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Galleries, Like Their Buyers, Make Themselves at Home in Palm Beach the City Has Become an Art Hub of Its Own That Benefits from Being Near, but Not In, Miami
https://nyti.ms/39zx4u7 Galleries, Like Their Buyers, Make Themselves at Home in Palm Beach The city has become an art hub of its own that benefits from being near, but not in, Miami. By Hilarie M. Sheets Dec. 1, 2020 Updated 10:28 a.m. ET When the pandemic forced Art Basel Miami Beach to shift its raucous annual art fair to online viewing rooms and events, a cluster of top New York City galleries still made the pilgrimage to South Florida in hopes of connecting with collectors in person. Notably, they all chose to set up outposts not in Miami but some 70 miles north in Palm Beach — home (or second or third home) to a concentrated community of prominent art collectors sheltering for the winter. “What dealer wouldn’t want to be where the collectors are?” said Adam Sheffer, a vice president at Pace Gallery, who is heading up a new space in Palm Beach leased through Memorial Day. “It allows for an ongoing dialogue with some of these same people you would see in Miami once a year, but now you get to do it on their turf, in a way that’s safe where they’re comfortable.” Building on the success of galleries following their wealthy patrons to East Hampton, N.Y., this summer in the early months of the pandemic, Pace, Acquavella Galleries and Sotheby’s auction house coordinated opening spaces in Royal Poinciana Plaza adjacent to the contemporary gallery Gavlak, long based in Palm Beach. Gisela Colón’s Rectanguloid (Rubidium Spectrum), blow-molded acrylic. -
Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
5 Essential Tips for Collecting Drawings Scott Indrisek Sep
AiA news-service 5 Essential Tips for Collecting Drawings Scott Indrisek sep. 13, 2019 5:44pm Andy Warhol Kenny Burrell, 1956 Ambleside Gallery While prints are a common entry point into the art market, there may come a day when a budding collector yearns for a unique artwork, rather than an edition. Works on paper, specifically drawings, can be a fruitful place to start: a way to access an artist’s intimate process without breaking the bank. While some artists, like Robert Longo or Kara Walker , make drawing a centerpiece of their practice, for many the medium is one tool among many. Drawings can be sketches or studies pointed toward fuller paintings or sculptures; they can be whimsical diversions, quick experiments, or fully fleshed-out artworks in their own right. They “can provide a very different creative outlet to the artist’s primary practice,” said Sueyun Locks of Philadelphia’s Locks Gallery, “and thus can offer us a more complete story about an artist’s oeuvre.” Kara Walker The Root, The Demise of the Flesh, The Immortal Negress, 2018 Sikkema Jenkins & Co. They may never have the commanding wall power of a massive Abstract Expressionist canvas, but that’s part of the point. Drawings have a quieter energy, one that welcomes deep, close-up contemplation. And unlike larger works—which, in many cases, may have been completed with the aid of studio assistants—a drawing is one of the easiest ways to commune directly with the hand of the artist, hunched over her desk or drafting table. Here are a few key tips for anyone looking to start collecting this singular medium. -
Plimack Mangold Selected Biography
1 2021 SYLVIA PLIMACK MANGOLD SELECTED BIOGRAPHY 1938 Born in New York 1956-1959 Cooper Union, New York 1959-1961 BFA, Yale University, New Haven, CT The artist lives and works in Washingtonville, NY AWARDS 1974 National Endowment for the Arts Fellowship 2006 Edwin P. Palmer Memorial Prize, National Academy Museum, New York 2009 William A. Paton Prize, National Academy Museum, New York Cooper Union President's Citation for Art, New York ONE-PERSON EXHIBITIONS 2021 Sylvia Plimack Mangold: The Pin Oak, 1985-2015, Krakow Witkin Gallery, Boston 2018 Sylvia Plimack Mangold: Winter Trees, Brooke Alexander, New York 2017 Summer and Winter, Alexander and Bonin, New York 2016 Sylvia Plimack Mangold: Floors and Rulers, 1967-76, Craig F. Starr Gallery, New York 2012-2013 Sylvia Plimack Mangold: Landscape and Trees, Norton Museum of Art, West Palm Beach, FL 2012 Recent Works, Alexander and Bonin, New York 2007 Sylvia Plimack Mangold, Alexander and Bonin, New York; Annemarie Verna Galerie, Zürich 2003 Sylvia Plimack Mangold: recent paintings and watercolors, Alexander and Bonin, New York 2000 Sylvia Plimack Mangold, Alexander and Bonin, New York 1999 Sylvia Plimack Mangold: Trees, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY 1997 New Paintings and Watercolors, Annemarie Verna Galerie, Zürich 1995 Sylvia Plimack Mangold, Paintings, 1990-1995, Brooke Alexander, New York 1994-1996 The Paintings of Sylvia Plimack Mangold, Albright-Knox Art Gallery, Buffalo, NY; Wadsworth Atheneum, Hartford, CT; Blaffer Art Museum, University of Houston; -
