The Metropolitan Museum of Art Announces Schedule of Spring and Summer 2018 Exhibitions

The Metropolitan Museum of Art has announced the schedule of its upcoming spring and summer seasons. Highlights of the upcoming 2018 exhibition season are:

Before/On/After: William Wegman and California Conceptualism

Exhibition Dates: January 17–July 15, 2018

Exhibition Location: Gallery 851

William Wegman, Before-After

William Wegman, Before/On/After (detail), 1972. Gelatin silver prints. The Metropolitan Museum of Art, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. © William Wegman, Courtesy the artist

Opening at The Metropolitan Museum of Art on January 17, the exhibition Before/On/After: William Wegman and California Conceptualism will survey Conceptual Art as it developed in Southern California in the 1970s. The show is occasioned by the artist William Wegman’s extraordinary recent gift to the Museum of 174 short videos that he made between 1970 and 1999—his entire career in the medium. A 90-minute selection of videos from this gift will be shown along with photographs and drawings by Wegman as well as drawings, prints, and photographs by his contemporaries in Southern California—John Baldessari, Vija Celmins, Douglas Huebler, Ed Ruscha, and others.

Wegman took up video while teaching painting at the University of Illinois in the mid-1960s. Like many artists using the then-new medium, Wegman appreciated video—like photography—for its lo-fi reproducibility and anti-artistic qualities. Also, unlike film, where the negative must be developed and processed before viewing, video was like a sketchbook that allowed revision in real time.

It wasn’t until Wegman moved to Southern California in 1970 that his video production took off. Although he lived in Los Angeles for only three years, the artist found his method: short, staged vignettes using everyday items in which expectations are reversed and puns and homonyms pursued to absurd conclusions.

The artist’s key early collaborator for most of these short videos was his dog, a Weimaraner called Man Ray, who enthusiastically participates in the goings-on. In contrast to other early adopters of video, Wegman eschewed an aesthetic of boredom to focus on humorous, improvised scenarios in which he deflated the pretensions of painting and sculpture while also lampooning the pieties and self-seriousness of Conceptual Art—at a time when it was being codified and institutionalized. Beneath the slacker humor, however, are poignant points about failure and the reversal of expectations that resonate with work by other West Coast Conceptualists—the friends and fellow travelers also featured in the exhibition.

Before/On/After: William Wegman and California Conceptualism is organized by Doug Eklund, Curator in the Department of Photographs at The Met.

Birds of a Feather: Joseph Cornell’s Homage to Juan Gris

Exhibition Dates: January 23–April 15, 2018

Exhibition Location: The Met Fifth Avenue, Gallery 918, Lila Acheson Wallace Wing

Joseph Cornell (American, 1903–1972). Homage to Juan Gris, 1953–54.

Joseph Cornell (American, 1903-1972). Homage to Juan Gris, 1953-54. Box construction. Philadelphia Museum of Art, Purchased: John D. McIlhenny Fund. Art © The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, NY

On October 22, 1953, Joseph Cornell wrote in his diary: “Juan Gris/Janis Yesterday.” He was referring to the previous day’s outing, when, on one of his frequent trips to the gallery district in midtown Manhattan, Cornell visited the Sidney Janis Gallery on East 57th Street. Among a presentation of approximately 30 works by modern artists, one alone captivated Cornell—Juan Gris’s celebrated collage The Man at the Café (1914), which is now a promised gift to the Museum as part of the Leonard A. Lauder Cubist Collection.

This shadowy profile of a fedora-topped man immediately inspired Cornell to begin a new series: some 18 boxes, two collages and one sandtray created in homage to Juan Gris, whom he called a “warm fraternal spirit.”

