Mack Lecture Series April 8–29, 7 pm$15 ($12 Walker members, students, and seniors)Walker Cinema
Hear directly from explorers of our culture and contemporary moment during the Mack Lecture Series. Throughout the month of April, artists, writers, and other great thinkers at the forefront of diverse fields share their vision on topics ranging from artificial intelligence in performance art to gender politics and gonzo journalism.
Annie Dorsen’s Hello Hi There, 2010 Photo: W. Silveri/Steirischer Herbst
Simon Adler, 2018. Photo courtesy of Simon Adler.Catherine Havasi, 2019. Photo courtesy of Catherine Havasi.Annie Dorsen, 2019. Courtesy of John D. & Catherine T. MacArthur Foundation
Writer-director Annie Dorsen tries “to make perceptible how ideas change over time: where they come from, how they influence and are influenced by politics and culture, and how they take root in the body, physically and emotionally.” For this conversation, she explores the intersection of algorithms and live performance with artificial intelligence researcher and computational linguist Catherine Havasi, moderated by Simon Adler, a producer for WNYC’s Radiolab.
Annie Dorsen’s performance work Yesterday Tomorrow, takes place in the Walker’s McGuire Theater March 27–28.
Genderqueer political activist, visual artist, and musician JD Samson is perhaps best known as leader of the band MEN and one-third of the electronic-feminist-punk band Le Tigre. As a self-defined “gender outlaw,” she will investigate the precarious masculinity of the butch/masculine-of-center body, play with traditional concepts of ownership and destruction, and break down the charged heteronormative history of queer sex dynamics.
The Walker Arts Center continues to flesh out what is considerably a very dynamic exhibition schedule for the next two years. Additions to the Walker Art Center’s 2020–2021 exhibition schedule include two new solo exhibitions by female artists, Faye Driscoll: Thank You for Coming(February 27–June 14, 2020) and Candice Lin(April 17–August 29, 2021) as well as a Walker collection show of women artists, Don’t let this be easy(July 16–March 14, 2021). For her first solo museum exhibition, Faye Driscoll incorporates a guided audio soundtrack, moving image works, and props to look back across the entirety of her trilogy of performances Thank You For Coming—Attendance(2014), Play(2016), and Space(2019)—works that were presented and co-commissioned by the Walker and subsequently toured around the world over the past six years. Another newly added exhibition, Candice Lin, is the first US museum solo show by the artist, co-organized by the Walker Art Center and the Carpenter Center for Visual Arts (CCVA). Lin is creating a site-specific installation that responds to the space of the gallery at each institution, allowing the shape of the work to evolve over the course of its presentation.
The Walker-organized exhibition Don’t let this be easy highlights the diverse and experimental practices of women artists spanning some 50 years through a selection of paintings, sculptures, moving image works, artists’ books, and materials from the archives.
The initiative is presented in conjunction with the Feminist Art Coalition (FAC), a nationwide effort involving more than 60 museums committed to social justice and structural change.
Other upcoming exhibitions include An Art Of Changes: Jasper Johns Prints, 1960–2018 (February 16–September 20, 2020), a survey of six decades of Johns’ work in printmaking drawn from the Walker’s complete collection of the artists’ prints including intaglio, lithography, woodcut, linoleum cut, screenprinting, lead relief, and blind embossing; The Paradox of Stillness: Art, Object, and Performance (formerly titiled Still and Yet) (April 18–July 26, 2020), is an exhibition that rethinks the history of performance featuring artists whose works include performative elements but also embrace acts, objects, and gestures that refer more to the inert qualities of traditional painting or sculpture than to true staged action.
Additional exhibitions include Michaela Eichwald’s (June 13–November 8, 2020) first US solo museum presentation, bringing together painting, sculpture, and collage from across the past 10 years of her practice; Designs for Different Futures (September 12, 2020 – January 3, 2021)—a collaborative group show co-organized by the Walker Art Center, Philadelphia Museum of Art, and the Art Institute of Chicago—brings together about 80 dynamic works that address the challenges and opportunities that humans may encounter in the years, decades, and centuries to come; Rayyane Tabet(December 10, 2020– April 18, 2021), a solo show by the Beirut-based multidisciplinary artist featuring a new installation for the Walker that begins with a time capsule discovered on the site of what was once an IBM manufacturing facility in Rochester, Minnesota.
OPENING EXHIBITIONS
AN ART OF CHANGES: JASPER JOHNS PRINTS, 1960–2018, February 16–September 20, 2020
When Jasper Johns’s paintings of flags and targets debuted in 1958, they brought him instant acclaim and established him as a critical link between Abstract Expressionism and Pop Art. In the ensuing 60 years, Johns (US, b. 1930) has continued to astonish viewers with the beauty and complexity of his paintings, drawings, sculpture, and prints. Today, he is considered one of the 20th century’s greatest American artists.
Artist: Jasper Johns Title: Figure 7 from the Color Numeral Series Date: 1969 Medium: lithograph on paper Accession number: 1985.319 Credit Line: Gift of Kenneth Tyler, 1985. Repro Rights: VAGA; Art copyright Jasper Johns / Licensed by VAGA, New York, NY.Artist: Jasper Johns Title: Target Date: 1960 Medium: lithograph on paper Accession number: 1988.181 Credit Line: Gift of Judy and Kenneth Dayton, 1988. Repro Rights: VAGA; Art copyright Jasper Johns / Licensed by VAGA, New York, NY.
In celebration of the artist’s 90th birthday, An Art of Changes surveys six decades of Johns’s work in printmaking, highlighting his experiments with familiar, abstract, and personal imagery that play with memory and visual perception in endlessly original ways. The exhibition features some 90 works in intaglio, lithography, woodcut, linoleum cut, screenprinting, and lead relief—all drawn from the Walker’s comprehensive collection of the artist’s prints.
Organized in four thematic sections, the show follows Johns through the years as he revises and recycles key motifs over time, including the American flag, numerals, and the English alphabet, which he describes as “things the mind already knows.” Some works explore artists’ tools, materials, and techniques. Others explore signature aspects of the artist’s distinctive mark-making, including flagstones and hatch marks, while later pieces teem with autobiographical imagery. To underscore Johns’s fascination with the changes that occur when an image is reworked in another medium, the prints will be augmented by a small selection of paintings and sculptures.
Curator: Joan Rothfuss, guest curator, Visual Arts.
Exhibition Tour Carnegie Museum of Art, Pittsburgh: October 12, 2019–January 20, 2020 Walker Art Center, Minneapolis: February 16–September 20, 2020 Grand Rapids Art Museum, Michigan: October 24, 2020–January 24, 2021 Tampa Art Museum, Florida: April 28–September 6, 2021
A Reassuring Presence Instilling Calm, Confidence, And Connection
Tapping into sight, sound, smell, taste, and texture Pantone makes PANTONE 19-4052 Classic Blue the first multi-sensory Color of the Year in the company’s history.
Pantone, provider of professional color language standards and digital solutions, today announced PANTONE 19-4052, Classic Blue, as the Pantone® Color of the Year for 2020; a timeless and enduring hue elegant in its simplicity. Suggestive of the sky at dusk, the reassuring qualities of the thought-provoking PANTONE 19-4052 Classic Blue highlight our desire for a dependable and stable foundation from which to build as we cross the threshold into a new era.
Pantone Reveals Color of the Year 2020: PANTONE® 19-4052 Classic Blue
“We are living in a time that requires trust and faith. It is this kind of constancy and confidence that is expressed by PANTONE 19-4052 Classic Blue, a solid and dependable blue hue we can always rely on,” said Leatrice Eiseman, Executive Director of the Pantone Color Institute. “Imbued with a deep resonance, PANTONE 19-4052 Classic Blue provides an anchoring foundation. A boundless blue evocative of the vast and infinite evening sky, PANTONE 19-4052 Classic Blue encourages us to look beyond the obvious to expand our thinking; challenging us to think more deeply, increase our perspective and open the flow of communication.”
The Color of the Year selection process requires thoughtful consideration and trend analysis. To arrive at the selection each year, Pantone’s color experts at the Pantone Color Institute comb the world looking for new color influences. This can include the entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations, as well as new lifestyles, playstyles, and socio-economic conditions. Influences may also stem from new technologies, materials, textures, and effects that impact color, relevant social media platforms and even up-coming sporting events that capture worldwide attention. For 21 years, Pantone’s Color of the Year has influenced product development and purchasing decisions in multiple industries, including fashion, home furnishings, and industrial design, as well as product packaging and graphic design. Past selections for Color of the Year include:
PANTONE 16-1546 Living Coral (2019)
PANTONE 18-3838 Ultra Violet (2018)
PANTONE 15-0343 Greenery (2017)
PANTONE 15-3919 Serenity and PANTONE 13-1520 Rose Quartz (2016)
PANTONE 18-1438 Marsala (2015)
PANTONE 18-3224 Radiant Orchid (2014)
PANTONE 17-5641 Emerald (2013)
PANTONE 17-1463 Tangerine Tango (2012)
PANTONE 18-2120 Honeysuckle (2011)
PANTONE 15-5519 Turquoise (2010)
PANTONE 14-0848 Mimosa (2009)
PANTONE 18-3943 Blue Iris (2008)
PANTONE 19-1557 Chili Pepper (2007)
PANTONE 13-1106 Sand Dollar (2006)
PANTONE 15-5217 Blue Turquoise (2005)
PANTONE 17-1456 Tigerlily (2004)
PANTONE 14-4811 Aqua Sky (2003)
PANTONE 19-1664 True Red (2002)
PANTONE 17-2031 Fuchsia Rose (2001)
PANTONE 15-4020 Cerulean (2000)
The color selected as the Pantone Color of the Year 2020 was taken from the Pantone Fashion, Home + Interiors Color System, the most widely used and recognized color standards system for fashion, textile, home, and interior design.
Imprinted in our psyches as a restful color, PANTONE 19-4052 Classic Blue brings a sense of peace and tranquility to the human spirit, offering refuge. Aiding concentration and bringing laser-like clarity, PANTONE 19-4052 Classic Blue re-centers our thoughts. A reflective blue tone, Classic Blue fosters resilience.
As technology continues to race ahead of the human ability to process it all, it is easy to understand why we gravitate to colors that are honest and offer the promise of protection. Non-aggressive and easily relatable, the trusted PANTONE 19-4052, Classic Blue lends itself to relaxed interaction. Associated with the return of another day, this universal favorite is comfortably embraced.
“The Pantone Color of the Year highlights the relationship between trends in color and what is taking place in our global culture at a moment in time, a color that reflects what individuals feel they need that color can hope to answer.” added Laurie Pressman, Vice President of the Pantone Color Institute. “As society continues to recognize color as a critical form of communication, and a way to express and affect ideas and emotions, designers and brands should feel inspired to use color to engage and connect. The Pantone Color of the Year selection provides strategic direction for the world of trend and design, reflecting the Pantone Color Institute’s year-round work doing the same for designers and brands.”
To fully bring to life the true meaning of PANTONE 19-4052 Classic Blue, Pantone has translated PANTONE 19-4052 Classic Blue into a multi-sensory experience. By extending the sensory reach of PANTONE 19-4052 Classic Blue, Pantone is hoping to reach a greater diversity of people to provide everyone with an opportunity to engage with the Color of the Year 2020 in their own unique way.
“As we all head into a new era, we wanted to challenge ourselves to find inspiration from new sources that not only evolve our Color of the Year platform, but also help our global audiences achieve richer and more rewarding color experiences,” added Pressman. “This desire, combined with the emotional properties of PANTONE 19-4052 Classic Blue, motivated us to expand beyond the visual, to bring the 2020 Pantone Color of the Year to life through a multi-sensory experience.”
Classic Blue in Fashion
PANTONE 19-4052 Classic Blue is a poised and self-assured blue hue elegant in its simplicity. Genderless in outlook and seasonless in endurance, this foundational anchor shade enables color mixes throughout the spectrum, as well as making a strong statement on its own. Emblematic of heritage but at the same time highly contemporary, versatile PANTONE 19-4052 Classic Blue takes on distinct appearances through application to different materials, finishes and textures from shimmering metallics, lustrous sheens and high-tech materials to hand crafted looks and more fragile fabrics.
Classic Blue in Beauty
In the ultimate display of personal expression, PANTONE 19-4052 Classic Blue makes a dramatic statement for eyes, nails and hair in a variety of finishes from glittery and glam to dusty matte.
Classic Blue in Home Décor
Offering the promise of protection PANTONE 19-4052 Classic Blue is a pervasive favorite for home. Creating a stable foundation from which to build, PANTONE 19-4052 Classic Blue injects creative confidence into interiors, transforming a space through unique color combinations and tonal statements. Easily applied across so many different materials, textures and finishes, PANTONE 19-4052 Classic Blue is a dependable blue that can take you in different directions expressing tradition and elegance as well as unexpected boldness.
Classic Blue in Graphic Design and Packaging
Because of PANTONE 19-4052 Classic Blue’s relation to the sky at dusk, something we see every day, it maintains a perception of dependability and constancy. A color we respond to viscerally as being trustworthy, PANTONE 19-4052 Classic Blue is an ideal shade for many applications of graphic design. This is especially true for packaging where PANTONE 19-4052 Classic Blue conveys the message of honesty, credibility and reliability that today’s consumers are connecting to.
Inspired by the World’s Epic Alpine Destinations, New Concept Debuts with Dedicated Source Book Showcasing Distinctive New Collections by Acclaimed Global Designers
RH Ski House Cover 2019 (Photo: Business Wire)
RH
announced today the unveiling of RH
Ski House, a
curated concept inspired by the world’s epic alpine destinations
that presents over 60 new collections reflecting the brand’s
distinctive point of view on mountain living.
Aspen
to Sun
Valley,
Tahoe
to Taos,
Courchevel
to Cortina,
RH
Ski House
is defined by a rustic yet refined aesthetic with modern and
contemporary influences, and debuts with a dedicated print and
digital Source
Book,
which can be viewed at RHSkiHouse.com.
RH
Chairman and CEO Gary Friedman commented, “Whether you ski,
or just enjoy being in the mountains or snow, RH Ski House was
designed to make anyone feel warm, comfortable, and relaxed. It’s a
collection that is the result of curating the best people, products,
ideas, and inspiration we’ve come across, then carefully
integrating each, where the whole becomes more valuable than the
parts.”
RH SKI HOUSE 2019 INTRODUCES THE OVIEDO SHEEPSKIN CHAISE (Photo: Business Wire)
A
collection of furniture, lighting, textiles and décor is the result
of the brand’s creative partnerships with a select group of
internationally renowned designers. Evoking dramatic winter
snowscapes, sculptural shapes and luxe natural materials layer with
rich organic texture, warm earthen hues and stunning statement
pieces.
RH SKI HOUSE 2019 INTRODUCES THE YETI SHEEPSKIN COLLECTION SECTIONAL BY TIMOTHY OULTON (Photo- Business Wire)RH SKI HOUSE 2019 INTRODUCES THE YETI SHEEPSKIN COLLECTION BED BY TIMOTHY OULTON (Photo Business Wire)RH SKI HOUSE 2019 INTRODUCES THE YETI SHEEPSKIN COLLECTION ARMCHAIR BY TIMOTHY OULTON (Photo: Business Wire)
The
Yeti
collectionby
Timothy
Oulton(London) introduces
bold silhouettes wrapped in sumptuous, long-haired New Zealand
sheepskin for ultimate, sink-in comfort, showcased in oversized sofas
and sectionals, as well as the
Yeti Sheepskin Armchair,
Yeti
Sheepskin Bed,
Adele
Sheepskin Dining Chair
and Oviedo
Sheepskin Chaise.
Spanning
living, dining and bedroom, The
Reclaimed
Rustic European Oak collectionbyTheo
Eichholtz(Amsterdam)
celebrates the organic beauty of solid oak timbers from decades-old
buildings with contemporary lines that allow the wood’s timeworn
character to take center stage. The Dutch designer also debuts Rigby
Reclaimed Rustic Oak–
coffee,
console
and
side tables
where unfinished, rough-sawn slabs appear to float on streamlined
metal bases.
RH SKI HOUSE 2019 INTRODUCES THE DAVOS OAK COLLECTION BY NICHOLAS AND HARRISON CONDOS (Photo: Business Wire)RH SKI HOUSE 2019 INTRODUCES THE DAVOS OAK COLLECTION CANOPY BED BY NICHOLAS AND HARRISON CONDOS (Photo: Business Wire)Continue reading →
Six
artists have been short-listed for the Hugo Boss Prize 2020,
the biennial award for significant achievement in contemporary art.
The short list is selected by a panel of international curators and
critics in recognition of artists whose work is transforming the
field. Since its inception in 1996, the prize has consistently
functioned as a platform for the most relevant and influential art of
the present, and has become a cornerstone of the Guggenheim’s
contemporary programming.
“On
the occasion of the thirteenth Hugo Boss Prize, I’m delighted to
announce the finalists for the 2020 cycle,” said Nancy
Spector, Artistic Director and Jennifer and David Stockman Chief
Curator, Solomon R. Guggenheim Museum and Foundation, and jury
chair. “After a rigorous examination of today’s artistic
landscape, the jury identified a group of artists whose practices are
beacons of cultural impact. While diverse in their approaches and
themes, they each exemplify the spirit of experimentation and
innovation that the prize has always championed.”
Solomon R. Guggenheim Museum, New York logo
The
Hugo Boss Prize recognizes the achievements of both emerging
and established artists, and sets no restrictions in terms of age,
gender, nationality, or medium. The winner, who will receive a
$100,000 honorarium, will be announced in the fall of 2020 and will
present a solo exhibition at the Solomon R. Guggenheim Museum
in spring 2021.
