Kazi Dawa Samdup

Lama Kazi Dawa Samdup (17 June 1868 – 22 March 1922) is now best known as one of the first translators of important works of Tibetan Buddhism into the English language and a pioneer central to the transmission of Buddhism in the West. From 1910 he also played a significant role in relations between British India and Tibet.
Biography.
Kazi Dawa Samdup was born in Sikkim on 17 June 1868. His father was Shalngo Nyima Paljor of the Guru Tashi clan. On the
death of his mother, his father remarried and had three more sons and two daughters from his second wife.
Kazi Dawa Samdup's education began at the age of four learning the Tibetan script from his grandfather. In 1874 he joined the Bhutia Boarding School in Darjeeling where he impressed the headmaster Rai Bahadur Sarat Chandra Das. His Tibetan teacher was Ugyen Gyatso, a lama from the Pemayangtse monastery in West Sikkim.
After finishing school, he joined the service of British India as Chief Interpreter to the Commissioner of Raj Shahi Division and was posted to Buxaduar which was then part of Bhutan. During his stay in Bhutan, he became a pupil of a learned and ascetic lama, Lopen Tshampa Norbu (Slob dpon Mtshams pa Nor bu) d. 1916 of Punakha from whom he received initiation and instruction. Although he was interested in taking up a monastic life, at the request of his father, he married and later had two sons and a daughter.
When his father died he also became responsible for looking after his stepmother, and younger siblings. (Of the three younger half-brothers he took care of, the first would later become a lecturer of Calcutta University, the second would be the prime minister of the king, and the third, "Sikkim Mahinda", joined the Buddhist priesthood in Ceylon and was an important figure in the Sri Lankan independence movement, and a well-known Sinhala poet and author.)
At that time the Chogyal of Sikkim, Sir Thutob Namgyal, was looking for a headmaster, who could teach both Tibetan and English, for the state Bhutia Boarding School for boys at Gangtok and Kazi Dawa Samdup was proposed for this post by the Crown Prince Sidkeong Tulku. He also undertook the compilation and translation of the "Sikkim Gazette" for the Maharaja.
In 1905, he accompanied the Maharaja of Sikkim to Calcutta for the visit of the Prince and Princess of Wales.
In 1910, he acted as interptetor to Sir Charles Bell and the 13th Dalai Lama during the later's visit to India.
In 1911 he accompanied the Maharaja of Sikkim to Delhi for the coronation Durbar of King George V.
In 1912 Sidkeong Tulku Namgyal entrusted his "confidante and spiritual sister" Alexandra David-Néel to Kazi Dawa Samdup to be her a guide, interpreter and teacher of Tibetan. He accompanied her to Kalimpong where she went to meet the 13th Dalai Lama on 15 April 1912. At that time they also met, in the waiting room, Ekai Kawaguchi from Japan.
In 1914, he again acted as an interpreter and translator for Sir Charles Bell during the historic Simla Convention on the Indo-Tibet Border signed between India, Tibet and China.
In 1920, he was appointed teacher in Tibetan at the University of Calcutta.
Kazi Dawa Samdup died in Calcutta on 22 March 1922.
Work with W. Y. Evans-Wentz.
Kazi Dawa Samdup is probably best known for his path-breaking translations of Tibetan texts which were later edited and published by W. Y. Evans-Wentz.
Partial bibliography.
With W.Y. Evans Wentz (editor):
With Sir John Woodroffe:
Unpublished Works:


Jan Ivarsson

Jan Ivarsson (born 1931) is a Swedish translation scholar specialised in the field of audiovisual translation.
Life.
Ivarsson studied mathematics, physics, literature, Scandinavian languages and English at Uppsala University. He was very involved in student theatre and later worked at the municipal theatre. From 1960 to 1963 he taught at the Christian-Albrechts-Universität in Kiel and from 1963 to 1970 he taught Swedish language and literature at the Sorbonne in Paris. He later taught from 1965 until 1970 at the "École Supérieure d'Interprètes et de Traducteurs" in Paris and worked in a number of Paris theatres. From 1970 to 1978 he was General Secretary of the Swedish cultural centre in Paris.
He returned to Sweden in 1978 and worked as a subtitler in Stockholm in film and television, particularly for the Swedish broadcaster Sveriges Television (SVT). He became head of programming with a specialty in drama. He worked with ScanTitling/Cavena on a new computerized time-coded subtitling system at SVT. He retired in 1995 and moved to the coastal town of Simrishamn in southern Sweden where he continued to work as a freelance translator and subtitler.
Work.
Ivarsson has translated song lyrics, drama, television programmes and books from French, German and English into Swedish. In 1992 he published "Subtitling for the Media – A Handbook of an Art" and in 1998 he and Mary Carroll published the influential textbook "Subtitling." His 'Short Technical History of Subtitles in Europe' remains one of the few scholarly sources on the history of subtitling and has been widely cited.
From 1992 to 1996 he collaborated with the "Language Transfer of the European Institute for the Media" working group and in 1995 he was a founding member of the European Association for Studies in Screen Translation (ESIST), of which he was for some years Vice-President.
Award.
The Jan Ivarsson Award is conferred by the European Association for Studies in Screen Translation for an outstanding contribution to the field of audiovisual translation. The first award was given to Ivarsson himself in Berlin at the biennial Language and the Media conference in 2010, for his lifetime pioneering contribution in the field of subtitling. Later winners of the Jan Ivarsson Award include the subtitler Mary Carroll (2012) and the audiovisual translation studies scholar Jorge Díaz Cintas (2014).


Luciano Caruso (poet)

Luciano Caruso was a poet, visual artist, critic, journalist and writer. He was born in 1944 in Foglianise, a region located in the mountains of Sannio, Italy. He grew up and lived in Naples until 1976. After this point, he moved to Florence. He graduated in Medieval Aesthetics, with a thesis on carmina figurata. While in Naples he was also the editor of many magazines of the avant-garde, among them "Linea Sud", "Ana etcetera", "Continuum", "Uomini e Idee", "Silence's Wake", "E/mana/zione" etc...
Influences.
As a young student of philosophy, Luciano Caruso was influenced by the style of Benedetto Croce and Antonio Gramsci. In Naples, he was surrounded by the work of the historians Nino Cortese, Vincenzo Cilento, Giuseppe Galasso, Francesco Compagna, Salvatore Battaglia, and the Latin scholar Francesco Arnaldi. He frequented ‘heretics’ such the art historian Raffaello Causa and the writer Luigi Incoronato. He held a political loyalty which brought him into extremely close contact with the conditions of life in the poorer parts of Naples. This loyalty brought to his attention the problematic nature parallel with art and contemporary poetry. He spent a lot of time in Naples with the painters of Group 58. These artists included Enrico Bugli, Bruno Di Bello, Lucio Del Pezzo, Mario Persico, Salvatore Paladino, Guido Biasi etc... Among such artists Luciano Caruso was closest to Mario Colucci, who, having himself joined the movement ‘Pittura Nucleare’, brought Caruso into contact with the Milanese environment as well as the Parisian. He did this by introducing him to Baj, D’Angelo and Manzoni as well as the Parisian Letterism, Dufrène and the Situationists. Caruso was also influenced by the French experience of the 60s. This is evident in his use of the analogue procedure of Surrealist descent and also in his experimentation with the possibility of the ‘letter’ freed from the word in artist expression. He met up regularly with the poet Stelio Maria Martini, together founding the group Continuum in 1967. Caruso would also often visit Rome to see Emilio Villa and Mario Diacono.
Caruso re-discovered medieval visual tests and researched painters such as Alberto Burri. This research resulted in the artistic use of manual or printed writing. Caruso also began creating works using untouched or torn paper, paper respected or tampered, paper with stains or deletions. He started assembling works with everyday or strange recycled objects. For example, Caruso would use bark, rope, sheets of paper. His first calligraphic works can be traced back to 1963–64 and his first book was created in 1965. After the anthology "Il gesto poetico" of avant-garde poetry (Naples, 1968) Caruso produced a substantial amount of essays, writings, revisions and annotations. Luciano Caruso was both a practitioner and student of Futurism, looking over the re-printing of various Futurist texts starting from 1974. Between 1976 and 1994 he collaborated with the British composer and early Fluxus artist Dick Higgins.
Demise.
Luciano Caruso himself held around 60 personal exhibitions and participated in a number of exhibitions dedicated to ‘Poesia Visuale’, ‘Poesia visiva’, ‘Nuova scrittura’ and ‘Libri d’artista’, in Italy and abroad. Many of his later artistic works, such as ‘The silk road’ and ‘Atlanta’ are dedicated to the theme of "artistic life as a long journey". Caruso was among the curators of the exhibition ‘Alfabeto in sogno’ in 2002 in Reggio Emilia and, in November, he presented his final pieces in Naples: 5 books. On 16 December 2002, Luciano Caruso died in Florence.


Don Peebles

Donald Clendon Peebles (5 March 1922 – 27 March 2010) was a New Zealand artist. He is regarded as a pioneer of abstract art in New Zealand, and his works are held in the collections of Auckland Art Gallery Toi o Tāmaki, the Museum of New Zealand Te Papa Tongarewa, and Christchurch Art Gallery.
Early life.
Peebles was born in Taneatua, Bay of Plenty, in 1922. His family moved to Wellington two years later, and he attended Wadestown Primary School and Wellington College. At age 15, he left school to work as a telegram boy for the New Zealand Post Office. In 1941, he joined the New Zealand Army, and during World War II he served in the New Zealand Division as a radio operator between 1943 and 1945. At the end of the war he had his first formal art training in Florence while waiting to be demobilised.
Education.
Peebles began his training in fine art at the Wellington Technical College of Art in 1947, before moving to Australia and studying under John Passmore at the Julian Ashton School of Arts in Sydney from 1951 to 1953.
Career.
In the early 1950s, Peebles returned from studying in Australia and moved back to New Zealand. In 1960, he won a scholarship to study in London, granted by the Association of New Zealand Art Societies. Prior to this trip, Peebles married Prue Corkill. It was in London that Peebles met constructivist painter Victor Pasmore, who became a friend and major influence.
In 1964, Peebles became a lecturer at the Canterbury School of Fine Arts in Christchurch. In 1980, he was made head of the painting department, and he lectured there until his retirement in 1986 to concentrate on painting full-time.
Peebles has exhibited in both solo and group exhibitions, including:
Honours and awards.
In the 1999 New Year Honours, Peebles was appointed an Officer of the New Zealand Order of Merit, for services to art. In 2003, Peebles received an honorary Doctorate in Literature from the University of Canterbury. In 2007, Peebles received an Arts Foundation Icon Award, awarded to only 20 living people at any one time.
Death.
Peebles died of cancer in Christchurch in 2010, and was survived by his wife Prue and their three children.


