presented by the AMERICAN FOLK ART MUSEUM
Tuesday, March 29, 2011
George Segal was born in New York on November 26, 1924 to a Jewish couple who emigrated from Eastern Europe. His parents first settled in the Bronx where they ran a butcher shop. They later moved to a New Jersey poultry farm. George spent many of his early years working on the poultry farm , helping his family through difficult times. For a while George lived with his aunt in Brooklyn so that he could attend Stuyvesant Technical High School and prepare himself for a future in the math/science field. It was here that George first discovered his love for art. During World War II he had to curtail his studies in order to help on the family poultry farm. He later attended Pratt, Cooper Union and finally New York University where he furthered his art education and received a teaching degree in 1949. It was during these years that Segal met other young artists eager to make statements based on the real world rather than the pure abstractionism that was all the rage. He joined the 10th St scene, painting and concentrating on expressionist, figurative themes.
After marriage to Helen in 1946, they bought their own chicken farm. In order to support his family during the lean years he taught Art and English at the local high school and at Rutgers. In 1957 he was included in “Artists of the New York School: Second Generation” an exhibit at the Jewish Museum. For the next three years he showed annually at the Hansa. The path from painting to sculpture and the specific form of the sculpture is embodied in a series of events from the late 1950’s. In 1956, Segal was introduced to the Hansa Gallery and its’ artistic influence. The following year, Allan Kaprow chose the Segal farm as the scene of his first Happening – live art with an environmental sensibility. In 1958 Segal began to experiment in sculpture and had a one-man show at the Green Gallery in 1960, featuring several plaster figures.
In 1961, while teaching an adult education class in New Brunswick, a student brought to George’s class a box of dry plaster bandages. Segal took them home and experimented with applying them directly to his body. With the help of his wife, Helen, Segal was able to make parts of a body cast and assemble them into a complete seated figure. Segal provided an environment for his body cast by adding a chair, a window frame and a table. Man Sitting at a Table marked the discovery of a new sculptural technique and a turning point in the artist’s career.
In later years he perfected the technique and created real life tableaux, using many close friends and family members as models. He became known, along with Roy Lichtenstein, Robert Indiana, Andy Warhol and others as part of the "Pop Art" movement. Segal’s distinctive style separated his work from"Pop Art" by staying closely related to personal experience and human values. He once said that because he was from the proletariat, he wanted to deal directly with the places around and familiar to himself, rather than with “elegant” topics.
The last years of his life were filled with new creation and expression. His black and white photographs of the streets of New York & New Jersey and of people in his life were used to create new tableaux for his sculpture and to create close up drawings of human expression. He remained active, engaged and productive until his death on June 9, 2000. Throughout his life he was recognized around the world for his artistic work and his humanistic passion. These awards include the following:
1985 Visual Arts Award – the Bronx Museum of the Arts
1986 The Mayer Sultzberger Award–The Jewish Museum, New York
1986 Israel Cultural Award – State of Israel Bonds, New York
1986 Israel Achievement Award, World Zionist Organization/American Zionist Organization, New York
1987 Hall of Fame/Rutgers Achievement Award, New Jersey
1987 The Governor’s Walt Whitman Creative Arts Award, New Jersey
1988 Pratt Alumni Achievement Award, Brooklyn
1988 National Arts Club Award, New York
1991 Distinguished Alumnus award, NYU, New York
1991 Order of Andres Bello, First Class, Republic of Venuzuela
1992 Visual Arts Award, NJ Center for Visual Arts
1992 International Lifetime Achievement Award for Sculpture, Washington DC
1997 Praemium Imperiale Award, Lifetime Achievement in the Arts, Tokyo, Japan
1999 National Medal of Honor, Washington, DC
2000 Federal Design Achievement Award, Washington, DC
1970 Honorary Ph.D. in Fine Arts, Rutgers University, NJ
1984 Doctor of Humane Letters, Kean College, NJ
1992 Honorary Ph.D. in Fine Arts, State University of New York at Purchase
1994 Honorary Ph.D. Massachusetts College of Fine Arts, Boston MA
1998 Honorary Ph.D. Ramapo College
Cooper Union School of Art
Pratt Institute of Design
1949 B.A. in Arts Education, New York University
1963 Master in Fine Arts, Rutgers University, NJ
Monday, March 28, 2011
"Potiche", avec Catherine Deneuve et ... tout un programme..on view in Manhattan translated in english: TROPHY WIFE...
