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Art in the News

Yaddo artists’ retreat gets plaque marking historic status

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Written by Associated Press   
Monday, 28 July 2014 09:20
The mansion at Yaddo, circa 1905. It was the home of American financier and philanthropist Spencer Trask. Image courtesy of Wikimedia Commons. SARATOGA SPRINGS, N.Y. (AP) – An artists' retreat in upstate New York designated last year as a National Historic Landmark now has a plaque marking the achievement.

Yaddo in Saratoga Springs was designated a landmark after more than a century of offering artists a place to work in peace. Sen. Kirsten Gillibrand and Rep. Paul Tonko unveiled a national landmark plaque Saturday at the retreat.

Yaddo opened in 1900 near Saratoga's historic thoroughbred track. Gillibrand says that artists who have worked there include Truman Capote, Amy Tan and Langston Hughes.

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-07-26-14 1217GMT



ADDITIONAL IMAGE OF NOTE
The mansion at Yaddo, circa 1905. It was the home of American financier and philanthropist Spencer Trask. Image courtesy of Wikimedia Commons.
Last Updated on Monday, 28 July 2014 09:34
 

Lasers key to restoring Gen. Anthony Wayne statue

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Written by Associated Press   
Monday, 28 July 2014 09:09
A statue of Gen. 'Mad' Anthony Wayne stands in Freimann Square, downtown Fort Wayne, Ind. This work has been released into the public domain by its author, FTSKfan, at the wikipedia project. FORT WAYNE, Ind. (AP) – Crews working to restore a nearly century-old statue of Fort Wayne's namesake are using a modern technique to preserve history.

A Forest Park, Ill., company is using light to clean the bronze statue of Revolutionary War Gen. “Mad” Anthony Wayne. The work is part of a project to restore the statue and improve its visibility.

The Wayne statue had been damaged by time and vandals over the years. Its last makeover was in 1993.

Bartosz Dajnowski and his father, Andrzej Dajnowski, are using a laser-cleaning technique to remove two decades of dirt from the statue.

The technique results in better detail preservation than using harsh detergents or blasting abrasives. It also poses less risk to workers, passers-by and the environment, the duo told The Journal Gazette.

“It's completely environmentally friendly. There is no chemical waste. We're using light,” Bartosz Dajnowski said.

He noted that other methods carry the risk of simply smoothing over the opening, leaving it looking good but still full of material that could damage the statue.

“From the top looking at it, it will look shiny and clean because you can't see you just trapped something inside,'' he said.

The Dajnowskis also will replace missing or damaged parts of the statue, including its spurs, reins and part of a sword blade.

When the work is complete, the statue is expected to have a historic bronze finish.

Money for the restoration is coming from part of $100,000 the courthouse preservation trust gave the city for improvements to the statue and Freimann Square.

Fort Wayne Mayor Tom Henry had proposed moving the 96-year-old sculpture from the city's Freimann Square to the Courthouse Green, arguing that doing so would improve its visibility. But he dropped that proposal in August after members of the trust and others insisted the statue remain in its current spot.

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Information from: The Journal Gazette, http://www.journalgazette.net

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-07-26-14 1305GMT

 

 

 

Last Updated on Monday, 28 July 2014 09:12
 

Atlanta’s Civil War Cyclorama painting to move across town

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Written by Associated Press   
Friday, 25 July 2014 10:11

The Cyclorama has been on display in Atlanta's Grant Park for more than a century. Image by Scott Ehardt, courtesy of Wikimedia Commons.

ATLANTA (AP) – The huge Atlanta Cyclorama painting is moving across town to a new home in the city's Buckhead area.

Mayor Kasim Reed announced the move Wednesday as the city commemorates the 150th anniversary of the Battle of Atlanta during the American Civil War, which is the subject of the giant oil painting. The mayor said the painting will be housed in a new 23,000-square-foot addition to be constructed at the Atlanta History Center.

For more than a century the painting has been on display in Grant Park near the Atlanta Zoo.

The cylindrical panorama painting dates to 1885. The canvas hangs in a huge circle that surrounds the viewers. A description from the Atlanta Cyclorama says it weighs more than 10,000 pounds and has a circumference of 358 feet.

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

AP-WF-07-23-14 2036GMT



ADDITIONAL IMAGE OF NOTE

The Cyclorama has been on display in Atlanta's Grant Park for more than a century. Image by Scott Ehardt, courtesy of Wikimedia Commons. 

Last Updated on Friday, 25 July 2014 10:21
 

Griffin Art Prize UK entry deadline extended to Aug. 10

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Written by Outside news source   
Wednesday, 23 July 2014 14:00
'L’Avenir,' by last year's winners Luke George and Elizabeth Rose, mixed media on canvas. Image courtesy of Griffin Art Prize UK.

LONDON – The Griffin Art Prize 2014 UK is now open for entry to all UK based artists graduated since 2009, and whose primary medium is painting or drawing. The deadline for submissions has been extended to Sunday, Aug. 10.

The winning artist will be awarded the one-off opportunity to take up a six-month residency in a large well-lit studio above the gallery. They will also have access to the Innovation & Development laboratory of leading global art brands Winsor & Newton, Liquitex and Conté à Paris, where the latest art products are developed, a truly unique offering. The winner of the prize will also be given the opportunity to exhibit new work in a solo show in September 2015, which is accompanied by a catalog.

