Sounds provocative! Belskie Museum of Art and Science: Mad Men Who Create Art, Sept. 6-27th

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Nohra Haime Gallery, NIKI DE SAINT PHALLE Californian Diary , Opening reception: Tuesday, August 4 from 6 - 8 p.m.

NIKI DE SAINT PHALLE Californian Diary August 4 - September 12 Opening reception: Tuesday, August 4 from 6 - 8 p.m. Niki de Saint Phalle. Californian Diary (Telephone), 1994 © 2015 Niki Charitable Art Foundation, All rights reserved. Photo: © Laura Maloney.   Niki de Saint Phalle's CALIFORNIAN DIARY will be on view at Nohra Haime Gallery from August 4th to September 12th, 2015. Considered one of the most preeminent female artists of the 20th Century, Niki de Saint Phalle's work is intimately linked to California, her home for almost a decade until her death in 2002. This exhibition of nine silkscreens visually records her experiences on the West Coast. In them, Saint Phalle expressed philosophical, socio-critical and intimate thoughts in a colorful, non-threatening format, something she had done with theMY LOVE series in the late 60's, a universal love letter with a similar doodles and calligraphy. In 1962, Saint Phalle traveled to California with Jean Tinguely where they visited Simon Rodilla's Watts Tower near LA to organize a happening in Nevada. In 1963, she staged her first revolutionary Shooting Paintings, as a result of performances in which she shot a 22-caliber rifle at plaster works embedded with bags of paint, causing them to explode and cover the surface with color. This aggressive gesture, a sort of psychoanalytical maneuver to deal with personal issues, was the first of many groundbreaking and intense messages that would shape the perception of our contemporary world through her work. After the Shooting Paintings, she developed an interest in the roles of women in society and created her first NANAS. These voluptuous female figures made of polyester served to discuss the ideal archetype for women in the 60's. They can be seen in cities and museums all over the world. During the late 70's, Saint Phalle stayed in Malibu for a couple of months, working on ideas for her architectural fantasies. Captivated by the light and landscapes of California, she created SUN GOD in 1983, a polyester sculpture commissioned by the University of California for their San Diego campus. Ten years later at 63, Saint Phalle, dealing with health problems derived from inhaling toxic fumes from her work with polyesters, moved to La Jolla, where she began the series of silkscreens currently displayed at Nohra Haime Gallery. CALIFORNIAN DIARY is a collection of silkscreens that compose a visual diary of Saint Phalle's life and work during her first year in California. It would also be the starting point for her design of the famousQUEEN CALIFIA'S MAGICAL CIRCLE, her last sculpture garden built in Escondido, CA from 1999-2003. The silkscreens consist of personal designs and drawings of figures and landscapes accompanied by entries and notes about her experiences. BLACK IS DIFFERENT goes back to her previous black NANAS, a symbol of her social activism inspired by the African American Civil Rights Movements in the U.S. and her fight against racism and sexism, for tolerance and equality. Prints such as MY MEN are a perfect compendium of the acceptance and equality values she pursued her whole life in a male dominated field. Her involvement in the feminist movement and her readings of Simone de Beauvoir produced a clever analysis about the pressure and disregard of women's roles in our modern world. QUEEN CALIFIA and SHAMU! KILLER WHALE are records of her experiences and work, allowing a glimpse into the sources of her inspiration and the outstanding and imaginative language of her fantasy world. CALIFORNIAN DIARY is a substantially full contemplation of Saint Phalle's vehement world and mind. A self-taught sculptor, painter and filmmaker, her mark on art history continues to have an extraordinary dimension. Her work is represented in numerous museums and public collections around the world. In 2000, she received the Praemium Imperiale in Japan, the equivalent of the Nobel Prize for the art world. In 2014, the Grand Palais in Paris exhibited a major restropective of her work that travelled to the Guggenheim Museum in Bilbao, where it currently resides. Niki de Saint Phalle died at the age of 71 in La Jolla, California in 2002. DATES: August 4 - September 12, 2015 OPENING RECEPTION: Tuesday, August 4 from 6-8 p.m. FOR MORE INFORMATION CONTACT: Leslie Garrett at art@nohrahaimegallery.com or 212-888-3550   NOHRA  HAIME  GALLERY 730 FIFTH AVENUE NEW YORK, NY 10019 212-888-3550   FAX 212-888-7869 g a l l e r y @ n o h r a h a i m e g a l l e r y . c o m  #fineartmagazine

DOMINIQUE LÉVY TO PRESENT FIRST EXHIBITION OF GERHARD RICHTER'S COLOUR CHARTS SINCE THEIR DEBUT IN 1966

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 lendingSechs 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 areferential [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). Above: Gerhard Richter Fünfzehn Farben (Fifteen Colours), 1966-1996 Enamel on canvas 78 3/4 x 51 1/8 inches (200 x 130 cm) © Gerhard Richter, 2015  #fineartmagazine

If your into Math and Gaming you want to make this one: 2015 Conference to Honor Seminal Figures in Combinatorial Game Theory: August 3, 9 a.m. - 8 p.m. Tuesday, August 4, 8:30 a.m. - 5:15 p.m.

