tatiana
bogdan
tatiana
bogdan
New York Chapter 164 Fifth Avenue New York, NY, 10010
Steve Naidamast 91 Krug Pl Mineola NY 11501
Nonprofit Org. US Postage Paid New York, NY Permit No. 5037 Steven Heller, Moderator Confirmed Speakers Marc Alt Frank Baseman Nicholas Blechman Seymour Chwast Carin Goldberg Chris Hacker Randy Hunt Alan Jacobson Kristin Johnson Jacqueline Khiu Seth Labenz Bobby Martin Lara McCormick Phil Patton Mark Randall Roy Rub Haruko Smith Scott Stowell Lisa Strausfeld
Speakers
A one day event that looks at the intersection of design and social responsibility in its current and historical contexts. When designers respond to local and global crises, design becomes their casual force and change their endgame. In this arena, good design is held to breath-taking standards. A wide range of creative practitioners will demonstrate how they have embraced this challenge, tackling the casualty of reform in their work while keeping their formalistic integrity intact. Join them for an inspiring examination of accountable design that embodies the beautiful solution, the intentionally humane and ethically sound
$30 AIGA Student Members $40 Non-member students (w/valid ID) $50 AIGA Members $60 General
Conference Fees
Tishman Auditorium Parsons The New School for Design 66 West 12th Street, between 5th and 6th Avenues
Tuesday 16 July 2008
Gabriel Garcia Marquez
Gabriel Garcia Marquez
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GOLDEN RISE
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Hi! I’m Smiley the Clock.
I would like to introduce Golden Rise cereal to you. The cereal that makes waking up in the morning fun with an innovative combination of natural ingredients. Not only will you be energized for the day, but your body will receive all the necessary nutriens you need to stay healthy!
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GOLDEN RISE Gotu Kola is a natural herb and brain-mind tonic for children and adults. It promotes longevity, improves your memory, builds neural and mental stamina, stimulates brain cell vitality. Also Gotu Kola is an energy tonic that removes fatigue and counteracts some of the negative effects of coffee. Kola Nut
historical uses of which include increasing the capacity for physical exertion, for stimulating a weak heart, treating nervous debility, weakness, brooding, and anxiety. Kola Nut was said to make ideas become clearer, and thoughts flow more easily and clearly.
The B family of vitamins is known for its energy boosting abilities, particularly B12. B vitamins help fight fatigue by helping our body use the sugar glucose (fuel) and aiding in the formation of red blood cells (energy transport).
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Regardless of language or culture, all humans share basic needs essential for survival. Food. Shelter. Water… Water is life. This truth has never been more poignant than in rural Africa. We drink it, cook with it, bathe in it, sprinkle our lawns with it, fill our backyard swimming pools with it even create theme parks based on it. We take its abundance for granted, but in much of the world, especially Sub-Saharan Africa, access to clean water is a luxury. It lies at the core of many challenges facing the African people. Caught in a horrible cycle of sickness and disease, contaminated water destroys the strength and development of African families and communities. This leads to extreme poverty, lack of education, and greater illnesses More than half of Africa’s villages lack access to a clean water supply. In many of these villages, women must walk up to ten miles every day to retrieve the day’s supply of potable water for their households.
So hungry were the animals, that they ended up eating and choking on the bags. Somalia’s third year of severe drought is taking a terrible toll, especially here in Gedo region. Those who can escape, are doing so. Abdoullaye Aden estimates 60% of the villagers have already abandoned their farms - most to live with relatives in towns. Others rely on dwindling rations. When the hunger becomes too great, they set off on the long walk to find help, feeding their children on leaves and wild berries along the way. Some 80 km away, in the town of Luuq, an infant wails as a doctor puts a cool stethoscope on his chest, to listen to his heart and lungs. Although bones jut out from his skinny frame, this baby boy is one of the lucky ones. The clinic deals with cases of severe malnourishment -
The carcases of the dead livestock, are strewn across the ground. From the rib cages of the dead goats and cows, tangled blue plastic bags protrude.
T
he sun beats down on the flat, parched earth around the village of Tulo Barawako in southern Somalia. This should be the rainy season - but there is not a cloud in the clear, blue sky. Fields which should be waist-high in grass and crops of maize and sorghum, lie empty. The wind kicks up spiralling dust devils. Village elder Abdoullaye Aden says, “Most of the trees have died. No crops have grown. The earth has turned to dust. There’s hardly any water - none in the wells. Most of the livestock has died.” The carcases of the dead livestock, are strewn across the ground. From the rib-cages of the dead goats and cows, tangled blue plastic bags protrude.
