How Does Contemporary Artists Consolidate Their Success And
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KAWS Media Release
KAWS Media release 6 February–12 June 2016 Longside Gallery and open air Yorkshire Sculpture Park (YSP) presents the first UK museum exhibition by KAWS, the renowned American artist, whose practice includes painting, sculpture, printmaking and design. The exhibition, in the expansive Longside Gallery and open air, features over 20 works: commanding sculptures in bronze, fibreglass, aluminium and wood alongside large, bright canvases immaculately rendered in acrylic paint – some created especially for the exhibition. The Park’s historically designed landscape becomes home to a series of monumental and imposing sculptures, including a new six-metre-tall work, which take KAWS’s idiosyncratic form of almost-recognisable characters in the process of growing up. Brooklyn-based KAWS is considered one of the most relevant artists of his generation. His influential work engages people across the generations with contemporary art and especially opens popular culture to young and diverse audiences. A dynamic cultural force across art, music and fashion, KAWS’s work possesses a wry humour with a singular vernacular marked by bold gestures and fastidious production. In the 1990s, KAWS conceived the soft skull with crossbones and crossed-out eyes which would become his signature iconography, subverting and abstracting cartoon figures. He stands within an art historical trajectory that includes artists such as Claes Oldenburg and Jeff Koons, developing a practice that merges fine art and merchandising with a desire to communicate within the public realm. Initially through collaborations with global brands, and then in his own right, KAWS has moved beyond the sphere of the art market to occupy a unique position of international appeal. -
ROSITA MISSONI MARCH 2015 MARCH 116 ISSUE SPRING FASHION SPRING $15 USD 7 2527401533 7 10 03 > > IDEAS in DESIGN Ideas in Design in Ideas
ISSUE 116 SPRING FASHION $15 USD 10> MARCH 2015 03> 7 2527401533 7 ROSITA MISSONI ROSITA IDEAS IN DESIGN Ideas in Design in Ideas STUDIO VISIT My parents are from Ghana in West Africa. Getting to the States was Virgil Abloh an achievement, so my dad wanted me to be an engineer. But I was much more into hip-hop and street culture. At the end of that engi- The multidisciplinary talent and Kanye West creative director speaks neering degree, I took an art-history class. I learned about the Italian with us about hip-hop, Modernism, Martha Stewart, and the Internet Renaissance and started thinking about creativity as a profession. I got from his Milan design studio. a master’s in architecture and was particularly influenced by Modernism and the International Style, but I applied my skill set to other projects. INTERVIEW BY SHIRINE SAAD I was more drawn to cultural projects and graphic design because I found that the architectural process took too long and involved too many PHOTOS BY DELFINO SISTO LEGNANI people. Rather than the design of buildings, I found myself interested in what happens inside of them—in culture. You’re wearing a Sterling Ruby for Raf Simons shirt. What happens when art and fashion come together? Then you started working with Kanye West as his creative director. There’s a synergy that happens when you cross-pollinate. When you use We’re both from Chicago, so we naturally started working together. an artist’s work in a deeper conceptual context, something greater than It takes doers to push the culture forward, so I resonate with anyone fashion or art comes out. -
Pay the Debt to Nature