Since
its inception in 1996, the Hugo Boss Prize has been awarded to
twelve influential contemporary artists: American artist Matthew
Barney (1996); Scottish artist Douglas Gordon (1998);
Slovenian artist Marjetica Potrč (2000); French artist Pierre
Huyghe (2002); Thai artist Rirkrit Tiravanija (2004);
English artist Tacita Dean (2006); Palestinian artist Emily
Jacir (2008); German artist Hans-Peter Feldmann (2010);
Danish artist Danh Vo (2012); American artist Paul Chan
(2014); American artist Anicka Yi (2016); and American artist
Simone Leigh (2018). The related exhibitions have constituted
some of the most compelling presentations in the museum’s history.
Previous
finalists include Laurie Anderson,
Janine Antoni, Cai Guo-Qiang, Stan Douglas, and Yasumasa Morimura
in 1996; Huang Yong Ping,
William Kentridge, Lee Bul, Pipilotti Rist, and Lorna Simpson in
1998; Vito Acconci, Maurizio
Cattelan, Michael Elmgreen and Ingar Dragset, Tom Friedman, Barry Le
Va, and Tunga in
2000; Francis Alÿs, Olafur
Eliasson, Hachiya Kazuhiko, Koo Jeong-A, and Anri Sala
in 2002; Franz Ackermann,
Rivane Neuenschwander, Jeroen de Rijke and Willem de Rooij, Simon
Starling, and Yang Fudong
in 2004; Allora &
Calzadilla, John Bock, Damián Ortega, Aïda Ruilova, and Tino Sehgal
in 2006; Christoph Büchel,
Patty Chang, Sam Durant, Joachim Koester, and Roman Signer
in 2008; Cao Fei, Roman Ondák,Walid Raad, Natascha SadrHaghighian, and Apichatpong
Weerasethakul
in 2010; Trisha Donnelly,
Rashid Johnson, Qiu Zhijie, Monika Sosnowska, and Tris Vonna-Michell
in
2012; Sheela Gowda, Camille
Henrot, Hassan Khan, and Charline von Heyl
in 2014; Tania Bruguera, Mark
Leckey, Ralph Lemon, Laura Owens, and Wael Shawky in
2016; and Bouchra Khalili,
Teresa Margolles, Emeka Ogboh, Frances Stark,
and Wu Tsang
in 2018.
The
following artists are finalists for the Hugo Boss Prize 2020:
Nairy Baghramian (b. 1971, Isfahan, Iran)
Kevin Beasley (b. 1985, Lynchburg, Va.)
Deana Lawson (b. 1979, Rochester, N.Y.)
Elias Sime (b. 1968, Addis Ababa, Ethiopia)
Cecilia Vicuña (b. 1948, Santiago, Chile)
Adrián Villar Rojas (b. 1980, Rosario, Argentina)
“The
Hugo Boss Prize is our most prestigious engagement in the field of
arts,” said Mark Langer, CEO and Chairman of HUGO BOSS AG. “We
are excited about this diverse and distinguished short list for 2020
and looking forward to the announcement of the winner next fall.”
HUGO
BOSS PRIZE 2020 SHORT LIST
Nairy
Baghramian(b.
1971, Isfahan, Iran) lives and works in Berlin. In an oeuvre that
probes the boundaries between the decorative, the utilitarian, and
the art object, Baghramian has illuminated new possibilities for
sculpture. The artist’s disarming biomorphic forms, made with a
range of materials including steel, silicon, resin, and leather,
elicit various unexpected art-historical and sociopolitical
references, reimagining the workings of the body, gender, and public
and private space.
Nairy Baghramian, Stay Downers: Nerd, Fidgety Philip, Dripper, Truant, Backrower and Grubby Urchin, 2017. Various media, dimensions variable Installation view: Déformation Professionnelle, Walker Art Center, Minneapolis, 2017–18. Courtesy the artist and Marian Goodman Gallery. Photo: Timo Ohler
Baghramian’s
work has been presented in solo exhibitions such as Privileged
Points,
Mudam Luxembourg—Musée d’Art Moderne Grand-Duc Jean (2019),
Breathing
Spell (Un respire),
Palacio de Cristal del Retiro, Madrid (2018); Déformation
Professionnelle,
Museum der Moderne Salzburg, and Walker Art Center, Minneapolis
(2017); S.M.A.K. Museum of Contemporary Art, Ghent (2016); Nairy
Baghramian: Scruff of the Neck (Supplements),
Zurich Art Prize, Museum Haus Konstruktiv, Zurich (2016); Hand
Me Down,
Museo Tamayo, Mexico City (2015); Fluffing
the Pillows,
MIT List Visual Arts Center, Cambridge, Mass. (2013), and Kunsthalle
Mannheim, Germany (2012); and Class
Reunion,
Contemporary Art Gallery, Vancouver (2012).
Kevin
Beasley(b.
1985, Lynchburg, Va.) lives and works in New York. Working at the
intersection of sculpture, installation, and performance, Beasley
constructs revelatory formal and sonic experiences. In works that
embed found objects in substances such as resin, foam, and tar, or
incorporate unconventionally manipulated audio equipment, he
amplifies the cultural resonances of his materials to excavate
personal and shared histories of class, race, and institutional
power.
Beasley
has presented and performed in solo exhibitions such as ASSEMBLY,
The Kitchen, New York (2019); a
view of a landscape,
Whitney Museum of American Art, New York (2018); Kevin
Beasley,
The Institute of Contemporary Art, Boston (2018); Movement
V: Ballroom,
CounterCurrent Festival, Cynthia Woods Mitchell Center for the Arts,
Houston (2017); Hammer
Projects: Kevin Beasley,
Hammer Museum at Art + Practice, Los Angeles (2017); Rubbings,
Kim? Contemporary Art Center, Riga, Latvia (2017); and inHarlem:
Kevin Beasley,
The Studio Museum in Harlem, New York (2016).
Deana
Lawson(b.
1979, Rochester, N.Y.) lives and works in New York. Her large-format
photographs channel vernacular, art-historical, and documentary
traditions within the medium, in compositions that valorize black
diasporic culture. Picturing individuals she encounters over the
course of her everyday life within carefully staged domestic
settings, Lawson choreographs every nuance of scenery, lighting, and
pose to create tableaux that powerfully evoke the agency of her
subjects.
Lawson’s
work has been presented in solo exhibitions including Deana
Lawson,
Huis Marseille, Museum voor Fotografie, Amsterdam (2019); Deana
Lawson: Planes,
The Underground Museum, Los Angeles (2018); Deana
Lawson,
Carnegie Museum of Art, Pittsburgh (2018); Deana
Lawson,
Contemporary Art Museum St. Louis (2017); Deana
Lawson,
The Art Institute of Chicago (2015); and Corporeal,
Light Work, Syracuse, N.Y. (2009).
On October 24th, Nordstrom, Inc. opened the doors to its first-ever flagship store for women and children in New York City. Located at 225 West 57th Street, across from the Nordstrom Men’s Store which launched in April 2018, the new store occupies the base of Central Park Tower, the tallest residential building in the world. Customers can shop 320,000 square-feet of retail space across seven-levels in the heart of the city. Nordstrom NYC represents the biggest and best statement (as well as the biggest gamble) of what the brand has to offer.
Nordstrom NYC Level 3 – Designer Women’s Apparel (Connie Zhou) Nordstrom NYC – Comme des Garçons Shop (Connie Zhou)
As
diverse as New York City itself, merchandise includes a curated
offering across all categories. Customers can shop a comprehensive
selection of apparel brands across a broad range of accessible and
aspirational price points, including Dries Van Noten, Givenchy,
Saint Laurent, Vince, Ted Baker London, Madewell, Reformation and
Topshop, complemented by an extensive selection of accessory
brands like Longchamp, Chloe, Valentino, Fendi, Loewe, MCM, Coach
and more.
Honoring
its heritage in shoes dating back to 1901, Nordstrom NYC offers
customers three shoe departments, including one entire
floor dedicated to women’s shoes. The vast shoe selection will
include Gucci, Prada, Christian Louboutin, Golden Goose, Tory
Burch, Birkenstock, UGG, Steve Madden, Nike and more.
Nordstrom NYC Level 2 Christian Louboutin Pop-Up Shop featuring an exclusive 30-piece capsule of footwear, handbags and gift items for men & women (Connie Zhou)
A
testament to the ever-evolving nature of the New York City store, the
first level will be home to a rotating series of installations,
kicking off with a Christian Louboutin pop-up featuring an
exclusive 30-piece capsule of footwear, handbags and gift items
for men & women, inspired by the Palais de la Porte Dorée
Museum near Louboutin’s childhood home in Paris.
True
to its roots in shoes, Nordstrom is launching Perfect Pairs,
an exclusive collaboration with 14 customer favorite brands, and a
diverse group of NYC muses, bringing together the likes of Steve
Madden with model Winnie
Harlow; Cole Haan with
poet and activist Cleo Wade; Nike with
Tennis champion Maria Sharapova; Birkenstock
with celebrity stylist Leslie Fremar; UGG with costume
designer Patricia Field, and more.
Nordstrom NYC Level 5 – Atrium (Connie Zhou)
Olivia
Kim, Nordstrom Vice President of Creative Projects, also brings
the unique Nordstrom offering to life, curating concepts within the
flagship to create a sense of newness and discovery for customers.
Nordstrom NYC Level 3 – Burberry Shop Concept Shop will showcase products from the Autumn/Winter 2019 collection (Connie Zhou)
Beginning with British fashion house Burberry, the exclusive Nordstrom concept shop will showcase products from the Autumn/Winter 2019 collection, housed within a giant, immersive installation spanning five rooms, accented with wood paneled walls and raised theatre style seating, windows for visitors to illustrate or tag with graffiti, and a café featuring Nick Knight‘s Portrait of a Rose print throughout with a menu of British classics available to order.
Kicking
off fall with Nordstrom x Nike (NxN), Nordstrom has developed
the ultimate women’s sneaker boutique with a distinctive view on
style and sport. NxN is the place to find coveted Nike product with a
curated selection of merchandise from the most compelling brands in
fashion. To celebrate the opening, the shop will exclusively launch a
Jordan Air Latitude 720 sneaker with Swarovski and the Nike by
Olivia Kim capsule collection of sneakers and apparel, inspired
by Kim’s NYC-experience during the 90s, launching in-store on October
31.
Nordstrom NYC Level 3 – SPACE featuring brands such as Cecille Bahnsen, Bode, Eckhaus Latta, Jacquemus, Martine Rose, Molly Goddard, and Simone Rocha, as well as exclusives from Tom Wood and Sandy Liang. (Connie Zhou)
The
opening of the New York City flagship brings the exciting in-store
curation of SPACE, a boutique featuring advanced and emerging
designer collections selected by Olivia Kim from brands such as
Cecille Bahnsen, Bode, Eckhaus Latta, Jacquemus, Martine Rose,
Molly Goddard, and Simone Rocha, as well as exclusives
from Tom Wood and Sandy Liang. Unique to the flagship,
SPACE includes the first branded in-store shop from Acne Studios,
and a one-of-a-kind Comme des Garçons shop designed with
artist and furniture designer Marc Hundley.
Designs for Different Futures is organized by the Philadelphia Museum of Art, the Walker Art Center, and the Art Institute of Chicago.
The
role of designers in shaping how we think about the future is the
subject of a major exhibition that will premiere at the Philadelphia
Museum of Art this fall. Designs for Different Futures
(October 22, 2019–March 8, 2020) brings together some 80
works that address the challenges and opportunities that humans may
encounter in the years, decades, and centuries ahead. Organized by
the Philadelphia Museum of Art, theWalker
Art Center, Minneapolis,
and the Art Institute of Chicago,
Designs for Different Futures will be presented at the Walker
(September 12, 2020–January 3, 2021) and the Art Institute
of Chicago (February 6–May 16, 2021) following its
presentation in Philadelphia.
Among
the questions today’s designers seek to answer are: What role
can technology play in augmenting or replacing a broad range of human
activities?Can intimacy be maintained at a distance? How can
we negotiate privacy in a world in which the sharing and use of
personal information has blurred traditional boundaries? How might we
use design to help heal or transform ourselves, bodily and
psychologically? How will we feed an ever-growing population?
While
no one can precisely predict the shape of things to come, the works
in the exhibition are firmly fixed on the future, providing design
solutions for a number of speculative scenarios. In some instances,
these proposals are borne of a sense of anxiety, and in others of a
sense of excitement over the possibilities that can be created
through the use of innovative materials, new technologies, and, most
importantly, fresh ideas.
Timothy
Rub, the George D. Widener Director and Chief Executive Officer of
the Philadelphia Museum of Art, stated: “We often think of
art museums as places that foster a dialogue between the past and the
present, but they also can and should be places that inspire us to
think about the future and to ask how artists and designers can help
us think creatively about it. We are delighted to be able to
collaborate with the Walker Art Center and the Art Institute of
Chicago on this engaging project, which will offer our visitors an
opportunity to understand not only how designers are imagining—and
responding to—different visions of the futures, but also to
understand just how profoundly forward-looking design contributes in
our own time to shaping the world that we occupy and will bequeath as
a legacy to future generations.”
“Lia: The Flushable and Biodegradable Pregnancy Test,” designed 2018 by Bethany Edwards and Anna Couturier Simpson (Courtesy of the designer). Photograph courtesy of LIA Diagnostics. Image courtesy Philadelphia Museum of Art, 2019.
Thinking
about the future has always been part of the human condition. It has
also been a perennial field of inquiry for designers and architects
whose speculations on this subject—ranging from the concrete to the
whimsical—can profoundly affect how we imagine what is to come.
Among the many forward-looking projects on view, visitors to Designs
for Different Futures will encounter lab-grown food, robotic
companions, family leave policy proposals, and textiles made of
seaweed.
“Some
of these possibilities will come to fruition, while others will
remain dreams or even threats,” said Kathryn Hiesinger,
the J. Mahlon Buck, Jr. Family Senior Curator of European Decorative
Arts after 1700, who coordinated the exhibition in Philadelphia with
former assistant curator Michelle Millar Fisher. “We’d like
visitors to join us as we present designs that consider the possible,
debate the inevitable, and weigh the alternatives. This exhibition
explores how design—understood expansively—can help us all
grapple with what might be on the horizon and allows our imaginations
to take flight.”
The
exhibition is divided into 11 thematic sections. In Resources,
visitors will encounter an inflatable pod measuring 15 feet in
diameter, part of the work Another Generosity first created in
2018 by Finnish architect Eero Lundén and designed in this
incarnation in collaboration with Ron Aasholm and Carmen
Lee. The pod slowly expands and contracts in the space,
responding to changing levels of carbon dioxide as visitors exhale
around it, and provoking questions about the ongoing effect of the
human footprint on the environment.
“Svalbard Global Seed Vault,” designed 2008 by Peter W. Søderman, Barlindhaug Consulting (Exhibition display courtesy of USDA Agricultural Research Service, National Laboratory for Genetic Resources Preservation). Photograph courtesy of Global Crop Diversity Trust. Image courtesy Philadelphia Museum of Art, 2019.“Recyclable and Rehealable Electronic Skin,” designed 2018 by Jianliang Xiao and Wei Zhang (Courtesy of the designer). Image courtesy Philadelphia Museum of Art, 2019
The
section titled Generations will explore ways in which the
choices we make today may contribute to the well-being or suffering
of those who come after us. Here, visitors will find a model of the
Svalbard Global Seed Vault, a repository that stores the
world’s largest collection of crop seeds. Located within a mountain
on a remote island near the Arctic Circle, the facility is designed
to withstand natural or human-made disasters. The Earths section
of the exhibition speculates on the challenges of extra-terrestrial
communication in Lisa Moura’s Alien Nations installation and
showcases typeface from the 2016 science-fiction film Arrival.
In
Bodies, designers grapple with choices about how our physical and
psychological selves might look, feel, and function in different
future scenarios. Featured here is one of the world’s lightest and
most advanced exoskeletons, designed to help people with mobility
challenges remain upright and active. Also notable is the CRISPR
Kit, an affordable and accessible gene-editing toolbox, which has
the potential to revolutionize biomedical research and open
opportunities for gene therapy and genetic engineering.
Intimacies
is a section that explores how technologies and online interfaces may
affect love, family, and community. Here, urban experiences of sex
and love are the focus of Andrés Jaque’s Intimate
Strangers, an audio-visual installation focusing on the gay
dating app. Through internet-enabled devices, designers explore the
possibility of digitally mediated love and sex, suggesting what
advanced digital networks hold for human sexuality.
Foods
contains projects that explore the future of the human diet.
Among them is a modular edible-insect farm, Cricket Shelter,
by Terreform ONE, which offers a ready source of protein for
impending food crises. A kitchen installation suggests how technology
and design may contribute to new modes of food production, including
an Ouroboros Steak made from human cells.
“Circumventive Organs, Electrostabilis Cardium (film still),” designed 2013 by Agi Haines (Courtesy of the designer). Image courtesy Philadelphia Museum of Art, 2019.
Additional
sections of the exhibition will focus on the future of Jobs and how
Cities will function and look 100 years from now—with
robotic baby feeders, driverless cars, and other
developments—affording a glimpse at how we might navigate living
beyond this planet. Shoes grown from sweat are among the innovations
visitors will find in a section devoted to Materials, while
Power will look at how design may affect our citizenship and
help us retain agency over such essentials as our DNA, our voices,
and our electronic communications in a future where the lines between
record-keeping, communication, and surveillance blur. Data
acknowledges and questions the different ways that information
might be collected and used, with all its inherent biases and
asymmetries, to shape different futures.
The
curatorial team is comprised of: at the Philadelphia
Museum of Art, Kathryn B.
