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A tribute to a leading figure of world literature Every year since 1992, Montblanc has honored renowned writers with a unique edition inspired by their life and genius. This year we pay tribute to Leo Tolstoy, the author of Anna Karenina and War and Peace, with a sophisticated limited edition.

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First Show of Gerhard Richter's Color Charts Since 1966 to Open in London

DOMINIQUE LÉVY TO PRESENT FIRST EXHIBITION OF GERHARD RICHTER'S COLOUR CHARTS SINCE THEIR DEBUT IN 1966 Gerhard Richter: Colour Charts October 13, 2015 – January 16, 2016 Dominique Lévy 22 Old Bond Street, London Dominique Lévy is pleased to announce Gerhard Richter: Colour Charts, an exhibition of paintings selected from the artist’s original nineteen Colour Charts produced in 1966. Presented with the support of the Gerhard Richter Archive, the exhibition is the first exhibition to feature a small but vital group of works from this series since their inaugural appearance at Galerie Friedrich & Dahlem, Munich in 1966. The exhibition also includes a group of Colour Charts painted in 1971, when Richter reexamined and expanded the series after a five-year hiatus. At once paradoxical and coalescent, the Colour Charts highlight an important moment in the artist’s career and are situated across multiple leading art movements of the twentieth century. In celebration of the fiftieth anniversary of the Colour Charts inception, the exhibition brings together works from multiple prominent international institutions including Museum Frieder Burda in Baden-Baden, which is lending Sechs Gelb (Six Yellows), 1966, one of the largest single-panel Colour Charts and one of only six such paintings featured in the 1966 Friedrich & Dahlem exhibition. Gerhard Richter: Colour Charts, also features the monumental 180 Farben (180 Colours), 1971, a work generously provided by the Gerhard Richter Archive in Dresden. Comprised of twenty panels, each with a three-by-three grid, this is the first painting Richter produced when he returned to the Colour Charts in 1971. Gerhard Richter: Colour Charts is accompanied by a comprehensive book featuring newly commissioned essays by Dietmar Elger, Head of the Gerhard Richter Archive; Hubertus Butin, curator and author of several key texts on Richter; and Jaleh Mansoor, Professor at the University of British Columbia, whose research concentrates on modern abstraction and its economic implications. This book is the first publication dedicated to the original Colour Charts. The concept for the Colour Charts originated from a visit to a Düsseldorf hardware store, where the artist noticed an array of paint sample cards. Richter became inspired by the industrially formulated and chromatically comprehensive selection that was utterly devoid of aesthetic motive. Each Colour Chart presents multiple uniquely coloured but uniformly sized rectangles or squares of glossy enamel arranged on a white background. He copied the cards exactly, injecting as little compositional input as he could. Anecdotal accounts describe the influence Richter’s burgeoning friendship with Blinky Palermo had on the creation of the Colour Charts, as Palermo would visit the artist’s studio and—without any visual knowledge of the painting—arbitrarily call out the names of the sample colour cards, which Richter would then incorporate into the work. By 1971 his process for composing the Colour Charts had evolved; he began applying the function of chance by selecting the colours at random, further removing the artist’s engagement in the compositional process. In addition to works from these years, Gerhard Richter: Colour Charts will present a collection of archival documents related to the series, including an original 1960s Ducolux sample card for enamel paint. Conceived during a period of intensive experimentation, the Colour Charts mark a radical stylistic shift in the artist’s practice, which had previously consisted of black-and-white Photo Paintings. The Colour Charts have been recognised as seminal in the artist’s oeuvre, as they set the stage for his renowned multicoloured Abstract Paintings of the 1970s and beyond. Richter has repeatedly indicated his belief that the dichotomy between figuration and abstraction is essentially a fallacy, and his