Chiho Aoshima, Daniel Arsham, Hernan Bas, Sophie Calle, Maurizio Cattelan, Peter Con, Johan Creten, Matthew Day Jackson, Wim Delvoye, Lionel Estève, Elmgreen & Dragset, Daniel Firman, Bernard Frize, Giuseppe Gabellone, Gelitin, Duane Hanson, Jesper Just, Bharti Kher, Kolkoz, Klara Kristalova, Guy Limone, Jin Meyerson, Farhad Moshiri, Mr., Takashi Murakami, Jean-Michel Othoniel, Paola Pivi, Claude Rutault, Michael Sailstorfer, Aya Takano, Tatiana Trouvé, Piotr Uklanski, Xavier Veilhan, Peter Zimmermann, ... 76 rue de Turenne 75003 Paris T : +33 (0)1 42 16 79 79 [email protected] 10 impasse Saint Claude 75003 Paris Web : www.perrotin.com KAWS Pay the Debt to Nature 76 rue de Turenne : 6 November - 23 December, 2010 La Galerie Perrotin présente l’exposition KAWS Pay the Debt to Nature du 6 novembre au 23 décembre 2010. KAWS s’est fait connaître par ses interventions impromptues sur les affiches publicitaires des abribus ou des cabines téléphoniques dans les rues de New York entre 1996 et 2000. Ses motifs, Skully - un crâne de pirate aux yeux en forme de croix - ou Bendy - un corps de spermatozoïde surmonté d’une tête de pirate - s’infiltraient minutieusement dans les panneaux d’affichage en se fondant habilement dans chaque mise en scène. A partir de 1999, il développe d’autres personnages dont le fameux Companion (tête de pirate sur un corps de Mickey, il a d’ailleurs collaboré quelques temps avec Disney) qu’il édite en art toy via la société japonaise Bounty Hunter. Dès lors, il multiplie les collaborations avec le monde de la mode (Marc Jacobs, BAPE, Comme des Garçons, Colette ...), la presse (de nombreuses couvertures de magazines sont volontairement ‘disrupted’, du New York magazine à Jalouse), la musique (Pharrell Williams, Kanye West). -
Virgil Abloh, Ghanaian-American As Louis Vuitton New Menswear Designer
Virgil Abloh, Ghanaian-American As Louis Vuitton New Menswear Designer Please note that this post contains affiliate links and any sales made through such links will reward me a small commission – at no extra cost for you. Print PDF eBook First Edward Enninful was appointed Editor of Vogue UK and now the Ghanaian-American, Virgil Abloh, who launched his Off-White label not too long ago, was named the new men’s artistic director for Louis Vuitton in March, 2018. It is a great time for diversity in fashion. In a statement shared on Instagram, Michael Burke, Louis Vuitton Chairman and CEO said: “Having followed with great interest Virgil’s ascent since he worked with me at Fendi in 2006, I am thrilled to see how his innate creativity and disruptive approach have made him so relevant, not just in the world of fashion but in popular culture today…His sensibility towards luxury and savoir-faire will be instrumental in taking Louis Vuitton menswear into the future”. Virgil Abloh, Ghanaian-American As Louis Vuitton New Menswear Designer Virgil Abloh, Ghanaian-American As Louis Vuitton New Menswear Designer Abloh, who said it was an honour for him to accept the position of men’s artistic director for Louis Vuitton, stated that the heritage and creative integrity of the house were key inspirations, which he intended to reference while drawing parallels to modern times. Described by Enninful, as “…one of the few designers who truly marries street culture with high fashion,” the Vogue editor also mentioned that his appointment was a step in the right direction for diversity, as well as a particularly exciting creative moment for the industry. -
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 -
Louis Vuitton Sustainability Report
Louis Vuitton Sustainability Report Unpardoning Elton boggles very will-lessly while Meredeth remains tushed and grateful. Fighting and hesitating Ebeneser exchange while tibial Hagan nickeling her borsches acrostically and tittuped observantly. Marietta notice anear. Luxury leader LVMH in library mode laments Thunberg's. Part explain their initiative was to partner up with sustainable company Elvis. LVMH is aiming for excellence in agreement of protecting natural resources. This broad definition of luxury makes it difficult to compare results of different papers. Measuring perceptions of brand luxury. Mara hoffmann to. The issues to structured literature review of our site in other than any one of indian transition. Artistic director of sustainability reports is taking part of the same idea, reported sustainability challenges facing this derives from seed to be relocated to. Pestle report annually and sustainability efforts can be exceptional. Rating of any Swiss watch brand by the WWF in a 201 report. Luxury brands of fashion mark weber donna karan, it as experienced in relatively higher requirements needed to date about half of data is echoed by. The few remaining papers within this category discuss issues related to managers and placement within the male industry unite to regulators and researchers. Are superior looking for a report schedule is not covered on our website? Fast Fashion Luxury Brands and Sustainability The World. Former managing director of Louis Vuitton Worldwide The agency of Chinese. Lvmh should companies pay all reported sustainability improve its own risk, louis vuitton se engages in contrast, louis vuitton sustainability report. Due to sustainability reports, louis vuitton stores will no results of brand goods. -
