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coopdigitalnewsletter · 5 years

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1 Jul 2019: 1-click neighbourhood watch. Robogrocers failing in China. Is everyone breaking personal data law?

Hello, this is the Co-op Digital newsletter - it looks at what's happening in the internet/digital world and how it's relevant to the Co-op, to retail businesses, and most importantly to people, communities and society. Thank you for reading - send ideas and feedback to @rod on Twitter. Please tell a friend about it!

[Image: Andy Warhol in Gristedes, 1965? Bob Adelman.]

1-click neighbourhood watch

Amazon has a patent for using delivery drones as a neighbourhood watch scheme, keeping watch on your home from the air. You can imagine that the line of thinking might have been: “Well, we’re going to have these drones absolutely everywhere, so what *else* could we do with a ubiquitous cloud of drones that have cameras?” (To be clear, having a patent for something doesn’t necessarily mean it’ll turn up in a product. The line of thinking in bigcos patenting things might simply be “Oh! Here’s a non-obvious new thing, guess we might as well try patent it just in case.”)

Here’s a more tangled case. US police departments are now offering home owners discounted Amazon Ring home video systems, if the homeowners share footage with law enforcement. (Ring is an Amazon’s “smart home” brand - door locks, video entry systems, etc.) If it’s *your* Ring video, you may think about this in terms of property and safety and not privacy: “It helps keep my castle safe, so that’s fine”. On the other hand, maybe you won’t feel quite the same way if it’s your neighbour opposite’s camera peering into your front garden, and streaming the video to you’re not sure who. There are some obvious privacy concerns: Where does the footage end up, and to what automated uses is it put? Is it shared with other agencies? And what oversight and regulation covers individuals providing video to law enforcement via third parties?

Retail infrastructure: Shopify’s fufillment network

Shopify wants to give merchants an alternative to Fulfillment by Amazon (and press release). Shopify has about 800,000 customers and its service would let them ship products directly from Shopify’s distribution centres. It’s a bold move because distribution infrastructure is expensive, but the idea is probably that there’s some margin to win because Amazon charges higher fees for fulfillment that didn’t originate on the Amazon.com website.

Unstaffed stores failing in China

Many unstaffed convenience stores opened in China in the last few years, and many of these robostores are now closing. China has a well-developed mobile payment infrastructure which should have helped on the payment side but it sounds as if there are several related challenges:

It’s hard to stand out vs a well-developed vending machine landscape in China

It’s harder to sell higher-margin fresh food and fast food without staff because AI/robots aren’t quite there yet

Companies used tech to remove staff but not to gather and understand useful shopper data.

Capital for retail deployment tightened.

Alibaba’s Freshippo sells fresh food and has been slower to deploy than rivals - its more careful approach and retention of staff alongside automation may mean Freshippo is better positioned to do well in China. It’s hard to say what this means for grocer automation pilots outside of China like Amazon Go or Sainsbury’s, other than: human staff can do jobs that automation and AI cannot (yet?).

Is *everyone* breaking personal data law?

The Information Commissioner’s Office reckons that the entire adtech industry is failing to comply with data laws (pdf).

“We outline that one visit to a website, prompting one auction among advertisers, can result in a person’s personal data being seen by hundreds of organisations, in ways that suggest data protection rules have not been sufficiently considered”

The ICO acknowledges that it’s a complex industry, and says they’ll take a “measured and iterative approach” to making the industry comply with regulation. That’s probably the right approach, because it’s not always easy to get personal data right, as, erm, the ICO themselves recently discovered: ICO admits its own cookie policy is non-compliant with GDPR.

Other news

Can tech be matched with co-op values to save the planet? - examples of technology reducing travel. But also (eg) co-operative/mutually-owned renewable energy generation seem to be getting lots of attention too.

“Fundamentally disagree that we need a massive donation to #ai #ethics there are too many in this field already including @CDEIUK which is independent body advising government Surely money better used for climate crisis work?” - @Marthalanefox

“Make things open: it makes things better. The Australian government forked GOV.UK Notify and now have a national notifications platform of their own... http://notify.gov.au” - @yahoopete

Boots is to ban plastic bags at the checkout in favour of purchasable paper bags. Recall that Boots annoyed shoppers a few weeks ago when they switched pharmacy prescription bags from paper to plastic.

Alexa, I’m having a heart attack - home speakers such as the Amazon Echo could detect if you are having a heart attack and raise the alarm.

PowerPoint uses AI to save public speaking - someone sucked Russell Davies into an AI and now the Master Control Program has him tuning decks on the game grid.

Art sneaks into to Google Maps imagery, via Google’s third-party contractors.

Co-op Digital news

Communicating effectively through storytelling - lots of good stuff in here. The newsletter’s opinion is that being able to both show-don’t-tell and tell-don’t-show is useful.

Home of Co-op Digital The Federation has friendly, affordable and flexible co-working space available at the moment.

Co-op opened its first London “On the Go” concept store (this is what the Manchester one’s like, with free water taps).

Most opened newsletter in the last month: the struggle for collection and delivery. Most clicked story: new IT jobs at Co-op bank.

Events

Public events:

The Human Hiring Hack - how to improve workforce diversity and inclusion - Mon 1 Jul 6pm at Northcoders, Federation Street, M4 2AH.

RSA Manchester: Making our places work for us - voice, collaborate, act - Wed 3 Jul 6.15pm at Federation House.

Healthy Disruption: Platform Co-ops - A discussion from a UK Co-operative Movement Perspective - Thu 4 Jul 11.30am at Federation House.

Co-operatives and Co-operation in the UK - The state we're in - Thu 4 Jul 12.30pm and 13.15pm at Federation House.

UK Data Service and methods@manchester: Open data dive on plastic use reduction - Sat 6 Jul 10am at Federation House.

Messy Data and Reluctant Users - The Trouble with Healthcare Data - Mon 8 Jul 6.30pm at Federation House.

Mind the Product - MTP Engage - Fri 7 Feb 2020 - you can get early bird tickets now.

