The Metropolitan Museum of Art
The Metropolitan Museum of Art
News Article | April 25, 2017
The list of winners are in for the 21st annual Webby Awards. Presented by the International Academy of Digital Arts and Sciences, the Webby Awards has been dubbed the “internet’s highest honor,” receiving 13,000 entries from 70 countries worldwide this year alone. Beyoncé, Lady Gaga, Google, and Planned Parenthood are just a few of the wide-ranging winners who will accept their awards on May 15 during a ceremony hosted by comedian Joel McHale. Below are some of the Webby Award winner highlights: Planned Parenthood: Best Charitable Organization/Nonprofit Website Sandy Hook Promise, “Evan”: Best Viral Marketing (Advertising, Media & PR) and Best Short Form Branded Content (Film & Video) The Messy Truth with Van Jones: Best News & Politics Series (Film & Video) Squarespace: Best Web Service & Application (Websites) FactCheck.org: Best Political Blog/Websites (Websites) Merriam-Webster Redefines Twitter: Best Writing (Social) and Best Education & Discovery (Social) Giphy: Messaging (Mobile Sites & Aps), Best Comedy–Branded (Film & Video), and NetArt (Websites) Airbnb: Best Travel App (Mobile Sites & Apps) The Metropolitan Museum of Art: Social Video for the Met 360 Project (Social) Lady Gaga: Integrated Campaign (Film & Video) and Branded Content (Advertising, Media, & PR) for the Lady Gaga + Intel Performance Jimmy Kimmel Live!: Best Comedy: Long Form or Series for Mean Tweets (Film & Video) Coldplay: Best Music Video for “Up&Up” (Film & Video) The Ellen DeGeneres Show: Best Celebrity/Fan Social Presence (Social) Deadpool: Best Social Media Campaign (Advertising, Media, & PR), Best Social Content and Marketing (Social), and Best Digital Campaign (Advertising, Media, & PR) Serena Williams’s Match Point: Best Mobile Advertising and Best Use of Native Advertising (Advertising, Media, & PR) Women of the Hour Podcast with Lena Dunham: Best Lifestyle Podcast (Podcasts & Digital Audio) ESPN Films: Best Sports Channel and Network for 30 for 30 Shorts (Film & Video) BuzzFeed: Best News App for the BuzzFeed News App (Mobile Sites & Apps) and Best Interview/Talk Show for Another Round (Podcasts & Digital Audio) Game of Thrones: Best Overall Social Presence Kendrick Lamar: Best Video Remixes/Mashups for “Swimming Pools (Drank)” (Film & Video) Spotify: Best Streaming Audio and Best Music App (Mobile Sites & Apps) Under Armour, “Rule Yourself: Michael Phelps”: Best Viral (Branded) Entertainment (Film & Video) HBO Now: Best Streaming Video (Mobile Sites & Apps) Gimlet Media: Best Podcast Drama for Homecoming (Podcasts & Digital Audio) Pokémon Go: Best Use of GPS or Location Technology and Best Experiential & Innovation (Mobile Sites & Apps) Who Is Mr. Robot: Best Television Website Find the full list of winners here.
News Article | May 4, 2017
PORTLAND, OR, May 04, 2017-- Wayne Riggs is a celebrated Marquis Who's Who biographee. 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.Marquis Who's Who, the world's premier publisher of biographical profiles, is proud to name Mr. Riggs a Lifetime Achiever. An accomplished listee, Mr. Riggs celebrates many years' experience in his professional network, and has been noted for achievements, leadership qualities, and the credentials and successes he has accrued in his field.Mr. Riggs currently works as an independent artist. One of his works was featured in the Metropolitan Museum of Art in New York City, 11 of his pieces were featured in the High Museum of Art in Atlanta, GA, and 2 pieces were featured in the Tampa Museum of Art. He has enjoyed one-man shows at the Davenport City Gallery and Museum (now The Figge Art Museum), Cornell Fine Arts Museum in Winter Park, CO, F.A.O. (United Nations) in Rome, La Mama Galleria in Spoleto, Italy, the British Embassy in Antigua, and Crocker's Mark Gallery in Raleigh, NC. He also had an exhibition at Artspace in Richmond, VA. He is represented in permanent collections at The Metropolitan Museum of Art, High Museum of Art, The Cornell Fine Arts Museum, Musee d'art Moderne Andre Malraux, Tampa Museum of Art, as well as corporate and private collections.Mr. Riggs holds a BFA in photography from Southern Illinois University, Other positions he held include lecturer at the Cornell Fine Arts Museum and the Museum of Arts and Sciences in Daytona Beach, FL, director of photography at the Callanwolde Fine Arts Center and Callanwolde Foundation, Inc., in Atlanta, GA, undergraduate teacher of Black & White Photography/Darkroom, and guest critic for the Rhode Island School of Design.Articles and reviews of his work have appeared in Savoir Faire, Artweek, Photo M E T R O, No Limits, Art Papers, Tampa Tribune, The Orlando Sentinel, and Zelo Magazine, to name but a handful. Mr. Riggs received grants from the City of Atlanta Office of Cultural Affairs, and the National Endowment for the Arts. He served as a Radioman, Petty Officer, Second Class in the United States Navy from 1968 to 1972.In addition to his status as a Lifetime Achiever, Mr. Riggs has been a featured listee in Who's Who in America.For more information about Wayne Riggs and to view his work, visit http://waynemriggs.com/ 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 publications may be visited at the official Marquis Who's Who website at www.marquiswhoswho.com
News Article | May 1, 2017
French CRS anti-riot police officers are engulfed in flames as they face protesters during a march for the annual May Day workers’ rally in Paris; Looking At Lee gets a bath outside Barn 38 at Churchill Downs in Louisville, Ky.; and, An attendee photographs fashion displays during the ‘Rei Kawakubo/Commes Des Garcons: Art of the In-Between’ during the The Metropolitan Museum of Art’s Costume Institute Spring 2017 exhibition. These are just a few of the photos of the day for May 1, 2017. See more news-related photo galleries and follow us on Yahoo News Photo Tumblr.
