Monumental sculptures of iconic New York buildings to emerge along the Park Avenue Malls

Rendering of Seagram Building in Alexandre Arrechea's No Limit series for Park Avenue. Courtesy of the artist / Magnan Metz Gallery.

 NEW YORK, NY.- Magnan Metz Gallery, in conjunction with New York City’s Department of Parks & Recreation, and The Fund for the Park Avenue Sculpture Committee, announces Alexandre Arrechea’s No Limit, a new site-specific installation to emerge along Park Avenue, March 1 through June 9, 2013. Playing on the idea of elastic architecture as a metaphor for the challenges and opportunities of shifting conditions and new realities, No Limit will present 10 massive sculptures embodying New York’s most prominent buildings. Iconic landmarks represented will include: the Chrysler Building, Citicorp Center, Empire State Building, Flatiron building, Helmsley Building, MetLife Building, Metropolitan Life Insurance Company Tower, Seagram Building, Sherry Netherland, and US Courthouse. The sculptures, which will appear to roll, wind, and spin their way down Park Avenue from 53rd to 67th Street, will reach towering heights of up to 20 feet. Throughout his work, artist Alexandre Arrechea uses sculpture, watercolor and video to ponder the idea of destabilizing traditional concepts held about icons and their function in society. The art is meant to create a dialogue with the public that raises questions of control, power, surveillance and one’s role within these categories. Through iconic architectural buildings and urban spaces, Arrechea plays and entices the viewer to explore this concept. Taking the adaptation of architecture one step further, Arrechea created a series– After the Monument – in 2010 which featured rolled-up stainless steel skyscrapers which serves as the impetus for the No Limit series specific to Park Avenue. In each, Arrechea reshapes the concept of verticality and monumentality into a new reality: elastic architecture, or city. Sculptures maintain the façade and recognizable features of the iconic buildings, but also adopt new forms – an elasticity that is foreign to the structure. This concept serves as a metaphor to the challenges of adapting to new realities we face every day as individuals and society. The buildings are transformed into a tool, or snail-like shapes as if one could reel these rigid structures in like a hose – expanding and contracting with the rise and fall of the economy and the sociocultural and sociopolitical shifts that occur with economic changes. “I believe the same way that a building is exposed to daily elements and changes – cold, heat, rain, fog – it is also exposed to constant changes in function – increases and decreases in market value, tenant use, and therefore purpose and social value. These persistent modifications are something I want to capture and embody in my work, creating a new model in constant negotiation with its surroundings,” states Alexandre Arrechea. In the Park Avenue series, Arrechea also fuses the familiar structure of architectural landmarks to the bodies of spinning tops, or trompos (toy tops popular in Latin America) as another form of elasticity. The result is a “dancing city” or building in perpetual motion that can continuously spin, wind down, fall, or rise again. “The Park Avenue project presents a form of marriage between New York City landmarks and architectural elements from different backgrounds. These elements, I believe, symbolically parallel facets of the human condition. With this installation, I have created a set of works that confront dynamism vs. static, the whole vs. the fragmented, control vs. chaos, utopia vs. reality. The series provides a new point of access from which to understand the dialog between art and architecture and how this relationship can evolve and open new doors,” further comments the artist. “Parks has championed public art projects since 1967 and we’re thrilled to have Alexandre Arrechea’s artwork enliven the Park Avenue Malls with bold motifs inspired by the City’s skyline,” says Parks Commissioner Veronica White. “The Malls have featured captivating work from talented artists like Rafael Barrios, Will Ryman, Yoshitomo Nara, to name a few, and Alexandre’s work will be a wonderful addition to this distinguished list.” In celebration of Alexandre Arrechea’s installation, Phillips will open a selling exhibition of the artist’s work at its 450 Park Avenue location on Saturday, April 6th. This accompanying presentation, curated by Alexandra Raponi from Phillips’ Contemporary Art Department alongside Alberto Magnan and Dara Metz of Magnan Metz Gallery, will feature Arrechea’s related sculptures, watercolors and video works. The exhibition will be inaugurated with an opening reception and book signing with the artist and will remain on view through Friday, April 12th, 2013. A book on Alex Arrechea’s work, including the production of No Limit, will be published by Magnan Metz Gallery on the occasion of the Park Avenue Malls with essays by Lowery S. Sims, Curator, Museum of Art & Design and Holly Block, Director, The Bronx Museum of the Arts. Born in Trinidad, Cuba, in 1970, Alexandre Arrechea graduated from the Instituto Superior de Arte (ISA) in Havana in 1994. He was a founding member of the collective Los Carpinteros (1991-2003). As a solo artist, Arrechea represented his homeland in the first ever Cuban Pavilion at the Venice Biennale (2011) as well as the 11th Havana Biennial (2012). Arrechea was the Spring BAMbill cover artist as well as featured in “Hola Havana” for the Brooklyn Academy of Music as part of the ¡Si Cuba! Festival (2011). Among his recent solo exhibitions were Twisted Horizon at Magnan Metz Gallery, New York (2012), Espacio Derrotado at Casado-SantaPau Gallery, Madrid (2011), Black Sun, which was on the NASDAQ Billboard in New York (2010), The Rules of Play, Savannah College of Art and Design, Georgia (2010), and Orange Tree at the Bronx Museum of the Arts, New York (2011). He has participated in Dublin Contemporary 2011, Portugal Arte 2010, Bienal del Ponteverda, Spain (2010), the Moscow Biennial (2009), Thessaloniki Biennial of Contemporary Art, Greece and the Havana Biennial (2009). Alex Arrechea is the latest in a long list of distinguished artists to exhibit on Park Avenue. Previous exhibitions have included George Rickey, Deborah Butterfield, Robert Indiana, François-Xavier and Claude Lelanne, Yoshitomo Nara and Will Ryman. More Information: http://artdaily.com/index.asp?int_sec=2&int_new=60366#.UQPF97_oStY[/url] Copyright © artdaily.org

