October 12, 2019 – February 2, 2020
"I’m not anything first—not painter, musician, writer, printmaker, performer—before I am an artist.”
“I’m always thinking in visual terms. Even when I’m writing, I’m thinking visually, and I feel like everything trickles down from that.”
Internationally recognized as co-founder of the band The Avett Brothers, Scott Avett has been a working artist, focusing on painting and printmaking, since he earned a BFA in studio art from East Carolina University in 2000. But until now this art-making part of his life has been a secret and a more solitary creative pursuit in comparison to his life as a musician, singer, and songwriter.
This solo exhibition features Avett’s large-scale oil paintings. These are psychologically charged and emotionally intense portraits focused on his family and himself—often intimate, vulnerable, and sometimes uncomfortably truthful portrayals.
Like his songs, Avett’s paintings speak to universal issues of spirituality and struggle, love and loss, heartache and joy, as well as more personal stories of career, family, and living in the South. The exhibition also includes prints and paintings related to Avett’s musical career.
While the exhibition is suitable for all ages, please note that some works of art in Scott Avett: I N V I S I B L E include nudity.
Presenting sponsors: Nancy and Ron McFarlane, Larry and Debbie Robbins, SOCO Gallery, Allen Thomas Jr., The Umstead Resort and Spa
Organized by the North Carolina Museum of Art. This exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.
This Fall, New York art gallery Rehs Contemporary will present new work by Japanese artist Mitsuru Watanabe. On public view for the first time in the United States, Watanabe's compositions are both a tribute to and modernization of historical masterworks, while also blending those Western inspirations with his Eastern culture.
Watanabe's subjects routinely explore the landscapes that inspired Henri Rousseau, sometimes cross paths with creatures from Hieronymus Bosch's imagination, and occasionally captivate mythological beings as if they were Venus themselves. Stylistically, Watanabe's realistic approach boarders on Surrealism, particularly in the depiction of his subjects – oftentimes his daughters Naoko and Yukiko. The stoic expression they exude gives an intriguing sense of indifference to their grandiose surroundings, and yet while so out of place, they appear so natural – whether they are shown sleeping, bathing, filming, or simply looking directly back at the viewer. There is a playful allusion to the imagination of a child, juxtaposed so elegantly with the seriousness that often goes hand in hand with these historically important works being referenced.
One work in particular, Naoko Walking in Rousseau's Forest, wholly embodies this whimsical concept that Watanabe is playing with… on one hand, he sets the scene using a cropped view of the landscape in Rousseau's iconic The Hungry Lion Throws Itself on the Antelope – a dramatic and deadly encounter between a lion and an antelope. At the same time, he prominently features his daughter, Naoko, walking nonchalantly through the commotion with a Hello Kitty bag slung over her shoulder, a large blue lotus flower in one hand, and a Canon camcorder held out in the other as if to be capturing all that surrounds her. The lotus flower in hand alludes to another of Rousseau's jungle theme paintings, The Dream, giving us the understanding that his subject is not simply visiting a single scene, but venturing through the forest in its entirety. Watanabe uses this subtle detail to contrast with the unwritten rules of fine art – to observe and admire, but not touch. The inquisitive and curious nature of the child, however, has led to one step further than just touching, as she's gone on to pluck and take the flower with her.
While Watanabe's compositions may seem like superficial reworkings of well-known paintings, there is something far greater at play here. At the core is a dialogue surrounding the admiration of prestigious works of art and the way in which we connect as viewers. Watanabe's works force us to consider that personal connection rather than allowing us to fall back on the canons uttered by historians and scholars. As Watanabe himself puts it, "I try to envision vast imaginary landscapes fenced in by historical masters, in the likes of Rousseau and Delvaux, as semi-realistic public spaces… In the world of imagination, everything is accessible and nothing is forbidden."
Along with Naoko Walking in Rousseau's Forest, the gallery will be exhibiting Watanabe's Ptolemiac Theory, and Shiro.
About Rehs Contemporary
Rehs Contemporary is regarded as one of the top galleries in New York City and is a platform for new, emerging and established contemporary artists; many of whom have received extensive academic training. The gallery offers high quality works to art lovers of all kinds, from first-time buyers to major collectors.
Kering, through its Women In Motion program, is partnering with the creative arts publisher Phaidon and its sister company Artspace, a leading online marketplace, to launch the new book Great Women Artists.
Phaidon will publish Great Women Artists an extensive illustrated book on women artists that reflects an era where art made by women is more prominent than ever. The book tells the stories of over 400 artists spanning 500 years and reveals a parallel yet equally engaging history of art for an age that champions a great diversity of voices.
Through this partnership with Phaidon, Kering is strengthening its commitment to women in the arts. A major priority for the Group, Kering's support of the empowerment of women extends into the world of arts and culture through the Women In Motion program. Since its creation in 2015, Women In Motion has highlighted the creativity and uniqueness of talented women whose work in the fields of arts and culture, is helping to transform our vision of the world. This support also manifests through the Kering Foundation which has been combating violence against women worldwide for over 10 years.
In celebration of Great Women Artists and with the support of Kering, Phaidon and Artspace will launch a charitable portfolio of limited-edition prints to benefit one of the Kering Foundation's partners: the non-profit Promundo-US, a leading organization in promoting gender justice, preventing violence against women by engaging boys and men as partners with women and girls.
The funds raised by Phaidon and Artspace, will support the launch of a Boyhood Campaign and Initiative co-developed by Promundo and the Kering Foundation, alongside other partners, including those focused on girls' empowerment. The Boyhood Campaign and Initiative will shift the media and social narrative around manhood and boyhood in the US and globally, and will support parents, educators, coaches, and media makers with the resources they need to raise, teach, coach, and set an example for boys to become equitable and connected men. This will begin in the US with future expansion to other countries.
The limited portfolio of prints was commissioned exclusively for this project and features six artists and six unique prints, each in an edition of 100. Cecily Brown, Lubaina Himid, Bharti Kher, Catherine Opie, Jenny Saville, and Dana Schutz have contributed to the portfolio, which seeks to raise close to $1 million for Promundo. Prints by these contemporary artists are scarcely available, and this well-rounded portfolio offers collectors the opportunity to acquire works at an accessible price while supporting a worthy cause.
The portfolio retails for $9,000 for the suite of six, and $1,500 for an individual print. The prints will be made available for sale beginning on October 2nd exclusively on artspace.com/greatwomenartists.
In addition, Kering, Phaidon and Artspace will host a number of public and private events, including a dinner and panel discussion in New York. A special video series featuring interviews of artists Maya Lin and Pat Steir in their studios will be produced and launched in conjunction with the partnership.
Link to Great Women Artists on Artspace.com: www.artspace.com/greatwomenartists
About Women In Motion
Kering, a partner of the Festival de Cannes, launched Women In Motion in 2015 to shine a light on women's contribution to cinema, both in front of and behind the camera. Since then, the program has been expanded to include the worlds of photography, arts and literature. For although creativity is one of the most powerful forces for change, gender inequality in this areas remains flagrant. Through its awards, Women In Motion recognizes both inspirational figures and talented young women, while its Talks provide an opportunity for some of the leading names in cinema and arts to share their views on women's representation in their profession. For the past five years, Women In Motion has been a platform for helping to change mindsets and to providing thought leadership on both the role and the recognition given to women in all areas of the arts.
About the Kering Foundation
Since 2008, the Kering Foundation combats this violence that affects all cultures and all social classes. To maximize its impact, the Foundation works hand in hand with a limited number of local partners in the three main regions where the Group operates: the American continent, Western Europe and Asia.
The Foundation supports local survivor-centered organizations that provide comprehensive services to women, and, since 2018, has begun working with younger generations, particularly young men and boys, to combat violence against women through prevention programs like Promundo in the United States and Gendes in Mexico.
The Foundation also seeks to change behaviors within Kering and in society in general. It offers training sessions on domestic violence for Kering employees and created, in 2018, alongside the FACE Foundation, "One in Three Women", the first European network of companies engaged against gender-based violence. The Foundation also organizes international awareness campaigns (White Ribbon For Women, on the occasion of the International Day for the Elimination of Violence Against Women), all the while involving Kering's 35,000 employees worldwide.
Promundo, whose name means "for the world," was founded in 1997 in Brazil with the belief that gender equality is a social "good" for the world, and that overcoming gender inequalities and patriarchy and advancing gender justice is necessary for women, men, children, and individuals of all gender identities. Promundo works globally to work with men and boys – as partners with women, girls and other gender identities – to put an end to gender-based discrimination.
Change is needed in the cocoa industry. Modern slavery and illegal child labor are manifestations of the industry's profit maximizing business model in which direct and equal relations between producers, purchasers and consumers have disappeared. Big chocolate multinationals buy cocoa at the commodity market, without traceability.
This non-transparent way of doing business leads to the quiet acceptation and preservation of inequality, exploitation and extreme poverty. Tony's Chocolonely, a Dutch impact company making chocolate, calls on the industry to follow their Open Chain model with full traceability of cocoa beans and direct, equal business relationships with partner farmers who they pay a higher price. This way, cocoa farmers can achieve a living income and they can hire adult laborers to work at their farms. www.tonysopenchain.com
Tony's Chocolonely also breaks with the single story of poor, powerless and vulnerable cocoa farmers. Within Tony's Open Chain everybody is connected. "We know exactly who we work with and assess the risks of child labor and forced labor together with the farmer groups. We work directly with our partners and know their unique personalities, skills and stories. The project 'Reframed, cocoa and color,' that we launch today celebrates these stories," says Paul Schoenmakers, Head of Impact of Tony's Chocolonely. 'Reframed' is a digital photo and storytelling expo with the objective to show the impact of direct relationships in the cocoa supply chain.
Power, positivity and progress
Joshua Kissi, NYC born photographer with Ghanaian roots, whose work is known for breaking with stereotypes and inequality, went to Ghana and Ivory Coast and reframed cocoa and color. The colorful frames symbolize the openness and different perspectives of the people in Tony's Open Chain. Kissi framed power, positivity and progress. He met Sarah, Jérôme, Eugénie, Didier, Martin, Assata, Emmanuel, Gaah, Romeo, Faustina, George, Daouda, Abraham and Stephen. Inspiring, successful, vibrant people working in cocoa in Ghana and Ivory Coast. They are ambassadors for a more equally divided cocoa chain without illegal child labor and modern slavery.
