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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. -
Sfmoma Presents Diane Arbus: in the Beginning in the New Pritzker Center for Photography January 21–April 30, 2017
SFMOMA PRESENTS DIANE ARBUS: IN THE BEGINNING IN THE NEW PRITZKER CENTER FOR PHOTOGRAPHY JANUARY 21–APRIL 30, 2017 SAN FRANCISCO, CA (October 27, 2016)—The San Francisco Museum of Modern Art (SFMOMA) will present the West Coast debut of the acclaimed exhibition diane arbus: in the beginning, on view January 21 through April 30, 2017. Organized by The Metropolitan Museum of Art, diane arbus: in the beginning considers the first seven years of the photographer’s career, from 1956 to 1962. Bringing together over 100 photographs from this formative period, many on display for the first time, the exhibition offers fresh insights into the distinctive vision of this iconic American photographer. The exhibition will be on view in the museum’s new Pritzker Center for Photography, made possible by the Lisa and John Pritzker Family Fund. SFMOMA is the only American venue other than The Metropolitan Museum of Art to present this exhibition. A lifelong New Yorker, Diane Arbus (1923–1971) found the city and its citizens an endlessly rich subject for her art. Working in Times Square, the Lower East Side and Coney Island, she made some of the most powerful portraits of the 20th century, training her lens on the pedestrians and performers she encountered there. This exhibition highlights her early and enduring interest in the subject matter that would come to define her as an artist. It also reveals the artist’s evolution from a 35mm format to the now instantly recognizable and widely imitated look of the square format she adopted in 1962. Although this period was exceptionally fruitful—nearly half the photographs that Arbus printed during her lifetime were produced during these years—the work has remained little known. -
Damiani Cat Fall 2018.Pdf
Fall 2018 Contents New Titles 5 Collector’s Editions 49 Toiletpaper 71 Backlist 77 Photography 78 Fashion & Lifestyle 94 Contemporary Art 96 Music 100 Urban Art 101 Architecture & Design 102 Antiques & Collectibles 103 Spazio Damiani 104 Distributors 106 Notes 108 Contacts 110 New Titles Photography Arthur Elgort Jazz This is the first book dedicated to Elgort’s Jazz portraits and the list of names it includes constitutes a veritable pantheon of jazz greatness. Featured in the book are portraits of Wynton Marsalis, James Carter, Roy Haynes, George Benson, Milt Hinton, Walter Blanding, Michael Bowie, David Sanchez, Angelo Debarre, Dexter Gordon, Sonny Rollins, Joshua Redman, James Moody, Jay McShann, Pat McFeeny, Jimmy Scott, Dorothy Donegan, Illinois Jacquet, Ornette Coleman, Don Byron, Aaron Neville, Dizzy Gillespie, Art Blakey, John McLaughlin, Jesse Davis, Lionel Hampton, Clark Terry, Christian Mcades, Ron Carter, Wycliff Gordon, Sam Newsome, Roy Haynes, Jon Faddis, Roy Hargrove, Max Roach, Jerome Harris, Jack DeJohnette, Michael Cain, Al Grey, Thelonius Monk Jr., Benny Carter, Jon Hendricks, Stefan Harris, Jervan Jackson, Kenny Baron, Doc Cheatham, Arnett Cob, Tommy Flanagan, Jason Moran, Luther Lafatti, Bradford Marsalis, Delfeayo Marsalis, Jason Marsalis, Kenny Garrett, Olu Dara, Jesse Davis, Buddy Tate, Anton Rooney, Flip Phillips, and Sam Rivers. Every now and then a fashion model of Foreword by Wynton Marsalis. Introduction by the moment pops up in a picture, creating a fitting link between Hank O’Neal. Edited by Marianne Houtenbos this body of work and Elgort’s fashion pictures. 17.8 x 22.9 cm | 7 x 9 inches 160 pages, 100 color and b&w, hardbound ISBN 978-88-6208-608-0 Arthur Elgort was born and raised in New York. -
Press Release