New Jersey library displays Kara Walker drawing of slave having sex with a white man

New Jersey library displays Kara Walker drawing of slave having sex with a white man File photo of artist Kara Walker speaking after being honored at the Glamour Women of the Year awards Monday, Nov. 10, 2008 in New York. AP Photo/Jason DeCrow. 

NEWARK (AP).- A library that covered up a drawing of a black female slave having sex with a white man after workers found it inappropriate is displaying it again. The drawing, created by black artist Kara Walker, shows the horrors many blacks faced after the Civil War and during reconstruction and includes a depiction of a slave performing oral sex. It initially was hung during Thanksgiving in the Newark Public Library's second-floor reference room, but officials reluctantly covered it with a cloth after one day because some workers complained it was insensitive. The Star-Ledger newspaper reported Sunday that library officials and staffers have since met to discuss the drawing and decided it could be uncovered. Library employee Kendell Willis told the newspaper that he had a better understanding of the library officials' position after the meeting. "They said there are a lot of things in artwork we don't want to talk about, and that made absolute sense," he said. Library officials plan to invite Walker to speak about the drawing, artistic freedom and the role of black artists in society. "The library should be a safe harbor for controversies of all types, and those controversies can be dealt with in the context of what is known about art, about literature, democracy and freedom," library trustee Clement A. Price, a Rutgers university history professor, told the newspaper. "There's no better venue in Newark where such a powerful and potential controversial drawing should be mounted." Price noted that the portrayal of the black American experience is a sensitive issue. "Should we be depicted sentimentally, romantically?" he said. "Should some of the grotesque realities be depicted in art or movies?" 

Copyright 2013 The Associated Press.

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Controversial: The drawing shows the horrors many blacks faced after the Civil War and during reconstruction and includes a depiction of a slave performing oral sex

Felipe Góes - a aparência da memória

Abertura no dia 2 de fevereiro (sábado) das 11h as 15h.

abraços

Felipe Góes

www.fgoesarte.blogspot.com

Bonhams to sell original of world's most reproduced fine art print: "Chinese Girl" by Tretchikoff

Tretchikoff himself claimed that by the end of his career he had sold half a million large-format reproductions of the ‘Chinese Girl’ print worldwide. Photo: Bonhams.



