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News Article | May 15, 2017
Site: www.prweb.com

TheorySF today announced that it has won the Mendocino County Tourism account after a competitive pitch process among numerous San Francisco marketing agencies. “TheorySF was a unanimous selection by our Marketing Committee and Board of Directors given their strategic insights, singular creativity and ability to tell our story across all of our required mediums,” said Alan Humason, Executive Director, Visit Mendocino County. “We’re honored to be selected by the board and excited to apply our strategic and creative process to the Visit Mendocino County business,“ said Russell Quinan, Co-Founder and Chief Strategy Officer of TheorySF. “Mendocino County is a bit of an unknown as far as California destinations are concerned and we are truly excited to have the opportunity to pull back the ‘green curtain’ and tell the stories that communicate the epic beauty and magic that is Mendocino County,” said Chip Sheean, TheorySF’s Co-Founder and Chief Creative Officer. TheorySF’s engagement will consist of conducting market research, developing new positioning and messaging by audience segment, redesigning the current visitmendocino.com website, and developing a series of short shareable videos promoting local experiences to showcase the Mendocino County experience in new and engaging ways. TheorySF (http://www.theorysf.com) is a San Francisco based strategy and creative marketing agency that helps clients evolve their brands and demand generation efforts to ROI-oriented programs. The firm is a “one stop shop” that deploys deep expertise across strategy, creative, media, social, analytics and interactivity. TheorySF’S clients include Holonis, NetGear, Riverbed Technologies, Sage Software, Forevercar.com, Usurance, Family Radio, San Francisco Museum of Modern Art and Visit Mendocino County. Visit Mendocino County is a destination marketing organization dedicated to bringing tourism and economic development to Mendocino County. VMC offers a variety of services and helpful travel literature at its Visitor Center, 345 Franklin Street in Fort Bragg. For more information, call (707) 409-9660 or visit http://www.visitmendocino.com.


News Article | May 16, 2017
Site: www.24-7pressrelease.com

NEW YORK, NY, May 16, 2017-- Sandy Daley has been included in Marquis Who's Who. As in all Marquis Who's Who biographical volumes, individuals profiled are selected on the basis of current reference value. Factors such as position, noteworthy accomplishments, visibility, and prominence in a field are all taken into account during the selection process.A retired artist, filmmaker and photographer, Sandy Daley began her career upon graduating from Oberlin College with a Bachelor of Arts, cum laude, in 1961. She went on to attend California College of Arts and Crafts, where she received a Master of Fine Arts, with high distinction, in 1965. While still attending school, Ms. Daley served as a co-editor of Contemporary Photographer Magazine. Her creative works have been featured in shows alongside well-known names in the art world, such as Andy Warhol, Roy Lichtenstein, Nicholas Quennell, Mark Rothko and Robert Rauschenberg.Since entering the film industry, Ms. Daley has been credited with involvement on numerous films, including "London Mysteries," with director Sally Potter, released in 1964, "Robert Having his Nipple Pierced," with Robert Mapplethorpe and Patti Smith, released in 1970, and "Patty Having her Knee Tattooed" with Patti Smith, Sam Shepard and Vali, released in 1971. In addition, she was credited as the director and producer of a live mixed media performance, "Cine Probe," shown at the Museum of Modern Art in New York City in 1971. She is widely recognized for the photo album, "Backstage with the Rolling Stones," which was shot at the Civic Auditorium in San Francisco in 1965. Her involvement with Cine Portraits includes portraits of Leonard Cohen, Edie Sedgwick, Gregory Corso, the Incredible String Band, Lucy Colella, Arthur C. Clark, Harry Smith, and Syd Barrett. In addition, Ms. Daley was associated with The Hotel Chelsea from 1965 to 1975. She was involved in a collaborative proposal for "Experiments in Art and Technology" with a group of artists and scientists for the Osaka World's Fair in 1970.Throughout the course of her career, Ms. Daley has been featured in a wide variety of honors publications, including Who's Who in America, Who's Who in the East and Who's Who in the World. She was also featured in the 20th through 28th editions of Who's Who of American Women. Although she is now retired, Ms. Daley continues to enjoy writing and drawing in her spare time.About Marquis Who's Who :Since 1899, when A. N. Marquis printed the First Edition of Who's Who in America , Marquis Who's Who has chronicled the lives of the most accomplished individuals and innovators from every significant field of endeavor, including politics, business, medicine, law, education, art, religion and entertainment. Today, Who's Who in America remains an essential biographical source for thousands of researchers, journalists, librarians and executive search firms around the world. Marquis now publishes many Who's Who titles, including Who's Who in America , Who's Who in the World , Who's Who in American Law , Who's Who in Medicine and Healthcare , Who's Who in Science and Engineering , and Who's Who in Asia . Marquis publications may be visited at the official Marquis Who's Who website at www.marquiswhoswho.com Contact:Fred Marks844-394-6946


