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Milan's Safe Bet: Midcentury Reissues at Salone del Mobile
18/04/2014
Perhaps due in part to the sunnier weather, the cloud of economic gloom that hung overhead during Milan’s 2013 Salone del Mobile was decidedly less pronounced this time around. The Rho Fairgrounds felt more robust and more cheerful, overflowing with new releases and, particularly among the Italian brands, a plethora of midcentury reissues. “Nineteen-fifties Italian style is joyful, energetic, and multi-functional,” Cedric Morisset, head of the design department at Paris’s Piasa auction house, recently told ARTINFO during an interview in his showroom. Midcentury designs, developed after World War II to fill a surge of newly constructed urban spaces, are efficient by nature, and their compactness and modularity perfectly address our current needs for space efficiency. More importantly, they’re far less of a gamble. “It’s safer than having a young designer to work on a specific project,” Morisset continued, referring to the still dismal economic climate in Milan. After surveying last week’s festivities in that city, this reporter stopped by a well-timed exhibition of 1950s and ’60s Italian design at Morisset’s Paris auction house, and found an uncanny resemblance between his secondary market wares and the new launches we had just seen at Salone. “When you have the drawings and the name and the techniques already developed, it’s much easier for marketing. Honestly, I think that new design comes when the economy is good,” he said. Poltrona Frau, of which Michigan-based brand Haworth acquired a majority stake in February, was one of several Italian brands in on this revival trend. During the fair, the company launched the Albero, a clever, pole-mounted revolving bookcase designed in the 1950s by late Italian architect Gianfranco Frattini, as well as Gastone Rinaldi’s 1953, single-shell DU30 chair, reissued with its original visible screws as an homage to Rinaldi’s design. Sister company Cassina went into the archives of Simon, a midcentury brand founded in 1968 by the late Dino Gavina, and resurrected works by modernist greats Marcel Breuer, Kazuhide Takahama, and Gavina himself, as well the 1952 Mexique Table and swiveling 1943 Indochine Chair from Charlotte Perriand’s lusted-after estate. Molteni & C paid homage to Gio Ponti with a full exhibition of his works in its showroom, along with the reissue of two chairs from his 1970 Casa Adatte manifesto. Kartell reissued its midcentury and more recent past in new metallic finishes, gilding Anna Castelli Ferrieri’s 1969 modular Componibili storage system and Philippe Starck’s 2009 Master’s Chair in silver and gold. Of course, it wasn’t just the Italians. Scandinavia, the world’s other capital of design, had plenty of throwbacks of its own. Denmark’s Carl Hansen & Søn relaunched Hans Wegner’s 1963 Shell Chair with new Paul Smith-designed Maharam upholstery, while fellow Danish brand Fritz Hansen revived Arne Jacobsen’s 1958 Drop Chair. Finland’s Artek, co-founded by the late great Alvar Aalto in 1935 and acquired by German brand Vitra in 2013, launched three reissues of Aalto icons — the 400 and 401 Armchairs, designed in 1936 and 1932, plus the 1933 Stool 60 — in soft new colorways by Vitra art director and newly appointed Artek creative director Hella Jongerius. “I don’t have to constantly be creating the new,” Jongerius recently told Disegno Daily. “I like to refresh classics, because I believe that you don’t need to create new stuff all the time.” She has a point. The midcentury was a golden age of design in Italy and around the globe. As the world’s capital of design struggles financially, the show must go on, and better to do so with well-worn, proven classics than a proliferation of wares that may come and go. That’s the last thing the design world needs now.  Milan's Safe Bet: Midcentury Reissues at Salone del MobileSelect Photo Gallery: Slideshow: Milan's Safe Bet: Midcentury Reissues at Salone del MobilePublished: April 18, 2014 Read full article here

