AIDS Memorial Quilt To Be Displayed On Governor’s Island As A Gift From Kiehl’s Since 1851 To The City Of New York

The AIDS Memorial Quilt returns to New York City for a two-day public display, featuring 260 12-foot-by-12-foot sections of this internationally celebrated, handmade tapestry.  Presented as a gift to the city by Kiehl’s Since 1851, the Governor’s Island display will begin with a special opening ceremony/press opportunity at 4:30 p.m. on Monday, Aug. 11.  This opening dedication is a part of the fifth annual Kiehl’s LifeRide for amfAR, a charity motorcycle ride that raises funds and awareness for amfAR, The Foundation for AIDS Research, which is dedicated to ending the global AIDS epidemic. LifeRide participants including: Kiehl’s USA President Chris Salgardo, amfAR CEO Kevin Robert Frost, Tyson Beckford, Gilles Marini, Teddy Sears, Melissa Sears, Grant Reynolds, Conrad Leach, Katee Sackhoff, Scott Niemeyer, Vanessa Marcil, will lead the deeply moving Quilt tradition of calling out the names, one at a time, of those remembered on the 54 -ton memorial.   This program marks the first time in more than a decade that the City of New York has hosted The AIDS Memorial Quilt with a display of this magnitude.

The AIDS Memorial Quilt displayed in Washington, D.C. in 1987 (PRNewsFoto/Kiehl's Since 1851)

The AIDS Memorial Quilt displayed in Washington, D.C. in 1987 (PRNewsFoto/Kiehl’s Since 1851)

Established in 1987, The NAMES Project Foundation is the non-profit organization that is the caretaker of The AIDS Memorial Quilt.  The agency’s mission is to preserve care for and use the ever-growing AIDS Memorial Quilt to foster healing, heighten awareness and inspire action in the age of AIDS and beyond.

According to Julie Rhoad, CEO of The NAMES Project Foundation, the international caretaker of The Quilt, “The AIDS Memorial Quilt has a long and meaningful history with New York City as it was one of the very first communities to open its doors and hearts to host the earliest sections of The Quilt back in 1988.  Since then, New York City has welcomed back thousands of blocks of this handmade American treasure–displaying them in schools and community centers, places of worship and corporations–and now it seems most fitting that one of the city’s oldest and most respected companies, Kiehl’s will host this large display as a gift to the city it has called home for 163 years.

It is our great honor to bring The AIDS Memorial Quilt to share with New York, at the conclusion of Kiehl’s milestone fifth LifeRide for amfAR,” said Chris Salgardo, President, Kiehl’s USA. “Kiehl’s has supported HIV/AIDS organizations since the beginning of the epidemic, and we want to continue the HIV/AIDS conversation with our hometown, and keep it at the forefront of our collective consciousness. Until we find a cure, we can remember those we’ve lost, and how far we’ve come.”

This public display reflects The NAMES Project and Kiehl’s shared commitment to honoring the tens of thousands remembered on The Quilt by allowing their stories and their legacy to inspire continued vigilance in the fight to end AIDS. For within the miles of fabric, the tens of thousands of names, the details – the family photograph, the faded Halloween costume, the travel souvenir, the handwritten note – that are the most visceral reminder that these were real people who lived real lives, were loved and lost.  It is our greatest hope that these details, these hand-stitched love letters, created one three foot by six foot panel at a time by friends and family, will continue to inspire compassion and foster a new levels of advocacy necessary to bring about an end to AIDS.

The AIDS Memorial Quilt is a prominent and moving symbol of the immense human tragedy of AIDS, in its many roles The Quilt not only educates and inspires, but also serves as a monument for those who have lost loved ones to the disease,” said amfAR CEO Kevin Robert Frost. “It also reaffirms our commitment to funding the innovative research that will ultimately deliver a cure so that one day, we will no longer have to sew another panel into The Quilt.”

In 1996 Kiehl’s made HIV/AIDS a key philanthropy.  Over the past two decades, the fervent support of HIV/AIDS organizations has been at the heart of Kiehl’s efforts, leading to partnerships with organizations such as amfAR, The Magic Johnson Foundation for AIDS and Youth AIDS.  Since 2001, Kiehl’s has raised approximately $3,000,000 for HIV/AIDS organizations and continues to do so.

