ArtSlant - Recently added en-us 40 Elizabeth Atterbury, Moyra Davey, Lukas Geronimas, Oto Gillen, Tom Humphreys, Kyle Thurman - Bodega - November 21st - December 21st <p style="text-align: justify;">Three Cups Fragrance is a pan-fired green tea with a dark green to silver-grey sheen. Named for its three unique infusions, the initial brew is refreshing with a floral, piney aroma and melon and chestnut taste. The second brew introduces a honeyed sweetness with banana and soft vegetal notes, green beans and artichoke. The third offers a rounded grassiness, mushroom, straw and increased seaweed on the palette.</p> Wed, 26 Nov 2014 18:04:28 +0000 Kaari Upson - Ramiken Crucible - November 1st - December 14th Wed, 26 Nov 2014 17:57:31 +0000 hannah barrett - Regina Rex - November 9th - December 21st <p style="text-align: justify;">Regina Rex is very pleased to present a solo show of new paintings by Hannah Barrett. <em>Rustics</em>, a suite of four large scale paintings, sets androgynous and hermaphroditic figures in shallow and decoratively patterned landscapes. The title <em>Rustics</em> conjures images of English landscapes from late 18th Century and early 19th Century paintings, but Barrett is more interested in invented color and spatial relationships than naturalism. Her figures, bedecked in resplendent if idiosyncratic attire, unabashedly seek pleasure and leisure in pastoral settings. In turns ironic and ridiculous, her abstracted and stylized subjects are engaged in image construction and self-display, sporting fur chaps, breeches, dirndl dress, and frock coats, analogizing the construction of painting space with contemporary gender expressions. Barrett&rsquo;s use of detail arrests the viewer&rsquo;s attention, while her humor provokes questions and laughter.</p> Wed, 26 Nov 2014 17:26:56 +0000 Sascha Braunig, Judy Chicago, Benny Merris - Regina Rex - November 9th - December 21st <p style="text-align: justify;">Regina Rex presents <em>Trioceros</em>, a group exhibition of photos and video by Sascha Braunig, Judy Chicago, and Benny Merris. Using the body as surface and support, these artists alter skin coloring and texture, presenting images of faces, hands and full bodies that speak directly to the mutability of the natural world. Judy Chicago and Benny Merris situate the body as an empathetic alien in romantic desert and mountainous landscapes, while Braunig presents a video that morphs from classical portrait to cyborg. Striated patterned hands cup frozen lakes, fuchsia bodies walk amidst hallucinogenic smoke bombs, spirals and patterns overtake humanoid forms. Liberated from traditional forms, this work conjures the magic of shamanistic rituals, hallucinatory catharsis, and chameleonic body shifting.</p> Wed, 26 Nov 2014 17:25:56 +0000 Amy Lien, Enzo Camacho - 47 Canal - November 8th - December 21st <p style="text-align: justify;">Like many other people, Amy Lien and Enzo Camacho, who have been collaborating for several years, are based between two or more distant places, meaning that whether they like it or not, they are separated from where they still think they might belong. This can be seen as the root cause of a productive form of anxiety, or it might also be a total waste of time. Either way, certain emergent phenomena can easily become magnified by an alienated imagination.</p> <p style="text-align: justify;">The call centers mushrooming all over the sprawling urban fabric of Metro Manila have unleashed a dazzling chain of analogies. The artists have been perambulating around this industry and its issues since 2010, when the Philippines superseded India as the leading nation in business process outsourcing. The districts in Metro Manila where these companies have built their offices have taken on a distinct flavor of banality, swarmed by 24-hour eating and drinking establishments that cater to those working zombie shifts on Eastern Standard or some other Time. When entering the workplace, the employees are stripped of their cell phones and enter into a predictable arrangement of fluorescent-lit hallways, rooms,&nbsp; and cubicles. When they dribble out of these buildings, on a cigarette break or to buy a pack of gum or French fries, they exude a particular teeth-chattery energy, an upper high. This is what an upgrade in sovereign credit rating looks like at ground level. Being amongst thousands of youthful bodies milling around strip malls and back alleyways in the early morning hours, leaking nervous cigarette breath into the hot night air and chattering idly before returning to work, the two artists felt a vicarious buzz, a fear of missing out.