Album Lever House Art Collection from LaurieAnnie

Not Warhol Brillo Boxes 1964 by Mike Bidlow, Lever House, July 2010

nobody@ipernity.com (LaurieAnnie) — Sat, 10 Dec 2022 21:37:09 +0000

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Not Warhol Brillo Boxes 1964 by Mike Bidlow, Lever House, July 2010

nobody@ipernity.com (LaurieAnnie) — Sat, 10 Dec 2022 21:37:07 +0000

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Giant Wind-Up Hello Kitty Sculpture by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:59:28 +0000

LaurieAnnie has posted:

Tom Sachs is a contemporary artist who lives and works in New York.

Born in New York City in 1966, Sachs grew up in Westport, Connecticut and attended Greens Farms Academy for high school. He attended Bennington College in Vermont. Following graduation, he studied architecture in London before deciding to return to the States and started making sculpture and other art objects. In 1994, Sachs created a Christmas scene for the windows at Barneys New York entitled "Hello Kitty Nativity" where the Virgin Mary was replaced by Hello Kitty dressed in Chanel and Nike. This contemporary revision of the traditional nativity scene received great attention and demonstrated Sachs' interest in the phenomenona of consumerism, branding, and the cultural fetishization of products. In 1997, with the perspective that all "products" are equal, Sachs created Allied Cultural Prosthetics - thereby giving his studio a formal name - and began to utilize logos and design elements from major fashion houses and other instantly recognizable brands in his work.

Interested from the beginning in "bricolage" or "do-it-yourself" in French, Sachs organized an exhibition at Sperone Westwater in 2000 entitled "American Bricolage" that featured the work of 12 artists from Alexander Calder to Tom Friedman. The exhibition's catalogue describes the "bricoleur" as one "who hobbles together functional contraptions out of already given or collected materials which he re-tools and re-signifies info new objects with novel uses, but more importantly, which he regenerates into a new, oscillating syntax: one of loss, gain, and more than anything, one of play.

After several solo exhibitions in New York and abroad, Sachs showed his major installation "Nutsy's" at the Deutsche Guggenheim in 2003. According to one art critic who experienced the installation: "Like Grand Theft Auto, Tom Sachs' current installation for the Deutsche Guggenheim in Berlin offers a miniature likeness of a reality steeped in the laws of consumerist society. It comes as no surprise that Sachs, a video game enthusiast, ignores the boundaries between "high" and "low": without comment, modernist icons stand as equals next to the flagships of global consumerism and symbols of contemporary leisure culture. Just like in a computer game, visitors to the exhibition get a chance to relinquish the passive role ordinarily accorded to them and become actors in this gigantic bricolage by driving one of the racing cars through the installation."

In 2006, the artist had two major survey exhibitions mounted in Europe, first at the Astrup Fearnley Museet for Moderne Kunst and next at the Fondazione Prada, Milan. His work can be found in major museum collections worldwide, including the Metropolitan Museum of Art, New York, The Solomon R. Guggenheim Museum, New York, the Whitney Museum of American Art and the Centre Georges Pompidou, Paris.

As Germano Celant writes in his recent monograph on the artist published by the Fondazione Prada, Milan, "The images and objects that make up the militarized space of consumption and fashion are at the very heart of Tom Sachs's visual passion."

The Des Moines Art Center is currently hosting a solo exhibition titled LogJam featuring the artist. It ran through August 26, 2007.

Less than a month later, on September 25, 2007, the exhibit moved to the Rose Art Museum, located on the Brandeis University campus in Waltham, MA.

Sachs is represented by Sperone Westwater, New York and Thaddaeus Ropac, Paris and Salzburg.

