeria or Morocco, and if we go back to the painting, you'll notice that Matisse has transformed the chair by editing out the majority of its painted patterning. The pattern is not recorded as is, but absorbed into the making of the work. Objects like this chair acted as menonyms for the Islamic visual traditions that the structures of his paintings emulated. As other scholars have already argued, beginning most notably with Pierre Schneider, Matisse was drawn to the Islamic world more for its pictorial traditions than as a site of exotic or picturesque locales. The principal concepts he drew from Islamic design were the use of rhythmic arabesque patterns, the rejection of a clear division between figuration and abstraction, and the decentralization of space and suppression of pictorial hierarchies, resulting often in images without a clear primary motif. By 1928, the date of this work on the screen, he had been engaged with these principles of Islamic design for well over a decade. Matisse would tell us in 1935 that, quote, the subject of a picture and its background must have the same value, or to put it more clearly, there is no principal feature, only the pattern is important. His continued focus on the sensual figure of the Odalis, however, tests this claim, but one of the key things to note about the period is the conscious artifice of all of this. Matisse's work from the 1920s has been read rather literally, but the objects may help us to understand how the portability of ideas in a modern world change the expectations surrounding authenticity. This photograph of the model Lisette Clannette sitting in the same chair in front of a hanging IET textile vividly captures this very modern artifice. It reads now almost like a film still from the very cinematic project that is Nice in the 1920s. The final section of our exhibition, Signs, focuses on Matisse's late work in the different ways Matisse sought to unify abstract signs with the empty space around them. It will suggest that Matisse's late work is the culmination of a lifelong endeavor to dismantle the hierarchies of the European tradition by opening it to ideas from beyond its borders. Chinese objects are well represented here, not only the calligraphy panel we saw earlier, but also with objects like this Ming dynasty blue and white glazed vase. In Matisse's remarks about Chinese art and objects, he often repeated a parable about drawing a tree. In a 1942 letter, for example, he wrote, I've been told what Chinese professors tell their students when you draw a tree, have the feeling of growing with it when you begin at the bottom. Inspired by these remarks, we've assembled a small group of works with tree iconography to reveal the mutable nature of Matisse's simplified signs and how they changed relative to their surroundings. Because of the presence of textile traditions in this final section, we're very happy to be able to at least evoke the Vence project with this maquette for a red chasable coming from MoMA as part of the tree group. We hope that it will also suggest another hierarchy, which Matisse's study of other cultures helped him to rethink, and that was the one separating fine art from design. As one of Matisse's last great canvases interior with Egyptian curtain from 1948 will be a finale to our exhibition where we will display it alongside the actual Egyptian curtain, which we saw earlier in Alan's talk coming from a private collection. Jack Flamm has written an essay corresponding to this final section called The Mutability of Objects and Signs. In it, he identifies the painting as the most magisterial embodiment of a system of contrasting signs, a kind of handwriting he sees in many late works that is based on visual contrasts. Here, for example, areas of rhythmic brushstrokes used for one kind of floral form, the radiating palm tree, are played against the brightly colored flat forms, the floral motifs in the Egyptian tentcloth, with an application process that is very similar to Matisse's concurrent work with the paper cutouts. For me, this focus on contrast in this one painting distills the idea of many cultural languages speaking through Matisse's work at once. For visitors who are experiencing Matisse's work for the first time, we hope that the material presence of incredibly vivid objects like this Egyptian curtain will offer them a way into the work. On the most basic level, knowledge of these objects enhances an understanding of working process. But rather than forcing a one to one correspondence, we hope that seeing the actual objects will also allow viewers to focus more on how Matisse took liberties to transform them, in placing them in different pictorial environments that highlighted their different relationships to other things. In our carnage of quick disposable consumption and ephemeral experiences, this model of sustained long-term deeply personal attachment to looking is a relevant one to see firsthand. I'd like to conclude by focusing on just two principle questions that I hope will emerge from Matisse in the studio, both the exhibition and the catalog. And here are some material that we've seen earlier. This is a cuba cloth from Cato, next to the Cartier-Bresson photograph that Ellen showed us. Our exhibition is going to feature examples of these