</p> <p style="text-align: justify;">Did you hear about the call center sex tape? Or the notorious Telecommunications company BBQ transvestite beauty pageant talent show? Did they tell you how Filipinos have friendly voices but low critical problem solving abilities due to an over-eagerness to please and subsequently pretending to understand things that they actually don&rsquo;t? That they gossip way too much? That they prefer being paid in bags of rice? In the Filipino comedy <em>Call Center Girl</em>, a middle aged OFW (Overseas Filipino Worker) returns home from a career on a cruise ship and, in order to redeem her relationship with her neglected adult daughter, joins the same call center where she works, and seduces their mutual team leader in order to pawn him off onto her. Distortion makes the facts more titillating. Hidden cameras catch leaks at low res.</p> <p style="text-align: justify;">Is &ldquo;internet savvy youth&rdquo; an international concept? While the so called eighty-nine or digital natives databasing project aggregates consensus, cheaply institutionalizing its investments, the call center phenomenon of the Philippines says this: There is an emergent population of young, English-fluent, technology-literate, newly solvent, upbeat laborers who don&rsquo;t feel the pressure to leave the country to support their families, but internalize the West to meet its service expectations. The lurkers in the shadows, Amy and Enzo are turned on by their heat.</p> <p style="text-align: justify;">Returning to NY together for the first time since 2011, scanning the city by night, their eyes were drawn, in a sliding, lenticular, double recognition, to the most beautiful person they&rsquo;d ever encountered, who reciprocated the gaze, and immediately became a fixation. Fluorescent lighting made his complexion luminous. He worked for a vanguard fashion/social media platform, but also for himself, and cultivated an attitude accordingly. He would soon begin monopolizing their nights and seeping into their early morning dreams, with conversations drenched in whiskey and hot pot, reverberating dramatic nights out in Manila but refracted through the patois of edgy NY youth marketing. This is a love that gets ditched at the Thai restaurant because he left the proverbial stove on. This is a love that demands to remain an unrequited fantasy, triangulated to maintain its momentum, to burn in perpetuity.</p> <p style="text-align: justify;">This is a show dedicated to those subjects that pour out into the night, to seek love in work in wasting time in race/class/gender/globalization.</p> <p style="text-align: justify;"><em>Amy Lien (b. 1987) &amp; Enzo Camacho (b. 1985) are collaborating artists. They have staged recent solo exhibitions at Mathew Gallery (Berlin, Germany), MoSpace (Taguig, Philippines), Pablo Fort (Taguig, Philippines) and Republikha Art Gallery, (Quezon City, Philippines). They will participate in a six month residency as artists/curators at Gluck 50 (Milan, Italy) starting in January 2015. This is their second solo exhibition at 47 Canal.</em></p> Wed, 26 Nov 2014 17:13:43 +0000 MATT CONNOLLY - Essex Flowers - November 21st - January 4th, 2015 <p style="text-align: justify;">This exhibition, Matt Connolly&rsquo;s first solo presentation in New York, comprises two new large format paintings, a large ink drawing with collage, and a spatial intervention in the basement gallery at Essex Flowers. The paintings, <em>Stamps 1</em> and <em>3</em> begin with hand-built, steel-reinforced MDF panels to which layer after layer of acrylic paint in an array of colors and tones are applied with a roller, and later sanded down. Impressions made with a hammer and nail dipped in paint at intervals create an interference pattern, a manual moir&eacute;. Spidery disruptions in the works&rsquo; surfaces are the result of rogue feathers cast off from the feather factory situated directly below the artist&rsquo;s studio in Westlake, Los Angeles. The result is a dense, textured palimpsest: haptic and optic, markedly flat while evocative of depth, and visually unstable, varying with any given vantage. Pattern is similarly defined and dissolved in the ink drawing, <em>Stamps 2</em>, within its own expanse and the elements of an off-register collage. An irregular wall of the gallery has been