Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un lin...

LOUISE NEVELSON ▌Collage & Assemblage

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25 Facts about Louise Nevelson  on the occasion of her 25th exhibition at Pace:    Born in Czarist Russia, Nevelson emigrated with her family to the United States when she was 6 years old. She learned English at school and spoke Yiddish at home. By the age of 6 she was already working with small pieces of wood from her father’s lumber yard. In 1929 she began studying with Kenneth Hayes Miller at the Art Students League in New York. In 1931 she studied with the abstract expressionist painter Hans Hofmann in Munich. She worked as an extra in films in Berlin and Vienna.  She studied modern dance with Ellen Kearns for 20 years.  She assisted Diego Rivera on murals he was executing under the WPA Federal Art Project. Her first group exhibition was organized by the Secession Gallery at the Brooklyn Museum in 1935. In the 1940s, she experimented with different styles and materials such as wood and junk that she found in the streets of New York. By the 1950s, after enduring years of poverty and critical neglect, she had developed her mature sculptural style and begun to earn critical recognition. Major museums began purchasing her wall sculptures in the late 1950s, and in the following decades she won recognition as one of the foremost sculptors of the second half of the 20th century. As a part of the Works Progress Administration, she taught art at the Education Alliance School of Art. She had her first one-artist exhibition in 1941 at Nierendorf Gallery, New York. She credited an exhibition of Noh kimonos at the Metropolitan Museum of Art as a catalyst for her to study art.  In 1967 the first major retrospective of her work was presented at the Whitney Museum of American Art.  In 1969 she was commissioned by Princeton University to create her first outdoor sculpture.  In 1973 the Walker Art Center curated a major exhibition of her work, which traveled for two years.  In 1975 she designed the chapel of St. Peter’s Lutheran Church in midtown Manhattan.  She was heavily influenced by Picasso and Hofmann’s cubist ideals, describing the Cubist movement as “one of the greatest awarenesses that the human mind has ever come to.” She also found influence in Native American and Mayan art, dreams, the cosmos and archetypes. Sky Cathedral: Night Wall, in the collection of the Columbus Museum of Art, took 13 years to build in her New York studio. She stated: “When I Iook at the city from my point of view, I see New York City as a great big sculpture.” During the 1970s and 1980s she expanded the variety of materials used in her sculptures, incorporating objects made of aluminum, plexiglas, and lucite. In her art, she sought “the in-between places, the dawns and dusk, the objective world, the heavenly spheres, the places between the land and the sea. Louise Nevelson: Collage and Assmeblage is on view at 534 West 25th Street, New York through February 28.
25 Facts about Louise Nevelson  on the occasion of her 25th exhibition at Pace: 
  1. Born in Czarist Russia, Nevelson emigrated with her family to the United States when she was 6 years old.
  2. She learned English at school and spoke Yiddish at home.
  3. By the age of 6 she was already working with small pieces of wood from her father’s lumber yard.
  4. In 1929 she began studying with Kenneth Hayes Miller at the Art Students League in New York.
  5. In 1931 she studied with the abstract expressionist painter Hans Hofmann in Munich.
  6. She worked as an extra in films in Berlin and Vienna. 
  7. She studied modern dance with Ellen Kearns for 20 years. 
  8. She assisted Diego Rivera on murals he was executing under the WPA Federal Art Project.
  9. Her first group exhibition was organized by the Secession Gallery at the Brooklyn Museum in 1935.
  10. In the 1940s, she experimented with different styles and materials such as wood and junk that she found in the streets of New York.
  11. By the 1950s, after enduring years of poverty and critical neglect, she had developed her mature sculptural style and begun to earn critical recognition.
  12. Major museums began purchasing her wall sculptures in the late 1950s, and in the following decades she won recognition as one of the foremost sculptors of the second half of the 20th century.
  13. As a part of the Works Progress Administration, she taught art at the Education Alliance School of Art.
  14. She had her first one-artist exhibition in 1941 at Nierendorf Gallery, New York.
  15. She credited an exhibition of Noh kimonos at the Metropolitan Museum of Art as a catalyst for her to study art. 
  16. In 1967 the first major retrospective of her work was presented at the Whitney Museum of American Art. 
  17. In 1969 she was commissioned by Princeton University to create her first outdoor sculpture. 
  18. In 1973 the Walker Art Center curated a major exhibition of her work, which traveled for two years. 
  19. In 1975 she designed the chapel of St. Peter’s Lutheran Church in midtown Manhattan. 
  20. She was heavily influenced by Picasso and Hofmann’s cubist ideals, describing the Cubist movement as “one of the greatest awarenesses that the human mind has ever come to.”
  21. She also found influence in Native American and Mayan art, dreams, the cosmos and archetypes.
  22. Sky Cathedral: Night Wall, in the collection of the Columbus Museum of Art, took 13 years to build in her New York studio.
  23. She stated: “When I Iook at the city from my point of view, I see New York City as a great big sculpture.”
  24. During the 1970s and 1980s she expanded the variety of materials used in her sculptures, incorporating objects made of aluminum, plexiglas, and lucite.
  25. In her art, she sought “the in-between places, the dawns and dusk, the objective world, the heavenly spheres, the places between the land and the sea.