Internal events:

Funeralcare show & tell - Tue 2 Jul 1pm at Angel Square 12th floor breakout.

Co-operate show & tell - Wed 3 Jul 3pm at Angel Square 8th floor Red core breakout space.

Data management show & tell - Thu 4 Jul 3pm at Angel Square 13th floor breakout area.

Membership show & tell - Fri 5 Jul 3pm at Fed House 6th floor kitchen.

More events at Federation House - and you can contact the events team at [email protected]. And TechNW has a useful calendar of events happening in the North West.

Thank you for reading

Thank you, clever and considerate readers and contributors. Please continue to send ideas, questions, corrections, improvements, etc to the newsletterbot’s flunky @rod on Twitter. If you have enjoyed reading, please tell a friend!

If you want to find out more about Co-op Digital, follow us @CoopDigital on Twitter and read the Co-op Digital Blog. Previous newsletters.

#amazon #surveillance #ico #gdpr #china

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airoasis · 5 years

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How to Get Into an Art Gallery Part 2: Top 6 Questions Answered How to Get Gallery Representation

New Post has been published on https://hititem.kr/how-to-get-into-an-art-gallery-part-2-top-6-questions-answered-how-to-get-gallery-representation-2/

How to Get Into an Art Gallery Part 2: Top 6 Questions Answered How to Get Gallery Representation