Kiehl’s was founded as an old-world apothecary in New York’s East Village neighborhood. Its unique, extensive background represents a blend of cosmetic, pharmaceutical, herbal, and medicinal knowledge developed and advanced through the generations. In addition to Kiehl’s freestanding stores nationwide, Kiehl’s products are available at www.Kiehls.com, by mail order at 1-800-KIEHLS-2 as well as through select specialty retailers worldwide. For additional information on Kiehl’s since 1851, visit www.kiehls.com.

amfAR, The Foundation for AIDS Research, is one of the world’s leading nonprofit organizations dedicated to the support of AIDS research, HIV prevention, treatment education, and the advocacy of sound AIDS-related public policy. Since 1985, amfAR has invested more than $388 million in its programs and has awarded more than 3,300 grants to research teams worldwide.

The Quilt display is free and open to the public and will be on view from 10 a.m. to 6:45 p.m. on August 11 and from 10 a.m. to 4 p.m. on Tuesday, Aug. 12.   The display will feature more than 2,000 panels honoring over 5,014 individuals including many created by and for individuals who call New York home as well as panels created by leading fashion houses like Giorgio Armani, Anna Sui, Ralph Lauren and BCBG to honor those in the industry who were lost to the pandemic. In recognition of the annual Kiehl’s LifeRide for amfAR, a new panel for The Quilt created by Kiehl’s will also be unveiled and dedicated at this event. Additionally, U.S. Senator Charles E. Schumer will issue a proclamation declaring August 11th, 2014 Kiehl’s Liferide for amfAR Day.

Victorinox Swiss Army Introduces the Delemont Collection

Victorinox Swiss Army, with a 130-year heritage of quality and innovation in blade design, introduces the Delemont Collection, a complete new line of Swiss Army Knives offering a variety of unique features, tools and styles across 52 knives. The Delemont Collection, which is being introduced at Outdoor Retailer Summer Market in Salt Lake City this week, marks the first collaboration between Victorinox Swiss Army and Wenger, which joined forces last year.

The Delemont Collection is comprised of four separate handle designs, including the Evolution, EvoGrip, EvoWood and RangerGrip across a range of three different sizes. The collection includes a 65 MM knife featuring a deployable nail clipper, as well as a variety of 85 MM knives with the EvoWood, EvoGrip and Evolution handles. The line concludes with a series of large, 130 MM knives featuring the RangerGrip and RangerWood handles. The knives in the collection offer a wide variety of special features and tools; however, the signature feature is a contoured, ergonomic handle, which makes the knives easier to grip. The contoured handle design offers a more comfortable, non-slip grip even when wearing gloves or in wet conditions.

The EvoGrip S18 is part of the new Delemont Collection from Victorinox Swiss Army. (PRNewsFoto/Victorinox Swiss Army)

The EvoGrip S18 is part of the new Delemont Collection from Victorinox Swiss Army. (PRNewsFoto/Victorinox Swiss Army)

RangerGrip 74 – The 130 MM RangerGrip 74 is designed for serious outdoor adventures and includes a variety of heavy-duty tools, including a 3.9″ locking blade and a deployable needle nose pliers equipped with a wire cutter and nut wrench. The knife features an ergonomic handle with non-slip inserts to help improve grip even in wet conditions.

In addition to the contoured, ergonomic handles, the Delemont Collection includes a variety of unique features and tools. Highlights include: a deployable needle nose pliers; a heavy-duty nail clipper; a universal wrench for M3-M5 nuts; an integrated rotating compass; a shackle opener with marlin spike and ruler; a knife body with an integrated bit holder; and a lever designed serrated-edge scissors. Some of the noteworthy new knives in the collection include:
—  Nail Clip 580 – This 65 MM knife comes with all the essentials, including a 1.75″ blade, nail file, scissors, tweezers and toothpick. It
also incorporates a retractable, heavy-duty nail clipper and cleaner. It is the perfect tool to tackle everyday needs and is small enough to fit
in a pocket, backpack or glove box.
—  EvoWood 14 – The 85 MM handle on this EvoWood 14 is constructed from sustainable walnut wood, which is repurposed from excess production
materials. The walnut is finished with a rich, dark stain giving each knife unique shades and grain patterns. The knife features a 2.5″ blade
along with a variety of other functional tools.
—  EvoGrip S18 – At 85 MM, the EvoGrip S18 is an ideal mid-sized knife and fits perfectly in-hand thanks to the ergonomic, contoured handle with
non-slip inserts. A veritable tool chest for the outdoor enthusiast, the 2.75″ double-cut wood saw can tackle much larger jobs than its size
would indicate. Along with 14 other useful functions, the EvoGrip S18 is a stand-out in its striking, bright yellow finish.

