Independent 20th Century 2022 Art Fair, New York

Independent 20th Century

Battery Maritime Building, New York

September 8 - 11, 2022

Battery Maritime Building

Courtesy of Etienne Frossard and Independent New York

Independent 20th Century focuses on artists who made a significant contribution to art history between the years 1900 and 2000, yet who were uncelebrated in their day. These artists are now being championed by a generation of gallerists who are reassessing the canon to make it more inclusive and representative of our times. 

The annual event will take place at the historic Battery Maritime Building at Cipriani South Street in downtown Manhattan on September 8-11, 2022, coinciding with the fall art fair calendar. More than 30 international gallerists with museum-quality programs will be present at Independent 20th Century.  It will be the second of two fairs to take place in the organization’s 13th year.  

Social movements such as #MeToo and Black Lives Matter, and unprecedented global scares such as the pandemic, have shaken the art world and given voice to a much more diverse community of artists with a completely different historical and creative ancestry. Independent 20th century will tell the stories of these artists, who were ahead of their time and whose stories have not yet been told, through a new fair framework, and thanks to gallerists who seek to redefine art history by revisiting the past — a past that looks much more like us. 

One of the most exciting generational, social and political shifts in the contemporary art market in recent years has been the emergence of a new wave of gallerists championing a diverse set of artistic propositions, whether by living artists or by their historical forebears. Independent is launching a mission-oriented fair to provide a platform for this reexamination — to question previous assumptions about art history, and present chapters in that history that went unnoticed, generating a debate about what art history and the canon should be.  

The approach taken by this new generation of gallerists, most of whom were born after 1970, has been an inspiration to us. They have consistently supported art that falls outside the dominant canon.  Independent 20th Century will deliver an inclusive and critical space for the reassessment of women artists, artists of color, and artists from geographical territories and communities outside the major cultural capitals of the world. 

For collectors, contemporary art is constantly being redefined to include works from a variety of periods, living artists and estates. At Independent Art Fair — founded in 2010 and recognized as a launchpad for emerging artists who have gone on to achieve international fame — more than 30 percent of the 2022 edition were devoted to previously unseen or unrecognized historical art. 

At the moment, there is not a single fair that extends the notion of Contemporary art beyond 1970 to include the entire 20th century, or that is predictive of this emerging and increasingly dominant phenomenon known as Contemporary art.  The time is right to create a focused experience for collectors who are interested in work from across this widening spectrum, and who value connections between geographies, zeitgeists, and avant-garde movements. 

Matthew Higgs, Independent’s founding curatorial advisor, notes: “The ongoing, and necessary reassessment of the art historical canon is perhaps the defining characteristic of the 21st Century art world.  Independent 20th Century will seek to amplify this narrative through its focused presentations by a cross-generational community of defiantly idiosyncratic artists.”

Independent 20th Century has been conceived in close collaboration with a core group of gallerists and curatorial advisors: Alma Luxembourg, of Luxembourg + Co., London; Joseph Nahmad, of Nahmad Contemporary, New York, Gió Marconi, of Gió Marconi, Milan and Vito Schnabel, of Vito Schnabel Gallery, New York /St. Moritz.  Founder, Elizabeth Dee states, “I am inspired to work closely with this new generation to reassess the work of artists of the 20th century. Together, we are creating a completely new space for this growing network of gallerists and collectors.” 

INDEPENDENT 20TH CENTURY

Battery Maritime Building at Cipriani South Street

10 South Street, New York, NY 10004

www.independenthq.com

Pentax Lenses HD Coating Technology for Pentax K-Mount cameras

Pentax recently introduced its newly developed HD Coating technology – a multi-layer lens coating process – for all new HD (High Definition)  Pentax lenses for Pentax K-Mount cameras.

Compared with conventional multi-layer coatings, the new multi-layer HD Coating,* exclusively developed by  Pentax, offers much improved light transmittance and a much lower refractive index. Because this advanced coating minimizes reflections, the lens delivers sharp, clear images free of flare and ghosting, even under demanding lighting conditions such as backlight. This coating assures optical performance almost equal to Aero Bright Coating, another  Pentax-exclusive lens coating process made possible by advanced nanotechnology and applied to higher-class lenses.

Also introduced last week by Pentax is the new K-Mount HD  Pentax DA 560mm F5.6 ED AW interchangeable super-telephoto lens and the new HD  Pentax D FA 645 Macro 90mm F2.8 ED AW SR interchangeable lens for the medium format 645D – the first lenses to feature this exclusive  Pentax HD Coating. All future interchangeable lenses for Pentax digital cameras that feature this new coating will bear the “HD PENTAX” name.