cuba kingdom textile panels from what is now the Democratic Republic of the Congo. These textiles were brought to Europe from what was then the Belgian Congo, starting in the early 20th century, an example of the many objects that Matisse was able to collect made available to him by the structures of colonialism. We know that Matisse began acquiring these at least as early as 1920s, since two of his cuba cloths, as we've already heard, appeared in Cayet Da in 1927 and were later lent to the 1935 African Negro Art Exhibition at MoMA in New York. The photograph taken by Cartier-Bresson depicts Matisse with what had by that time become an extensive collection of cuba textiles, shown framing a large and exceptional Samoan bark cloth that Ellen showed us. The black and white photograph displays a mural-like arrangement of the textiles, but has kind of flattened linear forms, reducing the very rich contrasts of black oak and rust raffia palm fibers in the cuba palette into shades of gray. Even modern photographs, like the color one on the left, fail to capture the sensation of plush depth and mobile energy that the direct experience of these panels offer. The lively variability in the combination of motifs and color in this one cuba example is likely the result of an exploratory embroidery process, gradually executed by its maker or makers without a preset design. The resulting irregularity produces a dazzling improvisational quality, preventing us from seeing its concentric lozenges and triangles as static or repetitive. They're also able to project a field of imagined combination beyond the physical limits of the cloth itself. As you can see from this detailed photograph of another cuba textile fragment now in Nice, the raffia palm fibers have this three dimensional almost relief-like quality to them. It's one of the reasons why Matisse installed them throughout his home. They're that same photograph where you can see the long, thin cuba fragments installed in various places along the edges. In this 1935 photograph of the cuba cloths installed at the 1935 MoMA exhibition, you might recognize the Kato textile that we just saw, a second from the left. You have a sense of how these dazzling patterns act on the space in which they appear. In this photograph, the five cloths seem to detach from the wall and exist on their own plane apart from it, parallel to the lens of the camera. In that 1943 letter to his daughter Marguerite, Matisse wrote of the textiles, I'm astonished to realize that although I've seen them often enough, they've never interested me as they do today. I never tire of looking at them for long periods of time, even the simplest of them, and waiting for something to come to me from the mystery of their instinctive geometry. Matisse's admiration for what he saw as this instinctive geometry informs his complex use of patterns in paintings like Red Interior, Still Life on a blue table, which is coming from Dusseldorf, which we're delighted to feature in the exhibition as well. While the cuba textiles are not literally rendered as a still life element, like the glass-paste turquoise vase that appears on the table, a looser version of the zigzag vectors found in many of his cuba cloths cover the majority of the painting surface. Matisse's pattern of black lines breaks out into the view of nature through the open window, interrupting their planar continuity and preventing them from flattening the space of the painting. This effect, as in his cuba textiles, works against the expectations of any ordered consistency that we might associate with repetitive patterns. For example, while the zigzags beneath the palm tree inside the window might be read as recessional lines, suggesting a path to the garden beyond the tree, we can also read those lines as belonging to the expanse of wall and floor outside the window area, where the same pattern instead moves our eye, not back into the space of the room, but off the frame of the canvas. The black lines are multidirectional. In the upper left, they appear to climb up the wall, but in the lower right, a compressed version of the same lines move downwards, helping to situate that floating oval of blue table as resting on the studio floor. Red interior, I think, is a good example of Matisse emulating the variety of depths and visual directions in cuba cloths, also achieved through a minimal number of design elements. Once again, Matisse is not boring anyone recognizable motif from African art, but a theoretical principle for reimagining physical space, for creating a highly subjective version of it. This, of course, did not come to Matisse eureka style all at once in an afternoon contemplating his wall or solely from his engagement with cuba cloths. The methodological issues raised by identifying concrete sources for Matisse's theories of making are very complicated because of the thorough way that Matisse digested and then transformed ideas, often from many different sources in a single work. The questions are further complicated when the traditions on which Matisse relied are non-western. Since Matisse, like so many of his contemporaries, often productively misread what they studied and projected their own assumptions onto them. This reminds us that the relationships we are studying are not