As a work of publicly displayed art, Jago’s Veiled Son will offer a new iconic symbol for the city of Naples. The work is inspired by the famed Rococo sculpture the Veiled Christ (1753), of Giuseppe Sanmartino. It will sit in a public space in Naples. Jago’s Veiled Son will lie within walking distance of Sanmartino’s masterpiece, which is housed in the Cappella Sansevero. Veiled Son will be the first public art project of the Museo d’Arte Contemporanea Donnaregina (also known as Museo MADRE), whose general director, Andrea Villiani, is extremely enthusiastic about Jago’s work and this milestone in the Museum’s history. Villiani, also a widely published art critic, has curated exhibitions for internationally acclaimed artists working in a diverse array of styles, including Daniel Buren, Mario García Torres, Boris Mikhailov, Elaine Sturtevant, Mark Leckey, and Alighiero Boetti.
Jago is an eclectic artist and sculptor, whose works are distinguished by their technical mastery, expressive exuberance, and vigorously in-depth psychological characterizations. Drawing on his study of the great renaissance and baroque masters, his work is born of continuous research of material, and thematic synthesis within a complex cultural and conceptual framework. Jago’s ability to manipulate stone, making it soft and alive, and turning it into flesh, has earned him comparisons to the great masters; Bernini, Michelangelo, and Da Vinci. Nicknamed the Social Artist, Jago has succeeded in breaking the wall that usually exists between artist and audience by engaging admirers of his work via social media (he currently has more than 52,000 followers on Instagram, and 250,000 on Facebook). Within this, he has effectively lifted the veil as he allows his followers to witness the creative process behind his works. Jago’s sculptures have been on view throughout Italy, at renowned museum and galleries such as Galleria Montrasio, the Venice Biennale, and in Rome at Museo Carlo Bilotti. For Habemus Hominem, his sculpture of Pope Emeritus Benedict XVI undressed after his resignation, he was awarded the Holy See’s “Pontifical Medal” in 2012.
In 2009, on a commission from the Vatican, Jago created a bust of Pope Benedict XVI. He depicted the prelate with concave eyes after the style of the master sculptor Adolfo Wildt, who portrayed Pope Pius XI in a similar style, in a work now preserved in the Vatican Museums. After being told by the Vatican that the Pope did not approve of the likeness, and that the work would be rejected as it was, Jago exhibited his sculpture at the Italian Pavilion of the 2012 Venice Biennale, where it was finally seen by the Pope himself, who awarded him the Holy See’s “Pontifical Medal” that year. When Benedict resigned the papacy in 2013, Jago returned to the sculpture, stripping the bust of its papal vestments, in a process of “undressing,” and the result was Habemus Hominem. He sought to infuse the work with a sense of human frailty, and to brand it with the markings of age, to represent Benedict’s return to the status of a mortal.
The idea for the Vergine Bambina (Virgin Child) was born and developed as a statement against corruption, as it takes on the form of conception without sin, represented by a naked body showing its pregnant form as a symbol of purity. This will be realized by Jago sculpting a block of Vermont Danby Marble approximately 16 feet tall and 7 feet wide. This will be the second piece the artist realizes in American marble as part of his partnership with ABC Stone and the North American Sculpture Center.
Jeff T. Blau Hall at the University of Michigan was designed by our friends at Kohn Pedersen Fox (KPF), and is characterized by a contemporary linear aesthetic. The Hall houses UM’s Ross School of Business and contains classrooms, lecture halls, and public space. The exterior of the hall was created with a material palette of stone, terra-cotta, and glass arranged in geometric patterns. The glass volumes are LEED Gold certified, in keeping with the team’s and project’s focus on innovation and sustainability; the Hall has other energy-efficient features including expansive windows which minimize the need for artificial lighting, and a landscape design which reduces storm-water runoff.Read Full Post...
Our friends at Rafael Viñoly Architects have released new renderings for their renovation of a large historic Hell’s Kitchen industrial building in an Art Deco style at 787 Eleventh Avenue originally designed by Albert Kahn, 1927. This project entails the reconfiguration of the existing structure into a series of car showrooms and office spaces. Viñoly and company will add two floors to the 8-storey building, unique in that they will be slightly receded to create a private outdoor green terrace connecting the original structure to the addition. A double-height office will be created by removing the 7th floor slab. The project also includes a renovation of the facade, the ground-floor entrance and lobby, and the introduction of enormous floor to ceiling windows as large of which some will measure 10’x10′: the purpose of which is to activate the heretofore unrealized natural lighting afforded the building by its unobstructed nearness to the Hudson River.Read Full Post...
TCLF Garden Dialogues: Bridgehampton, NY
Jun 23, 2018
11:30 AM – 1:30 PM
This Sawyer | Berson project was one of our faves and now it’s the subject of a TCLF Garden Dialogue! Come see the extraordinary gardens, innovative green roofs, and ABC’s gorgeous Ramon Grey Gold and Grey Smoke exterior stone in action while enjoying the dramatic vistas and scenic views at the impressive Hamptons compound. Link to tickets: https://bit.ly/2kU3CV8
Located along scenic Sagaponack Pond with dramatic vistas of the beach and ocean beyond, this contemporary Hamptons compound was created as a year-round family retreat. The site includes two parterre gardens, which thrive with seasonal vegetables, herbs, and flowers, as well as innovative green roofs at the Main House and the pool pavilion of the Pond House. The landscape, gardens, and green roofs are impeccably maintained year-round, utilizing the most sophisticated organic and toxin-free methods. Other highlights of the estate, which comprises three residences, include two swimming pools and spas, three outdoor kitchens, a sunken tennis court with adjoining pavilion, a pétanque court, a pier projecting into the pond for launching kayaks, and custom corten steel pergolas.
After beating out a group of 107 teams of international renown, the team consisting of our friends at Woods Bagot and Diller Scofidio + Renfro has been selected by Arts South Australia (the Australian Government’s ministry for funding for the arts and cultural heritage) to build an arts facility in Adelaide, state capital of South Australia, which will sit at the edge of a Botanic Garden near the Art Gallery of South Australia. The museum includes a sculpture park and, it is hoped, will become the foremost repository of Aboriginal and Torres Strait Islander art in the country. The designers call their scheme a “soft beacon” which follows the sloping grade of the building site. While by day the glassy structure will reflect the sky, at night the galleries will glow from within, offering glimpses inside at the collection to passersby. The plan also includes floating “sky galleries” on the top floor, and a suspended rooftop garden which in its design pays tribute to the site’s precolonial landscape, the traditional lands of the Karuna people.Read Full Post...
TPG Architecture has designed a New York office for Associated Press (AP), located in Pelli Clarke Pelli Architects’s Brookfield Place. It is made up of three continuous executive floors with a separate dedicated newsroom floor. The New York outpost acts as a satellite for 263 offices in 106 countries. Transparency was embraced as a design theme to reflect the ethos of the AP as a cooperative, unincorporated association of journalists working together to get at the truth behind current events. Our friends at TPG were given a canvas of 172,K SqFt of space on which to work, and charged with the task of creating a workplace “ring as on-brand” for the organization, which was established in 1846, meaning the scheme had to embrace the past of journalistic tradition and the future of news reporting.Read Full Post...