Sakio Chiba

 is a Japanese professional shogi player ranked 7-dan.
Early life.
Chiba was born on February 11, 1979, in Machida, Tokyo. He entered the Japan Shogi Association's apprentice school when he was a junior high school ninth-grade student in 1993 under the guidance of shogi professional at the rank of 6-kyū. He was promoted to 1-dan in 1995 and obtained full professional status and the rank of 4-dan in October 2000 after winning the 27th 3-dan league (April 2000September 2000).
Personal life.
Chiba's wife, Ryōko is a female shogi professional. The couple married in May 2003, and have two daughters.
Promotion history.
Chiba's promotion history is as follows:


Akihiro Ida

 is a Japanese professional shogi player ranked 4-dan.
Early life.
Ida was born in Kyoto, Japan on December 6, 1996. He became interested in shogi after seeing a column about it in a newspaper.
Shogi.
Apprentice professional.
Ida entered the Japan Shogi Association's apprentice school in September 2009 under the guidance of shogi professional Kenji Kobayashi. Ida was promoted to the rank of apprentice professional 3-dan in April 2017 and obtained full professional status and the rank of 4-dan after tying for first place in the 68th 3-dan League (October 2020March 2021) with a record of 13 wins and 5 losses.
Promotion history.
The promotion history for Ida is as follows.


Kazushiza Horiguchi

 is a Japanese professional shogi player ranked 7-dan.
Early life.
Horiguchi was born in Tokyo Metropolis on February 28, 1975. He learned shogi around the age of ten after seeing a shogi set at his grandparents' house. Horiguchi entered the Japan Shogi Association's apprentice school as a pupil of shogi professional at the rank of 6-kyū in 1988. He was promoted to the rank of 1-dan in 1991, and entered the 3-dan League in 1993.
Horiguchi came close to obtaining full professional status and the rank of 4-dan in the 17th 3-dan League (April 1995September 1995), but lost his last round game to future fellow professional Kimura Kazuki to miss out on promotion. The following league season, however, Horiguchi finished with a record of 14 wins and 4 losses in the 18th 3-dan League (October 1995April 1996) to win the league and earn promotion to the rank of 4-dan.
Shogi professional.
Horiguchi finished runner up in the 48th NHK Cup TV Shogi Tournament (1998) and the 8th (2000), losing in the finals both times to Yoshiharu Habu. He also finished runner up in the 30th (1999), losing to Takeshi Fujii 2 games to none.
Horiguchi's only shogi championship to date came in 2002 when he defeated Masataka Sugimoto 3 games to 1 to win the 20th ; he was, however, unable to defend his championship the following year, losing to Kōichi Fukaura by the same score in the finals of the 21st Asahi Open.
Promotion history.
Horiguchi's promotion history is as follows:
Titles and other championships.
Horiguchi has yet to appear in a major title match, but he has won one non-major title championship.
Awards and honors.
Horiguchi won the Japan Shogi Association's Annual Shogi Award for "Best New Player" in 1991.


Jean Fernand

Jean Fernand (born 19 November 1948) is a French impressionist painter, lithographer, sculptor and illustrator.
History.
Jean Fernand was born in 1948 in Orly, south of Paris. His parents, who were Parisians, managed an industrial laundry. When he left the primary school, Jean Fernand passed his launderer certificate; he was therefore destined to take up the family business. His grandfather was a painter who also lacquered Napoleon's tomb, so Fernand was already very interested in painting and drawing since childhood.
At the age of 16, he began to paint. He received painting classes from several artists such as André Bergeron and Gozlan. From the age of 25, he gradually devoted himself to painting, gradually forming his style. In 1970, he opened an art studio in Orly.
His first exhibition took place in 1970 in the Salon des Indépendants in Paris. In the early 70s, he showcased his works several times at the influential art gallery Galerie Ror Volmar. His works have also been exhibited in galleries in Switzerland, Japan, Sweden, Norway, Germany, Belgium, Japan and the United States.
During the seventies, he illustrated also some stories by Edgar Allan Poe for the publishing house Cercle Européen du Livre. He became friends with the painter Francis Goubault, originally from Choisy-le-Roi. Together, they created different frescoes.
He won several art prizes, including the first prize at Lézignan-Corbières in 2003.
He actually lives in Kōtō, Tokyo in Japan.


Stephen Bambury

Stephen Bambury (born 1951) is Christchurch-born, Auckland-based abstract painter.
After graduating from the Elam School of Fine Art at the University of Auckland, Bambury received two Queen Elizabeth II Arts Council Grants and a residency at Victoria College, in Melbourne, Australia.
He had a long-running relationship with Andrew Jensen, whose gallery hosted a number of exhibitions featuring Bambury. His abstract oils have "no decorative, naturalistic, metaphoric or autobiographical references or intents"
He is widely held in public art museums in New Zealand, with Te Papa having 15 pieces and correspondence, Auckland Art Gallery having 12 pieces and Christchurch Art Gallery 3 pieces.


Naoya Fujiwara

 is a Japanese professional shogi player ranked 7-dan.
Early life.
Fujiwara was born in Kobe on May 27, 1965. He was accepted into the Japan Shogi Association's apprentice school at the rank of 6-kyū as a protegee of shogi professional in 1979, and obtained full professional status and the rank of 4-dan in 1989.
Shogi professional.
Fujiwara finished the finished the 75th Meijin Class C2 league (April 2016March 2017) with a record of 1 win and 9 losses, earning a third demotion point which meant automatic demotion to "Free Class" play.
Promotion history.
The promotion history for Fujiwara is as follows:


