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thepractitionerd · 7 years ago

Video

GREMLINS: RECALL (UNOFFICIAL) from RYAN PATRICK on Vimeo.

GREMLINS: RECALL is a fan film. We made it for fun, so don't sue us.

BTS Footage: vimeo.com/245655554 Download Soundtrack: gremlinsrecall.bandcamp.com

Writer & Director: Ryan Patrick (ryanpatrick.us) Producers: Nash Cubero (nashbox.co), Sarah Lilly

Starring: Katherine Rodriguez as Claire Randy Irwin as Owen Sarah Lilly as Deb Robert Wood as The Pitchman

Executive Producer: Jerad Anderson Cinematographer: Isaac Bauman Special Creature Effects: Eric Fox @ Morb-x Production Designer: Eloise Ayala Co-Producer: Rich Salamone

Trink Voice: Hannah Baker Gremlin Voices: Dan Carr, Grayson Stone, Ryan Patrick

First Assistant Director: Jesse Hays Casting Director: Michael Stonewall Beaudry Composer: Russ Howard Additional Music: Grand Soleil

Editor: Collin Davis Colorist: David Torcivia Visual Effects: Joe DiValerio @ Space Monkey Sound Design and Mix: Jackie! Zhou Title Design: Jesse Merrell Storyboards: Vick Trola

Art Director: Alexander Stamm Set Painter: Karina Konupek Graphic Designer: Emiko Velazco Art PAs: Whitney Pynn, Kyle Hulett, Fernando Cuestas

Gaffer: Genevieve Evans Key Grip: Joanna Nyguen

1st ACs: Taylor Harris, Travis LaBella 2nd AC: Chris Chrisenbery DITs: Colin Anders, Jeff Cromwell Best Boy Electrics: Isaak van der Meulen, Dave Marmon Electrics: Nick Street, Rodolfo Martinez, Monica Mejia, Maria Eduarda Alguin Simoes Swings: Lincoln Webb, Nate Thompson, Yoann Cifuentes Sound: Paul Cornett

Costume Designer: Chanel Gibbons Hair and Makeup: Wendy Bermeo Stunt Coordinators: Simon White, Albert Lannutti

Visual Creature Effects: Melissa Fox, Celena Madrigal, Delaney Como, Tim Lewis, Jimmy Hernandez, Sam Henry, John Prewitt, April Grandos

Location Manager: Tom MacDonald Craft Services: Karen Gallagher Catering: Abel Garcia-Rodriguez

Production Assistants: Dino Penava, Joseph Hargrove, Nic de Soto-Foley, Paul Schrodt, Andrew Rosa, Ellen Mulvhill

Extras: Christopher Bobal, Rosalio Garcia, Celena Madrigal

Special Thanks: Emma Huang, Colin Moore,Ellie Johnson, Justin Joseph, Guillaume Le Grontec, Emily Rifkin, Jewel McPherson, Charles A. Bush, Aurélien Drosne, Jose Norton, Chris Amos, John Wikstrom, Joe Sill, John Merizade, Tom Morris, Jean Mougin, Steve Gunner, Mishka Kornai, Bobby Moser, Spencer Creigh, Mikey Gonzales, Sarah Holme, Natasha Seubert, Gina Kwong, Steve Wi, Hughie Phillips, Charlie Phillips, Florence Hill, Kyle Steinbach, Matt Griffo, Pasqual Gutierrez, Brendan Varni, Andrew Collins, WeWork, Panavision, Arri

Shot on Arri Alexa Mini with Panavision G Series lenses in Los Angeles, CA.

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artwalktv · 5 years ago

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vimeo

Bolivia's Climbing Cholitas - a group of indigenous women scaling the Andes Mountains, some of the highest peaks in the world. Shot in Bolivia for Vogue Latin America and Vogue Mexico's 20th anniversary cover story. THE CLIMBING CHOLITAS: YHENY LIMA ALAÑA (VOICE OVER) DOMITILA ALANÃ LLUSCO MARTHA SONCO CATARI MARITZA CONDORI MAMANI JULIA QUISPE TINCUTA ALICIA VIRGINIA QUISPE TINCUTA ALICIA LIMA ALAÑA GENOVEVA INES ALAÑ QUISPE Written and Directed - Yumna Al-Arashi Creative Direction - Look Studios Executive Producer - Jean Mougin Producer - Lana Salfiti Cinematography - Mattias Rudh Edited - Ryan Boucher Additional Sound Design and Mix - Chris Banks Focus Puller - Lala Lezzi Colourist - Joseph Bicknell SPECIAL THANKS TO KARLA MARTINEZ AT VOGUE MEXICO, JEANINE BLANCO ARRAYA AND ADRIANA BARRAGE PRADA AT THE LA PAZ TOURISM BOARD, CHARLES-MARIE ANTHONIOZ, KODAK MOTION PICTURES, CINELAB LONDON, PACHA MAMA AND EVERYONE IN BOLIVIA WHO OPENED THEIR HOMES AND HEARTS TO MAKE THIS FILM A REALITY.

#Videos & Films

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whileiamdying · 5 years ago

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vm4vm0 · 5 years ago

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vimeo

Becky and the Birds - ‘Wondering’ from Danica Arias Kleinknecht on Vimeo.