NEW YORK & NORWALK, Conn.--(BUSINESS WIRE)--Antenna International, the world’s leading designer of mobile experiences and digital content for cultural and historic institutions, today announced the debut of an extensive audio tour production that accompanies the Robert Rauschenberg exhibition on view at The Museum of Modern Art (MoMA) from May 21 through September 17, 2017. The audio tour brings together a large breadth of archival material, including the artist’s own stories about his work and the voices of his many collaborators and friends such as choreographer Trisha Brown, artist Brice Marden, choreographer Yvonne Rainer, son Christopher Rauschenberg, and critic Calvin Tomkins. In support of MoMA’s effort to focus attention on the importance of creative dialogue in Rauschenberg’s work, the audio tour parallels the exhibition’s inclusion of his collaborators. As other artists, dancers, musicians, and writers are introduced in the exhibition, mapping their influence on Rauschenberg’s creative life, their voice is included on the audio tour. Wall labels highlight who is speaking at each of the 26 stops on the tour. The tour also features commentary by Leah Dickerman, The Marlene Hess Curator of Painting and Sculpture at MoMA; Ellen Davis, Conservation Fellow at MoMA; and Gunnar Marklund, technician at Moderna Museet in Stockholm – as well as archival interviews with Rauschenberg himself. “The audio tour explores the artist’s deep commitment to collaboration and experimentation across disciplines during the course of his six-decade career,” said Nina Callaway, Content Designer for Antenna International. “We’ve selected the archival audio excerpts to help showcase his generous, larger-than-life personality, his singular artistic vision, and the creative exchange around him.” The exhibition galleries group work across mediums from particular moments and places in which Rauschenberg and his friends and collaborators came together, making art and often presenting it in association. “These many voices complement what you’ll see in the galleries of the exhibition – Rauschenberg’s works placed among those of his friends and collaborators,” Dickerman said. “You’ll hear from those closest to Rauschenberg and his work, at all stages of his career – from his days at Black Mountain College, to his studios in New York City, and finally to Captiva Florida, where he concluded his career. The tour captures a wide array of exciting first-hand perspectives on Rauschenberg's work.” In addition to this retrospective’s presentation in New York, Antenna is developing a customized audio tour to accompany the presentation at the San Francisco Museum of Modern Art (SFMOMA) November 18, 2017–March 25, 2018. For more information about Antenna International and the digital experiences it develops for museums, galleries, and other places of culture and history, please visit: www.antennainternational.com. MoMA Audio+ is supported by Bloomberg Philanthropies. About Antenna ™ Founded in 1984, Antenna ™ is the leading provider of technology, content, and related services to the world’s artistic, historic, and cultural institutions. In partnership with these clients, Antenna delivers an immersive, indelible experience in multiple languages to more than 63 million people across the globe each year. With a proud heritage of award-winning innovation, Antenna enables people to see more clearly, understand more deeply, and appreciate culture more widely using a variety of technologies. For more information, visit www.antennainternational.com or connect with the company on Facebook and Twitter @AntennaIntl.


