David Martinello sculpture draws attention to human relationship with wood and environment
City unveils large-scale wood and metal sculpture in ‘heart of Old City Quarter’
Making America: Sameer Makarius and his Photographs of the Feria de América in 1954 in Mendoza
Making America: Sameer Makarius and his Photographs of the Feria de América in 1954 in Mendoza
Sameer Makarius was born in Cairo in 1924. In 1933, he immigrated with his family to Berlin. At the age of ten, his father gifted him a camera, marking the beginning of his journey with photography. Following the outbreak of the Second World War, in 1940, they moved to Budapest, where he completed his secondary education, began his artistic training, and connected with the protagonists of the local avant-garde. In 1946, he embarked on his return to Egypt with a prior stop in Zurich. There, he organized an exhibition of Hungarian modern art with the support of Max Bill. Back in Cairo, he worked as a decorative artist for advertising and also for an architecture and construction studio.
His artistic work arrived in the Río de La Plata a few years before he did, through his partner Eva Reiner, who was already living in Argentina with her family. In 1948, she lent one of his works for the MADI art exhibition organized in the workshop of the German sculptor Martin Blaszko. After marrying Eva in Egypt in 1952, they traveled together to Paris, where they worked as pattern designers. They finally arrived in Buenos Aires in April 1953, a city that would become their permanent residence. His migratory journey was marked by the drama of war. At the same time, during these displacements, Makarius built a network of relationships around photography, visual arts, and architecture that allowed him to unfold his work in various territories and formats.
Part of that network was activated after he arrived in Buenos Aires, leading him to Mendoza to participate in the Feria de América in 1954. The exhibition was scheduled during the second Peronist government with a dual purpose: on the one hand, to showcase the advances of industrial development in Argentina, and on the other hand, to stage an idea of America based on the unity of Latin American peoples [1]. The overall organization was led by the industrialist Iván Bacsinszky [2], while the architecture and planning of the event were in the hands of architects César Jannello and Gerardo Clusellas. Although both came from Buenos Aires, the former had settled in Mendoza in the late 1940s to work as a professor of Scenography at the Academy of Fine Arts and later as the Director of the School of Ceramics at the National University of Cuyo. In contrast, Clusellas continued his professional activities in the Federal Capital as a member of the OAM studio [3]. Jannello also invited the artist Tomás Maldonado to develop the visual identity of the exhibition, of which he ultimately only designed the graphic module. Later, local artist René Barbuy took charge of turning it into an extensive system applied to signage, and brochures, among other pieces and objects. It is not clear exactly how Makarius arrived, but his time in Mendoza was documented in the Nueva Visión magazine, affiliated with the organizing group, where some of the photographs he took at the event were published [4]. Additionally, he participated as a decorative artist, designing the stand for the “La Cuerina” company and a combined music and bar furniture piece for another client [5].
Shortly before the seventieth anniversary of the inauguration of the Fair, the Municipal Museum of Modern Art in Mendoza recalls the event in the exhibition “En el futuro esto ya pasó. Makarius en Mendoza,” curated by Wustavo Quiroga. The selection of photographs recovers some views of the best pavilions. Among them stands out the pavilion of the Republic of Chile, whose vaulted structure based on a wooden grid surprised with precision in its technical execution. On the other hand, the provincial pavilions of San Juan and Mendoza adhered to the more understated Miesian lines that dominated most of the ensemble. Pavilions such as those of the Metalúrgicos Luis Pescarmona Workshops, Cinzano, and Federación Textiles Argentinos, representing some of the most thriving sectors of the industry at that time, presented more vibrant proposals characteristic of advertising architecture. Representing the national government, various ministries, such as Public Works and Agriculture and Livestock – among others – also had their exhibition spaces, as did public educational institutions like the National University of Cuyo.