Director - Danica Arias Kleinknecht Producer - Jake DeNicola Production Company - NoCo Executive Producer - Jean Mougin

Director of Photography - Mika Altskan 1st AC - Andrew Lin 2nd AC/ Loader - Alex Huggins Steadicam Operator - Franz Brun Gaffer - Landon Yost Key Grip - Sam Warga Stylist - Briana Andalore Makeup Tech - Kemi Kamugisha Hair Tech - Kelly Araujo Production Assistant - Henry Dolan Editor - Randy Baublis at Cabin Edit Colorist - Joseph Bicknell at Company 3

Record Label 4ad

Special thanks to Alyssa Debonis

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karoltabis · 5 years ago

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ozkamal · 5 years ago

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bluebookweb · 7 years ago

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MRM Talking With: ACF’s 2017 Certified Master Chefs®

The title of Certified Master Chef (CMC), presented solely by the American Culinary Federation (ACF) in the U.S., is the highest level of certification a chef can receive and represents the pinnacle of professionalism and skill.

Today, there are 68 CMCs and 10 Certified Master Pastry Chefs® (CMPC) in the nation. To apply for the CMC exam, a candidate must be a Certified Executive Chef® or Certified Culinary Educator®, provide two letters of recommendation from current CMCs or CMPCs, and have completed education courses on sanitation and food safety, cost management, management and wine. The candidate must also secure funding for the cost of the exam process including the exam fee, travel expenses and practice materials.

The 2017 American Culinary Federation Certified Master Chefs are Gerald Ford, CMC; Joseph Leonardi, CMC; and Shawn Loving, CMC, CCA.

Gerald Ford, CEC®, is executive sous chef at The Everglades Club in Palm Beach, Florida. He is the winner of the Les Amis d’Escoffier competition in New York City. He earned the opportunity to work at Moulin de Mougins, a three-star Michelin restaurant in Mougins, France. He set out on his culinary journey opening the Mandarin Oriental Hotel in New York City and became executive chef of Château Robert in Montgaillard, France. Ford competes in both hot- and cold-food competitions, and is a gold medalist ice sculptor.

Joseph Leonardi, CEC®, is director of culinary operations at The Country Club in Chestnut Hill, Massachusetts. In 2009, he earned the title of U.S.A.’s Chef of the Year™ at Cook. Craft. Create. ACF National Convention & Show. Previously, Leonardi managed ACF Culinary Team USA 2016. In 2012, he served as captain of ACF Culinary National Team USA, earning a silver medal in the hot-food kitchen and a silver medal in the cold-food presentation at the 23rd Internationale Kochkunst Ausstellung International Culinary Exhibition, commonly known as the “culinary Olympics,” in Erfurt, Germany.

Shawn Loving, CEC®, CCA®, is Culinary Arts department chair and full time faculty at Schoolcraft College in Livonia, Michigan. He has worked as executive chef for the U.S. men and women’s Olympic basketball teams in Beijing, China, and Rio de Janeiro, Brazil. In addition, he was an executive chef for the 2010 FIBA World Championships in Istanbul and the 2014 World Championships in Madrid, Spain. As a seasoned competitor, he is the recipient of numerous awards and medals from the American Culinary Federation, and was a member of the Michigan Culinary Olympic Team in 2012.

During the eight-day exam, candidates must maintain an average score of 75 out of 100 points to be eligible to continue. Scores are tallied based on kitchen skills, plate presentation and taste. Candidates are tested on the following subjects by ACF-certified chefs:

Healthy cooking

Buffet catering

Classical cuisine

Freestyle cooking

Global cuisine

Baking and pastry

Continental and Northern Europe cuisines

Market basket

In this edition of MRM “Talking With,” the newly certified chefs discuss the challenges they faced and why they felt this pursuit was important to them.

Why did you want to pursue the American Culinary Federation’s Certified Master Chef® (CMC®) certification?

Gerald Ford: I once watched a CMC prepare a roasted chicken, mashed potatoes, green beans and pan gravy, and the resulting meal was better than anything I’d ever had. That was at a point where I knew I loved cooking, and I realized that my passion could become my profession as well. That was why I became a cook. Working to accomplish that goal, that level of excellence, has consistently provided me with some of the deepest learning experiences and largest periods of growth through my career. The ACF CMC certification sets a standard, and it gave me a tangible path to pursue.

Joseph Leonardi: It was all about a personal goal I set for myself about 15 years ago. I had accomplished great things in my career and in my personal life, but I was never satisfied. I needed to test my skills in the most notable culinary exam in the United States, some say in the world—the Certified Master Chef exam. I wanted to be recognized as someone who worked hard throughout his or her career, worked their way to the top, and that is what I did.

Shawn Loving: Throughout my 30-year career, I have always desired to put myself in a position to present to the best in the industry. I knew that if I pursued this certification, with all that it involves, there was no way that it would not enhance my overall craftsmanship as a chef. It was also essential for me to set an example of perseverance through the pursuit of excellence for future generations of cooks.

How did you prepare?

