Tamron 28-300mm XR Ultra Zoom + Super Hybrid Mount

Tamron 28-300mm XR Ultra Zoom 

with New Super Hybrid Mount

Super Hybrid Mount Is More Than 70% Lighter 

Compared With Conventional Brass Mount 

In Previous 28-300 Model

The bayonet mount on the new 28-300mm XR Ultra Zoom (model A06) from Tamron uses hybrid materials made of stainless steel and engineering plastic. Tamron originated the SUPER HYBRID MOUNT by developing an innovative injection molding technology to create this entirely new material that achieves remarkable reduction in weight while providing excellent strength-equal to that of the metallic (brass) material conventionally used for the mount portion of a lens.

Some lenses made by Tamron, other independent lens manufacturers, and camera makers use engineering plastic material to produce the lens mount. However, there are cases of damage to the mount when it suffers excessive shock. Therefore, Tamron avoids using engineering plastic for mounts on lenses mainly intended for the professional and serious amateur photographer who requires a heavy-duty mount.

The newly developed SUPER HYBRID MOUNT by Tamron solves this problem. The Super Hybrid Mount is very strong since the engineering plastic material, in which a stainless steel plate is embedded, is injection-molded simultaneously. Furthermore, the stainless steel plate is designed to extend to the flange portion of the mount, which is the important connecting point between the lens and the camera. Tamron's new 28-300mm XR Ultra Zoom is the first lens to incorporate the remarkably strong Super Hybrid Mount.

New Tamron Hybrid Tough Mount

Cut-Away Drawing

Another benefit of this new mount is its weight. The Super Hybrid Mount is more than 70% lighter when compared with the same mount portion made of brass on Tamron's previous 28-300mm zoom lens (model 185D). The weight distinction is so great that you can literally feel the difference when you hold the two mounts in the palm of your hand.

Brass mount in 28-300mm Model 185D

Weight: 27.22 grams (.96 ounces)

Super Hybrid Mount in Model A06

Weight: 7.38 grams (.12 ounces)

The Super Hybrid Mount is one of several reasons why the new Tamron AF28-300mm XR Ultra Zoom is 164.42 grams (5.8 ounces) lighter that the previous model (185D).

TAMRON

www.tamron.com

Robert Klippel. A Tribute Exhibition at Art Gallery of New South Wales, Sydney - Text by Edmund Capon + Biography

Robert Klippel

A Tribute Exhibition to Australia's Greatest Sculptor

Art Gallery of New South Wales, Sydney

9 August - 13 October 2002

When Robert Klippel died in Sydney on his 81st birthday on 19 June last year, the next day’s headlines acclaimed his artistic achievements – ‘Australia’s greatest sculptor’, ‘a sculptor with iconic status’. As early as the 1960s, Robert Hughes was claiming Robert Klippel as an outstanding figure of Australian art and one of few sculptors worthy of international attention.

While Klippel’s sculpture is extolled, he was a man who eschewed publicity, and to the public his name, unlike those of other major Australian art figures such as Sidney Nolan, Brett Whiteley and Arthur Boyd amongst others, may not be familiar.

With a career spanning 60 years of prodigious creativity, Robert Klippel worked closely with the Gallery’s curator of Australian art, Deborah Edwards, to present this first full-scale retrospective of his life’s work.

“Robert Klippel was Australia's greatest sculptor and arguably one of the most significant sculptors of his generation internationally. Klippel's particular vision, inspired by the intricacies and the profusion of our natural and man-made environments and by his quest for a spiritually relevant form, stands alone in the history of Australian art,” said Deborah Edwards.

Comprising more than 250 pieces, the exhibition encompasses Klippel’s development from figurative sculpture into abstraction, from Surrealist wood carvings to the extraordinary junk assemblages of the 1960s and 1990s. The diversity of junk materials in Klippel’s art – wood, stone, plastic toy kits, wooden pattern parts, typewriter machinery, industrial piping and machine parts – as well as bronze, silver, oils, photography, collage and paper; and the great range in scale of his work, from intimate whimsical structures in metal to the large wooden assemblages of the 1980s, are all incorporated in the exhibition.