The prize will be judged by Alastair Smart, arts editor and chief art critic at Sunday Telegraph; Jenny Lindén, owner and chairman of Lindéngruppen; Jenni Lomax OBE, director of Camden Arts Centre; and international artists Gordon Cheung and Anj Smith.

The judges will be looking for innovation in painting and drawing and for the applicants’ potential to benefit from the residency.

A long-list of 20 selected artists for the Griffin Art Prize 2014 UK will be announced on Sept. 18 and will have their work showcased on the Griffin Art Prize website (www.griffinartprize.co.uk). An exhibition of 10 short-listed artists, who will be selected on Oct. 6, will be held at West London’s Griffin Gallery where the winner of Griffin Art Prize 2014 UK will be selected by the judges and announced at the private view in the Griffin Gallery on Nov. 18.

Previous winners include Alzbeta Jaresova (2012) who was included in the 2013 Catlin Guide to the 40 most promising new graduate UK artists, and Luke George and Elizabeth Rose (2013) who are currently developing work in the studio toward their September 2014 solo exhibition in West London’s Griffin Gallery.

Enter now at www.griffinartprize.co.uk



ADDITIONAL IMAGE OF NOTE
'L’Avenir,' by last year's winners Luke George and Elizabeth Rose, mixed media on canvas. Image courtesy of Griffin Art Prize UK.
Last Updated on Wednesday, 23 July 2014 14:19
 

China's censors squash reports of giant inflatable toad

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Written by AFP wire service   
Wednesday, 23 July 2014 12:23

Dutch artist Florentijn Hofman's giant yellow duck. Image courtesy of the Chrysler Museum of Art.

BEIJING (AFP) – Chinese reports about a giant inflatable toad have been deleted from the Internet after social media users compared the puffed-up animal to a former Communist Party chief.

The installation of a giant inflatable duck in Hong Kong's harbor last year sparked a national craze for oversized blowup wildlife, with several Chinese cities launching their own imitations.

The latest, a 22-meter-high (72-feet) toad, appeared in a Beijing park last weekend, but met with mockery from social media users who compared its appearance to that of former President Jiang Zemin.

The website of China's official Xinhua news agency and popular web portal Sina had deleted their reports on the animal – seen as a symbol of good fortune in traditional Chinese culture – by Wednesday.

A message on Xinhua's website read: "Sorry, the report you are attempting to access has been deleted or has expired," although reports on some lower-profile news sites were still accessible.

China's ruling Communist Party tightly controls the Internet, blocking foreign sites such as Facebook while ordering local outlets to remove articles on political topics it deems sensitive, such as criticism of senior leaders.

Last year China's Twitter-like Sina Weibo blocked searches for "big yellow duck" after users posted an image of the iconic "Tank Man" photograph showing a Tiananmen Square protester but with military vehicles replaced by giant ducks.

Jiang – who stepped down as president in 2002 but still wields influence within the party – has been mockingly nicknamed "toad" by some Internet users for his jowly features.

Rumors have been swirling around Jiang amid reports that current party chief and president Xi Jinping is targeting some of the former president's allies in an anti-corruption drive.

A spokesman for Yuyuantan park in Beijing said there were no immediate plans to remove the toad.



ADDITIONAL IMAGE OF NOTE

Dutch artist Florentijn Hofman's giant yellow duck. Image courtesy of the Chrysler Museum of Art. 

Last Updated on Wednesday, 23 July 2014 12:36
 

Pa. Department of Transportation marketing historic bridges

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Written by MATT NUSSBAUM, Pittsburgh Post-Gazette   
Tuesday, 22 July 2014 09:26
The Pond Eddy Bridge from the Pennsylvania side of the Delaware River. Image by Beyond My Ken. This file is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License. PITTSBURGH (AP) – Looking to spruce up your backyard? Unable to find the perfect gift for a loved one? Tired of taking the long way to work because of a river, railroad tracks or some other obstacle?

Well, the Pennsylvania Department of Transportation has you covered. PennDOT and the state Department of General Services have announced that the historic Pond Eddy Bridge in Pike County is for sale. The state-owned bridge is among 10 other county – and municipality-owned bridges for sale in Pennsylvania.

For between $1 and $500, one of the bridges could be yours. And it's not just any old bridge that gets put on the market. It's a bridge of such significant historic value that, in order to avoid demolition, the state will almost give it away.

In some cases, PennDOT and the Federal Highway Administration will even pay for the removal and shipping of the bridge.

“There's no reason to get rid of them. They are actually really well-built bridges,” said Rick Frunzi, chairman of the board of directors at Greenbank Mill in Wilmington, Del., which received the Wawa Station Bridge from Delaware County.

The bridge was rehabilitated and moved with funds from a Federal Emergency Management Agency grant that the mill received in 2003 after destruction caused by Tropical Storm Henri. The bridge spans Red Clay Creek at the mill, where it serves at once as museum exhibit, pedestrian walkway and even an educational tool.

“It's there for engineering students to study,” he said, noting that many of the bridges PennDOT sells are examples of superb design. “The only downside is they don't hold the weight of modern traffic.”