LONDON.- ‘Chinese Girl’, the most iconic work of Vladimir Tretchikoff – the Russian émigré who settled in South Africa – will be sold at Bonhams South African art sale on 20th March 2013 for an estimated £300,000-£500,000. Said to be the most widely reproduced and recognisable picture in the world, from the 1950s prints of this famous work sold widely in South Africa, Britain, Europe and America. Tretchikoff himself claimed that by the end of his career he had sold half a million large-format reproductions of the ‘Chinese Girl’ print worldwide (and that doesn’t include smaller print versions): today you can also find mugs, wallpaper and assorted other ‘Chinese Girl’ paraphernalia. In their obituary to Tretchikoff (who died in 2006), the BBC confirmed that the ‘Chinese Girl’ was indeed the highest-selling print in history. Even as early as 1961, a BBC presenter made the following assertion (as related in Pigeon’s Luck, the artist’s life story): “Which painting do you think is the most famous in the world? Leonardo da Vinci’s ‘Mona Lisa’? Botticelli’s ‘Birth of Venus’? Gainsborough’s ‘Blue Boy’?... Before you answer, let me tell you you’re wrong. It’s the green-faced ‘Chinese Girl’ by Tretchikoff.” The ‘Chinese Girl’ is inspired by the sitter Monika Sing-Lee, who was working at her uncle’s launderette in Sea Point, Cape Town when Tretchikoff spotted her and asked her to model for him. Boris Gorelik, author of the forthcoming new book ‘Incredible Tretchikoff’ (due out in 2013), was the first researcher to trace Sing-Lee in 2010. He remarks on the unmistakable resonance between photographs of Sing- Lee in 1952, and the painting of the ‘Chinese Girl’. But the painting goes beyond a portrait to become something more iconic. Clearly, Tretchikoff had a personal investment in the work. Having spent many years as a child in Harbin (the Russian-founded town in Manchuria) after his family fled Russia, he later moved to Shanghai where he worked in advertising and commercial illustration until 1934. As the artist explains in Pigeon’s Luck: “In painting ‘Chinese Girl’ I had a lot of experience to draw on... My mind and soul went into this painting, and perhaps there lies the explanation for its success. Somehow perhaps I caught the essence of Chinese womanhood...” Giles Peppiatt, Director of South African Art at Bonhams, comments: “The iridescent hues of ‘Chinese Girl’ reflect Tretchikoff’s experimentation with the possibilities of his colour palette: the green-blue patina-like effect of the sitter’s face is uncanny, heightening the red of her lips and framed by her lustrous dark hair. The deftly- handled golden hues and decorative detail of her tunic emerge from the lines of charcoal on brown canvas, a combination of media familiar from works like ‘Basotho Girl’ and ‘Zulu Maiden’. Notably, the combination of lustrous golden silk and the blue-sheen of the model’s skin combine to produce an otherworldly glow: a luminescence that is the leitmotif of Tretchikoff’s best works.” Tretchikoff’s value has risen exponentially in the art market, due to both the re- evaluation of his legacy in exhibitions such as Tretchikoff: The People’s Painter, at IZIKO South African National Gallery (2011), and his appearance on the world stage at auction at Bonhams. A new world record was recently achieved at Bonhams with the semi-nude portrait painting, ‘Portrait of Lenka (Red Jacket)’, featuring Tretchikoff’s lover and muse, which sold for £337,250 (R4.7million). Just over 100 Tretchikoff works have appeared at auction, a twenty-year trajectory which charts a remarkable resurgence in the artist’s popularity. Commenting on the sale, author Boris Gorelik, says: “At this South African Sale, Bonhams offers a work that is familiar to millions of people throughout the world, not only devotees of South African art. What's more, this is one of the most important pop culture icons in Britain and the Commonwealth in the 1950s to early 1960s. Today, even prints of the 'Green Lady' in mint condition, which went for a couple of pounds in their day, change hands for hundreds of pounds.” For Gorelik, part of Tretchikoff’s market resurgence is due to the nostalgic aura of the works, which should not be underestimated: “Take the ‘Chinese Girl’ for example: millions of people - perhaps your parents or grandparents - bought a litograph of this painting, hung it on their wall and admired it for years, if not decades. Maybe even you grew up looking at it. And today you can get the real thing - the original canvas. It's certainly fascinating!” More Information: http://artdaily.com/index.asp?int_sec=2&int_new=60336#.UQKj9L-umBo[/url] Copyright © artdaily.org

Moscow Museum of Modern Art opens first major retrospective of Olga Tobreluts

Ms Tobreluts developed the technique of juxtaposing two- and three-dimensional images that is widely used today.

MOSCOW.- On January 24, the Moscow Museum of Modern Art opened the first major retrospective of Olga Tobreluts, the pioneering Russian contemporary artist who was one of the first artists ever to use digital technology in the creation of art. The exhibition features her new experimental works, as well as her famous pieces from a number of museums and private collections. Ms Tobreluts developed the technique of juxtaposing two- and three-dimensional images that is widely used today. Her art works are bold manipulations of historical facts and contemporary myths, amalgamated in a magical super-reality. Ms Tobreluts’ artistic career was launched with the debut exhibition of her abstract paintings on St. Petersburg’s Palace Bridge in 1989, alongside works of the New Artists collective. Following its success, she moved to Moscow where she lived in Petliura’s squat on Petrovsky Boulevard and continued to work on her abstract paintings and graffiti. Throughout the 1990’s she frequently visited Berlin where she discovered digital technologies at ART+COM Institute under the direction of Professor Ulrich Wahlberg. This encounter led to a radical change of aesthetic. Ms. Tobreluts abandoned painting and immersed herself completely in computer graphics, photography and 3D modeling. In her quest to create a 3D digital equivalent of an anatomically realistic academic drawing of a human body, Ms. Tobreluts began to appreciate the ideas of Neo-Academists in St Petersburg, and she became the champion and the driving force behind Neo-Academism. Bruce Sterling described her as “Helen of Troy wielding a video camera and a computer”. During this period Ms. Tobreluts created a completely new reality that transcended the historical context and was much more in synch with the modern world. Whether or not Olga’s ornamental myths have any basis in classical mythology, they always reference the present day and age. In the 1990s Ms. Tobretluts’ works received international acclaim, winning prestigious awards and featured on the covers of influential magazines as ART, ATTITUDE, Duesseldorf Hefte, The Observer Magazine and others. In 2003 Ms. Tobreluts almost entirely stopped using digital technologies and returned to painting as her primary medium. She now focuses on recovering ancient painting techniques as well as on her research of the ways in which chemical composition of pigments can help enhance the rendering of light. More Information: http://artdaily.com/index.asp?int_sec=2&int_new=60339#.UQKjar-umBo[/url] Copyright © artdaily.org

First retrospective of Indian-born printmaker Zarina spans five decades of her career

Zarina, Untitled, 1970. Relief print from collaged wood, printed in burnt umber on Indian handmade paper, 76.2 x 55.9 cm, edition 1/10. UCLA Grunwald Center for the Graphic Arts, Hammer Museum, Los Angeles. Purchased with funds provided by the Helga K. and Walter Oppenheimer Acquisition Fund. Photo: Robert Wedemeyer.

 

NEW YORK, NY.- Zarina: Paper Like Skin, the first retrospective to explore the career of Indian-born American artist Zarina Hashmi, will be on view at the Solomon R. Guggenheim Museum from January 25 through April 21, 2013. Featuring approximately 45 works, the exhibition charts the artist’s developmental arc from the late 1960s to the present and includes woodblock prints, etchings, and lithographs, in addition to a small selection of related sculptures in bronze and cast paper pulp, many of which will be on display for the first time. The Guggenheim Museum’s recent acquisition—a suite of twenty works from a major series of pin drawings from 1975 to 1977—serves as a fulcrum for the presentation, which was conceived in close collaboration with the artist. Zarina: Paper Like Skin was organized by the Hammer Museum, Los Angeles. The exhibition has been curated by Allegra Pesenti, Curator, Grunwald Center for the Graphic Arts, Hammer Museum, where it opened in September 2012. The Guggenheim presentation is organized by Sandhini Poddar, former Associate Curator of Asian Art, with Helen Hsu, Assistant Curator, Solomon R. Guggenheim Museum.
Established as a printmaker, Zarina, who prefers to use her first name only, also considers herself to be a sculptor, in part because her works often begin with the activity of carving blocks of wood. Paper is central to her practice, both as a surface to print on and as a material with its own properties and history. Zarina’s visual vocabulary is minimal, yet rich in associations with her life and themes of displacement and exile, memory and nostalgia. The concept of home—whether personal, geographic, national, spiritual, or familial—resonates throughout her oeuvre. While Zarina’s work has roots in abstraction, it has always been informed by a profound sociopolitical awareness. Born in the northern Indian city of Aligarh in 1937, Zarina has spent nearly her entire adult life outside of her native country. The border between India and Pakistan that was demarcated by the 1947 partition caused the displacement and death of millions of people, and eventually forced Zarina’s family to leave their home in 1959. Since then, her visits to India have not been simple homecomings. In 1958, she began a life abroad, relocating to different cities around the world, including Bangkok, New Delhi, Paris, Bonn, Tokyo, Los Angeles, and Santa Cruz, though she has primarily lived in New York since 1976. Paper has been a transportable medium for the artist, readily available wherever her travels have taken her. Zarina’s earliest works demonstrate a formal immersion in the possibilities of the medium and a commitment to Minimalism and abstraction. Her mature works display interventions on paper that are at once fierce and delicate; she pierces, folds, scratches, and cuts monochromatic grounds, creating textured surfaces that invite intimate viewing and extended contemplation. The artist emphasizes the sculptural sensibility that underlies printmaking, found in the act of carving a woodblock or assembling a relief collage. In the 1980s, she literalized this interest by casting three-dimensional works with paper pulp. These forms would lead to sculptures in bronze. As with her prints, these works were inspired by organic sources, especially plants, and the regular geometries of architecture. Zarina often uses handmade paper from India, Japan, or Nepal—artisanal varieties with various textures, luminosities, and degrees of ink absorption, providing a wide spectrum of grounds. Paper is also allied with literary tradition. Profoundly influenced and inspired by Urdu poetry, literature, and calligraphy, Zarina embeds her work with evocative quotations and references. Her most recent works are imbued with a meditative spirituality. She has made a series of sculptures based on strands of Muslim prayer beads. She increasingly incorporates luminous elements like gold and obsidian into her compositions. In paper works, she employs single sheets rising 6 feet tall. With sculptural tasbihs, precious materials, and augmented scale, Zarina directs the viewer’s mind to ideas of nothingness and infinity, encumbrance and enlightenment, eternity and nevermore. Zarina: Paper Like Skin encompasses autobiographical topographies of distances traveled and time spent, presenting works that superimpose historical events and personal experience by way of the elusive, ineffable yet essential idea of home. Zarina’s work has been included in recent major exhibitions throughout the United States, including: WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (2007), P.S. 1 Contemporary Art Center (now MoMA PS1), New York (2008), and Vancouver Art Gallery (2008–09); Gouge: The Modern Woodcut 1870 to Now, Hammer Museum, Los Angeles (2008–09); The Third Mind: American Artists Contemplate Asia, 1860–1989, Solomon R. Guggenheim Museum, New York (2009); and Mind and Matter: Alternative Abstractions, 1940s to Now, Museum of Modern Art, New York (2010). She also participated in the Gwangju Biennial, South Korea (2008), and Istanbul Biennial (2011), and was one of four artists to represent India at the Venice Biennale (2011).
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Zarina, Pool I, 1980. Cast paper with terra-rosa pigment, 54 x 54 x 7 cm, edition 2/3. Courtesy of the artist and Luhring Augustine, New York. Photo: Robert Wedemeyer.

CONHEÇA OS 10 ARTISTAS BRASILEIROS DE MAIOR VISIBILIDADE NO CENÁRIO INTERNACIONAL.

Waltercio Caldas

CONHEÇA OS 10 ARTISTAS BRASILEIROS DE MAIOR VISIBILIDADE NO CENÁRIO INTERNACIONAL.

Um levantamento estatístico realizado pelo Itaú Cultural revelou quem são os artistas brasileiros com maior número de exposições entre 1987 e 2012.

Em primeiro lugar está Waltercio Caldas, escultor, desenhista e artista gráfico, com a participação em 314 mostras, entre coletivas e individuais. Com isso, o carioca de 66 anos de idade se tornou o nome de maior visibilidade da arte nacional.

Regina Silveira,Vik Muniz, Cildo Meireles e Antonio Dias vêm na sequencia, em 2º,3º, 4º e 5º lugar. Dos dez primeiros colocados, apenas dois artistas não estão mais em atividade: Iberê Camargo (1914-1994), em sexto, e Hélio Oiticica (1937-1980), o oitavo colocado.

Segundo os pesquisadores do Itaú, o ranking que elenca 75 nomes está em permanente atualização — para os próximos dias eles preveem a inclusão de pelo menos mais 500 eventos, o que poderia até mudar a posição de alguns artistas na lista —, mas já dá margem a importantes conclusões — informações que podem ajudar na formulação de políticas culturais para o futuro.

A pesquisa também analisou a atividade dos curadores. Outro carioca lidera a lista: Fernando Cocchiarale, com 68 curadorias. Em seguida aparecem Tadeu Chiarelli, atual diretor do Museu de Arte Contemporânea da USP, Paulo Herkenhoff, Agnaldo farias e Ricardo Resende.

Confira os dez primeiros colocados: 
1º Waltercio Caldas - 314
2º Regina Silveira - 300
3º Vik Muniz - 296
4º Cildo Meireles - 291
5º Antonio Dias - 274
6º Iberê Camargo/Rosângela Rennó - 263
7º Amilcar de Castro – 250
8º Hélio Oiticica/Sebastião Salgado - 241
9º Daniel Senise - 239
10º Tomie Ohtake - 234

Confira a lista completa no nosso blog [clique aqui para continuar..]

Fonte: Folha de S. Paulo, O Globo e ArtInfo

http://trk.virtualtarget.com.br/index.dma/DmaPreview?3596,587,19023,b8cf77fad6849f2c35e680e7e9ad97ba,1