confined to the studio, despite our pithy title. A matter of one object talking to another, but a conversation that is part of a wider network of cultural and political forces. In our exhibition, viewers will encounter a eureba-gelade mask alongside a canonical portrait by Matisse. This kind of juxtaposition is not intended to be a celebration of modernist discovery. It's a relevant curatorial challenge to bring up here at the Barnes, where this kind of combination has been happening for quite some time in the ensembles upstairs. As curators and art historians steeped in the specialized training that helps to keep art in fixed cultural categories, I do think we need to keep thinking about what happens when we mix up the formula, when we place west and non-west side by side. For example, the drastic mistake perhaps of conceiving an entire swath of the globe as a non comes into play. In any case, we need to continue thinking of ways to present this key aspect of history so that the global objects that a European artist borrowed from are not just conjured as silent studio witnesses. I'm not sure our installation is going to pull that off, but I do know that the conversation is worth having. Political questions about cultural appropriation are even more obviously posed by the odalisks of Matisse's niece period. We are delighted to be showing this powerful odalisque with green sash from Baltimore alongside the Ottoman region Brasero, or charcoal heater, a familiar object in so many of these works. In the model's presence, the Brasero takes on an almost anthropomorphic quality. Matisse molds the forms of Henriette d'Icalhe to create visual parallels between humans and things so that you can see the sort of skirt of the Brasero emulates the folds of her pantaloons. When I teach works like this to my students at Wheaton, many of my undergraduates immediately point out the dehumanizing aspects of this equation, a reclining available woman is made to appear like an object. We then discuss how Matisse's stated goal was to render the emotional response that objects created in him, which is also why he is animating the object as much as he is objectifying the animate. Look, for example, how the legs of the floating table reach out to caress the body, almost as if an active sympathy with d'Icalhe. There isn't an absence of humanity in the painting, I would suggest. One could argue just the opposite. The idea of dressing up European models in Orientalist garbs also seems a bit outdated to them. And of course, they are not the only ones. Remy Lebrouche recently described this period in very familiar terms as a kind of retreat, in his words, a quote, reconciliation with the Orientalism of the Bazaar. It's true that in terms of quality and availability, many of the North African objects Matisse collected were hardly exceptional. The more humble the status of these objects it seems, the more likely Matisse was able to respond to them. As he told Teriad in 1952, his role model for this approach to objects was Rembrandt, who he sets up in this quote as foil to the 19th century society painter Tiso. Rembrandt produced biblical scenes with cheap goods from a Turkish bazaar, that he said. Yet they conveyed all his emotion. Tiso painted Christ's life based on every conceivable document. He even went to Jerusalem, and yet his work is devoid of life. The objects were reminders of the interior Matisse had seen during his travels to Spain and Morocco during the teens and were stimulants to his imagination, not to recreate the spaces themselves, however, but the feeling of the spaces he had experienced. They were not meant to provide ethnographic realism to his paintings. And in fact, the more theatrical and more unreal they appeared in his knee studios, the better suited they were to demonstrate that the authenticity, which most concerned Matisse, was that of his own emotional response. I'm going to conclude with this beautiful painting that's coming from Cleveland and just to point out that when we continue to read the cultural dynamics of the niece work from the 1920s in a very literal way as a rehash of the past of Otolisk, who exists only to be ogled or as a failed attempt to transport viewers to a mythic North Africa, we lose a sense of the complexity of formal experimentations behind the worlds of false perspectives and misleading masquerades. In this later work, Matisse is even more open about the fictions inherent to his working process. The Otolisk returns, but clearly as a contemporary working model in costume, pausing from her reading to gaze directly at the artist. The gesture is central to the work's inner play between reality and artifice. The model and the object surrounding her dramatize a very specific moment in the posing for a work in progress. Once she has transformed into an illusion, a kind of self-reflective mise en ébime that pays tributes to the other performances of his many earlier Otolisks, she will join the works on the studio wall behind her, including La Verdeur in progress that we saw earlier. One of the many frames within the larger frame of this painting's story. We hope that knowing this bounty of objects in Matisse's studio will help us to appreciate even more what a consummate storyteller he really was. Thank you very much.


