October 19, 1997

Kiki Smith at the Irish Museum of Modern Art, Dublin

Kiki Smith: Convergence
Irish Musuem of Modern Art, Dublin
24 October 1997 - 15 February 1998

The first major solo exhibition in Ireland of the work of Kiki Smith, one of America’s leading contemporary artists, opens to the public at the Irish Museum of Modern Art on 24 October. Kiki Smith: Convergence ranges over ten years of Kiki Smith’s work from 1988 and reflects her main concerns in terms of subject matter and use of colour and materials. It features a number of her characteristic sculptures based on the human body, a number of more recent drawings from 1996 and 1997, and mixed-media works using materials such as glass, crystal and neon, which mark a shift in focus from the human to animal forms and the natural world. 

Kiki Smith is best known for her works based on the female body which she presents in stark, often provocative terms - its flesh, blood, secretion and excretions suggesting fundamental questions of life and death. As an artist Smith gives birth to adult forms still grimy with the process of delivery. Indeed, a paradox of her works is that one cannot tell if they are coming into existence or passing out of it through decay and disintegration. Both formally and psychologically, these sculptures break with traditional notions of the depiction of the human figure in art. 

Using the physical body as her starting point, Kiki Smith explores the wider female condition in works suggesting pain, humiliation and subservience. There are also allusions to religious rituals and beliefs, which reflect her Catholic upbringing. The artist has selected works for this exhibition by using the device of colour for individual rooms at the museum - red, yellow, blue, green, brown and silver - colours which have been a strong force in her work. 

Kiki Smith was born in Nuremberg, Germany, in 1954. She moved to the United States as a child and in 1976 moved to New York where she now lives and works. In 1979-80 she began to work with the body using Gray’s Anatomy as a reference. She had her first solo exhibition Life Wants to Live at The Kitchen in New York in 1982. Since then she has exhibited to considerable critical acclaim in solo and group shows worldwide. Kiki Smith’s sculpture was included in From Beyond the Pale at the Irish Museum of Modern Art in 1994. 

Irish Museum of Modern Art
Royal Hospital, Military Road, Kilmainham, Dublin 8

October 16, 1997

Compact Nikon Coolpix 300

Nikon Coolpix 300
Sortie en 1997, après le Coolpix 100, sortie également en 1997, le Nikon Coolpix 300 est le second appareil photo numérique fabriqué par Nikon.
Liens vers d'autres messages connexes du blog : Anciens Compacts NikonNikon Coolpix 100Nikon Coolpix 600Nikon Coolpix 700Nikon Coolpix 775 - Nikon Coolpix 800Nikon Coolpix 880Nikon Coolpix 885Nikon Coolpix 900Nikon Coolpix 950 - Nikon Coolpix 990Nikon Coolpix 995Nikon Coolpix 2000Nikon Coolpix 2100Nikon Coolpix 2500Nikon Coolpix 3100Nikon Coolpix 3500 - Nikon Coolpix 3700 - Nikon Coolpix 4300Nikon Coolpix 4500 - Nikon Coolpix 5000Nikon Coolpix 5400Nikon Coolpix 5700 - Nikon Coolpix SQ

Compact numérique Nikon Coolpix 100

Nikon Coolpix 100
Sortie en 1997, c'est le premier appareil photo compact numérique Nikon. Il ouvre la longue série des COOLPIX. Avant le Coolpix 100, Nikon avait produit des appareils numériques mais ceux-ci n'étaient pas des compacts.
Liens [A VENIR] vers d'autres messages connexes du blog [INACTIFS POUR L' INSTANT] : Anciens Compacts NikonNikon Coolpix 300 --- Nikon Coolpix 600 --- Nikon Coolpix 700 --- Nikon Coolpix 775 --- Nikon Coolpix 800 --- Nikon Coolpix 880 --- Nikon Coolpix 885 --- Nikon Coolpix 900 --- Nikon Coolpix 950 --- Nikon Coolpix 990 --- Nikon Coolpix 995 --- Nikon Coolpix 2000 --- Nikon Coolpix 2100 --- Nikon Coolpix 2500 --- Nikon Coolpix 3100 --- Nikon Coolpix 3500 --- Nikon Coolpix 3700 --- Nikon Coolpix 4300 --- Nikon Coolpix 4500 --- Nikon Coolpix 5000 --- Nikon Coolpix 5400 --- Nikon Coolpix 5700 --- Nikon Coolpix SQ
Photo (c) Nikon - Tous droits réservés