Gerald Ford: I started preparing for the exam 15 years ago. Working for CMCs, apprenticing for the exam, watching an exam, interacting with Certified Master Chefs and developing really high-level habits were great ways to begin. For five months ahead of the 2017 exam, I spent 50 hours a week practicing and preparing. In order to put myself in the best physical condition, I exercised six days a week. As for the mental aspect, I meditated, listened to really hard metal music and ran myself into the ground every chance I got.

Joseph Leonardi: I cooked, cooked every day that I was at work, and if I didn’t cook, I made sure I read or worked on a skill. So to be honest with you, I didn’t change my routine in many ways—this is what I do every day. That is what this exam is, a cooking exam.

Physically, about a year ahead of the exam, I changed my way of eating and started an exercise routine. This was to help build endurance and, of course, shed some pounds. It is important to not only be physically fit to take the exam, but also to be mentally fit. Something is going to go wrong in the kitchens, most likely more than once, and you need to be able to talk yourself through it.

Shawn Loving: I prepared with a deeply rooted self-discipline, focusing on both physical and mental elements. This test requires an endurance much more complex than cooking calls for alone. Time spent at the gym early in the morning before work, long research and development sessions winnowing down details of recipes, timed sessions after my typical work day—these were just some of the tools that I employed to get myself into shape. By keeping to these daily habits, I did not allow myself to veer from my goal. When something did not turn out quite right, I would refocus and reevaluate, holding myself accountable while keeping my sights on the end of the journey.

Why do you feel this is important for your culinary career?

Gerald Ford: I feel that reaching for greatness is about a process, developing great habits and then keeping to consistent action. Successful completion of the exam reinforces my belief and my confidence in what I do every day, and in the standards I hold my team to.

Joseph Leonardi: I personally chose a certification route to serve as a validation of my skills in my career. I looked at it as a stepping stone as I grew professionally. Employers look to certified chefs for leadership, expertise and dedication to the industry, and because I believe in those standards, I felt it would be important to become certified. Young cooks also see you striving for your goals and working hard toward something good. It makes you a better chef and mentor to these young culinarians.

Shawn Loving: I was not focused on how the certification would be important for my career for personal accolades, as much as how it would encourage me to develop a continued drive toward never becoming complacent on the highest standards of my craft. Overall, I will remain a student first. I will also remain committed to excellence and to giving back to hospitality in its many different forms. You must remain in love daily with your craft so that it does not feel like a job.

What was the exam like?

Gerald Ford: The Certified Master Chef exam was the hardest challenge I have ever ventured into; every aspect of my ability was tested, every day. There is no time to be anything other than what you are as a chef. Mentally, the test pushed me right to the edge. I think that the mental aspect is the hardest part to deal with. The test puts you in a position to question things you are normally confident in. Ultimately, though, it’s the greatest process I have ever been a part of.

Joseph Leonardi: I have competed internationally for many years and have over 25 gold medals from the international stage. But by far, this was the hardest achievement I have earned in my professional career. Putting yourself out there, in front of some of the most recognized chefs in the USA, is simply stressful. You’re mentally, physically and emotionally challenged every day for eight days (nine cooking baskets), and you have to perform at the highest level of your abilities. You are consistently striving for excellence every day.

Shawn Loving: The eight-day exam felt like condensing 30 years of my professional cooking and presenting it to the CMC judges for approval. Thousands of hours and many thousands of meals were compressed and presented as my life’s work in the daily windows. The intensity of this exam is not to be taken lightly, for example by calling it a cooking competition or by comparing it to television shows. It is most certainly at a different level.

What was the most challenging aspect for you?

Gerald Ford: I think the most difficult thing for me was looking at each day as its own day. It became necessary to move on very quickly from the day just completed, good or bad, in order to put the focus where it was most needed. That was a real challenge for me.

Joseph Leonardi: Before the exam, it was the anticipation of it—it felt like it took forever for the start date to arrive. Once the process began, the hardest thing was the fear of failing; I didn’t want to let my family and friends down. I would remind myself every day why I was doing this and the outcome I so badly wanted. However, making a mistake knowing that you could have performed better was mentally tough on me. Sometimes, you are your own worst enemy, and I needed to control that throughout the exam.

Shawn Loving: Staying strong and believing in myself was the most difficult part for me! As I trained for the exam, I would hit a roadblock in concept or in flavor, and I would force myself to power through, to continue developing, and to not allow my mistakes to control my destiny. The mental strength needed for this test is truly something that can’t be found in any book or social media post.

What would you say to other chefs who might learn from your experience?

Gerald Ford: I would say that there is simply no shortcut to passing the exam; don’t waste time looking for one. Spend your time cooking properly and learning from the right people. Get feedback from chefs who have passed the exam, and fail as much as you can in preparation so you don’t have to during the exam. Set the goal and stop at nothing to get there.

Joseph Leonardi: Be true to the style of cooking that is being asked of you during the exam; don’t over complicate things. Have fun while you’re cooking and it will show in your food. Respect your apprentice; stop and think about how they feel and put yourself in their shoes. A true Master Chef will guide that apprentice throughout the day. Show confidence in your cooking ability, butchery skills and how you represent yourself in the kitchen. Pass or fail, learn from the experience, as you will come out a better chef no matter the outcome.