News Article | May 26, 2017
Site: www.prnewswire.com

"When you look through the Magnum archive, you cannot help but feel a mixture of jubilation and vertigo. The vast collection of images and information amassed over the seven decades since the creation of the cooperative—the great events of the day, together with the commonplace facts and deeds of everyday life, the laughter, the violence, moments of magic or of symbolic significance, and even representations of abstract thought—potentially it contains all the histories of the world," says Chéroux. "Magnum Manifesto points to how vast the exploitable fields covered by the collection are. It offers a small reconstruction of the entire range of human experience and shows that Magnum is a world in itself." The exhibition is organized into three main parts: Magnum Manifesto features group and individual projects and includes more than 250 prints and 300 projected photographs, as well as more than 130 objects—books, magazines, videos, and rarely-seen archival documents. Among many others, it incorporates the work of Christopher Anderson, Jonas Bendiksen, Henri Cartier-Bresson, Cornell and Robert Capa, Chim, Raymond Depardon, Bieke Depoorter, Elliott Erwitt, Martine Franck, Leonard Freed, Paul Fusco, Cristina Garcia Rodero, Burt Glinn, Jim Goldberg, Joseph Koudelka, Sergio Larrain, Susan Meiselas, Wayne Miller, Martin Parr, Marc Riboud, Alessandra Sanguinetti, Eugene W. Smith, Alec Soth, Chris Steele-Perkins, Dennis Stock, Mikhael Subotzky, and Alex Webb. The exhibition is a co-production between ICP and Magnum Photos. The accompanying catalogue, published by Thames & Hudson, showcases more than 510 photographs (230 in color) and features essays by Chéroux and Bouveresse as well as a timeline of Magnum Photos' history. Also on view as of May 26, to coincide with the opening of Magnum Manifesto, is Unwavering Vision #2—the latest incarnation of the interactive multimedia installation by Alan Govenar, Jean-Michel Sanchez, and Julien Roger, produced by Documentary Arts in association with on-situ. Installed in the free public space at the ICP Museum, the engaging piece now offers a specially designed filter to look at 1485 Magnum images from ICP's permanent collection. This multimedia installation builds on Unwavering Vision #1 and includes 3668 images of social change, as well as new audio segments, videos, and biographies. Clément Chéroux is a photo-historian with a Ph.D in art history. Since January 2017, he has been the senior curator for photography at the San Francisco Museum of Modern Art. From 2007 to 2016, he was curator and then chief curator for photography at the Centre Pompidou in Paris. As an author or editor, he has published thirty books about photography, including L'Expérience photographique d'August Strindberg (1994), Fautographie, petite histoire de l'erreur photographique (2003), Diplopie, l'image photographique à l'ère des médias globalisés : essai sur le 11 septembre 2001 (2009), Vernaculaires, essais d'histoire de la photographie (2013), and Avant l'avant-garde, du jeu en photographie (2015). He has curated over thirty exhibitions, including Mémoire des camps. Photographies des camps de concentration et d'extermination nazis, 1933–1999 (2001), The Perfect Medium. Photography and the Occult (2004), La Subversion des images : surréalisme, photographie, film (2009), Shoot! Existential Photography (2010), Henri Cartier-Bresson (2014), Paparazzi ! Photographes, stars et artistes (2014), and Walker Evans (2017). Clara Bouveresse is a photography historian. She holds a Ph.D in art history from Paris 1 Panthéon–Sorbonne University. Her doctoral thesis explored the evolution of Magnum Photos since its creation in 1947. She is the author of Histoire de l'agence Magnum (Flammarion) and co-author of Magnum Manifesto (Thames & Hudson). From 2014 to 2015, she was a Georges Lurcy fellow at Columbia University, New York. Pauline Vermare is an associate curator at the International Center of Photography, New York (ICP). Before joining ICP, Pauline worked at MoMA on the exhibition and publication Henri Cartier-Bresson: The Modern Century. From 2003 to 2009, she was the head of communications and exhibitions production at the Henri Cartier-Bresson Foundation in Paris. From 2001 to 2002, she worked at Magnum Photos' Paris office. As a curator, Pauline has been part of ICP's exhibition department since 2010 and worked on the production of numerous ICP shows and publications, including The Mexican Suitcase, Elliott Erwitt: Personal Best, Christer Strömholm: Les Amies de Place Blanche, Sebastião Salgado: Genesis, Capa in Color, ¡CUBA, CUBA!, and Public, Private, Secret. She holds a Masters of International Relations from the Paris Institute of Political Studies (Sciences Po) and a Masters in Japanese Language and Civilization (Langues'O). In 1947, four photographers, Robert Capa, Henri Cartier-Bresson, George Rodger, and David "Chim" Seymour, toasted the founding of what would become the world's most influential artist collective over a celebratory magnum of champagne in the Museum of Modern Art, New York City. Over the past 70 years, 92 photographers have contributed to the story of Magnum, and today 49 photographer members continue to chronicle the world, interpreting its people, events, and issues through visual storytelling. Magnum Photos remains an artists' cooperative of great diversity and distinction, owned by its photographer members, and it represents some of the world's most renowned photographers, maintaining its founding ideals and idiosyncratic mix of journalist, artist, and storyteller. The International Center of Photography (ICP) is the world's leading institution dedicated to photography and visual culture. Cornell Capa founded ICP in 1974 to preserve the legacy of "concerned photography"—the creation of socially and politically minded images that have the potential to educate and change the world—and the center's mission endures today, even as the photographic medium and imagemaking practices have evolved. Through its exhibitions, school, public programs, and community outreach, ICP offers an open forum for dialogue about the role that photographs, videos, and new media play in our society. To date, it has presented more than 700 exhibitions and offered thousands of classes at every level. ICP brings together photographers, artists, students, and scholars to create and interpret the realm of the image. Here, members of this unique community are encouraged to explore photography and visual culture as mediums of empowerment and as catalysts for wide-reaching social change. Visit icp.org/concerned to learn more. ICP's presentation of Magnum Manifesto is supported in part by an award from the National Endowment for the Arts, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. To view the original version on PR Newswire, visit:http://www.prnewswire.com/news-releases/icp-presents-magnum-manifesto-300464604.html