Makarius’s photographs offer different types of records of the event. Some, such as the dance floor on the lake island, allow for the observation of these spaces being inhabited by users, such as musicians and dancers in motion. Others focus on the scenic setups of some stands, like those of textiles and fabrics. The rest concentrate on the architecture of the pavilions, with their modular structures and prefabricated elements. Among the latter, it is worth highlighting the series dedicated to the Allegorical Tower and the one of the MOP Pavilion. Both constructions are also represented in the exhibition by two models located in the center of the room.
The Tower was designed by Jannello and Clusellas as a work of sculptural architecture, located at the entrance of Parque San Martín, between the Caballitos de Marly. It was constructed based on a metal framing system that gave it a light and transparent appearance. The central structure, fifty meters in height, was surrounded by five cubes arranged in a spiral. Inside each cube, two pyramids connected at the vertex were placed, made of metal mesh painted in red and white, emulating the graphic module conceived by Maldonado. At night, the structure was illuminated through a light system synchronized with an electroacoustic music piece composed by Mauricio Kagel, combining instrumental passages with industrial sounds. Through the Tower, its authors reformulated the idea of a monument in a modern key. Additionally, they developed a proposal for the integration of the arts (architecture, sculpture, and music) that engaged with the aesthetic debates of the post-war period.
The Pavilion 24 occupied by the Ministry of Public Works consists of two volumes, one in the shape of a rectangular parallelepiped and another with a circular floor plan, interconnected and linked to the exterior through ramps and stairs. Similar to the tower, the building stood out for its structural approach and technical execution, which simultaneously served as its main aesthetic attributes. This construction is the only vestige that survived the Fair and remained standing, although its use has changed [6]. Thanks to the efforts of a group of architects and designers led by Quiroga, the building was recently declared of heritage interest and is being prepared for restoration. On the other hand, the collective is working on the reissue of the book “Feria de América: vanguardia invisible” [7], incorporating new sources and archival materials found in the last decade, after its initial publication. Additionally, they propose to reconstruct the Allegorical Tower as part of the celebrations for the seventieth anniversary of the event.
Makarius’s exhibition is part of this series of initiatives that seek to recover the modernizing legacy of the Feria de América in broader terms. At the same time, it invites a deeper exploration of a figure recognized in the field of photography but less explored from the perspective of the history of architecture and design. Both the visual arts and architecture, as well as the city, had a relevant and sustained presence throughout his career: as a designer, he worked for firms like Churba; as a photographer, he documented the construction of buildings such as the Siam Di Tella plant (1959-1960), collaborated with Clorindo Testa, and captured the building of the Rudolf Steiner School (1961), the first Waldorf school in Argentina. His trajectory speaks to the artistic and intellectual networks that were woven in the aftermath of the Second World War when America became a refuge and a future horizon for Western culture.
About the author
Cecilia Durán is an architect and holds a Master’s degree in the History and Culture of Architecture and the City. Her thesis, “Arquitectura como arte público” (Architecture as Public Art), was published as a book in 2020. She is a member of the Laboratory of Space, Technology, and Culture at the National University of Quilmes.
Notes
[1] The countries represented in the competition with their own pavilions were Paraguay, Brazil, and Chile. The rest of the participating Latin American countries gathered in Pavilion 23, including Bolivia, Colombia, Cuba, Costa Rica, the Dominican Republic, El Salvador, Guatemala, Haiti, Honduras, and Mexico. [2] Of Hungarian origin, Bacsinszky had experience in organizing exhibitions based on his work for the company Tungsram in his home country. In 1933, he migrated to South America, first to Buenos Aires and then to Mendoza, where he founded the company Only SA dedicated to furniture production (Quiroga, 2012). [3] The Organization of Modern Architecture, created in 1948, brought together a group of young Argentine architects such as Horacio Baliero, Juan Manuel Borthagaray, Francisco Bullrich, Alicia Cazzaniga, Gerardo Clusellas, Carmen Córdova, Jorge Grisetti, among others. The group established relationships with Tomás Maldonado and the artists of the Concrete Art Association “Invention,” with whom they collaborated in the creation of the magazine Nueva Visión (1951) and later the homonymous publishing house in the mid-1950s. In addition to their architectural projects, they also ventured into the design of furniture and objects (Liernur, 2004). [4] “Información. La Feria de América”, Nueva Visión, 6, 1955, pp. 30-34. [5] Information provided by his daughter, Leila Makarius, in conversation with the author. [6] For many years it served as a gymnasium for police personnel. [7] The book, the result of a collective research work, was published in 2012 by the Fundación del Interior.The Fine Print: Making A World Of Difference
Hate knows no boundaries.
