Thursday, 17 July 2008
architects
Today's Best Architects
Felicia Paik
Louis XIV did it. Cornelius Vanderbilt and John D. Rockefeller did it. Bill Gates is doing it too. Did what? Created enormous monuments to themselves by building vast beautiful homes designed to last long after they're gone.
Throughout history fewer monuments have appealed to the both the vanity and comfort of the superrich than the creation of a magnificent home. But, of course, in order to create a great home one needs to have a great architect.
What makes a great architect? Part designer, part engineer, part shrink, the truly great architects must be able to interpret his client's wishes, leaven them with reality and, finally, achieve a vision that stands out as a work of art.
There are a handful of architects working in this country who have secured national prominence through their residential and commercial work. There are the heavyweights like Philip Johnson, Richard Meier, Michael Graves, Cesar Pelli, Robert A.M. Stern and Jaquelin T. Robertson. To be a client of Johnson's holds a tremendous amount of cache as the architect approaches his 95th birthday and, while Meier and Graves are known for their civic projects, they certainly command considerable renown for their residences. Pelli only does a handful of residential commissions while Robertson has an A-list clientele up and down the East Coast.
Names like Francis Fleetwood and Jeffery W. Smith garner significant recognition in the Hamptons and Palm Beach, respectively. Both Fleetwood and Smith have become the architects of choice for those building lavish vacation homes in these two seasonal destinations. Up-and-coming architects are partners Robert Rogers and Jonathan Marvel, and Peter Pennoyer, who gain increasingly higher profiles with every project they complete.
Here follows Forbes.com's list of the nation's leading architects, in alphabetical order:
Francis Fleetwood
Michael Graves
Philip Johnson
Richard Meier
Cesar Pelli
Peter Pennoyer
Jaquelin T. Robertson
Robert Rogers and Jonathan Marvel
Jeffery W. Smith
Robert A.M. Stern
Felicia Paik
Louis XIV did it. Cornelius Vanderbilt and John D. Rockefeller did it. Bill Gates is doing it too. Did what? Created enormous monuments to themselves by building vast beautiful homes designed to last long after they're gone.
Throughout history fewer monuments have appealed to the both the vanity and comfort of the superrich than the creation of a magnificent home. But, of course, in order to create a great home one needs to have a great architect.
What makes a great architect? Part designer, part engineer, part shrink, the truly great architects must be able to interpret his client's wishes, leaven them with reality and, finally, achieve a vision that stands out as a work of art.
There are a handful of architects working in this country who have secured national prominence through their residential and commercial work. There are the heavyweights like Philip Johnson, Richard Meier, Michael Graves, Cesar Pelli, Robert A.M. Stern and Jaquelin T. Robertson. To be a client of Johnson's holds a tremendous amount of cache as the architect approaches his 95th birthday and, while Meier and Graves are known for their civic projects, they certainly command considerable renown for their residences. Pelli only does a handful of residential commissions while Robertson has an A-list clientele up and down the East Coast.
Names like Francis Fleetwood and Jeffery W. Smith garner significant recognition in the Hamptons and Palm Beach, respectively. Both Fleetwood and Smith have become the architects of choice for those building lavish vacation homes in these two seasonal destinations. Up-and-coming architects are partners Robert Rogers and Jonathan Marvel, and Peter Pennoyer, who gain increasingly higher profiles with every project they complete.
Here follows Forbes.com's list of the nation's leading architects, in alphabetical order:
Francis Fleetwood
Michael Graves
Philip Johnson
Richard Meier
Cesar Pelli
Peter Pennoyer
Jaquelin T. Robertson
Robert Rogers and Jonathan Marvel
Jeffery W. Smith
Robert A.M. Stern
Tuesday, 15 July 2008
Ten Things About Tracey Emin
1. Tracey Emin might not be the kind of artist your granny would like. Her autobiographical style of work is all about exposing the kind of things about herself that most people would be too ashamed to reveal.
2. Her confessional subjects include abortions, rape, self-neglect and promiscuity, sometimes expressed with the help of gloriously old-fashioned looking, hand-sewn applique letters. Her dad quite likes the sewing, because it reminds him of his own mum.
3. One of her installations, called Everyone I Have Ever Slept with 1963-1995 is a tent, into and onto which she has sewn all these people's names.
4. Some see poetry in the titles of her work. They include: You Forgot to Kiss My Soul; Every Part of Me Is Bleeding; My Cunt is Wet With Fear; and I Need Art Like I Need God. There is no Still Life With Bowl of Apples, as far as we know.