Hiesinger, The J. Mahlon Buck, Jr. Family Senior
Curator of European Decorative Arts after 1700, and Michelle
Millar Fisher, formerly The Louis C. Madeira IV Assistant
Curator of European Decorative Arts after 1700; At the Walker
Art Center, Emmet Byrne,
Design Director and Associate Curator of Design; and at the Art
Institute of Chicago, Maite
Borjabad López-Pastor, Neville Bryan Assistant Curator of
Architecture and Design, and Zoë Ryan,
the John H. Bryan Chair and Curator of Architecture and Design.
Consulting curators are Andrew Blauvelt,
Director, Cranbrook Art Museum, Bloomfield
Hills, Michigan, and Curator-at-Large, Museum of Arts
and Design, New York; Colin Fanning,
Independent Scholar, Bard Graduate Center,
New York; and Orkan Telhan,
Associate Professor of Fine Arts (Emerging Design Practices),
University of Pennsylvania School of Design,
Philadelphia.
Kathryn
B. Hiesinger is the J. Mahlon Buck, Jr. Family Senior Curator of
European Decorative Arts after 1700 at the Philadelphia
Museum of Art. Her work focuses on decorative arts and
design from the mid-nineteenth century to the present and includes
the exhibitions and publications Zaha Hadid: Form in Motion
(2011), Out of the Ordinary: The Architecture and Design of
Robert Venturi, Denise Scott Brown and Associates (2001),
Japanese Design: A Survey since 1950 (1994) and Design
since 1945 (1983).
Michelle
Millar Fisher is the Ronald C. and Anita L Wornick Curator of
Contemporary Decorative Arts at the Museum
of Fine Arts, Boston. She is a graduate of the University
of Glasgow, Scotland, and is currently completing her
doctorate in architectural history at the Graduate
Center of the City University of New York. She is the
co-author, with Paola Antonelli, of Items: Is Fashion
Modern? (2017).
Emmet
Byrne is the Design Director and Associate Curator of Design at
the Walker Art Center in
Minneapolis. He provides creative leadership and strategic direction
for the Walker in all areas of visual communication, branding,
publishing, while overseeing the award-winning in-house design
studio. He was one of the founders of the Task Newsletter in
2009 and is the creator of the Walker’s Intangibles platform.
Maite
Borjabad López-Pastor is the Neville Bryan Assistant Curator of
Architecture and Design at the Art Institute
of Chicago. She is an architect and curator educated at
the Universidad Politécnica de Madrid and Columbia
University, New York. She is the author and curator of
Scenographies of Power: From the State of Exception to the Spaces
of Exception (2017). Her work revolves around diverse forms of
critical spatial practices, operating across architecture, art, and
performance.
Zoë
Ryan is the John H. Bryan Chair and Curator of Architecture and
Design at the Art Institute of Chicago.
She is the editor of As Seen: Exhibitions That Made Architecture
and Design History (2017) and curator of In a Cloud, in a
Wall, in a Chair: Six Modernists in Mexico at Midcentury (2019)
and the 2014 Istanbul Design Biennial, The Future is Not
What it Used to Be. Her projects explore the impact of
architecture and design on society.
Centered
on the innovative contemporary design objects, projects, and
speculations of the exhibition’s checklist, the accompanying volume
proposes design as a means through which to understand, question, and
negotiate individual and collective futures, giving provocative voice
to the most urgent issues of today. It asks readers to contemplate
the design context within broader historical, social, political, and
aesthetic spectrums. Designs for Different Futures addresses
futures near and far, exploring such issues as human-digital
interaction, climate change, political and social inequality,
resource scarcity, transportation, and infrastructure.
The
primary authors are Kathryn B. Hiesinger, Michelle Millar Fisher,
Emmet Byrne, Maite Borjabad López-Pastor, and Zoë Ryan,
with Andrew Blauvelt, Colin Fanning, Orkan Telhan, Juliana Rowen
Barton, and Maude de Schauensee. Additional contributions
include texts by V. Michael Bove Jr. and Nora Jackson,
Christina Cogdell, Marina Gorbis, Srećko Horvat, Bruno Latour,
Marisol LeBrón, Ezio Manzini, Chris Rapley, Danielle Wood, LinYee
Yuan, and Emma Yann Zhang; and interviews with Gabriella
Coleman, Formafantasma (Andrea Trimarchi and Simone
Farresin), Aimi Hamraie and Jillian Mercado, Francis
Kéré, David Kirby, Helen Kirkum, Alexandra Midal, Neri Oxman,
and Eyal Weizman.
Designs
for Different Futures will be distributed by Yale University
Press. The book was overseen by Philadelphia Museum of Art
publishing director Katie Reilly and editors Katie Brennan
and Kathleen Krattenmaker. It is designed by Ryan Gerald
Nelson, Senior Graphic Designer at the Walker Art Center, under the
direction of Walker design director Emmet Byrne.
Futures
Therapy Lab
As
part of the exhibition, visitors to the Philadelphia Museum of Art
galleries will also encounter a space for community meetups, public
programs, school visits, and self-directed activities. The Futures
Therapy Lab will weave personal connections between visitors and
the exhibition as part of a collaboration between the museum’s
Education Department and the curatorial team. Weekly programs,
many of which will occur on Pay-What-You-Wish Wednesday Nights,
will connect visitors with designers, artists, and locally based
creatives. The Futures Therapy Lab will contain a crowdsourced
Futures Library that includes everything from science-fiction
books to the exhibition catalogue. “Thinking about possible
futures is both exhilarating and anxiety-provoking,” said
Emily Schreiner, the Zoë and Dean Pappas Curator of Education,
Public Programs. “The Futures Therapy Lab is a place for
conversation, critique, and creativity in which visitors can imagine
their own hopes, fears and solutions for the future through
reflection, discussion, and art making.”
In
Philadelphia, this exhibition is generously supported by the
Annenberg Foundation Fund for Major Exhibitions, the Robert
Montgomery Scott Endowment for Exhibitions, the Kathleen C.
and John J.F. Sherrerd Fund for Exhibitions,Lisa Roberts and
David Seltzer in Honor of Collab’s 50th Anniversary, the Women’s
Committee of the Philadelphia Museum of Art, the Laura and
William C. Buck Endowment for Exhibitions, the Harriet and
Ronald Lassin Fund for Special Exhibitions, the Jill and
Sheldon Bonovitz Exhibition Fund, and an anonymous donor.
Related
Programs
The
Futures Therapy Lab will host a series of weekly happenings:
Artists
in the Lab
Artists
and designers share their work through talks, demonstrations, and
workshops. Wednesday Nights, 5:00–8:45 p.m.
The
Designer is In
Talk
it out. One-on-one sessions with local designers offer new
perspectives on your everyday life. Thursdays & Saturdays,
2:00–4:00 p.m.
Sci-Fi
Sundays
Drop-in
readings that explore narratives of the future. Select Sundays,
2:00–3:00pm
Enhancing the Power of Art and Artists with a Renewed Focus on the Community in Which We Live
The
Museum of Fine Arts, Boston (MFA), has announced a slate
of initiatives for its 150th anniversary in
2020, driven by a deepened commitment to inclusion,
community and generosity. The yearlong celebration aims to bring more
people closer to art and the MFA—signaling aspirations for the
Museum’s future.
“The
MFA’s 150th anniversary is a moment to honor our past and, more
critically, anticipate our future. The Museum was founded with a
spirit of generosity and belief in the power of art and
artists—values that remain among the pillars of today’s MFA,”
said Matthew Teitelbaum, Ann and Graham Gund Director. “As we
look ahead, we must also address the changing role of museums in
society, amplifying our efforts toward becoming a truly inclusive
institution and committing to a new sense of urgency in engaging with
the issues of our time.”
A
group of Boston’s civic leaders created the Museum in 1870 as a
public place for discovery, the enjoyment of art and celebration of
artists. Since then, the MFA has grown to house a global collection,
which will be highlighted during the 150th anniversary year in
exhibitions ranging from Ancient Nubia Now, shining a
light on the powerful, yet historically misinterpreted kingdoms on
the Nile, to the Weng Family Collection of Chinese Painting:
Family and Friends, featuring works by some of the greatest
masters from the Ming (1368–1644) and Qing (1644–1911)
dynasties, to Lucian Freud: The Self-Portraits,
organized in partnership with the Royal Academy of Arts in
London. In its 150th year, the Museum will also forge deeper
connections with the local community, launching a free first-year
membership program—an invitation to everyone to make the MFA their
own. Throughout 2020, the Museum will engage community members and
local artists as co-creators on various opportunities for convening
and celebration, from a teen-curated exhibition of 20th-century art
by artists of color from the Americas to a community mural
project—initiatives that lay foundations for future ambitions.
The
150th Anniversary Celebration is sponsored by Bank of America.
Free
Memberships for Community Members and Artists
The
MFA will introduce a variety of membership initiatives during its
anniversary year, in an effort to invite and engage a wide range of
audiences to build deeper relationships with the Museum:
Signup
opportunities for free first-year memberships will be
offered to visitors at 11 annual community celebrations and three
seasonal MFA Late Nites taking place in 2020. These
memberships will allow access to the Museum for a full year.
The
MFA will inaugurate an ongoing program of lifetime admission
benefits for all living artists represented in its collection,
as well as gift one-year memberships to artists who partner with the
Museum on exhibitions, programs and events during the anniversary
year.
Additional
benefits will be offered throughout the year to existing members in
appreciation of their ongoing support—such as
allowing them to bring more friends and family to the MFA—further
empowering these longtime supporters as ambassadors for the Museum
in their own communities.
For
nearly two decades, the MFA’s annual community
celebrations—expanded in the fall of 2019 to include Latinx
Heritage Night and Indigenous Peoples’ Day—have
featured activities and performances that represent the art, history
and global influences throughout Greater Boston. All of the community
celebrations, as well as the MFA Late Nites—seasonal
after-hours celebrations introduced in the fall of 2017—are
co-created with valued community partners, artists and performers,
highlighting external perspectives and local expertise. The free
first-year membership initiative will invite all attendees of these
popular events to return to the MFA often and with others, with the
goal of fostering a sense of belonging at the Museum year-round.
The
full schedule of signup opportunities in 2020 includes:
Martin
Luther King Jr. Day, January 20, 2020
Lunar
New Year Celebration, February 1, 2020
Nowruz,
March 21, 2020
MFA
Late Nites, April 3, 2020
Memorial
Day, May 25, 2020
Juneteenth,
June 17, 2020
MFA
Late Nites, June 2020
Highland
Street Foundation Free Fun Friday, Summer 2020
ASL
Night, September 2020
Latinx
Heritage Night, September 2020
Indigenous
Peoples’ Day, October 12, 2020
MFA
Late Nites, October 2020
Diwali,
November 2020
Hanukkah,
December 2020
More
Celebrations
There
will be other occasions to celebrate the MFA’s 150th anniversary in
2020:
The
Museum will mark the actual anniversary day of the signing of the
Act of Incorporation that founded the MFA in 1870 on February
4. Details will be announced in early 2020.
A
summertime block party will
enliven the MFA’s outdoor spaces with performances by local
artists, art-making activities, food and beverages. The
family-friendly event will also provide an opportunity to enjoy a
new interactive play space, located on the Museum’s campus and
designed to encourage curiosity among visitors of all ages. The MFA
will commission an artist to partner on the design; more information
will be unveiled by the spring.
In
late 2020, the Museum will host a fundraiser with proceeds
designated to support future diversity and inclusion efforts at the
MFA.
Exhibitions
and Gallery Reinstallations
The
Museum’s exhibition program during its 150th year will focus on
honoring a diverse range of artists and perspectives and highlighting
untold narratives, as well as engaging the expertise and viewpoints
of the Boston community:
Women
Take the Floor will
be on view in the MFA’s Art of the Americas Wing throughout 2020
and offer a revolutionary seven-gallery “takeover” of
approximately 200 artworks by more than 100 women, advocating for
diversity, inclusion and gender equity in museums, the art world and
beyond. Marking the centennial of the women’s suffrage amendment
in the U.S., the exhibition will celebrate well-known female
pioneers and innovators while also emphasizing the work and stories
of overlooked and underrepresented artists. Women
Take the Floor will
feature paintings, sculpture, jewelry, ceramics and furniture, as
well as several rotations of textiles, prints and photographs
throughout the 18-month run. To ensure that the exhibition
represented a broad range of perspectives, the MFA convened a
roundtable discussion with local women community leaders to provide
feedback on the project. As a result, outside voices are a key
feature of the exhibition’s central gallery, dedicated to
portraits of women created by women. Porsha
Olayiwola,
the current poet laureate for the city of Boston, will write a new
poem and perform it on video, and the local feminist collective The
Cauldron has identified quotes from feminist voices, which will be
featured in the entry space.
Opening
in 2019 and continuing into early 2020, Ancient
Nubia Nowwill
re-examine the series of powerful kingdoms that flourished in the
present-day Sudanese Nile Valley for almost 3,000 years between 2400
B.C.E. and 300 C.E. The exhibition will explore how existing
narratives about Nubia have changed over time—influenced by new
discoveries, ways of thinking and broadened perspectives—and how
they resonate with contemporary audiences.
On
Martin Luther King Jr. Day (January 20), the MFA will open an
exhibition of 20th-century art by artists of color from the
Americas, curated by paid teen fellows from local organizations
Becoming a Man (BAM) and The BASE, the Museum’s Teen
Arts Council (TAC) and STEAM Team, and participants from
the Bloomberg Arts Internship Boston program managed by
EdVestors. The exhibition will be the culmination of the teen
scholars’ mentorship under Layla Bermeo, the MFA’s
Kristin and Roger Servison Associate Curator of Paintings, Art of
the Americas, involving workshops for building curatorial skills
such as research, label writing and gallery design.
In
April, the Museum will open an exhibition celebrating the
post-graffiti movement of 1980s New York City through the work of
Jean-Michel Basquiat and his peers, which will be accompanied
by a community mural project led by local artists
Rob “Problak” Gibbs and Rob
Stull.
The
opening of four reinstalled galleries for Dutch and Flemish art in
the fall of 2020 will celebrate the launch of the Center
of Netherlandish Art (CNA), an innovative center for
scholarship housed at the MFA and the first resource of its kind in
the U.S. The new thematic and interdisciplinary displays will
feature masterworks by artists such as Rembrandt Harmensz. van
Rijn, Peter Paul Rubens and Gerrit Dou alongside
silver, Delft ceramics and other objects that represent the visual
culture of the Netherlands in the 17th century.
More
information about 2020 exhibitions will be forthcoming.
Conservation
Center
In
the summer of 2020, the MFA will open a state-of-the-art Conservation
Center, strengthening the Museum’s commitment to the
care and preservation of its collection at the highest level. The new
22,000-square-foot space will comprise six laboratories and feature
advanced technology, completing a transformational 18-month
renovation process that was supported by the largest fundraising
effort for conservation in the Museum’s history. The Conservation
Center’s open floor plan will foster a more interdisciplinary and
collaborative approach among the MFA’s staff of more than 50
conservators, as well as increase their capacity to provide training
for colleagues in the field and future museum professionals. A
dedicated learning space for public programs and educational
initiatives will invite visitors of all ages to engage with
conservators and connect with art and science in new and dynamic
ways.
New
Perspectives on the Past and Looking to the Future
Throughout
2020, the MFA will highlight key moments from its history, engaging
audiences on-site and on social media with untold or little-known
stories centered on works of art from the collection. A self-guided
tour of 15 objects—one from each decade since the Museum’s
founding—will be available for visitors throughout the year. The
tour will share the history of how staff and donors have worked
together to build a global collection drawn from across cultures and
time, fulfilling the vision of the MFA’s first president Martin
Brimmer for the Museum to open its doors to art from all over the
world. This fresh look at the MFA’s collection will provide new
perspectives—for example, the key role that women such as Harriet
White Bradbury and Saundra Lane
have played in gifting important works of art and providing financial
support for the Museum since its founding. The theme of “Women
within Our History,” from artists to donors to collectors, will
also be further explored and celebrated during Art in Bloom, the
MFA’s annual festival of fine art and flowers, in April 2020.
Looking
toward the future, the MFA will introduce a range of initiatives
during its anniversary year that will make a lasting impact beyond
2020. In an effort to increase the diversity of perspectives
represented in exhibitions and gallery displays, the Museum will
launch the “Table of Voices,”
a new program designed to involve community voices in the MFA’s
interpretation program on a deeper level. The program will formalize
interpretive strategies used for recent exhibitions and gallery
re-installations such as Gender Bending Fashion and the Arts
of Islamic Cultures Gallery, which engaged community members and
partner organizations in the decision-making processes. The “Table
of Voices” will also feature a paid fellowship component that will
create a pipeline for new talent to enter the rapidly expanding field
of museum interpretation.
Over
the past several years, the Museum has implemented a variety of
systems to reduce its carbon footprint. In 2020, the MFA will further
its evolution into a “green” museum, introducing new
environmental initiatives aligned with the recommendations of
Boston’s Green Ribbon Commission,
a group of business, institutional and civic leaders throughout the
city working to develop strategies for fighting climate change. These
initiatives will demonstrate the MFA’s commitment to future
generations and engagement with issues affecting today’s world.
One
of the nation’s oldest art museums, the Museum of Fine Arts, Boston
(MFA), was founded on February 4, 1870. The Museum opened its doors
to the public on July 4, 1876—the nation’s centennial—at its
original location in Copley Square. Over the next several decades,
the MFA’s collection and visitation grew exponentially, and in
1909, the Museum moved to its current home on Huntington Avenue.