“While people in the UK and US send about 50 liters down the drain per day by simply flushing the toilet, many poor people survive on less than five liters of contaminated water per day”
doctors simply don’t have enough beds to cope with the demand. The clinic, as well as the nearby feeding centres, are run by the French charity, Action against Hunger. It’s the only foreign aid agency distributing food relief in the area. Medical coordinator Natalie Greneche says: “People die of hunger here: that’s what we’re seeing now. Our centres were built for 400 people. But within four months, we’re dealing with 6,000.” United Nations’ agencies are sounding the alarm. They warn that up to half a million people face severe food shortages in Somalia - and the situation could get rapidly worse. Previous pleas for international help have met with a poor response. So far, only a quarter of the estimated 20,000 tonnes of food required, has been donated. Nairobi - Lack of access to clean water is likely to have a much bigger impact on sustainable economic development for countries in sub-Saharan Africa than previously
envisaged, says UNDP’s newly launched Human Development Report, 2006. This is because scarcity of water and sanitation is a crisis that is not appreciated nationally and globally, and attracts less political leadership as well as less attention from donors. Access to clean water is the most effective way of ensuring economic growth because it keeps away disease and avoids undue loss of manpower for devoted to the search for water instead of being channelled to production. Mr Watkins, the author of the report, was in Nairobi last week on his way to Cape Town where he launched the report, which is entitled, Beyond scarcity: Power politics and the global water crisis. The report noted that an estimated 1.8 million children die from diarrhea that could be prevented with a glass of clean water.
ERT
97 years of brilliance and success
ErtĂŠ was a kind and gentle man a true gentleman. He respected women, was well read, well traveled, and well liked. He found great satisfaction in his work, and claimed it was all the “highâ€? he ever needed although he associated with flamboyant fashion and theater personalities, and certainly enjoyed an exciting social life, he never touched drugs and led a calm, happy life. He never married, but had several long, wonderful relationships. He loved order and neatness, in his schedule, his work habits, and his dress, and kept himself trim and healthy until the end of his days. His adherence to these habits served him well, and kept that order to his busy life.
FROMRUSSIAWITHLOVE The designs created by Erté during his long and illustrious life influenced not only the world of theatre, film and fashion, but an entire art movement as well. The genius of the artist is evidenced by an enormous body of work that is considered among the most influential and unique of the 20th century. omain de Tirtoff was born in St. Petersburg, Russia, on November 23, 1892, of an aristocratic, musical family loyal to the tsar. His father de-
was already designing clothes for her at the age of five, aided by the family’s resident dressmaker.She took him on aristocratic summer tours abroad all over Europe while his father was on naval maneuvers. Before World War I the Russian capital city was elegant and replete with activity. They persuaded Erté to uncover thousands of perfectly.
He was already designing clothes for his mother at the age of five, aided by the family’s resident dressmaker. scended from a Tartar Khan named Tirt and ranked as an admiral in the Imperial Naval School. The noble de Tirtoff family had always followed naval careers since Peter the Great. His mother was also an aristocrat of Cossack descent; one of her brothers, Nicholas, was military governor of St. Petersburg. Rimsky-Korsakov, the Russian composer, was one of the friends of the family. Romain’s idea of feminine beauty, throughout his long life, was the pale skin and dark eyes and hair of his mother. He
n 1912 Romain moved to Paris, France, to pursue a career as a designer. This decision was made over strong objections from his father, who wanted Romain to continue the family tradition and become a naval officer. Romain assumed his pseudonym Erte, from the French pronunciation of his initials, R and T to avoid disgracing the family. No success is ever instant. Would-be movie stars and singers ply their trade and hone their skills sometimes for years before being “discovered” and announced as the
she had just tossed into the wastebasket and brought them directly to the fashion house of Paul Poiret, one of Paris’ most notable fashion designers. Poiret drew inspiration from the Ballets Russe, and his fashion designs often were influenced by his costume design a perfect marriage. He never married, but had several long, wonderful relationships. He loved order and neatness, in his schedule.