Robert Klippel was a fossicker, and his waterfront home in Balmain a cornucopia of industrial discards. These he pondered and re-assembled into some of the most exciting works of art ever produced in this country. He created an amazing number of collages and works on paper, more than 5,000 – outlines and inspirations for his sculpture – “far too many to ever be realised into sculptures, but wonderful pictorial studies in their own right,” said Deborah Edwards.

To accompany the exhibition, the Art Gallery of New South Wales is publishing a comprehensive monograph and a CD ROM catalogue raisonne. This CD ROM catalogue raisonne is the first produced on an Australian artist, and provides detailed information on more than 1,200 of Klippel’s sculptures.

“Robert Klippel’s indefatigable instinct to make things embraced the realms of fantasy, of imagination and whimsy, but at the same time there is a sturdy reality in all thos reawakened bits and pieces of discarded industry and long lost purpose. These works of surprising contemplation and fascinating intrigue are, for me, perfect testaments to the contribution of Robert Klippel, that independent, somewhat solitary but relentlessly creative spirit.”

Edmund Capon

Director, Art Gallery of New South Wales

ROBERT KLIPPEL: A brief biography

Robert Klippel was born in 1920. At the age of six he made his first model ship after being taken on a ferry ride on Sydney Harbour. Model making became a passion – he was employed to make models of planes while he was serving in the Defensively Equipped Merchant Ships at the Gunnery Instruction Centre during World War II. While working at the Centre he was able to attend evening classes at East Sydney Technical College and, after his discharge, was able to attend for a full year.

His parents’ business was successful and with their support, he left Australia for the Slade College in London – a 6 month experience which did not satisfy his need for freedom of expression. However, in London he met the Australian painter and art critic, James Gleeson, with whom he formed a life-long friendship. In November 1948 Klippel, Gleeson and the young Lucian Freud exhibited together in London. André Breton, the originator of Surrealism, arranged for Klippel’s work to be exhibited in Paris the following year. After 18 months in Paris, Robert Klippel returned to Australia.

Australia was culturally dismal in the 1950s, and Robert Klippel's first sculptural work was not sold in this country until 1956. Nor could the artist achieve any commercial success in a short-lived career as an industrial designer. In 1957 he set sail for America, where he remained until 1963, teaching sculpture at the Minneapolis School of Art from 1958-1962. Living in New York in 1957 (and again in 1962-63) Klippel became attuned to the paintings and sculptures of the 'New York' school, and produced his first junk assemblages in 1960, using various parts and sections from old machinery (such as typewriters and cash registers). With these works he subsequently established his mature reputation as a radical new voice in Australian art, after he returned to Sydney in mid-1963.

Living in a huge old house in Birchgrove from 1968, Robert Klippel consolidated his vision and also became, by the 1970s, one of the country's most important collagists. In decades during the 1970s and 80s, when the traditional distinctions between sculpture and architecture, design, photography, performance and painting were frequently presented as obsolete, Klippel's belief in his sculpture was a commitment to the traditional, imaginative concerns of his art. He remained committed to the idea of sculpture as abstract, as occupying sculptural space, and as sustaining in ways beyond any literary or narrative function. In the 1980s he completed a series of spectacular small bronzes, as well as a large number of monumental wooden assemblages, made from the pattern-parts of early twentieth century maritime machinery.

Robert Klippel's last decades proved extremely prolific. Working with wood, metals, plastics, junk, machinery parts, oils, watercolours and paper, and utilising the techniques of casting, assemblage, painting and collage, he had completed over 1,200 sculptures by the end of the 1990s. His independence of thought continued to mark his creative life, as did the exceptional fertility and suppleness of his sculptural imagination, until his death, during his last major exhibition of work, in June 2001.