Hello! Hello it is Dena Tollefson and welcome to my studio. I’m so completely happy to have you here and say hi there to my little buddy Muffin. Sure and my cockatiels Groche and Romeo right there. Cutting-edge matter goes to be a really foremost subject, its easy methods to get into an artwork gallery. I am gonna be painting, at the same time i’m speaking i’m going to be painting and you’ll be able to see me painting this little Lily painting that i have here in oil done in my signature Daubism technique and then we’re going to talk a bit bit about how I acquired into an art gallery. I have been represented at galleries for the reason that the yr 2000 so i am a professional artist out of Cedar Rapids Iowa in the U.S. And i have a there is a artwork gallery in my place of origin nook condo Gallery, Milward Farrell exceptional artwork in Madison, Wisconsin and in Illinois Quad city Arts and Santa Fe New Mexico, Canon avenue state-of-the-art art and in San Diego California i’ve Adelman best artwork. These galleries represent my originals I even have prints that I do by means of licensing and that sort of thing through my internet site DenaTollefson.Com as good as I Canvas.Com they usually characterize my prints global.So ultra-modern topic is – is find out how to get into an artwork gallery and what worked for me and artwork galleries should not for each person but for me they have been just a amazing approach to get my artwork in the market. Galleries will make the revenue for you, they send the work to the customer to the patron they construct up your collector base and then they’ve simply been undoubtedly unusual for me so i’m hoping that sharing a few of this information may even support you for your art career and i have a record of questions so I did a video a few months ago "how one can Get Into an artwork Gallery" phase one and these had been a bunch of questions that you simply guys wrote me so today’s video is gonna be tackling all of those questions so i will just offer you a few them here one of the vital questions is: What sizes of artworks to galleries need? What sells the fine acrylic oil pastel or watercolor? Do I ought to frame my work? Recommendation do you may have for any person just beginning out? How do I get into an artwork gallery if i’m a pupil or do I ought to wait, and the way did you begin out let’s see how did you start out what recommendation do you provide to me or would you aid what recommendation would you supply to me? So those are our questions, and i’m gonna answer these and a bunch of the opposite questions that you had requested and i’m hoping that if you haven’t already subscribed to my channel that you will, and please ring the bell.There may be like somewhat notification bell that you may ring. Please ring that bell and when you do then YouTube will notify you every time that i have a brand new video and that i rather hope that you are going to like subscribe and ring the notification bell please also when you’ve got extra questions after this tutorial is over please write me a remark or if you’re additionally already in art galleries please supply one of the crucial information that you’ve that probably helpful to others who are watching to get into a gallery. So without any extra ado let’s get started and and Muffin says good good fortune excellent success just right luck entering into a gallery and so I wish all of the pleasant to you and hugs and kisses so let’s get proper to our questions our first question is What do galleries need? So a gallery is gonna need to see a cohesive physique of work from an artist and a cohesive body which means that they’re gonna need to see at least ten objects that are similar of their form and have a exact look or have a seem which you can say oh i will be able to tell that this used to be made by way of this artist and it is essential that it does not always imply that they’re the identical colors or the equal dimension but there will have to be a connecting look throughout all the work the other thing that a gallery is looking for is they want you to have an online presence so ideally you will have a internet site if you do not need a website then they also would need you to have you understand possibly an Instagram or YouTube fb that variety of factor however ideally you can have a website they will need you to be easy to work with and the cruel reality is that for every artwork gallery that is in the market there are dozens usually hundreds of thousands or even 1000’s of artists trying to get in to that gallery so the gallery proprietor fairly gets to choose and prefer who they’ll work with and everybody likes humans which might be simpler to work with and it’s no one desires to work with a diva so be sure to put your satisfactory foot forward with that and being accommodating as feasible do not be a pushover of path but you want to be accommodating and excellent to work with and and that’ll be precious and they’re also a gallery goes to be watching at whatever that fits their aesthetic so when you seem on the gallery website and you can look and see what variety of labor they’ve if you happen to seem at that and you consider you know what my work does not relatively fit in that in any respect appear smart or the sensation of it doesn’t fit and that you would be able to cross on that gallery and focus on other ones which are gonna seem like your work so there are all varieties of galleries available in the market there’s a gallery for each kind of labor and whether you are a sculptor or you’re a pitcher artist or a painter there’s a gallery out there for you some galleries incorporate a form of exclusive mediums and some rather center of attention on just one thing however a hundred percentage there are galleries for every variety of work now a further thing that a gallery goes to be looking to to look for is they’re gonna need it when you consider that it is a industry they’re gonna be looking for whatever that they think is sellable or something that they think that they are able to generate income from and what that doesn’t mean is bland or everyday work what they may be looking for is whatever that’s going to make a collector want to buy your work and regularly via the gallery you is not going to know who bought your work and so it is not going to be a thing like you’ve a personal relationship with the character who buys it so it desires to be a thing the place the collector connects with your work by means of that through seeing it within the gallery and they need to bring it into their atmosphere so so be if you’re fascinated with frequently emotional work work that’s particular work that excites or sparks some thing in humans’s imagination tends to do very good in in a gallery and the other factor to suppose about is that a gallery goes to wish to have a working relationship with you they will want to have a excellent private relationship with you and also a excellent working trade relationship with you so that is what they’re gonna be watching for.So our 2d query is How do you get into an art gallery? Good both your it can be gonna be certainly one of two things both you ask them or they ask you it’s variety of relationship and at the commencing of your art career you are gonna to find that you can be the one asking after which later in your art career you’ll to find that you’ll be able to be asking usually and as soon as in a while an art gallery can be coming to you and asking if they may be able to signify you which ones is consistently tremendous pleasing and how you get into a gallery you could marvel good how you understand how do i’m going about doing that or how would I get in a gallery if if I do not know any one so the trick can be to start getting to know other artists and start getting to understand persons for your artwork group and if you can get into as many displays as feasible get into social media construct your company by means of social media which you can go and develop your internet presence by commenting and following galleries that you like create be certain to create some advertising materials i’ve a video talks about how to create postcards or snail mail if you have an show off no longer super powerful snail mail is certainly nonetheless one of the crucial tremendous strong approaches to to to do some marketing trade cards if you find yourself at an event an art occasion handing out what you are promoting card to let people be aware of that you are an artist they may have you want to have your contact knowledge on there and have your title your electronic mail and your social media accounts and then having these ten an identical pieces able to go for any form of an show off or a sale an beginning a file of income so these first sales that you’re making are going to be they may be gonna be slow at first it may be days works you realize days or weeks or years to boost a relationship with a gallery but just be sufferer and it is going to occur over time be sure to scout galleries that fit your aesthetic and your present rate factor and after you have a gallery recognized for your nearby community be definite to attend the artwork movements that they have got.On too our next question "I are living in a small metropolis and don’t wish to move. Help!" i like this question and i will say that it is high-quality information you don’t must transfer to a huge city or a huge art mecca a gigantic arts middle with a purpose to be a positive artist and be represented in galleries the internet makes an ease of transport make it sincerely fairly as an alternative convenient to reside out in the boonies and be in a position to be in artwork galleries twenty years ago this was a bigger obstacle but now it is it is certainly quite possible so the secret’s to start neighborhood to find your nearby artwork neighborhood you can google go to pc and Google your metropolis’s identify and then with the plus sign and then artwork so you live in you already know Bismarck Bismark and art and what’s going to happen is that you would be able to get a listing of all of the art happenings and the artwork scene for your city and which you can start at present to begin getting involved with your local artwork neighborhood and what is going to happen is you’ll be able to considering the fact that there are some possibilities to show off you can assembly art collectors by way of this you can start meeting gallery house owners that style of thing and begin building these relationships and when you try this and in the community what will happen is income and all these other things will occur naturally after which the gallery will then be representing you so so coming into that first gallery is solely as simple as building up friendships and relationships with the nearby gallery homeowners and regardless of the place you live on this planet they are going to perpetually be in nearby art community you can have access to and also you could have got to you know force a brief distance you know or might be even a medium stage distance to get to that art neighborhood however with a bit of luck it’s you comprehend it’s inside a ten or 20 minute force maybe it’s