Sunday, March 27, 2011
BYE BYE KITTY!!!
Between Heaven and Hell in Contemporary Japanese Art
Friday, March 18 — Sunday, June 12
Bye Bye Kitty!!! is a radical departure from recent Japanese exhibitions. Moving far beyond the stereotypes of kawaii and otaku culture, Japan Society’s show features sixteen emerging and mid-career artists whose whose paintings, objects, photographs, videos, and installations meld traditional styles with challenging visions of Japan’s troubled present and uncertain future.
$15; students & seniors $10;
Japan Society Members and children under 16 free.
Admission is free on Friday nights, 6 - 9 PM.
Tuesday-Thursday 11am - 6pm;
Friday 11am - 9pm;
Saturday & Sunday 11am - 5pm;
La littérature d’expression française sera à l’honneur à New York du 24 au 26 février 2011. Les services culturels de l’ambassade de France, en partenariat avec l’université de New York (NYU) et l’Institut français, proposeront en effet la deuxième édition du « Festival of New French Writing », qui fut lancé avec succès en février 2009.En savoir +
Saturday, March 26, 2011
EXAMPLE D"ARTICLE QUE VOUS POURREZ LIRE,......
......."Original comme cadeau ! Pour son 100ème anniversaire, la New York Public Library s'est offert un lifting intégral de façade. Il s'agit, plus précisément, de la façade de son bâtiment principal, le Stephen A. Schwarzman building, sur la 5e avenue, que la pluie, la pollution, les gaz d'échappement et les fientes de pigeons avaient sacrément abimé. Alors pendant trois ans, toute une équipe a minutieusement restauré la pierre, les colonnes et les statues de marbre. Désormais, les rosaces sont nettoyées, les têtes de lions sur les fenêtres ont retrouvé leur superbe, l'éléphant n°3 a récupéré ses oreilles et sa trompe et les visages féminins sont pleins et gracieux. Le résultat est saisissant et la facture aussi : 50 millions de dollars !
100 ans, pas une ride et plein de projets !
"Le but était de rendre le bâtiment aussi beau qu'il l'était à l'origine" a déclaré Paul Leclerc, le Président de la New York Public Library. Pari gagné ! Pour fêter cette réussite, rendez-vous le 23 mai 2011 pour la cérémonie du centenaire de la bibliothèque. Ce jour-là, l'occasion sera donnée de revenir sur la vie trépidante du bâtiment. Après s'être récemment agrandi de 10.000 m2 de salles souterraines, l'éclairage extérieur doit être repensé pour avril et un autre projet fou devrait voir le jour en 2014. L'idée ? Que les galeries sous le parc voisin, le Bryant Park, soient réutilisées comme magasins et que les magasins existants soient retransformés en salles de lecture. Ne reste plus qu'à trouver... 1,2 milliard de dollars
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Friday, March 25, 2011
William Butler Yeats (1865-1939) was born in Dublin. His father was a lawyer and a well-known portrait painter. Yeats was educated in London and in Dublin, but he spent his summers in the west of Ireland in the family's summer house at Connaught. The young Yeats was very much part of the fin de siècle in London; at the same time he was active in societies that attempted an Irish literary revival. His first volume of verse appeared in 1887, but in his earlier period his dramatic production outweighed his poetry both in bulk and in import. Together with Lady Gregory he founded the Irish Theatre, which was to become the Abbey Theatre, and served as its chief playwright until the movement was joined by John Synge. His plays usually treat Irish legends; they also reflect his fascination with mysticism and spiritualism. The Countess Cathleen (1892), The Land of Heart's Desire (1894), Cathleen ni Houlihan (1902), The King's Threshold (1904), and Deirdre(1907) are among the best known.