ART GALLERY OF NEW SOUTH WALES

Art Gallery Road, Sydney

www.agnsw.com.au

Raphaela Platow: Curator at The Rose Art Museum, Brandeis University, Waltham, Massachusetts

Raphaela Platow named new Curator at The Rose Art Museum, Brandeis University, Mass.

Joseph D. Ketner, the Henry and Lois Foster Director at The Rose Art Museum, Brandeis University has announced the appointment of Raphaela Platow as curator.

"Raphaela's breadth of experience in the international contemporary art world and her academic credentials make her an ideal curator for The Rose. She was an outstanding applicant from a highly qualified field of candidates for the position. We are thrilled to have her as a colleague and I look forward to working with her," said Joseph D. Ketner.

Raphaela Platow brings to The Rose extensive knowledge of contemporary art, nationally and internationally. She was a staff member of the 48th International Biennale di Venezia, where she was responsible for the installation of Rosemarie Trockel's exhibition at the German Pavilion. Before that, she worked as an adjunct curator for the Kunstforum München, a foundation in Munich that promotes emerging and established artists. There she organized the two-part exhibition, sur-face, showcasing the work of 11 artists from around the world. In addition, she curated a number of one person shows for the organization. Prior to that post, she was the manager of Projektraum Berlin, a non-profit art space in Berlin that sponsors site specific installations of established international artists.

Most recently, Raphaela Platow held the position of International Curator at the Contemporary Art Museum (CAM) in Raleigh, N.C. Her curatorial leadership at CAM helped re-establish the museum as the region's "most risk-taking venue for contemporary art," according to one critic. Raphaela Platow joined CAM during its redevelopment and transition to a new facility. She curated and organized Art in Transition, a series of interrelated, thematic exhibitions in diverse media, which brought together artists from North Carolina and from around the world. At CAM she also organized various special events accompanying the exhibition, and a lecture series in conjunction with local universities.

Raphaela Platow says she is looking forward to the opportunity to "build on The Rose's vigorous and diverse programs of exhibitions, lectures and symposia, drawing international attention to the museum as a laboratory of ideas and a social place for exchange and discussions."

Raphaela Platow has published and contributed to a number of catalogue essays and is a contributing writer to Sculpture magazine, and Artpapers. She received her M.A. in art history, business administration and German literature from Humboldt University in Berlin. Her thesis analyzes Richard Serra's Torqued Ellipses in the context of his previous work and in comparison to Borromini's baroque church, San Carlo, Rome. She earned her B.A. at the Albert-Ludwig University, Freiburg, with a major in art history, and was a student at the University of Sorbonne, Paris.

Raphaela Platow is currently at work on her doctoral dissertation in the history of art at Humboldt University. She will assume her Rose responsibilities August 5, 2002.

ROSE ART MUSEUM

Brandeis University, 415 South Street, Waltham, Mass

www.brandeis.edu

Making of d'un jeu vidéo Cahier Designer 03

Making of d'un jeu vidéo, Cahier du Designer 03, Eyrolles, juillet 2002, 94 p.

Grâce à la création en 1998 du jeu multimédia pour enfants Les aventures de l'oncle Ernest Lexis Numérique s'est affirmé comme l'un des acteurs incontournables de la scène multimédia grand public, privilégiant un souci permanent d'originalité et de qualité. Dans ce cahier, l'équipe de Lexis Numérique dévoile au lecteur le making of des personnages principaux du jeu vidéo La Belle ou la Bête, un autre de leurs succès. Des premiers crayonnés à l'animation des héros du jeu, en passant par le morphing et le skinning, vous découvrirez toutes les étapes nécessaires à la conception d'un personnage 3D d'un jeu vidéo. En huit ateliers, vous aurez ainsi l'occasion de jongler avec des logiciels de 3D, de rendu, de retouche d'images ou encore de dessin vectoriel. L'ouvrage est vendu avec un CD-Rom contenant les animations cinématiques du jeu La Belle ou la Bête.

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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