5. Emin has been accused of cynically exploiting the public's darkest levels of voyeurism.
6. But her honesty can be disarming. She once told Observer interviewer Lynn Barber that the first thing she did when she started making money was to buy medical insurance, because: "I'm sickly and I get run down and I have very bad herpes, and I like knowing that the doctor's there."
7. Emin's first move into the public eye was opening a shop in London's Bethnal Green called, er, The Shop, with fellow artist Sarah Lucas. Emin's stock included letters she'd written and ashtrays with pictures of Damien Hurst's face stuck to the bottom of them.
8. Emin was the inspiration - if that's the right word - for a latter day art movement called Stuckism, which is devoted to advancing the cause of painting as the most vital means of addressing contemporary issues. The movement was founded by her ex-boyfriend Billy Childish, to whom she had once said: "Your paintings are stuck, you are stuck! Stuck! Stuck! Stuck!"
9. White Cube curator Jay Jopling spotted her in 1994 and the big time called. She came to wider public attention during a live Channel 4 Turner Prize debate in 1997. A very inebriated Emin mumbled incoherently that "no real people" would be watching and that she wanted to go be with her mum and friends.
10. Two years later, "Mad Tracey from Margate" (her words) was shortlisted for the Turner Prize for an installation entitled My Bed, a testimony to her self-neglect and over-indulgence. She didn't win, but Charles Saatchi paid £150,000 for it.
1. Tracey Emin might not be the kind of artist your granny would like. Her autobiographical style of work is all about exposing the kind of things about herself that most people would be too ashamed to reveal.
2. Her confessional subjects include abortions, rape, self-neglect and promiscuity, sometimes expressed with the help of gloriously old-fashioned looking, hand-sewn applique letters. Her dad quite likes the sewing, because it reminds him of his own mum.
3. One of her installations, called Everyone I Have Ever Slept with 1963-1995 is a tent, into and onto which she has sewn all these people's names.
4. Some see poetry in the titles of her work. They include: You Forgot to Kiss My Soul; Every Part of Me Is Bleeding; My Cunt is Wet With Fear; and I Need Art Like I Need God. There is no Still Life With Bowl of Apples, as far as we know.
5. Emin has been accused of cynically exploiting the public's darkest levels of voyeurism.
6. But her honesty can be disarming. She once told Observer interviewer Lynn Barber that the first thing she did when she started making money was to buy medical insurance, because: "I'm sickly and I get run down and I have very bad herpes, and I like knowing that the doctor's there."
7. Emin's first move into the public eye was opening a shop in London's Bethnal Green called, er, The Shop, with fellow artist Sarah Lucas. Emin's stock included letters she'd written and ashtrays with pictures of Damien Hurst's face stuck to the bottom of them.
8. Emin was the inspiration - if that's the right word - for a latter day art movement called Stuckism, which is devoted to advancing the cause of painting as the most vital means of addressing contemporary issues. The movement was founded by her ex-boyfriend Billy Childish, to whom she had once said: "Your paintings are stuck, you are stuck! Stuck! Stuck! Stuck!"
9. White Cube curator Jay Jopling spotted her in 1994 and the big time called. She came to wider public attention during a live Channel 4 Turner Prize debate in 1997. A very inebriated Emin mumbled incoherently that "no real people" would be watching and that she wanted to go be with her mum and friends.
10. Two years later, "Mad Tracey from Margate" (her words) was shortlisted for the Turner Prize for an installation entitled My Bed, a testimony to her self-neglect and over-indulgence. She didn't win, but Charles Saatchi paid £150,000 for it.
1908 Born December 3 in Chelsham, Surrey, England, son of Dr, Edwin S. Pasmore, a well-known physician and mental specialist, and Gertrude Pasmore, an amateur painter.
Educated at Harrow School, where he first became seriously interested in painting and was introduced to the work and theories of the French Impressionists and British watercolourists. Discovered Turner's late works at the Tate Gallery, London. 1922-26
Painted in his spare time and rented his first studio in Devonshire Street where he attended evening classes at the Central School of Arts and Crafts and studied under A.S. Hartrick who had worked in France and knew Van Gogh. Pasmore expected to go to Oxford and later to the Slade School of Art, which was then under the influence of the Bloomsbury Group. But following the sudden death of his father, moved to London and took up employment as a clerk in the Public Health Department of the London County Council until 1937. 1927-37
Discovers the revolutionary School of Paris and paints under varied influences ranging from Gauguin and Van Gogh, Rousseau and Modigliani to Matisse, Braque and Picasso. Discovers also oriental art and the Japanese Print. 1929
1933 Elected a member of the London Artists' Association headed by Roger Fry and Duncan Grant. Met William Coldstream and Claude Rogers at St Martin's.
