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Note to the Secretary-General Tonight You and Mrs. Annan Have
Note to the Secretary-General Tonight you and Mrs. Annan have agreed to drop by (from 6:35-6:45 p.m.) the reception in the West Terrace hosted by Yoko Ono wherein she will present grants to an Israeli and a Palestinian artist in her own Middle East humanitarian arts initiative. When Mrs. Annan and you arrive David Finn, Philippa Polskin and Holly Peppe of Ruder-Finn, will greet you. You will then be accompanied into the center of the room where two easels will display the work of the two artist recipients of the LennonOno Grants, Khalil Rabah and Zvi Goldstein. The following people will greet you and stand with you for a brief photo-op: > Yoko Ono > Zvi Goldstein, Israeli artist, grant recipient > Khalil Rabah, Palestinian artist, grant recipient > Jack Persekian, Founder & Director, Anadiel Gallery, Jerusalem > Suzanne Landau, Chief Curator, The Israel Museum, Jerusalem > Shlomit Shaked, Independent Curator, Israel. At 6:45 p.m. you will proceed to the Macalester Reception and dinner, in Private Dining Room #8. Kevin S.: 9 October 2002 Copy to: Ms. S. Burnheim ROUTING SLIP FICHE DE TRANSMISSION TO: A A: OJ *Mt* FROM: / /" DE: /64< ^*^/^^~^ Room No. — No de bureau Extension — Poste Date / G&W aiLbfo^ FOR ACTION POUR SUITE A DONNER FOR APPROVAL POUR APPROBATION FOR SIGNATURE POUR SIGNATURE FOR COMMENTS POUR OBSERVATIONS MAY WE DISCUSS? POURRIONS-NOUS EN PARLER ? YOUR ATTENTION VOTRE ATTENTION AS DISCUSSED COMME CONVENU AS REQUESTED SUITE A VOTRE DEMANDS NOTE AND RETURN NOTER ET RETOURNER FOR INFORMATION POUR INFORMATION COM.6 12-78) ZVI GOLDSTEIN Artist Recipient of the LennonOno Grant for Peace Born in Transylvania, Romania in 1947, artist Zvi Goldstein immigrated to Israel in 1958. -
Museums of Contemporary Art in Preexisting Buildings: Constraints and Architecture the Case Study of Punta Della Dogana and Fondazione Prada
MUSEUMS OF CONTEMPORARY ART IN PREEXISTING BUILDINGS: CONSTRAINTS AND ARCHITECTURE THE CASE STUDY OF PUNTA DELLA DOGANA AND FONDAZIONE PRADA Thesis Supervisors: Professor Bárbara Coutinho Professor Fulvio Lenzo Author: Beatriz Loreto Crespo de Jesus Agostinho Extended Abstract The present article regards the process of converting preexisting buildings into museums of contemporary art using two study cases: Punta della Dogana, in Venice, and Fondazione Prada, in Milan. Additionally, this investigation aims to identify the factors and the limitations that affect the development of the adjacent architectural project and to understand the architectural solutions created in each case. With these goals in mind it was necessary to contextualise, historically, the museological institution as well as the evolution of its morphology. At the same time, a detailed analysis of the two case studies took place starting by the systematisation of technical drawings, bibliographic research and numerous visits to the respective locations. The dissertation document is made up by five chapters from which the first consists of the introductory guide lines for the investigation and the last two being the reached conclusions followed by the used bibliography. On the second chapter, a brief study regarding the History and the Architecture of museums of art takes place, focusing on the period inbetween the 18th century and the 20th century. The museum, being an entity with multiple dimensions - mission, programmes, morphology, among others – needs to adapt to its surrounding circumstances in order to survive (Schubert, 2009: 11). Since the 18th century this institution has changed accordingly to the social shifts affecting society, therefore, influencing all of its dimensions and its relation with the public. -
Material Worlds
09.03.2011 i i MATERiAL WORLDS Material Worlds ii Plaster, scrim, wire netting, ink & oil on paper, mounted timber, cement, paint, polyester on board, gloss paint, MDF, resin, enamel paint, crushed white collage, emulsion paint, melted marble, carbonized crushed olive gramophone records, tissue paper, stone, silicone, polycarbonate, PVA, water, perspex cover, ink aluminium, acrylic on textile, toys, marker, acrylic paint, hybrid pen, wire, ink, acrylic, fabric, collage foil on paper, ceramic, brass tray, on canvas over panel, silkscreen knives, struck copper, watercolour on canvas, ceramic, industrial on plaster, metal, test tubes, archaeology, embroidery on photo, string, mirrored cast, acrylic porcelain with glaze enamel, pewter sheet, cement fondu reinforced spire, C-print, ink, oil, canvas, with metal and fibreglass, blown porcelain found objects, ceramic glass, oil and spraypaint on canvas, with decals, pen on paper, sugar 10,000 Volts passed through found paper, eyeshadow, thread, ink on board, recycled paper, 120 grade paper, 18 carat gold leaf, soy based sandpaper, 40 gsm pergamijn ink, pigment print, rag paper, transparent paper, cast-coated cardboard, tape, filler, varnish, paper, book cloth, wood veneer, plexiglas tube, poster paper, colour woven polypropylene fabric, stickers, Wii board, resin, vinyl, untreated pulp board, gloss grey cellulose, gouache, watercolour, pigment foil, grease proof paper, coloured pencil on paper, relief lithographic ink, cold-binding glue Material Worlds Auction Catalogue Wednesday 9 March 2011 -