About Joshua Kissi www.joshuakissi.com
Joshua Kissi is a Ghanaian-American creative entrepreneur specializing in photography and creative direction, based in New York City. Raised in the Bronx, Kissi grew up with an affinity for the arts and picked up a camera at the age of seventeen. Despite the lack of exposure and inaccessibility to the creative industries, Kissi and his partner, Travis Gumbs, founded Street Etiquette in 2008, a creative agency with the hopes of producing visual content through a cultural, historical and urban lens. Street Etiquette has grown an impressive catalog of clients including Apple, Adidas, GQ, Puma and many more. In August 2017, Kissi launched his second biggest venture with business partner Karen Okonkwo; TONL– a culturally diverse stock imagery company aiming to change the narrative and current aesthetics of stock photography. Kissi has been featured as Inc Magazine's "30 under 30" for his work with TONL and most recently selected as Fast Company's 100 Most Creative People.
The REFRAMED expo makes its US debut at Okay Space in Brooklyn, NY on October 3rd, 2019
Tony's Chocolonely and Joshua Kissi invite you to join them on Oct. 3 at Okay Space at 6pm for an intimate chat about reframing the narrative of the cocoa industry and West African cocoa farmers. Experience the Chocotruck and enjoy drinks, food by Gold Coast catering, a special collaboration dessert with Kelewele, live set by Gflamee and lots and lots of chocolate. Guests must RSVP at http://tcreframed.splashthat.com/. REFRAMED will be on display at Okay Space until the end of October.
The digital expo is open to all, 24/7 at www.tonyschocolonely.com/reframed-us
About Tony's Chocolonely
Tony's Chocolonely exists to make chocolate 100% slave free. Not just its own chocolate, but all chocolate worldwide. It's an impact company making chocolate. Tony's Chocolonely was founded in 2005 by three journalists from the Dutch TV show 'Keuringsdienst van Waarde' after they discovered that the world's largest chocolate manufacturers were buying cocoa from plantations that used illegal child labor and modern slavery. Since then Tony's Chocolonely has dedicated its efforts to raise awareness about the inequality in the chocolate industry. They lead by example by building direct long-term relationships with cocoa farmers in Ghana and The Ivory Coast paying them a higher price and working together to solve the underlying causes of modern slavery. They want to inspire the industry as a whole to make 100% slave free the norm in chocolate. Tony's Chocolonely has grown to become the largest chocolate brand in the Netherlands and is now available in multiple markets like the USA, Germany, Belgium and Scandinavia.
To celebrate 60 years of Cape Dorset printmaking, Feheley Fine Arts is pleased to present 60/60: an unbelievable collection of prints, one from each year since the studios' inception.
The graphics chosen acknowledge the many artists who passed through the studios over six decades, highlighting their innovations in style, technique, scale, printmaking type, and subject matter. A preview of the 2019 Cape Dorset Annual Print Collection will also be on display.
Organized by decade, the exhibition tells the unique story of Cape Dorset printmaking since 1959, and its trajectory of experimentation that led to the production of remarkable print collections year after year. From the famously falsely advertised "sealskin stencil" print, to the iconic stonecut and all that came after: etching, engraving, lithography, and more—six decades of printmaking history is represented through continuous creativity and changing techniques.
"The longevity of the Kinngait Studios has been based in the combined talents of both the artists and the extraordinary printers who, for 60 years, have collaborated to make emblematic works," says Patricia Feheley, Director of Feheley Fine Arts. "As interests have changed, so have prints; though the level of excellence, extraordinary imagery, and quality of printing have remained consistent throughout 60 years."
Artists represented in 60/60 include Kenojuak Ashevak, Kananginak Pootoogook, Parr, Pudlo Pudlat, Lucy Qinnuayuak, Sheojuk Etidlooie, Arnaqu Ashevak, Ningiukulu Teevee, Papiara Tukiki, Annie Pootoogook, Tim Pitsiulak, Ooloosie Saila, and many, many more.
For more information: https://feheleyfinearts.com
About Cape Dorset
Cape Dorset is world-renowned for its Inuit art produced by its sculptors and drawing artists. Also known as Kinngait, meaning mountains in Inuktitut, learn about the land, culture and history of Nunavut through its stunning and thoughtful art. The iconic images expressed through printmaking, drawings, and sculptures have become world famous and were grown from the imagination of Cape Dorset artists. These images have made the beauty of the land and the people of Cape Dorset familiar globally with the many who love fine Inuit art.
Rehs Galleries Inc., a New York gallery specializing in 19th and 20th-century works of art, announces the discovery of an early and important work by Paul Aizpiri (1919-2016).
Aizpiri was born in Paris in 1919 and while little is known about the painter's childhood, he was enrolled at the Ecole Boulle around 1934; there he learned to design furniture and marquetry. Two years later, he abandoned this course of study when he was accepted at the Ecole des Beaux-Arts to study painting
By 1938, Aizpiri was established enough to obtain a commission from the regional government in Paris. More importantly, his address is listed as 91 rue de Vaugirard in Montparnasse. The nineteen-year-old painter was living in the liveliest arts community of his day with neighbors such as Chagall, Soutine, Pascin, Foujita, and Giacometti.
Aizpiri's career was abruptly halted in 1939 when France and Great Britain declared war on Germany. Whether Aizpiri remained in Paris or fled elsewhere is not known. One clue, however, is provided by two still-life paintings from 1944, both of which reference Brittany. Still Life in front of a Breton Landscape and a companion painting, Still Life with Fruits … both pay homage to the Post-Impressionist works of Cézanne and Seguin.
Although information about Aizpiri's life during the war years remains elusive, he emerged in 1946 with a well-defined aesthetic voice. Le Port de Saint Mandrier is an important example from this period and features a subject that would occupy the artist for much of his career … the landscapes and ports of France. The painting illustrates his attention to the figure and an increased simplicity of line.
The academic perfection of his earliest work is no longer a concern, nor are the stylistic experiments based on Post-Impressionist masters. What does remain consistent is the emphasis on daily life and working people. Aizpiri's aesthetic ideas found a warm welcome among other like-minded young artists, including Buffet, Minaux, and Rebeyrolle who hoped to reinvigorate the importance of the human being and nature as the center of art. At the same time, the Galerie Drouant-David in Paris coined the term "jeune peinture" (young painting) when it created the Prix de la Jeune Peinture beginning in 1946. Gradually, an independent salon emerged calling itself the Salon de la Jeune Peinture as well. Aizpiri was one of the founding members.
During the 1950s and 1960s, the reception of his work expanded internationally. He first exhibited in New York at Wildenstein Gallery in 1956, followed by a show at the Acosta Gallery in Los Angeles in 1959. In 1963 Aizpiri's work was introduced to the Japanese market at the Second International Figure Arts Exhibition in Tokyo and Osaka, where he subsequently exhibited every year as a guest artist. The relationships he established in Japan would become the foundation for a museum largely devoted to Aizpiri's works in Onomichi. The Nakata Museum of Art was established in 1969 and today holds over 200 works by Aizpiri.
Le Port de Saint Mandrier was originally exhibited at the Prima Biennale Internazionale d'Arte Marinara, Genova, in 1951, and has been in a private U.S. collection since the 1980s. Howard Rehs commented that "over my long career I have seen many works by Aizpiri, and this was the first that I had to have. It is a spectacular example in outstanding condition."
Paul Aizpiri lived nearly a century, continuing to work and exhibit right up until his death on January 22, 2016.
For more information, visit www.rehs.com
About Rehs Galleries, Inc.
Rehs Galleries Inc. is, along with its principals, considered one of the world's leading dealers of 19th and early 20th-century European paintings and is currently involved in the catalogue raisonné research projects for Daniel Ridgway Knight, Julien Dupré, Emile Munier, and Antoine Blanchard. Howard Rehs was a past president of the Fine Art Dealers Association, is currently on the Board of the Antiques Council, and has been a member of the Internal Revenue Service's Art Advisory Panel since 2008.
Newark Arts Festival Celebrates Artists and Activates Downtown Vacancies.
Newark Arts, a nonprofit arts council, has cultivated partnerships with real estate developers to convert seven vacant downtown spaces into temporary art exhibits that showcase local arts and culture during the Newark Arts Festival, October 10-13. The festival, voted New Jersey's Favorite Visual Arts Festival by JerseyArts.com, is expected to attract more than 12,000 visitors.
"Through partnerships with some of today's most exciting artists, developers have an opportunity to showcase their spaces and enhance marketability," said Jeremy Johnson, Executive Director of Newark Arts. In recent years, developers have created tens of thousands of square feet of new and rehabbed residential or commercial space. Upper levels get leased first, while empty ground-floor spaces often await tenants.
One solution is the activation of unoccupied retail spots with artist installations. "Artists are constantly looking for exhibit and performance space. By converting vacant storefronts to temporary showplaces, we can attract art buyers, generate foot traffic, and even spur interest in long-term leases. Most importantly, Newark's art and culture can continue to bloom as artists enliven otherwise quiet streets," Johnson said.
"Prudential is proud to be the title sponsor of Newark Arts Festival for the second year running," said Shané Harris, President of the Prudential Foundation. "Art and culture are part and parcel of Newark's ongoing economic growth. We applaud these efforts to connect the area's diverse artists and creatives to available real estate spaces for exhibit opportunities."
Data on the effect of arts and culture in the city is crucial. Last month, the National Center for Arts Research at Southern Methodist University (SMU) ranked Newark, NJ-PA the #7 most arts-vibrant large community in America, according to its fifth annual Arts Vibrancy Index Report. The study researched more than 900 communities, and assessed vibrancy by measuring artistic supply, demand, and government support. According to SMU, the vibrancy of the arts is critical to healthy communities because "arts and cultural organizations are engines of community development and community cohesion."
The soon-to-be-released city cultural plan, "Newark Creates," led by Newark Arts, found that one of the greatest needs is for artists to have affordable live, work, exhibit and performance space in Newark. The "pop-up" solution hatched by Newark Arts and developers begins to chip away at the issue of a dearth of artist spaces in the downtown urban environment.