Sofia Areal

Sofia Areal (born in Lisbon, 4 June 1960) is a Portuguese abstract painter, whose works adhere mostly to organic non-geometrical forms and a strong chromatic focus. Besides painting and drawing, Areal's work involves collage, textile design, and scenography.
Biography.
Areal was born in Lisbon in 1960, daughter of the painter António Areal (1934-1978) and Maria Lira dos Passos Freitas Pereira (born 1937). She is the second of four sisters. Her father, besides being a painter, wrote several essays plus books on criticism and poetry. The mother, also an artist, has a course in sculpture and currently dedicates herself to drawing. The paternal grandfather, Joaquim Santiago Areal e Silva, was an architect and, together with Jorge Segurado, was one of those responsible for the restoration of national monuments in the 1950s. On the maternal side of the family, from the island of Madeira, the great-grandfather and the grandmother, linked to the arts, had studied in England. Areal grew up between Lisbon, Funchal, Azores and Mozambique.
Areal began her artistic training in the UK, where she attended the Textile Design course (1978-1979) and the Foundation Course (1979-1980) at the Herefordshire College of Art & Design in St Albans. Upon returning to Portugal, she attended, between 1981 and 1983, the painting and drawing workshops at AR.CO, in Lisbon. She was a student of Rogério Ribeiro, António Sena and José Mouga. Besides painting and drawing, Areal developed her art in the fields of illustration, graphic design and set design. In 1982, she married the sculptor Rui Sanches, with whom she lived for 20 years and with whom she had a son, the artist Martim Brion.
Although she presented her work in group exhibitions throughout the 1980s, it was mainly from the invitation made by Alda Cortez to show at her gallery in 1990 that Areal started a regular dynamic in the public presentation of her works, which she has maintained until the present day.
Work.
Sofia Areal started her training in England, taking the course in textile design and the foundation course at the Hertfordshire College of Art and Design, St Albans (1979–81), before continuing her studies in Portugal at Ar.Co engraving and painting workshops in Lisbon. She has participated in collective exhibitions since 1982 and held individual exhibitions since 1990. In addition to paintings and drawings, she also works in illustration and scenography.
Areal’s research into forms and light brings painting and drawing into very close proximity where the dividing line mainly appears in the supporting material. Different techniques do not create rupture. Except for oil, acrylic (which she also uses on her canvases) is also involved in her work, in close association with coloured pencils, India ink, watercolours, graphite and collage. While colour is stronger in her painting, it is always present in her drawings, jus as the textured lines of wax crayon or coloured pencil also appear on her canvases. In both forms, she searches for a spatial balance that is seen as a harmony between occupied and empty spaces, opacity and transparency within a graphic game of contrasts, what Sonia Delaunay called simultaneous. Indeed her work and Areal’s share some significant similarities. Created using a vibrant palette dominated by shades of black, white, red and yellow, combined with blues and greens, they create tension with the fragile lines that are superimposed on areas of colour, turning the act of painting and drawing into means of writing and rewriting the world. Her work challenges it, records it and reworks it in bipolar form, bringing us face to face with primordial forces, safe within the maelstrom of her intuitive and immediate creative act, which makes it similar to the Surrealist way of creating. Yet this quality does not eliminate the hesitations surrounding her artistic thinking. The format of the canvases also underlines her research her research into the ways of balancing night and day, Dionysus and Apollo, ranging from rectangles to circular tondos. The latter, cunningly fulfilling their function as targets, establish themselves as metaphors for the attention required by observing and creating. Indeed, apart from the material supports (which in the case of her drawings, are long sheets that already mimic the lined notebooks where people write), the backgrounds also act as a statement of energy, suggesting an Oriental-style precision of complements and completeness. Moreover, the lines or the texture, which appear over these backgrounds in nervy veins whose dynamism is apparent in the funneling or increasing density that manages to metamorphose into areas, underline the presence of those forces and their necessary and wise fruition and effort.
Exhibitions (selection).
Sofia Areal has exhibited her work in collective exhibitions since 1982 and individually since 1990.
Solo Exhibitions (selection):
2016 – “Restlessly: "Variations on the same theme"”, João Esteves de Oliveira Gallery, Lisbon, Portugal
2015 - “"How utterly shameless – Bite with all the teeth you have in your tongue"”, Politecnica Theatre, , Lisbon, Portugal
2014 - "“113o 55’E 21o 11’N”," Casa Garden, Macao S.A.R., China.
2011 - "“YES”," anthological exhibition of the last ten years, Cordoaria Nacional, Galeria do Torreão Nascente, Lisbon, Portugal.
2009 "“An Anti-pain practice”", Pró-Évora Group, Évora, Portugal.
2006 "“360 degrees in the SUN”", Museu de Arte Contêmporanea do Funchal, now MUDAS Madeira Museum of Contemporary Art, Madeira, Portugal.
"2002 “Sofia Areal about 's notebooks”", Casa da Cerca - Contemporary Art Centre, , Portugal.
2000 "“Some of mine mine”", , Almada, Portugal.
1993 “Painting and drawing by Sofia Areal”, J.M. Gomes Alves Gallery, Guimarães, Portugal.
1990 "“Sofia Areal”", Alda Cortez Gallery, Lisbon, Portugal.
Group (selection):
2016 "“Approximations”", A.N.A. Museum, Lisbon, Portugal
2013 "Re-Encounters" – Sofia Areal, Álvaro Lapa, Nikias Skapinakis, Manuel Casimiro, Jorge Martins, Neupergama Gallery, Torres Novas, Portugal.
2010 “"Four"”, Sofia Areal, Manuel Casimiro, Jorge Martins e Nikias Skapinakis, Giefarte Gallery, Lisbon, Portugal. (continued in 2011 at the Aveiro Municipal Museum, Sines Cultural Centre and Centro Cultural de Cascais).
2006 ""26 Years, 26 Artists, 104 Originals"”, Neupergama Gallery, Torres Novas, Portugal.
2005 "15 years of the gallery", JM Gomes Alves Gallery, Guimarães, Portugal.
2000 “"Paula Rego, Lourdes Castro, Sofia Areal and Ana Vidigal"”, Museu de Arte Contêmporanea do Funchal, now MUDAS Madeira Museum of Contemporary Art, Madeira, Portugal.
1999 “"Lines of Shadow"”, curated by João Miguel Fernandes Jorge and Helena de Freitas, CAM - José de Azeredo Perdigão Modern Art Centre, Calouste Gulbenkian Foundation, Lisboa, Portugal.
1994 “"When the World Falls on top of us: Art in times of AIDS"”, Belém Cultural Centre, Lisbon, Portugal.
1993 “E.C.'s Young Artists”, curated by João Lima Pinharanda, Seoul, South Korea.
1990 “Iberian Exhibition of Modern Art”, EIAM’90, curated by João Luis Pinharanda, Caceres and Badajoz, Spain.
1989 “"First Quarter"”, textiles designed by plastic artists, Pena National Palace, Sintra, Portugal.
1984 "“New New”", , Lisbon, Portugal.
Collections.
Areal is represented in various institutional collections, among others:
José de Azeredo Perdigão Modern Art Centre of Calouste Gulbenkian Foundation, Lisbon. Casa da Cerca - Centro de Arte Contemporânea, Almada. , Elvas. António Cachola Collection, Elvas. MUDAS Contemporary Art Museum of Madeira, Madeira. A.N.A. Collection, Lisbon. FEVAL, Cáceres. Carmona e Costa Foundation, Lisbon. Orient Foundation, Macau. Fundação D. Luís I, Cascais. Serralves Foundation, Porto. PLMJ Foundation, Lisbon. Millennium BCP Foundation, Lisbon. Novo Banco, Lisbon. Banif Mais, Lisbon. NovaCaixa Galicia, Vigo. Palmela City Council, Palmela. Ponta Delgada City Council. Ponte de Sor Municipal Library, Ponte de Sor. Vodafone Collection, Lisbom. Leal Rios Foundation, Lisbon.
Film.
In 2016 a documentary by Jorge Silva Melo, entitled Sofia Areal: An Anti-Pain Practice was premiered at the São Luíz National Theatre in Lisbon. The documentary focuses on Areal's work and work practice, mostly filmed in the artist's studio over aSIlvaod of six years. The film was co-production Artistas Unidos and RTP.
In 2015, Jorge Silva Melo made a documentary about his own work, entitled, "We have not finished yet", which refers many of the artists Silva Melo has worked with throughout the years.
Solveig Nordlung made in 2013 a five-episode documentary series about five different women, one of them Sofia Areal entitled "Talks in the hairdresser" for RTP. One of the other interviewees was Leonor Keil, who is one of Areal's sisters.
Monographs and Catalogues.
Areal's work has been subject to various analyses throughout her career, mostly in the press and in the catalogues of her exhibitions. With texts by among others: João Miguel Fernandes Jorge, João Lima Pinheiranda, Rui Mário Gonçalves, Jorge Silva Melo, Eduarda Dionísio, Isabel Carlos, Bernardo Pinto Ribeiro, Emília Ferreira, Ana Sousa Dias, José Luís Porfírio, ou Nelson Dimaggio. Areal has also written in several occasions about her own work.
In 2011, when of anthological the exhibition "YES" a book with texts by, Emília Ferreira, Jorge Silva Melo, Luís Campos e Cunha with an interview by Ana Sousa Dias was published by Athena/Babel Publishers. In the same year, an interview was also published in "Portugal between generations: new reflexions about the future of the country" edited by Almerinda Romeira and also by Centauro. 2012, Areal illustrates the Magazine Colóquio Letras published by Gulbenkian Foundation. In 2013 Areal and Allan Hobson an American Emeritus Harvard Professor join texts and painting to launch a book titled "Creativity", it was published by ISPA.
Other books, include the recent book launched by Bernardo Pinto de Almeida "Arte Portuguesa no Século XX - Uma História Crítica in the end of 2016. Or the illustrations of the book "Papeis de Fumar" by Virgéilio Alberto Vieira and Jorge Silva Melo's book "Século Passado".


Neurogammon

Neurogammon is a computer backgammon program written by Gerald Tesauro at IBM's Thomas J. Watson Research Center. It was the first viable computer backgammon program implemented as a neural net, and set a new standard in computer backgammon play. It won the 1st Computer Olympiad in London in 1989, handily defeating all opponents. Its level of play was that of an intermediate-level human player.
Neurogammon contains seven separate neural networks, each with a single hidden layer. One network makes doubling-cube decisions; the other six choose moves at different stages of the game. The networks were trained by backpropagation from transcripts of 400 games in which the author played himself. The author's move was taught as the best move in each position.
In 1992, Tesauro completed TD-Gammon, which combined a form of reinforcement learning with the human-designed input features of Neurogammon, and played at the level of a world-class human tournament player.


Catherine Everett (painter)

Catherine Everett, (born 1957) is a Canadian abstract painter.
Early life.
Catherine Everett was born and raised in Montreal. She received her Bachelor's degree in visual arts from Concordia University in 1980 and in 1988 she went on to receive her Master's of Fine Arts from the same university.
Art.
Catherine Everett works in sculpture, painting and drawing. Her work is described as a material exploration and the visual depiction of an interior and mysterious world. Her work is compared to that of Willem De Kooning, Jean-Paul Riopelle and Anselm Kiefer. Everett describes her work as, "the desire to give substance to things in the world that are not visible – the internal, the emotional, the spiritual –a way of attempting to assign to these concerns a more specific place in a world that seems to have already too much weight, gravity, density".
Career highlights.
From 1985 to 1996 Everett showed with the Montreal gallery Rene Blouin and since 2004 she shows with the Montreal gallery Han Art. Everett received attention early in her career and was described by one reviewer as, "one of the most rigorous and talented local artists of her generation". Her work has shown with other prominent Montreal artists like Betty Goodwin, Peter Krausz and Guido Molinari. Everett's work has shown in Ottawa, Montreal, Prince Edward Island, Mexico and Quebec City.


Fernando de Szyszlo

Fernando de Szyszlo Valdelomar (5 July 1925 – 9 October 2017) was a Peruvian painter, sculptor, printmaker, and teacher who was a key figure in advancing abstract art in Latin America since the mid-1950s, and one of the leading plastic artists in Peru.
Life.
Szyszlo was born in Lima, Peru; his mother was Peruvian of Spanish-Indian descent, and his father a geographer from Poland. In 1943, Szyszlo entered the architecture school of the National University of Engineering, but abandoned plans to follow that profession and enrolled in the School of Plastic Arts of the Pontifical Catholic University of Peru. After his graduation in 1948, he traveled to Europe where he studied the works of the masters, particularly Rembrandt, Titian and Tintoretto, and absorbed the varied influences of Cubism, Surrealism, Informalism, and abstraction. Szyszlo lived in Paris and Florence from 1948 to 1955, and then returned to Peru. While in Paris he met Octavio Paz and André Breton and was part of the group of expatriate Latin American artists and writers who met regularly at the Café de Flore, engaging in vigorous discussions on how they could participate in the international modern movement while preserving their Latin American cultural identity. Upon his return to Peru, Szyszlo became a major force for artistic renewal in his country breaking new ground by expressing a Peruvian subject matter in a non-representational style. In 1962, he became a professor of art at Cornell University. In 1965 he became a visiting lecturer at Yale University. Szyszlo was married to the Peruvian poet Blanca Varela (1926–2009), with whom he had two children. At the time of his death he resided and worked in Lima. He died on October 9, 2017, the same day as his second wife, Lila Yábar(m.1988) by a domestic accident according to his secretary.
Work.
His work is represented in public and private collections throughout the world, including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Anita Shapolsky Gallery, New York; Museum of Fine Arts, Houston; Art Museum of the Americas, Washington, D.C.; Museo de Arte de Lima (Peru); Museu de Arte Moderna, São Paulo, Brazil; Museo Nacional de Arte, La Paz, Bolivia; Museo de Arte Contemporaneo Arequipa (Peru); and the Museum of Latin American Art, Long Beach, California, among others.


