Acquisition of Polaroid by One Equity Partners

Polaroid Corporation and One Equity Partners today announced that an affiliate of One Equity Partners has acquired substantially all Polaroid assets, creating a new company that will operate under the Polaroid Corporation name. “Polaroid is a very special company with a unique heritage and promising opportunities,” said Charles F. Auster, partner in One Equity Partners and chairman of the new Polaroid board of directors. “The company has made significant progress since filing for bankruptcy last October in improving its operations and is well positioned to take advantage of future opportunities. We look forward to working closely with the company’s loyal and committed employees to maximize its potential.” In a joint statement, Polaroid Executive Vice Presidents William L. Flaherty and Neal D. Goldman said, “We are pleased that One Equity Partners shares our vision for revitalizing Polaroid. Our objectives are to build a profitable core business and realize the tremendous potential of our instant digital printing technology.” As previously announced, One Equity Partners will own 65 percent of the new company and the former Polaroid -- now known as PDC, Inc. -- will own the remaining 35 percent until distributed under a reorganization plan approved by the U.S. Bankruptcy Court.

One Equity Partners manages $3.5 billion of investments and commitments for Bank One Corporation in direct private equity transactions. Bank One Corporation is the sixth largest bank holding company in the United States.

Illustrations 3D Cahier du Designer 01

Illustrations 3D, Cahier du Designer 01, Eyrolles, juillet 2002, 105 p.

Cet ouvrage présente les œuvres d'une dizaine de créateurs d'images 3D. Chaque auteur présente dans un atelier l'une de ses créations originales, de sa genèse (sources d'inspiration, cahier des charges, travail avec un directeur artistique) à sa réalisation pratique (modélisation, textures, éclairages...). Paysages merveilleux, illustrations féeriques, décors hyperréalistes ou objets et avatars, le lecteur découvrira dans ce cahier nombre d'approches créatives qui s'appuient tour à tour sur des logiciels tels que Maya, 3ds max, Cinema 4D ou LightWave, pour n'en citer que quelques-uns.

Auteurs : Stéphane Belin, Luc Bianco, Pascal Blanché, Yann Couder, Olivier Ffrench, Christophe Luxereau, Luc Petitot, François Rimasson

Vous pouvez consulter un extrait de cette publication sur Amazon [ cela est toujours possible en 2009 :) ]

Couverture (c) Eyrolles - Tous droits réservés.

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Apple iPhoto The Missing Manual

Bringing Digital Photography into the Light: O'Reilly and Pogue Press Release a Missing Manual for Apple's iPhoto

iPhoto, Apple's wildly popular application for organizing, retrieving, and sharing digital images, has finally given people who own digital cameras something to do with all the pictures they take. "Until now, you almost needed a degree in computer science to process your digital photos," says David Pogue, coauthor, with Joseph Schorr and Derrick Story, of iPhoto: The Missing Manual (Pogue Press/O'Reilly, US $24.95). "Sure, you could take the pictures easily enough, but then what? The entire process was so complicated that the old-fashioned way of shooting prints and stuffing them in a shoe box didn't seem so bad." With Pogue's latest book, iPhoto users can quickly learn how to take their digital photos to the screen, to the Web, to printouts, to hardbound photo books, even to DVDs.

iPhoto: The Missing Manual takes readers far beyond iPhoto's seemingly simple feature list. And the software application is just the beginning. The book also covers choosing and mastering a digital camera, the basics of good photocomposition, and tips for shooting special subjects like kids, sports, nighttime shots, portraits, and more.

"iPhoto has done for digital photography what the microwave did to cooking," Pogue proclaims. "And 'iPhoto: The Missing Manual' gives you everything you need to know, from selecting the right camera to publishing the images on the Web."

The latest in the series of bestselling "Missing Manual" titles created by prolific writer/publisher Pogue in collaboration with O'Reilly & Associates, iPhoto: The Missing Manual is "the book that should have been in the box," and more. It's the essential guide for any Mac user who wants to master digital photography.

iPhoto: The Missing Manual

By David Pogue, Joseph Schorr, Derrick Story

July 2002, 350 pages, $24.95 US $38.95 CA http://www.oreillynet.com/

Ron Mueck, Hirshhorn Museum, Washington DC

Directions--Ron Mueck
Hirshhorn Museum, Washington DC
July 18 - October 27, 2002

“Directions--Ron Mueck,” featuring four startlingly hyperrealistic, out-of-scale figures by the Australian-born, London-based artist (b. 1958), opens at the Smithsonian’s Hirshhorn Museum and Sculpture Garden. 