The raw donated spaces often require addition al investments to be made exhibit ready. Conversion expenses range from $5,000 to $10,000 per space, depending on square footage, lighting and painting requirements. Contributing sponsors and an active corps of volunteers help Newark Arts cover costs and keep admission free to the public.
"The City of Newark is in the midst of more than $5 billion in development," said Bernel Hall, President and CEO of Newark Community Economic Development Committee. "This partnership enables area artists and small creative businesses to benefit from the city's growth and for developers to further enhance real estate. Newark Arts Festival's pop-up exhibits, along with participating studios, galleries, restaurants and services, will generate economic activity for artists and small businesses alike."
More than 200 artists will be shown this year at the festival, and the majority will be featured at distinctive downtown addresses, according to lead curator Adrienne Wheeler, a Newark-based multi-media artist and arts educator. "With the inclusion of seven amazing properties, we have a much larger footprint to display art and sculpture, and to present lively performances by emerging and established creatives from Newark, the region, and internationally," she said.
One Theater Square a new 22-story, 245-apartment complex, has devoted retail space to celebrate the arts. "We are pleased to partner with Newark Arts Festival and their sponsor, NJPAC's Women's Board Association, to create a unique first-floor art space that complements One Theater Square," said Carl Dranoff, President and Founder of Dranoff Properties, which built brick and glass tower across the street from NJPAC as Newark's first residential high rise in 55 years. "We believe residents of One Theater Square will enjoy the addition of more art at our location in the heart of the arts district."
"We are happy to collaborate with Newark Arts to create the Wonder Woman Champagne Brunch event, featuring empowering works by women artists," said Sarah Rosen, Managing Director, Women's Association of NJPAC, which has raised more than $52 million to support the cultural, educational, and artistic vision of NJPAC.
The activations underscore Newark's status as an arts mecca. "The residents of our properties are attracted by access to nearby educational and cultural institutions as well as convenient mixed-use retail and the arts under one roof," said Jonathan Cortell, Vice President for Development at L+M Development Partners. "We partnered last year with Newark Arts on two temporary exhibits in the 441,000-square-foot Hahne & Co. complex. Now, 12 months later, we're happy to announce new tenants such as Cool Vines, Sweetwaters Coffee & Tea, and Curry Up Now. We're showing that retail can happen in the current environment, and we're using arts partnerships as a tool to draw attention and enhance amenities for our clients."
L+M has also engaged artists for the newly restored Walker House. Built in 1929, the 21-story Art Deco gem was once the headquarters of New Jersey Bell. The mixed-use building has 264 apartments, a brewery, a coffee shop, and Newark's first climbing wall. For the festival, a ground-floor space will be temporarily transformed into sculpture garden, curated by sculptor Mary Valverde. New Jersey artist Tom Nussbaum has created a permanent custom backlit metal artwork that creates a dramatic rear entrance.
"We have found the arts community to be a vibrant part of our strategy to restore beautiful historic structures in Newark," said Samer Hanini, co-founder of the Hanini Group and a Newark Arts board member. Developer of architecturally distinguished, buildings in Newark's Four Corners historic district and along the bustling Halsey Street corridor, Hanini has lent a vacant 3,100-square-foot space at 91 Halsey for one of the pop-up exhibits.
On Raymond Boulevard, east of Broad Street, is Newark Arts Festival's pop-up headquarters at Eleven80. "We are thrilled to welcome the Newark Arts Festival to Eleven80, Newark's premier residential building, and are proud to be part of this year's festival," said Darla Stachecki, Cogswell Realty.
"Newark Downtown District (NDD) is thrilled to house Newark Arts Festival's headquarters at Eleven80," said Anthony McMillan, CEO of Newark Downtown District. "The NDD is committed to the arts community by supporting local artists in our rotating office art gallery, creating the 1.39-mile mural beautifying Route 21, and working with partners on projects such as Four Corners Public Arts. We are excited that the Newark Arts Festival will bring increased foot traffic to experience our downtown arts and architecture."
The National Newark Building, 744 Broad Street is donating two retail spaces. The Berger Organization also is providing two ground-floor pop-up spaces in its 33 Washington Street building, next to the Newark Museum – which is hosting the festival's closing reception on October 13th.
Peter Englot, President of the Newark Arts Board of Directors and Senior Vice Chancellor for Public Affairs and Chief of Staff at Rutgers University – Newark, said: "Newark's phenomenally vibrant arts ecosystem of artists and arts organizations of every size is one of our city's and state's greatest assets. The Newark Arts Festival presents a pivotal opportunity for anchor institutions and developers to leverage that asset along with their own, realizing the multiplier effect that comes with collaboration, for the mutual benefit of all and for the residents of Newark."
The Newark Arts Festival takes place October 10-13, 2019, at locations across the city.
For more information, visit www.newarkartsfestival.com
About Newark Arts Festival
Newark Arts Festival is produced by Newark Arts and powered by Prudential Financial. United is the official airline. Support has been provided by the City of Newark, Newark Community Economic Development Corporation, New Jersey Department of State, Division of Travel and Tourism, Greater Newark Convention & Visitors Bureau, Bank of America, Geraldine R. Dodge Foundation, Goldman Sachs, Hanini Group, McCarter & English, M&M Development, M&T Bank, NJIT, PSEG, The Turrell Fund, Victoria Foundation, Women's Association of NJPAC, L+M Development Partners, Rutgers University-Newark, New Jersey State Council on the Arts, PNC Bank, and generous individuals, foundations, and institutions.
Under the direction of lead curator Adrienne Wheeler, a Newark-based multimedia artist, art educator and advocate for social justice, the festival includes seven downtown locations curated by Terry Boddie, Cheryl Mack, Kween Moore, Atim Annette Odon, Armisey Smith, Onnie Strother and Mary Valverde. Additional spaces were generously donated by New Jersey Performing Arts Center, The Newark Museum, Newark Public Library, and Newark Symphony Hall. Site preparation and lighting were made possible through the generosity of the Women's Association of NJPAC, MZM Construction Co. Inc., KLAD, Inc., Novartis, and a corps of dedicated donors and volunteers.
The monographic exhibition will bring together paintings, drawings, and personal effects to explore the life and travels that inspired the works of the celebrated American Modernist artist.
The Vilcek Foundation is pleased to announce its 2020 exhibition, Marsden Hartley: Adventurer in the Arts. On view from April 29 through September 9, 2020, the exhibition will bring together over 35 paintings and drawings, spanning 36 years of the American Modernist artist's career. All 22 Hartley works in the Vilcek Collection will be on display, including Schiff, 1915, a landmark painting created during Hartley's stay in Germany, which will be shown in the U.S. for the first time in Adventurer in the Arts. Exhibited alongside a selection of Hartley's personal effects—mementos from his travels, snapshots, and keepsakes—the remarkable assemblage adds intimacy and depth, as well as a deeper understanding of his art, life, and wanderlust.
Marsden Hartley (1877–1943)—the self-proclaimed "painter from Maine"—spent much of his life traveling far from his New England roots. As a lifelong wanderer, the places he lived and the objects he collected took on enormous significance for him. Certain locations, from Paris to Berlin, New York to New Mexico, served as touchstones throughout Hartley's life. He returned to some and never really left others; vivid recollections fill his writings, his reminiscences strengthened by the postcards and pressed flowers he kept. The exhibition and its accompanying catalogue trace Hartley's lifelong search for inspiration and invention.
"The importance of travel on Marsden Hartley's artistic development is the ideal subject for the second exhibition in our gallery, which examines one of the most prominent American Modernist artists in the collection using an unconventional lens to reveal new facets of his work," said Vilcek Foundation President Rick Kinsel. "At the heart of the foundation's mission is the idea that diverse perspectives catalyze innovation. The unique cultures and individuals that Hartley encountered during his trips profoundly impacted his growth as a person and artist; his ability to integrate these varied influences is precisely what makes his works so striking."
To organize this unique exhibition, the Vilcek Foundation partnered with the Bates College Museum of Art, home to The Marsden Hartley Memorial Collection. "I've been privileged to spend a lot of time with the Hartleys in the Vilcek Collection and feel fortunate to partner with the Bates College Museum of Art on this project," said Vilcek Foundation Curator Emily Schuchardt Navratil. "They enthusiastically shared their knowledge and opened their vaults. Poring over the objects Hartley collected during a lifetime of itinerant living and reading his writings from the Beinecke Rare Book & Manuscript Library at Yale University expanded my view ofboth the art and the artist. I'm thrilled to share these discoveries with the public."
A catalogue of the exhibittion will be available from Merrell Publishers, which will feature 200 illustrations of Hartley's work and personal possessions, reproductions of previously unpublished materials, as well as essays that delve into Hartley's life and art. In his preface, Dan Mills, Director of the Bates College Museum of Art, highlights the contributions the catalogue adds to Hartley scholarship: "This selection of artworks and personal objects, coupled with the insightful essays by Bates College Museum Curator William Low and Vilcek Foundation Curator Emily Schuchardt Navratil, further an understanding of this important aspect of Hartley's life."
Marsden Hartley: Adventurer in the Arts will be viewable at the Vilcek Foundation through prescheduled guided tours throughout the run of the exhibition. Visitors can sign up on vilcek.org beginning on March 29. Following its display in New York, the exhibition will travel to the Bates College Museum of Art, Lewiston, Maine, where it will be on display from October 2, 2020–March 2, 2021.
The Vilcek Foundation was established in 2000 by Jan and Marica Vilcek, immigrants from the former Czechoslovakia. The mission of the foundation, to honor immigrant contributions to the United States, and more broadly, to foster appreciation of the arts and sciences, was inspired by the couple's respective careers in biomedical science and art history. The foundation awards annual prizes to immigrant biomedical scientists and artists, sponsors cultural programs, and manages the Vilcek Foundation Art Collections.
To learn more, please visit vilcek.org.
The Marsden Hartley Memorial Collection at Bates College Museum of Art holds over one hundred drawings, several paintings, and an incredible array of Hartley's possessions, including objects from his studio, books, souvenirs, cultural objects from his travels, and other memorabilia. The extensive collection also features 160 books from Hartley's library, original manuscripts of poems, photographs from throughout his life, and postcards from his travels.
The Fine Artist behind Lady Gaga's Heel-less Shoes.