When he began the Gris series in 1953, Cornell was an established artist, two decades into his career. His shadow box assemblages —a genre he is credited with pioneering—were exhibited regularly in major galleries and museums, and acquired by collectors and museums for their permanent collections. Cornell gathered his banal yet evocative materials during his forays in New York City or Long Island. His sources were many and varied; he made his assemblages from old journals and French history textbooks, postage stamps, fishing tackle, cordial glasses, clay pipes, and “flotsam and jetsam” to use his words. From these disparate fragments, Cornell wove together concepts, subjects, and lives that fascinated him. The complex network of references contained in each box often obscures, if not conceals, the artist’s intended theme or subject. For instance, in his Gris series, Cornell incorporated reproductions of Gris’s works into only one box, as well as in two collages and the one sandtray. Without these reproductions and the inscriptions Cornell made on some of the constructions, most of the works in his Gris series would be indistinguishable from those in his Aviary and Hotel series from around the same time – although for his homages to Gris he used the great white-crested cockatoo exclusively. Few viewers would have known about Cornell’s extensive notes found in his diaries and his Gris dossier, a working source file in which he stored materials for inspiration or later use. Cornell’s research on Gris included the acquisition of biographical publications and reviews on the Spanish-born artist, and he bolstered his knowledge of Gris and his art through conversations with artist friends such as Marcel Duchamp and Robert Motherwell.

In The Man at the Café, Gris worked in oil paint and pasted newsprint to present a mysterious male figure reading a newspaper, which obscures his face. The shapes of the man’s stylized fedora and its prominent black shadow cast against the café wall held a particular fascination for Cornell. For the central figure of his Gris series, Cornell selected a white cockatoo to contrast with the dramatic blacks, but he also embedded a reference to Gris’s shadow play and the fedora’s silhouette. Indeed, the bird, or its distinctive silhouette, appears in all but two of the boxes, with Cornell mimicking the relationship between positive and negative space by pasting the bird print to a wood cutout, outlining it, or echoing its contours with black paper.

Although Gris remained the initial catalyst for the series, Cornell also incorporated allusions to his own passions and pastimes as revealed in the foreign language texts, hotel advertisements, and maps. An aficionado of ballet and opera, Cornell attended performances in New York City and contributed illustrations to the Dance Index, a periodical edited by New York City Ballet co-founder Lincoln Kirstein in the 1940s. The white, feathered and tulle costumes of the principals dancing Swan Lake and La Sylphide reminded him of birds. Cornell was also enamored with the nineteenth century, the era of the romantic ballet and bel canto singing, and wove these birds of song and stage into the Gris series as well.

Completed over a period of 13 years, Cornell’s series of Gris shadow boxes is more extensive in number than any other that the artist openly dedicated to one of his admired luminaries of stage, screen, literature, or the visual arts. The main protagonist of Cornell’s Juan Gris series is a bird—the great white-crested cockatoo—specifically, an image taken from a 19th-century print of the species that Cornell repeatedly used along with Photostats or silhouettes of the bird’s form to explore the fascinating shadows that Gris produced in his own practice. At The Met, the exhibition Birds of a Feather: Joseph Cornell’s Homage to Juan Gris will reunite for the first time nearly a dozen boxes from Cornell’s Gris series together with the Cubist masterpiece, The Man at the Café.

The exhibition is made possible by the Eugene V. and Clare E. Thaw Charitable Trust.

Birds of a Feather: Joseph Cornell’s Homage to Juan Gris inaugurates a series of dossier exhibitions under the auspices of the Leonard A. Lauder Research Center for Modern Art at The Metropolitan Museum of Art.

As part of its mission to ensure the ongoing study of modern art with a particular focus on Cubism, the Leonard A. Lauder Research Center offers fellowships, lectures, and other programs to support new scholarship on the Leonard A. Lauder Cubist Collection and other 20th-century art. Each dossier exhibition will be related to a work or group of works from the Collection. Birds of a Feather: Joseph Cornell’s Homage to Juan Gris and future projects in the series are intended to provide a deeper context for understanding Cubism, its protagonists, and greater influences, to contribute exceptional scholarship, and to offer a fresh approach to the subject of looking and thinking about modern art.

The exhibition is curated by Mary Clare McKinley, an independent art historian based in London and former Assistant Curator in the Leonard A. Lauder Research Center for Modern Art, The Metropolitan Museum of Art.

