Acquisitions
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
UN Delegates Lounge
OMA’s layout design trisects the central section of the UN North Delegates Lounge, with private seating along the edges and communal furniture in the middle. UN North Delegates Lounge Hella Jongerius assembled a force of the Netherlands’ top designers including Irma Boom and Rem Koolhaas for the prestigious renovation of the North Delegates Lounge in the UN Building in New York. WORDS Oli Stratford PHOTOS Frank Oudeman 152 Disegno. UN NORTH DELEGATES LOUNGE UN NORTH DELEGATES LOUNGE Disegno. 153 The east window is veiled by the Knots & Beads curtain by Hella Jongerius and Dutch ceramics company Royal Tichelaar Makkum. In front is the UN Lounge chair by Jongerius for Vitra. uring the summer of 1986, Hella Jongerius1 was backpacking across America. She was 23 years old, two years shy of enrolling at Design Academy Eindhoven,2 1 Hella Jongerius (b. 1963) is and picking her way from state to state. Three months in, she reached New York. a Dutch product and furniture designer whose Jongeriuslab studio is based in Berlin. She She had a week in the city, but her money had run out. So, broke, Jongerius went to Turtle Bay, is known for furniture and a Manhattan neighbourhood on the bank of the East River and the home of the UN Building, a accessory design that steel and glass compound built in the 1950s to house the United Nations.3 “I’d gone down there combines industrial manufacture with craft to see the building and I was impressed of course,” says Jongerius. “It’s a beautiful building. But sensibilities and techniques. -
Books Beyond Artists ARTISTS’ BOOKS in the 21St CENTURY: CULT OBJECTS? Damien Hirst, 2005 | Photo: Ramiro Casal
Ivorypress presents the panel discussion BOOKS BEYOND ARTISTS ARTISTS’ BOOKS IN THE 21ST CENTURY: CULT OBJECTS? Damien Hirst, 2005 | Photo: Ramiro Casal. Courtesy Ivorypress Damien Hirst, 2005 | Photo: Ramiro I Want to Spend the Rest of My Life Everywhere..., I Want Dates: 24 February 2015 at 12:00 p.m. Venue: Ivorypress Space c/ Comandante Zorita, 48 Madrid Participants: Irma Boom, typographer and graphic designer; Peter Sacks, artist and professor of poetry at Harvard University (USA); Rowan Watson, head of Collections Development in the National Art Library at the Victoria and Albert Museum (London, United Kingdom). The discussion will be moderated by Elena Ochoa Foster, founder and CEO of Ivorypress. On 24 February 2015 the exhibition Books beyond Artists: Words and Images, dedicated to artists’ books and their role in the history of art until the present time. The show is curated by Elena Ochoa Foster in collaboration with the Ivorypress team, will open at Ivorypress. Parallel to the exhibition there will be a panel discussion entitled ‘Artists’ books in the 21st century: cult objects?’ Irma Boom Irma Boom lives and works in Amsterdam, the Netherlands. She studied graphic design at the AKI Art Academy in Enschede and nowadays she works as a graphic designer specialised in making books. After graduation she worked for five years at the Dutch Government Publishing and Printing Office in The Hague. In 1991 she founded the Irma Boom Office in Amsterdam and since 1992 she has been a senior critic at Yale University in the US and gives lectures and workshops worldwide. She has designed and edited more than three hundred books, 100 of which are part of the permanent collection of the Museum of Modern Art in New York (MoMA). -
Methods for a Critical Graphic Design Practice