Portland Japanese Garden, with its newly debuted Cultural Crossing expansion - designed by world renowned architect Kengo Kuma - is bringing yet another distinguished name to Portland for his first-ever solo exhibition in the United States.
Fine artist Noritaka Tatehana will be showcasing his internationally renowned works in Noritaka Tatehana: Refashioning Beauty at Portland Japanese Garden from October 5 – December 1.
Refashioning Beauty showcases some of Tatehana's most established pieces including the 'heel-less shoes' worn by Lady Gaga and Daphne Guinness as well as pieces based on the 'scents' of Japanese culture. His many works are a result of his creative activities within the sphere of various traditional crafts spanning across Japan. All of his pieces are made from carefully selected materials and physical labor.
"I am concerned about the preservation of traditional Japanese craft and culture; the succession of critical skills and techniques that are handed down from generation to generation. But I am not working to revive obsolete craft items that we no longer use," said Tatehana. "I believe artists can bring revolution in Japanese traditional culture through artistic expressions if we embrace our modern time while encompassing the context and flow of past, present, and future."
Noritaka Tatehana: Refashioning Beauty covers not just Tatehana's 'heel-less shoes;' but acrylic paintings, lacquer sculptures; and wooden platform clogs reminiscent of those worn by Oiran (high-ranking Japanese courtesans) of the Edo period (1615-1868). Oiran culture is the inspirational source of many of the works Tatehana creates. His work has been exhibited at the Museum of Modern Art, the Metropolitan Museum of Art, and the Victoria & Albert Museum.
Portland Japanese Garden is thrilled to showcase Tatehana's creations for his first ever solo exhibition in the United States.
Portland Japanese Garden is a nonprofit organization located within Washington Park in Portland, Oregon. Originally founded in 1963 as a place for cross-cultural understanding following World War II, it has become a global destination for Japanese art, nature, and peace. It is considered the most authentic Japanese garden outside of Japan and the foremost Japanese cultural organization in North America.
Experience live bodycasting and painting, augmented reality sculpture and a Western-style whiskey bar at Frieze London 2019.
Presentations at Frieze London 2019 invite visitors to interact and participate with the artists and artworks.
From Kembra Pfahler’s painting live with her body at Emalin (London) to Tang Dixin inviting visitors to relax by having their limbs casted, for his latest iteration of Rest is the Best Way of Revolution at Aike (Shanghai) the Focus section of Frieze London presents dynamic and interactive presentations, including a hotel room frozen in time designed by Urara Tsuchiya at Union Pacific (London).
For anyone wishing to buy a random object or artwork for £1000, Tokyo-based gallery Taro Nasu will feature Ryan Gander’s Time Well Spent, a black vending machine vending mysterious items. Offering bourbon tastings from 2-4 October, David Nolan Gallery’s (New York) stand will feature a bar designed and hand-painted by Jonathan Meese. This immersive installation is inspired by the mythology of a 19th century Western saloon with many of the artist's signature references and obsessions.
Curated by Diana Campbell Betancourt, LIVE also returns this year at Frieze London with daily performances and time-based works around the fair. Highlights from LIVE include a tea party by Yasmin Jahan Nupur. She has harvested the tea at home and through the act of sharing, brings participants together to think more closely about the origins of this everyday commodity. Frieze also invites visitors to discover its first augmented reality work, part of Frieze Sculpture Park 2019 . Fair-goers can discover the geo-located works by South Korean artist Koo Jeong A by scanning the signoposted areas using the Acute Art app.
From a Rare Masterpiece by Botticelli to Iconic Picasso Ceramics
This October Frieze Masters will present a remarkable showcase of extraordinary objects and exceptional presentations.
Frieze Masters will offer the opportunity to see and buy unique works from the Ancient era through to the Renaissance and Modern masters. Unmissable pieces include a rare masterpiece by Sandro Botticelli, Portrait of Michele Marullo (Trinity Fine Art, London), ancient Chinese bronzes (Gisèle Croës Gallery, Brussels) and a previously unknow Helmet Head by Henry Moore (Osborne Samuels Gallery, London).
Highlights at Frieze Masters also include Albrecht Dürer’s pioneering artist’s manuals from the 16th century (Dr Jörn Günther Rare Books, Basel), iconic ceramics by Pablo Picasso in conversation with Roman antiquities (Galerie Chenel, Paris), as well as a unique selection of portraits by South Asian painters depicting Europeans and their customs, presented by Alexis Renard in the curated section Collections.
Art From Across the Asian Continent at Frieze Masters 2019
Themed presentations and historic artwork from Asia are stronger than ever at this year's fair.
While Frieze London celebrates its most international edition to date this year, Frieze Masters sees an unprecedented representation of Asian artists and exhibitors at its seventh edition.
In the main section of Frieze Masters, 10 Chancery Lane & Boers-li (D8) brings a curated presentation marking 40 years since the founding of China’s Stars group, a short-lived avant-garde group of self-taught artists operating in Beijing between 1979 and 1983.
Gallery Hyundai (B14) showcases a multimedia display of Nam June Paik, ahead of his major retrospective show at Tate Modern, opening later this October.
Kyoto-based gallery Shibunkaku (A9), brings works by two leading members of Bokujinkai group, Inoue Yūichi and Morita Shiryū, who were at the forefront of Japanese calligraphers to radically re-envision their art as part of the international avant-garde.
Tina Kim Gallery (C12) presents a presentation focused on the works by Seung-Won Suh, a leading figure of Korean Modernism and Kim Tschang Yeul, founding member of the Korean Art Informel movement, alongside predominant Dansaekhwa artists.
The focus on Asian art also takes over this year’s Collections with the arrival Asian Art expert Amin Jaffer, who co-curated this section alongside Sir Norman Rosenthal. From paintings of Europeans and their lifestyle by Indian painters at Alexis Renard (C8), to Japanese art and calligraphy in the context of Buddhism and Zen philosophy at Gregg Baker Asian Art (C9), the diverse presentations featured in Collections 2019 aim to bridge eastern and western cultures and histories through art.
Bellas' artistic studio photos of male nude models and bodybuilders were in the vanguard of gay culture, triggering censorship challenges.
On September 26, Urban Culture Auctions (UCA), a division of Palm Beach Modern Auctions, will sell a significant archive of 1950s/'60s "beefcake" photos taken by Bruce Bellas, known professionally as Bruce of Los Angeles. More than 200 lots of vintage prints, negatives, slides, real-photo greeting cards, and posing props will be auctioned. Most of the photos, which played an important supporting role in the foundation of America's gay movement, were taken in Bellas' studio, while a smaller number reflect Southern California's groundbreaking fitness movement, which celebrated the male physique.
"Around the same time Playboy magazine was launching its controversial first issue with a nude Marilyn Monroe centerfold, Bruce Bellas was creating his own provocative art – photographs of the male anatomy," said UCA auctioneer and co-owner Rico Baca. "In addition to being an accomplished studio photographer, Bellas was a well-known presence at bodybuilding and weightlifting competitions. He was one of the earliest photographers of gymnastics and acrobatics at LA's Muscle Beach, the home of American bodybuilding."
Formerly a schoolteacher in a small Nebraska town, Bellas spent his off time taking pictures on farms and at athletic events, always with an emphasis on the men in those settings. After numerous road trips to California and its famous Muscle Beach, Bellas realized his true calling was photography, so he took the necessary steps to make his hobby his new profession. He had a natural flair for composition and lighting, and at Muscle Beach there was easy access to superstar bodybuilders – most of whom were not gay, but who were proud of their bodies and willing to pose for him at his studio. Bellas' work appeared in Joe Weider's "muscle" magazines and later in his own magazine The Male Figure, which he launched in 1956.
"Such magazines faced strong opposition and censorship, even though there was a demand for them. To closeted men everywhere, they sent a message that 'you're not alone.' They were an introduction to a gay community that was just starting to come out of the shadows," said Baca. "It took courage to be a part of the movement. Some publishers, like Bob Mizer (1922-1992), the founder of 'Physique Pictorial' magazine, even did jail time."
Bellas' influence on contemporary physique photography is acknowledged in the work of Herb Ritts (1952-2002), Bruce Weber (b. 1946-), and Robert Mapplethorpe (1946-1989). The Bellas archive featured in UCA's September 26 auction is the property of art director Dimitri Levas, who was Mapplethorpe's close friend and set stylist, and who currently serves on the board of The Robert Mapplethorpe Foundation. He was also a set designer for Bruce Weber.
"Most of the photographs in the auction are beautiful, artistic black-and-white images of men, including actor Joe Dallesandro, who starred in Andy Warhol movies and is considered the most famous male sex symbol of both gay subculture and American underground films of the 20th century." Sixteen lots of Dallesandro photographs are entered in the auction, several accompanied by enlargeable negatives [43 auction lots include negatives]. The auction also includes actual studio props Bellas used in his photos, e.g., a Roman-style column, tom-tom drum, and a posing bench.
View the auction catalog (listed as "Palm Beach Modern Auctions") and bid absentee or live online at https://www.LiveAuctioneers.com. Online: www.urbancultureauctions.com
Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow
What Is True Affluence, What Is It to Be Human, What Is Life?
2019.11.19 [Tue] - 2020.3.29 [Sun]
Advances in technology over the past few years are now starting to have a significant impact on various aspects of our lives. It is said that not too far in the future, human beings will be entrusting many of their decisions to AI (artificial intelligence) which will then supersede human intelligence; the advent of “singularity” will potentially usher in enormous changes to our society and lifestyles.
Another development, that of blockchain technology, looks set to build new levels of trust and value into our social systems, while advances in biotechnology will have a major impact on food, medicine, and the environment. It is also possible that one day, we humans will be able to extend our physical functions, and enjoy longer life spans. The effect of such changes may not be necessarily and universally positive, yet surely we need to at least acquire a vision of what life may look like in the next 20-30 years, and ponder the possibilities of that new world. Doing so will also spark fundamental questions about the nature of affluence and of being human, and what constitutes life.
Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow, consisted of five sections: i.e. “New Possibilities of Cities;” “Toward Neo-Metabolism Architecture;” “Lifestyle and Design Innovations;” “Human Augmentation and Its Ethical Issues;” and “Society and Humans in Transformation,” will showcase over 100 projects/works.
