Christopher Wool Bibliography
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New Work: Christopher Wool
[HRl�TOPHf R WOOl NEW WORK SAN FRANCISCO MUSEUM OF MODERN ART NEW WORK: CHRISTOPHER WOOL JULY 6 - SEPTEMBER 3, 1989 Although he has explored other art forms, including film,what Christopher Wool considers his mature work began with paintings he made in 1984. At that time, he was dissatisfied with the work he was producing (for example, a painting called Bigger Questions, which was simply a question mark on its side). Like many artists before him, he began to investigate the basic processes of painting itself, "strug gling to find some kind of meaningful imagery."1 A work he called Zen Exercise con sisted of three large, violent pours of paint. Looking back today he considers this work crucial because the pours were random, and he was "looking for location:• In the following year, with an enamel on plywood painting entitled Houdini, Wool continued his arbitrary paint application by dripping and spattering white paint onto a black surface. At first glance, Houdini looks like a Jackson Pollock achieved by recourse to the methods of John Cage: the evidently random drops of paint occasionally coalesce into larger, driplike patterns. One suspects that this adventitious painterliness was both too lush and too ambiguous for the artist, because for the next two years he produced paintings in which the application of paint was rigorously even. The result was paintings with allover compositions that although random were everywhere uniform, with no runs and only occasional larger dots of paint where one drop collided with another: Standing before such paintings for the first time is a curious experience. -
The Evolution of Streetwear
The Evolution of Streetwear The newfound reality of Streetwear and its luxury-like management Trabalho Final na modalidade de Dissertação apresentado à Universidade Católica Portuguesa para obtenção do grau de mestre em Marketing por Miguel Lobo de Macedo sob orientação de Professora Doutora Joana César Machado Universidade Católica, Faculdade de Economia e Gestão, Maio de 2015 Acknowledgements Máximo 1 página (facultativo) Abstract Purpose: To explore the critical dimensions of successful streetwear brands and how they garner customers’ attention, devotion and regard for the brand. Ultimately, the goal is to compare the anatomy of a streetwear brand to that of a luxury fashion brand and analyze the main differences and similarities between the two in order to understand how a streetwear brand, Supreme, operates in its niche market. By using a case study approach, this study plans on analyzing the newfound reality of streetwear, the reasons for its unprecedented consumption and what the biggest brands in this industry do in order to appeal, constantly, to different crowds: the devoted followers and the fashion-driven consumers. With this in mind, the study intends to validate the relevancy of these streetwear labels in today’s luxury fashion markets. Findings: The aspirational consumer of today’s streetwear will be the aspirational consumer of the eventual luxury market of tomorrow. I understand that there is still a lot to be studied within this streetwear industry but believe to have validated the importance of these brands in the purchasing intention of today’s consumers, by deconstructing the brands. Three important levels of analysis cement my study. -
How Fashion Erased the Politics of Streetwear in 2017
City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-15-2017 Mask On: How Fashion Erased the Politics of Streetwear in 2017 Frances Sola-Santiago How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/219 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Mask On: How Fashion Erased the Politics of Streetwear in 2017 By Frances Sola-Santiago Hip-hop culture dominated the fashion zeitgeist in 2017. From a Louis Vuitton and Supreme collaboration to Gucci’s support of Harlem designer Dapper Dan’s store reopening, the fashion industry welcomed Black culture into the highest echelons of high fashion. Rapper Cardi B became the darling of New York Fashion Week in September after being rejected by designers throughout most of her career. Marc Jacobs traded the runway for the street, staging a show that included bucket hats, oversized jackets, and loads of corduroy on a large number of models of color. But while the industry appeared to diversify by acknowledging the indomitable force of hip-hop culture, it truly didn’t. The politics of hip-hop and Black culture were left out of the conversation and the players behind-the-scenes remained a homogeneous mass of privileged white Westerners. Nearly every high fashion brand this year capitalized on streetwear— a style of clothing born out of hip-hop culture in marginalized neighborhoods of New York City and Los Angeles, and none recognized the historical, cultural, and political heritage that made streetwear a worldwide phenomenon, symbolizing power and cool. -
Info Fair Resources
………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out -
To Innovate Chinese Artistic and Popular Culture and to Create Design and Brand of Fashion Products