Fall 2023 GMU Art and Design Senior Show: Hue
Mason’s School of Art presents HUE, an exhibition showcasing the work and talents of 54 graduating seniors. The exhibit opens on Dec. 4 in spaces within the Art and Design
Chris Gampat Shares How Photography is Art, Not Content
As the latest addition to the staff, I know I’ve wondered why The Phoblographer is like it is and what makes us work the way we do. Is it the inclusivity? The authenticity? Our commitment to journalism and its core values? The fact that we certainly despise the word content and the devaluation of the arts associated with it? The short answer is a resounding yes. The long answer? The Phoblographer is what it is, thanks to Chris Gampat, founder, publisher, and editor-in-chief. And you can learn more about this by heading to Something New Every Week and listening to Chris’s interview with Jason Groupp and Jackie Tobin.
Head to SNEW at Buzzsprout, Spotify, or iTunes and give it a listen. You won’t regret it.
The Episode, a Not-so-quick Summary
Starting with a personal overview —including, of course, his legally blind status, which gives him a very different, fascinating view of photography— the episode goes over the fourteen years the Phoblographer has been running and, of course, some insights into what the future may hold for us.
The Early Days
Back in the late 2000s, Chris graduated into a terrible recession and a period where, even with many internships under his belt, he couldn’t secure a full-time job. This led to the creation of the Phoblographer, a job balanced with internships at places like PCMag and Magnum for monetary reasons and the need to learn from more experienced journalists.
In the podcast we also learn about something Chris and The Phoblographer were pioneers at, changing the way the industry approaching gear testing.
What’s Hard About Interviewing Photographers
Our approach to interviewing photographers has certainly changed over the years, and Chris delves into those changes. From the earliest extended interviews to our new format, focusing on the who, what, when, why, and how, including, of course, the difference between our work and what can be achieved through the use of generative tools.
He also touches on how hard it is to meet deadlines when you’re collaborating with external people who may be late — or very late — at answering.
How To Find a Creative Balance As a Freelancer
One of the hardest things about being a freelancer — and I should know — is dealing on your own with what other companies need a whole team for: social media, emails, meetings, public relations, advertising, funding, etcetera. Chris shares with us his approach, based on what the different sides of our brain are good at, and how switching and mixing things up can be quite good at keeping anyone in top shape.
Where is The Industry Heading?
As photographers, we’re going through a major paradigm shift right now, and it’s all about intentionality and connection. We need to go back to thinking about how photography is an art, rather than a quick snap. Chris is more than aware of this trend, of this devaluation, and he talks about how we should ditch the word content and all its variants, as well as how we should know more about our history as artists so we can know about where we might be heading.
Where Is The Phoblographer Heading To
To finish with, Chris Gampat talks to us about zines and news that may have been in the making for a while that no one else is telling because of the need to maintain relationships within the industry. Of course, these relationships are no more important than the story, the core of journalism. And there are leads he’s following, dealing with things like child labor and other major problems.
A Recap: Why You Should Head To Something New Every Week Right Now And Listen To This Interview With Chris Gampat
This interview provides you with a particularly interesting insight on the person —no, the driving force— behind this website. Work ethics, performance tips, culture and arts, and of course, the art of blending your own beard oils.
Marc-André Fleury’s mask featuring Native art raises more than $35,000 at auction
ST. PAUL, Minn. — The one-of-a-kind mask sported by Minnesota Wild goalie Marc-André Fleury brought in more than $35,000 at an auction on Thursday.