Title Design as criticism: methods for a critical graphic design p r a c tic e Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12027/ Dat e 2 0 1 7 Citation Laranjo, Francisco Miguel (2017) Design as criticism: methods for a critical graphic design practice. PhD thesis, University of the Arts London. Cr e a to rs Laranjo, Francisco Miguel Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of the Arts London – London College of Communication February 2017 First submission: October 2015 2 Abstract This practice-led research is the result of an interest in graphic design as a specific critical activity. Existing in the context of the 2008 financial and subsequent political crisis, both this thesis and my work are situated in an expanded field of graphic design. This research examines the emergence of the terms critical design and critical practice, and aims to develop methods that use criticism during the design process from a practitioner’s perspective. Central aims of this research are to address a gap in design discourse in relation to this terminology and impact designers operating under the banner of such terms, as well as challenging practitioners to develop a more critical design practice. The central argument of this thesis is that in order to develop a critical practice, a designer must approach design as criticism. -
150715 Bio and CV Hella Jongerius
Hella Jongerius’s research on colours, materials, and textures is never complete. All her questions are open-ended, and all her answers provisional, taking the form of finished and semi-finished products. These are part of a never-ending process, and the same is essentially true of all Jongeriuslab designs: they possess the power of the final stage, while also communicating that they are part of something greater, with both a past and an uncertain future. The unfinished, the provisional, the possible – they hide in the attention for imperfections, traces of the creation process, and the revealed potential of materials and techniques. Through this working method, Jongerius not only celebrates the value of the process, but also engages the viewer, the user, in her investigation. CV born 1963 in De Meern, The Netherlands 1988–1993 Academy for Industrial Design (Eindhoven, the Netherlands) 1993 Starts with design studio Jongeriuslab (Rotterdam, the Netherlands) 2009 Opens studio in Berlin, Germany Clients (selected): since 2012 Design director and design of rugs for Danskina (Amsterdam, The Netherlands) since 2011 Cabin interior and seat design for KLM (Amstelveen, The Netherlands) since 2005 Furniture design and Art director for colours and materials for the contemporary and classic collections at Vitra (Basel, Switzerland) since 2002 upholstery textile design for Maharam (New York, USA) since 1997 porcelain and earthenware design for Royal Tichelaar Makkum (Makkum, The Netherlands) Teaching (selected): 2010 and 2013 Guest professor at Weissensee -
Literary Industries
Literary industries By Hubert Howe Bancroft NATIVE RACES OF THE PACIFIC STATES; five volumes HISTORY OF CENTRAL AMERICA; three volumes HISTORY OF MEXICO; six volumes HISTORY OF TEXAS AND THE NORTH MEXICAN STATES; two volumes HISTORY OF ARIZONA AND NEW MEXICO; one volume HISTORY OF CALIFORNIA; seven volumes HISTORY OF NEVADA, COLORADO AND WYOMING; one volume HISTORY OF UTAH; one volume HISTORY OF THE NORTHWEST COAST; two volumes HISTORY OF OREGON; two volumes HISTORY OF WASHINGTON, IDAHO AND MONTANA; one volume HISTORY OF BRITISH COLUMBIA; one volume HISTORY OF ALASKA; one volume CALIFORNIA PASTORAL; one volume CALIFORNIA INTER-POCULA; one volume Literary industries http://www.loc.gov/resource/calbk.195 POPULAR TRIBUNALS; two volumes ESSAYS AND MISCELLANY; one volume LITERARY INDUSTRIES; one volume CHRONICLES OF THE BUILDERS OF THE COMMONWEALTH LITERARY INDUSTRIES. A MEMOIR. BY HUBERT HOWE BANCROFT All my life I have followed few and simple aims, but I have always known my own purpose clearly, and that is a source of infinite strength. William Waldorf Astor. SAN FRANCISCO THE HISTORY COMPANY, PUBLISHERS 1891 Entered according to Act of Congress in the year 1890, by HUBERT H. BANCROFT, In the Office of the Librarian of Congress, at Washington. Literary industries http://www.loc.gov/resource/calbk.195 All Rights Reserved. v CONTENTS OF THIS VOLUME. CHAPTER I. PAGE. THE FIELD 1 CHAPTER II. THE ATMOSPHERE 12 CHAPTER III. SPRINGS AND LITTLE BROOKS 42 CHAPTER IV. THE COUNTRY BOY BECOMES A BOOKSELLER 89 CHAPTER V. HAIL CALIFORNIA! ESTO PERPETUA 120 CHAPTER VI. THE HOUSE OF H. H. BANCROFT AND COMPANY 142 CHAPTER VII. -
