Product Description
Marcel Wanders “One Morning They Woke Up” mosaic table/stool 2004
MARCEL WANDERS (1963-) The Netherlands
“One morning they woke up” mosaic occasional table or stool 2004
Gilt and lively colored glass mosaic, fiberglass body
H: 13″ x D: 17″
Price: $18,500
Marcel Wanders (1963) grew up in Boxtel, the Netherlands, and graduated at the School of the Arts Arnhem in 1988 with a cum laude certificate. He is now an independent industrial product designer operating out of Amsterdam where he has his own studio, Marcel Wanders studio. Marcel continues to work on diverse products and projects for Cappellini, Mandarina Duck, Magis, Droog Design and Moooi amongst others. For the latter he is associated as creative director. Marcel also co-operates in other design-related projects, such as the Vitra Summer Workshop where he was project leader for the second time. Also he was a juror for various prizes like the Rotterdam Design Prize (for which his own products were nominated several times) and the Kho Liang Ie prize. He lectured at SFMoMA, Limn the Design Academy and has taught at various design academies in the Netherlands. Marcel won the Rotterdam Design Prize (public prize) for the Knotted Chair, and received several other awards including the George Nelson Award (Interiors magazine) and Alterpoint Design Award 2000. In the 2001, Marcel has been nominated in the category ‘designer of the year’ in WIRED magazine’s 2001 wired rave awards. Designs of Marcel Wanders have been selected for the most important design collections and exhibitions in the world, like the Museum of Modern Art in New York and San Francisco, the Stedelijk Museum in Amsterdam, Museum Boijmans van Beuningen in Rotterdam, the Central Museum in Utrecht, and various Droog Design exhibitions. In the book ‘Wanders Wonders, design for a new age’ (1999) which accompanied a solo exhibition in Museum ‘t Kruithuis in Den Bosch, the most important products are shown, from the Knotted Chair to the Shadows lamps and from the Nomad Carpet to the Eggvase. Works of Marcel have been published in all leading design magazines.
Marcel Wanders “One Morning They Woke Up” mosaic table/stool 2004
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ART OF THE SIXTIES
“Die Kunst der sechziger Jahre im Wallraf – Richarts Museum Köln” 1969
Published by Gert von der Osten und Horst Keller.
Designed by Wolf Vostell.
First edition.
Dimensions:
Book: H: 12” x W: 10”
Custom leather box: H: 14” x W: 11 1/2” x D: 3 1/2”
Custom linen slipcase: H: 15” x W: 12 1/8” x D: 4”
This famous and striking exhibition catalogue is a work of art. Wolf Vostell designed the catalogue for the Ludwig collection of contemporary art, given as a permanent loan to the Wallraf-Richartz Museum in Cologne. The work of 92 artists is represented, including objects by Dine, Dubuffet, Hockney, Jasper Johns, Lichtenstein, Oldenburg, Picasso, Rauschenberg, Vostell, Warhol, and Wols.
KATHERINE S. DREIER (1877-1952)
“International Exhibition of Modern Art 1926” 1926
Arranged by The Societe Anonyme for the Brooklyn Museum
Published by Societe Anonyme, New York
Dimensions:
Book: H: 10 1/16” x W: 7 ½”
Custom leather box: H: 11 ¼” x W: 8 ¼” x D: 1 9/16”
Custom silk slipcase: H: 12” x W: 8 5/8” x D: 2 1/8”
Katherine Sophie Dreier was born on 10 September 1877 in Brooklyn, New York to Dorothea Adelheid and John Caspar Theodor Dreier, both immigrants from Bremen, Germany; she was the youngest of five children. Early on, Dreier manifested her dual interests in social issues and art. She was treasurer of the German Home for Recreation of Women and Children and helped to found the Little Italy Neighborhood Association in Brooklyn, New York. She studied art privately, then at the Brooklyn Art School and at Pratt Institute, and then with Walter Shirlaw (with whom Dreier’s sister, Dorothea, also studied). There was a strong identification in the Dreier home with German culture, and the family often traveled to Europe to visit relatives. Between 1907 and 1914, Dreier spent much of her time abroad, traveling, studying art, and exhibiting her work in one-artist shows. In New York, in 1916, through her work with the Society of Independent Artists, Dreier met Marcel Duchamp. He was to become a close friend and colleague, and an important figure in the history of the Societe Anonyme. In January 1920, Dreier, Duchamp, and Man Ray met in Dreier’s apartment in New York City to found the Societe Anonyme, a society to promote modern art among the American public. Dreier had wanted to call the society “The Modern Ark,” but Man Ray later claimed that he was the one to suggest the French phrase for “incorporated” instead. Dreier added the subtitle “Museum of Modern Art: 1920.” The Societe Anonyme sponsored many lectures, concerts, publications, and exhibitions concerning modern art, including the International Exhibition of Modern Art at the Brooklyn Museum in 1926. In spite of a major membership campaign in 1925, the Societe’s headquarters in New York City closed in 1928, and from this point on, the Societe Anonyme existed only through Dreier’s efforts. She continued to organize events that were sponsored by the Societe, and she accumulated artwork to add to the Societe Anonyme’s collection. In 1939, Dreier began developing a plan to open the Country Museum at her house in West Redding, Connecticut (the Haven), which would house the Societe Anonyme’s collection of artwork, as well as her private collection. After little success with other potential investors, Dreier approached Yale University about funding and maintaining the museum. Yale was hesitant, because of the high costs of renovating the Haven and maintaining it as a fire-proof museum, and instead offered as a compromise to take over the Societe Anonyme’s collection if it were moved to the Yale Art Gallery. Dreier agreed, and she began sending the collection to Yale in October 1941. In 1942, Dreier was still adamant about her desire to open the Country Museum and to use her private collection as its basis. She continued her attempts to convince Yale to fund her project, but when Yale gave a final negative answer in April, Dreier decided to sell the Haven. In April 1946, she moved to a new home, Laurel Manor, in Milford, Connecticut. She continued to add artwork to the Societe Anonyme collection at Yale, through purchases and through gifts from artists and friends. In 1947, she attempted to reopen membership to the Societe Anonyme and printed a brochure, but Yale blocked distribution of the brochure because of the ambiguous connection between Yale and the membership campaign. In 1948, Dreier and Duchamp decided to limit the activities of the Societe to working on a catalog of the collection and to acquiring artwork. On the thirtieth anniversary of the Societe Anonyme’s first exhibition, 30 April 1950, Dreier and Duchamp hosted a dinner at the New Haven Lawn Club, where they formally dissolved the Societe Anonyme. In June, a catalog of the Societe’s collection at Yale, Collection of the Societe Anonyme: Museum of Modern Art 1920, was published. Dreier died on 29 March 1952.
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