selected and coated with a textured pale yellow paint for the run of the exhibition. Stamp is of course both a noun and a verb. In this context it is a physical action and a temporal index, a tool and its effects, a mark and its impact, to impress and an impression. <br /> <br /> Did you hear the one about the unstamped letter? <br /> You wouldn&rsquo;t get it. <br /> <br /> <br /> Matt Connolly, born 1985 and based in Los Angeles, has had solo exhibitions at Night Gallery, Los Angeles (2013) and CCA, San Francisco (2011, curated by Amanda Hunt). Night Gallery published a collection of his writing, entitled <em>POLLONY'S</em> in 2013. Connolly opened his first public art commission at Equitable Vitrines, Los Angeles in September 2014. <br /><br /> Essex Flowers is a full service storefront flower shop located at 365 Grand St at the corner of Essex in New York's Lower East Side. It contains cooperatively organized spaces for art and other interests for the shop's guests.</p> Wed, 26 Nov 2014 17:01:56 +0000 - Museum of the City of New York - October 30th - January 6th, 2015 <p style="text-align: justify;"><strong>City Museum Unveils Over 20 Rarely Seen Personal Letters from Thomas Jefferson to Renowned New Yorker Robert R. Livingston</strong></p> <p style="text-align: justify;"><strong>New York, NY (October 30, 2014): </strong>For the first time, the <strong>Museum of the City of New York </strong>will put on public view more than 20 original letters from Thomas Jefferson to Robert R. Livingston, who served as Chancellor of the State of New York and whom Jefferson appointed resident minister at the court of Napoleon. The personal letters, which span from 1800 &ndash; 1803 and have been part of the City Museum&rsquo;s collection since 1947, will be on public display Thursday, October 30 &ndash; Friday, December 5, 2014.</p> <p style="text-align: justify;">In these fascinating documents, Jefferson writes about a number of remarkable and historically important topics, including: the Louisiana Purchase, the Napoleonic Wars, early debates over the Constitution, the unearthing of a buried mammoth skeleton in upstate New York, the technical details of the first steam engine, the development of new codes for delivering secret messages to American diplomats living overseas, and much more.</p> <p style="text-align: justify;">&ldquo;History comes alive in these letters, which are written in a conversational, direct tone &ndash; and in Jefferson&rsquo;s own elegant hand to one of our most famous New Yorkers,&rdquo; said Susan Henshaw Jones, Ronay Menschel Director of the Museum of the City of New York. &ldquo;We are thrilled to showcase these rare letters for the first time and reveal to the public Jefferson&rsquo;s wider legacy as inventor, amateur biologist, tinkering engineer, a cryptologist, and an all-around collector of knowledge.&rdquo;</p> <p style="text-align: justify;">Highlights include:</p> <p style="text-align: justify;">• <strong>December 14, 1801</strong>: Jefferson inquires about the unearthing of a buried mammoth skeleton in upstate New York and asks if there&rsquo;s any way he can acquire a sample &ndash; &ldquo;If they are to be bought, I will gladly pay for them.&rdquo;</p> <p style="text-align: justify;">• <strong>September 9, 1801</strong>: Jefferson advises Livingston to do his best to maintain US neutrality as Napoleon and Great Britain head to war.</p> <p style="text-align: justify;">• <strong>April 18, 1802</strong>: Jefferson suggests a secret encryption system for the two men to use when transmitting sensitive messages.</p> <p style="text-align: justify;">• <strong>February 3, 1803</strong>: Reacting to France&rsquo;s closing the port of New Orleans to American shipping, which had thrown the entire continent into disarray, Jefferson asks Livingston to consider options for buying New Orleans. Soon after, Napoleon would offer not just New Orleans but the entire Louisiana Territory for sale, thereby doubling the size of the United States.</p> <p style="text-align: justify;">• <strong>November 4, 1803</strong>: Jefferson reports that Jerome Bonaparte, Napoleon&rsquo;s brother, has married a charming 18-year-old Baltimore woman. He worries that Napoleon might not approve and advises Livingston to tread lightly so long as the Louisiana deal remains&nbsp; unsettled.