expression of the same ideas through vastly different styles throughout his career corroborates this assertion. The Colour Charts are the first paintings in Richter's career in which colour appears,  with the exception of Ema (Nude on a Staircase), 1966, a work that was produced as a response to Duchamp’s Nude Descending a Staircase (No. 2) of 1912. The canvases range from a few feet tall to roughly human height; in preliminary drawings for the paintings Richter sketched human figures alongside the layouts of some of the works, indicating the meticulousness with which the scale of the works was devised. Conceptually, the Colour Charts take on the primary function of industrial colour swatches—an instrument used to display colours—while simultaneously achieving a tonal neutrality. On a purely visual level, the blocks of colour are both abstractions and representations of a real object, and each painting taken as a whole exists intrinsically as an object. The paintings’ focus on colour alone imbues the series with a conceptual ambivalence: as Benjamin Buchloh has pointed out, colour “acts simultaneously as a substance and a sign, a paradoxical condition that no other element can claim...it can and will function at the same time as a referential [grounded in a universal given] and as a differential [perceivable only through variation] sign.” For the first time in Richter’s career, he is able to capture a referent and its representation in the same image. Although the legacy of Abstract Expressionism still loomed large in the ethos of Western art during these years, the aesthetic quality of the series is more aligned with the contemporaneous prevalence of Minimalism—brought to Richter’s attention through Palermo—with its embrace of industrial materials, supersession of artistic temperament, and emphasis on objecthood. Richter has also stated that the Colour Charts manifest the influence of a Duchampian model of Conceptual Art. The appropriation of the paint sample cards may be most clearly connected to Duchamp’s last painting on canvas, Tu m’, 1918, which features a long, central, receding row of coloured squares framed by the shadows of the artist’s already famous ready-mades illusionistically rendered in paint alongside a handful of real, three-dimensional found objects. Tu m’ synthesises the various means through which a painting may reflect reality: as allusion, impression, and as an object among other objects. Perhaps more telling, however, is Richter's statement that the Charts more appropriately belong to Pop Art, a movement in which the artist was a major player on the European art scene, and to which art historians attribute the black and white Photo Paintings that immediately precede the Colour Charts. Richter’s concentration on commercial serialism and repetition in the Colour Charts support this ascription: they render multiples as originals. Moreover, like the works of Warhol and Lichtenstein, the series manipulates commercial media to impart an effect that is specific to painting, allowing the artist to question the limits and possibilities of aesthetic authenticity in an era defined by Western Capitalist mass culture. Taken as a whole, the Colour Charts embody a stratification of artistic principles that allows them to be recognised as one of many important motifs in the complex progression of Richter’s oeuvre, connecting the figural to the abstract and firmly grounding his practice within a Conceptual framework. Gerhard Richter was born in Dresden in 1932. His career has been the subject of several retrospectives, most recently at the Fondation Beyeler, Basel in 2014, and at the Tate Modern, London in 2011, which later traveled to the Neue Nationalgalerie in Berlin and the Centre Pompidou in Paris. Other notable exhibitions of his work have been held at the Museum of Modern Art, New York (2002), the Museum of Contemporary Art, Chicago (1998), and the Kunsthalle, Düsseldorf (1986). His work has been included in a number of major international exhibitions including the Venice Biennale (in 1972, 1997, 2001, and 2007) and documenta (in 1972, 1977, 1982, 1992, and 1997). He has been the recipient of many awards and prizes including the Praemium Imperiale, Tokyo (1997), the Wolf Prize, Jerusalem (1994-1995), the Oskar Kokoschka Prize, Vienna (1985), and the Arnold Bode Prize, Kassel (1981).