A catalog, made possible by the Leonard A. Lauder Research Center for Modern Art, accompanies the exhibition and contains a major essay, written by McKinley, and the first-ever documentary catalog of Cornell’s Gris series.

Thomas Cole’s Journey: Atlantic Crossings

Exhibition Dates: January 30–May 13, 2018

Exhibition Location: The Met Fifth Avenue, Floor 1, Gallery 746, The Erving and Joyce Wolf Gallery

Thomas Cole (American, 1801–1848). View from Mount Holyoke, Northampton, Massachusetts,

Thomas Cole (American, 1801-1848). View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm-The Oxbow (detail), 1836. Oil on canvas, 51 1/2 x 76 in. (130.8 x 193 cm). The Metropolitan Museum of Art, New York, Gift of Mrs. Russell Sage, 1908

Met Museum to Explore Transatlantic Career of Renowned Painter Thomas Cole

Exhibition Marks 200th Anniversary of the Artist’s Arrival in America

Celebrated as one of America’s preeminent landscape painters, Thomas Cole (1801–1848) was born in northern England at the start of the Industrial Revolution, emigrated to the United States in his youth, and traveled extensively throughout England and Italy as a young artist. He returned to America to create some of his most ambitious works and inspire a new generation of American artists, launching a national school of landscape art. Opening January 30, the exhibition Thomas Cole’s Journey: Atlantic Crossings will examine, for the first time, the artist’s transatlantic career and engagement with European art. With Cole’s masterwork The Oxbow (1836) as its centerpiece, the exhibition will feature more than three dozen examples of his large-scale landscape paintings, oil studies, and works on paper. Consummate paintings by Cole will be juxtaposed with works by European masters including J. M. W. Turner and John Constable, among others, highlighting the dialogue between American and European artists and establishing Cole as a major figure in 19th-century landscape art within a global context. The exhibition marks the 200th anniversary of Cole’s arrival in America.

The exhibition was organized by Elizabeth Kornhauser, the Alice Pratt Brown Curator of American Painting and Sculpture at The Met, and Tim Barringer, Paul Mellon Professor of the History of Art at Yale University, with Chris Riopelle, Curator of Post-1800 Paintings at the National Gallery, London.

The exhibition follows the chronology of Cole’s life, beginning with his origins in recently industrialized northern England, his arrival in the United States in 1818, and his embrace of the American wilderness as a novel subject for landscape art of the New World. Early works by Cole will reveal his prodigious talent. After establishing himself as the premier landscape painter of the young United States, he traveled back to Europe.

The next section will explore in depth Cole’s return to England in 1829–31 and his travels in Italy in 1831–32, revealing the development of his artistic processes. He embraced the on-site landscape oil study and adopted elements of the European landscape tradition reaching back to Claude Lorrain. He learned from contemporary painters in England, including Turner, Constable, and John Martin, and furthered his studies in landscape and figure painting in Italy. By exploring this formative period in Cole’s life, the exhibition will offer a significant revision of existing accounts of his work, which have, until now, emphasized the American aspects of his formation and identity. The exhibition will also provide new interpretations of Cole’s work within the expanded contexts of the history of the British Empire, the rise of the United States, the Industrial Revolution, and the American wilderness, and Romantic theories of history.

Upon his return to America, Cole applied the lessons he had learned abroad to create the five-part series The Course of Empire (1834–36). These works reveal a definition of the new American Sublime that comes to its fullest expression in The Oxbow (1836). Finally, the exhibition concludes with an examination of Cole’s legacy in the works of the next generation of American landscape painters whom Cole personally mentored, notably Asher B. Durand and Frederic E. Church.

Exhibition design is by Brian Butterfield, Senior Exhibition Designer; graphics are by Ria Roberts, Graphic Designer; and lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers, all of The Met Design Department. After the presentation at The Met, the exhibition will be shown at The National Gallery, London (June 11–October 7, 2018).

