Oral Vocabulary and Language Program
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Tokujinyoshioka Waterfall.Pdf
Tokujin Yoshioka Waterfall Sherman Contemporary Art Foundation Sydney Contents Tokujin Yoshioka Waterfall Sherman 7 October 5 Preface Gene Sherman Contemporary – 17 December Art 2011 9 Waterfall Foundation 20 An Interview with Tokujin Yoshioka Dolla S. Merrillees 27 Nature as a Presence Mami Kataoka 45 Tornado 57 Snow 69 VENUS – Natural crystal chair 79 Rainbow Church 89 List of Works 90 Artist Selected Biography 91 Artist Selected Bibliography 92 Contributors 95 Acknowledgements 3 Preface Gene Sherman Chairman and Executive Director Sherman Contemporary Art Foundation The Sherman Contemporary Art Foundation (SCAF) Tokujin Yoshioka installation represents a milestone in the exhibition history of the Foundation, which has curated and organised twelve commissions and projects since April 2008. While Tokujin is an artist – a representative of SCAF’s core focus group – he most frequently works within the framework of functional design: furniture, lighting and cutting-edge retail, restaurant and fashion interiors. Art and design, long separated into rigorous categories, now periodically overlap in the upper echelons of innovative creative practices. In the second decade of the twenty- first century, how do these two disciplines interrelate? The aftermath of the postmodern period has given rise to intersecting creative endeavours. Art schools worldwide no longer pigeonhole students in sculpture, painting, printmaking or medium-specific departments. Emerging practitioners most commonly conceptualise their projects, selecting the best pathway to realisation from amongst the many technical methodologies their education has placed at their disposal. Similar forces were at work, of course, during fin-de-siècle and early twentieth century artistic movements: between 1903 and 1932, the Wiener Werkstätte, spearheaded by Josef Hoffmann and Koloman Moser (with Gustav Klimt’s early participation), encouraged avant-garde collectors1 to commission or acquire paintings, furniture, lighting, carpets and tableware linked by aesthetic and philosophical considerations. -
LVMH 2017 Annual Report
2017 ANNUAL REPORT Passionate about creativity Passionate about creativity W H O W E A R E A creative universe of men and women passionate about their profession and driven by the desire to innovate and achieve. A globally unrivalled group of powerfully evocative brands and great names that are synonymous with the history of luxury. A natural alliance between art and craftsmanship, dominated by creativity, virtuosity and quality. A remarkable economic success story with more than 145,000 employees worldwide and global leadership in the manufacture and distribution of luxury goods. A global vision dedicated to serving the needs of every customer. The successful marriage of cultures grounded in tradition and elegance with the most advanced product presentation, industrial organization and management techniques. A singular mix of talent, daring and thoroughness in the quest for excellence. A unique enterprise that stands out in its sector. Our philosophy: passionate about creativity LVMH VALUES INNOVATION AND CREATIVITY Because our future success will come from the desire that our new products elicit while respecting the roots of our Maisons. EXCELLENCE OF PRODUCTS AND SERVICE Because we embody what is most noble and quality-endowed in the artisan world. ENTREPRENEURSHIP Because this is the key to our ability to react and our motivation to manage our businesses as startups. 2 • 3 Selecting leather at Berluti. THE LVMH GROUP 06 Chairman’s message 12 Responsible initiatives in 2017 16 Interview with the Group Managing Director 18 Governance and Organization 20 Our Maisons and business groups 22 Performance and responsibility 24 Key fi gures and strategy 26 Talent 32 Environment 38 Responsible partnerships 40 Corporate sponsorship BUSINESS GROUP INSIGHTS 46 Wines & Spirits 56 Fashion & Leather Goods 66 Perfumes & Cosmetics 76 Watches & Jewelry 86 Selective Retailing 96 LVMH STORIES PERFORMANCE MEASURES 130 Stock market performance measures 132 Financial performance measures 134 Non-fi nancial performance measures 4 • 5 LVMH 2017 . -
(Hyper)Realism and the “Post-Pictorial Condition”
p i a n o b . A R T I E C U L T U R E V I S I V E ISSN 2531-9876 79 Reality and truthfulness. Abstraction, (hyper)realism and the “post-pictorial condition” KREŠIMIR PURGAR Introduction: pictorial visuality and virtual visuality Whenever we speak of what an image is about, or what it represents, or what it tries to achieve – we then speak of something different in relation to what the particular pictorial object "qua" object essentially is. This means that being an image is ontologically different from being-a- representation-of or being-about something. In everyday use of the term, "image" never corresponds to a pure visuality, a sheer visual phe- nomenon, or virtually anything that one sees in front of one's eyes. Im- age, or picture, must stand in capacity of something or somebody that one sees, it must be ontologically different from what is seen and it must be other than what is seen. Pictures are not what one sees in them, no matter how realistic they are and regardless of the fact that sometimes the illusion of reality that certain kind of images create can be very con- fusing for those beholding them. As long as the difference between reali- ty and (pictorial) illusion is discernible, visual experience can exist as ei- ther purely phenomenal or materially pictorial. As Gottfried Boehm has shown, the ontology of pictorial experience is characterized by conscious discernment of the discontinuity of picture plane in regard to the overall field of vision. After contemporary digital technology allowed for images to interfere with the -
