Yearbook 2012
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Acquisitions
Acquisitions as of June 30, 2009 African and David Soltker and Irving Dobkin Feldstein Endowment Fund for endowments (2008.206). Decorative Arts (2008.558). Amerindian Art North American Furniture African Mexico Artist unknown, Tea Table, Bwa, Dossi, Burkina Faso, Teotihuacan, Figurine, c. 1750/90, mahogany: Roger and Butterfly Mask, early/mid-20th a.d. 400, greenstone: gift of J. Peter McCormick endow- cen., wood and pigment: Charles Ethel F. and Julian R. Goldsmith ments; restricted gift of Jamee J. H. and Mary F. S. Worcester (2008.675). Tlatilco, Female and Marshall Field, and Carol Collection Fund (2008.190). Edo, Figurines, c. 500 b.c., ceramic W. Wardlaw (2009.58); Stand, Benin City, Nigeria, Container and pigment: gift of Ethel F. and 1790/1810, birch: gift of Jamee J. in the Form of a Leopard Head, Julian R. Goldsmith (2008.676–78). and Marshall Field (2008.679). early 21st cen., brass: gift of Omo Vladimir Kagan, Occasional N’Oba N’Edo Uku Akpolokpolo, United States Table, c. 1952, walnut and brass: Oba of Benin (2008.674). The Orbit Fund (2009.232). Navajo, northern Arizona or Mahdiyya State, Sudan, Tunic Walter von Nessen, manufactured New Mexico, Concho Belt, (Jibbeh), 1885/99, cotton: African by Nessen Studio, Inc., Occa- 1880/95, silver and leather: and Amerindian Curator’s Discre- sional Table, c. 1931, aluminum, Auxiliary Board of the Art tionary, Holly and David Ross, Bakelite, and iron: Quinn E. Institute of Chicago (2009.572); Arnold H. Crane, African and Delaney Fund (2009.156). Bow Guards (Ketoh), 1900/20, Amerindian Art Purchase, and silver, leather, turquoise, and O. -
Piel Artificial Metamorfosis Arquitectónica Del Cuerpo a Través De La Superficie
UNIVERSIDAD POLITÉCNICA DE MADRID ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE TESIS DOCTORAL BREZO ALCOCEBA LÓPEZ-ARAQUISTAIN Arquitecta 2015 DEPARTAMENTO DE IDEACIÓN GRÁFICA ARQUITECTÓNICA ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE Autora_ BREZO ALCOCEBA LÓPEZ-ARAQUISTAIN. Arquitecta Directora_ ATXU AMANN ALCOCER. Doctora Arquitecta 2015 TRIBUNAL Tribunal nombrado por el Mgfco. y Excmo. Sr. Rector de la Universidad Politécnica de Madrid, el día de de 20 . Presidente: Vocal: Vocal: Vocal: Secretario: Suplente: Suplente: Realizado el acto de defensa y lectura de la Tesis el día de 20 , en la Escuela Técnica Superior de Arquitectura de Madrid. Califi cación: EL PRESIDENTE LOS VOCALES EL SECRETARIO TRIBUNAL PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE TRIBUNAL AGRADECIMIENTOS MI GRATITUD PARA Atxu por sus fundamentales aportaciones, académicas y personales por su predisposición sin límites por dedicarme su precioso tiempo Jorge Sainz por ofrecerme su sincero punto de vista Aliki Economides, Rickard Lindqvist, Jennifer Barrows y Ruth de la Puerta por compartir sus investigaciones conmigo David Delgado por invitarme a acceder a su amplia biblioteca Yolanda Orejas por sus consejos de experimentada modelista Claudia Mitrea por sus habilidades lingüísticas María Mallo por su lección exprés y ser compañera de estrés Mi familia y amigos por la importancia que tiene no sentirse sola en el trayecto Db por experimentar esta metamorfosis junto a mí AGRADECIMIENTOS PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE AGRADECIMIENTOS RESUMEN RESUMEN El cuerpo, como conjunto organizado de partes que confi guran el organismo, es una entidad metamórfi ca. -
Ruth Adler Schnee 2015 Kresge Eminent Artist the Kresge Eminent Artist Award
Ruth Adler Schnee 2015 Kresge Eminent Artist The Kresge Eminent Artist Award honors an exceptional artist in the visual, performing or literary arts for lifelong professional achievements and contributions to metropolitan Detroit’s cultural community. Ruth Adler Schnee is the 2015 Left: Keys, 1949. (© Victoria and Albert Museum, London); right: drawing, Glyphs, 1947. Kresge Eminent Artist. This (Courtesy Cranbrook Archives, The Edward and Ruth Adler Schnee Papers.) monograph commemorates her Shown on cover background: Fancy Free, 1949. (Photograph by R.H. Hensleigh and Tim Thayer, life and work. courtesy Cranbrook Art Museum); top left: Woodleaves, 1998; top