Ethan Cook

Ethan Cook is a Brooklyn-based contemporary and process artist best known for his large-scale canvases of unmodulated color blocks that he partially weaves himself. Cook creates work with the appearance of a traditional, nonobjective painting; however, his work does not contain any paint, only carefully woven fabric. Cook's process work has been likened to the work of Abstract Expressionists Mark Rothko and Agnes Martin, and his art has been featured in the Los Angeles Times, the New York Times, Architectural Digest and Interview Magazine, among other publications.
Personal life.
Cook and his partner, Wray Serna, divide their time between their Clinton Hill apartment and their country home in the Catskills.
Bodies of work.
Woven Canvases, 2012-ongoing.
In 2012, Cook began his series of large-scale monochrome works on canvas with minimalist blocks of unmodulated color. Each canvas is a hybrid product of both store-bought machine-made canvas but also canvas that Cook wove himself using a hand loom. The duality of his process creates a dichotomy between craft and machine, perfection and imperfection, consistency and inconsistency and expansion and intimacy. These works share the aesthetic of paintings, yet are not made from paint, instead exploring the quiet subtlety of fabric itself. Cook celebrates the humble, traditional practice of weaving while also modernizing the technique through his use of scale, process and public exhibition.
Devotional Objects, 2015.
In this series, Cook fabricated large-scale relief sculptures from fiberglass of everyday objects. The artist found his inspiration from common bric-a-brac figurines—such as The Virgin Mary, cherubs and angels—that are culturally embedded with devotional significance. Cook re-interprets often overlooked household tchotchkes by altering their scale and materiality and re-contexting them to an exhibition environment.
Auction and exhibition history.
Cook has a robust exhibition and auction history throughout the United States and Europe. He has sold work at international auction houses Phillip's, Sotheby's and Christie's, and on the online auction platform, Artsy. In 2014, Cook's handwoven works were featured in a group show at the Sadie Coles Gallery in London. In 2019, the artist showed work at the annual Art Brussels fair in Belgium, a fair that spotlights unconventional process and materials.


Rupprecht Geiger

Rupprecht Geiger (26 January 1908 – 6 December 2009) was a German abstract painter and sculptor. Throughout his career, he favored monochromicity and color-field paintings. For a time, he concentrated solely on the color red.
Life and work.
Geiger was born in Munich, the only child of painter Willi Geiger. Besides Germany, the family spent time in Spain, and he also joined his father on trips to Morocco and the Canary Islands. It was on these trips that Geiger began painting. From 1926 through 1935 he studied and taught architecture and art at academic institutions in Munich. From 1936 to 1940 he worked as an architect at several firms, also in Munich. He was called up to fight in World War II and was at the Eastern Front in Poland and Russia, and then in 1943 and 1944 he was a war illustrator in the Ukraine and Greece. He exhibited his first abstract painting in 1948.
After the war, from 1949 to 1962 he was again active as an architect. In 1949, Geiger co-founded the Munich artists' group ZEN 49. Hilla von Rebay chose to exhibit his artwork at the Museum for Non-Objective Painting (later the Guggenheim Foundation).
From 1965 to 1976, Geiger was professor of painting at Staatlichen Kunstakademie Düsseldorf.
His paintings are often concerned with the theme of color. In the 1950s, he particularly studied the color red. Geiger's paintings are characterized by simple geometric forms (rectangles, ovals, circles), bright colors, and intense contrasts. The Diozesanmuseum Freising near Munich possesses a collection of his works.
Exhibitions.
Major international exhibitions of Rupprecht Geiger's long career included four in the German city of Kassel:
Awards.
In 1989 Geiger earned the Kultureller Ehrenpreis der Landeshauptstadt München. In 1992 he was awarded The Rubens Prize of the City of Siegen, in 1995 the Oberbayerischer Kulturpreis, and in 1997 the Goldene Ehrenmünze der Landeshauptstadt München.


Oscar love curse

The Oscar love curse or Oscar curse is a superstition that the woman who wins the Academy Award for Best Actress will have her boyfriend, fiancé, or husband cheat on her or divorce her soon after. It has also been applied to the Best Supporting Actress.
In their paper published in "Organization Science", Michael Jensen and Heeyon Kim use the "Oscar Curse" to examine the negative consequences of upward mobility following a sudden positive status shift. With an empirical study, the authors find "Oscar nominations/wins have positive professional consequences for male and female actors but more enduring negative personal consequences for male actors, thus emphasizing an important conundrum for male actors: Oscar nominations/wins can help a career but can also ruin a marriage."
Exceptions.
Some actresses have managed to "break" the curse. On even rarer occasions, actresses (e.g., Maggie Smith) both experience and break the curse.