The exhibition will be accompanied by a catalog suitable for both scholars and the general public. With new information on Cole’s life and revisionist interpretations of his major work, the publication will also feature research by The Met’s conservation team into Cole’s methods as a painter, illuminating this previously neglected area. The catalog will be available for purchase in The Met Store (hardcover, $65). The catalog is made possible by the William Cullen Bryant Fellows of The Metropolitan Museum of Art.

A series of Education programs will complement the exhibition. MetLiveArts will feature a 40-minute acoustic performance by Sting in the Museum’s Grace Rainey Rogers Auditorium on April 24, 25, and 26 (7:30 p.m.). Prior to each concert, ticket holders will enjoy a special viewing of the exhibition with curators Elizabeth Kornhauser and Tim Barringer. The April 24 performance of “Sting: Atlantic Crossings” is for Members only. Tickets will be available for purchase in early 2018.

On April 8 (2 p.m.), as part of MetSpeaks, American artist Ed Ruscha will discuss his seminal five-part Course of Empire series (1992 and 2003–5) with his friend, the author, and artist Tom McCarthy, who resides in London. Tickets for this event will be available for purchase.

Met curator Elizabeth Kornhauser and paintings conservator Dorothy Mahon will explore Cole’s work methods and techniques with artist Stephen Hannock on February 7 (6:00 p.m.), revealing the layers of meaning in Cole’s iconic painting, The Oxbow. This program is part of the Conversations With… series.

Elizabeth Kornhauser will moderate a Sunday at The Met discussion on April 15 (2 p.m.) on Cole’s role as a proto-environmental artist with scholars Alan Braddock and Rebecca Bedell and artist Michel Auder. (Auder’s 2017 work The Course of Empire was shown at the Documenta exhibition in Kassel, Germany.) These programs are free with Museum admission.

In a Gallery Performance on April 27 (6:00 p.m.), exhibition co-curator Tim Barringer will explore the musical and literary references that inspired Cole. This program is free with Museum admission, advance registration is required.

Education programs are made possible in part by the Clara Lloyd-Smith Weber Fund and The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts.

The exhibition, organized by The Metropolitan Museum of Art, New York, and The National Gallery, London, is made possible by The Peter Jay Sharp Foundation. Additional support is provided by the Henry Luce Foundation, White & Case LLP, the Enterprise Holdings Endowment, and the Terra Foundation for American Art. It is also supported by an Indemnity from the Federal Council on the Arts and the Humanities.

Leon Golub: Raw Nerve

Exhibition Dates: February 6–May 27, 2018

Exhibition Location: The Met Breuer, Floor 2

Leon Golub (American, 1922–2004). Gigantomachy II (detail), 1966

Leon Golub (American, 1922-2004). Gigantomachy II (detail), 1966. Acrylic on linen, 9 ft. 11 1/2 in. x 24 ft. 10 1/2 in. (303.5 x 758.2 cm). The Metropolitan Museum of Art, New York, Gift of The Nancy Spero and Leon Golub Foundation for the Arts and Stephen, Philip, and Paul Golub, 2016 (2016.696). © The Nancy Spero and Leon Golub Foundation for the Arts/Licensed by VAGA, New York, NY

Opening February 6, 2018 at The Met Breuer, Leon Golub: Raw Nerve will present a selective survey of this groundbreaking artist’s work. Timed to celebrate the 2016 gift to The Met of the monumental painting Gigantomachy II (1966) from The Nancy Spero and Leon Golub Foundation for the Arts and Stephen, Philip, and Paul Golub, the exhibition will present highlights from Golub’s long, eminent career, drawn from distinguished private collections as well as the artist’s estate. Golub’s unflinching portrayals of power and brutality have profound relevance today, as does his belief in the ethical responsibility of the artist.