</p> <p style="text-align: justify;">In 1947, Goodhue Livingston (descendent of Robert R. Livingston) donated to the City Museum more than 300 documents dating from 1719 to the 1820s that had passed down through his family. While most dealt with the commercial and real estate dealings of the Livingston family, more than 20 letters from Thomas Jefferson. </p> Wed, 26 Nov 2014 08:48:15 +0000 Daniel Crooks, Richard Bell, Angelica Mesiti, Susan Norrie - The Jewish Museum - November 28th - December 25th <div class="overview-description overview-item one-half pull-left"> <div class="description"> <p style="text-align: justify;">The first color video artworks in Australia were made in 1970. By 1974, Sony Portapak video cameras were widely available to artists. Early uses by artists included documenting performances and actions, as well as emulating the look and feel of television, narrative cinema, and more experimental filmmaking. Exploration of the specific properties of video itself quickly developed, and a true video art scene began to flourish. With the advent of digital media, the number of artists who use moving images as their primary medium has increased rapidly.</p> <p style="text-align: justify;">The field of video art in Australia is extensive and heterogeneous. I have selected works that address the broad themes of the Sights and Sounds project: home and family are important, as are ideas of place, though these concepts are in some cases explored from the perspective of those who are displaced or living in a kind of exile within Australia. The renewed global interest in performance art is also reflected in Australian practice, and video art&rsquo;s intimate links with performance and documentation bring it back to where it began some forty years ago.</p> <p style="text-align: justify;">Wayne Tunnicliffe<br /> Curator</p> </div> </div> Wed, 26 Nov 2014 08:43:16 +0000 Yevette Hendler - Hunterdon Art Museum - November 23rd - January 4th, 2015 Wed, 26 Nov 2014 07:36:20 +0000 - Guild Hall - January 17th, 2015 - February 22nd, 2015 <p style="text-align: justify;">Now in its 23rd year, the Student Arts Festival celebrates the young artists of our region and salutes their devoted art instructors, school administrators, and families who nurture their creative pursuits. Each year, schools from Bridgehampton to Montauk participate in our two inspiring student&nbsp;exhibitions. The museum features more than 3,500 works of student art that covers the gallery walls floor to ceiling salon-style. Part I of the exhibition features the works of students in pre-school, elementary and middle schools, and Part II features the work of our talented high school students.</p> Wed, 26 Nov 2014 07:16:09 +0000 - Dia:Beacon, Riggio Galleries - December 13th 2:00 PM - 3:00 PM <p style="text-align: justify;">Regine Basha is a curator and writer. From 2002 to 2007, Basha was adjunct curator of Arthouse in Austin, Texas, and produced projects with artists Daniel Bozhkov and Dario Robleto. Recently, she curated the exhibitions <em>Marfa Sessions</em> at Ballroom Marfa, Texas (2008); <em>An Exchange with Sol LeWitt</em> at Cabinet, Brooklyn, and Mass Moca, Williamstown, Massachusetts (2011); and <em>Mark of the Feminine</em> at Contemporary Arts Center, New Orleans (2014). She is founder of Basha Projects, which serves as a virtual compendium of exhibitions, critical essays, as well as the web video channel RESIDENT: HOST. She holds a MA in Curatorial Studies from Bard College. She lives in Brooklyn.</p> Wed, 26 Nov 2014 07:08:55 +0000 Sam Lewitt - Dia Art Foundation - December 16th 6:30 PM - 7:30 PM <p style="text-align: justify;">Artists on Artists Lecture Series</p> <p style="text-align: justify;">Established in 2001, this series highlights the work of contemporary artists from the perspective of their colleagues and peers, and focuses on artists in Dia's collection and exhibition programs. Lectures take place at Dia's 535 West 22nd Street, 5th floor between 10th and 11th Avenues in New York City.</p> <p style="text-align: justify;">Sam Lewitt was born in Los Angeles, California, in 1981. His recent solo exhibitions include <em>International Corrosion Fatigue</em>, at Galerie Buchholz, Cologne (2013); <em>Verbrannte Erde: Second Salvage</em>, Leopold-Hosch Museum, D&uuml;ren (2014); as well as an upcoming solo exhibition at CCA Wattis Institute for Contemporary Art, San Francisco in 2015. Lewitt was also included in the Whitney Biennial, at the Whitney Museum of American Art, New York (2012). He lives and works in New York.