After 1910, Yeats's dramatic art took a sharp turn toward a highly poetical, static, and esoteric style. His later plays were written for small audiences; they experiment with masks, dance, and music, and were profoundly influenced by the Japanese Noh plays. Although a convinced patriot, Yeats deplored the hatred and the bigotry of the Nationalist movement, and his poetry is full of moving protests against it. He was appointed to the Irish Senate in 1922. Yeats is one of the few writers whose greatest works were written after the award of the Nobel Prize. Whereas he received the Prize chiefly for his dramatic works, his significance today rests on his lyric achievement. His poetry, especially the volumes The Wild Swans at Coole (1919), Michael Robartes and the Dancer (1921), The Tower (1928), The Winding Stair and Other Poems(1933), and Last Poems and Plays (1940), made him one of the outstanding and most influential twentieth-century poets writing in English. His recurrent themes are the contrast of art and life, masks, cyclical theories of life (the symbol of the winding stairs), and the ideal of beauty and ceremony contrasting with the hubbub of modern life.
From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969
This autobiography/biography was written at the time of the award and first published in the book seriesLes Prix Nobel. It was later edited and republished in Nobel Lectures. To cite this document, always state the source as shown above.
William Butler Yeats died on January 28, 1939.
Initials L.G. features portraits and rare images of the iconic French singer and artist Serge Gainsbourg from photographers Helmut Newton, William Klein, Patrick de Spiegelaere, Tony Frank, and other noted artists.
The exhibit coincides with the twentieth anniversary of Gainsbourg’s untimely death in March 1991. A tribute to the artist’s subversive flair and vivid imagination, Initials L.G. was first shown to great success on the tenth anniversary of the Fifty One Fine Art Photography gallery in Belgium and at Sotheby’s Paris in February of 2011, before making its U.S. debut at FIAF. Most of the prints on display will be for sale.
The exhibition at Sotheby's in Paris received rave reviews from numerous publications. Check out this article in the Wall Street Journal.
Exhibition curated by Roger Szmulewicz.
Courtesy of Fifty One Fine Art Photography Gallery.
Wednesday, March 23, 2011
NEW YORK, N.Y.- Sotheby’s on 12 April 2011 auction of Russian Art in New York will feature paintings and works of art with exceptional provenance and art-historical importance. The paintings on offer are highlighted by works from iconic Russian artists of the 19th and 20th centuries, including Ivan Aivazovsky, Isaac Levitan, Nicholas Roerich, Boris Grigoriev, and Yuri Pimenov, whose canvas The Pianist leads an impressive group of works by the Soviet Realist artist (est. $500/700,000*). The works of art are led by An Important and Rare Micromosaic Table by Gioacchino Barberi after Alexander Orlovski Made for the Russian Court 1830-33, one of the rarest and most extraordinary micromosaic tabletops known to exist, which was likely made for Nicholas I, Emperor of Russia from 1825-55, or a member of his court (est. $400/600,000). The sale will be on exhibition in Sotheby’s York Avenue galleries beginning 7 April, alongside the auctions of Magnificent Jewels and Important Watches. ...
Tuesday, March 22, 2011
Monday, March 21, 2011
Singapore has a bauble to add to its collection: the ArtScience Museum, which opened last month in a building designed by Moshe Safdie. The museum adds a brainy element to the Las Vegas-style Marina Bay Sands development, which includes a casino, 2,561-room hotel, seven restaurants from big-name chefs and a park on the roof.
Some design features are a tribute to the museum’s content. For example, the lotus-blossom-shaped building funnels rainwater from the roof via a 115-foot waterfall through the central atrium to a lily pond in the lobby and, later, the restrooms.