He took pseudonym Erte, from the French pronunciation of his initials, R and T to avoid disgracing the family. next big thing, an overnight sensation. For Erté, his entrée into Paris, gainful employment and recognition of his talents took almost a year. After months of searching, he managed to find a job as a draughtsman in a fashion house named ‘Caroline’, which unfortunately, or fortunately as was the case, lasted only month. ‘You have no talent as an artist,” she told him, and advised him to give it up. He gathered the drawings he had one for her the very ones
NOSTALGIACRAZE
FOLLOWINGTHEDREAM On into the 1950s and 1960s he was still designing: La Plume de Ma Tante productions at the Latin Quarter in New York (1964-1965), and numerous shows and spectacles throughout the world. But a real change in his career came in 1965 when he was 73: he met Eric and Salome Estorick, the founders of Seven Arts Ltd., of the rosvenor Galleries, London and New York. They persuaded Erté to uncover thousands of perfectly preserved drawings from huge trunks in his cellar.
ant white hair, impeccably groomed, to whom his work was everything. Erté confessed: “My work has been my mother, my wife, my friend, my mistress and my children” Even though he had several distinct advantages in life - in his aristocratic background in St. Petersburg, in his mother, in his friends he had the capability of utter concentration, patience in controlling the designs, and supreme talent. “Look at me, I’m in another world - a dream world that invites oblivion. People take drugs to achieve such freedom from their daily cares. I’ve never taken drugs. I’ve never needed them. I achieve a high through work.” Erté’s work has a timeless quality. Art
My work has been my mother, my wife, my friend, my mistress and my children. . . They caused a mild sensation, a resurgence of Art Deco in the late 1960s, 1970s, and 1980s, a nostalgia craze. Also in the 1960s Erté pioneered in sheet metal sculpture with oil pigments; he called them Formes Pictorales. He also produced a series of lithographs and serigraphs for the Estoricks. With graphic art, he concluded, “I could reach the very large public that these Exhibitions had created.” Erté was in his seventies and eighties a slight man with a shock of luxuri-
Deco design is not “fine art.” His art is stylized, but within its stylistic limits, his artistic designs are superb. Aged 97, Erté fell ill in Mauritius; he was flown to Paris, his real home, where he died on April 21, 1990. Erté was a kind and gentle man—a true gentleman. He respected women tremendously, was well read, well traveled, and well liked. He found great satisfaction in his work, and claimed it was all the “high” he ever needed—although he associated with flamboyant fashion and theater. he genius of the artist is evidenced by an enormous body of work that is considered among the most influential and unique of the 20th century.
tradivarius
A Stradivarius is a stringed instrument built by members of the Stradivari family, particularly Antonio Stradivari. The bowed instruments are famous for the quality of their sound, which has defied attempts to explain or reproduce. The name “Stradivarius” has also become a superlative applied to designate excellence. To be called “the Stradivari” of any field is to be deemed the finest there is. The instruments that he crafted in the late 1600 s and early 1700 s are considered to be the finest ever made because of the unsurpassed quality of their tone. Of the approximately 650 of his violins known still to exist, many continue to be played by musicians today. He set the standard for the styles of violins and cellos used in later centuries. But the exact qualities of Stradivari’s creations have never been able to be reproduced, making the stringed instruments that bear his name the most valuable and sought after in the world. Above all, Stradivarius are famous for the quality of sound they produce. Although various attempts at explaining or duplicating their quality have been undertaken, most results have been unsuccessful or inconclusive. Over the centuries, numerous theories have been presented, and debunked, including varnishes, boiling, an assertion that the wood was salvaged from old cathedrals or other treatments. Dendrochronology, or treering dating, has proved this false.
Antonio Stradivari
created instruments that are still considered the finest ever made. The new styles of violins and cellos that he developed were remarkable for their excellent tonal quality and became the basic design for all modern versions of the instruments.