</p> Wed, 26 Nov 2014 07:05:59 +0000 - Dia Art Foundation - December 2nd 6:30 PM - 7:30 PM <p style="text-align: justify;">Dia&rsquo;s monthly Readings in Contemporary Poetry series, curated by poet and author Vincent Katz, highlights commonalities between poets and puts their diverse voices in conversation with one another. Readings take place at Dia:Chelsea, 535 West 22nd Street, 5th Floor, in New York City.</p> <h3 class="subtitle_4" style="text-align: justify;">Paul Auster</h3> <div class="content_body dia-links" style="text-align: justify;">Paul Auster&rsquo;s recent publications include the autobiographical works <em>Report from the Interior</em> (2013) and <em>Winter Journal</em> (2012), and the novel <em>Sunset Park</em> (2010). His books have been translated into more than forty languages.</div> <p style="text-align: justify;"><a class="anchortag" name="c2248"></a></p> <h3 class="subtitle_4" style="text-align: justify;">Facing the Music</h3> <div class="content_body dia-links" style="text-align: justify;">Blue. And within that blue a feeling<br /> of green, the gray blocks of clouds<br /> buttressed against air, as if<br /> in the idea of rain<br /> the eye<br /> could master the speech<br /> of any given moment<br /><br /> on earth. Call it the sky. And so<br /> to describe<br /> whatever it is<br /> we see, as if it were nothing<br /> but the idea<br /> of something we had lost<br /> within. For we can begin<br /> to remember<br /><br /> the hard earth, the flint<br /> reflecting stars, the undulating<br /> oaks set loose<br /> by the heaving of air, and so down<br /> to the least seed, revealing what grows<br /> above us, as if<br /> because of this blue there could be<br /> this green<br /><br /> that spreads, myriad<br /> and miraculous<br /> in this, the most silent<br /> moment of summer. Seeds<br /> speak of this juncture, define<br /> where the air and the earth erupt<br /> in this profusion of chance, the random<br /><br /> forces of our own lack<br /> of knowing what it is<br /> we see, and merely to speak of it<br /> is to see<br /> how words fail us, how nothing comes right<br /> in the saying of it, not even these words<br /> I am moved to speak<br /> in the name of this blue<br /> and green<br /> that vanish into the air<br /> of summer.<br /><br /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Impossible<br /> to hear it anymore. The tongue<br /> is forever taking us away<br /> from where we are, and nowhere<br /> can we be at rest<br /> in the things we are given<br /> to see, for each word<br /> is an elsewhere, a thing that moves<br /> more quickly than the eye, even<br /> as this sparrow moves, veering<br /> into the air<br /> in which it has no home. I believe, then,<br /> in nothing<br /><br /> these words might give you, and still<br /> I can feel them<br /> speaking through me, as if<br /> this alone<br /> is what I desire, this blue<br /> and tins green, and to say<br /> how this blue<br /> has become for me the essence<br /> of this green, and more than the pure<br /> seeing of it, I want you to feel<br /><br /> this word<br /> that has lived inside me<br /> all day long, this<br /> desire for nothing<br /><br /> but the day itself, and how it has grown<br /> inside my eyes, stronger<br /> than the word it is made of, as if<br /> there could never be another word<br /><br /> that would hold me<br /> without breaking.</div> <p style="text-align: justify;"><a class="anchortag" name="c2249"></a></p> <h3 class="subtitle_4" style="text-align: justify;">Siri Hustvedt</h3> <div class="content_body dia-links" style="text-align: justify;">Siri Hustvedt is the author of a book of poems, <em>Reading to You</em> (1995); a collection of essays, <em>Living, Thinking, Looking</em> (2012); and the novels <em>The Blazing World</em> (2014), <em>The Summer Without Men</em> (2011), <em>The Sorrows of an American</em> (2009), <em>The Enchantment of Lily Dahl</em> (2004), <em>What I Loved</em> (2004), and <em>The Blindfold</em> (1992). Her work has been translated into over thirty languages.</div> <p style="text-align: justify;"><a class="anchortag" name="c2250"></a></p> <h3 class="subtitle_4" style="text-align: justify;">An Excerpt from Nine Boxes for Joseph Cornell</h3> <div class="content_body dia-links" style="text-align: justify;">9. They whisper,<br /> Like those who see the dead in the same room:<br /> Outlining the universe in a coffin.<br /> It is strange to think that infinity has six sides.