About 50,000 square feet of interior exhibition space covers the creative overlap of artistic and scientific invention, including a suspended model of Leonardo da Vinci’s flying machine. Touch-screen computers survey developments in architecture, transportation and exploration. Current exhibitions include “The Silk Road,” devoted to the Asia-to-Middle East trading route (through March 27), and “Genghis Khan,” above (through April 10).
Sunday, March 20, 2011
A quick guide to the highlights of Asia Week at galleries around New York.
By HOLLAND COTTERBig Continent, Much to See
Not so long ago Manhattan’s annual spring Asia Week was feeling diminished. The Asian Art Fair had folded. Gallery shows were scattered around town. Collective energy was low.
READ MORE http://www.nytimes.com/2011/03/18/arts/design/asia-week-offers-many-highlights.html?ref=design
Nancy Wiener Gallery
Friday, March 18, 2011
Born in Somerville, New Jersey, Joyce Kozloff is known for paintings with flat, colorful, abstract patterning and for repetitive geometric forms that produce strong variations of line, shape, and color. Her work is intended to be purely decorative and pleasureable and not tied to any particular culture. In the 1980s, she did numerous site-specific works with tiles and mosaics including the "New England Decorative Arts" for the Harvard Square Subway Station in Cambridge, Massachusetts, and two works for One Penn Plaza in Philadelphia.
A later project involved a series of thirty-two watercolors, each twenty-two inches square titled Patterns of Desire.
Kozloff earned her BFA degree at the Carnegie Institute of Technology in Pittsburgh in 1964, and her MFA from Columbia University in 1967. She also studied at the Art Students League in New York City; Rutgers University in New Brunswick, New Jersey' and the University of Florence in Italy.
She has held teaching positions including elementary, high school and college classes. Her first one-person show was in New York in 1970 at the Tibor de Nagy Gallery. It was during this time, she began her pattern pieces, which were initially inspired by the decoration she saw on Mexican Cathedrals.
Lee Karpiscak, North American Women Artists of the Twentieth Century, edited by Jules and Nancy G Heller.
Karsan’s Taxi Introduces Itself to Potential PassengersBy PHIL PATTON
Karsan, the Turkish company whose taxi design is one of three finalists in New York’s Taxi of Tomorrow competition, showed off the first prototype of its body at a press event in Manhattan on Wednesday.
Currently circulating on the city’s streets are 16 different taxi models, but as early as 2013, a single taxi design will be on the road and will carry the designation for 10 years, with annual sales of 2,650 vehicles. The Karsan V1 is in competition with the Ford Transit Connect and Nissan NV200, although the Taxi and Limousine Commission has said it may not chose any of the three.......
read more http://wheels.blogs.nytimes.com/2011/02/02/karsans-taxi-introduces-itself-to-potential-passengers/
Thursday, March 17, 2011
le galeriste François Grossas nous livre son opinion sur la place et l’évolution de l’Art à Singapour
Écrit par florence notte
Alors que la Biennale d’Art contemporain* a ouvert ses portes ce dimanche, le galeriste François Grossas nous livre son opinion sur la place et l’évolution de l’Art à Singapour
Travaillant dans le monde de la finance, François a commencé à collectionner des œuvres d’Art à Washington. Il faudra attendre son second séjour à Singapour pour que l’idée d’ouvrir une galerie prenne vraiment forme. Galerie Waterton ouvre ses portes en 2009 et se spécialisera dans la peinture du Sud Est Asiatique. François avouera qu’il est rentré dans le monde de l’Art grâce et à cause de la peinture indonésienne qu’il trouve très créative contrairement à celle du Vietnam trop imitative à son gout. Il assiste alors au premier Art Singapore Show, en 2000, fréquente de nombreuses galeries implantées à l‘époque dans des shop- houses et y rencontre des collectionneurs, peu nombreux mais très présents à toutes ces manifestations artistiques.