News Article | May 15, 2017
-- The Old World will reveal its fascinating treasures in Artemis Gallery's 351-lot auction of important classical antiquities, ancient and ethnographic art. Each piece has been scrupulously authenticated and described in expert detail in the online catalog, so bidders can confidently choose from an unparalleled selection of legally acquired, fully guaranteed art and artifacts from history's greatest civilizations. Many pieces previously resided in distinguished private or institutional collections.As is the custom in all Artemis Gallery auctions, a timeline allows collectors to focus on periods and cultures of greatest interest to them, whether it is the Ancient Egyptians, Greeks, Romans or Etruscans, or the early societies of the Far East, Africa or the Pre-Columbian era.The auction will open with an Egyptian cast-bronze figure of Osiris from the Third Intermediate Period to the Late Dynastic Period, circa 1070-332 BCE. A heavy, well-detailed depiction of the mummiform god of the Underworld, this votive figure was likely kept in a wealthy family's home or in a temple for use as a ritual object. It stands 9.25 inches high (on plinth) and is expected to sell for $9,000-$12,000. Also of note in the Egyptian section are Lot 3, a wood panel – probably a coffin cover – carved with the Eyes of Horus and other hieroglyphs, $4,000-$6,000;and Lot 4, a Ptolemaic to Romano Egyptian (circa 3rd century BCE to 1st century CE) plaster/ground gypsum mummy mask of a male with distinctively molded and painted features, $6,000-$8,000.A strong array of Ancient Greek relics is led by Lot 7C, a molded and incised circa 5th century BCE bronze helmet whose style is known as "Pseudo-Corinthian."Artemis Gallery Executive Director Teresa Dodge explained that the term refers to "a style of construction in which the helmet is worn on the head but gives the impression that it covers the face. False eyeholes and an elongated nose guard were applied to the actual helmet when it was made. When worn, it wouldd look like a facemask to anyone who viewed it. Helmets of this type are found in elite museums such as The British Museum and The Metropolitan Museum of Art." Auction estimate: $25,000-$30,000. Other Greek highlights include a fine Apulian polychrome fishplate and a Messapian trozella (tomb vessel) formerly in the collection of British film star and author David Niven (1910-1983).The Ancient Roman section offers a variety of media objects, from a mosaic depicting twin birds, to a marble torso of a youth, to unusual glass forms. There are vessels, jewelry designs, a stirring stick, and perhaps most unusual of all, Lot 33, a Roman glass baby feeding bottle estimated at $900-$1,800.Lot 42K is an incredible 24K gold pendant with a colorful cloisonné enamel depiction of Jesus Christ. Executed to a very high standard, it has a gold self-loop, making it a wearable artwork. "Byzantine cloisonné work was so beautiful that it inspired artisans throughout the Migration period in well into medieval Europe," Dodge noted. "Just as it is today, this pendant would have been a valuable, rare and treasured item to its original owner." Estimate: $6,000-$9,000Many Asian cultures are represented in the sale, with highlights including a 4th century Indian Gupta Dynasty sandstone carving of a lion head, a Pakistan or northern India Punjab red sandstone fragment of the head of Vishnu, and two very special Cambodian Khmer artworks. Lot 66 is a scrupulously detailed bronze shrine or temple, est. $10,000-$15,000;while Lot 62 is a circa 12th-13th century CE high-relief sandstone panel of a dancing aspara figure. It is estimated at $5,000-$7,000.From the Pre-Columbian world, Artemis offers Lot 83C, a circa 1000-1500 CE Costa Rican figure of a shaman carved from porous volcanic stone. The subject wears a conical, peaked hat and holds a snake under his chin, perhaps symbolically channeling himself into a serpent. With provenance from the Whisnant Gallery in New Orleans, the figure is estimated at $3,000-$4,500.A favorite form with collectors of Pre-Columbian art is the Colima (West Mexico) redware dog. The May 18 auction offers an especially fine example as Lot 73. Its body serves as a vessel, and a pouring spout emerges from the top of the seated dog's head. His human-like teeth are bared in a grin, and his perky ears point upward, as though he is alert to a sound. Standing 10.5 inches high, the nicely shaped pottery pup is cataloged with a $4,000-$6,000 estimate.Ethnographic art includes a choice late-19th/early 20th century CE Maori jade pendant or ear ornament, $7,000-$9,000;and a vibrant circa 19th-century CE Woodlands Indian beaded bandolier bag with provenance from the Museum of American Indians, $3,000-$5,000. Lot 84H, a circa-1870 CE Nootka painted cedar-bark basketry hat from the Pacific Northwest, is of the type that Lewis and Clark collected while exploring the Columbia River. Previously auctioned at Sotheby's New York (2012), it now