The mask was designed by Cole Redhorse Taylor, a Dakota artist and member of the Prairie Island Indian Community. The mask includes the Dakota language.
“Mni sota makoce and that means, quite literally it means land of the cloudy waters or the misty waters,” Taylor said.
READ MORE: Meet the artist and hear the meaning behind Wild goalie Marc-Andre Fleury’s custom mask
Bruce Kluckhohn/NHLI via Getty Images
The design also focuses on flowers and plant life native to Minnesota.
Fleury wore the mask during warmups at the Wild’s Native American Heritage Night at its game against the Colorado Avalanche last Friday, defying the NHL’s restriction on specialty jerseys, masks, stickers and decals for theme nights.
Other specially designed Native American Heritage items were also up for bid at the auction.
In total, the auction raised $66,605 in support of the Minnesota Wild Foundation and the American Indian Family Center.
The Prairie Island Indian Community announced they will make a donation matching the amount raised from the mask —$35,100 — to a charity of Fleury’s choice.
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harmonies in pastel: sara regal’s sculptural pieces at mesura’s vasto gallery in barcelona
Luxuries should be more about the pleasure than the value
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Roula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.
If you have given yourself the pleasure of acquiring a few luxuries in recent years, then you will have done very well.
Not only will your gifts to yourself have presumably made you happy, you will probably be sitting on a nice profit. A basket of luxuries, compiled by property agent Knight Frank, rose by 116 per cent over the 10 years to mid-2023.
Admittedly, you would have done even better in US stocks, given the 170 per cent rise in the S&P 500 over the decade. But you would have easily beaten the FTSE 100, the gold price and prime central London property.
Indeed, if you had picked the best performing asset in Knight Frank’s KFLI index — top-class whisky — you would have recorded a spectacular 322 per cent gain. But that’s cherry-picking — you could have made 1,200 per cent on Apple stock.
But the good times may be ending for luxury investor-buyers. The index is up just 7 per cent in the 12 months to June; that’s ahead of the annual US inflation rate for the same month (3 per cent) but behind the UK’s 7.9 per cent.
As the charts below show, without a 30 per cent gain in the art market, the luxury index would have been almost flat for the year. Those mature whiskies actually fell in value, by 4 per cent. As Knight Frank says in its annual luxury report, “growth is starting to slow or even reverse” for some luxury asset classes, excluding art.
And even in art there is a note of caution. It is a market in “the post-pandemic recovery period” rather than “in robust health”, says the report, citing Sebastian Duthy, of the art research company. “ Recent [auction] results suggest growth is already starting to slow.”
All this echoes the slowdown in the luxury fashion and goods industry with leader LVMH, controlled by French billionaire Bernard Arnault, reporting a drop in sales growth in the three months to September to 9 per cent, well down from the 17 per cent increase recorded the previous quarter.
Clearly, concerns about economic slowdown are weighing more heavily on wealthy luxury buyers than a year ago. While many rich families can manage rising consumer prices without much of a break in spending patterns, few can ignore the impact of higher interest rates on the financial outlook. Even if it doesn’t hit them in the wallet, it gives many wealthy people cause for concern.
After all, last year was the first time since the 2008 global financial crisis in which the rich saw their asset portfolios decline, at least in real terms. As the annual Global Wealth Report from Credit Suisse/UBS recently calculated, inflation reduced wealth growth in US dollar terms by 6 percentage points last year — turning a nominal wealth gain of 3.4 per cent into a real wealth loss of 2.6 per cent.
Inflation is now falling, but it is taking its time in the face of geopolitical turmoil that tends to push up energy prices and various supply bottlenecks, not least in labour including in the US, the UK and Japan. Also, many financial experts remain concerned about the huge levels of liquidity pumped into markets in the past 10 years.
All good reasons perhaps to hold back from buying another Birkin handbag, a case of Romanée-Conti wine or perhaps a reassuringly expensive print from Damien Hirst’s recent Cherry Blossoms series.
