Fidest – Agenzia giornalistica/press agency

Quotidiano di informazione – Anno 31 n° 259

Posts Tagged ‘Museum of Modern Art’

Extensive partnership between Volkswagen group of America

Posted by fidest press agency su sabato, 11 maggio 2013

New York City/Wolfsburg. The opening of EXPO 1: New York on May 12 marks the apex of the long-term partnership between Volkswagen Group of America, The Museum of Modern Art (MoMA) and MoMA PS1. On the occasion of EXPO’s opening, Hans Dieter Pötsch, Member of the Board of Directors Volkswagen Group of America; Glenn D. Lowry, Director of The Museum of Modern Art; and Klaus Biesenbach, Director of MoMA PS1, and Chief Curator at Large at MoMA, have announced that the partnership will be extended through 2015. The partnership was established in May 2011, originally for a period of two years.
EXPO 1: New York is an exploration of ecological challenges in the context of the economic and socio-political instability of the early 21st century. It comprises components at MoMA PS1, MoMA, and the VW Dome 2 in Rockaway Beach, NY. Based on its corporate values (“innovative, value retentive and responsible”), Volkswagen launched its “Think Blue.” initiative in 2010 with the aim of establishing a foundation for sustainable activity in relation to society and the environment worldwide – both within the company and for the consumer. The partnership between Volkswagen Group of America, MoMA and MoMA PS1 reflects this corporate commitment.

Posted in Economia/Economy/finance/business/technology, Estero/world news | Contrassegnato da tag: , , , | Leave a Comment »

Descent from Paradise: Saul Steinberg’s Italian Years 1933-1941

Posted by fidest press agency su lunedì, 2 gennaio 2012

New York January 23 6:00 pm | Center for Jewish History 15 West 16th Street Descent from Paradise: Saul Steinberg’s Italian Years 1933-1941 On the occasion of the New York presentation of QUEST, Journal in Contemporary Jewish Issues published by the Center for Contemporary Jewish Documentation in Milan (CDEC), this special event will present Mario Tedeschini Lalli’s research on Saul Steinberg’s Italian years, featured in the journal’s current issue.
Introduction: Sheila Schwartz (executive director, The Saul Steinberg Foundation) Speakers: Mario Tedeschini Lalli (journalist and author of the first research on Steinberg’s Italian years), Cristiana Facchini (historian and editor of the current issue of Quest: “Modernity and the Cities of the Jews”) Moderator: Alessandro Cassin (Centro Primo Levi)
Saul Steinberg (1914-1999) was one of America’s most beloved artists, renowned for the covers and drawings that appeared in The New Yorker for nearly six decades and for the drawings, paintings, prints, collages, and sculptures exhibited internationally in galleries and museums. Steinberg’s art, equally at home on magazine pages and gallery walls, cannot be confined to a single category or movement. He was a modernist without portfolio, constantly crossing boundaries into uncharted visual territory. In View of the World from 9th Avenue, his famous 1976 New Yorker cover, a map delineates not real space but the mental geography of Manhattanites. In other Steinbergian transitions, fingerprints become mug shots or landscapes; graph or ledger paper doubles as the facade of an office building; words, numbers, and punctuation marks come to life as messengers of doubt, fear, or exuberance; sheet music lines glide into violin strings, record grooves, the grain of a wood table, and the smile of a cat. | Through such shifts of meaning from one passage to the next, Steinberg’s line comments on its own transformative nature. In a deceptively simple 1948 drawing, an artist (Steinberg himself) traces a large spiral. But as the spiral moves downward, it metamorphoses into a left foot, then a right foot, then the profile of a body, until finally reaching the hand holding the pen that draws the line. | This emblem of a draftsman in the act of generating himself and his line epitomizes a fundamental principle of Saul Steinberg’s work: his art is about the ways artists make art. Steinberg did not represent what he saw; rather, he depicted people, places, and even numbers or words in styles borrowed from other art, high and low, past and present. In his pictorial imagination, the very artifice of style, of images already processed through art, became the means to explore social and political systems, human foibles, geography, architecture, language and, of course, art itself. | Saul Steinberg was born in Romania in 1914. In 1933, after a year studying philosophy at the University of Bucharest, he enrolled in the Politecnico in Milan as an architecture student, graduating in 1940. The precision of architectural drafting taught him the potential of a spare two-dimensional line to describe a complex three-dimensional form. During the 1930s, Steinberg applied this lesson to the cartoons he began publishing in Milan for the twice-weekly humor newspaper Bertoldo. The incisive wit of these images would distinguish much of his art, long after he abandoned the strict cartoon format. By 1940, Steinberg’s drawings were appearing in Life magazine and Harper’s Bazaar. The following year, anti-Jewish racial laws in Fascist Italy forced him to flee. While in Santo Domingo in 1941 awaiting a US visa, he started publishing regularly in The New Yorker. | Steinberg’s association with The New Yorker continued for almost sixty years, resulting in nearly 90 covers and more than 1,200 drawings that elevate the language of popular graphics to the realm of fine art (many of these images are now available on http://www.newyorkerstore.com). His career in the art world kept pace with his work for The New Yorker and other magazines. Steinberg’s first one-artist exhibition was held in 1943 at the Wakefield Gallery, New York. Three years later, he was among the “Fourteen Americans” in a landmark show at The Museum of Modern Art, his works exhibited alongside those of Arshile Gorky, Isamu Noguchi, and Robert Motherwell. Three major New York galleries have represented Steinberg, beginning with Betty Parsons and Sidney Janis and, since 1982, The Pace Gallery (www.thepacegallery.com).(autogeography, steinberg)

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