2019 International Conference on Education, Management, Social Science and Humanities Research (EMSSHR 2019) To Innovate Chinese Artistic and Popular Culture and to Create Design and Brand of Fashion Products Wang Shiyin, Qiang Mo* Guangzhou Academy of Fine Arts, 510066 *Corresponding author Keywords: The Method of Innovation, Fashion Cultural Products Derived from Art, The Construction of Brands, Core Value in Brand Abstract: On the basis of studying and combing out traditional cultural elements, this paper pays attention to the cultural connotation of Chinese classical design, updates the concept of innovative design, and reflects the cultural consciousness and self-confidence of artistic design and inject and applies national cultural elements to the design innovation practice of fashion art derivatives in order to explore the possibility of establishing a brand operation in the fashion art derivative market. The research method adopts the status analysis of domestic and foreign art and fashion design products, takes successful brand cases as examples, analyzes and discusses the design of representative popular logo products from the perspective of overall understanding and the whole environment, explores new design innovation methods, and puts forward theoretical basis for innovative brand strategy planning. Under the present background of cultural communication and the exchange of the sharp collision, problems that it is worth us to think mainly include the traditional craft and modern pop art, folk tradition and regional culture, the progress of science and technology and the humanities spirit, etc. These knowledges will undoubtedly directly affect people's real life and consumption idea, at the meanwhile, it can inspire creative inspiration and designers of fashion product innovation, and can become the art designer innovation inexhaustible creative driving power. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene -
Universitas Katolik Parahyangan Fakultas Ilmu Sosial Dan Ilmu Politik Program Ilmu Administrasi Bisnis
Universitas Katolik Parahyangan Fakultas Ilmu Sosial dan Ilmu Politik Program Ilmu Administrasi Bisnis Terakreditasi A SK BAN –PT NO: 468/SK/BAN-PT/Akred/S/XII/2014 Pengaruh Co-Branding Louis Vuitton dan Supreme Terhadap Minat Pembelian Konsumen di Bandung dan Jakarta Skripsi Oleh Yen Manda 2015320086 Bandung 2019 Universitas Katolik Parahyangan Fakultas Ilmu Sosial dan Ilmu Politik Program Ilmu Administrasi Bisnis Terakreditasi A SK BAN –PT NO: 468/SK/BAN-PT/Akred/S/XII/2014 Pengaruh Co-Branding Louis Vuitton dan Supreme Terhadap Minat Pembelian Konsumen di Bandung dan Jakarta Skripsi Oleh Yen Manda 2015320086 Pembimbing Fransiska Anita Subari, S.S., M.M. Bandung 2019 ABSTRAK Nama : Yen Manda NPM : 2015320086 Judul : Pengaruh Co-Branding Louis Vuitton dan Supreme Terhadap Minat Pembelian Konsumen di Bandung dan Jakarta Untuk memenangkan persaingan, merek-merek mempertimbangkan untuk berkolaborasi dengan satu atau lebih merek untuk membangun kekuatan baru di pasar akhir-akhir ini. Beberapa ahli mengatakan bahwa Co-Branding dapat berhasil jika satu merek berkolaborasi dengan merek kuat lain yang memiliki karakteristik yang mirip atau cocok dengan merek induk. Merek terkenal, Louis Vuitton (LV), telah melakukan Co-Branding. Yang menarik adalah, meskipun memilih merek lain dari segmentasi serupa, LV yang mewah memilih Supreme, merek fashion pakaian jalanan atau streetwear yang terkenal secara global. Penelitian ini bertujuan untuk mengetahui bagaimana pengaruh Co-Branding Louis Vuitton dan Supreme terhadap minat pembelian konsumen pada 100 orang yang mengetahui kedua merek tersebut. Co-Branding dapat diukur melalui dimensi familiarity, attitudes toward the partner brands, dan perceived fit between the partner brands. Melalui penelitian secara kuantitatif, data kemudian diolah untuk diketahui korelasinya antar dua variabel. -
Robert Gober the Heart Is Not a Metaphor
How in the fuck are you supposed to hit that shit? —Mickey Mantle ROBERT GOBER THE HEART IS NOT A METAPHOR Edited by Ann Temkin Essay by Hilton Als With a Chronology by Claudia Carson, Robert Gober, and Paulina Pobocha And an Afterword by Christian Scheidemann The Museum of Modern Art, New York CONTENTS 9 Foreword Glenn D. Lowry 10 Published by The Museum of Robert Gober: An Invitation Modern Art, Ann Temkin 11 West 53 Street New York, NY 10019-5497 Published on the occasion of www.moma.org 20 the exhibition Robert Gober: The I Don’t Remember Heart Is Not a Metaphor, at The Distributed in the United States Hilton Als Museum of Modern Art, New York, and Canada by ARTBOOK | October 4, 2014–January 18, D.A.P., New York 2015, organized by Ann Temkin, 155 Sixth Avenue, 2nd floor 92 The Marie-Josée and Henry Kravis New York, NY 10013 Chronology Chief Curator of Painting and www.artbook.com Claudia Carson and Paulina Pobocha with Robert Gober Sculpture, and Paulina Pobocha, © 2014 The Museum of Modern Art Assistant Curator, Department of Distributed outside the United Painting and Sculpture Hilton Als’s essay “I Don’t States and Canada by Thames & 246 Remember” is © 2014 Hilton Als. Hudson ltd Robert Gober’s Painted Sculpture 181A High Holborn Christian Scheidemann Thom Gunn’s poem “Still Life,” London WC1V 7QX The exhibition is made possible by from his Collected Poems, is www.thamesandhudson.com Hyundai Card. © 1994 Thom Gunn. Reprinted by permission of Faber and Faber Front cover: Robert Gober 256 List of Works Illustrated Major support is provided by the Ltd and Farrar, Straus and Giroux, working on Untitled, 1995–97, in 262 Exhibition History Henry Luce Foundation, Maja Oeri LLC. -