Exclusive preview: the Chanel brow palette

Discover first collections #MIPAP

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WELCOME TO MIPAP 2015 The #mipaprevolution waits for you from September 26th to 28th 2015 with the spring summer 2016 collections.
	FUEGO - FUEGOLITA - ANANKE Set up by the MELKONIAN’s Family, FUEGO has grown steadily since its creation in 1980 in Marseille (FRANCE). With a staff of 20 persons the company is in a position to enable customers to benefit its skills and experience. The unique and universal FUEGO WOMAN style love by women who want to be original and seduce, have style and look elegance. Follow Mipap Blog News, click here
	ANNA CECERE Fashion as a stimulus and never as a protocol to be followed blindly. The result: ever new objects that find a predilection and a “raison d’être” to stand by your side by marrying your particular style, not the one decided by others. The colors are words, the forms complete sentences: it is up to you to combine them into a poem or a compelling tale. Follow Mipap Blog News, click here
	ROSANNA PELLEGRINI The constant attention to the quality of its products has allowed MP di Rosanna Pellegrini &C. sas to offer new and continuous proposals to the market’s sector. In the Spring/Summer collection, in addition to “true tricot” prevail fabrics of various types with fantasies made exclusive. Follow Mipap Blog News, click here

ROLLS-ROYCE WRAITH ‘INSPIRED BY MUSIC’

ROLLS-ROYCE WRAITH 'INSPIRED BY MUSIC'

Rolls-Royce Motor Cars has contributed to the myth and legend of the contemporary music scene since the birth of Rock & Roll. Over half a century later, this long-standing love affair lives on, with some of the world’s most celebrated artists choosing the marque as the ultimate affirmation of their success. In this spirit, Rolls-Royce Motor Cars is delighted to present Wraith ‘Inspired by Music’.

Since the launch of Wraith in 2013, customers have been able to commission their Rolls-Royce Wraith with Bespoke Audio; the most exhaustively designed sound system in automotive history. Like every element of a Rolls-Royce motor car, its construction blends the finest components with the skill of the most eminent experts in their field. Now, with Wraith ‘Inspired by Music’, these characteristics, and the precious materials used in the Bespoke Audio system, are brought very much to the fore, creating ‘the most exclusive music venue’ that delivers an unrivalled aural experience.

“Wraith ‘Inspired by Music’ appeals to those looking to Rolls-Royce for unique and creative motor cars. Its effortlessly cool appearance complements the superior Bespoke Audio system; the contemporary use of copper creates an atmospheric setting for the most encompassing music system on the market,” commented Torsten Müller Ötvös, Chief Executive Officer, Rolls-Royce Motor Cars.

A Lyrical Copper exterior paint finish, presented with a blend of brushed and polished textures elegantly hints at the use of copper in only the very best audio systems. On opening the car’s coach-doors attention is drawn to re-imagined speaker grilles, here presented in copper theme, and engraved with the words ‘Bespoke Audio’. The door panniers and floor mats have been crafted from finely-woven leather to add an additional depth of tactility to the car’s interior cabin. Copper-coloured door inserts, which start at the front of the cabin before tapering at the rear, have been included in the design to emphasise Wraith’s characteristic internal curves.

A book matched copper finish features for the first time on Wraith’s fascia, boldly extending the car’s theme. The same copper tone extends to Wraith’s signature seat bullets.

The fastidious detail that went into the development of the car’s sound-system is employed in every facet of the construction of the car. For example, the chaplets on the clock have been designed and meticulously crafted with a combination of warming copper and silver, whilst the radial lines of the outer bezel playfully emulate the look and feel of vinyl records.

The Bespoke Audio system was created from scratch by a team of the world’s very best automotive audio engineers. The two-year development process saw the team work closely with Rolls-Royce interior designers to ensure the system was perfectly tuned to the interior of the cabin. Indeed, this pursuit of aural perfection was deemed so important the interior designers had to consult with the Chief Audio Engineer before making any changes.

The extraordinary clarity of sound and dynamic range is delivered via a 1300W, 18 channel system comprising two highly powerful bass speakers, seven tweeters and seven mid range speakers. Two ‘exciter’ speakers hand-fitted in the car’s headlining play a vital role in bringing the sound to the listener at ear-level; ensuring the output perfectly imitates the way music is experienced in a live setting. Microphones constantly monitor ambient and exterior noises and will adjust volume and tone settings automatically to ensure no external agent detracts from the user’s listening pleasure.

Wraith ‘Inspired by Music’ completes a trilogy of striking and distinctive Bespoke Collections. The first, Wraith ‘Inspired by Film’ celebrates Rolls-Royce’s long association with the silver screen whilst, Wraith ‘Inspired by Fashion’ allows customers to commission a true piece of automotive haute couture inspired by the materials and motifs of cutting-edge high fashion.