going to be a 30 or a minute driver you in an hour but but it surely’s a thing where you could start attending events and getting to understand folks artwork and artwork income and artwork galleries are fairly about relationships and building up a manufacturer for yourself a status for yourself and what’s going to happen then is opportunities will come to you so so simply provide that a threat this next query is good."i’m utterly new to this. What advice do you supply for any individual commencing out?" So if you’re a student that you would be able to be exhibiting now on your at your college so whether it is an artwork institution or it can be like a excessive tuition middle university institution tuition whatever it’s there will likely be some art reveals and in case you are worried in the art software then that you could be exhibiting in these hobbies that is constantly a quality strategy to start be certain to work along with your art instructor or art professor let them be aware of that you need to get began to your art profession and they will also be able to aid you tap into routine and they will have connections that may support you get began if you’re already out of school or should not attending college and you are also if you are in university you can do what’s referred to as a group exhibit and a neighborhood exhibit could be whatever that is in an artwork gallery or business art gallery or a juried show that you would be able to exhibit in libraries cafes eating places your medical professional’s workplace nonprofit corporations your dentist your magnificence a beauty location that you simply go to any of those locations vehicle dealerships whatever that can benefit from having art up on the partitions is a candidate to get your work available in the market so it’s super key to start exhibiting whether when you are first beginning out or relatively any time in your art career you particularly need to be equipped to get that art out into the public so folks can see so seeing your work additionally on-line is very major having an Instagram account snapchat Instagram fb YouTube any of these matters it can be it can be primary to your own website these are all important things to increase your web presence and to boost your company so you wish to have to be working to your company simply going to be the illustration of you as an person in your work a significant idea would be to get an element-time job or a full-time job and even an internship or a volunteering and an artwork exhibition area or in a business artwork gallery what’s exceptional about that is you can study the ropes it is a speedy track strategy to meet the gallery owner get to understand how the trade works the ins and outs of the business but quite a few folks have gotten into our galleries by using definitely working there first and it is a it can be a exceptional a quality thing to do."How do I decide on that art gallery?" So choosing an art gallery that fits your present fee factor of your work is the great location to begin so if you haven’t sold some thing but or might be you sold very little pick an entry-stage gallery and you can inform the price facets of the gallery by means of either going and looking at their what sort of sizes after which headquartered on the scale and the fee if it is matching with what you have already got and that could be a rather good candidate for you now let’s say that you go in and the gallery is promoting things which might be so much less high priced than your present rate factor just pass that off your record due to the fact that the proposal is that you need to pick things that are at your current fee level or higher and so you want to be ready to develop with the gallery now in case you are looking and you see that your present your present cost record or present costs are much a lot much much shrink than the gallery you’re watching at then that you can hold that gallery on a watch list and be pondering of them for future however it rather is all about getting the matching being price factor of the gallery to what your present costs are that is a just right skills factor so that it will take days and weeks and years to land a special gallery routinely it can be a matter of being in the right location at the right time the place maybe the gallery is saying howdy I’ve wish to add you already know i am watching to fill this or I’ve obtained collectors asking me for this type of labor and then you possibly equipped to you already know be in the correct place on the proper time and other instances it’s a topic of simply over a protracted interval of time they get aware of you you get aware of them after which after which I such a ordinary match from there ok so our subsequent question is, " am self-taught.Will a gallery take me?" Now i’m residing proof that 100 percentage yes that you may be represented through art galleries if you’re self-taught. So i’ve plenty of buddies, art acquaintances who’re ranging the entire way from self-taught to artwork professors you recognize art education gives a lot of advantages they’ll provide you with expertise by means of artwork you realize for the professors they’ll give you opportunities to show off through the via the college or the school and they’ll have all types of evaluations they may be in a position to aid you get your art career launched now if you’re self-taught as i am then you’re gonna ought to gain knowledge of this in your possess however it most likely can also be executed and it can be numerous it’s really a fun approach so one also one I simply point out that there are some artwork galleries who do require a bachelor’s or a master’s art degree but you can be ready to inform that beautiful quickly for those who go look at the website however if you happen to appear at a gallery that you are interested take a look at their internet site for those who seem on the About section or about Us section you are gonna be competent to find out if they are saying that they symbolize teachers or all the artists are academically educated that sort of a factor and let’s say for example you wouldn’t have an artwork art experience are you and that you already know that artwork measure then you possibly can know you’ll need to hinder that gallery however many many many many galleries frequently don’t even care in case you went to art institution or no longer what they’re relatively watching at is you already know does their work fetch does your work fit with their aesthetic would your work fit with the other artists that they have have you ever made any sales or no longer of your work did they such as you as a person do rate facets line up how do they think about your work do they suppose that you have promised as a you understand as an artist and and do they feel that they may be able to promote your work so so it can be particularly going to depend upon the gallery owner and what they are looking for but but but absolutely verify out and notice in the About part and you’ll be able to be capable to tell them relatively speedily yes an artwork measure is required or now not however don’t let that trouble you when you shouldn’t have one it’s it can be you realize an exciting venture and art is a type of things that you can do effectually with out a measure. So our next question is "What sizes of art work the galleries want? What sells fine acrylic oil pastel or watercolor? Do I have got to body my work?" okay so the easy reply to to the query of what sizes and what style of labor do I have got to body the easy reply is it relies so each gallery is going to have their possess preferences on what they promote with their consumers like if matters are framed or unframed most often if a gallery is more than average when you do kind of more common work then quite often that is gonna be framed and the extra brand new gallery is gonna need matters unframed when you’ve got a if you go to a gallery that also is a frame save or does framing generally they may need you to furnish some portions of labor if you are doing two-dimensional work which can be unframed that they may be able to then frame for the purchasers or they would ask you to provide with a unframed fee and a frame fee so like shall we say for example you introduced in a piece and it already was once framed the purchaser needs to have it reframed then then they’d go ahead and do this for the client and they could give you the frame again or they might simply you recognize comprise that in the cost whatever like that so they may be mainly very flexible about that now what you’ll to find is whilst you exit and look at galleries they’re gonna flip to the gallery owner goes to be telling to opt for things that he’ll to them and then attraction to their collector base so there shall be galleries which might be focusing you already know for instance on pastel or focusing on watercolor there’ll be some galleries which have got a broad sort of matters they’re supplying acrylics oils pastels watercolors framed unframed and then you’re gonna get some which might be specializing in say for illustration miniatures or very massive work and so when you seem the important thing would be go out to the internet and take a seem and they’re going to normally be not constantly however normally there will be a page that you could appear at that is either gonna list the artists and then or there’ll be some thing that would be like looking at the paintings objects on the market and from you could take often they will record the scale and the cost customarily something not normally with the work and also you might take a look at that and get a think to peer does your work in shape up with the sizes and the medium of what you are gonna be promoting so should you did sculpture when you did glass if you happen to did artwork you recognize if you did fiber depending on what you’ve gotten received that you’re making what constantly tends to work satisfactory is to head to a gallery that’s already promoting the kind of factor that you are promoting so in the event you went to a gallery that has zero sculptures in it and your sculptor chances are just right that they’re gonna no longer be looking to represent you since it’s whatever specific than what they’re already doing now as soon as in a while you can run into a factor where your stuff does not necessarily line up but they may be watching to perhaps develop into anything else so you understand don’t always quit on these galleries due to the fact that they wouldn’t have what you have got received it can be that they want to develop into your niche so you recognize so you can perpetually variety of maintain that in intellect as well i hope that this video has been worthy for you and consider to subscribe and ring the notification bell and and if which you can provide me a like i’d recognize that many shares of this video can be really appreciated and so I need to say thank you and i hope to see you once more in my studio please leave any additional comply with-on questions that you could have and leave those in the comments and that i recognize you and unless next time that is Dena Tollefson.Bye bye .

