Search results for ""Author Aimee Ng""

Book SynopsisThe Stephen K. and Janie Woo Scher Collection of portrait medals is considered to be the world's greatest medals collection in private hands. This fully illustrated volume features twenty of the best objects in the collection, with a checklist of one hundred and sixty more, and an essay which highlights why the Scher collection is noted for its comprehensiveness and outstanding quality. An accessible introduction to a remarkable collection, this volume brings to life these masterpieces of small-scale sculpture, compellingly conveying the circumstances of their creation and their historic significance. A selection of some 160 portrait medals from the Scher collection is accompanied by an illustrated essay on the art of the medal, its origins, uses, and relationship to other arts. An in-depth scholarly publication that catalogues the entirety of this important collection-consisting of some 879 medals-is planned for a later date. AUTHOR: Aimee Ng is Associate Curator at The Frick Collection, NY, and a specialist in Italian Renaissance art. SELLING POINTS: . A compact guide to one of the best portrait medal collections in the world . Includes an essay on the art of the medal from the 15th- to the 19th-century in Italy, Germany, France, the Netherlands and England . Beautiful images makes this an accessible and appealing introduction to the subject 40 colour

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Book SynopsisPainted by Agnolo Bronzino (Agnolo di Cosimo) (Italian, 1503–1572) ca. 1550–55, the young aristocrat is Lodovico Capponi (b. 1533), a page at the Medici court. As was his custom, he wears black and white, his family's armorial colors. His right index finger partially conceals the cameo he holds, revealing only the inscription sorte (fate or fortune) — an ingenious allusion to the obscurity of fate. In the mid 1550s Lodovico fell in love with a girl whom Duke Cosimo had intended for one of his cousins. After nearly three years of opposition, Cosimo suddenly relented, but he commanded that their wedding be celebrated within twenty-four hours.Table of ContentsDirector’s Foreword by Ian Wardropper; Acknowledgments; Mean Boys: Bronzino’s Portrait of Lodovico Capponi by Daniel Mendelsohn; Bronzino's Lodovico Capponiby Aimee Ng; Bibliography; Index; Image Credits

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Book SynopsisAn exploration of Turner as an artist-traveler, in relation to two important European harbor scenes This publication marks the return to the United Kingdom, for the first time in over a century, of two groundbreaking oil paintings by J. M. W. Turner (1775–1851), on loan from The Frick Collection in New York: Harbour of Dieppe: Changement de Domicile and Cologne, the Arrival of a Packet-Boat: Evening. They were acquired by wealthy American industrialist Henry Clay Frick in 1914 and have remained in the USA ever since. Painted in the mid-1820s, Dieppe and Cologne exemplify Turner’s lifelong fascination with the subject of ports and harbors⁠—past and present⁠—as dynamic, transitional places. Exhibited at the Royal Academy in 1825 and 1826 respectively, they represent in powerfully visual terms the outcomes of Turner’s regular sketching tours within Europe that were central to his fame as an artist-traveler, as well as his radical approach to color, light, and brushwork. This sumptuously illustrated publication examines Turner’s creative process, and his use of sketchbooks and watercolors to capture his ideas as he traveled. Published by National Gallery Global/Distributed by Yale University Press

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Book SynopsisDesigned to foster critical engagement and interest the specialist and non-specialist alike, each book in the Frick Diptych series illuminates a single work in the Frick's rich collection with an essay by a Frick curator paired with a contribution from a contemporary artist or writer. The White Horse (1819) by John Constable (1776–1837) is the first of the series of the "six-footers," monumental landscapes of the English countryside that would become the artist's most famous works. Constable described the scene as "a placid representation of a serene, grey morning, summer." Years later, he said, "there are generally in the life of an artist perhaps one, two or three pictures, on which hang more than usual interest - this is mine". An essay by Aimee Ng, Frick Curator, paired with a contribution by artist William Kentridge bring to life one of Constable's most serene depictions of rural life, the artist's personal favorite. AUTHORS: William Kentridge (born 28 April 1955) is a South African artist whose work spans a diverse range of artistic media such as drawing, performance, film, printmaking, sculpture and painting. Kentridge has also directed a number of acclaimed operas and theatrical productions. Aimee Ng is a curator at The Frick Collection, New York, and is a specialist in Italian Renaissance art. 38 colour illustrations

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Book SynopsisJoin the curators of the Frick as they present engaging histories of works of art paired with creatively inspired cocktails—a crash course in art history and a delightful introduction to the treasures of the esteemed New York collection.Based on the critically acclaimed video series of the same name, Cocktails with a Curator is a collection of lively and informative essays. Paintings, sculpture, furniture, and porcelain—from medieval times through the glorious Renaissance to the early twentieth century—are discussed for their exemplary status. The creators are some of the greatest artists and include Rembrandt, Vermeer, Whistler, Manet, Velázquez, and Veronese, and the stories (of both artists and subjects) are tantalizing. Cocktails, with recipes, are thematically paired with the works: a Jaded Countess (absinthe, vodka, lemon juice, and simple syrup) with Ingres’s portrait Comtesse d’Haussonville; a classic Pimm’