Had his first one-person show at the Association's Cooling Galleries on Bond Street.
1937 Dissatisfied with fauvist, cubist and abstract experiments in visual representation he founds a school at 12 Fitzroy Street on 4 October with Claude Rogers, Graham Bell, and William Coldstream.
1938 The school's first show, 15 paintings of London, held at the Storran Gallery, coincided with its move from Fitzroy Street to 316 Euston Road, which led the art critic Raymond Mortimer to identify them as the Euston Road Group. Met Kenneth Clarke through the Bloomsbury Group, which supported the new school and left his clerical job by means of Clark's patronage and support.
Moved to a studio at 8 Fitzroy Street, formerly occupied by Sickert and Whistler, and devoted his time to teaching and painting.
Married the painter Wendy Blood, the subject of many of Pasmore's paintings. Moved to Ebury Street.
One-person exhibition at the Wildenstein Gallery on Bond Street. 1940
Son, John Henry, born 15 October. 1941
Daughter, Mary Ellen, born 28 November. 1943
Director of Painting at Camberwell School of Art, London. 1943-49
Visited the Picasso-Matisse exhibition at the Victoria and Albert Museum, which confirmed the necessity for modern art and at the same time revealed the crisis in modern painting. 1945-46
Moves to Blackheath, London, where he abandons visual representation in painting and begins to experiment in purely abstract form based on cubist collages and geometric figures. 1947
Read Kandinsky, Mondrian and Arp. Klee became the principle influence at this time. 1947-48
Exhibited his first abstract paintings at the London Group and in a one-person show at the Redfern Gallery. 1948
Left Camberwell School to teach at the London County Council Central School of Arts and Crafts, headed by William Johnstone, who had introduced a foundation course after the Bauhaus model. 1949
1950 Visited St Ives, Cornwall, in the summer where he became associated with Ben Nicholson and Barbara Hepworth. Joined the Penwyth Society, the local exhibiting group.
1952-53 Experimented with abstract reliefs in a deliberately impersonal manner.
1953 Appointed Head of the Department of Painting at King's College, Durham University, Newcastle-upon-Tyne. Established "The Developing Process", a course of studies in "Basic Form" within the department of painting and sculpture.
Introduced the foundation course at the summer school at Scarborough, Yorkshire run by the Leeds College, assisted by Harry Thubron and Tom Hudson.
Retrospective of works from 1944-54 organized by Lawrence Alloway at the Institute of Contemporary Arts (ICA), London.
1954 Appointed Consulting Director of Urban Design for the South West Area, Peterlee New Town in Country Durham. Retrospective show of works from 1926 to 1954 at the Arts Council Gallery, Cambridge.
1959 Awarded the C.B.E.
Edited The Developing Process, published by the Department of Fine Arts, Durham University, on the occasion of the exhibition of "basic form" for art teaching, shown at the Hatton Gallery and the ICA, London.
Included in the 5th International Art Exhibition, Tokyo and the section of "Art since 1945" for Documenta II, Kassel, West Germany.
Represented Britain at the XXX Venice Biennale with a retrospective exhibition which later travelled throughout Europe. 1960
Left Newcastle University and returned to Blackheath to paint full-time. Joined Marlborough Gallery, London. 1961
Included in two travelling exhibitions: Premio Marzotto, in Europe and British Art Today, in the USA. 1962-63
Appointed a Trustee of the Tate Gallery. 1963-64
Began working in Graphics first with Kelpra Studios in London and later with 2 RC Workshop in Rome. 1964
Retrospective exhibition at the Tate Gallery.
Represented Britain at the VIII Sao Paulo Biennale. Show later travelled through South America.
One-person exhibitions at the Scottish National Gallery of Modern Art, Edinburgh and Walker Art Gallery, Liverpool.
Joined the Galleria Lorenzelli, Milan. 1965
Moved to Malta where he acquired a house and studio. 1966
First one-person show in New York at Marlborough-Gerson Gallery.
Lectured at the Carpenter Center for the Visual Arts, Harvard University, Cambridge, Mass. 1967
1970 Designed the "Pavilion", at Peterlee New Town, a concrete structure synthesizing the abstract elements of architecture, sculpture and painting.
One-person exhibition at the Malta Society of Arts, Manufactures and Commerce.