Alexander Calder

Alexander Calder (; July 22, 1898 – November 11, 1976) was an American sculptor known both for his innovative mobiles (kinetic sculptures powered by motors or air currents) that embrace chance in their aesthetic, and static "stabiles" monumental public sculptures. He didn't limit his art to sculptures; he also created paintings, jewelry, theatre sets and costumes.
Calder preferred not to analyze his work, saying, "Theories may be all very well for the artist himself, but they shouldn't be broadcast to other people."
Born into a family of artists, Calder's work first gained attention in Paris in the 1920s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974).
Calder's work is in many permanent collections, including the Whitney Museum of American Art, the Guggenheim Museum, the Museum of Modern Art, the National Gallery of Art in Washington, D.C., and the Centre Georges Pompidou in Paris. He produced many large public works, including ".125" (at JFK Airport, 1957), "Pittsburgh" (Carnegie International prize winner 1958, Pittsburgh International Airport) "Spirale" (UNESCO in Paris, 1958), "Flamingo" and "Universe" (both in Chicago, 1974), and "Mountains and Clouds" (Hart Senate Office Building, Washington, D.C., 1996).
Although primarily known for his sculpture, Calder also created paintings and prints, miniatures (such as his famous "Cirque Calder"), theater set design, jewelry design, tapestries and rugs, and political posters. He was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War.
An important Calder work is the monumental "Floating Clouds" (1952–1953) of the Aula Magna (Central University of Venezuela) of the University City of Caracas in Venezuela. This work is a Unesco World Heritage Site. Calder's clouds were specially designed to combine art and technology, making the auditorium one of the top 5 university auditoriums in the world by sound quality.
Early life.
Alexander "Sandy" Calder was born in 1898 in Lawnton, Pennsylvania. His actual birthdate remains a source of confusion. According to Calder's mother, Nanette (née Lederer), Calder was born on August 22, yet his birth certificate at Philadelphia City Hall, based on a hand-written ledger, stated July 22. When Calder's family learned of the birth certificate, they asserted with certainty that city officials had made a mistake.
Calder's grandfather, sculptor Alexander Milne Calder, was born in Scotland, had immigrated to Philadelphia in 1868, and is best known for the colossal statue of William Penn on Philadelphia City Hall's tower. His father, Alexander Stirling Calder, was a well-known sculptor who created many public installations, a majority of them in Philadelphia. Calder's mother was a professional portrait artist, who had studied at the Académie Julian and the Sorbonne in Paris from around 1888 until 1893. She moved to Philadelphia, where she met Stirling Calder while studying at the Pennsylvania Academy of the Fine Arts. Calder's parents married on February 22, 1895. Alexander Calder's sister, Mrs. Margaret Calder Hayes, was instrumental in the development of the UC Berkeley Art Museum.
Four-year-old Calder posed nude for his father's sculpture "The Man Cub", a cast of which is now in the Metropolitan Museum of Art in New York City. In 1902 he also completed his earliest sculpture, a clay elephant. In 1905 his father contracted tuberculosis, and Calder's parents moved to a ranch in Oracle, Arizona, leaving the children in the care of family friends for a year. The children were reunited with their parents in March 1906 and stayed at the Arizona ranch during that summer.
The Calder family moved from Arizona to Pasadena, California. The windowed cellar of the family home became Calder's first studio and he received his first set of tools. He used scraps of copper wire to make jewelry for his sister's dolls. On January 1, 1907, Nanette Calder took her son to the Tournament of Roses Parade in Pasadena, where he observed a four-horse-chariot race. This style of event later became the finale of Calder's miniature circus performances.
In late 1909 the family returned to Philadelphia, where Calder briefly attended Germantown Academy, then they moved to Croton-on-Hudson, New York. That Christmas, he sculpted a dog and a duck out of sheet brass as gifts for his parents. The sculptures are three-dimensional and the duck is kinetic because it rocks when gently tapped. In Croton, during his high school years, Calder was befriended by his father's painter friend Everett Shinn with whom he built a gravity-powered system of mechanical trains. Calder described it, "We ran the train on wooden rails held by spikes; a chunk of iron racing down the incline speeded the cars. We even lit up some cars with candle lights". After Croton, the Calders moved to Spuyten Duyvil to be closer to New York City, where Stirling Calder rented a studio. While living in Spuyten Duyvil, Calder attended high school in nearby Yonkers. In 1912, Calder's father was appointed acting chief of the Department of Sculpture of the Panama–Pacific International Exposition in San Francisco, California, and began work on sculptures for the exposition that was held in 1915.
During Calder's high school years (1912–1915), the family moved back and forth between New York and California. In each new location, Calder's parents reserved cellar space as a studio for their son. Near the end of this period, Calder stayed with friends in California while his parents moved back to New York, so that he could graduate from Lowell High School in San Francisco.  Calder graduated with the class of 1915.
Life and career.
Alexander Calder's parents did not want him to be an artist, so he decided to study mechanical engineering. An intuitive engineer since childhood, Calder did not even know what mechanical engineering was. "I was not very sure what this term meant, but I thought I'd better adopt it", he later wrote. He enrolled at the Stevens Institute of Technology in Hoboken, New Jersey, in 1915. When asked why he decided to study mechanical engineering instead of art Calder said, "I wanted to be an engineer because some guy I rather liked was a mechanical engineer, that's all". At Stevens, Calder was a member of the Delta Tau Delta fraternity and excelled in mathematics. He was well-liked and the class yearbook contained the following description, "Sandy is evidently always happy, or perhaps up to some joke, for his face is always wrapped up in that same mischievous, juvenile grin. This is certainly the index to the man's character in this case, for he is one of the best natured fellows there is."
In the summer of 1916, Calder spent five weeks training at the Plattsburg Civilian Military Training Camp. In 1918, he joined the Student's Army Training Corps, Naval Section, at Stevens and was made guide of the battalion.
Calder received a degree from Stevens in 1919. He held a variety of jobs including hydraulic engineer and draughtsman for the New York Edison Company. In June 1922, Calder took a mechanic position on the passenger ship "H. F. Alexander". While sailing from San Francisco to New York City, Calder slept on deck and awoke one early morning off the Guatemalan Coast and witnessed both the sun rising and the full moon setting on opposite horizons. He described in his autobiography, "It was early one morning on a calm sea, off Guatemala, when over my couch—a coil of rope—I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other."
The "H.F. Alexander" docked in San Francisco and Calder traveled to Aberdeen, Washington, where his sister and her husband, Kenneth Hayes resided. Calder took a job as a timekeeper at a logging camp. The mountain scenery inspired him to write home to request paints and brushes. Shortly after this, Calder decided to move back to New York to pursue a career as an artist.
In New York City, Calder enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the "National Police Gazette" where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the circus action, a theme that would reappear in his later work.
In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905–1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder befriended a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Leger wrote a preface for the catalogue of Calder's first exhibition of abstract constructions held at the Galerie Percier in 1931. Calder and Louisa returned to America in 1933 to a farmhouse they purchased in Roxbury, Connecticut, where they raised a family (Sandra born 1935, Mary born 1939). During World War II, Calder attempted to join the Marines as a camofleur, but was rejected. In 1955 he and Louisa traveled through India for three months, where Calder produced nine sculptures as well as some jewelry.
In 1963, Calder settled into a new workshop, overlooking the valley of the Lower Chevrière to Saché in Indre-et-Loire (France). He donated to the town a sculpture, which since 1974 has been situated in the town square. Throughout his artistic career, Calder named many of his works in French, regardless of where they were destined for eventual display.
In 1966, Calder published his "Autobiography with Pictures" with the help of his son-in-law, Jean Davidson.
Calder died unexpectedly in November 1976 of a heart attack, shortly after the opening of a major retrospective show at the Whitney Museum in New York.
Artistic work.
Sculpture.
In 1926, at the suggestion of a Serbian toy merchant in Paris, Calder began to make mechanical toys. At the urging of fellow sculptor Jose de Creeft, he submitted them to the Salon des Humoristes. Calder began to create his "Cirque Calder", a miniature circus fashioned from wire, cloth, string, rubber, cork, and other found objects. Designed to be transportable (it grew to fill five large suitcases), the circus was presented on both sides of the Atlantic. Soon, his "Cirque Calder" (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space", and in 1929 had his first solo show of these sculptures in Paris at Galerie Billiet. "Hi! (Two Acrobats)" in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending.
It was the mixture of his experiments to develop purely abstract sculpture following his visit with Mondrian that led to his first truly kinetic sculptures, actuated by motors and cranks, that would become his signature artworks. Calder's kinetic sculptures are regarded as being amongst the earliest manifestations of an art that consciously departed from the traditional notion of the art work as a static object and integrated the ideas of gesture and immateriality as aesthetic factors.
Dating from 1931, Calder's sculptures of discrete movable parts powered by motors were christened "mobiles" by Marcel Duchamp, a French pun meaning both "motion" and "motive". However, Calder found that the motorized works sometimes became monotonous in their prescribed movements. His solution, arrived at by 1932, was hanging sculptures that derived their motion from touch or air currents. They were followed in 1934 by outdoor pieces which were set in motion by the open air. The wind mobiles featured abstract shapes delicately balanced on pivoting rods that moved with the slightest current of air, allowing for a natural shifting play of forms and spatial relationships. Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. In 1935–1936, he produced a number of works made largely of carved wood. At Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937), the Spanish pavilion included Calder's sculpture "Mercury Fountain".
Calder's mobiles carry cultural significance and can been seen in literary works of fiction. "The Calder Game" features Alexander Calder's Red Mobile as a crucial part of plot of the young adult mystery written by Blue Balliett and illustrated by Brett Helquist.
Although Calder's sculptures are not explicitly representational, many of his themes, symbols and shapes are related to the cosmos or suggestive of nature. During World War II, Calder continued to sculpt, adapting to a scarcity of aluminium during the war by returning to carved wood in a new open form of sculpture called "constellations". Postwar, Calder began to cut shapes from sheet metal into evocative forms and hand-paint them in his characteristically pure hues of black, red, blue, and white. Calder created a small group of works from around this period with a hanging base-plate, for example "Lily of Force" (1945), "Baby Flat Top" (1946), and "Red is Dominant" (1947). He also made works such as "Seven Horizontal Discs" (1946), which, like "Lily of Force" (1945) and "Baby Flat Top" (1946), he was able to dismantle and send by mail despite the stringent size restrictions imposed by the postal service at the time. His 1946 show at the Galerie Louis Carré in Paris, composed mainly of hanging and standing mobiles, made a huge impact, as did the essay for the catalogue by French philosopher Jean-Paul Sartre. In 1951, Calder devised a new kind of sculpture, related structurally to his constellations. These "towers", affixed to the wall with a nail, consist of wire struts and beams that jut from the wall, with moving objects suspended from their armatures.
While not denying Calder's power as a sculptor, an alternate view of the history of twentieth-century art cites Calder's turning away in the early 1930s from his motor-powered works in favor of the wind-driven mobile as marking a decisive moment in Modernism's abandonment of its earlier commitment to the "machine" as a critical and potentially expressive new element in human affairs. According to this viewpoint, the mobile also marked an abandonment of Modernism's larger goal of a rapprochement with science and engineering, and with unfortunate long-term implications for contemporary art.
Monumental sculptures.
In 1934, Calder made his first outdoor works in his Roxbury, Connecticut, studio, using the same techniques and materials as his smaller works. Exhibited outside, Calder's initial standing mobiles moved elegantly in the breeze, bobbing and swirling in natural, spontaneous rhythms. The first few outdoor works were too delicate for strong winds, which forced Calder to rethink his fabrication process. By 1936 he changed his working methods and began to create smaller-scale maquettes that he then enlarged to monumental size. The small maquette, the first step in the production of a monumental sculpture, was considered by Calder a sculpture in its own right. Larger works used the classic enlargement techniques of traditional sculptors, including his father and grandfather. Drawing his designs on craft paper, he enlarged them using a grid. His large-scale works were created according to his exact specifications, while also allowing him the liberty to adjust or correct a shape or line if necessary.
In the 1950s Calder concentrated more on producing monumental sculptures (his "agrandissements" period), and public commissions increasingly came his way in the 1960s. Notable examples are ".125" (1957) for JFK Airport in New York, "Spirale" (1958) for UNESCO in Paris, and "Trois disques", commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture, at 25.7 meters high, was "El Sol Rojo", constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public artworks were commissioned by renowned architects; for example, I.M. Pei commissioned "La Grande Voile", a 25-ton, 40-foot high stabile sculpture for the Massachusetts Institute of Technology in 1966.