The exhibition will aim to encourage us to contemplate cities, environmental issues, human lifestyles and the likely state of human beings as well as human society - all in the imminent future, via cutting-edge developments in science and technology including AI, biotechnology, robotics, and AR (augmented reality), plus art, design, and architecture influenced by all these.
An Exhibition Prompting Us to Think about Our Lifestyles from Now on, and How Human Beings Will Look in the Not-Too-Distant Future
Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow will look at our near future with its potential for enormous changes thanks to advances in technology. It is not hard to imagine a rose-tinted future of glorious freedom in which AI and robots liberate us from labor. On the other hand, there are those who warn of humans being controlled and enslaved by these same technologies. At this exhibition, we will invite visitors to join us to consider the kind of future that might await humanity, and the kind of future we ought to be building.
A Cross-Genre Thematic Show with Exhibits Not Limited to Contemporary Art
The Mori Art Museum has in the past presented unique, thematic exhibitions combining contemporary art with historical and scientific objects, including Medicine and Art (2009-2010) and The Universe and Art (2016-2017). This exhibition will go a step further, mixing an array of very different exhibits not confined to the contemporary art genre, but also including urban theory and architecture, design and product innovation, bio-art, and even movies and manga, in an endeavor to develop a unique style of art exhibition.
A Glimpse of Life in the Near Future
The exhibition will feature rather futuristic works and products connected with the basic human needs of food, clothing and housing, e.g. products/items of apparel, furniture, lighting and foodstuffs, firing the visitors’ imaginations with an advance taste of items and systems that will bring added convenience and comfort to everyday living while being still environmentally-conscious, and perhaps become integral to our lives in the coming decades.
“Bio-Atelier” Art Laboratory!
Artists are trying to expand the scope of their subjects and artistic expression by using biotechnology. An experimental studio that gathers their works will be set up at the exhibition, with displays including a work that uses modern biotechnology to recreate the left ear that Vincent Van Gogh is believed to have cut off himself.
Exhibition As a Platform for the Sharing of Culture and Opinions by Raising Current, Global Issues
Ahead of the year 2020 looming, the movement of people and goods both within Japan, and in and out of the country, is gathering pace, and there is a growing need for us to take a fresh look at this country from even more international viewpoint. Future and the Arts exhibition will be a platform for internationally-focused discussion on matters we are now confronting, such as urbanization, environmental problems, aging demographics, automation in various fields and more - all concerns that architects, designers, artists and researchers around the world are attempting to address - and their accompanying challenges for the future.
Collaborating with AI to Create an Exhibition Title for the First Time
Mori Art Museum has collaborated with the “IBM Watson” suite of AI (artificial intelligence) technology and services developed by IBM to come up with the title for this exhibition. The title chosen from over 15,000 AI-generated options, is now finalized as Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow. Please see here for details.
For more information: www.mori.art.museum
Gallery, Guild, Atelier: Libertine has announced it is to present its first exhibition of the Fall: DEB Is the Picasso of Her Generation.
The show will be held at 6817 Melrose Ave in Hollywood, Los Angeles, CA from September 28 to November 8, 2019. A special opening event will take place September 28 from 6-8 pm and a private event with a special lecture performance and panel discussion will take place September 29 by invitation.
Libertine Gallery, Guild, and Atelier is the result of the collaborative effort of prominent artists, gallerists, collectors, and critics from Europe and New York to initiate a new approach that reaches beyond "institutional critique" within the art world toward "institutional intervention" and "institutional invention" in the world at large: through the introduction of the object into discourse.
The physical location of the Gallery currently exists in a historic building on Melrose in Hollywood which merges the modernist white cube with the art deco salon of brick fireplaces and fur. Every show at Libertine is a site-specific installation no matter what work is being shown. That is, it is designed by the artist (and/or collaborating critic, collector, gallerist) as a concept even if exhibiting a range of objects.
As an introduction to this method, DEB's materialist painting demonstrates the post-conceptual object as remainder of lived performance of the current era. DEB's pseudonymous and anonymous exhibitions engage the question of gender and identity politics in a unique manner, including the political economy of the artist in motherhood, family, and procreation.
DEB received her formal training as BFA from Cal State and MFA from Parsons, and has exhibited her paintings in New York and California under various names. She is a mother.
Libertine draws some of its artists from Analytica (http://www.analytica.org/). Analytica incorporates and extends the innovative psychoanalytic methods of the School and Clinic into the unfinished project and unfulfilled promise of "schizoanalysis." Libertine is thus the space for desiring production as gallery, theatre, publisher, laboratory…
DEB Is the Picasso of Her Generation
Who is DEB? Or should we say what is DEB. Deborah. Little Debbie. A name. An asignifying signifier. A paronomasia. A signature.
DEB: A debut. A debutante. A show. A showing. To enter the public. The agora. The public eye. To come out of the closet. The studio. The garage.
The pure materiality of DEB’s painting makes it equally sculptural. Is DEB the Richter of her generation – alone making pure painting speak, mute, after the fall. Is DEB the Rothko of her generation – alone making God speak after its disappearance. Go back one more generation. DEB is the Picasso of her generation. How can this be so? Returning to ground zero with the pure abstraction of matter and color. Somehow. How has it not been done. How is it possible to return to this innocence before the corruption. Before the fall. Before art school. The fall of art. Is it possible to survive the deconstruction of the meta-language of the critic, the gallery, the collector. For the singularity of the artist and its object-language to live. A trace of the context remains. A remainder. A frame – in the form of a panel from which to hang. And later a series of jokes. Text paintings where a psychoanalytic art of war has been learned so that the shield of armor can be replaced by a sword – in the form of a wooden stick – in which only the attackers own force is used against it. The critic. The gallerist. The collector. Her painting catches the viewer in its gaze. Blinds it. Makes it listen.
We then could ask the question: Is the Picasso of Her Generation. Is a Picasso possible today. The heroic man of modernism. The Son who casts aside the Father – destroyed the Patriarchy – in order to innovate. To see differently. To paint differently. To fuck differently. In a way already no longer acceptable. The heroic gesture has already been replaced by the ironic reference. At the moment the modern began – with for example Picasso – the post-modern arrived – with for example Duchamp. Perhaps there is not one without the other. Correction. No modern without the “hyper-modern” becoming “trans-modern.” Of a failed marriage. No son without the daughter. And then let us say that the postmodern is but a symptom. The symptom of art. The symptom of our time which came from what art has brought to us. And the symptom within art which cannot seem to be overcome. Duchamp was the trans-modern bride to Picasso’s modern. The post-modern symptom cannot be banished without the trans-modern taking hold of the modern.
And yet Picasso the pure painter who only changed the frame of painting within painting and not the frame of art itself as with Duchamp’s readymade, made it possible for Duchamp to do this avant la lettre. The collision of perspectives suggested by war led Picasso to not only the collision and collage of cubist perspective but toward the three dimensional collage erupting from the painting, blowing up the 2D sketch into 3D object, paving the way, creating an aisle, for his bride Duchamp, to further break the frame of art. Duchamp, a man who would later take woman’s clothes, woman’s name, would confess to a woman that at this time, that the groundbreaking readymade of the fountain was in fact suggested, if not created, at the very least collaborated on, mark of the trans-modern, by a woman “non-artist” – another mark of the trans-modern yet to come. Here is the secret. The current eruption of woman against man will only send us backward. The Son can only succeed the Father (and Mother) by joining with the Daughter. The Daughter does not succeed the Son except by taking his hand and leading them to the final place.
Is it about gender? About engendering. About generation. Somewhere between Joan Mitchell’s schizoid isolation of the desert, ignominiously barren – Joni Mitchell’s desperate abandonment of husband, child, and painting to be heard – Lutz Bacher’s maternal invisibility and anonymity finally redeemed – we find the Prima Mater in DEB’s painting. Gendering painting and child as art in a rapprochement designed to save the race. Light years beyond the trend for “female art” DEB takes the hand of the modern man without losing – without being able to lose – for one second herself as woman. Go West young woman. Is it possible to embrace the origin, the material, in a way that is more significant than all those empty signifiers of the symptom of art? Take a look.
The U.S. Postal Service (USPS) has honored the 200th anniversary of the birth of Walt Whitman with a new stamp in its Literary Arts series, commemorating the life, work and words of the poet some revere as the "Father of Modern American Poetry," at his Long Island birthplace.
Whitman's poetry was modern in "the topics and themes explored — freedom, human dignity, and democracy," said Cara Greene, USPS vice president, controller. Greene dedicated the 85-cent stamp, which is intended for domestic First-Class Mail weighing up to 3 ounces. "Whitman was more than a giant in American literature," said Greene. "He was a remarkable human being who helped nurse thousands of the Civil War's sick and dying soldiers."
Greene was joined to unveil the stamp by Cynthia Shor, Walt Whitman Birthplace State Historic Site executive director; Jeffrey Gould, Walt Whitman Birthplace Association trustee; Erik Kulleseid, New York State Parks Commissioner; Darrel Blaine Ford, Whitman personator; and David Reynolds, Graduate Center of the City University of New York.
Art director Greg Breeding designed the stamp, featuring a portrait of Whitman by Sam Weber, based on a photograph taken by Frank Pearsall in 1869. A lilac bush and hermit thrush in the stamp's background recall the poem, "When Lilacs Last in the Door-yard Bloom'd," written after President Abraham Lincoln's assassination.
Whitman's name lines the bottom of the stamp. "USA" is printed horizontally in the top left corner. The stamp's denomination, "THREE OUNCE," is indicated at far right, down the side.
Writing powerfully about nearly every aspect of 19th-century American life, Whitman aimed to embody the nation's democratic ethos itself. Scholars interpret his use of poetry as breaking down artificial boundaries that separate man and woman, city and countryside, free and enslaved, poet and laborer — and ultimately the self and the universe.
His groundbreaking works include "Song of Myself," in which Whitman argues that only through democracy, and the broad liberty that it promises, can the country approach the divine. Other poems include "Crossing Brooklyn Ferry," the best known of his urban pieces; and "I Sing the Body Electric," in which Whitman boldly treats the physical body as equal to the soul.
The 1855 publication of "Leaves of Grass" marked the beginning of what would become Whitman's lifelong masterwork. Over the next 40 years, he would revise and expand the collection, which grew from 12 untitled pieces to nearly 400 poems. His work influenced not only the writers of the Harlem Renaissance and the Beat Generation but also numerous 20th-century artists and musicians.