right: Narrow Gauge, 1957; top center: Bells, 1995; bottom center: Funhouse, 2000; bottom: Plaid, 2001 reissue. Contents 5 57 Foreword Other Voices: By Rip Rapson Tributes and Reflections President and CEO Nancy E. Villa Bryk The Kresge Foundation Lois Pincus Cohn 6 David DiChiera Artist’s Statement Maxine Frankel Bill Harris Life Gerhardt Knoedel 10 Naomi Long Madgett Destiny Detroit Bill Rauhauser By Ruth Adler Schnee 61 13 Biography Transcendent Vision By Sue Levytsky Kresge Arts In Detroit 21 68 Return to Influence Our Congratulations By Gregory Wittkopp From Michelle Perron 22 Director, Kresge Arts in Detroit Generative Design 69 By Ronit Eisenbach A Note From Richard L. Rogers President Design College for Creative Studies 25 70 Inspiration: Modernism 2014-15 Kresge Arts in By Ruth Adler Schnee Detroit Advisory Council 33 Designs That Sing The Kresge Eminent Artist By R.F. Levine Award and Winners 37 72 The Fabric of Her Life: About The Kresge A Timeline Foundation 45 Shaping Contemporary Board of Trustees Living: Career Highlights Credits Community Acknowledgements 51 Between Two Worlds By Glen Mannisto 54 Once Upon a Time at Adler-Schnee, the Store By Gloria Casella Right: Drawing, Raindrops, 1947. -
Craft Horizons JANUARY/FEBRUARY 1969 $2.00 Potteraipiney Wheel S & CERAMIC EQUIPMENT I
craft horizons JANUARY/FEBRUARY 1969 $2.00 PotterAipiney Wheel s & CERAMIC EQUIPMENT i Operating from one of the most modern facilities of its kind, A. D. Alpine, Inc. has specialized for more than a quarter of a century in the design and manufac- ture of gas and electric kilns, pottery wheels, and a complete line of ceramic equipment. Alpine supplies professional potters, schools, and institutions, throughout the entire United States. We manufacture forty-eight different models of high fire gas and electric kilns. In pottery wheels we have designed an electronically controlled model with vari- able speed and constant torque, but we still manufacture the old "KICK WHEEL" too. ûzùzêog awziözbfe Also available free of charge is our book- let "Planning a Ceramic Studio or an In- stitutional Ceramic Arts Department." WRITE TODAY Dept. A 353 CORAL CIRCLE EL SEGUNDO, CALIF. 90245 AREA CODE (213) 322-2430 772-2SS7 772-2558 horizons crafJanuary/February 196t9 Vol. XXIX No. 1 4 The Craftsman's World 6 Letters 7 Our Contributors 8 Books 10 Three Austrians and the New Jersey Turnpike by Israel Horovitz 14 The Plastics of Architecture by William Gordy 18 The Plastics of Sculpture: Materials and Techniques by Nicholas Roukes 20 Freda Koblick by Nell Znamierowski 22 Reflections on the Machine by John Lahr 26 The New Generation of Ceramic Artists by Erik Gronborg 30 25th Ceramic National by Jean Delius 36 Exhibitions 53 Calendar 54 Where to Show The Cover: "Phenomena Phoenix Run," polyester resin window by Paul Jenkins, 84" x 36", in the "PLASTIC as Plastic" show at New York's Museum of Contemporary Crafts (November 22-Januaiy 12). -
Vilniaus Dailės Akademijos Kauno Fakultetas Grafikos Katedra
VILNIAUS DAILĖS AKADEMIJOS KAUNO FAKULTETAS GRAFIKOS KATEDRA Ugnės Krasauskaitės ORNAMENTO METAMORFOZĖS: AUGALINIŲ MOTYVŲ GRAFIKA Magistro baigiamasis teorinis darbas Taikomosios grafikos studijų programa, valstybinis kodas 621W10007 Magistrantė: Ugnė Krasauskaitė .................................................. (parašas) .................................................. (data) Darbo vadovė: doc. dr. Odeta Žukauskienė .................................................. (parašas) .................................................. (data) Tvirtinu, katedros vedėjas: doc. Vaidas Naginionis .................................................. (parašas) .................................................. (data) Kaunas, 2017 1 AUTENTIŠKUMO DEKLARACIJA Aš, Ugnė Krasauskaitė, kandidatas (-ė) VDA Grafikos katedros magistro laipsniui gauti, patvirtinu, kad šis baigiamasis darbas paremtas mano paties (-čios) tyrimais ir jame naudotasi tik tokia papildoma informacija, kuri nurodyta nuorodose, paaiškinimuose, šaltinių, literatūros bei lentelių ir paveikslų sąrašuose. Patvirtinu, kad baigiamajame darbe nėra naudojamasi kitų darbais to nenurodant ir nė viena baigiamojo darbo dalis nepažeidžia jokių asmens ar institucijos autorinių teisių. Taip pat nė viena baigiamojo darbo dalis nebuvo pateikta jokiai kitai aukštojo mokslo institucijai, kaip akademinis atsiskaitymas ar siekiant gauti mokslo laipsnį. Ugnė Krasauskaitė 2 Turinys SANTRAUKA ...................................................................................................................................... -