bornincremona A
ntonio Stradivari was born in the year 1644 in Cremona, a small city of Italy. He is considered to have been a disciple of Nicolo Amati, of the Amati family of luthiers of Cremona. In 1667, he got married and set up his own shop. In the decade, Stradivari created a wide variety of stringed instruments, including guitars, harps, lutes, and mandolins. He continued to follow Amati’s basic design for violins, but during this time he began experimenting with improvements in tone and design. The small number of instruments he created were primarily sold in Cremona, and he was not well-
known outside the city in these years. He continued to develop his own style, deviating from Amati’s design to create a more solid-looking violin that used new materials and finishes. The resulting instruments during this time created a more powerful sound than earlier violins, and musicians from outside Cremona began to seek out instruments from his workshop as his fame grew. In 1684, Stradivari was considered the city’s greatest violin maker. Despite his considerable success with his designs, Stradivari continued to look for ways to improve his violins. He experimented with the length of the instrument, creating what was known as the “long
pattern” or “long Strad” - a violin that was 5/16 of an inch longer than the traditional pattern. The result was a deeper, fuller tone that was quite distinct from the lighter sounds of other Cremona instrument makers. Later during his Golden Period years discontinued his work with the long pattern during this time, instead creating violins that blended the qualities of the dark, rich tones of his earlier instruments with the brighter, sweet sounds of the traditional Cremona violin. The years from 1700 to 1720 were the greatest of Stradivari’s career and the era was often referred to as the “golden period” of the artisan. It was during this time that he perfected his violin design and
created his finest instruments. Not only was his design revolutionary, but the materials he used also helped to create his unique effects. He selected excellent wood, such as maple, for his violins and developed the orange-brown varnish that became a trademark of his work. His works from this period were so magnificent that some violins created at this time have developed individual identities and reputations. Some of the most famous include the 1704 “Betts” violin, now in the United States Library of Congress, the 1715 Alard. Approximately 650 of his violins known still to exist.
the hellier
Most modern violin makers prefer to believe that they violin is so pure in its conceptions at it simply does not require the vulgarity of added ornamentation. Whilst there may indeed be some justification for this 20th century functionalist idealism, it is certainly not in keeping with the baroque environment, within which the violin was to develop and reach its maturity. Before, during and even after the classical period of violin making in Italy (circa 1550 to 1750), an impressively large number of musical instruments were decorated. Throughout Europe, gambas, citterns, kettle drums, organs, recorders, guitars, trumpets, spinnets, harpsichords, clavichords, flutes, lutes and many more obscure instruments besides were being carved, gilded, inlaid, embossed, chaced and painted, to a point where the original function of the instrument became an almost secondary consideration. It is however quite likely, and certainly worth considering, that such elaborately decorated instruments, mainly prepared for a wealthy clientele, would have had a far better chance of survival than those simply made for the local street musician. Not surprisingly, many of the great Cremonese masters did choose to decorate at least some of their production.
Of the ten surviving decorated Stradivari istruments the “Hellier”, built in 1679, is the most famous. Itis named for Sir Edward Hellier. The "Hellier" violin has been variously recorded as a work of I679. It is one of the few specimens, whose complete history from maker to present day is known and traced directly to Stradivari himself, as Sir Edward Hellier, of Womborne, Staffordshire, England, bought it from him, at Cremona, three years before the death of the master. Hellier is said to have paid a sum approximating two hundred dollars in today's equivalent. That, at the time, was perhaps a goodly price to pay, yet how utterly inadequate in this age! The “Hellier” is probably the most delicately inlaid of all violins. The floral inlaid work on the head and ribs is of staggering fluidity. The intensity of the blacks is perfectly counterbalanced by he finely spun quality of the lines. The head in particular is finished with a lightness of touch which almost defies the imagination. The designs are excavated half the thickness of the rib
The unique and almost unbelievable quality of this inlaid violin has proved to be his ability to apply an astonishing amount of decorative inlay, with a lightness and finesse which in no way disturbs the harmony of the violin’s natural form. and filled with an ebony mastic, in exactly the manner used by Stradivari. The varnish is oil over a golden spirit ground, slightly antiqued with natural earth pigments. The surface texture of the varnish is as it came from the brush, and has not been ground flat. The inlay work of both the belly and the back consists of two parallel strips of purfling, each made up from three pieces in the normal way. Between these strips, set into a black background, tiny ivory circles and diamonds alternate with one another around the edgework. The strips come together at the corners to form beautiful mitres on both the inside and the outside. An ivory circle is set into each corner between the mitres. The ivory circles, not always exactly round, vary between 2 to 2.25 mm in diameter. The diamonds also are not always symmetrical, ranging from 5 to 6 mm in length and 1.75 to 2 mm in width. There are 240 circles and diamonds set into the back alone and a similar number in the belly. The black filler into which the ivory pieces are set is the same as that which makes up the inlay on the head
and ribs. In many ways the “Hellier” can claim to be an absolutely unique violin. In 1679 Antonio was slowly, almost painfully slowly, moving away from the influence of Nicolo Amati. Although quite definitely inspired by Nicolo, not least in its decoration, in the “Hellier” we are given a vision of the shape of things to come. The modeling of the “Hellier” was an evolutionary step of tremendous vigour, but strangely one destined not to be repeated for several years. Stradivari was not a struggling, pushy “achiever” in the modern sense. His emancipation was a slow process and his development a composed and carefully calculated affair which was fortunately continued until the end of his extraordinary long life. Antonio Stradivari was indisputably the greatest violin maker of all time and in every respect the “Hellier” is one of his personal masterpieces. The unique and almost unbelievable quality of this and indeed all of Stradivari’s inlaid violins has proved to be his ability to apply an astonishing amount of decorative inlay. The intensity of the blacks is perfectly counterbalanced by he finely spun quality of the lines. The “Hellier” is probably the most delicately inlaid of all violins.