comes to auction with an $8,000-$12,000 estimate.The sale also features wonderful examples of Spanish Colonial art, Viking and Byzantine jewelry; antique edged weapons, Russian icons, and other captivating survivors from civilizations that are long gone.There are many ways in which to bid in Artemis Gallery's May 18, 2017 auction, including absentee, by phone (please reserve line in advance), or live via the Internet. The sale will be conducted simultaneously on three bidding platforms: ArtemisGalleryLIVE.com, LiveAuctioneers.com ( https://new.liveauctioneers.com/ catalog/103257_ fine-antiq... ) and Invaluable.com. For additional information about any item in the auction, call Teresa Dodge at 720-502-5289 or email email@example.com . Online: www.artemisgallery.com.
News Article | May 12, 2017
NEW YORK, May 12, 2017 /PRNewswire/ -- NYU Langone Medical Center raised over $5.2 million at its annual Violet Ball, held at The Metropolitan Museum of Art on Fifth Avenue in New York City on the evening of May 11. Thomas S. Murphy, former chairman and CEO of Capital Cities/ABC, Inc. was...
News Article | October 29, 2016
First Major Exhibition to Explore the First World War Through The Eyes of American Artists and Examine Its Lasting Impact on Art and Culture The Pennsylvania Academy of the Fine Arts (PAFA) presents its ground-breaking exhibition World War I and American Art, on view in the Samuel M.V. Hamilton Building at 128 N. Broad Street from November 4, 2016 through April 9, 2017. Admission to the exhibition is free every Sunday, courtesy of the Presenting Sponsor, Exelon Foundation and PECO. The first major museum exhibition to revisit this unprecedented global event through the eyes of American artists, World War I and American Art will show how American artists translated their wartime experience, opinions, and perceptions in works that chronicle this transformative moment in American culture. The war’s impact on art and culture was multifaceted, as American artists spoke out against it, participated as soldiers on the battlefield and workers on the home front, designed enlistment posters and camouflage, served as official artists documenting the war, and helped shape postwar society in its wake. One of the most ambitious projects that PAFA has ever organized, the exhibition’s approximately 160 works by 80 artists encompass a broad variety of stylistic approaches, viewpoints, and experiences through paintings, drawings, sculpture, prints, photographs, posters, and ephemera. A diverse array of both well-known and under-recognized artists is represented including Ivan Albright, George Bellows, Charles Burchfield, John Steuart Curry, Howard Chandler Christy, James Montgomery Flagg, Henry Glintenkamp, Marsden Hartley, Childe Hassam, Carl Hoeckner, George Luks, John Marin, Violet Oakley, Georgia O’Keeffe, Joseph Pennell, Jane Peterson, Horace Pippin, Man Ray, Boardman Robinson, Norman Rockwell, John Singer Sargent, John Sloan, Edward Steichen, and Claggett Wilson. A small selection of work will also be shown by contemporary artists – including Debra Priestly and recent MacArthur Foundation “genius grant” recipient Mary Reid Kelley – who have confronted World War I’s legacy in their work. World War I and American Art fully explores the deep and lasting impact of the war, following the chronological arc from prewar tensions to the reverberating after effects in the 1930s, and chronicling its devastating toll on haunted soldiers and ruined cities, relief and hospital workers, women and families. “World War I and American Art examines a critical moment in history from both the home front and firsthand experience, allowing for images of intense patriotism and outraged dissent to recreate the charged atmosphere leading up to and during the war,” notes David R. Brigham, PAFA President and Acting Museum Director. “Artists both mirrored and participated in these debates, and the art work they produced fueled discussions about the United States’ role in the world.” The exhibition will also demonstrate how the conflict changed American art itself. World War I unfolded as the American art scene was rapidly changing and experiencing a growing range of aesthetic viewpoints, political agendas, exhibition and publication opportunities, and contact with European émigrés. Images made during the war reveal American artists in transition, using more experimental forms including abstraction to capture the apocalyptic tenor of the conflict but also drawing on a straightforward realist manner to make the human experience accessible to their audience. The exhibition includes numerous high-profile loans, among them John Singer Sargent’s monumental painting, Gassed, from the Imperial War Museums in London. Measuring approximately 20 feet wide by 7 feet tall, the composition depicts the aftermath of a mustard gas attack Sargent witnessed on the Western Front. The painting features a central group of wounded soldiers, depicted nearly life-size, walking