Today, the MFA houses a global collection encompassing nearly 500,000
works of art, from ancient to contemporary, and welcomes
approximately 1.2 million visitors each year to celebrate the human
experience through art as well as innovative exhibitions and
programs. In 2017, Matthew Teitelbaum, the 11th director in the
Museum’s history, unveiled MFA 2020, a three-year Strategic Plan
that articulated a forward-looking vision for the Museum to become an
institution of the moment and more connected to the community. The
spirit of collaboration and engagement at the core of MFA 2020 has
been brought to life over the past three years through the
implementation of more than 50 initiatives, the full slate of which
will be realized during the Museum’s 150th anniversary year.
Open seven days a week, the MFA’s hours are Saturday through Tuesday, 10 am–5 pm; and Wednesday through Friday, 10 am–10 pm. Admission is free for MFA Members, University Members and youths age 17 and younger. Wednesday nights after 4 pm admission is by voluntary contribution (suggested donation $25) and is free to all visitors during Martin Luther King Jr. Day, the Lunar New Year Celebration, Memorial Day, Free Fun Friday and Indigenous Peoples’ Day. Admission (which includes one repeat visit within 10 days) is $25 for adults and $23 for seniors and students age 18 and older, and includes entry to all galleries and special exhibitions. The Museum’s mobile MFA Guide is available at ticket desks and the Sharf Visitor Center for $5, members; $6, non-members; and $4, youths. The Museum is closed on New Year’s Day, Patriots’ Day, Independence Day, Thanksgiving, and Christmas. The MFA is located on the Avenue of the Arts at 465 Huntington Avenue, Boston, MA 02115. For more information, call 617.267.9300, visit mfa.org or follow the MFA on Facebook, Twitter and Instagram.
Debut of New Works by International Designers Ini Archibong, Matt Checkowski, Misha Kahn, the Ladd Brothers Laurie Haycock Makela, and Yuri Suzuki
speechless: different by design Opens at the Dallas Museum of Art in November 2019, Travels to the High Museum of Art in April 2020
The High Museum of Art (High) (Atlanta, Ga.) and the Dallas Museum of Art(DMA) (Dallas, Texas) announced the co-organization of speechless: different by design, an exhibition that merges research, aesthetics, and innovative new design to explore the vast spectrum of sensory experiences and new approaches to accessibility and modes of communication in the museum setting. Speechless will debut new work by six leading and emerging international designers and design teams—Ini Archibong, Matt Checkowski, Misha Kahn, Steven and William Ladd, Laurie Haycock Makela, and Yuri Suzuki—whose projects were informed by conversations with specialists from prominent academic and medical institutions. Their site-specific installations and new commissions will create participatory environments and distinct situations in which senses merge or are substituted for one another.
The High Museum of Art, Atlanta logo
Curated
by Sarah Schleuning, The Margot B. Perot Senior Curator of
Decorative Arts and Design and Interim Chief Curator at the DMA,
speechless will open at the DMA on November 10, 2019,
and remain on view through February 23, 2020. The exhibition
is presented in Dallas by Texas Instruments. The High will present
the exhibition in Atlanta from April 25 through September
6, 2020.
“This
exhibition is about blurring the boundaries between senses, media,
disciplines, and environments to encourage visitors to interact and
communicate through design,”
said Schleuning. “speechless
is about what makes us as individuals unique—the challenges we
experience through ourselves and others—ultimately defining the
interconnections among all of us. Our perceptions, experiences, and
differences should unite us instead of divide us, heightening
our understandings and creating a greater sense of empathy in
ourselves and our community.”
“Sarah
Schleuning began to develop this important project while serving as
our curator of decorative arts and design, so it feels very fitting,
and full circle, to co-organize this exhibition with our esteemed
colleagues at the DMA,”
said Rand Suffolk,
Nancy and Holcombe T. Green, Jr., Director of the High. “This
exhibition dovetails perfectly with our ongoing and evolving
commitment to access. Consequently, we’re excited to welcome
audiences with wide-ranging abilities to experience these unique and
immersive installations. We hope to learn something important about
how such a diverse group of visitors interacts with these works as
well as engages with each other within the spaces.”
“The
DMA is committed to offering our audiences opportunities for
discovery and for learning about different perspectives and cultures
through our exhibitions and collections, and the intersections
between them,”
said Agustín Arteaga, the DMA’s Eugene McDermott Director. “In
line with this approach, Sarah’s work on this groundbreaking
project—involving years of cross-disciplinary study and
collaboration with designers, scholars, and scientists at the
forefront of innovation in art and accessibility—is truly
pioneering within our field and creates an incredible opportunity to
provide a truly distinct museum experience to our audiences. We are
pleased to partner with the High in presenting speechless, an
exhibition that creates meaningful experiences for visitors of all
backgrounds and abilities, and also contributes important scholarship
and insight about how museums can innovate with everything from
installation to the visitor experience.”
About
the Artists
Ini Archibong. Photo Frank Juerey.
Ini
Archibong was born and raised in Pasadena, California, where he
graduated from the Art Center College of Design. After a period
living and working in Singapore and traveling widely, he moved to
Switzerland, where he is currently based, to pursue further studies
in luxury design and craftsmanship and received a master’s degree
from École cantonale d’art de Lausanne (ECAL). He has designed
furniture for such luxury brands as Hermès, de Sede, Bernhardt
Design, Ruinart, Christofle and Vacheron Constantin. He is currently
collaborating with the Friedman Benda Gallery in New York and Sé
Collections in London, with whom he released the second installment
of the Below the Heavens during this year’s Salone del Mobile in
Milan.
Matt Checkowski. Photo: Shawn Michienzi.
Matt
Checkowski is a designer and filmmaker based in Los Angeles. He
has served as the creative force behind the dream sequences in Steven
Spielberg’s Minority Report; The Sensorium, a
first-of-its-kind interactive perfume museum in New York; and the
digital media content for a science fiction opera at l’Opera de
Monte Carlo; and he was the co-director of Lies & Alibis,
a feature film starring Steve Coogan, Sam Elliott, James Marsden, and
Rebecca Romijn. In 2006 Checkowski established the Department of the
4th Dimension, a multi-disciplinary studio working at the
intersection of storytelling, technology, and branding with clients
that include the Walker Art Center, MIT, Victoria’s Secret,
Sephora, Unilever, Electrolux, and the University of California. His
work has been profiled in the New York Times, the Los
Angeles Times, the Wall Street Journal, Wired, and
Popular Science, among others.
Misha Kahn. Photo: Courtesy of Friedman Benda and Misha Kahn, Photography by Dan Kukla.
Misha
Kahn was born in Duluth, Minnesota, and graduated from the Rhode
Island school of Design with a BFA in furniture design in 2011. His
work exists at the intersection of design and sculpture, exploring a
wide variety of media and scales from mouse to house. Kahn’s
approach melds an array of processes, from casting, carving, welding,
and weaving, to imaginative and singular modes of production.
According to former president of the Rhode Island School of Design
John Maeda, “Misha creates work for a parallel wonderland, where
traditional perception of material and structure is pushed to the
edges of the room to make space for one big party.” His work has
been exhibited internationally and is in the permanent collection of
numerous museums and public collections, including the Museum of
Fine Arts, Houston and the Corning Museum of Glass.
Steven and William Ladd in Scroll Space. Photo: Nick Lee.
Brothers
Steven and William Ladd have created multi–disciplinary
works combining sculpture, performance, design, and social
activism since they began collaborating in 2000. They have exhibited
at the Musée des arts décoratifs and had solo exhibitions at
numerous American institutions, including their hometown institution
the Saint Louis Art Museum. Their work is labor-intensive and has
varied from large three-dimensional murals to book bindings. Through
their Scrollathon® they have worked with over 7,000 people,
including children, hospital patients, and special needs individuals.
Their work is in the collections of the Musée des arts décoratifs
at the Louvre, the Honolulu Museum of Art, the Corning Museum of
Glass, and Mingei International Museum.
Laurie Haycock Makela. Photo: Carmela Makela.
Laurie
Haycock Makela has been a recognized voice of experimental
graphic and trans-disciplinary design practice and education for over
30 years in the United States and Europe. She has taught at
prestigious institutions in Sweden, Germany, and Los Angeles. She was
designer-in-residence and co-chair of the department of 2-D design at
the Cranbrook Academy of Art, Bloomfield Hills, Michigan, from 1996
to 2001 with the late P. Scott Makela. Their studio, Words and
Pictures for Business and Culture, produced print and new media for
clients such as NIKE, MTV and Warner Bros. She was awarded the AIGA
(American Institute of Graphic Arts) Medal, the profession’s
highest honor, in 2000. Most recently, she became the first
designer-in-residence at USC’s Roski School of Art and Design.
Yuri
Suzuki is a sound artist, designer, and electronic musician who
explores the realms of sound through exquisitely designed pieces. His
work looks into the way people experience sound, and how music and
sound affect their minds. His sound, art, and installations have been
internationally exhibited and he has work in several permanent
collections across the world. He began his own design studio in 2013,
working alongside Disney, Google, and Yamaha, among others.
Ini Archibong and Hideki Yoshimoto. Photo: Matt Checkowski.
Harnessing
the power and impact of design, speechless offers audiences
unconventional multisensory experiences that foster understanding of
the varied ways in which we experience the world through our senses.
The exhibition presents opportunities for new modes of communicating
ideas beyond speech and words. Organized in five major sections, the
exhibition is connected by a central introductory space and sensory
de-escalation area, through which visitors must pass to move between
sections. Six contemporary designers will create spaces that fuse
multiple sensory experiences—for instance, rendering sound visible
or language tactile. The works include:
The
Oracle, designed and engineered by California-born,
Switzerland-based multi-disciplinary designer Ini Archibong,
will explore non-traditional ways of experiencing sound. The space
occupied by Archibong’s work will be infused with a soothing,
harmonious soundscape created by a custom synthesizer, which removes
discordant sound and produces pure sound waves. The installation
will feature an array of interactive elements designed to illustrate
sound through movement, shape, light, and color, including a pool
with an obelisk that visitors can rotate to tune the sound to
various bass tones, thereby changing the shape and movement of the
water as well; and brass pedestals holding handblown glass shapes
that pivot to initiate shifts in light and color. Visitors can turn
every element throughout the room to communally alter the sound in
the space.
Glyph, by designer and filmmaker Matt Checkowski, will explore the creativity behind each designer’s work in speechless and the role of empathy that informs it through a series of narrative and intimate short film portraits of each artist. He is developing a method of word and image translation whereby the filmed speech of each artist will be transformed live into images, offering a new, universal visual language for the ideas conveyed by the creative minds involved with this project.
Brooklyn-based designer and artist Misha Kahn will create a meandering coral garden composed of vibrant, dynamic inflatables that will move in multiple ways, inflating and deflating over the course of each day. Visitors can touch, sit, squeeze, and otherwise interact with the inflatable forms, both observing the landscape change around them and themselves participating in the alteration.
Scroll Space, presented by New York–based brothers and artists Steven and William Ladd, will be a vibrant and tactile room created entirely of tens of thousands of hand-rolled textile “scrolls.” These scrolls will be made in collaboration with 2,000 community members in Dallas and Atlanta through the Ladd Brothers’ community engagement program Scrollathon®, which brings the arts to underserved populations through hands-on creative workshops. The Dallas program will include participants from the Center for BrainHealth and the Callier Center for Communication Disorders at the University of Texas at Dallas.
The exhibition’s graphic identity and corresponding publication speechless: Beyond Sense is created by Laurie Haycock Makela, a leader in the field of experimental, transdisciplinary graphic design. Playing with the multiple meanings of the word “speechless,” the publication will explore the evolution of the project, document the installations, and feature conversations between the designers and the curator. Both innovative and accessible, her work contributes to the foundation of total inclusive and interactive experience of the project.
Sound Of The Earth Chapter 2, a sound installation by London-based sound artist and designer Yuri Suzuki, will integrate audio crowdsourced from around the world. The work will take the form of a spherical sculpture with which visitors can interact by placing their ears against the surface. Each spot on the sphere represents a different area of the world and will “whisper” back a corresponding sound sourced from that region, enabling visitors to experience the globe in a fresh way, beyond text and words. Anyone around the world can submit audio via the DMA’s website at earthsounds.dma.org.
Misha Kahn. New work for Speechless, computer generated rendering, 2019. Courtesy of Misha Kahn.
speechless
is organized by the Dallas Museum of Art and the High Museum
of Art, Atlanta. The exhibition in Dallas is presented by Texas
Instruments.
Support
for the exhibition in Atlanta is provided by wish foundation. This
exhibition in Atlanta is made possible by Exhibition Series
Sponsors Delta Air Lines, Inc., Northside Hospital, and
WarnerMedia; Premier Exhibition Series Supporters the
Antinori Foundation, Sarah and Jim Kennedy, and Louise
Sams and Jerome Grilhot; Benefactor Exhibition Series Supporter
Anne Cox Chambers Foundation; Ambassador Exhibition Series
Supporters Tom and Susan Wardell, and Rod Westmoreland;
and Contributing Exhibition Series Supporters Lucinda W. Bunnen,
Marcia and John Donnell, W. Daniel Ebersole and Sarah
Eby-Ebersole, Peggy Foreman, Robin and Hilton Howell,
Mr. and Mrs. Baxter Jones, Margot and Danny McCaul, Joel Knox and
Joan Marmo, and The Ron and Lisa Brill Family Charitable
Trust.
Steven and William Ladd, Scroll Space, 2019. Photo: Nick Lee.
Generous
support is also provided by the Alfred and Adele Davis Exhibition
Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara
Stewart Exhibition Fund, Dorothy Smith Hopkins Exhibition Endowment
Fund, Eleanor McDonald Storza Exhibition Endowment Fund,
The Fay and Barrett Howell Exhibition Fund, Forward Arts
Foundation Exhibition Endowment Fund, Helen S. Lanier
Endowment Fund, Isobel Anne Fraser–Nancy Fraser Parker
Exhibition Endowment Fund, John H. and Wilhelmina D. Harland
Exhibition Endowment Fund, Katherine Murphy Riley Special
Exhibition Endowment Fund, Margaretta Taylor Exhibition Fund,
and the RJR Nabisco Exhibition Endowment Fund.
The
Short Film Captures the Brand’s Quest to Create One of the World’s
Most Innovative Retail Experiences
Marking the first anniversary of one of its most iconic spaces to date, RH announced the release of “RH New York, The Movie,” a short film documenting the creation of RH New York, The Gallery in the Historic Meatpacking District. This first-of-its-kind, 90,000-square-foot retail experience features a skylit six-story atrium with transparent glass elevator, Rooftop Restaurant, Barista Bar & Wine Terrace, Interior Design Firm, “New York Night,” a dramatic art installation by Alison Berger, and full floors dedicated to RH Interiors, RH Modern, RH Outdoor, RH Baby & Child, and RH TEEN.
RH Logo RH NEW YORK, THE GALLERY IN THE HISTORIC MEATPACKING DISTRICT (Photo: Business Wire) (GIF)
“It
took seven years of improvising, adapting and overcoming all of the
obstacles until it became what it is today, which is arguably the
most innovative new store in the world, in the most important city in
the world,”
Chairman and CEO Gary Friedman says in the film’s opening moments.
“There’s
not a better place to express truly what you believe in.”
To
experience RH New York, The Movie, visit
RH.com
Major Exhibition at the Opening of New MoMA Will Display Over 100 Important Works by Latin American Artists
The Museum of Modern Art announces Sur moderno: Journeys of Abstraction―The Patricia Phelps de Cisneros Gift, a major exhibition drawn primarily from the paintings, sculptures, and works on paper donated to the Museum by the Colección Patricia Phelps de Cisneros between 1997 and 2016.
Since its founding in 1929, The Museum of Modern Art has collected, exhibited, and studied the art of Latin America. Today, MoMA’s collection includes more than 5,000 works of modern and contemporary art by artists from Latin America distributed across its six curatorial departments, representing important figures in early modernism, Expressionism, Surrealism, abstraction, architecture, and Conceptual and contemporary art.
Alfredo Hlito (Argentine, 1923–1993). Ritmos cromáticos III (Chromatic Rhythms III), 1949. Oil on canvas, 39 3/8 × 39 3/8″ (100 × 100 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund
On view from October 21, 2019, through March 14, 2020, Sur moderno celebrates the arrival of the most important collection of abstract and concrete art from Latin America by dedicating an entire suite of galleries on the Museum’s third floor to the display of artists from Brazil, Venezuela, Argentina, and Uruguay.
Lygia Clark (Brazilian, 1920–1988). Contra relevo no. 1 (Counter Relief no. 1). 1958. Synthetic polymer paint on wood, 55 1/2 × 55 1/2 × 1 5/16″ (141 × 141 × 3.3 cm). The Museum of Modern Art, New York. Promised gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund. Courtesy of “The World of Lygia Clark” Cultural Association
The exhibition highlights the work of Lygia Clark, Gego, Raúl Lozza, Hélio Oiticica, Jesús Rafael Soto, and Rhod Rothfuss, among others, focusing on the concept of transformation: a radical reinvention of the art object and a renewal of the social environment through art and design. The exhibition is also anchored by a selection of archival materials that situate the works within their local contexts. Sur moderno is organized by Inés Katzenstein, Curator of Latin American Art and Director of the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America, The Museum of Modern Art, and consulting curator María Amalia García, Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET)–Universidad Nacional de San Martín, Argentina, with Karen Grimson, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.
María Freire (Uruguayan, 1917–2015). Untitled. 1954. Oil on canvas, 36 1/4 × 48 1/16″ (92 × 122 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Gabriel Pérez‑Barreiro
The exhibition is divided into two main sections based on the concept of transformation. The first section, “Artworks as Artifacts, Artworks as Manifestos,” presents a group of works that subverted the conventional formats of painting and sculpture. Cuts, folds, articulated objects, cut-out frames, and experiments that question the autonomy of the art object are some examples of these artists’ material explorations. One of the first works visitors encounter in the exhibition, Willys de Castro’s Active Object (1961), fuses the materiality of painting with the principles of free-standing sculpture, inviting the viewer to circle around a painted canvas. Another work in this section, Gyula Kosice’s Articulated Mobile Sculpture (1948), questions the grounds of traditional sculpture by combining strips of brass to create a movable structure that defies classification.