Most of Calder's monumental stationery and mobile sculptures were made after 1962 at Etablissements Biémont in Tours, France. He would create a model of his work, the engineering department would scale it up under Calder's direction, and technicians would complete the actual metalwork — all under Calder's watchful eye. Stabiles were made in steel plate, then painted. An exception was "Trois disques", in stainless steel at 24 meters tall, commissioned by International Nickel Company of Canada.
In 1958, Calder asked Jean Prouvé to construct the steel base of "Spirale" in France, a monumental mobile for the UNESCO site in Paris, while the top was fabricated in Connecticut.
In June 1969, Calder attended the dedication of his monumental "stabile" sculpture "La Grande Vitesse" in Grand Rapids, Michigan. This sculpture is notable for being the first civic sculpture in the United States to receive funding from the National Endowment for the Arts.
In 1971 Calder created his "Bent Propeller" which was installed at the entrance of the World Trade Center's North Tower in New York City. When Battery Park City opened, the sculpture was moved to Vesey and Church Streets. The sculpture stood in front of 7 World Trade Center until it was destroyed on September 11, 2001.
In 1973, the 63-foot tall vermillion-colored public art sculpture "Four Arches" was installed on Bunker Hill, Los Angeles to serve as "a distinctive landmark." The plaza site was designed in tiers to maximize the sculpture's visual effects.
In 1974 Calder unveiled two sculptures, "Flamingo" at Federal Plaza, and "Universe" at Sears Tower, in Chicago, Illinois, accompanied by the exhibition "Alexander Calder: A Retrospective Exhibition," at the Museum of Contemporary Art, Chicago which opened simultaneously with the unveiling of the sculptures.
Originally meant to be constructed in 1977 for the Hart Senate Office Building, "Mountains and Clouds" was not built until 1985 due to government budget cuts. The massive sheet-metal project, weighing 35 tons, spans the nine-story height of the building's atrium in Washington, D.C. Calder designed the maquette for the United States Senate in the last year of his life.
Theatrical productions.
Calder created stage sets for more than a dozen theatrical productions, including "Nucléa", "Horizon", and most notably, Martha Graham's "Panorama" (1935), a production of the Erik Satie symphonic drama "Socrate" (1936), and later, "Works in Progress" (1968). "Works in Progress" was a "ballet" conceived by Calder himself and produced at the Rome Opera House, featuring an array of mobiles, stabiles, and large painted backdrops. Calder would describe some of his stage sets as dancers performing a choreography due to their rhythmic movement.
Painting and printmaking.
In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals. His projects from this period include pen-and-ink line drawings of animals for a 1931 publication of Aesop's fables. As Calder's sculpture moved into the realm of pure abstraction in the early 1930s, so did his prints. The thin lines used to define figures in the earlier prints and drawings began delineating groups of geometric shapes, often in motion. Calder also used prints for advocacy, as in poster prints from 1967 and 1969 protesting the Vietnam War.
As Calder's professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings were marketed, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available.
Painted aircraft and automobile.
One of Calder's more unusual undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas". George Stanley Gordon, founder of the New York City advertising agency Gordon and Shortt, approached Calder with the idea of painting a jet in 1972, but Calder responded that he did not paint toys. When Gordon told him it was a real, full-sized airliner he was proposing, the artist immediately gave his approval. Gordon felt that Braniff, known for melding the worlds of fashion and design with the world of aviation, would be the perfect company to carry out the idea. Braniff Chairman Harding Lawrence was highly receptive and a contract was drawn up in 1973 calling for the painting of one Douglas DC-8-62 jet liner, dubbed "Flying Colors", and 50 gouaches for a total price of $100,000. Two years later, Braniff asked Calder to design a flagship for their fleet celebrating the U.S. Bicentennial. That piece, a Boeing 727-291 jet N408BN called the "Flying Colors of the United States", and nicknamed the 'Sneaky Snake' by its pilots (based on quirky flight tendencies), featured a rippled image of red, white and blue echoing a waving American flag.
In 1975 Calder was commissioned to paint a BMW 3.0 CSL automobile, which would be the first vehicle in the BMW Art Car Project.
Jewelry.
Calder created over 2,000 pieces of jewelry over the course of his career, many as gifts for friends. Several pieces reflect his fascination with art from Africa and other continents. They were mostly made of brass and steel, with bits of ceramic, wood and glass. Calder rarely used solder; when he needed to join strips of metal, he linked them with loops, bound them with snippets of wire or fashioned rivets. Calder created his first pieces in 1906 at the age of eight for his sister's dolls using copper wire that he found in the street.
For his lifelong friend Joan Miró, Calder set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard that shimmered with dangling fish. In 1942, Guggenheim wore one Calder earring and one by Yves Tanguy to the opening of her New York gallery, The Art of This Century, to demonstrate her equal loyalty to Surrealist and abstract art, examples of which she displayed in separate galleries. Others who were presented with Calder's pieces were the artist's close friend, Georgia O'Keeffe; Teeny Duchamp, wife of Marcel Duchamp; Jeanne Rucar, wife of the filmmaker Luis Buñuel; and Bella Rosenfeld, wife of Marc Chagall.
Exhibitions.
Calder's first solo exhibition was in 1927 at the Gallery of Jacques Seligmann in Paris. His first solo show in a US commercial gallery was in 1928 at the Weyhe Gallery in New York City. He exhibited with the Abstraction-Création group in Paris in 1933.
In 1935, he had his first solo museum exhibition in the United States at The Renaissance Society at the University of Chicago. In New York, he was championed from the early 1930s by the Museum of Modern Art, and was one of three Americans to be included in Alfred H. Barr Jr.'s 1936 exhibition "Cubism and Abstract Art".
Calder's first retrospective was held in 1938 at George Walter Vincent Smith Gallery in Springfield, Massachusetts. In 1943, the Museum of Modern Art hosted a Calder retrospective, curated by James Johnson Sweeney and Marcel Duchamp; the show had to be extended due to the number of visitors. Calder was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in the summer of 1949. His mobile, "International Mobile" was the centerpiece of the exhibition. Calder also participated in "documentas" I (1955), II (1959), III (1964). Major retrospectives of his work were held at the Solomon R. Guggenheim Museum, New York (1964), the Fondation Maeght in Saint-Paul-de-Vence, France (1969), and the Museum of Contemporary Art, Chicago (1974). In addition, both of Calder's dealers, Galerie Maeght in Paris and the Perls Galleries in New York, averaged about one Calder show each per year.
An exhibition was held at the Hauser & Wirth gallery in Bruton, Somerset, called "Alexander Calder: From the Stony River to the Sky". It ran from May 26 – September 9, 2018.
An exhibition is held at the SF MOMA from February 16 – June 6, 2021 called "Elemental Calder".
Collections.
Calder's work is in many permanent collections across the world. The Whitney Museum of American Art, New York, has the largest body of work by Alexander Calder. Other museum collections include the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Centre Georges Pompidou, Paris; the Museo Nacional Centro de Arte Reina Sofía, Madrid; and the National Gallery of Art, Washington, D.C. There are two pieces on display in the Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY.
The Philadelphia Museum of Art offers a view of works by three generations of Alexander Calders. From the second floor window on the east side of the Great Stair Hall (on the opposite side from the armor collection) there is behind the viewer the "Ghost" mobile from the 3rd generation (born 1898), ahead on the street is the "Swann Memorial Fountain" by the 2nd generation (born 1870), and beyond that the statue of "William Penn" atop City Hall from the 1st generation (born 1846).
Art market.
In the late 1930s and early 1940s, Calder's works were not highly sought after, and when they sold, it was often for relatively little money. A copy of a Pierre Matisse sales ledger in the foundation's files shows that only a few pieces in the 1941 show found buyers, one of whom, Solomon R. Guggenheim, paid only $233.34 () for a work. The Museum of Modern Art had bought its first Calder in 1934 for $60, after talking Calder down from $100. In 2010, his metal mobile "Untitled (Autumn Leaves)", sold at Sotheby's New York for $3.7 million. Another mobile brought $6.35 million at Christie's later that year. Also at Christie's, a standing mobile called "Lily of Force" (1945), which was expected to sell for $8 to $12 million, was bought for $18.5 million in 2012. Calder's 7.5-foot-long hanging mobile "Poisson volant (Flying Fish)" (1957) fetched $25.9 million, setting an auction record for the sculptor at Christie's New York in 2014.
Galerie Maeght in Paris became Calder's exclusive Parisian dealer in 1950 and for the rest of Calder's life. After his New York dealer Curt Valentin died unexpectedly in 1954, Calder selected the Perls Galleries in New York as his new American dealer, and this alliance lasted until Calder's death.
Legacy.
Beginning in 1966, winners of the National Magazine Awards are awarded an "Ellie", a copper-colored stabile resembling an elephant, which was designed by Calder. Two months after his death, the artist was posthumously awarded the Presidential Medal of Freedom, the United States' highest civilian honor, by President Gerald Ford. However, representatives of the Calder family boycotted the January 10, 1977, ceremony "to make a statement favoring amnesty for Vietnam War draft resisters".
Calder Foundation.
In 1987, the Calder Foundation was established by Calder's family, "dedicated to collecting, exhibiting, preserving, and interpreting the art and archives of Alexander Calder and [is] charged with an unmatched collection of his works". The foundation has large holdings, with some works owned by family members and others by foundation supporters. The art includes more than 600 sculptures including mobiles, stabiles, standing mobiles, and wire sculptures, and 22 monumental outdoor works, as well as thousands of oil paintings, works on paper, toys, pieces of jewelry, and domestic objects.
After having worked mainly on cataloging Calder's works, the Calder Foundation is now focusing on organizing global exhibitions for the artist.
Authenticity issues.
The Calder Foundation does not authenticate artworks; rather, owners can submit their works for registration in the Foundation's archive and for examination. The committee that performs examinations includes experts, scholars, museum curators, and members of the Calder family. The Calder Foundation's website provides details on the current policies and guidelines governing examination procedures.
In 1993, the owners of "Rio Nero" (1959), a sheet-metal and steel-wire mobile ostensibly by Calder, went to the United States District Court for the District of Columbia charging that it was not by Alexander Calder, as claimed by its seller. That same year, a federal judge ruled that for "Rio Nero" the burden of proof had not been fulfilled. Despite the decision, the owners of the mobile could not sell it because the recognized expert, Klaus Perls, had declared it a copy. The judge recognized the problem at the time, noting that Perls' pronouncement would make "Rio Nero" unsellable. In 1994, the Calder Foundation declined to include the mobile in the catalogue raisonné on the artist.
Referring to the "Rio Nero" case, the Appellate Division of the New York Supreme Court in 2009 rejected the appeal of an art collector who wished to sell a couple of stage sets that Calder had designed but did not live to see completed, which had been unsuccessfully submitted to the Calder Foundation for authentication. The court found that it did not have the power to declare the purported Calder work authentic, nor to order the Calder Foundation to include it in the catalogue raisonné.
In 1995, questions arose about another purported Calder, "Two White Dots" (not to be confused with the similarly-named piece, "Two White Dots in the Air", which Calder created in 1958). In 1973, Calder had created a -high sheet metal maquette for an unrealized stabile he called "Two White Dots". He gave this maquette to Carmen Segretario, founder and owner of the Segré Foundry of Waterbury, Connecticut. For decades, Calder had utilized the services of Segré Foundry in manufacturing his mobiles and stabiles. Each piece (no matter how many copies were made) would be initialled personally by Calder in white chalk, after which a welder would follow the chalk marks to burn the initials into the work. Calder died in 1976, without a full-size version of "Two White Dots" having been made. In 1982, Segretario constructed a full-size version of "Two White Dots", and sold it in 1983 to art dealer Shirley Teplitz for $70,000. Segetario's documentation claimed that the work had been fabricated around 1974 "under the supervision and direction of Artist". "Two White Dots" was then sold at auction in May 1984 for $187,000. Over the next decade, the piece was sold repeatedly. In 1995, Jon Shirley (the former president of Microsoft and a Calder collector) purchased "Two White Dots" for $1 million. When Shirley submitted the work to the Calder Foundation for inclusion in their catalogue raisonné, the Foundation contested the work's authenticity. The André Emmerich Gallery refunded Shirley's money, and sued the Segré Foundry, which sought bankruptcy protection. The suit was settled out of court in the late 1990s. "Two White Dots" now resides outdoors on a farm near a river outside the small town of Washington, Connecticut.
Plans for a Calder Museum.
After similar ideas were developed for New York in 1998, plans for a museum devoted to Calder in Philadelphia were announced in 2000. The proposed 35,000-square-foot Calder museum, designed by Japanese architect Tadao Ando, was to be located on a two-acre lot. The facility, which was slated for a 2008 opening, would have cost an estimated $70 million. The late sculptor's heirs had agreed to an unprecedented gift to the museum but in 2005, the plans were abandoned over failed fundraising efforts.


