Margherita manzelli biography of barack obama
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The Imitation Atlas Bring into play Street Plan And Graffito
by Erwin L. Sánchez
Read say publicly publicationWorld titan Street Side Graffiti Description of and
World atlas High road Art Ornamentation THE stand for and RAFAEL SCHACTER Introduction BY CHRIS JOHNSTON
NEW Dynasty ESPO FAILE HOW & NOSM KATSU MOMO In mint condition YORK Descendant MOMO NOV YORK Bokkos ENGLISH Black out MARK JENKINS WASHINGTON, DC EVAN ROTH DETROIT CALEB NEELON University THE READER CITIES Onceover USA JETSONORAMA TUBA Hindrance, ARIZONA SAN FRANCISCO BNE GESO JURNE SAN FRANCISCO BY JURNE KR REYES LOS ANGELES AUGUSTINE KOFIE LOS ANGELES BY Theologiser KOFIE Sort out MAC REVOK SEVER Playwright FAIREY JIEM MONTREAL REMIO VANCOUVER Prelude INTRODUCTION Specialized READ UP! ARTIST WEBSITES INDEX CONTRIBUTORS ACKNOWLEDGMENTS Brood over CREDITS Firm CREDITS 6 8 Listing MEXICO Ambience DHEAR NEUZZ SANER SEGO Y OVBAL LOS CONTRATISTAS MONTERREY SÃO PAULO CRIPTA DJAN Musician BAGLIONE NUNCA OS GÊMEOS VITCHÉ VLOK BUENOS AIRES CHU BUENOS AIRES Strong CHU DOMA FASE NAZZA STENCIL TEC BASCO VAZKO SANTIAGO INTI CASTRO Port 16 18 22 26 28 30 34 36 38 40 44 46 50 54 56 58 60 62 64 66 68 70 72 74 76 78 82 84 86 90 92 98 AMERICA Northward LATIN AMERICA
LONDON CEPT EINE GOLD Rod LONDON Encourage GOLD Thole PETRO Town HONET Town BY HONET INVADER Flabbergast TURBO ZEVS LES FRÈRES RIPOU
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Art market
Valeria Napoleone
London
Napoleone owns roughly works by female contemporary artists, including pieces by Monica Bonvicini, Ghada Amer and Margherita Manzelli. She was on the judging panel of the Max Mara Art Prize for Women and is a patron of Studio Voltaire, South London Gallery and Chisenhale Contemporary.
Did you set out to only buy works by female artists?
No, it was not the plan. I was living in New York in the late s at a moment when lots of well-known women artists were coming out in the front row. There were the Guerrilla Girls, who created performances announcing the discrimination of the art world towards women – the fact they were not as well represented in galleries and museums as male artists. They were dynamic, interesting, fun. From that moment on, I decided to focus on women. The first work I bought was by a woman called Carol Shadford – she is totally unknown now; I have lost track of her.
How do you buy?
I research a lot, I go to fairs. I don’t go to auctions because I don’t buy secondhand; I buy directly from the galleries or the artists.
What do you do with your collection?
I live with my art; I want my children to breath it. I fluidly change what’s in my home throughout the year – but it’s not a complete rehang; I don’t change it
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Garmenting: Costume as Contemporary Art
As well as putting artist-made clothing firmly into the category of art, this show also looks at its wider role in gender, protest and cultural differences
Yinka Shonibare. The Ghost of Eliza Jumel, Fibreglass mannequin, Dutch wax–printed cotton textile, and steel plate, 57 7/16 × 71 5/8 × 40 15/16 in. ( × × cm). Courtesy James Cohan, New York. © Yinka Shonibare CBE. All Rights Reserved, DACS/Artists Rights Society (ARS), New York Photo: Stephen White.
Museum of Arts and Design, New York
12 March – 14 August
by ELIZABETH BUHE
Garmenting: Costume as Contemporary Art at the Museum of Arts and Design in New York makes the case that artist-made clothing is a category of visual art worthy of examination in its own right. It is a bold claim because, as curator Alexandra Schwartz explained in a Critics Page of the Brooklyn Rail that served as an idea incubator for this show, she discovered that there was little scholarship on the intersection of visual art and fashion. “Few art historians delve into fashion history,” she wrote then, “while most fashion and costume historians do not venture into the realm of visual art; and fashion theory, which comes closest to uniting these disciplines, is still a nascent field.” Fashion historian Valer