Yearbook 2014 20 1 4
2014 YEARBOOK YEARBOOK YEARBOOK 2014 www.marimekko.com 1 Bold and true to life Marimekko is a Finnish design and different industries. The theme CONTENTS company. The core of its business was visible in collections as well as is the design and manufacture of various partnership schemes embracing 2 timeless and individual, practical and summer fashion, contemporary art, From the President beautiful consumer goods. The array of fibre research, and aviation. and CEO Marimekko design embraces clothing, Anna Teurnell, who started work bags and accessories as well as home as Creative Director in July, is taking 4 décor items ranging from textiles to Marimekko’s design in new directions. New stage in strategy tableware. The first sight of the new course will be When Marimekko was founded in in autumn 2015. 5 1951, the unparalleled patterns and The Marimekko store network Marimekko’s colours of its printed fabrics gave it a continued to grow in 2014. The most Creative Director strong and unique identity. A heritage new stores were opened in Asia. In acquired over decades, with its values June, a partnership contract was signed 6 and legends, is an inexhaustible to take Marimekko into the Middle East, Vision, goals treasure from which it is good to draw with the first stage being Dubai in the and strategy courage and the strength for renewal, UAE. even today. The unquestioned star of the 8 One of the themes of Marimekko eventful year was perhaps the most 2014 in figures design in 2014 was to explore what popular and best known of all of interesting things can emerge from Marimekko’s innumerable classics: 11 encounters between different cultures the 50-year-old Unikko pattern. -
Luxury for the Masses
uxury for the asses L M A Study of the H&M Luxury Collaborations with Focus on the Images of the Luxury Designer Brands UPPSALA UNIVERSITY Department of Business Studies Bachelor Thesis Date: March 2010 Authors: Carole Ginman Charlotte Lundell Catherine Turek Supervisor: Nazeem Seyed-Mohamed L uxury for the M asses “The media is constantly redefining what luxury is. Luxury can be a dirty sock if dressed up the right way” Zac Posen 1 Luxury for the Masses Executive Summary A strong brand is important for all companies; however, it is imperative for the success of a luxury fashion house as the image is one of its core assets. As strategic alliances are increasing in popularity the effect they have on how customers look at the partner brands is both interesting for the general person, but also – and more importantly – vital knowledge for companies pondering such a strategic move. The major focus of this study is to answer the question of how luxury designers’ collaborations with high street retailer Hennes & Mauritz affect how consumers perceive the luxury designer brand’s image. Theories on both brand extensions and co-branding have been compared to both qualitative and quantitative research conducted for the purpose of this investigation. This comparison has been made by using a model depicting the relationships between the collaborating brands. Through both acquiring a broad scope using the survey and deeper thoughts through focus group interviews the authors were able to gain a more holistic view of how people regard the luxury designer brands. The factors mainly investigated were those of change in awareness and change in purchase behaviour or intention, as they would be indicative of how people felt toward the luxury designer brands. -
2009 International Surface Design Association Conference