"Les 10 années passées n’ont pas ajouté grand-chose en matière d’évolution de l’Art et il me semble que les pièces présentées dans les galeries étaient plus intéressantes à l’époque. On va à présent vers une uniformisation. Les gros acheteurs restent les indonésiens. Ils savent vibrer pour une toile " nous confie François. La culture artistique de leur pays et la présence de grands maitres comme Affandi ou Hendra Gunawan n’y sont pas étrangers. La démarche d’un acheteur Singapourien est tout autre. Il achète très peu d’artistes émergeants car il veut avant tout spéculer sur la peinture et donc être sûr de la notoriété des artistes qu’il achète. Le Hongkongais par exemple sera plus flambeur, plus impulsif sur ses achats. Le Singapourien, plus prudent. En revanche, il y a un engouement pour les ventes aux enchères où la cote d’une demi-douzaine d’artistes Asiatiques explose. En trois ans par exemple, la cote d’un tableau de Nyoman Masriadi est passée de 6.500 à 500.000 US Dollars. Devant une telle spéculation on peut se poser la question de fond : Qu’est ce que l’Art ? Plusieurs galeries de Singapour se sont réunies pour demander un support logistique et publicitaire au gouvernement. Beaucoup reste à faire si Singapour veut devenir une plate forme artistique. D’énormes efforts sont faits pour faire venir artistes et galeristes étrangers, Art Stage en janvier dernier est là pour en témoigner. Galeries coréennes et japonaises entre autres ont répondu présentes à cette manifestation initiée par Lorenzo Rudolph sur le modèle de Bâle avec l’aide du gouvernement mais ne faudrait il pas chercher plutôt dans un vivier national, si vivier il y a …" termine-t-il.
Propos recueillis par Florence Notté (www.lepetitjournal.com-singapour) mardi 15 mars 2011
*La Biennale s’est ouverte au public dimanche 13 mars et se tiendra jusqu’au 15 mai 2011 dans la cité-Etat. Cette 4ème édition de la biennale d'art contemporain a pour but de valoriser toutes les formes d'expression des artistes locaux. D’autre part, elle présentera sur quatre sites (Marina Bay, le Musée national, le Musée d'art et l'aéroport d’Old Kalang) les travaux de 63 artistes de 30 nationalités férus d'art contemporain avec notamment des œuvres inédites commandées pour l'occasion.
Le mois prochain, Florence vous proposera le point de vue différent d'une importante galerie internationale basée à Singapour.
Wednesday, March 16, 2011
Color photograph,(Image) 48 7/8 x 41 15/16 inches,
Edition of 6
Courtesy of the Artist and Metro Pictures
Cindy Sherman: Works from Friends of the Bruce Museum
January 29, 2011 - April 23, 2011
The Bruce Museum in Greenwich, Connecticut, is pleased to announce its major winter exhibition featuring the work of one of today’s most influential artists, photographer Cindy Sherman. Opening Saturday, January 29, 2011, and on view through April 23, 2011,Cindy Sherman: Works from Friends of the Bruce Museum is comprised of approximately 30 works, including large-scale black-and-white and color photographs, drawn from ten local collections in Greenwich and the surrounding communities. The exhibition features the artist’s favored themes and suggests something of the chameleon-like diversity of her art.
Although Sherman is the model for her photographs, she is essentially serving as the material for her work, as an actress in a scene. She is adamant that the photographs are not self-portraits and that they do not represent her or herself role playing. Cindy Sherman serves as her own model, as well as photographer, stylist, make-up person, allowing her to work alone in her studio. She employs herself to explore various personae and addresses topical issues of the contemporary world while examining the roles of women and the artist.
Throughout her long career, Sherman has continually appropriated and confronted numerous visual genres, including the film still, centerfold, historical portrait, and fashion photography. Sherman’s photographs imitate these representational tropes, using them to challenge images in popular culture and the mass media. Cindy Sherman: Works from Friends of the Bruce Museum focuses on a number of key moments in the artist’s remarkable career.