New York
18/04/2014
Language Undefined Location Website: http://www.amsterdamwhitneygallery.comLocation Email: amsterdamwhitney@aol.comEmail: amsterdamwhitney@aol.comBrief info:   Dynamically liaising with a distinguished client base of elite private collectors, decision-making art consultants, corporate art consultants, curators, architects, interior designers and decorators, as well as prestigious business, government, diplomatic and social VIPs, AMSTERDAM WHITNEY Gallery pre-eminently affords the acquisitor the extraordinary opportunity to acquire the most carefully curated, Contemporary Masters in the global art market.   Known as "The Most Beautiful Gallery in Chelsea,” AMSTERDAM WHITNEY Gallery is strategically located in the "Heart of Chelsea" the unrivaled, influential global epicenter of the art world. Home to over 200 leading galleries and the Chelsea Museum of Art, Chelsea is the ultimate undisputed international art destination for the informed acquisitor, decision based consultant and accomplished artist. The cachet of Chelsea attracts prominent art visitors worldwide.   In quest of the "creme de la creme" of global contemporary artists, AMSTERDAM WHITNEY Gallery's criteria is to highlight and showcase in a curated museum-caliber ambiance, Contemporary Masters and interpret significant art movements, reflecting diverse trends and mediums including Painting, Sculpture, Photography, Collage, Drawing & Watercolor. Featuring contemporary Representational Figurative art to Abstract work, modern Surrealism to today's Neo Post Impressionism, Portraits to Abstract Expressionism, AMSTERDAM WHITNEY Gallery is the acknowledged definitive global art resource for the informed collector, cognoscenti and professional art consultant. Its museum-curated, influential monthly exhibitions afford the private collector and demanding art professional a stimulating museum forum environment to view outstanding art and acquire the most exciting, innovative talent of the present day art world.  Display: Don't displayUse alternative description in place of "Hours" (Edit text below): Address: Javascript is required to view this map.Neighborhood: ChelseaMonday - Close: 12:00amTuesday - Open: 12:00amTuesday - Close: 12:00amWednesday - Open: 12:00amWednesday - Close: 12:00amThursday - Open: 12:00amThursday - Close: 12:00amFriday - Open: 12:00amFriday - Close: 12:00amLocation Phone: t +1 212 255 9050Saturday - Open: 12:00amSaturday - Close: 12:00amSunday - Open: 12:00amSunday - Close: 12:00amMonday - Open: 12:00amHas Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Tuesday-Saturday 11:00 - 5:30 pm, Closed on Sunday & MondayArtists: Marc Chagalllocation fax: f +1 212 255 9020Guide Landing page: Region on the Guide Landing page: None Read full article here

Jeremy Glogan at OHIO
18/04/2014
Artist: Jeremy Glogan Venue: OHIO, Glasgow Exhibition Title: Selfie Date: February 14 – March 14, 2014 Click here to view slideshow Full gallery of images and link available after the jump. Images: Images courtesy of OHIO, Glasgow. Photos by Max Slaven.  Link: Jeremy Glogan at OHIO Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Will "Orphan Black" Break Out in Season 2?
18/04/2014
Will "Orphan Black" Break Out in Season 2?Have you seen “Orphan Black?” I’m guessing not. Many people don’t know it exists. But that’s slowly beginning to change. The sci-fi drama, whose second season premieres on BBC America on April 19, has been given a major marketing push from the network. In New York City, the name of the show whizzes past on public busses, and it’s near-impossible to walk into a subway station without seeing a poster featuring the face, or rather faces, of the show’s star, Tatiana Maslany. More people have been talking about this show than ever before, which prompted me to take a look at the first season a few weeks ago, just to see what all the chatter was about. I became obsessed. I cancelled my plans on a Sunday and watched all 10 hours in a single day, pretty much back to back. When I emerged it was dark, my legs were cramped, I was hungry, and I was certain I had just seen the best television series to come out in a long while. Set in an unnamed Canadian city, “Orphan Black” opens with Sarah Manning, a down on her luck punk rock mom who’s returned after a long disappearance, ready to make a quick drug deal and take back the daughter she left behind. On a train station platform outside the city, she catches eyes with a stranger who looks just like her moments before witnessing the woman jump to her death in front of an approaching train. Making a quick decision to grab the woman’s purse, Sarah opens the wallet and is startled by the driver’s license photo — the resemblance is uncanny, as if she’d just discovered a long-lost identical twin.    Thus begins the central mystery of the show, and one that continues throughout the first 10 episodes. As the season progresses, Sarah finds out the harrowing truth — there is more than one woman who looks exactly like her, and together they piece together the puzzle of their origins. What at first might seem like a gimmick manages to escape any kind of Eddie Murphy-style ridiculousness. Maslany, who plays at least five different characters in the first season (and likely more in the second), makes the transition from one character to the next, often played together in a single scene, practically seamless. It’s easy to forget you’re watching the work of one actress, and even more remarkable when the only difference between the characters is often a slightly altered hairstyle or speech pattern.   The relentless pace of the show helps keep your mind off the multiple-character trick as well. The story jumps from one moment to the next, leaving very little room for unnecessary material over its brief (for American television) season. And like so much great science fiction, part of the reason “Orphan Black” works is because the narrative is rooted in a world we recognize and experience, not fantasy but a mysterious reality. The first season, which answered quite a few of the questions posed throughout the episodes, was still left opened ended. But the most pertinent question still remains: Will people finally begin to watch “Orphan Black” or is it destined to be a cult show forever? The second season of “Orphan Black” premieres on April 19 at 9 p.m. on BBC America. Published: April 18, 2014 Read full article here