News Article | May 26, 2017
Site: techcrunch.com

KidPass, a monthly membership program that gives parents access to a variety of kid-friendly activities across their city, has raised $5.1 million in Series A funding, the startup reported this week. Currently live in New York, the new funds will allow the service to expand to new markets including L.A., San Francisco, Seattle, Boston, Philadelphia, Washington D.C., and Chicago. The round was led by Javelin Venture Partners, with participation from new and existing investors, including CoVenture, Y Combinator, TIA Ventures, Bionic Fund, Cocoon Ignite Ventures, and FJ Labs among others. Jed Katz, Managing Director at Javelin, and Rachel Jarrett, President of Zola, will join KidPass’s Board of Directors as a result of this funding. The idea for KidPass is similar to ClassPass – a subscription service for adults looking to try different fitness classes around town, like yoga, cycling, Pilates, dance, and others. Though KidPass has a similar name, the two companies are not related. However, KidPass works a lot like ClassPass does. Customers pay one monthly fee then can try classes all over town. KidPass co-founder Solomon Liou explains he and his fellow founders, Aaron Kaufman, Chhay Chhun, and Olivia Ballvé, decided to start the company after becoming parents themselves and became frustrated with how difficult and time-consuming it was to find great activities for their kids. “While there were mobile apps to instantly book restaurants, doctors, and taxis on-demand, there wasn’t anything like that for kids’ activities,” says Liou. “In fact, the main way that parents discover kids classes today is still through word of mouth from talking to other parents, or using Google Search and going through page after page of results. It’s time consuming and difficult to navigate, with many businesses not even having a presence online,” he adds. Plus, even when you found a class, many providers only took in-person registrations, or required you to book upfront payments for semester-long programs – all before you know if your child will even like the course, Liou notes. To use KidPass today, parents choose from one of three membership options which start at $49 per month. These subscriptions offer credits that can be used to pay for the various activities, like dance classes, arts and crafts activities, sports, museum classes and camps, science and technology classes, swimming classes, kids cooking classes, fitness classes, academic classes and many more. At present, there are over 900 activity providers using the platform, like Gymboree, Kidville, Music Together, Super Soccer Stars, Physique Swimming, The Craft Studio, Chocolate Works, the Museum of Modern Art, YMCA, JCC, and others. Since its launch in January 2016, 20,000 families have signed up for the service and have booked over 100,000 activities. There are today over 3,000 subscribers in NYC, and the KidPass is growing at 20 to 30 percent nearly every month, Liou says. The service works by offering parents a certain number of credits that can be used per month to book activities. The basic tier includes 10 credits and supports up to 2 children. The middle tier supports up to 5 kids and includes 25 credits. And the highest tier supports unlimited kids and 50 credits. Some activities only take one or two credits, but other premium activities and camps could take 10 or more. Any unused credits will roll over for three months, in case parents get busy and can’t use the credits right away. This credits-based system could help KidPass avoid the problems that plagued ClassPass – that company eventually had to raise prices and ditch its unlimited tier in order to stay afloat. “[The use of credits] allows us to charge varying prices to the parents depending on the activity’s cost to make sure that parents get a great deal, while ensuring that the unit economics work well for us as a marketplace supporting both businesses and families,” explains Liou. “We have had positive gross margins as a business because of our business model, and we intentionally avoided any unlimited plans that could be highly unprofitable,” he says. There are a few reasons why parents would want to pay for a service like this instead of booking directly with a class provider. Most importantly, however, is that KidPass provides a means of discovery for children’s activities. In the large markets KidPass serves, there are so many activities available that parents may not know of all their available options. They also might not want to commit to booking multiple sessions with an activity provider before being able to try out the class or camp first. KidPass isn’t the only startup tackling this space. It competes with others like Sawyer and Pearachute, for example. In addition to expanding to new markets, KidPass is developing software for activity providers that helps with class management, online registrations scheduling and payments. This software is in private beta with some KidPass partners.


News Article | May 3, 2017
Site: www.gizmag.com

Stick this to your wall, click your art in place, adjust, then let go to level. That's the promise of the Absolut Hangsmart (Credit: Absolut Art) Hanging art on your wall might sound like one of the easiest home improvement projects around, but in reality, things can get pretty complex – especially if you're hanging multiple pieces. Now, Absolut Art has launched a Kickstarter campaign for a device that will make the project as simple as pouring yourself a vodka tonic (well, almost). But it does come at a price. The device is called Absolut Hangsmart and it was developed by Absolut Art, the vodka company's venture into fine art that lets common folks get their hands on hot gallery-quality artwork. Using the Hangsmart really does look simple. You attach the plastic gizmo to your wall using either the 3M adhesive strips on reverse or two screws roughly where you want your art to hang. You then put your artwork atop it and pull down till you hear a click. Once the art is attached to the device, you can move it left and right by six inches (15 cm) and up and down by eight inches (20 cm). When you let go, the Hangsmart swivels to ensure your art is perfectly straight. The device was developed in conjunction with acclaimed Swedish designer Alexander Lervik and, according to a company representative, New York's Museum of Modern Art (MoMA) has expressed interest in buying a batch of Hangsmart's for their use. In fact, it would certainly help to have a museum-sized budget on hand when buying Hangsmarts for your use at home. Just one of the devices – at the early bird price – costs US$24. After those are gone, the price climbs to US$28, which, the company says, is a 40 percent savings off the eventual retail price, which puts them around $47 each when they go public. Considering that you can get a package of about 15 picture-hanging hooks for under US$10, you'd have to be really bad at hanging pictures (or really good at earning money) to make the investment worthwhile. Right now the campaign still has about three weeks left and it's already exceeded its fundraising goal of $30,000. There are often the usual hesitations involved with backing any crowd-sourced project, but with the heavy hitters involved in this one, you can feel pretty confident in pledging your cash. If you do, you can expect your Hangsmart in September of this year.