For more information about Victorinox Swiss Army and the Delemont Collection, visit www.swissarmy.com.

Leonard A. Lauder Cubist Collection—Promised Gift to the Met—on Public View for First Time in Major Exhibition Beginning October 20

Cubism: The Leonard A. Lauder Collection at The Metropolitan Museum of Art will be the most important exhibition of the essential Cubists—Georges Braque (French, 1882–1963), Juan Gris (Spanish, 1887–1927), Fernand Léger (French, 1881–1955), and Pablo Picasso (Spanish, 1881–1973)—in more than 30 years. The exhibition and accompanying publication will trace the invention and development of Cubism using iconic examples from the Leonard A. Lauder Collection, with its unparalleled holdings in this foundational modernist movement. The exhibition will mark the first time that the Collection, which Mr. Lauder pledged to the Museum in April 2013, is shown in its entirety, including the most recent addition, Léger’s The Village. The exhibition, which opens October 20, 2014, will present 79 paintings, works on paper, and sculpture: 17 by Braque, 14 by Gris, 15 by Léger, and 33 by Picasso. Rich in modernist pictures by Picasso and Braque, the exhibition will also include an unprecedented number of papiers collé by Juan Gris and a stunning array of Léger’s most famous series, his Contrasts of Forms.

Fernand Léger, Composition (The Typographer) 1918-19. Oil on canvas. Promised Gift from the Leonard A. Lauder Cubist Collection © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris

Fernand Léger, Composition (The Typographer) 1918-19. Oil on canvas. Promised Gift from the Leonard A. Lauder Cubist Collection © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris

Cubism: The Leonard A. Lauder Collection is organized by Rebecca Rabinow, the Leonard A. Lauder Curator of Modern Art and Curator in Charge of the Leonard A. Lauder Research Center for Modern Art at the Metropolitan Museum, and Emily Braun, Curator of the Leonard A. Lauder Cubist Collection and Distinguished Professor of Art History at Hunter College and the Graduate Center of the City University of New York. The exhibition is also supported by an indemnity from the Federal Council on the Arts and the Humanities.

Over the past 40 years, Leonard Lauder has selectively acquired masterpieces and seminal works to create the most important collection in private hands of works by the four preeminent Cubist artists: Mr. Lauder made his first two Cubist acquisitions in 1976 and continues to add to the Collection, which is distinguished by its quality, focus, and depth.

In coordination with Mr. Lauder’s announcement of the gift of the Cubist works, the Metropolitan Museum, with support from a group of trustees and supporters, including Mr. Lauder, has established a new research center for modern art, housed at the Metropolitan. The Leonard A. Lauder Research Center for Modern Art will serve as a center for scholarship, archival documentation and collections, and innovative approaches to studying the history of Cubism, its origins and influence. The Center has been envisioned by Mr. Lauder as a means to transform the presence of modern art at the Metropolitan in dialogue with its encyclopedic collections. With its own dedicated two-year fellowships—with two new recipients arriving each year—the Center will also sustain focused research on all aspects of modernism, the Leonard A. Lauder Collection and the Metropolitan Museum’s growing holdings of early and mid-20th-century art.

The exhibition will be accompanied by a publication edited by the co-curators of the exhibition—Emily Braun, Curator of the Leonard A. Lauder Cubist Collection and Distinguished Professor of Art History at Hunter College and the Graduate Center of the City University of New York, and Rebecca Rabinow, the Leonard A. Lauder Curator of Modern Art and Curator in Charge of the Leonard A. Lauder Research Center for Modern Art at the Metropolitan Museum. The publication will serve as an essential resource for the study of these four artists and their role in inventing and extending the definitions of Cubism. It includes 22 essays by 17 preeminent scholars in the field, who have used the works in the Leonard A. Lauder Cubist Collection as the basis for new discoveries and interpretations. It will also publish 25 years of sustained research on the works in the Collection – their provenance, exhibition history, and inclusion in earlier canonical studies of Cubism.