Company Profile
COMPANY PROFILE JUNE 2015 INFO FILES • The Prada Group • Creativity and manufacturing • Raw materials • Logistics • Distribution • Licences and Joint Ventures • Prada Group figures June 2015 www.pradagroup.com 1 “Careful observation of and curiosity about the world, society, and culture are at the core of Prada’s creativity and modernity. This pursuit has pushed Prada beyond the physical limitations of boutiques and showrooms, provoked an interaction with different and seemingly distant worlds, and introduced a new way to create a natural, almost fashionless fashion.” Miuccia Prada and Patrizio Bertelli June 2015 www.pradagroup.com 2 THE PRADA GROUP Prada was founded in 1913 by Mario Prada, Miuccia Prada’s grandfather, in Milan. Located in the prestigious Galleria Vittorio Emanuele II, Prada was an exclusive, stylish store selling luggage, accessories and luxury goods, in fine materials and of sophisticated workmanship. The Milan store quickly became a firm favourite with the aristocracy and the most sophisticated members of the European elite. In 1919 Prada received the warrant of “Official Supplier of the Italian Royal Household”, and since then has been entitled to display the royal Savoy coat of arms and figure-of-eight knots alongside the company logo. Miuccia Prada and Patrizio Bertelli started working together in the late 70’s, laying the foundations of the international expansion that was to come. Patrizio Bertelli broke new ground in the luxury goods sector, introducing a new business model in which he kept direct, internal control over all processes, applying uncompromised quality criteria across the entire production cycle. Miuccia Prada’s creative talent and avant-garde approach attracted the attention of the global fashion industry, while her ability to look at the world from an unconventional vantage point allowed her not only to anticipate, but quite often, to set new trends. -
Futuristic Aerie with a Park View
C M Y K Nxxx,2012-05-11,C,023,Bs-4C,E1 N C23 FRIDAY, MAY 11, 2012 Futuristic Aerie With a Park View RICHARD PERRY/THE NEW YORK TIMES By CAROL VOGEL For the past 15 summers the Met’s “Tomás Saraceno on the Roof: about a dozen installers assembling his most spinning around from the perspec- roof garden has been the setting for tra- creation, which he described as “an in- N Tomás Saraceno’s imagination his Cloud City” opens Tuesday at the tive inside this giant futuristic construc- ditional sculptures by artists like Ells- ternational space station.” As pieces be- constellation of 16 joined modules Metropolitan Museum of Art. tion. worth Kelly, Jeff Koons and, last year, gan to be set in place, Mr. Saraceno under construction on the roof of Like many of Mr. Saraceno’s installa- Anthony Caro. It has also been a place sneaked a visitor inside and up a twisty tions “Cloud City” is his vision of float- I the Metropolitan Museum of Art to walk up a winding bamboo pathway gonal habitat of reflective stainless steel staircase about 20 feet above the roof ing or flying cities — places that defy will take off in a heavy puff of wind and that soared some 50 feet in an untradi- and acrylic. garden. Some of the floors were trans- float over Central Park. “The whole conventional notions of space, time and tional installation that invited visitor Called “Cloud City,” it is the largest of parent, and the walls were mirrored gravity. “You can have a feeling of thing will go into orbit,” Mr. -
2010–2011 Our Mission
ANNUAL REPORT 2010–2011 OUR MISSION The Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation, and conservation of its artistic, historic, and environmental assets. FROM THE CHAIRMAN 02 FROM THE MELVIN & BREN SIMON DIRECTOR AND CEO 04 THE YEAR IN REVIEW 08 EXHIBITIONS 18 AUDIENCE ENGAGEMENT 22 PUBLIC PROGRAMS 24 ART ACQUISITIONS 30 LOANS FROM THE COLLECTION 44 DONORS 46 IMA BOARD OF GOVERNORS 56 AFFILIATE GROUP LEADERSHIP 58 IMA STAFF 59 FINANCIAL REPORT 66 Note: This report is for fiscal year July 2010 through June 2011. COVER Thornton Dial, American, b. 1928, Don’t Matter How Raggly the Flag, It Still Got to Tie Us Together (detail), 2003, mattress coils, chicken wire, clothing, can lids, found metal, plastic twine, wire, Splash Zone compound, enamel, spray paint, on canvas on wood, 