Hella Jongerius *1963
Hella Jongerius *1963 Education and professional career: since 2012 Art director for colours, textiles and surfaces at Vitra (Basel, Switzerland) 2008 Jongeriuslab moves to Berlin, Germany 1993 Starts with design studio Jongeriuslab (Rotterdam, the NetHerlands) 1988–1993 Academy for Industrial Design (Eindhoven, the Netherlands) Publications 2011 Misfit, texts by Louise Schouwenberg, Alice Rawsthorn and Paola Antonelli, graphic design by Irma Boom, 308 pages, Phaidon Publishers 2003 Hella Jongerius, text by Louise Schouwenberg, 152 pages, PHaidon Publishers Projects (selected): 2013 Chair design for City Hopper, Fokker 40 for KLM (Amsterdam, the Netherlands) 2013 Golden necklace for Galerie Kreo (Paris, France) 2012 Interior and chair design for World Business Class, Boeing 747-400, KLM (Amsterdam, the Netherlands) 2012 New textiles; Hours, Colorwheel and Vases for Maharam (New York, USA) 2012 Sphere Table for Vitra (Basel, Switzerland) 2011 United Nations; interior design for North Delegates’ Lounge, assignment of Dutch Ministry of Foreign Affairs; Bead Curtain, SpHere Table and RE-Lounge chair (NL / New York, USA) 2010 Twelve colourful blacks in cooperation with kt.COLOR (Zurich, Switzerland) 2010 Three-hundred Coloured Vases series 3, colour research in cooperation with Royal Tichelaar Makkum, (the Netherlands) 2009 Artificial Flowers for Galerie Kreo (Paris, France) 2009 Frog Table for Galerie Kreo (Paris, France) 2008 Swatch Table, a modern version of a mosaic table for Galerie Kreo (Paris, France) 2008 Flower Pyramid, for Royal Tichelaar -
2019-2020 Year in Review
Table of Contents 3 Director’s Welcome 7 Objects in Space: A Conversation with Barry Bergdoll and Charlotte Vignon 17 Glorious Excess: Dr. Susan Weber on Victorian Majolica 23 Object Lessons: Inside the Lab for Teen Thinkers 33 Teaching 43 Faculty Year in Review 50 Internships, Admissions, and Student Travel and Research 55 Research and Exhibitions 69 Gallery 82 Publications 83 Digital Media Lab 85 Library 87 Public Programs 97 Fundraising and Special Events Eileen Gray. Transat chair owned by the Maharaja of Indore, from the Manik Bagh Palace, 1930. Lacquered wood, nickel-plated brass, leather, canvas. Private collection. Copyright 2014 Phillips Auctioneers LLC. All Rights Reserved. Director’s Welcome For me, Bard Graduate Center’s Quarter-Century Celebration this year was, at its heart, a tribute to our alumni. From our first, astonishing incoming class to our most recent one (which, in a first for BGC, I met over Zoom), our students are what I am most proud of. That first class put their trust in a fledgling institution that burst upon the academic art world to rectify an as-yet-undiagnosed need for a place to train the next generation of professional students of objects. Those beginning their journey this fall now put their trust in an established leader who they expect will prepare them to join a vital field of study, whether in the university, museum, or market. What a difference a generation makes! I am also intensely proud of how seriously BGC takes its obligation to develop next-generation scholarship in decorative arts, design his- tory, and material culture. -
To Oral History