Text from: en.wikipedia.org/wiki/Tom_Sachs_(artist)

Giant Wind-Up Hello Kitty Sculpture by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:59:28 +0000

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Detail of the "K" on the Giant Wind-Up Hello Kitty Sculpture by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:59:28 +0000

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Giant Wind-Up Hello Kitty Sculpture by Tom Sachs in the Courtyard of Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:42:43 +0000

LaurieAnnie has posted:

Giant Wind-Up Hello Kitty Sculpture by Tom Sachs in the Courtyard of Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:42:43 +0000

LaurieAnnie has posted:

Giant Wind-Up Hello Kitty Sculpture by Tom Sachs in the Courtyard of Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:42:43 +0000

LaurieAnnie has posted:

Hello Kitty Fountain by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:29:14 +0000

LaurieAnnie has posted:

Tom Sachs
Hello Kitty Fountain, 2007-2008
Painted Bronze
Lever House Art Collection

text from the wall label

and

Tom Sachs is a contemporary artist who lives and works in New York.

Born in New York City in 1966, Sachs grew up in Westport, Connecticut and attended Greens Farms Academy for high school. He attended Bennington College in Vermont. Following graduation, he studied architecture in London before deciding to return to the States and started making sculpture and other art objects. In 1994, Sachs created a Christmas scene for the windows at Barneys New York entitled "Hello Kitty Nativity" where the Virgin Mary was replaced by Hello Kitty dressed in Chanel and Nike. This contemporary revision of the traditional nativity scene received great attention and demonstrated Sachs' interest in the phenomenona of consumerism, branding, and the cultural fetishization of products. In 1997, with the perspective that all "products" are equal, Sachs created Allied Cultural Prosthetics - thereby giving his studio a formal name - and began to utilize logos and design elements from major fashion houses and other instantly recognizable brands in his work.

Interested from the beginning in "bricolage" or "do-it-yourself" in French, Sachs organized an exhibition at Sperone Westwater in 2000 entitled "American Bricolage" that featured the work of 12 artists from Alexander Calder to Tom Friedman. The exhibition's catalogue describes the "bricoleur" as one "who hobbles together functional contraptions out of already given or collected materials which he re-tools and re-signifies info new objects with novel uses, but more importantly, which he regenerates into a new, oscillating syntax: one of loss, gain, and more than anything, one of play.

After several solo exhibitions in New York and abroad, Sachs showed his major installation "Nutsy's" at the Deutsche Guggenheim in 2003. According to one art critic who experienced the installation: "Like Grand Theft Auto, Tom Sachs' current installation for the Deutsche Guggenheim in Berlin offers a miniature likeness of a reality steeped in the laws of consumerist society. It comes as no surprise that Sachs, a video game enthusiast, ignores the boundaries between "high" and "low": without comment, modernist icons stand as equals next to the flagships of global consumerism and symbols of contemporary leisure culture. Just like in a computer game, visitors to the exhibition get a chance to relinquish the passive role ordinarily accorded to them and become actors in this gigantic bricolage by driving one of the racing cars through the installation."

In 2006, the artist had two major survey exhibitions mounted in Europe, first at the Astrup Fearnley Museet for Moderne Kunst and next at the Fondazione Prada, Milan. His work can be found in major museum collections worldwide, including the Metropolitan Museum of Art, New York, The Solomon R. Guggenheim Museum, New York, the Whitney Museum of American Art and the Centre Georges Pompidou, Paris.

As Germano Celant writes in his recent monograph on the artist published by the Fondazione Prada, Milan, "The images and objects that make up the militarized space of consumption and fashion are at the very heart of Tom Sachs's visual passion."

The Des Moines Art Center is currently hosting a solo exhibition titled LogJam featuring the artist. It ran through August 26, 2007.

Less than a month later, on September 25, 2007, the exhibit moved to the Rose Art Museum, located on the Brandeis University campus in Waltham, MA.

Sachs is represented by Sperone Westwater, New York and Thaddaeus Ropac, Paris and Salzburg.

Text from: en.wikipedia.org/wiki/Tom_Sachs_(artist)

Hello Kitty Fountain by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:29:14 +0000

LaurieAnnie has posted:

Hello Kitty Fountain by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:29:14 +0000

LaurieAnnie has posted:

Miffy Fountain by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:20:11 +0000

LaurieAnnie has posted:

Miffy Fountain
Tom Sachs
2007-2008
Painted Bronze
Lever House Art Collection

text from the wall label

and

Tom Sachs is a contemporary artist who lives and works in New York.