Shawn Loving: I would advise them to strive for excellence, not only in cooking, but in their daily routine. It is so important to stay committed and mean it, even when you are disappointed. If you mess something up, do it again—remain hungry. I continue to stay hungry for more even now, after my success. Those who are my mentors will remain so because they were the masters before I was.

MRM Talking With: ACF’s 2017 Certified Master Chefs® posted first on happyhourspecialsyum.blogspot.com

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robbialy · 7 years ago

Photo

Eileen Agar wearing her Ceremonial Hat For Eating Bouillabaisse, 1936. Eileen Forrester Agar (December 1, 1899 – November 17, 1991) was a British painter and photographer associated with the Surrealist movement. Born in Buenos Aires to a Scottish father and American mother, she moved with her family to London in 1911. After attending Heathfield St Mary's School, she studied, beginning in 1919, at the Byam Shaw School of Fine Art. Then, in 1924, she studied under Leon Underwood (1890–1975). She attended the Slade School of Fine Art in London from 1925 to 1926. She also studied art in Paris from 1928 to 1930. In 1926, she met the Hungarian writer Joseph Bard whom she would marry in 1940. In 1928, they lived in Paris where she met the Surrealists André Breton and Paul Éluard with whom she had a friendly relationship. She was a member of the London group from 1933. Her work was selected by Roland Penrose and Herbert Read for the International Surrealist Exhibition at the New Burlington Galleries, London, in 1936, where she showed three paintings, as "Quadriga" and five objects. Agar exhibited with the Surrealists in England and abroad. She started to experiment with automatic techniques and new materials, taking photographs and making collages and objects. "The Angel of Anarchy" (fabric over plaster and mixed media) is an example from 1936–40. It now appears at the Tate. In 1937, Agar spent days-off at Picasso and Dora Maar's home in Mougins (Alpes-Maritimes), with Paul Éluard and Nusch, Roland Penrose and Lee Miller (who photographed her). In 1940, she was present in many surrealist exhibitions in Amsterdam, New York, Paris and Tokyo. After the World War II, she had started a new productive area (almosts 16 solo exhibitions between 1946 to 1985). By the 1960s she was producing Tachist paintings with Surrealist elements. She died in London. Agar has paintings in the collection of several British institutions including Derby Art Gallery, Bradford and the UK Government collection.

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challengeartistsimple · 7 years ago

Video

GREMLINS: RECALL (UNOFFICIAL) from RYAN PATRICK on Vimeo.

GREMLINS: RECALL is a fan film. We made it for fun, so don't sue us.

BTS Footage: vimeo.com/245655554 Download Soundtrack: gremlinsrecall.bandcamp.com

Writer & Director: Ryan Patrick (ryanpatrick.us) Producers: Nash Cubero (nashbox.co), Sarah Lilly

Starring: Katherine Rodriguez as Claire Randy Irwin as Owen Sarah Lilly as Deb Robert Wood as The Pitchman

Executive Producer: Jerad Anderson Cinematographer: Isaac Bauman Special Creature Effects: Eric Fox @ Morb-x Production Designer: Eloise Ayala Co-Producer: Rich Salamone

Trink Voice: Hannah Baker Gremlin Voices: Dan Carr, Grayson Stone, Ryan Patrick

First Assistant Director: Jesse Hayes Casting Director: Michael Stonewall Beaudry Composer: Russ Howard Additional Music: Grand Soleil

Editor: Collin Davis Colorist: David Torcivia Visual Effects: Joe DiValerio @ Space Monkey Sound Design and Mix: Jackie! Zhou Title Design: Jesse Merrell Storyboards: Vick Trola

Art Director: Alexander Stamm Set Painter: Karina Konupek Graphic Designer: Emiko Velazco Art PAs: Whitney Pynn, Kyle Hulett, Fernando Cuestas

Gaffer: Genevieve Evans Key Grip: Joanna Nyguen

Costume Designer: Chanel Gibbons Hair and Makeup: Wendy Bermeo Stunt Coordinators: Simon White, Albert Lannutti

Visual Creature Effects: Melissa Fox, Celena Madrigal, Delaney Como, Tim Lewis, Jimmy Hernandez, Sam Henry, John Prewitt, April Grandos

Location Manager: Tom MacDonald Craft Services: Karen Gallagher Catering: Abel Garcia-Rodriguez

Production Assistants: Dino Penava, Joseph Hargrove, Nic de Soto-Foley, Paul Schrodt, Andrew Rosa, Ellen Mulvhill

Extras: Christopher Bobal, Rosalio Garcia, Celena Madrigal

Shot on Arri Alexa Mini with Panavision G Series lenses in Los Angeles, CA.