100 E. Main St. [email protected] Ventura, CA 93001 (805) 653-0323 x 320 QUARTERLY JOURNAL SUBJECT INDEX About the Index The index to Quarterly subjects represents journals published from 1955 to 2000. Fully capitalized access terms are from Library of Congress Subject Headings. For further information, contact the Librarian. Subject to availability, some back issues of the Quarterly may be ordered by contacting the Museum Store: 805-653-0323 x 316. A AB 218 (Assembly Bill 218), 17/3:1-29, 21 ill.; 30/4:8 AB 442 (Assembly Bill 442), 17/1:2-15 Abadie, (Señor) Domingo, 1/4:3, 8n3; 17/2:ABA Abadie, William, 17/2:ABA Abbott, Perry, 8/2:23 Abella, (Fray) Ramon, 22/2:7 Ablett, Charles E., 10/3:4; 25/1:5 Absco see RAILROADS, Stations Abplanalp, Edward "Ed," 4/2:17; 23/4:49 ill. Abraham, J., 23/4:13 Abu, 10/1:21-23, 24; 26/2:21 Adams, (rented from Juan Camarillo, 1911), 14/1:48 Adams, (Dr.), 4/3:17, 19 Adams, Alpha, 4/1:12, 13 ph. Adams, Asa, 21/3:49; 21/4:2 map Adams, (Mrs.) Asa (Siren), 21/3:49 Adams Canyon, 1/3:16, 5/3:11, 18-20; 17/2:ADA Adams, Eber, 21/3:49 Adams, (Mrs.) Eber (Freelove), 21/3:49 Adams, George F., 9/4:13, 14 Adams, J. H., 4/3:9, 11 Adams, Joachim, 26/1:13 Adams, (Mrs.) Mable Langevin, 14/1:1, 4 ph., 5 Adams, Olen, 29/3:25 Adams, W. G., 22/3:24 Adams, (Mrs.) W. -
Commentary on Daniel - Volume 2
Commentary on Daniel - Volume 2 Author(s): Calvin, John (1509-1564) (Alternative) (Translator) Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Description: In this volume, John Calvin provides an engaging comment- ary on the last 6 chapters of Daniel. Regarded as one of the Reformation©s best interpreters of scripture, Calvin is an apt commentator. In particular, he frequently offers his own translations of a passage, explaining the subtleties and nu- ances of his translation. He has a penchant for incorporating keen pastoral insight into the text as well. He always interacts with other theologians, commentators, and portions of the Bible when interpreting a particular passage. This volume also contains extensive, informative notes from the editor. Calvin©s Commentary on Daniel should not be ignored. Tim Perrine CCEL Staff Writer Subjects: The Bible Works about the Bible i Contents Commentary on Daniel 7-12 1 Chapter 7 2 Daniel 7:1-2 3 Daniel 7:3 7 Daniel 7:4 8 Daniel 7:5 10 Prayer Lecture 32 12 Lecture Thirty Third 13 Daniel 7:6 14 Daniel 7:7 17 Daniel 7:8 21 Prayer Lecture 33 23 Lecture Thirty fourth 24 Daniel 7:9 26 Daniel 7:10 29 Daniel 7:11 31 Prayer Lecture 34 32 Lecture Thirty Fifth 33 Daniel 7:12 34 Daniel 7:13 36 Daniel 7:14 39 Daniel 7:15-16 41 Prayer Lecture 35 43 Lecture Thirty Sixth 44 Daniel 7:17-18 45 Daniel 7:19-20 49 ii Daniel 7:21-22 51 Prayer Lecture 36 53 Lecture Thirty Seventh 54 Daniel 7:23 55 Daniel 7:25 59 Prayer Lecture 37 63 Lecture Thirty Eighth 64 Daniel 7:26 65 Daniel 7:27 67 Daniel 7:28 72 -
Fuschia (FT) (1883)
TesioPower jadehorse Fuschia (FT) (1883) Rattler YOUNG RATTLER (NT) Hodgsons Snap Mare (NT) Imperieux (FT) Volontaire Volontaire Mare Docteur Mare Voltaire (FT) (1833) Octavius 23 Pilot (an) Ambroisid Mare (NT) La Pilot (AN) Bacha (TURK) La Bachate (AN) Dagout Mare (AN) Kapirat (1844) Merlin 8 Wamba PENELOPE 1 The Juggler Master Henry 3 Pantechnetheca Idalia 17 LA JUGGLER (1838) Topper (NT) Young Topper (NT) UNRECORDED YOUNG TOPPER MARE (NT) Cleveland Bay CLEVELAND MARE (CB) UNRECORDED Conquerant (FT) (1858) Aughton Merrylegs (NT) Knox Corsair (FT) Corsair (FT) (1845) Cleveland Bay CLEVELAND MARE (CB) Elisa (FT) (1853) UNRECORDED Selim Buzzard 3 Marcellius (FT) Alexander Mare 2 Briseis (FT) Elisa (FT) (1831) YOUNG RATTLER (NT) Rattler Jenny (FT) Hodgsons Snap Mare (NT) YOUNG TOPPER MARE (NT)Young Topper (NT) Reynolds (FT) (1873) CLEVELAND MARE (CB) Norfolk Phenomenon (NT) Telegraph (NT) () Sucess (FT) () Merlin 8 Wamba PENELOPE 1 The Juggler Master Henry 3 Pantechnetheca Idalia 17 LA JUGGLER (1838) Topper (NT) Young Topper (NT) UNRECORDED YOUNG TOPPER MARE (NT) Cleveland Bay CLEVELAND MARE (CB) UNRECORDED Miss Pierce (FT) (1857) Grand Bashaw (BA) Young Bashaw (AT) Pearl (RH) Andrew Jackson (AT) Whynot (RH) Charcoal Sal (RH) Pacer Henry Clay (AT) () Figure (RH) Revenge (MO) Goss Mare (RH) Lady Surrey (MO) True Briton Lady Pierce (AT) () Perkins Mare (RH) Running Horse American Eclipse (RH) Duroc (RH) Diamond (AT) Millers Damsel George Pierson Mare (AT) () Fuschia (FT) (1883) Shales - J Burgess (NT) Norfolk Cob (NT) Burgess Fireaway (NT) -