Embodying Art and Art History: an Experiment with a Class Video Happening for the Series Access Denied
International Journal of Education & the Arts Editors Christine Marmé Thompson S. Alex Ruthmann Pennsylvania State University New York University Eeva Anttila William J. Doan Theatre Academy Helsinki Pennsylvania State University http://www.ijea.org/ ISSN: 1529-8094 Volume 14 Number 9 June 20, 2013 Embodying Art and Art History: An Experiment with a Class Video Happening for the Series Access Denied Leda Cempellin South Dakota State University, U.S.A. Citation: Cempellin, L. (2013). Embodying art and art history: An experiment with a class video happening for the series Access Denied. International Journal of Education & the Arts, 14(9). Retrieved [date] from http://www.ijea.org/v14n9/. Abstract A book written in a foreign language and migrated to the US along with its author, an art historian, finds a new communicative dimension by becoming a ready-made for art making purposes. Starting with an introduction explaining the genesis of the collaborative project Access Denied, this article focuses on one of the series’ artworks, namely a video-happening, by exploring its genesis, development, and outcomes. Staged during the day of finals in an advanced art history seminar, the experiment provided an embodied artistic experience and some reflections on art history course content in the debate that followed. The video happening became a basis for further reflection in this essay on the role of performance in stimulating arts-based research at the interstices between biography and scholarly inquiry, between art and art history, between modernism and postmodernism, between object and action, and between creation and destruction as the two opposite poles in modern creativity. -
Artscience Museum at Marina Bay Sands Hosts the First Cartier Time
FOR IMMEDIATE RELEASE ArtScience Museum at Marina Bay Sands hosts the first Cartier Time Art exhibition in Asia The largest public exhibition of the most prestigious historical and contemporary Cartier timepiece designs arrives in Singapore in December Singapore (October 11, 2011) From 14 December 2011 to 12 February 2012, the ArtScience Museum at Marina Bay Sands will present “Cartier Time Art”, an exceptional exhibition that will take visitors on a journey to the heart of Cartier watchmaking. The ArtScience Museum is the first venue in Asia to host this exhibition, which is the largest collection of Cartier timepieces ever displayed in public. The exhibition travels also for the very first time outside the birthplace of watchmaking, Switzerland, and presents a unique opportunity for the public to discover the secrets and stories behind unique timepieces created by Cartier. “Cartier Time Art” unites the largest number of Cartier iconic timepieces providing a glimpse into its origins through to the present day, offering a rare opportunity to discover Cartier’s creativity. Throughout the ages, this collection of creations has successfully mixed ingenuity with aesthetic and technical innovation and is a testament to the vitality of Cartier’s watchmaking heritage. Members of the public will discover the rich language of shapes, designs, and complications apparent in these objects emphasizing Cartier’s high level of expertise. It is in this context that the exhibition at the ArtScience Museum will also present twelve Cartier movements and seventeen Fine Watchmaking timepieces all linked to Cartier’s technical know-how, including a unique watch unlike no other in the world, the forward- thinking Cartier ID One concept watch, where each movement is spatialised according to a sophisticated process designed by Tokujin Yoshioka. -
View Checklist
Better Still: Looking at Still Life in the Museum Collection, February 6, 2004-May 2, 2004 The “still life” has a long tradition in the history of art. Images of sumptuous containers filled with flowers, fruits, and vegetables reached a high point in the Netherlands in the 17th century, but their origins date back to the wall paintings of ancient Greece and Rome. The types of familiar domestic objects usually presented have changed little over time, permitting a continuity of appreciation over many generations. The viewer feels an immediate connection to basic household interiors, the necessities of eating and drinking, and the artifacts that surround the daily routines of kitchen, dining room, table, and market. Still-life painting was long considered the lowest category of picture-making, distanced from the momentous events and moral implications of history painting or formal portraiture. Even so, patrons have always enjoyed its ability to convey wealth and social status. Rare tulip blooms, decorative objects, and small exotic animals have been represented with great skill over the years, as have the fur and feathers of the hunt’s bounty. From a salute to class privilege, humbler visions emerged: a simple breakfast of bread and eggs that might grace the rough table of a country home; a coffee cup and newspaper, representing life in an urban apartment. Compositions also may include references to the passage of time and to nature’s cycles of life, death, decay, and transformation. In the artist’s studio, the usefulness and appeal of the still-life composition has never diminished. In the 20th century its possibilities expanded to include modernist collage, surrealist constructions, and room-size installations. -