Pentax' HD Coating technology Features include:

- 50 percent reduction of reflections in visible spectrum

The coating reduces reflections by more than 50 percent over the entire visible spectrum, compared to conventional multi-layer coating. 

- High rigidity coating layer

Since the HD Coating has a stronger bond among its coating materials and a higher packing density, this coating layer ensures exceptional high rigidity for extra durability.

- Accurate reflection of design concept to actual coating layer

In conventional multi-layer processes, the coating layer is produced by the vacuum evaporation method, in which coating materials are dissolved and deposited in a vacuum. This method, however, sometimes causes coating unevenness great enough to affect image quality. 

The HD Coating* effectively solves this problem by employing a Pentax-exclusive manufacturing process, while optimizing the density of its coating layer and controlling the thickness with the accuracy of one nanometer (one millionth of a millimeter). As the result, the original design parameters for the lens coating are accurately applied to the coating layer to optimize anti-reflection performance of a lens.

* HD stands for High Definition, and signifies the lens’s capacity to reproduce images that excel in transparency, definition, resolution and rendition.

Comparison between conventional multi-layer coatings and HD Coating:

The coating reduces reflections by more than 50% over the entire visible spectrum, compared to conventional multi-layer coating. The new coating allows an ideal control of color balance thanks to stable Reflection at Wavelength.

www.pentaximaging.com

Poem. Thomas Feuerstein, 401contemporary, Berlin

Poem. Thomas Feuerstein

401contemporary, Fine art gallery, Tiergarten, Berlin, Germany

9 September – 15 October 2011

In POEM Thomas Feuerstein transgresses the border of language as a ‘mere’ medium of communication through a hypostatical transformation, which converts the breath of words into molecular sculptures. The linguistic constitution of art becomes the departure point for Feuerstein’s art as he connects language distillates and mixes them with the biochemical and social processes of life. Art speech is transformed into the very ingredient of art, which will be fed back into the physical metabolism of the speaking body in the form of liquor. 

Talking – distilling – drinking, that is the repetitive formula. The more art is spoken about, the more art is produced in the form of ice, water and alcohol. This leads to more drink and a more talkative speaker. 

When speaking, humid air escapes the mouth. In POEM. these ‘humid words’ hit the cold metal of the microphone, condense, freeze and form ice crystals. This ice layer grows thicker with each spoken sentence until dewdrops start falling down into a bowl, which triggers the functioning of a machine. Chemical processes commence; the water is heated to steam, pressed through earth, enriched with gases and electrically ionized. LA GROSSE DONDON, ‘the Fat Mother’, is the name of the part of the machine in which alcohol is produced without fermentation. Parallel to this process, another part of the machine uses the water to cook an Ursuppe (primal soup). 

Through endless circulation in the machinery, the liquids are transmuted into organic chemistry and are enriched with amino acids. LE PÈRE RÉPÉTITIF, ‘the Masturbating Father’, mixes his body fluids with the alcohol produced by ‘the Fat Mother’ to create a distillate which finally drips into bottles that will be archived in the bar cupboard ‘Genius in the bottle’. The labels of the bottles entrap us in multiple stories, evoking elixirs and essences inhabited by ‘Genies in the Bottle’. As enzymes and catalysts, they await the moment in which they will become effective in us, the moment in which their presence will initiate thoughts, images and actions, stir neuronal programs and transform realities. If in the beginning was the word, the genius in the bottle presides at the end, carefully creating new acts of talking with every gulp, and making sure that Art’s Circulation is forever energized.

THOMAS FEUERSTEIN’s (b. 1968) work is created in a variety of media and includes installations, environments, objects, drawings, paintings, sculpture, photography, video, audio dramas and internet art. Essential ingredients are the connection between linguistic and visual elements, the tracing of latent links between fact and fiction and the interlacing of art and science. 

401CONTEMPORARY 

Dr. Ralf-Otto Hänsel (Owner/Director)

Potsdamer Strasse 81 B 

Berlin (Tiergarten), Germany 

www.401contemporary.com 

Paris’ Photographs Artist Book

Artist book Press Release

 

The book cover can be used for editorial purpose related to this book
© Gautier Willaume. Courtesy of the artist.
High Res. pictures available upon request to Wanafoto (above: "contact Wanafoto")

 

This artist book presents a serie of 24 black and white photographs from Paris.