<br /> Heaven is this cage of the cosmos,<br /> Reduced to the minute and the placid,<br /> Our reticulum visible in January,<br /> Ten tiny lights on an oak lid,<br /> Shining like glass where the world sleeps<br /> In a cat's eye.</div> Wed, 26 Nov 2014 07:02:24 +0000 - Society of Illustrators - November 4th - December 20th <p style="text-align: justify;">Presenting a selection of pieces from the The Graphic Canon of Children's Literature, written by Russ Kick and published by Seven Stories Press. &nbsp;</p> <div style="text-align: justify;">In this follow-up volume to the lauded Graphic Canon series, master anthologist Russ Kick shows adults everywhere that great children's literature is great literature, period. And that it's not just for children.</div> <div style="text-align: justify;">&nbsp;</div> <div> <p style="text-align: justify;">The original three-volume anthology <em>The Graphic Canon</em> presented the world's classic literature--from ancient times to the late twentieth century--as eye-popping comics, illustrations, and other visual forms. In this follow-up volume, young people's literature through the ages is given new life by the best comics artists and illustrators. Fairy tales, fables, fantastical adventures, young adult novels, swashbuckling yarns, your favorite stories from childhood and your teenage years . . . they're all here, in all their original complexity and strangeness, before they were censored or sanitized.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">On display in the second floor MoCCA Gallery.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>An Opening Reception and Awards Ceremony will take place on Friday, November 7th, beginning at 7:00 PM. &nbsp;Wine and light refreshments will be served.</strong></p> <p><strong>&nbsp;</strong></p> <p style="text-align: center;"><strong>The Push and Kick Awards for Excellence in the World of Graphic Books</strong></p> <p style="text-align: center;"><strong>honoring the works of Lynda Barry, R. Sikoryak, and Hillary Chute</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>Sponsored by the Society of Illustrators and <em>Publishers Weekly</em>.</strong></p> </div> <p>&nbsp;</p> Tue, 25 Nov 2014 16:02:58 +0000 - Society of Illustrators - November 5th - December 19th <p style="text-align: justify;"><strong>A&nbsp;Selection of work from the Museum of American Illustration at the Society of Illustrators on display at the Art Directors Club (106 West. 29th Street, New York, NY 10001).</strong></p> <p style="text-align: justify;">A page, a poster, a billboard, a screen. They all begin as blanks until content fills them. The meaning of the content and its reach depend on display. On form, color and space. All in the service of meaning. How well this is accomplished is due to the skill of art directors and their collaborators. The art director chooses whom to take to the dance&mdash;if the partners are well matched, who leads hardly matters.<br /><br />By choosing the right partner, a great art director matches the best talent to the content and the space. The best image entrapped in a poor layout is diminished. The best layout can rarely overcome a poor image. When working well together, designer and artist make the experience complete.<br /><br />The best art directors know when to leave well enough alone. The best illustrators bring not only craft, but also great ideas to the table. The best art directors give artists the freedom to run, and can, if need be, rethink a solution around an image that sparks the imagination.<br /><br />A great art director knows, above all, the totality of the space. Knows how all elements interact with the imagery, not only through appropriate typefaces, but the way copy blocks, headlines, margins and edges are engaged in a dance with the artwork. A great illustrator can weave within the layout, or can initiate that interaction for the art director. All to entice, capture and keep an audience&rsquo;s attention.<br /><br />All these works were created not as standalone entities, but to fit within a total dictated by boundaries and intended meaning. All are images made through partnerships with the mutual desire to entice, capture and keep an audience&rsquo;s attention.</p> Tue, 25 Nov 2014 16:02:01 +0000 Group Show - Society of Illustrators - January 7th, 2015 - January 31st, 2015 <div style="text-align: justify;">The first of the two-part annual exhibition&nbsp;<em>Illustrators 57</em>&nbsp;will be held at the Museum of American Illustration at the Society of Illustrators January 7 to January 30, 2015. The exhibit features works by leading contemporary illustrators worldwide, selected by a prestigious jury of professionals.