So one of the things on Sam that you're gonna see is something known as a training assignment. Now trainings are completely optional. You do not have to do them. I want to get that out of the way right off the bat, but they are going to be beneficial to you. Some of you might look at this class and want to cake through it, want to just wing it and see what you do know off the top of your head. Some of you might want to actually get this training in so you can learn that stuff. And what happens is if we start this training, for example, you're gonna notice that what we see are a few different options. One, as soon as it loads up, you see that we get a number of tasks. Now we have a few things going on here. The first option is to observe. And if I hit continue, click the user one icon. You can see that what will happen is it'll actually go through the entire process for you and it'll kind of dictate things. So if you're an auditory learner and a visual learner, you can watch the video. We also have the practice version, which will do the exact same thing, but now instead it's going to tell you what to do. Click the user one icon. Now it's not gonna go any further until you click the user one icon. The password entry box for the user one account opens. And then type P2SSWD in the password text box. So you can see it'll let you go through that process for it. Finally, we have the apply section. This is kind of the more let's see if you know it kind of deal. You don't hear any conversation.  It's literally telling you the task at the bottom there. Log on to the computer, click the user one icon, type Pat, P2SSWD. In the password text, click the arrow to log in and it's only going to do that. So you actually have to go through and see if you know how to do that task. This is the exact same task you're gonna see on that Windows 7 exam version. Remember, it's not really an exam. It's a homework assignment, but that's how Sam looks at it. So I can go through the process. Now, let's say for example, I screw up. I'm gonna not type the correct password. Wrong password. As soon as I click on that arrow, password, try again. Alright. Now if I do type in the correct password, we do have to wait because you can see eventually it'll register. Boom. We've got that task complete. Whichever version you do, you can do one of them or you can do all three. As soon as I hit task complete, I'll move on to the next task. Finally, say I want to skip over one. I know how to log onto a computer. I want to look for a specific task. That's the one that, you know, maybe I've done the exam version and I keep screwing up on this one assignment. I can actually go over here to my task list. That's gonna show me every single one of the tasks that I have not done and all descriptions. So using keyboard shortcuts, for example, I can click on that one. It'll take me to it. If I want to jump through so I don't have to see this, I can click on just the apply and it'll do that for me. So press the alt F keyboard to show the file menu. Alt F task complete.


What's up everyone it's your girl Kenzie here from Layton Sports Cards and I am ripping a few personal boxes here for John Dee. We've got a 2021 Tops Triple Threads baseball hobby, a 2022 Tops Sterling baseball hobby, 2021 Panini Obsidian football hobby box, a 2022 Leaf Vibrance multi-sport box, 2022 Leaf Stitches and Slabs baseball, and a 2021-22 Panini Crown Royale basketball. All right we're gonna go ahead and start with let's start with the stitches and slabs here get this big box out of the way all the way to the back all right yeah I did see that patch was filthy Caleb that was so sick all right stitches and slabs time oh wow I haven't seen that one yet oh hold on have a PSA slab 2019 tops Fernando Tatis Jr rookie PSA Gem Mint 10 nice one there for you John can't go wrong with the Tatis rookie 2019 tops and wait till you see this jersey how about a Julio Rodriguez little Jayrod Otto that is nasty you've got your uh Beckett witness here with your matching Beckett COA wow Julio Rodriguez that is a great box of stitches and slabs wow Jayrod and a Tatis rookie all right up next we're gonna go with the Vibrance multi-sport I've ripped any of this a minute this stuff is so much fun to rip really don't know what you're gonna get out of this first up we've got a Chris Mullen on the goal that is a one of one here you go John one of one Chris Mullen on the ice Otto that is sick nice one there then we've got oh this is sick how about a Joe Montana Otto on the green that is seven of 25 kind of looks like space in the background there Joe Montana Otto to 25 there you go nice box of Vibrance there all right up next we're gonna do crown Royale crown Royale let's see a kaboom I get a kaboom out of a one box so first one here we did we did all right up first we've got a crystal of Chris Paul for the Suns rookie royalty out of 49 miles McBride for the Knicks and we've got rookie of Jalen Green for the Rockets oh wow John Kai Jones rookie Hornets and a Anthony Davis wait till you see this kaboom we've got kaboom of Lebron James Lebron James that is sick there you go John one box personal and it's a Lebron love the photo on that one too that is so cool we will mag this one for you John we've got Davion Mitchell heirs to the throne right Caleb and your auto vancouver grizzlies purple to 25 Felipe Lopez here you go what a box I finally watched that hustle movie um with with like a bunch of NBA players and the um Adam Singler is really good all right up next we're gonna go with the obsidian obsidian up next let's see if you can go two for two on key sets can we get a uh color blast out of this one let's see the car in the back there all