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medvidekpu · 7 years ago

Video

vimeo

GREMLINS: RECALL is a fan film. We made it for fun, so don't sue us. BTS Footage: vimeo.com/245655554 Download Soundtrack: http://bit.ly/2nF8ZMm Writer & Director: Ryan Patrick (www.ryanpatrick.us) Producers: Nash Cubero (www.nashbox.co), Sarah Lilly Starring: Katherine Rodriguez as Claire Randy Irwin as Owen Sarah Lilly as Deb Robert Wood as The Pitchman Executive Producer: Jerad Anderson Cinematographer: Isaac Bauman Special Creature Effects: Eric Fox @ Morb-x Production Designer: Eloise Ayala Co-Producer: Rich Salamone Trink Voice: Hannah Baker Gremlin Voices: Dan Carr, Grayson Stone, Ryan Patrick First Assistant Director: Jesse Hayes Casting Director: Michael Stonewall Beaudry Composer: Russ Howard Additional Music: Grand Soleil Editor: Collin Davis Colorist: David Torcivia Visual Effects: Joe DiValerio @ Space Monkey Sound Design and Mix: Jackie! Zhou Title Design: Jesse Merrell Storyboards: Vick Trola Art Director: Alexander Stamm Set Painter: Karina Konupek Graphic Designer: Emiko Velazco Art PAs: Whitney Pynn, Kyle Hulett, Fernando Cuestas Gaffer: Genevieve Evans Key Grip: Joanna Nyguen 1st ACs: Taylor Harris, Travis LaBella 2nd AC: Chris Chrisenbery DITs: Colin Anders, Jeff Cromwell Best Boy Electrics: Isaak van der Meulen, Dave Marmon Electrics: Nick Street, Rodolfo Martinez, Monica Mejia, Maria Eduarda Alguin Simoes Swings: Lincoln Webb, Nate Thompson, Yoann Cifuentes Sound: Paul Cornett Costume Designer: Chanel Gibbons Hair and Makeup: Wendy Bermeo Stunt Coordinators: Simon White, Albert Lannutti Visual Creature Effects: Melissa Fox, Celena Madrigal, Delaney Como, Tim Lewis, Jimmy Hernandez, Sam Henry, John Prewitt, April Grandos Location Manager: Tom MacDonald Craft Services: Karen Gallagher Catering: Abel Garcia-Rodriguez Production Assistants: Dino Penava, Joseph Hargrove, Nic de Soto-Foley, Paul Schrodt, Andrew Rosa, Ellen Mulvhill Extras: Christopher Bobal, Rosalio Garcia, Celena Madrigal Special Thanks: Emma Huang, Colin Moore,Ellie Johnson, Justin Joseph, Guillaume Le Grontec, Emily Rifkin, Jewel McPherson, Charles A. Bush, Aurélien Drosne, Jose Norton, Chris Amos, John Wikstrom, Joe Sill, John Merizade, Tom Morris, Jean Mougin, Steve Gunner, Mishka Kornai, Bobby Moser, Spencer Creigh, Mikey Gonzales, Sarah Holme, Natasha Seubert, Gina Kwong, Steve Wi, Hughie Phillips, Charlie Phillips, Florence Hill, Kyle Steinbach, Matt Griffo, Pasqual Gutierrez, Brendan Varni, Andrew Collins, WeWork, Panavision, Arri Shot on Arri Alexa Mini with Panavision G Series lenses in Los Angeles, CA.

#IFTTT #Vimeo

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nofomoartworld · 7 years ago

Text

Hyperallergic: Chicago Celebrates 50th Anniversary of Its Picasso Sculpture, a Gift Many Residents Didn’t Want

The restaging of the 1967 Chicago Picasso dedication (photo by Jake Silby/Hyperallergic)

CHICAGO — A baboon with wings, a bull-moose hybrid, an Egyptian revival sculpture, and even a vampire.

Fifty years after its public unveiling, the untitled Picasso sculpture that sits in the center of Daley Plaza continues to elicit a wide range of interpretations from mystified passersby. The 50-foot-tall steel figure certainly caused a ruckus when it was first dedicated on August 15, 1967: Many people were simply baffled by the abstract sculpture; others showed up with signs that deemed it a “colossal booboo” and “an insult to Chicago’s greatness.” One urged, “Let’s give it back now!!!” Not exactly an ideal welcome for what the modernist master intended as a gift to the people of Chicago.

Protestors at the 1967 dedication of the Picasso sculpture, photographed by Robert W. Krueger (photo courtesy Chicago Public Library – Northside Neighborhood History Collection)

No protestors turned up yesterday afternoon (though that would have made for a fun spectacle), when the city restaged the sculpture’s dedication to celebrate the 50th anniversary of an oddity that’s gradually grown into a beloved Chicago icon. The aforementioned interpretations were among those I received from individuals in the crowd, which numbered in the hundreds — just a fraction of the approximately 50,000 people who packed the streets in 1967.

Among them was Bonnie Diamond, who was a little girl when her parents took her to what was then known as Civic Center to witness Mayor Daley pull away the giant, blue veil with a grand flourish. She had appreciated the sculpture upon first sight.

“It was very exciting,” Diamond told Hyperallergic. “It was just wow. We didn’t really know what it was and had never seen anything like it. Now I’m not sure what I think it is, but I always thought it was a horse with angel wings.”