The exhibition’s inclusion of Spatial Construction no. 12 (c. 1920) by Aleksandr Rodchenko highlights the influence of Russian Constructivism on South American art. Similarly, images of Piet Mondrian’s works were widely circulated and had a great impact on the development of abstraction in the region. His Broadway Boogie Woogie (1942–43), on view in the exhibition, inspired investigations of kineticism among artists such as Jesús Rafael Soto, whose Double Transparency (1956) is an attempt to transform the two-dimensionality of Mondrian’s painting into a three-dimensional experience.
Lygia Pape (Brazilian, 1927–2004). Untitled. 1956. Acrylic on wood, 13 3/4 × 13 3/4 × 3 1/8″ (35 × 35 × 8 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Sharon Rockefeller. Courtesy of Projeto Lygia Pape
In the second section, “Modern as Abstract,” the language of abstraction is displayed as both a product of and a catalyst for the transformation of the artists’ surroundings. The geometrical principles of abstract painting carried over into the everyday, where artists and architects recognized one another as allies, leading to a shared operation and set of ideals. Here, María Freire’s Untitled (1954), for example, is displayed alongside archival materials and works from MoMA’s Architecture and Design collection, in an exploration of public sculptural projects and furniture design.
The final part of the exhibition is dedicated to the grid, one of modern art’s central motifs of experimentation. Gego’s Square Reticularea 71/6 (1971) and Hélio Oiticica’s Painting 9 (1959) are two examples of works in the exhibition that approached the transformation and expansion of the rational grid in different ways. Oiticica disrupted the strict geometric system with his rhythmically arranged rectangles, while Gego warps and deconstructs the reticular structure.
Over the last 25 years, the Colección Patricia Phelps de Cisneros has donated more than 200 works by Latin American artists to The Museum of Modern Art. In addition to those generous donations, in 2016 the Colección Patricia Phelps de Cisneros established the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America at MoMA. The Institute’s programming includes fellowships for scholars, curators and artists, and an extended research initiative that contributes to a series of public programs hosted by the Museum, as well as symposia in Latin America, and publications in digital and printed format.
The exhibition is accompanied by a fully illustrated catalogue, with contributions from such prominent scholars in the field as María Amalia García, Irene V. Small, and Mónica Amor. The volume also includes a conversation between Patricia Phelps de Cisneros and MoMA director Glenn D. Lowry, and a dialogue between Inés Katzenstein, the Museum’s current curator of Latin American art, and Luis Pérez-Oramas, who, in addition to serving as MoMA’s Latin American art curator between 2003 and 2017, was one of the principal curators involved in the development of the Colección Patricia Phelps de Cisneros.
SPONSORSHIP:
Generous funding for the exhibition is provided by Agnes Gund.
Additional support is provided by Adriana Cisneros de Griffin and Nicholas Griffin.
Leadership contributions to the Annual Exhibition Fund, in support of the Museum’s collection and collection exhibitions, are generously provided by the Kate W. Cassidy Foundation, Sue and Edgar Wachenheim III, Mimi and Peter Haas Fund, Jerry I. Speyer and Katherine G. Farley, 3 Eva and Glenn Dubin, The Sandra and Tony Tamer Exhibition Fund, Alice and Tom Tisch, The David Rockefeller Council, The Contemporary Arts Council of The Museum of Modern Art, Anne Dias, Kathy and Richard S. Fuld, Jr., Kenneth C. Griffin, The Keith Haring Foundation, Marie-Josée and Henry R. Kravis, Jo Carole and Ronald S. Lauder, and Anna Marie and Robert F. Shapiro.
Major contributions to the Annual Exhibition Fund are provided by the Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman, Jr., Agnes Gund, and Oya and Bülent Eczacıbaşı.
Global
luxury travel network Virtuoso®
revealed the winners of the celebrated
2019 Best of the Best awards last night, before more than
1,800 industry leaders at the 31st annual Virtuoso
Travel Week. The ceremony at the 13th
annual Hotels & Resorts Dinner recognized the year’s top
10 hotels and hoteliers in categories ranging from best wellness
program to best dining experience. Four
Seasons Hotel George V triumphed with the most prestigious
prize: Hotel of the Year.
Virtuoso®
is the leading international travel agency network specializing in
luxury and experiential travel. This by-invitation-only organization
comprises over 1,000 travel agency partners with 20,000 elite travel
advisors in 50 countries throughout North America, Latin America, the
Caribbean, Europe, Asia-Pacific, Africa and the Middle East.
Drawing
upon its preferred relationships with over 1,800 of the world’s best
hotels and resorts, cruise lines, airlines, tour companies and
premier destinations, the network provides its upscale clientele with
exclusive amenities, rare experiences and privileged access. More
than (U.S.) $26.4 billion in annual travel sales makes Virtuoso a
powerhouse in the luxury travel industry.
With
a wide-ranging portfolio of more than 1,400 hotels, resorts, villas,
tented camps and private island retreats in over 100 countries,
Virtuoso Hotels & Resorts is the industry’s most renowned
program. Started in 1992 with 20 hotels, today it includes more
five-star properties than any other group.
Virtuoso’s
20,000 professional travel advisors from 50 countries served as Best
of the Best award voters. Editors of
Virtuoso Life, the network’s multi-award-winning magazine,
lent insights to narrow the field of nominees for which the advisors
voted. Winners will be showcased in the September/October issue of
the magazine, reaching 200,000 affluent households.
“The
exceptional contributions of these Best of the Best winners are
emblematic of the caliber of creativity, service and guest
experiences that are the hallmark of the Virtuoso Hotels &
Resorts program,” said
Albert Herrera, senior vice president of Global
Product Partnerships for Virtuoso. “Every year our
winners raise the bar even higher for global luxury hospitality, and
we are proud to honor their accomplishments while expressing
gratitude for the inspiration they provide to us all.“
The
2019 Virtuoso Best of the Best winners are:
Hotel
of the Year:
An
iconic hotel that epitomizes excellence in luxury hospitality and
encourages positive change in its community. Winner:
Four
Seasons Hotel George V,
Paris, France The
property delights guests with impeccable service, fine art and
antiques and stunning floral displays. A new spa features an indoor
pool and dozens of treatments and fitness programs, including a
staff-led jog past landmarks including the
Louvre
and
Eiffel Tower.
The hotel offers three restaurants: the three-Michelin-starred Le
Cinq as
well as
Le George
and L’Orangerie,
which each boast a star of their own.
Best
Achievement in Design:
Outstanding
architecture and design of a hotel or component (room or suite,
restaurant, spa, public space, etc.), whether a new property,
renovation, or restoration. Winner:
Rosewood
Hong Kong, China Soaring
65 stories above Victoria
Dockside,
a new art and design district on the Kowloon
waterfront,
Rosewood’s glass tower enhances Hong Kong’s skyline. Inside, Western
and Asian aesthetics blend seamlessly, from the octagonal Chinese
bagua symbol on carpets and walls to copper-mesh-lined French pendant
lights, Damien
Hirst
artwork, and Indian artist Bharti
Kher’s
life-size elephant sculpture.
Best
Dining Experience:
Excellence
in hotel dining encompassing outstanding food, wine list, service,
ambiance, or even a stunning view. Winner:
La
Reserve Paris Hotel and Spa–
Restaurant Le Gabriel, Paris, France The
gilded dining room of the two-Michelin-starred restaurant in a
19th-century mansion-turned-hotel makes an unforgettable impression.
And that’s before chef Jérôme Banctel brings his notable pedigree,
Breton upbringing, and influences from his travels to the table with
modern takes on French classics such as coriander-spiced artichoke
heart and pigeon with cacao and buckwheat.
Best
Bar: A
hotel bar that offers a social meeting spot where innovative drinks,
lively mixologists and servers, and an enticing atmosphere create a
“see and be seen” buzz. Winner:
Four
Seasons Hotel at The Surf Club–
Le Sirenuse Champagne Bar, Surfside, Florida, U.S. Amalfi
Coast bars perfected
the art of aperitivo, and that spirit is exemplified in this stylish
import from Positano’s
Le
Sirenuse
hotel. The lounge in the historic hotel’s original ballroom serves
the largest selection of Champagne in the Miami area, plus grappas,
liqueurs, and bubbly-infused cocktails, in handblown Venetian
glasses.
Sustainable
Tourism Leadership:A
property that exhibits a commitment to the pillars of sustainable
tourism including environmentally friendly practices, protection of
cultural and natural heritage, and social and economic benefits for
local people. Winner:
Emirates
One&Only Wolgan Valley,
Wolgan Valley, Australia This
7,000-acre success story shows how degraded ranchland can be restored
to its natural grandeur. Kangaroos, wombats, and other wildlife roam
the resort grounds, which was the world’s first to achieve
internationally accredited carbon-neutral certification. Guest
experiences focus on the outdoors, such as guided glowworm walks,
stargazing, nocturnal animal viewing and tree planting.
Best
Family Program: A
property offering children’s programs, from creative activities to
educational endeavors and active adventures. Winner:
Grand
Velas Riviera Maya,
Playa del Carmen, Mexico Families
bond over horseback riding, boogie boarding, snorkeling and more,
then relax at the pool or spa (with a kids’ treatment menu).
The Kids’ Club
offers 4- through 12-year-olds storytelling, movies, and games, while
teens enjoy karaoke, pool tables, and dancing. Family accommodations
lie near the pool and beach, and a “baby concierge” stocks
everything from strollers to bottles – and arranges sitters too.
Best
Wellness Program:
A hotel focusing on mind/body balance through excellence in nutrition
or diet programs, fitness and wellness classes, spa experiences, and
inspiring location. Winner:
Miraval
Arizona Resort & Spa,
Tucson, Arizona, U.S. Miraval
helped
pioneer the modern spa resort, and its flagship property continues to
lead the way. Guests choose from more than 100 workshops, classes,
and activities that include cooking, private and group workouts,
beekeeping, and even equine therapy. Healthy gourmet meals fuel
guests’ paths to wellness, as do rituals including massages and
acupuncture at the Life in Balance Spa.
Best
Virtuoso Newcomer:The
most noteworthy network addition from April 2018 onward. Winner:
Montage
Los Cabos,
Cabo San Lucas, Mexico This
contemporary retreat offers an abundance of memorable experiences.
Guests sip mezcal and dine at the two restaurants, play the 18-hole
golf course, enjoy Baja-inspired spa treatments, and snorkel and
paddleboard in Santa Maria Bay – a marine sanctuary and one of the
area’s few swimmable beaches.
Best
Virtuoso Hotel Ambassador: An executive (other than
general manager or managing director) who embodies Virtuoso’s power
of human connection and strives for the mutual benefit of network
advisors and their brand, property, or properties. Winner:
Carlos Quereda, Querido Representation Co. During his
decade-long tenure at the Marbella
Club on Spain’s
Costa del Sol, Quereda was inspired by cofounder Count
Rudolf von Schönburg’s ritual of greeting guests and staff,
converting them into lifelong friends of the hotel. Quereda brings
this hospitality to life to satisfy travelers’ quests for unique
properties that embody local traditions and soul.
Hotelier
of the Year:An
experienced manager who demonstrates leadership and vision, a passion
for the industry, a commitment to Virtuoso advisors, and an
appreciation for detail. Winner:
Amanda Hyndman, Mandarin
Oriental Hyde Park, London,
U.K. Hyndman’s
career spans more than 30 years and some of the world’s most
prestigious hotels, including Mandarin’s Bangkok flagship, where she
was the first female general manager. She arrived at the Hyde Park
property in June 2018, one week after a two-year renovation was
completed – and two days before a fire shuttered the hotel. Hyndman
transitioned staff to help with rebuilding, weathering the nine-month
closure with no layoffs. The hotel reopened last spring with Hyndman
and her kindness and commitment at the helm.
For
more on Virtuoso and its properties in over 100 countries, including
booking a stay online at the global portfolio of luxury hotels, visit
www.virtuoso.com.
U.S./New York-based Condé Nast and London-based Condé Nast International Are Integrated as One Global Team. New Consumer Marketing Function to Bring Focus on Direct-to-Consumer Efforts With Unified Commercial Team to Better Serve Global Clients’ Holistic Needs
New Leadership Structure is Expected to Help Further Turn the Financial Ship Around As Company Moves Beyond Closing and Selling Off Magazine Titles, Layoffs and Consolidation of Workforce Across All Titles
Long expected, Condé Nast yesterday appointed a new global leadership team designed to accelerate the company’s evolution into a 21st-century media company. The new organizational structure, which combines Condé Nast and Condé Nast International into a unified global team, was created with several guiding principles in mind, including the preservation of local editorial voice and authority, an enhanced focus on the consumer, unification of the company’s ad and commercial sales functions to reflect clients’ local and global needs and the development of new ways to share capabilities and best practices across the company.
Condé Nast is a global media company, home to iconic brands including Vogue, The New Yorker, GQ, Glamour, AD, Vanity Fair, and Wired, among many others. The company’s award-winning content reaches 84 million consumers in print, 367 million in digital and 379 million across social platforms, and generates more than 1 billion video views each month. The company is headquartered in London and New Yorkand operates in 32 markets worldwide including China, France, Germany, India, Italy, Japan, Mexico & Latin America, Russia, Spain, Taiwan, the U.K., and the U.S., with local license partners across the globe. Launched in 2011, Condé Nast Entertainment is an award-winning production and distribution studio that creates programming across film, television, social and digital video and virtual reality.
“One of my top priorities has been to define our organizational structure so that we can take full advantage of our unique growth opportunities and exceptional content around the world,” said the recently-appointed CEO of Condé Nast, RogerLynch “I’m confident that our new global structure will better enable us to collaborate across teams and markets and, ultimately, deliver unparalleled experiences for our consumers and clients.“
The
new structure is as follows:
Global Content Functions:: Anna Wintour, U.S. Artistic Director, Editor-in-Chief of Vogue U.S. and (newly-appointed) Global Content Advisor, will continue in her role as U.S. Artistic Director and Editor-in-Chief of Vogue U.S., and will add Global Content Advisor and oversight of Vogue International to her responsibilities. In her expanded role, Wintour will advise the executive leadership team on global content opportunities and act as a resource to editors-in-chief and editorial talent worldwide.
Oren Katzeff, President of Condé Nast Entertainment (CNE), will expand the company’s digital video, film and television operations to create best-in-class video content experiences for audiences worldwide. The company has been increasing its focus on video content and currently generates 1.1 billion video views per month. Under Oren’s leadership, CNE will now be the core of our global network of video teams, supporting the growth of our video businesses in all markets.
David Remnick, Editor-in-Chief of The New Yorker, will also continue to report directly to Lynch.
Global Operations Organization: Wolfgang Blau, President, International & Chief Operating Officer will oversee all non-U.S. markets, as well as selected global strategic functions, including Product & Technology, Data, Licensing, Global Editorial Operations, Business Development, and Delivery & Business Transformation. This organization will ensure day-to-day operational excellence and capability sharing across the business.
Global Commercial Organization: Pamela Drucker Mann, Global Chief Revenue Officer & President, U.S. Revenue, will lead a new global revenue organization that brings together the company’s U.S. and international ad sales, creative and agency, B2B marketing and client service capabilities. Jamie Jouning, promoted to Chief Client Officer, will report to Drucker Mann and oversee key global accounts, multi-market deals, and central digital ad operations. Drucker Mann will define ad sales and ad product strategies globally, and work closely with Jamie and the central team and commercial leads in the company’s worldwide markets to drive overall ad, agency, and B2B revenue and share best practices.
Consumer Marketing Organization: Condé Nast is creating a new consumer marketing organization that will be led by a Chief Marketing Officer (CMO) and will bring added focus to the company’s direct-to-consumer efforts. As the company expands its consumer offerings, this team will be charged with developing best-in-class capabilities and consistency across consumer experiences on every platform. The team will also be responsible for consumer revenue, with a core focus on subscriptions and memberships. In addition, the team will have responsibility for global brand management, consumer research, and insights and global audience development, ensuring a data-driven approach to the company’s efforts. The search for a CMO to lead this new organization will begin immediately.
Corporate Functions: The company is also globalizing its three corporate functions to leverage skills, expertise and standardize processes and best practices: People, Finance and Communications. The company will begin an immediate search and selection process for these and other open roles. Until new leaders are identified, teams will maintain their existing reporting lines and responsibilities.
“We’re
bringing added focus to our direct-to-consumer efforts and will build
a new consumer marketing function that will be charged with
developing best-in-class subscription and membership capabilities,
and maintaining the authenticity of our iconic global brands,”
Lynch continued. “And by transforming our sales organization
into a unified global team, Condé Nast will be better positioned to
serve the holistic needs of our clients around the world and make it
easier for them to do business with us.“
The
new structure and appointments take effect immediately.
The
Retailer Commemorates 20 Years Of Great Designs Accessible To All
Audiences With A Limited Edition Anniversary Collection
This fall, Target Corporation celebrates the 20th anniversary of its first collaboration with a designer, a bold initiative that has continued to differentiate this great chain as a provider of Fashionable and affordable designs. This project, which began with renowned architect Michael Graves in 1999, has resulted in more than 175 collaborations with designers in the last two decades.
Photo provided by Target
To celebrate this anniversary, Target will relaunch almost 300 original and emblematic articles from 20 collaborations with past designers. This limited edition collection includes clothing, accessories, home decor and kitchenware. The Anniversary Collection will be available, while supplies last, until September 14 at all Target stores and on Target.com, with prices ranging from $ 7 to $ 160. Designers’ collections and items will vary between stores and customers can purchase up to five items per size and color. Customers can visit Target.com when the catalog is available to properly plan their visits. To underline Target’s commitment to inclusion, all women’s fashion will come with expanded size.