The exhibition is the artist’s first American museum solo show and marks the return of the popular “Untitled (Big Man)” (2000) from the Hirshhorn’s permanent collection. Also on view are sculptures of a miniature newborn and a colossal sleeping mask, as well as of a diminutive old woman in bed that has never been exhibited in the United States.

“Ron Mueck’s sculptures, though inanimate, seem alive---eyes are wet, vessels swell with blood, and you can almost feel the heat and breath emanating off the body,” says Sidney Lawrence, exhibition curator. The skewed sizes of the figures give this realism a psychological edge, which, according to Lawrence, “stirs our imagination while grounding us in the physical world.”

Born in Melbourne, the artist has practiced his craft since childhood, when he fabricated his own playthings. Although never formally trained as an artist, Ron Mueck continued to develop his considerable skills working as an animatronics technician and model maker for children’s television, motion picture special effects and the advertising industry first in Australia (from the late 1970s to mid-1980s) and then Great Britain (from the mid-1980s on).

Ron Mueck turned to sculpture in the mid-1990s after making a half-size Pinocchio figure, which served as a model for the painter Paula Rego, his mother-in-law, and was displayed beside Rego’s Disney-inspired canvases in the exhibition “Spellbound: Art and Film” at the Hayward Gallery, London.

Among the first public exhibitions of the artist’s work was “Sensation: Young British Artists from the Saatchi Collection,” a 1997 London show also seen in New York, that included Mueck’s unforgiving “Dead Dad” (1997). More recently, Ron Mueck created a 15-foot-high crouching “Boy” to fill the cavernous space of London’s Millennium Dome (2000); it reappeared at the multinational Arsenale section of the Venice Biennale in 2001. During the summer of that same year, Ron Mueck first exhibited his work in the United States in a New York gallery.

Although the artist has largely relied on photographic sources, a current residency at the National Gallery in London has enabled him to work from live models. “Untitled (Big Man),” a hairless, glaring figure with ponderous rolls of blotchy skin, was a product of such a life study; other works have evolved differently. The alien-looking, wall-mounted “Untitled (Baby)” (2000) was influenced both by family experiences and devotional masterpieces in the National Gallery. “Mask II” (2001), measuring nearly 4 feet from chin to furrowed brow, is a self-portrait of the artist’s slumbering head on its side. “Untitled (Old Woman in Bed)” (2000) is Ron Mueck’s poignant remembrance of the final days of his wife’s much loved grandmother.

The artist spends months modeling his figures in clay on armatures built from metal and chicken-wire to create forms which he eventually casts in fiberglass resin or silicon. Ron Mueck completes a work by painting in specific details like blemishes, and adding elements such as resin eyeballs and strands of monofilament, which are drilled or punched individually into surfaces to represent eyelashes, eyebrows, stubble and hair.

As part of the Smithsonian’s Thursday “Art Night” festivities on July 18, Sidney Lawrence, exhibition curator and Hirshhorn head of public affairs, will discuss Ron Mueck’s (pronounced Mew-ick) sculpture in a gallery talk at 7 p.m. On Sunday, Sept. 22 at 3 p.m., curators Merry Foresta and Arthur Wheelock and critic Blake Gopnik will join Lawrence for a panel discussion titled “What is Realism?,” inspired by the artist’s work.

HIRSHHORN MUSEUM & SCULPTURE GARDEN
Independence Avenue and Seventh Street S.W., Washington, DC
www.hirshhorn.si.edu

Viggo Mortensen, Robert Mann Gallery, New York

Viggo Mortensen

Robert Mann Gallery, New York

July 12 - August 23, 2002

An accomplished photographer, painter, poet and actor, VIGGO MORTENSEN never ceases to challenge his growth as an artist. Born in Manhattan in 1958 to an American mother and a Danish father, Viggo Mortensen's family moved often during his childhood. He continues to travel extensively, finding inspiration in locales ranging from California to New Zealand. Viggo Mortensen's lyrical artwork is the product of an intense personal contemplation and fascination with the world.

Viggo Mortensen's photographs reveal the vision of an artist who observes life carefully. Among his images are intimate portraits, haunting landscapes, and meditative studies of form and color. Finding beauty in unlikely places, Mortensen captures and preserves moments that would otherwise pass by unseen.

Viggo Mortensen's mixed media works are a densely layered amalgam of paint, fragments of photographs, scraps of cloth and paper, scrawled words and various found objects. These visual puzzles invite the viewer to unearth emotions and memories trapped beneath the surface.

During the course of his career, Viggo Mortensen has published several books of photographs, painting and poetry. Among these titles are 'Recent Forgeries' (Smart Art Press, 1998) and 'SignLanguage' (Smart Art Press, 2002). His most recent publications are 'Coincidence of Memory' (Perceval Press, 2002) and 'Hole In The Sun' (Perceval Press, 2002).