Born in Chicago, Golub (1922-2004) occupies a singular position in the history of mid to late 20th-century art. His devotion to the figure, his embrace of expressionism, his amalgamation of modern and classical sources, and his commitment to social justice distinguish his practice as an artist. The centerpiece of Leon Golub: Raw Nerve is Gigantomachy II, a commanding, epic work measuring nearly 10 by 25 feet. Created in 1966, two years after Golub joined the Artists and Writers Protest Group and began to lobby actively against the Vietnam War, this political allegory recounts the story of a mythic battle between the Olympian gods and a race of giants. In Golub’s contemporary retelling, there are no heroes, only anonymous men in various states of distress, their bodies riven by scars and wounds. Alongside this powerful and terrifying work, Leon Golub: Raw Nerve will feature paintings from all of the artist’s most important series, including Pylon, White Squad, Riot, and Horsing Around. These will be accompanied by a 1970 painting of a victim of the Vietnam War, as well as a suite of early paintings that reflect Golub’s study of antiquity, and a group of unsettling portraits of the Brazilian dictator Ernesto Geisel. Also on view will be works on paper that represent subjects of longstanding interest to the artist, from mercenaries, interrogators, and the victims of violence to political figures, nudes, and animals, all of them rendered in the raw, visceral style for which he is justly celebrated. Taken together, the works in Leon Golub: Raw Nerve, which spans the entire arc of Golub’s career, attest to his incisive perspective on the catastrophes that afflict human civilization as well as his critique of violence and belligerent masculinity.

Leon Golub: Raw Nerve is organized by Kelly Baum, Cynthia Hazen Polsky and Leon Polsky Curator of Contemporary Art in The Met’s Department of Modern and Contemporary Art. Continue reading

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The Peninsula Hong Kong Celebrates The Holiday Spirit Of Giving With The Trees Of Hope Campaign And Special Events To Bring Seasonal Cheer For All Families

Timeless traditions, festive dining, and a special charitable initiative create unforgettable memories for guests at The Peninsula Hong Kong

The Peninsula Hong Kong will shares the festive spirit with guests and local residents during the holiday season with memorable Yuletide events that celebrate the joy of giving and raise funds for Make-A-Wish® Hong Kong. The Peninsula Hotels’ annual Trees of Hope fundraising campaign is now in its 14th year across all hotels and has raised more than US$ 1.5 million since its launch in Hong Kong in 2003.

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The Peninsula Hong Kong logo

Trees Of Hope

For the 14th consecutive year, The Peninsula Hong Kong will participate in The Peninsula Hotels’ worldwide charity program, Trees of Hope. Guests who stay in or visit the hotel will have the chance to purchase a SnowPage custom-crafted glass tree ornament, priced at HK$ 150 each, and a SnowPage plush toy, priced at HK$ 200, with the proceeds going directly to Make-A-Wish® Hong Kong’s program, which makes dreams come true for children with life-threatening medical conditions.

Timeless traditions, festive dining and a special charitable initiative create unforgettable memories for guests at The Peninsula Hong Kong

Timeless traditions, festive dining and a special charitable initiative create unforgettable memories for guests at The Peninsula Hong Kong

Guests will also receive a SnowPage gingerbread cookie with every ornament purchased and will have the option of hanging the ornament on the hotel’s Christmas trees as a symbol of hope or taking it home as a souvenir. For every classic SnowPage plush toy and ornament sold, HK$ 100 will be donated to Make-A-Wish® Hong Kong.

The festive season is a time for good cheer and generosity, and both are in abundant supply this year at The Peninsula Hong Kong. To celebrate the spirit of giving this Christmas, the city’s timeless Grande Dame presents a series of programs and special offers throughout the hotel that are sure to put guests in the holiday mood while helping create a brighter future for those who are less fortunate.

The Trees of Hope fundraising campaign will also extend to The Peninsula’s restaurants, which will offer special promotions that include donations to the charitable enterprise.

In the hotel’s legendary Lobby, the much-loved tradition of Afternoon Tea will be given a festive makeover as the “Teas of Hope” Classic Afternoon Tea. Available from 1 to 21 December and 27 to 30 December 2017, the set is priced at HK$ 368* per person and HK$ 658 for two and includes an ornament. For each tea set sold, 20% will be donated to Make-A-Wish®.