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batterymonster2021 · 5 years

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How to Get Into an Art Gallery Part 2: Top 6 Questions Answered How to Get Gallery Representation

New Post has been published on https://hititem.kr/how-to-get-into-an-art-gallery-part-2-top-6-questions-answered-how-to-get-gallery-representation-2/

How to Get Into an Art Gallery Part 2: Top 6 Questions Answered How to Get Gallery Representation

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acrylicalchemy · 2 years

Photo

Another one SOLD at Adelman Fine Art! If you saw my major news this morning, you now know why this is the time to invest in one of my originals. You can hit me up for inquiries and I will be happy to direct you.

See Some Samples

#art #arts #artist #artists on tumblr #news #art gallery #Michael Carini #carini arts #acrylic alchemy #adelman fine art

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abbyhustonny · 6 years

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a few days to catch up

Tuesday of this week I sat in on the NYU Art History class, which I hope to do again, because it was nice to be in just a formal academic setting for an hour of my morning. I then headed down to The New Museum and International Center of Photography, but they were both closed for exhibit transition so I went to the galleries in the area, Salon 94, Soho Contemporary art, and Westwood gallery. Salon 94 had huge rainbow paintings of muscular bodies by Judy Chicago, which surprised me because I don’t think I’ve ever seen work of hers that looked like that. Soho Contemporary seemed like a gallery to sell to wealthy collectors more than to exhibit new work, which is fine, but I have a growing disinterest in Warhol prints. Maybe thats just the internet, or marketing. It’s like seeing the starry night in every department store, but the prints actually look the same in real life. A positive was that I did learn about Jennifer Bartlett and Mel Bochenr, two artists whose work was strangely in the dark in the back of the gallery. Westwood Gallery had Bob Adelman’s photos of Warhol, Rosenquist, and Wassermann. They didn’t seem like particularly intimate photos but it was cool to see some of them in their studios or working on pieces.

Wednesday and Thursday I spent with Letha, and I ran some errands for her at the Navy Yard. This was the coldest day yet but I’m glad I got to see the shops down there! I talked to a the head of Duggal about potentially interning there this summer. They have a huge vaccuform machine and lots of CNC routing I could learn about. I also got paid from Letha, which ended up being about what I make while I’m in school in Richmond! I thought it would be less but I guess I work more hours when I’m working overtime here. On a related note, I got insoles for my shoes! You wanna know how this soup got this shoe taste?

Thursday I also stopped by some galleries and Printed Matter, asking for all the recommendations. The gallery space I went into was closed, but I got talking to the doorman, and I’m going back tonight for a couple copies of his book. He wants it to be made into a film, and as I am staying with film students and applying for grants, I thought I’d read it and keep him in mind. Before I pick up the book I’ll be sitting in on a rehearsal with Nick Hallett and New York Live Arts, and seeing Is Fashion Modern with Ellington. This weekend I’m staying in an AirBNB with my partner, which will such a nice break from the couch!

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estudiodedecoracion · 6 years

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Eero Aarnio

Eero Aarnio. Diseñador de interiores y de mobiliario.

Eero Aarnio (1932, Helsinki, Finlandia) es una leyenda y un icono del diseño finlandés, conocido por su mobiliario innovador durante la década de los años 60, que sigue en activo sin dar muestras de agotamiento.

En esos años Eero Aarnio fue un pionero de los muebles de plástico y fibra de vidrio con una clara tendencia lúdica, y está detrás -para algunas marcas como Magis; Asko, y Adelta– de algunos de los diseños más reconocibles del mundo.

Entre 1954 y 1957 Eero Aarnio estudió arte en la Universidad de Arte y Diseño de Helsinki (actual Universidad Aalto).

En 1962 abrió su propio Estudio en Helsinki, y desde entonces pasó a actuar como diseñador de interiores y de mobiliario.

En los años 1960 comenzó a experimentar con plásticos (explorando las posibilidades formales de los materiales), colores vivos y formas orgánicas que reflejaban la cultura pop y el espíritu de su tiempo, rompiendo con las convenciones tradicionales de diseño.

En 1962 creó los asientos “Mushroom” de fiberglass. Los muebles más conocidos dentro de esta línea de asientos son la “Ball” chair (1963) y la silla “Bubble” chair (1968).

El silla “Burbuja” es una esfera transparente con un asiento en su interior diseñada para ser colgada del techo, y la silla “Bola” es una esfera blanca con un interior rojo, apoyada en el suelo.

“Ball” chair -el diseño más icónico y conocido de Aarnio- fue rabiosamente moderna para su tiempo, y los aficionados al cine podrán reconocerla en películas como “Dazed and Confused” (1993), “Mars Attack!” (1996) o “Men in Black” (1997).

La idea de la “Ball” chair, según cuenta Eero Aarnio de una manera un tanto estrambótica (hay otras versiones, que lo único que demuestran es su proclividad para la narración), le llegó cuando apenas tenía un año de edad. “Vivíamos en un edificio de apartamentos en Helsinki y mi madre me puso en el balcón en una cesta de mimbre redonda para dormir. Miré hacia arriba y vi el círculo, el cielo azul enmarcado por la cesta. Ahí es cuando decidí que cuando creciera diseñaría la silla Ball“.

El esbozo de la primera versión de la “Ball” chair no aparecería hasta 1963, y Aarnio inicialmente se mostró reacio a mostrarlo porque “no creí que las compañías de muebles lo entenderían, así que decidí hacer yo el primer prototipo“.

En ese momento, el cuñado de Eero Aarnio trabajaba en una escuela de Salo, una ciudad a 100 kilómetros al noroeste de Helsinki.

Aarnio hizo la peregrinación al taller de la escuela durante varios fines de semana produciendo el primer prototipo de la silla “Bola“. Después, una visita providencial de dos jóvenes gerentes de producto de la empresa Asko dio lugar a que la silla fuera puesta en producción.

La silla, que era una propuesta radical en estética y en el uso del material -que anunciaba un nuevo capítulo del diseño de muebles- debutó en la Feria Internacional del Mueble de Colonia de 1966.

La silla “Bola” fue un shock instantáneo, e inevitablemente generó una oleada de imitaciones que afortunadamente hoy, la autorización reciente de la licencia Eero Aarnio Originals, puede combatir. Tanto la silla “Pastil” (1967), como la “Bubble” (1968) provienen de la “Ball” chair.

El diseñador dice que cree que la silla “juega un papel importante en el diseño de mobiliario y es el mueble más difícil y desafiante de diseñar“.

Entre sus obras también se incluyen las sillas “Tomate“, “Focus“, “Rocking“, “Cognac XO” y “Rosinante“.