Cubism was the most influential art movement of the 20th century: it radically destroyed traditional illusionism in painting, revolutionized the way we see the world (as Juan Gris said), and paved the way for the pure abstraction that dominated Western art for the next 50 years. Led by Picasso and Braque, the Cubists dismantled traditional perspective and modeling in the round in order to emphasize the two-dimensional picture plane. Cubist collage introduced fragments of mass-produced popular culture into pictures, thereby changing the very definition of art.

More than half of the Leonard A. Lauder Cubist Collection focuses on the six-year period, 1909-14, during which Braque and Picasso—the two founders of the Cubist movement—collaborated closely. Their partnership began in earnest in the fall of 1908, when the visionary dealer Daniel-Henry Kahnweiler exhibited Braque’s most recent paintings in his Paris gallery. Henri Matisse is known to have disparaged Braque’s pictures as “painting made of small cubes;” the term Cubism first appeared in print in Louis Vauxcelles’s review of the Kahnweiler exhibition. The Collection includes two landscapes from this historic show: The Terrace at the Hôtel Mistral (1907), which marks Braque’s transition from Fauvism to Cubism, and the iconic Trees at L’Estaque (1908), which inaugurates Cubism.

By 1909 Braque and Picasso were inseparable. As Picasso later recounted, “Almost every evening, either I went to Braque’s studio or he came to mine. Each of us HAD to see what the other had done during the day. We criticized each other’s work. A canvas wasn’t finished until both of us felt it was.” A pair of identically sized paintings from 1911 in the Leonard A. Lauder Cubist Collection—Braque’s Still Life with Clarinet (Bottle and Clarinet)and Picasso’s Pedestal Table, Glasses, Cups, Mandolin—exemplify a pivotal moment in the history of Cubism, when the two artists began to picture objects from different points of view in an increasingly shallow space. Only a few clues were retained to help viewers decode the picture, the profile of an instrument or the tassel of a curtain. As the works hovered on the brink of illegibility, Braque and Picasso began to introduce “certainties,” as Braque called them: painted letters and words and, soon after, actual pieces of rope, newspaper, sheet music, and brand labels. They inspired other artists to incorporate all kinds of unorthodox materials into works of art.

The Leonard A. Lauder Cubist Collection contains such landmark paintings as Picasso’s landscape The Oil Mill (1909), which was one of the first Cubist pictures reproduced in Italy. After seeing it in the December 1911 issue of the Florentine journal La Voce, the Italian Futurists were inspired to modernize their style and engage in a rivalry with their French peers. Picasso’s Still Life with Fan: “L’Indépendant” (1911), in the Collection, is one of the first works in which he experimented with painted typography, in this case the gothic type masthead of L’Indépendant, the local newspaper of Céret in the foothills of the Pyrenees.

Braque’s Fruit Dish and Glass (1912), the very first Cubist papier collé (paper collage) ever created, is also in the Collection. Collages were a revolutionary Cubist art form in which ready-made objects were incorporated into fine art. In the summer of 1912, while vacationing with Picasso in the south of France, Braque saw imitation wood-grain wallpaper in a store window. He waited until Picasso left town before buying the faux bois paper and pasting it into a still-life composition. Braque’s decision to use mechanically printed, illusionistic wallpaper to represent the texture and color of a wooden table marked a turning point in Cubism. Braque later recounted, “After having made the papier collé [Fruit Dish and Glass], I felt a great shock, and it was an even greater shock for Picasso when I showed it to him.”

Braque and Picasso shared an interest in aviation, which extended to Braque’s nickname, “Wilb[o]urg” (after Wilbur Wright). The most famous example of their aviation puns is Picasso’s The Scallop Shell: “Notre Avenir est dans l’Air” (1912). This oval-shaped painting is simultaneously a representation of a tabletop and a blatantly flat canvas. The still-life elements of the work include a trompe l’oeil rendering of a pamphlet that had been issued by the French government in February 1912 to raise public support for military aviation. Picasso included it as a witty reference to his and Braque’s daring, groundbreaking Cubist enterprise.

