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SEEVIC College BTEC Art & Design Final Major Project. (Official SEEVIC Photo by Andrew Westoby) www.seevic-college.ac.uk
This official SEEVIC College photograph is being made available for personal use printing by the subject(s) of the photograph and/or for publication by news media. The photograph may not be manipulated in any way or used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement of SEEVIC College.
www.guardian.co.uk/artanddesign/gallery/2012/may/11/photo...
"I know a bank where the wild thyme blows,
Where oxlips and the nodding violet grows,
Quite over-canopied with luscious woodbine,
With sweet musk-roses and with eglantine:
There sleeps Titania sometime of the night,
Lull'd in these flowers with dances and delight."
William Shakespeare - 'A Midsummer Night's Dream'
In-camera multiple exposure + torch
The Art and Design Department in the Doudna Fine Arts Center on the campus of Eastern Illinois University on March 30, 2023. (Jessica Nantes)
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
Art and Design classes on the campus of Eastern Illinois University in the Doudna Fine Arts Center on March 28, 2023. (Brejona Hutchinson)
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
Art and Design classes in the Doudna Fine Arts Center on the campus of Eastern Illinois University on March 29, 2023. (Hannah Fergurson)
Art and Design classes on the campus of Eastern Illinois University in the Doudna Fine Arts Center on March 28, 2023. (Brejona Hutchinson)
Art and Design classes on the campus of Eastern Illinois University in the Doudna Fine Arts Center on March 28, 2023. (Brejona Hutchinson)
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
The Montclair Art Museum Centennial Ball and Fashionably Late Dance Party, celebrating art through the decades, Saturday, April 26.
We're having a Graduate Exhibit for the Digital Graphic Design program at Vancouver Community College, May 24th is the opening night (from 5pm to 9pm), and the exhibit will be on display until June 07. Main Foyer, downtown Campus, enter Hamilton & Dunsmuir.
The Art and Design Department in the Doudna Fine Arts Center on the campus of Eastern Illinois University on March 30, 2023. (Jessica Nantes)
The Art and Design Department in the Doudna Fine Arts Center on the campus of Eastern Illinois University on March 30, 2023. (Jessica Nantes)
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
Paradise Lost (?) - ca. 1890
Artist: Paul Gauguin (French, 1848–1903)
www.theguardian.com/artanddesign/2003/oct/13/art
Encompassing close to 2,000 objects, the Gallery’s collection of European art comprises paintings, sculpture, textiles, and a small but distinguished group of decorative arts, spanning the 9th through the 19th centuries. The painting collection is panoramic in range, with particular strength in Italian art of the early Renaissance. Featuring one of the largest and finest groups of 13th- and 14th-century Tuscan paintings in the world, it also contains a significant number of 15th-century Sienese paintings and such acknowledged masterworks as Gentile da Fabriano’s Virgin and Child (ca. 1424–25), Antonio Pollaiuolo’s Hercules and Deianira (ca. 1475–80), and Pontormo’s Madonna del Libro (ca. 1545–46).
The early Italian holdings are complemented by Northern Renaissance art, including Hieronymus Bosch’s Allegory of Intemperance (ca. 1495–1500) and Hans Holbein’s Hanseatic Merchant (1538), along with 17th-century Dutch landscapes and portraiture, highlighted by Frans Hals’s De Heer Bodolphe and Mevrouw Bodolphe and a select group of paintings and oil sketches by Peter Paul Rubens and Anthony van Dyck. Nineteenth-century works include important paintings by Eugène Delacroix and Jean-Léon Gérôme, strong groups of paintings by Jean-Baptiste-Camille Corot, Claude Monet, Edgar Degas, Édouard Vuillard, and Paul Cézanne, as well as Édouard Manet’s Young Woman Reclining in Spanish Costume (1862–63) and Vincent van Gogh’s seminal Night Café (1888).
artgallery.yale.edu/research-and-learning/curatorial-area...
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Art and Design classes on the campus of Eastern Illinois University in the Doudna Fine Arts Center on March 28, 2023. (Brejona Hutchinson)
Art and Design classes on the campus of Eastern Illinois University in the Doudna Fine Arts Center on March 28, 2023. (Brejona Hutchinson)
Picture by Clint Randall www.pixelprphotography.co.uk
Visiting international students who won the 2019 Art & Design competition.
Model release forms signed:
Scott Leslie, Canada
Chloe Lam Yuet Chang, Hong Kong
Leighton Mak Lai Sze
The Art and Design Department in the Doudna Fine Arts Center on the campus of Eastern Illinois University on March 30, 2023. (Jessica Nantes)
The Art and Design Department in the Doudna Fine Arts Center on the campus of Eastern Illinois University on March 30, 2023. (Jessica Nantes)
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
Art and Design classes on the campus of Eastern Illinois University in the Doudna Fine Arts Center on March 28, 2023. (Brejona Hutchinson)
SEEVIC College BTEC Art & Design Final Major Project. (Official SEEVIC Photo by Andrew Westoby) www.seevic-college.ac.uk
This official SEEVIC College photograph is being made available for personal use printing by the subject(s) of the photograph and/or for publication by news media. The photograph may not be manipulated in any way or used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement of SEEVIC College.
The Montclair Art Museum Centennial Ball and Fashionably Late Dance Party, celebrating art through the decades, Saturday, April 26.
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.
Art and Design classes in the Doudna Fine Arts Center on the campus of Eastern Illinois University on March 29, 2023. (Hannah Fergurson)
Picture by Clint Randall www.pixelprphotography.co.uk
Visiting international students who won the 2019 Art & Design competition.
Model release forms signed:
Scott Leslie, Canada
Chloe Lam Yuet Chang, Hong Kong
Leighton Mak Lai Sze
The Art and Design Department in the Doudna Fine Arts Center on the campus of Eastern Illinois University on March 30, 2023. (Jessica Nantes)
photo by claire rosen
@clairerosenphoto on instagram
special thanks Drew Gurian, Arlinda McIntosh and swapXXchange
NOTE All images are protected by copyright laws and are the exclusive property of Claire Rosen Photography, LLC. Images may not be copied, reproduced, manipulated, used or altered in any way without written permission from Claire Rosen Photography, LLC.