Pero Eero tiene una pieza favorita, una pieza que en un principio se trataba de crear una versión transparente de la silla “Bola” para permitir que en el espacio perdido del interior de la silla entrara más luz.

“La pieza más interesante para mí es la silla Burbuja, que se hace como una burbuja de jabón. Se proyecta aire a una hoja de acrílico caliente, por lo que no hay necesidad de un molde y la forma siempre sale igual, siguiendo las leyes de la naturaleza, como una burbuja de jabón“, explica Eero Aarnio.

La iluminación, al igual que los muebles para niños -que están entre sus diseños más populares- forma también gran parte de su catálogo; desde la memorable lámpara “Ghost” hasta las luces “Pinja“, “Swan” y “Flamingo“.

Sus productos atraen a una amplia gama de compradores. “Creo que puede haber un buen diseño en todos los rangos de precios. El dinero no es un requisito previo para el buen gusto“, dice.

Eero Aarnio nunca se ha alejado de sus raíces y hoy en día vive y trabaja en Veikkola, con su esposa Pirkko Attila (1956), a corta distancia de la capital finlandesa.

La casa junto al lago -en la que viven y que fue diseñada por Aarnio en 1989- es un mini museo en sí mismo, que alberga un tesoro de sus productos, maquetas, prototipos y artefactos personales, con un jardín que se ha transformado en una especie de galería al aire libre.

Su Estudio es un caos organizado y un ejemplo de vacío tecnológico (Eero Aarnio todavía dibuja todo a mano y no tiene ordenador), y a pesar de su naturaleza cálida y abierta, Eero siempre ha trabajado solo. “Soy el maestro de mi diseño” reconoce.

“Un diseñador siempre debe ser un artista, pero un artista no tiene porqué ser un diseñador“.

El mundo del diseño ha cambiado radicalmente durante las últimas seis décadas, pasando entre las tendencias, las formas, los estilos y los materiales.

Sin embargo, el maravilloso mobiliario de Eero Aarnio perdura. “No importa si el producto es tradicional o moderno. Si un objeto es funcional, está bien hecho y es hermoso, conservará su valor a través de muchas generaciones y puede ser considerado sostenible“, reflexiona Aarnio.

Sus obras están representadas en museos de todo el mundo, desde MoMA en Nueva York, hasta el Museo de la Bauhaus en Sydney y el Vitra Design Museum en Weil am Rhein.

Sus alegres y juguetones diseños le han hecho ganar una plétora de premios, entre ellos, en 1968 recibió el International Design Award of the A.I.D. (American Institute of Interior Designers) por su “Pastil” chair en fibra de vidrio.

Eero Aarnio fue nombrado Honorary member of SIO (Finnish Association of Interior Designers) en 1999. Recibió el Premio Finlandia 2005, concedido por el Ministerio de Educación de Finlandia; el Premio Interior a la Innovación, Colonia 2006, Alemania.

El Premio ADI Compasso d’Oro 2008 por la silla “Trioli“, Italia; Premio Red Dot Design 2010 por “Kubo” bright light, Alemania; la Medalla Pro Finlandia 2010; un Wallpaper Design Award en 2011, por su lámpara de terapia “Kubo” bright light, y el Premio Red Dot Design 2012, por la lámpara “Ghost“, Alemania.

En el verano de 2016 fue objeto de una importante retrospectiva en el Design Museum de Helsinki. Después esta retrospectiva viajó al Vandalorum Museum de Värnamo (Suecia) abierta hasta el 8 de octubre de 2017.

El año 2017 es el centenario de la independencia de Finlandia, y el movimiento moderno finlandés disfruta de un renacimiento. Al igual que sus homólogos –Ilmari Tapiovaara; Alvar Aalto, y Eero Saarinen– Eero Aarnio está viendo un interés renovado por su trabajo.

Eero Aarnio (pág. web).

Fuente : Wallpaper

Eero Aarnio con “Dino” (2009) de su Children´s Collection, y su “Egg” chair (años 60).

AllABCDEFGHIJKLMNOPQRSTUVWXYZ

Achille Castiglioni

Adolf Loos

Alessandro Mendini

Alfredo Häberli

Alvar Aalto

Andrea Branzi

Andrée Putman

Andreu Carulla

Andy Martin

Antonio Citterio

Arend Groosman

Arik Levy

Arne Jacobsen

Autoban

BarberOsgerby

Benjamin Graindorge

Benjamin Hubert

Bertjan Pot

Boca do Lobo

Carlo Alessi

Carlo Mollino

Carlos Tíscar

Charles Rennie Mackintosh

Charles y Ray Eames

Claudio Colucci

David Adjaye

Dieter Rams

DimoreStudio

Doriana y Massimiliano Fuksas

Doshi Levien

Edward van Vliet

Eero Aarnio

Eero Saarinen

Eileen Gray

Elena Manferdini

Enzo Mari

Ettore Sottsass

Fabio Novembre

Fernando Mastrangelo

Filippo Mambretti

Finn Juhl

Formafantasma

Francesco Rota

Frank Gehry

Frank Lloyd Wright

Fredrikson Stallard

Gabriella Crespi

Gae Aulenti

Gaetano Pesce

George Nelson

George Sowden

Gerrit Rietveld

Gio Ponti

Goula Figuera

Hans J. Wegner

Héctor Serrano

Hella Jongerius

Hermanos Campana

Hervé Van der Straeten

India Mahdavi

Inga Sempé

Jaime Hayón

Jasper Morrison

Jean Prouvé

Jean-Marie Massaud

Joaquim Tenreiro

Joe Colombo

Johan Lindstén

Jonathan Adler

Joost Van Bleiswijk

Jörg Schellmann

Josef Hoffmann

Jurgen Bey

Karim Rashid

Kelly Wearstler

Kiki Van Eijk

Konstantin Grcic

Le Corbusier

Lex Pott

Lievore Altherr

Lindsey Adelman

Lucas Muñoz Muñoz

Ludovica y Roberto Palomba

Maarten Baas

Maarten Van Severen

Marc Newson

Marcel Breuer

Marcel Wanders

Marianne Brandt

Matali Crasset

Matteo Thun

Mattia Bonetti

Max Lamb

Michael Anastassiades.

Michele de Lucchi

Mies van Der Rohe

Miguel Milá

Nadadora

Naoto Fukasawa

Nendo

Nigel Coates

Nika Zupanc

Olivier Mourgue

Ora Ïto

OS and OOS

Paola Navone

Paolo Lomazzi

Patricia Urquiola

Patrick Naggar

Patrick Norguet

Philippe Starck

Piero Fornasetti

Pierre Paulin

Piet Hein Eek

Quentin de Coster

Richard Hutten

Richard Sapper

Rick Owens

Rodolfo Dordoni

Ron Arad

Ron Gilad

Ronan & Erwan Bouroullec

Ross Lovegrove

Sacha Lakic

Scholten & Baijings

Seung-Yong Song

Shiro Kuramata

Simone Simonelli

Snarkitecture

Sou Fujimoto

Stefan Diez

Studio Job

Studio Kaksikko

Tapio Wirkkala

Tejo Remy

Thomas Sandell

Tokujin Yoshioka

Tom Dixon

Toni Grilo

Ueli y Susi Berger

UUfie

Verner Panton

Vico Magistretti

Vincent Van Duysen

Vincenzo de Cotiis

Vladimir Kagan

Von Pelt

William Plunkett

William Sawaya

Xavier Lust

Xavier Mañosa

Yrjo Kukkapuro

Yves Béhar

Zaha Hadid

Zanuso

from http://decorador.online/disenadores-destacados/eero-aarnio/

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lisaelley · 5 years

Photo

Some pretties off to the gorgeous @adelmanfineart in San Diego 💙 (at Adelman Fine Art) https://www.instagram.com/p/BxfIGCaFQu0/?utm_source=ig_tumblr_share&igshid=1offzwvgkk0er

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jemmasmithinterior · 7 years

Text

The Museum of Arts and Design and Clé de Peau Beauté Honor Lindsey Adelman at the Young …

… it year after year, they've been able to curate the correct group of people from [the worlds of] fashion, interior design, architecture and fine art.

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nofomoartworld · 7 years

Text

Hyperallergic: Art Movements

Rendering of one piece in the multi-part Public Art Fund project “Ai Weiwei: Good Fences Make Good Neighbors” (courtesy Ai Weiwei Studio)

Art Movements is a weekly collection of news, developments, and stirrings in the art world.

Ai Weiwei will install over 100 fences around New York City in October as part of a project commissioned by the Public Art Fund. In a press release, the Public Art Fund described the project as a response to “the international migration crisis and [the] tense sociopolitical battles surrounding the issue in the United States and worldwide.” The project is entitled, “Good Fences Make Good Neighbors,” a reference to Robert Frost’s poem “Mending Wall.”

Multiple artists were injured during clashes with Chinese security officials in Beijing’s Songzhuang district. Around 100 artists attempted to prevent the demolition of the home and studio of artists Shen Jingdong and Cao Zhiwen. Government officials cited illegal construction as grounds to demolish the property.

Mikhail Novikov, the deputy director of construction projects at Saint Petersburg’s State Hermitage Museum, was placed under house arrest on charges of suspected fraud by Moscow’s Lefortovsky District Court.

Tehran’s Ag Galerie withdrew from AIPAD’s Photography Show due to President Trump’s travel ban on six predominantly Muslim countries. A notice explaining the gallery’s absence is on display in its vacant booth.

Christie’s cancelled its June postwar and contemporary art auctions in London. The announcement follows the auction house’s recent decision to close its showroom in South Kensington and scale back its operations in Amsterdam.

Thomas Krens, the former director of the Guggenheim Foundation, criticized the Foundation’s plans to open a museum in Abu Dhabi, despite having brokered the 2006 deal to open the satellite museum there. In an interview with the In Other Words podcast, Krens suggested that the museum should be postponed or downsized. “The world financial crisis of 2008 and the Arab Spring has changed the equation radically […] It may not be such a good idea these days to have an American museum, essentially with a Jewish name, in a country [that doesn’t recognize Israel] in such a prominent location, at such a big scale.” The construction of the museum on Saadiyat Island has been mired in controversy, with groups such as Gulf Labor and Human Rights Watch calling attention to the widespread abuse of laborers working on the island’s cultural construction projects.

Leonardo da Vinci, “Adoration of the Magi” (1481), oil on wood, 243 x 246 cm (via Wikipedia)

The Uffizi Gallery unveiled Leonardo da Vinci’s “Adoration of the Magi” following a six-year restoration.

Workmen for the Chicago company Methods and Materials Inc. began to dismantle Alexander Calder’s monumental mobile, “Universe,” from the lobby of Willis Tower. The work is currently the subject of a legal dispute regarding its ownership.

The Turner Prize lifted its rule that eligible artists must be under 50 years old.

Thomas Gainsborough’s “Mr. and Mrs. William Hallett” (1785) went back on display at the National Gallery in London, just over a week after it was slashed with a screwdriver by a 63-year-old man.

A report by the BBC describes how Syrian archaeologists are using a clear traceable liquid, which is made visible under UV light, to mark valuable artifacts. The technique is currently being used to identify stolen antiquities.

One hundred and fifty works of antisemitic propaganda went on display at the Caen-Normandy Memorial Museum as part of an exhibition entitled Heinous Cartoons 1886-1945: The Antisemitic Corrosion in Europe. The works are from the private collection of Holocaust survivor Arthur Langerman.

Eleven people were detained after staging a naked protest at the Auschwitz-Birkenau Memorial and Museum. According to the BBC, Polish media speculated that the action was a protest against the war in Ukraine.

The Spectator awarded its second annual What’s That Thing? — an award for the worst piece of public art — to “Origin,” a sculpture created by Solas Creative.