Contact: Education Department 212.857.0001 media release Moment of Recognition On view from January 15, 2011 through March 20, 2011 Rita K. Hillman Education Gallery at the School of the International Center of Photography 1114 Avenue of the Americas Opening Reception Friday, January 21, 6–8 pm © Susann Nuernberger (diptych) Moment of Recognition, on view from January 15 through March 20, 2011 in the Rita K. Hillman Education Gallery of the School of the International Center of Photography (1114 Avenue of the Americas at 43rd street), is an exploration of portraiture in the new millennium. Intrigued by what is revealed when a split-second in time is captured, curator Amy Arbus asked her former students and teaching assistants to submit images of subjects that were in motion, either physically or emotionally. Included in the hundred or so prints on view are images of reality TV star wannabes, male escorts, survivors of genocide, Hasidic Jews in Williamsburg, self-portraits, and functional as well as dysfunctional families. This new generation of photographers combine various genres like reportage, fashion, lifestyle, and sports to reinvent portraiture and create pictures uniquely their own. Each of the portraits implies a narrative or inspires the viewer to create one. Arbus writes in her statement, “In curating this exhibition I chose photographs that were strangely familiar despite the fact that I had never seen them before. It was as though I was meeting an old friend for the first time.” Photographer Amy Arbus has published four books. The New Yorker called her most recent, The Fourth Wall, her masterpiece. -
Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End
Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End by A. D. Coleman The "New Documents" exhibition opened at New York's Museum of Modern Art on February 28, 1967, almost exactly a third of a century ago. Organized by John Szarkowski for the museum's Department of Photography, this show featured almost 100 prints by three relatively unrecognized younger photographers from the east coast of the U.S. — Diane Arbus, Lee Friedlander, and Garry Winogrand — and came as a watershed moment in the evolution of contemporary photography.1 What exactly did this exhibition signify? MoMA's Department of Photography was at that point one of the few departments devoted to that medium in any art museum in the world, and inarguably the most powerful of all. Its director, John Szarkowski, installed in 1963, had by then fulfilled all the curatorial commitments of his predecessor Edward Steichen and had begun to mount shows that he'd conceived and organized himself. Shortly after he'd assumed what Christopher Phillips has called "the judgment seat of photography,"2 he'd offered what numerous people in the field took as a full-blown theory of photography, enunciated in the 1964 exhibition "The Photographer's Eye" and the subsequent book version thereof.3 That exhibit included not just prints by recognized photographers — Edward Weston, Aaron Siskind, Harry Callahan — but also imagery by lesser-known 1 The three had appeared together at that venue once before — in the 1965 "Recent Acquisitions" show curated by Szarkowski. For more on this see Patricia Bosworth, Diane Arbus: A Biography (New York: W. -
L O T H a R O S T E R B U