ARTICLES of INTEREST January 17, 2020 QUOTE(S
ARTICLES OF INTEREST January 17, 2020 QUOTE(S) OF THE WEEK “Millions saw the apple fall, but Newton was the one who asked why.” – Bernard Baruch “We need our public and private Churchills, leaders who can re-imagine, who can call forth wellsprings of daring and guts and spirit and spunk, from one and all, to topple the way things may have been for many generations—and who inspire us to venture forth into today’s and tomorrow’s whitewaters with insouciance and bravado and determination.” – Tom Peters “As yet, if a man has no feeling for art he is considered narrow-minded, but if he has no feeling for science this is considered quite normal. This is a fundamental weakness.” – Isidor Isaac Rabi “Many who have had an opportunity of knowing any more about mathematics confuse it with arithmetic, and consider it an arid science. In reality, however, it is a science which requires a great amount of imagination.” – Sofia Kovalevskaya “A fact is a simple statement that everyone believes. It is innocent, unless found guilty. A hypothesis is a novel suggestion that no one wants to believe. It is guilty, until found effective.” – Edward Teller “It is poor civic hygiene to install technologies that could someday facilitate a police state.” – Bruce Schneier “It is above all by the imagination that we achieve perception and compassion and hope." – Ursula K. Le Guin “When a distinguished but elderly scientist states that something is possible, he is almost certainly right. When he states that something is impossible, he is very probably wrong.” – Arthur C. -
By Andy Warhol from the Leo Castelli Gallery, NY
Marilyn By Andy Warhol From the Leo Castelli Gallery, NY TITLE: Marilyn ARTIST: Andy Warhol DATE: 1964 SIZE: 40 X 40“ MEDIUM: Silkscreen & Oil on Canvas STYLE: Pop Art ELEMENT & PRINCIPLE: Color & Value to create Emphasis Andy Warhol was born on August 6, 1928, in Pittsburgh, PA, to Czechoslovak immigrant parents. He received his B.F.A. from the Carnegie Institute of Technology, Pittsburgh, in 1949. That same year, he moved to New York, where he soon became successful as a commercial artist and illustrator. By the 1960s, Warhol began to paint comic-strip characters and images derived from advertisements; this work was characterized by repetition of culturally popular subjects such as Coca-Cola bottles and soup cans. He also painted celebrities at this time. By 1963, he had substituted a silkscreen process for hand painting, making this medium a serious fine art medium. He tried his hand at filmmaking, but soon began to paint again. Warhol died from gallbladder surgery complications February 22, 1987, in New York. Pop Art (1950’s – 1960’s) is a style of art which explores the everyday imagery which is part of contemporary consumer culture. It was a movement in which artists adopted and adapted elements of popular culture (hence, the name "pop") into their works of art. Common sources include advertisements, consumer product packaging, celebrities, and comic strips. Leading Pop artists include Andy Warhol, Claes Oldenburg, Roy Lichtenstein, Jasper Johns, George Segal, Jim Dine, Tom Wesselmann, Robert Indiana, Wayne Thiebaud, and Robert Rauschenberg. On the next 3 slides you will see more Marilyns …pay attention to the technique of placing down areas of flat color, followed by a stamp-type photographic image. -
Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation
Harvard Graduate School of Design Department of Architecture Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation Master of Architecture Undergraduate degree outside of Architecture + 105 graduate credit hours Related pre-professional degree + 75 graduate credit hours Year of the Previous Visit: 2006 Current Term of Accreditation: At the July 2006 meeting of the National Architectural Accrediting Board (NAAB), the board reviewed the Visiting Team Report for the Harvard University Department of Architecture. As a result, the professional architecture program: Master of Architecture was formally granted a six-year term of accreditation. The accreditation term is effective January 1, 2006. The program is scheduled for its next accreditation visit in 2012. Submitted to: The National Architectural Accrediting Board Date: 14 September 2011 Harvard Graduate School of Design Architecture Program Report September 