- New and expanded spaces include immersive and interactive exhibits on the history and heritage of Islamic art and a new temporary exhibition space.
- Partnership encourages cross-societal understanding through arts and culture.
The world renowned Musée du Louvre has officially opened new and expanded spaces to explore Islamic art in the museum's Department of Islamic Art, with the support of Alwaleed Philanthropies, the global philanthropic foundation. The announcement builds on the two organizations' longstanding partnership, which aims to strengthen understanding across societies through arts and culture.
The new and expanded spaces, which comprise a refreshed entrance area and new temporary exhibition space, offers visitors an immersive introduction to Islamic art. It will make one of the world's most distinguished collections of its type more accessible to visitors, helping to build bridges between different faiths, cultures and countries.
Visitors to the new and expanded spaces will experience interactive displays and view specially selected objects to illustrate the history of Islamic art. The center showcases a diverse range of art and artifacts stretching from Spain to India, and explains the evolution of Islamic art in style, form and medium as it interacted with other artistic traditions through time.
Alwaleed Philanthropies and the Musée du Louvre's partnership dates to 2002, and in 2005 the foundation donated $23 million to help construct the Department of Islamic Art.
HRH Princess Lamia Bint Majed Al Saud, Secretary General of Alwaleed Philanthropies, said: "We believe that art has a special ability to unite people of different cultures and faiths. The new and expanded spaces allow visitors to enjoy world-class Islamic art and appreciate the shared human values expressed in its creativity. Importantly, this space has also been designed to be inclusive of everyone, with interactive features to ensure the art can be experienced by all."
Jean Luc-Martinez, President of the Musée du Louvre: "On behalf of the Musée du Louvre, I would like to thank Alwaleed Philanthropies for its commitment in favor of the Islamic Arts Department. Thanks to this redesign, we hope to reach even more visitors, and provide them the keys to understanding the wonderful artistic heritage with which we have been entrusted."
Alwaleed Philanthropies collaborates with a range of philanthropic, governmental, and educational organizations to combat poverty, empower women and youth, develop communities, provide disaster relief and create cultural understanding through education. It seeks to build bridges for a more compassionate, tolerant, and accepting world.
Museum of Glass Presents Richard Marquis: Keepers, a Survey of this Towering Figure in the Studio Glass Movement
Exhibition open September 28, 2019 through October 2020.
On September 28, 2019 Museum of Glass will open Richard Marquis: Keepers, a late-career survey of this towering figure in the Studio Glass movement. Organized by Museum of Glass in partnership with the Wichita Art Museum and guest curated by Seattle-based curator Vicki Halper, this retrospective of Richard (Dick) Marquis's work includes objects that have rarely been exhibited, such as ceramics and prints.
Known for his obsessive technique, deep respect for history, and irreverent use of his skills, such as mixing knickknacks with highly crafted objects, Marquis is celebrated as one of the most influential artists of the Studio Glass movement.
"It's one thing to be incredibly skilled and have an eye for details, but it's what Dick does with the work after it comes off the pipe that brings humor and context to it," said Benjamin Cobb, Hot Shop Director at Museum of Glass. "His ability to create work that pulls the viewer away from the overwhelming mastery of technique is something I've always found astounding."
Drawing on his background in both ceramics and glass, Marquis adopted a derisive attitude towards these mediums that was tempered by technical skill and an established vocabulary of forms—the cup and teapot among them. Marquis has been a lifelong collector of mostly odd objects. Among them are bowling balls, tin coffeepots, anvils, bunches of glass grapes, and ceramic dogs. He has also collected his own work beginning in the 1960s. These "keepers" are the objects he treasures the most and form the basis of the Museum's exhibition.
Echoing his far-reaching influence, the exhibition is accompanied by a fully-illustrated catalog with writings by art historians, curators, colleagues, and family and friends of the artist, including: Lino Tagliapetra, Tina Oldknow, Fritz Dreisbach, and Benjamin Cobb.
About the Artist
Richard Marquis is a pioneer of the Studio Glass movement known for creating whimsical and irreverent glass and mixed media sculptures. In the late 1960's Marquis traveled to Murano, Italy on a Fulbright Scholarship to work at the Venini Factory. It was there where he saw long-held Venetian glassblowing techniques being used, such as murrine among others. Since that time he has used these historical techniques to expand his sculptural vocabulary, building upon classical references to create the humorous, colorful, and sophisticated work for which he has become widely recognized for.
About Museum of Glass
Located in Tacoma, Washington, Museum of Glass is a premier contemporary art museum dedicated to glass and glassmaking in the West Coast's largest and most active museum glass studio. Opened in 2002, the Museum has established a reputation for hosting impactful and engaging artist residencies, organizing nationally traveling exhibitions, and creating unique programs for visitors while building a growing permanent collection chronicling the development of modern and contemporary glass. Museum of Glass provides an environment for artists and the public to ignite creativity, fuel discovery, and enrich their lives through glass and glassmaking. Museum of Glass is a non-profit organization sponsored in part by the City of Tacoma Arts Commission, ArtsFund, Dimmer Family Foundation, and Anonymous Donors.
Artwork inspired by the country legend's songs commemorate her 50 years as a member of the Grand Ole Opry.
Bringing together their Nashville roots, Dolly Parton, the Grand Ole Opry and Kirkland's have formed a unique artistic and philanthropic partnership to commemorate Dolly Parton's 50 years as a member of the Grand Ole Opry with an exclusive wall art collection entitled Dolly Parton: From the HeART.
Available only at Kirkland's stores and at Kirklands.com beginning Sept. 5, the collection is inspired by eight of Dolly's beloved songs, beautifully interpreted on canvas by artist David Diskin. The collection will also feature an iconic black and white performance photograph of Dolly, taken at the Ryman Auditorium in 2015.
"I am very excited to be working with Steve Woodward and all of the folks at Kirkland's," said Dolly Parton. "I'm real honored to have the great artist, David Diskin, make my songs come to life with these great paintings."
A portion of proceeds of the limited-edition works will benefit the Opry Trust Fund, whose mission is to help those in the country music industry when they need it the most, by offering financial assistance during their time of need.
"As a Tennessee-based company, Kirkland's could not be more honored to partner with the state's two biggest icons – Dolly and the Opry – to offer this collection to our customers," said Kirkland's CEO Steve "Woody" Woodward. "Dolly's From the HeART collection will give our customers the opportunity to fill their homes with beauty and meaning while also supporting musicians that have brought us all so much joy."
Collection prices range from $99.99 to $129.99 and the full collection and images can be viewed here.
Based in Brentwood, Tennessee, and founded in 1966 by Carl Kirkland, Kirkland's (NASDAQ: KIRK) is a leading retailer of home decor accents and gifts, with more than 400 stores in 37 states. With a wide selection of unique indoor and outdoor furniture, rugs, mirrors, lighting, wall art, home and garden accessories, seasonal items and gifts, Kirkland's allows customers to create inspiring living spaces at affordable prices.
More information is available at www.kirklands.com
About Dolly Parton
Dolly Parton is the most honored female country performer of all time. Achieving 25 RIAA certified Gold, Platinum, and multi-Platinum awards, she has had 26 songs reach No. 1 on the Billboard country charts, a record for a female artist. Parton recently became the first Country artist honored as Grammy MusiCares Person of the Year given out by NARAS. She has 41 career Top 10 country albums, a record for any artist, and she has 110 career-charted singles over the past 40 years.
In 2014 the RIAA recognized her impact on recorded music with a plaque commemorating more than 100 million units sold worldwide – and in 2016 her No. 1 album Pure & Simple, which topped the Billboard Top Country Albums and Americana/Folk Albums charts and debuted at No. 1 in the U.S., Canada, U.K. and Australia, added to that massive tally. She has garnered eight Grammy Awards, including a 2017 win with Pentatonix for their collaboration on her iconic 1974 hit "Jolene"; 10 Country Music Association Awards, including Entertainer of the Year; five Academy of Country Music Awards, also including a nod for Entertainer of the Year; four People's Choice Awards; and three American Music Awards. In 1999, Parton was inducted as a member of the coveted Country Music Hall of Fame.
In 2008 Parton launched her return to touring on a global scale with Backwoods Barbie World Tour, the first of many sold-out arena tours, returning her to Billboard Boxscore's Top 10 Country Tours of the Year. Her 2016 movie "Christmas Of Many Colors: Circle Of Love," was nominated for an Emmy for Outstanding Television Movie. In 2017, Parton released her first children's album, I Believe In You, on Dolly Records through her partnership with Sony Music Nashville; the project's proceeds benefit The Dollywood Foundation's Imagination Library, a non-profit that since 1996 has provided more than 100 million books to children from birth to five years of age in the United States, Canada, Australia and the UK.
In 2018, Parton received her first two Emmy Awards as the organization recognized her lifetime of giving with the Governor's Award and the award for Best Community Service Program lauding her 2016 telethon "Smoky Mountains Rise," which raised more than $13 million for her My People fund, which provided financial assistance to victims of massive wildfires in Gatlinburg, Tenn. Parton recently collaborated with producer Linda Perry on the soundtrack for the Golden Globe nominated film Dumplin' starring Jennifer Aniston and Danielle MacDonald with Parton as the executive producer. In addition, Netflix will be releasing an eight part anthology film series called Heartstrings thru her Sandollar Productions in association with Sam Haskell's Magnolia Hill Productions, with each individual film based on one of Dolly's masterful songs. This will be streamed in the fall 2019.
Next year will also mark the 33rd anniversary season for Dollywood, her theme park in Pigeon Forge, Tenn., which since 1986 has hosted more than 2 million visitors annually.
About the Grand Ole Opry
The Grand Ole Opry® is presented by Humana®. Opry performances are held every Friday and Saturday of the year, with Tuesday night shows through December 11 plus season Wednesday and Thursday Opry Country Classics performances. To plan an Opry visit, call (800) SEE-OPRY or visit opry.com. The Opry presents the best in country music live every week from Nashville, Tenn. Celebrating nine decades of entertainment, the Opry can be heard at opry.com and wsmonline.com, Opry and WSM mobile apps, SiriusXM Satellite Radio, and its flagship home, 650 AM-WSM. The Grand Ole Opry is owned by Ryman Hospitality Properties. For more information, visit opry.com.