“It's one of those specialty items that not too many people would buy to put it into use,” said Judy Gingher, secretary for Tunkhannock Township in Wyoming County, which recently paid $500 to buy a Nicholson Township bridge to allow easier pedestrian movement in the local LazyBrook Park. “It’s just the perfect setting for it.”

Dover Township, in York County, recently paid a dollar to buy the nearby Meadowview Road Bridge to be placed behind the municipal building as part of a new park. Construction to prepare space for the bridge, such as the building of abutments, will push the total price tag up to $20,000, according to township manager Laurel Oswalt.

Constructing a bridge from scratch would have cost between $40,000 and $60,000, she said.

But the bridge sales are not solely for municipalities and parks. Individuals can bid, too.

Art Suckewer, the founder and CEO of a New Jersey technology business, bought two historic Western Pennsylvania bridges – one from Armstrong County and the other from Carlton, Mercer County – for his 30-acre farm in Mercer County, N.J.

“The property is hilly with several stream crossings. Since I have difficulty walking due to an old injury, I began looking into improving access,” Suckewer said in a recent email. “I thought using historic bridges would fit the context of the setting, preserve history, and provide an elegant solution.”

If no one purchases or agrees to take the bridges, they will be demolished and scrapped, according to PennDOT spokesman Rich Kirkpatrick.

In the effort to save the historic structures, PennDOT has adapted the mantra of a relentless salesman.

“If you don't see a bridge that might work for you, we sometimes have other bridges not yet being marketed that might suit your needs,” says PennDOT'?s website.

___

Online:

http://bit.ly/Wq1Hcy

___

Information from: Pittsburgh Post-Gazette, http://www.post-gazette.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-07-21-14 1419GMT



ADDITIONAL IMAGE OF NOTE
The Pond Eddy Bridge from the Pennsylvania side of the Delaware River. Image by Beyond My Ken. This file is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License.
Last Updated on Tuesday, 22 July 2014 09:50
 

Ai Weiwei, Navajo artist collaborate on public installation

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Written by SUSAN MONTOYA BRYAN, Associated Press   
Friday, 18 July 2014 09:58

Ai Weiwei project for TIME at Coyote Canyon. Image courtesy of New Mexico Arts, Department of Cultural Affairs.

ALBUQUERQUE, N.M. (AP) – Not many people have been to Coyote Canyon, a remote spot on the nation's largest American Indian reservation.

Bordered by sandstone outcroppings and dotted with pinon and juniper, the location served as a perfect backdrop for an unprecedented venture into high-tech public art by the Navajo Nation and the state of New Mexico.

With the canyon as their blank canvas, Navajo teacher and artist Bert Benally and Chinese dissident artist Ai Weiwei teamed up for the “Pull of the Moon” installation in late June. Benally was on the ground in western New Mexico while Ai, who has been banned from leaving China, participated from afar. The goal was to temporarily transform the landscape through sand drawings, sculpture and sound.

While the public couldn't visit the site, organizers with the Navajo Nation Museum and New Mexico Arts had every bit of the project documented with photographs and video so it could be virtually replicated for the rest of the world to see.

In the last two weeks, they have been working feverishly in preparation for Wednesday's public launch some 220 miles away in Santa Fe.

Aside from a two-dimensional documentary, the scene at Coyote Canyon that June night will be screened inside a giant digital dome. Clouds will be drifting overhead as the flames from Benally's piece illuminates the desert surroundings along with the interlocking stencils created with dozens of pounds of powdered porcelain sent by Ai from China.

“There's just so much that went into it that we made the decision to have a more cutting-edge technology format. It will bring it more to the people in a way that will make them feel like they're right there,” said Eileen Braziel, the project's coordinator.

In a matter of days, nature reclaimed the site, erasing any signs of the artists' creations. It was part of New Mexico Arts' TIME project, or Temporary Installations Made for the Environment.

The latest TIME installation marks a new kind of public art for New Mexico, where most art resides on the walls of public buildings, is permanently on display in common areas or integrated into architecture. Over the last two decades, the state's public art program has placed more than 2,500 pieces.

“What the state is doing is changing up, in a big way, what art in public places means,” Braziel said.

For the Navajos, it's about changing outside perceptions of tribal members and forging new roads for Native artists.

“We're experimenting and seeing where these new roads will lead,” said Navajo Nation Museum Director Manuelito Wheeler.

The “Pull of the Moon” digital dome will be on display this weekend on Museum Hill, and organizers plan to take the exhibition on tour.

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Follow Susan Montoya Bryan at http://www.twitter.com/susanmbryanNM.

___

Online:

http://www.nmarts.org

http://www.navajonationmuseum.org

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-07-17-14 1135GMT



ADDITIONAL IMAGES OF NOTE

Ai Weiwei project for TIME at Coyote Canyon. Image courtesy of New Mexico Arts, Department of Cultural Affairs.

Manelito Wheeler (right), director of the Navajo Nation Museum in Window Rock, Ariz., in China showing Ai Weiwei the Navajo Nation, USA map. Image courtesy of New Mexico Arts, Department of Cultural Affairs.

Benally's sand sculpture at Coyote Canyon. Image courtesy of New Mexico Arts, Department of Cultural Affairs.

Last Updated on Friday, 18 July 2014 11:10
 

Maryland State House restoration to be complete in Dec.