Target’s Anniversary Collection logo
“Design
has always been part of Target’s DNA. From our stores and the
products we create, to the collaborations we establish, our
commitment to affordable designs differentiates Target and is one of
the reasons why customers enjoy shopping with us, “said Rick
Gomez , executive vice president and digital and marketing director
of Target. “Our marketing campaign will celebrate the
inclusive nature of Target’s designs, and will include a book and
documentary to highlight Target’s impact on the retail sector and the
lives of our customers by making large designs available to all
audiences.” .
Michael Graves
On
the occasion of this event, Target has turned to its archives to
offer its customers a limited edition collection with 20 of its
collaborations with past designers, which incldes the following:
John Derian
Michael
Graves (1999-2013)
Philippe
Starck (2002)
Stephen
Sprouse (2002)
Isaac
Mizrahi (2003-2009)
Erin
Fetherston (2007)
Proenza
Schouler (2007)
Thakoon
(2008)
John
Derian (2008, 2010)
Anna
Sui (2009)
Rodarte
(2009)
Stephen
Burrows (2010)
Zac
Posen (2010)
Harajuku
Mini (2011-2012)
Missoni
(2011)
Jason
Wu (2012)
Phillip
Lim (2013)
Altuzarra
(2014)
Lilly
Pulitzer (2015)
Marimekko
(2016)
Hunter
(2018)
Stehen Sprouse
“Target
has forever changed the retail scenario by doing what was believed
impossible, offering great designs at an incredible price. This
anniversary celebrates our extensive design history and the wide
variety of collaborations we have offered to our customers over the
past 20 years “said Mark Tritton , executive vice
president and director of Marketing for Target. “All the
collaborations have contributed something special and exciting to our
clients and, with 20 years behind us, we can say that this is only
the beginning. We hope to continue offering our clients more
incredible, inspiring and affordable designs, and increase the
presence of Target every day. “
Hunter
In
addition to the launch of Target’s Anniversary Collection,
Rizzoli, an editorial known for its extensive catalog of books
of great quality and beauty, will publish a book that gathers
Target’s rich design history, with comments from designers and
followers of the collaborations of the retailer, which will be
available from Tuesday, September 3.
Target
has also recruited RadicalMedia, a producing partner, to
create a documentary that will be released this fall and that closely
analyzes how Target’s innovative approach to affordable designs has
forever changed the retail sector.
Lily Pulitzer
The
documentary includes the testimony of people who have played a key
role in the collaborations of the retailer, both with emerging brands
and designers, as well as with others already consolidated.
Ralph Lauren, Brandon Maxwell, King Ranch, and Erin Wasson Help Mark the Brand’s 135th Year in Business
Lucchese Bootmaker, headquartered in El Paso Texas, is celebrating its 135th anniversary this year with a variety of partnerships and capsule collections. Known for making the finest cowboys boots on the planet, Lucchese has always balanced rugged, frontier traditions with an appeal to those focused on aesthetic.
Lucchese Fall News Press Release Image
Below are a few of the highlights of how Lucchese is marking its anniversary this year:
Erin Wasson in the Jacqueline Boot: Designed with Texas native Erin Wasson, the Jacqueline boot ($1,595 with free ground shipping) is a traditional western silhouette for the modern woman. The smooth black goat is accented by white stitch pull holes and piping. Single stitch welt construction. Leather sole. Handmade in Texas.
ERIN WASSON: Continuing their presence in the style arena, Lucchese just released a limited collection of fashion-focused boots with model/designer Erin Wasson. The brand has partnered with another iconic Texas brand — Neiman Marcus – to provide wider access to both traditional boots and fashion boots alike. This move signifies a shift in consumer demand, as exotic cowboy boots are now becoming a staple in consumer wardrobes, available at a wider range of retailers ranging from Western-focused to luxury fashion.
The King Ranch Barn Boot
KING RANCH: Lucchese has partnered with another legendary Texas brand, the King Ranch, to produce a limited edition collection of boots that are rugged enough for the harsh environment of South Texas. In addition to this partnership, Lucchese has released a well-reviewed technical product called the Barn Boot, its first foray into the “work boot” category. The mud and grime releasing outsole and cushioned insole was an immediate hit with both new and long-time Lucchese loyalists.
RALPH LAUREN: In addition to staying true to its roots with traditional products, Lucchese was in the spotlight during New York Fashion Week in September. Ralph Lauren, who has worn Lucchese boots for many years, selected them as his favorite bootmaker. Lucchese worked with Mr. Lauren to create co-branded boots which debuted in Central Park at the legendary designer’s 50th-anniversary collection show.
BRANDON MAXWELL: Fashion designer and fellow Texan Brandon Maxwell used custom boots as the invite for guests at his Spring/Summer 2019 New York Fashion Week show.”It was a dream to work with Lucchese on our invitations,” said Brandon. “Lucchese is a quintessential Texas brand so to share this bit of my home state with our guests immediately showcased hospitality. Seeing videos of friends and guests receive this big Texas dose of generosity made it all the more special.“
Texas-based Lucchese is a legendary bootmaker and iconic brand of the American West. Applying the same craftsmanship principles and techniques since 1883, Lucchese artisans use only the finest leathers, preeminent materials and a proprietary twisted cone last to construct boots of unrivaled quality, fit, comfort and style.
This holiday season, Nordstrom wants to make shopping fun with Gifts That Do Good, Gifts That Inspire, and innovative services that help make the holidays completely stress-free in-store and online. The marketing campaign was produced by Nordstrom and directed and photographed by Theo Wenner, who has worked on original campaigns for Chanel, Chloe, and Topshop/Topman, as well as editorials for Vogue and Rolling Stone. The cast includes Guinevere Van Seenus, who began her modeling career walking a Nordstrom fashion show as a teenager, as well as longtime Nordstrom customer and model Jan De Villeneuve, who has been gracing runways for over 50 years.
NORDSTROM LOGO (Courtesy: Nordstrom PR)
The campaign includes a colorful, cheerful video that will run on Nordstrom.comand on the retailer’s social and digital platforms, print and out of home. A national TV commercial will launch on November 5.
Campaign visuals from the 2018 Nordstrom ‘Let’s Go Gifting!” Holiday campaign to run in O: The Oprah Winfrey magazine (Courtesy: Nordstrom PR)
GIFTS THAT DO GOOD
Giving back feels good any time of year, but particularly during the holidays. From gift cards that give back, to gifts that do good, Nordstrom is making it easier than ever for customers to find the perfect gift.
Campaign visuals from the 2018 Nordstrom ‘Let’s Go Gifting!” Holiday campaign to run in InStyle magazine (Courtesy: Nordstrom PR)
Campaign visuals from the 2018 Nordstrom ‘Let’s Go Gifting!” Holiday campaign to run in US Harpers Bazaar magazine (Courtesy: Nordstrom PR)
Gift Card Give Back– Nordstrom donates 1% of all gift card sales to nonprofits across the U.S. and Canada. This year alone, the company has donated over $7.5 million to more than 600 organizations.
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Children’s Miracle Network Hospitals™– In partnership with its customers, Nordstrom is supporting Children’s Miracle Network Hospitals™ (CMNH) to make a difference in the lives of children. Now through December 24, Nordstrom invites customers to support CMNH through the purchase of $10 giving cards at any Nordstrom full-line store in the U.S. and Canada. All donations will stay local to the community in which they were given, including 55 network hospitals in regions with Nordstrom stores. The donations will fund critical treatments, pediatric medical equipment and charitable care for children and their families across the U.S. and Canada.
Nordstrom Signature– Nordstrom is introducing a new cashmere collection featuring beautiful designs for women, men, and children. Select products within the collection are produced in factories where Nordstrom has partnered withBSR’s HERprojectto implement workplace training programs on topics like health, finance, and gender equality. Since 2007, Nordstrom has partnered with BSR to launch worker empowerment programs in 27 factories around the world, reaching more than 18,000 workers.
Campaign visuals from the 2018 Nordstrom ‘Let’s Go Gifting!” Holiday campaign to run in US Elle magazine (Courtesy: Nordstrom PR)
Campaign visuals from the 2018 Nordstrom ‘Let’s Go Gifting!” Holiday campaign to run in US Marie Claire magazine (Courtesy: Nordstrom PR)
Treasure & Bond– Nordstrom donates 2.5% of net sales from this exclusive, private-label brand to programs that empower young people to make a difference in their community. To date, the company has donated $2.5 million. This year, Treasure & Bond is supporting WECharity, which provides educators and students with curriculum and educational resources that help them gain an understanding of the root causes of pressing social issues and provides the tools necessary to take action and make an impact. Treasure & Bond features laid-back wardrobe staples with an Americana aesthetic for women, men, children, as well as home, a new category that launched this year.
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GIFTS THAT INSPIRE
Nordstrom aims to be THE destination for unique holiday gifts at a range of price points, from a chic Topshop faux fur shoulder bag for $48 to showstopping Gucci boots for $1,790, including emerging brands and exclusive items.
November 27 – Treasure & Bond Patterned Pullover
November 28 – Monica Vinader Havana Mini Friendship Bracelet
November 29 – Sant and Abel Santa Pajamas
Daily Drops – Beginning November 27 through December 18, Nordstrom will release exclusive, limited products each day called ‘Daily Drops,’ to create a sense of discovery in-store and online throughout the shopping season. Products will be added to Nordstrom.com/holidaygiftsat 6:00am PST, as well as on the @Nordstrom Instagram. ‘Daily Drops’ will feature exciting, new-to-market items and styles from brands like Something Navy, Christian Louboutin, Charlotte Tilbury, Rothy’s, Treasure & Bond, Le Labo, Sant & Abel, Hugo Boss x Jeremyville, and Rag & Bone x Mickey.
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Gift Guides – Based on top-demanded categories and search terms by Nordstrom customers, the company is introducing a persona-based gift guide featuring curated and unique ideas for 11 customer personalities. Examples include The Tech Collector, The Luxe Lover, The Traveler, The Witty One, and theDo-Gooder, among others, and can be found on Nordstrom.com/holidaygifts.
Fingerlings Hugs, PJ Masks, Harry Potter Wands, Ryan ToysReview, K’NEX Thrill Rides, & 3Doodler Hexbug Set Top the Toy Insider’s Hot 20, Top Tech 12, and STEM 10 Lists
The Toy Insider, one of the toy industry’s most influential organizations and a trusted go-to resource for parents and gift-givers, today unveiled its expert picks for the best kids’ toys and gifts in its 13th annual holiday gift guide. The hottest and most coveted items for 2018 are broken out into three lists: the Hot 20 (the most wished-for items of the year), Top Tech 12 (featuring artificial intelligence, augmented reality, virtual reality and other innovative technologies) and STEM 10 (science, technology, engineering and math toys that make learning fun).
The Toy Insider’s 2018 holiday gift guide appeared in the November issue of Family Circlemagazine, which hit the newsstands on Oct. 9. An extended guide also appeared online at www.thetoyinsider.com. This year’s print guide features more than 200 toys from more than 100 different manufacturers, and an additional 170 toys can be found online, representing nearly 200 toy companies in total.
These hand-picked items represent an incredible assortment of must-have collectibles, interactive toys, traditional playthings, and tech-infused robots and drones, among many more categories that are sure to make kids of all ages jump for joy this holiday season.
“The incredible variety of toys we reviewed for this year’s holiday gift guide shows that toy makers are working hard to create more innovative and magical toys than ever before,” said Laurie Schacht, Chief Toy Officer, The Toy Insider. “This year’s guide includes tons of fun collectibles, interactive craft kits, creative plush and more that are sure to bring smiles when they are unwrapped this holiday!“
The iconic and legendary hotels inducted into Historic Hotels of America® and Historic Hotels Worldwide® are noteworthy for their grandeur and architectural significance. Guests and visitors to these hotels can see wonderful examples of the artistry, craftsmanship, and extraordinarily detailed work preserved from the past. Some of the best examples are viewed by looking up at these magnificent ceilings and domes in the public areas of these hotels including lobbies, ballrooms, and restaurants. These ornate ceilings and domes include some of the finest examples of stained-glass, painted frescoes, painted ornamental plaster, stenciled wood, and of course, gold leaf. Often, these beautiful, ornate, grand and detailed ceilings have been recognized as historically significant local or regional historic landmarks. (Visit www.HistoricHotels.org/Ceilings for a complete listing of these ornate masterpieces.)
Historic Hotels of America logo
Here are the 2018 Top 25 Most Magnificent Ceilings and Domes at Historic Hotels of America:
The Willard InterContinental, Washington, DC(1818): The Willard’s iconic lobby has a coffered ceiling that is adorned with 48 original state seals. The seals for Alaska and Hawaii reside on the back pillars of the iconic Peacock Alley. For over a century, the Crystal Room has played host to many of Washington DC’s most elegant social and corporate events. From sophisticated receptions and lavish galas to prestigious conferences and annual meetings, the Crystal Room provides a stunning backdrop for an unforgettable event. Exuding spectacular opulence, the Crystal Room’s design motif includes mottled green columns, crystal-dripping chandeliers, ornate hand-carved gold leaf crown molding, and antique drapery.
Historic Hotels Worldwide logo
French Lick Springs Hotel(1845) French Lick, Indiana: The Baroque-style murals on the ceiling of the mezzanine level of the hotel are visible by just looking up from the lobby. In keeping with the area’s fame for producing mineral-laced “Pluto Water” 100 years ago, the murals depict the mythological story of Pluto’s World. A single mural over the main lobby shows Orpheus and Eurydice, symbols of love, in a springtime setting. This is the story of Pluto’s world, as told through a breathtaking mural containing six separate panels. The mural may look like a masterpiece that was crafted in a bygone era, though it actually was designed, painted and installed during the 2005-2006 renovation that restored French Lick Springs Hotel to its original grandeur. A group of artists from Conrad Schmitt Studios invested 1,500 hours in the planning and creation of these mural panels. In the process, Pluto’s world came to life.
Battle House Renaissance Mobile Hotel & Spa(1852) Mobile, Alabama: Inside the lobby of the Battle House is a stunningly beautiful dome that is over 42 feet tall and 63 feet wide. The Tiffany-style glass in the dome features fleur-de-lis designs, in keeping with the city’s history, as the true birthplace of Mardi Gras. The painting technique used to depict these rulers in the lobby ceiling is called Trompe-l’œil. It is an arttechnique involving extremely realistic imagery in order to create the optical illusionthat the depicted objects really exist, instead of being just two-dimensional paintings. In refurbishing the dome from 2004 to 2006, master plaster artists were brought in to work with their apprentices and make molds of all the design elements in the ceiling. The glass ceiling designs were carefully repaired and more than 95 percent of the glass is original to the 1908 construction.
The Menger Hotel(1859) San Antonio, Texas: The Victorian lobby reflects the 1909 remodeling, designed by noted San Antonio architect Alfred Giles. Giles transformed the simple utilitarian space into a grander, neoclassical style which was popular at the time. The oval-shaped lobby is dominated by eight Corinthian columns. The original columns were cast iron and encircle the redesigned columns ornamented with festoons, garlands, modillions, and painted to resemble stone. The leaded skylight was added as part of the 1909 alterations, as was the decorative tile floor which extended into the Colonial Room Restaurant. Many of the pieces of furniture in the lobby are believed to have been purchased by William Menger on his frequent buying trips to New York and Europe in the 1860s.
The Peabody Memphis(1869) Memphis, Tennessee: The ornate stained glass skylight and carved wood ceiling in The Peabody’s Grand Lobby is one of the signature characteristics of the hotel, measuring in at 32 feet high and 3,100 square feet in total. The ceiling dates back to the opening of the current Peabody, built in 1925. The hotel was designed by noted Chicago architect Walter Ahlschlager, who also designed the Hilton Cincinnati Netherland Plaza. The glass skylight is located in the Peabody Lobby Bar and the lobby fountain where the famed Peabody Ducks reside during the day. The Duckmaster offers daily history tours in the Grand Lobby, which highlight the ornate ceiling. A little-known fact about the ceiling is that the beautiful carved wood that surrounds the stained glass is not wood as it appears, but sculpted plaster.
Palmer House®, a Hilton Hotel(1871) Chicago, Illinois: The ceiling of the Palmer House has been compared to that of the Sistine Chapel of Saint Peter’s Basilica in Rome. Measuring in at 28 feet high and 50 feet by 28 feet wide, it is approximately the size of a basketball court. These 21 distinct pieces of artwork were completed in Paris in 1926 by Louis (Pierre) Rigal. Three large circular panels illustrate classic romantic scenes from Greek mythology. Depicting Aphrodite, the goddess of love; Apollo, the god of sun, music, and poetry in his pursuit of Daphne; and the god Pluto in his pursuit of Persephone. There are nine vertical paintings of the Muses where each Muse depicts a joy of life. The 16 plaster frescos that frame the ceiling are done in the style of the 15th century Della Robbia family in the colors of Wedgewood blue, cinnabar, and celadon. The paintings that adorn the ceiling were completed in 1917 in France and later installed in the hotel’s ceiling in 1927.
Hilton Cincinnati Netherland Plaza(1931) Cincinnati, Ohio. In addition to the above, there are other noteworthy and magnificent ceilings and domes at Historic Hotels Worldwide:
Tivoli Palacio de Seteais(1787) Sintra, Portugal: The frescoes of Salão Nobre at Tivoli Palacio de Seteais are original from the palace’s construction in 1787. The artist of these frescoes is unknown but was inspired by the French Jean Baptiste Pillement who painted the Pillement Room. The Royal Room is original from the palace’s construction in the 18th century by the Portuguese architect José da Costa e Silva. This room reflects the romanticism of Sintra and tells a love story in the frescoes above.