toward a field hospital and past the bodies of their dead and injured comrades in arms. The painting, completed in 1919 and widely regarded as Sargent’s late masterpiece, conveys the waste and tragedy of conflict and is one of the most disturbing humanistic commentaries on war. Gassed brings together many themes that are essential to the story of the war and this exhibition: differing perspectives on the war and its larger meanings; the camaraderie of soldiers at camp and in the field; the harrowing pain of combat, the dignity of those who sacrifice for their country, and the heartbreaking realities of war, regardless of its justification. Also among the many significant exhibition loans are Childe Hassam’s Avenue of the Allies from The Metropolitan Museum of Art, Marsden Hartley’s Portrait from the Weisman Art Museum, George Luks’ Armistice Night from the Whitney Museum of American Art, and Horace Pippin’s Dog Fight Over the Trenches from the Smithsonian’s Hirschhorn Museum. This landmark exhibition is organized by PAFA and curated by Robert Cozzolino, former PAFA senior curator and currently the Patrick and Aimee Butler Curator of Paintings at the Minneapolis Institute of Art; Anne Knutson, an independent scholar and curator; and David Lubin, the Charlotte C. Weber Professor of Art at Wake Forest University. Although World War I has been characterized as “America’s forgotten war,” Cozzolino notes that “the war’s impact on American art and culture was enormous, for nearly every major American artist of the time produced work that addressed the conflict or contributed in some way to the war effort. It was prevalent in American culture before and after the nation entered the war in 1917.” “Among the most exciting discoveries made by the curatorial team is the degree to which modernists such as Marin, O’Keeffe, and others were immersed in news and the imagery of the war,” Cozzolino adds. “We are also thrilled to bring the work of little-known artists to light. Clagget Wilson and Carl Hoeckner, for instance, made some of the most haunting images of the war and have not had the chance to be seen in the context of other World War I artwork.” World War I and American Art is organized around eight themes: Prelude: The Threat of War; Hartley and Hassam: Tenuous Neutrality; Debating the War; Mobilization; Modernists and the War; Battlefields; The Wounded and the Healers; and Celebration and Mourning. Arranged to follow the narrative of the war itself, the exhibition will show how artists chronicled their experiences of the unfolding war as it crept closer to home and then involved them directly as soldiers, relief workers, political dissenters, and official war artists. “Exhibits such as this contribute to a deeper understanding of our nation’s history in a way that words could never convey,” said Chris Crane, president and CEO of Exelon, and chairman of the Exelon Foundation. “We’re proud to partner with the Pennsylvania Academy of the Fine Arts to tell the story of the war’s impact on our society and culture through the eyes of artists who bore witness.” The exhibition will travel to the New York Historical Society in spring 2017, followed by the Frist Center for the Visual Arts in fall 2017. It is accompanied by a fully illustrated scholarly catalog and an extensive schedule of approximately 30 public programs for children and adults of all ages. Among the events developed in conjunction with the exhibition are lectures and symposia, art-making programs for schools, walking tours, educator workshops, and a co-exhibition of recent art created by veterans. Partners include the American Red Cross, Friends Select, Project Home, Library Company of Philadelphia, Historical Society of Pennsylvania, Thomas Jefferson University, Warrior Writers, International House, Army War College, and others. The symposium is sponsored by the General Representation of the Government of Flanders to the USA. For a complete list of programs, visit http://www.pafa.org/WWI. World War I and American Art is made possible in part by major grants from the National Endowment for the Humanities: Exploring the human endeavor, and from the Henry Luce Foundation. The Presenting Sponsor is the Exelon Foundation and PECO. Additional funding provided by grants from the David A. and Helen P. Horn Charitable Trust, Edwin L. Fountain, the Wyeth Foundation for American Art, The McCausland Foundation, the General Representation of the Government of Flanders to the USA, Mrs. Helen Horn Bickell, Carolyn Horn Seidle, Furthermore: a program of the J.M. Kaplan Fund, Bank of America, Mr. and Mrs. Kevin F. Donohoe, and Dr. and Mrs. J. Brien Murphy. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Founded in 1805, the Pennsylvania Academy of the Fine Arts (PAFA) is America's first school and museum of fine arts. A recipient of the 2005 National Medal of Arts, PAFA is a recognized leader in fine arts education with a world-class permanent collection of American art.