Under Pressure–Painting with Air a Survey of Contemporary Airbrush Realism
UNDER PRESSURE–PAINTING WITH AIR A SURVEY OF CONTEMPORARY AIRBRUSH REALISM PRODUCED BY DAVID J. WAGNER, L.L.C. Under Pressure—Painting With Air (A Survey of Contem- their footsteps including several of today’s younger generation porary Airbrush Realism) is comprised of over 45 works, of accomplished airbrush masters. wide-ranging in theme, by noteworthy, working artists who have chosen airbrush as their principle medium of expression. Airbrush as a medium may be known to most people as a According to the exhibit’s Curator, David J. Wagner, Under go-to medium for commercial artists who decorate a broad Pressure—Painting With Air has been a long time in coming: range of material culture beyond fine art, such as t-shirts, “The earliest, and perhaps the last exhibition to broadly survey sporting equipment and vehicles ranging from boats to airbrushed art that I am aware of was The Artist and The pickup trucks, semis, cars and motorcycles, etc. In the ‘50’s Airbrush, curated by Barbara Rogers, herself an accomplished and ‘60’s, it became a go-to medium for the so-called artist, 40 years ago at The Art Department of San Jose State Kustom Kulture, a neologism that refers to styles and fash- University in California where she served on the faculty.” ions associated with custom cars and motorcycles in the United States particularly the hot rod culture of Southern Two of the artists whose work was featured in that seminal California. Then there is animation, the culinary arts, body art, exhibition who are still active today, have current work in make up, and tattoos. -
The Airbrush and the Impact of the Conservation Treatment of Airbrushed Canvas Paintings
NORTHUMBRIA UNIVERSITY An Investigation into the History of the Airbrush and the Impact of the Conservation Treatment of Airbrushed Canvas Paintings Mohamed Abdeldayem Ahmed Soltan PhD 2015 An Investigation into the History of the Airbrush and the Impact of the Conservation Treatment of Airbrushed Canvas Paintings Mohamed Abdeldayem Ahmed Soltan A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the School of Arts and Social Sciences April 2015 Abstract The research considers whether traditional approaches to easel paintings conservation are appropriate for the treatment of air brush paintings. The objectives were: . To investigate the aesthetic and technical history of the airbrush . To investigate surface changes in paint layers . To investigate the appropriateness of traditional conservation treatments for airbrush paintings and evaluate alternative approaches Although the first airbrush was introduced in 1883 it was initially rejected by many fine art circles as being too ‘mechanical’. Airbrush techniques have been little discussed in the field of fine art and the field of the conservation of fine art. A mixed methodology was followed for this research, qualitative through literature review carried out in line with the interdisciplinary nature of the research, and quantitative through various approaches including surveys. One survey was carried out in order to establish the use of air brush techniques by artists and its eventual acceptance as a fine art technique. A second survey was conducted to discover how well conservators understood the degradation characteristics of air brush paintings and their appropriate treatment. -
The American Scene Abstract Expressionism 1960S and 1970S: Pop Art 1980S and 1990S: Contemporary Art
This guide is designed 1910s and 1920s: Early Modernism HOFSTRA UNIVERSITY MUSEUM for visitors viewing the find your edge SM Hofstra University Museum's Gallery Guide exhibition American Perspectives: 1907-1992. Where Art Inspires and Transforms Curated by Eleanor Rait, To discover the roots of early modernism, we must first look back GLOSSARY We hope you have enjoyed this special exhibition. to the end of the 1880s and 1890s in Europe. The heart of the To learn more, we suggest the following resources the Museum's curator of art world was in Paris, and artists depicted landscapes and intimate The artwork in this exhibition includes a variety of about Modern Art: scenes of everyday life using natural light, rapid brushwork paintings, prints, photographs and sculpture. We have collections, the exhibition and a brightly colored palette. This movement took the name included this list to help explain some of the different Impressionism because artists such as Edgar Degas, Claude Monet and mechanical processes and techniques the artists have WEB RESOURCES features 36 Hofstra University Pierre-Auguste Renoir were attempting to capture the subjective employed. Museum works of art. Created impression of light in a scene. www.artnet.com Aquatint: a form of etching with acid on a plate partially www.artencyclopedia.com over an 85-year time span, the Many American artists traveled to Europe to attend exhibitions, covered with varnish that produces a print somewhat www.foundationcenter.org (Joan Mitchell Foundation) visit museums and work in artist’s studios for training in these resembling a watercolor. www.warhol.org (Andy Warhol Museum) exhibition exemplifies the avant-garde techniques and developments. -