Rolls-Royce: the ‘Rock & Roll’ years:
In January 1961, Elvis Presley walked into the Beverley Hills Rolls-Royce dealership. Flush with the success of his music career and a five-year movie deal, he ordered a Rolls-Royce Phantom V; the only motor car in the world that could possibly befit his status as the ‘King of Rock & Roll’. From that day on, a Rolls-Royce motor car became the conveyance of choice for the music scene’s burgeoning elite.

Many of these cars have taken their place in automotive and music folklore. John Lennon, for example, acquired a Phantom V in 1965. During his ownership he commissioned a number of cutting-edge additions for the time including; a television, portable refrigerator, record player and the first blacked-out windows to appear on a car in England. He was so enamoured with the interior comfort of the finest riding car in the world, he is reported to have converted the rear bench-seat into a double bed.

However, it is his car’s exterior that ensures its place in the pantheon of famous Rolls-Royces. Not satisfied with the Phantom’s stately Valentines Black finish, he commissioned a Dutch art collective to re-paint the car in a psychedelic motif designed to mirror the decorations on fairground caravans. The result was not met with universal acclaim, with Lennon often recounting the tale of a woman who chased the car, shouting, “You swine! You swine! How dare you do that to a Rolls-Royce!”

One particular story resulting from the music world’s love affair with Rolls-Royce has segued from folklore to infamy. It concerns The Who drummer, Keith Moon and the night of his 21st birthday at the Holiday Inn in Flint Michigan. Legend goes that a somewhat high spirited Mr Moon drove his Rolls-Royce into the hotel’s swimming pool. This is categorically untrue and is probably an overblown conflation of two stories.

The first, involves a regrettable yet entirely understandable lapse of concentration, with Mr Moon failing to fully secure his Rolls-Royce’s handbrake. Unfortunately he had parked on a slope leading to a half-constructed swimming pool. The car made a characteristically graceful descent down the hill before coming to rest at the bottom of the unfilled pool.

The second is a little closer to the legend. On purchasing a new American car he tried to charge it to the band’s account, naturally they refused to indulge his request. Mr Moon expressed his displeasure by parking the car in an ornamental pond before telephoning the dealer to take it away. Not something he would ever have done to his beloved Rolls-Royce.

Guggenheim and Agathe Snow Stage 24-Hour Dance Party as Part of Storylines

Guggenheim and Agathe Snow Stage 24-Hour Film Premiere and Dance Party as Part of Storylines

Final Weeks of Exhibition Also Include Screenings of the CREMASTER Cycle and Monday Night Performances of Gerard & Kelly’s Timelining