News Article | October 28, 2016
The National Naval Aviation Museum has been named one of the Top 25 Museums in the country by TripAdvisor as part of the 2016 Travelers' Choice Awards. The museum has also been ranked “Top 20 Museum in the USA” by Yelp, making it one of the best museums in the country to visit. The National Naval Aviation Museum ranks 14 on the list that includes well-known museums such as the Smithsonian National Museum of Natural History, The Museum of Modern Arts, The Getty Center, the Smithsonian Air and Space Museum and more. The rankings are based on quantity and quality of reviews and ratings for museums worldwide gathered by TripAdvisor over a 12-month period. "We are thrilled that the National Naval Aviation Museum has again been named a top museum by TripAdvisor,” said retired Navy Capt. Sterling Gilliam, museum director. “It is especially satisfying given TripAdvisor rankings are driven by user-generated content. It is nice to know our visitors are having a good experience when they visit our campus." TripAdvisor, which is a travel planning and booking website, has more than 350 million unique visitors each month and more than 385 million reviews and opinions covering more than 6.6 million accommodations, restaurants and attractions. The top 5 museums in the U.S. are: 1. The Metropolitan Museum of Art 2. Art Institute of Chicago 3. National 9/11 Memorial & Museum 4. The National WWI Museum 5. Smithsonian National Air and Space Museum Click here to see more. The National Naval Aviation Museum is the world’s largest Naval Aviation museum and one of the most-visited museums in the state of Florida. Share the excitement of Naval Aviation’s rich history and see more than 150 beautifully restored aircraft representing Navy, Marine Corps and Coast Guard Aviation. Historic aircraft are displayed both inside the Museum’s nearly 350,000 square feet of exhibit space and outside on its 37-acre grounds. Media Note: For more information about the National Naval Aviation Museum or Foundation, contact Malerie Shelton at (850) 453-2389 or mshelton(at)navalaviationmuseum(dot)org. About the National Naval Aviation Museum The National Naval Aviation Museum, one of TripAdvisor’s “Top 25 Museums in the United States,” features nearly 350,000 square feet of displays and is one of the world’s largest aviation museums. Located aboard Pensacola Naval Air Station, the facility boasts more than 150 beautifully restored aircraft representing Navy, Marine Corps and Coast Guard aviation and is one of Florida’s most visited museums. Be sure to visit Hangar Bay One, displaying aircraft of the post-WWII era including presidential helicopter, Marine One. Among the countless things to touch, see and experience are thrilling 3D and HD flight simulators and the new Blue Angels 4D Experience. Don’t miss the drama and power of the new laser powered Giant Screen digital theater. The Cubi Bar Café offers a unique dining experience and the Flight Deck Store is the perfect place to find a souvenir that captures the spirit of Naval Aviation. Museum admission is FREE and open to the public. The National Naval Aviation Museum is open daily from 9 a.m.–5 p.m. For more information, visit http://www.NavalAviationMuseum.org.
News Article | October 28, 2016
NEW YORK, NY--(Marketwired - Oct 25, 2016) - Throughout its history, the Quin hotel has hosted world-renowned artists and musicians, due to its location at 57th Street and Sixth Avenue, diagonally across the street from Carnegie Hall. Now, Quin Arts curator DK Johnston has combined these two artistic forms with a spirited mash-up in a group show featuring 14 exquisitely crafted D'Angelico Guitars -- each reimagined by a different artist. Each of the artists has been an artist-in-residence at the Quin in the past, or is represented in the hotel's permanent collection. From acclaimed street-artists such as ABOVE, Mando Marie and Nick Walker to photo-realist painters such as Eric Zener, artists were challenged to use a D'Angelico guitar as their "canvas," and the stunning results go on view at the Quin starting on November 10th. D'Angelico Guitars are works of art in their own right, historically having been individually handcrafted in a tradition that began in the early 1900's in New York City. John D'Angelico was born in Little Italy and became an apprentice at age 9 to an expert violin and Mandolin maker, learning the principles that would inform his later career. He went on to open his own shop on Kenmare Street in 1932, and D'Angelico Guitars would come to be known as the finest archtop guitars of the 20th century. D'Angelico's work was celebrated in a 2011 Exhibition at The Metropolitan Museum of Art, titled "Guitar Heroes: Legendary Craftsmen from Italy to New York" The Group Show at the Quin features the work of 14 acclaimed artists, including: ABOVE (Tavar Zawacki); Alex Yanes; ASVP; Blek le Rat; Eric Zener; Joanne CORNO; Mando Marie; Mindy Linkous; Nick Walker; Pure Evil; Robert Malmberg; SP38; The London Police; and Wulf Treu. Brenden Cohen, CEO of D'Angelico Guitars, commented, "We're beyond excited to be working with DK Johnston and the Quin. We hugely value partnering