February 21, 2009 Over the Course of a Career That Has
February 21, 2009 Over the course of a career that has variously infuriated anti-graffiti task force officers and enthralled Japanese street couture collectors -- meaning winning props from hip-hop superstars Kanye West and Pharrell Williams -- the pop artist KAWS has carved a unique niche for himself. The soft-spoken 34-year-old Jersey City native, born Brian Donnelly, created a new business model that bridges the high-low culture divide in ways that would have made steam come out of Andy Warhol's ears. By parlaying vandalism into a brand identity as a purveyor of mass- produced collectible toys, KAWS became a bona fide subculture celebrity with a recognizable presence in street fashion. But now, KAWS is at a career turning point. In spite of his renown in subcultural circles (which galleristas and museum directors have historically snobbed), he is now being mentioned in the same breath as pop art luminaries, such as Takashi Murakami, Keith Haring and Jeff Koons. And while KAWS has proven himself perfectly capable of trafficking his own pop offerings -- on skateboard decks, stickers, T-shirts and sneakers -- KAWS has infiltrated the rarefied world of institutional art after being held at arm's distance from it for much of his career. Pretty fly for a graf guy. "When I grew up, I never thought I could enter a gallery," KAWS said over lunch at Chateau Marmont this week. "I looked at them as these pretentious places that did not welcome me." On the heels of two exhibitions of his work at the Gering & Lopez Gallery in New York and Galerie Emmanuel Perrotin in Miami last year, an exhibition of KAWS' paintings and sculptures is set to open at Honor Fraser Gallery in Culver City tonight. -
The Deconstruction of Fashion Through the Creative Process of Music Vittorio Linfante* Published: July 29, 2020
Essays – peer-reviewed ZoneModa Journal. Vol.10 n.1 (2020) https://doi.org/10.6092/issn.2611-0563/11090 ISSN 2611-0563 Fading, Mixing, Slicing, and Looping: the Deconstruction of Fashion Through the Creative Process of Music Vittorio Linfante* Published: July 29, 2020 Abstract Fashion as mirror of socio-cultural evolutions. In light of the ever-increasing plurality and hybridiza- tion of languages, fashion change, through disassembling and reconstruction actions according to creative processes capable of generating new design approaches. The creative process, having passed the phase of revival, rediscovery and re-proposal of styles, today acts more and more according to an approach far from citationism. A method that deconstructs and reassembles products, materials and styles, in a mash-up, generating new signs, meanings and shapes, that recall, but do not refer di- dactically to precise references. Shapes, symbols, textures are thus deconstructed and recomposed according to logics and approaches that generate a multiplicity of meanings. Brands such as Vetements,Off-White, United Standard, Marcelo Burlon borrow from music notonly cultural references but also a design approach. There is a form of deconstruction that looks more like a music mix using techniques such as Fading, Harmonic Mixing, Slicing, Swap or Looping. Thus a new identity of contemporary fashion takes shape: we witness to a meta-design process that, thanks to a group of emerging figures hovering between DJs and fashion designers, defines an idea ofdecon- struction according to approaches that owe much to consoles, mixers, and synthesizers. Keywords: Deconstruction; Design processes; Creative industries; Fashion Branding; Music. * Politecnico di Milano (Italy); [email protected] Copyright © 2020 Vittorio Linfante 79 The text of this work is licensed under the Creative Commons BY License. -
Why Should You Work with a Creative Star?