right up first we have all right up first we have rookie of Jalen Phillips for the Dolphins Jalen Phillips rookie not numbered got green DeWayne Eskridge rookie on the color match for the Seahawks John go buy a lotto ticket dude because you got a kaboom in your crown and a color blast Aaron Rodgers in the obsidian crazy the chances of that oh my goodness wow is just crazy John D we'll mag that that's crazy out of 75 atomic patch of Eric Dickerson to 25 we have rookie Otto of racy McMath to 25 rookie Otto I don't know Blake that's what I was saying like man that's that's crazy you have a redemption I'm gonna set that down then we've got rookies to 25 rpa Jalen waddle your patch to 25 John has been hitting in every single box that he has ripped so far look at that waddle we'll mag that all right good luck on your redemption here let's see what we got we've got an Elijah Moore on the rookie Otto electric etch orange to 121 Elijah Moore Niners hit there all right we're gonna go triple threads we got triple threads and a sterling to end it can we see a booklet out of triple threads I don't know a john's pace here this is very possible we've got Shohei Ozzie Smith and Clayton Kershaw out of 50 Ozzie Smith and to 150 Max Scherzer yeah it really is this is a fun personal rep a little bit of everything we've got nationals to 36 trade turner on the relics they're game use seven rbi times three this trade turner to 36 and we've got patch auto to 99 blue jays cabin bizio some blue jays patch auto there player worn on that one so john orders a six box personal he gets a crown royale basketball any obsidian football gets both case hits out of one boxes he got a lebron kaboom and a rogers color blast in single boxes all right here we go second pack of uh triple threads uh Derek Jeter freddy freeman and Pete Alonso we've got rookie to 199 Jared calnick nice one there and to 259 Cody bellinger then we've got pirates on the rookie triple patch auto of miguel yajir triple patch auto 19 of 99 and nice one here a christian yellowish player worn jumbo patch to 48 brew crew those new brew crew um jerseys are sick for the brewers yellow i'm sure you've seen those huh it's like really cool i think that they put that in the group chat all right last box here for you john time for some sterling good luck all right we have mvp award winners and stat leaders we'll do stat leaders first first up we've got to 10 alex rodriguez little a rod 2007 54 home runs alex rodriguez on the triple relic auto there you go john we'll bag that one for you all right mvp award winners good guess okay oh man we have a bat not bat bat something we have a bat something john go buy a lot of tickets that he did my goodness gracious we have a kody bellinger one of one game used bat nameplate the ridiculous six box personal holy cow we will mag that one for you as well congrats john go buy a lot of ticket or a scratch off and we will get these right out to you


The way that we're gonna section everything off, we're gonna be working vertically. I'm gonna work across the head shape. I'm going to work round graduation. Round graduation is when you look at the head shape on the top, that's your line. So here, if I'm here, that means I'm layering all of this so there's not much of a buildup of weight. I want a little buildup of weight, so I gotta drop to make sure that just this top area here has the graduation. You gotta make sure you pick the right length. We're gonna start that vertical line. And what I'll do is once I get that cut, I'll comb it to kind of see where it starts to bevel. So I'm looking at right about this area here. Now how do we trap? I'm gonna pull the guide over to the new section and mimic that same angle. I'll just continue working. Now we're on section three. So I pull section two over to section three. Just do a little cross-checking just to see where we're at. Now, again, notice that I comb into it to get the hair organized, but then I scoop underneath to comb the guide over to the new hair to make sure I stay consistent with my horizontal shape of the line. Now you can see the graduation in here starts building on that curve and then this part here tucks in and gets fringy around the ear. Again, comb the guide over top of the new section. Keep that vertical line running down the head same way. Once you have that length towards the bottom, usually I'll just grab like my tri-raiser because this is a little more of just selecting areas of the head here. Just like kind of softly putting into it. All right, so now we let down our right side panel here. Vertical sections with a rounded horizontal line. Now I'm going to straighten up a little bit because if I continued this line all the way through, I'd get a very heavy buildup of weight right around this area. So I wanna shift my vertical line and now be more like this. And we'll work through it that way. If you guys like my cool pink metallic comb, re-slowneducation.com. Push my guide over to the new section. Push two over to three.  I'm gonna do the other side same way. I like where everything is. I like the weight as it doesn't look too heavy. Now we just gotta finish this thing off. What I'm gonna do is I'm gonna work diagonal back parting all the way up through the top. I can see my guide falls out from behind. I come through, cut and connect that line. See, that gives me a little length. Now scoop up my guide, bringing it straight towards me. Now I'm feeling like I can just do a little point cutting and texturizing on the top, diagonal back. We're gonna do the same thing on this side. All right, let's blow dry. All right, I'm gonna do a little round brushing. Now I've got the volume, it's blown dry. What do we think?