Unveiling of the Picasso in 1967 (photo courtesy Barbara Bogosian, used with permission)

Much of the anticipation back then stemmed from photographs of the statue and its maquette that the press circulated widely as part of the city’s publicity campaign. Everyone, it seemed, had an opinion on the Picasso — a hulking, modernist vision that had no apparent connection to Chicago or its history, unlike other commemorative statues that dotted the city streets. The choice must have seemed particularly curious considering the Spaniard had never set foot in the Windy City.

The restaging of the 1967 Chicago Picasso dedication (photo by Jake Silby Hyperallergic)

Readers of the Chicago Tribune wrote in days before the dedication, with a number calling it a “monstrosity” and some decrying the city’s showing of the work of a Communist. Others were enthusiastic and even proud, although many fixated on what exactly the stern-faced creature was supposed to be.

“The Picasso piece depicts a baboon, without a doubt,” a skeptical Helen Mckee wrote. “Picasso has perpetrated a hoax.” One Mrs. Joseph Savler suggested that the piece represented a phoenix, “the bird which like Chicago was consumed by fire and arose from its ashes in renewed beauty and freshness.” And area person P.K. Thompson was adamant about their guess: a giant sea horse.

Still others believed it represented Picasso’s pet Afghan hound, Kabul, an argument that photojournalist David Douglas Duncan laid out in a Chicago Tribune Magazine article. It was published months after the dedication and illustrated with an elegant portrait of the long-nosed canine.

Today, most people believe that Picasso meant for the figure — with its knob-shaped face, eyes and nostrils like donuts, core of radiating lines, and gradually widening stem — to represent an abstracted woman. What is certain, however, is that his sculpture paved the way for modern art to play a significant role in Chicago’s city planning, which had until then largely focused on functional public structures.

The 1967 dedication of the Picasso sculpture (photo courtesy City of Chicago’s Department of Cultural Affairs)

“The Picasso really changed the way public art began to appear within the city,” public historian Paul Durica told Hyperallergic. “What’s interesting is that, over the past 50 years, it’s more or less become part of the city’s built environment — people don’t really look at it as a work of art anymore. This anniversary is an opportunity to once again try to approach it as a work of art and think about its meaning and value to the city.”

Durica conceived of the dedication restaging, which also celebrated artists and cultural organizations in Chicago. The 1967 program had featured performances, readings, and speeches, and for yesterday’s event, locals stepped in to represent them with largely new material. Participants included the Chicago Children’s Choir, artist Avery R. Young, and Gwendolyn Brooks’s daughter, who recited the poem her mother had read 50 years ago.

The only thing missing was the drama of the original event: the Picasso was not kept under any veil but left exposed and untouched as celebrations unfolded around it. Instead, artist Edra Soto led a symbolic unveiling, asking people to cover their eyes with pink fans she’d designed and then remove them after a few seconds. It was a creative alternative to what may have proved a complicated endeavor, but I imagine it would have been quite striking to see Rahm Emanuel (who was present) whip away a cloth and watch it slowly billow in the wind as the gigantic Picasso was revealed, glinting in the sun and gazing fixedly forward.

The restaging of the 1967 Chicago Picasso dedication (photo by Jake Silby/Hyperallergic)

The 162-ton work — which has turned from bright orange to dark gray, thanks to years of weathering — exists because of Chicago architect William E. Hartmann, who wanted to commission an artist to create a monumental work to serve as the focal point of the plaza. And he wanted none other than Picasso — Hartmann considered him “the greatest master alive.” He visited the artist at home in Mougins to propose the idea, which the city’s Public Building Commission had approved. To persuade Picasso, as well as familiarize him with Chicago culture, Hartmann brought along gifts including a White Sox uniform, a Native American war bonnet, a Chicago fire department helmet, and photographs of Ernest Hemingway and Carl Sandburg.

Picasso not only agreed to the task but also refused payment for it; he wanted his work to be a gift to the people of Chicago. He also gave the 42-inch-tall maquette to the Art Institute, where it remains on view today. His design was realized by the United States Steel Corporation at a cost of $300,000, which was covered by three different charitable foundations.

The theme of yesterday’s events was in keeping with the spirit of the artist’s generosity: “Everybody’s Picasso.” But that idea was briefly contested when the sculpture became the subject of a copyright controversy. In 1969, the Letter Edged in Black Press filed suit against the Public Building Commission, which claimed it had copyright on the sculpture. The art publisher had commissioned Claes Oldenburg to reproduce the Picasso and was fighting licensing fees, arguing that the sculpture was in the public domain, as the artist had given it to the people. The commission maintained that the deed of gift was a copyright grant that Picasso had given to the department. The next year, a judge ruled in the publisher’s favor.

The restaging of the 1967 Chicago Picasso dedication (photo by Jake Silby/Hyperallergic)

Today, even if you haven’t seen the Picasso in person, you’ve likely seen it on screen, thanks to cameos in films like The Blues Brothers and Ferris Bueller’s Day Off. It’s become a marker of the city’s center, an unmistakable and familiar home base.

When the late Chicago Tribune arts editor Edward Barry wrote about the sculpture’s origin story days before its unveiling, he concluded with a grand premonition.

“For decades, possibly for generations, Chicagoans will dispute about this huge semi-abstract head of a woman — or is it something else? — which will be like a brooding presence in the center of the city,” Barry wrote. “It will be derided, defended, laughed at, and — who knows? — maybe eventually loved.”