Pharrell Curates at Perrotin, Mana Launches Selling Show, and More
18/04/2014
Pharrell Curates at Perrotin, Mana Launches Selling Show, and More— Pharrell Curates Perrotin Show: Emmanuel Perrotin has tapped musician Pharrell Williams to curate a show at his new Paris gallery. Titled “G I R L” — also the name of Pharrell’s new album — the show will feature “images of women and of love” by Tracey Emin, Alex Katz, Daniel Arsham, and 29 others. “I’m like a student when I’m with visual artists, I love to learn from them. Artworks teach you how to live and think differently,” Pharrell said. [TAN] — Mana Launches Selling Show: Jersey City’s Mana Contemporary is launching a new selling show called “Mana Exposition,” which will take place three times a year. Run by Cornell DeWitt, former Pulse fair director, the show claims to be “neither an art fair nor a pop-up gallery.” The first exposition, “All the Best Artists Are my Friends, Part 1,” will take place during Frieze week. [AiA] — Fairey Among Rubenstein’s Creditors: Court documents recently filed in the Perry Rubenstein gallery bankruptcy case reveal artists Shepard Fairey, Georg Herold, and Zoe Crosher to be among those who the gallery owes money. According to the filing, Fairey is owed $159,000, Crosher is owed $105,000, and Herold is owed $364,000. “The documents are accurate. We’re obliged to file accurate documents,” Rubenstein said. “These are all matters that are being resolved civilly and, hopefully, expeditiously.” [LAT] — Bristol Takes Banksy: The city of Bristol has seized the Banksy that was previously seized by a youth club in the city. [The Guardian] — GIF Award Announced: Brooklyn-based creative director Christina Rinaldi’s GIF has won the first ever Motion Photography Prize awarded by Saatchi Gallery and Google+. [CNN] — Film Follows Master Forger: “Art and Craft,” a film about master forger Father Arthur Scott, debuted at the Tribeca Film Festival this week. [The Daily Beast] — MoMA will have a retrospective of Robert Gober this October. [NYT] — Sotheby’s has released an investor update presentation in reaction to Daniel Loeb’s attacks this week. [AMM] — Pace and Axel Vervoordt are opening Hong Kong outposts timed to debut with Art Basel there. [TAN] ALSO ON ARTINFO An Artist’s Triumph: Henri Matisse’s Cut-Outs at Tate Modern 14 Questions for Site-Responsive Sculptor Virginia Overton Milan’s Safe Bet: Midcentury Reissues at Salone del Mobile Artists Ball Celebrates All Things Brooklyn Kasper Konig Talks Curating in Russia Check our blog IN THE AIR for breaking news throughout the day. Published: April 18, 2014 Read full article here