*subject to 10% service charge

Six special cocktails created for the festive season will be available throughout December in the hotel’s various restaurants and bars. These “Cocktails of Hope” are the ideal pick-me-up for winter evenings, and include:

  • Warming Glühwein (HK$ 150*), red wine, port, bay leaf, cloves, cinnamon, nutmeg, ginger, orange, and lemon
  • Iced Glühwein (HK$ 120*), grape juice, cranberry juice, bay leaf, cinnamon, cloves, nutmeg, ginger, orange, and lemon
  • Egg Nog (HK$ 150*), brandy, dark rum, milk, coffee cream, egg, and nutmeg
  • Winter’s Ginger (HK$ 150*), Hedonist liqueur, gin, peach puree, white peach syrup and ginger
  • Tropic Cider (HK$ 150*), aged rum, pineapple juice, cherry blossom syrup, fresh lime juice and orange
  • Lemongrass Elixir (HK$ 120*), lemongrass, agave nectar, grapefruit juice and butter

Available in all The Peninsula’s outlets (except the American Bar at Felix), 100% of each cocktail sold will be donated to Make-A-Wish®. Continue reading

Toast To 2018 At The Peninsula New York’s Rooftop New Year’s Eve Gala At Salon De Ning

Grab a glass of champagne and toast to 2018 high above the city lights of Fifth Avenue at The Peninsula New York’s first Rooftop New Year’s Eve Gala, taking place at Salon de Ning rooftop bar and terrace. This glamorous event will see the property’s Salon de Ning transformed into a chic sky-lit penthouse complete with live music, delicious eats, entertainment and dancing, as both the East and West Terraces are enclosed and heated under translucent marquees.1510073027-925c0c2051589fd218c3816db3509a6f

A Manhattan favorite, Salon de Ning is inspired by the fictitious tale of Madame Ning, a celebrated Shanghai socialite, avid world traveler and international hostess who presided over “salons” in her stylish and eclectic residences around the world, making her friends and guests feel at home in a warm and welcoming environment. Boasting the most spectacular views of the glittering New York skyline and its streets below, Salon de Ning makes for the ideal rooftop venue to ring in 2018 beneath the city lights.

Following a red-carpet arrival through a private entrance leading directly to Salon de Ning, guests will be greeted with Champagne and be given an exclusive key with a hashtag for entry, as they then pass through an iridescent photo tunnel which will send a text directly to a guest’s phone with the image. From there, guests will enter an express elevator up to Salon de Ning.

Upon entry and resembling a luxe speakeasy, the West Terrace will welcome guests with crisp couches, vast velvet curtains, dancing and live music from the imaginative French duo Jul & Co, performing their signature mix of multi-instrumental DJ skills to set a unique and eclectic vibe. An exclusive VIP section for 20 people is available for purchase for $20,000, which includes five bottles of Cristal champagne, a lavish caviar setup, a rare bottle of the Balvenie 30-Year-Old Vintage Single Malt Scotch Whisky and all-night bottle service to ring in not just New Year’s Eve, but mark the start of the hotel’s 30th Anniversary year, taking place in 2018.

On the East Terrace, two full-service bars and a range of dining stations and passed plates will excite guests, along with a performance by The Chip Shop Boys, regarded as the UK’s best rock and pop cover band to dance the night away. Behind them, a video wall with a live feed of New York City’s iconic Times Square ball drop will be broadcast at the stroke of midnight, kicking off 2018 along with a confetti drop, more dancing, drinks and posh late-night bites.

The two atmospheres will meet in Salon de Ning’s interior bar, which will host a decadent tequila-pairing bar complemented with a live sushi station and raw bar for guests to enjoy, as a range of curious performers dazzles through the space. Additional eats include an Asian street food station, taco bar, and post-midnight dessert graffiti station.

The Salon de Ning Rooftop New Year’s Eve Gala will take place from 9:00pm to 2:00am and is priced at $725, not including tax and gratuity. Attire is black tie optional. For reservations, please call 212-903-3051 or email holidaypny@peninsula.com.