From the array of people sitting on the Picasso’s granite pedestal and enjoying lunch to the children who slide down its sloping base every day, you can see that he turned out to be exactly right.

The restaging of the 1967 Chicago Picasso dedication (photo by Jake Silby/Hyperallergic)

Pablo Picasso, “Maquette for Richard J. Daley Center Sculpture” (1964), on view at the Art Institute of Chicago (photo by the author for Hyperallergic)

The 1967 dedication of the Picasso sculpture (photo courtesy City of Chicago’s Department of Cultural Affairs)

The 1967 dedication of the Picasso sculpture, photographed by Robert W. Krueger (photo courtesy Chicago Public Library – Northside Neighborhood History Collection)

The 1967 dedication of the Picasso sculpture (photo courtesy City of Chicago’s Department of Cultural Affairs)

The 1967 dedication of the Picasso sculpture, photographed by Robert W. Krueger (photo courtesy Chicago Public Library – Northside Neighborhood History Collection)

The 1967 dedication of the Picasso sculpture (photo courtesy City of Chicago’s Department of Cultural Affairs)

The post Chicago Celebrates 50th Anniversary of Its Picasso Sculpture, a Gift Many Residents Didn’t Want appeared first on Hyperallergic.

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crookedtalks · 8 years ago

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Reframing Modernism (Gallery 3)

Gallery 1

Gallery 2

Fernando Zobel

In 1951, Zobel returned to Manila after attending Harvard University. Though he had no formal training in art, he soon joined the ranks of young artists such as Hernando R Ocampo and Cesar Legaspi, who were forerunners of a new era of modern art in the Philippines.

Painted in 1952, Carroza is a partially abstract portrayal of folk subject matter, unified by a warm ochre background, bold black lines and a flattened, symmetrical composition. Zobel continued to use line and a limited colour palette in his works, but he eventually abandoned depicting recognisable subject matter altogether and ventured into full abstraction with his Saetas series in 1957.

This series was conceived following Zobel’s artist residency in the United States and a period of intense experimentation with non-objective painting, which lasted from 1954 to 1957. He declared movement the subject of Saetas, with fields of colour finished with expressive lines drawn using syringed of oil paint. Zobel’s works of this series look like they were made spontaneously, but he was known for actually sketching intensively before arriving at a work’s final composition.

A decade later, he developed a more precise approach to the use of line and atmospheric colour in works such as Conversation with Lee from his Dialogos series.

Consider this artist alongside:

Nicolas de Staël, Ahmad Sadali

(Above)

Fernando Zobel

(b. 1924, Manila, Philippines; d. 1984, Rome, Italy)

Conversation with Lee

1967

Oil on canvas

Collection of Lopez Memorial Museum

(Above, left)

Fernando Zobel

(b. 1924, Manila, Philippines; d. 1984, Rome, Italy)

Saeta no. 36

1957

Oil on canvas

Gift of Roger Keyes

Collection of Ateneo Art Galllery

(Above, right)

Fernando Zobel

(b. 1924, Manila, Philippines; d. 1984, Rome, Italy)

Saeta no. 37

1957

Oil on lawanit board

Gift of the artist

Collection of Ateneo Art Gallery

Pablo Picasso

In this composition, the cubistic, fractured forms of a cat and a rooster create a macabre still-life. Behind them, a knife rests on the rim of a cup, reinforcing the sense of menace. The use of grisaille (painting entirely in tones of grey) in this work is similar to some of Picasso’s iconic anti-war paintings, such as Guernica of 1937, and Massacre in Korea of 1951. Picasso often used this palette for paintings evoking anxiety and violence: in this case, the everyday violence of predator and prey. In the Western tradition, the still-life was used as a reminder of the transience of human existence, and the objects could carry symbolic meaning. Picasso engages with the history of still-life in this image of death.

A tireless innovator, Picasso continually reinvented his work in several different media: painting, printmaking, sculpture and ceramics. In his early career, he was a pioneer of Cubism alongside Georges Braque, developing a radical new way of painting: forms were reduced to geometry, and multiple points of view were compressed into a single perspective. However, Picasso’s work was never fixed with a single style, and he also embraced representational and symbolic subjects. In his late work, he would show greater spontaneity and expressiveness.

Picasso’s relentless creativity and desire for change have made his work among the most important and influential of any modern artist.

(Above)

Pablo Picasso

(b. 1881, Málaga, Spain; d. 1973, Mougins, France)

The Cat and the Rooster

1953

Oil on canvas

Donated by Louise and Michel Leiris, 1984

Collection of Centre Pompidou, Paris

Musée national d’art moderne/ Centre de création industrielle

Latiff Mohidin

Latiff painted the Pago-Pago series between 1964 and 1969. In it, he experiments with a vocabulary of forms drawn from natural, cultural and historical motifs such as pagodas, stupas, shells and leaves.