Hilton Paris Opera(1889) Paris, France: Dating back to 1889, its Eiffel style lobby in the Hilton Opera Paris and Second Empire Style covered ceiling are decorated with paintings and sculptures by the artist Charles Joseph Lameire (1832-1910). Several French movies were filmed with this magnificent backdrop over the years.
Fairmont Le Château Frontenac(1893) Québec City, Canada: The original sketch for the beautiful hand-painted ceiling of the Verchères Space was designed by architect William Maxwell. The ceiling includes leaf and flowering vine design embellished with cartouches and monochrome motifs. The palette includes shades of blue and green against a yellow background. Palm designs are visible on top of each column. The original name of this space was the Palm Court and its original use was a tea room. The ceilings date back to 1924.
Grand Hotel Tremezzo(1910) Tremezzo, Italy: Frescoes in the Grand Hotel, represent the scenes of the Aeneid of Virgil and scenes of heaven. The grand ceiling at this historic hotel was painted by Francesco by Francesco Conegliani, Gianbattista Tiepolo’s pupil. Giovanni Battista Tiepolo, well-known as Gianbattista Tiepolo known as an Italianpainterand printmakerfrom the Republic of Venice. He was prolific and worked not only in Italy but also in Germany and Spain.
Over seven decades of style will be displayed at the Philadelphia Museum of Art in Fabulous Fashion: From Dior’s New Look to Now, a major exhibition (in the Dorrance Special Exhibition Galleries, first floor, October 16, 2018 – March 3, 2019) highlighting creativity and glamour. The haute couture and ready-to-wear garments and accessories on view range in date from 1947 – the year of the introduction of Christian Dior’s revolutionary “New Look” – to recent ensembles by audacious designer Bernhard Willhelm. Featuring some of the most significant and visually compelling works from the Museum’s renowned collection of costumes and textiles, Fabulous Fashion presents many new acquisitions and other outstanding works, exhibited rarely if ever before.
Woman’s Evening Dress and Flower Pin, Fall 2006, designed by Oscar de la Renta. Worn by Mrs. Martin Field. Light brown nylon tulle and silk gauze, burgundy synthetic velvet. Philadelphia Museum of Art: Gift of Martin Field. Light brown tulle and gauze strapless dress with train, burgundy velvet artificial flower brooch.
Woman’s Evening Ensemble: Top and Skirt, 1989, designed by Pierre Cardin. Top: Silk faille, rayon stretch net lace, rhinestones; Skirt: Cellulose acetate velvet. Philadelphia Museum of Art: Gift of Mrs. Jack M. Friedland (Annette Y. Friedland). a) Black net tube top with 3 oversized black silk faille bows at center front with rhinestones; black silk faille bands encircle bust and wrap over left shoulder b) Black velvet full-length skirt with left side slit.
Woman’s ‘”Flying Saucer” Dress. Designer: Designed by Issey Miyake , Japanese, born 1938. Spring/Summer 1994. Made in Japan. Heat-set polyester plain weave. Height (Pink Band): 7 1/2 inches (19.1 cm). Gift of Issey Miyake, 1997.
Designed by Christian Lacroix Woman’s Catsuit Fall/Winter 1990 Multicolored printed synthetic knit Length: 54 1/2 inches (138.4 cm) Gift of Martin Field, 2014.
Timothy Rub, The George D. Widener Director and Chief Executive Officer, said: “Few museums have such extraordinary range and depth in their collection of costumes and textiles as the Philadelphia Museum of Art. As we continue to work on our Facilities Master Plan, which will result in much more gallery space to display the richness of our holdings in this field, Fabulous Fashion will serve as a reminder of the strength of our collection and all that we have to offer to those who value the extraordinary history of costumes and textiles as much as we do.”
Woman’s Suit (Jacket, Skirt, Belt, and Camisole) and Bag, Fall/Winter 1998, designed by John Galliano for Christian Dior. Philadelphia Museum of Art: Gift of Martin Field.
Designed by Carolina Herrera Woman’s Wedding Dress Spring 2012 Striped silk satin Center Back Length: 8 feet 2 inches (248.9 cm) Center Front Length: 49 1/4 inches (125.1 cm) Waist: 26 inches (66 cm) Gift of Rachel Frishberg Press, 2013.
Dress, 1994, Designed by Pierre Cardin. Copyright Archives Pierre Cardin.
Woman’s “Mercury” Evening Dress “Mercury” Evening Dress Designed by Geoffrey Beene. Lamé velvet of metallic pile and acrylic twill ground. Gift of Geoffrey Beene, 1997
Woman’s Dress: Bodice and Skirt, Spring 1948, designed by Christian Dior. Philadelphia Museum of Art: Gift of Dora Donner Ide in memory of John Jay Ide.
Since its founding, as a result of Philadelphia’s 1876 Centennial Exhibition, the Philadelphia Museum of Art’s Costume and Textile Collection has become one of the largest and most comprehensive in the world. Numbering some 30,000 objects, the collection is remarkable in depth and breadth, encompassing art of great quality from diverse eras and around the globe. Textiles holdings range from Middle Eastern and Asian archeological examples to American quilts and samplers to fiber art, while the extensive collection of garments and accessories includes particular strengths in late-nineteenth-century French couture and the iconic designs of famed twentieth-century designer Elsa Schiaparelli, as well as a growing collection of contemporary menswear.
Woman’s Dress, designed by Vicky Tiel, American (active Paris), born 1943. Worn by Mrs. Martin Field, 1989. Gold synthetic lamé, shirred. Length: 29 inches, Waist: 25 inches. Philadelphia Museum of Art: Gift of Martin Field, 2014.
Woman’s Two-Piece Dress: Top and Skirt, Spring/Summer 1988, designed by Christian Lacroix. Pink, red and green printed white cotton brocade; white cotton and acrylic ribbon; pink, red and green synthetic plain weave. 125th Anniversary Acquisition. Philadelphia Museum of Art: Gift of Kathleen P. Field. Pink, red, green and white cotton brocade strapless bustier top, sweetheart neckline and peplum at waist, pink and red fabric roses in a heart shape at bust b) Matching short tulip-shape pleated skirt
The 1956 wedding dress worn by Princess Grace of Monaco, the former Grace Kelly of Philadelphia, is another highlight (currently not on view). Since costume and textile objects can only be displayed for short periods of time due to light sensitivity and other conservation concerns, the Museum showcases diverse aspects of its encyclopedic collection through special exhibitions and rotating displays.
Woman’s Dress Silver and Black Dress. Designer: Designed by Paco Rabanne. 1966 Collection. Made in Paris, France. Rhodoid plastic and metal. Center Front Length: 36 inches (91.4 cm) Center Back Length: 55 inches (139.7 cm). Gift of Rubye Graham, 1969
Fabulous Fashion includes such iconic works as Adrian’s 1947 velvet “winged victory” gown, an understated black and white 1972 Chanel suit, and Geoffrey Beene’s 1994 silver lamé “Mercury” dress. Radical design is exemplified by Paco Rabanne’s dress made of plastic discs linked by metal rings (from his 1966 collection entitled “Twelve Unwearable Dresses in Contemporary Materials”) and a punk-inspired ensemble by Zandra Rhodes from her 1977-78 “Conceptual Chic” collection.
Focusing on fashion as an art form, the exhibition is arranged thematically to explore designers’ creative use of color and pattern, shape and volume, draping, metallics, bridal traditions and innovations, and exquisite embellishments. Works will be grouped together to offer striking visual comparisons and demonstrate the relentlessly creative spirit of fashion.
A pair of ensembles from fifty years apart opens the exhibition, each embodying fashion-forward dressing for its time. Dior’s two-piece pale pink satin day dress from1948, with a nipped-in waist and full skirt that epitomizes the ultra-feminine “New Look,” contrasts with a flirtatious hot pink fur-collared wool suit designed in 1998 by John Galliano for the House of Dior.Continue reading →
Global luxury travel network Virtuoso® revealed the hotels and hoteliers nominated for its coveted Best of the Bestawards this year. All nominees are part of the industry-defining Virtuoso Hotels & Resorts program, which boasts over 1,300 hand-selected properties worldwide and more five-star hotels than any other program. Guests who book their stay through a Virtuoso advisor enjoy exclusive benefits valued at more than $500per stay at these properties, which span more than 100 countries. Travelers can now take advantage of booking their stay at more than 1,100 select properties online at www.Virtuoso.comand receive access to Virtuoso’s exclusive perks.
Virtuoso® is the leading international travel agency network specializing in luxury and experiential travel. This by-invitation-only organization comprises over 1,000 travel agency partners with 17,500 elite travel advisors in more than 45 countries throughout North America, Latin America, the Caribbean, Europe, Asia-Pacific, Africa and the Middle East. Drawing upon its preferred relationships with 1,700 of the world’s best hotels and resorts, cruise lines, airlines, tour companies and premier destinations, the network provides its upscale clientele with exclusive amenities, rare experiences and privileged access.
This year’s contenders across nine categories were chosen by the network and the editors of Virtuoso Life magazine, and represent the height of achievement in their given category. The 10th category focuses on sustainable travel and recognizes the hotels that most embody the commitment to the three pillars of sustainable tourism: preserving the environment, supporting local economies and celebrating cultures.
Best Achievement in Design
Palácio Tangará, Oetker Collection, São Paulo, Brazil
Sagamore Pendry Baltimore, Baltimore, Maryland, U.S.
The Beekman, A Thompson Hotel, New York, New York, U.S.
The Fontenay Hamburg, Hamburg, Germany
The Silo Hotel, Cape Town, South Africa
Best Dining Experience
Aman Tokyo – Arva, Tokyo, Japan
Capri Palace – Il Riccio, Capri, Italy
Hotel Belles Rives – La Passagere, Antibes, France
Meadowood Napa Valley – The Restaurant, St. Helena, California, U.S.
The London EDITION – Berners Tavern, London, U.K.
Best Bar
Brown’s Hotel, A Rocco Forte Hotel – The Donovan Bar, London, U.K.
Hotel Hassler – Hassler Bar, Rome, Italy
Mandarin Oriental, New York – The Office NYC, New York, New York, U.S.
Park Hyatt Vienna – The Bank Brassiere & Bar, Vienna, Austria
The Shelbourne – The Horseshoe Bar, Dublin, Ireland
Best Family Program
Hotel Barrière Le Majestic, Cannes, France
Kokomo Private Island Fiji, Yaukuve Levu Island, Fiji
Nemacolin Woodlands Resort, Farmington, Pennsylvania, U.S.
Soneva Fushi, Baa Atoll, Maldives
The Ranch at Rock Creek, Philipsburg, Montana
Best Wellness Program
Ananda in the Himalayas, Tehri-Garhwal, India
BodyHoliday Saint Lucia, Castries, St. Lucia
Chablè Resort & Spa, Chocholá, Mexico
The Ranch Malibu, Malibu, California, U.S.
Waldhotel Health & Medical Excellence, Büergenstock, Switzerland
Sustainable Tourism Leadership
Emirates One&Only Wolgan Valley, Wolgan Valley, Australia
Four Seasons Resort Maldives at Landaa Giraavaru, Landaa Giraavaru, Maldives
Mashpi Lodge, Quito, Ecuador
Singita Grumeti – Sabora Tented Camp, Serengeti, Tanzania
Six Senses Douro Valley, Lamego, Portugal
Best Virtuoso Newcomer
Anantara Vilamoura Algarve Resort, Vilamoura, Portugal
Hôtel de Crillon, A Rosewood Hotel, Paris, France
Kimpton Seafire Resort + Spa, Grand Cayman, Seven Mile Beach, Grand Cayman Islands
The St. Regis Maldives Vommuli Resort, Dhaalu Atoll, Maldives
Waldorf Astoria Beverly Hills, Beverly Hills, California, U.S.
Company was Founded by Henry Sands Brooks, Two Hundred Years Ago April 7, 1818
On April 7, 2018, Brooks Brothers, America’s oldest retailer, reached its milestone 200-year anniversary. Since opening its doors on April 7, 1818, in New York City, Brooks Brothers has grown from a small family haberdasher to become a global brand that has shaped and defined American style through its product innovations.
Brooks Brothers logo
“Our anniversary today marks a significant and historic milestone not only for Brooks Brothers but also for the retail industry,” said Claudio Del Vecchio, Chairman, and CEO of Brooks Brothers. “This is a moment to celebrate two hundred years steeped in both tradition and innovation.“
American fashion today is a result of years of groundbreaking innovations and revolutionary disruptions by Brooks Brothers. While perhaps best known today as a “classic” brand, it is important to note that the brand’s founder, Henry Sands Brooks (1772 – 1833), was no traditionalist at all. He was actually a dandy and an influencer among his peers, always on the lookout for the newest and most novel styles for his emporium in lower Manhattan selling “every new style of cloth, of the finest quality, made to order in the best and most fashionable mode.”
Brooks Brothers 346 Madison Avenue Flagship Store NYC Entrance
It is therefore ironic that some of Brooks Brothers’ most classic items today were the result of either invention and innovation — many radical for their time. In fact, Brooks Brothers is notably responsible for the introduction and popularization of some of fashion’s most iconic and enduring items, including the navy blazer, the reverse striped rep tie, the polo coat and the Number One Sack Suit. Even today’s athleisure trend has its origins in Brooks Brothers’ adaptations of sports clothes for daily life — most notably the 1900 invention of the Original Polo® Button-Down Oxford shirt. Finally, Brooks Brothers was responsible for the single most significant contribution to fashion — ready-to-wear tailored clothing, which was introduced to America in the mid-1800s as a consequence of the Gold Rush.
Brooks Brothers Recent Fashion Show — BROOKS BROTHERS Fall/Winter 2018 FIRENZE PALAZZO VECCHIO JANUARY 2018 — in Florence Italy – Jan 10, 2018 (Photo Credit: Dan Lecca)
This sartorial passion was passed down from Henry to his sons, Elisha, Daniel, Edward, and John: the actual Brooks Brothers. These were fashion’s earliest influencers. For the past two centuries — and straight through to today — Brooks Brothers has outfitted an ever-changing world and is consistently pursuing quality and innovation, always with a respect for the past and an eye toward the future.
A Selection of Brooks Brothers Milestones:
Before there was the Eiffel Tower, Big Ben, the Statue of Liberty, Grand Central Terminal, and the cities of Hollywood and Chicago, there was Brooks Brothers.
In 1818, Henry Sands Brooks opened clothing shop “H. & D. H. Brooks & Co” on the corner of Catherine and Cherry Streets. The first recorded transaction was actually a loan to a friend.
In 1865, President Abraham Lincoln wore a custom-made Brooks Brothers coat to his second inauguration. Sadly, he was also wearing it when he was assassinated a month later.
Brooks Brothers Original Polo Button Down Oxford
In 1900, Brooks Brothers invented the original button-down-collar shirt after noticing that polo players in England were pinning down their collars while playing.
In 1902, Brooks Brothers introduced the reverse-stripe rep tie, an adaptation of British regimental ties.
In 1915, Brooks Brothers opened its 346 Madison Avenue flagship store, where it remains today.
In 1953, Brooks Brothers invented the first ever non-iron shirt.
In 1957, Brooks Brothers introduced Argyle socks to America.
In 1961, Brooks Brothers designed the “#2 suit” — a favorite of longtime customer President John F. Kennedy.
In 1976, Brooks Brothers launched a full women’s collection.
In 1979, Brooks Brothers was one of the first international brands to expand to Japan.
In 2008, Brooks Brothers acquired Southwick in Massachusetts so that it could resume the manufacturing of tailored clothing in America.
In 2016, Brooks Brothers appointed Zac Posen as creative director for the Women’s Collection.
Throughout its history, Brooks Brothers have forged relationships with generations of customers: artists and politicians, working people and captains of industry, and Hollywood legends, as well as 40 out of 45 U.S. Presidents.
Today, Brooks Brothers currently have more than 280 stores in the United States and more than 700 locations internationally in 45 countries and continue to lead with a pioneering spirit, continually developing materials and designs that deliver performance, innovation and high-quality design.
Ground-Breaking British Library Exhibition Comes to New York Showcasing the History of Magic as Featured in Harry Potter
Exhibition Marks the 20th Anniversary of J.K. Rowling’s Harry Potter and the Sorcerer’s Stone Publication in the U.S. by Scholastic
TheNew-York Historical Societyannounced that tickets for Harry Potter: A History of Magic, a British Library exhibition, will go on sale to the general public on April 26. The exhibition—the most successful showcase of all time at the British Library in London—will be on view at New-York Historical October 5, 2018–January 27, 2019. Tickets can be purchased at www.harrypotter.nyhistory.org beginning at 12 pm EDT on April 26.
Capturing the traditions of folklore and magic at the heart of the Harry Potter stories, Harry Potter: A History of Magic combines century-old treasures including rare books, manuscripts, and magical objects from the collections of the British Library and New-York Historical Society, with original material from Harry Potter publisher Scholastic and J.K. Rowling’s own archives. From medieval descriptions of dragons and griffins, to the origins of the sorcerer’s stone, visitors can explore the subjects studied at Hogwarts and see original drafts and drawings by J.K. Rowling as well as Harry Potter illustrator Jim Kay.
September 2018 marks the 20th anniversary of the U.S. publication of J.K. Rowling’s Harry Potter and the Sorcerer’s Stone, and Scholastic kicked off its year-long celebration in January 2018. The Wizarding World will have one of its busiest years ever in the U.S., with the opening of Harry Potter and the Cursed Child on Broadway in April; the British Library’s exhibition Harry Potter: A History of Magic, opening at the New York Historical Society in October; and the second Fantastic Beasts movie, The Crimes of Grindelwald, opening in cinemas in November. The Harry Potter books have sold more than 160 million copies in the U.S. alone and more than 500 million copies worldwide. The books are published in more than 200 territories in 80 languages.