71 x 114 x 8 in. James E. Roberts Fund, Deaccession Sculpture Fund, Xenia and Irwin Miller Fund, Alice and Kirk McKinney Fund, Anonymous IV Art Fund, Henry F. and Katherine DeBoest Memorial Fund, Martha Delzell Memorial Fund, Mary V. Black Art Endowment Fund, Elizabeth S. Lawton Fine Art Fund, Emma Harter Sweetser Fund, General Endowed Art Fund, Delavan Smith Fund, General Memorial Art Fund, Deaccessioned Contemporary Art Fund, General Art Fund, Frank Curtis Springer & Irving Moxley Springer Purchase Fund, and the Mrs. Pierre F. Goodrich Endowed Art Fund 2008.182 BACK COVER Miller House and Garden LEFT The Wood Pavilion at the IMA 4 | FROM THE CHAIRMAN FROM THE CHAIRMAN | 5 RESEARCH LEADERSHIP From the In addition to opening the new state-of-the-art Conservation Science Laboratory this past March, the IMA has fulfilled the challenge grant from the Andrew W. -
Future Past RECENT ARCHIVE MILAN 05.08.15
login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search links ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版 DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT SCENE & HERD Future Past RECENT ARCHIVE MILAN 05.08.15 Zehra Jumabhoy at the 3rd Dhaka Art Summit Linda Yablonsky at the 13th edition of Zona Maco in Mexico City Eva Díaz at the 104th College Art Association conference in Washington, DC Linda Yablonsky at the opening of the Macro Espacio para la Cultura y las Artes Himali Singh Soin around the 8th India Art Fair Paige K. Bradley at the 7th Art Los Angeles Contemporary and 3rd Paramount Ranch Left: Miuccia Prada. Right: Artist Wangechi Mutu, dealer Bruna Aickelin, and dealer Suzanne Vielmetter. ANY GHOSTS FLOATING AROUND contemporary art have a fabulous new piece of real estate to spook. Dubbed the Haunted House by its owners, who sheathed its five stories in twenty-four-karat gold leaf, it’s one of ten buildings on the grounds of a former distillery in Milan that now make up the Prada Foundation. (A new nine-story tower that will house a restaurant and eight floors of exhibition space is still under construction.) As the first institution dedicated to contemporary art in the city of La Scala and The Last Supper, it’s a game changer. As the fruit of designer-collector Miuccia Prada’s collaboration with architect Rem Koolhaas and OMA, it may be the most elegant private museum in the world—certainly the best that money can buy. NEWS PICKS FILM SLANT Newest Headlines Cairo’s Townhouse Gallery Tentatively Reopens After Being Shut Down by Authorities Lauri Firstenberg, Founder and Director of LAXART, to Step Down Landmarks Preservation Left: Writer Shumon Basar and architect Cédric Libert. -
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. -
Leslie Wayne on Sculpting Paint and Repairing What Is Broken
Est. 1902 home • ar tnews • ar tists Artist Leslie Wayne on Sculpting Paint and Repairing What Is Broken BY FRANCESCA ATON June 15, 2021 5:57pm Artist Leslie Wayne (https://www.artnews.com/t/leslie-wayne/) molds and manipulates oil paint to create surfaces that blur the confines of painting and sculpture. Wayne found “an approach to [paint] that was very dimensional,” as she told Brooke Jaffe (https://www.artnews.com/t/brooke-jaffe/) in a recent interview for “ARTnews Live,” our ongoing IGTV series featuring interviews with a range of creatives. Wayne, the daughter of a concert pianist and a writer, began painting lessons at the age of 7 and lived in what she describes as a very open and “encouraging” household. Dissatisfied with the body of abstract geometric paintings featured in her first show—she says they felt formally rigorous but “hollow”—Wayne soon began integrating sculptural techniques into her paintings, which she says “helped me kind of build a vocabulary that was fresh and new to me.” It was then that Wayne realized “paint could be used like you would use any other material to build a work of art.” Her advice to aspiring artists is to “be courageous in the studio.” Wayne said her latest body of work, currently on view at Jack Shainman Gallery (https://www.artnews.com/t/jack- shainman-gallery/) in New York, was born from reflection. “I was looking inward as I gaze outside,” she wrote, referring to time spent indoors during the pandemic. Her paintings depict objects that she has been surrounded by in her studio, including work tables and rolling carts as well as stacks of marble that her husband, sculptor Don Porcaro, uses in his work. -
1 Claudia Gioia