For this book I choose fairly traditional topics about Paris. Perhaps I could have published in this little book photos with less conventional view of Paris. But I had to make a choice, and Paris offer a good opportunity for this kind of pictures. Living in Paris, I love spending a day or a weekend, adopting the posture of a tourist. It is in these moments that most of the photos included in the book have been taken, between 2005 and 2010.

This hand-made artist book printed with an inkjet printer on 200g drawing paper is limited to 100 numbered and signed.

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I’m french, so can you let me a comment if you find a mistake in this text translated from french to english :) Thanks ;)

 

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Artists, if you want to publish a post about your artist book on this blog, please send your text and (if you want) book cover or other image related to your artist book to wanafoto (“contact wanafoto” above). Of course, it is free!

Art Fair Tokyo New Executive Director Takahiro Kaneshima

Announcement of Change in Executive Director at ART FAIR TOKYO

The ART FAIR TOKYO Committee Executive announces that Misa Shin, Executive Director of ART FAIR TOKYO since 2005, will be stepping down at the end of May 2010.

Mina Shin has directed a total of four editions of ART FAIR TOKYO, since her appointment as Executive Director in November 2005. During this time, her aims have been to encourage the development of an art market in Japan and to create a truly international art fair in Tokyo. Under each year of Shin’s direction, ART FAIR TOKYO has attracted a wide variety of international and domestic art collectors and art enthusiasts. The fifth edition, held in 2010, attracted a record 50,000 visitors. “This proved that the spring-time ART FAIR TOKYO has firmly established itself on the international art scene”. Shin succeeded in developing the Japanese art world by nurturing a new generation of potential collectors through her message that art should be thought of as something to buy, and not just as something to look at.   

In the future, Shin will serve as an Advisor to ART FAIR TOKYO.

The ART FAIR TOKYO Committee Executive announces that Takahiro Kaneshima will be appointed as the new Executive Director of ART FAIR TOKYO as of June 1, 2010. For the last five years, Kaneshima has been active in the East Asian art scene, particularly in the field of support-activities for artists and the management and coordination of many art projects.

"I am very excited to have the chance, as Executive Director of ART FAIR TOKYO, to sincerely and dynamically work towards demonstrating the wonders of Tokyo’s art scene to the world," Kaneshima said. "We need to consider the specific role of Tokyo in Asia and how ART FAIR TOKYO should function in the global art scene. I believe that ART FAIR TOKYO can be more appealing to the world by reflecting Japan's unique characteristics and its potential, so I greatly look forward to further developing and refining the quality of the fair."

“Working on the foundations built by Shin, ART FAIR TOKYO will continue to grow, taking advantage of Kaneshima’s network and his proven skills of organizing fascinating projects in the East Asian region.” (Press release)

Takahiro Kaneshima’s Short Biography

Executive Director of ART FAIR TOKYO since June 1, 2010, Director of FEC (Far East Contemporaries), Takahiro Kaneshima has managed research projects related to contemporary art in East Asia, activities for supporting artists, and interexchange activities. After graduating with an M.A. in Media and Governance from the Graduate School of Keio University, he worked for NOKIA and Toshiba Corporation. Since 2005, he has been involved in a variety of contemporary art businesses in Beijing. Kaneshima has worked for TOKYO GALLERY + BTAP in Beijing, and served as the East Asia producer for "ART iT." Takahiro Kaneshima was born in 1977 in Tokyo.

Next Post about the New Organizational Structure of the Art Fair Tokyo Committee

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Ricoh supports Poznan Communique on Climate Change

Press Release

Tokyo December 9, 2008, Ricoh Company, Ltd. (CEO Shiro Kondo) is pleased to announce its participation in the Poznan Communique, an initiative by 140 leading global corporations to highlight the need for action on climate change. The communiqué was developed by the Prince of Wales’s Corporate Leaders Group on Climate Change (managed by the University of Cambridge Programme for Industry). Its launch will coincide with the second week of climate negotiations taking place in Poznan, Poland.

The Communique states that “climate change poses global social, environmental and economic risks and demands a transformational change in how we manage our global economy” and that “we must deliver deep and rapid cuts in greenhouse gas emissions.” It adds that “any credible comprehensive agreement must include mechanisms to reduce topical deforestation” as the continuing destruction of these ecosystems accounts for up to one fifth of annual greenhouse emissions.