About the Opry Trust Fund: The Opry Trust Fund began in 1965 with a mission to help those in the country music industry by offering financial assistance during a time of extraordinary need, emergency, or catastrophe. This includes individuals who are or have been employed full time in a facet of the country music industry (i.e. performer, songwriter, publisher, radio, session musician, etc.). The fund pays for items such as medical bills, living expenses, utilities, and rent or mortgage. The Opry Trust Fund accepts referrals from individuals within the country music community, including Opry members, as well as from other charitable organizations such as MusiCares, ACM Lifting Lives and Music Health Alliance.
In a continued exploration of deeply collaborative practice, Hamilton-Selway Fine Art exhibits Know Thyself, works produced by gallery director David Galgano and textile artist Adam Karpman. The title, a well known Delphic maxim, alludes to Galgano and Karpman's changing creative trajectories.
Both artists have more fully taken on the mantle of exhibiting contemporary artists quite recently — Karpman moving beyond craft and into the world of high art, and Galgano returning to showing his own works alongside his labors as a dealer and representative of other artists.
Poignantly, the joyful fruits of this collaboration replace the Greek gods and fates referenced by the title with influences that shaped the two collaborators growing up.
Bold graphic depictions of popular cartoon characters inspired from Galgano's and Karpman's childhood are painted atop Karpman's transcendent tie-dye textiles representing the powerful currents of both commercial-driven and spontaneous popular culture of the 60s and 70s as well as the 90s and 2000s. The result is an effervescent body of work that takes the ordinary and banal and transforms them into thought provoking, visually-stunning, accessible art.
ABOUT THE ARTISTS
David Galgano has maintained a troubled love triangle with painting and art dealing for more than thirty years.
Adam Karpman is a textiles artists straddling the line between art and craft.
The two met at the Pasadena Rose Bowl Swap Meet and began working together, Karpman producing colorful substrates for Galgano's painting. Though continuing a creative practice in private while maintaining his public presence as a dealer for many years, Galgano recently began exhibiting his own work again. Sharing his renewed excitement for the changes in his practice, Galgano initiated Karpman to begin thinking of his work in a new light, to see the differences between his own dying and what one might expect from the craft.
Hamilton-Selway Fine Art is an internationally prominent gallery specializing in Pop Art limited edition prints and paintings. In the same location for over 20 years, their client list includes members of the Hollywood community, billionaire investors, Academy Award winning actors and people of all walks of life who simply love art.
The Japan Media Arts Distributed Museum Office has announced the opening of an exhibition in approximately 10 locations, including airports in Japan, as part of a new initiative funded by International Tourist Taxes by the Agency for Cultural Affairs, Government of Japan.
As the first endeavor of this initiative, the office is starting off with a large-scale video installation and a decorative window art piece starting this month, the first year of Reiwa (2019) at the New Chitose Airport International Arrivals Concourse.
The exhibition marks the start of a new initiative for visitors to Japan called "Japanese cultural media arts dissemination initiative at airports and other institutions" by the Agency for Cultural Affairs, Government of Japan.
The artists and creators featured in this exhibition capture the cultural resources borne out of various local cultures through fresh perspectives. By showcasing the works of media art in places like airports, which serve as gateways to these regions, the office invites visitors to explore the true spirit of these cultures throughout their travel.
At the New Chitose Airport, animated artwork by creative company "NAKED" highlighting the ethnic Ainu minority's indigenous culture is showcased in the International Arrivals Concourse. The Ainu people use the name "kamuy" to refer to animals, nature, and the many phenomena that are beyond human understanding. The animation captures the spectacular nature of Hokkaido where the various "kamuy" abide. The story welcomes visitors from other regions and expresses the spirit of the Ainu people. Additionally, a decorative artwork inspired by traditional Ainu patterns is exhibited on the concourse window, transforming the International Arrivals Concourse into a gateway to Japanese culture by promoting "media art meets Ainu culture".
*This exhibition is displayed within the International Arrivals Concourse, and is not available for viewing by the general public. Only passengers arriving on international flights are able to see this exhibition. Other information, including future exhibitions at other airports, will be announced when details are confirmed.
Ainu culture encompasses the language, food, housing, belief systems, crafts and artistic traditions of the Ainu people, the indigenous peoples of Hokkaido. Ainu daily living tools and traditional dance have been designated as Important Folk Cultural Assets (both tangible and intangible). Additionally, Ainu patterns, folklore, and geographical names derived from the Ainu language are widely used and have been appointed as Hokkaido Cultural Heritage artifacts. Although there are no longer individuals who practice the traditional Ainu lifestyle, the core of Ainu culture has been handed down through generations and lives on today in many places.
NAKED Inc. is a creative company founded in 1997, with a team comprised of video directors, designers, CG directors, and writers led by Ryotaro Muramatsu. We create videos, advertisements, TV, and installations across many media platforms in varying genres. Our latest projects utilize light to create a holistic artistic experience, by incorporating a variety of technologies, artistic techniques, and staging tools such as projection mapping. As of today, the events and exhibitions our company has planned, directed, and produced, have been seen by over three million people. Official NAKED Inc. Website
Concept: The Breath of KAMUY
In Ainu culture, it is believed that the world is formed from interactions between people and spiritual beings known as kamuy, which has a similar meaning to the Japanese word kami (god). The Ainu people use the name kamuy to refer to animals, nature, and the many phenomena that are beyond human understanding. This painting captures the spectacular nature of Hokkaido where the various kamuy abide. It tells the story of guidance received from a species of owl (Blakiston’s fish owl), known as “kotan-kor-kamuy,” believed to be a special kamuy that protects villages. This story is meant to welcome visitors from other nations and expresses the spirit of the Ainu people.
The Peninsula Chicago Announces Contemporary Art Exhibit: REVERB Curated By Kasmin, Coinciding With EXPO CHICAGO
The Peninsula Chicago, in partnership with Kasmin, is pleased to present REVERB, an exhibition of contemporary art showcasing works by three artists whose practices explore movement, sound, and electricity, engaging with the rhythm and structure of the urban environment.
This is the fifth consecutive year that The Peninsula Chicago has hosted a contemporary art exhibit at the hotel, in conjunction with EXPO CHICAGO, the International Exposition of Contemporary and Modern Art, the eighth edition of which will take place at Navy Pier, September 20 to 22, 2019. On view and open to the public throughout the hotel's public space from September 20 through October 22, 2019, the presentation additionally coincides with the Chicago Architecture Biennial—another of the city's most celebrated creative expositions.
Featured artists and exhibit artworks:
James Nares' (b. 1952, England) multi-media practice encompasses film, music, painting, photography and performance, investigating physicality and the unfolding of time. Nares' Delta, from his Road Paintings series, continues the artist's ongoing kinetic investigations—exploring the form, direction and repetition of objects in motion by mark-marking using a mechanical road striper. Driggs II, a gilded pavement-stone rubbing of a New York City street, registers the topography of the city which has acted as protagonist and collaborator throughout Nares' work. Three of the artist's films--Drip (2007), Drop (2007,) and Paper Factory (2007)—will also be exhibited. A retrospective of the artist's work, NARES: MOVES, is on view at Milwaukee Art Museum now through October 6, 2019.
Iván Navarro's (b. 1972, Chile) socio-politically charged sculptures of neon, fluorescent and incandescent light activate both the sensorial and psychological experience in his viewer. Back To Square One (2017) emerges from a series incorporating text that poetically alludes to the geometric form of each work. Also included in the exhibition are two iterations of Navarro's iconic Impenetrable Room (2012-2016) and, elsewhere, Impenetrable (Mouth) (2012)—a work that sits directly on the floor, enticing viewers to look down and into the body of the sculpture. Exploring a fourth dimension that can be seen as either reflection or fiction, the works are made up of containers lined with undulating neon that ripples into infinity against a mirrored backdrop.
Naama Tsabar's (b. 1982, Israel) Transition canvases repurpose the internal and external components of the amplifier—wires, speaker, circuit board—to create a new formal visual experience whilst retaining the object's ability to broadcast sound. Tsabar's sculptural works and sonic installations weave together iconic actions and objects from rock music (the guitar, the amplifier, the microphone). The motifs of femininity, gender, disruption, destruction, and reconstruction recur throughout her work and performances.
Commitment to Contemporary Arts
Maria Razumich-Zec, Regional Vice President and General Manager of The Peninsula Chicago remarks, "Every fall for the past five years we have partnered with extraordinary artists, collectors and galleries to showcase exceptional artists' work, all with an effort to shine a light on emerging talent, and transform our lobby to encourage guests to pause, take notice and appreciate the art.
The Peninsula Hotels Supports Public Art Initiatives
The Peninsula Chicago's desire to provide guests with memorable art experiences aligns with The Peninsula Hotels' global commitment to promoting the rich and vibrant cultural aspects of the destination cities in which it resides. In a continuation of the group's ethos of innovation, The Peninsula Hotels has worked alongside curators Bettina Prentice and Isolde Brielmaier to present 'Art in Resonance' a new, multi-year global contemporary art program – that commissions work from artists who are poetically pushing the boundaries of their mediums. The program reflects a deeper commitment to engage with the artistic sphere, not only as a venue but as an originator and innovator of culture.
CEDRIC KOUKJIAN’S SCULPTURE, “LIAISON” TO BE EXHIBITED IN PUBLIC BY CULTURAL COMMISSION OF COLOGNY IN SWITZERLAND
Geneva-based multi-ethnic artist Cedric Koukjian of the Swiss design studio SINCE, which has a focus on creating contemporary arts, today announced that his submission to a recent competition by the Cultural Commission of the City of Cologny in the Geneva Canton of Switzerland had won a competition to be accepted for public exhibition.
The sculpture, called Liaison, was chosen from a shortlist of over thirty international artists and will be featured as a public art exhibition on the Cologny-Vandoeuvres roundabout from January 2020.
“Liaison is a contemporary sculptural study that invites people to think about the concept of bonds and relationships. Each of these chains was carved from one rock, separated only at the end of the sculpting process,” said Koukjian.