News Article | April 21, 2017
Site: motherboard.vice.com

The beloved simulation game Dwarf Fortress has an issue. Well, a few. First: no one outside its over a decade old community of fans really understands what it is, how to play it, or how to even wrap their minds around its huge, abstract ambitions. The second is that the brothers who develop it, Tarn and Zach Adams, hold the only keys to the code of this ever-expanding, community-driven world they estimate will only truly be complete after many more years of development. And while they might be the benevolent gods of the Dwarf Fortress world, they're still just two mortals. They will die one day, putting this seemingly endless experiment at particular risk of extinction. To ensure it lives on, though, the creators are turning to fans by promising to open up the source code (ideally long before the Grim Reaper comes for them), and by also gifting that code to the dutiful archivists at the Museum of Modern Art in New York City. "It's not just Dwarf Fortress, either—everything digital dies out if you don't take specific steps to preserve it," Tarn told me over email. He said that figuring out the logistics of preservation is also, "especially important if you want to keep making additions." That's particularly important to Dwarf Fortress, because the whole conceit of the increasingly detailed simulation is that it has no finite end, really. In active alpha since 2006 and currently at version 0.43.05, Tarn estimates they're about 43 percent there when it comes to making a complete game. That means they're on track to release version 1.0 in the twenty-year deadline they set for themselves, completing their massive 2,600 development item list. But that might not even truly be the end of it. They've got some pie-in-the-sky ideas for after they get out of alpha, "But if 1.0 is really 20 years away, I'll be fifty-nine [years old] and who knows?" While digital preservation is important in all areas of virtual culture, the historical cost of not preserving Dwarf Fortress could be particularly devastating. If the source code was lost, it'd be an unimaginably arduous process for modders to reverse engineer it from the binary, and it would take an even longer time to clone the game. And, according to Tarn, "There's a lot of detail in the simulation, and quite a bit of it is unique to the game, as far as we know." Despite its conceptual hugeness, the Dwarf Fortress source code is actually fairly small. The duo's current arrangement with the museum stipulates that, if they died, someone on behalf of the developers would send the source, project files, and digital design docs (which are just a bunch of text files) to whoever's running MoMA's design department at the time. But the museum is pushing to get their hands on even more than that for historical record. "They even asked for any paper notes we'd discarded, but we haven't taken them up on that," Tarn admits. "It's almost hard to take that seriously, looking at our scribbled garbage." More than even the MoMA, though, the brothers are putting their faith in the community to keep the dream alive long after they're gone. "I don't think we'd actually need to do anything, even release the source, for Dwarf Fortress' community to carry on," he says. "It would just be better if people could make their own changes." Correction: This article originally stated that Tarn Adams thought Dwarf Fortress would take hundreds of years to complete. Adams was exaggerating and jokingly referencing the ninety-ninety rule. The article has been updated to clarify Adams thinks it will only take 20 years to complete development.  