&nbsp;</div> <p style="text-align: justify;"><br style="font-family: arial, helvetica, sans-serif;" />The first exhibit includes works in the categories of Institutional, Advertising, and Uncommissioned.<br style="font-family: arial, helvetica, sans-serif;" /><br style="font-family: arial, helvetica, sans-serif;" />Institutional illustration includes work appearing on merchandise, announcements, annual reports, calendars, corporate projects, government service projects, greeting cards, newsletters, in-house publications, philatelic work and collectibles.&nbsp; Gold medals are awarded to <strong>Serge Bloch</strong>&nbsp;for "Posters for the 2014-2015 season"<em>&nbsp;</em>(for the&nbsp;Th&eacute;&acirc;tre G&eacute;rard Philipe, Paris),&nbsp;<strong>Nicolas Delort&nbsp;</strong>for <em>It's the Great Charlie Brown&nbsp;</em>(Client: Dark Hall Mansion), and <strong>Tatsuro Kiuchi</strong>&nbsp;for <em>Please</em>&nbsp;(AD: Katie Burk, Client: National Public Radio), and <strong>Red Nose Studio</strong> for his animation <em>Holding Polluter Accountable</em> (Client: GreenLaw). Silver medals go to <strong>Ofra Amit&nbsp;</strong>for <em>Outside Over There&nbsp;</em>(AD: Kobi Ben Meir, Client: The Israel Museum, Jerusalem) and <strong>Brian Stauffer</strong>&nbsp;for <em>Ambition&nbsp;</em>(AD: Kit Hinrichs, Client: Kroll Foundation, Studio Hinrichs).<br style="font-family: arial, helvetica, sans-serif;" /><br style="font-family: arial, helvetica, sans-serif;" />Advertising illustration includes work for advertisements appearing in newspapers, magazines or on television; video and CD covers; brochures, fashion, point-of-purchase and packaging illustration; movie and theater posters.&nbsp; Gold medals are awarded to&nbsp;<strong style="font-family: arial, helvetica, sans-serif;">Jonathan Bartlett</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Denim + Supply</em>&nbsp;(AD: Amir Mohammady, Client: Ralph Lauren), <strong>Bartosz Kosowski</strong><strong style="font-family: arial, helvetica, sans-serif;">&nbsp;</strong>for <em>Lolita</em>, and <strong>David Plunkert</strong>&nbsp;for <em>Baltimore Theatre Project</em>&nbsp;(for Baltimore Theatre Project).&nbsp; Silver medals go to&nbsp;<strong style="font-family: arial, helvetica, sans-serif;">Susan Farrington</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Robots</em>&nbsp;(AD: Amy Hausmann, Client: MTA Arts &amp; Design), <strong>Philip Giordano</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Playtime</em>&nbsp;(AD: Marie Czapska, Client: Playtime), and <strong>Leslie Herman</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">The Orwells&nbsp;</em>(AD: The Orwells, Client: Lincoln Hall).&nbsp;<br style="font-family: arial, helvetica, sans-serif;" /><br style="font-family: arial, helvetica, sans-serif;" />Uncommissioned pieces include all self-generated work.&nbsp; Gold medals are awarded to <strong>John Cuneo</strong>&nbsp;for <em>Killed Sex Sketches</em>, <strong>Bill Mayer&nbsp;</strong>for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Le Nouveau Chapeau de Marie</em>, and <strong>Kadir Nelson</strong><strong style="font-family: arial, helvetica, sans-serif;">&nbsp;</strong>for <em>Morning Post</em>.&nbsp; Silver medals are awarded to <strong>Steven Darden</strong>&nbsp;for <em>Wizards, </em>Keith Negley for <em>Hope Chest</em>,&nbsp;&nbsp;Bill Plympton for his animation <em>Footprints</em>, and&nbsp;<strong style="font-family: arial, helvetica, sans-serif;">Dadu Shin</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Can't Sleep</em>.&nbsp;&nbsp;<br style="font-family: arial, helvetica, sans-serif;" /><br style="font-family: arial, helvetica, sans-serif;" />The<em style="font-family: arial, helvetica, sans-serif;">&nbsp;Illustrators 57</em><span style="font-family: arial,helvetica,sans-serif;">&nbsp;will now be exhibited throughout the entire building, including the 3rd floor Hall of Fame Gallery.&nbsp; An&nbsp;</span><a title="Opening Reception&nbsp;for Institutional, Advertising, and Uncommissioned Categories" href=";ItemID=12228" target="_blank">Opening Reception&nbsp;for Institutional, Advertising, and Uncommissioned Categories</a><span style="font-family: arial,helvetica,sans-serif;"> will be held on Friday, January 9th. <br /></span></p> Tue, 25 Nov 2014 15:59:24 +0000