A World of Adventure Awaits: Royal Caribbean Brings Together Bold Itineraries and Unrivaled Innovations for 2019-2020 Season

Cruise Line Inspires Adventure with Industry-Changing Ships Sailing to More Destinations than Ever

Royal Caribbean International‘s expanding global footprint is evident in the 2019-2020 deployment plans, thanks to having unparalleled product offerings in the Caribbean, four new ports of call in Europe, and the first-ever Quantum Class ship to visit the Alaskan frontier. Combined with newly transformed ships designed to offer an unmatched short Caribbean vacation, Royal Caribbean is offering more adventures than ever for guests of all ages.Royal_Caribbean_International_logo

More Ways to See the Caribbean

Royal Caribbean is changing the game when it comes to short Caribbean cruise vacation offerings. Newly modernized and purposefully redesigned with families in mind, two of the cruise line’s Voyager Class shipsMariner of the Seas and Navigator of the Seas – will sail 3- and 4-night itineraries to The Bahamas. Touting favorites unique to Royal Caribbean, and new features catering to emerging trends and traveler preferences, both ships will represent the best product in the industry offering short, weekend vacations to the Caribbean. Mariner will sail from Port Canaveral, Florida, while Navigator will be based in Miami where guests will be welcomed through Royal Caribbean’s new, state-of-the-art Terminal A in PortMiami. Voyager Class changed the industry by introducing unexpected activities and adventures, including the rock-climbing wall, ice-skating rink and Royal Promenade. Together with some exciting new features, they will be perfect introductions for first-time guests and families, who are short on time, to experience the best of the Caribbean in a weekend.

Travelers from the Southwest also seeking short Caribbean getaways can take advantage of 4- and 5-night sailings on Enchantment of the Seas from Galveston, Texas to various destinations in Mexico, year-round. Short Caribbean itineraries will be available to book the week of Nov. 20, 2017. All itineraries will be available to book by Crown & Anchor Society loyalty members one day prior to the general opening date.

All four of the world’s largest cruise ships – Oasis of the Seas, Allure of the Seas, Harmony of the Seas and Symphony of the Seas – will set sail from Florida in 2019 through April 2020. Oasis of the Seas, the first ship in its class, will undergo a bow-to-stern transformation before homeporting at Royal Caribbean’s custom-built Terminal A at PortMiami for the fall and winter seasons, alongside her newest record-setting sister ship, Symphony of the Seas, which will be a year-round Miami resident. Continue reading

New Copper Barware Collection By Absolut Elyx® Now Available Online

Also Premiering At The Original Farmers Market For The Holidays

The Luxury Vodka Brand Introduces The Elyx Boutique Featuring A Collection Of Expertly Crafted Copper Bar Tools And Drinking Vessels Designed For Gifting

Luxury vodka brand, Absolut Elyx is expanding their range of signature copper drinking vessels and unique lifestyle pieces to include their professional grade bar tools and festive drinkware. The copper collection features high-end designs, attuned functionality and an unparalleled attention to detail that truly defines luxury. For the2017 festive Holiday season, the Elyx Boutique Pop-up Shop at The Original Farmers Market will be open every day from Monday November 27th through Sunday December 24th.

Over the last few years, our copper collection has become increasingly popular and we are thrilled to have the opportunity to expand the brand beyond the spirits industry,” says CEO Jonas Tåhlin.

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Absolut Elyx Deluxe Martini Kit.

Absolut Elyx has a one-of-a-kind, handcrafted distillation process in which copper plays an integral role. The unique use of copper in the distillation process removes unwanted impurities and gives Elyx a distinct character and unparalleled silky smoothness. It is to be enjoyed in many forms and arguably best served in Elyx’s original copper drinking vessels.

For every copper item and every bottle of Absolut Elyx sold in the USA, the brand will be donating a week’s (140 liters) worth of safe water to those in need of it. Absolut Elyx has been helping to provide sustainable water solutions where they are needed most through their partnership with the non-profit organization Water for People. Elyx is made from over 50% water so they have partnered with one of the most respected water organizations to drive awareness to the cause with hopes of transforming the spirits industry. To date, over 30,000 people have been given access to safe drinking water through this partnership.