National Museum of Mathematics Hosts Mathematics Of Various Entertaining Subjects Conference,   Offers Over 50 Educational and Family Friendly Discussions Monday, August 3 and Tuesday, August 4 at the National Museum of Mathematics in Manhattan 2015 MOVES Conference to Honor Seminal Figures  in Combinatorial Game Theory:  John Conway, Elwyn Berlekamp and Richard Guy WHAT:  The National Museum of Mathematics (MoMath) will host its second conference on theMathematics Of Various Entertaining Subjects (MOVES). The MOVES 2015 conference is held in honor of the seminal figures in combinatorial game theory: John Conway, Elwyn Berlekamp and Richard Guy, co-authors of numerous research articles and books, including the classic Winning Ways for your Mathematical Plays. The three-day event will feature over 50 discussions and activities on current research in recreational mathematics, as well as a wide variety of family-friendly mathematical events for adults and children of all ages. View the full program here. For more information, visit moves.momath.org.  WHO: John Conway, Princeton University Elwyn Berlekamp, University of California, Berkeley Richard Guy, University of Calgary WHEN: Monday, August 3, 9 a.m. - 8 p.m. Tuesday, August 4, 8:30 a.m. - 5:15 p.m. WHERE: National Museum of Mathematics: 11 East 26th Street Baruch College, 24th Street and Lexington Avenue RSVP:  Credentialed members of the media are invited to attend, and RSVP is mandatory. Please contact Amanda Bush (amanda@philandcompany.com, 646-490-6446).   ### About the National Museum of Mathematics The National Museum of Mathematics (MoMath) strives to enhance public understanding and perception of mathematics in daily life. The only math museum in North America, MoMath fulfills an incredible demand for hands-on math programming, creating a space where those who are math-challenged-as well as math enthusiasts of all backgrounds and levels of understanding- can revel in their own personal realm of the infinite world of mathematics through more than 30 state-of-the-art interactive exhibits. MoMath was awarded the bronze 2013 MUSE Award for Education and Outreach by the American Alliance of Museums. MoMath is located at 11 E. 26th on the north side of popular Madison Square Park in Manhattan. The Museum is open seven days a week from10 a.m.-5 p.m. For more information, visit momath.org. #fineartmagazine

Gallery nine 5 Extends Wild a Group Show till August 31

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In LA check out out Haphazard: Opening August 8th runs through Sept 20th.

 Haphazard is pleased to present a solo exhibition of photographs by Arpi Agdere titled “Punctum”. The body of work presented in this exhibition contains at its core an element that harkens back to a tradition at the origins of photography shared by William Henry Fox Talbot and Mathew Brady: the landscape. While landscape suggests the concerns of pictorialism – that is to make a photograph look like a painting - Agdere’s work is reminiscent with the work of other contemporary photographers who are concentrating on what is called the “social landscape”. Her images contain distinct signs of a caustic, suburban civilization that seems to be encroaching on the Southern California landscape that Agdere calls home. Two elements are at work in these pictures, first Agdere is a studio artist who uses photography and not a photographer per-se and the second is psychedelics. We see the photographic chemical effects redolent of an acid drenched psychedelic aesthetic that appears both chaotically random and highly composed. Agdere’s interpenetration of the SoCal landscape with psychedelic liquidity suggests a “social landscape” but one in existential crisis. The work seems to be still in its darkroom liquid state – in-media-res – a space both microcosmic and macrocosmic simultaneously; visually they are at the flash point of evaporating into fields of abstract chemical space of Martian reds, acid yellows and purple haze. This creates a sense of contingency and metamorphosis that allows both chance elements, and highly calculated composition
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Love this one: Golden Waters, light installation by artist Grimanesa Amorós,on view now until September 30, 2015. CATCH it now

This reminds me o o Picasso's video drawing in light show in the Picasso Museum, Grimaldi castle, Antibes. This is very neat to see.

FOR IMMEDIATE RELEASE 

Golden Waters: Light Installation by Grimanesa Amorós

  Extends From Soleri Bridge in Scottsdale, Arizona

 June-September 2015   

 

Grimanesa Amorós, GOLDEN WATERS 2015, light sculpture installation  

 

 

LINK: http://grimanesaamoros.com/guest/Grimanesa_Amoros_Golden_Waters_video_web.mp4

 

 

Scottsdale – Golden Waters, a temporary light installation by artist Grimanesa Amorós, which extends from the famous Soleri Bridge, is on view now until September 30, 2015.  Scottsdale Public Art, a leader of defining art in the public realm, is the sponsor of the installation.