L O T H A R O S T E R B U R G FELLOWSHIPS, AWARDS AND RESIDENCIES 2018 Jordan Schnitzer Award for Excellence in Printmaking 2013 Navigation Press, George Mason University, Fairfax, VA, Artists Residency. Cill Rialaig Art Center, Artists Residency in County Kerry, Ireland. 2011 Bogliasco Foundation, Artist residency at the Liguria Studies Center, Italy. 2010 John Simon Guggenheim Memorial Fellowship. Academy Award in Art; from the American Academy of Arts and Letters, New York. Bard College research grant Electronic Music Foundation & Meet the Composer's Commissioning Music/USA, Collaborative grant with Elizabeth Brown for “A Bookmobile for Dreamers” 2009 AEV Foundation Grant, New York. New York Foundations for the Arts Fellowship for Printmaking/Drawing/Artist’s Books. 2005 and’06 Hui N’Eau Arts Center, Artist in Residence. Makawao, Maui, HI 2004 Concordia Career Advancement Grant (awarded through NYFA). 2003 New York Foundations for the Arts Fellowship for Printmaking/Drawing/Artist’s Books. 1996-97-02 MacDowell Colony, Artist in Residence. Peterborough, NH. 1999 Virginia Center of the Creative Arts, Artist in Residence. Sweet Briar, Virginia. 1998 Bogliasco Foundation, Artist residency at the Liguria Studies Center, Italy. 1987 Internationale Senefelder Stiftung, Traveling show of the Ten Best. 1986 8. Internationale Graphiktriennale, 6th Prize. Frechen, Germany. SOLO SHOWS 2018 Lesley Heller Gallery, “Waterline”. New York, NY. 2017 Ester Massry Gallery, College of Saint Rose, “Reaching for the Sky”, Albany NY. 2015 Lesley Heller Workspace, “Babel”. New York, NY. Gottheimer Fine Art, “From the Piranesi Project”, St Louis, MO. 2014 Pulse Art Fair, “Piranesi” Lesley Heller Workspace, Miami Beach, FL. -
Commencementprogram8 26 20.Pdf
BARD COLLEGE ONE HUNDRED SIXTIETH COMMENCEMENT Celebrated on August 22, 2020 2:30 p.m. ORDER OF EXERCISES I. PROCESSIONAL TO¯ N Brass Quintet II. INVOCATION The Reverend Mary Grace Williams Bard College Chaplain III. OPENING REMARKS James C. Chambers ’81 Chair, Board of Trustees, Bard College IV. COMMENCEMENT ADDRESS David Byrne V. THE BARD COLLEGE AWARDS The Bard Medal Barbara S. Grossman ’73 Barbara Grossman, with her keen mind and quick wit, left a lasting impression on her teachers and fellow students during her undergraduate years at Bard. The awards she received remain testaments to her exceptional achievements: the John Bard Scholarship, Wilton Moore Lockwood Prize for creative writing, and William J. Lockwood Prize for contributions to the general welfare of the College. After Bard, Grossman decided to focus on writing and attended the celebrated Iowa Writers’ Workshop at the University of Iowa, where she met her future husband, Michael Gross. Two years later, master of fine arts in hand, she found a job as an editorial assistant at Alfred A. Knopf in New York. She moved up through the ranks in a difficult profession, that of being an editor and a publisher. Although often maligned by authors and readers, both roles have been vital to the development of literature and the dissemination of knowledge in our society. From Knopf she moved on to Harper and Row, Simon and Schuster, Crown, then Charles Scribner’s Sons. At the summit of her profession, she was named publisher at Viking Penguin—a company, she said, with “an incredibly rich, wide, deep list” and an “enormous inventory.” Her directness and sincerity must have been bracing to the authors she welcomed—ranging from Jacquelyn Mitchard, whose best-selling novel The Deep End of the Ocean was the first-ever pick for the Oprah Winfrey book club, to Alan Wolfe, who penned One Nation, After All, an insightful study into how Americans define “middle class” and their place in it. -
Notices 11-8-10
AFTERIMAGE NOTICES - 11.08.2010 EXHIBITIONS ARIZONA Scottsdale: Scottsdale Museum of Contemporary Art, 7374 E. 2nd St. southwestNET: photography and video: Modernity and Its Discontents. Jean Shin and Brian Ripel: Unlocking. Both through Jan. 2. young@art Gallery “Bridges: Connecting Earth to Sky.” Through Jan. 17. Bridges: Spanning the Ideas of Paolo Soleri. Thirty Years of Collecting: A Recent Gift to the Museum. Both through Jan. 23. www.smoca.org. Tempe: Arizona State University Herberger Institute for Design and the Arts, Northlight Gallery, S. Forest Ave & E. Tyler Mall. ELSEWHERE. Through Nov. 27. http://art.asu.edu/gallery/northlight. Tucson: Etherton Gallery, 135 S. 6th Ave. Michael P. Berman, Jamey Stillings, and Martin Stupich: CON-STRUCT: The New West. Through Dec. 31. www.ethertongallery.com. Tucson: Center for Creative Photography, University of Arizona, 1030 N. Olive Rd. The Edge of Vision: Abstraction in Contemporary Photography. Through Nov. 28. www.creativephotography.org. CALIFORNIA Berkeley: University of California, Berkeley Art Museum & Pacific Film Archive, 2625 Durant Ave. Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945–2000. Through April 3. www.bampfa.berkeley.edu. Hollywood: SUPERFRONT LA, Pacific Design Center, 8687 Melrose Ave. Anthony Gross: Crime Scenes (Film. Sculpture. Design.) Nov. 18–Jan. 6. http://losangeles.superfront.org. Long Beach: University Art Museum, College of the Arts, Cal State Long Beach, 1250 Bellflower Blvd. Perpetual Motion: Michael Goldberg. Through Dec. 12. www.csulb.edu/org/uam. Los Angeles: Regen Projects, 633 Almost Dr. Doug Aitken. Through Dec. 18. www.regenprojects.com Los Angeles: Regen Projects II, 9016 Santa Monica Blvd. -
Diane Arbus: Retrat D'una Fotògrafa
“Realment penso que hi ha coses que la gent mai veuria si jo no les hagués fotografiat” DIANE ARBUS: RETRAT D’UNA FOTÒGRAFA O LA NECESSITAT D’ENFRONTAR-SE A ALLÒ PROHIBIT MARIA SANCHA GRIFOLS TONI CARRASCO | 2N BAT B | DEPARTAMENT D’EXPRESSIÓ Diane Arbus: retrat d’una fotògrafa Treball de recerca ÍNDEX 1. Introducció 1 2. Diane Arbus 3 2.1. Al començament 3 2.2. Independents, revistes de moda i Doon i Amy 5 Arbus 2.3. Escola de fotografia, Lisette Model i adéu moda 9 2.4. Emile De Antonio 10 2.5. De revista en revista 12 2.6. El nudisme, nens i amenaces 13 2.7. Feminisme, beques, morts i suïcidi 15 2.8. Drag queens, evolució, exposicions i malalties 17 2.9. The family of Man vs New Documents 18 2.10. Autoritzacions i viatge 19 2.11. Manifestacions, la depressió i canvis en la 20 composició 2.12. Depressió crònica, prostitutes i feministes 20 2.13. Residència, premis i les seves classes 22 2.14. Acomiadament 24 2.15. Resum 25 3. La fotografia de Diane Arbus 27 3.1. Influències 27 3.2. Rellevància 30 4. Anàlisi i mostra d’algunes de les seves obres 31 5. La meva Diane Arbus 37 5.1. Les meves fotografies 38 6. Conclusió 43 7. Webgrafia/bibliografia 52 Diane Arbus: retrat d’una fotògrafa Treball de recerca 1. INTRODUCCIÓ Si la teva por tingués forma humana, com seria? Diane Arbus, una de les fotògrafes més trencadores del segle XX, respon a la pregunta mitjançant la fotografia. -
AMY ARBUS TUB PICTURES Exhibition
PRESENTS: AMY ARBUS TUB PICTURES Exhibition Dates: July 20 – August 8, 2018 Public Reception: Friday July 20, 2018 6 – 9 PM The gallery is pleased to present an exhibition of new and recent works from our gallery artists. The exhibition is an exploration of material, from black and white photography to handmade paper to ceramics to paint these artists demonstrate the capacity that materials have to reach with exquisite joy and urgency to express emotion, to convey mastery and to question. In addition to Amy Arbus other artist in the exhibition are: Jennifer Amadeo-Holl/ Lynne Kortenhaus/ Kahn & Selesnick/ Anna Poor/ Rebecca Doughty and Ellen Rich. Please join us. We are pleased to present Tub Pictures, a series of previously unknown, nude self-portraits from acclaimed photographer AMY ARBUS created during a 1992 master class with Richard Avedon. This riveting and important photographic document consists of eight black and white photographs of the artist in stark light without clothing, undefended as she confronts and considers the death of her mother, photographer Diane Arbus who committed suicide in a tub. Amy’s decision to share her investigation into love, legacy, vulnerability and photographic history are the result and this exhibition. Arbus is a native New Yorker known for portraits and her fashion feature, On The Street, which ran in The Village Voice from 1980-1990. Her photographs are in the collections of The Metropolitan Museum of Art, The Museum of Modern Art, The New York Public Library, and The National Theater in Norway. Amy Arbus’ images have been published in her five books and in periodicals such as New York Magazine, People, Aperture and The New York Times Magazine. -