News Article | May 1, 2017
Site: www.prweb.com

For the 9th edition of Ornellaia’s Vendemmia d’Artista art project, which was launched in 2009 to showcase the marriage between the world of contemporary art and fine wine, the iconic Bolgheri-based estate is proud to announce that $112,500 USD has been raised to celebrate Ornellaia 2014 ‘L’Essenza.’ On April 27, the spotlight was focused on Ornellaia at a charity auction to benefit New York’s Solomon R. Guggenheim Museum and Foundation. Featuring 9 lots of numbered, limited edition large format bottles of Ornellaia with unique labels created by renowned Brazilian contemporary artist, Ernesto Neto, bidding was fervent for the wines with the amount raised totalling $112,500. Jamie Ritchie, Sotheby’s Wine CEO & President, Americas & Asia, presided over the gala dinner and charity auction that raised funds for the host sponsoring the event, the Solomon R. Guggenheim Museum and Foundation in New York, directed by Richard Armstrong. To artistically interpret Ornellaia 2014 ‘L’Essenza,’ Brazilian artist Ernesto Neto turned to his current field of art research, shamanism as science, natural phenomena, and the artisanal arts that are the collective fruit of the community. In 2014, Neto and the members of the Huni Kin tribe in Brazil undertook a series of artistic collaborations that analysed shamanic rituals and traditions. The spiritual life of that tribe, their striving for healing in harmony with nature, and the wisdom and serenity that they draw from their intimate bond with the energy of our earth infused into Neto’s oeuvre an unprecedented awareness of the power of nature and of the dynamic factors that regulate it. Drawing generously from these traditions, and from the shamans and their rituality, the artist’s recent works convey aspects of transformation and add multiple layers of meaning to his research into social-and ecology-based connectivity. “We are talking about a wine, a sacred juice that comes from the plants,” explained Ernesto Neto. “I thought about time, the time of the cycles of the wine. In this time that we are living so speedily, wine is slow, because it is nature and nature is slow. Nowadays I see trees as a civilizing entity, one hand in complete darkness, and another hand in complete light; in the middle the trunk, the fruits, the seeds - all of it coming from dark and from the light. This drawing is a kind of old drawing of mine; I have done many of these drawings, thinking about time, about cycles, how somethings begin, then comes back to the beginning; the end and the beginning kissing each other.” For Ornellaia’s Vendemmia d’Artista project, Ernesto Neto sought to convey the concept of natural balance as it is exemplified in our modern societies. He encapsulated 100 large-format bottles with an interwoven mesh, specifically 100 3-litre double magnums, 10 6-litre Imperials, and a single 9-litre Salmanazar, which together represent a social hierarchy with a single King, 10 Nobles, and a populace of 100 subjects, and in so doing illustrates the equilibrium that should reign in every community, with a hierarchy that is necessary so that all can live in harmony within the group and in uniformity with Mother Nature. In addition, Neto designed a special label for the 750ml bottles of Ornellaia, and one bottle bearing that label will be included in every 6-bottle wood box. For Axel Heinz, Ornellaia’s Director and Winemaker, the 2014 vintage exhibits the character of ‘L’Essenza,’ or the Essence. “When one is confronted with a challenging growing season, in order to make a great wine, one has to focus on simply extracting that year’s very essence. And, in fact, the 2014 year unexpectedly turned into a pleasant surprise, since the heavy rains and low temperatures during the ripening stages were followed by a September and October which brought us exemplary weather conditions; the final result was a somewhat later harvest, which delivered optimally vibrant fruit with crisp acidities. We complemented that result with meticulous hand-picking, whose objective was to select only the most sound, healthy clusters. What one notices immediately about the 2014 vintage is the high quality of the tannins: elegant and silk-smooth, with no rough edges at all. 2014 will be remembered in Tuscany for the summer that never was and as one of the most unusual. A warm and rainy winter was followed by a mild and dry spring, a distinctively average July and a cold and rainy August. All of this created difficult conditions for the ripening of the grapes. September and October, however, brought perfect conditions, with mostly sunny and dry weather, offering excellent conditions for ripening, particularly for Merlot. While we had an incredible amount of extra work to do in the vineyard, the combination of the Estate’s varied subsoils, the varietals of Cabernet Sauvignon and Merlot and our own detailed knowledge of the terroir all played distinctively in our favour. Ornellaia underlines the fundamental difference in terroir between the coast and the central Tuscan vineyards.” Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation noted that “the Solomon R. Guggenheim Museum was thrilled to host Ornellaia, Sotheby’s and the renowned artist Ernesto Neto in the 9th edition of L’Essenza Vendemmia d’Artista. We are honored that Ornellaia chose the Guggenheim Museum for this spectacular event and are grateful for its generous support. Like wine, art has universal significance.” “Today, as the Vendemmia d’Artista marks its 9th year, it continues to attract funds for the restoration of artworks belonging to our universal heritage,” stated Giovanni Geddes da Filicaja, Managing Director of Ornellaia. “In just nine years we have succeeded in donating more than one million euros across the globe, just a small drop perhaps, but there is much more to come”. “The Vendemmia d’Artista series is a wonderful way of combining the characteristics of each vintage of Ornellaia with a world class artist’s interpretation of that specific year. For the ninth edition, Sotheby’s Wine was delighted to continue our collaboration with the launch of Ornellaia 2014 L’Essenza Vendemmia d’Artista, through a very special dinner and auction benefiting the Solomon R. Guggenheim Museum in New York” commented Jamie Ritchie, Sotheby’s CEO & President, Americas & Asia. To date, Ornellaia’s Vendemmia d’Artista art project, over its nine annual editions, has raised almost 2 million euros, all of which it has donated to foundations and museums that support art across its full range of expressions, including the Whitney Museum of New York, the Neue Nationalgalerie of Berlin, the Royal Opera House of London, the H2 Foundation of Hong Kong and Shanghai, as well as the Museo Poldi Pezzoli of Milan, the AGO of Toronto, the Fondation Beyeler of Basel, and the Hammer Museum of Los Angeles. Curating the Ornellaia Vendemmia d’Artista project were Bartolomeo Pietrimarchi (Curator, MAXXI, Museo Nazionale delle Arti del XXI Secolo) and Maria Alicata. _____________________________________________________________________________________________________ ORNELLAIA Ornellaia’s philosophy considers the birth of the wines to be the truest expression of their terroir. The grapes for Ornellaia are selected by hand, and picked in the estate's vineyards in Bolgheri, on the Tuscan coast. The varying natures of the estate's terroirs, marine, alluvial and volcanic, are ideal for the cultivation of Cabernet Sauvignon, Merlot, Cabernet Franc ad Petit Verdot. The Estate extends over 97 hectares along the Tuscan coast, just a short distance from the medieval hamlet of Bolgheri and the famed cypress-lined avenue ‘Viale dei Cipressi’. The constant work of the Ornellaia team and the ideal microclimatic and geological characteristics have brought the wines, in just twenty years-- 1985 was the first vintage of Ornellaia -- great international success. In 2001, the 1998 Ornellaia was declared Wine of the Year by the American journal Wine Spectator. In 2011 the German publication Der Feinschmecker awarded Ornellaia its most sought-after award, the ‘Weinlegende.’ Ornellaia has received considerable recognition also in the national and international press, and is consistently ranked among the top estates by the Italian Wine Guides, including Gambero Rosso, Espresso, Veronelli, Duemilavini AIS, and Luca Maroni. ERNESTO NETO Born in 1964 in Rio de Janeiro, continues to live and work in Brazil. He studied at the city’s Escola de artes visuais do Parque Lage in 1994 and in 1997, and also attended the Sao Paulo Museum of Modern Art from 1994 to 1996. Neto, known for his large installations utilizing mesh, fabrics, spices, and stones, draws inspiration from a wide range of sources, from the modernist traditions of Biomorphism, Arte Povera, and American Minimalism, to Brazilian Neo-concretism, succeeding in unifying together into a coherent and harmonizing discourse apparently disparate influences. Since the 1990s, Neto has created an oeuvre in which elements such as improvisation and chance intersect with geometry and gravitational force, to fashion an utterly unique artistic language. His activity brings together mind and body through the experience of space, utilising the senses to align together the viewer’s physical and psychological dimensions. Taken together, these aspects constitute both a distinctive signature as well as an unprecedented vocabulary that has influenced a generation of artists throughout the world, making Ernesto Neto one of the world’s most respected and influential artists. THE SOLOMON R. GUGGENHEIM FOUNDATION Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of modern and contemporary art, through exhibitions, education programs, research initiatives, and publications. The Solomon R. Guggenheim Museum, New York, joined by the Peggy Guggenheim Collection, Venice in 1979, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that take contemporary art, architecture, and design beyond the walls of the museum.