October 13, 1997

Epson and Software 2000 Renew Agreement

It was announced today that SEIKO Epson Corporation (Suwa, Nagano, Japan) and Software 2000 International (Oxford, England) have formally renewed their long-term collaborative development partnership as part of a new two year agreement. The companies have worked together on printer drivers for Windows since the launch of the Epson Stylus Color in Spring 1994 and this ongoing relationship has continued to the present day.
The initial results of this partnership can be seen today throughout the Epson Stylus product range, and particularly in printer models such as the Epson Stylus Color 400/600/800 and the Epson Stylus Photo Printer.
Software 2000 specializes in the development of driver technology for DOS, Windows 3.x, Windows 95/98, Windows NT and OS/2 on behalf of original equipment manufacturers (OEMs) throughout the world. In just seven years, Software 2000 has grown into a multi-million dollar company with offices in Monterey, California and Oxford, England. The company is the largest 3rd party developer of printer drivers in the world.
Wanafoto : Software 2000 change its name. The company's name is now Sofware Imaging

October 5, 1997

Sol LeWitt Wall Drawing 830 Sackler Museum

A new wall drawing by conceptual artist Sol LeWitt (b. 1928), Wall Drawing #830: Four Isometric Figures with Color Ink Washes Superimposed, has been installed in the Arthur M. Sackler Museum's lobby – Harvard University Art Museums. Comprising four large-scale geometric shapes on fields of primary colors, the drawing dramatically amplifies and animates the Sackler's double-height entry space. The project was organized by James Cuno, director of the Art Museums, to create a friendlier, more inviting space for visitors, while at the same time giving the public easy access to a major work by one of our generation's premier draftsmen.

Sol LeWitt has been a dominating influence in contemporary art for several decades. His wall drawings have been installed in major museums worldwide. Although his work emphasizes conception rather than implementation, the final product is always visually pleasing.

"This is a beautiful work of art in its own right, but all the more beautiful for how it transforms and enhances the lobby of the Sackler Museum," said James Cuno. "We believe it demonstrates our commitment to working with contemporary artists and to offering our public new, exciting, and easily accessible aesthetic experiences. Anyone walking down Quincy Street or Broadway can now take refuge in the midst of a great work of art."

The installation of Wall Drawing #830 was led by Anthony Sansotta, who has worked with LeWitt for nineteen years, with the help of other assistants to LeWitt, local students and artists and staff at the Art Museums. The project was supported by the Contemporary Art Sub-Committee of the Art Museums Collections Committee, led by Gabriella de Ferrari and Bruce Beal.

The museum is located at 485 Broadway, Cambridge, Massachusetts.

October 1, 1997

Tracey Moffatt at Dia Center for the Arts, NYC

Tracey Moffatt: Free-falling
Dia Center for the Arts, New York
October 9, 1997 - June 14, 1998

Dia Center for the Arts presents an exhibition of the work of Australian photographer and filmmaker, Tracey Moffatt. This exhibition, entitled Free-falling, will be on view on the fourth floor of Dia's galleries at 548 West 22nd Street, New York City.

Free-falling includes two newly commissioned works: a suite of twenty-five photographs called Up in the Sky (1996) and a video installation, Tracey Moffatt's first in this medium. The subject of this video piece will be a surfer, a figure close to the heart of Australia's contemporary self-image. By contrast, Up in the Sky, which was shot near Broken Hill in the Outback, draws on imagery and a landscape that have long been central to the Australian mythos. In addition, the exhibition includes Guapa (Goodlooking), a series of twelve monochrome photographs loosely based on the theme of the roller derby, which Tracey Moffatt made in 1995 while on a residency at ArtPace in San Antonio, and Night Cries: A Rural Tragedy (1990), her early but prophetic short film. Guapa explores the intersection of violence with eroticism as sanctioned under the umbrella of sport. Silhouetted against neutral backdrops, the carefully choreographed female contestants create formally compelling images recalling at times sculptural groupings from the art of the past: artifice is as intrinsic to this sport as it is to Tracey Moffatt's aesthetic.

Of Abori-ginal descent, Tracey Moffatt has gained increasing international attention in the past several years. In 1995 she was awarded a prize at the Kwangju Biennale in Korea, and two of her films were shown at the Cannes Film Festival. Given that she is also included in this year's Venice Biennale and Site Santa Fe exhibitions, Tracey Moffatt, who was born in 1960 in Brisbane, is among the preeminent Australian artists of her generation. Free-falling is her most substantial exhibition to date.

Major funding for this exhibition has been provided by the Lannan Foundation, The Andy Warhol Foundation for the Visual Arts, The Embassy of Australia on behalf of the Department of Foreign Affairs and Trade, and The Australia Council for the Arts with an additional generous contribution by the Wolfensohn Family Foundation.

Dia Center for the Arts