Before embarking on making this series, he was in Berlin from 1960 to 1964. He took rigorous plein air (open air) and still-life drawing classes, and encountered German Expressionism, which had emerged during the 1900s to 1920s and was being re-examined in the post-war era. Latiff also travelled extensively throughout Southeast Asia. These experiences influenced the Pago-Pago series: its organic forms allude to the cultural and the natural world of Southeast Asia, while its gestural brushwork reflects German Expressionism.

Malam Merah and Pago-Pago 69 (Metamorphosis) are emblematic of this series. Malam Merah has dynamic forms, rich colour and animated brushwork, while Pago-Pago 69 (Metamorphosis) has a translucent quality created by layering and mixing pigments with varnish. The latter demonstrates his confident grasp of materials and versatility as an artist.

Consider this artist alongside:

Jean-Michel Atlan

(Above)

Latiff Mohidin

(b. 1941, Negeri Sembilan, Malaysia)

Untitled, Pago-Pago Series

1965

Oil on masonite board

Collection of Too Hing Yeap and Yoong Sin Min

(Above)

Latiff Mohidin

(b. 1941, Negeri Sembilan, Malaysia)

Pago-Pago No. 2, Pago-Pago Series

1965

Oil on canvas

Collection of Zain Azahari

(Above)

Latiff Mohidin

(b. 1941, Negeri Sembilan, Malaysia)

Malam Merah (Red Night), Pago-Pago Series

1968

Oil on canvas

Collection of Zain Azahari

CoBrA

The CoBrA movement was founded in Paris in 1948 and dissolved in Brussels n 1951. Its name was based on the first letters of the places where its members lived: Copenhagen, Brussels and Amsterdam. The movement sought to return to a more spontaneous and less rational form of creativity, drawing on a range of sources, including the magic and symbolism of Nordic popular mythology and the expressive tendencies of children’s art. This was based on a humanist philosophy that emerged from the trauma of World War II, which privileged authentic expression, In doing so, they offered a radical, alternative way of approaching painting. Their approach rejected the convention of categorising painting as either abstract or figurative, as it had elements of both.

The group comprised a number of northern European artists and poets including Asger Jorn, Karel Appel, Carl-Henning Pedersen, Corneille Beverloo, Joseph Noiret, Constant Niewenhuys and Christian Dotremont. Advocating physical spontaneity and vitality, its members produced “four-handed works”, each using the combined creative energy of two artists to create unique collaborative pieces of great poetry and plasticity. While short-lived, CoBrA’s radical philosophy attracted a number of major artists from different disciplines, and had a lasting influence on the past-war art scene.

Consider this artist alongside:

André Masson, Jean-Michel Atlan, Bagyi Aung Soe

(Above)

Asger Oluf Jorgensen, known as Asger Jorn

(b. 1914, Vejrum, Denmark; d. 1973, Aarhus, Denmark)

Kyotosmorama

1969-1970

Oil on canvas

Purchased by the French government, 1971

Acquired 1976

Collection of Centre Pompidou, Paris

Musée national d’art moderne/ Centre de création industrielle

(Above)

Carl-Henning Pedersen

(b. 1913, Copenhagen, Denmark; d. 2007, Frederiksberg, Denmark)

Yellow Horse

1941

Oil on canvas

Donated by Mme Sidsel Ramson, 2012

Collection of Centre Pompidou, Paris

Musée national d’art moderne/ Centre de création industrielle

And of course, the endnote:

Endnote Reframing Modernism shows the various paths, proposals and approaches to modern art taken by 51 artists working in different geographical, historical and social contexts. While there may be parallels across the works, the exhibition reveals above all the singularity of individual artistic practice in relation to modernism: the diversity of the artists and the nuances of each artist’s approach. Given this diversity, the conventional understanding of modernism as a simple story of influence from Europe and America cannot be sustained. A dynamic and creative exchange, occurring at multiple centres, emerges instead. Our understanding of modernism is continually being rewritten and contested: Reframing Modernism hopes to open up this story further.

Finally after more than a year, Gallery 3 is up. Looking through the photos I’ve taken, I can still feel what I remember feeling at the exhibition itself. Art can be truly remarkable in its variety and scope in terms of the different styles and disciplines, different reasons for making art, different emotions that goes into the pieces and the feelings they invoke in us the viewer, etc, etc.… art is as varied as the artists that make art.

I’m not a “formally trained” art student, and my knowledge of the various art movements is superficial at best; I am also totally unfamiliar with Modernism in art, and pretty much know nothing about analysing art, which is why one of the things I really liked about the exhibition was the artist bio which explain the backgrounds of the different artists, their histories, ideals and inspirations, characteristics and themes that run through their art, the social and political context at that time which influenced their art, etc. It really helped me have a deeper understanding of the paintings, such that they are no longer just objects of art, but become tiny snippets of history frozen in time, a sliver of the artist’s world seen through the artist’s lens, and each with their complex stories.

It made me realise more than ever that artists are not hermits who only focus on their own works, and there are no boundaries or walls in art. Art diverges and converges in such complex ways that we cannot predict and I think it was really amazing to be able to see this at this exhibition. My greatest takeaway from this exhibition, I think, would be the realisation that art is, at the same time, a relic of preserved history and alive and ongoing; I’m glad to be able to witness a small part of it.

#art #art exhibition #reframing modernism

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