141201 Bio and CV Hella Jongerius
Hella Jongerius Short bio Hella Jongerius studied Industrial Design at the Eindhoven Design Academy and graduated in 1993. She came to prominence very soon after graduating, with a series of her designs being produced by the influential Dutch conceptual design collective Droog Design. She started her own design company, Jongeriuslab, in 1993 in Rotterdam, and in 2009 moved to Berlin. She works for many prestigious clients, including KLM, Vitra, Maharam, Royal Tichelaar Makkum, Artek and Nymphenburg, and her work is held in the collections of MoMA New York, Museum Boijmans Van Beuningen in Rotterdam, the Stedelijk Museum in Amsterdam, and the Design Museum in London, amongst many others. Jongerius designs a range of products, including furniture, lighting, glassware, ceramics, and textiles. Her work combines the traditional with the contemporary, the newest technologies with age-old craft techniques. Jongerius is also fascinated by the value of deviations from perfection, the misfits, the individual character that products can assume. In most of her products, she succeeds in creating this individual character by including craft elements in the industrial production process. As an art director for Vitra and Danskina, she defines an over all concept for the colours and materials of classic and contemporary design. ‘I like to give the classics a new energy. It is an honour to take care of our heritage’. CV born 1963 in De Meern, The Netherlands 1988–1993 Academy for Industrial Design (Eindhoven, the Netherlands) 1993 Starts with design studio -
Heracles on Top of Troy in the Casa Di Octavius Quartio in Pompeii Katharina Lorenz
9 | Split-screen visions: Heracles on top of Troy in the Casa di Octavius Quartio in Pompeii katharina lorenz The houses of Pompeii are full of mythological images, several of which present scenes of Greek, few of Roman epic.1 Epic visions, visual experi- ences derived from paintings featuring epic story material, are, therefore, a staple feature in the domestic sphere of the Campanian town throughout the late first century BCE and the first century CE until the destruction of the town in 79 CE. The scenes of epic, and mythological scenes more broadly, profoundly undercut the notion that such visualisations are merely illustration of a textual manifestation; on the contrary: employing a diverse range of narrative strategies and accentuations, they elicit content exclusive to the visual domain, and rub up against the conventional, textual classifications of literary genres. The media- and genre-transgressing nature of Pompeian mythological pictures renders them an ideal corpus of material to explore what the relationships are between visual representations of epic and epic visions, what characterises the epithet ‘epic’ when transferred to the visual domain, and whether epic visions can only be generated by stories which the viewer associates with a text or texts of the epic genre. One Pompeian house in particular provides a promising framework to study this: the Casa di Octavius Quartio, which in one of its rooms combines two figure friezes in what is comparable to the modern cinematographic mode of the split screen. Modern study has been reluctant to discuss these pictures together,2 1 Vitruvius (7.5.2) differentiates between divine, mythological and Homeric decorations, emphasising the special standing of Iliad and Odyssey in comparison to the overall corpus of mythological depictions; cf.