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...Zumthor declines most interviews and even many commissions. Most of his completed projects are in Switzerland and Germany, with a few important commissions elsewhere in Europe. He takes a dim view of architects who get caught up in PR and marketing. When he got the news that he had been awarded the Pritzker, he took the occasion to say that it would "give much hope to young professionals that, if they strive for quality in their work, it might become visible without any special promotion...
...That view is also shared by the Zurich-based Barry Callebaut, one of the world's leading manufacturers of industrial cocoa and chocolate. The company maintained stable sales volumes and increased profits by 4.7% in the fiscal period ending in February of this year, which spokeswoman Josiane Kremer attributes to the firm's expansion into high-growth emerging markets such as Eastern Europe, Russia and China, as well as market share gains in North America. (See pictures of trade between China and Africa...
...controversy surrounding intellectual property that was sparked by Fairey’s use of an Associated Press photograph in his “Hope” poster. Steven Heller, who has acted as an art director at the New York Times for 33 years, provided a historical view of the role of propaganda in dictatorships in “Iron Fists: Branding the 20th Century Totalitarian State.” Heller pointed to Mao Zedong and Joseph Stalin as examples of the first politicians whose photographs were airbrushed extensively by graphic designers. “Mao never brushed his teeth...
...goal is to have a bottom-up approach to the narrative where the public can create its own journey and share it with others,” Umar continues. “So you can see the museum from the point of view of an 11-year-old or a fashion designer or a tennis player.”A TEAM EFFORTAs MuseTrek culls the public’s diverse insights about art, individuals elsewhere are exploring how the process of artistic creation is affected by a collective. David L. Rice ’10 is working...
...with more than staining wool) and is one of three Olympian daubers of color on canvas whose works fill the superb exhibit of 16th century Venetian painting at the Museum of Fine Arts. This show, “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice,” on view through August 16, brings together with rare serendipity an embarrassment of stunning paintings on loan from museums around the world. This triumvirate of Venetian painters seems to engage in a pictorial brinksmanship, each work one-upping the last: Titian’s consummate composition and beauty, Veronese?...