Ricoh is the only major Japanese corporation to have supported the Communique. A pioneer in corporate environmentalism, Ricoh was also the first Japanese company to come out in support of the Kyoto Protocol, under Masamitsu Sakurai’s leadership, Ricoh’s chief executive at the time. Kiyoshi Sakai, Chief Technology Officer and Corporate Executive Vice President of Ricoh said: “We believe we must achieve a sustainable society where our environmental impact is limited to what the Earth can deal with, handing on our precious Earth to future generations. In order to do this, we must create a system enabling us to tackle climate change actively, and altogether – that’s why we signed the Poznan Communique.”

Nikon ArF immersion Scanner NSR-S620

New immersion scanner for Double Patterning mass production

Nikon Corporation (Michio Kariya, President) announced they will release the NSR-S620 ArF immersion scanner for mass production process utilizing Double Patterning* to their customers in the 4th quarter of 2009. By further improving the Nikon's immersion technology of Local Fill nozzle and the Tandem Stage and mounting them on the epoch-making platform which provides both high precision and high throughput, the NSR-S620 will fulfill the customers' requirement in the mass production process using Double Pattering technology.

* In Double Patterning, a single, dense circuit pattern is split into two coarser patterns that can be printed separately with current immersion technology. By combining the two exposure results on the wafer, the final, dense circuit pattern is achieved.

VLSI chips are becoming ever denser and immersion lithography is now well established as the leading edge technology for 40-45 nm node volume manufacturing. At the 32 nm node, Double Patterning is the leading technology contender. In Double Patterning, the key challenges for the exposure tool are the substantial improvement overlay accuracy and throughput for mass production process. The NSR-S620 will provide the customers with efficient solution for Double Patterning satisfying such stringent requirement.

Nikon Corporation - Press Release - November 12, 2008

Digimarc for Images Software for Adobe Photoshop

Digimarc Releases New Version of Digimarc for Images Software for Adobe PhotoShop® - New Digimarc plug-ins deliver increased robustness and additional international language support

Beaverton, Ore. — October 22, 2008 — Digimarc Corporation (NASDAQ: DMRC) today announced the availability of its newly enhanced Digimarc for Images plug-ins, shipped in-box with Adobe PhotoShop®, enabling photographers and corporations to better manage their photos and image assets by communicating copyright information and owner contact details, and reporting to owners on both authorized and unauthorized use of images online.

Coinciding with the release of Adobe Creative Suite® 4 (CS4), the new version of Digimarc for Images includes several enhancements in response to customer feedback:

Improved robustness for image format transformations, resizing and compression Expanded support for international customers with the addition of seven new languages (Czech, Hungarian, Polish, Romanian, Russian, Turkish and Ukrainian), for a total of 22 available languages Improved Search Service with expanded Web site coverage and monthly and/or on-demand reports of where customer images are located online Digimarc for Images enables content owners to place a persistent, invisible digital identifier (digital watermark) into photographs and other images. The company also offers a Search Service that continuously crawls the Web looking for such watermarked images. This provides valuable information on where and how images are being used, which can help effectively measure the reach of a marketing campaign. The Search Service also enables content owners to take action on unauthorized use of their images.

Furthermore, Adobe PhotoShop® users can embed or read digital watermarks from within the application. This allows potential buyers to quickly identify the owner and how to contact him or her so that they can easily purchase or license the photographs or images they want to use.

"Digimarc is pleased to address several user priorities in this latest version of Digimarc for Images," commented Jeri Owen, Digimarc vice president of marketing. "The increased robustness helps to ensure the watermark remains with the image through a wide range of file transformations, sizing and image compression. Our solution helps manage important image assets as widening distribution of images over the web has made it increasingly difficult for brand owners and professional photographers to monitor where their images are being used online. We believe that Digimarc for Images offers a unique and proven solution to this growing challenge."

Digimarc will offer a free Webcast on November 13 for Adobe users interested in learning more about digitally watermarking their images using Adobe PhotoShop®. For further information on the Webcast pricing and availability, please go to

www.digimarc.com/images

iF concept award 2009

PRESS RELEASE

Hannover, July 23, 2008

iF concept award 2009 – the international competition for up-and-coming talent is launched

Starting immediately, students in the fields of design, architecture, marketing and engineering from all over the world are invited to submit their innovative, trend-setting ideas and concepts in the competition for an iF concept award 2009.

Entries in six categories can be submitted free of charge in this international competition for new talent up until January 5, 2009. The event is organized by iF International Forum Design GmbH, Hannover, on an annual basis:

1. time to market

2. industrial design

3. fashion

4. communication design / multimedia design

5. architecture / interior design

6. universal design

The projects entered must not be more than two years old and must have been completed during the student's study time. Entries can be made by individuals as well as by groups. Young professionals are invited to participate up to two years after having completed their degree.