 

Inspired by and reflecting the natural elegance of the Arizona canal, a nearly fifty mile long body of water that runs through Scottsdale, Golden Waters is mounted on a secure structure attached to the bridge, designed by artist, architect and philosopher Paolo Soleri. The hovering light sculpture extends parallel to the canal channel eighty feet west of the bridge. Golden Waters’ LED tubing system appears to rise from the canal waters below, celebrating the union of light and water.

 

The vertical and horizontal lines of the installation are a metaphor for the dynamic balance between urban and natural forces that can be experienced simultaneously. Golden Waters hopes to engage the viewer by emphasizing a unique perspective on nature and landscape.

 

 

About Grimanesa Amorós

 

Grimanesa Amorós was born in Lima, Peru and lives and works in New York City. She is a multidisciplinary artist with diverse interests in the fields of social history, scientific research and critical theory, which have greatly influenced her work.

Amorós researches the locations, histories and communities of the installation sites. Her process remains organic and instinctive. This intuitive relationship to technology is a distinctive feature of Amorós’ practice. Her works incorporates elements from sculpture, video, lighting, and technology to create site-specific installations to engage architecture and create community.Grimanesa Amorós has often drawn upon important Peruvian cultural legacies for inspiration for her large-scale light- based installations, which she has presented around the globe from Mexico, Tel Aviv and Beijing to New York’s Times Square. She continues to be inspired from Peru’s history for her art but she does not hold an essentialist or nostalgic view of her subject. She often gives talks at museums, foundations and universities where her lectures not only attract future artists but students and faculty engaged with science and technology. It feels somewhere in the art of Grimanesa Amorós, the past is meeting the future. Amorós has exhibited in the United States, Europe, Asia, Middle East and Latin America.

For more information about Grimanesa Amorós, visit http://www.grimanesaamoros.com/bio/

 

 About Scottsdale Public Art

 

The mission of Scottsdale Public Art is to serve as a leader in defining art in the public realm through creative place-making, signature cultural events, exhibitions, and installations—contributing to the community’s creative, cultural, and economic vitality.

 

Scottsdale Public Art is partially funded by the City of Scottsdale public art ordinances, and managed by the Scottsdale Cultural Council, a private, non-profit 501(c) (3) management organization that administers the arts and cultural affairs of the City of Scottsdale and also manages the Scottsdale Center for the Performing Arts and the Scottsdale Museum of Contemporary Art.

 

For more information about Scottsdale Public Art, visit: ScottsdalePublicArt.org

 

 

 

 

 

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INAUGURAL SEATTLE ART FAIR OPENS TO A CROWD OF MORE THAN 4,000 VISITORS WITH IMPORTANT ACQUISITIONS BY REGIONAL, LOCAL AND NATIONAL COLLECTORS

July 30 - August 2 CENTURYLINK FIELD EVENT CENTER INAUGURAL SEATTLE ART FAIR OPENS TO A CROWD OF MORE THAN 4,000 VISITORS WITH IMPORTANT ACQUISITIONS BY REGIONAL, LOCAL AND NATIONAL COLLECTORS