In addition to the upcoming pop-up, Holiday shoppers can purchase select copper pieces at www.ElyxBoutique.com and Fred Segal (8500 Sunset Blvd). Exclusive copper gift sets and Absolut Elyx will also be available at Los Angeles locations including Mel & Rose (8344 Melrose Ave), Liquor Locker (8161 Sunset Blvd.) and John & Pete’s Fine Wine and Spirits (621 N. La Cienega Blvd.).

Art Preview: The San Francisco Museum of Modern Art Presents Worldwide Exclusive Exhibition of René Magritte’s Late Paintings

René Magritte, the consummate surrealist painter, faced a question of conviction at the age of forty-four, as Europe was overwhelmed by the horrors of World War II. Already in possession of his classic style of painting, honed over the previous two decades, Magritte suddenly began to make paintings that looked almost nothing like his previous work. In this era of instability and upheaval during the German occupation of Belgium, he questioned the role of art and looked for a new direction and new meanings.

René Magritte, The Happy Donor, 1966

René Magritte, The Happy Donor, 1966; oil on canvas; Musée d’Ixelles, Belgium; © Charly Herscovici, Brussels / Artists Rights Society (ARS), New York

René Magritte: The Fifth Season focuses on the latter half of Magritte’s career, from approximately 1943 to 1967, a period of remarkable artistic transformation and revitalization. Featuring more than 50 oil paintings and a dozen gouaches, the exhibition will reveal Magritte as an artist attuned to the paradoxes within reality, who subverted our expectations of the world around us. The subtitle “The Fifth Season”—taken from one of Magritte’s paintings made during the war years — evokes an alternative reality both within and outside the accepted conventions of time and space.SFMOMA logo 2

René Magritte: The Fifth Season will be presented exclusively at the San Francisco Museum of Modern Art (SFMOMA) from May 19 through October 28, 2018. With rarely-seen treasures from museums and private collections around the world, the exhibition will delve into the provocative themes found in Magritte’s paintings from the 1940s through the 1960s, when the artist emerged as a champion of the role of mystery in art.

René Magritte, La chambre d_écoute (The Listening Room), 1952

René Magritte, La chambre d’écoute (The Listening Room), 1952; The Menil Collection, Houston, Gift of Fariha Friedrich; © Charly Herscovici, Brussels / Artists Rights Society (ARS), New York

(The exhibition, which follows the 50th anniversary of Magritte’s death in 2017, builds on SFMOMA’s longstanding relationship with the Magritte Museum in Brussels, Belgium, and was developed in partnership with the Magritte Foundation.)

Through nine immersive galleries the exhibition explores how Magritte (Belgian, 1898–1967) balanced philosophy and fantasy, irony and conviction, to illuminate the gaps between what we see and what we know. Magritte’s work creates a world beyond rationality, liberated from the traditional understandings of how artworks convey meaning. Continue reading

RH Unveils 2017 Interiors Collection

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)

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 Wyeth Split Bamboo Collection by designer John 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 Pendant by Timothy Oulton (London), featuring glowing spheres and halos hand-fitted with individual rock crystals – the purest and rarest form of quartz; the Wright 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 Pendant by 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 Thaddeus and Cannon – two collections featuring one-of-a-kind coffee, console and side tables from designer Julie Lawrence (Virginia). Inspired by famed sculptor Diego Giacometti, Thaddeus is defined by elegantly tapered legs and fluid lines while Cannon takes 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.

Textile introductions reflect a distinct global influence with the Moroccan Cactus Silk Pillow Cover Collection, woven by villagers in their homes west of the Atlas Mountains in North Africa; Rusty Arena’s (Houston) Velvet Oushak Pillow Collection, an homage to the exquisitely-patterned carpets of 17th-century Turkey; and several heirloom-quality Italian Bedding collections created in the Florentine studio of master artisan Carlo Bertelli (Italy), including Ultra-Fine Lightweight Linen, Ultra-Soft Percale, and 1,000-Thread-Count Luxe Sateen.

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.

For more on RH Interiors, visit RH.com.