Born in New York City in 1966, Sachs grew up in Westport, Connecticut and attended Greens Farms Academy for high school. He attended Bennington College in Vermont. Following graduation, he studied architecture in London before deciding to return to the States and started making sculpture and other art objects. In 1994, Sachs created a Christmas scene for the windows at Barneys New York entitled "Hello Kitty Nativity" where the Virgin Mary was replaced by Hello Kitty dressed in Chanel and Nike. This contemporary revision of the traditional nativity scene received great attention and demonstrated Sachs' interest in the phenomenona of consumerism, branding, and the cultural fetishization of products. In 1997, with the perspective that all "products" are equal, Sachs created Allied Cultural Prosthetics - thereby giving his studio a formal name - and began to utilize logos and design elements from major fashion houses and other instantly recognizable brands in his work.

Interested from the beginning in "bricolage" or "do-it-yourself" in French, Sachs organized an exhibition at Sperone Westwater in 2000 entitled "American Bricolage" that featured the work of 12 artists from Alexander Calder to Tom Friedman. The exhibition's catalogue describes the "bricoleur" as one "who hobbles together functional contraptions out of already given or collected materials which he re-tools and re-signifies info new objects with novel uses, but more importantly, which he regenerates into a new, oscillating syntax: one of loss, gain, and more than anything, one of play.

After several solo exhibitions in New York and abroad, Sachs showed his major installation "Nutsy's" at the Deutsche Guggenheim in 2003. According to one art critic who experienced the installation: "Like Grand Theft Auto, Tom Sachs' current installation for the Deutsche Guggenheim in Berlin offers a miniature likeness of a reality steeped in the laws of consumerist society. It comes as no surprise that Sachs, a video game enthusiast, ignores the boundaries between "high" and "low": without comment, modernist icons stand as equals next to the flagships of global consumerism and symbols of contemporary leisure culture. Just like in a computer game, visitors to the exhibition get a chance to relinquish the passive role ordinarily accorded to them and become actors in this gigantic bricolage by driving one of the racing cars through the installation."

In 2006, the artist had two major survey exhibitions mounted in Europe, first at the Astrup Fearnley Museet for Moderne Kunst and next at the Fondazione Prada, Milan. His work can be found in major museum collections worldwide, including the Metropolitan Museum of Art, New York, The Solomon R. Guggenheim Museum, New York, the Whitney Museum of American Art and the Centre Georges Pompidou, Paris.

As Germano Celant writes in his recent monograph on the artist published by the Fondazione Prada, Milan, "The images and objects that make up the militarized space of consumption and fashion are at the very heart of Tom Sachs's visual passion."

The Des Moines Art Center is currently hosting a solo exhibition titled LogJam featuring the artist. It ran through August 26, 2007.

Less than a month later, on September 25, 2007, the exhibit moved to the Rose Art Museum, located on the Brandeis University campus in Waltham, MA.

Sachs is represented by Sperone Westwater, New York and Thaddaeus Ropac, Paris and Salzburg.

Text from: en.wikipedia.org/wiki/Tom_Sachs_(artist)

Inscription on the back of the My Melody Sculpture by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:20:11 +0000

LaurieAnnie has posted:

My Melody Sculpture by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:12:27 +0000

LaurieAnnie has posted:

My Melody Sculpture by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:12:27 +0000

LaurieAnnie has posted:

My Melody Sculpture by Tom Sachs at Lever House, May 2008

nobody@ipernity.com (LaurieAnnie) — Tue, 13 Jan 2009 02:12:27 +0000

LaurieAnnie has posted:

Detail of the Damien Hirst Exhibition at Lever House, February 2008

nobody@ipernity.com (LaurieAnnie) — Sat, 30 Aug 2008 23:34:07 +0000

LaurieAnnie has posted:

School: The Archaeology of Lost Desires, Comprehending Infinity, and the Search for Knowledge
by Damien Hirst
Lever House
E. 54th St. & Park Avenue
New York, NY

Damien Hirst and Lever House: In New York, a $10 million 'School'
By Carol Vogel

Published: November 12, 2007

NEW YORK: Never mind that the world financial markets are in turmoil, or that Sotheby's had a very rocky auction night last Wednesday. A rich artist and his developer patron proved this weekend that excess endures.