1972 Video: The Image in Search of Itself, produced by John Pasmore.
1973 One-person exhibition at the Villers Pty., Paddington, Australia.
1974 Exhibition of Graphics at the Galleria 2RC, Rome.
1975 Exhibition at the National Museum of Fine Arts, Valletta, Malta.
1976 Grand Prix d'Honneur at the International Graphics Biennale, Ljubljana.
Thames & Hudson, London, and Rizzoli, New York, publish catalogue raisonné of works 1926-1979. 1980
Exhibition at Amano Gallery, Osaka, Japan. 1981
Made Companion of Honour. 1982
Commissioned to design the stage for a new ballet "Apollo" at the Royal Opera House, Convent Garden.
Elected Royal Academician and received the Charles Wollaston Award. 1983
Awarded Honorary degrees from the Royal College of Art and the University of Warwick.
Exhibition at the Musée des Beaux-Arts, Calais. 1985
1990 Selects The Artist's Eye exhibition at the National Gallery, London.
1991 Retrospective exhibition at Serpentine Gallery, London.
1991 Lund Humphries, London, publish catalogue raisonné of works 1980-1992
1998 Dies 23rd January, Malta.
Memorial group of works shown during the Royal Academy's 230th Summer Exhibition.
1999 Memorial Retrospective, Marlborough Fine Art, London.
1999 Changing The Process of Painting - Tate Gallery, Liverpool
Early Prints & Constructions - Marlborough Fine Art, London 2004
Educated at Harrow School, where he first became seriously interested in painting and was introduced to the work and theories of the French Impressionists and British watercolourists. Discovered Turner's late works at the Tate Gallery, London. 1922-26
Painted in his spare time and rented his first studio in Devonshire Street where he attended evening classes at the Central School of Arts and Crafts and studied under A.S. Hartrick who had worked in France and knew Van Gogh. Pasmore expected to go to Oxford and later to the Slade School of Art, which was then under the influence of the Bloomsbury Group. But following the sudden death of his father, moved to London and took up employment as a clerk in the Public Health Department of the London County Council until 1937. 1927-37
Discovers the revolutionary School of Paris and paints under varied influences ranging from Gauguin and Van Gogh, Rousseau and Modigliani to Matisse, Braque and Picasso. Discovers also oriental art and the Japanese Print. 1929
1933 Elected a member of the London Artists' Association headed by Roger Fry and Duncan Grant. Met William Coldstream and Claude Rogers at St Martin's.
Had his first one-person show at the Association's Cooling Galleries on Bond Street.
1937 Dissatisfied with fauvist, cubist and abstract experiments in visual representation he founds a school at 12 Fitzroy Street on 4 October with Claude Rogers, Graham Bell, and William Coldstream.
1938 The school's first show, 15 paintings of London, held at the Storran Gallery, coincided with its move from Fitzroy Street to 316 Euston Road, which led the art critic Raymond Mortimer to identify them as the Euston Road Group. Met Kenneth Clarke through the Bloomsbury Group, which supported the new school and left his clerical job by means of Clark's patronage and support.
Moved to a studio at 8 Fitzroy Street, formerly occupied by Sickert and Whistler, and devoted his time to teaching and painting.
Married the painter Wendy Blood, the subject of many of Pasmore's paintings. Moved to Ebury Street.
One-person exhibition at the Wildenstein Gallery on Bond Street. 1940
Son, John Henry, born 15 October. 1941
Daughter, Mary Ellen, born 28 November. 1943
Director of Painting at Camberwell School of Art, London. 1943-49
Visited the Picasso-Matisse exhibition at the Victoria and Albert Museum, which confirmed the necessity for modern art and at the same time revealed the crisis in modern painting. 1945-46
Moves to Blackheath, London, where he abandons visual representation in painting and begins to experiment in purely abstract form based on cubist collages and geometric figures. 1947
Read Kandinsky, Mondrian and Arp. Klee became the principle influence at this time. 1947-48
Exhibited his first abstract paintings at the London Group and in a one-person show at the Redfern Gallery. 1948
Left Camberwell School to teach at the London County Council Central School of Arts and Crafts, headed by William Johnstone, who had introduced a foundation course after the Bauhaus model. 1949
1950 Visited St Ives, Cornwall, in the summer where he became associated with Ben Nicholson and Barbara Hepworth. Joined the Penwyth Society, the local exhibiting group.
1952-53 Experimented with abstract reliefs in a deliberately impersonal manner.
1953 Appointed Head of the Department of Painting at King's College, Durham University, Newcastle-upon-Tyne. Established "The Developing Process", a course of studies in "Basic Form" within the department of painting and sculpture.
Introduced the foundation course at the summer school at Scarborough, Yorkshire run by the Leeds College, assisted by Harry Thubron and Tom Hudson.
Retrospective of works from 1944-54 organized by Lawrence Alloway at the Institute of Contemporary Arts (ICA), London.