The show opens with a selection of photographs from Sherman’s landmark series ofUntitled Film Stills (1977-80). Perhaps the most well known and recognizable works of Sherman’s career, these black-and-white photographs seem to depict stills for films that never existed. In each of these photographs, Sherman places herself in the role of various female character types from B-movies and film noir. By turning the camera on herself, Sherman raises challenging and important questions about the role of women in society and the representation of cultural stereotypes.
The exhibition follows Sherman’s subsequent career through several of her major series, including the Centerfolds, Disasters and Fairy Tales, the History Portraits, Clowns, theWomen from California series, and her most recent works, the Rich Women series. In each of these series, the artist continues to manipulate and reprogram her appearance to adopt multiple roles. In 1981, Sherman simultaneously imitated and challenged men's magazine centerfolds in a series of photographs commissioned, but never used, byArtforum. These large-scale photographs adopt the saturated colors, close-cropping and overhead camera angles of the centerfold, while depicting the artist in various female roles, both familiar and unexpected.
Sherman’s later series explore an ever-expanding assortment of archetypal roles and social types. The artist’s Disasters and Fairy Tales (1985-1989) are more fantastical and grotesque than her earlier work. Sherman dons complex disguises and prostheses in these twisted fairy tales, intentionally taking on increasingly frightening and deformed personae. In the late 1980s, Sherman turned to Old Master paintings for inspiration. These History Portraits (1988-1990) depict the artist dressed as figures from famous works by Caravaggio, Raphael, and others. The Rich Women series showcases Sherman’s newest cast of characters who are immediately recognizable as belonging to the upper echelons of society. These photographs of aging speak to issues of class and presentation.
Cindy Sherman: Works from Friends of the Bruce Museum is organized by the Bruce Museum and is curated by the Museum’s Adjunct Curator, Kenneth E. Silver. The exhibition will be accompanied by a scholarly catalogue with contributions by Mr. Silver and Bruce Museum Executive Director Peter Sutton, as well as an interview with Linda Nochlin, pioneering feminist art historian and Lila Acheson Wallace Professor at NYU’s Institute of Fine Arts, who discusses Sherman’s fascinating oeuvre at length. The exhibition and its catalogue are underwritten by UBS, The Malcolm Hewitt Wiener Foundation, The Robert Mapplethorpe Foundation, and a Committee of Honor under the leadership of Linda and Steve Munger, Michael Kovner and Jean Doyen de Montaillou, and Barbara Dalio. Additional support has been provided by the Charles M. and Deborah G. Royce Exhibition Fund.
Tuesday, March 15, 2011
one of our discovery in Singapore is.......Australasian Arts Projects
Australasian Arts Projects Information:
Contact: Gabrielle Cummins and Simone Lourey
Phone: 9771 8974
Address: 303 Tanglin Road Singapore 247952
readabout their past Project:
Each with two decades of arts management experience, Gabrielle Cummins and Simone Lourey have joined forces to create a new arts event company in Singapore – Australasian Arts Projects. The Utopia Story is their first project. Combing their skills and interests, Gabrielle and Simone have established Australasian Arts Company to encourage the growth of the arts in Singapore, and beyond.
Having met whilst completing their fine art and literature degrees at the University of Melbourne, Gabrielle and Simone graduated to professional careers in marketing, public relations and events management in the arts industry. Their experience lies in publishing, performing and visual arts in Australia and with Simone, in Asia as well. Currently residing in Singapore, Gabrielle and Simone have an interest in contemporary art and, specifically related to this project, an awareness of the need to educate people about the social and political context of the Australian aboriginal art movement.
For Gabrielle and Simone, the genesis of The Utopia Story lies in the recognition that much of the growing industry of aboriginal art ignores this political context - that is, generations of misunderstandings, sometime abuse, neglect and still, in many areas, underprivileged existence. It must be recognised that the production of artwork coveted and consumed by the general public is one of the few ways in which Aboriginal people can express their culture to the wider world, and to make a livelihood for themselves. Simone and Gabrielle anticipate that The Utopia Story will provide this important context.
The Utopia Story was held in Gabrielle’s historic black and white house at 303 Tanglin Road.