Picasso’s synthetic Cubist masterpiece Woman in a Chemise in an Armchair (1913-14) is one of the artist’s most radical and imposing paintings. This provocative and highly eroticized image was hailed by André Breton in his seminal text Surrealism and Painting(1928). Additionally the Leonard A. Lauder Cubist Collection holds examples of two key Cubist sculptures: a rare cast of Picasso’s Head of a Woman (Fernande) (1909), which introduced the analytic Cubist style into three dimensions, and The Absinthe Glass (1914), which signaled the end of traditionally modeled sculpture. Each of the six casts in the edition was hand-painted by Picasso and includes an actual perforated tin absinthe spoon, thus blurring the boundaries between a multiple and a unique work of art.

Still lifes with flutes, guitars, mandolins, violins, and sheet music are indicative of Braque’s and Picasso’s personal pastimes as well as their enthusiasm for popular vaudeville tunes. Their word play and images combine ribald jokes and erudite references, high and low, as well as allusions to the Cubist movement and commentary on world events. InViolin: “Mozart Kubelick” (1912), for example, Braque indulged in a double entendre by including the name of the famed Czech violinist Jan Kubelik (1880-1940). The first three letters of his name (“KUB”) were those of a common bouillon cube, a foodstuff widely advertised on posters of the period, much to the delight of Braque and Picasso, who appreciated the pun on the word “Cub”ism. Violin: “Mozart/Kubelick” was one of three pictures by Braque that Kahnweiler sent to the New York Armory Show of 1913, the exhibition that introduced European modernism to the American public. It became one of the most caricatured Cubist images in the American press, which delighted in pointing out that Braque had put the “cube in Kubelik” and also that he had misspelled the maestro’s name.

Legend has it that, a few years earlier, on his way to visit Picasso at the Bateau-Lavoir, the rundown artist complex in Montmartre, Kahnweiler had glanced into the open window of Juan Gris’s studio and asked to see his work. In late 1912, the dealer began representing Gris. Whereas Braque and Picasso exhibited exclusively with Kahnweiler, Gris sent work to the annual Salon displays, bringing wider visibility to the new Cubist style. The Futurist artist Umberto Boccioni, for example, was directly influenced by Gris’s Head of a Woman (Portrait of the Artist’s Mother) after he saw it at the spring 1912 Salon des Indépendants. Gris took the analytic Cubism of Braque and Picasso and made it his own with precisely delineated compositions, flattened planes, and rhythmic surface patterns that prefigure the synthetic Cubism of the war years.

The Leonard A. Lauder Cubist Collection contains an unparalleled selection of six painted collages that Gris created during the first half of 1914. Several of them incorporate wry references to the fictional criminal mastermind Fantômas, the subject of a wildly popular crime series. The shadowy Man at the Café (1914) hides his face behind a newspaper, made up of an actual clipping whose headline pointedly reads: “Bertillonage/ One will no longer be able to fake works of art.” Gris alludes to the criminal identification systems, orBertillonage, of Alphonse Bertillon, one of the fathers of forensic science, whose methods were featured in the storylines of the Fantômas films. With mock suspense, Gris suggests that, having read about the latest criminal detection methods in the newspaper, the man at the table will escape the authorities once again—as will the Cubist masterminds in their games of visual deception.

In 1913, Kahnweiler added Fernand Léger to his stable of artists. Like Gris, Léger developed Cubism into a distinctive and influential style, in which dynamic intersections of spherical, cylindrical, and cubic forms evoked the new, syncopated rhythms of modern life. The Leonard A. Lauder Cubist Collection features several important works from Léger’s series Contrasts of Forms, wherein Léger worked out his primary oppositions of light and dark, angled and curved planes, color and line. The jaunty image of The Smoker (1914), with its body reduced to basic geometric parts, anticipates the dehumanization that Léger would experience first-hand during World War I. Gris and Picasso, both Spanish citizens, remained in France during the war. Picasso’s political sentiments are evident in the Collection’s Playing Cards, Glasses, Bottle of Run: “Vive la France” (summer 1914; partially reworked 1915). Braque and Léger were among the many French artists who were mobilized to the Front. Léger was injured and after more than a year’s hospitalization he began working on Composition (The Typographer) (1918-19), one of the largest Cubist works ever painted. Its mural-like size anticipates his collaboration in the 1920s with the architect Le Corbusier. Composition (The Typographer), the definitive version of a series of three, reflects the affinity Léger felt toward the anonymous working man and his fascination with the trappings of modern Paris, from advertisements to architecture. Léger drew on his background as an architectural draftsman in celebrating the beauty of machines and in this way led Cubism into a new modernist machine aesthetic.