THE 2009 INTERNATIONAL SURFACE DESIGN ASSOCIATION CONFERENCE KANSAS CITY, MISSOURI, USA off grid Patterns in our life and in our work often develop and repeat in a regular manner, and then something unexpected happens. Something shifts slightly, and the pattern and rhythm become radically new. It is in those moments of unexpected change that great possibility exists. We shift. We transform. We go off the grid aesthetically, conceptually or environmentally. In this conference we will concentrate on how we can seek those points of departure, and, together, go Off the Grid. For more than 30 years, the Surface Design Association conferences have been amazing meeting places where textile artists from all over the world come together to Monday, June 1– Friday, June 5 June 1– Friday, Monday, : be inspired by work, ideas and techniques. The wealth of information, creativity and talent on the podium, as well as in the audience, is astounding. During the four days of the conference, we learn from each other. It is our excitement, knowledge and willingness to share that makes each SDA conference a unique experience. Please join us and become a part of one of the most unforgettable contemporary textile events. POST-CONFERENCE WORKSHOPS POST-CONFERENCE for 2009 conference materials. Carolyn Kallenborn, Conference Chair Beauty In The Deep 2009 INTERNATIONAL SURFACE2009 INTERNATIONAL DESIGN CONFERENCE ASSOCIATION Saturday, May 23–Wednesday, May 27 May 23–Wednesday, Saturday, OFF THE GRID KANSAS CITY, MISSOURI, USA 2009 31, MAY 28–SUNDAY, MAY THURSDAY, -
Fashion in Finland
FASHION IN FINLAND Fiskars by Maria Korkeila, photo by Chris Vidal Finnish fashion Männistö, photo by Chris Vidal BACKGROUND Modern Finnish fashion was born during the heyday of Finnish design and architecture in the 1950s. Today Finland is looking to the future with the fast development of new material innovations, award winning young designers and successful sustainable brands. Quality and sustainability Finnish brands are designer driven – quality, sustainability and strong artistic vision are at the core of Finnish fashion. During the past few years, Finnish designers and brands have been celebrated in all the important media from Vogue Italy to the New York Times. FASHION HERITAGE JUNI FASHION HERITAGE Vuokko Nurmesniemi Vuokko Nurmesniem Vuokko Nurmesniemi is the grand old master of Finnish fashion. She is best known for her designs for Marimekko in the 50s and 60s. She started her own label Vuokko in 1964. Nurmesniemi´s design has been the inspiration for many current foreign fashion superstars and she is still designing and running her shop in Helsinki. In the late 1960s Nurmesniemi became one of the first designers concerned about the environmental impact of the textile industry. She received the Milan Triennial XIII grand prix and Lunning Prize for design in 1964, the Prince Eugen Medal in 1986 and the Kaj Franck Design Prize in 1997. Marimekko Marimekko is a Finnish lifestyle design house founded in 1951 with a mission to empower people to be happy as they are and to bring joy to their everyday lives with bold prints and colours. In the 1950s Marimekko began making dresses with abstract prints and vibrant colours for women who are bold in expressing their personality through their choice of attire. -
Financial Statements 2019
Financial Statements 2019 TIINA ALAHUHTA- KASKO, 13 FEBRUARY 2020 13 February 2020 1 © Marimekko A STRONG YEAR 2019 Net sales +12%, comparable operating profit +40% + Net sales rose by 12% with growth in all market areas. + Retail sales in Finland, wholesale sales and licensing income in the Asia-Pacific region as well as wholesale sales in EMEA especially contributed to growth. + Sales in Finland and international sales both grew by 12%. + Comparable operating profit rose by 40%, boosted by sales growth and improved relative sales margin. - Results were weakened by higher fixed costs. 13 February 2020 2 Q4/2019 Net sales +17%, comparable operating profit +87% + Net sales up by 17%, growth primarily from retail and wholesale sales in Finland as well as increased wholesale sales and licensing income in the Asia-Pacific region. Wholesale sales growth in the Asia-Pacific due to part of the region’s Q4 2018 deliveries’ timing in Q1 2019. + Sales in Finland grew by 20% and international sales by 12%. + Comparable operating profit grew by 87%, boosted by sales growth. - Results were weakened by higher fixed costs. 