2011 Program Administrator: Jen Swartout Phone: 617.496.1234 Email: [email protected] Chief administrator for the academic unit in which the program is located (e.g., dean or department chair): Preston Scott Cohen, Chair, Department of Architecture Phone: 617.496.5826 Email: [email protected] Chief Academic Officer of the Institution: Mohsen Mostafavi, Dean Phone: 617.495.4364 Email: [email protected] President of the Institution: Drew Faust Phone: 617.495.1502 Email: [email protected] Individual submitting the Architecture Program Report: Mark Mulligan, Director, Master in Architecture Degree Program Adjunct Associate Professor of Architecture Phone: 617.496.4412 Email: [email protected] Name of individual to whom questions should be directed: Jen Swartout, Program Coordinator Phone: 617.496.1234 Email: [email protected] 2 Harvard Graduate School of Design Architecture Program Report September 2011 Table of Contents Section Page Part One. -
READ ME FIRST Here Are Some Tips on How to Best Navigate, find and Read the Articles You Want in This Issue
READ ME FIRST Here are some tips on how to best navigate, find and read the articles you want in this issue. Down the side of your screen you will see thumbnails of all the pages in this issue. Click on any of the pages and you’ll see a full-size enlargement of the double page spread. Contents Page The Table of Contents has the links to the opening pages of all the articles in this issue. Click on any of the articles listed on the Contents Page and it will take you directly to the opening spread of that article. Click on the ‘down’ arrow on the bottom right of your screen to see all the following spreads. You can return to the Contents Page by clicking on the link at the bottom of the left hand page of each spread. Direct links to the websites you want All the websites mentioned in the magazine are linked. Roll over and click any website address and it will take you directly to the gallery’s website. Keep and fi le the issues on your desktop All the issue downloads are labeled with the issue number and current date. Once you have downloaded the issue you’ll be able to keep it and refer back to all the articles. Print out any article or Advertisement Print out any part of the magazine but only in low resolution. Subscriber Security We value your business and understand you have paid money to receive the virtual magazine as part of your subscription. Consequently only you can access the content of any issue. -
Coat Drive Report 2016 Th Is Year, the Coat D Rive Goes Mobile
Coat Drive This year, the Report 2016 Coat Drive goes mobile. Text COAT to Just buys a new coat for a New Yorker in need. Table of Contents The Coat Drive Goes Mobile 4 Coat Drive Champions 6 Coat Drive Media and Press 8 Shifting the Coat Drive Call to Action 9 Financial Supporters 12 Collection Partners 24 Recipient Agencies 34 New York Cares York New Coat Drive Report 2016 3 The Coat Drive Goes Mobile Thanks to the generosity and compassion of “The need in our city is simply More than 1,400 companies, civic groups, and thousands of New Yorkers, New York Cares individuals also stepped up this year to deliver collected and distributed 109,213 winter coats enormous, and we developed the gently used coats through their own private during the 28th Annual Coat Drive. This year’s text option to cast a wider net collection efforts. When combined with the coats numbers broke collection records as a new mobile dropped off at our 300 public collection sites, these donation option and increased participation and engage more New Yorkers groups delivered 78,000 coats in 2016. from companies and civic groups delivered than ever. We understand that unprecedented warmth across the city. With homelessness in New York City reaching near- not everyone has an extra coat at record highs and the rising cost-of-living pushing In 2016, for the first time, New York Cares made it home to donate or can make it to more residents below the poverty line, requests possible to give a coat via a simple text message. -
The Dissolving Corporation