Claudia Gioia - Let’s start with your history. Your artistic education, your cultural references and influences and your personal path. How do you place your research and who were and who are your companions? Nahum Tevet – During my High School I started taking courses in painting and drawing. I was born in a kibbutz, and the kibbutz educational system was very supporting for art. I saw myself as a painter and immediately after the army I was looking for a place to study. I felt that the schools were not good places. I mean at that time the Academy was, only at the beginning, as a contemporary art school. There was actually Raffi Lavie, whose retrospective is now at the Venice Biennial, and in those years, in 1969 and 1970 he magnetized a group of young artists that studied with him mostly on a private basis. I was 23 and he was 33, at that time he was leading a real, I wouldn’t say revolution, but he was the most important figure in creating a new young scene of Israeli art. One could say that it was really the beginning of contemporariness; it was the end of a certain kind of painting that was mainly a local version of French abstraction. There were some three or four wonderful painters that were not known internationally. One of them was extremely important for the new generation: Arie Aroch. He was a painter and an intellectual who served the Israeli ambassador in Sweden at the time of Pontus Hulten, he knew about Duchamp and he saw Jasper Jones and Rauschenberg in real time, and somehow it influenced his work. -
Zvi Goldstein Reconstructed Memories (Lariam B)
Daniel Marzona Friedrichstrasse 17 D-10969 Berlin t +49 (0)30 54622140 f +49 (0)30 54856053 [email protected] Zvi Goldstein Reconstructed Memories (Lariam B) May 1 – June 27, 2015 Opening: Friday, May 1, 6-9 pm Zvi Goldstein (born 1947 in Transylvania, Romania) was one of the first artists to have begun in the late 1970s to consider all aspects of a globalized world, translating them into his own artistic practice. After living in Western Europe for ten years he chose Jerusalem as his home, both conceptually and physically. There he developed a unique style building powerfully pictorial and technically precise sculptures. In many of his early works he began to define an acentric, non-hierarchical, and hybrid cosmos; thus providing an alternative model to our occidental worldview and concept of art. In a non- journalistic way, Goldstein is interested in experiences and deeply rooted traditions of so-called pre-modern cultures that, suddenly and irreversibly, have been pushed into a post-modern world. In the process, all categories dissolve into one, or, as the artist puts it: „ (...) there are no distinctions in my artistic work between different Modernist categories: fantasy and theory, concept and aesthetics, context and ontology, biography and ideology, between being central and geographically peripheral.“ The exhibition at Daniel Marzona centers around two large-scale wall reliefs. In Winds from the Sahara: Sirocco – Day 4 (1996/1997), the artist reflects upon his travels and expeditions to Africa and Asia. He refers to the climate, “winds”, as a profound influence on cultures and on the habits and lifestyles of locals. -
Yinka Shonibare MBE Toy Painting 33 · 2011 Acrylic on Textile, Toys, Wire (Dia 83Cm) £8,000 — £12,000 (Estimate)
LiVE AUCTiON 04 Yinka Shonibare MBE Toy Painting 33 · 2011 Acrylic on textile, toys, wire (Dia 83cm) (Estimate) £8,000 — £12,000 Represented by Stephen Friedman Gallery, London. Yinka Shonibare is well known for his exploration of colonialism and post-colonialism in the contemporary context of globalisation, working with a highly distinct range of materials and motifs. Shonibare’s work explores these issues, alongside those of race and class, through the media of painting, sculpture, photography and, more recently, film and performance. in particular, Shonibare examines the construction of identity and the tangled interrelationships between Africa and Europe and their respective economic and political histories. Mining Western art history and literature, he asks what constitutes our collective contemporary identity today. 1962 Born in London, England. Lives and works in London. 1989 BA, Byam Shaw School of Art, London 1991 MA, Goldsmiths College, London Member of the Order of the British Empire, Fellow of Goldsmiths College Ambassador for Culture (Cultural Olympiad, 2012 Olympic Games) Selected exhibitions 2011: Alcalá 31 Centros de Arte, Madrid (solo); Sympathy for the Devil, Vanhaerents Art Collection, Brussels 2010-2011: Nelson’s Ship in a Bottle, Fourth Plinth Commission, Trafalgar Square, London (solo); Lust and Vice. The Seven Deadly Sins from Dürer to Nauman, Kustmuseum Bern and the Zentrum Paul Klee, Bern, Switzerland; GSK Contemporary — Aware: Art Fashion Identity, Royal Academy, London. 2010: Artists’ Choices: Zvi Goldstein, Susan Hiller, Yinka Shonibare; Human Culture: Earth, Wind, Fire and Water, israel Museum, Jerusalem; Yinka Shonibare, MBE: Sculpture, mage courtesy of the artist and gallery (photograph by modernactivity) i Photography and Film, Western Michigan University, Michigan (solo).