Bed Down in a Castle at Al Husn, Oman’s Most Luxurious Hotel
18/04/2014
Body: Designed in the style of a Moorish fort, Muscat’s Al Husn and its private beach offer Oman’s most extravagant stay option. Language English Order: 0Trip IdeasBeach + IslandHotels + ResortsRobert Michael PooleTop Story Home: Top Story - Channel: Exclude from Landing: Feature Image: Thumbnail Image: Credit: Robert Michael PooleTags: OmanMuscatGulfMiddle EastRobert Michael PooleRegion: Africa/Middle EastSlide:  Image: Body: While the neighboring cities of Dubai and Abu Dhabi in the UAE get most of the attention, Muscat offers perhaps the most authentic experience of the Gulf region, offering history, charm and rugged landscapes from the coast to the inland mountains and deserts. Designed in the style of a Moorish fort, Muscat’s Al Husn offers the Sultanate of Oman’s most extravagant stay option, tucked away with its private cove and beaches about 20 minutes drive from the capital. Part of the Shangri-La’s Barr Al Jissah Resort & Spa, and directly translated as “The Castle,” its palm trees, water features and Portuguese influenced architecture recall the Alhambra, with views of rugged mountains as a backdrop. Credit: Robert Michael Poole Image: Body: Oman is the calmer cousin of its commercial neighbors, and Al Husn matches that vibe – luxurious but never ostentatious. It’s actually has two sister hotels, Al Bandar (The Town) and Al Waha (The Oasis), though while both are a short stroll within the same 124 acre grounds, they have a very different feel. Al Husn stands very much on its solid grounds, on a hill overlooking both a sand beach, and a garden beach. Credit: Robert Michael Poole Image: Body: Al Husn describes itself as embodying “the true essence and mystique of Arabia, steeped in history and myth, from Sinbad the Sailor to the Queen of Sheba.” And from the beautifully curved arches that begin at its entrance, through Persian rugs underfoot and Arabic scents in the air, the atmosphere is indulgent without ever being overpowering. Credit: Robert Michael Poole Image: Body: 180 rooms, each of 48 square meters all include a terrace or balcony, most overlooking the Sea of Oman, of which the hotel claims 600 meters of coastline. The best swimming though is in its picturesque pool, surrounded by palms. The pool isn’t the only water feature on the property of note though, it also has a horizontal water flume on which to ride a float and slowly meander at the water’s own pace around the property. Credit: Robert Michael Poole Image: Body: As well as Al Husn’s private cove, ideal for relaxation in front of the dramatic rock formations, it has its own dive center for beginners and professionals, and boats for fishing. Dolphin and whale watching tours are an unexpected service, but the sunset tours are the most popular. One beach, protected from guests, is used by visiting turtles, who bury their eggs, allowing their young ones to crawl from the sands back into the sea without harm. Credit: Robert Michael Poole Image: Body: Incredibly, Al Husn and its extended property, including the two sister hotels, has 21 restaurants. No shortage of options means never really needing to leave the premises. While consistent throughout, and including Lebanese, Italian, Middle Eastern, Indian, Asian and South American, the pick of the bunch is perhaps the Moroccan restaurant Shahrazad. Romantically lit at night, the slow-cooked stew of the specialty Lamb Tajine Tfaya is the top choice, complimented by imported Morrocan wine. Credit: Robert Michael Poole Image: Body: The hotel first opened seven years ago, and its reputation has only improved with time.  “We are honoured to have received numerous international awards and achieve high recognition in the market,” says General Manager Mark Kirk. “When combining our delivery of Shangri-La’s legendary hospitality from the heart together with the warm welcome and hospitality of the Omani people, it is an unbeatable combination.” Credit: Robert Michael Poole Image: Body: Al Husn guests are treated to several special complimentary activities. A large outdoor platform plays host to afternoon tea with cakes, overlooking the main beach area. Then in the evening, pre-dinner cocktails and snacks warm up guests as the sun goes down. Live music is provided by local musicians on traditional instruments, ensuring an authentic feel to the hotel experience. Then, in-room, complimentary iPods are prepared with a personalised music selection, Credit: Robert Michael Poole Image: Body: For those looking for pure relaxation, and revitalization Al Husn is prepared with the CHI spa. Ostensibly based on Chinese philosophy, the 12 treatment villas at the spa uses local, naturally grown Omani ingredients, such as frankincense. Frankincense has long been known for its anti-ageing and healing powers and is mixed in to oils and clay for the treatments. It is mixed with rose for a Frankincense and Rose Wrap. Male and female hammams with steam room and bathing sections are worth a trip just to view the mosaic tiling and fountains alone. Credit: Robert Michael Poole Image: Body: The atmosphere of Oman is all around at Al Husn, where camels wander the beach with their masters, and an Omani Heritage Village showcasing the country’s history and culture in the grounds. The village is supported by the Bait Al Zubair Foundation and the Omani Craft Authority, which helps to ensure its authenticity, while next door, the Al Mazaar Souk sells local wares. Art lovers will find particular enjoyment at the Art Gallery, a collaboration with the Bait Al Zubair Museum, which presents rotating local exhibitions, including photographs of Omani culture, by local artists. Credit: Robert Michael Poole Cover image: Short title: Bed Down in a Castle at Al Husn in OmanTop Story France: Top Story - Australia: Top Story - Canada: Top Story - HK: Top Story - India: Top Story - UK: Top Story - China: Top Story - Brazil: Top Story - Germany: Top Story Russia: Top Story - Southeast Asia: Top Story - English, Chinese: Top Story - Korea: Top Story - Japan: Top Story - English, Japan: Top Story - English, Korea: Top Story - Italy: Top Story - Austria: Top Story - Mexico: Top Story - Spain: Top Story - Colombia:  Read full article here

Alan Michael at Vilma Gold
18/04/2014
Artist: Alan Michael Venue: Vilma Gold, London Exhibition Title: P.A. Date: March 15 – April 12, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Vilma Gold, London Press Release: Vilma Gold are delighted to present Alan Michael’s first solo exhibition in the […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