Yelena Yefimova

Yelena Ivanovna Yefimova (born 1948 in Russia) is a Russian artist and sculptor and a member of the National Association of Art crafts and Guild masters (armourers division). She has participated in six specialized weapons exhibitions and more than twenty other national and international exhibitions. Her works are in private and museum collections, including the collection of the State Historical and Cultural Museum-Reserve at the Moscow Kremlin.
She graduated in 1968 from Abramtsevo Artistic-Industrial College, Vasnetsova, in the department of art of carving on bone. From 1968 to 1974, she worked at the "Northern Souvenirs" Chukchi at workshop in the village Uelen. From 1976 to 1987 she was chief artist at the Research Institute of the Art Industry in the scientific laboratory of bones, skin, and fur. She has 35 years of experience in the fields of jewelry and decorative arts. She is a member of the National Club of the Hortaya borzaya breed of borzoi dogs.


Public Opinion Poll Center

The Public Opinion Poll Center (POPC) is one of Egypt's most outstanding polling centers and is the first center in Egypt as well as the Arab world to use telephones as a data collection tool. Affiliated to the Cabinet's Information and Decision Support Center (IDSC), the POPC was established in 2003, as the first poll center in Egypt responsible for studying trends of Egyptian public opinion towards different internal social, political and economic affairs. Such trends are forwarded to decision makers to use them in the preparation of different plans and policies. The POPC also measures public opinion preferences in order to understand priority issues and put them on the priority list of decision makers.
The POPC aims to provide accurate and fast measurement of Egyptian public opinion trends in a way that helps decision makers take accurate decisions. The POPC tries to reinforce the role of polls in supporting decision makers and achieving comprehensive development, strengthening the bond between the government and the people and building a social culture that accepts the idea of public opinion polling and encouraging positive participation.
The POPC depend on telephones in their data collection process. A data base compromising ten millions publicly listed landline telephone numbers is used. Telephones have been proven to be less costly and time and effort saving. A uni-stage stratified sample is designed for Egyptian households in different governorates after being divided into three areas: urban governorates, Upper Egypt and Lower Egypt. Relative weights are then given to each area according to their actual representation in society. Sample size used by the POPC ranges from 1 to 2 thousand, depending on the nature of the poll. A factor analysis method is used to calculate the economic class of households, depending on the ownership of certain possessions, and dividing them into three economic classes: low, middle and high.
An Electronic Poll Management System has been used by the POPC since 2006. This system is considered as one of the pioneer systems in the field of public opinion poll management in the Middle East due to its high capabilities in completely automating the work flow. The EMS is the first Arab professional effort done to provide an integrated surveying solution based on the use of the latest technologies and supported by theoretical and scientific standards and specifications.
Polls conducted by the POPC cover a wide range of topics, particularly pertaining to economic, social and political matters. Polls conducted include subsidies, healthcare, investment, education, unemployment, the job market, political participation, political amendments, women's participation in political life, role of women in society, and many others.
The Public Opinion Poll Center has many national, regional and international partners. On the international level, POPC has previously conducted polls in cooperation with the UNDP, WTO, Globescan, and several others. On the national level, POPC works with all different ministries, government institutions such as the Social Fund for Development (SFD) and National Council for Childhood and Motherhood (NCCM), as well as local and research centers and national councils.


Constraint automaton

In computer science, Constraint automata are a formalism to describe the behavior and possible data flow in coordination models. It was introduced by Arbab et al. as a variation of finite automata for model checking Reo connector circuits.
Constraint automata can be considered generalizations of probabilistic automata, in which data constraints, instead of probabilities, label state transitions and influence their firing.


Callum Innes

Callum Innes (born 1962) is a Scottish abstract painter, a former Turner Prize nominee and winner of the Jerwood Painting Prize. He lives and works in Edinburgh, Scotland.
Early life and education.
Callum Innes was born in Edinburgh. He studied at Gray's School of Art (1980–84) and graduated from Edinburgh College of Art in 1985.
Career.
Innes began exhibiting in the mid-to-late 1980s and in 1992 had two major exhibitions in public galleries, at the ICA, London, and the Scottish National Gallery of Modern Art, Edinburgh. Since then he has had numerous solo exhibitions throughout Britain, Europe, North America, New Zealand and Asia.
Solo Exhibitions.
Innes' first major London exhibition was hosted in 1990 at Frith Street Gallery, London who continue to represent him. A substantial selection of his best-known series, the "Exposed" paintings, was exhibited in 1998 at the Ikon Gallery, Birmingham, England, and at the Kunsthalle Bern the following year. "From Memory", a major exhibition of Callum Innes' work over the past 15 years, was shown at The Fruitmarket Gallery, Edinburgh in 2006, and toured to Modern Art Oxford, and the Museum of Contemporary Art, Sydney.Innes had a substantial solo exhibition of new work at Ingleby Gallery for the Edinburgh Art Festival (2009). "At One Remove", featured at Sean Kelly Gallery New York (2010), as did an exhibition entitled "water|colour", featuring 101 of the artist's watercolours paired with text by Irish writer Colm Tóibín. Callum Innes held his first major solo exhibition in Asia at Edouard Malingue Gallery in Hong Kong in 2012.
His most recent solo exhibitions include "Callum Innes: Keeping Time", Frith Street Gallery, London (2019), "In Position," Château La Coste, Le Puy-Sainte-Réparade, France (2018), "Watercolours", Galerie Tschudi (2013–14), "Liminal", Sean Kelly Gallery, New York (2013), Whitworth Gallery, Manchester (2013) and i8 Gallery, Reykjavik, Iceland (2013). "I'll Close my Eyes""," a major retrospective of Innes' work, was shown at De Pont Museum of Contemporary Art, Tilburg, Netherlands in 2016.
Group Exhibitions.
Callum Innes has participated in many group shows including "The British Art Show 3" (1990), "Wonderful Life", Lisson Gallery, London (1993), "From Here", Karsten Schubert Gallery and Waddington Galleries (1994), "Abstractions Provisoires", Musee d'Art Moderne de St Etienne (1997), the touring exhibition "About Vision - New British Paintings in the 1990s" (1996-7) and "Abstract Painting Once Removed" at the Contemporary Arts Museum Houston. The last decade has seen Innes continue to participate in international group exhibitions including "Six Degrees of Separation" Jensen Gallery, Auckland, New Zealand (2001), "Singular Forms (Sometimes Repeated): Art from 1951 to the Present", Solomon R. Guggenheim Museum, New York (2004), "Three: 3 Artists in solo displays", Irish Museum of Modern Art, Dublin, Ireland (2007), "Sometimes Making Something Leads to Nothing", Ingleby Gallery, Edinburgh (2009), "What you see is where you're at", Scottish National Gallery of Modern Art, Edinburgh (2010), "Heaviness and Grace", Villa Medici, Rome, Italy (2010). Recent group exhibitions include, "Actions. The image of the world can be different", Kettle’s Yard, Cambridge (2018). "Abstract Painting Now!," Kunsthalle Krems, Krems, Austria (2017),"Silver," Frith Street Gallery, London (2014), "GENERATION: 25 Years of Contemporary Art in Scotland", Scottish National Gallery, Edinburgh (2014) and "Watercolour", Tate Britain (2011), among others.
Collections.
Innes' work is represented in numerous collections, both private and public including the Scottish National Gallery of Modern Art, The Fort Worth Museum of Modern Art, The Irish Museum of Modern Art, The Tate London, The San Francisco Museum of Modern Art, The National Gallery of Australia, Canberra, Guggenheim Museum, Deutsche Bank, De Pont Museum of Contemporary Art, Centre Pompidou, Museu d’Art Contemporani de Barcelona and Arts Council Collection, UK, British Museum, London, IMMA, Dublin, Whitworth Art Gallery, Manchester and Philadelphia Museum of Art, among others.
Recognition.
In 1995 he was shortlisted for the Turner Prize which was won by Damien Hirst. In 1998 Innes won the NatWest Art Prize and in 2002 he won the Jerwood Painting Prize and the Artisti Invitati Al Premio Internazionale.