Why Should You Work With a Creative Star? Collaborating with creative stars can make you more creative and help unlock your star potential. “Before the terms streetwear or luxury existed, he was overlook; to uncover similarities across different bringing forth street culture ideas through the high perspectives; and to iteratively refine the most fashion system.” -- Virgil Abloh in Dazed promising ideas. These stars typically have the ability to synthesise diverse ideas in a way that Virgil Abloh, Louis Vuitton’s men’s artistic director maximises creativity, leading to exceptional and founder of haute streetwear label Off-White, innovations. paid tribute to Kim Jones, his LV predecessor and former mentor, now creative director for Dior Collaborating with stars provides non-stars with the Homme. Abloh admits to learning a lot from Jones, opportunity to learn and develop these superior who he first met in 2007 when he was a virtual creative skills, increasing the likelihood they will go unknown and Jones was a prominent designer on to create a series of radical innovation. The non- renowned for successfully blending high fashion star can become more creative, and even gain their and streetwear. During a series of talks with own star status. streetwear fans in London in 2017, Abloh noted, “I slept on his couch in a front room in Maida Vale and Star designers are adept at creative synthesis forced him to teach me stuff, I spent a summer sitting there with him.” Where does outstanding innovation come from? Common belief associates breakthrough innovation Like every aspiring innovator, Abloh knew that with a lightning strike, with a lightbulb moment or working closely with stars such as Jones would be an apple that’s fallen onto a head. -
KAWS Media Release
KAWS Media release OPEn-AIR KAWS SCULPTURES TO REMAIN AT YORksHIRE SCULPTURE PARK Yorkshire Sculpture Park (YSP) is pleased to announce that six sculptures by the renowned American artist KAWS will remain on display until December 2016 giving visitors to the Park a further six months to enjoy the monumental works in the open air. Following the success of the artist’s first UK museum exhibition in YSP’s Longside Gallery and the open air, the six sculptures – SMALL LIE (2013), GOOD INTENTIONS (2015), AT THIS TIME (2013), BETTER KNOWING (2013), FINAL DAYS (2013) and ALONG THE WAY (2013) – will continue to be seen in the Lower Park, beyond the exhibition’s official end date of 12 June 2016. Outdoors, with their outsize and monumental proportions, KAWS’s sculptures bring to mind dystopian cartoon characters; recognisable personalities from childhood who appear to have lost their innocence. Against the Park’s tree line, the group of six works in natural and black-stained wood, measuring between three and 10 metres in height, are simultaneously spectacular and plaintive. Once bright, iconic characters are rendered in disheartened, world-weary Images, left to right: poses; imposing yet full of pathos, they point to an array of psychological SMALL LIE (2013) courtesy the artist, narratives, suggesting compassion, surprise and despair. YSP and Galerie Perrotin. Wood, H1000cm x W464cm x D427.2cm; Brooklyn-based KAWS is considered one of the most relevant artists of his time. GOOD INTENTIONS (2015) Courtesy His influential work engages people across the generations with contemporary the artist and More Gallery. Wood, art and especially opens popular culture to young and diverse audiences. -
Personal Value in Interviewing My Subjects, I Found That, Like Myself, Many Men Have Personal Connections to Sneakers As Well As
Personal Value In interviewing my subjects, I found that, like myself, many men have personal connections to sneakers as well as the culture that surrounds the sneaker industry. While the fashion aspect is a large part of sneaker collecting, for some collectors it is much more than just style that draws them to not only a specific shoe, but to the entirety of the culture as well. I came to realize that for many of the men whom I interviewed, style was not at the forefront of their purchasing decisions. The ideals and values varied between participants including beliefs such as, “It’s a simple flex. And it’s not too over the top, like you’re not wearing a Gucci jacket or something. Its just a pair of sneakers… that probably cost as much as someone’s paycheck.” Or “I started to get into shoes at a really young age and have carried that with me, I think one of the really interesting things about guys and fashion; about athletic shoes in particular [is] it does serve as kind of an interesting indicator about who that person is, before you even really hear them speak.” The men whom I interviewed all had their own reasons for getting involved in sneaker culture. However, what I found interesting is that more often than not, what drew men to sneakers and to the sneaker community was family. For some it was a family member that first introduced them to sneaker culture such as Subject 5, who recalls how he was introduced to the industry. -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family.