With a toast to the city led by Paul Allen and The Honorable Ed Murray, Mayor of Seattle, the inaugural Seattle Art Fair roared into action on Thursday evening. The Seattle Art Fair opened to an animated, engaged crowd of 4,000 collectors, curators, museum directors, and art lovers as a unique moment focused entirely on the city itself​. The people of Seattle responded with a powerful enthusiasm reflected in strong sales and sizable attendance. Visitors to the fair's acclaimed first edition were met with an intriguing exhibition​ ​of ​sixty-two local, regional, and national galleries alongside a program of public installations, performances, and special exhibitions.  Sales were robust across the board, with acquisitions of important work reported ​in all price ranges. Gagosian Gallery enjoyed an active Preview and noted the enthusiasm of the crowd, which included prominent collectors as well as museum directors and curators from across the region. New York City's Allan Stone Projects​ sold​ a Dan Basen mixed media piece and a Wayne Thiebaud early work on paper in the fair's opening moments. Paul Kasmin Gallery sold ​Revolution #2, by Ivan Navarro, Pace Gallery placed two of their stunning teamLab interactive digital installations, and David Zwirner Gallery sold work by Oscar Murillo and Christopher Williams in the fair's first hours​. Seattle's Greg Kucera Gallery also saw sales across their program's presented price points including the placement of Sherry Markovitz's Poodle Head, two Margie Livingston paint pieces, and a William Kentridge. ​​James Cohan Gallery saw significant interest in the works of Spencer Finch and and sold several pieces by Elias Sime. Adelson Galleries sold Jamie Wyeth's Sisters - Six in a Suite of Untoward Occurrences on Monhegan Island. Other highlights include Catharine Clark Gallery's sale of sculpture by Wanxin Zhang and Jonathan Ferrara Gallery​'s​ placement​ of work by Skylar Fein and Nikki Rosato. ​Seattle's Roq La Rue sold work on paper by local artist Amanda Manitach as well as acrylics on panel by Travis Louie and Camille Rose Garcia. Samsøn Projects sold work by Mark Cooper to a prominent New York City collector, ​New York's Maxwell Davidson Gallery sold ​several works by Thomas Witte, and Seattle galley Winston Wächter Fine Art sold four mixed media and sculpture by Dustin Yellin.  The first two hours of the Seattle Art Fair opening night Preview raised over $85,000 for Artist Trust. Dedicated to supporting Washington State artists working across all disciplines by providing professional development through training programs like Edge and I Am An Artist, Artist Trust funds upwards of 85 artist grants, totaling over $300,000 each year. Seattle Art Fair's support of this important institution enlivens the fair's vision to support innovative, creative thinkers and makers within the region.  Seattle Art Fair visitors filled the wide aisles of the CenturyLink Field Event Center and flocked to Basecamp, Olson Kundig's site-specific Collectors Lounge. Acting as a conduit between outside and in, the space serves as a gathering point and place for conversation and contemplation. Olson Kundig's design celebrates the pioneering spirit of the Pacific Northwest, using wood, ​fabric, and native plantings to evoke the simple elegance of nature and bridge the fair with the surrounding landscape. The design for Basecamp is led by Olson Kundig owner and principal Jim Olson and associate architect Jerry Garcia  SHOW INFORMATION  Seattle Art Fair CenturyLink Field Event Center 800 Occidental Ave S., Seattle WA 98134 Fair Hours Friday, July 31, 11 a.m. – 7 p.m. Saturday, August 1, 11 a.m. – 7 p.m. Sunday, August 2, 12 noon – 6 p.m. For news and updates about the Seattle Art Fair, please visit: seattleartfair.com  EXHIBITORS 101/Exhibit Abmeyer + Wood Fine Art ACA Galleries Adelson Galleries Allan Stone Projects Ameringer | McEnery | Yohe bitforms gallery Catharine Clark Gallery Charles A. Hartman Fine Art Charlie James Gallery CYNTHIA-REEVES Danese/Corey David Zwirner Donald Ellis Gallery Edward Cella Art + Architecture Elizabeth Leach Gallery Emerson Dorsch Forum Gallery Freight + Volume G. Gibson Gallery Gagosian Gallery Gail Severn Gallery Gallery 16 Gallery Jones Gana Art Greg Kucera Gallery Harmony Murphy Gallery James Cohan Gallery James Harris Gallery Jenkins Johnson Gallery JONATHAN FERRARA GALLERY Kaikai Kiki KOKI ARTS Kopeikin Gallery Linda Hodges Gallery LMAKprojects Mariane Ibrahim Gallery Maxwell Davidson Gallery Mindy Solomon Gallery Monte Clark Gallery Nancy Hoffman Gallery Octavia Art Gallery Osage Pace Gallery Patricia Sweetow Gallery Paul Kasmin Gallery PDX CONTEMPORARY ART Platform Gallery PUNCH Gallery Rebecca Hossack Gallery Rena Bransten Projects and Rite Editions Richard Levy Gallery Roq La Rue RYAN LEE Samsøn SEASON Traver Gallery Tyler Rollins Fine Art Upfor Winston Wächter Fine Art Woodside/Braseth Gallery Zürcher Gallery About Art Market Productions Art Market Productions is a Brooklyn-based production firm owned and operated by Max Fishko and Jeffrey Wainhause. Working in concert with a talented and passionate network of dealers, curators, and arts professionals, Art Market Productions is proud to present forward thinking, progressive, and successful events across the country.  About Vulcan, Inc.  Vulcan, Inc. creates and advances a variety of world-class endeavors and high-impact initiatives that change and improve the way people live, learn, do business and experience the world. Founded in 1986 by investor and philanthropist Paul G. Allen, Vulcan oversees various business and charitable projects including real estate holdings, investments in dozens of companies, including the Seattle Seahawks NFL, Seattle Sounders FC Major League Soccer, and Portland Trail Blazers NBA franchises, First & Goal Inc., the Seattle Cinerama theatre, Experience Music Project, the Science Fiction Museum & Hall of Fame, the Allen Institute for Brain Science, the Allen Institute for Cell Science and The Paul G. Allen Family Foundation. For more information, visit vulcan.com. #finrartmagazine