(courtesy Brooklyn Public Library)

The Brooklyn Public Library unveiled a limited edition library card featuring artwork from Maurice Sendak’s Where the Wild Things Are (1963).

Kristen Visbal’s bronze sculpture “Fearless Girl” will remain on view in Manhattan’s Financial District through February 2018 according to New York City mayor Bill de Blasio. “Fearless Girl has fueled powerful conversations about women in leadership and inspired so many,” de Blasio stated. “Now, she’ll be asserting herself and affirming her strength even after her temporary permit expires — a fitting path for a girl who refuses to quit.” Hyperallergic’s Jillian Steinhauer described the sculpture as a work of “fake corporate feminism.”

The neon sign for Pearl Paint, the beloved NYC art supply store that closed in 2014, has been incorporated into the lobby of the luxury apartments built in the store’s former building. According to Curbed, the four units range from $16,000 to $18,000 per month.

A 100-kilo, 24-carat gold coin worth $4 million was stolen from the Bode Museum in Berlin. The coin, which bears the image of Queen Elizabeth II, was minted by the Royal Canadian Mint in 2007. It is thought that the thieves executed the theft with the use of a rope, a foldout ladder, and a wheelbarrow.

Ikon Gallery is looking for volunteers to participate in a staging of On Kawara’s “One Million Years (Reading)” at the Venice Biennale.

Transactions

Louis Draper, “Boy with lace curtain” (nd), gelatin silver print, 12 7/8 x 9 in, Virginia Museum of Fine Arts; Arthur and Margaret Glasgow Endowment (© Louis H. Draper Preservation Trust)

The National Endowment for the Humanities awarded the Virginia Museum of Fine Arts a $173,833 grant to digitize its collection of materials by photographer Louis Draper.

The Pennsylvania Academy of the Fine Arts acquired 30 works, including pieces by Jim Campbell, Bill Walton, Emily Sartain, and Debra Priestly.

The Museum of London acquired 100 items of clothing and accessories worn by Francis Golding, a former secretary of the Royal Fine Art Commission.

Patti Smith purchased the reconstructed home of Arthur Rimbaud for an undisclosed sum.

The Library of Congress acquired the archive of photographer Bob Adelman.

The Getty Research Institute acquired Frank Gehry’s archive from 1954 to 1988.

Frank Gehry, Winton Guest House Model (1982–87), Wayzata, Minnesota, Frank Gehry Papers at the Getty Research Institute

Transitions

The Los Angeles County Museum of Art’s director, Michael Govan, and Roger W. Ferguson, the chief executive of financial services company TIAA, have been asked by the Smithsonian to join its board of regents. Their nominations will need to be approved by President Trump and the House of Representatives.

Christine Poggi was appointed director of New York University’s Institute of Fine Arts.

Jeffrey Andersen announced his retirement as director of the Florence Griswold Museum.

Blake Shell was appointed executive director of the Disjecta Contemporary Art Center.

Emma Imbrie Chubb was appointed the first curator of contemporary art at the Smith College Museum of Art.

The Museum of Contemporary Art, Los Angeles, appointed Amanda Hunt as director of education and public programs, and Anna Katz as assistant curator.

Andrea Gyorody was appointed assistant curator of modern and contemporary art at the Allen Memorial Art Museum.

Don McMahon was appointed editorial director of the Museum of Modern Art’s publications department.

Phillips appointed Laurence Calmels as regional director for France.

Matt Packer was appointed director of EVA International.

Tate St. Ives reopened after an 18-month, £20-million (~$24.9 million) renovation.

The Musée Camille Claudel opened in the French town of Nogent-sur-Seine.

The Philadelphia Museum of Art broke ground on its $196-million expansion project.

Koenig & Clinton gallery will relocate from Chelsea to Bushwick in June.

Zurich’s Galerie Eva Presenhuber announced plans to open its third space in New York City.

Two London galleries, Vilma Gold and Ibid gallery, will close.

Accolades

Ethan Murrow, “Plethora” (detail) (2016), sharpie on wall, 40 x 30 ft, site-specific installation as part of the Project Atrium series at MOCA Jacksonville (courtesy MOCA Jacksonville and Doug Eng)

Ethan Murrow was awarded the Museum of Contemporary Art Jacksonville’s 2017 Brooke and Hap Stein Emerging Artist Prize.

Oskar Hult, Jonas Silfversten Bergman, and Josefine Östberg Olsson were awarded the Fredrik Roos Art Prize.

Kriota Willberg was awarded the first-ever artist residency at the New York Academy of Medicine.

The Library of Congress awarded the 2016 Bobbitt National Prizes for Poetry to Claudia Rankine and Nathaniel Mackey.

The City of Houston announced the recipients of its 2017 artist grants.

Bob Dylan agreed to formally accept the Nobel Prize for Literature at a small ceremony scheduled this weekend — five months after the award was first announced.

Obituaries

Julian Stanczak, “Forming in Four Reds” (1993-1994) (via Flickr/Sharon Mollerus)

Arthur Blythe (1940–2017), saxophonist.

Frank Delaney (1942–2017), author and arts broadcaster.

Don Hunstein (1928–2017), photographer. Best known for his iconic image of Bob Dylan and Suze Rotolo walking in Greenwich Village.

Peter Johns (1930–2017), photographer.

Ahmed Kathrada (1929–2017), anti-Apartheid activist and writer.

Molly Mahood (1919–2017), scholar. Best known for Shakespeare’s Wordplay (1957).

William McPherson (1933–2017), critic and novelist. Awarded the Pulitzer Prize for Distinguished Criticism in 1977.

Robin O’Hara (1954–2017), film producer.

Liana Paredes (unconfirmed–2017), chief curator and director of collections at Hillwood Estate, Museum & Gardens.

William Powell (1949-2017), author of The Anarchist Cookbook (1971).

Julian Stanczak (1928–2017), artist. Figurehead of the Op art movement.

David Storey (1933–2017), author and playwright.

Christina Vella (1942–2017), author.

The post Art Movements appeared first on Hyperallergic.

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