An independent, international jury of experts will select the "Best 100" of all the entries in an open session during the CeBIT Show on March 3, 2009. Outstanding entries will be rewarded with prize monies totalling € 30,000, provided, among others, by GOLD Sponsor Samsung Electronics (Seoul).

The outstanding up-and-coming designers will be officially honoured at the "design: driving innovation" special display booth on CeBIT Saturday, March 7, 2009. All the entries will also be on display there for the duration of the CeBIT Show.

Projects can be registered for the iF concept award 2009 free of charge starting immediately at http://www.ifdesign.de/ (Awards and Projects).

Adobe Announces PDF Print Engine 2

Next Generation Printing Technology Streamlines Graphically Rich, Personalized Publishing

DUESSELDORF, Germany — May 29, 2008 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced Adobe PDF Print Engine 2, the next-generation, full-featured printing software that enables end-to-end workflows for graphically rich publishing based on Adobe Portable Document Format (PDF). Designed for offset and digital printing, Adobe PDF Print Engine 2 enables Original Equipment Manufacturers (OEMs) and print providers to fulfill the promise of variable data printing (VDP) and help their customers to develop personalized campaigns for different target audiences. Since its introduction in 2006, more than 2000 systems incorporating Adobe PDF Print Engine are in production from the industry’s biggest names, including Agfa, FUJIFILM, GMG, Heidelberg®, Kodak, Screen, and Xanté®. Dalim Software, EFI, Océ Printing and Xerox® also announced support for Adobe PDF Print Engine 2 today.

Adobe PDF Print Engine 2 addresses the complexity and limitations of variable data printing workflows that have hampered VDP adoption so far. With support for PDF/VT, the emerging PDF standard for variable data printing, the software offers print providers an easy on-ramp to add VDP to their existing workflows. Adobe PDF Print Engine 2 makes personalized publishing more practical and broadly accessible while enabling print service providers worldwide to realize significant performance gains. Customers such as the Printing Department at the University of Southern Queensland in Australia are finding that the Adobe PDF Print Engine renders jobs twice as fast as their previous systems.

“Personalized publishing is the best way for businesses to engage their customers with relevant information,” said Dr. Naresh Gupta, senior vice president, Print and Publishing at Adobe. “Building on the success of Adobe PDF Print Engine, the next generation of the technology will help print providers cut through the media clutter and deliver the benefits of VDP by enabling complete, unified PDF-based workflows, from design to collaboration to final output.”

A Single, Unified PDF Workflow

Adobe PDF Print Engine 2 leverages the same core PDF technology across the end-to-end workflow – designing with Adobe Creative Suite®, reviewing and proofing with Adobe Acrobat® Professional and printing with Adobe PDF Print Engine – to dramatically reduce complexities and streamline the next generation of print jobs. Optimized for digital printing, Adobe PDF Print Engine 2 efficiently renders graphically rich content and offers an easy path for print providers to add personalization to existing workflows, using the familiar tools, methods and expertise employed in prepress today. With VDP content exchanged in the form of user-friendly PDF, collaboration between creative designers, business users, print and prepress professionals is greatly simplified.

Adobe PDF Print Engine 2 is built on the industry standard JDF (Job Definition Format), which enables printers to realize substantial cost savings through end-to-end workflow automation, beginning with an easy-to-use, online job submission. Optimized code takes full advantage of available hardware resources such as RAM and multiple-core CPUs while a highly scalable architecture enables parallel processing by next-generation Raster Image Processors (RIP) and Digital Front Ends (DFEs).

"Printing is a thin-margin business; anything that strips out cost and streamlines processes is beneficial," said Riley McNulty, research manager for document solutions at IDC. "Adobe PDF Print Engine 2 is impressive. To manage all elements from start to finish through an integrated PDF-based workflow is a strong value proposition; the benefits are obvious." "Adobe PDF Print Engine has had a huge impact on print production," said James Wamser, senior training specialist at Sell Printing Co. "It gives us a lot more options for producing the best output possible for any given job. In the past, we found ourselves asking our customers for new files more often. Now with the Adobe PDF Print Engine, this is no longer the case. It's a big leap forward for pre-press workflow and, ultimately for our customers, because the jobs they create look as they intended, more consistently."

Pricing and Availability - Adobe PDF Print Engine 2 will be available to OEM partners in July. For more information on Adobe PDF Print Engine 2, please visit : www.adobe.com/products/pdfprintengine/.