with artists whose vision highlights the aesthetic of our guitars -- which are really art-pieces in and of themselves. We can't wait to see what they come up with." Nick Walker, an acclaimed street artist from the UK who has twice served as artist-in-residence at the Quin, is among the artists participating in the group show. His reimagining of a D'Angelico Guitar blended the conception of musical notes as numbers. Walker commented, "The curves of the numbers really leant themselves to the shape of the guitar and almost resembled notes -- only in number form." After all, he added, "Everything is based on numbers." Photo-realist painter Eric Zener, who also served as artist-in-residence at the Quin, is represented in the group show with a guitar drawing inspiration from his series of paintings illustrating people or objects submerged in water. Zener referred to the work in the D'Angelico group show as, "The 'sound' of art." Vincent Vienne, Managing Director of the Quin, commented, "Some of the world's most accomplished musicians and artists continue to make the Quin their home while on tour in New York, so this exhibition, uniting two art forms, is a great inspiration for our guests." The Quin is managed by Highgate, a premier real estate investment and hospitality management company whose growing portfolio includes more than 100 properties in gateway cities worldwide. For more information on Quin Arts, visit www.thequinhotel.com. About The Quin The Quin, New York City's quintessential luxury lifestyle hotel, is located on the corner of 57th Street and 6th Avenue. At the intersection of art, music, and fashion, its privileged Midtown location provides effortless access to Lincoln Center, Carnegie Hall, The Museum of Modern Art and Fifth Avenue couture. The Quin melds modern opulence with its rich artistic heritage in each of its 208 thoughtfully appointed guestrooms, including 28 suites. Guests enjoy urbane and intelligent services from the QA, who curate each guest's New York experience, to distinguished amenities such as a state-of-the-art Technogym fitness center, Apple equipped drawing room, Dux® beds by Duxiana®, and Fresh® Spa Products. Guests can also indulge at The Wayfarer, a classic American grille, located adjacent to the hotel. The two-story, 130-seat restaurant offers breakfast, lunch and dinner daily, weekend brunch, and a full, 24-hour, in-room dining menu from Executive Chef Chris Shea for hotel guests, featuring classic American dishes, redefined. Renowned architecture and interior design firm, Perkins Eastman, has transposed a contemporary masterpiece on the classical foundation that was once home to cultural icons like pianist Ignacy Jan Paderewski and artist Georgia O'Keeffe. Follow the Quin @thequinhotel. Reservations are available at 1-855-447-QUIN (7846) or http://www.theQuinhotel.com/. About Quin Arts Quin Arts brings a global community of artists, patrons, and guests together through an ongoing series of culturally significant events, exhibitions, and performances. This multi-media initiative extends to a substantial permanent collection, along with an artist-in-residence program, digital displays on the lobby's 15-foot abstract video art wall, and intimate salons with participating artists. Curated and co-founded by DK Johnston, previous exhibits include Creative Chaos, a vibrant collection of new large-scale paintings by Corno, an exclusive preview of Eric Zener's land series, which was exhibited at Gallery Henoch, and Heritage -- a collection of iconic photography from Burt Glinn, Erich Hartmann, Dennis Stock, and Elliott Erwitt, presented in partnership with Magnum Photos. Blek le Rat, the "Father of stencil graffiti," created a series of unique lithographs, collectively entitled Escaping Paris, at the New York Academy of Art for the Quin during his tenure as artist in residence. The artist commemorated his residency on the Quin's façade with an image of Andy Warhol. About Highgate: Highgate is a premier real estate investment and hospitality management company widely recognized as an innovator in the industry. Highgate is the dominant player in U.S. gateway markets including New York, Boston, Miami, San Francisco and Honolulu. Highgate also has an expanding presence in key European markets through properties in London, Paris, Barcelona, Vienna and Prague. Highgate's portfolio of global properties represents an aggregate asset value exceeding $10B and generates over $2B in cumulative revenues. The company provides expert guidance through all stages of the hospitality property cycle, from planning and development through recapitalization or disposition. Highgate has created a portfolio of bespoke hotel brands and utilizes industry leading proprietary revenue management tools that identify and predict evolving market dynamics to drive outperformance and maximize asset value. With an executive team consisting of some of the industry's most experienced hotel management leaders, the company is a trusted partner for top ownership groups and major hotel brands. Highgate maintains corporate offices in New York, London, Dallas, Chicago and Seattle. For more information, visit highgate.com.