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Book SynopsisAmerican artist Barkley L. Hendricks (1945–2017) revolutionized contemporary portraiture with his vivid depictions of Black subjects beginning in the late 1960s. This book contextualizes Hendricks’s portraits at different stages of the country’s history and places him in the pantheon of innovative twentieth-century artists.Hendricks developed his signature style at a time of significant social and cultural change in the United States, especially with regard to Black artists, and amid a perceived bifurcation between abstraction and representation. He produced portraits from the late 1960s through the early 1980s. Following a hiatus during which he made landscapes, basketball paintings, works on paper, and photographs, he resumed his portraiture practice from 2002 until his death in 2017. Hendricks’s portrait paintings, often derived from photographs of friends and family, hired models, or figures he encountered on the street, were inspired by the aTrade Review"Yet, Hendricks’s mastery of the genre is reinforced by his understanding of the function of all great portraiture: to elucidate what the artist considers the grand persona of the subject, while simultaneously memorializing the version the artist wishes to commit to history. Hints to these are present in some of the photographs in “Barkley L. Hendricks: Portraits at the Frick,” a monograph accompanying the exhibition. Drawn from Hendricks’s archive, the pictures demonstrate the original character of some of the figures and how Hendricks introduced little elements to change or accentuate their personalities: glasses for models that originally wore none, a change in hairstyle or a hat, an entire replacement of attires, addition or removal of jewelry, a toothpick to create an unforgettable, funky vibe." — The New York Times"Inspired by European masterpieces but rooted in his own milieu, the painter produced dazzling portraits of African-American subjects, several of which are on view in an exhibition at Frick Madison." — The Wall Street Journal"From the late painter’s solo Frick show — the only by a Black artist in the museum’s history." — New York Mag"Barkley L. Hendricks: Portraits at the Frick by Aimee Ng and Antwaun Sargent (Sept. 19, $50, ISBN 978-0-8478-7359-3) celebrates the portraits of late American painter Hendricks, often of Black subjects, and draws connections between his practice and his study of European paintings in the Frick Collection." — Publishers Weekly

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Book SynopsisLiving Histories: Queer Views and Old Masters is an exciting volume featuring the work of four New York based artists, each presenting a single new work in conversation with celebrated paintings in The Frick Collection, with particular emphasis on issues of gender and queer identity typically excluded from narratives of early modern European art. The idea of commissioning four works to display at Frick Madison emerged when four masterpieces by Vermeer, Holbein, and Rembrandt were loaned to exhibitions. Works by Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola and Salman Toor were commissioned to replace them, alongside other works by these artists. This book is the result of the four New York artists' responses to the Frick's collection, and the conversations their work engendered. Written contributions are provided by Jonathan Anderson, Jessica Bell Brown, Christopher Lew, Jason Reynolds, Legacy Russell, and Russell Tovey. SELLING POINTS: . Queer art for the Old Masters . Ties in with a series of ongoing installations of works by contemporary LGBTQ+ artists produced in response to selected works at the Frick . Contributions by artists, writers and curators bring a diverse and rich perspective . Featured artists Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola, and Salman Toor allow us to see long-familiar works in the Frick's collection in new ways . Doron Langberg's Lover is paired with Hans Holbein's Sir Thomas More;; Jenna Gribbon's What Am I Doing Here? I Should Ask You the Same with Holbein's Thomas Cromwell Salman Toor's Museum Boys with Johannes Vermeer's Officer and Laughing Girl and Toyin Ojih Odutola's The Listener with Rembrandt's Self-Portrait 45 colour illustrationsTrade Review"This work should be included in any art library. . . . The book’s grounding as not just about four Queer artists’ works, but as a larger discussion of portraiture and art history, allows this book to be helpful in a variety of classes or projects.”—Art Libraries Society of North America, (ARLIS/NA)Table of ContentsDirector's Preface Acknowledgments Foreword: Look at Us by Hanya Yanagihara Introduction: Why by Xavier F. Salomon "We Can Occupy This Space Now" by Stephen Truax Jenna Gribbon and Toyin Ojih Odutola: Color as Communique by Jessica Bell Brown Hindsight by Aimee Ng "The future eats the past, eats the future" by Russell Tovey Catalogue Jenna Gribbon's What Am I Doing Here? I Should Ask You the Same Jenna Gribbon in Conversation with Legacy Russell Doron Langberg' Lover Doron Langberg in Conversation with Jonathan Anderson Salman Toor's Museum Boys Salman Toor in Conversation with Christopher Y. Lew Toyin Ojih Odutola's The Listener Toyin Ojih Odutola in Conversation with Jason Reynolds Artist Biographies Index Image Credits

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