3 KEY FIGURES 2019 Solid financial development EUR million 10–12/2019 10–12/2018 Change, % 1–12/2019 1–12/2018 Change, % Net sales 34.7 29.7 17 125.4 111.9 12 International sales 12.8 11.4 12 54.3 48.3 12 % of net sales 37 38 43 43 Comparable EBITDA * 6.2 2.2 186 29.7 14.7 102 Operating profit 3.0 1.2 144 17.1 17.7 -3 Comparable operating profit 3.0 1.6 87 17.1 12.2 40 Comparable operating profit margin, % 8.7 4.2 13.6 10.9 Comparable earnings per share, EUR *** 0.26 0.15 74 1.61 1.15 40 Cash flow from operating activities * 7.8 5.8 36 29.0 12.2 137 Return on investment (ROI), % 17.9 47.6 Equity ratio, % * 40.2 70.0 Net debt / EBITDA ** 0.35 Gross investments * 1.3 0.2 2.6 1.3 103 Personnel at the end of the period 450 445 1 * IFRS 16 had an impact on the change in comparable EBITDA, cash flow from operating activities, and equity ratio. -
Financial Statements 2019
Financial Statements 2019 Financial Statements Financial Statements 2019 marimekko.com RISTÖM E RISTÖM E Ä RK Ä RK P K P K M I M I Y Y M M IL T IL T JÖMÄRK JÖMÄRK Printed matter Painotuote 4041 0820 4041 0820 1 Renowned for bold prints Marimekko is a Finnish lifestyle design CONTENTS company whose original prints and colours have brought joy to people’s everyday lives 2 From the President and CEO since 1951. Our product portfolio includes 4 2019 in a nutshell high-quality clothing, bags and accessories 5 Financial targets as well as home décor items ranging from textiles to tableware. 6 Strategy Timelessness has been the cornerstone 8 Sustainability at Marimekko of our design since the very beginning. 10 Report of the Board of Directors Marimekko is not about fast fashion. We aim to offer our customers long-lived products 18 Proposal for the distribution of profit that they will not want to throw away. In 20 Key figures of the Group and formulas for the key figures best cases, our products are passed on from 22 Share and shareholders one generation to the next. When Marimekko was founded, its 26 Financial statements for the financial year unparalleled printed fabrics gave it a strong 1 January to 31 December 2019 and unique identity. Even today, we have 26 Consolidated financial statements, IFRS our own printing factory in Helsinki that 26 Consolidated income statement produces around a million metres of fabric every year. The printing mill serves both 27 Consolidated balance sheet as a factory and as a creative hub for our 28 Consolidated cash flow statement design and product development team. -
Human/Garden Relationships Explored in Lithograph Prints
Outside In: Human/Garden Relationships Explored in Lithograph Prints Author Hoare, Domenica C Published 2020-03-03 Thesis Type Thesis (Masters) School Queensland College of Art DOI https://doi.org/10.25904/1912/2338 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/392390 Griffith Research Online https://research-repository.griffith.edu.au Outside In: Human/Garden Relationships Explored in Lithograph Prints Domenica Hoare Bachelor of Fine Art (Hons) Queensland College of Art Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Master of Visual Arts (Fine Art) Supervisors Dr Tim Mosely Dr Bill Platz November 2019 Abstract Outside In is an exhibition of original lithograph prints arising out of a studio-based research project into how print can capture the nuances of contemporary human/garden relationships in the local environment of Brisbane. The lithographs depict various representations of local gardens; gardens created in a range of ways; and human interactions with these. The works displayed result from a process of critical reflection and creative response in action that finds possibilities in printmaking to highlight ways of seeing gardens in prints. This critical exegesis that accompanies the exhibition draws from the work of theorists George Seddon and Val Plumwood, garden designer William Robinson, author Penelope Lively and philosopher Damon Young. The exegesis also provides discussion of works by four print artists who explore garden themes in their work, namely Virgil Marti, William Morris, Maija Isola, and Édouard Vuillard. Within this framework, the research outcome is in the form of an exhibition of original prints that engage ideas about humans’ relationships with gardens.