An Artist's Triumph: Henri Matisse's Cut-Outs at Tate Modern
18/04/2014
LONDON — There is a film at the opening of the enormous and ebullient exhibition “Henri Matisse: The Cut-Outs” at Tate Modern (April 17-September 7). It shows the great man busy at an activity on which he had spent much of his long life: drawing. However, he is not doing so with pen, charcoal, or pencil — but with a pair of scissors. And that made all the difference. In his late 70s and early 80s, Matisse discovered a novel medium, not quite like painting, drawing, or low relief. Essentially he was making works out of segments of colored paper pre-painted by assistants. These cut-outs were a daring development for such a venerable artist, so late in his career. Even as his life ebbed away, Matisse (1869-1954) continued to be hugely excited about the possibilities of his discovery, filled with ambition and immensely productive. Giacometti, who drew Matisse’s portrait during the old man’s last summer, commented that he was moved to see “a great artist still so absorbed in trying to create when death was at his door... when there was no longer time.” One of the striking things about this exhibition is that the scale and the daring of the works increase as you walk around, almost until the end. “The Snail” (1953) is effectively an abstract, though as Matisse was careful to explain, an abstraction “rooted in reality.” He had begun by drawing and observing a real mollusc, then it slowly morphed into a “purified sign for a snail,” “an unfolding” in which irregular, roughly rectangular chunks of color seem to turn though space — mauve, green, yellow, orange, blue, and black (the last of which Matisse famously insisted was a color too). It’s majestically stable yet full of movement. The same is true of “Memory of Oceania” (summer 1952-early 1953), except this is yet looser and more dynamic — evoking the experience of diving into tropical waters, as Matisse himself had in 1930 when he travelled to Tahiti and swam among corals and brightly colored fish. A number of the cut-outs have that hidden wistfulness: they are images of movement and energy, created by an elderly artist confined to a wheelchair. But you would scarcely guess it, from these reflections of joie de vivre.   It was no accident that Matisse made that pilgrimage to the South Pacific in the footsteps of Gauguin. For much of his career he wrestled with an idea that begins with a picture such as Gauguin’s “Vision After the Sermon” (1888). That is: how to make space and volume not with perspective and shadows, but out of pure color. In the series of Blue Nudes from 1952, Matisse does exactly that with amazing economy and force. Simply by cutting lines and contours in a piece of paper, he creates three-dimensional bodies with a melodic flow of limbs and air circulating around them. In the films on show, you can watch as Matisse snips rapidly and fluently around a form, in a process which felt so free and daring that he once compared it to flight. You could think of the results — a mosaic of paper shapes, eventually glued to a background — as very thin sculpture. The three dimensional aspect is important, though it’s only a matter of a milometer or two: paper-thin. You can see that early on in the exhibition by comparing the maquettes for the illustrated book “Jazz” (1947) with the final printed version. The original cut-outs have much more punch and presence, as Matisse himself acknowledged. In old age, Matisse was anticipating the future in several ways. Effectively, in the initial stages when the colored forms were simply pinned to the walls of his rooms in Nice, the cut-outs were installations — long before that term was invented. “The Snail” is effectively an example of color-field abstraction, an avant-garde movement represented by American painters such as Morris Louis and Kenneth Noland; but in 1953 it didn’t yet exist. The late Anthony Caro was happy to accept the description “Matissey” for his own work of the 1960s, made of welded steel, painted in strong colors. The Tate exhibition itself would have benefitted from at touch of another art movement of the ’60s: minimalism. Especially early on in the show, there are moments when the sheer numbers of small colorful and euphoric works on display jangle and cancel each other out. There is such a thing as too much joie de vivre. Emotionally, the cut-outs might seem unremittingly upbeat. However, there were plenty of dark notes in Matisse’s own life. His marriage broke up in 1939; the following year he barely survived an operation that left him an invalid. His daughter Marguerite fought for the French Resistance and was captured, tortured, and narrowly escaped death at the hands of the Nazis. But the point of his art, as far as Matisse was concerned, was not to reflect tragedy and suffering, but to escape into a world of exuberant light and form. In that he was hugely successful. These late works were a triumph: Matisse’s own internal victory over illness and age. An Artist's Triumph: Henri Matisse's Cut-Outs at Tate ModernSelect Photo Gallery: Slideshow: "Henri Matisse: The Cut-Outs" at Tate Modern Published: April 18, 2014 Read full article here

Sneak Peek: The Biennale des Antiquaires Jewels
18/04/2014
Language English Featured: 0Order: 0Author(s): Sonia Kolesnikov-Jessop Read full article here

Slideshow: Milan's Safe Bet: Midcentury Reissues at Salone del Mobile
18/04/2014
Language English Featured: 0Order: 0Author(s): Benjamin Park Read full article here

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