Saturday night, when the shrouding was removed from Lever House's lobby in midtown Manhattan, viewers confronted a veritable Noah's Ark of roadkill - 30 dead sheep, one dead shark, two sides of beef, 300 sausages, a pair of doves - that the British artist Damien Hirst describes as his most mature piece.

The installation, on view through Feb. 16, was commissioned by the real estate developer Aby Rosen, who owns Lever House, the Seagram Building and the Gramercy Park Hotel, and by Alberto Mugrabi, a Manhattan dealer. Rosen also happens to be one of the leading U.S. collectors of contemporary art. The two have jointly purchased Hirst's installation, titled "School: The Archaeology of Lost Desires, Comprehending Infinity, and the Search for Knowledge," for $10 million for the Lever House Art Collection.

In 2005, the developer asked the artist if he might be willing to create a work of art for Lever House's all-glass lobby, which has been a frequent site of temporary art installations. For Rosen, such commissions are a way of calling attention to the landmark building at Park Avenue and 54th Street, which his company, RFR Holding, bought in 1998.

"It's a great way to make the building more visible by showing great art," he said, adding that he enjoys seeing how different artists relate to the space.

One afternoon last week, as he supervised crew members unwrapping the frozen sides of beef, Hirst said, "The sketch took 10 minutes, but it has taken two years to make this."

Purposely provocative and often disturbing, the artist is perhaps best known for "The Physical Impossibility of Death in the Mind of Someone Living," a shark submerged in a tank of formaldehyde that is on loan to the Metropolitan Museum of Art.

Last summer, Hirst exhibited a $100 million human skull cast in platinum and covered with 8,601 diamonds that attracted thousands to the London gallery White Cube, where it was installed in an all-black room.

Both works seem modest by comparison with his latest stunt. Lining the entire lobby will be some 15 medicine cabinets (a past theme for Hirst) filled with thousands of empty boxes and bottles with labels for antidepressants, cough medicine and other drugs. The 30 sheep are lined up in row after row of formaldehyde-filled tanks, evoking docile schoolchildren in a classroom.

Submerged in a giant tank 12 feet, or 3.7 meters, tall are two sides of beef, a chair, a chain of sausages, an umbrella and a birdcage with a dead dove.

Hirst describes it as an homage to Francis Bacon's 1946 "Painting" at the Museum of Modern Art, which depicts cow carcasses suspended in a crucifix shape. Hirst said the installation - which cost $1 million to assemble - is in fact a nod to a host of modern artists. "We've got everybody in here," he said. There is Dan Flavin (the strips of fluorescent lighting); Warhol (the notion of repetition, as in the rows of dead sheep); Joseph Cornell (the boxes encasing the dead animals); Jannis Kounellis, who uses live birds in his work; and René Magritte, who painted an egg in a birdcage.

All the components, including the 500-plus gallons of formaldehyde, were flown in from England. Hirst said he bought the sheep from a butcher and the shark from a supplier, both of them in Cornwall. "We didn't kill anything - everything was destined for food," Hirst said.

Despite the over-the-top decadence of Hirst's work, he revels in details. He designed a red stencil that he used randomly to stamp the sheep as though they were branded. The chair subm

Detail of the Damien Hirst Exhibition at Lever House, February 2008

nobody@ipernity.com (LaurieAnnie) — Sat, 30 Aug 2008 23:34:07 +0000

LaurieAnnie has posted:

Detail of the Damien Hirst Exhibition at Lever House, February 2008

nobody@ipernity.com (LaurieAnnie) — Sat, 30 Aug 2008 23:34:07 +0000

LaurieAnnie has posted:

Detail of the Damien Hirst Exhibition at Lever House, February 2008

nobody@ipernity.com (LaurieAnnie) — Sat, 30 Aug 2008 23:34:07 +0000

LaurieAnnie has posted: