October 25 Wed-28 Sat Photoplus 2017 Javits

All eyes on the biggest and baddest photoexpo in the world

All eyes on the biggest and baddest photoexpo in the world

Largest Photography Conference and Expo in North America

NEW YORK (July 6, 2017) — If you love taking photos or creating videos and want to learn how to improve your skills, the annual PhotoPlus International Conference + Expo at the Jacob Javits Center in New York from October 25-28 is a must-attend event. PhotoPlus is the largest photographic conference and Expo in North America where manufacturers showcase the latest technologies and renowned photographers and filmmakers share their secrets to success through dozens of educational seminars and photo walks. Early bird discounts on conference passes, seminars, and photo walks are available through July 11 by visiting photoplusexpo.com and free registration to the 3-day Expo is available through September 12.

“The PhotoPlus Conference and Expo provides extensive education and growth opportunities for professionals and enthusiasts alike ranging from lighting, portraiture, post-production, filmmaking, business classes, and so much more,” explains Mike Gangel, Show Director at PhotoPlus Expo. “Our vast schedule of photo walks, master classes, conference seminars, keynotes, and portfolio reviews, combined with our large Expo hall filled with hundreds of exhibitors demonstrating the latest imaging technologies, has created a wonderful playground for anyone who loves the visual arts.”

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Oct 18 Wed-20 Fri AES NEW YORK 2017 143rd International Convention

Find the highest audio quality behind the pr and the marketing curtain

Find the highest audio quality behind the pr and the marketing curtain

Maximum Audio AES NEW YORK 2017
143rd International Convention
Exhibits: October 18-20 / Program: October 18-21

SOUND AND STORY, AMPLIFIED

Do your interests or work include Broadcast and Streaming, Networked Audio, Audio for Virtual and Augmented Reality, Live Sound, Studio Recording, Home Recording, Music Production, Game Audio, Sound for Picture or Product Development? The 143rd Audio Engineering Society International Convention has you covered in one exclusively end-user focused event.

All Access registration provides access to the entire Convention, including a comprehensive papers, workshops and tutorials program. Exhibits-Plus access gains you entry to the exhibition floor and demo rooms, where leading manufacturers reveal and demonstrate the latest in audio hardware and software tools. The “Plus” includes the application-oriented sessions on the exhibit floor Expo theatres and Pavilions, along with other special events.

NAB Media in Action
AES New York 2017 will be co-located with the independent NAB Show New York 2017 event. In an adjacent exhibition hall, NAB Show New York exhibitors will be on hand with the latest video and distribution hardware and related sessions. Your Exhibits-Plus or All Access AES New York registration includes access to both exhibition halls.

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Oct 14-15 Sat-Sun 12:00 – 6:00 pm William Engel 526 West 26St and others at Chelsea High Line Open Studios Weekend

Next weekend is the HIGH LINE OPEN STUDIOS, October 14-15, 2017, and supreme color painter William Engel will be participating at his studio #612 in 526 West 26 St.

Master of color

Master of color

New York School of Interior Design teacher Engel’s work in acrylic on canvas features almost mesmerizing subtleties of colors mixed from his own carefully nurtured source in Paris, as seen at his 2016 opening at the Chelsea Skoto Gallery in December, at the William Hotel in midtown, which has based its interior design on seven commissioned Engel paintings, and most recently in painting the doors of the Lutheran Grace and St Pauls Church at West 71 Street between Columbus and Broadway a resplendent red more deeply yet sensitively resonant to the eye and heart than any camera can capture.

William Engel hard at work Sat painting the Lutheran Church door a red both earthly and celestial

William Engel hard at work Sat painting the Lutheran Church door a red both earthly and celestial

Colorist extraordinaire William Engels

Colorist extraordinaire William Engels

“I have been pouring oil paint for more than 25 years. Sometimes the pours are about landscapes of my mind and involve a process of up to 20 poured colors at once and built up layer upon layer over three months. I have been also exploring the idea of more modern works with only one singular pour per week and layered in spatial configurations that conclude in a design of asymmetric balance. The singular pours of buttery oils are also layered over the course of three months for each work. More recently, I am working with french acrylic paint that allows more transparency for each layer. I am inspired by the work of Helen Frankenthaler, Frank Gehry, and Richard Diebenkorn and continue to layer and pour paint using gravity as my brush.” —William Engel.

He is a long-time faculty member of the New York School of Interior Design. As a design educator, he recently developed a new course, Advanced Color, that is implemented within the MFA and BFA programs at the college. His first book, Portfolio Design for Interiors, coauthored with Harold Linton from George Mason University, is scheduled to come out in spring of 2017 with Bloomsbury London/Fairchild New York.

West Chelsea artists living and working in the West Chelsea Gallery district are opening their studios to public for the annual fall art season artists’ open studios. The event is free and open to the public.

Supreme color painter William Engel’s studio #612 at 526 West 26 St is usually by appointment 212 920 6477 bengel55@yahoo.com williamengel.net Facebook Bill Engel Twitter @williamengelnyc

Highline Open Studios is the event where talents can be discovered and artwork can be purchased directly from the artists, at studio prices, without a gallery markup, which can be 50% or more.

Artists Open Studios, Saturday and Sunday, October 14-15,
2017 from 12:00 – 6:00 p.m.
More than 45 West Chelsea artists open their studios to the
public during the weekend of October 14-15, 2017. The free
self-guided open studios tour stretches along the High Line
between Westbeth Artists building and West Chelsea Arts
building. The self-guided tour starts at the West Chelsea Arts building, 508-526 West 26th Street where visitors can pickup Tour Maps and artists information.

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Oct 14 Sat 2:30pm Helix Center “Fake” Knowledge: Knowing and the Illusion of Knowing

“Fake” Knowledge: Knowing and the Illusion of Knowing
Saturday, October 14th, 2017 at 2:30pm

A nomenclator was a slave whose duty was to accompanying his master in canvassing the streets of Classical Rome in order to recall the names of those his master encountered. Each of us is, in a way, both that ancient politician and that slave, relying on others’ memories to supply us with knowledge, and others relying on us for the knowledge we recall for them. Hence, knowledge has always been, in part, a distributive entity, requiring a delegation of mental tasks, an implicit commitment to a social contract.

Histories have documented the occurrence of mass delusions—which also leads us to question our collective intuition. Close to the origins of humankind is a fascination with the unknown and the unverifiable, with the early cultivation of spiritual life and religion proving as a testament to this. What is apocryphal and what should believe in? Even to the present day, as technology and science become evermore complicated, we are asked to distinguish between proven fact and educated speculation.

In the age of a seemingly omniscient internet, an impersonal cloud-mind (with which—despite attempts to humanize Siri and “her” ilk—no one can yet lay claim outside of fiction to a convincing reciprocal emotional relationship), when the object of our confided ignorance is no longer a person but a thing, when our subjective sense of self is no longer limned by the encounter with another, what happens to our ability to distinguish internal from external knowledge? Are we led to an illusory sense of our own knowledge?

Is the immediate, distributive information of the internet changing the way our brains work, possibly holding the promise of transcending the limitations of individual knowledge? If so, does the virtue of its collective knowledge lead us further to question the very value of our individuality? Or are we heedlessly (or ineluctably) heading toward a human-machine collective heretofore only within the purview of science fiction?

There is great excitement in the scientific community about the prospect of forming a transitive partnership with a seemingly unlimited source of knowledge. Where, however, is the place of wisdom? Does more information, more knowledge, inevitably lead to superior opinions, decision-making, and moral understanding? Is collective knowledge always less susceptible to the pretense of knowledge that individual thinking is? The history of human advancement would suggest otherwise, replete as it is with counterexamples to the superiority of collective knowledge over individual reasoning

Participants:
Paul Boghossian
Silver Professor of Philosophy, NYU
Paul Artin Boghossian is Silver Professor of Philosophy at New York University and director of its New York Institute of Philosophy. Elected to the American Academy of Arts and Sciences, he has published many papers in the philosophy of mind and epistemology, on such topics as color, rule-following, eliminativism, naturalism, self-knowledge, a priori knowledge, analytic… read more »

Professor Kahneman, Woodrow Wilson School, Princeton University. 05/10/04

Daniel Kahneman
Professor Emeritus, Princeton University
Daniel Kahneman is Professor Emeritus of Psychology and Public Affairs at Princeton., He is best known for his joint research with Amos Tversky on human judgment and decision making. Tversky did in 1996. Kahneman was awarded the Nobel Prize in Economics in 2002 and the Presidential Medal of Freedom in 2013. He is the author… read more »

Eric Kandel
University Professor, Columbia University
Eric R. Kandel, M.D., is University Professor at Columbia; Kavli Professor and Director, Kavli Institute for Brain Science; Co-Director, Mortimer B. Zuckerman Mind Brain Behavior Institute; and an Investigator at the Howard Hughes Medical Institute. A graduate of Harvard College and N.Y.U. School of Medicine, Kandel trained in Neurobiology at the NIH and in Psychiatry… read more »

Mark Mitton
Magician
Mark Mitton is a magician who is fascinated by using magic to better understand how we see the world. He performs magic and produces unique entertainment around the world, and explores the limits and potential of perception. Mark’s specialty is physical misdirection, or what some call “embodied cognition”. He regularly presents on ‘Perception & Deception’… read more »

Daphna Shohamy
Associate Professor of Psychology, Columbia University
Steven Sloman
Professor of Cognitive, Linguistic and Psychological Sciences, Brown University
Steven Sloman is a Professor of Cognitive, Linguistic, and Psychological Sciences at Brown University where he has worked since 1992. He did his PhD in Psychology at Stanford University from 1986-1990 and then did post-doctoral research for two years at the University of Michigan. He is currently Editor-in-Chief of the journal Cognition. Steven is a… read more »

One comment on ““Fake” Knowledge: Knowing and the Illusion of Knowing”

Brett F Whysel says: September 21, 2017 at 11:31 am
I just heard Prof. Sloman speak at BSPA in the Knowledge Illusion…profoundly thought provoking. I’m really looking forward to this.
My summary of the day will appear soon at http://www.decisionfish.com

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Oct 10 Tue 6pm-8.30pm Overseas Press Club Panel on Afghanistan Includes Journalist Jere Van Dyk Author of The Trade: My Journey into the Labyrinth of Political Kidnapping

Journalist and author Jere Van Dyk was kidnapped in Afghanistan in 2008, and could never shake the questions around his capture and subsequent release. In his new book, The Trade: My Journey into the Labyrinth of Political Kidnapping, Van Dyk recounts his 2014 return to the country to investigate his kidnapping. He travels across Afghanistan, looking into how secret deals are brokered among governments, criminal outfits, families and corporations.

Van Dyk appeared on the Leonard Lopate NPR show on WNYC Mon Oct 7 an episode which Lopate said he had found moving after Van Dyk in a choking voice recounted how obligated he felt to memorializing his fellow captives who lost their lives.
https://lnkd.in/espdAFC.

Jere Van Dyk will appear as part of a panel discussion called “Afghanistan: America’s Longest War” at the Overseas Press Club of America (40 W 45th St., between 5th and 6th Ave.) on Oct. 10 at 6 p.m.


Jere Van Dyk is a journalist and author. He is currently a consultant on Afghanistan, Pakistan, and al-Qaeda for CBS News. In 2008, Van Dyk was captured and imprisoned by the Taliban in the no-man’s-land between Afghanistan and Pakistan. He tells the story of his 45-day ordeal in
his book, Captive (2010). His new book, “THE TRADE: My Journey into the Labyrinth of Political Kidnapping,” is being released the day of the event and will be available for purchase.
In 1981, while working as a correspondent for The New York Times, Van Dyk lived with the Afghan mujahideen as they battled the Soviet Army. His articles in The New York Times, which included a three-part story in the paper’s Sunday magazine, were nominated for a Pulitzer Prize. He later wrote In Afghanistan, a book on his experiences during that journey. In 2001, Mr. Van Dyk, working as a free-lance correspondent, covered the war in Afghanistan and the murder of Daniel Pearl.
Van Dyk has written for many publications, including The New York Times, The Wall Street Journal, and National Geographic. He has traveled in Afghanistan and other countries in the
region since the 1970s and reported on them for CBS News (both radio and television), CNN, National Public Radio, and other broadcast organizations. Jere also served as a consultant on the film, Charlie Wilson’s War.

Afghanistan: America’s Longest War
On Oct. 10, the OPC is hosting a panel to discuss the challenges of establishing stability and democracy in Afghanistan. All are welcome. If you cover or have covered Afghanistan, please consider this event an informal reunion and forward this invitation to your colleagues and friends.this invitation to your colleagues and friends.

Tuesday, October 10, 2017 from 6:00 PM to 7:30 PM EDT

Club Quarters, 40 West 45th Street, New York
40 West 45th Street
Club Quarters
New York, NY 10036

Afghanistan: America’s Longest War
The Pentagon is once again pouring American troops into Afghanistan to prevent the Taliban from consolidating power. But the Americans have yet to fathom the murky and ever-shifting alliances among the Taliban, the Haqqani network, Al Qaeda and other non-state players. The challenge of establishing stability in Afghanistan, much less democracy, is further compounded by intervention from Pakistan and India, and more recently from Iran and Russia. What is the way forward?

All are welcome. But if you cover or have covered Afghanistan, please consider this event an informal reunion and forward this invitation to your colleagues and friends.

Panelists:

Kathy Gannon is senior correspondent for Pakistan and Afghanistan for The Associated Press and is based in Islamabad, Pakistan. She has covered the region since 1987 and was the only western journalist in Taliban- ruled Afghanistan during the U.S.-led invasion that followed the 9/11 attacks. She was attacked and wounded while covering an election in Afghanistan in 2014.

David Rohde is the online news director for The New Yorker, a two-time winner of the Pulitzer Prize and a former reporter at Reuters and The New York Times. He was kidnapped by the Taliban in 2008, escaping after 7 months. He is the author, with Kristen Mulvihill, of “A Rope and a Prayer: A Kidnapping from Two Sides.”

Jere Van Dyk covered the Afghan- Soviet war for The New York Times in the early 1980s, living with what is today called the Haqqani network. In 2008 he was kidnapped and held for ransom for 45 days. His book, ”Captive,” describes that ordeal. His new book, “THE TRADE: My Journey into the Labyrinth of Political Kidnapping,” is being released the day of the event and will be available for purchase.

Moderator: Willam J. Holstein covered the Soviet invasion of Afghanistan in late 1979 and was one of the American journalists placed under house arrest and deported for “interfering in the internal affairs of a sovereign nation.” He has authored seven books and is president of the OPC Foundation.

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Oct 2 Mon 10-12pm Met:Master Drawings by Leonardo, Dürer, Rembrandt, Goya, Ingres, Seurat, and Matisse

Jean Auguste Dominique Ingres (French, 1780-1867). Study for Raphael and the Fornarina (detail), ca. 1814. Graphite on white wove paper, 10 x 7 3/4 in. (25.4 x 19.7 cm). The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975 (1975.1.646)

Jean Auguste Dominique Ingres (French, 1780-1867). Study for Raphael and the Fornarina (detail), ca. 1814. Graphite on white wove paper, 10 x 7 3/4 in. (25.4 x 19.7 cm). The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975 (1975.1.646)

A rare, brief chance to see a historic selection of great artists’ drawings over the last seven centuries, the first time that such a historically representative selection has been made from the 750 sheets given the Met by the great collector Robert Lehman, which are usually hidden away to save them from the light which will eventually damage them, but now are granted this exceptionally roomy basement rotunda gallery until mid January, allowing those who seek some of the finest examples of lively natural portraiture in the world to see some among these 59 examples for themselves, including self portraits of magical quality such as the young Dürer’s, when he was 23.

Master Drawings by Leonardo, Dürer, Rembrandt, Goya, Ingres, Seurat, and Matisse Featured in New Exhibition at The Met

The first presentation to highlight the full range of Robert Lehman’s vast and distinguished drawings collection—numbering more than 700 sheets—and to explore his significant activity as a 20th-century collector, this exhibition features 60 masterpieces of European drawing spanning the Renaissance to the Modern age. Leonardo to Matisse: Masterpieces from the Robert Lehman Collection also traces the development of European drawing across five centuries through works by Leonardo da Vinci, Dürer, Rembrandt, Goya, Ingres, Seurat, and Matisse, and presents a dynamic array of styles, techniques, and genres. The selection also illustrates the different facets of the artists’ creative processes—from Leonardo’s keen anatomical observation in his Study of a Bear Walking, to Dürer’s awakening artistic self-consciousness in his Self-Portrait study, to Rembrandt’s re-interpretation of Leonardo’s painted masterpiece, The Last Supper.

The Robert Lehman Collection is one of the most distinguished privately assembled art collections in the United States. His bequest to The Met, a collection of extraordinary quality and breadth acquired over the course of 60 years, spans 700 years of western European art, from the 14th to the 20th century. The 2,600 works in the collection include paintings, drawings, manuscript illumination, sculpture, glass, textiles, antique frames, maiolica, enamels, and precious jeweled objects.

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Jamaica Tourist Board Pop Up On Canal Street

A taste of paradise on Canal Street

A taste of paradise on Canal Street

Jamaica is off the hurricane track, so drop into their pop up shop just off Canal street this week Thu thru Sun to sample Red Stripe Jamaican beer, light but pleasantly tasty since 1928, try some small Golden Krust local patties, look over their cosmetic line and watch a fashion parade of unsuitably non tropical but NYC fashionable lengthy dresses with considerable tanned breast exposure, to the tune of DJNorie’s Anything Goes Live!!Promo Mix.

FEEL THE VIBE OF JAMAICA AT THE ISLAND’S POP UP SHOP IN NEW YORK
New Yorkers Invited to Explore Jamaica’s Culture and Enter to Win Daily Giveaways

KINGSTON, JAMAICA – September 12, 2017 – The Jamaica Tourist Board invites New Yorkers to experience the “sights, sounds and tastes” of Jamaica through the colorful and interactive Feel the Vibe Pop Up Shop in the SoHo neighborhood of Manhattan, New York. From Thursday, September 21 to Sunday, September 24, the public can visit the shop at 393 Broadway, which will be transformed into an island paradise, complete with “beach” area to lounge. The Shop is open from 12 noon to 8 pm every day.

“The Jamaica Pop Up Shop will allow guests to Feel the Vibe of our island and fall in love with the destination before booking their vacation,” said Donnie Dawson, Jamaica’s Interim Director of Tourism. “We hope that at this interactive experience, New Yorkers can get a taste of what Jamaica has to offer through it its food, music, style and beauty.”

Throughout the 4-day period, Jamaica will be offering giveaways every day including dinners at Miss Lily’s, the celebrated Jamaican restaurant located in downtown Manhattan; Jamaica-themed gift baskets, and the grand prize of a trip to Jamaica for two.

An interactive experience is planned each day: Grace Foods Chef Ambassador will offer lunch-time cooking demonstrations; Golden Krust patties will be available each afternoon along with Grace Coconut Water and Juices during the Jamaica Patty Hour; each evening a fashion show set to music from Irie Jam Radio and LargeUp’s Dave “DJ Gravy” Susser will help transport visitors to Jamaica.

Known for its exquisite beaches where transparent turquoise waters meet the white sands, Jamaica is what fantasies are made of, and the fall and winter is the perfect time to make it a reality. Offering New Yorkers an escape during those months, Liberty Travel will be on site with exclusive specially priced packages to Jamaica.

For more information about Jamaica, or to plan your next vacation getaway, check out www.visitjamaica.com. Share on social using #FeeltheVibeJamaica.

About Jamaica Tourist Board
The Jamaica Tourist Board (JTB), founded in 1955, is Jamaica’s national tourism agency based in the capital city of Kingston. The JTB was declared the Caribbean’s Leading Tourist Board by the World Travel Awards (WTA) from 2006 to 2016. Also in 2016, Jamaica earned the WTA’s vote for the Caribbean’s Leading Destination and the Caribbean’s Leading Cruise Destination for the tenth consecutive year. Jamaica was named the top three island in the world by TripAdvisor® in 2016. Additionally, Ocho Rios was named the Caribbean’s Leading Cruise Port; Sangster International Airport was voted the Caribbean’s Leading Airport; Club Mobay was named the Caribbean’s Leading Airport Lounge; Dolphin Cove was voted the Caribbean’s Leading Adventure Tourist Attraction; the Montego Bay Convention Center was named the Caribbean’s Leading Meeting & Conventions Center; and GO! Jamaica Travel was named the Caribbean’s Leading Tour Operator.

JTB offices are located in Kingston, Montego Bay, Miami, Toronto and London. Representative offices are located in Berlin, Barcelona, Rome, Amsterdam, Mumbai and Tokyo.

For details on upcoming special events, attractions and accommodations in Jamaica go to the JTB’s Web site at www.visitjamaica.com or call the Jamaica Tourist Board at 1-800-JAMAICA (1-800-526-2422). Follow the JTB on Facebook, Twitter, Instagram, Pinterest and YouTube. View the JTB blog at www.islandbuzzjamaica.com.

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Sep 15 Fri 9am-11am Rodin at The Met to Honor Centennial of His Death with Museum’s Historic Collection (Open Sep 16 Sun to Jan 15 Mon)

Auguste Rodin (French, Paris 1840–1917 Meudon), Orpheus and Eurydice, modeled probably before 1887, carved 1893, marble. The Metropolitan Museum of Art, Gift of Thomas F. Ryan, 1910

Auguste Rodin (French, Paris 1840–1917 Meudon), Orpheus and Eurydice, modeled probably before 1887, carved 1893, marble. The Metropolitan Museum of Art, Gift of Thomas F. Ryan, 1910

A number of Rodin’s sublime sculptures have always been prominent in the walkway of the Met’s great second floor hall known as the Iris and B. Gerald Cantor Sculpture Gallery, but now the walls of this great tall ceilinged promenade has been repainted in grey to present an aesthetically resplendent and quite unforgettable collection of some of the finest examples of his unique genius, his ability to carve the deepest emotions into not three but four dimensions, the fourth emerging from living shapes momentarily paused but glowing with more beauty, significance and presence than possible in real life, all together with contemporary paintings related to his work and with an additional room full of Rodin’s drawings, letters and draftsmanship.

On the centenary of the death of Auguste Rodin (1840–1917), The Metropolitan Museum of Art will celebrate its historic collection of the artist’s work in Rodin at The Met, opening September 16, 2017. Nearly 50 marbles, bronzes, plasters, and terracottas by Rodin, representing more than a century of acquisitions and gifts to the Museum, will be displayed in the newly installed and refurbished Iris and B. Gerald Cantor Sculpture Gallery (Gallery 800). The exhibition will feature iconic sculptures such as The Thinker and The Hand of God, as well as masterpieces such as The Tempest that have not been on view in decades. Paintings from The Met’s collection by some of Rodin’s most admired contemporaries, including his friends Claude Monet (1840–1926) and Pierre Puvis de Chavannes (1824–1898), will be presented in dialogue with the sculptures on display.

The exhibition is made possible by the Iris & B. Gerald Cantor Foundation.
The extraordinary range of The Met’s holdings of Rodin’s work will be highlighted in an adjacent gallery (Gallery 809) with a selection of drawings, prints, letters, and illustrated books, as well as photographs of the master sculptor and his art. This focused presentation will introduce visitors to the evolution of Rodin’s draftsmanship and demonstrate the essential role of drawing in his practice. It will also address Rodin’s engagement with photographers, especially Edward Steichen (1879–1973), who served as a key intermediary in bringing Rodin’s drawings to New York.

Rodin at The Met begins a new chapter in the Museum’s long-standing engagement with Rodin. In 1912, The Met opened a gallery dedicated to Rodin’s sculptures and drawings—the first at the Museum devoted exclusively to the work of a living artist. Displayed in that gallery were almost 30 sculptures and, within a year, 14 drawings. During the late 20th century, the historic core of The Met’s Rodin collection was further enhanced by Iris and B. Gerald Cantor and their Foundation’s gifts of more than 30 sculptures, many of them from editions authorized by the artist and cast posthumously. Today, The Met’s holdings of Rodin’s art are among the largest and most distinguished in the United States. The exhibition will give visitors the opportunity to experience anew Rodin’s enduring artistic achievements.

Rodin at The Met is organized by Denise Allen, Curator in The Met’s Department of European Sculpture and Decorative Arts; Ashley Dunn, Assistant Curator in the Department of Drawings and Prints; and Alison Hokanson and Asher Ethan Miller, both Assistant Curators in the Department of European Paintings.

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Sep 12 2-4pm Tue (Talk 3pm) Breuer Delirious: Art at the Limits of Reason, 1950–1980

Anna Maria Maiolino, In-Out (Antropofagia) [In-Out (Antropophagy)], from Fotopoemação [Photopoemaction] series, 1973/74. Black and white analog photograph (Photo: Max Nauenberg). Courtesy the artist and Hauser & Wirth © Anna Maria Maiolino

Anna Maria Maiolino, In-Out (Antropofagia) [In-Out (Antropophagy)], from Fotopoemação [Photopoemaction] series, 1973/74. Black and white analog photograph (Photo: Max Nauenberg). Courtesy the artist and Hauser & Wirth © Anna Maria Maiolino

Delirious times demand delirious art, or so this exhibition will propose. The years between 1950 and 1980 were beset by upheaval. Around the globe, military conflict proliferated and social and political unrest flared. Disenchantment with an oppressive rationalism mounted, as did a corollary interest in fantastic, hallucinatory experiences. Artists responded to these developments by incorporating absurdity, disorder, nonsense, disorientation, and repetition into their work. In the process, they destabilize space and perception, give form to extreme mental, emotional, and physical states, and derange otherwise logical structures and techniques. Delirious will explore the embrace of irrationality among American, Latin American, and European artists.

Divided into four sections—– Vertigo, Excess, Nonsense, and Twisted—– this exhibition will showcase roughly 100 works of art by 62 artists, including Antonio Berni, Dara Birnbaum, Tony Conrad, Hanne Darboven, Dean Fleming, Nancy Grossman, Philip Guston, Eva Hesse, Alfred Jensen, Yayoi Kusama, Sol LeWitt, Darcílio Lima, Lee Lozano, Anna Maria Maiolino, Ana Mendieta, Bruce Nauman, Jim Nutt, Hélio Oiticica, Claes Oldenburg, Abraham Palatnik, Howardena Pindell, Peter Saul, Mira Schendel, Carolee Schneemann, Paul Sharits, Robert Smithson, Nancy Spero, Paul Thek, and Stan VanDerBeek. About a third of the exhibition will be drawn from The Met collection. Linked by a common distrust of reason, the featured works will alternately simulate and stimulate delirium, straining the limits of both legibility and intelligibility. Ultimately, the exhibition will ask if it is possible to understand a good deal of postwar art, even seemingly rational art, as an exercise in calculated lunacy.
Featured Media:
Curator Kelly Baum discusses the exhibition (video)

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Sep 12 Tue 11.30 am-1.30 pm Felicity Huffman and Power Your Potential on Being Human Takes Guts at Park Lounge at Gansevoort, 420 Park Ave South at 29th

Desperate Housewives & American Crime Emmy-winning actress Felicity Huffman

Desperate Housewives & American Crime Emmy-winning actress Felicity Huffman

Being Human Takes Guts. Join Emmy-nominated actress in Desperate Housewives & American Crime Emmy-winning actress Felicity Huffman and other inspiring women at the Power Your Potential luncheon to talk about being gutsy at every stage in life. Learn facts about the power of a healthy gut and how it can help improve immune health, mood, memory and more.
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Jul 28 Fri Noon Molly Barnes Presents Bruce Richards

Review: Sporadic humor by Bruce Richards, provocateur
by Sharon Mizota
http://www.latimes.com/entertainment/arts/la-et-cm-bruce-richards-at-jack-rutberg-fine-arts-20141013-story.html
Bruce Richards’ humorous observations take form at Jack Rutberg Fine Arts
I like an art world in-joke as much as the next aesthete, and Bruce Richards’ brand of humor is more accessible and irreverent than most.

The New York artist with roots in the SoCal art scene of the 1970s has stuck to a resolutely representational, often surreal strategy that deflates the grandeur of art history and, somewhat less successfully, history itself.

Paintings and sculptures dating mostly from the last decade but going back to the 1980s comprise a large, if uneven exhibition at Jack Rutberg Fine Arts.

Particularly funny are paintings like “Darwinian Theory” from 2007, which simply juxtaposes the Venus of Willendorf — a voluptuous prehistoric statuette — with a voluptuous Jeff Koons balloon dog.

I also enjoyed the casts and paintings of the modesty fig leaf installed on a cast of Michelangelo’s David when Queen Victoria received it as a gift. The leaf is both prudish and slyly suggestive.

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Jul 27 Thu Molly Barnes Presents Linda Stein

MINOLTA DIGITAL CAMERA

(Brooklyn Musueum) Linda Stein is a sculptor living and working in Manhattan and East Hampton, New York. Her work has been permeated by the concept of protection for the past three decades. The body of work created in this period is at the center of her current traveling exhibition The Power to Protect: Sculpture of Linda Stein. Through her Excavation series of the 1980s, the Blades series of the 1990s, and her current Knights series, Stein’s work has shifted from the abstract to take on the figurative form of an androgynous or female torso, representing strength and protection.

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Jul 24 Met 10am-noon Cristóbal de Villalpando: Mexican Painter of the Baroque

Cristóbal de Villalpando (ca. 1649–1714), the leading painter in the 1680s in viceregal Mexico, was also one of the most innovative and accomplished artists in the entire Spanish world. The magnificent centerpiece of the exhibition Cristóbal de Villalpando: Mexican Painter of the Baroque, opening July 25 at The Metropolitan Museum of Art, is his earliest masterpiece, a monumental painting that has never been exhibited outside its place of origin. Newly conserved, this 28-foot-tall work will span two floors at The Met. Ten additional works, most of which have never been shown in the United States, reveal his technical mastery and unique artistic vision. A highlight is Villalpando’s recently discovered Adoration of the Magi, on loan from Fordham University.

Exhibition Dates: July 25–October 15, 2017
Exhibition Location: The Met Fifth Avenue, Ground Floor and Floor 1,
Robert Lehman Wing, Galleries 955 and 963

Cristóbal de Villalpando (ca. 1649–1714) emerged in the 1680s not only as the leading painter in viceregal Mexico, but also as one of the most innovative and accomplished artists in the entire Spanish world. Opening July 25 at The Metropolitan Museum of Art, the exhibition Cristóbal de Villalpando: Mexican Painter of the Baroque features his earliest masterpiece, a monumental painting depicting the biblical accounts of Moses and the brazen serpent and the Transfiguration of Jesus that was painted in 1683 for a chapel in Puebla Cathedral. Newly conserved, this 28-foot-tall canvas has never been exhibited outside its place of origin. Ten additional works, most of which have never been shown in the United States, will also be exhibited. Highlights include Villalpando’s recently discovered Adoration of the Magi, on loan from Fordham University, and The Holy Name of Mary, from the Museum of the Basilica of Guadalupe.

Born in Mexico City around mid-century, Cristóbal de Villalpando may have begun his career in the workshop of Baltasar de Echave Rioja (1632–1682). Villalpando’s rise to prominence coincided with the death of Echave Rioja in 1682, just one year before Villalpando painted his ambitious Moses and the Brazen Serpent and the Transfiguration of Jesus. Villalpando was celebrated in his lifetime, rewarded with prestigious commissions, and honored as an officer of the Mexico City painters’ guild.

Exhibition Overview

 Cristóbal de Villalpando (ca. 1649–1714). Moses and the Brazen Serpent and the Transfiguration of Jesus (detail), 1683. Oil on Canvas. Col. Propiedad de la Nación Mexicana, Secretaría de Cultura, Dirección General de Sitios y Monumentos del Patrimonio Cultural Acervo de la Catedral de Nuestra Señora de la Inmaculada Concepción, Puebla, Mexico

Cristóbal de Villalpando (ca. 1649–1714). Moses and the Brazen Serpent and the Transfiguration of Jesus (detail), 1683. Oil on Canvas. Col. Propiedad de la Nación Mexicana, Secretaría de Cultura, Dirección General de Sitios y Monumentos del Patrimonio Cultural Acervo de la Catedral de Nuestra Señora de la Inmaculada Concepción, Puebla, Mexico

The exhibition begins with Villalpando’s masterful Moses and the Brazen Serpent and the Transfiguration of Jesus, which was painted to decorate a chapel in Puebla Cathedral that was dedicated to a miracle-working image of Christ at the Column. In wealth and importance, Puebla Cathedral was second only to the Metropolitan Cathedral in Mexico City, for whose sacristy Villalpando also painted three monumental canvases.

This painting—the first in a series of important ecclesiastical commissions—marks a breakthrough in Villalpando’s work, in terms of its grand scale and its audacious conception and execution. He signed it Villalpando inventor, an inscription that distinguishes the artist’s intellectual achievement from his manual skill and asserts his professional status as the learned practitioner of a noble art.

In a bold and erudite arrangement, Villalpando juxtaposed the Old Testament story of Moses and the brazen serpent with the New Testament account of the Transfiguration—an unprecedented pairing of subjects. The two biblical events are staged within a single, continuous sacred landscape that encompasses the wilderness of Exodus and the holy mounts of Calvary and Tabor. Life-size figures of every age and gender, clothed and nude and in an astounding variety of poses and attitudes, populate the composition. The painting’s lower half features the story of Moses making and using the image of the brazen serpent according to God’s instructions to heal Israelites bitten by poisonous serpents. This episode provides a scriptural precedent for the making and use of images in worship, while also affirming the importance of art and artists. The upper half of the composition represents the transfiguration of Jesus’s corporeal body into light, a scene that demanded nothing less than the materialization of light in paint, which Villalpando attained through shimmering color and fluid brushwork.

Ten additional paintings by Villalpando will demonstrate his intense striving as an inventor; his great originality and skill; his ability to convey complex subject matter; and his capacity to envision the divine.

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Jul 20 Thu Met Breuer Exhibition Illuminating the Career of Italian Architect and Designer Ettore Sottsass (Jul 21 Fri–Oct 8 Sun)

Ettore Sottsass: Design Radical

A seminal figure in 20th-century design, the Italian architect and designer Ettore Sottsass (1917–2007) created a vast body of work, the result of an exceptionally productive career that spanned more than six decades. The exhibition at The Met Breuer, Ettore Sottsass: Design Radical, opening July 21, will reevaluate Sottsass’s career in a presentation of his key works in a range of media—including architectural drawings, interiors, furniture, machines, ceramics, glass, jewelry, textiles and pattern, painting, and photography. The exhibition will present Sottsass’s work in dialogue with ancient and contemporaneous objects that influenced his practice. This juxtaposition will offer new insight into his designs, situating him within a broader design discourse.

Perhaps best known for his work with the design collective Memphis in the 1980s, Sottsass’s work evolved over the course of his career from modernism to postmodernism. Born in Innsbruck, Austria and educated in Turin, Italy, Sottsass established his studio in Milan in 1947. In his early career, he designed iconic works that reflected a functional and rationalist approach, especially as Olivetti’s design consultant in the creation of the Elea 9003 mainframe computer (1958) and numerous machines and furnishing systems. By the 1960s, Sottsass began to move away from his own modernist beginnings in favor of qualities beyond the functional: he created objects imbued with symbolism, emotional appeal, and global and historical references. Moreover, he infused modern design with a sensitivity for the human condition that many at the time felt modernism largely ignored. The shift in his ideology coincided with a broadening of influences gained through travel to the United States, where he worked briefly in the designer George Nelson’s office, and, especially, to India in 1961, as reflected in the works Ceramics of Darkness (1963) and Tantric Ceramics (1968).

 Ettore Sottsass, "Carlton" Room Divider, 1981. Wood, plastic laminate. The Metropolitan Museum of Art, John C. Waddell Collection, Gift of John C. Waddell, 1997. © Ettore Sottsass

Ettore Sottsass, “Carlton” Room Divider, 1981. Wood, plastic laminate. The Metropolitan Museum of Art, John C. Waddell Collection, Gift of John C. Waddell, 1997. © Ettore Sottsass

The exhibition at The Met Breuer will highlight landmark projects, including 5 of the original industrial ceramic totems that comprised the Menhir, Ziggurat, Stupas, Hydrants, and Gas Pumps (1965-66) project displayed at the Galleria Sperone in 1967; the iconoclastic and minimalist “Superboxes” (begun 1966); and the “Environment”—a system of modular cabinets for MoMA’s 1972 exhibition Italy: The New Domestic Landscape. Designed as a conceptual prototype/provocation in the 1970s spirit of questioning social norms, the “Environment” proposes liberation from traditional architectural structures and the social values associated with home ownership in favor of an open-source shared domestic utility catering to a more nomadic or communal existence. This sequence of visionary projects introduced many of the concepts, materials, and techniques that informed the founding of Memphis in 1981.

Sottsass and a small international group of like-minded designers called themselves Memphis in a nod to the Bob Dylan song “Stuck Inside of Mobile with the Memphis Blues Again,” the ancient capital of Egypt, and the modern city in Tennessee. The collective produced furnishings that were a radical departure from accepted design conventions by reinterpreting design’s basic elements: function, form, material, surface, and color. The totemic “Carleton” Room Divider from 1981 is an outstanding example; its visually disjointed form is antithetical to neatly ordered conventional bookcases. Sottsass justified the odd angles by claiming that books never stand straight anyway. Like Memphis, “Carleton” self-consciously embodies pop and vernacular references that play with perceptions of high and low-veneered in cheap plastic laminates like those used on countertops of 1950s American diners but constructed using very fine cabinetmaking techniques. While marketed and priced beyond the reach of average consumers, the example demonstrates Memphis’s insistence on a designer’s creativity and agency to determine the final product, a value that today contributes to the blurring of the art and design markets and the rise of “collectible design.”

“Masters,” the final section of the exhibition, will present selections of Sottsass’s lesser-known late work in dialogue with pieces by four important 20th-century artists and designers: Piet Mondrian, Jean Michel Frank, Gio Ponti, and Shiro Kuramata. Sottsass’s writings, which often reference the objects that influenced him, appear throughout the exhibition. The inclusion of Frank’s Low table (1983) and a few examples of Sottsass-influenced contemporary design serve as formal comparisons that elucidate basic design and aesthetic principles and how Sottsass diverged from them to become a true design radical.
Ettore Sottsass: Design Radical is organized by Christian Larsen, Associate Curator of Modern Design and Decorative Arts in The Met’s Department of Modern and Contemporary Art.

In celebration of the exhibition, The Met Store will offer an assortment of limited edition items designed by Sottsass, members of Memphis, and contemporary artists inspired by Memphis, including furniture and home gifts.

Education programs will include a Sunday at The Met on Sunday, October 1 at 2:00 pm, featuring the design icon and co-founder of the design firm IDEO, David Kelley, on Sottsass. There will also be Family Tours at The Met Breuer, in conjunction with the exhibition, on Saturday, August 12, at 11:00 am and 2:00 pm.

The exhibition will be featured on the Museum’s website, as well as on Facebook, Instagram, and Twitter using the hashtag #Sottsass and #MetBreuer.

Exhibition Dates:
July 21–October 8, 2017
Exhibition Location:
The Met Breuer, Floor 3

http://www.metmuseum.org/press/general-information
Exhibition Illuminating the Career of Italian Architect and Designer Ettore Sottsass to Open July 21 at The Met Breuer

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Jul 12 Wed-13 Thu CE Week-Showstoppers-GetgeekedNY at The Metropolitan Pavilion 125 W 18 St

CE Week 2017 – What’s in store …
Once again this year, CE Week has partnered with getgeeked New York and ShowStoppers to create the tech industry’s only “B2E” (business-to-everyone) event. Participating companies can set up once at the Metropolitan Pavilion and meet with the press, industry attendees, influencers, and enthusiasts over the course of two carefully curated days.

Attendees will see hundreds of amazing new products from tech’s biggest brands and hottest startups on the show floor. They can attend conference sessions featuring tech industry thought leaders, check out exciting special events like the Young Innovators To Watch Awards, take advantage of show specials in the getgeeked Shopping Zone, and lots more.

One Location. Two Days. Three Events.
For over 10 years, CE Week has been where the tech industry goes to lay the foundation for success in the second half of the year, but this year it will deliver participating companies more ROI than any other tech industry event.

That’s because CE Week has partnered with getgeeked New York and ShowStoppers to deliver exhibitors all the audiences they need to engage to be successful in the second half of 2017 at one event.

Whether a company signs up with CE Week, getgeeked New York, or ShowStoppers, all CE Week exhibitors are invited to participate in all three events at the Metropolitan Pavilion in Midtown Manhattan on July 12th and 13th.

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