ROBERT MANN GALLERY

210 Eleventh Avenue, New York, NY 10001

www.robertmanngallery.com

Andy Goldsworthy, Des Moines Art Center - Three Cairns

Andy Goldsworthy: Three Cairns
Des Moines Art Center
July 20 – October 13, 2002

A major exhibition of work by internationally known British artist Andy Goldsworthy will open at the Des Moines Art Center. Comprised of photographs, sculpture, and temporary site-specific work, the show will stretch through three of the Art Center’s exhibition spaces and also include a major stone sculpture outside the Art Center in Greenwood Park.

The largest project that Andy Goldsworthy has undertaken in the western hemisphere, Three Cairns encompasses three temporary sculptures, three permanent sculptures, and three exhibitions at three museums. Three Cairns was initiated by the Des Moines Art Center, while partnerships with the Museum of Contemporary Art, San Diego and the Neuberger Museum of Art in Purchase, New York expand the project nationwide.

In realizing Three Cairns, Andy Goldsworthy made temporary sculptures as well as permanent sculptures that form a virtual line across the North American continent. All the work is based on the cairn form — recalling the prehistoric cone-shaped stone structures still found in much of Great Britain. Andy Goldsworthy, known for his artwork made of natural materials, has been using this motif since the 1980s. The principal ideas of the project are to link the coasts of America with the country’s center and to highlight the distinct environmental traits of the Eastern, Western, and Central United States.

The backbone of the exhibition will be series of large-scale color photographs depicting the temporary cairns that Andy Goldsworthy created in the Midwest and on the two coasts. The groundwork for these photographs began in March 2001 when Andy Goldsworthy built the first of the temporary cairns on a reconstructed prairie site near Grinnell, Iowa. This five-foot high cairn was then photographed for more than a year in different climatic conditions—as the prairie grasses grew, as the sculpture was covered in snow, and later as the prairie was subjected to a controlled burn. Subsequently, Andy Goldsworthy built temporary cairns in the tidal zones on the East and West coasts which were photographed as the incoming waters destroyed the work. The exhibition brings together all three series of large-scale panoramic photographs—over 35 in all, each six-feet wide —that compare the rising tides of water on the East and West coasts with the rising “tide” of grass on the Midwestern prairie.

The site-specific work in the gallery will also highlight the themes of East versus West, and coast versus center. A large screen made of Iowa cattails pinned together with thorns will divide the main gallery into two equal halves, east and west, while a fern “drawing”—a serpentine line made from bracken collected across the country—will extend for more than 100 feet along a gallery wall. Also included in the exhibition, placed in the Art Center’s lobby, will be one of Andy Goldsworthy’s leaf sculptures, a cornucopia-shaped object created from Chestnut leaves folded and pinned together.

The entire project was inspired by the architecture of the Des Moines Art Center’s original building by Eliel Saarinen. Andy Goldsworthy chose Iowa limestone as the material for the permanent sculptures to echo the Lannon stone cladding used by Saarinen; the scale of the permanent sculpture is also closely related to the building. In addition, the Art Center’s permanent sculpture, while arranged on an east-west axis to reference the east and west coast locations, is sited on a north-south axis in line with an entrance to the Art Center.

Andy Goldsworthy: Three Cairns was initiated by the Des Moines Art Center, Des Moines, Iowa, and organized in partnership with the Museum of Contemporary Art, San Diego, California, and the Neuberger Museum of Art, Purchase, New York. The project was conceived by Susan Lubowsky Talbott, director of the Des Moines Art Center, and Chris Gilbert, associate curator; it is curated with Hugh M. Davies, David C. Copley director at the Museum of Contemporary Art, San Diego, and Dede Young, curator of modern and contemporary art at the Neuberger Museum of Art. The temporary cairn on the Iowa prairie was commissioned by the Des Moines Art Center in collaboration with the Faulconer Gallery and the Center for Prairie Studies at Grinnell College.

At the Art Center, major funding for Andy Goldsworthy: Three Cairns was provided by The Jacqueline and Myron Blank Exhibition Fund; the National Endowment for the Arts; and the Wallace-Reader’s Digest Funds. Additional funding comes from the Bank of America Foundation; The Bright Foundation; and The Meier Bernstein Foundation. Brian Clark and Associates; Manatts, Inc.; Screen Scape Studios; Star Equipment, Ltd.; Taylor Construction Group; and the Weber Stone Company provided in-kind support.

DES MOINES ART CENTER
4700 Grand Avenue, Des Moines, Iowa 50312-2099
www.desmoinesartcenter.org