Visual Literacy (Images and Photographs) Every Day, We See and Are Exposed to Hundreds, Perhaps Thousands, of Images That Pass Through Our Radar Screens
Visual Literacy (Images and Photographs) Every day, we see and are exposed to hundreds, perhaps thousands, of images that pass through our radar screens. Everyone, it seems, is vying for our attention. Unfortunately, not many of us know how to "read images.’ One of the ways to teach critical thinking and "media literacy" is to start with the still image. In many arts classrooms, “visual literacy” is introduced: the methods and techniques artists use to create meaning in paintings: that knowledge can now be applied to photographs as well. SC State Department of Education Visual & Performing Arts Standards (link to 2010 revision) 2010 Media Arts Standard Standard 3 (Media Literacy): The student will demonstrate the ability to access, analyze, interpret and create media (communications) in all forms. Teachers will recognize “analyze,” “interpret” and “create” as three of the verbs belonging to the Bloom’s Taxonomy of Learning higher order thinking skills. Analyze (or analysis) is defined as: “breaking down objects or ideas into simpler parts and seeing how the parts relate and are organized” (source) Interpret is defined as: “to bring out the meaning of” whatever is seen (source) Creating is defined as: “putting the elements together to form a coherent or functional whole; reorganising elements into a new pattern or structure through generating, planning or producing” (Source) Creating sits at the top a new Bloom’s Digital Taxonomy. Take a look (see page 6 in the hyperlinked document) at all of the various ways your students can create media -
Poets Artists Magazine
Curated by Daniel Maidman MICHAEL ALAN JUAN GIRALDO RICHARD MEYER HERB SMITH devotionNIN ANDREWS DAN GLUIBIZZI JENNY MORGAN KIKI SMITH ANNA ROSE BAIN JAMES GURNEY SYRIE MOSKOWITZ SAMANTHA KEELY SMITH BO BARTLETT ANNE HARRIS KATIE O’HAGAN JORDAN SOKOL NOAH BECKER JAIME HERNANDEZ MIA PEARLMAN SHARON SPRUNG CARRIE-ANN BRACCO NICOLA HICKS ISAAC PELEPKO ADRIENNE STEIN JOAQUIN CARTER ALEXIS HILLIARD JOSEPH PODLESNIK BELINDA SUBRAMAN GRACE CAVALIERI CATHERINE HOWE ELISA PRITZKER DORIAN VALLEJO MARY CHIARAMONTE LINA HSIAO CHRIS RINI JOE VELEZ MARCO COLÍN DAVID JON KASSAN CECILIA RUIZ CAROLINE WESTERHOUT SILVIA CURBELO STANKA KORDIC DAVID SALLE LINDSEY WOHLMAN ELIZABETH D’ANGELO JEREMY LIPKING FARSAM SANGINI ZANE YORK STEPHANIE DESHPANDE DANIEL MAIDMAN PERI SCHWARTZ JAMES GILROY RENEE MCGINNIS ANDREW SENDOR PoetsArtists | November 2015 | Issue #68 ART by MARCO COLÍN devotionCurated by Daniel Maidman Yesterday I saw a girl who looked like Melissa Carroll. She was slender and This was a pretty neat bit of historical argumentation, if I do say so myself, but pale, dressed in black, with lank, slightly feathered black hair, and she wore it provided only a contingent argument for the great table. That is, it said, “The big sunglasses. Melissa has been gone a while now, but she’s turning out to be great table broke up because of this chain of historical accidents – I believe the sort of person you still think you glimpse here and there. we ought to undo these accidents and come back together, as we were meant to be.” But I slipped that “as we were meant to be” in at the end.