The wealthy have long been buyers of the rare and the beautiful. They desire what economists call positional goods — stuff that cannot be easily replicated, if at all. Picasso clearly can’t produce another painting. With living artists, supply can be a bit more flexible. But demand for such luxuries has gone global. Never before have there been so many rich collectors in so many countries. They may hold on to their money for a while, but they will be back.
Stefan Wagstyl is editor of FT Wealth and FT Money. Follow Stefan on X @stefanwagstyl
This article is part of FT Wealth, a section providing in-depth coverage of philanthropy, entrepreneurs, family offices, as well as alternative and impact investment
Andrew Moore’s Landscape Photographs
Kingston-based photographer Andrew Moore creates richly hued images that recall Hudson Valley school painters like Thomas Cole and Frederic Church. “I am particularly fond of Asher Durand for his attentiveness to detail. There’s no way I could make pictures in the Hudson Valley without acknowledging these antecedents. The challenge is to make landscapes that feel modern and relevant,” he says.
Whiskey Point, East Kingston takes its title from an old map of Kingston and refers to the spit of land seen in the image. “If you look carefully, you can see remnants and ruins of old docks and piers left over from the days when that area was lined with brickmaking factories. Those bricks were loaded directly onto barges that brought them down to the city,” says Moore. “The ‘natural’ landscape is actually second growth, since most of the ground was completely cleared for industrial purposes. The area is now a state park named Sojourner Truth State Park after the famous resident who was born in Esopus. So, the image reflects the past, the present, and the future.”
Moore’s photography combines both the narrative approach found in photojournalism as well as the formal strategies of fine art photography and painting. He finesses his images with sprezzatura (studied carelessness) and invites viewers to enter the world of the photograph, find hidden details and feel a depth of space, which is enhanced by the gigantic scale of his prints—nearly six by eight feet in this case.
There’s a meta aspect to Whiskey Point, East Kingston—notice the photographer and tripod by the water’s edge. “Although I rarely take self-portraits, this is a kind of self-portrait, albeit a portrait of the photographer as a young man. It’s also obviously an homage to classical landscape painting, from the 17th-century Dutch painters to the American luminists of the 19th century, where little mortals are portrayed against majestic shorelines,” he says. “It’s a photograph that employs all the strategies of realistic painting but is also a photograph of a photographer. What is the photographer photographing and what is he not seeing at the same time? There’s also a nod to the pandemic era and of all these people going out into nature and making pictures.”
Moore’s work will be on view as part of a show called “Whiskey Point and Other Tales” at Yancey Richardson Gallery in Manhattan through January 6. The exhibition consists of seven large prints drawn from photographs Moore made over the past three-and-a-half years. “It’s a very tight selection in which all the images are in dialogue with one another and present a landscape which has been activated in some way,” he says. “I’m hoping that people will be able to view the pictures at the gallery, as these photographs were conceived from the onset to be finished, and seen as very large prints. That goes for me too, as this exhibition will be the first time I’ve been able to look at all these pictures together in one space.”
Kendall College of Arts and Design students hold Student Art Market
GRAND RAPIDS, Mich. — Students from Kendall College of Arts and Design created a unique shopping experience with the Student Art Market in Grand Rapids on Thursday.
Kendall College of Arts and Design students hold Student Art Market
More than 20 students, vendors, and registered organizations worked to bring the market to life.
The Student Art Market had one-of-a-kind gifts for shoppers to purchase and put under the Christmas tree.
“We have students from a variety of programs selling handmade items,” said Nicole Dekraker, director of student engagement at Kendall. “Everything from small stickers and prints to holiday greeting cards, paintings, knitted ware, crocheted items, you name it. A lot of beautiful works that are displayed at a variety of price points here for our guests.”
The funds raised from the Student Art Market will go to help support student travel, as well as networking opportunities for professional development.
Although the Student Art Market has wrapped up, anyone interested can still purchase the items created by students at Kendall’s campus gift shop.