Accepted Attitudes : Photography's Appearance in Janson's History Of
N ACCEPTED ATTITUDES: PHOTOGRAPHY'S APPEARANCE IN JANSON'S HISTORY OF ART .~ by Adam Shennan B.A. Political Science, Huron College, 2006 A thesis presented to Ryerson University in partial fulfillment for the degree of Masters in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2008 © Adam Sherman 2008 \ AUTHOR'S DE CLARA TION I hereby declare that I am the sole author of this thesis or dissertation. I , 1 i I I authorize Ryerson University to lend this thesis or dissertation to other institutions or i , I individuals for the purpose of scholarly research. I ! w I further authorize Ryerson University to reproduce this thesis or dissertation by I photocopying or by other means, in total or in part, at the request of other institutions or=- individuals for the purpose of scholarly research . III i .~. _. 1 iI; 1, I' I Ii II n l' ;1 ii II r I ! I: Ii .:. ii ./ ABSTRACT ACCEPTED ATTITUDES: PHOTOGRAPHY'S APPEARANCE IN JANSON'S HISTORY OF ART Masters in Photographic Preservation and Collections Management, 2008, Adam Sherman, Ryerson University Horst W. Janson's History ofArt - often known simply as Janson - has been considered the "bible" in the art history textbook market since it was first published in 1962. This thesis ~~nes how mstori.~aLand cOIlt~porary photo~~~~y_~,!s~ consider~ and discussed in the seven editions and three revised editions of History ofArt, published between 1962 and 2007. The thesis provides a description of the successive editions, discusses what changes and what remains constant, and the sketches the larger context in which these changes occurred. -
September 25 – November 13, 2015
September 25 – November 13, 2015 At Neskowin: A Country and Western Horizon 76 x 112 inches acrylic on canvas George D Green 1990 featuring Jay Backstrand Jon Jay Cruson Jeri Hise Terry Melton Leigh Behnke Don Eddy George Johanson Paula Overbay Sharon Bronzan Biff Elrod Connie Kiener Lucinda Parker Jerry Brown George D Green Nancy Lindburg Hugh Webb On behalf of the George D Green Art Institute Board of Directors, I would like to thank Mary Vinton Folberg, Annie Painter, Debbie Hutchins, Alex Hill and the rest of the team from Northwest Academy for hosting the first of our Traveling Art Exhibitions. We will take exhibitions of world-class art to communities around the State of Oregon so that students can have access to an art experience that includes the exhibition and interaction with some of the artists who made the work. We want these students to be exposed to the creativity process that these artists use in making their pictures, so they will be inspired and stimulated by what they see and hear. We want to ignite their imagination through the exposure to Art, to learn what Artists do and what they contribute to society. We’re concerned that our students are missing out on a variety of important art educational opportunities due to the cuts in school budgets, and that’s why our Traveling Art Exhibitions are so important. I would also like to thank Nels Hall, of Yost Grube Hall, Architects, with the assistance of Phil Beecher, of Beecher Electric, in the transformation of the Academy’s space into a professional gallery. -
Art of the Sixties and Seventies Minimalism
Art of the Sixties and Seventies Minimalism Minimalism originated in New York City in the 1950s and became a major trend in the 1960s and 70s. characterized by extreme simplicity of form as by the use of basic shapes and monochromatic palettes of primary colors, and rejection of emotional content. The minimalist work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts. The Minimalists believed that a work of art should be entirely self- referential; personal elements were stripped away to reveal the objective, purely visual elements. The intention of minimalist artists is to allow the audience to view a composition more intensely because the distractions of theme etc. have been removed. TONY SMITH, Die, 1962. Steel, 6’ x 6’ x 6’. Museum of Modern Art, New York DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel brackets, ten units, 6 1/8” x 2’ x 2’ 3” each, with 60 intervals. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington Marcel Duchamp, The Fountain, 1917 Kasimir Malevich Black Square on a White Ground (1914-1915) Oil on linen, 80x80cm Barnett Newman, Vir Heroicus Sublimis ("Man, heroic and sublime“), 1950–1951. Oil on canvas, 7’ 11 3/8” x 17’ 9 1/4”. Tony Smith, Die, 1962. Steel, 6’ x 6’ x 6’. MAYA YING LIN, Vietnam Veterans Memorial, Washington, D.C., 1981–1983. Black granite, each wing 246’ long. Aerial view of the Vietnam Veterans Memorial Maya Lin with a model of the Vietnam Veterans Memorial, 1980.