Finer Fields’ physical store will “showroom” emerging fashion, design and lifestyle brands for home delivery. Dismissing storage of any sellable inventory, the storefront will only carry a brand’s sample product line for consumers to try in-store, and then buy on the Finer Fields’ mobile POS for online purchase for home delivery to give customers bag free days. Finer Fields provides brands, especially emerging brands, need for a physical presence for consumers to “try before they buy.” Finer Fields’ first of a series of brick and mortar retail residencies of curated contemporary brands will run from March 30th through June15th. 2.) A member of sales team scans each item to enter it into the checkout screen of the mobile POS. 4.) Customer’s credit card is charged and customer receives an automated email receipt from Finer Fields including order number. 5.) At the same time the order is placed, monies from the transaction is sent to the brand partner in real time. 6.) Brand receives an email with order number, customer info, and product information for drop ship. 7.) After brand has shipped the item(s), brand must log into Finer Fields system to note "shipped" along with tracking number and delivery service. Finer Fields works with designers, artists, entrepreneurs and brands to create collaborative in-store retail residencies where virtually everything is available for purchase, which includes the store environs. The store itself is an elevated experience for consumers through collaborations with artisans such as Andrea Claire Studio for lighting along with Aellon, Patrick Weder and Bellboy NY on store furnishings. Taking an eco-friendly and sustainable approach Aellon’s  collection has been entirely handcrafted from a salvaged ship from the Indonesian Ocean. Mr Kuo says, “We wanted to create a new retail model that aligns elements to provides experiences for consumers to explore and discover contemporary brands and unique products, and are thrilled about the support from the fashion and artisan community. “ Store curation will focus on contemporary brands from medium to high price ranges, from classic silhouettes with an alternative contemporary edge, to streetwear and high fashion. In addition, the store showcase a carefully curated collection of cutting-edge men's & women's styles from independent designers through collaboration with International Playground. Some brands that will be showcased are: Finer Fields’ experienced retail staff will articulate the selected brand’s background stories, and create seamless end-to-end transactions through an in-store sales rep for a refined shopping experience. Physical stores are powerful marketing channels for brands. Finer Fields offers an experience that would be challenging to replicate online. Customers enjoy the experience of shopping in-store and interacting face-to-face with a salesperson in order to feel more comfortable with their purchase. Retail storefronts profit greatly because of the physical interactions with their customers. Personal interactions with friendly and knowledgeable sales staff are a key differentiator between the physical store experience and e-commerce. Who We Are The partners are Frank Kuo, Seldon Yuan, Wadood Suberu, and Richard Tricoche along with a joint collaboration with Awkward, a Digital Design Agency. ●     Frank Kuo has a decade of product management and digital strategy experience in creating mobile applications and platforms. ●     Rich Tricoche freelances as a fashion and lifestyle photographer and cinematographer . ●     Seldon Yuan is an award winning contemporary artist whose work has been exhibited at venues around the world, including the Museum of Modern Art in New York. He is also the founder of SSCY, which has been featured on Hypebeast, Cool Hunting, as well as the pages of Marie Claire Italy. ●     Wadood Suberu comes with years of experience in the fashion industry and also acts as consultant and brand manager for brands locally and globally. ●     Awkward, a digital design firm in the Netherlands, has created quality products for companies such as Red Bull, Sonos, Sketch, and WeTransfer transforming ideas into first class digital experiences. (https://awkward.co/) Location & Opening Date: 199 Lafayette Street New York, NY 10012 Opens to the public on Friday, March 30. Hours of Operation: Monday to Wednesday, 11am to 7pm Thursday to Saturday, 11am to 8pm Sunday, 11am to 6pm