Vila A.,The Metropolitan Museum of Art |
Garcia J.F.,University of Barcelona
Analytical Letters | Year: 2012
Prints are one of the most popular artistic forms. They consist of an original matrix that is printed on a paper support. The stamps are part of a series, and each series is composed of a particular number of prints. Many contemporary prints are made using oil inks and synthetic pigments (reds and yellows). Inks are mainly composed of pigments (organic or inorganic) and a binding medium. The analysis of inks has the potential to facilitate and complement the identification of stamps of different origins.Fourier transform infrared spectroscopy (FTIR) and Scanning Electron Microscopy-Energy Dispersive X-ray (SEM-EDX) are techniques that are typically available in museums and centers related to the study of works of art. Both can be classified as micro-destructive and provide complementary information about the organic and some inorganic compounds (FTIR), and the elemental composition (SEM-EDX). In this article, the two techniques were used to analyze the composition of red ink in prints. As a result of these analyses, it was possible to distinguish among nearly all of the pigments and inks, indicating that the composition of the red ink can be reliably used to differentiate between stamps of different origins in a series of prints. © 2012 Copyright Taylor and Francis Group, LLC.
News Article | November 8, 2015
A conversation about the future is inseparable from a conversation about technology. The increasing role of and dependence on smart devices and the quickening march toward an absolute Internet of Things that simultaneously maps where we are and where we’re going—the world of tomorrow has never seemed so close to today. But where is art’s place in the future? This is not only an important question for artists, but for brands and marketers. The division between art and technology has dissolved into a permeable membrane where concepts from each discipline inform new innovations. It’s an idea best expressed by Steve Jobs during the launch of the iPad 2 in March 2011: "…technology alone is not enough—it’s technology married with liberal arts, married with the humanities, that yields us the results that make our heart sing." As instrumental as art has been for technology influencers like Jobs, the same can be said in reverse. Technology has triggered a sea change across the arts, transforming how we experience everything from fashion to advertising. "[Art] is not as pure anymore, but that doesn’t mean it’s been spoiled," says David Droga, creative chairman and founder of Droga5. "Nothing is prepackaged and linear." Those capitalizing on that disruption now are shaping the role of art in the future. Leaders in the creative space like Droga are utilizing technology in ways that are changing how they connect with consumers, and, in turn, how consumers are connecting with art. Before the firehose of content that is the Internet, consumers were expected to take for gospel what was handed to them in museums or on the radio—that type of curation happened behind closed doors. But the interconnectedness of the Internet brought a deluge information that shifted the dynamic—audiences aren't limited to programmed TV or limited-page magazines, but can find new content on endless Internet and app pages. "You no longer have the role of the expert that finds art somewhere and shows a limited amount to the public," says Bob Pittman, chairman and CEO of iHeartMedia. "Rather the public can take a look at all that raw art for themselves and develop their own opinions. So these people that were gatekeepers to the art lover are being marginalized." Mass amounts of content have never been more readily accessible and the public is deluged with viewing and listening options, which has elevated the need for someone to sift through the static and curate what’s relevant to a particular audience. "The grand expert is diminished and the curator is heightened in terms of importance," says Pittman. The music world serves as a great example. "There’s constant music and sound available at all times through digital means and that has, in some way, devalued a lot of music and sound," says Joel Beckerman, founder of Man Made Music. "But [it’s] also dramatically increased the value of people who are curators of music and sound in our lives, whether those curators are packagers of the larger multi-sensory experience or they’re your friends on social media." So the question from a brand perspective becomes how to effectively curate content. Pulling what matters to your audience starts with knowing what your audience wants—and for that, you have to go straight to the source. One way to do this, of course, is to study website or social media analytics to determine how popular different pieces of content are with your target audience. "I think anytime you cut out ‘experts’ who are passing subjective judgments and allow the consumer to decide for themselves, that’s always better," Pittman says. "What it does is it also inspires new people. We see an acceleration of innovation, creativity, new ideas, new directions." Another way to figure out what your audience wants is to give them the tools to make what they want themselves. For the 2015 Video Music Awards, MTV launched an unusual marketing campaign: Host Miley Cyrus was filmed in a variety of green-screened scenarios and it was up to the MTV community to fill in the blanks however their imagination saw fit. All the submissions were displayed on MTV's website. MTV then used the best clips submitted by the public as official promos, attributing the artist responsible. If a focus group had voted that giving Miley Cyrus dolphin boobs on an island of day-glow colors was the best way to promote the VMAs, MTV wouldn’t have been able to create a sense of ownership within its audience by displaying at a national level something viewers created—and it wouldn't have known that its audience wanted Miley Cyrus dolphin boobs with the same level of certainty as it would if the audience itself decided to create and submit Miley Cyrus dolphin boobs to the site. But MTV’s history of tearing down the wall between artists and conventional marketers dates back to practically its birth. In the '80s, Pittman (a cofounder of MTV) orchestrated "Art Breaks," short segments that aired on the network that featured contemporary artists such as Richard Prince, Jonathan Borofsky, and Jean-Michel Basquiat and "blurred the lines between logos and graphics and art." Though novel at the time, Pittman admits it wasn’t the most scalable idea because of cost and team