In celebration, New-York Historical will display illustrator Brian Selznick’s artwork that will appear on the covers of the Harry Potter series to be published by Scholastic later this year. Also on view to the public for the first time will be Mary GrandPré’s illustrations created for Scholastic’s original editions of the novels. Costumes and set models from Harry Potter and the Cursed Child, which opens on Broadway in April, will be showcased in the exhibition.
New-York Historical Society exterior, 170 Central Park West. Photo credit: Jon Wallen.
Complementing the exhibition throughout its run will be a host of engaging and interactive activities sure to delight Harry Potter fans of all ages. Tickets for monthly fun trivia nights, which will put fans’ knowledge of the Wizarding World to the test, will be on sale on April 26 as well. Additional family and adult programs will be unveiled in the coming months.Continue reading →
The Exhibition Explores The Creative Responses Of American Artists To The Rapid Pace Of Change During The Early Twentieth Century And The New Visual Language That Emerged.
From the Lake No. 3, 1924, by Georgia O’Keeffe, American, 1887 – 1986. Oil on canvas, 36 x 30 inches. Philadelphia Museum of Art: Bequest of Georgia O’Keeffe for the Alfred Stieglitz Collection, 1987-70-2.
This spring, the Philadelphia Museum of Artwill present an exhibition exploring the creative responses of American artists to the rapid pace of change that occurred in this country during the early decades of the twentieth century. Modern Times: American Art 1910–1950 (April 18—September 3, 2018, Dorrance Special Exhibition Galleries, first floor) examines the new and dynamic visual language that emerged during this period and had a dramatic impact on painting, sculpture, printmaking, photography, architecture and the decorative arts.
These developments were shaped by the dizzying transformations then occurring in every aspect of life, from the advent of the automobile and moving pictures to the rapid growth of American cities and the wrenching economic change brought on by the advent of the Great Depression after a decade of unprecedented prosperity. The exhibition will feature important works by those artists—Georgia O’Keeffe, Marsden Hartley, Arthur Dove, and John Marin, among them—championed by the great photographer and gallerist Alfred Stieglitz, as well as many other notable figures of this period. Modern Times will be drawn almost entirely from the Museum’s renowned collection, especially the gift from the Stieglitz Collection that it received in the late 1940s, and will contain some 160 works, several of which will be on view for the first time.
Sixth Avenue and Thirtieth Street, 1907, by John Sloan, American, 1871 – 1951. Oil on canvas, 24 1/4 x 32 inches. Philadelphia Museum of Art: Gift of Meyer P. Potamkin and Vivian O. Potamkin, 2000. 1964-116-5. The White Way, c. 1926, by John Sloan, American, 1871 – 1951. Oil on canvas, 30 1/8 x 32 1/4 inches. Philadelphia Museum of Art: Gift of Mrs. Cyrus McCormick, 1946-10-2.
A.D. 1914, 1914, by May Ray, American, 1890 – 1976. Oil on canvas, 36 7/8 x 69 3/4 inches. Philadelphia Museum of Art: A. E. Gallatin Collection, 1944-90-1.
Timothy Rub, the Museum’s George D. Widener Director, and Chief Executive Officer, stated: “America’s embrace of modern life—its perils as well as its promise—in the early twentieth century was expressed most clearly in the arts. The work of this period still feels fresh and of the moment. This exhibition provides us with a welcome opportunity to reassess the Museum’s exceptionally rich holdings of modern American art and how we may display them to full advantage in the future when the Museum completes its expansion under its Master Plan. It also holds the promise of many surprises and discoveries for our visitors.”
Chinese Music, 1923, by Arthur Dove, American, 1880 -1946. Oil and metallic paint on panel, 21 11/16 x 18 1/8 inches. Philadelphia Museum of Art: The Alfred Stieglitz Collection, 1949-18-2.
Painting No. 4 (A Black Horse), 1915, by Marsden Hartley, American, 1877 -1943. Oil on canvas, 39 1/4 x 31 5/8 inches. Philadelphia Museum of Art: The Alfred Stieglitz Collection, 1949-18-8
Pertaining to Yachts and Yachting, 1922, by Charles Sheeler, American, 1883 – 1965. Oil on canvas, 20 x 24 1/16 inches. Philadelphia Museum of Art: Bequest of Margaretta S. Hinchman, 1955-96-9.
While the Museum has presented a number of exhibitions devoted to this subject over the years, Modern Timesis the largest and most comprehensive since it presented the collection of Alfred Stieglitz in 1944. The exhibition opens with the achievements of some of the leading figures of “The Eight,” including John Sloan and George Bellows, who recorded the changing urban scene with a gritty realism as horse carts gave way to motor vehicles on city streets.
Portrait of James Baldwin, 1945, by Beauford Delaney, American (active Paris), 1901 – 1979. Oil on canvas, 22 x 18 inches. Philadelphia Museum of Art: 125th Anniversary Acquisition. Purchased with funds contributed by The Daniel W. Dietrich Foundation in memory of Joseph C. Bailey and with a grant from The Judith Rothschild Foundation, 1998-3-1
Portrait of John with Hat, 1935, by Alice Neel, American, 1900 – 1984. Oil on canvas, 23 1/2 x 21 1/2 inches. Philadelphia Museum of Art: Gift of the estate of Arthur M. Bullowa, 1993-119-2.
PSFS Building, Philadelphia, c.1932 – 1933, by Lloyd Ullberg, American, 1904-1996. Gelatin silver print, image and sheet:10 x 7 3/8 inches. Philadelphia Museum of Art: Purchased with the Lola Downin Peck Fund, 1999-121-3.
The exhibition emphasizes those artists—among them Charles Demuth, Morton Schamberg, Charles Sheeler, Benton Spruance, and Paul Strand—who responded to the Armory Show of 1913 and the influence of the European avant-garde by seeking to give modernism an authentic American voice. Offering a broader perspective on American art of this period, the exhibition explores the achievements of important African American figures, such as Aaron Douglas, William Edmondson, Horace Pippin and Dox Thrash. It also looks at cross-currents within the arts, including contemporary fashion and design, and work by female artists such as O’Keeffe, Florine Stettheimer, Frances Simpson Stevens, Kay Sage, and Dorothea Tanning.Continue reading →
Unprecedented Source Book Reveals Over 700 Pages of Inspired Design with Collections by the Industry’s Most Dynamic Designers
RH announced today the release of the 2017 RH Interiors Source Book. At 728 pages, this unprecedented design resource presents one of the most comprehensive collections of luxury home furnishings, lighting, and décor in the world. Contemporary and timeless, the new collections are the result of creative collaborations with some of the industry’s most celebrated designers, artisans, and manufacturers.
RH Interiors 2017 Source Book (Photo: Business Wire)
“We are proud to introduce our 2017 Interiors Source Book, as we believe each of these collections is a reflection of some of the most dynamic thinkers and inspiring designers in our industry today,” said RH Chairman and CEO Gary Friedman.
Mr. Friedman continued, “These new collections represent our passion for curating the very best people, products, ideas and inspiration from around the world, and carefully integrating each into a composition that renders them more, rather than less, valuable, where the whole becomes greater than the sum of the parts.”
Gracing the cover of the Source Book is the WyethSplit Bamboo Collectionby designerJohn Birch, renowned collector and founder of the famed WYETH showroom in New York City and Southampton, which spans living, dining, and bedroom. Inspired by elements of African tribal design and crafted of carbonized bamboo, a richly nuanced material of extraordinary visual depth and strength, the collection is imbued with a sense of quiet, understated luxury – its streamlined silhouette juxtaposed with a softly contoured, organic surface.
This season brings several notable lighting collections, including the stunning Geode Quartz Crystal Chandelier and Pendantby Timothy Oulton(London), featuring glowing spheres and halos hand-fitted with individual rock crystals – the purest and rarest form of quartz; theWright Collection, a spare and elegantly minimal line of hand-forged iron chandeliers, lamps and sconces designed by Ian K. Fowler(Chicago); and the modern Machinist Pendantby designer Jonathan Browning(San Francisco), a study in positive and negative space with a solid brass, geometric yoke that reveals its industrial inspiration.
The Brutalist Constructivist Table Lamp, distinguished by its bold geometry and artfully faceted face; and the Vittoria Chandelier, an abstract interpretation of 1970s Venetian lighting by Theo Eichholtz(Amsterdam), are also among the collection’s noteworthy introductions.
Statement seating includes Timothy Oulton’s Parisian Sofa Collection, where elegant lines, a low profile and sumptuous goose feather and down cushions create a relaxed European sensibility; Oulton’s Cloud Modular Leather Collection, offering the same epic comfort, unmatched quality and endless configurations of the original Cloud Sofa, but now available in 50 artisan-crafted kinds of leather, including the exclusive Cavalo Leather; and the handcrafted French Contemporary Dining Chair Collection– a transitional update on classic silhouettes in round and square back side chair, armchair, counter stool and barstool styles by the Van Thiels(The Netherlands).
The Source Book also presents singular designs such as Stacked, a bold, architectural collection by the Van Thiels recalling the 1970s Brutalist movement that spans living, dining and bedroom; as well as Thaddeusand Cannon– two collections featuring one-of-a-kind coffee, console and side tables from designerJulie Lawrence(Virginia). Inspired by famed sculptor Diego Giacometti, Thaddeusis defined by elegantly tapered legs and fluid lines while Cannontakes cues from the rugged doors of ancient Iberia. Both feature imperfect hand-hammered metal frames – complete with tool marks – juxtaposed with honed white Carrara marble tops.
Pure, geometric forms rendered in solid brass are the hallmarks of Jonathan Browning’s 14 new cabinet hardware collections– his first for RH. The architectural silhouettes reflect Browning’s unerring eye for perfect proportions and attention to detail. Meticulously finished by hand, the refined collections are modern and minimal, simple and sculptural.
Guided by a less-is-more philosophy, RH’s exclusive collaboration with renowned rug scion Ben Soleimani(Los Angeles and London) has yielded an array of exquisite, handcrafted collections that celebrate understated motifs, rich textures, and extraordinary depth – blending tradition and innovation with the perspective of a contemporary artist.
Anthony Thomas Galante Debuts Exclusive Evening Look In Retailer’s Iconic Christmas Book
Neiman Marcus, in partnership with Norell Fragrances and The New School’s Parsons School of Design, announces Anthony Thomas Galante, the 2017 Norman Norell Design Award recipient, will debut his winning design in the 2017 Neiman Marcus Christmas Book.
The award represents the culmination of the NORELL x PARSONS x NEIMAN MARCUS spring 2017 design course, challenging students to create an original look reflecting the legendary designer’s heritage. A first for both renowned institutions, the course allowed students to realize their design potential, taking their concepts all the way from the classroom to the luxury consumer.
ANTHONY THOMAS GALANTE FOR NORELL NEW YORK Navy Hand-Sequined Silk Georgette Gown [Credit Courtesy of Neiman Marcus]
Galante, a 2017 Parsons graduate from Marengo, Illinois, designed a hand-sequined silk georgette gown. Demonstrating both a respect for the designer’s legacy and an eye for innovation, Galante drew inspiration from Norell’s classic style, reinterpreted with a modern twist.
Galante’s winning look was selected by a noted committee of judges, including photographer, Michael Avedon; designer and author, Jeffery Banks; Parsons Dean of Fashion, Burak Cakmak; Neiman Marcus Fashion Director, Ken Downing; Fashion Group International President & CEO, Margaret Hayes; Parlux Fragrances, Ltd. President & Fashion Group International Chairman, Parlux Fragrances, ; CR Fashion Book Editor, Ray Siegel; and designer, Jason Wu.
“The great opportunity to research Norman Norell and the brand’s extensive heritage was such a highlight of my time at Parsons. To have my Norell-inspired gown go from concept to sketch to sample, to then being highlighted in the Christmas Book and sold from the Neiman Marcus flagship store in Dallas, feels more special than I ever could have imagined,” said Galante.
“Redefining the future of fashion can only be realized with a complete understanding and appreciation of fashions past,” says Downing. “I was taken with Anthony’s ability to capture the vocabulary, the emotion, and embrace the true craftsmanship of Norman Norell; these are marks of a great talent.”
“We are excited to revive the spirit of Norell’s iconic fashion through this incredible partnership with Neiman Marcus, as we celebrate the success of the newly-introduced Norell Fragrance Collection, and realize the dreams of this talented rising fashion designer,” said Loftus.
Norell Blushing Fragrance Gift Set [Credit Courtesy of Neiman Marcus]
Galante’s award-winning Norell-inspired hand sequined silk georgette gown will be available for purchase by special order in the 2017 Neiman Marcus Christmas Book retailing for $2,500.00, alongside the new Norell Blushing fragrance ($150). Galante’s winning look will also be featured in the Neiman Marcus Downtown Dallas flagship store.
This fall, the Philadelphia Museum of Art will present Patricia Urquiola: Between Craft and Industry, November 19, 2017 – March 4, 2018, in the Alter Gallery 176, the first solo exhibition devoted to the work of this internationally acclaimed designer. The exhibition will showcase her versatility in creating products, interiors, and architectural spaces. On November 18, Urquiola will be honored with the Design Excellence Award by Collab, the Museum’s affiliate group for modern and contemporary design.
(Each year, Collab presents the Design Excellence Award to a design professional or manufacturer whose impact on the field is inspirational. Past recipients have included Rolf Fehlbaum, Marc Newson, Paula Scher and Seymour Chwast, Zaha Hadid, Alberto Alessi, Marcel Wanders, and Frank O. Gehry.)
Patricia Urquiola. Image by GAN, 2017.
Curious and energetic by nature, Urquiola moves with ease between product design, interior design, and architecture—whether designing handbags that convert into stools for Louis Vuitton, dinnerware for Rosenthal, or the recently opened Il Sereno Hotel on the shore of Lake Como in Italy.
Photograph of Mandarin Oriental Hotel, Barcelona, Spain. Designed by Patricia Urquiola. Designed in 2010.
Photograph of Mandarin Oriental Hotel, Barcelona, Spain. Designed by Patricia Urquiola. Designed in 2010.
Patricia Urquiola is one of the most influential designers in the world today. Born in Oviedo, Spain, and trained as an architect in Madrid, Urquiola graduated from the Politecnico di Milano, where she studied with Achille Castiglioni, one of the foremost lighting designers of the second half of the twentieth century. She opened a studio in Milan in 2001 and since that time has collaborated with dozens of manufacturers throughout the world, including Alessi, B&B Italia, Flos, Kartell, Moroso, and most recently the American firm of Haworth. In September 2015, Urquiola was appointed Art Director of the iconic Italian company Cassina. She has been the recipient of numerous accolades and awards including the Order of Isabella the Catholic, presented by King Juan Carlos I of Spain.
Platter from the Landscape Tea Service. Designed by Patricia Urquiola in 2008. Made by Rosenthal AG, Selb, Germany. Porcelain. Gift of Rosenthal AG, 2008
Urquiola’s work often fuses traditional modes of production with modern design. Her “Fjord” armchair is a rethinking of a mid-twentieth-century Nordic chair, just as the “Landscape” tea set manufactured by Rosenthal is a new spin on a traditional object. Her colorful rugs that she designed in Spain are woven in workshops in India. She brings the handmade aspect of the classic rattan chair of the Philippines to her “Crinoline” chair design.
“Chasen” Hanging Lamp. Designed by Patricia Urquiola. Made by Flos S.p.A., Brescia, Italy. Designed in 2007. Aluminum, borosilicate glass, steel. Flos USA
“Patricia Urquiola: Between Craft and Industry” “Antibodi” Chaise. Designed by Patricia Urquiola, Designed 2006. Stainless steel, PVC, polyurethane, felt. Gift of Fury Design, Inc., Philadelphia
“Urquiola is part of a new generation of designers who take a humanistic approach to their work,” said Donna Corbin, The Louis C. Madeira IV Associate Curator of European Decorative Art. “She is known for exploring the possibilities of the artisanal through new technologies, to achieve something that feels familiar and evokes a sense of comfort.”
Among her most recent work on view is “Openest,” an innovative office system that is emblematic of her interest in prioritizing comfort. It was designed for Haworth offices in Michigan and was named “Best of” in the NeoCon Competition in 2014. Also featured in the form of photographs will be a number of Urquiola’s architectural commissions, including the award-winning 2005 Ideal House project, shown at the IMM Cologne international furnishings show in Germany, and the Mandarin Oriental Hotel in Barcelona, Spain.
“Serena” Table Lamp. Designed by Patricia Urquiola. Made by Flos S.p.A., Brescia, Italy. Designed in 2015. Aluminum, polycarbonate. Flos USA
Collab is a group of design professionals and enthusiasts who support modern and contemporary design at the Philadelphia Museum of Art. Its members experience design year-round through exhibition previews, design-inspired field trips, special access to the Museum’s world-class design collection, lectures, and opportunities to meet and learn from design curators and visionaries.
In conjunction with the exhibition, this year’s Collab Student Design Competition will challenge students at colleges and universities to create an object inspired by Urquiola’s exhibition. The goal is to design a piece of storage furniture or another functional object that can be the focal point of a room. On Monday, November 13, a panel of judges drawn from the region’s professional design community will gather at the Museum to identify the most innovative entries. The designs will be placed on display at the Museum through November 15, and visitors can cast their votes for the People’s Choice Award. Winners will be presented at the Collab Design Excellence Award lecture on Saturday, November 18.
This exhibition is made possible by Lisa Roberts and David Seltzer, Poor Richard’s Charitable Trust, and Haworth. Additional support is provided by Collab and other generous sponsors. The Student Design Competition is generously sponsored by Publicis Health Media.
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