View a PDF of the release.
(NEW YORK, NY—August 4, 2015)—Exploring the redemptive power of community and social exchange, Agathe Snow stages Stamina, a 24-hour film premiere and dance party at the Solomon R. Guggenheim Museum on August 20–21. Featuring live music by Donald Cumming, I.U.D., Onyx Collective, QTY, TV Baby, and more, the event will premiere Snow’s film Stamina (2015), which documents a clandestine 24-hour party hosted by the artist ten years ago in downtown New York. Stamina is one of over a hundred works presented in Storylines: Contemporary Art at the Guggenheim, an exhibition that celebrates storytelling and narrative in the visual arts. The final weeks of Storylines will also include ongoing Monday night performances of artist duo Gerard & Kelly’s Timelining (2014), and two screenings of Matthew Barney’s CREMASTER cycle (1994–2002) in its entirety.
Agathe Snow: Stamina
Thursday, August 20–Friday, August 21; Doors open at 6 pm on Thursday
Rotunda Floor
Combining live music, film, and movement, Stamina continues Agathe Snow’s exploration of social interactions, rebellion, and the redemptive power of human ingenuity and community. In 2005, looking to capture the shared moments of the post-September 11 downtown scene, Snow planned and filmed a dance party with her friends and fellow artists in a loft on dusty Ann Street in Lower Manhattan. A decade later, on the occasion of Storylines, the footage has been made into a 24-hour film, revealing never-before-seen material celebrating the resilience of underground culture.
Premiering in the museum’s rotunda and serving as the center of another 24-hour event, Stamina will be accompanied by live music by Donald Cumming, QTY, TV Baby (formerly A.R.E. Weapons), Dev Hynes (of Blood Orange) performing with the Onyx Collective, and I.U.D. (Lizzi Bougatsos and Spencer Sweeney), along with music selected by DJs Eric Duncan and Ben Ruhe.
Cash bar and light fare, 6 pm–4 am
Breakfast and juice bar, 4 am–8 am
Tickets are available at the door starting at 6 pm on August 20 and include access to the party that night and museum admission on August 21. $25, $18 students, free for members. More information available at guggenheim.org/stamina.
Gerard & Kelly: Timelining
Mondays, Through September 7, 5:45–9 pm
The duo Gerard & Kelly explores issues of identity and queerness through a performance-based practice. Recently acquired by the Guggenheim, Timelining features a series of paired performers involved in close relationships—romantic, familial, or otherwise. Moving through space in circular patterns, each couple takes turns reciting fragments of their personal histories from the present moment backward. On the evenings of these performances, admission after 6 pm is Pay What You Wish (limited areas of the museum will be open). More information available at guggenheim.org/calendar.
Matthew Barney: The CREMASTER Cycle
Saturdays, August 8 and September 5, 10:30 am–7:40 pm
Peter B. Lewis Theater
Matthew Barney’s epic CREMASTER cycle is a series of visually extravagant films offering a contemporary creation myth. For these day-long screenings, all five films are presented in order of their production, revealing the development of Barney’s unique approach to narrative and how he relates performance and film as intertwined mediums. Free with museum admission. More information available at guggenheim.org/filmscreenings.
FINAL WEEKS
Storylines: Contemporary Art at the Guggenheim
Through September 9
Bringing together over one hundred works from the Guggenheim’s contemporary collection, Storylines examines the diverse ways in which artists today engage narrative through installation, painting, photography, sculpture, video, and performance. In projects created through extensive research, acts of appropriation, or performance, the artists in Storylines uncover layers of meaning, turning to individual experience as a means of conveying shared stories, whether real or fictional. The exhibition is enhanced by the contributions of thirty novelists and poets, who were invited to reflect on individual artworks as points of departure for their own creative work.
The exhibition is organized by a curatorial team composed of Katherine Brinson, Curator, Contemporary Art; Carmen Hermo, Assistant Curator, Collections; Nancy Spector, Deputy Director and Jennifer and David Stockman Chief Curator; Nat Trotman, Associate Curator; and Joan Young, Director, Curatorial Affairs.
This exhibition is supported in part by Culture.pl and the Juliet Lea Hillman Simonds Foundation.
The Leadership Committee for Storylines: Contemporary Art at the Guggenheim is gratefully acknowledged for its support, with special thanks to Rachel and Jean-Pierre Lehmann and Chair Roberta Amon as well as to Stefan Edlis and Gael Neeson, Katherine Farley and Jerry I. Speyer, Gladstone Gallery, Greene Naftali Gallery, Michael S. Lee, Nancy and Woody Ostrow, Sarah Arison, Denise LeFrak Calicchio and John Calicchio, Linda and Gregory Fischbach, and Courtney and Scott Taylor.
Additional funding is provided by the New York State Council on the Arts and The Polish Cultural Institute New York.
ALSO ON VIEW
Current exhibitions include Doris Salcedo, on view through October 12, and works by Vasily Kandinsky, on view until Spring 2016.
VISITOR INFORMATION
Admission: Adults $25, students/seniors (65+) $18, members and children under 12 free. Available with admission or by download to personal devices, the Guggenheim’s free app offers an enhanced visitor experience. The app features content on special exhibitions, access to more than 1,600 works in the Guggenheim’s permanent collection, and information about the museum’s landmark building. Verbal imaging guides for select exhibitions are also included for visitors who are blind or have low vision. The Guggenheim app is supported by Bloomberg Philanthropies.

Museum Hours: Sun–Wed, 10 am–5:45 pm; Fri, 10 am–5:45 pm; Sat, 10 am–7:45 pm; closed Thurs. On Saturdays, beginning at 5:45 pm, the museum hosts Pay What You Wish. For general information, call 212 423 3500 or visit the museum online at: guggenheim.org
guggenheim.org/social#storylines

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