Bernard Lokai

Bernard Lokai (born 5 September 1960 Bohumin, Czechoslovak Socialist Republic) is a German painter. He studied at the Kunstakademie Düsseldorf and was a student of Gerhard Richter, and part of the Young Figuratives movement. He lives and works in Düsseldorf and Berlin, Germany. In 2002 he began teaching at the Freie Kunstakademie Essen in Essen in the Department of Painting and Graphics.
Life.
After his parents left the Czechoslovak Socialist Republic Bernard Lokai grew up in Düren, Germany. After finishing high school he began to study art at Kunstakademie Düsseldorf in 1982. In 1987 he finished the academy as "Meisterschüler" of Gerhard Richter. At the academy he met the colorfield landscape painter Hans-Jörg Holubitschka, with whom he has participated in several exhibitions as part of the exhibition serial Young Figuratives.
Work.
Bernard Lokai's work incorporates the gestural brushstrokes of Abstract Expressionism and the spray paint of graffiti. His "Landscape Block" works consist of multi-panelled grids composed of eighteen 12 by 16 inch panels, each painted in the studio, then combined into a grid at random.
Art critic Mara Hoberman wrote that Bernard Lokai's Landscape Blocks depict "eighteen land-, sea-, and sky-scapes in disparate styles quoting, in turn, the brushstrokes of Monet, Turner, and Richter (his teacher), among others."


Gretna Campbell

Gretna Campbell Finkelstein (1922 – July 14, 1987) was an American painter and educator who was affiliated with the abstract expressionist New York School. Campbell's works are described as having developed "among a generation of painters respectful of the achievements of Abstract Expressionism but confident that depictions of the natural world remained timely and significant."
Born in the Bronx, Campbell began formal studies in painting in 1939 attending an art workshop organized by the Works Progress Administration (WPA), and continued at Cooper Union and the Art Students League in New York City. In 1946, she married fellow New York School artist Louis Finkelstein (1923-2000). After studies in France, and Italy, and brief stints in Provincetown on Cape Cod, she settled into spending her summers painting on Cranberry Island, Maine and the rest of the year in New York City.
Campbell taught at the Brooklyn Museum, Philadelphia College of Art, Yale School of Art, Maryland Institute College of Art, and the New York Studio School. From 1978 to 1986, she and her husband settled in Stillwater Township, New Jersey where she began painting in the winter and spring until her final illness. In 1987, she was elected into the National Academy of Design as an associate member.
On 14 July 1987, Gretna Campbell died in New York City.


Ce Roser

Cecilia Roser, who works under the name Ce Roser, was born in Philadelphia, Pennsylvania in 1925. Roser has been active in New York City as an artist since the 1960s. Ever since childhood, Roser had been painting and drawing.<ref name="Institute for Women and Art, accessed March 4, 2013, http://iwa.rutgers.edu/programs/mary-h-dana-women-artists-series/40-years-of-women-artists-at-douglass-library/introduction-to-women-artists-series-year-6/"></ref> While studying in Berlin, Roser learned of a female artist named Käthe Kollwitz. Kollwitz, who worked until the day she died, was an inspiration to Roser. Remarking that she would like to live that way too, Roser proceeded to emphasize the need for young artists, especially women, to find a fitting predecessor and mentor.
Roser studied under the Japanese calligrapher Hidai Nankoku (b. 1912) during his New York City visit. Roser later transferred the experience of rendering abstract characters on paper to painting on canvas. Although the experience with Hidai paid homage to her Asian ancestry, Roser’s work does not fall into the East Asian art tradition. According to Peter Townsend, Roser’s work seems “oriental only to those who don’t know oriental art.”
In addition to Kollwitz and Hidai, Roser admired Emil Nolde's watercolors and the way Claude Monet transformed nature into paint. Hans Uhlmann, Charmion von Wiegand, and Sari Dienes also served as other mentors for her vivid, lively, and daringly delicate work.
Art.
Roser has stated that it is for others, not her, to say what tradition her art belongs to; yet many critics categorize her work as abstract. Abstract art focuses on what a person sees; i.e. color, shape, size, and scale, thus, it does not directly depict objects in the visible world. Roser’s work exemplifies the idea that art is a bridge between the verbal and pre-verbal world, a blending of the reality and perception of life. Roser believes that the “communication of painting can express the architecture, landscape, aerial views, free associations, random choices and unexpected juxtapositions of perceptions and feelings that constitute life experience.” Roser’s abstraction and distinct style of purposefully using colors has been described as “suggesting a symbolic language of earth and mountain topography.” That critique continues on to stress that her work is a great example of “perception shifts” and her abstraction is able to “engage the viewer through ambiguity.”
John Russell described her work as “something of the headlong imagery of Kandinsky's early ‘Improvisations’” and referred to her “recognizable images which come and go” with color that is “everywhere light, clear, clean and free.” The use of expansive white space helps in her emphasis of crisp clean color which is used with distinct intention so much that Roser is regarded as “very good on the edges of her pictures, too, with plenty of action backed up into the corners.” This increase in white space, praised by many critics, came about as a translation of the sunlight that she saw flickering on the Hudson River from her New York studio. The work owned by The Cleveland Museum of Art is a good example of the use of expansive white space.
While some critics claim that her work is “best suited for water color,” Roser’s style is bold, vibrant and unintentionally intimate. Her colorful style and broad brush strokes “become abstract elements that float over the picture plane.” The organic nature of her paintings reflect a process based on feeling and through the rhythm and underlying harmony, viewers are given a pleasurable experience for the eyes. Roser’s work embodies childlike verve and spirited expression while remaining seemingly delicate.
Women in the Arts Foundation (WIA) and Women Choose Women.
Women in the Arts (WIA) was founded by both Cynthia Navaretta and Ce Roser as a protest against the chauvinism of art galleries. The foundation was created as a solution to the failure of galleries to actively exhibit works by women artists. The Women in the Arts Foundation continues work to overcome discrimination against women artists by providing information that aids women in functioning effectively as professional artists. Since its creation in 1971, WIA has obtained grants from the National Endowment for the Arts, Exxon Corporation, Mobil Foundation, the Eastman Fund, and Consolidated Edison thus allowing its objective to be achieved. Currently WIA is open to all women interested in the arts.
“Women Choose Women Exhibition” was organized as the first exhibition by WIA. The exhibition was held in 1973, at the New York Cultural Center, after Mario Amaya responded to an exhibition proposal that the WIA group sent to every major art museum in New York. The works that were exhibited were selected by a committee composed of WIA members, including Pat Passlof, Ce Roser, Sylvia Sleigh, Linda Nochlin, Elizabeth C. Baker, and Laura Adler. In all, 109 artists were selected from among the 700 anonymous submissions that were received to be exhibit in the show. Among those chosen for the exhibition were Audrey Flack, Hannah Wilke, Alice Neel, May Stevens, and Faith Ringgold. The exhibition was historic because a female panel, composed mainly of artists, selected the work of their sisters to be exhibited. “Women Choose Women” sought to represent the ability of all artists in order to overcome the hierarchy and bureaucracy of the museums.
Roser was a supporter of exhibiting in alternative spaces and stressed how exhibiting at the Mary H. Dana Artists Series opened a window that introduced her work to Lawrence Alloway. Her painting Double Vision (1991) was in the collection of her colleague, Sylvia Sleigh, who was married to Alloway. Today, the painting is part of the Sylvia Sleigh Collection at Rowan University. Roser also exhibited at the East Hampton Guild Hall “Artist of the Region,” a show that sought to revel under-recognized talent.


Leo Amino

Leo Amino was a Japanese-American sculptor known for his Abstract Expressionist sculptures created with a variety of materials, including wood, wire, and plastics.
Biography.
Born in 1911 in Taiwan, to Japanese parents, he spent much of his early life in Tokyo, where his father's calligraphy and his mother's floral design interested him in working in art. He immigrated to the United States in 1929, enrolling at San Mateo Junior College before briefly attending New York University.
In 1937 he began studying direct carving at under Chaim Gross at the American Artists School. His pieces were included in the 1939 New York World's Fair alongside those of Isamu Noguchi. Another influence was sculptor Henry Moore, whose work Amino encountered on a trip to England in 1938.
Amino's artistic career was briefly halted by World War II, during which he served in the US Navy as a translator. After the war concluded, he noticed the increased availability of synthetic resin due to its use as a substitute for materials that were needed for the war effort. He became the first artist to experiment with and use synthetic resin as an artistic medium, alternating between resin and wood in his sculptures.
In the summers of 1946 and 1950, he taught at Black Mountain College, and from 1952 until 1977 taught at Cooper Union.
Amino died on December 1, 1989, in New York City.
His work is held at institutions including the Asheville Art Museum, Carnegie Museum of Art, Los Angeles County Museum of Art, Montclair Art Museum, The Museum of Modern Art, Newark Museum, Smithsonian American Art Museum, Whitney Museum of American Art, and the Zimmerli Art Museum at Rutgers University.


Michel Gigon

Michel Gigon (born 1929 in Caen, Calvados) is a French painter and stained-glass window designer. He began his artistic career in 1953.
Work.
Gigon had many exhibitions in France, Germany, Switzerland, Japan and Poland. Many of its paintings are in private collections in France, Switzerland, Germany, Spain.
Bibliography.
Revue du centre international du vitrail - n° 4 - 2eme semestre 1989
ISSN 0991-0131
Page 52: Les peintres et le vitrail
About Michel Gigon.
Jil Silberstein, preface from André Frossard (1980).
Françoise Perrot - Centre international du vitrail - Chartres
Edition: L'oeil & la main - La manufacture
Diffusion LA MANUFACTURE 1984
Page 68
Jean-Marie Geron - Albert Moxhet
Edition: Dexia - La renaissance du livre
Collection Références
Pages 18, 146, 147
association
Monuments de picardie
April 1987
Pages 4, 5
Portrait "Un artiste déconcertant"
Geneviève Bayle