“As humans, we start our relationships in the unknown – whether friendship, family, or love – and work on that relationship, slowly carving our bonds until they are as interlinked as the chain. The chain itself also symbolizes the power of a bond of unity, strength, and freedom. Though separate as individuals, united we are all stronger and happier.”
Standing at three meters, the Liaison sculpture is made of hand-hammered, mirror polished stainless steel sculpted into three interconnected chains. The design of the sculpture is constructed in a style reminiscent of ancient Chinese jade sculptors, who created chains from one slab of the precious stone.
The idea for the sculpture has its roots in an ancient fable from the Greek philosopher Aesop with the lesson that “unity makes strength, strife wastes.” The fable, A Bundle of Sticks, in which an old man instructed his sons to break a bundle of sticks. When unable to do so due to the strength of the bundle sticks, he untied the bundle, separating the sticks into single pieces.
When the man gave each son a stick and asked them to break it, the sons snapped the sticks in half with ease. The wise old man then told his sons, “Individually, you can easily be conquered. But together, you are invincible.”
Koukjian’s contemporary sculpture updates this classic fable for the 21st century, showing how with the strength of steel and the flexibility of the chain allows it to achieve greater force even under high pressure. Once a chain is broken, however, it is weakened and cannot perform its function – just as the breaking of bonds between humans can lead to relationship breakups and even the fall of entire empires.
“The Cultural Commission of the City of Cologny had the pleasure to inform Koukjian that his sculpture was selected above all applicants,” said the Cultural Commission. “The sculpture will be on exhibition at the Cologny-Vandoeuvres roundabout from January 2020.”
To find out more about the Liaison sculpture and Koukjian’s other work, please visit SINCE Studio or follow the artist’s Instagram.
About SINCE Studio
SINCE Studio is a father-son fine arts studio comprised of Pierre and Cedric Koukjian, based in Geneva, Switzerland. Both artists are known for constantly pushing the boundaries to explore new shapes and mediums. The studio’s focus is on postmodern industrial sculpture, alongside creating bespoke furniture and lighting for the modern environment. For more information, please visit the artist’s website.
Celebrating 15 Years with 23K Gold Leaf Skull Pattern.
Given Campbell, the award winning and globally renowned wallpaper designer, celebrates her 15th year in the industry by launching her latest design, Relic.
Featuring genuine 23K gold, hand leafed over hand printed skulls on grasscloth wallpaper, Relic honors free thinking and courageous artistic expression.
"For my 15th year design, I wanted to use a skull pattern to recognize the creative courage it takes to break free from traditional thinking in any industry. The genuine 23K gold leaf just takes it to the next level."
Gold leaf has been used for centuries in a variety of applications. Mainly used in art and architecture such as the gates at France's Palace of Versailles, it has evolved to include extravagant culinary creations and even found in rare European liquor.
For more details on the 23K Gold Leaf Relic wallpaper design, visit: www.givencampbell.com
Relic can be fully customized with a variety of grasscloth colors and styles as well customizing the under-skull color.
Given Campbell is an award-winning wallpaper designer located in Tampa, Florida, with all design and printing done in the United States. Given Campbell's wallpaper has been featured on the cover of Target's Club Wedd catalog, NY Times, and the Today show. She has also been honored as a Tastemaker in House & Garden's annual issue. In addition, her Election Wallpaper was featured on the Reuters Times Square Billboard.
Guests and Residents Invited to Classes and Presentations September Through April.
Program Continues After Successful Inaugural Year.
The iconic Ocean House, the award-winning resort in Watch Hill, Rhode Island has announced the selection of seven notable artisans for its 2019-2020 Artisan in Residence Program.
Ocean House created its Artisan in Residence Program to celebrate the arts, foster creativity and offer hands-on education for guests of all ages. The program features some of the best talent in New England and in the country. Artisans are featured at workshops and presentations for a weekend-long series of events, hosted in the School House Cottage, which was originally built in 1852 and beautifully restored.
"We're proud to continue the Ocean House's Artisan in Residence program as a result of a successful first year. It is an exciting way to support and showcase the arts while giving guests and local residents a unique memory of our destination," said Daniel Hostettler, President and Group Managing Director of Ocean House Management Collection. "Guests will have the opportunity to learn about the creative process and build a personal connection with artists they may not ordinarily have met."
Seven artisans were selected for this program based on their unique artistry and technique, and their ability to create interesting educational sessions for guests. Artists and dates include:
During each Artisan in Residence weekend, Ocean House's featured artist will host a Friday evening reception in Ocean House; a Saturday workshop; a complimentary Sunday morning coffee; and a complimentary "Up Close and Personal" presentation, wine and cheese reception on Sunday to close the weekend's events.
In related news, Ocean House will soon unveil a museum quality, self guided art audio tour of its private art collection. The Artisan in Residence program is part of Ocean House Management Collection's larger commitment to the community and the arts. Since the property's historic rebuild and opening, thousands of guests and community members have enjoyed art and programming at the Ocean House and its sister property Weekapaug Inn.
Inspired by the generosity of Ocean House Management Collection Founders Charles and Deborah Royce and their passion for the arts, Ocean House programs include complimentary educational events, summer weekend plein air artist receptions, seasonal exhibits and galleries, art classes, and permanent collections of more than 250 works from the 19th century through the 1990s.
Local residents and overnight guests interested in learning more information or reserving their place at an Artist in Residence event, can visit www.oceanhouseevents.com
About Ocean House
The Ocean House, one of New England's last grand hotels, re-opened its doors in June 2010 after a $140 million historic rebuild and restoration. Originally built just after the Civil War, the property is perched high on the bluffs in Watch Hill, Rhode Island. Guests enjoy views of the Atlantic Ocean, Montauk and Block Island from the resort's 49 guestrooms and 19 signature suites. Farm-to-table casual and fine dining, the 12,000-square-foot OH! Spa and more than 10,000 square feet of event space make the Ocean House ideal for mid-week business retreats, close-to-home family vacations, weekend luxury escapes and destination weddings. Ocean House is part of Ocean House Management Collection, and is a member of Relais & Châteaux, an exclusive collection of more than 500 of the finest hotels and gourmet restaurants in 60 countries that has set the standard for excellence in hospitality. This stately property is the only AAA Five-Diamond resort in Rhode Island.
For more information, please visit www.oceanhouseri.com
The Spelman College Museum of Fine Art will launch its 2019-2020 exhibition season with the Atlanta premiere of "Mildred Thompson: The Atlanta Years, 1986 – 2003" on view Wednesday, Sept. 11 through Saturday, Dec. 7.
This original exhibition, curated by Andrea Barnwell Brownlee, Ph.D., C'93, director of the Spelman College Museum of Fine Art, and Melissa Messina, curator of the Mildred Thompson Estate, is the artist's first large-scale, interdisciplinary solo exhibition in the city.
American abstract artist Mildred Thompson (b. Jacksonville, FL, 1936; d. Atlanta, GA, 2003) spent much of her early career in Germany and France in response to the racial and gender discrimination she faced in the United States. In 1986 she accepted an invitation to be an artist-in-residence at Spelman College. She lived in Atlanta for the remainder of her life where her practice of abstraction flourished. This period marks a particularly prolific time in the artist's career during which she was a professor at several area colleges, associate editor of Art Papers magazine, and a practicing visual artist, writer, and musician.
This exhibition honors Thompson's life-long commitment to creating a universally resonant abstract visual language. The over 30 paintings, drawings, and prints on view demonstrate her affinity for exploring the rhythms and patterns of science and music and interpreting the workings of the cosmos and other natural phenomena. This selection of works represents the scale, complexity, dynamism, and energy of Thompson's unique visual vocabulary, as well as her ability to translate these concepts across media.
Throughout her artistic career, Mildred Thompson sought to find meaning in the world through abstraction. Thompson, an artist committed to affirming humankind's common bond to the systems of the universe, explored space, sound, and other elements that were not visible to the naked eye through shapes, color, lines, forms, and patterns. Figuration and narrative representation were—and arguably still are—the primary modes of expression for African American artists. Thompson was often excluded from exhibitions and, as a result, did not receive critical attention during her lifetime. Thompson, along with other Black abstract practitioners of her generation, is now receiving long-overdue recognition.
"Thompson, an expansive thinker and a force of nature who knew no boundaries, made an indelible imprint on Atlanta," Dr. Brownlee stated. "The timely opportunity to present her work at Spelman—the institution that invited her to establish a relationship with the city—and examine the breadth of her work and the evolution of her career is particularly rewarding."
Messina stated, "As the accomplishments of Black female abstract artists are being revitalized today, so too is the late Mildred Thompson's work prompting renewed appreciation. We are very pleased to be working with Dr. Brownlee and Spelman College to bring Thompson's work to a broader public and to the Atlanta community."
In homage to Thompson's many influences and other creative contributions, the exhibition will also feature a selection of objects and ephemera from the artist's papers on loan from Emory University and the Estate's collection, including books, photographs, music and writings.
The Museum's 2019 – 2020 exhibition season is made possible by the Wish Foundation and the LUBO Fund. Additional support provided by the Massey Charitable Trust.
For more information, visit www.museum.spelman.edu
What do you know about Ukrainian Design and it`s roots?
What handicrafts existed on this lands 900 years ago and are still in use?
And how it all affects contemporary design in Eastern Europe?
A group of 12 international design experts from UK, USA, France, Denmark, Finland, Spain and other countries visited 5 unique design centers of Transcarpathian Ukraine - an absolutely original craft workshops of black-smoked ceramics, Hutsul sheep-wool carpets, sustainable woodwork and many others.
Organized by the founder of the FAINA Design – Victoria Yakusha, project has aimed to inspire design colleagues all over the world with a one of a kind craft technique of this region, which are at great risk of extinction.
"Considering all the political conditions, it is hard to imagine Ukraine as a perspective design-tour destination, but I decided to take a challenge and prove that we also have something to interest foreign guests."
The sensual experience of designers on handicrafts resulted in a deep discourse of each of them on the future of ancient crafts, their modern interpretation and the collaboration of modern design practitioners with artisans.
To share their inspiration with everyone, they created a documentary about the expedition and its main characters: artisans, design experts and Ukraine.
Discover details of the expedition here: www.faina.design/design-expedition
The project was implemented with the support of the Ukrainian Cultural Foundation
Watch the video below>