Limited Edition: Collaborations Between Luxury Brands Alice Fregne, Linnea Björck, Lusiyana Dimitrova
Limited Edition: Collaborations between luxury brands By: Alice Fregne, Linnea Björck, Lusiyana Dimitrova Limited edition: Collaborations between luxury brands Alice Fregne, Linnea Björck, Lusiyana Dimitrova Purpose: The purpose of this paper is to see what luxury brands gain from a limited-edition collaboration in terms of segment, positioning and target group and based on the identity prism, see what characteristics that are transferred from and to the brands in the collaboration. Design/methodology/approach: First a literature review is presented with relevant theories for the purpose of the paper. Luxury brands, co-branding, limited edition and brand identity are concepts of interest that are described and analyzed. Multiple case-studies were conducted and analyzed based on secondary data from websites in combination with academic articles and literature to be able to answer the research question. Findings: It is possible to draw some cross-case conclusions regarding reaching a new target group, however, we cannot determine whether this is also valid long-term or just during the collaboration. For two of the cases, a new segment was reached through the collaboration hence creating potential customers for both brands in the future. Regarding the positioning in customers' minds, it is difficult to say without collecting information from them, nevertheless, we can see that some brand characteristics have the potential to be transferred from and to the brands in the collaboration that they can benefit from long-term. Research limitations: The study is based on secondary data; therefore, it is difficult to determine if the limited-edition collaborations affected the brand characteristics from the senders’ side. -
Christopher Wool
CHRISTOPHER WOOL 1955 Born in 1955. Lives and works in New York. EDUCATION Sarah Lawrence College The New York Studio School. SELECTED SOLO EXHIBITIONS 2014 The Art Institute of Chicago, Chicago, IL 2013 Guggenheim, New York, NY 2012 Musee d’Art Moderne de la Ville de Paris, Paris, France 2011 Galerie Gisela Capitain, Cologne, Germany 2010 Gagosian Gallery, Rome Corbett vs. Dempsey, Chicago, IL 2009 Galerie Micheline Szwajcer, Antwerp, Belgium "Christopher Wool: Editions," Artelier Contemporary, Graz 2008 Luhring Augustine, New York "Porto-Köln," Museum de Arte Contemporanea de Serralves, Porto, traveled to Museum Ludwig, Köln; 2007 "Pattern Paintings, 1987-2000," Skarstedt Gallery, New York Galerie Max Hetzler, Berlin Eleni Koroneou Gallery, Athens 2006 Instituto Valenciano de Arte Moderno, Valencia; traveled to Musee d'Art Moderne et Contemporain, Strasbourg ETH (Swiss Federal Institute of Technology), Zurich Gagosian Gallery, Los Angeles Simon Lee Gallery, London 2005 Gio Marconi, Milan Christian Stein, Milan 2525 Michigan Ave., Unit B2, Santa Monica, CA USA 90404 T/ 310 264 5988 F/ 310 828 2532 www.patrickpainter.com 2004 Camden Arts Centre, London Galerie Micheline Szwajcer, Antwerp Luhring Augustine, New York Taka Ishii Gallery, Tokyo 2003 Galerie Gisela Capitain, Cologne 2002 "Crosstown Crosstown," Le consortium, Dijon; traveled to Dundee Contemporary Arts, Dundee, Scotland Galerie Max Hetzler, Berlin 2001 "9th Street Run Down," 11 Duke Street, London; traveled to Galerie Micheline Szwajcer, Antwerp Secession, Vienna Luhring Augustine, -
Katherine Brinson. "Trouble Is My Business."
Katherine Brinson TROUBLE IS MY BUSINESS ONE OF THE FIRST public descriptions of Christopher Wool’s art which they seem to deny.”2 As Wool’s oeuvre has evolved, could just as easily provide the last word. Written as the press it has become clear that this evasive quality stems from a fun- release for his 1986 show at Cable Gallery in New York, damental rejection of certainty or resolution that serves as the when Wool was on the brink of creating the body of work conceptual core of the work as well as its formal underpinnings. that marked the breakthrough to his mature career, it augurs A restless search for meaning is already visualized within the his development with strange prescience: paintings, photographs, and works on paper that constitute the artist’s nuanced engagement with the question of how to Wool’s work contains continual internal/external make a picture. debate within itself. At one moment his work will display self-denial, at the next moment solipsism. ALTHOUGH IN RECENT YEARS Wool has spent much of his time Shifting psychological states, false fronts, shadows amid the open landscape of West Texas, from the outset his of themselves, justify their own existence. Wool’s work has been associated with an abrasive urban sensibility. work locks itself in only to deftly escape through His identity was forged in two locales teeming with avant- sleight of hand. The necessity to survive the moment garde currents: the South Side of Chicago in the 1960s and at all costs, using its repertoire of false fronts and downtown New York in the 1970s.