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Written by ALEX JACKSON, The Capital   
Wednesday, 16 July 2014 10:11
The Maryland State House at sunset. Image by Thisisbossi. This file is licensed under the Creative Commons Attribution-ShareAlike 2.5 Generic License. ANNAPOLIS, Md. (AP) – At Maryland's State House, visitors peek into today's state Senate and House of Delegates chambers.

A walk down the hall brings them to the renovated high Victorian Old House Chamber, providing a glimpse of the 19th century. Then, after a stop in the old Archives room across the hall, the tour ends.

Since September 2012, a temporary white wall has separated tourists from the room where George Washington resigned his commission as commander of the Continental Army, establishing the principle of civilian control of America's government.

It may have been the most significant thing to occur in the State House in the building's long history. And the room where it happened is on track to reopen in December, said Elaine Bachmann, director of outreach, exhibits and artistic property at the Maryland State Archives.

The results of nearly $8 million in renovations – and a window back to the 18th century – will be on view with the reopening of the Old Senate Chamber, the old Senate Committee Room and the stairwell room.

The changes will include touch-screen interactive guides, a bronze sculpture of Washington and a portrait gallery. Visitors will get a better experience, Bachmann said.

“This is a national historic site,” she said. “The opening of these rooms is going to make really a big impact.”

Renovation of the Old Senate Chamber started in November 2006, when the Annapolis restoration firm of John Greenwalt Lee Co. analyzed the chamber's wall plaster.

Workers peeled 17 layers of latex paint to reveal the original brick on view when Washington resigned his commission on Dec. 23, 1783.

Experts discovered that the Old Senate Chamber's last restoration, in 1905, did not conform to architectural practices in late Colonial Annapolis, and did not present the room the way it was in 1783.

When these findings were presented to the State House Trust in 2009, officials of the Maryland Historical Trust, the Maryland State Archives and the Department of General Services considered whether a restoration was needed.

The decision – as presented in a 2010 report – was to go ahead with restoration, and work was started to determine how the room looked on that day in 1783.

“The ancient Romans spoke of the genius loci, the spirit of the place – the effect a place has on one's psyche,” wrote the Old Senate Chamber Architectural Advisory Committee. “The Old Senate Chamber has sheltered events that affected the course of history. The genius loci of this room must be felt by all those who enter it.”

In addition to the work on the historic rooms, Edwin White's 1859 painting, Washington Resigning His Commission as Commander in Chief is being cleaned and will be returned to its traditional place above the Grand Stairwell.

Alexander “Sasha” Lourie, curator for the Maryland Commission on Artistic Property, said restorers rid the canvas of grime and the effects of older repairs, revealing new details and more vibrant colors.

Lourie said the frame, crafted by Samson Cariss of Baltimore for $300, has been cleansed of inappropriate layers of bronze paint, revealing gold leaf applied in 1876.

The Victorian-era gilding will be restored to the entire frame, Lourie said.

Outside the Old Senate Chamber, in the State House Rotunda, a display case will hold Washington's original handwritten speech resigning his commission. A replica is currently displayed there.

The stairwell room, which visitors will walk through before entering the restored Senate chamber, will have exhibits and interactive displays.

Bachmann said those displays will answer such visitors questions as “Why did Washington come here to resign his commission? Why is that an important act for today? It's really a journey into Annapolis at the time Congress was here.”

Restored paintings will be hung in a portrait gallery in the Senate Committee Room.

Charles Willson Peale's 1823 portrait of Gov. John Eager Howard will be joined by Peale's 1825 portrait of Gov. George Plater. Howard was the state's fifth governor, serving from 1788 to 1791. Plater succeeded him in 1791 and 1792.

Also to be hung there will be a National Portrait Gallery reproduction of a painting of Anne Catherine Green, once the publisher of the Maryland Gazette.

Bachmann said the state wants to show how women and minorities lived.

“We have a lot of portraits of old white men,” Bachmann said. “We want to create a balance –not just the important stories of the Founding Fathers, but a better picture of society as a whole when the State House was in use in the 18th century.”

The rooms, she said, will also display artifacts, including the sword of Tench Tilghman – a native Marylander who was an aide de camp to Washington – and early furnishings of the Old Senate Chamber.

The Senate Chamber will be a period room, interpreting the moment when Washington resigned his commission. A newly crafted bronze statue of Washington will be its centerpiece.

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Information from: The Capital of Annapolis, Md., http://capitalgazette.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-07-14-14 1710GMT



ADDITIONAL IMAGE OF NOTE
The Maryland State House at sunset. Image by Thisisbossi. This file is licensed under the Creative Commons Attribution-ShareAlike 2.5 Generic License.

 

Last Updated on Wednesday, 16 July 2014 10:27
 

Plessel’s ‘Processed Photographs’ an instant hit in Germany

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Written by Art gallery PR   
Tuesday, 15 July 2014 13:37
Andre Plessel, 'She,' Paris 1995 (green passion), 20 by 24 inches, black and white 'Color Processed' Edition 1/15. Sold for $4,500.

HAMBURG, Germany – German art photographer Andre Plessel’s current exhibit, “Processed Photographs,” has made a big impact in his homeland.

One London collector was so enthusiastic about the opening of Plessel’s exhibit at the Monika Mohr Gallery in Hamburg, Germany, that he sent his attorney to purchase 10 signed photographs from the new series at the opening reception. That set the tone for a buying spree that nearly sold out the exhibit in its first two days alone.

This exhibit, which opened in June and runs through September, introduced Plessel’s new unique process of adding color to the black and white images, which are then exposed by a developer liquid applied with a brush, thus creating a dramatic new aesthetic tension and making each piece one of a kind – one of the features that attracted the London buyer.

Most of the 20-by-24-inch photographs at the Monika Mohr Gallery sold for between $4,000 and $5,000, with the exhibit being replenished as the photos sell.

Plessel’s previous exhibit at the Rilano Hotel in Munich ran May 8-27, with over 50 images initially being shown, featuring mainly his dramatic signature black and white liquid photographs, which are hand-printed and signed.

Plessel also drew much attention recently when he sold his Miami three-bedroom apartment on the 17th floor of the South Pointe Tower at Portofino for $1.8 million to Brazilian buyers after living there for 14 years, while residing in both Miami and his home in Munich. Immediately missing Miami, he instructed real-estate brokers to start looking for a larger place for him in the same part of town while he went to Germany for these exhibitions.

With the recent surge in the interest and value of contemporary photography Plessel is enjoying a renewed demand in his highly erotic, dramatic black and white art photographs, along with his new color-processed series.

Plans are now in motion for Plessel’s debut New York City exhibit at the new Lilac Gallery on Fifth Avenue in Manhattan in October, while, in South Florida his art continues to be available through the Holden Luntz Gallery on Worth Avenue in Palm Beach.

For over 22 years now, Plessel has been driven by his ultimate passion, that of black and white photography. His artwork creates dramatic, romantic and delicate images with great attention to his own style of lighting. It has been said that his artistic photographs convey and play upon sensual tension, as opposed to blatant sexuality.

As many art world insiders know, Plessel’s work has been often compared to that of his longtime friend and collaborator, Helmut Newton, with whom he traveled and worked with in Europe and the United States.

For more information visit: www.aplesselartphoto.com .



ADDITIONAL IMAGES OF NOTE
Andre Plessel, 'She,' Paris 1995 (green passion), 20 by 24 inches, black and white 'Color Processed' Edition 1/15. Sold for $4,500. Andre Plessel's 'Heat-Backseat - NY, NY 2002.' 20 by 24 inches - sold for $4,500. Black and white – 'Color Processed' Edition 1/15. Andre Plessel's 'Green Love - Miami 2000.' 20 by 24 inches - sold for $4,500. Black and white – 'Color Processed' Edition 1/15. Andre Plessel's 'Forbidden Love - Paris  1996.'  20 by 24 inches - sold for $4,500. Black and white – 'Color Processed' Edition 1/15.
Last Updated on Tuesday, 15 July 2014 14:48
 

London exhibition features classic fashion illustrators

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Written by Art gallery PR   
Tuesday, 15 July 2014 09:14
Maynard original fashion illustration for Nina Ricci, 1946, ink and watercolor, signed, 48 x 32.5 cm. Price: £2,500. Gray M.C.A. image. LONDON – Gray M.C.A, leading specialists in fashion illustration, will be holding a selling exhibition of original fashion illustrations from postwar 1940s through to the 1970s from Sept. 11 through Sept. 16 at Gallery 8, 8 Duke St., St James’s.

Coinciding with London Fashion Week SS15, the exhibition will include more than 40 original works by some of the leading illustrators of the time from Britain, Europe and America including René Bouché, René Gruau and Carl “Eric” Erickson for publications including British and American Vogue, Harpers & Queen, The Sunday Times, Frau im Spiegel (Germany) and Jardin des Modes (France) as well as advertising work for L'Oreal and other famous names in haute couture such as Nina Ricci. There will also be a selection of original designs by designers including Dior, Barbara Hulanicki of BIBA and Zandra Rhodes. Prices will range from £300 to £10,000 ($500-$17,000).

As Connie Gray of Gray M.C.A explained: “For too long fashion illustrators and their illustrations have been seen as a secondary art form, no matter how beautifully executed the image. More often than not, fashion illustrators were more widely known for their advertising work than they were for their work as highly skilled fashion illustrators. Though their style was familiar to the reader and their names published internationally alongside their illustrations, they have never been recognized as true artists. It was almost a secret world in which only those working in the industry knew and admired each other.”

She continued: “Over the years, each illustrator developed their own personnel style, often using wit and charm to distinguish themselves from their competitors. Almost all were products of the most respected art schools of the time and to be a truly great illustrator, they needed to understand not only the life form but also the process of designing, cutting and finishing a garment. The fall of the fabric, the cut of the cloth – the ability to translate what they saw into a work of art that would sell a thousand frocks.

Tragically, few original fashion illustrations survive today. With the need for speed in production and printing, illustrations were rarely kept. Many were damaged in the printing process and then thrown away, considered worthless once the image was reproduced to print. Those that have survived have become internationally collectable as original and historical art works that truly caught the elegance, attitude and style or the time.”

The 1940s and 1950s saw the heyday of fashion illustration. The illustrators such as “Eric,” Bouché and Tod Draz were constantly in demand and are considered to be the masters of fashion illustration. They brought a realism to fashion illustration and their work was appreciated and admired in all the leading publications of the time. Their style recognized the importance of drawing from life and looking back, their work is iconic to the subtleties of the period and the enormous style that women strived to achieve.

When covering the twice-yearly fashion shows in Paris, the fashion illustrators were forbidden from recording what they saw until they had left the event. They would rush to the nearest café to produce the sketches from memory. Their early working drawings were often more exciting than the final published work. They were often freer, fresher and more spontaneous and would represent the artist behind the picture before it became too overworked for publication.

For more information on Gray M.C.A, visit www.graymca.co.uk .



ADDITIONAL IMAGE OF NOTE
Maynard original fashion illustration for Nina Ricci, 1946, ink and watercolor, signed, 48 x 32.5 cm. Price: £2,500. Gray M.C.A. image.
Last Updated on Tuesday, 15 July 2014 17:17
 

Half century of art being auctioned in Minot, N.D.

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Written by Associated Press   
Monday, 14 July 2014 13:18
Decorative art from the collection of the late Arlene Saugstad, currently entered in a silent auction conducted through Tuesday night at the Taube Museum of Art, Minot, N.D. Image courtesy of the Museum MINOT, N.D. (AP) - A collection of more than 200 pieces of artwork assembled over half a century by a woman considered Minot's most ardent arts promoter is being sold at auction this week week.

The Taube Museum of Art and family members of the late Arlene Saugstad are making her collection available to the public in a silent auction and sale ruuning Monday and Tuesday at the museum. Bidding will close on Tuesday evening at a "Remember Arlene" reception being hosted by the musem. Food and wine will be served.

Saugstad died in March, two months shy of her 102nd birthday. Her collection includes a number of pieces by local or regional artists, including Floyd Fairweather, Susan Davy, Kelly Hendershot, Judy Bell and Judy Greenwood.

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Information from: Minot Daily News, http://www.minotdailynews.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

 



ADDITIONAL IMAGES OF NOTE
Decorative art from the collection of the late Arlene Saugstad, currently entered in a silent auction conducted through Tuesday night at the Taube Museum of Art, Minot, N.D. Image courtesy of the Museum A painting from the art collection of the late Arlene Saugstad, currently entered in a silent auction being conducted through Tuesday night at the Taube Museum of Art, Minot, N.D. Image courtesy of the Museum
Last Updated on Monday, 14 July 2014 13:47
 

Columbus sends out giant limestone sofa for rehab

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Written by Associated Press   
Monday, 14 July 2014 13:13
COLUMBUS, Ohio (AP) - An 8,000-pound limestone sculpture of a sofa has been removed from its spot in a trendy Columbus neighborhood, after becoming a favored perch for homeless nappers.

The Columbus Dispatch reports the giant couch was removed from the Short North Arts District Friday. It's being sent back to Akron artist Robert Huff for a six-month refurbishment.

Plans are for it to return to the city as the centerpiece of the Columbus Cultural Arts Center's sculpture garden. Its current site on High Street will continue as a small park.

A Short North civic leader said homeless activity surrounding the sculpture wasn't contributing to the Short North's vitality.

A resident who formerly slept on the couch when he was homeless said he saw the structure as a refuge, but not a home.

Click to view a copyrighted photo of the limestone sofa, taken by photographer Tim Perdue: http://www.flickr.com/photos/timthetrumpetguy/4426938429/

___

Information from: The Columbus Dispatch, http://www.dispatch.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

 

Last Updated on Monday, 14 July 2014 13:19
 

Cape Town carves out major new African art museum

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Written by AFP Wire Service   
Monday, 14 July 2014 09:12
Architectural rendering of Zeitz Museum of Contemporary Art Africa at the V&A Waterfront in Cape Town, South Africa. The museum will house the renowned Zeitz Collection. Image courtesy of Zeitz Foundation for Intercultural Ecosphere Safety

CAPE TOWN, South Africa (AFP) - On Cape Town's waterfront at the southern tip of Africa, the world's biggest museum of contemporary art from across the continent is being carved from a conglomeration of concrete tubes nine stories high.

The project to transform the grim functionality of 42 disused colonial grain silos into an ultramodern tribute to African creativity, is driven by an international team of art experts and architects.

For Mark Coetzee, executive director and chief curator of the Zeitz Museum of Contemporary Art Africa, the project is the fulfilment of a pledge he made to himself a quarter of a century ago.

"It has been my life dream to build a contemporary art museum in Africa," said the South African-born former director of the Rubell Family Collection in Miami.

When I left Cape Town 25 years ago I vowed to return only when I had the skills and the relationships to make this happen.

For British architect Thomas Heatherwick, whose acclaimed worldwide projects include the Olympic Cauldron for the London Games in 2012, it was a stimulating challenge.

"How do you turn 42 vertical concrete tubes into a place to experience contemporary culture?" Heatherwick said.

"We could either fight a building made of concrete tubes or enjoy it's tube-iness."

An elliptical section will be hollowed out from the center of the nine-story building to create a grand atrium that will be filled with light from a glass roof overhead, the designers say.

Some silo chambers will be carved open at ground level to accommodate exhibition galleries, while others will house elevators.

This vision is difficult to comprehend on a visit to the construction site on the Victoria and Albert Waterfront where workers, reduced to ant size by the scale of the bleak industrial silos, are in the early stages of a project due for completion in late 2016.

"There is a growing interest in the visual arts in and from Africa," Coetzee said.

"The market is booming, artists from Africa are included on all the major biennales, major gallerists and collectors include artists from Africa in their focus."

The museum is named for German entrepreneur and former Puma chairman Jochen Zeitz, whose extensive African art collection will provide the museum's permanent exhibition.

He has committed the collection to the museum in perpetuity and will underwrite the running costs of the institution while providing a budget for new acquisitions.

The Zeitz Collection was founded in 2002 and is "one of the most representative collections of contemporary art from Africa and its diaspora," Coetzee said.

It is currently held and exhibited in Switzerland, Spain, South Africa, the United States and Kenya.

Apart from the permanent collection, the museum's 80 galleries will house temporary and traveling exhibitions.

The museum will focus on the 21st Century with a collection policy of work from 2000 onwards.

"I think you can say that when it is complete it will be the biggest museum in Africa and the world focusing on contemporary art practice in and from Africa," Coetzee said.

There will also be an education center for schoolchildren, another for young curators, along with the usual museum facilities of restaurants and bookstores.

An amphitheatre on the plaza outside the museum will stage outdoor events and performances, while an outdoor roof garden will offer unparalleled views over the city to Cape Town's iconic Table Mountain.

The V&A Waterfront is a rehabilitated docklands full of trendy restaurants and shops, as well as the site of a ferry terminal for Robben Island where liberation icon Nelson Mandela was imprisoned.

Cape Town itself is a relaxed, cosmopolitan outpost of the African continent where the multiracial mix on the streets symbolises the change in South Africa since the oppressive years of apartheid.

And in a country where anything authentically African was automatically considered second-rate -- including the people -- the museum will plant another flag of change.

It will "constitute the re-imagining of a museum within an African context, celebrate Africa preserving its own cultural legacy, writing its own history and defining itself on its own terms," says Coetzee.

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ADDITIONAL IMAGE OF NOTE
Architectural rendering of Zeitz Museum of Contemporary Art Africa at the V&A Waterfront in Cape Town, South Africa. The museum will house the renowned Zeitz Collection. Image courtesy of Zeitz Foundation for Intercultural Ecosphere Safety
Last Updated on Monday, 14 July 2014 10:26
 

Pedestrians watch artists work in fabled NYC storefront

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Written by ULA ILNYTZKY, Associated Press   
Friday, 11 July 2014 09:06

Entrance to the Brill Building in New York City. Credit: Americasroof at en.wikipedia, licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

NEW YORK (AP) - Two painters are temporarily working out of an empty storefront at the landmark Brill Building, allowing thousands of passing pedestrians to watch them create scenes of Times Square.

Andy Hammerstein and Tom Christopher are painting each weekday until July 17. The artists, who are known for their New York cityscapes, have been working on the pop installation six hours a day since June 17.

The Brill Building at 49th Street and Broadway is famous for the generations of songwriters, including Nat King Cole, Duke Ellington and Carole King, who peddled their wares to music publishers there. The owner offered the vacant space to the artists free of charge.

"We're de-mystifying the process to over 5,000 people per hour who pass by ... more viewers than any gallery or museum,'' Christopher said.

Most of the canvasses, some measuring 4 feet by 5 feet, will be completed back at the artists' studios. For now, the artists are ``getting the patterns and the energy and the electricity of the area into the work,'' said Christopher, who has already produced eight canvasses.

"It's an amazing place to work,'' he added. "There's so much going -- jack hammers and lights and people yelling. It's absolutely an insane place.''

Hammerstein said street musicians, artists and vendors sometimes congregate in front of the window because of the crowds watching them.

"It become its own little power spot. People stop and stay and we become only a part of what is going on,'' he said.

"I'm amazingly inspired by the energy,'' Hammerstein added.

Marianne Orbeson, of Denmark, said she stopped by "because it was fun to watch an artist at work.''

"The pictures he's painting is the way we see the streets of New York,'' Orbeson said. "It's wonderful.''

Passerby Steven Chou, of Taiwan, described the work as performance but wanted to see more action.

"I thought the idea of painting, working inside of a storefront, letting everyone see what's going on is more interesting than his work itself,'' said the recent graduate from Columbia University.

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Associated Press photographer Kathy Willens contributed to this report.

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Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.



ADDITIONAL IMAGE OF NOTE

Entrance to the Brill Building in New York City. Credit: Americasroof at en.wikipedia, licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. 

Last Updated on Friday, 11 July 2014 09:13
 

Rare original painting by Maurice Sendak heads to auction July 17

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Written by Auction House PR   
Thursday, 10 July 2014 10:07
Maurice Sendak (American, 1928-2012), original watercolor art created for 1982 TV adaptation of Prokofiev’s opera ‘The Love For Three Oranges,’ 26in x 31in (framed). Provenance: Ted Hake collection. Image courtesy of Hake’s

YORK, Pa. – To view original artworks by Maurice Sendak (American, 1928-2012) – author and illustrator of the beloved children's book Where The Wild Things Are – the most logical place to go is the Rosenbach Museum & Library, a major repository of Sendak’s work. In 1966, after suffering a heart attack at the age of 37, Sendak felt compelled to secure his body of work for future generations, so he made arrangements for all of his future original book art to be conveyed to the prestigious Philadelphis museum.

Aside from the selections displayed at the Rosenbach, very little of Sendak’s original art is privately or institutionally held. An important exception is the large and important original watercolor that will be auctioned on July 17.

Sendak created the visually stunning watercolor for the 1985 TV adaptation of the Sergei Prokofiev opera The Love For Three Oranges, on which Sendak and stage director Frank Corsaro had collaborated three years earlier for England’s Glyndebourne opera festival.

The opera tells the tale of a king whose son suffers from depression. The only cure is laughter. Court jesters and clowns prove useless in amusing the royal heir, but when a witch falls down revealing her undergarments, the prince becomes hysterical, causing the witch to curse him with an obsession to find three oranges. The prince would never rest, the witch said, until the oranges were found. A magician reveals the location of the oranges and summons a demon, who, in turn, conjures winds that blow the prince and his friend off to a mountaintop palace guarded by a monstrous cook. In true storybook fashion, the oranges are successfully stolen from the cook and the prince’s curse is eventually cured by true love.

It is believed that Sendak created the TV production’s remarkable 26 by 32-inch (framed) watercolor with Mad King Ludwig II’s castle Neuschwanstein in mind. The art depicts the castle lair of the monster cook guarding the entrance to an imposing edifice atop a rocky prominence, with sheer rock walls and cliffs leading to lush forested valleys in the foreground and taller mountain peaks in the background. The colors are classic Sendak choices.

According to the company auctioning the artwork, Hake's Americana and Collectibles, queries to both institutions and one auction record revealed the existence of only three finished watercolors of slightly larger size; only one of them in private hands. The latter piece was first sold at a charity auction and then resold at auction in March 2009 for $74,000.

The Sendak original watercolor created for The Love For Three Oranges TV production has been in the personal collection of the artist’s good friend, Hake’s founder Ted Hake, since 1985. Hake acquired the painting directly from Sendak.

To enquire about the artwork, call Hake's tollfree on 866-404-9800, or 717-434-1600. Email: This e-mail address is being protected from spambots. You need JavaScript enabled to view it . Visit Hake's online at www.hakes.com .

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ADDITIONAL IMAGES OF NOTE
Maurice Sendak (American, 1928-2012), original watercolor art created for 1982 TV adaptation of Prokofiev’s opera ‘The Love For Three Oranges,’ 26in x 31in (framed). Provenance: Ted Hake collection. Image courtesy of Hake’s This closeup of the Maurice Sendak watercolor shows the 'monster cook' guarding the castle’s entrance. Provenance: Ted Hake collection. Image courtesy of Hake’s
Last Updated on Thursday, 10 July 2014 10:22
 

Warhol's 'Empire' returns to its iconic setting for July exhibition

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Written by Museum PR   
Wednesday, 09 July 2014 10:58
Andy Warhol, Empire, 1964, ©The Andy Warhol Museum

NEW YORK - The 50th anniversary of Andy Warhol’s groundbreaking film Empire is being marked by a month-long special exhibition at the very building that is the namesake and sole image of the epic work.

Throughout July, Empire is being continuously shown in the Fifth Avenue lobby of New York City’s Empire State Building. The exhibition also features images of Warhol’s art and details of his life and filmmaking.

Additionally, on the evening of Friday, July 25, the Empire State Building will be illuminated with thousands of white lights sparkling in honor of the film’s anniversary. It was on that date in 1964 when Warhol trained his camera on the Empire State Building for six and a half hours, declaring, “The Empire State Building is a star!”

From the dusk of 8 p.m. into the darkness of 2:30 a.m., Warhol captured the changing lights of the towering structure and the sky above. When Warhol premiered the film, unedited, the following March, he projected it in slow motion, bringing its length to over eight hours.

“Andy Warhol is arguably the most famous American artist of the 20th century and Empire was his most famous film,” said Geralyn Huxley, Curator of Film and Video at The Andy Warhol Museum and project leader for the Empire State Building exhibition. “It is fitting that he and his work be honored by the most famous of American buildings.”

The exhibition is being displayed in four windows of building’s famed Art Deco lobby from July 1-July 31, 2014. Admission to the lobby is free. Empire is a classic example of Warhol’s early work in film, which began in 1963. He ignored Hollywood conventions by making a film that contained a single image for an extended period of time. Warhol said, “I never liked the idea of picking out certain scenes and pieces of time and putting them together, because… it’s not like life… What I liked was chunks of time all together, every real moment.”

For more information, visit http://www.warhol.org/empireat50/ .

About the Empire State Building:

Visible at times from up to 80 miles away, the Empire State Building is one of the most recognized and photographed landmarks on the planet. Warhol shot Empire from across Manhattan, from the 41st floor of the Time-Life Building.The Empire State Building enhanced its present-day star quality in November 2012, by replacing its tower flood lights with a state-of-the-art LED lighting system as part of its Empire State ReBuilding program. The new tower lights are capable of producing up to 16 million color variations and an unlimited number of patterns and effects. Although the tower lighting regularly honors milestone events and charitable causes, singling out an individual – such as with the July 25th lighting evoking Warhol’s silver motifs.

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ADDITIONAL IMAGE OF NOTE
Andy Warhol, Empire, 1964, ©The Andy Warhol Museum
Last Updated on Wednesday, 09 July 2014 11:06
 
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