Leonard A. Lauder Research Center for Modern Art
The new Leonard A. Lauder Research Center for Modern Art will foster research, programming, and publications on the Met’s collections of modern art and on Cubism’s enduring impact in the 20th and 21st centuries. It is supported by an endowment funded by generous grants from Museum trustees and supporters, including Mr. Lauder.

Under the auspices of the Center, the Metropolitan has awarded its inaugural fellowships for terms to begin in September 2014.  Two two-year fellowships for pre- and post-doctoral work will be awarded annually. Additionally senior scholars will be invited for residencies at the Museum. Through a program of lectures, study workshops, dossier exhibitions, publications, and a vibrant web presence (available via www.metmuseum.org as of early October 2014), the Center will focus art-historical study and public appreciation of modern art generally and on Cubism in particular, and serve as a training ground for the next generation of scholars. The Center will eventually include a library and an archive on Cubism donated by Mr. Lauder.

Mr. Lauder always intended that his collection would serve as a catalyst for further and sustained study of early modern art.  The presence of his extraordinary Cubist collection at the Museum will transform the Metropolitan’s galleries and programming, just as his support of the Center will ensure that modern art remains a focus of continued study at the highest levels of scholarship.

The exhibition will be accompanied by a 392-page catalogue edited by Emily Braun and Rebecca Rabinow. An essential volume for anyone interested in the history of art and the origins of modern art, this exhibition catalogue will be lavishly illustrated with 280 images and will stand as the resource for understanding Cubism for many years to come.  The comprehensive volume includes 22 essays written by the most renowned contemporary experts on this period of art history.

Taken together, these essays offer not only insights into the works in the Leonard A. Lauder Cubist Collection, but also a complete survey of the history of Cubism, from its origins and founding by Picasso and Braque, with their still lifes, portraits, and collages, through the precisely delineated compositions by Juan Gris that prefigure the Synthetic Cubism of the war years, to the distinctive and influential style of  Léger, with its dynamic intersections of spherical, cylindrical, and cubic forms that evoked the new, syncopated rhythms of modern life.

The catalogue will include essays by Matthew Affron, Andrea Bayer, Emily Braun, Harry Cooper, Elizabeth Cowling, Carol S. Eliel, Michael FitzGerald, Jack Flam, Christopher Green, Lewis Kachur, Pepe Karmel, Dorothy Kosinski, Isabelle Monod-Fontaine, Christine Poggi, Rebecca Rabinow, Kenneth Silver, and Anne Umland. Additionally the catalogue will feature an interview between Leonard Lauder and Emily Braun addressing the history of his collection, as well as extensive illustrated documentary information about all 79 works, researched and compiled by Anna Jozefacka and Luise Mahler.

The catalogue will be published by The Metropolitan Museum of Art and distributed by Yale University Press.

Related Programs
A variety of education programs are planned in conjunction with this exhibition, including a teen program focusing on collage on October 18; a studio workshop, “Collage and Mixed Media: Cubist-Inspired Explorations” on November 16 and 23; a Sunday at the Met on January 25, 2015; film screenings on January 30 and February 6, 2015; exhibition tours and gallery talks; and a Met Escapes art-making workshop for visitors with dementia.

Life & Times, a series of talks by curator Rebecca Rabinow, will take place on December 2 and December 9, 2014 shedding light on different aspects of the Leonard A. Lauder Collection. The first in the series, Cubist Confetti, considers the Cubists’ colorful stippling during the prewar years as a sophisticated means of introducing formal qualities of texture and light into their art, while referencing popular culture and artistic movements such as Pointillism. Games Cubists Play explores the impact of the games, jokes, and puns that define and characterize prewar Cubist masterpieces.