resources. Technology now, however, has dramatically lowered the cost of such projects, and given creators the power to publish their work on their own. This has created a potential well of content brands can pull from. "Today [artists] do it on their own—they don’t have to put it on MTV. They can put it anywhere and it’s accessible by everybody," Pittman says, referring to platforms like YouTube and Tumblr. "It’s matching the art to the consumer of the art, even if it’s only a one-to-one relationship. There may be only one fan of whatever is put up but that art can find its fan. We’ve destroyed the herds and we’ve made it much more individualized." Handing over the keys to consumers and creators is also part of chief digital officer Sree Sreenivasan’s plan to bring new audiences to The Metropolitan Museum of Art. "One of the things we really pushed hard is to continue to have our best scholarship and expertise, but give access to more people," Sreenivasan says. "You’re going to see more and more museums allowing people to [digitally] take art from the museum and do anything with it, to play with it. Opening up your collection and making it visible to the world I think is going to be more and more important as we go along." Perhaps one of the most valuable tools in laying the groundwork for art’s future is social media. Platforms like Instagram, Twitter, Snapchat, and Vine have altered how art is consumed and created—and have engendered a complicated relationship with social for brands. On the one hand, social media allows brands to bring their audiences closer to the artistic experiences those brands are creating. On the other hand, social media is forcing brands to be more transparent about what they really are. "Technology suddenly changed the game because it’s the great equalizer," says Droga. "Before brands could say whatever they wanted from the comfort of their boardroom and weren’t held accountable. Now, consumers call you out on bullshit. So transparency is the biggest game changer." And it seems bullshit is on every influencer’s mind. "It used to be in the '50s, '60s, '70s, you could just tell somebody an appealing story about a brand and they’d probably buy into it," says Beckerman. "But I think people can really smell bullshit a mile away now. We’re doing these soul-centered branding exercises with our clients to make sure we’re very clear about what their authentic story is, about what their personality is, what their customers expect from them—that’s the strategy part of it." James Townsend, managing director of 72andSunny, New York, adds, "Back in the day, it was enough to explain to somebody what something was and what it did and why that’s cool and if you did that in a clever way, that was a great ad campaign. It was how it was from the birth of [advertising] up until the explosion of information [on the Internet]. The biggest thing that’s changed is that you can’t just tell people what you’ve got and what it does anymore because people have the information to call bullshit on that if you’re saying the same thing everybody else is." But social media isn’t just helpful in sniffing out bullshit—it also gives audiences unprecedented access to traditionally walled-up worlds. Take the world of fashion and designers, for example. "What use to be an elusive and mysterious industry has become readily more accessible and interchangeable with the Internet—not being invited to a fashion show is no longer an issue, because with a computer you are guaranteed a front row seat no matter where you are," says Joe Zee, editor-in-chief of Yahoo Style. "And, of course, social media has been a huge influence on the industry as well, giving persona to brands that were previously thought of as stodgy or old, or highlighting the voices and individuals behind those brands. Fashion became human, three-dimensional and diverse, though the lens of social media." On the flip side of the transparency and access social media provides is an abject clutter of content, which has caused brands battling for attention to elevate their game. "Generally people are so bombarded with people trying to get their attention, whether it be their friends or advertisers," Droga says. So much so that "now people are inventing technology to avoid what we create. That’s good for the industry because it puts the onus on us to be better and more creative and earn their attention, but there’s a lot of noise out there," he says. "There’s an analogy with art," Townsend adds, "that 200 years ago an incredible painting would get queues and queues of people for months and months because that was the only place you could go to see something that was so specific. These days, we don’t have a captive audience, we have a distracted audience." But, as Townsend points out, trying to make the loudest noise to get attention is hardly effective. "The only way to stand out in today’s world in a powerful way is to build your story or idea and build it around an existing cultural tension or situation," he says. "It’s not about hiding within a conversation. It’s about building ideas that are going to either create or benefit from a cultural conversation that’s going on." Tapping into cultural conversations rides adjacent to storytelling, which is at the heart of the arts: What makes you think? What makes you feel? The core principles of the arts haven’t changed, nor will they in the future. What’s in flux is not just how art is experienced, but also how it’s expressed. "People are really thirsting for these multi-sensory stories," Beckerman says. "When people are talking about experiences that are compelling and immersive, generally those are where all senses are really captivated in a storytelling mode. So this is in a lot of ways what’s driving this [virtual reality] and [augmented reality] storytelling experiences." Townsend cautions, however, that as useful as technology can be to provide a deeper experience, it should never surpass what’s really important. "We are striving as a company, while we stay modern and change, to not lose the things that are good about creative communications, which is that it is based on storytelling: how you tell stories to each other and how you tell stories to the world," Townsend says. "That’s the kind of thing people talk about a lot in meetings but you can imagine once you get into the grind of mobile and VR technology, you can easily get away from the light and romantic touch of proper storytelling." It’s a balance: embracing what’s next—and not forgetting where we’ve been. Hear more from many of the interviewees in this article at our upcoming Fast Company Innovation Festival.