the few and the proud Instrument name
History
Instrument name
History
1671 ex Oistrakh
Named after Russian violin virtuoso David Oistrakh who made many recordings and was the dedicatee of numerous violin works. He worked with orchestras in Russia, and also with musicians in Europe and the United States. The violin concerto of Aram Khachaturian is dedicated to him, as are the two violin concerti by Dmitri Shostakovich. The violin was zaveshana maestro by Queen of Belgium Elizabeth
Paganini Quartet
The name given to a collection of four instruments made by luthier Antonio Stradivari. There are two violins, one viola, and one cello in the group. During the nineteenth century they were acquired and played by the violinist Niccolò Paganini, after whom the collection is named. They are currently owned by the Nippon Music Foundation. Since acquiring the collection in 1995, the foundation has loaned them to the Tokyo String Quartet.
1698 Baron Knoop (violin) 1715 Alard-Baron Knoop (violin) 1715 Baron Knoop; ex-Bevan (violin)
The instruments are named for Baron Johann Knoop (1846-1918 ), a collector of dozens of great violins, violas, and cellos at one time or another including four violas representing more than a third of extant Stradivari violas. was a collector of musical instruments who possessed a total of 29 great violins, violas, and cellos at one time or another including some four Stradivari violas. Upon the sale of the instrument to J.E. Greiner through the agency of Wurlitzer in New York, the W. E. Hill firm in London, proposed that the violin be named for their customer, Baron Knoop. In their 1902 publication of Antonio Stradivari His Life and Work, while in the possession of London banker.
1711 Duport (cello)
1715 Lipinski (violin)
It is named after the celebrated 19th century violinist Karol Lipinski (a student of Nicolo Paganini) who owned the instrument until his death in 1861. The first known owner of the violin Italian violinist and composer Giuseppe Tartini presented it to his pupil, Signor Salvini. After hearing the Polish violinist Karol Lipinski perform, Salvini asked to see his violin, which he then smashed to pieces. Salvini handed the shocked Lipinski the Stradivarius he received from Tartini. Now the instrument is on loan to Milwaukee Symphony Orchestra concertmaster, Frank Almond.
One of the most valuable extant Stradivari cellos. The instrument is named after Jean-Pierre Duport, who played it around 1800. In 1812 Duport’s position as Napoleon’s favoirte cellist almost resulted in disaster for his Stradivarius when the emperor appeared , booted and spurred, at a private recital in the Tuileries. ‘He listened with pleasure and, as soon as the piece was over he approached Duport, complimented him, and, grasping the cello with his usual foecefulness while, sitting down, he squeezed the unfortunate instrument betwwen his spurred boots.’ Some say the marks of the spurs can still be clearly seen in the sides ofthe cello.” It was owned from 1974 to 2007 by famous Russian cellist and conductor Mstislav Rostropovich. Who gave an impromptu concert at Checkpoint Charlie after the Berlin Wall fell in November 1989.
1712 Davidoff (Davydov) (cello)
In 1870, cello was given to Karl Davydov (18381889) by patron, Count Wielhorsky at the court of
(violin)
Tsar, Alexander II, and it is Davydov’s name the cello bears today. Davydov was a Russian cellist of great renown at the time, described as the “czar of cellists” by Tchaikovsky. In 1864 it was owned by English cellist Jacqueline du Pré. Upon her death in 1987, the Davydov was made available for use by Yo-Yo Ma, owned by the Vuitton Foundation.