1954 Appointed Consulting Director of Urban Design for the South West Area, Peterlee New Town in Country Durham. Retrospective show of works from 1926 to 1954 at the Arts Council Gallery, Cambridge.
1959 Awarded the C.B.E.
Edited The Developing Process, published by the Department of Fine Arts, Durham University, on the occasion of the exhibition of "basic form" for art teaching, shown at the Hatton Gallery and the ICA, London.
Included in the 5th International Art Exhibition, Tokyo and the section of "Art since 1945" for Documenta II, Kassel, West Germany.
Represented Britain at the XXX Venice Biennale with a retrospective exhibition which later travelled throughout Europe. 1960
Left Newcastle University and returned to Blackheath to paint full-time. Joined Marlborough Gallery, London. 1961
Included in two travelling exhibitions: Premio Marzotto, in Europe and British Art Today, in the USA. 1962-63
Appointed a Trustee of the Tate Gallery. 1963-64
Began working in Graphics first with Kelpra Studios in London and later with 2 RC Workshop in Rome. 1964
Retrospective exhibition at the Tate Gallery.
Represented Britain at the VIII Sao Paulo Biennale. Show later travelled through South America.
One-person exhibitions at the Scottish National Gallery of Modern Art, Edinburgh and Walker Art Gallery, Liverpool.
Joined the Galleria Lorenzelli, Milan. 1965
Moved to Malta where he acquired a house and studio. 1966
First one-person show in New York at Marlborough-Gerson Gallery.
Lectured at the Carpenter Center for the Visual Arts, Harvard University, Cambridge, Mass. 1967
1970 Designed the "Pavilion", at Peterlee New Town, a concrete structure synthesizing the abstract elements of architecture, sculpture and painting.
One-person exhibition at the Malta Society of Arts, Manufactures and Commerce.
1972 Video: The Image in Search of Itself, produced by John Pasmore.
1973 One-person exhibition at the Villers Pty., Paddington, Australia.
1974 Exhibition of Graphics at the Galleria 2RC, Rome.
1975 Exhibition at the National Museum of Fine Arts, Valletta, Malta.
1976 Grand Prix d'Honneur at the International Graphics Biennale, Ljubljana.
Thames & Hudson, London, and Rizzoli, New York, publish catalogue raisonné of works 1926-1979. 1980
Exhibition at Amano Gallery, Osaka, Japan. 1981
Made Companion of Honour. 1982
Commissioned to design the stage for a new ballet "Apollo" at the Royal Opera House, Convent Garden.
Elected Royal Academician and received the Charles Wollaston Award. 1983
Awarded Honorary degrees from the Royal College of Art and the University of Warwick.
Exhibition at the Musée des Beaux-Arts, Calais. 1985
1990 Selects The Artist's Eye exhibition at the National Gallery, London.
1991 Retrospective exhibition at Serpentine Gallery, London.
1991 Lund Humphries, London, publish catalogue raisonné of works 1980-1992
1998 Dies 23rd January, Malta.
Memorial group of works shown during the Royal Academy's 230th Summer Exhibition.
1999 Memorial Retrospective, Marlborough Fine Art, London.
1999 Changing The Process of Painting - Tate Gallery, Liverpool
Early Prints & Constructions - Marlborough Fine Art, London 2004
Pasmore's teaching career began in 1937 when he joined up with William Coldstream and Claude Rogers to form an independent private art school. Under their direction and in association with Augustus John, Vanessa Bell, Duncan Grant and Paul Nash, the school very quickly commanded a very high reputation. The original venue was acquired in October 1937 at 12 Fitzroy Road in London and then moved to 314/316 Euston Road in February 1938 until it closed in September 1939 when war broke out.
In 1943 Pasmore was invited to teach at Camberwell School of Art in South London.
He was joined by a number of his Euston Road colleagues during his time there and in 1949 left to join the teaching staff at the Central School of Arts and Crafts where he introduced a Basic Form course. In 1954 he left London to Head up the Department of Fine Art at Durham University until 1961 when his career in teaching ceased and he took up full-time painting.
VP and Friends at The Hatton Gallery, Newcastle. 1956
In 1943 Pasmore was invited to teach at Camberwell School of Art in South London.
He was joined by a number of his Euston Road colleagues during his time there and in 1949 left to join the teaching staff at the Central School of Arts and Crafts where he introduced a Basic Form course. In 1954 he left London to Head up the Department of Fine Art at Durham University until 1961 when his career in teaching ceased and he took up full-time painting.
VP and Friends at The Hatton Gallery, Newcastle. 1956
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