THE DISSOLVING CORPORATION Contemporary Architecture and Corporate Identity in Finland Peter MacKeith www.eva.fi EVA´s homepage contains reports, articles and other material in Finnish and in English. Publisher: Taloustieto Oy Cover: Antti Eklund Printing: Yliopistopaino 2005 ISBN 951-628-424-8 PREFACE In the past few years, the Finnish Business and Policy Forum EVA has treated the issues of creativity and business-culture interaction with growing interest. This report is an extension of the June, 2004 EVA conference on “Creativity through Competitiveness” and is published in co-operation with the Creative Finland Association. Entertaining a subject quite different from past EVA report themes, this essay offers one perspective on the state of Finnish corporate architecture within the more general context of corporate management practices and ar- chitectural innovations. In this report, Professor Peter MacKeith argues that in the contempora- ry moment of global, open-market economies, Finnish architecture is at a critical juncture. This condition is reflected precisely in recent headquarters architecture produced by Finnish corporations. Whereas a hundred years ago corporate headquarters were central elements of the surrounding cultural and urban environment, expressing values of the emerging national consciousness, today’s Finnish corporate headquar- ters have adopted a style of neutrality and anonymity, and situated themselves outside of the public realm. Professor MacKeith calls for a corporate architecture that takes into account issues of sustainable de- velopment and the corporation’s relationship to the society, culture and civic realm in which it is physically situated. Along with the desired image and values communicated by a building’s form to the outside world, corporate office planning has also adopted new objectives. -
School of Architecture 2001–2002
School of Architecture 2001–2002 bulletin of yale university Series 97 Number 3 June 30, 2001 Bulletin of Yale University Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven ct 06520-8227 PO Box 208230, New Haven ct 06520-8230 Periodicals postage paid at New Haven, Connecticut Issued sixteen times a year: one time a year in May, October, and November; two times a year in June and September; three times a year in July; six times a year in August Managing Editor: Linda Koch Lorimer Editor: David J. Baker Editorial and Publishing Office: 175 Whitney Avenue, New Haven, Connecticut Publication number (usps 078-500) The closing date for material in this bulletin was June 20, 2001. The University reserves the right to withdraw or modify the courses of instruction or to change the instructors at any time. ©2001 by Yale University. All rights reserved. The material in this bulletin may not be repro- duced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Open House All interested applicants are invited to attend the School’s Open House: Thursday, November 1, 2001. Inquiries Requests for additional information may be directed to the Registrar, Yale School of Architecture, PO Box 208242, 180 York Street, New Haven ct 06520-8242; telephone, 203.432.2296; fax, 203.432.7175. Web site: www.architecture.yale.edu/ Photo credits: John Jacobson, Sarah Lavery, Michael Marsland, Victoria Partridge, Alec Purves, Ezra Stoller Associates, Yale Office of Public Affairs School of Architecture 2001–2002 bulletin of yale university Series 97 Number 3 June 30, 2001 c yale university ce Pla Lake 102-8 Payne 90-6 Whitney — Gym south Ray York Square Place Tompkins New House Residence rkway er Pa Hall A Tow sh m u n S Central tree Whalley Avenue Ezra Power Stiles t Morse Plant north The Yale Bookstore > Elm Street Hall of Graduate Studies Mory’s Sterling St. -
[email protected] //
[email protected] // www.nataliebaxter.com // 859.361.5728 // EDUCATION 2012 UNIVERSITY OF KENTUCKY // MFA Lexington, KY 2007 UNIVERSITY OF THE SOUTH; SEWANEE // BA in Studio Art Sewanee, TN // SOLO EXHIBITIONS 2018 Upcoming: CUNSTHAUS Tampa, FL Upcoming: ELIJAH WHEAT SHOWROOM, TrollLolLol Brooklyn, NY 2017 PURDUE UNIVERSITY FOUNTAIN GALLERY, Clearly Confused Lafayette, IN UNIVERSITY OF THE SOUTH, CARLOS GALLERY, Fired Up Sewanee, TN APPALSHOP GALLERY, Warm Guns & Bloated Flags Whitesburg, KY 2016 INSTITUTE 193, OK-47 Lexington, KY WILD GOOSE FARM, Gun Show Kent, CT 2012 LEXINGTON VISUAL COLLECTIVE, home/place Lexington, KY BRIGGS THEATRE screening of home/place Lexington, KY // SELECTED GROUP EXHIBITIONS 2018 Upcoming: GROUND FLOOR GALLERY, Women at Work Brooklyn, NY BEVERLY’S, Wendy Let Me In New York, NY RESONATOR GALLERY, Fire and Fury Norman, OK KEYSTONE ART SPACE, Two Person Show, Trash Talk Los Angeles, LA SCHAUFENSTER GALLERY, Paingame Berlin, Germany 2017 ALBANY PUBLIC LIBRARY, Interwoven Albany, NY THE MIDWAY GALLERY, Bow San Fran, CA SEARS PEYTON GALLERY, Light in the Dark New York, NY YALE UNIVERSITY, Branford College Gallery, Broad Stripes & Bright Stars New Haven, CT ARTSWESTCHESTER, Give Us The Vote White Plains, NY WAYFARERS GALLERY, Woven Brooklyn, NY AFFORDABLE ART FAIR, Fired Up, Melted Down New York, NY HARRIS ART GALLERY, University of La Verne, Unloaded La Verne, CA VERMONT STUDIO CENTER GALLERY, Bitter Candy Johnson, VT WOSKOB FAMILY GALLERY at Penn