Regina Silveira

Vik Muniz

Cildo Meireles

Antonio Dias

Rosângela Rennó

Amilcar de Castro

Sebastião Salgado

Daniel Senise

Tomie Ohtake

11º Nelson Leirner – 229

12º Mira Schendel – 226

13º Tunga – 221

14º Lygia Clark – 218

15º Rubens Gerchman – 217

16º Di Cavalcanti – 216

17º Lasar Segall – 213

18º Lygia Pape – 210

19º Ernesto Neto/Siron Franco – 208

20º Anna Bella Geiger – 205

21º Alfredo Volpi – 202

22º Carmela Gross – 199

23º Mario Cravo Neto/Piza – 195

24º Leda Catunda – 190

25º Artur Barrio/Nuno Ramos – 182

26º Beatriz Milhazes – 180

27º Leonilson – 178

28º Tarsila do Amaral/Candido Portinari – 177

29º Carlos Vergara – 176

30º Adriana Varejão – 170

31º Antonio Henrique Amaral – 167

32º Anna Maria Maiolino – 164

33º José Resende – 162

34º Maria Bonomi – 160

35º Cícero Dias – 159

35º Ademir Martins – 159

36º Rochelle Costi – 158

37º Guignard – 157

38º Geraldo de Barros – 154

38º Arcangelo Ianelli – 154

39º Claudio Tozzi – 153

39º Jac Leirner – 153

39º Sandra Cinto – 153

40º Franz Weissman – 151

40º Miguel Rio Branco – 151

41º Emmanuel Nassar – 150

42º Albano Afonso – 146

43º Ana Maria Tavares – 141

44º Flávio de Carvalho – 140

45º Manabu Mabe – 139

45º Carlos Scliar – 139

45º José Damasceno – 139

46º Luiz Aquila – 138

46º Marcos Chaves – 138

47º João Câmara – 135

47º Anita Malfatti – 135

48º Evandro Carlos Jardim – 133

48º Efrain Almeida – 133

49º Oswald Goeldi – 131

50º Marcelo Grassman – 130

51º Marcos Coelho Benjamin – 129

52º Antonio Manuel – 128

52º Paulo Pasta – 128

53º Iole de Freitas – 127

54º José Roberto Aguilar – 126

54º Luiz Zerbini – 126

55º Ivan Serpa – 123

55º Roberto Magalhães – 123

55º Angelo Venosa – 123

56º Amelia de Toledo – 122

56º Danúbio Gonçalves – 122

56º Carlos Fajardo – 122

57º Aluísio Carvão – 121

58º Ivens Machado – 120

59º Milton Dacosta – 119

60º José Pancetti – 117

60º Niura Bellavinha – 117

61º Victor Brecheret – 116

61º Vicente do Rego Monteiro – 116

62º Frans Krajcberg – 115

63º Sérgio Camargo – 114

63º Ricardo Basbaum – 114

63º Luiz Braga – 114

64º Renina Katz – 113

65º Caetano de Almeida – 112

65º Cristina Canale – 112

66º Carlos Zilio – 110

66º Wesley Duke Lee – 110

66º Nelson Felix – 110

66º Marco Paulo Rolla – 110

67º Ismael Nery – 109

68º Flavio-Shiró – 108

68º Rubem Valentim – 108

68º Lívio Abramo – 108

69º Fayga Ostrower – 107

69º Abraham Palatnik – 107

69º Luiz Sacilotto – 107

69º Iran do Espírito Santo – 107

70º Dudi Maia Rosa – 106

71º Vicente de Mello – 105

72º Barrão – 103

72º Edgard de Souza – 103

73º Rubem Grilo – 102

73º Ivald Granato – 102

73º Paulo Whitaker – 102

74º Emanoel Araujo – 101

75º Luiz Paulo Baravello – 100

75º Nazareth Pacheco – 100

75º Alex Cerveny – 100

75º Lia Menna Barreto – 100

75º Sérgio Romagnolo – 100

ISABELLE TUCHBAND E A NARRATIVA PRIMORDIAL

Arte fashion

ISABELLE TUCHBAND | ESPAÇO CULTURAL CITI

#INSTAGRAM: @RADAR55OFICIAL Isabelle Tuchband é uma artista fashionista. Já criou camisetas para a Bob Store, joias para Francesca Romana Diana, fez parceria com a Schutz... Suas mulheres exóticas e coloridas (que já apareceram na cerâmica na revista Vogue) agora podem ser vistas em vasos e telas na exposição Isabelle Tuchband e a narrativa primordial, que já virou otalk of the town no Espaço Cultural Citi, na Av. Paulista. Filha do pintor francês Émile Tuchband, nascida em Taubaté, Isabelle estudou artes plásticas na faculdade Santa Marcelida, fez curso com o pintor abstrato brasileiro Paulo Pasta e foi se aprimorar na École de Arts Décoratifs, em Paris. Fora do país, expôs em galerias na França, Alemanha e Estados Unidos, onde atualmente tem a obra Homenagem a Yves Saint Laurent exposta na WN Gallery, em Nova York. ISABELLE TUCHBAND E A NARRATIVA PRIMORDIAL, ESPAÇO CULTURAL CITI: AVENIDA PAULISTA, 1111, TÉRREO. HORÁRIO: DE 2ª A 6ª, DAS 9H ÀS 19H, SÁBADOS, DOMINGOS E FERIADOS, DAS 10H ÀS 17H. ENTRADA GRATUITA.  WWW.ISABELLETUCHBAND.COM.BR fonte: radar55