News Article | May 2, 2017
Site: www.prlog.org

Eberle to Receive 2017 JSI Excellence in Photography Award from Woodbury University's Julius Shulman Institute -- "Todd Eberle: Empire of Space," a exhibit showcasing works by the noted photographer, will run at Woodbury University (http://woodbury.edu/)'s Hollywood Outpost (WUHO) from May 4 – June 25, with the opening reception set for May 4 from 6 p.m. to 8 p.m.  That same day, Woodbury University's Julius Shulman Institute will honor Eberle with the prestigious JSI Excellence in Photography Award.Todd Eberle is an acclaimed New York City- based photographer whose work isunited by a clean and analytical minimalist aesthetic.  His subjects run the gamut from political, art, and cultural figures to architectural landmarks and technology.  He wass Photographer at Large for more than 20 years.The exhibit will feature some of Eberle's best known images, among themportraits of cultural luminaries Hillary Rodham Clinton, Frank Gehry, Julius Shulman, Florence Knoll Bassett, Martha Stewart, David Adjaye, Peter Zumthor, and Phillip Johnson.  Barbara Bestor, executive director of the JSI at Woodbury University, will present the award.May 4-June 25, 2017Opening Reception: May 4, 6 pm - 8 pmGallery Hours: Thursday 1-8 pm, Friday-Sunday 1-6 pmWUHO Gallery6518 Hollywood Boulevard, Los Angeles 90028Todd Eberle, born in Cleveland, Ohio in 1963, is an acclaimed New York City-based photographer whose work is united by a clean and analytical minimalist aesthetic.  Eberle's subjects run the gamut from political, art, and cultural figures to architectural landmarks and technology.Eberle was Photographer at Large atfor more than 20 years. Among his most notable subjects for the magazine: Philip Johnson, Florence Knoll Bassett, Julius Shulman, Tadao Ando, John Pawson, Rem Koolhaas, Martha Stewart, Frank Gehry, Wynton Marsalis, and The Large Hadron Collider at CERN, among many others.  In 1999, Eberle was commissioned by President Clinton and First Lady Hillary Rodham Clinton to photograph The White House, Camp David and Air Force One for the William J. Clinton Library.Eberle has had solo exhibitions at the San Francisco Museum of Modern Art, the Art Institute of Chicago, The Andy Warhol Museum, WPS1/MoMA, Tate Modern, and Gagosian Gallery.  Hisfirst major monograph, "Empire of Space" -- with contributions by Graydon Carter, Dave Hickey and Glenn O'Brien -- was published by Rizzoli in 2011.  Rizzolli published his photographs of the world's largest private palace in Regensburg, Germany, "House of Thurn und Taxis," in 2015.Barbara Bestor, Executive DirectorJulius Shulman established the Julius Shulman Institute in 1995 with the goal of promoting an appreciation and understanding of the built environment, particularly as mediated by photography. This mission is carried out through public programming, educational outreach, and research opportunities. Focused on Shulman's enduring involvement in the principles of modernism, the JSI is informed by Shulman's sense of the social responsibility of the designer and imbued by his passion for teaching. The Institute sponsors exhibitions, lectures, seminars, tours, and educational workshops for community organizations and schools at all levels.Ingalill Wahlroos-Ritter, DirectorWUHO is Woodbury University's center for experimental exhibitions and multi-disciplinary collaborations. The gallery is shared with the Los Angeles Forum for Architecture and Urban Design.  Located on the iconic Hollywood Walk-of-Fame, WUHO is a gallery, event space, and lecture venue.

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